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Daniel Purcell the Judgment of Paris
Daniel Purcell The Judgment of Paris Anna Dennis • Amy Freston • Ciara Hendrick • Samuel Boden • Ashley Riches Rodolfus Choir • Spiritato! • Julian Perkins RES10128 Daniel Purcell (c.1664-1717) 1. Symphony [5:40] The Judgment of Paris 2. Mercury: From High Olympus and the Realms Above [4:26] 3. Paris: Symphony for Hoboys to Paris [2:31] 4. Paris: Wherefore dost thou seek [1:26] Venus – Goddess of Love Anna Dennis 5. Mercury: Symphony for Violins (This Radiant fruit behold) [2:12] Amy Freston Pallas – Goddess of War 6. Symphony for Paris [1:46] Ciara Hendricks Juno – Goddess of Marriage Samuel Boden Paris – a shepherd 7. Paris: O Ravishing Delight – Help me Hermes [5:33] Ashley Riches Mercury – Messenger of the Gods 8. Mercury: Symphony for Violins (Fear not Mortal) [2:39] Rodolfus Choir 9. Mercury, Paris & Chorus: Happy thou of Human Race [1:36] Spiritato! 10. Symphony for Juno – Saturnia, Wife of Thundering Jove [2:14] Julian Perkins director 11. Trumpet Sonata for Pallas [2:45] 12. Pallas: This way Mortal, bend thy Eyes [1:49] 13. Venus: Symphony of Fluts for Venus [4:12] 14. Venus, Pallas & Juno: Hither turn thee gentle Swain [1:09] 15. Symphony of all [1:38] 16. Paris: Distracted I turn [1:51] 17. Juno: Symphony for Violins for Juno [1:40] (Let Ambition fire thy Mind) 18. Juno: Let not Toyls of Empire fright [2:17] 19. Chorus: Let Ambition fire thy Mind [0:49] 20. Pallas: Awake, awake! [1:51] 21. Trumpet Flourish – Hark! Hark! The Glorious Voice of War [2:32] 22. -
Wednesday 16 September 1.00Pm Dame Sarah Connolly Mezzo-Soprano Malcolm Martineau Piano
Wednesday 16 September 1.00pm Dame Sarah Connolly mezzo-soprano Malcolm Martineau piano Francis Poulenc (1899-1963) Banalités (1940) (Guillaume Apollinaire) Chanson d’Orkenise Song of Orkenise Par les portes d’Orkenise Through the gates of Orkenise Veut entrer un charretier. a waggoner wants to enter. Par les portes d’Orkenise Through the gates of Orkenise Veut sortir un va-nu-pieds. a vagabond wants to leave. Et les gardes de la ville And the sentries guarding the town Courant sus au va-nu-pieds: rush up to the vagabond: ‘ – Qu’emportes-tu de la ville?’ ‘What are you taking from the town?’ ‘ – J’y laisse mon cœur entier.’ ‘I’m leaving my whole heart behind.’ Et les gardes de la ville And the sentries guarding the town Courant sus au charretier: rush up to the waggoner: ‘ – Qu’apportes-tu dans la ville?’ ‘What are you carrying into the town?’ ‘ – Mon cœur pour me marier.’ ‘My heart in order to marry.’ Que de cœurs dans Orkenise! So many hearts in Orkenise! Les gardes riaient, riaient, The sentries laughed and laughed: Va-nu-pieds la route est grise, vagabond, the road’s not merry, L’amour grise, ô charretier. love makes you merry, O waggoner! Les beaux gardes de la ville, The handsome sentries guarding the town Tricotaient superbement; knitted vaingloriously; Puis, les portes de la ville, the gates of the town then Se fermèrent lentement. slowly closed. Hôtel Hotel Ma chambre a la forme d’une cage My room is shaped like a cage Le soleil passe son bras par la fenêtre the sun slips its arm through the window Mais moi qui veux fumer pour -
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. -
Upbeat Autumn 2011
The Magazine for the Royal College of MusicI Autumn 2011 What’s inside... Welcome to upbeat… This issue we’re celebrating the 25th anniversary of the Britten Theatre, so we’ve been out and about collecting memories from those involved in the Contents opening of this much-loved venue. 4 In the news The theatre was opened in November 1986 with three spectacular gala concerts. Hidden away in the chorus was none other than leading mezzo- Updating you on recent College activities including museum soprano Sarah Connolly! Turn to page 11 to hear her memories of performing developments and competition with leaping Lords and dancers dressed as swans, all in aid of raising funds for successes the theatre. We also talk to Leopold de Rothschild, who as Chairman of the Centenary 9 New arrivals Appeal, played a significant role in making sure the project came to fruition. The RCM welcomes a host of new On page 14, he remembers conducting the RCM Symphony Orchestra and faces to the College reveals what the Queen said to him on opening night… We’re always keen to hear from students past and present, particularly if you 10 The Britten Theatre… the perfect showcase have any poignant memories of the Britten Theatre. Send your news and pictures to [email protected] by 9 January 2012 to be featured in the next As we celebrate 25 years of the edition of Upbeat. Britten Theatre, Upbeat discovers how the College is seeking ways to update and improve it for the NB: Please note that we cannot guarantee to include everything we receive and that we 21st century reserve the right to edit submissions. -
PRESS RELEASE for Immediate Release
PRESS RELEASE For immediate release MAAZEL: MAHLER CYCLE 2011 London’s only complete Mahler symphony cycle led by a single conductor 2011 is a year of major worldwide Mahler celebrations and the Philharmonia Orchestra is marking this event by bringing Lorin Maazel, one of the world’s finest Mahlerians, to London to perform a heroic one-man journey through all ten Mahler symphonies and four major orchestral song cycles over ten concerts from April-October 2011. Maazel and the Philharmonia presented the first complete Mahler symphony cycle in London 33 years ago, in 1978-9. This series also includes concerts in Basingstoke, Bristol, Gateshead, Hull, Manchester and Warwick, a 13-concert tour to France, Germany, Italy and Luxembourg and a tour of the Far East in spring 2012. As the only full symphony cycle in London taking place with a single conductor, this promises to be a very special exploration of the work of the great composer. Soloists include Michelle DeYoung, Simon Keenlyside, Sarah Fox, Matthias Goerne, Stefan Vinke and Sarah Connolly. The series also includes the Lieder eines fahrenden Gesellen, Rückert- Lieder, Des Knaben Wunderhorn and Das Lied von der Erde. Lorin Maazel said of Mahler, and of his own relationship with Mahler’s music: “He was a complete human being who had this genius for spanning the complete gamut of human emotions in sound. It’s the human quality, the person behind the notes as well as the music behind the notes that fascinates me. I really feel as if I’ve come to know Gustav Mahler, the person, intimately -
04 July 2020
04 July 2020 12:01 AM John Philip Sousa (1854-1932) Stars & Stripes forever – March Netherlands Radio Symphony Orchestra, Richard Dufallo (conductor) NLNOS 12:05 AM Thomas Demenga (1954-) Summer Breeze Andrea Kolle (flute), Maria Wildhaber (bassoon), Sarah Verrue (harp) CHSRF 12:13 AM Antonio Vivaldi (1678-1741) Concerto in C major, RV.444 for recorder, strings & continuo Il Giardino Armonico, Giovanni Antonini (recorder), Giovanni Antonini (director), Enrico Onofri (violin), Marco Bianchi (violin), Duilio Galfetti (violin), Paolo Beschi (cello), Paolo Rizzi (violone), Luca Pianca (theorbo), Gordon Murray (harpsichord), Duilio Galfetti (viola) DEWDR 12:23 AM Maurice Ravel (1875-1937) 3 Chansons for unaccompanied chorus BBC Singers, Alison Smart (soprano), Judith Harris (mezzo soprano), Daniel Auchincloss (tenor), Stephen Charlesworth (baritone), Stephen Cleobury (conductor) GBBBC 12:30 AM Bela Bartok (1881-1945) Out of Doors, Sz.81 David Kadouch (piano) PLPR 12:44 AM Franz Schubert (1797-1828) Rosamunde (Ballet Music No 2), D 797 Oslo Philharmonic Orchestra, Heinz Holliger (conductor) NONRK 12:52 AM John Cage (1912-1992) In a Landscape Fabian Ziegler (percussion) CHSRF 01:02 AM Jean-Francois Dandrieu (1682-1738) Rondeau 'L'Harmonieuse' from Pieces de Clavecin Book I Colin Tilney (harpsichord) CACBC 01:08 AM Bohuslav Martinu (1890-1959) The Frescoes of Piero della Francesca Slovak Radio Symphony Orchestra, Robert Stankovsky (conductor) SKSR 01:30 AM Richard Strauss (1864-1949) Metamorphosen for 23 solo strings (AV.142) Risor Festival Strings, -
Press Information Eno 2013/14 Season
PRESS INFORMATION ENO 2013/14 SEASON 1 #ENGLISHENO1314 NATIONAL OPERA Press Information 2013/4 CONTENTS Autumn 2013 4 FIDELIO Beethoven 6 DIE FLEDERMAUS Strauss 8 MADAM BUtteRFLY Puccini 10 THE MAGIC FLUte Mozart 12 SATYAGRAHA Glass Spring 2014 14 PeteR GRIMES Britten 18 RIGOLetto Verdi 20 RoDELINDA Handel 22 POWDER HeR FAce Adès Summer 2014 24 THEBANS Anderson 26 COSI FAN TUtte Mozart 28 BenvenUTO CELLINI Berlioz 30 THE PEARL FISHERS Bizet 32 RIveR OF FUNDAMent Barney & Bepler ENGLISH NATIONAL OPERA Press Information 2013/4 3 FIDELIO NEW PRODUCTION BEETHoven (1770–1827) Opens: 25 September 2013 (7 performances) One of the most sought-after opera and theatre directors of his generation, Calixto Bieito returns to ENO to direct a new production of Beethoven’s only opera, Fidelio. Bieito’s continued association with the company shows ENO’s commitment to highly theatrical and new interpretations of core repertoire. Following the success of his Carmen at ENO in 2012, described by The Guardian as ‘a cogent, gripping piece of work’, Bieito’s production of Fidelio comes to the London Coliseum after its 2010 premiere in Munich. Working with designer Rebecca Ringst, Bieito presents a vast Escher-like labyrinth set, symbolising the powerfully claustrophobic nature of the opera. Edward Gardner, ENO’s highly acclaimed Music Director, 2013 Olivier Award-nominee and recipient of an OBE for services to music, conducts an outstanding cast led by Stuart Skelton singing Florestan and Emma Bell as Leonore. Since his definitive performance of Peter Grimes at ENO, Skelton is now recognised as one of the finest heldentenors of his generation, appearing at the world’s major opera houses, including the Metropolitan Opera, New York, and Opéra National de Paris. -
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. -
NEWSLETTER of the American Handel Society
NEWSLETTER of The American Handel Society Volume XVIII, Number 1 April 2003 A PILGRIMAGE TO IOWA As I sat in the United Airways terminal of O’Hare International Airport, waiting for the recently bankrupt carrier to locate and then install an electric starter for the no. 2 engine, my mind kept returning to David Lodge’s description of the modern academic conference. In Small World (required airport reading for any twenty-first century academic), Lodge writes: “The modern conference resembles the pilgrimage of medieval Christendom in that it allows the participants to indulge themselves in all the pleasures and diversions of travel while appearing to be austerely bent on self-improvement.” He continues by listing the “penitential exercises” which normally accompany the enterprise, though, oddly enough, he omits airport delays. To be sure, the companionship in the terminal (which included nearly a dozen conferees) was anything but penitential, still, I could not help wondering if the delay was prophecy or merely a glitch. The Maryland Handel Festival was a tough act to follow and I, and perhaps others, were apprehensive about whether Handel in Iowa would live up to the high standards set by its august predecessor. In one way the comparison is inappropriate. By the time I started attending the Maryland conference (in the early ‘90’s), it was a first-rate operation, a Cadillac among festivals. Comparing a one-year event with a two-decade institution is unfair, though I am sure in the minds of many it was inevitable. Fortunately, I feel that the experience in Iowa compared very favorably with what many of us had grown accustomed Frontispiece from William Coxe, Anecdotes fo George Frederick Handel and John Christopher Smith to in Maryland. -
NEWSLETTER of the American Handel Society
NEWSLETTER of The American Handel Society Volume XVIII, Number 3 December 2003 HOUSTON GRAND OPERA’S GIULIO CESARE Giulio Cesare is one of Handel’s most justly celebrated operas. First performed in 1724, it was revived several times during the composer’s lifetime. Donald Burrows, in his Master Musicians biography of Handel selects the opera for detailed analysis, citing among its strengths, "a fast-moving plot, full of incident, and some of Handel’s best arias, as well as scenes that are spectacular from both musical and dramatic standpoints."1 During the twentieth century the opera was revived fairly regularly, though it often fell victim to the well-intentioned surgery of producers, directors and conductors. Music History teachers of a certain vintage can remember the Norton Anthology of Western Music recorded excerpt which featured the title role sung by Wagnerian bass Hans Hotter. It was also not so long ago when the choice of recorded versions was limited to a severely cut, Belliniesque ornamented American recording and an uncut every-da-capo-taken-but-unornamented German performance. Just two years ago, while preparing a performance of excerpts for an Opera Scenes class, I was frustrated in my attempts to find a score with the part of Caesar in treble clef, the choices being bass or alto clef. The recordings of Giulio Cesare have improved recently, but the work still awaits a critical edition and Handel’s beautiful yet lengthy score remains a challenging one for opera houses Keiichiro Watanabe March 2, 1932 - December 12, 2001 to realize on the stage. -
Paul Mccreesh Selected Reviews
Paul McCreesh Selected Reviews Recording CD: Purcell The Fairy Queen 1692, Gabrieli Consort, Signum Classics SIGCD615 (April 2020) “A fine recording ... scholarly and sensitive... McCreesh and his performers give their impressive all to the miraculous score.” - The Times “McCreesh’s production rises to the occasion: original voiving, unorthodox continuo, project-specific trumpet design and rediscovered string techniques bring out qualities missing from earlier recordings. Purcell’s hornpipes were never livelier, nor his chaconnes statelier, than in this performance.” - BBC Music Magazine (Opera Choice)***** “Impeccable ... McCreesh's labour of love has abundant nuances and transcedent beauty.” - Gramophone (Editor’s Choice) “For his work there can be nothing but praise, from the subtle subdued hues produced by his strings, set up and bowed in accord with 17th-century practice, to the gossamer-like touch he brings to so much of the score... McCreesh's Purcell … has no rival.” - Opera Magazine “…a blissful marriage of musicological inquisitiveness and artistic creativity”. - David Vickers, Gramophone “As always with Gabrieli, the music-making itself is top-notch … recommended in particular for Purcell enthusiasts.” - The Classic Review “Paul McCreesh and Gabrieli have become so accomplished at breathing new life into historical works and occasions that it’s difficult to give this latest recording the praise it deserves without becoming repetitive. Their trademark approach to authenticity continues to be a winning formula – recapturing the spirit, rather than the precise letter, of the original – and the performers all flit effortlessly between the narrative’s changes of mood. I can’t think of anyone who could give a better rendition of this Restoration 'feel-good' masterpiece.” - David Smith, Presto Classical “Applying the latest research, Paul McCreesh and his forces give a performance of engaging freshness and vitality . -
Sir Colin Davis Anthology Volume 1
London Symphony Orchestra LSO Live Sir Colin Davis Anthology Volume 1 Sir Colin Davis conductor Colin Lee tenor London Symphony Chorus London Symphony Orchestra Hector Berlioz (1803–1869) – Symphonie fantastique, Op 14 (1830–32) Recorded live 27 & 28 September 2000, at the Barbican, London. 1 Rêveries – Passions (Daydreams – Passions) 15’51’’ Largo – Allegro agitato e appassionato assai – Religiosamente 2 Un bal (A ball) 6’36’’ Valse. Allegro non troppo 3 Scène aux champs (Scene in the fields) 17’16’’ Adagio 4 Marche au supplice (March to the Scaffold) 7’02’’ Allegretto non troppo 5 Songe d’une nuit de sabbat (Dream of the Witches’ Sabbath) 10’31’’ Larghetto – Allegro 6 Hector Berlioz (1803–1869) – Overture: Béatrice et Bénédict, Op 27 (1862) 8’14’’ Recorded live 6 & 8 June 2000, at the Barbican, London. 7 Hector Berlioz (1803–1869) – Overture: Les francs-juges, Op 3 (1826) 12’41’’ Recorded live 27 & 28 September 2006, at the Barbican, London. Hector Berlioz (1803–1869) – Te Deum, Op 22 (1849) Recorded live 22 & 23 February 2009, at the Barbican, London. 8 i. Te Deum (Hymne) 7’23’’ 9 ii. Tibi omnes (Hymne) 9’57’’ 10 iii. Dignare (Prière) 8’04’’ 11 iv. Christe, Rex gloriae (Hymne) 5’34’’ 12 v. Te ergo quaesumus (Prière) 7’15’’ 13 vi. Judex crederis (Hymne et prière) 10’20’’ 2 Antonín Dvořák (1841–1904) – Symphony No 9 in E minor, Op 95, ‘From the New World’ (1893) Recorded live 29 & 30 September 1999, at the Barbican, London. 14 i. Adagio – Allegro molto 12’08’’ 15 ii. Largo 12’55’’ 16 iii.