DOCSLIB.ORG

Newsletter • Bulletin Fall 2004 Automne

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Newsletter • Bulletin Fall 2004 Automne NATIONAL CAPITAL OPERA SOCIETY • SOCIÉTÉ D'OPÉRA DE LA CAPITALE NATIONALE Newsletter • Bulletin Fall 2004 Automne P.O. Box 8347, Main Terminal, Ottawa, Ontario K1G 3H8 • C.P. 8347, Succursale principale, Ottawa (Ontario) K1G 3H8 Exciting "OPERA ALLA PASTA" Season For the first time the people regularly attending the Sunday April 24, 2005 MACBETH by Verdi. Another re- Afternoon at the Opera showings were invited to cast votes cent production, this time from the Opernhaus Zürich. This on what operas they would like to see next season. Here are staging of Verdi’s version of Shakespeare’s great play the results: marked the debut in the title role of Thomas Hampson, a November 14, 2004 MANON by Massenet. This is a performance not to be missed. The Lady Macbeth of splendid production from the Opéra de Bastille, Paris star- Paoletta Marrocu rises to the great vocal and dramatic ring Renée Fleming in the title role with the sensational tenor heights demanded of her. The Chorus and Orchestra of the Marcelo Alvarez as Des Grieux. The Orchestra and Cho- Zurich Opera house are conducted by Franz Welser-Möst. rus of the Opéra National de Paris performs under the The Zurich Operas is noted for its unusual stagings of op- direction of Jesus Lopez-Cobos. Very effective lighting era and this one certainly fits into this category, emphasiz- effects rather than elaborate scenery is used in this tradi- ing the darkest impulses of the main characters. tional production. As usual all of our opera showings are followed by February 20, 2005 LUCREZIA BORGIA by Donizetti. a special meal prepred by the chefs at St. Anthony's Soc- This 1980 production from Covent Garden stars the incom- cer Club. Antipasto, salad, a special pasta dish, meat or parable Joan Sutherland at the peak of her career. Matching poultry, complementary vegetables, dessert and tea or cof- her command of the bel canto style is the elegant tenor Alfredo fee is our usual fare. Wine and other driunks can be pur- Kraus. At the podium conducting the Royal Opera Orchestra chased at the bar. All you have to do is make a reserva- and Chorus is Richard Bonynge, renowned for his champion- tion at least by the Wednesday preceding the perfor- ship of this type of opera. Extravagant costumes and sets comple- mance. Call 225-0124 and join us for three wonderful ment the florid singing and dramatic action. afternoons of opera. Fall 2004 NEWSLETTER • BULLETIN Automne 2004 President's message N.C.O.S. Board of I want to thank everyone, especially the Members of the Board, for their concern about my health after my accident Directors five months ago, followed by hospitalization and a long pe- riod of rehabilitation. President Bobbi Cain Hope to see you all soon at one of our events. Vice-President Murray Kitts Secretary Jean Saldana Treasurer Gordon Metcalfe Events Peggy Pflug Membership Jean Saldanha Newsletter Murray Kitts Attention All Singers Publicity Renate Chartrand Thanks to Renate Chartrand publicity has been sent to Members-at-Large all the local media. Many of you will have heard our Pat Adamo Ute Davis Dan Leeman good friend Rob Clipperton delivering the following message: Young singers preparing for professional careers are invited to enter the competition for the $2,000 Brian Opera Lyra Law Opera Scholarship sponsored by the National Capital Opera Society. The competition is held every two years and is open to singers aged 22 to 32 who Ottawa Guild are either natives of or living in the National Capital Russian Opera Highlights area or who have studied here. The deadline for applications is Nov.15. Sing- hosted by Murray Kitts ers are required to submit a tape or CD featuring three Part 1 November 2 & Part 2 November 30 operatic arias (one including a recitative) along with a résumé and a 200-word outline of career goals in the Definitely the Opera field of opera. ANNA BOLENA (Donizetti) January10, 2005 On November 27 the preliminary jurors Bar- LES CONTES D'HOFFMAN (Offenbach) February 7 bara Clark, Charlotte Stewart, Garth Hampson and SAMSON ET DALILA (Saint-Saens) March 7 Bobbi Cain will meet to choose up to six finalists, who ANDREA CHENIER (Giordano) May 16 will be announced in early December. They will com- pete at a public recital on January 29 at Ottawa’s First Opera Insights Unitarian Congregation. Jurors will be Roxolana Roslak, soprano, Darryl Edwards, baritone, both from Toronto LES CONTES D'HOFFMAN and Christiane Riel, soprano, from Montreal. With Joanne & Tyrone Patterson The scholarship was first awarded by the Na- March 22, 2005 tional Capital Opera Society in 1993 to honour Brian Law for his more than two decades on the Ottawa mu- All presentations takeMark place at the sic scene. National Library at 7:00 p.m. Past winners have been sopranos Shannon Mer- cer, Sandra Stringer and Laura Dzuibaniuk, mezzos Julie JanuaryJoy of Opera 29, 2005 Nesrallah and Mary Anne Swerdfeger and at the last Luncheon and Concert competition in 2003 baritone Joshua Hopkins. on your calendar For more information and application forms call with Jill LaForty 225-0124 or visit the National Capital Opera Society’s November 28 at 12:30 p.m. at the R.A. Centre web site at http://members.rogers.com/ncos. 2 Fall 2004 NEWSLETTER • BULLETIN Automne 2004 Opera Lyra's BUTTERFLY by Murray Kitts Pinkerton Pinkerton Addio fiorito asil… Farewell, flowery refuge Di letizia e d’amor… Of happiness and love… Sempre il mite suo sembiante Her sweet face will haunt me ever, Con strazio atroce vedrò. Torturing me agonizingly. Addio fiorito asil… Farewell, flowery refuge… Non reggio al tuo squallor… I can’t bear your desolation… Fuggo, fuggo…son vil! I must fly! I’m beneath contempt! I must admit that I was astonished and displeased Liping Zhang as the heroine, surely that was not necessary. when the aria given above was not included in the The fact is that by deleting the aria the tradi- OLO production of Butterfly. Yes, it can be ar- tional meaning of the opera is changed – Pinkerton’s gued that Puccini added it to the opera when he made remorse is not heard – “son vil” is a damning character- revisions after the first performance. But it was ization of oneself. It’s all very well for a Stage Director performed just three months later and has al- to be innovative; but not to the extent that a major aria ways been included in any selection called is omitted and some essential part of the traditional plot Highlights from Madame Butterfly. On CD is missing. I’m not even sure that the action on stage complete opera recordings it is cued so that matched the music very well in the final scene. The idea the listener can go to it easily. of turning the screen movers into Butterfly’s ancestors Was it deleted because it made the opera doesn’t work at all if the audience doesn’t know what too long? Even with the interpolations by Sharpless is going on until a review appears in the newspaper. At it lasts less than two minutes in the recording with least we were spared the explosion of the atomic bomb Bergonzi that I own. If a cut had to be made (the which ended one production of BUTTERFLY that I un- opera is not of Wagnerian length) why wasn’t the fortunately witnessed. long orchestral interlude (the whole thing lasts about I was not enchanted with the set from L’Opéra ten minutes) separating the two parts of Act II cut? de Montréal. The house was the largest I’ve seen for Puccini obviously did not follow Verdi’s advice as this opera and I’ve never before seen a Japanese house follows: “Opera is opera, symphony is symphony; with a hardwood floor. Because the house occupied and I don’t think it is a good idea to insert a sym- the entire width of the stage all major entrances had to phonic piece into an opera just for the pleasure of be made from the rear. letting the orchestra loose once in a while.” The orchestra called the Opera Lyra Ottawa Was it deleted because the tenor couldn’t Orchestra played well under the direction of Mladen sing it? While Marc Heller does not have as beauti- Tarbuk.But in spite of all I’ve said I was swept away ful a voice as earlier by the truly unforgettable performance of Liping Zhang, Pinkertons such as Caruso ably assisted by tenor Marc Heller, Allyson McHardy or Gigli he sang his part as Suzuki, and especially Gregory Dahl as Sharpless. very well and would have All the minor roles were well done. I must mention that done quite an excellent job Luc Lalonde, one of the contestants for the Brian Law with this aria. Scholarship in 2001, did a creditable job as the Impe- Was it deleted to rial Commissioner. Luc is part of the Opera Lyra Young give more prominence to the Artists Programme which is financially supported by the role of Butterfly? With an National Capital Opera Society. artist as accomplished as Liping Zhang All in all, a memorable evening. 3 Fall 2004 NEWSLETTER • BULLETIN Automne 2004 Glimmerglass Musings by Shelagh Williams Our pilgrimage to the 30th season of Glimmerglass Opera in The evening’s opera was Puccini’s LA Cooperstown in upstate New York yielded four offerings of FANCIULLA DEL WEST — the first Spaghetti West- excellent quality, sufficient to warm the cockles of an opera ern?! The setting was Assistant Artistic Director lover’s heart and offset the freezing unsummery tempera- John Conklin’s attractive evocation of the Old West tures outside (and inside) the Opera Theatre! The overall of the California Gold Rush, with a mine head on theme seemed to be houses, both as the opera settings and the left and a beautiful backdrop of mountains on also as almost an additional character in several of the op- the right.
Load more

Recommended publications
  • Coa-Program-For-Web.Pdf
    HOUSTON GRAND OPERA AND SID MOORHEAD, CHAIRMAN WELCOME YOU TO THE TAMARA WILSON, LIVESTREAM HOST E. LOREN MEEKER, GUEST JUDGE FRIDAY, FEBRUARY 5, 2021 AT 7 P.M. BROADCAST LIVE FROM THE WORTHAM THEATER CENTER TEXT TO VOTE TEXT TO GIVE Text to vote for the Audience Choice Award. On page Support these remarkable artists who represent 9, you will see a number associated with each finalist. the future of opera. Text the number listed next to the finalist’s name to 713-538-2304 and your vote will be recorded. One Text HGO to 61094 to invest in the next generation vote per phone number will be registered. of soul-stirring inspiration on our stage! 2 WELCOME TO CONCERT OF ARIAS 2021 SID MOORHEAD Chairman A multi-generation Texan, Sid Moorhead is the owner of in HGO’s Overture group and Laureate Society, and he serves Moorhead’s Blueberry Farm, the first commercial blueberry on the company’s Special Events committee. farm in Texas. The farm, which has been in the Moorhead family for three generations, sits on 28 acres in Conroe and Sid was a computer analyst before taking over the family boasts over 9,000 blueberry plants. It is open seasonally, from business and embracing the art of berry farming. He loves to the end of May through mid-July, when people from far and travel—especially to Europe—and has joined the HGO Patrons wide (including many fellow opera-lovers and HGO staffers) visit on trips to Italy and Vienna. to pick berries. “It’s wonderful.
    [Show full text]
  • NEWSLETTER of the American Handel Society
    NEWSLETTER of The American Handel Society Volume XVIII, Number 1 April 2003 A PILGRIMAGE TO IOWA As I sat in the United Airways terminal of O’Hare International Airport, waiting for the recently bankrupt carrier to locate and then install an electric starter for the no. 2 engine, my mind kept returning to David Lodge’s description of the modern academic conference. In Small World (required airport reading for any twenty-first century academic), Lodge writes: “The modern conference resembles the pilgrimage of medieval Christendom in that it allows the participants to indulge themselves in all the pleasures and diversions of travel while appearing to be austerely bent on self-improvement.” He continues by listing the “penitential exercises” which normally accompany the enterprise, though, oddly enough, he omits airport delays. To be sure, the companionship in the terminal (which included nearly a dozen conferees) was anything but penitential, still, I could not help wondering if the delay was prophecy or merely a glitch. The Maryland Handel Festival was a tough act to follow and I, and perhaps others, were apprehensive about whether Handel in Iowa would live up to the high standards set by its august predecessor. In one way the comparison is inappropriate. By the time I started attending the Maryland conference (in the early ‘90’s), it was a first-rate operation, a Cadillac among festivals. Comparing a one-year event with a two-decade institution is unfair, though I am sure in the minds of many it was inevitable. Fortunately, I feel that the experience in Iowa compared very favorably with what many of us had grown accustomed Frontispiece from William Coxe, Anecdotes fo George Frederick Handel and John Christopher Smith to in Maryland.
    [Show full text]
  • Don Giovanni Was Made Possible by a Generous Gift from the Richard and Susan Braddock Family Foundation, and Sarah and Howard Solomon
    donWOLFGANG AMADEUS MOZARTgiovanni conductor Opera in two acts Fabio Luisi Libretto by Lorenzo Da Ponte production Michael Grandage Saturday, October 22, 2016 PM set and costume designer 1:00–4:30 Christopher Oram lighting designer Paule Constable choreographer Ben Wright revival stage director Louisa Muller The production of Don Giovanni was made possible by a generous gift from the Richard and Susan Braddock Family Foundation, and Sarah and Howard Solomon Additional funding was received from Jane and Jerry del Missier and Mr. and Mrs. Ezra K. Zilkha general manager Peter Gelb The revival of this production is made possible music director emeritus by a gift from Rolex James Levine principal conductor Fabio Luisi 2016–17 SEASON The 556th Metropolitan Opera performance of WOLFGANG AMADEUS MOZART’S don giovanni conductor Fabio Luisi in order of vocal appearance leporello maset to Adam Plachetka Matthew Rose donna anna Hibla Gerzmava continuo David Heiss, cello don giovanni Howard Watkins*, Simon Keenlyside harpsichord the commendatore mandolin solo Kwangchul Youn Joyce Rasmussen Balint don ot tavio Paul Appleby* donna elvir a Malin Byström zerlina Serena Malfi Saturday, October 22, 2016, 1:00–4:30PM This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation. Global sponsorship of The Met: Live in HD is also provided by Bloomberg Philanthropies. Chorus Master Donald Palumbo Musical
    [Show full text]
  • Alban Berg's Filmic Music
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 Alban Berg's filmic music: intentions and extensions of the Film Music Interlude in the Opera Lula Melissa Ursula Dawn Goldsmith Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Goldsmith, Melissa Ursula Dawn, "Alban Berg's filmic music: intentions and extensions of the Film Music Interlude in the Opera Lula" (2002). LSU Doctoral Dissertations. 2351. https://digitalcommons.lsu.edu/gradschool_dissertations/2351 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. ALBAN BERG’S FILMIC MUSIC: INTENTIONS AND EXTENSIONS OF THE FILM MUSIC INTERLUDE IN THE OPERA LULU A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The College of Music and Dramatic Arts by Melissa Ursula Dawn Goldsmith A.B., Smith College, 1993 A.M., Smith College, 1995 M.L.I.S., Louisiana State University and Agricultural and Mechanical College, 1999 May 2002 ©Copyright 2002 Melissa Ursula Dawn Goldsmith All rights reserved ii ACKNOWLEDGMENTS It is my pleasure to express gratitude to my wonderful committee for working so well together and for their suggestions and encouragement. I am especially grateful to Jan Herlinger, my dissertation advisor, for his insightful guidance, care and precision in editing my written prose and translations, and open mindedness.
    [Show full text]
  • NEWSLETTER of the American Handel Society
    NEWSLETTER of The American Handel Society Volume XXI, Number 3 Winter 2006 AMERICAN HANDEL SOCIETY- PRELIMINARY SCHEDULE (Paper titles and other details of program to be announced) Thursday, April 19, 2006 Check-in at Nassau Inn, Ten Palmer Square, Princeton, NJ (Check in time 3:00 PM) 6:00 PM Welcome Dinner Reception, Woolworth Center for Musical Studies Covent Garden before 1808, watercolor by Thomas Hosmer Shepherd. 8:00 PM Concert: “Rule Britannia”: Richardson Auditorium in Alexander Hall SOME OVERLOOKED REFERENCES TO HANDEL Friday, April 20, 2006 In his book North Country Life in the Eighteenth Morning: Century: The North-East 1700-1750 (London: Oxford University Press, 1952), the historian Edward Hughes 8:45-9:15 AM: Breakfast, Lobby, Taplin Auditorium, quoted from the correspondence of the Ellison family of Hebburn Hall and the Cotesworth family of Gateshead Fine Hall Park1. These two families were based in Newcastle and related through the marriage of Henry Ellison (1699-1775) 9:15-12:00 AM:Paper Session 1, Taplin Auditorium, to Hannah Cotesworth in 1729. The Ellisons were also Fine Hall related to the Liddell family of Ravenscroft Castle near Durham through the marriage of Henry’s father Robert 12:00-1:30 AM: Lunch Break (restaurant list will be Ellison (1665-1726) to Elizabeth Liddell (d. 1750). Music provided) played an important role in all of these families, and since a number of the sons were trained at the Middle Temple and 12:15-1:15: Board Meeting, American Handel Society, other members of the families – including Elizabeth Liddell Prospect House Ellison in her widowhood – lived in London for various lengths of time, there are occasional references to musical Afternoon and Evening: activities in the capital.
    [Show full text]
  • The Catacoustic Consort
    PROFILE Annalisa Pappano (Artistic Director, Viola da gamba & Lirone; Cincinnati) studied at Indiana University’s Early Music Institute and at Oberlin Conserva- GUEST ARTIST tory of Music. Her playing has been described by critics as “mercurial and enchanting” and “with a sound that is lighter than air with the airy luster SERIES PRESENTS of gilding on the mirrors of a rococo drawing room.” She has performed throughout Belgium, England, Ireland, Canada, and the U.S. and has appeared on nationally syndicated radio. Pappano is a member of the Oberlin Consort of Viols and Atalante and has performed with numerous other ensembles in- cluding the Houston Grand Opera, the Cleveland Opera, the Portland Opera, the Portland Baroque Orchestra, Opera Atelier (Toronto), American Opera Theater, the Concord Ensemble, Cappella Artemisia (Bologna), Consortium Carissimi, La Donna Musicale, Les Voix Baroques, Le Nouvel Opera, and Bella Voce. She has taught at Viola da Gamba Society of America national conclaves, the Viola da Gamba Society Pacific Northwest and Northeast chapters, the San Diego Early Music Workshop, ViolsWest, the Madison Early Music Workshop, and has been a guest lecturer at numerous universities. THE CATACOUSTIC She has performed at the Berkeley, Bloomington, and Vancouver early music festivals. Pappano led Catacoustic to win the grand prize in the Naxos/Early Music America Live Recording Competition and recorded a program of Italian CONSORT laments on the Naxos label. Pappano teaches viola da gamba at the University of Cincinnati College-Conservatory of Music. Daniel Swenberg (Theorbo; Highland Park, NJ) plays a variety of Renais- sance and Baroque Lutes, Theorbos, and early Guitars.
    [Show full text]
  • Journal72-1.Pdf
    The Delius Society Journal July 1981,Number 72 The Delius Society Full Membershipf,7.00 per year Studentsf,3.50 Subscription to Libraries (Journal only) 95.00 per year USA and CanadaUS S17.00 per year President Eric Fenby OBE, Hon D Mus, Hon D Litt, Hon RAM Vice Presidents The Rt Hon Lord Boothby KBE, LLD Felix Aprahamian Hon RCO Roland GibsonM Sc, Ph D (Founder Member) Sir CharlesGroves CBE Stanford RobinsonOBE, ARCM (Hon), Hon CSM Meredith DaviesMA, B Mus, FRCM, Hon RAM Norman Del Mar CBE, Hon D Mus Vernon Handley MA, FRCM, D Univ (Surrey) Chairman R B Meadows 5 WestbourneHouse, Mount Park Road, Harrow, Middlesex Treasurer PeterLyons I Cherry Tree Close,St. Leonards-on-Sea,Sussex TN37 6EX Editor StephenLloyd 4l MarlboroughRoad, Luton, BedfordshireLU3 IEF Tel: Luton (0582) 20075 Contents Editorial. 3 Somenotes on 'A Village Romeo and Juliet'in Zurich and Darmstadt by Uonel Carley 6 'A Village Romeo and Juliet'at Darmstadt by Robert Threlfall t3 What the PapersSaid 15 lnoking Back by R B Kitchingand EugeneGoossens r6 'A Village Romeo and Juliet'Cast Lists 18 Gottfried Keller: A Biographicd Note . by StephenUoyd 18 Delius on Record . by Lyndon Jenkins 20 News from America 2l 'Mr BeechamComes to Town' by R B Kitching 23 Forthcoming Events 23 Illustratiorrs The cover illustration is an early sketch of Delius by Edvard Munch reproduced by kind permissionof the Curator of the Munch Museum,Oslo, Norway. The photograph of the Zurich Village Romeo production is reproduced with acknowledgementto Susan Schimert-Ramme,Klosbachstr. 33, 8032 Zuich, and of the Zunch reception with acknowledgement to Bild + News, Postfach, 8047 Zuich.
    [Show full text]
  • Hans Rosbaud and the Music of Arnold Schoenberg Joan Evans
    Document generated on 09/28/2021 5:44 p.m. Canadian University Music Review Revue de musique des universités canadiennes Hans Rosbaud and the Music of Arnold Schoenberg Joan Evans Volume 21, Number 2, 2001 Article abstract This study documents the efforts of Hans Rosbaud (1895–1962) on behalf of the URI: https://id.erudit.org/iderudit/1014484ar music of Arnold Schoenberg. It is largely based on the twenty-year DOI: https://doi.org/10.7202/1014484ar correspondence between conductor and composer, most of which remains unpublished. Rosbaud's efforts already bore fruit during his tenure at See table of contents Frankfurt Radio in the early 1930s. After the forced hiatus of the Nazi years (during which he worked in Germany and occupied France), Rosbaud achieved an international reputation as the Schoenberg conductor par excellence. His Publisher(s) activities on Schoenberg's behalf involved a plan, previously unremarked in the Schoenberg literature, to bring the aging composer back to Germany. Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (print) 2291-2436 (digital) Explore this journal Cite this article Evans, J. (2001). Hans Rosbaud and the Music of Arnold Schoenberg. Canadian University Music Review / Revue de musique des universités canadiennes, 21(2), 41–59. https://doi.org/10.7202/1014484ar All Rights Reserved © Canadian University Music Society / Société de musique This document is protected by copyright law. Use of the services of Érudit des universités canadiennes, 2002 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit.
    [Show full text]
  • FOR IMMEDIATE RELEASE CONTACT: Joyce Linehan (617) 282-2510
    FOR IMMEDIATE RELEASE CONTACT: Joyce Linehan (617) 282-2510 OPERA BOSTON, BEIJING MUSIC FESTIVAL CO-COMMISSION MADAME WHITE SNAKE, A NEW OPERA BASED ON ANCIENT CHINESE LEGEND NEW WORK WILL HAVE WORLD PREMIERE IN BOSTON DURING 2009/2010 SEASON BEFORE TRAVELING TO BEIJING IN OCTOBER 2010 Zhou Long, composer; Cerise Lim Jacobs, creator and librettist (BOSTON – May 14, 2008) At a press conference today Opera Boston General Director Carole Charnow announced the company’s first-ever commissioned work in its 2009/2010 season with the world premiere of Madame White Snake, a new opera based on a beloved ancient Chinese legend, by composer Zhou Long and librettist Cerise Lim Jacobs. The work is co-commissioned with the Beijing Music Festival in an historic partnership between a Chinese performing arts organization and an American opera company. The world premiere is presented by State Street Corporation. Madame White Snake will have four performances (February 24 through March 2, 2010) at the Cutler Majestic Theatre in Boston and two performances in Beijing in October, 2010. Opera Boston Music Director Gil Rose will conduct, Robert Woodruff will direct, soprano Ying Huang will sing the title role, and male soprano Michael Maniaci will sing the role of Little Green. “We are very proud to announce this major opera commission and multi-cultural production, Madame White Snake by Zhou Long and Cerise Lim Jacobs,” said Charnow. “This project marks many historic firsts; Opera Boston’s first major commission, our first collaboration with an international music organization and, perhaps most significantly, the first-ever collaboration between the Beijing Music Festival and an American opera company.
    [Show full text]
  • Richard Strauss
    RICHARD STRAUSS: The Origin, Dissemination and Reception of his Mozart Renaissance Raymond lIolden I I \,--,~/ PhD Goldsmiths' College University of London 1 Abstract Richard Strauss holds an important place in the history of performance. Of the major musical figures active during the second half of the nineteenth and the first half of the twentieth centuries, his endeavours as a Mozartian are of particular importance. Strauss' special interest in the works of Mozart was seminal to both his performance and compositional aesthetics. As a result of this affinity, Strauss consciously set out to initiate a Mozart renaissance that embodied a precise set of principles and reforms. It was these principles and reforms, described as literalist, rather than those of artists such .as Gustav Mahler, who edited Mozart's works both musically and dramatically, that found further expression in the readings of, amongst others, Otto Klemperer, George Szell, Sir John Pritchard and Wolfgang Sawallisch. It is the aim of this dissertation to investigate Strauss' activities as a Mozartian and to assess his influence on subsequent generations of Mozart conductors. Accordingly, the dissertation is divided into an Introduction, five chapters, a Conclusion and thirteen appendices. These consider both the nature and ramifications of Strauss' reforms and performance aesthetic. Within this framework, the breadth of his renaissance; his choice of edition, cuts and revisions; his use of tempo, as a means of structural delineation; his activities with respect to the
    [Show full text]
  • Spoleto Festival Usa Program History 2016 – 1977
    SPOLETO FESTIVAL USA PROGRAM HISTORY 2016 – 1977 Spoleto Festival USA Program History Page 2 2016 Opera Porgy and Bess; created by George Gershwin, DuBose and Dorothy Heyward, and Ira Gershwin; conductor, Stefan Asbury; director, David Herskovits; visual designer, Jonathan Green; lighting designer, Lenore Doxsee; wig and makeup designer, Ruth Mitchell; set designer, Carolyn Mraz; costume designer, Annie Simon; fight director, Brad Lemons; Cast: Alyson Cambridge, Lisa Daltirus, Eric Greene, Courtney Johnson, Lester Lynch, Sidney Outlaw, Victor Ryan Robertson, Indra Thomas; Spoleto Festival USA Orchestra, Johnson C. Smith University Concert Choir; Charleston Gaillard Center *La Double Coquette; music by Antoine Dauvergne with additions by Gérard Pesson; libretto by Charles-Simon Favart with additions by Pierre Alferi; director, Fanny de Chaillé; costume designer, Annette Messager; costume realization, Sonia de Sousa; lighting designer, Gilles Gentner; lighting realization, Cyrille Siffer; technical stage coordination, Francois Couderd; Cast: Robert Getchell, Isabelle Poulenard, Mailys de Villoutreys; Dock Street Theatre *The Little Match Girl; music and libretto by Helmut Lachenmann; conductor, John Kennedy; co-directors, Mark Down and Phelim McDermott; costume designer, Kate Fry; lighting designer, James F. Ingalls; set designer, Matt Saunders; puppet co-designers, Fiona Clift, Mark Down, Ruth Patton; Cast: Heather Buck, Yuko Kakuta, Adam Klein; Soloists: Chen Bo, Stephen Drury, Renate Rohlfing, Memminger Auditorium Dance Bill T. Jones/Arnie
    [Show full text]
  • Newsletter • Bulletin Fall 2007 Automne 2007
    NATIONAL CAPITAL OPERA SOCIETY • SOCIÉTÉ D'OPÉRA DE LA CAPITALE NATIONALE 1999 Newsletter • Bulletin Fall 2007 Automne 2007 P.O. Box 8347, Main Terminal, Ottawa, Ontario K1G 3H8 • C.P. 8347, Succursale principale, Ottawa (Ontario) K1G 3H8 Six Exceptional Finalists Selected for the Brian Law Opera Scholarship Competition by Renate Chartrand A record number of 17 young aspiring opera singers have ap- us this time. He has had a stellar career since winning the plied for the Scholarship Competition to be held on Nov. 24. Brian Law Scholarship in 2003. He was a member of the Our preliminary jurors, who met in early October, were able prestigious Houston Grand Opera Studio, a prizewinner to recommend six finalists to compete for the top prizes. in the 2005 Plácido Domingo Operalia Competition and received several major awards, most recently one worth Jonathan Estabrooks, baritone $15,000 from the Canada Council for the Arts. Last sea- Sharleen Joynt, soprano son he played Masetto in L’Opéra de Montréal’s Don Yannick-Muriel Noah, soprano Giovanni, this season he is Marcello in Houston Grand Kathleen Promane, mezzo-soprano Opera’s La bohème, Papageno in Arizona Opera’s Die Maghan Stewart, soprano Zauberflöte and a soloist in the Messiah at the NAC. Jillian Yemen, mezzo-soprano Finally the great moment of suspense, the an- nouncement of the prizes, will have arrived. The Details of the finalists’ education and operatic ex- winner will be awarded the 1st prize of perience can be found on page 3. $3000 and the runner-up will receive the At the competition they will each per- new 2nd prize of $1500.
    [Show full text]