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Eberhard Waechter“
DIPLOMARBEIT Titel der Diplomarbeit „Eberhard Waechter“ Verfasserin Mayr Nicoletta angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2011 Studienkennzahl: A 317 Studienrichtung: Theater-, Film- und Medienwissenschaft Betreuerin: Univ.-Prof.Dr. Hilde Haider-Pregler Dank Ich danke vor allem meiner Betreuerin Frau Professor Haider, dass Sie mir mein Thema bewilligt hat und mir mit Rat und Tat zur Seite stand. Ich danke der Familie Waechter und Frau Anneliese Sch. für die Bereitstellung des Materials. Ich danke meiner Schwester Romy und meiner „Seelenverwandten“ Sheila und all meinen Freunden für ihre emotionale Unterstützung und die zahlreichen motivierenden Gespräche. Ich danke meinem Bruder Florian für die Hilfe im Bereich der Computertechnik. Ein großer Dank gilt meiner Tante Edith, einfach dafür, dass es dich gibt. Außerdem danke ich meinen Großeltern, dass sie meine Liebe zur Musik und zur Oper stets enthusiastisch aufgenommen haben und mit mir Jahr für Jahr die Operettenfestspiele in Bad Ischl besucht haben. Ich widme meine Diplomarbeit meinen lieben Eltern. Sie haben mich in den letzten Jahren immer wieder finanziell unterstützt und mir daher eine schöne Studienzeit ermöglicht haben. Außerdem haben sie meine Liebe und Leidenschaft für die Oper stets unterstützt, mich mit Büchern, Videos und CD-Aufnahmen belohnt. Ich danke euch für eure Geduld und euer Verständnis für eure oft komplizierte und theaterbessene Tochter. Ich bin glücklich und froh, so tolle Eltern zu haben. Inhalt 1 Einleitung .......................................................................................... -
THE INCIDENTAL MUSIC of BEETHOVEN THESIS Presented To
Z 2 THE INCIDENTAL MUSIC OF BEETHOVEN THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Theodore J. Albrecht, B. M. E. Denton, Texas May, 1969 TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS. .................. iv Chapter I. INTRODUCTION............... ............. II. EGMONT.................... ......... 0 0 05 Historical Background Egmont: Synopsis Egmont: the Music III. KONIG STEPHAN, DIE RUINEN VON ATHEN, DIE WEIHE DES HAUSES................. .......... 39 Historical Background K*niq Stephan: Synopsis K'nig Stephan: the Music Die Ruinen von Athen: Synopsis Die Ruinen von Athen: the Music Die Weihe des Hauses: the Play and the Music IV. THE LATER PLAYS......................-.-...121 Tarpe.ja: Historical Background Tarpeja: the Music Die gute Nachricht: Historical Background Die gute Nachricht: the Music Leonore Prohaska: Historical Background Leonore Prohaska: the Music Die Ehrenpforten: Historical Background Die Ehrenpforten: the Music Wilhelm Tell: Historical Background Wilhelm Tell: the Music V. CONCLUSION,...................... .......... 143 BIBLIOGRAPHY.....................................-..145 iii LIST OF ILLUSTRATIONS Figure Page 1. Egmont, Overture, bars 28-32 . , . 17 2. Egmont, Overture, bars 82-85 . , . 17 3. Overture, bars 295-298 , . , . 18 4. Number 1, bars 1-6 . 19 5. Elgmpnt, Number 1, bars 16-18 . 19 Eqm 20 6. EEqgmont, gmont, Number 1, bars 30-37 . Egmont, 7. Number 1, bars 87-91 . 20 Egmont,Eqm 8. Number 2, bars 1-4 . 21 Egmon t, 9. Number 2, bars 9-12. 22 Egmont,, 10. Number 2, bars 27-29 . 22 23 11. Eqmont, Number 2, bar 32 . Egmont, 12. Number 2, bars 71-75 . 23 Egmont,, 13. -
Los Puritanos
VINCENZO BELLINI LOS PURITANOS STREAMING METROPOLITAN OPERA HOUSE Presenta VINCENZO BELLINI LOS PURITANOS Ópera en tres actos Libreto de Cesar Pepoli, basado en el drama histórico “Têtes rondes et Cavaliers” de Jaques François Ancelot y Joseph Xavier Boniface. Reparto Elvira Anna Netrebko Arturo Eric Cutler Riccardo Franco Vassallo Giorgio John Relyea Enrichetta Maria Zifchak Gualtiero Valerian Ruminski Bruno Eduardo Valdes Coro y Orquesta del Metropolitan Opera House Dirección: Patrick Summers Producción escénica Dirección teatral Sandro Sequi Escenografía Ming Cho Lee Vestuario Peter J. Hall Dirección de TV Gary Halvorson Viernes 18 de septiembre de 2018 Transmisión vía streaming desde Metropolitan Opera House – New York, USA TEATRO NESCAFÉ DE LAS ARTES Temporada 2020 LOS PURITANOS ANTECEDENTES Toda información que se reciba con ante- cedentes sobre “Los puritanos” de Vincen- zo Bellini debe considerar que ésta es la décima y última ópera de este compositor, surgida en 1835, pocos meses antes de su temprana muerte, a los 33 años. A fines de marzo de 1833, poco después de estrenar “Beatrice di Tenda” en Vene- cia, Bellini viajó a Londres vía París, junto a la aclamada soprano Giuditta Pasta, quien encabezaría el estre- no de “Norma” en la capital inglesa. En otros teatros londinenses se presentarían también “La sonámbula” y “Capuletos y Montescos” en la misma temporada. Vincenzo Bellini Pero a Bellini le atraía mucho París, la ciu- dad más importante de Europa a la que Opera de París y encontrar una esposa, ya ya habían arribado Rossini y Donizetti, sus que hasta entonces había mantenido rela- grandes colegas belcantistas, a quienes ciones muy complejas con algunas mujeres quería seguir en la ruta geográfica y artís- casadas. -
Rehearing Beethoven Festival Program, Complete, November-December 2020
CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021 Friends of Music The Da Capo Fund in the Library of Congress The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress (RE)HEARING BEETHOVEN FESTIVAL November 20 - December 17, 2020 The Library of Congress Virtual Events We are grateful to the thoughtful FRIENDS OF MUSIC donors who have made the (Re)Hearing Beethoven festival possible. Our warm thanks go to Allan Reiter and to two anonymous benefactors for their generous gifts supporting this project. The DA CAPO FUND, established by an anonymous donor in 1978, supports concerts, lectures, publications, seminars and other activities which enrich scholarly research in music using items from the collections of the Music Division. The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress was created in 1992 by William Remsen Strickland, noted American conductor, for the promotion and advancement of American music through lectures, publications, commissions, concerts of chamber music, radio broadcasts, and recordings, Mr. Strickland taught at the Juilliard School of Music and served as music director of the Oratorio Society of New York, which he conducted at the inaugural concert to raise funds for saving Carnegie Hall. A friend of Mr. Strickland and a piano teacher, Ms. Hull studied at the Peabody Conservatory and was best known for her duets with Mary Howe. Interviews, Curator Talks, Lectures and More Resources Dig deeper into Beethoven's music by exploring our series of interviews, lectures, curator talks, finding guides and extra resources by visiting https://loc.gov/concerts/beethoven.html How to Watch Concerts from the Library of Congress Virtual Events 1) See each individual event page at loc.gov/concerts 2) Watch on the Library's YouTube channel: youtube.com/loc Some videos will only be accessible for a limited period of time. -
PROGRAM NOTES Ludwig Van Beethoven Overture to Fidelio
PROGRAM NOTES by Phillip Huscher Ludwig van Beethoven Born December 16, 1770, Bonn, Germany. Died March 26, 1827, Vienna, Austria. Overture to Fidelio Beethoven began to compose Fidelio in 1804, and he completed the score the following year. The first performance was given on November 20, 1805, at the Theater an der Wien in Vienna. Beethoven revised the score in preparation for a revival that opened there on March 29, 1806. For a new production in 1814, he made substantial revisions and wrote the overture performed at these concerts. The overture wasn’t ready in time for the premiere on May 23, 1814, in Vienna’s Kärntnertor Theater, but it was played at the second performance. The overture calls for an orchestra consisting of two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, two trombones, timpani, and strings. Performance time is approximately six minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Beethoven’s Overture to Fidelio were given at the Auditorium Theatre on December 14 and 15, 1894, with Theodore Thomas conducting. Our most recent subscription concert performances of the overture (and the complete opera) were given at Orchestra Hall on May 26, 28, and 31, 1998, with Daniel Barenboim conducting. The Orchestra first performed this overture at the Ravinia Festival on July 16, 1938, with Willem van Hoogstraten conducting, and most recently on July 30, 2008, with Sir Andrew Davis conducting. Nothing else in Beethoven’s career caused as much effort and heartbreak as the composition of his only opera, which took ten years, inspired four different overtures, and underwent two major revisions and a name change before convincing Beethoven that he was not a man of the theater. -
Pittsburgh Symphony Orchestra 2016-2017 Mellon Grand Classics Season
Pittsburgh Symphony Orchestra 2016-2017 Mellon Grand Classics Season April 23, 2017 MANFRED MARIA HONECK, CONDUCTOR TILL FELLNER, PIANO FRANZ SCHUBERT Selections from the Incidental Music to Rosamunde, D. 644 I. Overture II. Ballet Music No. 2 LUDWIG VAN BEETHOVEN Concerto No. 3 for Piano and Orchestra in C minor, Opus 37 I. Allegro con brio II. Largo III. Rondo: Allegro Mr. Fellner Intermission WOLFGANG AMADEUS Symphony No. 41 in C major, K. 551, “Jupiter” MOZART I. Allegro vivace II. Andante cantabile III. Allegretto IV. Molto allegro PROGRAM NOTES BY DR. RICHARD E. RODDA FRANZ SCHUBERT Overture and Ballet Music No. 2 from the Incidental Music to Rosamunde, D. 644 (1820 and 1823) Franz Schubert was born in Vienna on January 31, 1797, and died there on November 19, 1828. He composed the music for Rosamunde during the years 1820 and 1823. The ballet was premiered in Vienna on December 20, 1823 at the Theater-an-der-Wein, with the composer conducting. The Incidental Music to Rosamunde was first performed by the Pittsburgh Symphony on November 9, 1906, conducted by Emil Paur at Carnegie Music Hall. Most recently, Lorin Maazel conducted the Overture to Rosamunde on March 14, 1986. The score calls for pairs of woodwinds, four horns, two trumpets, three trombones, timpani and strings. Performance tine: approximately 17 minutes Schubert wrote more for the stage than is commonly realized. His output contains over a dozen works for the theater, including eight complete operas and operettas. Every one flopped. Still, he doggedly followed each new theatrical opportunity that came his way. -
Oper in Zwei Akten Von Ludwig Van Beethoven Conducted by Andreas Wolf, Di Rected by Jay Scheib, Sce Nic Design by Andrew Lieberman, Cos- Tumes by Ellen Hoffmann
FIDELIO Oper in zwei Akten von Ludwig van Beethoven Conducted by Andreas Wolf, Di rected by Jay Scheib, Sce nic Design by Andrew Lieberman, Cos- tumes by Ellen Hoffmann Choreinstudierung Jaume Miranda; Don Fernando Guido Baehr/Stefan Röttig – Don Pizarro Olafur Sigurdarson – Florestan Algirdas Drevinskas/Robert Künzli /Hans-Georg Priese – Leonore Claudia Iten – Rocco Hirsoshi Matsui / Ji í ř Sul enko – Marzelline Sofia Fomina /Elizabeth Wiles Jaquino Algirdas Drevin- ž skas/ Jevgenij Taruntsov Saarlaendisches Staatstheater, Saarbrücken, Germany Premiere: 29 January 2011 Jay Scheib | [email protected] | Selected Works | Page 13 Unter dem Namen »Fidelio« arbeitet Leonore in Män- FIDELIO nerkleidung in einem Gefängnis, um dort nach ihrem ver- Nur eine einzige Oper hat Ludwig van Beethoven missten Mann Florestan zu suchen. Ihr grausamer Verdacht bewahrheitet sich: Der namenlose Privatge- geschrieben. Diese jedoch ist ein Repertoire-Klassiker: fangene des Gouverneurs, zu dem niemand anderes als »Fidelio«, die Geschichte einer spektakulären Gefan- der Gefängnisdirektor Rocco Zugang hat, ist Florestan. genenbefreiung aus der Zeit der Französischen Revolu- Es gelingt Leonore, zu ihm vorzudringen und ihn im let- tion. Beethoven arbeitete von 1805 bis 1814 in zten Moment vor einem Anschlag des Gouverneurs zu verschiedenen Versionen an diesem französischen Stoff bewahren, der bei einer Inspektion des Ministers die Ent- aus dem Genre der »Rettungsoper«. Er stützte sich deckung des Gefangenen fürchtet. Die Machenschaften dabei auf »Léonore« von Pierre Gaveaux (1798). des Gouverneurs werden schließlich aufgedeckt. Jay Scheib | [email protected] | Additional Works | Page 14 Mikeah Ernest Jennings photographed by Carrie Mae Weems as George BELLONA DESTROYER OF CITIES Adapted and Directed by Jay Scheib based on Samuel R. -
Summer Will Never Be the Same with the Metropolitan Opera Summer Series at Cineplex Entertainment Theatres Children Ages 3-13 Get in FREE!
For Immediate Release Summer Will Never Be the Same with The Metropolitan Opera Summer Series at Cineplex Entertainment Theatres Children ages 3-13 get in FREE! TORONTO, ON, June 16, 2009 (CGX.UN) – Cineplex Entertainment is pleased to present for the first time The Metropolitan Opera Summer Series, featuring six of the most popular performances shown at Cineplex Entertainment theatres from past seasons of The Met: Live in HD series. The Metropolitan Opera Summer Series opens on Saturday, June 27th with Bellini’s I Puritani starring Anna Netrebko with all six performances shown in High Definition (HD) and digital surround sound at 12 pm EST/CST, 11 am MST and 10 am PST at select Cineplex Entertainment theatres across the country. “Presenting the first-ever Metropolitan Opera Summer Series offers our guests across the country the unique chance to see and hear some of the most celebrated performers working in opera today in some of the most popular performances from The Met: Live in HD seasons,” said Pat Marshall, Vice President, Communications and Investor Relations, Cineplex Entertainment. “The Metropolitan Opera Summer Series provides great value for our guests, offering them the opportunity to experience some of the Met’s most successful performances again or for the first time as well as the ability to take their kids to experience the performances for free.” Advance tickets are available on Friday, June 19th online at www.cineplex.com/events as well as at participating theatre box offices. General admission is $9.95 + tax and children ages 3-13 are FREE! Beginning Saturday, June 27th, Cineplex Entertainment theatres will show the following six performances across the country: Saturday, June 27, 2009: I PURITANI – International sensation Anna Netrebko sings Elvira Walton in Bellini’s I Puritani, tenor Eric Cutler is Arturo, Franco Vassallo is Riccardo and John Relyea is Giorgio. -
Rehearing Beethoven Festival Program 4, Christopher Taylor
CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021 Friends of Music (RE)HEARING BEETHOVEN FESTIVAL Part Four: Christopher Taylor, Piano December 17, 2020 ~ 8:00 pm The Library of Congress Virtual Event We are grateful to the thoughtful FRIENDS OF MUSIC donors who have made the (Re)Hearing Beethoven festival possible. Our warm thanks go to Allan Reiter and to two anonymous benefactors for their generous gifts supporting this project. Conversation with the Artist Join us online at https://loc.gov/concerts/christopher-taylor.html for a conversation with the artist, and find additional resources related to the concert, available starting at 10am on Thursday, December 17. Facebook Chat Want more? Join other concert goers and Music Division curators after the concert for a chat that may include the artists, depending on availability. You can access this during the premiere and for a few minutes after by going to facebook.com/pg/libraryofcongressperformingarts/videos How to Watch Concerts from the Library of Congress Virtual Events 1) See each individual event page at loc.gov/concerts 2) Watch on the Library's YouTube channel: youtube.com/loc 3) Watch the premiere of the concert on Facebook: facebook.com/libraryofcongressperformingarts/videos Videos may not be available on all three platforms, and some videos will only be accessible for a limited period of time. The Library of Congress Virtual Event December 17, 2020 — 8:00 pm Friends of Music (RE)HEARING BEETHOVEN FESTIVAL Part Four Page 4) Christopher Taylor, piano 1 (RE)HEARING BEETHOVEN FESTIVAL Welcome to the (Re)Hearing Beethoven Festival, a series of unique concerts pre- sented virtually by Concerts from the Library of Congress. -
Lucia Di Lammermoor
2 La Fenice prima dell’Opera 2011 2 2011 Fondazione Stagione 2011 Teatro La Fenice di Venezia Lirica e Balletto Gaetano Donizetti LuciaDi ammermoor l Lammermoor ucia di ucia di l onizetti d aetano aetano G FONDAZIONE TEATRO LA FENICE DI VENEZIA foto © Michele Crosera Visite a Teatro Eventi Gestione Bookshop e merchandising Teatro La Fenice Gestione marchio Teatro La Fenice® Caffetteria Pubblicità Sponsorizzazioni Fund raising Per informazioni: Fest srl, Fenice Servizi Teatrali San Marco 4387, 30124 Venezia Tel: +39 041 786672 - Fax: +39 041 786677 [email protected] - www.festfenice.com FONDAZIONE AMICI DELLA FENICE STAGIONE 2011 Incontro con l’opera lunedì 24 gennaio 2011 ore 18.00 ANGELA IDA DE BENEDICTIS Intolleranza 1960 martedì 22 febbraio 2011 ore 18.00 LUCA MOSCA La bohème martedì 22 marzo 2011 ore 18.00 GIORGIO PESTELLI Rigoletto lunedì 16 maggio 2011 ore 18.00 LORENZO ARRUGA Lucia di Lammermoor venerdì 17 giugno 2011 ore 18.00 GIORGIO PESTELLI Das Rheingold martedì 5 luglio 2011 ore 18.00 GIANNI GARRERA Sogno di una notte di mezza estate mercoledì 31 agosto 2011 ore 18.00 PAOLO COSSATO Il barbiere di Siviglia martedì 13 settembre 2011 ore 18.00 GIOVANNI BIETTI Don Giovanni martedì 11 ottobre 2011 ore 18.00 GIORGIO PESTELLI Clavicembalo francese a due manuali copia dello strumento di Goermans-Taskin, costruito attorno Le nozze di Figaro alla metà del XVIII secolo (originale presso la Russell lunedì 24 ottobre 2011 ore 18.00 Collection di Edimburgo). MICHELE DALL’ONGARO Opera del M° cembalaro Luca Vismara di Seregno Acis and Galatea (MI); ultimato nel gennaio 1998. -
Program Notes for Classics 1: the Bohemian Spirit • Smetana – “The Moldau” from Má Vlast • Beethoven – Piano Concerto No
Program Notes for Classics 1: The Bohemian Spirit • Smetana – “The Moldau” from Má vlast • Beethoven – Piano Concerto No. 3 in C minor, Op. 37 • Dvořák – Symphony No. 7 in D minor, Op. 70 Bedřich Smetana “The Moldau” from Má vlast (My Country) THE VITAL STATS Composer: born March 2, 1824, Leitomischl (now Litomyšl), Bohemia; died May 12, 1884, Prague Works composed: Smetana wrote his six patriotic symphonic poems Má vlast between 1872-79. The second of these, The Moldau, was composed in three weeks during November 1874. World premiere: Adolf Čech conducted the first performance The Moldau on April 4, 1875, in Prague Instrumentation: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, triangle, 2 harps and strings. Estimated duration: 15, 11, 11 and 13 minutes, respectively During the years 1874-1879, Bedřich Smetana worked on a series of symphonic poems titled Má Vlast (My Country). The most famous of these, The Moldau (Vltava), written in late November-early December of 1874, musically represents the river Moldau, which flows through the countryside near Smetana’s childhood home in Bohemia. Smetana’s family was determined to preserve their national heritage and their native tongue from extinction by Austria’s systematic oppression of all things Czech. Because of that country’s deliberate attempts to destroy Czech as a living language, Smetana himself learned only German in school and spoke no Czech until adulthood. He felt it his mission as a composer to find and develop the Czech voice in music; this goal became the defining factor of Smetana’s compositional style and the driving spirit behind his creative impulses. -
Curriculum Vitae Update Spring 2012
Edwin Andereck Cover page for Curriculum Vitae update Spring 2012 My teaching interests and responsibilities at Luther are primarily collaborative, in that I teach 5 ½ of my six course load equivalents in one on one contact with approximately 28 students through applied voice lessons. This spring I have worked with eight of those students in preparations for their individual degree recitals or full senior recitals in anticipation of graduate school studies in music. As head of voice and opera I am responsible for coordinating and facilitating the Brudos Family Prize in Opera Performance, a high profile annual auditions and a recital with the donors, Al and Sally Brudos, in attendance. That scholarship is in its eleventh year, and students from my voice studio have been winners six of those years. Each week the students in my studio meet together for a voice class/seminar in which selected performances are critiqued by peers in the class and work is done by the performer in front of the class. The rest of my faculty load is taken by teaching a half course (2 credits) survey of vocal literature for voice. The two non-required vocal literature courses, Mus 267 and Mus 268, are taught in alternating years in the spring, and afford me the opportunity of engaging the students in conversation concerning poetry (in English, German, Italian, Spanish, and French), compositional styles, great recorded performances, and historical and cultural perspective. There is a seven page writing assignment that is primarily subjective in nature, but formal in writing style, that provides students opportunity to practice writing skills.