Opera Oresteai 7-10 Opt 2 RBF Program 4-16 2
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Building Cultural Bridges: Benjamin Britten and Russia
BUILDING CULTURAL BRIDGES: BENJAMIN BRITTEN AND RUSSIA Book Review of Benjamin Britten and Russia, by Cameron Pyke Maja Brlečić Benjamin Britten visited Soviet Russia during a time of great trial for Soviet artists and intellectuals. Between the years of 1963 and 1971, he made six trips, four formal and two private. During this time, the communist regime within the Soviet Union was at its heyday, and bureaucratization of culture served as a propaganda tool to gain totalitarian control over all spheres of public activity. This was also a period during which the international political situation was turbulent; the Cold War was at its height with ongoing issues of nuclear armaments, the tensions among the United States, the Soviet Union, and the United Kingdom ebbed and flowed, and the atmosphere of unrest was heightened by the Vietnam War. It was not until the early 1990s that the Iron Curtain collapsed, and the Cold War finally ended. While the 1960s were economically and culturally prosperous for Western Europe, those same years were tough for communist Eastern Europe, where the people still suffered from the aftermath of Stalin thwarting any attempts of artistic openness and creativity. As a result, certain efforts were made to build cultural bridges between West and East, including efforts that were significantly aided by Britten’s engagements. In his book Benjamin Britten and Russia, Cameron Pyke portrays the bridging of the vast gulf achieved through Britten’s interactions with the Soviet Union, drawing skillfully from historical and cultural contextualization, Britten’s and Pears’s personal accounts, interviews, musical scores, a series of articles about Britten published in the Soviet Union, and discussions of cultural and political figures of the time.1 In the seven chapters of his book, Pyke brings to light the nature of Britten’s six visits and offers detailed accounts of Britten’s affection for Russian music and culture. -
VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item
VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just the slightest marks. For collectors searching top copies, you’ve come to the right place! The further we get from the time of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually with a translation of the text or similarly related comments. BESSIE ABOTT [s]. Riverdale, NY, 1878-New York, 1919. Following the death of her father which left her family penniless, Bessie and her sister Jessie (born Pickens) formed a vaudeville sister vocal act, accompanying themselves on banjo and guitar. Upon the recommendation of Jean de Reszke, who heard them by chance, Bessie began operatic training with Frida Ashforth. She subsequently studied with de Reszke him- self and appeared with him at the Paris Opéra, making her debut as Gounod’s Juliette. -
Marine Mammal Conservation from Local to Global
MARINE MAMMAL CONSERVATION FROM LOCAL TO GLOBAL 29TH CONFERENCE OF THE EUROPEAN CETACEAN SOCIETY 23rd to 25th March, 2015 Intercontinental Hotel, St Julian’s Bay, MALTA USEFUL INFORMATION VENUE – INTERCONTIMENTAL MALTA HOTEL, ST JULIANS Conference Hall, Cettina De Cesare (CDC), is in hotel. Paranga Beach Club is on the water edge in St George’s Bay. 29th ECS Conference, Malta i USEFUL INFORMATION CONTACT NUMBERS Direct Dialling Code for Malta: +356 International Code (to make an overseas call): 00 Emergency number: 112 Police: 21 22 40 01 … 21 22 40 07 Mater-Dei Hospital (Malta): 25 45 00 00 Malta International Airport (General Inquiries): 21 24 96 00 Malta International Airport (Flight Information): 52 30 20 00 (each call: € 1.00) Passport Office: 21 22 22 86 WEBSITES Malta International Airport (note one ‘a’ between Malta and Airport!) Malta’s weather www.maltairport.com/weather Arrivals www.maltairport.com/arrivals Departures www.maltairport.com/departures Activities in Malta www.visitmalta.com 29th ECS Conference, Malta ii ACKNOWLEDGEMENTS HOSTED BY The Biological Conservation Research Foundation (BICREF) The NGO BICREF was set-up in 1998 to promote conservation research and awareness in Malta. For this purpose it welcomes Internships in Malta; the next call starts immediately after the ECS conference 2015 and to last till the end of summer 2015. Options for taking up courses or training in marine conservation biology, cetacean and fisheries research are also possible. Dr. Adriana Vella, Ph.D (Cantab.), founder of BICREF, is a conservation biologist with experience in mammal and marine conservation research at local and regional level. -
THE THEME of ORESTEIA in EUGENE O'neill' S MOURNING BECOMES ELECTRA UDC 821.111-21.09 Petra Mitić
FACTA UNIVERSITATIS Series: Linguistics and Literature Vol. 6, No 1, 2008, pp. 73 - 84 THE THEME OF ORESTEIA IN EUGENE O'NEILL' S MOURNING BECOMES ELECTRA UDC 821.111-21.09 Petra Mitić Faculty of Philosophy, Niš Abstract. The paper is concerned with the mythical theme of Oresteia as it has been reworked in Eugene O'Neill's play Mourning Becomes Electra. After juxtaposing the key elements in the story as they appear in Aeschylus and Sophocles on the one hand, and Eugene O' Neill on the other, the analysis moves on to consider the significance of the changes introduced in O'Neill's version of this ancient story. The focal point of the analysis is the brief comparison of two disparate models of reading – the Freudian and the Jungian model – and the relevance of their different implications for the patriarchal culture of reason. Key words: Oresteia, Eschylus, Eugene O'Neill, the myth of Oedipus, Fromm, Freud, Jung While dreaming, man is a great poet; when he wakes up he is a wretched man again. At least in most of the cases.1 I In his dreams man comes back to his inner self. Both dreams and myths are messages that we send to ourselves from the depths of the unconscious. They are the storehouse of our deepest insights connecting modern man with his primeval roots. In them we have the perennial experience of the human race recorded. And yet, in his waking hours, while preoccupied with the self-centered drives of the ego, modern man seems to have forgot- ten the language of his true self.2 According to Giambattista Vico, the l8th century Neapolitan philosopher, man is in- stinctively poetic in his response to the world. -
Course Records Course Records
Course records Course records ....................................................................................................................................................................................202 Course record split times .............................................................................................................................................................203 Course record progressions ........................................................................................................................................................204 Margins of victory .............................................................................................................................................................................206 Fastest finishers by place .............................................................................................................................................................208 Closest finishes ..................................................................................................................................................................................209 Fastest cumulative races ..............................................................................................................................................................210 World, national and American records set in Chicago ................................................................................................211 Top 10 American performances in Chicago .....................................................................................................................213 -
Musica E Giubileo, Essa Niente È Stato Fatto Di Ciò Che Esiste» Internazionale Svoltosi a Roma Nel Giugno in Quello Stesso Anno Santo Si Erano Giusto E Così Via
314 2016 Il mensile della grande musica - GENNAIO GENNAIO - I ANNO XXVII ANNO Amadeus Musica e Giubileo CD1 ESCLUSIVO 2016 EURO 11,00 MENSILE POSTE ITALIANE SPED. IN A. P - D.L. 353/2003 CONV. L. 46/2004, ART. 1, C. 1, LO/ MI Cantare con giubilo Cappella musicale GENNAIO del Duomo di Milano CD2 download Musica&Giubileo / Quartetto Italiano / Michieletto / Grubinger Bauermeister-Stockhausen / Shakespeare Trio Kanon In tre per Beethoven ANNO XXVIII - NUMERO 1 (314) (314) 1 NUMERO XXVIII - ANNO Anniversari William Shakespeare Registi d'oggi Damiano Michieletto Storia&Storie Il Quartetto Italiano 60001 Cappella musicale s 9 771120 454004 u de del Duomo di Milano numero 314 gennaio 2016 a m € 11,00 A 2 Amadeus Amadeus 3 Wolfgang Amadeus Mozart AGORÀ Le Serenate Una porta aperta Accademia Litta bbiamo già avuto più volte il privilegio di ospitare la firma di Sua Eminenza Gianfranco Ravasi sulle pagine di Amadeus: “Pietre, spade, vomeri” è il titolo di un suo prezioso contributo Carlo De Martini, concertazione Aper uno Speciale Amadeus dedicato a Gerusalemme, «sposa contesa materialmente e spiritualmente». Era il dicembre del 2005, esattamente dieci anni fa. Un bel tratto di tempo, se misurato col metro dei comuni mortali, ma poco più di un batter di ciglio se il metro è quello delle Cofanetto 6 cd + booklet con guida all'ascolto Sacre Scritture. Un batter di ciglio che oggi ci mostra contese (o guerre) non solo per Gerusalemme, ma per tutto il Medio Oriente e buona parte dell’Africa. A distanza dunque di “soli” dieci anni e solo per un a soli 25 euro evento fuori dalla portata del nostro normale lavoro di cronisti della musica ritorna l’illustre firma (la trovate a pag. -
Late Sophocles: the Hero's Evolution in Electra, Philoctetes, and Oedipus
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE Late Sophocles Late Sophocles The Hero’s Evolution in Electra, Philoctetes, and Oedipus at Colonus Thomas Van Nortwick University of Michigan Press Ann Arbor Copyright © Thomas Van Nortwick 2015 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and ex- cept by reviewers for the public press), without written permission from the publisher. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2018 2017 2016 2015 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Van Nortwick, Thomas, 1946– . Late Sophocles : the hero’s evolution in Electra, Philoctetes, and Oedipus at Colonus / Thomas Van Nortwick. pages cm Includes bibliographical references and index. ISBN 978- 0- 472- 11956- 1 (hardcover : alk. paper) — ISBN 978- 0- 472- 12108- 3 (ebook) 1. Sophocles— Criticism and interpretation. 2. Sophocles. Electra. 3. Sophocles. Oedipus at Colonus. 4. Sophocles. Philoctetes. I. Title. PA4417.V36 2015 882'.01— dc23 2014049364 For Nathan Greenberg colleague, mentor, and friend Preface Oh children, follow me. I am your new leader, as once you were for me. (Sophocles, Oedipus at Colonus 1542– 431) Sophocles’s Oedipus at Colonus ends with his most famous character walking serenely through the central doors of the stage building (skēnē) in the Theater of Dionysus and into the grove of the Eumenides. -
Benjamin Britten in the Music Culture of the Soviet Union in the 1960S (To the 100Th Anniversary of the Composer's Birth)
International Journal of Humanities and Social Science Vol. 3 No. 14 [Special Issue - July 2013] Benjamin Britten in the Music Culture of the Soviet Union in the 1960s (to the 100th Anniversary of the Composer's Birth) Alexander Rossinsky Department of Art Altai State University Russia Ekaterina Vorontsova Department of History Altai State University Russia Abstract The period of the 1960-s was difficult and controversial. Former allies of the anti-Hitler coalition turned to be on different sides of the acute ideological struggle which nearly led to the world war. Tremendous work was carried by artists, musicians who united disparate peoples into the community calling for the universal values. The central place in such the sphere of music belongs to one of the greatest composers of the 20th century, Benjamin Britten. Together with the Soviet musicians he pushed the world back from the sharp ideological confrontation. Keywords: B.Brittten, P.Pears, USSR, M.Rostropovich, G.Vishnevskaya, D.Shostakovich, symphonic and chamber music. The events unfolding in the world, which had survived the most destructive war in the history of human civilization, were dramatic and characterised by multi-vector directions of their development. The countries that joined the anti-Hitler coalition in the 40s, in the 60s were experiencing the peak of their ideological hostility, teetering on the verge of unleashing the third world war. At the same time, the Soviet Union, headed the unpredictable and highly controversial leader Nikita Khrushchev, pursued a policy of flirtations with liberalism in an attempt to overcome the cult of personality of Joseph Stalin and remove the notorious “Iron Curtain”, which for decades had protected the USSR from Western influence. -
Divx Na Cd Strona 1
Divx na cd 0000 0000 Original title/Tytul oryginalny 0000 Polish CD//Subt/Nap title/Tytul polski isy 10ThingsIHateAboutYou(1999) Zakochana zlosnica 1/pl 1492: Conquest of Paradise (AKA 1492: Odkrycie raju / 1492: Christophe1492:Wyprawa Colomb do / raju1492: La conquête du paradis / 1492: La conquista del paraíso) (1992) 2 Fast 2 Furious (2003) Za szybcy za wsciekli 1/pl 2046(2004) 2046 . 2/pl 21Grams (2003) 21 Gram 2/pl 25th Hour(2002) 25 godzina 2/pl 3000Miles toGraceland(2001) 3000 mil do Graceland 1/pl 50FirstDates(2004) 50 pierwszych randek 1/pl 54(1998) Klub 54 AboutSchmidt(2002) About Schmidt 2/pl Abrelosojos(AKA Open Your Eyes) (1997) Otworz oczy 1/pl Adaptation (2002) Adaptacja 2/pl Alfie(2004) Alfie 2/pl Ali(2001) Ali Alien3 (1992) Obcy 3 AlienResurrection (1997) 4 Obcy 4 – Przebudzenie Obcy 2 – Decydujace Aliens (1986) 2 starcie Alienvs. Predator(AKA Alienversus Predator/ AvP) (2004) Obcy Kontra Predator Amelia/ Fabuleux destin d'Amélie Poulain, Le (AKA Amelie from AmeliaMontmartre / Amelie of Montmartre / Fabelhafte Welt der Amelie, Die / Fabulous Destiny of Amelie Poulain / Amelie) (2001) AmericanBeauty(1999) American Beauty AmericanPsycho(2000) American Psycho Anaconda(1997) Anakonda AngelHeart (1987) Harry Angel AngerManagement(2003) Dwoch gniewnych ludzi Animal Farm (1999) Folwark zwierzecy Animatrix, The(2003) Animatrix AntwoneFisher(2002) Antwone Fisher Apocalypse Now(AKA Apocalypse Now: Redux(2001)) (1979) DirApokalipsa cut Aragami(2003) Aragami Atame(AKA Tie Me Up! Tie Me Down!) (1990) Zwiaz mnie Avalanche(AKA Nature -
The Slavic Vampire Myth in Russian Literature
From Upyr’ to Vampir: The Slavic Vampire Myth in Russian Literature Dorian Townsend Thesis submitted for the degree of Doctor of Philosophy School of Languages and Linguistics Faculty of Arts and Social Sciences The University of New South Wales May 2011 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Townsend First name: Dorian Other name/s: Aleksandra PhD, Russian Studies Abbreviation for degree as given in the University calendar: School: Languages and Linguistics Faculty: Arts and Social Sciences Title: From Upyr’ to Vampir: The Slavic Vampire Myth in Russian Literature Abstract 350 words maximum: (PLEASE TYPE) The Slavic vampire myth traces back to pre-Orthodox folk belief, serving both as an explanation of death and as the physical embodiment of the tragedies exacted on the community. The symbol’s broad ability to personify tragic events created a versatile system of imagery that transcended its folkloric derivations into the realm of Russian literature, becoming a constant literary device from eighteenth century to post-Soviet fiction. The vampire’s literary usage arose during and after the reign of Catherine the Great and continued into each politically turbulent time that followed. The authors examined in this thesis, Afanasiev, Gogol, Bulgakov, and Lukyanenko, each depicted the issues and internal turmoil experienced in Russia during their respective times. By employing the common mythos of the vampire, the issues suggested within the literature are presented indirectly to the readers giving literary life to pressing societal dilemmas. The purpose of this thesis is to ascertain the vampire’s function within Russian literary societal criticism by first identifying the shifts in imagery in the selected Russian vampiric works, then examining how the shifts relate to the societal changes of the different time periods. -
P E R F O R M I N G
PERFORMING & Entertainment 2019 BOOK CATALOG Including Rowman & Littlefield and Imprints of Globe Pequot CONTENTS Performing Arts & Entertainment Catalog 2019 FILM & THEATER 1 1 Featured Titles 13 Biography 28 Reference 52 Drama 76 History & Criticism 82 General MUSIC 92 92 Featured Titles 106 Biography 124 History & Criticism 132 General 174 Order Form How to Order (Inside Back Cover) Film and Theater / FEATURED TITLES FORTHCOMING ACTION ACTION A Primer on Playing Action for Actors By Hugh O’Gorman ACTION ACTION Acting Is Action addresses one of the essential components of acting, Playing Action. The book is divided into two parts: A Primer on Playing Action for Actors “Context” and “Practice.” The Context section provides a thorough examination of the theory behind the core elements of Playing Action. The Practice section provides a step-by-step rehearsal guide for actors to integrate Playing Action into their By Hugh O’Gorman preparation process. Acting Is Action is a place to begin for actors: a foundation, a ground plan for how to get started and how to build the core of a performance. More precisely, it provides a practical guide for actors, directors, and teachers in the technique of Playing Action, and it addresses a niche void in the world of actor training by illuminating what exactly to do in the moment-to-moment act of the acting task. March, 2020 • Art/Performance • 184 pages • 6 x 9 • CQ: TK • 978-1-4950-9749-2 • $24.95 • Paper APPLAUSE NEW BOLLYWOOD FAQ All That’s Left to Know About the Greatest Film Story Never Told By Piyush Roy Bollywood FAQ provides a thrilling, entertaining, and intellectually stimulating joy ride into the vibrant, colorful, and multi- emotional universe of the world’s most prolific (over 30 000 film titles) and most-watched film industry (at 3 billion-plus ticket sales). -
ALEXEY TATARINTSEV - Tenor Born in Tambov Region, Russia
ALEXEY TATARINTSEV - Tenor Born in Tambov region, Russia. He studied first as a choral conductor at the Tambov State Derzhavin University. In 2003 he entered the vocal department of the Victor Popov Academy of Choral Art in Moscow and completed his post graduate studies in 2009. Since 2008 he became soloist at the Novaya Opera Theatre in Moscow. In 2010 he made his debut at the Bolshoi Theatre as Yasha in the world premiere of the Fenelon’s opera “The Cherry Orchard” and has been since then their guest soloist. With Yasha’s role he made his debut at the Opéra National de Paris in 2011. His has performed Italian singer in Strauss’ “Der Rosenkavalier” and Ernesto in “Don Pasquale” at the Bolshoi theatre. In 2013 he performed Lensky in “Eugene Onegin” at the Teatro Regio in Turin. His repertoire in Moscow include Roméo in Gounod’s “Roméo et Juliette”, Rodolfo in “La bohème”, Vladimir Igorevich in Borodin’s “Prince Igor”, Ramiro in “Cenerentola”, Almaviva in “Barbiere di Siviglia”, Tamino in “Die Zauberflöte”, Nemorino in “L’Elisir d’Amore”, Young Gipsy in “Aleko”, Duca in “Rigoletto”, Lykov in “Tsar’s Bride”, Alfred in “Die Fledermaus” etc. Mr Tatarintsev is an active concert singer and has sung the tenor parts in Rossini’s Stabat Mater and Requiems by Mozart and Verdi. He collaborates with the Sretensky Monastery Choir and toured with them in 2008 in Rio de Janeiro, Sao Paulo, Buenos Aires, Asunción and Havana during the Days of the Russian Culture in Latin America. Another tour took place 2012 in the USA, where he performed at the prestigious concert halls with this choir, such as the Library of Congress and the Kennedy Center (Washington, DC), Carnegie Hall (New York City), Chicago Philharmonic (Chicago) and others.