DOCSLIB.ORG

Academ I All/ (Go?

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

000 1 I all/ (go? IclOg tom, 1859 1861 bM Academ ßt noldyn Y of Vh 414S'c 45TH SEASON GRAND OPERA By Notable Cats from The Metropolitan Opera Company of Nett York Saturday, November 14 Monday, November 23 Wednesday, December 2 Monday, December 14 Tuesday, December 22 1908 Monday, January 4 Thursday, January 14 Tuesday, January 26 Thursday, February 4 Wednesday, February 17 Friday, March 5 Wednesday, March 17 Wednesday, March 24 Monday, April 5 1909 THE OFFICIAL PROGRAMME FOR WEEK OF DECEMBER 5, 1908 NC. 32 Copyright applied for New York and Boston Publishing Company 1904 1908 THE PEARL PRESS, 375 Pearl St., Brooklyn Mrs. Henry Smock Boice Miss Susan S. Boice, Soprano The Brooklyn STUDIOS Academy of Music Carnegie Hall, Man., Mon., Th., Sat. 400 Washington Av., B'klyn. Tel., 608 Prosp't at Art of Singing, French Lyric Diction, Classes in French, German and 176 to 194 Montague Street Italian. Best Methods. Incorporated "For the Purpose of Encouraging and Culti- Round Hats vating a taste for Music, Literature and the Arts" Tuesday, March 15 Elizabeth 1859 Dedicated Rhind Tuesday Evening, January 15 374 Fulton Street FIRST PERFORMANCE OF OPERA ti) Tuesday Evening, January 22 Tocques Brooklyn o ti) rn c o FIRST DRAMATIC PERFORMANCE u 1870 "Confidence is not gained in a day" 1908 Monday Evening. December 23 G) 4.11 4-4 1861 ARTHUR J. HEANEY .14 4.4 z Loans on Diamonds and Jewelry and Destroyed by Fire on s.c Monday Morning, November 30, 214 and 216 Atlantic Ave. 1903 333- Tel., 3182 Main Brooklyn Telephone, 423 Main All Our Publications Y. Chandigian are printed on Satin Sheen Primrose Tint Super Dealer in 29x44 -80 lbs., 500 Sheets to the Ream, Made Ex- Oriental Rugs pressly for Our Use in Five -Ton Lots Repairing and Washing a Specialty by 82 FLEET ST. J. E. LINDE & CO. Cor. of DeKalb Ave. Opp. Loeser's Beekman and Cliff Sts. New York City Mrs. Patterson = Collins IMPORTER OF The Master School Fine Hair Goods 203 DeKalb Ave., Brooklyn of Vocal Music All Orders Made on Approval. Tel., 1849 -J Prospect New York City Typewriter Borough of Brooklyn World The New 108 Montague St. (Near Borough Hall and Subway Station) the Academy of Music York in on An institution founded and endowed by the foremost citizens of Brooklyn and to raise and up- Lafayette Avenue hold the standard of Music in America. Day of City between re- opening, Oct. 19. Voicetrial and classification, St. Felix Street and Ashland Place Oct. 15 and 16. FACULTY New Incorporated Friday, April 29, 1904 Frau Professor Aurelia Jaeger, Head Organized Teacher of Vocal Instruction Principal Monday, November 21, 1904 Rice The Site Selected Frau Melanie Guttman (of the Conserva- And Ground Purchased, March, 1905 tory of Vienna) 1st Assistant to Frau Jaeger. Senor Pedro G. Guetary, Teacher of Bel Canto. Corner -stone Laid Madame C. de Palkowska, Teacher of Breath- Every Saturday, May 25. 1907 and Breath Control. ing in and Opened for Mrs. Standard Adele Laris Baldwin, Teacher of English Broadway, Inspection by Invitation to Diction. The Stockholders and their Guests on Herr Eugen Haile, Chorus Master and Accom- panist. Wednesday Afternoon and Evening, Sept. 16 Dr. Gerit Smith, Teacher of the Theory of Music 1908 Fraulein Bertha Firgau, Teacher of the German 253 Language. The Opera House Signor Eduardo Petri, Teacher of the Italian FIRST DRAMATIC PERFORMANCE Language. Represented Saturday Evening, October 17 Mlle. Louise Charvet, Teacher of the French FIRST PERFORMANCE OF OPERA Language. Monday Evening, November 2 Henry T. Finck, Lecturer on the History of FIRST BALL (Orch. and Stage Floored Over) Music, Thursday Evening, November 5 A. L. Cordoza, Teacher of Fencing. Madame Marcella First Subscription Night -The Grand' Opera Sembrich and Mr. David Royal Saturday, November 14 Bispham have accepted places on the Visiting Jury of Musicians. - The Music Hall The number of places being limited, attention is being called to the fact that vacant places will be filled FORMALLY OPENED_, in strictly chronological order, according Wednesday Evening, October 14 to dates and of application. Address all comunications to The Lecture Room on RICHARD EWERS Friday Evening, September 25. Business Manager of the Same Year The j``%; dtl-llt Wtÿ9, L! ;1.;._l L 471.111Jb,i +.!-J 3. \,+.. 1J t.. 1 L l +v J 1` +ll :1`+1.. t.,J4. + Notice to Opera Subscribers Arrangements have been made so that four carriages on Ashland Place and three car- riages on St. Felix Street can discharge or take up passengers at one time. Attention is called the the Traffic Regulations below. Please notice that at the end of the performance carriages will advance to the carriage exits on Ashland Place'and St. Felix Street in order as they stand, and not in response to carriage calls. The numbers of the first ten carriages in line on both side streets will be posted on number carrying machines, one at each end, in the main lobby, thereby notifying patrons that the numbers announced are approaching the exits. Patrons are requested to stay inside the main lobby in order that they may see their numbers when placed on the in- dicators, and thus avoid congestion at the doors. They may pass into the outer lobbies at each end of the main lobby when their carriage numbers are posted. They are urgently re- quested to take their carriages as quickly as possible -if they do not their carriage will have to move on and again take their place in line later on. New numbers will be continuously posted as previous carriages leave. Patrons are respectfully urged to assist the employees of the Academy in keeping an open aisle through the middle of the lobby, in order to avoid delays. Traffic Regulations. Issued by the Department of Police Arriving: St. Felix Street Entrance- Approach from Hanson Place by West Side of St. , Felix Street to Entrance, and depart by North side of Lafayette Avenue to Fulton Street -White Checks, Nos. 1 to 500. Arriving : Ashland Place Entrance -Approach from Flatbush Avenue, via East side of Ash- land Place to Entrance and depart through Ashland Place to Fulton Street -Pink Checks, Nos. 501 to 999. Arriving : Lafayette Avenue Entrance -Approach from Flatbush Avenue by Lafayette Ave- nue, South side, and depart by Lafayette Avenue or St. Felix Street to Fulton Street. At this Entrance carriage checks will be given for the side exits Only. To Take Up Passengers on St. Felix Street: ' Carriages will stand in two lines on the North side of Hanson Place, East of St. Felix Street, and thence in a single line on the West side of St. Felix Street, and then after taking up passengers, will depart West, via Lafayette Avenue or through St. Felix Street to Fulton Street. To Take Up Passengers on Ashland Place: Carriages will stand in two lines on the South side of State Street, and on the East side of Fourth Avenue, west of Flatbush Ave - Avenue, and in a single line on the East side of Ashland Place, and will depart either West or the North side of Lafayette Avenue, or through Ashland Place to Fulton Street. Carriages May Stand to be Taken by Appointment: On Ashland Place, between La- Hats M fayette Avenue and DeKalb Avenue, and can proceed to the Lafayette Avenue front, right side to curb, and then can depart East on Lafayette Avenue or North on St. Felix Street. $15. 1319 o Licensed Public Hacks and Coaches: will stand on the East side of Rockwell Place, to z O North of Lafayette Avenue. N aC $10. Tel., N A.) CS of C. No advertisement that is not approved of by The Board of Direc- tors of The Brooklyn Academy of Music will be permitted in this Publi- M. cation. W Y. This degree of Censorship was voluntarily and freely accorded predominance same thè to The Executive Committee by this Publisher during the fifteen years a to that he conducted the Programme at the Academy of Music when on With Montague Street, and never once was the said Censorship invoked by The Board of Directors against any of his Advertising clientage. door $40. to (next This Programme $5. Sole and Exclusive Edition by Official Authorization is from Originated, Arranged, Edited, Published and Controlled STREET by Prices The New York and Boston Publishing Company (Incorporation Proceedings Pending) SCHENCK COOPER, President and Manager. ROBERT JOSEPH SADLER, Vice President and Treasurer FULTON SAMUEL KOOKEGEY, Secretary WALTER GAMBERTON, Auditor Counsel: Francis Stockton McDivitt 504 ' The Pearl Press (Inc.) York 'Phone, 375 Pearl Street Borough of Brooklyn, New City 2178 Main Millinery Assortment. ï's'L!motísia :M 11 1111V111411,0 Fine +. .,+..a. v1'"¡%LI,±.>+.,.,t, .+_- 4' ....- Large 2 THE BROOKLYN ACADEMY OF MUSIC PROGRAMME THE Where to Dine LONG ISLAND LOAN AND TRUST CO. THE ORMONDE TEMPLE BAR, 44 COURT ST., BROOKLYN -NEW YORK Capital, Surplus and Undivided Profits, Over $2,800,000.00 Largest and Most Handsome Restaurant in Brooklyn -OFFICERS- Finest Cusine and Service. Music Daily 6 to 1 EDWARD MERRITT President Sundays 12.30 to 3, 5,30 to 1 CLINTON L. ROSSITER First Vice President DAVID G. LEGGET Second Vice President FREDERICK T. ALDRIDGE Secretary 1276 FULTON STREET, at Nostrand Ave. Geo. Boemermann, Prop. WILLARD P. SCHENCK Assistant Secretary QI II I I I I 13 Il lit l`lx ,.t, , ;. l'J3,,h°.l-fltl)::1Ni" INii; IIfJ::,11J:_`,;11>tJ.,`I,,LIJ "1, , fj[ylri . >.,,.,_,.,,c..r.. ,.. : _ ,... The Brooklyn Academy of Music St. Felix St. -- Lafayette Ave. -- Ashland PL Larger, Safer and Superior in Every Respect to Any Other Theatre in the City Season 45 12th Week GRAND OPERA Brooklyn Season 1908 -1909 MetropolitanBy theOpera Entire Company Xmas Gifts and ,' ,, i, of New -York 7 GIULIO GATTI- CASAZZA ` GENERAL MANAGER ANDREAS DIPPEL ADMINISTRATIVE MANAGER People Xmas Sights Third Night of The Subscription 0 Wednesday Evening, Dec.
Recommended publications
  • Chronology 1916-1937 (Vienna Years)

    Chronology 1916-1937 (Vienna Years)

    Chronology 1916-1937 (Vienna Years) 8 Aug 1916 Der Freischütz; LL, Agathe; first regular (not guest) performance with Vienna Opera Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Miller, Max; Gallos, Kilian; Reichmann (or Hugo Reichenberger??), cond., Vienna Opera 18 Aug 1916 Der Freischütz; LL, Agathe Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Gallos, Kilian; Betetto, Hermit; Marian, Samiel; Reichwein, cond., Vienna Opera 25 Aug 1916 Die Meistersinger; LL, Eva Weidemann, Sachs; Moest, Pogner; Handtner, Beckmesser; Duhan, Kothner; Miller, Walther; Maikl, David; Kittel, Magdalena; Schalk, cond., Vienna Opera 28 Aug 1916 Der Evangelimann; LL, Martha Stehmann, Friedrich; Paalen, Magdalena; Hofbauer, Johannes; Erik Schmedes, Mathias; Reichenberger, cond., Vienna Opera 30 Aug 1916?? Tannhäuser: LL Elisabeth Schmedes, Tannhäuser; Hans Duhan, Wolfram; ??? cond. Vienna Opera 11 Sep 1916 Tales of Hoffmann; LL, Antonia/Giulietta Hessl, Olympia; Kittel, Niklaus; Hochheim, Hoffmann; Breuer, Cochenille et al; Fischer, Coppelius et al; Reichenberger, cond., Vienna Opera 16 Sep 1916 Carmen; LL, Micaëla Gutheil-Schoder, Carmen; Miller, Don José; Duhan, Escamillo; Tittel, cond., Vienna Opera 23 Sep 1916 Die Jüdin; LL, Recha Lindner, Sigismund; Maikl, Leopold; Elizza, Eudora; Zec, Cardinal Brogni; Miller, Eleazar; Reichenberger, cond., Vienna Opera 26 Sep 1916 Carmen; LL, Micaëla ???, Carmen; Piccaver, Don José; Fischer, Escamillo; Tittel, cond., Vienna Opera 4 Oct 1916 Strauss: Ariadne auf Naxos; Premiere
  • Florida State University Libraries

    Florida State University Libraries

    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Gustav Mahler, Alfred Roller, and the Wagnerian Gesamtkunstwerk: Tristan and Affinities Between the Arts at the Vienna Court Opera Stephen Carlton Thursby Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC GUSTAV MAHLER, ALFRED ROLLER, AND THE WAGNERIAN GESAMTKUNSTWERK: TRISTAN AND AFFINITIES BETWEEN THE ARTS AT THE VIENNA COURT OPERA By STEPHEN CARLTON THURSBY A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2009 The members of the Committee approve the Dissertation of Stephen Carlton Thursby defended on April 3, 2009. _______________________________ Denise Von Glahn Professor Directing Dissertation _______________________________ Lauren Weingarden Outside Committee Member _______________________________ Douglass Seaton Committee Member Approved: ___________________________________ Douglass Seaton, Chair, Musicology ___________________________________ Don Gibson, Dean, College of Music The Graduate School has verified and approved the above named committee members. ii To my wonderful wife Joanna, for whose patience and love I am eternally grateful. In memory of my grandfather, James C. Thursby (1926-2008). iii ACKNOWLEDGEMENTS The completion of this dissertation would not have been possible without the generous assistance and support of numerous people. My thanks go to the staff of the Austrian Theater Museum and Austrian National Library-Music Division, especially to Dr. Vana Greisenegger, curator of the visual materials in the Alfred Roller Archive of the Austrian Theater Museum. I would also like to thank the musicology faculty of the Florida State University College of Music for awarding me the Curtis Mayes Scholar Award, which funded my dissertation research in Vienna over two consecutive summers (2007- 2008).
  • Bruno Walter (Ca

    Bruno Walter (Ca

    [To view this image, refer to the print version of this title.] Erik Ryding and Rebecca Pechefsky Yale University Press New Haven and London Frontispiece: Bruno Walter (ca. ). Courtesy of Österreichisches Theatermuseum. Copyright © by Yale University. 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 and of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Sonia L. Shannon Set in Bulmer type by The Composing Room of Michigan, Grand Rapids, Mich. Printed in the United States of America by R. R. Donnelley,Harrisonburg, Va. Library of Congress Cataloging-in-Publication Data Ryding, Erik S., – Bruno Walter : a world elsewhere / by Erik Ryding and Rebecca Pechefsky. p. cm. Includes bibliographical references, filmography,and indexes. ISBN --- (cloth : alk. paper) . Walter, Bruno, ‒. Conductors (Music)— Biography. I. Pechefsky,Rebecca. II. Title. ML.W R .Ј—dc [B] - A catalogue record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. For Emily, Mary, and William In memoriam Rachel Kemper and Howard Pechefsky Contents Illustrations follow pages and Preface xi Acknowledgments xv Bruno Schlesinger Berlin, Cologne, Hamburg,– Kapellmeister Walter Breslau, Pressburg, Riga, Berlin,‒
  • Werner Alberti Jerzy S. Adamczewski Martin Abendroth Bessie Abott

    Werner Alberti Jerzy S. Adamczewski Martin Abendroth Bessie Abott

    Martin Abendroth Sinfonie Orchester, dir. Felix Günther Die Zauberflöte Mozart 1929, Berlín 52434 In diesen heiligen Hallen Hom. A 8030 5101 52435 O Isis und Osiris Hom. A 8030 5101 Bessie Abott, Enrico Caruso, Louise Homer, Antonio Scotti orchestra Rigoletto Verdi 20.2.1907, New York A 4259 Bella figlia dell´amore HMV DO 100 6823 Jerzy S. Adamczewski Orkiestra symfoniczna, dir. Olgierd Straszyński Halka Stanisław Moniuszko / Włodzimierz Wołski 1955±, Varšava WA 1489 Racitativ i ariaJanusza Muza 1717 P 1321 Auguste Affre, Etienne Billot Orchestre Faust Gounod x.5.1907, Paříž XP 3362 Duo du 1er Acte – 2 Disque Odeon 60329 X 40 Werner Alberti klavír Martha Flotow x.9.1905, Berlín xB 675 Mag der Himmel euch vergeben Odeon Record 34296, 1/10 okraj X 15 Postillion von Lonjumeau Adam x.9.1905, Berlín Bx 679 Postillionslied Odeon Record 34296, 1/10 okraj X 15 Orchester Troubadour Verdi x.2.1906, Berlín 1001 Ständchen Hom. B. 838 P 11261 14.5.1906, Berlín 1701 Stretta Hom. B. 838 P 11261 Bajazzo Leoncavallo x.7.1912, Berlín 14281 Nein, bin Bajazzo nichr bloss! Beka B. 3563 P 10964 14285 Hüll´ dich in Tand Beka B. 3563 P 10964 Odeon-Orchester, dir. Friedrich Kark Troubadour Verdi x.9.1906, Berlín Bx 1641 Ständchen Odeon Record 50152 X 65 Lohengrin Wagner x.9.1906, Berlín Bx 1659 Nun sei bedankt, mein lieber Schwann Odeon Record 50161 X 65 Frances Alda, Enrico Caruso, Josephine Jacoby, Marcel Journet Victor Orchestra, dir. Walter B. Rogers Martha Flotow 7.1.1912, New York A 11437 Siam giunti, o giovinette HMV DM 100 5420 A 11438 Che vuol dir cio HMV DM 100 5420 A 11439 Presto, presto andiam HMV DM 104 5422 A 11440 T´ho raggiunta sciagurata HMV DM 104 5422 Frances Alda, Enrico Caruso, Marcel Journet Victor Orchestra, dir.
  • Inhalt Bandl Vorwort XXVII Einleitung I Vorspiel Auf Dem Theater — Eine Stimme Zur Rechten Zeit ...I Vollendung Und Ende

    Inhalt Bandl Vorwort XXVII Einleitung I Vorspiel Auf Dem Theater — Eine Stimme Zur Rechten Zeit ...I Vollendung Und Ende

    Inhalt Bandl Vorwort XXVII Einleitung i Vorspiel auf dem Theater — Eine Stimme zur rechten Zeit .... i Vollendung und Ende des Belcanto: Enrico Caruso 3 Vom Erbe — über das Erben 9 I. Kapitel Dialog mit der Ewigkeit 19 In der Welt der Erinnerung zählt die Zeit nicht 19 Auf der Suche nach der verlorenen Zeit 26 Sänger und Schallplatte 28 Von Treue und Untreue 34 II. Kapitel Belcanto 39 Goldenes Zeitalter 39 Heiliger Geist - Hermaphrodit - Modern Heroe - Die übernatürlich schöne Stimme 46 Paradigma: Farinelli 48 Das Ende der Gesangskunst? 55 III. Kapitel Der ferne Klang oder: Die alte Schule 59 Nachtigall: Adelina Patti 59 • Auf Flügeln des Gesanges: Marcella Sembrich 67 Exkurs: Die Schule der Mathilde Marchesi 73 Assoluta: Lilli Lehmann 76 • Yankee-Diva: Lillian Nordica 83 • Der letzte Rokoko-Tenor: Fernando de Lucia 88 • La voix unique du monde: Fran­ cesco Tamagno 99 • Exkurs: Die Zerstörung des Helden: Francesco Tamagno und die Otello-Tradition 104 • Magisches Wispern: Victor Maurel 112 • La Gloria d'Italia: Mattia Batristini 115 • Der vollkommene Sänger: Pol Plancon 122 IV. Kapitel Richard Wagner: Die menschliche Stimme ist die Grundlage aller Musik 127 Der Darsteller ist der wahre Künstler 127 Die Oper oder: Das Narrenhaus für allen Wahnsinn der Welt . 129 Kesting, Jürgen digitalisiert durch: Die grossen Sänger IDS Luzern 2010 Der dramatische Gesang 132 Paradigma I - Die Utopie von der vollkommenen Tenorstimme oder: Joseph Tichatschek 137 Paradigma II - Das Gesangsgenie ohne Stimme oder: Wilhelmine Schröder-Devrient 139 Wenn sich die Theorie der Wirklichkeit nicht fügt 144 Gesang als Handlung 147 Die Frage des Belcanto 149 Gesang und Sprache: Wagner, der Lautkomponist 159 Entwicklungen des Wagner-Gesangs 163 V.
  • Alma Mahler-Werfel. Einige Aspekte Zu Leben Und Werk

    Alma Mahler-Werfel. Einige Aspekte Zu Leben Und Werk

    Alma Mahler-Werfel. Einige Aspekte zu Leben und Werk Wissenschaftliche Hausarbeit Zur Ersten (Künstlerisch-Wissenschaftlichen) Staatsprüfung Für das Amt des Studienrats mit dem Fach Musik Vorgelegt von: Christiane Ebeling Hausotterstr. 23 13409 Berlin e-mail: [email protected] Berlin, den 6. April 2000 Inhaltsverzeichnis 1. Einleitung 1 2. Quellenlage 4 2.1. Die Tagebuch-Suiten 4 2.2. Die Briefe 5 2.2.1.Die Briefe Gustav Mahlers an Alma Schindler-Mahler 6 2.2.2. Die Briefe Alexander Zemlinskys an Alma Schindler 7 2.3. Die Lieder 7 2.4. Autobiografische Schriften 8 2.4.1. Gustav Mahler. Erinnerungen und Briefe 9 2.4.2. And the bridge is love 9 2.4.3. Mein Leben 9 2.5. Biografien 10 3. Die Darstellung Alma Schindler-Mahlers 10 3.1. Die Selbstinterpretation in den Autobiografien 11 3.1.1. Die Darstellung der Jugend- und Ausbildungszeit 13 3.1.2. Die Darstellung des „Kompositionsverbots“ 17 3.2. Die Charakterisierung Alma Mahler-Werfels in den Biografien 20 3.2.1. Der Beginn der Biografien 21 3.2.2. Die Perspektive auf Alma Schindlers Jugend- und Ausbildungszeit 24 3.2.3. Die Darstellung des „Kompositionsverbots“ 28 4. Die Komponistin Alma Schindler in den Tagebuch-Suiten 34 4.1. Alma Schindlers Kindheit und Jugend in den Künstlerkreisen Wiens 34 4.1.1. Alma Schindlers Kunstrezeption 35 4.1.2. Alma Schindlers Literaturrezeption 36 4.1.3. Alma Schindlers Musikrezeption 38 4.2. Musikausübung zwischen Öffentlichkeit und Privatheit 41 4.2.1. Alma Schindlers pianistische Tätigkeit 41 4.2.2. Selbstverwirklichung zwischen Ehe und Professionalisierung 46 4.3.
  • Swr2-Musikstunde-20100708.Pdf

    Swr2-Musikstunde-20100708.Pdf

    ________________________________________________________________________________________________ Musikstunde mit Katharina Eickhoff Donnerstag, 8. Juli 2010 „Mein ganzes Leben ist ein großes Heimweh“ – Reisen zu Gustav Mahler Teil IV - Annus horribilis in Maiernigg Indikativ Es gibt so manches, was man dem Wörthersee verzeihen muss: Die fehlende Bergkulisse, das viele Schilf an den Ufern, die Diäthotels, das schreckliche Publikum, wo Großfamilien aus Dubai und den Emiraten auf neureiche Musikantenstadl-Fans treffen und Männer mit offenen Hemden ihre deutlich jüngeren Frauen in dicken Autos zum Cocktail in der Abendstunde vorfahren, und hinwegsehen muss man auch über die politischen Vorlieben der hier Ansässigen, die ihrem dahingegangenen Landeshauptmann Haider in einem ehemaligen Nazi- Bunker ein Museum eingerichtet haben und von ihm sagen, er sei ihr „gütiger Vater“ gewesen. Versteht sich, dass sich in dieser Gegend auch gern Neonazigruppen aus aller Welt zu Arbeitstreffen versammeln, um endlich gegen die jüdische Weltverschwörung aktiv zu werden. Hier also ist Gustav Mahler viele Sommer lang glücklich gewesen – aber zu seiner Zeit war es wohl auch noch ein anderer Wörthersee. Ich stehe vorm verschlossenen und verwitterten Tor der „Villa Siegel“ in Maiernigg am Südufer und schaue hinunter auf das verlassen wirkende Haus am See. Früher hieß es „Villa Mahler“ – Mahler hat es für sich bauen lassen, pünktlich zur Jahrhundertwende, als rund um den Wörthersee viele solcher Sommerfrische-Häuser entstanden sind. Zur Haustüre führt eine kleine Brücke vom Hang her, und - man kann nicht anders als gleich an jene schreckliche Nacht im Jahr 1907 zu denken, in der hier der Sarg von Putzi, seiner kleinen Tochter, herausgetragen worden ist – danach hat Mahler das Haus verkauft. Aber soweit sind wir ja noch nicht.
  • Türkiye'de Seslendirilen Ilk Alman Operasi (The First German Opera In

    Türkiye'de Seslendirilen Ilk Alman Operasi (The First German Opera In

    Sanat Dergisi Sayı 10 Opera ve Bale Festivalleri 8. ULUSLARARASI İSTANBUL OPERA FESTİVALİ 15. ULUSLARARASI BODRUM BALE FESTİVALİ İZMİR EFES OPERA VE BALE GÜNLERİ SOPRANO 24. ULUSLARARASI ASPENDOS OPERA VE BALE GÖRKEM EZGİ YILDIRIM’IN FESTİVALİ BÜYÜK BAŞARISI TÜRK OPERA SANATÇILARI MAKEDONYA’ DA! Türkiye'de Seslendirilen İlk Alman Operası Kienzl? Der Evangelimann? Eğer Avusturyalı besteci Kienzl’ın adını bundan önce duymadıysanız ve bestecinin başyapıtı olan operanın “Der Evangelimann” olduğunu bilmiyorsanız, herhalde yalnız değilsiniz. Wilhelm Kienzl (Kinzıl okunuyor) eserleri günümüzde pek seslendirilen bir müzisyen değil; prömiyeri Berlin’de 1895’te yapılmış olan “Der Evangelimann” ise Kienzl’ın Wagner etkisi altında bestelenmiş, ama bugün hemen hemen unutulmuş bir operası. Bunu da bilmemekte haklısınız. 19. yüzyılın sonu ve 20. yüzyılın başlarında Kienzl oldukça ünlü bir müzisyendi. Der Evangelimann da özellikle Avrupa’da çok popülerdi. Öyle ki, 1908 yılında basılmış bir müzik ansiklopedisi, o yıl 41 yaşında olan Kienzl hakkında verdiği bilgide, Der Evangelimann için; “Bu başarılı opera günümüze kadar 7 dile çevrildi ve 150’den fazla değişik opera salonunda seslendirildi” diyor. Başka bir kaynağa göre ise, prömiyerini takip eden ilk 40 yıl içinde Der Evangelimann, 5300’den fazla kez icra edilmiş. Şöyle bir hesaplarsak; 1895’ten itibaren 40 yıl süreyle ortalama her 2-3 akşamda bir, dünyanın bir opera salonunda Der Evangelimann seslendiriliyormuş! Bu büyük bir başarı sayılır. 20. yüzyılın başlarında Der Evangelimann’ın Avusturyalı besteci Wilhelm Kienzl’ın 1925’te Viyana’da seslendirildiği yerlerden biri de İstanbul. I. Dünya çekilmiş portresi. Savaşı’nın ortasında, 1916 Ocak ayında, İstanbul Beyoğlu’ndaki “Teutonia” salonunda verilen Türkiye prömiyerinin bir ilginç yanı daha var. Der Evangelimann, Türkiye’de seslendirilen ilk Almanca opera oluyor.
  • El "Parsifal" De Richard Wagner Y Sus Intérpretes En Bayreuth

    El "Parsifal" De Richard Wagner Y Sus Intérpretes En Bayreuth

    EL "PARSIFAL" DE RICHARD WAGNER Y SUS INTÉRPRETES EN BAYREUTH por EDUARD KLAMPFL EL "PARSIFAL" DE RICHARD WAGNER Y SUS INTÉRPRETES EN BAYREUTH por EDUARD KLAMPFL Editado en Viena 1908 ASSOCIACIÓ WAGNERIANA Apartado de Correos 1.159 08080 Barcelona www.associaciowagneriana.com E-mail: [email protected] ÍNDICE Reparto de las representaciones de "Parsifal" 4 Introducción 8 Hermann Winkelmann 13 Heinrích Gudehus 24 Ferdinand Jäger 30 Ernest van Dyck 34 Wilhelm Grüning 42 Willi Birrenkoven 46 Emil Gerhäuser 52 Alois Burgstaller 57 Erik Schmedes 62 Dr. Alfred von Bary 68 Fritz Rémond 71 Alois Hatiwiger 74 Conclusión 78 Los Artistas hasta la fecha de las REPRESENTACIONES DE "PARSIFAL" EN BAYREUTH Desde 1882 a 1906 Año: 1882 Parsifal: Hermann Winkelmann, Heinrich Gudehus, Ferdinand Jäger Amfortas: Theodor Reichmann Titurel: August Kindermann Gurnemanz: Emil Skaria, Gustav Siehr Klingsor: Anton Fuchs, Karl Hill Kundry: Amalia Materna, Therese Malten, Marianne Brandt Año: 1883 Parsifal: Hermann Winkelmann, Heinrich Gudehus, Amfortas: Theodor Reichmann Titurel: Anton Fuchs Gurnemanz: Emil Skaria, Gustav Siehr Klingsor: Anton Fuchs, Ernst Degele Kundry: Amalia Materna, Therese Malten Año: 1884 Parsifal: Hermann Winkelmann, Heinrich Gudehus, Amfortas: Theodor Reichmann Titurel: Anton Fuchs Gurnemanz: Emil Skaria, Gustav Siehr Klingsor: Anton Fuchs, Fritz Plank Kundry: Amalia Materna, Therese Malten Año: 1886 Parsifal: Hermann Winkelmann, Heinrich Gudehus, Amfortas: Theodor Reichmann, Eugen Gura, Karl Scheidemantel Titurel: Ernst Halper,
  • Known Also As Louis Victor Franz Saar [Lôô-Ee Veek-TAWR FRAHNZ SAHAHR]

    Known Also As Louis Victor Franz Saar [Lôô-Ee Veek-TAWR FRAHNZ SAHAHR]

    Saar C Louis Victor Saar C LOO-uss VICK-tur SAR C (known also as Louis Victor Franz Saar [lôô-ee veek-TAWR FRAHNZ SAHAHR]) Saar C Mart Saar C MART SAHAHR Saari C Tuula Saari C TÔÔÔÔ-lah SAHAH-rih Saariaho C Kaija Saariaho C KAHIH-yah SAHAH-rihah-haw C (known also as Kaija Anneli [AHN-neh-lih] Saariaho) Saavedra C Ángel Pérez de Saavedra C AHN-hell PAY-rehth day sah-VAY-drah Sabaneyev C Leonid Sabaneyev C lay-ah-NYITT sah-bah-NAY-eff C (known also as Leonid Leonidovich [lay-ah-NYEE-duh-vihch] Sabaneyev) Sabata C Victor de Sabata C VEEK-tohr day sah-BAH-tah C (known also as Vittorio de Sabata [veet-TOH-reeo day sah-BAH-tah]) Sabater C Juan María Thomas Sabater C hooAHN mah-REE-ah TOH-mahss sah-vah-TEHR C (known also as Juan María Thomas) Sabbatini C Galeazzo Sabbatini C gah-lay-AHT-tso sahb-bah-TEE-nee Sabbatini C Giuseppe Sabbatini C joo-ZAYP-pay sah-bah-TEE-nee Sabbatini C Luigi Antonio Sabbatini C looEE-jee ahn-TAW-neeo sahb-bah-TEE-nee Sabbato sancto C SAHB-bah-toh SAHNK-toh C (the Crucifixion before Easter Sunday) C (general title for individually numbered Responsoria by Carlo Gesualdo [KAR-lo jay-zooAHL- doh]) Sabin C Robert Sabin C RAH-burt SAY-binn Sabin C Wallace Arthur Sabin C WAHL-luss AR-thur SAY-binn Sabina C Karel Sabina C KAH-rell SAH-bih-nah Sabina C sah-BEE-nah C (character in the opera La fiamma [lah feeAHM-mah] — The Flame; music by Ottorino Respighi [oht-toh-REE-no ray-SPEE-ghee] and libretto by Claudio Guastalla [KLAHOO-deeo gooah-STAHL-lah]) Sabio C Alfonso el Sabio C ahl-FAWN-so ell SAH-veeo Sacchetti C Liberius Sacchetti C lyee-BAY-rihôôss sahk-KAY-tih Sacchi C Don Giovenale Sacchi C DOHN jo-vay-NAH-lay SAHK-kee Sacchini C Antonio Sacchini C ahn-TAW-neeo sahk-KEE-nee C (known also as Antonio Maria Gasparo Gioacchino [mah-REE-ah gah-SPAH-ro johahk-KEE-no] Sacchini) Sacco C P.
  • ROBYN CATHCART: M.A. CANDIDATE in MUSICOLOGY the UNIVERSITY of VICTORIA, VICTORIA BC -The Singing School of Manuel Garcia

    ROBYN CATHCART: M.A. CANDIDATE in MUSICOLOGY the UNIVERSITY of VICTORIA, VICTORIA BC -The Singing School of Manuel Garcia

    ROBYNCATHCART: M.A. CANDIDATEIN MUSICOLOGY THEUNIVERSITY OF VICTORIA, VICTORIA BC -The Singing School of Manuel Garcia IZ- Supervisor: Dr. Gordana Lazarevich December 12,2003 University of Victoria PO Box 1700 STN CSC Victoria, BC V8W 2Y2 Canada Supervisor: Dr. Gordana Lazarevich A~STRACT Manuel Garcia 11 (1805-1906) is perhaps the greatest teacher of voice in history, and his approach, stated in A Complete Treatise on the Art of Singing, Parts One (1841) and Two (1847), became one of the principal methods of vocal instruction during his time. By tracing Garcia 11's methodology, based on the Italian Schools of Singing and be1 canto opera, it will become clear that his type of voice building holds many of the keys needed to unlock the voices of singers today. Analysis of Garcia II's vocal treatises, combined with first hand research conducted with faculty throughout three prominent Canadian university voice programs, will further substantiate the claim that Garcia 11 is a pivotal figure within the landscape of vocal pedagogy, also putting to rest several misconceptions (i.e. vocal onset and the coup de la glotte, and vocal registers) concerning his teachings. Respected internationally for his contributions to the worlds of classical voice and opera, performance practice, voice science, and pedagogy during his lifetime, Garcia II's theories on vocal production remain intact in current vocal pedagogy, despite shifts in the paradigms of musical, cultural, social and vocal aesthetics. List of Figures ............................................................................ 11 ... List of Appendices ...................................................................... 111 Acknowledgements ..................................................................... iv Preface ......................................................................................... v Chapter 1: Planting the Seeds of the Garcia 11 School ................. 1 (a) The Italian Schools ......................................
  • Inhalt Bandi Einleitung I Vorspiel Auf Dem Theater — Eine Stimme Zur Rechten Zeit ...I Vollendung Und Ende Des Belcanto

    Inhalt Bandi Einleitung I Vorspiel Auf Dem Theater — Eine Stimme Zur Rechten Zeit ...I Vollendung Und Ende Des Belcanto

    Inhalt Bandi Vorwort XXVII Einleitung i Vorspiel auf dem Theater — Eine Stimme zur rechten Zeit .... i Vollendung und Ende des Belcanto: Enrico Caruso 3 Vom Erbe — über das Erben 9 I. Kapitel Dialog mit der Ewigkeit 19 In der Welt der Erinnerung zählt die Zeit nicht 19 Auf der Suche nach der verlorenen Zeit 26 Sänger und Schallplatte 28 Von Treue und Untreue 34 II. Kapitel Belcanto 39 Goldenes Zeitalter 39 Heiliger Geist — Hermaphrodit — Modern Heroe — Die übernatürlich schöne Stimme 46 Paradigma: Farinelli 48 Das Ende der Gesangskunst? 55 III. Kapitel Der ferne Klang oder: Die alte Schule 59 Nachtigall: Adelina Patti 59 • Auf Flügeln des Gesanges: Marcella Sembrich 67 Exkurs: Die Schule der Mathilde Marchesi 73 Assoluta: Lilli Lehmann 76 • Yankee-Diva: Lillian Nórdica 83 • Der léate Rokoko-Tenor: Fernando de Lucia 88 • La voix unique du monde: Fran- cesco Tamagno 99 • Exkurs: Die Zerstörung des Helden: Francesco Tamagno und die Otello-Tradition 104 • Magisches Wispern: Victor Maurel 112 • La Gloria d'Italia: Mattia Battistini 115 • Der vollkommene Sänger: Pol Plançon 122 IV. Kapitel Richard Wagner: Die menschliche Stimme ist die Grundlage aller Musik 12.7 Der Darsteller ist der wahre Künstler 127 Die Oper oder: Das Narrenhaus für allen Wahnsinn der Welt . 129 Inhalt VII Bibliografische Informationen digitalisiert durch http://d-nb.info/1008288748 Der dramatische Gesang 132 Paradigma I — Die Utopie von der vollkommenen Tenorstimme oder: Joseph Tichatschek 137 Paradigma II - Das Gesangsgenie ohne Stimme oder: Wilhelmine Schröder-Devrient 139 Wenn sich die Theorie der Wirklichkeit nicht fügt 144 Gesang als Handlung 147 Die Frage des Belcanto 149 Gesang und Sprache: Wagner, der Lautkomponist 159 Entwicklungen des Wagner-Gesangs 163 V.