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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. -
Time 1925 1930 1935 1940 1945 1950 1955 1960 1965 1970 1975 1980 1985 1990 1995 2000 2005 2010
Giulio Gatti Casazza 1926 Director, Metropolitan Opera Arturo Toscanini Leopold Stokowski 1926 1930 Conductor Conductor Pietro Mascagni Lucrezia Bori James Cæsar Petrillo 1926 1930 1948 Composer Singer Head, American Federation of Musicians Richard Strauss Alfred Hertz Sergei Koussevitsky Helen Traubel Charles Munch 1938 1927 1930 1946 1949 Composer and conductor Conductor Conductor Singer Conductor Ignace J Paderewski Geraldine Farrar Joseph Deems Taylor Marian Anderson Cole Porter 1939 1927 1931 1946 1949 Kirsten Flagstad Pianist, politician Singer Composer, critic Singer Composer 1935 Lauritz Melchior Giulio Gatti-Casazza Ignace Jan Paderewski Yehudi Menuhin Singer Artur Rodziński Gian Carlo Menotti Maria Callas 1940 1923 1928 1932 1947 1950 1956 Artur Rubinstein Edward Johnson Singer Director, Metropolitan Opera Pianist, politician Violinist; 16 years old Conductor Composer Singer 1966 1936 Leopold Stokowski Pianist Johann Sebastian Bach Nellie Melba Mary Garden Lawrence Tibbett Singer Arturo Toscanini Mario Lanza & Enrico Caruso Leonard Bernstein 1940 1968 1927 1930 1933 1948 1951 1957 Jean Sibelius Conductor Dmitri Shostakovich Composer (1685–1750) Singer Singer Singer Conductor Singers Composer, conductor 1937 1942 Beverly Sills Richard Strauss Rosa Ponselle Arturo Toscanini Composer Composer Benjamin Britten Patrice Munsel Renata Tebaldi Rudolf Bing Luciano Pavarotti 1971 1927 1931 1934 1948 1951 1958 1966 1979 Sergei Koussevitsky Sir Thomas Beecham Leontyne Price Singer Georg Solti Composer, conductor Singer Conductor Composer -
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. -
Curriculum Vitae
Vincenzo Borghetti Curriculum vitae Education 1987-1994: Laurea (musicologia), University of Pavia 1991, 1992: Erasmus Exchange Student, University of Regensburg (Germany) 1995-1997: research grant of the University of Pavia for research at the Musikwissenschaftliches Institut of the University of Vienna (Austria) 1997-2000: Ph.D. (musicologia), University of Pavia 1998-1999: Exchange Ph.D. student University of Marburg (Germany) Employment 2001-2003: Research fellow (assegno di Ricerca), University of Pavia 2003-2007: School teacher (Literature, History and Geography), Alfianello (Brescia) 2007-2008: Lila Wallace – Reader’s Digest Fellow dell’Harvard University Center for Italian Renaissance Studies, Villa I Tatti, Florence 2008-2017: Lecturer (ricercatore) in Musicology, University of Verona 2017- : Associate professor, University of Verona 2020: National qualification for full professorship Visiting Appointments Spring 2015: Musikwissenschaftliches Institut, University of Vienna (Austria) Publications Authored books - Il bacio della Sfinge. D’Annunzio, Pizzetti e «Fedra», Turin, EDT, 1998 (in collaboration with Riccardo Pecci), pp. XIV+254 (ISBN 9788870633399) 1 Editions - Gioachino Rossini, Elisabetta regina d’Inghilterra, in Edizione critica delle opere di Gioachino Rossini, vol. 15, Milano-Pesaro, Ricordi-Fondazione Rossini, 2016, vol. I, pp. XCIII + 1-404; vol. II, pp. 405-870; vol. III (Critical commentary), pp. 205 (ISBN 9788889947388; ISMN 9790900104847) - Elisabetta regina d’Inghilterra, Pesaro, F, ondazione Rossini, 2019 (I -
FY19 Annual Report View Report
Annual Report 2018–19 3 Introduction 5 Metropolitan Opera Board of Directors 6 Season Repertory and Events 14 Artist Roster 16 The Financial Results 20 Our Patrons On the cover: Yannick Nézet-Séguin takes a bow after his first official performance as Jeanette Lerman-Neubauer Music Director PHOTO: JONATHAN TICHLER / MET OPERA 2 Introduction The 2018–19 season was a historic one for the Metropolitan Opera. Not only did the company present more than 200 exiting performances, but we also welcomed Yannick Nézet-Séguin as the Met’s new Jeanette Lerman- Neubauer Music Director. Maestro Nézet-Séguin is only the third conductor to hold the title of Music Director since the company’s founding in 1883. I am also happy to report that the 2018–19 season marked the fifth year running in which the company’s finances were balanced or very nearly so, as we recorded a very small deficit of less than 1% of expenses. The season opened with the premiere of a new staging of Saint-Saëns’s epic Samson et Dalila and also included three other new productions, as well as three exhilarating full cycles of Wagner’s Ring and a full slate of 18 revivals. The Live in HD series of cinema transmissions brought opera to audiences around the world for the 13th season, with ten broadcasts reaching more than two million people. Combined earned revenue for the Met (box office, media, and presentations) totaled $121 million. As in past seasons, total paid attendance for the season in the opera house was 75%. The new productions in the 2018–19 season were the work of three distinguished directors, two having had previous successes at the Met and one making his company debut. -
A Thesis Presented to the Faculty of Graduate Studies of The
EDWARD JOHNSON AND MUSIC EDUCATION IN CANADA A Thesis Presented to The Faculty of Graduate Studies of The University of Guelph by JOHN PATRICK D'ALTON In partial fulfilment of requirements for the degree of Master of Arts December , 19 9 6 @ John Patrick DtAlton, 1996 National Library Bibliothèque nationale l*l of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395, rue Wellington Ottawa ON KIA ON4 ûîtawaON K1A ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. EDWARD JOHNSON AND MUSIC EDUCATION IN CANADA John Patrick DtAlton Advisor : University of Guelph, 1996 Professor G.A. Stelter Edward Johnson (1878-1959), a Canadian-born operatic tenor, manager of the Metropolitan Opera Association in New York City, and chairman of the Royal Conservatory of Music of Toronto, is an integral part of Canada's cultural, educational, intellectual and national history. -
The Inventory of the Phyllis Curtin Collection #1247
The Inventory of the Phyllis Curtin Collection #1247 Howard Gotlieb Archival Research Center Phyllis Curtin - Box 1 Folder# Title: Photographs Folder# F3 Clothes by Worth of Paris (1900) Brooklyn Academy F3 F4 P.C. recording F4 F7 P. C. concert version Rosenkavalier Philadelphia F7 FS P.C. with Russell Stanger· FS F9 P.C. with Robert Shaw F9 FIO P.C. with Ned Rorem Fl0 F11 P.C. with Gerald Moore Fl I F12 P.C. with Andre Kostelanetz (Promenade Concerts) F12 F13 P.C. with Carlylse Floyd F13 F14 P.C. with Family (photo of Cooke photographing Phyllis) FI4 FIS P.C. with Ryan Edwards (Pianist) FIS F16 P.C. with Aaron Copland (televised from P.C. 's home - Dickinson Songs) F16 F17 P.C. with Leonard Bernstein Fl 7 F18 Concert rehearsals Fl8 FIS - Gunther Schuller Fl 8 FIS -Leontyne Price in Vienna FIS F18 -others F18 F19 P.C. with hairdresser Nina Lawson (good backstage photo) FI9 F20 P.C. with Darius Milhaud F20 F21 P.C. with Composers & Conductors F21 F21 -Eugene Ormandy F21 F21 -Benjamin Britten - Premiere War Requiem F2I F22 P.C. at White House (Fords) F22 F23 P.C. teaching (Yale) F23 F25 P.C. in Tel Aviv and U.N. F25 F26 P. C. teaching (Tanglewood) F26 F27 P. C. in Sydney, Australia - Construction of Opera House F27 F2S P.C. in Ipswich in Rehearsal (Castle Hill?) F2S F28 -P.C. in Hamburg (large photo) F2S F30 P.C. in Hamburg (Strauss I00th anniversary) F30 F31 P. C. in Munich - German TV F31 F32 P.C. -
Toscanini VII, 1937-1942
Toscanini VII, 1937-1942: NBC, London, Netherlands, Lucerne, Buenos Aires, Philadelphia We now return to our regularly scheduled program, and with it will come my first detailed analyses of Toscanini’s style in various music because, for once, we have a number of complete performances by alternate orchestras to compare. This is paramount because it shows quite clear- ly that, although he had a uniform approach to music and insisted on both technical perfection and emotional commitment from his orchestras, he did not, as Stokowski or Furtwängler did, impose a specific sound on his orchestras. Although he insisted on uniform bowing in the case of the Philadelphia Orchestra, for instance, one can still discern the classic Philadelphia Orchestra sound, despite its being “neatened up” to meet his standards. In the case of the BBC Symphony, for instance, the sound he elicited from them was not far removed from the sound that Adrian Boult got out of them, in part because Boult himself preferred a lean, clean sound as did Tosca- nini. We shall also see that, for better or worse, the various guest conductors of the NBC Sym- phony Orchestra did not get vastly improved sound result out of them, not even that wizard of orchestral sound, Leopold Stokowki, because the sound profile of the orchestra was neither warm in timbre nor fluid in phrasing. Toscanini’s agreement to come back to New York to head an orchestra created (pretty much) for him is still shrouded in mystery. All we know for certain is that Samuel Chotzinoff, representing David Sarnoff and RCA, went to see him in Italy and made him the offer, and that he first turned it down. -
Guild Gmbh Guild -Historical Catalogue Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 52 742 85 00 - E-Mail: [email protected] CD-No
Guild GmbH Guild -Historical Catalogue Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 52 742 85 00 - e-mail: [email protected] CD-No. Title Composer/Track Artists GHCD 2201 Parsifal Act 2 Richard Wagner The Metropolitan Opera 1938 - Flagstad, Melchior, Gabor, Leinsdorf GHCD 2202 Toscanini - Concert 14.10.1939 FRANZ SCHUBERT (1797-1828) Symphony No.8 in B minor, "Unfinished", D.759 NBC Symphony, Arturo Toscanini RICHARD STRAUSS (1864-1949) Don Juan - Tone Poem after Lenau, op. 20 FRANZ JOSEPH HAYDN (1732-1809) Symphony Concertante in B flat Major, op. 84 JOHANN SEBASTIAN BACH (1685-1750) Passacaglia and Fugue in C minor (Orchestrated by O. Respighi) GHCD Le Nozze di Figaro Mozart The Metropolitan Opera - Breisach with Pinza, Sayão, Baccaloni, Steber, Novotna 2203/4/5 GHCD 2206 Boris Godounov, Selections Moussorgsky Royal Opera, Covent Garden 1928 - Chaliapin, Bada, Borgioli GHCD Siegfried Richard Wagner The Metropolitan Opera 1937 - Melchior, Schorr, Thorborg, Flagstad, Habich, 2207/8/9 Laufkoetter, Bodanzky GHCD 2210 Mahler: Symphony No.2 Gustav Mahler - Symphony No.2 in C Minor „The Resurrection“ Concertgebouw Orchestra, Otto Klemperer - Conductor, Kathleen Ferrier, Jo Vincent, Amsterdam Toonkunstchoir - 1951 GHCD Toscanini - Concert 1938 & RALPH VAUGHAN WILLIAMS (1872-1958) Fantasia on a Theme by Thomas Tallis NBC Symphony, Arturo Toscanini 2211/12 1942 JOHANNES BRAHMS (1833-1897) Symphony No. 3 in F Major, op. 90 GUISEPPE MARTUCCI (1856-1909) Notturno, Novelletta; PETER IILYICH TCHAIKOVSKY (1840- 1893) Romeo and Juliet -
Appendices Bust of General Manager Giulio Gatti-Casazza by Frederick Macmonnies, in the Old Metropolitan Opera House
Appendices Bust of general manager Giulio Gatti-Casazza by Frederick MacMonnies, in the old Metropolitan Opera House 280/APPENDIX I APPENDIX I: CHIEF ADMINISTRATORS 1883-84 Henry E. Abbey 1908-10 Giulio Gatti-Casazza Andreas Dippel 1884-85 Leopold Damrosch (died 2/15/85) 1910-35 Giulio Gatti-Casazza 1885-91 Edmund C. Stanton Anton Seidl 1935-36 Herbert Witherspoon (died 5/10/35) Edward Johnson 1891-92 Henry E. Abbey Maurice Grau 1936-50 Edward Johnson John B. Schoeffel 1950-72 Rudolf Bing 1892-93 Season cancelled 1972-73 Goran Gentele (died 7/18172) 1893-97 Henry E. Abbey (died 10/17/96) Schuyler G. Chapin Grau Maurice 1973-74 Schuyler G. Chapin John B. Schoeffel Rafael Kubelik 1897-98 Season cancelled 1974-75 Schuyler G. Chapin Maurice Grau 1898-1903 1975-81 Anthony A. Bliss 1903-04 Heinrich Conried James Levine Felix Mottl John Dexter 1904-08 Heinrich Conried 1981-85 Anthony A. Bliss James Levine APPENDIX 1/281 Kurt Adler David Stivender 282/APPENDIX II APPENDIX II: CHORUS MASTERS 1883-84 F. De Rialp 1904-05 Hugo Bryck 1884-85 John Lund Paul Eisler Mr. Reichelt Hans Morgenstern Tullio Voghera 1885-91 Frank Damrosch 1905-06 Paul Eisler 1891-92 Carlo Corsi Tullio Voghera 1892-93 Season cancelled 1906-08 Pietro Nepoti 1893-97 Carlo Corsi 1908-17 Giulio Setti Hans Steiner 1897-98 Season cancelled Giulio Setti 1898-99 Pietro Nepoti 1917-35 Gustav Hinrichs 1935-42 Fausto Cleva Konrad Neuger 1899-1900 Pietro Nepoti 1942-45 Konrad Neuger 1900-02 Pietro Nepoti Giacomo Spadoni Hans Morgenstern 1945-73 Kurt Adler 1902-03 Pietro Nepoti 1973-85 David Stivender 1903-04 Pietro Nepoti Selmar Meyrowitz APPENDIX 11/283 George Balanchine Zachary Solov with ballerina Janet Collins rehearsing Ai da, 1951 Antony Tudor with Alicia Markova 284/APPENDIX III APPENDIX III: BALLET MASTERS 1883-84 Luigi Danesi 1911-12 Ottokar Bartik 1933-35 Rosina Galli Malvina CavalazzF Mikail Mordkin 1935-38 George Balanchine 1884-85 F. -
Intention to Designate Under Part IV, Section 29 of the Ontario Heritage Act, Alterations to Designated Heritage Properties
REPORT FOR ACTION Intention to Designate under Part IV, Section 29 of the Ontario Heritage Act, Alterations to Designated Heritage Properties, and Authority to Enter into a Heritage Easement Agreement - 80 and 84 Queen's Park Date: September 2, 2020 To: Toronto Preservation Board Toronto and East York Community Council From: Senior Manager, Heritage Planning, Urban Design, City Planning Wards: Ward 11 - University - Rosedale SUMMARY This report recommends that City Council state its intention to designate 80 and 84 Queen's Park under Part IV, Section 29 of the Ontario Heritage Act and give authority to enter into Heritage Easement Agreement(s) for these properties. This report also recommends that City Council approve the proposed alterations for the heritage properties at 80 and 84 Queen's Park, in connection with a Zoning Amendment Application by the University of Toronto (UofT) to permit the construction of a new 9- storey institutional building for the University's Centre for Civilizations, Cultures and Cities (“CCC”) at 78-90 Queen's Park. The new building would be situated in the interstitial space between Falconer Hall and the Edward Johnson Building. It would be integrated into the back of Falconer Hall with a link to the Edward Johnson Building. The conservation strategy for the heritage properties proposes to retain both the Edward Johnson Building at 80 Queen's Park and Falconer Hall at 84 Queen's Park but the McLaughlin Planetarium at 90 Queen's Park would be demolished. The proposed new 43m high building (including mechanical penthouse) would not affect any of the protected views of Queen's Park and it is setback approximately 36 metres from the Queen's Park frontage in order to lessen its visual impact on this important avenue that links Bloor Street to the Legislative Assembly of Ontario. -
Enrico Caruso: La Biografia Di Un Divo Alle Origini Dell'industria Culturale
Corso di Laurea specialistica (ordinamento ex D.M. 509/1999) in Musicologia e Beni Musicali Tesi di Laurea Enrico Caruso: la biografia di un divo alle origini dell’industria culturale. Relatore Ch. Prof. Paolo Pinamonti Laureanda Alessandra Bergagnini Matricola 805082 Correlatori Ch. Prof.ssa Adriana Guarnieri Ch. Prof. Carmelo Alberti Anno Accademico 2012 / 2013 0 INDICE INTRODUZIONE……………………………………………………………2 1. L’infanzia e l’inizio degli studi….……………………………..……..5 2. Prime esibizioni del giovane Caruso……………………………...10 3. Incontro con Nicola Daspuro e debutto…………………..………13 4. A Livorno incontro con Ada e Giacomo Puccini……...……........19 5. Caruso a Milano………………………………………………….....26 6. Delusione al San Carlo………...……………………........…….….39 7. Breve storia della registrazione e prima incisione di Caruso…..46 8. Caruso emigrante negli Stati Uniti…………………………..…….60 9. Anno 1906, gli avvenimenti infelici………………………..………73 10. Il tradimento di Ada………………………………..…………….….82 11. La popolarità della canzone napoletana oltreoceano…………..89 12. Susseguirsi di stagioni al Metropolitan…………………………...95 13. La guerra oltreoceano…………………………………………….101 14. Caruso e il cinema muto…………………………………….……111 15. L’incontro con Dorothy………………………………………..…..118 16. Malattia e fine del suo canto……………………………………..128 DISCOGRAFIA…………………………………………………….…….141 LISTA DELLE RAPPRESENTAZIONI OPERISTICHE DAL 1895 AL 1921…………………………………………….………...167 CONCLUSIONI……………………………………….………………….192 BIBLIOGRAFIA……………………………………….………………….196 1 INTRODUZIONE Enrico Caruso è il tema della presente tesi, la quale