4979.Pdf (945.8Kb)

Total Page:16

File Type:pdf, Size:1020Kb

4979.Pdf (945.8Kb) lJ NIVERSITY OF WASH I NGTON OPERA THEATRE PRESENTS UNDINE BY DOROTHY CADZOW HOKANSON Librelto by Esther Shepbt1ra fwd Joh1J. Ashby ConWIJY MAY 2,3,6, 7,1958 8:30 P.M. UNIVERSITY PLAYHOUSE East 45th and University Way 2\ 1;; Scene Il ~ Kuhleborn reflects OD the sad tale of Undine. She has returned to the I sea world. but she is unhappy. Also, accordjng to the inevitable plan, '." Huldebrand's death has come about whh his marriage to Bertalda­ \.......J for a man who has married an undine can never marry another woman UNDINE cf' and live. The King of the Mediterranean and Kuhlehora try to per- I>(' suade Undine to join tbe others and be happy, and gradually Undine is MUSIC BY DOROTHY CADZOW HOKANSON IX ldrawn back to her original life. As Kuhleborn has observed, "Undines, Libretto by Eslhe,' Shephard tlmi Johll Ashby COI~/Uay ...... like men, can forget." CAST, i1~ order of appeara11ce THREE SIRENS Mary Alexander, JOP,.,J/A" Dena Lampropolus, soprd/w .Frances George, mezzo-sopralJo THE SCHOOL OF MUSIC OPERA STAFF MOTHER-Of-PEARL, older-wilIer-spirit . "Emilie Berendsen, cOlltrdl/" PEARL, hI!(' daughler . Donna Mathews, SOP/'tlIlO Conductor and Director , Stanley Chapple SANDY} , . JOlln Falskow, soprano U"di,le's poor .,-e/atiom Stage Director .,. Ralplt Rosiobum SEA URCHIN .. ......... .. Vera Neufeld,mezzo-sopra/lO Cltoreographer.., Martha Nisrurani UNDINE, d Il"dla-spirit ""S'-G". """.- $}5 Sh aron Laug hlin, sopraNO Stage Manager.. ..Thomas Tavener 5"- :; - ~ Emilie Runck, soprano ANEMONE, Utwitle'.< r;OIlIill Suzann\< Baker, dal/ce,. CORAL, Um/illc's r:OIiSi'L , ,Sharon Fce iliam , datlcer KING OF THE MEDITERRANEAN. C./Iulhu:'s /alber John Iverson, baritone KUHLEBOR..'I, U,ldbse's lWei" . ,. Loui.s Smart, bass THE SCHOOL OF DRAMA PRODUCTION ITAPF FISHERMAN, UnditJe'£ loster-Iather.. , Thomas Tavener, le"or Courtesy of Glenn Hughes, Exemt;ve Director HULDEBRAND, a Imis},: . ... Howard Nelson, b,u$ FISHERMAN'S WIFE, Undine's 'mte,.-mo/ber .. Carolyn Clarke, mezzo-sopr" Director and Technical Supervisor John Ashby Conway FATllER HEILMANN, a priest.. ..Alan Lund, bass Assistant Art Direeror , .. " "Ajanson Davis LADY BERTALDA, 11 lad), :1/ the kj"g's cuurl.. Doris Dyson, soprano Technical Direaor Warren C. Lounsbury l.ADlES-IN-WAITING, IIUet/da/ltl to Ludy Undine.. Joan Fabkow, sopr.,,,,, Co~nuniere Marley Miner Hedg~ Vera Neufeld, mezzo-SOprd/lO Don nll l\rathcws, !Op,.1I1m Propeni.es Don Adams KJ.NG Alan Lund, bliSS Electrician . Rex Kleiu DUKE Jo~cph La Ho(;quc, bas .• DUCHESS }Fostcr Parellts oj Bertalcla . Jean $undstcn, w/ltra/tQ SpoltSored by fbe U1Iir'ersiJy of Washing/o'l School of Music alld Ib,> Office of Lectllres IIml Cot/urIs, Dil'is;otl of Adult Edllca/iou. The Story . On their journey, Huldebrand asks Undine to whom she has been ~""'"'I mlkiog. He remembers the face at the window, has beard the sirens in t ACT \.!) J a dream, and now, as the cwo stand in front of a waterfall, he frnds his ~ Scene I, The Bottom of a Lake ? wife in conversation with someone. Undine feels sbe muse explain who she is. Huldebrand acceptS the explanation as "science," and the ~ At the bottom of a lake, perched on a rock, iliree sirens sing boldly. I...Y tWO promise to .love each other faithfully. They are separated from the watersprites, who try to ignore them. ~ ~ Fjnally an older watersprite. Mother of Pead, shoocs the sirens away. \...J Undine and Huldebrand are resting when the Lady Bertalda, followed N She then discusses with Undine a plan made by Undioe's father for by Father Heilmann, comes into sight. The priest has met Berralda and <:'(. her to go up to earth lO marry a mao. Undme's father, the King of the ~ is crying co dissuade her from continuing her journey through the Mediterranean, and her Uncle Kubleborn arrive, and tell ber bow the \.9 magic wood. She, however, is determined to continue her search for - plan will be accomplished. Kubleborn has already made all the arrange· r:-/ the young knight whom she had sent on a quest. The priest has seen mentS. The king gives Undine rings for the ...,edding, and all join in ........ a knight, but knows it cannot be the same ooe, for he himself officiated eo bid her farewell. last night at his marriage. At that moment they run headlong into Undine and Huldebraod. Scene II, A Fisherman's Cottage INTERMISSION HuJdebrand, a young knight, relates his tale to a fisherman and his --....... wife, Strange events have driven the knight to seek shelter in the p;; fisherman's hut, located on a promontory. Huldebrand is startled by ACT III splashes againse the window, and soon Undine appears. As the foster r.cene [, The King's Castle \..S) daughter of the nsherfolk, she arrives each evening at their home, and frequently teases them with her antics. Sbe sees tbe knight, sits down Outside the king's cascie, three ladtes-io-waiting are gossiping about ~ beside him, and in a very short time has woven a magic spell. Hulde­ Undine. They v,onder who she it, where she came from, and why she "----' brand quickly announces that he is in love with Undine, and wishes has taken Bertalda to live at their castle. Today Undine is giving a binhday feast for Bertalda. The girls playa game, finding words to to marry ber. Apparently he has forgotten all about Lady Bertalda. V, to whom he was betrothed. At this point a priest arrives. He tells describe mysterious Undine, and then cun off as they hear her coming. '-.9 how his boat capsized in a terrible storm, and he too seeks shelter. He No sooner has Undine arrived than Kuhleborn appears out of a foun­ r:;:-( consentS to marry the young couple. The King of the Mediterranean's ~ tain. Undine begs him to go away. but be has followed her life on plan has been carried out-but Undine is disturbed by the sudden earth, and is distressed to 1ind her unhappy. This. Undine says, is - appearance of Kuhleborn at tbe window. I'/' something he canoot understand-that on earth "happiness and sorrow 0, are the same." He learns of the birthday feast:. and offers to bring a special gift for Undine to give Berta Ida. Huldebraod comes in, an ACT II again finds Undine talking to her uncle. He is disturbed by this, but Undine begs him not co be angry with her, particularly wben they are The jottmey throllgh the u'oods. OlltJide the fisherman's cottage: 111 Ilear a fountain. front of a waterfall: nem' /'ock, ~ c-.(> The king and other guests arrive on the scene, and the birthday feast The fisherman, Huldebrand, am.l Undine are seateJ at a wedding ~ begins. Kuhleborn's special gift nuns out to be Bertalda's real parentS breakfast the next morning. The storm is over, and it is a beautiful ~ for she too has been adopted. Bertalda is jnfuriated to 1ind tbat her day. The fisherman wishes to propose a toast to the couple, but finds real parents are Done other tban the fisherman and his wife. It seems his wine jug empty. as if the feast has been ruined, but U nwne tries desperately to make the Undine suggests he and Huldebrand look 011 the shore of the lake. occasion a happy one. Instead, another "magic" gift spells her doom. She bas seen a cask of wine there. The men find the cask and praise Huldebrand becomes angry, amI Undine is forced to return to the sea Undine. Later Huldebrand and UmJine depart for his castle. world again. .
Recommended publications
  • 573824 Itunes Lortzing
    LORTZING Opera Overtures Der Waffenschmied Undine Der Wildschütz Hans Sachs Malmö Opera Orchestra Jun Märkl Albert Lortzing (1801–1851) though, sketched out a plan for an opera on the subject as wrong Peter. Ivanov hands it to the Tsar, thereby obtaining early as 1845, and he was certainly aware of Lortzing’s the latter’s blessing for his union with Marie. Van Bett was Opera Overtures work. Set in 1517, when Sachs would have been 23 and a yet another of Lortzing’s richly comic bass creations, and Gustav Albert Lortzing was a multifaceted man of the staged work, first produced the evening before his death. young cobbler, Lortzing’s opera centres on Sachs’s Lortzing himself created the tenor role of Peter Ivanov. theatre – actor, singer, librettist, composer and conductor. The relatively brief and sprightly overture sets the scene courtship of his first wife, Kunigunde, daughter of goldsmith Andreas Hofer is, like Der Weihnachtsabend , a one-act Though international currency of his operas has been for a behind-the-scenes one-act piece in the tradition of Steffen (the counterpart of Wagner’s Pogner). Steffen has piece composed in 1832. It features real and imaginary limited, on German stages he was for some 150 years the Cimarosa’s Il maestro di capella , Mozart’s Der offered Kunigunde’s hand as the prize in a singing contest, episodes of the life of the innkeeper and drover who in 1809 most performed composer after Mozart and Verdi. While Schauspieldirektor and similar works. In the castle of a but has arranged that the winner should be Eoban Hesse, led the Tyrolean rebellion against occupation by Bavarian the pace of productions there has slackened over the past Count (another of those comic bass roles), the household an alderman from Augsburg.
    [Show full text]
  • A Winter Concert Celebrating Female Composers Featuring
    The Hartford High School Performing Arts Department proudly presents A Winter Concert Celebrating Female Composers featuring Concert Band Concert Choir World Drumming Chamber Choir Jazz Band Tuesday, December 10, 2019 7:00pm Hartford High School Auditorium Danielle Conerty, Instrumental Director Andrea Nardone, Choral Director Concert Band Rhythm Stand……………………………………………..…Jennifer Higdon The Haunted Carousel……………………..………………..Erika Svanoe Theremin Soloist- Lex Johnson Chasing Sunlight…………………………………….……….Cait Nishimura Soloist: Noah Lerner Winter Milky Way……………………………………Yukiko Nishimura Concert Choir Winter Ride……….……………….……….…….….Mari Esabel Valverde Search Mvt 1: Curiosity (Why Are?) & Mvt 3: Contemplation (I Wonder Why?)………………..………………….…Caroline Mallonée Tell ‘Em I’m Gone………….…………………….………arr. Alice Parker Featuring: Samantha Gibbs Daniel, Daniel, Servant of the Lord………….arr. Undine S. Moore Soloists: Zachary Carter & A.J. DeFelice World Drumming Desert Fire, On the Mountain, & Rock It!.................Will Schmid Chamber Choir Perhaps…………………………………………………………Dale Trumbore I Got A Key…………………………………….……….…….arr. Joni Jensen Jazz Band Tenor Madness……………………………………………….Sonny Rollins Soloists: Camden Luca, Parrish Gelhar-Pacht, Noah Lerner, Katya Mueller, Bea Wendling, David Rule, & Shawn Adams Hot Chocolate ……………………………….…………….…arr. John Berry I Want You Back……………………………..………….arr. John Wasson Concert Band Flute Alto Saxophone Trumpet Sofia Asis Josh Asis Megan Duranceau Ceaira Bellavance* Olivia Chase Jacob Helms Madi D’Amico* Arianna Heijn Eddie
    [Show full text]
  • 25 Recommended Recordings of Negro
    25 Recommended Recordings of Negro Spirituals for Solo Vocalist Compiled by Randye Jones This is a sample of recordings recommended for enhancing library collections of Spirituals and, thus, is limited (with one exception) to recordings available on compact disc. This list includes a variety of voice types, time periods, interpretative styles, and accompaniment. Selections were compiled from The Spirituals Database, a resource referencing more than 450 recordings of Negro Spiritual art songs. Marian Anderson, Contralto He’s Got the Whole World in His Hands (1994) RCA Victor 09026-61960-2 CD, with piano Songs by Hall Johnson, Harry T. Burleigh, Lawrence Brown, J. Rosamond Johnson, Hamilton Forrest, Florence Price, Edward Boatner, Roland Hayes Spirituals (1999) RCA Victor Red Seal 09026-63306-2 CD, recorded between 1936 and 1952, with piano Songs by Hall Johnson, John C. Payne, Harry T. Burleigh, Lawrence Brown, Hamilton Forrest, Robert MacGimsey, Roland Hayes, Florence Price, Edward Boatner, R. Nathaniel Dett Angela Brown, Soprano Mosiac: a collection of African-American spirituals with piano and guitar (2004) Albany Records TROY721 CD, variously with piano, guitar Songs by Angela Brown, Undine Smith Moore, Moses Hogan, Evelyn Simpson- Curenton, Margaret Bonds, Florence Price, Betty Jackson King, Roland Hayes, Joseph Joubert Todd Duncan, Baritone Negro Spirituals (1952) Allegro ALG3022 LP, with piano Songs by J. Rosamond Johnson, Harry T. Burleigh, Lawrence Brown, William C. Hellman, Edward Boatner Denyce Graves, Mezzo-soprano Angels Watching Over Me (1997) NPR Classics CD 0006 CD, variously with piano, chorus, a cappella Songs by Hall Johnson, Harry T. Burleigh, Marvin Mills, Evelyn Simpson- Curenton, Shelton Becton, Roland Hayes, Robert MacGimsey Roland Hayes, Tenor Favorite Spirituals (1995) Vanguard Classics OVC 6022 CD, with piano Songs by Roland Hayes Barbara Hendricks, Soprano Give Me Jesus (1998) EMI Classics 7243 5 56788 2 9 CD, variously with chorus, a cappella Songs by Moses Hogan, Roland Hayes, Edward Boatner, Harry T.
    [Show full text]
  • American Spiritual Program Fall 2009
    Saturday, September 26, 2009 • 7:30 p.m. Asbury United Methodist Church • 1401 Camden Avenue, Salisbury Comprised of some of the finest voices in the world, the internationally acclaimed ensemble offers stirring renditions of Negro spirituals, Broadway songs and other music influenced by the spiritual. This concert is sponsored by The Peter and Judy Jackson Music Performance Fund;SU President Janet Dudley-Eshbach; Provost and Senior Vice President of Academic Affairs Diane Allen; Dean Maarten Pereboom, Charles R. and Martha N. Fulton School of Liberal Arts; Dean Dennis Pataniczek, Samuel W. and Marilyn C. Seidel School of Education and Professional Studies; the SU Foundation, Inc.; and the Salisbury Wicomico Arts Council. THE AMERICAN SPIRITUAL ENSEMBLE EVERETT MCCORVEY , F OUNDER AND MUSIC DIRECTOR www.americanspiritualensemble.com PROGRAM THE SPIRITUAL Walk Together, Children ..........................................................................................arr. William Henry Smith Jacob’s Ladder ..........................................................................................................arr. Harry Robert Wilson Angelique Clay, Soprano Soloist Plenty Good Room ..................................................................................................arr. William Henry Smith Go Down, Moses ............................................................................................................arr. Harry T. Burleigh Frederick Jackson, Bass-Baritone Is There Anybody Here? ....................................................................................................arr.
    [Show full text]
  • GERMAN LITERARY FAIRY TALES, 1795-1848 by CLAUDIA MAREIKE
    ROMANTICISM, ORIENTALISM, AND NATIONAL IDENTITY: GERMAN LITERARY FAIRY TALES, 1795-1848 By CLAUDIA MAREIKE KATRIN SCHWABE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2012 1 © 2012 Claudia Mareike Katrin Schwabe 2 To my beloved parents Dr. Roman and Cornelia Schwabe 3 ACKNOWLEDGMENTS First and foremost, I would like to thank my supervisory committee chair, Dr. Barbara Mennel, who supported this project with great encouragement, enthusiasm, guidance, solidarity, and outstanding academic scholarship. I am particularly grateful for her dedication and tireless efforts in editing my chapters during the various phases of this dissertation. I could not have asked for a better, more genuine mentor. I also want to express my gratitude to the other committee members, Dr. Will Hasty, Dr. Franz Futterknecht, and Dr. John Cech, for their thoughtful comments and suggestions, invaluable feedback, and for offering me new perspectives. Furthermore, I would like to acknowledge the abundant support and inspiration of my friends and colleagues Anna Rutz, Tim Fangmeyer, and Dr. Keith Bullivant. My heartfelt gratitude goes to my family, particularly my parents, Dr. Roman and Cornelia Schwabe, as well as to my brother Marius and his wife Marina Schwabe. Many thanks also to my dear friends for all their love and their emotional support throughout the years: Silke Noll, Alice Mantey, Lea Hüllen, and Tina Dolge. In addition, Paul and Deborah Watford deserve special mentioning who so graciously and welcomingly invited me into their home and family. Final thanks go to Stephen Geist and his parents who believed in me from the very start.
    [Show full text]
  • Vocal Recital Michelle Lee, Piano
    Department of Music College of Fine Arts presents a Vocal Recital Michelle Lee, piano PROGRAM Songs of the African-American Experience Undine Smith Come Down Angels (1904-1989) Sheronda McKee, soprano Hall Johnson Ride On King Jesus ( 1888-1970) Amanda Mura, soprano Harry T. Burleigh Were You There ( 1866-1948) Erin Kennelly, soprano Mark Hayes There is a Balm in Gilead (b. 1953) Dominick Chenes, tenor Moses Hogan My Good Lord's Done Been Here (1957-2003) Brian Myer, baritone arr. James Miller (with Ensemble) I Wanna Be Ready Isabella Ivy, soprano H. Leslie Adams Creole Girl (b. 1932) Stephanie Redman, soprano arr. J. Rosemond Johnson Steal Away to Jesus Casey Gardner, soprano Joel K. Byrd Swing Low Sweet Chariot (b. 1979) Nathan VanArsdale, bass-baritone John Dangerfield Cooper Lord Have I Seen ( 1923-2006) Christina Chenes, soprano Harry T. Burleigh Wade in the Water Belinda Jackley, mezzo-soprano Harry T. Burleigh Go Down Moses Jonathan Napier-Morales, baritone Hall Johnson Give Me Jesus Isabella Ivy, soprano Robert Owens From Mortal Storm Song Cycle (b. 1925) A House in Taos Daniel Hunter, baritone Betty Jackson King Ride Up in the Chariot (1888-1970) Lamia Porter, soprano Margaret Bonds You Can Tell the World (1913-1972) Christina Chenes, soprano Harry T. Burleigh Sometimes I Feel Like a Motherless Child Jonathan Mancheni, tenor Moses Hogan Deep River Nathan VanArsdale, bass-baritone William Grant Still Here's One (1895-1978) Latoya Lain, mezzo-soprano Margaret Bonds My Soul's Been Anchored in the Lord Dominick Chenes, tenor Tuesday, February 28, 2012 7:30p.m.
    [Show full text]
  • Hans Werner Henze Und Ingeborg Bachmann: Die Gemeinsamen Werke
    Christian Bielefeldt Hans Werner Henze und Ingeborg Bachmann: Die gemeinsamen Werke Christian Bielefeldt, Dr. phil., Studium in Hamburg, Tätigkeit als Theatercellist, 1994 Gründung von TRE MODI, Ensemble für Alte und Neue Musik. 1998-2000 Stipendiat am DFG-Graduiertenkolleg »In- termedialität« (Siegen). Veröffentlichungen zu Neuer Musik und Filmmusik. Christian Bielefeldt Hans Werner Henze und Ingeborg Bachmann: Die gemeinsamen Werke Beobachtungen zur Intermedialität von Musik und Dichtung Der Abdruck von Zitaten aus dem unveröffentlichten Nachlass Inge- borg Bachmanns geschieht mit ausdrücklicher Erlaubnis der Erben, bei denen die Abdruckrechte gleichwohl verbleiben. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Bibliografische Information der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Angaben sind im Internet über http://dnb.ddb.de abrufbar. © 2003 transcript Verlag, Bielefeld Umschlaggestaltung: Kordula Röckenhaus, Bielefeld, unter Verwendung einer Partiturseite aus: Hans Werner Henze, Reinschrift der Musik zu Ingeborg Bachmanns Hörspiel »Die Zikaden« (1955/56), S. 1; © Sammlung Hans Werner Henze (Depositum Schott Musik International), Paul Sacher Stiftung, Basel Lektorat & Satz: Christian Bielefeldt Druck: Majuskel Medienproduktion GmbH, Wetzlar ISBN 3-89942-136-1 INHALT Vorwort 9 Biographisches 14 Zur Forschung 17 I. Konzepte von Intermedialität bei Henze und Bachmann 21 Erster Auftakt: Die Konstruktion der Überschreitung 27 Lacan. Sprache, Musik und das Genießen 31 Der Braunschweiger Vortrag: Henzes „geistige Rede der Musik“ 37 Zweiter Auftakt: Die menschliche Stimme 43 Barthes. Die Stimme und das Genießen 45 Musik und Dichtung: Die Intermedialität der Stimme 49 II. Ballettpantomime: Der Idiot 57 Musik aus der Hand der Trauer: Reihen- und Zitattechnik im Idioten 62 Intrada und Danse Nr.
    [Show full text]
  • Senior Recital Lauren Carroll, Soprano Amelia Hammond, Piano
    Senior Recital Lauren Carroll, soprano with Amelia Hammond, piano Saturday, May 8, 2021 Sheslow Auditorium in Old Main 7:30 p.m. Chi il bel sogno di Doretta Giacomo Puccini from La rondine (1858-1924) Ein Traum Edvard Grieg Sechs Lieder, Op. 48 (1843-1907) Nachtgebet Joseph Marx (1882-1964) Cäcilie Richard Strauss (1864-1949) Depuis le jour Gustave Charpentier from Louise (1860-1956) Intermission Si, mi chiamano Mimì Giacomo Puccini from La bohéme (1858-1924) Lyric for Truelove Undine Smith-Moore (1904-1989) Monna Innominata Eric Barnum (b. 1979) Touch me Tom Cipullo Late Summer No. 4 (b. 1956) How fair this spot! (Zdes' khorosho!) Sergei Rachmaninoff 12 Romances, Op. 21, No. 7 (1873-1941) A-oo! (Ay-u!) 6 Romances, Op. 38 Spring Waters (Vesennije vody) Op. 14, No. 11 About the Artist Lauren Carroll, soprano is a senior Vocal Performance major and studies under the tutelage of Leanne Freeman- Miller. She is involved in the Drake Opera Theater, Drake Choir and Spēro. Lauren has been featured in operatic roles such as Pamina (Die Zauberflöte), Fiordiligi (Così fan tutte), and Alice Ford (Falstaff). Most recently, Lauren received First Prize in the National MTNA Competition and First Prize in the Schubert Club Competition. Following graduation, Lauren will take part in Houston Grand Opera’s Young Artist Vocal Academy program. In the fall, Lauren will begin her studies at The Shepherd School of Music at Rice University where she will begin pursuing her Master of Music in Vocal Performance. Amelia Hammond is a graduate of Drake University with a Bachelor of Music degree in Piano Performance under the tutelage of Dr.
    [Show full text]
  • Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
    1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue.
    [Show full text]
  • Download Booklet
    CHAN 3042 BOOK 29/01/2016 14:55 Page 2 Pyotr Ilyich Tchaikovsky (1840–1893) Eugene Onegin KG A Opera in three acts Text by the composer and Konstantin Shilovsky after Alexander Pushkin’s verse novel Eugene Onegin English translation by David Lloyd-Jones Eugene Onegin....................................................Thomas Hampson baritone Tatyana......................................................................Kiri Te Kanawa soprano Lensky..........................................................................Neil Rosenshein tenor Prince Gremin....................................................................John Connell bass A Captain/Zaretsky....................................................Richard Van Allan bass Monsieur Triquet..............................................................Nicolai Gedda tenor Madame Larina..................................................Linda Finnie mezzo-soprano Filippyevna............................................Elizabeth Bainbridge mezzo-soprano Olga................................................................Patricia Bardon mezzo-soprano Pyotr Ilyich Tchaikovsky Orchestra and Chorus of Welsh National Opera Gareth Jones chorus master Sir Charles Mackerras 3 CHAN 3042 BOOK 29/01/2016 14:55 Page 4 COMPACT DISC ONE TimePage TimePage No. 5 Scene and Quartet Act I 8 ‘Mesdames, I hope that you’ll excuse me’ 1:4897 1 Introduction 2:3992 Lensky, Onegin, Madame Larina 9 ‘Now tell me, which of them’s Tatyana?’ 1:4297 Scene 1 Onegin, Lensky, Tatyana, Olga No. 1 Duet and Quartet 2 ‘Oh, did you hear the lovesick shepherd boy’ 5:0892 No. 6 Scene and Arioso Tatyana, Olga, Madame Larina, Nurse 10 ‘How perfect, how wonderful’ 2:14 098 No. 2 Chorus and Dance of the Peasants Lensky, Olga, Onegin, Tatyana 3 ‘My legs ache and can no longer run’ 2:3994 11 ‘How I love you, I adore you, Olga’ 3:16 099 Leader (John Hudson), Peasants, Madame Larina Lensky, Olga 4 ‘In a cottage by the water’ 2:0594 No. 7 Closing Scene Peasants 12 ‘Ah, here you are!’ 2:40100 No.
    [Show full text]
  • Categories August 2020 in Color
    Chapter, District, Region, and National Student Auditions The National Student Auditions begin at the regional level and progress to the national preliminary round, semifinal round and final round. Regional auditions should offer all of the categories contained in the “Category, Repertoire, Age, and Time Requirements” section of this document. In order to ensure across the board fairness and appropriate rigor to the National Student Auditions, Regions may only advance singers to NSA categories from a regional audition. Exceptions to this regulation must be approved by the NSA Coordinator, VP of Auditions, and NATS Executive Office staff. Winners of Chapter or District auditions may not be automatically advanced to the National Student Auditions. Conference Year Only – Hall Johnson Spiritual Category Due to the generosity of the Hall Johnson Estate, a $2000 award will be given in each national conference year (even-numbered years) to the best performance of a Hall Johnson Spiritual for the conferences from 2016--2036. All interested performers will apply for this category as part of regional student auditions with the top five regional singers advancing to the NSA rounds, as with all other categories. Chapters are also eligible and encouraged to add this competition to chapter auditions. Where applicable, Chapter auditions serve as qualifying rounds for advancement into region auditions. Complete information including a catalog of works and links to publications related to this special category is available at www.nats.org Category Length Of Study Age limit Time Repertoire Hall Johnson Undergraduate age 17-23 10-12 Three contrasting selections from Hall Johnson minutes spiritual repertoire.
    [Show full text]
  • Expanded Tonality: the Rt Eatment of Upper and Lower Leading Tones As Evidenced in Sonata "Undine,” IV by Carl Reinecke Joshua Blizzard University of South Florida
    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 7-13-2007 Expanded Tonality: The rT eatment of Upper and Lower Leading Tones As Evidenced in Sonata "Undine,” IV by Carl Reinecke Joshua Blizzard University of South Florida Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the American Studies Commons Scholar Commons Citation Blizzard, Joshua, "Expanded Tonality: The rT eatment of Upper and Lower Leading Tones As Evidenced in Sonata "Undine,” IV by Carl Reinecke" (2007). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/638 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Expanded Tonality: The Treatment of Upper and Lower Leading Tones As Evidenced in Sonata "Undine,” IV by Carl Reinecke by Joshua Blizzard A thesis submitted in partial fulfillment of the requirements for the degree of Master of Music College of Visual and Performing Arts University of South Florida Major Professor: Ann Hawkins, M.A. Kim McCormick, D.M.A. David A. Williams, Ph.D. Date of Approval: July 13, 2007 Keywords: tonic substitution, wedge, prolongation, delayed resolution, chromaticism © Copyright 2007, Joshua Blizzard Dedication To my wife for her tireless support of me both emotionally and monetarily, to my Aunt Susie who played a significant role in my musical development from my youth, to my parents who worked to instill a sense of discipline in my studies, and, ultimately, to the glory of God, without whom nothing is possible.
    [Show full text]