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10-26-2019 Manon Mat.Indd
JULES MASSENET manon conductor Opera in five acts Maurizio Benini Libretto by Henri Meilhac and Philippe production Laurent Pelly Gille, based on the novel L’Histoire du Chevalier des Grieux et de Manon Lescaut set designer Chantal Thomas by Abbé Antoine-François Prévost costume designer Saturday, October 26, 2019 Laurent Pelly 1:00–5:05PM lighting designer Joël Adam Last time this season choreographer Lionel Hoche revival stage director The production of Manon was Christian Räth made possible by a generous gift from The Sybil B. Harrington Endowment Fund general manager Peter Gelb Manon is a co-production of the Metropolitan Opera; jeanette lerman-neubauer Royal Opera House, Covent Garden, London; Teatro music director Yannick Nézet-Séguin alla Scala, Milan; and Théâtre du Capitole de Toulouse 2019–20 SEASON The 279th Metropolitan Opera performance of JULES MASSENET’S manon conductor Maurizio Benini in order of vocal appearance guillot de morfontaine manon lescaut Carlo Bosi Lisette Oropesa* de brétigny chevalier des grieux Brett Polegato Michael Fabiano pousset te a maid Jacqueline Echols Edyta Kulczak javot te comte des grieux Laura Krumm Kwangchul Youn roset te Maya Lahyani an innkeeper Paul Corona lescaut Artur Ruciński guards Mario Bahg** Jeongcheol Cha Saturday, October 26, 2019, 1:00–5:05PM This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation. Digital support of The Met: Live in HD is provided by Bloomberg Philanthropies. The Met: Live in HD series is supported by Rolex. -
Toscanini IV – La Scala and the Metropolitan Opera
Toscanini IV – La Scala and the Metropolitan Opera Trying to find a balance between what the verbal descriptions of Toscanini’s conducting during the period of roughly 1895-1915 say of him and what he actually did can be like trying to capture lightning in a bottle. Since he made no recordings before December 1920, and instrumental recordings at that, we cannot say with any real certainty what his conducting style was like during those years. We do know, from the complaints of Tito Ricordi, some of which reached Giuseppe Verdi’s ears, that Italian audiences hated much of what Toscanini was doing: conducting operas at the written tempos, not allowing most unwritten high notes (but not all, at least not then), refusing to encore well-loved arias and ensembles, and insisting in silence as long as the music was being played and sung. In short, he instituted the kind of audience decorum we come to expect today, although of course even now (particularly in Italy and America, not so much in England) we still have audiences interrupting the flow of an opera to inject their bravos and bravas when they should just let well enough alone. Ricordi complained to Verdi that Toscanini was ruining his operas, which led Verdi to ask Arrigo Boïto, whom he trusted, for an assessment. Boïto, as a friend and champion of the conductor, told Verdi that he was simply conducting the operas pretty much as he wrote them and not allowing excess high notes, repeats or breaks in the action. Verdi was pleased to hear this; it is well known that he detested slowly-paced performances of his operas and, worse yet, the interpolated high notes he did not write. -
Madama Butterfly Stars Kristine Opolais and Roberto Alagna on Great Performances at the Met
Press Contacts: Harry Forbes, WNET 212-560-8027 or [email protected] Eva Chien 212-870-4589 or [email protected] Press materials: http://pressroom.pbs.org or http://www.thirteen.org/13pressroom Website: http://www.pbs.org/wnet/gperf Facebook: http://www.facebook.com/GreatPerformances Twitter: @GPerfPBS Anthony Minghella's Breathtaking Production of Puccini’s Madama Butterfly Stars Kristine Opolais and Roberto Alagna on Great Performances at the Met Sunday, July 17 at 12 p.m. on PBS The late Anthony Minghella’s critically acclaimed production of Puccini’s classic Madama Butterfly comes to THIRTEEN’S Great Performances at the Met Sunday, July 17 at 12 p.m. on PBS (check local listings). Kristine Opolais brings her heartbreaking interpretation of the title role to the series for the first time. Roberto Alagna sings Lieutenant Pinkerton, the callous officer who crushes Butterfly's dreams of love. Debuting conductor Karel Mark Chichon leads a cast that also includes Maria Zifchak as Suzuki and Dwayne Croft as Sharpless. The opera is based in part on the 1898 short story "Madame Butterfly" by John Luther Long, which had its genesis in Pierre Loti’s 1887 French novel Madame Chrysanthème . Long's version was dramatized by David Belasco as the extremely popular one-act play, Madame Butterfly: A Tragedy of Japan , which premiered in 1900 in New York. Puccini first saw it London later that year. The opera had its World premiere at Teatro alla Scala in Milan in 1904, and premiered at the Met on February 11, 1907. That year, Giacomo Puccini came to the United States for the first time for the Met premiere of Madama Butterfly . -
Problems of Tempo in Puccini's Operas
Problems of Tempo in Puccini's Arias Author(s): Mei Zhong Source: College Music Symposium, Vol. 40 (2000), pp. 140-150 Published by: College Music Society Stable URL: https://www.jstor.org/stable/40374404 Accessed: 22-08-2018 17:38 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms College Music Society is collaborating with JSTOR to digitize, preserve and extend access to College Music Symposium This content downloaded from 129.105.215.146 on Wed, 22 Aug 2018 17:38:20 UTC All use subject to https://about.jstor.org/terms Problems of Tempo in Puccini's Arias Mei Zhong problems of tempo in Puccini's soprano arias are surprisingly vexing for per- formers, given that the composer provided many indications in his scores, including many metronome markings, and supervised the preparation of several singers who went on to make early phonograph recordings of his arias. The difficulties arise from the lack of markings in some cases, ambiguous or impractical markings in others (with some evidence that at times Puccini himself was not reliable in this matter), doubts about the authorship of some markings, and wide variations in tempo among recorded perfor- mances. -
Understanding the Lirico-Spinto Soprano Voice Through the Repertoire of Giovane Scuola Composers
UNDERSTANDING THE LIRICO-SPINTO SOPRANO VOICE THROUGH THE REPERTOIRE OF GIOVANE SCUOLA COMPOSERS Youna Jang Hartgraves Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2017 APPROVED: Jeffrey Snider, Major Professor William Joyner, Committee Member Silvio De Santis, Committee Member Stephen Austin, Chair of the Division of Vocal Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Hartgraves, Youna Jang. Understanding the Lirico-Spinto Soprano Voice through the Repertoire of Giovane Scuola Composers. Doctor of Musical Arts (Performance), August 2017, 53 pp., 10 tables, 6 figures, bibliography, 66 titles. As lirico-spinto soprano commonly indicates a soprano with a heavier voice than lyric soprano and a lighter voice than dramatic soprano, there are many problems in the assessment of the voice type. Lirico-spinto soprano is characterized differently by various scholars and sources offer contrasting and insufficient definitions. It is commonly understood as a pushed voice, as many interpret spingere as ‘to push.’ This dissertation shows that the meaning of spingere does not mean pushed in this context, but extended, thus making the voice type a hybrid of lyric soprano voice type that has qualities of extended temperament, timbre, color, and volume. This dissertation indicates that the lack of published anthologies on lirico-spinto soprano arias is a significant reason for the insufficient understanding of the lirico-spinto soprano voice. The post-Verdi Italian group of composers, giovane scuola, composed operas that required lirico-spinto soprano voices. -
“Can't Help Singing”: the “Modern” Opera Diva In
“CAN’T HELP SINGING”: THE “MODERN” OPERA DIVA IN HOLLYWOOD FILM, 1930–1950 Gina Bombola A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the College of Arts and Sciences. Chapel Hill 2017 Approved by: Annegret Fauser Tim Carter Mark Katz Chérie Rivers Ndaliko Jocelyn Neal ©2017 Gina Bombola ALL RIGHTS RESERVED ii ABSTRACT Gina Bombola: “Can’t Help Singing”: The “Modern” Opera Diva in Hollywood Film, 1930–1950 (Under the direction of Annegret Fauser) Following the release of Columbia Pictures’ surprise smash hit, One Night of Love (1934), major Hollywood studios sought to cash in on the public’s burgeoning interest in films featuring opera singers. For a brief period thereafter, renowned Metropolitan Opera artists such as Grace Moore and Lily Pons fared well at the box office, bringing “elite” musical culture to general audiences for a relatively inexpensive price. By the 1940s, however, the studios began grooming their own operatic actresses instead of transplanting celebrities from the stage. Stars such as Deanna Durbin, Kathryn Grayson, and Jane Powell thereby became ambassadors of opera from the highly commercial studio lot. My dissertation traces the shifts in film production and marketing of operatic singers in association with the rise of such cultural phenomena as the music-appreciation movement, all contextualized within the changing social and political landscapes of the United States spanning the Great Depression to the Cold War. Drawing on a variety of methodologies—including, among others, archival research, film analysis, feminist criticisms, and social theory—I argue that Hollywood framed opera as less of a European theatrical art performed in elite venues and more of a democratic, albeit still white, musical tradition that could be sung by talented individuals in any location. -
The Story of a Passionate Love Between a Dashingly Hand Some Heartbreaker and a Prima Donna Is Described by Susan Smit in a Compelling Fashion.’ – De Telegraaf
SUSANTHE FIRST WOMAN SMIT ‘The story of a passionate love between a dashingly handsome heartbreaker and a prima donna is described by Susan Smit in a compelling fashion’ De Telegraaf The First Woman She was the diva of all international opera houses that had sworn never to get married. He was the fighter, thegambler, and the heartbreaker with the angelic face who excelled on stage. Together Geraldine Farrar and Lou Tellegen starred in silent movies and were one of the most legendary Hollywood couples of their time. In The First Woman Susan Smit depicts, with a razor-sharp pen, their boundless ambition, their doubts, fears and passionate love that is doomed to fail. But at the same time the novel is the story of an exciting era, in which Europe loses its innocence after a gruesome war; the women’s movement slowly gains power and a mass medium is born that will change the world for good: cinema. With this dazzling novel, based on histo- ric facts and which takes us from the backstreets of Paris and the courts of the German Empire, to New York and Hollywood, Smit will again touch the heart of her readers. Lebowski Agency / Oscar van Gelderen E: [email protected] T: +31 6 46096823 Quotes ‘Smit describes the magnetic relationship between the two stars in a sensitive manner and endows the reader with so- mething from the zeitgeist, the First World War about to break out and the rise of the movie as a mass medium.’ – Trouw ‘The story of a passionate love between a dashingly hand- some heartbreaker and a prima donna is described by Susan Smit in a compelling fashion.’ – De Telegraaf Susan Smit has chosen her subject well, a star couple from the beginning of the twentieth century, and has written it up carefully in a novel that is somewhere between a docu- mentary (with an eye for the First World War and the rise of the moving pictures) and a psychological novel.’ – de Volkskrant It’s clever how Smit’s novel involves you totally in the mar- riage of those two ambitious reckless and faithless people. -
Celluloid Diva Staging Leoncavallo
King’s Research Portal DOI: 10.1080/02690403.2019.1651515 Document Version Peer reviewed version Link to publication record in King's Research Portal Citation for published version (APA): Rindom, D. (2019). Celluloid Diva: Staging Leoncavallo’s Zazà in the Cinematic Age. Journal of the Royal Musical Association, 144(2), 287-321. https://doi.org/10.1080/02690403.2019.1651515 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. -
VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item
VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just slight marks. For collectors searching top copies, you’ve come to the right place! The further we get from the era of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. Also featured are many “Z” shellac Victors, their best quality surface material (later 1930s) and PW (Pre-War) Victor, almost as good surface material as “Z”. Likewise laminated Columbia pressings (1923- 1940) offer particularly fine sound. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-‘14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually featuring translations of the text or similarly related comments. VERTICALLY CUT RECORDS. There were basically two systems, the “needle-cut” method employed by Edison, which was also used by Aeolian-Vocalion and Lyric and the “sapphire ball” system of Pathé, also used by Rex. and vertical Okeh. -
Brochure: Madama Butterfly
Madama BU TT E R F L Y Madama Butterfly A glimpse into the Archivio Storico Ricordi 1 Madama Butterfly 1904: A Perfect Perception of Theatre Conversation with Riccardo Chailly page 7 2 Madama Butterfly in the Archivio Storico Ricordi by Maria Pia Ferraris page 13 3 Two distinct Butterflies by Gabriele Dotto page 15 4 One-way Trip to Japan by Vittoria Crespi Morbio page 23 Greeting At an international media company like Bertelsmann, the ideas and creativity of our artists, writers and journalists form the heart of our value creation. They are the ones who constantly reinvent our offers by continuing to tell new sto- ries, every day, that inform, entertain and inspire people. In this brochure, we tell you the story of Puccini’s Madama Butterfly and its connection to the treasure trove of the world-famous Ricordi Archive. Like Puccini, Ricordi is a name of great resonance – in Italy, throughout the music world, and also at Bertelsmann. The Archivio Storico Ricordi in Milan, which provides near-com- plete documentation of the rise of the music publisher Casa Ricordi and today gives us unique insights into the world of opera, is regarded as the most important privately- owned collection of Italian opera history. Bertelsmann acquired Casa Ricordi in 1994, but later relinquished most of the company again. However, the associated Archivio Storico Ricordi remained part of Bertelsmann. For us, the extraordinary scope of the collection and its outstand- ing importance for the history of Italian opera were more than reason enough to safeguard the many thousands of scores, libretti, letters, and photographs and preserve them for posterity. -
At Home and Abroad, St. Paul's Impresario Cut a Swath
At Home and Abroad, St. Paul’s Impresario Cut a Swath How Nettie Snyder Put the City on the Musical Map Winter 2012 Volume 46, Number 4 Roger Bergerson —Page 14 From Boom Times to the Great Depression Two Stolpestad Men in St. Paul Real Estate, 1886–1936 James A. Stolpestad Page 3 A roadside directional sign points the way to Stolpestad, a farming community located near Ringsaker in north central Norway. There the homestead of Stolpestad East Farm, center, marks the place from which Andrew Hansen Stolpestad emigrated to St. Paul in 1884. In the photo on the right, a fourth-generation descendant of Andrew, James A. Stolpestad, right, did family research on his Norwegian roots with his cousin, Signe Lund, in 1999. All three photos courtesy of James A. Stolpestad. RAMSEY COUNTY HISTORY RAMSEY COUNTY Executive Director John M. Lindley Founding Editor (1964–2006) Virginia Brainard Kunz Editor Hıstory John M. Lindley Volume 46, Number 4 Winter 2012 RAMSEY COUNTY HISTORICAL SOCIETY THE MISSION STATEMENT OF THE RAMSEY COUNTY HISTORICAL SOCIETY BOARD OF DIRECTORS ADOPTED BY THE BOARD OF DIRECTORS ON DECEMBER 20, 2007: Paul A. Verret President The Ramsey County Historical Society inspires current and future generations Cheryl Dickson to learn from and value their history by engaging in a diverse program First Vice President of presenting, publishing and preserving. William Frels Second Vice President Julie Brady Secretary C O N T E N T S Carolyn J. Brusseau Treasurer Thomas H. Boyd 3 From Boom Times to the Great Depression Immediate Past President Two Stolpestad Men in St. -
PRINTED MATERIAL DISCOGRAPHICAL & REFERENCE BOOKS, PAMPHLETS, BIOGRAPHIES; PROGRAMS Books Are All in Good, Used Condition (No Damage Unless Described)
PRINTED MATERIAL DISCOGRAPHICAL & REFERENCE BOOKS, PAMPHLETS, BIOGRAPHIES; PROGRAMS Books are all in good, used condition (no damage unless described). “As new” should be just that. “Excellent” would be similar to 2, light dust jacket or cover marks but no problems. “Good” would be similar to 3 (use wear). Any damage or marking is mentioned. DJ = includes Paper Dust Jacket “THE RECORD COLLECTOR” MAGAZINE Given below is the featured artist(s) of each issue (D=discography, B-biographical sketch). All copies are in fine condition (with the possibility of an index mark or possible check marks, occasional underlinings, but no physical damage such as tears, loose seams, etc., unless otherwise indicated. MINIMUM BID $5.00 PER MAGAZINE 8002. II/1-6. (Jan.-June, 1947). Re-issue of first half of Volume II, originally in mimeographed format. 8006. III/3. Götterdämmerung on Records; The Victor News Letter; American Record Notes, etc. 8007. III/4. Rethberg Discography; more Götterdämmerung; Cloe Elmo; Russian Operatic Discs, etc. 8010. III/7. Dating Victor Records; A Brief Glance Back; More “Historical Record” Amendments, etc. 8011. III/8. Iris addenda; Russian Operatic Records; More on Affre; The Aldeburgh Festival, etc. 8012. III/9. Edison Disc Records; Celebrities at Birmingham; Puccini Operas; More on Götterdämmerung, etc. 8013. III/10. A Santley Curiosity; Matrix & Serial Numbers; My Most Inartistic Recording; etc. 8015. III/12. Bauer Amendments; Italian Vocal Issues Jan.-Aug. 1948; Philadelphia Record Society, etc. 8017. IV/2. Giovanni Zenatello (D); “Otello” discography, etc. 8018. IV/3. Medea Mei-Figner (D); Another Curiosity; Italian Vocal Issues, etc. 8019. IV/4 The DeReszke Mystery; Eugenia Mantelli (D and commentary), To Help the Junior Collector, etc.