Contemporary Opera Newsletter
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Mario Ferraro 00
City Research Online City, University of London Institutional Repository Citation: Ferraro Jr., Mario (2011). Contemporary opera in Britain, 1970-2010. (Unpublished Doctoral thesis, City University London) This is the unspecified version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/1279/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] CONTEMPORARY OPERA IN BRITAIN, 1970-2010 MARIO JACINTO FERRARO JR PHD in Music – Composition City University, London School of Arts Department of Creative Practice and Enterprise Centre for Music Studies October 2011 CONTEMPORARY OPERA IN BRITAIN, 1970-2010 Contents Page Acknowledgements Declaration Abstract Preface i Introduction ii Chapter 1. Creating an Opera 1 1. Theatre/Opera: Historical Background 1 2. New Approaches to Narrative 5 2. The Libretto 13 3. The Music 29 4. Stage Direction 39 Chapter 2. Operas written after 1970, their composers and premieres by 45 opera companies in Britain 1. -
Philip Glass
DEBARTOLO PERFORMING ARTS CENTER PRESENTING SERIES PRESENTS MUSIC BY PHILIP GLASS IN A PERFORMANCE OF AN EVENING OF CHAMBER MUSIC WITH PHILIP GLASS TIM FAIN AND THIRD COAST PERCUSSION MARCH 30, 2019 AT 7:30 P.M. LEIGHTON CONCERT HALL Made possible by the Teddy Ebersol Endowment for Excellence in the Performing Arts and the Gaye A. and Steven C. Francis Endowment for Excellence in Creativity. PROGRAM: (subject to change) PART I Etudes 1 & 2 (1994) Composed and Performed by Philip Glass π There were a number of special events and commissions that facilitated the composition of The Etudes by Philip Glass. The original set of six was composed for Dennis Russell Davies on the occasion of his 50th birthday in 1994. Chaconnes I & II from Partita for Solo Violin (2011) Composed by Philip Glass Performed by Tim Fain π I met Tim Fain during the tour of “The Book of Longing,” an evening based on the poetry of Leonard Cohen. In that work, all of the instrumentalists had solo parts. Shortly after that tour, Tim asked me to compose some solo violin music for him. I quickly agreed. Having been very impressed by his ability and interpretation of my work, I decided on a seven-movement piece. I thought of it as a Partita, the name inspired by the solo clavier and solo violin music of Bach. The music of that time included dance-like movements, often a chaconne, which represented the compositional practice. What inspired me about these pieces was that they allowed the composer to present a variety of music composed within an overall structure. -
Philip Glass's New Symphony No. 11 Highlights Bruckner Orchestra's Appearance at Bing Concert Hall
FOR IMMEDIATE RELEASE CONTACT: Robert Cable, Stanford Live 650-736-0091 [email protected] PHOTOS: http://live.stanford.edu/press PHILIP GLASS’S NEW SYMPHONY NO. 11 HIGHLIGHTS BRUCKNER ORCHESTRA’S APPEARANCE AT BING CONCERT HALL Conductor Dennis Russell Davies commissioned the work for the composer’s 80th birthday Stanford, CA, February 1, 2017—It was 25 years ago that Dennis Russell Davies led the Brooklyn Philharmonic through the first American performance of a Philip Glass symphony. Now the same maestro who has helped launch all but one of Glass’s symphonies celebrates the composer’s 80th birthday with his newest work, the Symphony No. 11, performed by the Bruckner Orchestra of Linz at Stanford’s Bing Concert Hall on Sunday, February 12. Perhaps best known for his film scores (The Truman Show, The Hours, Notes on a Scandal) and for his operas like Einstein on the Beach, Glass didn’t start writing symphonies until he was in his 50s. “I could easily not have done any symphonies, but it turned out that Dennis Russell Davies was interested in working on that kind of work with me,” Glass recently told the New York Times. “And he pretty much commissioned all the symphonies, except for No. 7.” So to commemorate the composer’s 80th, Davies commissioned No. 11 for the January 31 (Glass’s actual birthday) world premiere at Carnegie Hall. Stanford Live launched its own celebration in the fall when Glass himself was on hand to kick off the season at Bing, joining four other pianists to perform his complete series of Études for piano. -
PGE Retro: Philip Glass Ensemble (1969–1983)
FESTSPILLENEFESTSPILLENE I BERGEN PROGRAM1 2016 I BERGEN KR 20 GRIEGHALLEN PEER GYNT–SALEN FREDAG 27. MAI KL 21:00 PGE Retro: Philip Glass Ensemble (1969–1983) BERGEN 25. MAI — 08. JUNI INTERNATIONAL 2016 FESTIVAL WWW.FIB.NO 1 2 FESTSPILLENE I BERGEN FESTSPILLENE I BERGEN 3 2016 2016 PGE Retro: Philip Glass Ensemble (1969–1983) GRIEGHALLEN PEER GYNT-SALEN Fredag 27. mai kl 21:00 Friday 27 May at 21:00 Varighet: 2 t 25 min inkludert pause Duration: 2 h 25 min including interval Philip Glass komponist, keyboard composer, keyboard Michael Riesman dirigent, keyboard music director, keyboard Lisa Bielawa keyboard, vokal keyboard, voice All kultur er Dan Bora live lydmix live sound mix Peter Hess sopran-, alt- og tenorsaksofon soprano, smal for noen alto and tenor saxophone Jon Gibson fløyte, sopransaksofon flute, soprano Man kan tvile på om Norge er et saxophone Ryan Kelly lyd audio engineer kulturland, men det er sabla mye Eleonor Sandresky keyboard keyboards kultur her. Derfor velger vi vekk Andrew Sterman fløyte, piccolo, bassklarinett flute, nesten alt. Vi skriver om det vi har piccolo, bass clarinet lyst til å diskutere videre etter møtet, Yousif Sheronick, Frank Cassara gjestemusikere, perkusjon guest musicians, percussion etter lunsj og etter kontortid. Fordi Pomegranate Arts, Inc. produksjonsledelse nysgjerrighet smitter, og enighet er production management skrinn jord for nye tanker. Vi kan ikke Linda Brumbach produsent producer love at alle finner sine favoritter hver uke – men vi gjør vårt beste for at Sponset av Sponsored by Morgenbladet alle skal finne noe de er uenig i. Espen Hauglid, kulturredaktør En ukeavis om politikk, kultur og forskning 2 WWW.FIB.NO WWW.FIB.NO 3 4 FESTSPILLENE I BERGEN FESTSPILLENE I BERGEN 5 2016 2016 PHILIP GLASS (1937–) Parts 1 and 2 Fra From CIVIL warS – Cologne section (1984) MUSIC IN 12 PARTS (1971-1974) CIVIL warS #2 Music in 12 Parts ble påbegynt i mai 1971 og ferdigstilt i april 1974. -
Dictionary of Music.Pdf
The FACTS ON FILE Dictionary of Music The FACTS ON FILE Dictionary of Music Christine Ammer The Facts On File Dictionary of Music, Fourth Edition Copyright © 2004 by the Christine Ammer 1992 Trust All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Ammer, Christine The Facts On File dictionary of music / Christine Ammer.—4th ed. p. cm. Includes index. Rev. ed. of: The HarperCollins dictionary of music. 3rd ed. c1995. ISBN 0-8160-5266-2 (Facts On File : alk paper) ISBN 978-1-4381-3009-5 (e-book) 1. Music—Dictionaries. 2. Music—Bio-bibliography. I. Title: Dictionary of music. II. Ammer, Christine. HarperCollins dictionary of music. III. Facts On File, Inc. IV. Title. ML100.A48 2004 780'.3—dc22 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can find Facts On File on the World Wide Web at http://www.factsonfile.com Text design by James Scotto-Lavino Cover design by Semadar Megged Illustrations by Carmela M. Ciampa and Kenneth L. Donlan Grateful acknowledgment is made for permission to reprint an excerpt from Cornelius Cardew’s “Treatise.” Copyright © 1960 Hinrichsen Edition, Peters Edition Limited, London. -
Kronos Quartet David Harrington, Violin John Sherba, Violin Hank Dutt, Viola Sunny Yang, Cello Brian H
Jay Blakesberg Saturday, December 3, 2016, 8pm Zellerbach Hall Kronos Quartet David Harrington, violin John Sherba, violin Hank Dutt, viola Sunny Yang, cello Brian H. Scott, lighting designer Scott Fraser, sound designer Aleksandra VreBAloV (b. 1970) My Desert, My Rose* (2015) Composed for Fifty for the Future: The Kronos Learning Repertoire Garth Knox (b. 1956) Satellites: III. Dimensions* (2015) Composed for Fifty for the Future: The Kronos Learning Repertoire n. rAJAm (b. 1938) Dadra in Raga Bhairavi† (arr. 2015) (arr. reena esmail) Anna mereDItH (b. 1978) Tuggemo* (2016) (World Premiere) Composed for Fifty for the Future: The Kronos Learning Repertoire Philip GlASS (b. 1937) String Quartet no. 7* (2014) INTERMISSION PROGRAM Abel meeroPol (1903–1986) Strange Fruit† (1939) (West Coast Premiere) (arr. Jacob Garchik) mary KouYoumDJIAn (b. 1983) Silent Cranes* (2015) (Bay Area Premiere) i. slave to your voice ii. you did not answer iii. [with blood-soaked feathers] iv. you flew away Projection Design: laurie olinder Poetry: David Barsamian, excerpts from “A Century…” lighting Design: Brian H Scott Sound Design: Brian mohr Producer: Janet Cowperthwaite Production management: Kronos Performing Arts Association Please note: Silent Cranes includes images from and recorded interviews with survivors of the Armenian Genocide. Some of the visual and verbal accounts of the atrocities are graphic and may be disturbing for some audience members. * Written for Kronos † Arranged for Kronos PLAYBILL PROGRAM NOTES Fifty for the Future opera Projects, other minds Festival, and In 2015, the Kronos Performing Arts Associa - tan gle wood. Her awards include the Harvard tion (KPAA) launched a new commissioning Fromm Commission, the American Academy and education initiative—Fifty for the Future: of Arts and letters Charles Ives Fellowship, The Kronos Learning Repertoire. -
The Perfect American Según Philip Glass
brioclasica.es TheThe PerfectPerfect AmericanAmerican El estreno mundial de una ópera puede ser algo WaltWalt intrascendente (véase Faust-Ball), o puede ser un momento especial, casi segúnsegún PhilipPhilip GlassGlass mágico. ¿Qué elemento marca la diferencia entre ambas situaciones? Sin duda, la calidad y peso específico del autor. The Perfect American Philip Glass (1937) Teatro Real, ópera en dos actos Libreto de Rudy Wurlitzer D. musical: Dennis Russell Davies D. escena: Phelim McDermott Purves, Pittsinger, Kaasch, Kelly, McLaughlin, Tynan, Fikret, Lomas, James, Easterlin, Noval-Moro, Gálvez, Buñuel. brioclasica.es Quien conozca la obra de Glass sabe que su lenguaje musical no es un lenguaje operístico tradicional. Está lleno de pe- culiaridades minimalistas que hacen que su música sea incon- fundible en su particularidad. Pero en el Perfecto americano descubrimos un Philip Glass dis- l estreno mundial de una ópera tinto, que se encuentra en un mo- Epuede ser algo intrascendente mento creativo extraordinario. (véase Faust-Ball), o puede ser un momento especial, casi mágico. Tras una madurada evolución, ha ¿Qué elemento marca la diferen- creado una línea musical dotada cia entre ambas situaciones? Sin de una coherencia insólita. La ca- duda, la calidad y peso específico dencia de la música resulta irre- del autor. sistible desde los primeros acor- des. De un modo casi hipnótico, Philip Glass es el elemento el ritmo virtuoso marcado princi- imprescindible capaz de cumplir palmente por la percusión, traza las expectativas generadas ante un camino imposible de abando- un acontecimiento de estas nar hasta el final de la obra. Bajo características. Pero con una la influencia de Brukner, elabora partitura muy superior al libreto, largos fragmentos que se repiten. -
Echoes of the Avant-Garde in American Minimalist Opera
ECHOES OF THE AVANT-GARDE IN AMERICAN MINIMALIST OPERA Ryan Scott Ebright A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2014 Approved by: Mark Katz Tim Carter Brigid Cohen Annegret Fauser Philip Rupprecht © 2014 Ryan Scott Ebright ALL RIGHTS RESERVED ii ABSTRACT Ryan Scott Ebright: Echoes of the Avant-garde in American Minimalist Opera (Under the direction of Mark Katz) The closing decades of the twentieth century witnessed a resurgence of American opera, led in large part by the popular and critical success of minimalism. Based on repetitive musical structures, minimalism emerged out of the fervid artistic intermingling of mid twentieth- century American avant-garde communities, where music, film, dance, theater, technology, and the visual arts converged. Within opera, minimalism has been transformational, bringing a new, accessible musical language and an avant-garde aesthetic of experimentation and politicization. Thus, minimalism’s influence invites a reappraisal of how opera has been and continues to be defined and experienced at the turn of the twenty-first century. “Echoes of the Avant-garde in American Minimalist Opera” offers a critical history of this subgenre through case studies of Philip Glass’s Satyagraha (1980), Steve Reich’s The Cave (1993), and John Adams’s Doctor Atomic (2005). This project employs oral history and archival research as well as musical, dramatic, and dramaturgical analyses to investigate three interconnected lines of inquiry. The first traces the roots of these operas to the aesthetics and practices of the American avant-garde communities with which these composers collaborated early in their careers. -
The Annenberg Center Presents #GLASSFEST, a Three-Week Festival Celebrating Composer Philip Glass
NEWS FOR IMMEDIATE RELEASE: February 6, 2020 The Annenberg Center Presents #GLASSFEST, a Three-Week Festival Celebrating Composer Philip Glass The Crossing, Knee Plays, February 21-22 The Philip Glass Ensemble, Music in Twelve Parts, February 29 Jenny Lin, Glass Reflections, March 5 Nikki Appino’s The White Lama, a World Premiere, March 13-14 (Philadelphia – February 6, 2020) — The Annenberg Center celebrates the career and impact of Philip Glass, one of our nation’s most significant modern composers, with a three-week festival, #GLASSFEST, February 21 – March 14. Visit AnnenbergCenter.org for ticket information. #GLASSFEST The Annenberg Center first presented the composer with The Philip Glass Ensemble in the 1990s. Through frequent appearances and a long-term commitment to showcasing new music, the Annenberg Center championed Glass and familiarized him to Philadelphia audiences. The three-week #GLASSFEST includes The Crossing choir performing Knee Plays, works by Philip Glass and David Byrne (February 21-22, 2020); the Philadelphia premiere of the five-hour entirety of Glass’ groundbreaking Music in Twelve Parts, performed by The Philip Glass Ensemble (February 29, 2020); Glass Reflections performed by pianist Jenny Lin in the Egypt Upper Gallery at the Penn Museum (March 5, 2020); and the world premiere of theatrical work, The White Lama: The Improbable Legacy of Theos Bernard (March 13-14, 2020) by multi-disciplinary theatre artist and filmmaker Nikki Appino, featuring a score that will be performed by Glass himself and co-composer Tenzin Choegyal. The Annenberg Center’s #GLASSFEST opens on February 21-22 with GrammyⓇ Award-winning new-music choir, The Crossing, called “America’s most astonishing choir” by The New York Times, in the premiere of Knee Plays, a newly staged theatrical production. -
Scottish Chamber Orchestra
Scottish Chamber Orchestra SCOTTISH CHAMBER ORCHESTRA Background The Strathclyde Concertos - 1987-96 Symphony No. 4 - 1989 Ojai Festival Overture 1991 A Spell for Green Corn – The MacDonald Dances – 1993 The Jacobite Rising – 1997 Sea Elegy - 1998 Background In the 1960s, Peter Maxwell Davies (hereinafter referred to as Max) had one or two very nasty experiences with conducting orchestras. The professional conductors who were supposed to conduct the premieres of his works pulled out at the last moment, claiming that the work was too difficult for anyone to cope with. So Max was called in at the last moment to cope with the situation, which he was not in the slightest bit qualified to do. It was no surprise, therefore, that the orchestras resounded negatively to Max and to the work in question. For several years Max retreated entirely from any suggestion of conducting any group of musicians other than his own ensemble The Fires of London, with whom he felt comfortable. One of the orchestras which had invited Max to work with them was the Scottish Chamber Orchestra, but Max had given his same negative answer to their manager, Michael Storrs. In 1983, there was a sudden cluster of first performances of Max’s works for chamber orchestra. The first came in June at the St. Magnus Festival in Orkney. Into the Labyrinth was commissioned by the Scottish Chamber Orchestra featuring the tenor Neil Mackie and conducted by James Conlon. The SCO liked their new piece so much, that they decided to programme it at the start of their autumn season, even though it had not been scheduled. -
Trilogie Qatsi Vendredi 6 Dimanche 8 Week-End Décembre Décembre Glass Reggio
GRANDE SALLE PIERRE BOULEZ – PHILHARMONIE Vendredi 6 décembre 2019 – 20h30 Samedi 7 décembre 2019 – 20h30 Dimanche 8 décembre 2019 – 16h30 Trilogie Qatsi Vendredi 6 Dimanche 8 Week-end décembre décembre Glass Reggio 20H30 CINÉ-CONCERT 16H30 CINÉ-CONCERT Koyaanisqatsi: Naqoyqatsi: Life as War « Une énonciation cinématographique d’un événement indicible – la transformation Life out of Balance Dans le cadre de Trilogie Qatsi technologique de la planète » : c’est ainsi que Godfrey Reggio présente sa trilogie Qatsi Dans le cadre de Trilogie Qatsi Film de Godfrey Reggio, États-Unis, 2002, 85 minutes (Koyaanisqatsi en 1982, Powaqqatsi en 1988 et Naqoyqatsi en 2002). Film de Godfrey Reggio, États-Unis, 1982, 85 minutes Musique de Philip Glass Musique de Philip Glass Philip Glass Ensemble Ouvrant la voie au film non verbal dont Samsara – dû à Ron Fricke, directeur de la photo Philip Glass Ensemble Michael Riesman, direction de la trilogie de Reggio – représente l’un des avatars récents, Koyaanisqatsi provoque une Matt Haimovitz, violoncelle Michael Riesman, direction expérience : Reggio insiste sur le fait que le film est un voyage sans but. « Koyaanisqatsi Clé d'écoute à 19h45 Clé d'écoute à 15h45 n’est pas vraiment à propos de quelque chose, tout comme il n’a pas de sens ou de valeur Récréation musicale à 16h00 pour les enfants dont les parents assistent au ciné-concert de 16h30 définis. Koyaanisqatsi est un objet animé, un objet dans un temps en mouvement, dont la Samedi 7 signification appartient au spectateur. L’art n’a pas de signification intrinsèque. C’est son décembre pouvoir, son mystère, et, de là, sa force d’attraction. -
The Doctor of Myddfai
THE DOCTOR OF MYDDFAI OPERA IN TWO ACTS Matthew Epstein is a legend in his own lifetime. He worked at CAMI (Colombia Artists Management Inc.) in New York, the most powerful agency in the music industry, as head of the singers division. He acted as mentor and counsellor to numerous singers, past and present, and launched and developed the careers of such singers as Frederica von Stade, Catherine Malfitano, Samuel Ramey, Kathleen Battle and Renee Flemming. He was constantly advising opera houses on their casting. I had never come across him personally although I had considerable dealing with CAMI in connection with touring The Fires of London in the USA in 1983 and 1985, and with the Scottish Chamber Orchestra in 1988. And so it was with considerable surprise that I received a phone call in May 1992 from Matthew Epstein himself informing me that he was to become the new chief executive and artistic director of the Welsh National Opera, and that he wanted to discuss something with me. Well, it didn’t take much for me to work out that he would probably want to commission Max, and my heart sank. September 1988 had seen the premiere of Max’s opera Resurrection in Darmstadt in Germany. Max had been thinking about this opera since his days of his Harkness Fellowship to Princeton University in 1962- 1964, but the plan had not been realised until all those years later. And Resurrection had proved to be a disaster. The director had taken no notice whatsoever of Max’s own libretto and stage instructions, and what had emerged was an entirely different animal.