DOCSLIB.ORG

Luigi Dallapiccola's Il Prigioniero and Gian Carlo

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Luigi Dallapiccola's Il Prigioniero and Gian Carlo LUIGI DALLAPICCOLA'S IL PRIGIONIERO AND GIAN CARLO MENOTTI'S THE CONSUL: A COMPARATIVE STUDY by JENNIFER GRAHAM STEPHENSON PAUL H. HOUGHTALING, COMMITTEE CHAIR SUSAN CURTIS FLEMING NIKOS A. PAPPAS STEPHEN V. PELES JONATHAN WHITAKER ELIZABETH AVERSA A DOCUMENT Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the School of Music in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2016 Copyright Jennifer Graham Stephenson 2016 ALL RIGHTS RESERVED ABSTRACT As art reflects life, so too does it hold a mirror to the lives of the people who create it. The turbulent events of the first decades of the twentieth century, including two World Wars and the rise of Italian Fascism and German Nazism in the 1920s and 30s, affected millions of lives across several continents. This document explores the ways in which Luigi Dallapiccola (1904– 1973) and Gian Carlo Menotti (1911–2007) voice their reactions to these events in their operas, Il Prigioniero (1948) and The Consul (1950). Italian composer Luigi Dallapiccola spent twenty months in internment during the First World War, and would be forced on several occasions to go into hiding during the Second World War. His opposition to Mussolini and the Italian Fascists, coupled with his quasi–obsession with internment and freedom, led to his composition of three works of “protest music,” of which Il Prigioniero is the second. Il Prigioniero tells the story of a prisoner of the Inquisition, his attempt at escape and eventual capture. Italian-American composer Gian Carlo Menotti emigrated to the United States in 1928, at age seventeen, and spent a great much of his time traveling and working in various countries. Having friends and family in many nations, and being of “alien” status in the United States, Menotti was very aware of the processes of immigration and the plight of refugees. The Consul is the story of a woman attempting to obtain an exit visa to escape persecution in her home country. She is met by bureaucratic “red tape” at every turn, and is unable to flee, resulting in her suicide. Although Dallapiccola and Menotti did not know each other, nor do they appear to have ii been familiar with each other's work, both composers drew the same conclusions about the nature of freedom due to their life experiences through shared historical events. Both Il Prigioniero and The Consul explore themes of hope, prayer, accessibility to freedom, and the culpability of both action and inaction in perpetuating oppression. iii ACKNOWLEDGEMENTS Many people have helped me throughout my completion of this degree and document. I cannot begin to thank everyone who has made an impact on my education and development for lack of words and space; however, I am incredibly grateful and humbled, and hope that I have taken every opportunity to show my appreciation and gratitude along the way. My thanks first to Dr. Paul Houghtaling, for his mentorship, advice, help, and friendship throughout my degree and the writing of this document. I could not have hoped for a better mentor, nor will I ever be able to express my thanks for the profound way that he has changed my life. My thanks to my committee – Drs. Elizabeth Aversa, Susan Fleming, Nikos Pappas, Stephen Peles, Jonathan Whitaker – for their time, interest, and insightful comments and suggestions. My thanks to the University of Alabama School of Music – both students and faculty – for providing me with a wonderful and life-changing experience both personally and professionally. To Drs. Thomas Robinson and Linda Cummins for their work in arranging meetings and ensuring that my road to success was clear. To my family for their enthusiastic support and unwavering love; especially to my parents, Joe and Andrea Stephenson, who taught me the joy of singing, and whose voices will always be the sweetest to me. And to Brad, for everything. iv CONTENTS ABSTRACT ................................................................................................................................... ii ACKNOWLEDGEMENTS .......................................................................................................... iv LIST OF FIGURES ...................................................................................................................... ix LIST OF IMAGES ......................................................................................................................... x INTRODUCTION ......................................................................................................................... 1 CHAPTER 1. LUIGI DALLAPICCOLA (1904–1973) ................................................................ 4 CHAPTER 2. IL PRIGIONIERO ................................................................................................. 10 a. Composition Background......................................................................................................... 10 b. Synopsis ................................................................................................................................... 12 c. Themes ..................................................................................................................................... 14 d. “La torture par l’ésperance” ..................................................................................................... 16 e. La légende d’Ulenspiegel et de Lamme Goedzak .................................................................... 17 f. Character Symbolism ............................................................................................................... 19 i. The Prisoner .............................................................................................................................. 21 ii. The Mother .............................................................................................................................. 22 iii. Chorus ..................................................................................................................................... 23 iv. The Inquisitor .......................................................................................................................... 24 v. The Jailer .................................................................................................................................. 24 vi. King Philip II .......................................................................................................................... 25 v g. Politicization of Plot Elements of La torture par l’ésperance ................................................. 26 i. The Nightmare .......................................................................................................................... 27 ii. Choral Intermezzi .................................................................................................................... 31 iii. Inaction and Action: The Connection of Jailer to Inquisitor .................................................. 35 h. Freedom ................................................................................................................................... 37 i. Hope .......................................................................................................................................... 42 j. Prayer ........................................................................................................................................ 44 l. Conclusion ................................................................................................................................ 46 CHAPTER 3. GIAN CARLO MENOTTI (1911–2007) ............................................................. 48 CHAPTER 4. THE CONSUL ...................................................................................................... 54 a. Composition Background.......................................................................................................... 54 b. Synopsis ................................................................................................................................... 57 c. Themes ..................................................................................................................................... 61 d. Source Material for The Consul .............................................................................................. 63 e. Character Symbolism ............................................................................................................... 65 i. John Sorel ................................................................................................................................. 66 ii. Magda Sorel ............................................................................................................................. 67 iii. The Mother ............................................................................................................................. 68 iv. Mr. Kofner ............................................................................................................................... 70 v. The Foreign Woman ................................................................................................................. 70 vi. Anna Gomez ........................................................................................................................... 71 vii. Vera Boronel .........................................................................................................................
Load more

Recommended publications
  • 8.112023-24 Bk Menotti Amelia EU 26-03-2010 9:41 Pagina 16
    8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 16 Gian Carlo MENOTTI Also available The Consul • Amelia al ballo LO M CAR EN N OT IA T G I 8.669019 19 gs 50 din - 1954 Recor Patricia Neway • Marie Powers • Cornell MacNeil 8.669140-41 Orchestra • Lehman Engel Margherita Carosio • Rolando Panerai • Giacinto Prandelli Chorus and Orchestra of La Scala, Milan • Nino Sanzogno 8.112023-24 16 8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 2 MENOTTI CENTENARY EDITION Producer’s Note This CD set is the first in a series devoted to the compositions, operatic and otherwise, of Gian Carlo Menotti on Gian Carlo the occasion of his centenary in 2011. The recordings in this series date from the mid-1940s through the late 1950s, and will feature several which have never before appeared on CD, as well as some that have not been available in MENOTTI any form in nearly half a century. The present recording of The Consul, which makes its CD début here, was made a month after the work’s (1911– 2007) Philadelphia première. American Decca was at the time primarily a “pop” label, the home of Bing Crosby and Judy Garland, and did not yet have much experience in the area of Classical music. Indeed, this recording seems to have been done more because of the work’s critical acclaim on the Broadway stage than as an opera, since Decca had The Consul also recorded Arthur Miller’s Death of a Salesman with members of the original cast around the same time.
    [Show full text]
  • Last Name First Name Middle Name Reference No. Collection Site
    PASSPORTS APPLIED IN PCG DUBAI/FSPsRCOsManila/VFS(PaRC) PASSPORTS READY FOR RELEASE AS OF 29 August 2021 RELEASING SECTION 8-12NN, 1-5PM, SUN-THU, EXCEPT HOLIDAYS TO SEARCH FOR YOUR NAME press "CONTROL F" OR "F3". If your name is already listed, please proceed to your designated Collection Site with your OLD PASSPORT AND OFFICIAL RECEIPT to claim your new e- passport. If the applicant cannot come personally to collect the passport, authorize someone to pick-up the passport. The following are the requirements: AUTHORIZATION LETTER, OLD PASSPORT, ORIGINAL RECEIPT, AND ORIGINAL AND COPY OF VALID IDENTIFICATION CARD OF AUTHORIZED REPRESENTATIVE. WRITE THE REFERENCE NUMBER AT THE TOP OF YOUR RECEIPT UPON CLAIMING YOUR PASSPORT Middle Collection Last name First name Reference No. name Site AARTS ESRA MAE R. 2000106100360 DubaiPCG ABABA ROLANDO JR. I. 2000134000360 DubaiPCG ABACAN RENELYN D. 2000122300360 DubaiPCG ABAD MARIA EMMA D. 2000120550360 DubaiPCG ABAD CRISALDO B. 2000121900360 DubaiPCG ABAD ARIANNE FAYE D. 2000016765000 PaRC ABAD MICHELLE JANE D. 2000135890360 DubaiPCG ABAD MA. LAVINIA R. 2000037215000 PaRC ABAD SARAH T. 2000037435000 PaRC ABAD GERALD E. 2000137190360 Dubai PCG ABAD PAOLO NOEL R. 2000038495000 PaRC ABADILLA JOJO A. 2000017505000 PaRC ABAGAT LILIA D. 2000037825000 PaRC ABALAYAN AUDREIL O. 2000017855000 PaRC ABALAYAN MILDRED O. 2000017865000 PaRC ABALLE JESIE FE S. 2000136280360 Dubai PCG ABALOS ARRA BELLA J. 2000019735000 PaRC ABALOS BLENS RADIEL S. 2000136930360 Dubai PCG ABALOS LIZA C. 2000037855000 PaRC ABALOS ALDRIN D. 2000038055000 PaRC ABALUS XYNE AUBRIELLE C. 2000124910360 DubaiPCG ABANICO DANILO JR. M. 2000106680360 DubaiPCG ABAO DANIEL V. 2000120610360 DubaiPCG ABAO MARY LYN A.
    [Show full text]
  • Jacob Lassetter, Baritone
    JACOB LASSETTER, BARITONE With his powerful voice and commanding stage presence, baritone Jacob Lassetter enjoys an exciting and vibrant career on both the operatic and concert stage. Critics have praised his dignified characterizations, his soaring high range, and his deep, rich tone quality. In June 2021 Mr. Lassetter is excited to make his role and company debut as Scarpia in Tosca with Marble City Opera. Earlier in the 2020–2021 season he sings a solo recital of British composers and benefit concerts for both Winter Opera Saint Louis and Union Avenue Opera. Mr. Lassetter was scheduled to make his role and company debut as the title role in Der fliegende Holländer with Mid Ohio Opera, as well as a return to Italy for performances of the title role in Elijah, as soloist for Mozart’s Mass in C Minor, and various other concerts. These engagements were all unfortunately cancelled due to COVID-19. In the 2019–2020 season Mr. Lassetter sang Sonora in La fanciulla del West with Winter Opera Saint Louis, and both Schubert’s Winterreise and Argento’s The Andrée Expedition in recital. In the 2018–2019 season he sang Dr. Falke in Die Fledermaus with Winter Opera Saint Louis, Carmina Burana with the Washington University Symphony Orchestra, Verdi’s Requiem and A Symphony of Toys with The Missouri Symphony, Dick Deadeye in H.M.S. Pinafore and Il Gran Sacerdote in Nabucco with Union Avenue Opera, and a series of three recitals with St. Louis Art Song. Opera audiences have recently seen Mr. Lassetter as Sharpless in Madama Butterfly with Annapolis Opera, Wolfram in Tannhäuser with Apotheosis Opera (New York City), Peter in Hänsel und Gretel with Union Avenue Opera, and Rodrigo in the world premiere of Borgia Infami with Winter Opera Saint Louis.
    [Show full text]
  • 15, Mezzo-Soprano Denes Van Parys, Piano
    SCHOOL OF MUSIC SENIOR RECITAL JENNIFER ANN MAYER ’15, MEZZO-SOPRANO DENES VAN PARYS, PIANO SUNDAY, MARCH 8, 2015 SCHNEEBECK CONCERT HALL 5 P.M. “Esurientes implevit bonis” ...................................................... Johann Sebastian Bach from Magnificat (1685–1750) “Lobe, Zion, deinen Gott” from Cantata No. 190 From Zwei Gesänge, Opus 91 ............................................................Johannes Brahms Geistliches Wiegenlied (1833–1897) with Forrest D. Walker, viola Nuit d’étoiles ........................................................................................ Claude Debussy (1862–1918) Le Spectre de la Rose ..............................................................................Hector Berlioz from Les Nuits d’Été (1803–1869) “Faites-lui mes aveux” ..........................................................................Charles Gounod from Faust (1818–1893) INTERMISSION From Sea Pictures, Opus 37 ...................................................................... Edward Elgar Where Corals Lie (1857–1934) Sabbath Morning at Sea “Lullaby” .......................................................................................... Gian Carlo Menotti from The Consul (1911–2007) “Il segreto per esser felici” ................................................................Gaetano Donizetti from Lucrezia Borgia (1797–1848) A reception will follow the recital in School of Music, Room 106. VOCALIST JENNIFER ANN MAYER ’15, mezzo-soprano, is double-majoring in music and communication studies. She studies voice
    [Show full text]
  • The Old Maid and the Thief by Gian Carlo Menotti a Grotesque Opera in 14 Scenes
    THE BELHAVEN UNIVERSITY DEPARTMENT OF MUSIC Dr. Stephen W. Sachs, Chair presents Two Hilarious American Operas: The Telephone by Gian Carlo Menotti An Opera Buffa in One Act The Old Maid and the Thief by Gian Carlo Menotti A Grotesque Opera in 14 Scenes Dr. Christopher Shelt, Artistic Director Friday, November 19, 2010 at 7:30pm & Saturday, November 20, 2010 at 2:30pm Belhaven University Center for the Arts Concert Hall BELHAVEN UNIVERSITY DEPARTMENT OF MUSIC MISSION STATEMENT The Music Department seeks to produce transformational leaders in the musical arts who will have profound influence in homes, churches, private studios, educational institutions, and on the concert stage. While developing the God-bestowed musical talents of music majors, minors, and elective students, we seek to provide an integrative understanding of the musical arts from a Christian world and life view in order to equip students to influence the world of ideas. The music major degree program is designed to prepare students for graduate study while equipping them for vocational roles in performance, church music, and education. The Belhaven University Music Department exists to multiply Christian leaders who demonstrate unquestionable excellence in the musical arts and apply timeless truths in every aspect of their artistic discipline. The Music Department would like to thank our many community partners for their support of Christian Arts Education at Belhaven University through their advertising in “Arts Ablaze 2010-2011” (should be published and available on or before September 30, 2010). Special thanks tonight to Bo-Kays Florist for our reception table flowers. It is through these and other wonderful relationships in the greater Jackson community that makes an afternoon like this possible at Belhaven.
    [Show full text]
  • April 2008 in This Issue
    The Sacred in Opera April 2008 In this Issue... Ruth Dobson For the next two editions of the SIO newsletter, we are taking an in-depth look at one-act Christmas operas which can be easily produced and are appropriate for both children and adults. This issue we will profile Amahl and the Night Visitors, Only a Miracle, St. Nicholas, Good King Wenceslas, and The Shepherd’s Play. The next issue will highlight The Christmas Rose, The Greenfield Christmas Tree, The Finding of the King, The Night of the Star, and others. Thanks to Allen Henderson for sharing his insight into a triology of operas by Richard Shephard, Good King Wenceslas, The Shepherd’s Play, and St. Nicholas, with us in this issue. As great as Amahl and the Night Visitors is, there are these and other works waiting to be discovered by all of us. We hope you will find these suggestions interesting. These operas vary in length from 10 minutes to an hour, and can be presented alone or paired with others. Amahl and the Night Visitors is almost always a successful box office draw. Pairing it with a lesser known work could make for a very enjoyable afternoon or evening presentation and give audiences an opportunity to enjoy other equally wonderful works. Several of these operas use children as cast members, while others call for only adult performers, but all have stories appropriate for children. They are written in a variety of styles and have very different production requirements. Producers would need to take into consideration the ages of the children that are the target audience.
    [Show full text]
  • Curriculum Vitae
    CURRICULUM VITAE Gian Carlo Di Renzo, MD, PhD Professional Address Gian Carlo Di Renzo Professor and Chairman Dept. of Ob/Gyn Director, Centre for Perinatal and Reproductive Medicine Santa Maria della Misericordia University Hospital 06132 San Sisto - Perugia - Italy tel. +39 075 5783829 tel. +39 075 5783231 fax +39 075 5783829 [email protected] Date of birth: 13 June 1951 Place of birth: Verona, Italy Citizenship: Italian 1 Director of Education and Communication & Past General Secretary of FIGO University of Perugia, Perugia, Italy. Prof. Gian Carlo Di Renzo is currently Professor and Chair at the University of Perugia (2004 - ), and Director of the Reproductive and Perinatal Medicine Center (1996 - ) , former Director of the Midwifery School (2004-2016), University of Perugia, in addition to being the Director of the Permanent International and European School of Perinatal and Reproductive Medicine (PREIS) in Florence (2012 - ) . After graduation cum laude at Medical School of the University of Padova (1975) , he was a research fellow at the Universities of Verona, Messina and Modena. After training at CHUV in Lausanne (Switzerland), at UCH in London (UK), at the University of Texas in Dallas (USA), and at the Catholic University in Nijmegen (NL) (1977-1982), he became a senior researcher at the University of Perugia. Since 2004 he is Professor and Chairman of the Department of Obstetrics and Gynecology at the University or Perugia., Chairman of the Midwifery School in the year 2004 to 2016, of the Ob Gyn Resident’s program since 2008 and of the PhD Program in Translational Medicine since 2012. He was general Secretary of the Italian Society of Perinatal Medicine, President of the Italian Society of Ultrasound in Obstetrics and Gynecology, Secretary-Treasurer of the European Association of Perinatal Medicine, President from 2000 to 2002, 2002-2008 Executive Director and Chairman of the Educational Committee, Vice President of the World Association of Perinatal Medicine ( 2007-2013) .
    [Show full text]
  • Developing the Young Dramatic Soprano Voice Ages 15-22 Is Approved in Partial Fulfillment of the Requirements for the Degree Of
    DEVELOPING THE YOUNG DRAMATIC SOPRANO VOICE AGES 15-22 By Monica Ariane Williams Bachelor of Arts – Vocal Arts University of Southern California 1993 Master of Music – Vocal Arts University of Southern California 1995 A dissertation submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas December 2020 Copyright 2021 Monica Ariane Williams All Rights Reserved Dissertation Approval The Graduate College The University of Nevada, Las Vegas November 30, 2020 This dissertation prepared by Monica Ariane Williams entitled Developing the Young Dramatic Soprano Voice Ages 15-22 is approved in partial fulfillment of the requirements for the degree of Doctor of Musical Arts School of Music Alfonse Anderson, DMA. Kathryn Hausbeck Korgan, Ph.D. Examination Committee Chair Graduate College Dean Linda Lister, DMA. Examination Committee Member David Weiller, MM. Examination Committee Member Dean Gronemeier, DMA, JD. Examination Committee Member Joe Bynum, MFA. Graduate College Faculty Representative ii ABSTRACT This doctoral dissertation provides information on how to develop the young dramatic soprano, specifically through more concentrated focus on the breath. Proper breathing is considered the single most important skill a singer will learn, but its methodology continues to mystify multitudes of singers and voice teachers. Voice professionals often write treatises with a chapter or two devoted to breathing, whose explanations are extremely varied, complex or vague. Young dramatic sopranos, whose voices are unwieldy and take longer to develop are at a particular disadvantage for absorbing a solid vocal technique. First, a description, classification and brief history of the young dramatic soprano is discussed along with a retracing of breath methodologies relevant to the young dramatic soprano’s development.
    [Show full text]
  • Musical Influences Statistics
    Composers Individuals’ Influence on Composer Composer’s Influence on Others Overall Name Sum+ Sum- n Mean1 Mean2 S. D. Sum- Sum+ n/n+ Sum Mean S. D. Rank Adam, Adolphe 0 0 4 1.90 0. .87 0 0 2/3 6.4 2.25 .35 277 Adams, John 0 9 13 3.07 -.69 1.54 - - - - - - 191 Adler, Samuel 0 0 6 2.58 0. .88 - - - - - - 312 Alain, Jehan 0 0 7 2.49 0. .98 - - - - - - 308 Albéniz, Isaac 3 6 11 3.39 -.27 1.30 0 0 8 19.9 2.49 .83 87 Albinoni, Tomaso 1 0 3 2.40 .33 .83 0 0 6 19.3 3.22 2.05 135 Alfvén, Hugo 0 2 8 3.36 -.25 1.35 - - - - - - 384 Alkan, (Charles-)Valentin 0 6 12 3.68 -.50 1.49 0 0 1 4.0 4.0 0. 317 Allegri, Gregorio 0 0 1 2.30 0. 0. 0 5 2 5.5 2.75 1.35 459 Alwyn, William 0 2 16 3.21 -.13 .79 - - - - - - 491 Amram, David 0 0 0 - - - - - - - - - 478 Anderson, Leroy 0 0 3 2.63 0. .66 - - - - - - 432 Andriessen, Louis 0 7 12 2.75 -.58 1.42 - - - - - - 360 Arensky, Anton 0 3 7 3.54 -.43 1.01 0 0 3 7.5 2.50 .73 323 Argento, Dominick 0 7 9 3.23 -.78 1.48 0 0 1 1.5 1.50 0. 296 Arne, Thomas 1 0 4 2.63 .25 1.20 - - - - - - 252 Arnold, Malcolm 0 2 10 2.83 -.20 .78 - - - - - - 155 Auber, Daniel-François-Esprit 2 0 5 3.12 .40 1.75 0 0 15 37.4 2.49 1.15 447 Auric, Georges 0 1 6 2.75 -.17 .71 0 0 1 1.4 1.40 0.
    [Show full text]
  • DISTRICT AUDITIONS THURSDAY, JANUARY 21, 2021 the 2020 National Council Finalists Photo: Fay Fox / Met Opera
    NATIONAL COUNCIL 2020–21 SEASON ARKANSAS DISTRICT AUDITIONS THURSDAY, JANUARY 21, 2021 The 2020 National Council Finalists photo: fay fox / met opera CAMILLE LABARRE NATIONAL COUNCIL AUDITIONS chairman The Metropolitan Opera National Council Auditions program cultivates young opera CAROL E. DOMINA singers and assists in the development of their careers. The Auditions are held annually president in 39 districts and 12 regions of the United States, Canada, and Mexico—all administered MELISSA WEGNER by dedicated National Council members and volunteers. Winners of the region auditions executive director advance to compete in the national semifinals. National finalists are then selected and BRADY WALSH compete in the Grand Finals Concert. During the 2020–21 season, the auditions are being administrator held virtually via livestream. Singers compete for prize money and receive feedback from LISETTE OROPESA judges at all levels of the competition. national advisor Many of the world’s greatest singers, among them Lawrence Brownlee, Anthony Roth Costanzo, Renée Fleming, Lisette Oropesa, Eric Owens, and Frederica von Stade, have won National Semifinals the Auditions. More than 100 former auditioners appear appear on the Met roster each season. Sunday, May 9, 2021 The National Council is grateful to its donors for prizes at the national level and to the Tobin Grand Finals Concert Endowment for the Mrs. Edgar Tobin Award, given to each first-place region winner. Sunday, May 16, 2021 Support for this program is generously provided by the Charles H. Dyson National Council The Semifinals and Grand Finals are Audition Program Endowment Fund at the Metropolitan Opera. currently scheduled to take place at the Met.
    [Show full text]
  • Alvin Theatre a Funny Thing Happened on the Way to the Forum
    Alvin Theatre the weekly magazine for theatregoers A FUNNY THING HAPPENED ON THE WAY TO THE FORUM ! ! t Now I don’t need the moon . or stars ... or anything. .’cause the best thing in life is me ! ! Why not be a blonde and see! Just Your hairdresser will tell you a switch to bewitch with the ultra- blonde’s best friend is Lady Clairol. blonde magic of New Ultra-Blue Call your favorite beauty salon now Lady Clairol. That quicker- cooler- to book your new blonde look—and gentler-creamier-softer-toned-dream- outlook. Ask for ULTRA-BLUE® ier Ultra-Blue! You’ll love how it LADY CLAIROL® Cremogenized® cares for your hair. Try it alone—or hair lightener and Clairol Creme with a Clairol® Creme Toner. t The Toner— your choice of 32 delicate glamour you’ll feel is for real blonde shades. ©1961 Clairol Ijtcorporated, Stamford, Conn. \Trademark I RARE COMBINATION... Elegance \A/ith a eporty flair! Sophisticated luxury with exciting sports car appeal — the all-new Ninety-Eight Custom Sports Coupe! There’s a rich elegance to its long, lean look. And inside, bucket- seat beauty . soft sheared carpeting . a full-length sports console. The quality is Oldsmobile through and through. Hydra- Matic, power steering, brakes, windows and seat are standard equipment, of course. Isn’t it time you discovered that exciting ''something extra” about owning an Olds? ^^C^^^OLDSMOBILE SEE YOUR LOCAL AUTHORIZED OLDSMOBILE QUALITY DEALER rwIcSi BRONO'NM recording uuniiL uni\i j GIVE THIS r .cl —J LAD A HOME! " OLIVER! TAKE OLIVER !” AND DAVID MERRICK'S CLIVE GEORGIA REVILL BROWN WHOLE WONDERFUL CAST HOME WITH YOU ON THE OLIVER! ORIGINAL CAST ALBUM Booli.
    [Show full text]
  • Program Notes | Amahl and the Night Visitors
    23 Season 2018-2019 Thursday, December 13, at 7:30 The Philadelphia Orchestra Saturday, December 15, at 8:00 Bramwell Tovey Conductor and Narrator Dante Michael DiMaio Boy Soprano (Amahl) Renée Tatum Mezzo-soprano (His Mother) Andrew Stenson Tenor (King Kaspar) Brandon Cedel Bass-baritone (King Melchior) David Leigh Bass (King Balthazar) Kirby Traylor Bass (The Page) Philadelphia Symphonic Choir (Shepherds and Villagers) Amanda Quist Director Omer Ben Seadia Stage Director Walton Crown Imperial (Coronation March) Britten The Young Person’s Guide to the Orchestra, Op. 34 Intermission Menotti Amahl and the Night Visitors First complete Philadelphia Orchestra performances Ryan Howell, designer Chris Frey, lighting desig This program runs approximately 1 hour, 45 minutes. These concerts are part of the Fred J. Cooper Memorial Organ Experience, supported through a generous grant from the Wyncote Foundation. The December 15 concert is sponsored by Medcomp. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. PO Book 16_Home.indd 23 12/7/18 10:35 AM 24 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra Philadelphia is home and orchestra, and maximizes is one of the preeminent the Orchestra continues impact through Research. orchestras in the world, to discover new and The Orchestra’s award- renowned for its distinctive inventive ways to nurture winning Collaborative sound, desired for its its relationship with its Learning programs engage keen ability to capture the loyal patrons at its home over 50,000 students, hearts and imaginations of in the Kimmel Center, families, and community audiences, and admired for and also with those who members through programs a legacy of imagination and enjoy the Orchestra’s area such as PlayINs, side-by- innovation on and off the performances at the Mann sides, PopUP concerts, concert stage.
    [Show full text]