2018 Songfest 2018 Is Lovingly Dedicated to Marcia Brown and Janet Loranger

Total Page:16

File Type:pdf, Size:1020Kb

2018 Songfest 2018 Is Lovingly Dedicated to Marcia Brown and Janet Loranger ROSEMARY RITTER Founder/Artistic Director “Bright is the ring of words when the right man rings them.” – Robert Lewis Stevenson THE COMPLETE RECITALIST MAY 12- JUNE 3, 2018 SongFest 2018 is lovingly dedicated to Marcia Brown and Janet Loranger. ©Photo by Jeanine Hill “Tell me, what is it you plan to do with your one wild and precious life?” —Mary Oliver Welcome to SongFest 2018 “Whatever you can do, or dream you can do, you can. Boldness has a genius, magic and power to it.” – Goethe SONGFEST is supported, in part, by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission, The Eva and Marc Stern Foundation, The Elizabeth and Michel Sorel Charitable Foundation, The Ann and Gordon Getty Foundation, The Aaron Copland, Fund for Music, The Colburn Foundation, and the generosity of many individual contributors. SongFest is a 501(c)3 non profit corporation. All donations are 100% tax-deductible to the full extent permitted by law. 1 Welcome Dear Friends, As I try to write, I am overwhelmed with gratitude for all the people who have given so much to be where we are today. I won’t mention names because there are just too many who have contributed their unique gifts and talents. I have been asked many times “What is SongFest and why bother” – it’s a hard one to answer. A friend wrote “this often neglected genre of voice and piano song will provide the singers and pianists with a rich view of this world which will nourish them for their entire lives.” I think this sums it up for me. Being here among these amazing faculty, singers and pianists – all of who have unique gifts – is inspiring and uplifting. I invite you in the words of Graham Johnson, “to come and marvel at our array of living, feeling, breathing singers, pianists and composers – some of the best the world has to offer. Visit a class, attend our concerts, meet and hear our singers – the music might just leave you bitten with the same passion and enthusiasm we find around us here at this marvelous Colburn School.” Rosemary Ritter Artistic Director A huge thank you to JOHN RITTER for all the “behind the scenes” work and planning he has done that have made SongFest grow and flourish. Since SongFest’s inception in 1996, John has been the backbone of the program: editing and making the beautiful programs, learning Quickbooks for the accounting, advising on the music, playing for and videotaping the auditions, keeping me sane at deadline time and doing many other jobs too numerous to mention here. The program would not be here today without his support and help. John is a graduate of the Curtis Institute of Music, where he studied with Mieczyslaw Horszowski. For over 25 years he had a long tenure and traveled throughout the world with flutist Jean-Pierre Rampal until his death in 1998. He also concertized extensively with oboist Heinz Holliger in the U.S. During the many years he lived in Los Angeles, he was active with the Los Angeles Philharmonic Orchestra, performing as a soloist and orchestra pianist, harpsichordist and organist. John has performed with the Mostly Mozart Orchestra in New York, the Ojai Festival, and with musicians such as Pincas Zuckerman, Eugenia Zuckerman, Isaac Stern, M. Rostropovich, Leslie Parnus, Dietrich Fischer-Dieskau, Cecilia Bartoli, and many others Although piano is his major instrument, he has been much in demand for continuo realization at the harpsichord and has performed with noted conductors Zubin Mehta, Pierre Boulez, Charles Mackerras, Raymond Leppard, and Christopher Hogwood. In 2006, after 28 years as Professor of Piano, he retired from Pomona College. SongFest and I would like to honor John this year along with William Bolcom and John Harbison as they celebrate their 80th birthdays! With love and gratitude, Rosemary Hyler Ritter 2 Table of Contents The SongFest Fellowship Programs ............................................................................................. 4 The Complete Recitalist Daily Class Schedule ........................................................................... 5 SongFest Concert Series .............................................................................................................. 10 Master Classes ............................................................................................................................... 49 Guest Artist ................................................................................................................................. 104 Faculty Biographies .................................................................................................................... 105 The Eva & March Stern SongFest – LA Opera Fellowship Program Faculty ..................... 109 Thank You .................................................................................................................................... 110 Acknowledgement ...................................................................................................................... 111 SongFest Participants ................................................................................................................. 112 “Vocalism, my only setting of Walt Whitman, pays homage to SongFest, the conclave of singers and pianists that gathers each summer under the direction of Rosemary Hyler Ritter. It is dedicated to Marc Stern, Chairman of the Board of the Los Angeles Opera, and his music-loving family, supporters of SongFest and of good singing. This “grand aria” (so says the title page) celebrates singing. It is about the power of the voice, as pure sound, to move and change hearers.” —John Harbison 3 The SongFest Fellowship Programs SongFest awards a selected number of outstanding singers and pianists merit-based fellowships each summer. This program has been generously underwritten by The Eva and Mark Stern Foundation. The recipients of this award are chosen from live auditions held nationwide. The panel looks for singers demonstrating a commitment for communication of the text, a radiant presence, and a unique sound. n The SongFest 2018 Stern Fellows Sophie Delphis, mezzo-soprano Mirim Kim, piano Yu-Jhen Liu, piano Ian Walker, baritone Tingting Yao, piano Kristin Renee Young, soprano n SongFest Fellowship Program The SongFest Colburn Fellows Recognition to outstanding Young Artist Singers Hailey McAvoy, soprano Hannah Alexandra Noyes, soprano Erin Wagner, baritone The Elizabeth and Michel Sorel Fellowship Awarded to an outstanding female singer Devony Smith, soprano The Eva and Marc Stern Los Angeles Opera – Stern Fellows Ryan Bradford, baritone Hyunho Cho, tenor Katharine Dain, soprano Heidi Middendorf, soprano Celeste Marie Johnson, piano Erin Keesy, soprano Maria Lacey, soprano Devony Smith, soprano 4 The Complete Recitalist Our Public Master Classes (those marked *) are open to the public with a $15 per class fee or $30 per day. MAY 12-JUNE 3, 2018 ALL CONCERTS FREE Information: (213) 621-4720 • [email protected] Programs subject to change Saturday, May 12 11 a.m. – 5 p.m. Housing Check-In (Olive building, 3rd Floor) Ozols/Stevens 2 p.m. Bus to Target for supplies 5:30 p.m. Dinner until 5:30 p.m. 6:30 p.m. Meeting: ALL, including commuters (Cafe) ALL Sunday, May 13 Arrebola, Cho, Ferrill, Luna, McGraw, Mentzer, Moliterno, Verevkin, Vignoles, Wong 7:30 a.m. Breakfast opens early 8 a.m. – 10 p.m. Rehearsals scheduled by participant pianists (Check call board for pianist room assignment) Voice lessons: Ferrill, Mentzer, McGraw Monday, May 14 Arrebola, Browers, Brown, Cho, Ferrill, Heggie, Luna, McGraw, Mentzer, Moliterno, Smith, Trawka, Verevkin, Vignoles, Wong *9:30 a.m. – Noon Master Class: Ein Liederstrauss (Thayer Hall) Smith 1:30 – 4 p.m. Master Class: Professional (Thayer Hall) Vignoles 1:30 – 4 p.m. Master Class: Studio Artist (Mayman Hall) Ferrill/Cho 4 – 6 p.m. Master Class: Young Artist - Italian Song (Thayer Hall) Smith *7 – 9 p.m. Master Class: English Song (Thayer Hall) Vignoles Tuesday, May 15 Arrebola, Branom, Browers,Brown, Cho, Dover, Heggie, Luna, McGraw, Mentzer, Molitern, Smith, Trawka, Verevkin, Vignoles, Wong *9 – 11 a.m. Master Class: Songs of Jake Heggie (Thayer Hall) Heggie Noon – 1 p.m. Coaching: A Question of Light I (Mayman Hall) Heggie/Walker/Lee 1:30 – 3:30 p.m. Master Class: Men’s Songs of Jake Heggie (Mayman Hall) Heggie 1:30 – 4 p.m. Master Class: Young Artist - Spanish Song (Thayer Hall) Smith *4 – 6 p.m. Master Class: German Lieder (Mayman Hall) Vignoles 4 – 6 p.m. Master Class: Studio Artist (P-242) Mentzer *6:45 – 9 p.m. Master Class: Copland - Twelve Songs of Emily Dickinson (Thayer Hall) Smith Wednesday, May 16 Arrebola, Branom, Brown, Browers, Cho, Dover, Ferrill, Heggie, Luna, McGraw, Mentzer, Smith, Trawka, Verevkin, Vignoles, Wong 9:30 – Noon Master Class: Gabriel Fauré (Thayer Hall) Vignoles 1:30 – 3:30 p.m. Master Class: Studio Artists - Songs of Jake Heggie (Mayman Hall) Heggie 1:30 – 3:30 p.m. Master Class: Professionals - Master Class (Thayer Hall) Smith 4 – 6 p.m. Master Class: Professional & YA - Songs of Jake Heggie (Thayer Hall) Heggie 7 – 9 p.m. Master Class: The World of Schubert (Thayer Hall) Vignoles 5 The Complete Recitalist Our Public Master Classes (those marked *) are open to the public with a $15 per class fee or $30 per day. MAY 12-JUNE 3, 2018 ALL CONCERTS FREE Information: (213) 621-4720 • [email protected] Programs subject to change Thursday, May 17 Arrebola, Branom, Browers, Brown, Cho, Dover ,Ferrill, Heggie, Luna, McGraw, McNair, Mentzer, Smith, Trawka,
Recommended publications
  • Lectures and Community Engagement 2017­–18 About the Metropolitan Opera Guild
    Lectures and Community Engagement 2017 –18 About the Metropolitan Opera Guild The Metropolitan Opera Guild is the world’s premier arts educa- tion organization dedicated to enriching people’s lives through the magic and artistry of opera. Thanks to the support of individuals, government agencies, foundations, and corporate sponsors, the Guild brings opera to life both on and off the stage through its educational programs. For students, the Guild fosters personal expression, collaboration, literacy skills, and self-confidence with customized education programs integrated into the curricula of their schools. For adults, the Guild enhances the opera-going experience through intensive workshops, pre-performance talks, and community outreach programs. In addition to educational activities, the Guild publishes Opera News, the world’s leading opera magazine. With Opera News, the Guild reaches a global audience with the most insightful and up-to-date writing on opera available anywhere, helping to maintain opera as a thriving, contemporary art form. For more information about the Metropolitan Opera Guild and its programs, visit metguild.org. Additional information and archives of Opera News can be found online at operanews.com. How to Use This Booklet This brochure presents the 2017–18 season of Lectures and Community Programs grouped into thematic sections—programs that emphasize specific Met performances and productions; courses on opera and its history and culture; and editorial insights and interviews presented by our colleagues at Opera News. Courses of study are arranged chronologically, and learners of all levels are welcome. To place an order, please call the Guild’s ticketing line at 212.769.7028 (Mon–Fri 10AM–4PM).
    [Show full text]
  • Canções E Modinhas: a Lecture Recital of Brazilian Art Song Repertoire Marcía Porter, Soprano and Lynn Kompass, Piano
    Canções e modinhas: A lecture recital of Brazilian art song repertoire Marcía Porter, soprano and Lynn Kompass, piano As the wealth of possibilities continues to expand for students to study the vocal music and cultures of other countries, it has become increasingly important for voice teachers and coaches to augment their knowledge of repertoire from these various other non-traditional classical music cultures. I first became interested in Brazilian art song repertoire while pursuing my doctorate at the University of Michigan. One of my degree recitals included Ernani Braga’s Cinco canções nordestinas do folclore brasileiro (Five songs of northeastern Brazilian folklore), a group of songs based on Afro-Brazilian folk melodies and themes. Since 2002, I have been studying and researching classical Brazilian song literature and have programmed the music of Brazilian composers on nearly every recital since my days at the University of Michigan; several recitals have been entirely of Brazilian music. My love for the music and culture resulted in my first trip to Brazil in 2003. I have traveled there since then, most recently as a Fulbright Scholar and Visiting Professor at the Universidade de São Paulo. There is an abundance of Brazilian art song repertoire generally unknown in the United States. The music reflects the influence of several cultures, among them African, European, and Amerindian. A recorded history of Brazil’s rich music tradition can be traced back to the sixteenth-century colonial period. However, prior to colonization, the Amerindians who populated Brazil had their own tradition, which included music used in rituals and in other aspects of life.
    [Show full text]
  • Network Notebook
    Network Notebook Fall Quarter 2018 (October - December) 1 A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more.
    [Show full text]
  • Donizetti Operas and Revisions
    GAETANO DONIZETTI LIST OF OPERAS AND REVISIONS • Il Pigmalione (1816), libretto adapted from A. S. Sografi First performed: Believed not to have been performed until October 13, 1960 at Teatro Donizetti, Bergamo. • L'ira d'Achille (1817), scenes from a libretto, possibly by Romani, originally done for an opera by Nicolini. First performed: Possibly at Bologna where he was studying. First modern performance in Bergamo, 1998. • Enrico di Borgogna (1818), libretto by Bartolomeo Merelli First performed: November 14, 1818 at Teatro San Luca, Venice. • Una follia (1818), libretto by Bartolomeo Merelli First performed: December 15, 1818 at Teatro San Luca,Venice. • Le nozze in villa (1819), libretto by Bartolomeo Merelli First performed: During Carnival 1820-21 at Teatro Vecchio, Mantua. • Il falegname di Livonia (also known as Pietro, il grande, tsar delle Russie) (1819), libretto by Gherardo Bevilacqua-Aldobrandini First performed: December 26, 1819 at the Teatro San Samuele, Venice. • Zoraida di Granata (1822), libretto by Bartolomeo Merelli First performed: January 28, 1822 at the Teatro Argentina, Rome. • La zingara (1822), libretto by Andrea Tottola First performed: May 12, 1822 at the Teatro Nuovo, Naples. • La lettera anonima (1822), libretto by Giulio Genoino First performed: June 29, 1822 at the Teatro del Fondo, Naples. • Chiara e Serafina (also known as I pirati) (1822), libretto by Felice Romani First performed: October 26, 1822 at La Scala, Milan. • Alfredo il grande (1823), libretto by Andrea Tottola First performed: July 2, 1823 at the Teatro San Carlo, Naples. • Il fortunate inganno (1823), libretto by Andrea Tottola First performed: September 3, 1823 at the Teatro Nuovo, Naples.
    [Show full text]
  • American Academy of Arts and Letters
    NEWS RELEASE American Academy of Arts and Letters Contact: Ardith Holmgrain 633 WEST 155 STREET, NEW YORK, NY 10032 [email protected] www.artsandletters.org (212) 368-5900 http://www.artsandletters.org/press_releases/2010music.php THE AMERICAN ACADEMY OF ARTS AND LETTERS ANNOUNCES 2010 MUSIC AWARD WINNERS Sixteen Composers Receive Awards Totaling $170,000 New York, March 4, 2010—The American Academy of Arts and Letters announced today the sixteen recipients of this year's awards in music, which total $170,000. The winners were selected by a committee of Academy members: Robert Beaser (chairman), Bernard Rands, Gunther Schuller, Steven Stucky, and Yehudi Wyner. The awards will be presented at the Academy's annual Ceremonial in May. Candidates for music awards are nominated by the 250 members of the Academy. ACADEMY AWARDS IN MUSIC Four composers will each receive a $7500 Academy Award in Music, which honors outstanding artistic achievement and acknowledges the composer who has arrived at his or her own voice. Each will receive an additional $7500 toward the recording of one work. The winners are Daniel Asia, David Felder, Pierre Jalbert, and James Primosch. WLADIMIR AND RHODA LAKOND AWARD The Wladimir and Rhoda Lakond award of $10,000 is given to a promising mid-career composer. This year the award will go to James Lee III. GODDARD LIEBERSON FELLOWSHIPS Two Goddard Lieberson fellowships of $15,000, endowed in 1978 by the CBS Foundation, are given to mid-career composers of exceptional gifts. This year they will go to Philippe Bodin and Aaron J. Travers. WALTER HINRICHSEN AWARD Paula Matthusen will receive the Walter Hinrichsen Award for the publication of a work by a gifted composer.
    [Show full text]
  • CHAN 3036 BOOK COVER.Qxd 22/8/07 2:50 Pm Page 1
    CHAN 3036 BOOK COVER.qxd 22/8/07 2:50 pm Page 1 CHAN 3036(2) CHANDOS O PERA I N ENGLISH Il Trovatore David Parry PETE MOOES FOUNDATION CHAN 3036 BOOK.qxd 22/8/07 3:15 pm Page 2 Giuseppe Verdi (1813–1901) Il trovatore (The Troubadour) Opera in four parts AKG Text by Salvatore Cammarano, from the drama El trovador by Antonio Garcia Gutiérrez English translation by Tom Hammond Count di Luna, a young nobleman of Aragon ....................................................................Alan Opie baritone Ferrando, captain of the Count’s guard ..................................................................................Clive Bayley bass Doña Leonora, lady-in-waiting to the Princess of Aragon ..............................................Sharon Sweet soprano Inez, confidante of Leonora ........................................................................................Helen Williams soprano Azucena, a gipsy woman from Biscay ....................................................................Anne Mason mezzo-soprano Manrico (The Troubadour), supposed son of Azucena, a rebel under Prince Urgel ........Dennis O’Neill tenor Ruiz, a soldier in Manrico’s service ..................................................................................Marc Le Brocq tenor A Gipsy, a Messenger, Servants and Retainers of the Count, Followers of Manrico, Soldiers, Gipsies, Nuns, Guards Geoffrey Mitchell Choir London Philharmonic Orchestra Nicholas Kok and Gareth Hancock assistant conductors David Parry Further appearances in Opera in English Dennis O’Neill:
    [Show full text]
  • Donald Hall – America’S New Poet Laureate the Library of Congress Has Named Donald Hall As the Nation's Fourteenth Poet Laureate
    CALENDAR OF EVENTS THROUGH AUGUST 11 SEPTEMBER 30 MARCH 21 – 23, 2007 Catherine Borg, diazo prints on paper 27th Annual GAA Nomination 27th Annual Governor’s Arts Awards & OXS exhibit, NAC, Carson City Packets deadline OASIS Conference, Reno Locations & Time, TBA AUGUST 15 NOVEMBER 15 ARTS NEWS Jackpot Grants postmark deadline Letter of Intent for FY08 Challenge MAY 21 – 24, 2007 (for projects October 1 – December 31, Grants postmark deadline FY08 Grants and Folklife 2006) Apprenticeship Panel Meetings Jackpot Grants postmark deadline Locations & Time, TBA AIE BETA Grants (formerly Professional (for projects January 1 – March 30, Development Grants) postmark deadline 2007) JUNE 2 – 4, 2007 (for projects October 1 – December 31, Americans for the Arts 2006) AIE BETA Grants postmark deadline 2007 Annual Convention (for projects January 1 – March 30, Flamingo Las Vegas, Las Vegas SEPTEMBER 11 2007) GAA Visual Arts Commission deadline Please check the NAC website for calendar, agency and news updates at www.NevadaCulture.org. Donald Hall – America’s New Poet Laureate _________________________________________________________________________________________ The Library of Congress has named Donald Hall as the nation's fourteenth Poet Laureate. A resident of Danbury, NH, Hall has published numerous books of poetry, including Without: Poems, released in 1998 on the third anniversary of his wife and fellow poet Jane Kenyon’s death from leukemia. Hall has written children’s books, books on baseball, autobiographical works, short stories and plays. Poetry editor of The Paris Review during its early years, Hall’s list of anthologies and awards is extensive. The Library of Congress deliberately avoids attaching specific duties to the post of Poet Laureate.
    [Show full text]
  • Richard Strauss's Ariadne Auf Naxos
    Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails.
    [Show full text]
  • Review Downloaded from by University of California, Irvine User on 18 March 2021 Performance
    Review Downloaded from https://academic.oup.com/oq/article/34/4/355/5469296 by University of California, Irvine user on 18 March 2021 Performance Review Colloquy: The Exterminating Angel Met Live in HD, November 18, 2017 Music: Thomas Ade`s Libretto: Tom Cairns, in collaboration with the composer, based on the screenplay by Luis Bunuel~ and Luis Alcoriza Conductor: Thomas Ade`s Director: Tom Cairns Set and Costume Design: Hildegard Bechtler Lighting Design: Jon Clark Projection Design: Tal Yarden Choreography: Amir Hosseinpour Video Director: Gary Halvorson Edmundo de Nobile: Joseph Kaiser Lucıa de Nobile: Amanda Echalaz Leticia Maynar: Audrey Luna Leonora Palma: Alice Coote Silvia de Avila: Sally Matthews Francisco de Avila: Iestyn Davies Blanca Delgado: Christine Rice Alberto Roc: Rod Gilfry Beatriz: Sophie Bevan Eduardo: David Portillo Raul Yebenes: Frederic Antoun Colonel Alvaro Gomez: David Adam Moore Sen~or Russell: Kevin Burdette Dr. Carlos Conde: Sir John Tomlinson The Opera Quarterly Vol. 34, No. 4, pp. 355–372; doi: 10.1093/oq/kbz001 Advance Access publication April 16, 2019 # The Author(s) 2019. Published by Oxford University Press. All rights reserved. For permissions, please email: [email protected] 356 | morris et al Editorial Introduction The pages of The Opera Quarterly have featured individual and panel reviews of op- era in performance both in its traditional theatrical domain and on video, including Downloaded from https://academic.oup.com/oq/article/34/4/355/5469296 by University of California, Irvine user on 18 March 2021 reports from individual critics and from panels assembled to review a single produc- tion or series of productions on DVD.
    [Show full text]
  • Richard Lert Papers 0210
    http://oac.cdlib.org/findaid/ark:/13030/kt638nf3ww No online items Finding Aid of the Richard Lert papers 0210 Finding aid prepared by Rebecca Hirsch The processing of this collection and the creation of this finding aid was funded by the generous support of the National Historic Publications and Records Commission. USC Libraries Special Collections Doheny Memorial Library 206 3550 Trousdale Parkway Los Angeles, California, 90089-0189 213-740-5900 [email protected] June 2010 Finding Aid of the Richard Lert 0210 1 papers 0210 Title: Richard Lert papers Collection number: 0210 Contributing Institution: USC Libraries Special Collections Language of Material: English Physical Description: 58.51 Linear feet70 boxes Date (inclusive): 1900-1981 Abstract: This collection consists of Richard Lert's video and audio recordings of performances, rehearsals and lectures, personal papers and his music score library. Lert was born in Vienna and trained as an orchestral conductor in Germany. He moved to the United States in 1932 with his family and was the conductor of the Pasadena Symphony Orchestra from 1932 until his retirement in 1972. creator: Lert, Richard, 1885-1980 Biographical Note Richard Lert was born September 19, 1885, in Vienna, Austria. He trained as an orchestral conductor under Arthur Nikisch and began his career in Darmstadt, Germany, where he met and married his wife, Vicki Baum, in 1916. They had two sons. Lert held posts in Frankfurt, Kiel and Hannover before becoming the music director of the Berlin National Opera. Lert and his family moved to Los Angeles in 1932, where he became the music director of the Pasadena Symphony Orchestra.
    [Show full text]
  • THROUGH LIFE and LOVE Richard Strauss
    THROUGH LIFE AND LOVE Richard Strauss Louise Alder soprano Joseph Middleton piano Richard Strauss (1864-1949) THROUGH LIFE AND LOVE Youth: Das Mädchen 1 Nichts 1.40 Motherhood: Mutterschaft 2 Leises Lied 3.13 16 Muttertänderlei 2.27 3 Ständchen 2.42 17 Meinem Kinde 2.52 4 Schlagende Herzen 2.29 5 Heimliche Aufforderung 3.16 Loss: Verlust 18 Die Nacht 3.02 Longing: Sehnsucht 19 Befreit 4.54 6 Sehnsucht 4.27 20 Ruhe, meine Seele! 3.54 7 Waldseligkeit 2.54 8 Ach was Kummer, Qual und Schmerzen 2.04 Release: Befreiung 9 Breit’ über mein Haupt 1.47 21 Zueignung 1.49 Passions: Leidenschaft 22 Weihnachtsgefühl 2.26 10 Wie sollten wir geheim sie halten 1.54 23 Allerseelen 3.22 11 Das Rosenband 3.15 12 Ich schwebe 2.03 Total time 64.48 Partnership: Liebe Louise Alder soprano 13 Nachtgang 3.01 Joseph Middleton piano 14 Einerlei 2.53 15 Rote Rosen 2.19 2 Singing Strauss Coming from a household filled with lush baroque music as a child, I found Strauss a little later in my musical journey and vividly remember how hard I fell in love with a recording of Elisabeth Schwarzkopf singing Vier Letze Lieder, aged about 16. I couldn’t believe from the beginning of the first song it could possibly get any more ecstatic and full of emotion, and yet it did. It was a short step from there to Strauss opera for me, and with the birth of YouTube I sat until the early hours of many a morning in my tiny room at Edinburgh University, listening to, watching and obsessing over Der Rosenkavalier’s final trio and presentation of the rose.
    [Show full text]
  • West Side Story” (Original Cast Recording) (1957) Added to the National Registry: 2008 Essay by Robert L
    “West Side Story” (Original cast recording) (1957) Added to the National Registry: 2008 Essay by Robert L. McLaughlin (guest essay)* Original “West Side Story” cast members at recording session (from left: Elizabeth Taylor, Carmen Gutierrez, Marilyn Cooper, Carol Lawrence) “West Side Story” is among the best and most important of Broadway musicals. It was both a culmination of the Rodgers and Hammerstein integrated musical, bringing together music, dance, language and design in service of a powerful narrative, and an arrow pointing toward the future, creating new possibilities for what a musical can be and how it can work. Its cast recording preserves its score and the original performances. “West Side Story’s” journey to theater immortality was not easy. The show’s origins came in the late 1940s when director/choreographer Jerome Robbins, composer Leonard Bernstein, and playwright Arthur Laurents imagined an updated retelling of “Romeo and Juliet,” with the star- crossed lovers thwarted by their contentious Catholic and Jewish families. After some work, the men decided that such a musical would evoke “Abie’s Irish Rose” more than Shakespeare and so they set the project aside. A few years later, however, Bernstein and Laurents were struck by news reports of gang violence in New York and, with Robbins, reconceived the piece as a story of two lovers set against Caucasian and Puerto Rican gang warfare. The musical’s “Prologue” establishes the rivalry between the Jets, a gang of white teens, children mostly of immigrant parents and claimants of a block of turf on New York City’s west side, and the Sharks, a gang of Puerto Rican teens, recently come to the city and, as the play begins, finally numerous enough to challenge the Jets’ dominion.
    [Show full text]