Howard HANSON Merry Mount
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Resource 2 Mayflower Passenger List
Resource 2. Mayflower passenger list A full list of passengers and crew are listed in this booklet: Edward Tilley, Pilgrim separatist Saints Agnus Cooper, Edward’s wife John Carver, Pilgrim separatist Henry Sampson, servant of Edward Tilley Humility Cooper, servant of Edward Tilley Catherine White, John’s wife John Tilley, Edwards’s brother, Pilgrim separatist Desire Minter, servant of John Carver Joan Hurst, John’s wife John Howland, servant of John Carver Elizabeth Tilley, John’s daughter Roger Wilder, servant of John Carver William Latham, servant of John Carver Jasper More, child travelling with the Carvers Francis Cook, Pilgrim separatist A maidservant of John Carver John Cook, Francis’ son William Bradford, Pilgrim separatist Thomas Rogers, Pilgrim separatist Dorothy May, William’s wife Joseph Rogers, Thomas’ son Edward Winslow, Pilgrim separatist Thomas Tinker, Pilgrim separatist Elizabeth Barker, Edward’s wife Wife of Thomas Tinker George Soule, servant of Edward Winslow Son of Thomas Tinker Elias Story, servant of Edward Winslow Ellen More, child travelling with the Winslows Edward Fuller, Pilgrim separatist Gilbert Winslow, Edward’s brother Ann Fuller, Edward’s wife Samuel Fuller, Edward’s son William Brewster, Pilgrim separatist Samuel Fuller, Edward’s Brother, Pilgrim separatist Mary Brewster, William’s wife Love Brewster, William’s son John Turner, Pilgrim separatist Wrestling Brewster, William’s son First son of John Turner Richard More, child travelling with the Brewsters Second son of John Turner Mary More, child travelling -
Samuel Ramey
welcome to LOS i\Ilgeles upera http://www.losangelesopera.comlproduction/index.asp?... •• PURCHASE TICKETS • 2003/2004 SEASON LA AMNATION DE FAD T La damnation de Faust The damnation of Faust / Hector Berlioz Nicholas and In French with English Supertitles Ticket Information Alexandra Lucia di Samuel Ramey, Synopsis Lammermoor r-----------.., Program Notes Denyce Graves and Photo Gallery Orfeo ed Euridice Paul Groves star in a spectacular new Recital: production by Achim Ask an Expert Hei-Kyung Hong Forward to a Freyer with Kent Friend Recital: Cecilia Nagano conducting. Bartoli Generously Madama Europe's master Underwritten by: Butterfly theatre artist Achim Freyer matches his New production Die Frau ohne made possible by a Schatten painterly visual imagery with Hector generous gift from Mr. and Mrs. Recital: Dmitri Berlioz's vivid musical imagination in the premiere of Hvorostovsky Milan Panic this new production featuring a cast of more than Le nozze di 100 singers and dancers. The legend of Faust, which Figaro tells the story of the man who sold his soul to the II trovatol'"e Devil, has captivated great imaginations for centuries. Marlowe, Goethe, Gounod, Schumann, Liszt, Mahler and Stravinsky all found inspiration in SEASON G!J1]) the Faust tale, which continues to reverberate in SPONSOR Audt today's modern world. Originally conceived as an oratoriO, Hector Berlioz's dramatic La damnation de Faust is now a mainstay of opera houses around the world. Haunting melodies and startling orchestrations flood the score and illustrate the beWitching tale of Faust's desperate struggle for power, riches, youth and, ultimately, redemption. PRODUCTION DATES: Wednesday September 10, 20036:30 p.m. -
Prince Igor Knyaz Igor Page 1 of 3 Opera Assn
San Francisco Civic 1996-1997 Prince Igor Knyaz Igor Page 1 of 3 Opera Assn. Auditorium Prince Igor (in Russian) Opera in five acts by Alexander Borodin Libretto by Alexander Borodin, after a scenario by Stasov Based on a 12th-century Russian epic "Song of the Army of Prince Igor" (See Notes) Conductor CAST Alexander Anissimov Igor Svyatoslavich, Prince of Seversk Sergei Leiferkus Production Galitsky, Prince of Galich, brother of Princess Yaroslavna Jeffrey Wells Francesca Zambello Vladimir Igorevich, Igor's son by his first marriage Mark Baker Designer Musicians: Skula Vladimir Ognovenko Zack Brown Musicians: Yeroshka Konstantin Pluzhnikov Lighting Designer Gary Rideout (9/10,13,15,21) Thomas J. Munn Yaroslavna, Igor's second wife Lauren Flanigan Sound Designer Yaroslavna's Nurse Catherine Cook Roger Gans Konchakovna, daughter of Khan Konchak Elena Zaremba Chorus Director Ovlur, a Christian Polovtsian Dennis Petersen Ian Robertson Konchak, Polovtsian Khan Paata Burchuladze Choreographer Solo dancers Teimuraz Koridze Alphonse Poulin Badri Esatia Musical Preparation Susanna Lemberskaya Bryndon Hassman *Role debut †U.S. opera debut Peter Grunberg PLACE AND TIME: The Russian city of Putivl; a Polovtsian Ian Robertson encampment on the Russian Steppes Svetlana Gorzhevskaya Supertitles Christopher Bergen Prompter Jonathan Khuner Assistant Stage Director Paula Williams Assistant Stage Director Yefim Maizel Stage Manager Jerry Sherk Fight Consultant Larry Henderson Friday, September 6 1996, at 6:30 PM PART I Tuesday, September 10 1996, at 8:00 -
Download PDF Resume
Elena Flores SOPRANO STAGE EXPERIENCE Frasquita¹ Greensboro Opera Carmen — Bizet The Foreign Woman UNC Greensboro The Consul — Menotti Dancer UNC Greensboro Speed Dating Tonight! — Michael Ching Sister Constance UNC Greensboro The Dialogues of the Carmelites — Poulenc Laetitia UNC Greensboro The Old Maid and the Thief — Menotti Soprano Soloist Saint Mary's Episcopal Church, High Point NC Mozart Coronation Mass in C, K. 317 CONTACT Adele Shenandoah University Die Fledermaus — Johann Strauss II address Cendrillon Shenandoah University 1901 San Fernando Drive Cendrillon — Massenet High Point, NC 27265 First Lady, Queen of the Night Bethesda Summer Music Festival email Die Zauberflöte — Mozart [email protected] Judy Shenandoah University online portfolio This is the Rill Speaking — Lee Hoiby elenafloressoprano.com Donna Anna¹, Chorus Shenandoah University Don Giovanni — Mozart phone 540-645-1745 Soloist Maryland Symphony Orchestra Opera Cat (2013-14) Mother Duck, Igor UNC Greensboro AWARDS The Ugly Duckling Grand Prize Winner 2016 Mrs. Lovett Bethesda Summer Music Festival UNC Greensboro Student Artist Sweeney Todd Competition Goldilocks Riverside Dinner Theater Cecilia Award for Vocal 2015 Goldilocks and the Christmas Bears Excellence Shenandoah University EDUCATION Forest-Parker Excellence 2015 Masters in Music UNC Greensboro in Voice Award Vocal Performance 2015 - 2017 Shenandoah University Bachelors of Music Shenandoah University Vocal Performance 2011 - 2015 RELATED SKILLS German Opera Experience James Madison University Brahms Lieder -
Of Gay Sinners and Grizzly Saints Keweloh, Carina
Of Gay Sinners and Grizzly Saints Keweloh, Carina In: Student Journal of the Department of Anglophone Studies / Volume 1 (2018) This text is provided by DuEPublico, the central repository of the University Duisburg-Essen. This version of the e-publication may differ from a potential published print or online version. DOI: https://doi.org/10.17185/duepublico/47604 URN: urn:nbn:de:hbz:464-20181123-141434-3 Link: https://duepublico.uni-duisburg-essen.de:443/servlets/DocumentServlet?id=47604 License: As long as not stated otherwise within the content, all rights are reserved by the authors / publishers of the work. Usage only with permission, except applicable rules of german copyright law. Source: This essay was initially submitted as a term paper in the BA seminar “Religion in American Culture” and supervised by Dr Melissa Knox-Raab. Published in Student Journal of the Department of Anglophone Studies (Vol. 1, 2018) Of Gay Sinners and Grizzly Saints Fundamentalism in “The May-Pole of Merry Mount” CARINA KEWELOH1 Nathaniel Hawthorne’s stories often depict Puritans as superstitious, intolerant, patriarchal and oppressive, which led to the belief he held a negative attitude towards them. However, “The May-Pole of Merry Mount”2 suggests that this resentment is not specifically directed towards Puritans. Hawthorne’s short story rather exposes the dangers of fundamentalism in general. This essay scrutinizes both the portrayal of the community of Merry Mount and the Puritans in the short story to explore the features of fundamentalism they depict. Finally, the restricting and impairing effects of both fundamentalist communities will be assessed using the example of Edgar and Edith, the young couple at the center of Hawthorne’s tale. -
EASTMAN NOTES JUNE 2004 Draft: Final Date: 6/15/2004 INSIDE
NOTES JUNE 2004 A MAGAZINE FOR ALUMNI OF THE EASTMAN SCHOOL OF MUSIC FROM THE EDITOR The right “stu≠” Dear Eastman Alumni: We like Notes’ new look, and it seems you do too. Response has been unani- mously favorable; perhaps we should consider a Steve Boerner–David Cowles NOTES presidential ticket for 2008. I’d vote for them; these two artists made “Notes Volume 22, Number 2 nouveau” a pleasure, and I’m glad the pleasure was conveyed in the magazine June 2004 itself. I write the stuff, but they (and our photographers) make it look good! We also had a tremendous response to our “Eastman Alumni on CD” feature; Editor see pages 33¬34. And enough of you commented on different editorial aspects of David Raymond Notes (not always favorably) that we have a “Letters to the Editor” section, which Assistant editor may be a first for us. Christina Casey This issue of Notes is admittedly filled with history, but Susan Conkling’s re- Contributing writers minder of the great women who shaped both American music and Eastman, and Martial Bednar Amy Blum Paul Burgett’s reminder of four black composers who Christine Corrado played an important part in Eastman history, are stories Contributing photographers worth telling. As is the story of the success of Howard Kurt Brownell Hanson’s Merry Mount at the Met in 1934—a remarkable Gelfand-Piper Photography event, when you think about it. I should add a special Bob Klein Photography word of thanks here to David Peter Coppen, the Sibley Carlos Ortiz Don Ver Ploeg/VP Communications Library Archivist, who is always helpful with providing Amy Vetter historical photographs and other materials for Notes, but Photography coordinator outdid himself for these three articles. -
Hawthorne's Conception of History: a Study of the Author's Response to Alienation from God and Man
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1979 Hawthorne's Conception of History: a Study of the Author's Response to Alienation From God and Man. Lloyd Moore Daigrepont Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Daigrepont, Lloyd Moore, "Hawthorne's Conception of History: a Study of the Author's Response to Alienation From God and Man." (1979). LSU Historical Dissertations and Theses. 3389. https://digitalcommons.lsu.edu/gradschool_disstheses/3389 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. -
2005 Next Wave Festival
November 2005 2005 Next Wave Festival Mary Heilmann, Last Chance for Gas Study (detail), 2005 BAM 2005 Next Wave Festival is sponsored by: The PerformingNCOREArts Magazine Altria 2005 ~ext Wave FeslliLaL Brooklyn Academy of Music Alan H. Fishman William I. Campbell Chairman of the Board Vice Chairman of the Board Karen Brooks Hopkins Joseph V. Melillo President Executive Prod ucer presents Symphony No.6 (Plutonian Ode) & Symphony No.8 by Philip Glass Bruckner Orchestra Linz Approximate BAM Howard Gilman Opera House running time: Nov 2,4 & 5, 2005 at 7:30pm 1 hour, 40 minutes, one intermission Conducted by Dennis Russell Davies Soprano Lauren Flanigan Symphony No.8 - World Premiere I II III -intermission- Symphony No. 6 (Plutonian Ode) I II III BAM 2005 Next Wave Festival is sponsored by Altria Group, Inc. Major support for Symphonies 6 & 8 is provided by The Robert W Wilson Foundation, with additional support from the Austrian Cultural Forum New York. Support for BAM Music is provided by The Aaron Copland Fund for Music, Inc. Yamaha is the official piano for BAM. Dennis Russell Davies, Thomas Koslowski Horns Executive Director conductor Gerda Fritzsche Robert Schnepps Dr. Thomas Konigstorfer Aniko Biro Peter KeserU First Violins Severi n Endelweber Thomas Fischer Artistic Director Dr. Heribert Schroder Heinz Haunold, Karlheinz Ertl Concertmaster Cellos Walter Pauzenberger General Secretary Mario Seriakov, Elisabeth Bauer Christian Pottinger Mag. Catharina JUrs Concertmaster Bernhard Walchshofer Erha rd Zehetner Piotr Glad ki Stefa n Tittgen Florian Madleitner Secretary Claudia Federspieler Mitsuaki Vorraber Leopold Ramerstorfer Elisabeth Winkler Vlasta Rappl Susanne Lissy Miklos Nagy Bernadett Valik Trumpets Stage Crew Peter Beer Malva Hatibi Ernst Leitner Herbert Hoglinger Jana Mooshammer Magdalena Eichmeyer Hannes Peer Andrew Wiering Reinhard Pirstinger Thomas Wall Regina Angerer- COLUMBIA ARTISTS Yuko Kana-Buchmann Philipp Preimesberger BrUndlinger MANAGEMENT LLC Gorda na Pi rsti nger Tour Direction: Gudrun Geyer Double Basses Trombones R. -
Thomas Morton As America's First Behavioral Observer (In New England 1624-1646)
Bulletin of the Psychonomic Society 1987, 25(1), (I}-,72 Thomas Morton as America's first behavioral observer (in New England 1624-1646) PHILIP HOWARD GRAY Montana State University, Bozeman, Montana As a falconer and lawyer in England, Thomas Morton was well trained to become the first be havioral observer in America. From his arrival in Massachusetts in 1624 to his forced removal in 1628 (he offended the Pilgrims by intercepting the beaver trade and offended the Puritans by refusing to accept their authority), he made many observations on the region's animals and Indians. These observations were collected in his book, published in 1637. Criticisms of Morton by the New England theocrats have been endlessly repeated by historians who fail to recognize Morton's value as an amateur psychologist and ethologist, and a very early one at that. Thomas Morton, gentleman, lawyer, sportsman, and tribes of William Bradford, who believed Morton to be pioneer settler in Massachusetts, lived among the Indians, guilty of everything from selling guns to the Indian men noted their manners and customs, hunted, traded, and to dancing around the maypole with Indian women, treat made friends with them. Equally important, Morton was ing the latter "most filthily" (Davis, 1908, p. 238). This an eager observer and cataloguer of the animals of the type of complaint is echoed by Adams (1892, p. 170), woods, skies, and sea. This information was collected dur who called Morton an old debauchee, tippler, and reck ing the first two decades of New England's colonization less libertine with neither morals nor religion, and An and set down in his New English Canaan or New Canaan, drews (1934), who extended Morton's presumed lack of published in Amsterdam in 1637 and readily available in morals to both conduct and thought. -
MUSIC; Must Sweet Always Yield to Sweat? - the New York Times
MUSIC; Must Sweet Always Yield To Sweat? - The New York Times http://www.nytimes.com/2001/04/29/arts/music-must-sweet-always-yield... This copy is for your personal, noncommercial use only. You can order presentation-ready copies for distribution to your colleagues, clients or customers, please click here or use the "Reprints" tool that appears next to any article. Visit www.nytreprints.com for samples and additional information. Order a reprint of this article now. » April 29, 2001 MUSIC By BERNARD HOLLAND ''DIE TOTE STADT'' got rough treatment from forward-looking commentators when it returned to the New York City Opera recently. Korngold's opera is certainly not ''Tristan und Isolde'' or even ''Moses und Aron,'' but operating on its own modest scale, it remains a gracefully executed piece of stagecraft. Its music, though illustrative, is more than mere illustration. Its story balances fact with fantasy, and the use of an opera company within an opera company offers nice allusions to appearance and reality. What troubles the heavier thinkers of the music world, I suspect, is that ''Die Tote Stadt'' goes down like ice cream. Its smooth, welcoming harmonic language -- like Richard Strauss on tranquilizers -- offers no resistance. ''Where is the challenge?'' its critics ask. Anything this accessible this quickly must have something wrong with it. Substance implies depths, and depths necessarily take time to plumb. The calendar may also be an irritant. Korngold's opera dates from 1920. Schoenberg's ''Pierrot Lunaire'' was already eight years old, Stravinsky's ''Sacre du Printemps'' seven. In science, as reflected in literature, art and music, the 20th century represented the march of progress: things evolved, grew, got better, smarter, purer. -
DIGITAL PROGRAM SCROLL to CONTINUE Click on Any Section Below to Jump to the Page
and Opera on Tap present, in association with Experiments in Opera DIGITAL PROGRAM SCROLL TO CONTINUE Click on any section below to jump to the page. SHOW INFO 3 BIOS 4 RESOURCES 15 DIGITAL PRIVACY KIT 15 PRODUCTION HISTORY 16 ABOUT HERE 18 MEMBERSHIP 20 HERE STAFF 21 FUNDING 22 SURVEY 25 HEREART 26 FOLLOW US 26 and Opera on Tap present, in association with Experiments in Opera Story by Rob Handel, Kristin Marting, and Kamala Sankaram Composed by Kamala Sankaram Libretto by Rob Handel Developed with, Co-Choreographed and Directed by Kristin Marting Music Direction by Samuel McCoy Performers Paul An, Adrienne Danrich, Blythe Gaissert, Eric McKeever, Mikki Sodergren, Brandon Snook, and Jorell Williams* Video Designer David Bengali Technologists Alessandro Acquisti, Ralph Gross Tablet Technologists Joe Holt, Daniel Dickison Scenic Designer Nic Benacerraf Costume Designer Kate Fry Lighting Designer Ayumu “Poe” Saegusa Choreographer Amanda Szeglowski Sound Engineer Nathaniel Butler Production Stage Manager Westie Productions Piano Mila Henry Saxophones Jeff Hudgins, Ed RosenBerg, Josh Sinton, and Matt Blanchard** Production Manager Michaelangelo De Serio Technical Director Eli Reid Assistant Costume Designer Tekla Monson Associate Video Designer Shefali Nayak Projection Animation Assistant Kathleen Fox Assistant Directors Anne Bakan, Sim Yan Ying Assistant Stage Manager/Wardrobe Manager Aoife Hough Stitcher Elise Walsh * 9/15–21 performances only ** 9/21 performances only Looking at You is made possible through the generous support of Carnegie Mellon University; Dashlane; KSF; Mental Insight Foundation; New England Foundation for the Arts; Puffin Foundation; Opera America’s Grants for Female Composers supported by the Virginia B. Toulmin Foundation and Opera America’s Innovation Fund supported by the Ann and Gordon Getty Foundation; and the New York State Council on the Arts, with the support of Governor Andrew Cuomo and the New York State Legislature. -
Children on the Mayflower
PILGRIM HALL MUSEUM America’s Oldest Continuous Museum – Located in Historic Plymouth Massachusetts www.pilgrimhallmuseum.org CHILDREN ON THE MAYFLOWER How many children were on the Mayflower? This seems like an easy question but it is hard to answer! Let’s say we wanted to count every passenger on the ship who was 18 years of age or younger. To figure out how old a person was in 1620, when the Mayflower voyage took place, you would need to know their date of birth. In some cases, though, there just isn’t enough information! On this list, we’ve included passengers who were probably or possibly age 18 or less. Some children were traveling with their families. Others came over as servants or apprentices. Still others were wards, or children in the care of guardians. There are 35 young people on the list. Some of them may have been very close to adulthood, like the servant Dorothy (last name unknown), who was married in the early years of Plymouth Colony. The list also includes Will Butten. He was a youth who died during the voyage and never arrived to see land. This list includes very young children and even some babies! Oceanus Hopkins was born during the Mayflower’s voyage across the Atlantic. The baby was given his unusual name as a result. Another boy, Peregrine White, was born aboard the ship while it was anchored at Cape Cod harbor - his name means traveler or “pilgrim.” A good source for more information on Mayflower passengers is Caleb Johnson’s http://mayflowerhistory.com/mayflower- passenger-list.