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Leonard Bernstein
Leonard Bernstein THEATER 17/18 FOR YOUR INFORMATION Do you want more information about upcoming events at the Jacobs School of Music? There are several ways to learn more about our recitals, concerts, lectures, and more! Events Online Visit our online events calendar at music.indiana.edu/events: an up-to-date and comprehensive listing of Jacobs School of Music performances and other events. Events to Your Inbox Subscribe to our weekly Upcoming Events email and several other electronic communications through music.indiana.edu/publicity. Stay “in the know” about the hundreds of events the Jacobs School of Music offers each year, most of which are free! In the News Visit our website for news releases, links to recent reviews, and articles about the Jacobs School of Music: music.indiana.edu/news. Musical Arts Center The Musical Arts Center (MAC) Box Office is open Monday – Friday, 11:30 a.m. – 5:30 p.m. Call 812-855-7433 for information and ticket sales. Tickets are also available at the box office three hours before any ticketed performance. In addition, tickets can be ordered online at music.indiana.edu/boxoffice. Entrance: The MAC lobby opens for all events one hour before the performance. The MAC auditorium opens one half hour before each performance. Late Seating: Patrons arriving late will be seated at the discretion of the management. Parking Valid IU Permit Holders access to IU Garages EM-P Permit: Free access to garages at all times. Other permit holders: Free access if entering after 5 p.m. any day of the week. -
Topical Weill: News and Events
Volume 27 Number 1 topical Weill Spring 2009 A supplement to the Kurt Weill Newsletter news & news events Summertime Treats Londoners will have the rare opportunity to see and hear three Weill stage works within a two-week period in June. The festivities start off at the Barbican on 13 June, when Die Dreigroschenoper will be per- formed in concert by Klangforum Wien with HK Gruber conducting. The starry cast includes Ian Bostridge (Macheath), Dorothea Röschmann (Polly), and Angelika Kirchschlager (Jenny). On 14 June, the Lost Musicals Trust begins a six-performance run of Johnny Johnson at Sadler’s Wells; Ian Marshall Fisher directs, Chris Walker conducts, with Max Gold as Johnny. And the Southbank Centre pre- sents Lost in the Stars on 23 and 24 June with the BBC Concert Orchestra. Charles Hazlewood conducts and Jude Kelly directs. It won’t be necessary to travel to London for Klangforum Wien’s Dreigroschenoper: other European performances are scheduled in Hamburg (Laeiszhalle, 11 June), Paris (Théâtre des Champs-Elysées, 14 June), and back in the Klangforum’s hometown, Vienna (Konzerthaus, 16 June). Another performing group traveling to for- eign parts is the Berliner Ensemble, which brings its Robert Wilson production of Die Dreigroschenoper to the Bergen Festival in Norway (30 May and 1 June). And New Yorkers will have their own rare opportunity when the York Theater’s “Musicals in Mufti” presents Knickerbocker Holiday (26–28 June). Notable summer performances of Die sieben Todsünden will take place at Cincinnati May Festival, with James Conlon, conductor, and Patti LuPone, Anna I (22 May); at the Arts Festival of Northern Norway, Harstad, with the Mahler Chamber Orchestra led by HK Gruber and Ute Gfrerer as Anna I (20 June); and in Metz, with the Orchestre National de Lorraine, Jacques Mercier, conductor, and Helen Schneider, Anna I (26 June). -
Leonard Bernstein's
Leonard Bernstein’s FOR YOUR INFORMATION Do you want more information about upcoming events at the Indiana University Jacobs School of Music? There are several ways to learn more about our recitals, concerts, lectures, and more! Events Online Visit our online events calendar at music.indiana.edu/events: an up-to-date and comprehensive listing of Jacobs School of Music performances and other events. Events to Your Inbox Subscribe to our weekly Upcoming Events email and several other electronic communications through go.iu.edu/24K1. Stay “in the know” about the hundreds of events the Jacobs School of Music offers each year, most of which are free! In the News Visit our website for news releases, links to recent reviews, and articles about the Jacobs School of Music: music.indiana.edu/news. 2018-19 Opera and Ballet Theater Season Learn more about this year’s season, and reserve your seats by visiting music.indiana.edu/operaballet. Musical Arts Center The Musical Arts Center (MAC) Box Office is open M - F, 11:30 a.m. – 5:30 p.m. Call 812-855-7433 for information and ticket sales. Tickets are also available at the box office three hours before any ticketed performance. In addition, tickets can be ordered online at music.indiana.edu/boxoffice. Entrance: The MAC lobby opens for all events one hour before the performance. The MAC auditorium opens one half hour before each performance. Late Seating: Patrons arriving late will be seated at the discretion of the management. Parking Valid IU Permit Holders access to IU Garages EM-P Permit: Free access to garages at all times. -
Porgy and Bess» in Oltre Settant’Anni Di Interpretazioni DISCOGRAFIA SU «PORGY and BESS»
1 Giovinezza di «Porgy and Bess» in oltre settant’anni di interpretazioni DISCOGRAFIA SU «PORGY AND BESS» di Aloma Bardi [all’interno di ciascun capitolo, le voci sono elencate secondo l’ordine cronologico delle registrazioni] I. «PORGY AND BESS» NELL’INTERPRETAZIONE DI GEORGE GERSHWIN Gershwin performs Gershwin: Rare recordings, 1931-1935. Registr. dal vivo delle prove di una selezione dell’opera; 19 luglio 1935. Introduction – Summertime (Abbie Mitchell); A woman is a sometime thing (Edward Matthews); Atto I, Scena I, Finale; My man’s gone now (Ruby Elzy); Bess, you is my woman now (Todd Duncan, Anne Brown); George Gershwin, pf., dir. e annunciatore; 18:07; MusicMasters 5062-2-C, 1991. Testimonianza memorabile per respiro melodico, scelta dei tempi e ritegno antisentimentalistico risultanti dalla concezione sinfonica della direzione, che pone le voci nel fitto tessuto strumentale. II. INCISIONI DELL’OPERA In Porgy and Bess, la definizione di opera integrale e di versione definitiva è articolata e richiede una precisazione: l’edizione per voce e pf., l’unica stampata e pubblicamente disponibile (Warner Bros., 1935) non è una riduzione della partitura orchestrale, bensì testimonia la fase precedente a quella dell’orchestrazione ed è legata agli abbozzi manoscritti; Gershwin orchestrò l’opera mentre tale ed. era già in stampa. Il testo definitivo è invece convenzionalmente – e discutibilmente – considerato quello stabilito durante le rappresentazioni del debutto a Broadway, risultante da tagli numerosi e talora estesi, per lo più effettuati allo scopo di abbreviare la durata dello spettacolo e di eliminare difficoltà per gli interpreti o complessità ritenute eccessive in quel particolare contesto. Porgy and Bess. -
View Printable Playbill
FOR YOUR INFORMATION Do you want more information about upcoming events at the Indiana University Jacobs School of Music? There are several ways to learn more about our recitals, concerts, lectures, and more! Events Online Visit our online events calendar at music.indiana.edu/events: an up-to-date and comprehensive listing of Jacobs School of Music performances and other events. Events to Your Inbox Subscribe to our weekly Upcoming Events email and several other electronic communications through go.iu.edu/24K1. Stay “in the know” about the hundreds of events the Jacobs School of Music offers each year, most of which are free! In the News Visit our website for news releases, links to recent reviews, and articles about the Jacobs School of Music: music.indiana.edu/news. 2018-19 Opera and Ballet Theater Season Learn more about this year’s season, and reserve your seats by visiting music.indiana.edu/operaballet. Musical Arts Center The Musical Arts Center (MAC) Box Office is open M - F, 11:30 a.m. – 5:30 p.m. Call 812-855-7433 for information and ticket sales. Tickets are also available at the box office three hours before any ticketed performance. In addition, tickets can be ordered online at music.indiana.edu/boxoffice. Entrance: The MAC lobby opens for all events one hour before the performance. The MAC auditorium opens one half hour before each performance. Late Seating: Patrons arriving late will be seated at the discretion of the management. Parking Valid IU Permit Holders access to IU Garages EM-P Permit: Free access to garages at all times. -
I'm Not Holding My Breath
number that would become astandard if there whole, and are supported by numerous lesser- were any justice in the world (I'm not holding known (even virtually unknown) but musically my breath). "Lullaby" and "Hungarian Folk Song" worthwhile songs ("Mis'ry's Comin' Around" have Hungarian lyrics (badly mispronounced, is particularly effective). As an appendix, the if this matters to you) that are actually quite recording contains songs written for the orig- good; presumably, they were written by that inal London production and for the 1936 movie well-known Hungarian lyricist, Timoti Rizs. (including the charming "I Have the Room Bjorn Ulvaeus and Benny Anderson, the Above Her"). composers, are better known as members of The recording is a triumph for its stars. ABBA, the group with the Swedish music this Frederica von Stade showed promise in the side of heaven (sorry!). Through their work on Telarc Sound of Music; here, with better direc- Chess, they join Les Miserables' Claude-Michel tion, the promise is fulfilled. She not only sings Schoenberg as the musical theater's "great beautifully but really acts the character. Jerry European hopes." Chess also catapults Judy Hadley confirms my impression of him as Kuhn to the forefront of musical-theater per- being perhaps the most gifted of the new gen- formers. Ms. Kuhn has already been acclaimed eration of tenors. (Earlier this year, he sang an for her more limited contributions to Rags and outstanding Hoffmann in Toronto.) As for Les Mis (a Tony nomination); Chess gives her Teresa Stratas, this superb interpreter of Puc- acrack at areal starring role, and she rises to the cini and Kurt Weill has now added Julie to her occasion superbly. -
Carmengeorges BIZET
Carmen GEORGES BIZET THEATER 15/16 Five Hundred Twenty-Second Program of the 2015-16 Season _______________________ Indiana University Opera Theater presents as its 447th production Carmen Opéra Comique in Four Acts Music by Georges Bizet Libretto by Henri Meilhac and Lucovic Halévy Based on the novel by Prosper Mérimée David Effron, Conductor Jeffrey Buchman, Stage Director Robert O’Hearn, Set and Costume Designer Dana Tzvetkov, Costumer Patrick Mero, Lighting Designer Walter Huff, Chorus Master Brent Gault, Children’s Chorus Master Rosa Mercedes, Dance Choreographer Matt Herndon, Fight Choreographer Gary Arvin, Diction Coach Daniela Siena, Supertitles Author _________________ Musical Arts Center Friday Evening, February Twenty-Sixth Saturday Evening, February Twenty-Seventh Friday Evening, March Fourth Saturday Evening, March Fifth Seven-Thirty O’Clock music.indiana.edu Cast of Characters Friday, February 26 Saturday, February 27 Saturday, March 5 Friday, March 4 Don José . Trey Smagur Justin Stolz Carmen . Courtney Bray Patricia Illera Micaëla . Yuji Bae Claire Lopatka Escamillo . Ross Coughanour Jianan Huang Zuniga . Andrew Richardson Jeremy Gussin Moralès . Mark Billy Teofil Munteanu Frasquita . Emma Donahue Madeline Ley Mercédès . Marianthi Hatzis Chelsea DeLorenz Le Dancaïre . Benjamin Seiwert Andres Acosta Le Remendado . Max Zander Darian Clonts Supernumeraries . Zach Decker, Kara Dual-Fowler, Norm Holy Antonio Houck, Moses Mayabilo, Ben Monticue Jim Nelson, Andrew Nine, Tod Wicks Opera Chorus Walter Huff, Chorus Master Women Women -
20Th Anniversary Celebration
THE AFRICAN AMERICAN ART SONG ALLIANCE CONFERENCE 20th Anniversary Celebration February 9 – 12, 2017 Claire Trevor School of the Arts – Music The University of California, Irvine In collaboration with Christ Our Redeemer AME Church 45 Tesla, Irvine, Rev. Mark E. Whitlock, Jr., Pastor Host Hotel Transportation provided by COR AME Church Radisson Hotel Newport Beach via DMCLS, Inc. a minority-owned VIP transportation co. 4545 MacArthur Boulevard Mathurin Daniel, CEO Newport Beach, CA 92660 37 Rincon Way, Aliso Viejo, CA 92656 The African American Art Song Alliance artsongalliance.org Funding for this conference generously provided by: UCI Office of Inclusive Excellence Spirit Award Program; Christ Our Redeemer AME Church, 45 Tesla, Irvine, Rev. Mark E. Whitlock., Pastor; UCI Illuminations, the Chancellor’s Art & Culture Initiative; Hampsong Foundation; UC Consortium for Black Studies in California; COR Community Development Corporation (CORCDC); Chair’s Endowment, UCI Music Department; UCI African American Studies Department CONFERENCE PARTICIPANTS COMPOSERS SINGERS (cont) H. Leslie Adams, Cleveland, OH Kisma Jordan Hunter, University of Michigan, Flint, MI Judith Baity, Los Angeles, CA Albert R. Lee, University of Nevada, Reno, NV Brittney Elizabeth Boykin, Spelman College, Atlanta, GA Marquita Lister, Morgan State University, Baltimore, MD Maria Thompson Corley, Franklin & Marshall Coll., Lancaster, PA Leberta Lorál, Los Angeles, CA Marquez L.A. Garrett, Florida State University, Tallahassee, FL Jennifer Lindsay, Long Beach, CA Adolphus C. Hailstork, Old Dominion University, Norfolk, VA Oral Moses, Kennesaw State University, Kennesaw, GA Lori Celeste Hicks, Claflin University, Orangeburg, SC Marlaina Owens, Los Angeles, CA Charles Ingram, Los Angeles Southwest College, Los Angeles, CA Miranda Paulos, University of California, Irvine, CA Roy Jennings, New York, NY Willis C. -
La Jolie Fille De Perth
August 27, 2020 – Georges Bizet’s La Jolie Fille de Perth On this week’s Thursday Night Opera House, I’m pleased to present one of Georges Bizet’s lesser-known operas, La Jolie Fille de Perth (The Fair Maid of Perth), which was first performed in Paris the day after Christmas in 1867. Commissioned by the Théatre Lyrique following the success of The Pearl Fishers, it was set to a French libretto by Jules-Henri Vernoy de Saint Georges and Jules Adenis based loosely on Sir Walter Scott’s novel of the same title. Despite its Scottish setting, the opera lacks any distinctively Scottish music. La Jolie Fille de Perth was well received at its premiere but lacked the staying power of Bizet’s most popular work, Carmen, or of The Pearl Fishers. Set in the Scottish town of Perth, the armorer Henry Smith (tenor Alfredo Kraus) is in love with Catherine Glover (soprano June Anderson). Smith agrees to provide shelter for the Gypsy Queen Mab (mezzo-soprano Margarita Zimmerman). Later, he’s visited by Catherine, her glove-making father Simon (bass-baritone Gabriel Bacquier), and his apprentice Ralph (bass-baritone José van Dam), who’s also in love with Catherine. The Duke of Rothsay (baritone Gino Quilico) invites Catherine to his castle and asks Mab, who’s his former mistress, to help him abduct her. Mab pretends to agree but foils the Duke’s machinations and engineers a reconciliation between Catherine and Henry. Georges Prêtre conducts the New Philharmonic Orchestra and the French Radio Chorus in this 1985 EMI recording. -
ARSC Journal
BROADWAY MUSICALS: RECENT PRESERVATIONS OF MUSICALS ON THE CONCERT STAGE AND IN THE STUDIO By James Fisher In 1985, RCA record producer Thomas Z. Shepard assembled an extraordinary cast of Broadway luminaries for two special performances of Stephen Sondheim's 1971 musical, Follies, which previously was represented in recordings by only an original cast album which eliminated, or significantly abbreviated, much of the score. Shepard's recording (RCA Red Seal, RCD2-7128) features virtually the entire score of the show, with snatches of dialogue, as recorded in concert before two enthusiastic audiences at Lincoln Center. In 1988, conductor John McGlinn's restored, complete (including a lengthy appendix of songs added to later versions of the show) studio recording (EMI, CDS 7 49108 2) of Jerome Kern's and Oscar Hammerstein's classic 1927 Broadway musical play, Show Boat, was released to widespread critical acclaim. The much recorded Show Boat had never before been captured in its entirety, and previous versions featured so many interpolations, omissions, or "updated" orchestrations that the simple beauty of Kern's score was often obscured. The success of these two otherwise unrelated recordings contributed to a revival of a nearly lost art-the studio recording of Broadway musicals with a cast and orchestra assembled not for any particular production, but for the sole purpose of preserving the score. The unexpected and extraordinary commercial success of the Follies and Show Boat recordings renewed interest in studio revivals of musicals leading to a flood of revisits to earlier works of the musical stage, while inspiring experimentation with the ways in which these recordings may present most successfully the score. -
Look-In Guide
By George Gershwin, DuBose and Dorothy Heyward, and Ira Gershwin AN EDUCATOR’S GUIDE TO THE OPERA LOOK-IN LESSON STARTERS Music Many solo vocalists and instrumental- illustration by Richard Waldrep ists have recorded Gershwin’s “Summertime,” from jazz saxophon- Porgy and Bess ist John Coltrane to rock star Janis Joplin to rhythm and blues singer HOW TO USE THIS GUIDE Fantasia Barrino (of television’s American Idol fame). This classic Opera offers a unique teaching opportunity—to explore music American song is actually based on through many different disciplines from literature and drama to the blues, the same unique musical history and art. This guide and accompanying CDs prepare the style in which Jasbo Brown, the students for the Opera Look-In and can also be used as stand-alone pianist in Porgy and Bess, plays. To classroom activities and resources for teachers. For applicable assist you with these listening activi- National Standards, please contact Washington National Opera at ties, please cue your Porgy and Bess 202.448.3466 or at [email protected]. excerpt CD to Track 1, Introduction: “Summertime” (4:53). WHAT WILL YOU SEE? Have your students listen carefully Based on a story by DuBose and Dorothy Heyward and set to to see if they can identify which music by George and Ira Gershwin, Porgy and Bess takes center instruments (strings, xylophone, stage for the 2005-2006 Opera Look-In. You and your students horns) are featured in the action- will experience demonstrations of musical and technical special packed introduction (which in the effects, as well as a performance of scenes with full staging, cos- full-scale opera leads into "Jasbo tumes, and orchestra. -
Porgy and Bess”, Icamus 2015
Aloma Bardi, Discografia di “Porgy and Bess”, ICAMus 2015. © Aloma Bardi and ICAMus 2015. Giovinezza di «Porgy and Bess» in ottant’anni di interpretazioni 1935-2015 DISCOGRAFIA DI «PORGY AND BESS» di ALOMA BARDI ICAMus 2015 1 Aloma Bardi, Discografia di “Porgy and Bess”, ICAMus 2015. © Aloma Bardi and ICAMus 2015. INDICE Pag. 5 INTRODUZIONE Pag. 6 I. «PORGY AND BESS» NELL’INTERPRETAZIONE DI GEORGE GERSHWIN Pag. 6 II. INCISIONI DELL’OPERA Pag. 14 III. INCISIONI DI PARTI E SELEZIONI DELL’OPERA Pag. 21 IV. SUITES DA «PORGY AND BESS» Pag. 21 IV.I CATFISH ROW, A SYMPHONIC SUITE FROM «PORGY AND BESS» (Gershwin, 1936) Pag. 22 IV.II PORGY AND BESS, A SYMPHONIC PICTURE (arrangiamento Robert Russell Bennett, 1943; discografia selezionata) Pag. 23 IV.III ALTRE SUITES O SELEZIONI PER ORCHESTRA DA «PORGY AND BESS» Pag. 24 V. TRASCRIZIONI DEGNE DI NOTA, ELABORAZIONI, ARRANGIAMENTI E INTERPRETAZIONI PARTICOLARI, CON ALCUNE CURIOSITÀ Pag. 24 V.I Strumento solista e orchestra Pag. 24 V.I.I Pianoforte 2 Aloma Bardi, Discografia di “Porgy and Bess”, ICAMus 2015. © Aloma Bardi and ICAMus 2015. Pag. 24 V.I.II Violino Pag. 25 V.I.III Fagotto Pag. 25 V.I.IV Tromba Pag. 25 V.II Strumento con accompagnamento di pianoforte Pag. 25 V.II.I Violino (trascr. Jascha Heifetz) Pag. 26 V.II.II Sassofono Pag. 27 V.III Suite/Medley dall’opera, per pianoforte Pag. 28 V.IV Improvvisazioni per organo Pag. 29 V.V Jasbo Brown Pag. 29 V.VI Complessi strumentali Pag. 30 V.VII Cori dall’opera Pag. 30 V.VIII Banda/Sassofono e Banda 3 Aloma Bardi, Discografia di “Porgy and Bess”, ICAMus 2015.