Song for Athene
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Bibliography for the Study of Shakespeare on Film in Asia and Hollywood
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 6 (2004) Issue 1 Article 13 Bibliography for the Study of Shakespeare on Film in Asia and Hollywood Lucian Ghita Purdue University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the Critical and Cultural Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Ghita, Lucian. "Bibliography for the Study of Shakespeare on Film in Asia and Hollywood." CLCWeb: Comparative Literature and Culture 6.1 (2004): <https://doi.org/10.7771/1481-4374.1216> The above text, published by Purdue University Press ©Purdue University, has been downloaded 2531 times as of 11/ 07/19. -
The Tragedy of Hamlet
THE TRAGEDY OF HAMLET THE WORKS OF SHAKESPEARE THE TRAGEDY OF HAMLET EDITED BY EDWARD DOWDEN n METHUEN AND CO. 36 ESSEX STREET: STRAND LONDON 1899 9 5 7 7 95 —— CONTENTS PAGE Introduction ix The Tragedy of Hamlet i Appendix I. The "Travelling" of the Players. 229 Appendix II.— Some Passages from the Quarto of 1603 231 Appendix III. Addenda 235 INTRODUCTION This edition of Hamlet aims in the first place at giving a trustworthy text. Secondly, it attempts to exhibit the variations from that text which are found in the primary sources—the Quarto of 1604 and the Folio of 1623 — in so far as those variations are of importance towards the ascertainment of the text. Every variation is not recorded, but I have chosen to err on the side of excess rather than on that of defect. Readings from the Quarto of 1603 are occa- sionally given, and also from the later Quartos and Folios, but to record such readings is not a part of the design of this edition. 1 The letter Q means Quarto 604 ; F means Folio 1623. The dates of the later Quartos are as follows: —Q 3, 1605 161 1 undated 6, For ; Q 4, ; Q 5, ; Q 1637. my few references to these later Quartos I have trusted the Cambridge Shakespeare and Furness's edition of Hamlet. Thirdly, it gives explanatory notes. Here it is inevitable that my task should in the main be that of selection and condensation. But, gleaning after the gleaners, I have perhaps brought together a slender sheaf. -
Maureen Batt, Soprano: Biography – May 2014 Noted by Opera Canada
Maureen Batt, soprano: Biography – May 2014 Noted by Opera Canada as a “young, lovely and captivating soprano,” and by the Halifax Herald as being “enthusiastically at home on stage” and having an “endlessly energetic and animated interpretation,” Maureen Batt is an accomplished concert and opera artist. Maureen’s opera credits include Belinda, Dido and Aeneas (Purcell), Silvia, L’isola disabitata (Haydn), Lauretta, Gianni Schicchi (Puccini), Rosa, Il campanello (Donizetti), Polly, The Threepenny Opera/Die Dreigroschenoper (Weill), Morgana, Alcina (Händel), Nina, Chérubin (Massenet), Susanna, Le nozze di Figaro (Mozart), Eusebia, Die Freunde von Salamanka (Schubert), Jenny, La Dame Blanche (Boieldieu), Papagena, Die ZauberFlöte (Mozart), Zerlina, Don Giovanni (Mozart), Annina, La Traviata (Verdi), Despina, Così Fan tutte (Mozart), Laetitia, The Old Maid and the ThieF (Menotti), Serpina, The Maid Mistress (Pergolesi), Limonia, Ten Belles Without a Ring (Von Suppe), Miss Silverpeal, The Impresario (Mozart). As an actor, she has appeared in Theatre St. Thomas University’s productions of Measure For Measure, Oh, What a Lovely War, and Caucasian Chalk Circle. She filmed a TV pilot for a series called Oznaberg, which premiered in the 2011 Silverwave Film Festival, and has since aired on Rogers Television. Her selected concert and oratorio credits include Handel’s Messiah and Esther, Mozart’s Vesperae solennes de ConFessore and Exsultate Jubilate, Bach’s BWV 187 Es wartet alles auF dich, BWV 4 Christ lag in Todes Banden, and BWV 245 St. John Passion. Maureen’s formal training includes a Master of Music from the University of Toronto, a Bachelor of Music from Dalhousie University, and a Bachelor of Arts from St. -
Le Ore Sacre Del Giorno Le Ore Dell’Ufficio Divino Nelle Basiliche Ravennati
Le ore sacre del giorno le ore dell’ufficio divino nelle basiliche ravennati The Tallis Scholars Le ore sacre del giorno le ore dell’ufficio divino nelle basiliche ravennati The Tallis Scholars Eni Partner Principale del Festival di Ravenna 2019 Basiliche della città 16 giugno, dalle ore 00.00 ringrazia Sotto l’Alto Patronato del Presidente della Repubblica Italiana con il patrocinio di Associazione Amici di Ravenna Festival Senato della Repubblica Presidenza del Consiglio dei Ministri Apt Servizi Emilia Romagna Ministero per i Beni e le Attività Culturali Autorità di Sistema Portuale del Mare Adriatico Centro-Settentrionale Ministero degli Affari Esteri e della Cooperazione Internazionale BPER Banca Classica HD Cna Ravenna Confartigianato Ravenna Confindustria Romagna con il sostegno di Consar Group Contship Italia Group Consorzio Integra COOP Alleanza 3.0 Corriere Romagna DECO Industrie Eni Federazione Cooperative Provincia di Ravenna Federcoop Romagna Fondazione Cassa dei Risparmi di Forlì Fondazione Cassa di Risparmio di Ravenna Fondazione del Monte di Bologna e Ravenna Gruppo Hera con il contributo di Gruppo Mediaset Publitalia ’80 Gruppo Sapir GVM Care & Research Hormoz Vasfi Koichi Suzuki Italdron LA BCC - Credito Cooperativo Ravennate, Forlivese e Imolese La Cassa di Ravenna SpA Legacoop Romagna Mezzo PubbliSOLE Comune di Forlì Comune di Lugo Comune di Russi Publimedia Italia Quick SpA Quotidiano Nazionale Koichi Suzuki Rai Uno Hormoz Vasfi Ravennanotizie.it Reclam Romagna Acque Società delle Fonti Setteserequi partner principale -
Filumena and the Canadian Identity a Research Into the Essence of Canadian Opera
Filumena and The Canadian Identity A Research into the Essence of Canadian Opera Alexandria Scout Parks Final thesis for the Bmus-program Icelandic Academy of the Arts Music department May 2020 Filumena and The Canadian Identity A Research into the Essence of Canadian Opera Alexandria Scout Parks Final Thesis for the Bmus-program Supervisor: Atli Ingólfsson Music Department May 2020 This thesis is a 6 ECTS final thesis for the B.Mus program. You may not copy this thesis in any way without consent from the author. Abstract In this thesis I sought to identify the essence of Canadian opera and to explore how the opera Filumena exemplifies that essence. My goal was to first establish what is unique about Canadian opera. To do this, I started by looking into the history of opera composition and performance in Canada. By tracing these two interlocking histories, I was able to gather a sense of the major bodies of work within the Canadian opera repertoire. I was, as well, able to deeper understand the evolution, and at some points, stagnation of Canadian opera by examining major contributing factors within this history. My next steps were to identify trends that arose within the history of opera composition in Canada. A closer look at many of the major works allowed me to see the similarities in terms of things such as subject matter. An important trend that I intend to explain further is the use of Canadian subject matter as the basis of the operas’ narratives. This telling of Canadian stories is one aspect unique to Canadian opera. -
Armenian State Chamber Choir
Saturday, April 14, 2018, 8pm First Congregational Church, Berkeley A rm e ni a n State C h am b e r Ch oir PROGRAM Mesro p Ma s h tots (362– 4 40) ༳ཱུའཱུཪཱི འཻའེཪ ྃཷ I Knee l Be for e Yo u ( A hym n f or Le nt) Grikor N ar e k a tsi ( 9 51–1 0 03) གའཽཷཱཱྀུ The Bird (A hymn for Easter) TheThe Bird BirdBir d (A (A(A hymn hymnhym forn for f oEaster) rEaster) East er ) The Bird (A hymn for Easter) K Kom itas (1869–1 935) ཏཷཱྀཿཡ, ོཷཱྀཿཡ K K K Holy, H oly གའཿོའཱུཤའཱུ ཤཿརཤཿ (ཉའཿ ༳) Rustic Weddin g Son g s (Su it e A , 1899 –1 90 1) ༷ཿཱུཪྀ , རཤཾཱུཪྀ , P Prayer r ayer ཆཤཿཪ ེའཱུ འཫའཫ 7KH%UL The B ri de’s Farewell ༻འརཽཷཿཪ ཱིཤཿ , ལཷཛཱྀོ འཿཪ To the B ride g room ’s Mo th er ༻འརཽཷཿ ཡའཿཷཽ 7KH%ULGH The Bridegroom’s Blessing ཱུ༹ ལཪཥའཱུ , BanterB an te r ༳ཱཻུཤཱི ཤཿཨའཱི ཪཱི ུའཿཧ , D ance ༷ཛཫ, ཤཛཫ Rise Up ! (1899 –190 1 ) གཷཛཽ འཿཤྃ ོའཿཤཛྷཿ ེའཱུ , O Mountain s , Brin g Bree z e (1913 –1 4) ༾ཷཻཷཱྀ རཷཱྀཨའཱུཤཿར Plowing Song of Lor i (1902 –0 6) ༵འཿཷཱཱྀུ Spring Song(190 2for, P oAtheneem by Ho vh annes Hovh anisyan) Song for Athene Song for Athene A John T a ve n er (19 44–2 013) ThreeSongSong forfSacredor AtheneAth Hymnsene A Three Sacred Hymns A Three Sacred Hymns A Three Sacred Hymns A Alfred Schn it tke (1 934–1 998) ThreeThree SacredSacred Hymns H ymn s Богородиц е Д ево, ра д уйся, Hail to th e V irgin M ary Господ и поми луй, Lord, Ha ve Mercy MissaОтч Memoriaе Наш, L ord’s Pra yer MissaK Memoria INTERMISSION MissaK Memoria Missa Memoria K K Lullaby (from T Lullaby (from T Sure on This Shining Night (Poem by James Agee) Lullaby (from T SureLullaby on This(from Shining T Night (Poem by James Agee) R ArmenianLullaby (from Folk TTunes R ArmenianSure on This Folk Shining Tunes Night (Poem by James Agee) Sure on This Shining Night (Poem by James Agee) R Armenian Folk Tunes R Armenian Folk Tunes The Bird (A hymn for Easter) K Song for Athene A Three Sacred Hymns PROGRAM David Haladjian (b. -
History of the Stetson University Concert Choir Gregory William Lefils Jr
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 History of the Stetson University Concert Choir Gregory William Lefils Jr. Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC HISTORY OF THE STETSON UNIVERSITY CONCERT CHOIR By GREGORY WILLIAM LEFILS, JR. A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2014 Gregory William LeFils, Jr. defended this dissertation on July 10, 2014. The members of the supervisory committee were: Kevin Fenton Professor Directing Dissertation Christopher Moore University Representative Judy Bowers Committee Member André J. Thomas Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS I would like to take this opportunity to thank the many individuals who helped me in the creation of this document. First I would to thank Gail Grieb for all of her help. Her tireless dedication as Stetson University Archives Specialist has been evident in my perusal of the many of thousands of documents and in many hours of conversation. I would also like to thank Dr. Suzanne Byrnes whose guidance and editorial prowess was greatly appreciated in putting together the final document. My thanks go to Dr. Timothy Peter, current director of the Concert Choir, and Dr. Andrew Larson, Associate Director of Choral activities, for their continued support and interest throughout this long process. -
Ruggeri's Amleto
© Luke McKernan 2004 RUGGERO RUGGERI’S AMLETO Notre Dame Shakespeare Festival, University of Notre Dame, South Bend, USA 4 November 2004 Luke McKernan Of all the products of the first thirty years of cinema, when films were silent, perhaps none were so peculiar, so intriguing, and in their way so revealing of the temper of the medium in its formative years, as silent Shakespeare films. Shakespeare in the cinema is enough of a challenge for some people; what about Shakespeare on film when you can’t hear any of the words? The film you are to see this evening is one of two hundred or more Shakespeare films that were made in the silent period of cinema. You are seeing it because it has survived (when so many films from this time have not), because it is a rarity scarcely known even by those who are expert in this area, and because it is a good and interesting film. Not a great film, but arguably the best silent Shakespeare film that exists. It is certainly a film that needs to be much better known. To those who may never have seen a silent film before, be assured that even if you can’t hear the words you will be able to read them, as such films commonly have on-screen titles throughout, and in performance they were never silent as such in any case – for you had music. Silent Shakespeare I said that more than two hundred silent Shakespeare films were made, and that is true, but few of these were feature-length, that is, an hour or more, such as this evening’s attraction. -
Eve CV April 2021
CURRICULUM VITAE Eve Egoyan, B.Mus., M.Mus., LRAM, ARAM, FRSC 135 Manning Avenue, Toronto, Ontario M6J 2K6 telephone: 416 603 4640 e-mail: [email protected] web: www.eveegoyan.com EDUCATION 1991 Master of Music: Piano Performance, University of Toronto Junior Fellow of Massey College 1988 Licentiate of the Royal Academy of Music, England 1985 Bachelor of Music: Piano Performance, University of Victoria AFFILIATIONS 2019 Associate of the Royal Academy of Music, London, England (ARAM) 2009 Fellow of the Royal Society of Canada (FRSC) OTHER TRAINING 1986-9 Royal Academy of Music, London, with Hamish Milne 1985-6 Hochschule der Künste, West Berlin, with Georg Sava 1981-5 Banff Centre of Fine Arts with György Sebök (summer masterclasses) AWARDS AND HONOURS 2019 Muriel Sherrin Award for music performance, Toronto Arts Foundation Associate of the Royal Academy of Music, London, England 2015 Selected as one of top 25 Canadian pianists of all time by the CBC Lois and Thomas Glenn Visiting Artist, University of Regina EVE EGOYAN: Curriculum Vitae (continued) 2014 “Eve Egoyan Exploratory Music Scholarship” offered to a student at the University of Victoria, B.C. 2012 Chalmers Arts Fellowship Member of the University of Victoria 50th Anniversary Honorary Cabinet 2011 “RETURNINGS” listed as the top pick for Classical CD’s of 2011 by Elissa Poole, Globe and Mail 2009 “Simple Lines of Enquiry” one of “2009: Ten Exceptional Recordings”, by Alex Ross, New Yorker Fellow of the Royal Society of Canada (FRSC) “CMC Ambassador” (one of 50 Canadian performers and conductors honoured by the Canadian Music Centre) 2007 Performance of Alvin Curran’s five-hour long Inner Cities at Glenn Gould Studio, Toronto, was selected as “Top 10 Live Performances in 2007”, David Fujino, Live Music Report 2002 K.M. -
Csecs / Scedhs & Neasecs 2017
CSECS / SCEDHS & NEASECS 2017 “from Cosmopolitans to Cosmopolitanisms” « Des Cosmopolites aux cosmopolitismes » PROGRAM / PROGRAMME The Program at a Glance / Le programme en un coup d’œil **Unless otherwise noted, all events will take place at the Chelsea Hotel, 33 Gerrard Street West **Sauf indication contraire, tous les événements auront lieu à l'hôtel Chelsea, 33 Gerrard Street West WEDNESDAY, OCTOBER 18 / MERCREDI 18 OCTOBRE 5:30-8:30 / 17h30-20h30 Reception / Réception Registration / Inscription Sponsored by The Lewis Walpole Library / Avec le soutien de la bibliothèque Lewis Walpole Arts and Letters Club, 14 Elm Street TBA CSECS Executive Meeting / Réunion du comité exécutif de la SCEDHS THURSDAY, OCTOBER 19 / JEUDI 19 OCTOBRE 8:30–4:45 / 9h30–16h45 Registration & Book Exhibits / Inscription & Exposition de livres 8:30–10:00 / 8h30–10h Sessions / Séances 10:30–12 / 10h30–12h Sessions / Séances 12:00–1:15 / 12h–13h15 Lunch / Déjeuner 12:00–1:15 / 12h–13h15 Graduate Student Roundtable 1 / Table ronde des étudiants de deuxième et troisième cycles 1 1:15–2:45 / 13h15–14h45 Gardiner Museum Tour 1, 18thc Porcelain Collections / Visite du musée Gardiner 1, collections de porcelaines du 18e siècle 1:15–2:45 / 13h15–14h45 Sessions / Séances 3:15–4 :45 / 15h15–16h45 Sessions / Séances 4:45–6:15 /16h45–18h15 Plenary Lecture / Conférence plénière, Sophie Wahnich, Chelsea Hotel The Program at a Glance / Le programme en un coup d'œil 8:00 / 20h Dido and Aeneas / Aeneas and Dido (Purcell, 1687 / Rolfe, 2007) Trinity-St Paul’s Centre, 427 Bloor -
Pages, V.1 (Duck Soup (New ®1.4-FINAL))
Duck Soup § Clark Winslow Ross for Bass Trombone and Piano Commissioned by Kenneth Knowles through the assistance of The Newfoundland and Labrador Arts Council ©1994 (®2002) 2 DUCK SOUP (1994) CLARK WINSLOW ROSS Composed in 1994 at the request of trombonist Ken Knowles and funded by the Newfoundland and Labrador Arts Council, Duck Soup was conceived as a virtuosic piece for bass trombone and piano combining elements of play, jazz, and mystery. The title, taken from the Marx brothers movie of the same name, is meant to reflect the more lighthearted aspects of the work, but is also a reference to Ken Knowles’ avid hobby of bird-watching,. At times, I also had the music of jazz musician Charlie Parker, known as ‘the bird,’ in mind while composing this, although there are no overt references to his music; just an occasional foray into a more “jazzy” feel in some sections. Another composer about whom the same can be said was Olivier Messiaen, whose used bird songs in his music extensively. Again, no specific Messiaen elements or bird songs exist in this work, only occasional moments when such elements are hinted at. Duck Soup was revised in 2002 for a reading organized by the Canadian Music Centre. It was premiered in February of 1994 by Ken Knowles and Kristina Szutor. BIOGRAPHY Clark Winslow Ross is Associate Professor at Memorial University of Newfoundland's School of Music, where he teaches composition, theory, electronic music, orchestration, and classical guitar. He is one of Canada’s more active composers, with over 20 commissions and many performances of his works throughout Canada, in England, and the United States since moving to Newfoundland in the fall of 1992. -
Tragic Excess in Hamlet JEFFREY WILSON Downloaded from by Harvard Library User on 14 August 2019
107 Tragic Excess in Hamlet JEFFREY WILSON Downloaded from https://academic.oup.com/litimag/article-abstract/21/2/107/5450064 by Harvard Library user on 14 August 2019 August 14 on user Harvard Library by https://academic.oup.com/litimag/article-abstract/21/2/107/5450064 from Downloaded “Be thou familiar, but by no means vulgar,” the aging Polonius councils his son Laertes in William Shakespeare’s Hamlet (1.3.60). Polonius proceeds with several additional “precepts” (1.3.57) which similarly promote the Aristotelian ideal of the golden mean, a cultural commonplace of the early-moden age which valorized the perfect middle ground between two extremes: Beware Of entrance to a quarrel; but being in, Bear’t that the opposed may beware of thee.... Costly thy habit as thy purse can buy, But not expressed in fancy; rich, not gaudy. (1.3.64–70) Polonius goes on (and on), but the principle is clear. Don’t be too hot, but don’t be too cold. Don’t be too hard, but don’t be too soft. Don’t be too fast, but don’t be too slow. In each of these formulations, there is no substantive ethical good other than moderation. Virtue is thus fundamentally relational, determined by the extent to which it balances two extremes which, as extremes, are definitionally unethical. “It is no mean happiness, therefore, to be seated in the mean,” as Shakespeare wrote in The Merchant of Venice (1.2.6–7).1 More generally, in Hamlet,ShakespeareparalleledthesituationsofHamlet, Laertes, and Fortinbras (the father of each is killed, and each then seeks revenge) to promote the virtue of moderation: Hamletmovestooslowly,Laertestooswiftly— and they both die at the end of the play—but Fortinbras represents a golden mean which marries the slowness of Hamlet with the swiftness of Laertes.