Music Catalogue 2021
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Parsifal and Canada: a Documentary Study
Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article. -
London Symphony Orchestra with Sir Simon Rattle, Music Director
LONDON SYMPHONY ORCHESTRA WITH SIR SIMON RATTLE, MUSIC DIRECTOR PROGRAM BARTÓK Concerto for Orchestra (1881 – 1945) Duke Bluebeard’s Castle VILLA-LOBOS Bachianas Brasileiras No. 5 (1887 – 1959) MAHLER Symphony No. 4 in G Major (1860 – 1911) PROGRAM NOTES Written by Dan Ruccia BÉLA BARTÓK CONCERTO FOR ORCHESTRA Times were rough for Béla Bartók in 1943. He and his wife, pianist Ditta Pázstory, had migrated to the United States in 1940 to escape the pro-Nazi regime in Hungary, but had found limited success as performers. To survive, Bartók did some ethnomusicological work at Columbia and occasionally lectured there and at and Harvard, but he was generally unsatisfied with his situation. To make matters worse, his health had recently deteriorated; in February 1943, he collapsed after a lecture at Harvard. When he was admitted to the hospital, he weighed only 87 pounds. It wasn’t clear how much longer he had to live. Initially, the nature of Bartók’s illness was unclear. Early diagnoses included tuberculosis and polycythemia. It was only in April 1944 that doctors pinned down his actual diagnosis—chronic myeloid leukemia—but by then, there was little that could be done. In May 1943, conductor Serge Koussevitzky of the Boston Symphony commissioned a new orchestral work from Bartók through the recently formed Koussevitzky Music Foundation. The ailing composer was initially hesitant; he did not want to take a commission that he might not be able to finish. But Koussevitzky insisted that the commission was a fait accompli and the money could only go to Bartók. With the commission in hand, it seems that Bartók became energized. -
UNITEL PROUDLY REPRESENTS the INTERNATIONAL TV DISTRIBUTION of Browse Through the Complete Unitel Catalogue of More Than 2,000 Titles At
UNITEL PROUDLY REPRESENTS THE INTERNATIONAL TV DISTRIBUTION OF Browse through the complete Unitel catalogue of more than 2,000 titles at www.unitel.de Date: March 2018 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] CONTENT BRITTEN: GLORIANA Susan Bullock/Toby Spence/Kate Royal/Peter Coleman-Wright Conducted by: Paul Daniel OPERAS 3 Staged by: Richard Jones BALLETS 8 Cat. No. A02050015 | Length: 164' | Year: 2016 DONIZETTI: LA FILLE DU RÉGIMENT Natalie Dessay/Juan Diego Flórez/Felicity Palmer Conducted by: Bruno Campanella Staged by: Laurent Pelly Cat. No. A02050065 | Length: 131' | Year: 2016 OPERAS BELLINI: NORMA Sonya Yoncheva/Joseph Calleja/Sonia Ganassi/ Brindley Sherratt/La Fura dels Baus Conducted by: Antonio Pappano Staged by: Àlex Ollé Cat. -
Musicaeterna Teodor Currentzis Direction Hélène Grimaud Piano
2019 20:00 02.10.Grand Auditorium Mercredi / Mittwoch / Wednesday Grands solistes musicAeterna Teodor Currentzis direction Hélène Grimaud piano Maurice Ravel (1875–1937) Concerto pour piano en sol majeur (G-Dur) (1929–1931) Allegramente Adagio assai Presto 23’ — Sergueï Prokofiev (1891–1953) Roméo et Juliette. Ballet op. 64 (extraits) (1935/1940) 50’ D’Knipserten Martin Fengel Les liens entre le monde de la musique et notre Banque sont anciens et multiples. Ils se traduisent par le soutien que nous avons apporté pendant de longues années à la production discographique de l’Orchestre Philharmonique du Luxembourg, notre rôle de mécène au lancement des cycles « Jeunes publics » de la Philharmonie ou les nombreux concerts que nous accueillons au sein de notre Auditorium. Redevables à l’égard de la communauté luxembourgeoise qui nous offre le cadre de notre développement, notre tradi- tion de mécène en est la contrepartie. C’est ainsi que nous nous sommes engagés depuis toujours dans la vie de la cité, en soutenant tout naturellement la Philharmonie lors de la création de sa Fondation Écouter pour Mieux s’Entendre (EME) qui vise à donner accès à la musique aux personnes qui en sont généralement exclues. Nous sommes particuliè- rement fiers d’être à ses côtés pour célébrer cette année son 10e anniversaire. Ce soir, la pianiste Hélène Grimaud accompagnera l’orchestre musicAeterna, sous la direction du talentueux chef d’orchestre Teodor Currentzis. Il y a 20 ans déjà, la Banque de Luxembourg avait le plaisir d’accueillir cette artiste aux talents multiples dans le cadre de sa série de concerts Burleske, organisés à l’Auditorium de son siège à une époque où la musique de chambre manquait d’espaces dédiés. -
56 0809Englisch.Pdf
A Wien Holding Company Intendant Roland Geyer General sponsors of the Theater an der Wien The Theater an der Wien recieves subsidies from the Cultural Department of the City of Vienna insNoten130x205_4c_E_TheaterRZ 04.06.2008 13:53 Uhr Seite 1 „WHOEVER HEARS BUTTERFLIES LAUGHING, KNOWS THE SCENT OF CLOUDS“ (Novalis) he butterfly is a wonderful symbol of transformation and freedom. And this is a requirement that art repeatedly demands, too. The mysterious Tmetamorphosis of the ugly caterpillar into the magnificent butterfly has sti- mulated man’s imagination from time immemorial. Everyone who watches Where does a butterfly is struck by its beauty, elegance and lightness. The ancient ability to think in images and symbols is inside each one of us – and in the world of opera, too. The opera is a treasure-house of the music call the tune? irrational. It unfolds “our imagination’s most beautiful alternative world.” Mozart himself confessed, “I need only to hear talk about opera, I need only to be in the theatre and hear voices – it suffices to transport me utterly.” The Theater an der Wien, the new opera house, is aiding a development in our city that no one can now fail to notice: more and more people with an interest in culture, and younger people too, are going to the opera! They are looking for a space where dreams and longings can unfold freely with great emotion and even pathos – and the opera provides a meeting place for them: everything appears bathed in “bright” light, and in this light one is drawn in by enchanting sounds. -
Accessible Paris
ACCESS_GB.pdf 1 13/06/2018 17:05 Guide for visitors with -2020 disabilities 2019 Accessible Paris C M J CM MJ CJ CMJ N PA EN_05_09_18 BIS.indd 1 07/09/2018 09:36 CONTENTS p.04 Arriving in Paris p.06 Ge ing around on public transpo p.08 Ge ing around by private transpo p.10 Staying in accessible accommodation p.14 Eating out in accessible places For more information on all the subjects touched p.16 Visiting museums and monuments on in this brochure, visit our website PARISINFO.com, p.20 Outings in Paris rubric ‘Practical Paris’, subheading ‘Visiting Paris p.22 Ente ainment and leisure in Paris with a disability’. p.24 Making your trip easy PARIS TOURIST OFFICE p.26 A promenade along the banks of the Seine 144 bd Macdonald, 75019 Paris – France. Publication manager: Nicolas Lefebvre. Contents: Hervé Guillon. Translation: D. Lindsay-Mc Geown. Design: Graphéine | PCVB. Production: PCVB. Cover photo and p.02: © Hugo Michaudel. Prepress: RVB Éditions. Printed by: Imprimerie des Hauts de Vilaine 35221 Châteaubourg – France. Printing completed in: September 2018. Legal deposit: September 2018. 02 PA EN_05_09_18 BIS.indd 2 06/09/2018 18:31 WELCOME TO PARIS! Paris is one of the cities that welcome the biggest number of tourists worldwide. Its exceptional architectural and cultural heritage, restaurants with renowned gastronomy, its vast public trans- port network, numerous shops and magnificent parks are constantly improving their accessibility. The Paris Tourist Office has designed this booklet to make it easier for you to discover Paris and its surroundings. -
Atlanta Chamber Players, "Music of Norway"
ATLANTA CHAMBER PLAYERS Music of Norway featuring Efe Baltacigil, cello David Coucheron and Helen Hwaya Kim, violins Julie Coucheron and Elizabeth Pridgen, piano Monday, March 6, 2017 at 8 pm Dr. Bobbie Bailey & Family Performance Center, Morgan Hall Eighty-ninth Concert of the 2016-17 Concert Season program JOHAN HALVORSEN (1864-1935) Concert Caprice on Norwegian Melodies David Coucheron and Helen Hwaya Kim, violins EDVARD GRIEG (1843-1907) Andante con moto in C minor for Piano Trio David Coucheron, violin Efe Baltacigil, cello Julie Coucheron, piano EDVARD GRIEG Violin Sonata No. 3 in C minor, Op. 45 Allegro molto ed appassionato Allegretto espressivo alla Romanza Allegro animato - Prestissimo David Coucheron, violin Julie Coucheron, piano INTERMISSION JOHAN HALVORSEN Passacaglia for Violin and Cello (after Handel) David Coucheron, violin Efe Baltacigil, cello EDVARD GRIEG Cello Sonata in A minor, Op. 36 Allegro agitato Andante molto tranquillo Allegro Efe Baltacigil, cello Elizabeth Pridgen, piano featured musician FE BALTACIGIL, Principal Cello of the Seattle Symphony since 2011, was previously Associate Principal Cello of The Philadelphia Orchestra. EThis season highlights include Brahms' Double Concerto with the Oslo Radio Symphony and Vivaldi's Double Concerto with the Seattle Symphony. Recent highlights include his Berlin Philharmonic debut under Sir Simon Rattle, performing Bottesini’s Duo Concertante with his brother Fora; performances of Tchaikovsky’s Variations on a Rococo Theme with the Bilkent & Seattle Symphonies; and Brahms’ Double Concerto with violinist Juliette Kang and the Curtis Symphony Orchestra. Baltacıgil performed a Brahms' Sextet with Itzhak Perlman, Midori, Yo-Yo Ma, Pinchas Zukerman and Jessica Thompson at Carnegie Hall, and has participated in Yo-Yo Ma’s Silk Road Project. -
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. -
1 CRONOLOGÍA LICEÍSTA Se Incluye Un Listado Con Las
CRONOLOGÍA LICEÍSTA Se incluye un listado con las representaciones de Aida, de Giuseppe Verdi, en la historia del Gran Teatre del Liceu. Estreno absoluto: Ópera del Cairo, 24 de diciembre de 1871. Estreno en Barcelona: Teatro Principal, 16 abril 1876. Estreno en el Gran Teatre del Liceu: 25 febrero 1877 Última representación en el Gran Teatre del Liceu: 30 julio 2012 Número total de representaciones: 454 TEMPORADA 1876-1877 Número de representaciones: 21 Número histórico: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21. Fechas: 25 febrero / 3, 4, 7, 10, 15, 18, 19, 22, 25 marzo / 1, 2, 5, 10, 13, 18, 22, 27 abril / 2, 10, 15 mayo 1877. Il re: Pietro Milesi Amneris: Rosa Vercolini-Tay Aida: Carolina de Cepeda (febrero, marzo) Teresina Singer (abril, mayo) Radamès: Francesco Tamagno Ramfis: Francesc Uetam (febrero y 3, 4, 7, 10, 15 marzo) Agustí Rodas (a partir del 18 de marzo) Amonasro: Jules Roudil Un messaggiero: Argimiro Bertocchi Director: Eusebi Dalmau TEMPORADA 1877-1878 Número de representaciones: 15 Número histórico: 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36. Fechas: 29 diciembre 1877 / 1, 3, 6, 10, 13, 23, 25, 27, 31 enero / 2, 20, 24 febrero / 6, 25 marzo 1878. Il re: Raffaele D’Ottavi Amneris: Rosa Vercolini-Tay Aida: Adele Bianchi-Montaldo Radamès: Carlo Bulterini Ramfis: Antoine Vidal Amonasro: Jules Roudil Un messaggiero: Antoni Majjà Director: Eusebi Dalmau 1 7-IV-1878 Cancelación de ”Aida” por indisposición de Carlo Bulterini. -
20 to 25 March Free Concert Programme Welcome Kathryn Mcdowell
LSO FUTURES 20 to 25 March Free concert programme Welcome Kathryn McDowell In the third event of the festival on Sunday 24 March, the LSO performs a unique concert, presenting music that spills off the concert stage, into the hall and out to the community beyond. We begin in the foyers with a performance of David Lang’s the public domain given by the London Symphony Chorus and singers from the local community. I would like to take the opportunity to offer a very warm welcome to all those who have joined us to participate in this project, which was developed in collaboration with Culture Mile. Continuing in the Barbican Hall, LSO Principal Guest Conductor François-Xavier Roth conducts the UK premiere of Philippe Manoury’s Ring with the Orchestra distributed elcome to LSO Futures, our triennial throughout all three levels of the concert festival of new and contemporary hall. The world premiere of Donghoon Shin’s music, which this year explores the Kafka’s Dream follows, a commission of the theme of ‘space’ over four boundary-pushing LSO’s Panufnik Composers Scheme, before events. The festival begins on Wednesday 20 Scriabin’s Symphony No 4, ‘Poem of Ecstasy’ March with Getting It Right? New Music/ closes the concert. New Technologies, a creative forum hosted by Guildhall School in collaboration with Monday 25 March brings LSO Futures to a LSO Discovery. The forum starts with a close as François-Xavier Roth joins us once sound installation devised by students more to lead a day of workshops at LSO from the Guildhall School’s Electronic Music St Luke’s. -
Connection/Separation
Friday, February 12, 2021 | 4 PM MANHATTAN SCHOOL OF MUSIC OPERA THEATRE Tazewell Thompson, Director of Opera Studies presents Connection/Separation Featuring arias and scenes from Carmen, Così fan tutte, Die Zauberflöte, La clemenza di Tito, L’elisir d’amore, Le nozze di Figaro, Les pêcheurs de perles, and Lucio Silla A. Scott Parry, Director MSM Opera Theatre productions are made possible by the Fan Fox and Leslie R. Samuels Foundation and the Joseph F. McCrindle Endowment for Opera Productions at Manhattan School of Music. Friday, February 12, 2021 | 4 PM MANHATTAN SCHOOL OF MUSIC OPERA THEATRE Tazewell Thompson, Director of Opera Studies presents Connection/Separation Featuring arias and scenes from Carmen, Così fan tutte, Die Zauberflöte, La clemenza di Tito, L’elisir d’amore, Le nozze di Figaro, Les pêcheurs de perles, and Lucio Silla A. Scott Parry, Director Myra Huang, Vocal Coach & Pianist Kristen Kemp, Vocal Coach & Pianist Megan P. G. Kolpin, Props Coordinator DIRECTOR’S NOTE In each of our lives—during this last year especially—we may have discovered ourselves in moments of wanting, even needing some sort of human connection, but instead finding separation by any number of barriers. In the arias and scenes that follow, we witness characters in just this kind of moment; searching for meaningful contact yet being somehow barred from achieving it. Through circumstance, distance, convention, misunderstanding, pride, fear, ego, or what have you, we may find ourselves in situations similar to the characters in this program, while looking forward to the days when connection can be more easily achieved and separation the exception to the rule. -
Pag 01 Para Nuevo Pdf.Qxd 29/08/2003 23:06 Pægina 1 EL CULTURAL 4-10 De Septiembre De 2003 Www .Elcultural.Es
pag 01 para nuevo pdf.qxd 29/08/2003 23:06 PÆgina 1 EL CULTURAL 4-10 de septiembre de 2003 www .elcultural.es Bienvenidos al Cabaret de los cinéfilos Estrenamos, el próximo jueves, la Filmoteca de El Cultural. Grandes escritores y cineastas analizarán cada semana las míticas películas de la colección. Cabrera Infante abre nuestro Cabaret pag 03 nuevo pdf.qxd 29/08/2003 22:46 PÆgina 3 PRIMERA PALABRA La creación política POR JOSÉ ANTONIO MARINA Hemos convertido la política en el n sol de justicia ajustició a París este ran mariposas y luego las suelta, sin pincharlas en verano. Pero hoy la ciudad aprovecha un un muestrario, por una especie de fair play que lado feo de la vida social, y la cul- Udulce presentimiento de otoño. Escribo le impide ser pedante. Un ser de lejanías contiene tura en el lado hermoso. Aquélla es en el Café Procope que frecuentaron Robes- una convincente teoría de la literatura. En un pierre, Danton, Marat, Napoleón, y otros enfe- arranque bergsoniano, la describe como el em- un afrodisíaco para ambiciosos, ésta brecidos. He venido para recorrer los lugares peño de la lengua por explorar sus posibilidades. de la Revolución francesa, y mientras escucho “La lengua elige a unos cuantos tipos para ex- un licor suave para exquisitos. Po- ecos perdidos en el Palais Royal, en la Concier- presarse, para salvarse, para decir lo mucho que nemos en una orilla el ejercicio del gerie, en las diez mil habitaciones del palacio tiene que decir, para decirse a sí misma”. La li- de Versalles, doy vueltas a un problema.