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The Visual Aspects of Le Mage
The visual aspects of Le Mage Michela Niccolai The first part of Massenet’s career was marked by the composition of several grand operas: Le Roi de Lahore (1877), Hérodiade (1881), Le Cid (1885) and Le Mage (1891). The latter , produced at the Paris Opéra, directed at that time by Ritt and Gailhard, was lavishly staged and the number of costumes was extraordinary. Even so, it remained on the bill, between spring and autumn 1891, for just thirty-one performances, from the première on 16 March. The new work was not received with great enthusiasm in the press. Henry Moreno (pen name of the publisher Henri Heugel) reported in the columns of Le Ménestre l: Pointless cliché: that is what characterises Le Mage . [...] Monsieur Massenet is obviously in a difficult period, in which he is no longer able to see clear - ly the path he had been following so successfully since the beginning. Like his hero Zarastra, he is badly in need of a spell of contemplation. He would do well to withdraw to the holy mountain to consider the dangers of over- hasty production, and then return to us stronger, fortified, ready to take on new challenges. (Henri Moreno, ‘Semaine Théâtrale, Le Mage ’, Le Ménestrel , 22 March 1891, no 12, p. 92.) Even among those close to Massenet, some appear to have been disap - pointed in their expectations of Le Mage . His friend and pupil Gustave Charpentier wrote to his father from Paris on 18 March 1891: 69 jules massenet: le mage The day before yesterday I attended the première of Le Mage (by Massenet). -
Boston Symphony Orchestra Concert Programs, Season 118, 1998-1999
BOSTON SYMPHONY ORCHESTRA 1 I O Z AWA ' T W E N T Y- F I F 1 H ANNIVERSARY SEASO N 1 1 8th Season • 1 998-99 Bring your Steinway: < With floor plans from acre gated community atop 2,100 to 5,000 square feet, prestigious Fisher Hill you can bring your Concert Jointly marketed by Sotheby's Grand to Longyear. International Realty and You'll be enjoying full-service, Hammond Residential Real Estate. single-floor condominium living at Priced from $1,100,000. its absolutefinest, all harmoniously Call Hammond Real Estate at located on an extraordinary eight- (617) 731-4644, ext. 410. LONGYEAR at Jisner Jiill BROOKLINE Seiji Ozawa, Music Director 25TH ANNIVERSARY SEASON Bernard Haitink, Principal Guest Conductor One Hundred and Eighteenth Season, 1998-99 Trustees of the Boston Symphony Orchestra, Inc. R. Willis Leith, Jr., Chairman Nicholas T. Zervas, President Peter A. Brooke, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Harvey Chet Krentzman, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson Deborah B. Davis Edna S. Kalman Vincent M. O'Reilly Gabriella Beranek Nina L. Doggett George Krupp Peter C. Read James E Cleary Nancy J. Fitzpatrick Mrs. August R. Meyer Hannah H. Schneider John F. Cogan, Jr. Charles K. Gifford, Richard P. Morse Thomas G. Sternberg Julian Cohen ex-ojficio Mrs. Robert B. Stephen R. Weiner William F. Connell Avram J. Goldberg Newman Margaret Williams- William M. Crozier, Jr. Thelma E. Goldberg Robert P. O'Block, DeCelles, ex-qfficio Nader F Darehshori Julian T. Houston ex-ojficio Life Trustees Vernon R. -
Qbz01gpoggah6xl.Pdf
2018-2019 HD LIVE FROM METROPOLITAN OPERA NEW YORK 2018-2019 SEASON 10 evenings in live from New York including 4 new productions The Metropolitan Opera opens its season with the great Russian diva Anna Netrebko who will sing Aida on October 6th. She will return to the MET stage in Adriana Lecouvreur o n January 12, a new production by Sir David McVicar. Two new productions: La Traviata on December 15 with Diana Damrau and Joan Diego Fló rez and the premiere of Marnie on November 10, based on Alfred Hitchcock's masterpiece. Attentive to the renewal of the lyric repertoire, the MET reserves each season a privileged place for contemporary creation. New titular conductor of the house or chestra, Yannick Nézet-Séguin will lead Francis Poulenc's Dialogues des Carmélites on May 11 at the end of a season that hono urs French opera, notably with the new production of Samson and Dalila on 20 October with two ambassadors of French lyric singing: L aurent Naouri and Roberto Alagna. Alagna will return in Don José in Carmen on February 2nd. France will also be in the pit with Philippe Jordan, musical director of the Paris Opera. He will lead the Walkyrie on March 30, with Eva-Maria Westbroeck as Sieglinde, who will have sung a few months earlier the role of Minnie with Jonas Kaufmann in the Fanciulla del West on October 27, a less known opera by Puccini. Finally Pretty Yende and Javier Camarena will be reunited in The Daughter of the Regiment by Donizetti on March 2nd. -
Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr. -
Avant Première Catalogue 2018 Lists UNITEL’S New Productions of 2017 Plus New Additions to the Catalogue
CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CATALOGUE 2018 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany CEO: Jan Mojto Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: February 2018 © UNITEL 2018 All rights reserved Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES LEONARD BERNSTEIN 1918 – 1990 Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music. -
Prã©Vost╎s Manon Lescaut and Her Transition to the Operatic Stage
Grand Valley State University ScholarWorks@GVSU Honors Projects Undergraduate Research and Creative Practice Winter 2011 Prévost’s Manon Lescaut and Her Transition to the Operatic Stage Lily Guerrero Grand Valley State University Follow this and additional works at: http://scholarworks.gvsu.edu/honorsprojects Recommended Citation Guerrero, Lily, "Prévost’s Manon Lescaut and Her Transition to the Operatic Stage" (2011). Honors Projects. 79. http://scholarworks.gvsu.edu/honorsprojects/79 This Open Access is brought to you for free and open access by the Undergraduate Research and Creative Practice at ScholarWorks@GVSU. It has been accepted for inclusion in Honors Projects by an authorized administrator of ScholarWorks@GVSU. For more information, please contact [email protected]. Prévost’s Manon Lescaut and Her Transition to the Operatic Stage Lily Guerrero Senior Project, Frederik Meijer Honors College Grand Valley State University Dr. Kathryn Stieler, advisor 2 Prévost’s 1731 novel L'Histoire du chevalier des Grieux et de Manon Lescaut was an extremely controversial publication during its time. While the title expresses that it is a story concerning both Des Grieux and Manon, the latter is the character of interest for most readers. Many composers have fallen in love with this dangerous literary figure, and Manon’s story has culminated in operas by Massenet, Puccini, Henze, and Auber. What is it about Manon that inspires composers to translate Prévost’s written word to the operatic stage? Are these adaptations successful pieces of the operatic repertoire? Does Manon’s seemingly fickle nature become a caricature when transferred to the libretto, or do artistic teams successfully interpret this femme fatale of the stage? A study of the infatuation artists have with Manon and their commitment to the integrity of Prévost’s original Manon in their theatrical renditions of the character will shed light on these questions. -
LA REVUE HEBDOMADAIRE, 11 Février 1893, Pp. 296-309. on Sait L
LA REVUE HEBDOMADAIRE , 11 février 1893, pp. 296-309. On sait l’activité surprenante de M. Massenet et son ardeur au travail. Représente-t-on une œuvre nouvelle signée de son nom, on est sûr d’apprendre en même temps qu’il est en train d’en achever une autre. A peine l’Opéra-Comique vient-il de nous donner Werther que déjà nous savons que Thaïs est terminée. Aussi la liste des opéras de M. Massenet est-elle déjà longue, et il est certain que le compositeur à qui nous devons le Roi de Lahore, Hérodiade, le Cid, Esclarmonde, Manon, le Mage et Werther, ne saurait en aucun cas être accusé de perdre son temps. Cette inépuisable fécondité entraîne avec elle ses avantages et ses inconvénients. Mais nous croyons qu’en ce qui concerne M. Massenet, elle a moins d’inconvénients que d’avantages. Tandis que certains tempéraments d’artistes ont besoin, en effet, d’une longue gestation préalable, pour exprimer leurs idées et leur donner une forme, il est de ces natures spécialement douées qui abordent tous les sujets comme en se jouant et savent en vertu de leur admirable souplesse se les approprier en les accommodant à leurs facultés. Est-il besoin de dire que M. Massenet a été doté par une bonne fée d’une de ces natures toutes d’impulsion, et qu’il n’est pas de ceux qui mûrissent laborieusement leurs œuvres? Mais // 297 // sa personnalité s’accommode à merveille de cette production infatigable, et cette fécondité même n’en est pas un des côtés les moins caractéristiques. -
Spring 2019 NEWSLETTER : BULLETIN Printemps 2019
Société d' Opéra National Capital de la Capitale Nationale Opera Society Spring 2019 NEWSLETTER : BULLETIN Printemps 2019 Announcing Increased Prize Money for the 2019 Brian Law Opera Competition We are delighted to announce a 40% increase in prize money. This year a total of $14,750 is available to be awarded to the finalists as follows: 1st prize: $7500 2nd prize: $3500 3rd prize: $1500 other finalists will receive $750 Another exciting change is to an afternoon competition. We hope that the change to the afternoon will be attractive to our audience and boost attendance. The 14th Brian Law Opera Competition (BLOC) will be held at 2:00 pm on Saturday, 19th October 2019 at the Southminster United Church, 15 Aylmer Avenue, Ottawa. At the last Competition, Southminster partnered with us by making the Competi- tion part of their Saturday concert series. Although the church has not as yet made plans for a concert series next season, we would welcome their partnership. The BLOC is our major activity, so the prizes are the best possible use of our funds. Mark your calendars and we’ll look forward to seeing you on October 19th. Mark Robinson Spring 2019 Printemps 2019 President's Message March 2019 by Murray Kitts It’s a lovely Spring day in Victoria, with sun- 1605 Requiem as well as Passiontide motets by shine and blossoms everywhere just like it was Renaissance masters. in January before winter reappeared. I’ve en- As for the simulcasts from the Met, I missed joyed a number of fine concerts here principally so many last season due to poor health but was because they have been presented on Sunday glad to see a repeat of La fille du regiment, more afternoons usually at the excellent auditorium at delightful every time I see it. -
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas GEORGES BIZET EMI 63633 Carmen Maria Stuarda Paris Opera National Theatre Orchestra; René Bologna Community Theater Orchestra and Duclos Chorus; Jean Pesneaud Childrens Chorus Chorus Georges Prêtre, conductor Richard Bonynge, conductor Maria Callas as Carmen (soprano) Joan Sutherland as Maria Stuarda (soprano) Nicolai Gedda as Don José (tenor) Luciano Pavarotti as Roberto the Earl of Andréa Guiot as Micaëla (soprano) Leicester (tenor) Robert Massard as Escamillo (baritone) Roger Soyer as Giorgio Tolbot (bass) James Morris as Guglielmo Cecil (baritone) EMI 54368 Margreta Elkins as Anna Kennedy (mezzo- GAETANO DONIZETTI soprano) Huguette Tourangeau as Queen Elizabeth Anna Bolena (soprano) London Symphony Orchestra; John Alldis Choir Julius Rudel, conductor DECCA 425 410 Beverly Sills as Anne Boleyn (soprano) Roberto Devereux Paul Plishka as Henry VIII (bass) Royal Philharmonic Orchestra and Ambrosian Shirley Verrett as Jane Seymour (mezzo- Opera Chorus soprano) Charles Mackerras, conductor Robert Lloyd as Lord Rochefort (bass) Beverly Sills as Queen Elizabeth (soprano) Stuart Burrows as Lord Percy (tenor) Robert Ilosfalvy as roberto Devereux, the Earl of Patricia Kern as Smeaton (contralto) Essex (tenor) Robert Tear as Harvey (tenor) Peter Glossop as the Duke of Nottingham BRILLIANT 93924 (baritone) Beverly Wolff as Sara, the Duchess of Lucia di Lammermoor Nottingham (mezzo-soprano) RIAS Symphony Orchestra and Chorus of La Scala Theater Milan DEUTSCHE GRAMMOPHON 465 964 Herbert von -
Anna Moffo Tra Lirica, Cinema, Televisione Paologiovanni Maione Conservatorio Di Musica San Pietro a Majella Di Napoli
e-ISSN 2385-2720 ISSN 0394-4298 Venezia Arti Nuova serie 1 – Vol. 28 – Dicembre 2019 Le eclissi di una stella: Anna Moffo tra lirica, cinema, televisione Paologiovanni Maione Conservatorio di Musica San Pietro a Majella di Napoli Abstract In the fifties and sixties Anna Moffo built up a very transgressive career. She might herself have thought that it had gone far beyond any limits if she tried to ‘purify’ it for the future generations by manipulating her earnest biographers. She used her own image in a very generous way, facing a ‘new’ world that was undergoing dramatic changes. She accepted all challenges and abandoned herself to them, without really considering the consequences. No other belcanto star ever risked so much: over the last decades many fascinating talented sing- ers have emerged, but only the pioneering spirit, both experimental and shameless, of that age could give way to thoughtless acts and uncontrolled contaminations. Keywords Anna Moffo. Soprano. Film. Opera. Television. Sommario 1 Incontri. – 2 Verso la maschera. – 3 Finzioni letali. – 4 Intorno a Cadaqués. – 5 A Parigi. Io faccio solo quello che mi diverte, perché solo quello faccio bene e io voglio fare tutto bene. (Anna Moffo, dall’intervista di August Everding per la trasmissione Da capo, 3sat, 1990) «Scusate mi dicono che la Moffo sia morta ieri 9 ‘vita’ una delle più discusse stelle del melodram- marzo [2006]. Vi risulta?»1 L’innocua domanda, ma del secolo breve. emersa da un silenzio assordante e postata in un La ‘resurrezione’ della temeraria artista dava accorsato blog di melomani, innesta un fitto di- linfa a sopite ‘guerre’ e faceva emergere ‘fanta- battito che evapora solo, apparentemente, dopo smi’ inquietanti da tempo rinchiusi e seppelliti da sei giorni. -
Akhnaten 12:55Pm | November 23
AKHNATEN 12:55PM | NOVEMBER 23 2019-2020 RICHARD HUBERT SMITH / ENGLISH NATIONAL OPERA NATIONAL ENGLISH / SMITH HUBERT RICHARD Met Opera AT THE PARAMOUNT THEATER The Paramount Theater is pleased to bring the award-winning 2019-2020 Met Opera Live in HD season, in its 14th year, to Charlottesville. This season will feature ten transmissions from the Met’s stage, including three new productions and two Met premieres. Pre-opera lectures will be held again this season and will take place in the auditorium (see website for lecture times and details). Doors to the auditorium will close during the lecture and will re-open for audience seating prior to the start of the broadcast. NEW PRODUCTIONS Wozzeck* • The Gershwins’ Porgy and Bess* Der Fliegende Holländer* REVIVALS Turandot • Manon • Madama Butterfly Tosca • Maria Stuarda MET PREMIERES Akhnaten* • Agrippina* *First Time in HD TICKETING & SUBSCRIPTIONS July 11 - On Sale to Met Members July 15 - On Sale to Paramount Star Circle Members July 17 - On Sale to all Paramount Members July 19 - On Sale to General Public Single Event Pricing $25 Adult, $23 Senior, $18 Student Subscription Pricing Reserved seats for all performances. $225 Adult, $207 Senior, $162 Student Box Office 215 East Main Street, Charlottesville, VA 22902 Monday - Friday 10AM - 2PM 434-979-1333 www.theparamount.net All tickets go on sale at 10:00AM on the dates specified above. Subscribers from previous seasons will have their preferred seat locations held throughout the duration of the pre-sale. If not renewed, seat locations will be released at 10:00AM on July 19, 2019. -
Madame Bizet Walter Hall, Sunday, December 2, 2012, 2:30 Pm We Wish to Thank, Most Sincerely, Peter M
THE Aldeburgh CONNECTION Madame Bizet Walter Hall, Sunday, December 2, 2012, 2:30 pm We wish to thank, most sincerely, Peter M. Partridge for sponsoring Nathalie Paulin and James and Connie MacDougall for sponsoring Brett Polegato * We are also grateful to James and Connie MacDougall for providing the flowers on stage * We are performing on the Edith McConica Steinway 1 Madame Bizet Walter Hall, Sunday, December 2, 2012, 2:30 pm Nathalie Paulin, soprano Brett Polegato, baritone Stephen Ralls and Bruce Ubukata, piano with Fiona Reid and Mike Shara Although the married life of Georges and Geneviève Bizet lasted only from 1869 until his death in 1875, those six years were packed with incident, from the Franco-Prussian War of 1870 and the subsequent uprising of the Paris Commune in 1871 through to the disastrous premiere of Carmen on March 3, 1875. The cumulative effects of those events is thought to have hastened the composer’s untimely demise at the age of 36. Unfortunately, despite the undoubted mutual love of the married couple, a considerable amount of blame may, perhaps, be attached to the appalling strains imposed on Bizet by the instability of his wife and, especially, his mother-in-law. Geneviève, the daughter of Fromental Halévy (composer of the ultra-grand French opera, La Juive), never fully recovered from the shock of the death at the age of 21 of her beloved elder sister, Esther. Even worse, her mother, in one of her recurrent bouts of insanity, blamed Geneviève herself for the tragedy, with such obsessive vindictiveness that mother and daughter were never able to live under the same roof again.