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Bernstein's Trouble in Tahiti By
Postwar Modernity and the Wife's Subjectivity: Bernstein's Trouble in Tahiti By: Elizabeth L. Keathley Keathley, Elizabeth. “Postwar Modernity and the Wife's Subjectivity: Bernstein's Trouble in Tahiti,” American Music, Vol. 23 No. 2 (Summer 2005): 220-257. Made available courtesy of University of Illinois Press: http://www.jstor.org/stable/4153033 ***© University of Illinois Press. Reprinted with permission. No further reproduction is authorized without written permission from University of Illinois Press. This version of the document is not the version of record. Figures and/or pictures may be missing from this format of the document. *** Abstract: Leonard Bernstein's short opera Trouble in Tahiti (1951-52) is a humorous but scathing satire on postwar consumerism and bourgeois marriage. Such critiques are now so commonplace that it may be difficult to appreciate the opera's political edge unless it is seen against the backdrop of repression that marked the years following World War II: in an era in which a group as mainstream as the League of Women Voters was denounced as a "communist front organization," Trouble in Tahiti's criticisms risked reprisals.[1] Keywords: Musicals | Leonard Bernstein | Trouble in Tahiti | Gender | Feminism | Post World War II era Article: Leonard Bernstein's short opera Trouble in Tahiti (1951-52) is a humorous but scathing satire on postwar consumerism and bourgeois marriage. Such critiques are now so commonplace that it may be difficult to appreciate the opera's political edge unless it is seen against -
This Year Marks Leonard Bernstein's 100Th Birthday, and Some Philly Arts
This year marks Leonard Bernstein’s 100th birthday, and some Philly arts and culture institutions are teaming up to celebrate his centenary with eye- and ear-opening firsts. We know Bernstein best for works such as West Side Story, but his 1951 opera, Trouble in Tahiti, also became an important cultural touchstone. It satirized the outwardly perfect and inwardly tumultuous family life of a suburban couple in 1950s America. But things got darker in the mid-1980s, when Bernstein revisited the same fictional family 30 years later, as a death calls them home, with 1983’s A Quiet Place. Bernstein’s last stage work In 1980, Bernstein teamed with 30-year-old writer Stephen Wadsworth in their joint inspiration for a sequel to Trouble in Tahiti, while they were both grappling with tragic losses in their own lives. The work would combine vernacular speech and music with relatable middle-class woes, performed through a mix of American musical theater and contemporary opera styles that was unusual and polarizing at the time. A Quiet Place premiered in Houston in 1983 as a one-act opera on a double bill with Trouble in Tahiti. Original conductor John Mauceri thought Bernstein and Wadsworth could revisit the two works again. They developed a new version of A Quiet Place that incorporated Trouble in Tahiti, creating one opera with the family’s complete arc, alternating between past and present and becoming a map of a changing U.S. culture from the 1950s to the ’80s. The revised A Quiet Place debuted successfully at La Scala in 1984 and went on to the Kennedy Center before returning to Europe. -
To See the 2018 Tanglewood Schedule
summer 2018 BERNSTEIN CENTENNIAL SUMMER TANGLEWOOD.ORG 1 BOSTON SYMPHONY ORCHESTRA ANDRIS NELSONS MUSIC DIRECTOR “That place [Tanglewood] is very dear to my heart, that is where I grew up and learned so much...in 1940 when I first played and studied there.” —Leonard Bernstein (November 1989) SEASONHIGHLIGHTS Throughoutthesummerof2018,Tanglewoodcelebratesthecentennialof AlsoleadingBSOconcertswillbeBSOArtisticPartnerThomas Adès(7/22), Lawrence-born,Boston-bredconductor-composerLeonardBernstein’sbirth. BSOAssistantConductorMoritz Gnann(7/13),andguestconductorsHerbert Bernstein’scloserelationshipwiththeBostonSymphonyOrchestraspanned Blomstedt(7/20&21),Charles Dutoit(8/3&8/5),Christoph Eschenbach ahalf-century,fromthetimehebecameaprotégéoflegendaryBSO (8/26),Juanjo Mena(7/27&29),David Newman(7/28),Michael Tilson conductorSergeKoussevitzkyasamemberofthefirstTanglewoodMusic Thomas(8/12),andBramwell Tovey(8/4).SoloistswiththeBSOalsoinclude Centerclassin1940untilthefinalconcertsheeverconducted,withtheBSO pianistsEmanuel Ax(7/20),2018KoussevitzkyArtistKirill Gerstein(8/3),Igor andTanglewoodMusicCenterOrchestraatTanglewoodin1990.Besides Levit(8/12),Paul Lewis(7/13),andGarrick Ohlsson(7/27);BSOprincipalflute concertworksincludinghisChichester Psalms(7/15), alilforfluteand Elizabeth Rowe(7/21);andviolinistsJoshua Bell(8/5),Gil Shaham(7/29),and orchestra(7/21),Songfest(8/4),theSerenade (after Plato’s “Symposium”) Christian Tetzlaff(7/22). (8/18),andtheBSO-commissionedDivertimentoforOrchestra(also8/18), ThomasAdèswillalsodirectTanglewood’s2018FestivalofContemporary -
Mahler's Symphony No. 3
Sponsored by Pat Zimmerman & Paul Dinu Saturday, May 21, 2016, 7:30 pm Monday, May 23, 2016, 8 pm Mahler’s Symphony Arlene Schnitzer Concert Hal No. 3 Carlos Kalmar, conductor Susan Platts, mezzo-soprano Susan Platts Women of the Portland State Chamber Choir and Vox Femina Ethan Sperry, music director Pacific Youth Choir Mia Hall Miller, music director GUSTAV MAHLER Symphony No. 3 in D minor Part I Introduction—Forcefully and decisively Part II Tempo di menuetto—Moderately—Commodo— Scherzando—Unhurriedly—Very slow— Mysteriously—Joyous in tempo and jaunty in expression—Slow—Calm—Deeply felt Susan Platts Women of the Portland State Chamber Choir and Vox Femina Pacific Youth Choir THE CONCERT CONVERSATION, conducted one hour before each performance, will feature Music Director Carlos Kalmar and Robert McBride, host for the stations of All Classical Portland. You can also enjoy the Concert Conversation in the comfort of your own home. Visit the website allclassical.org to watch the video on demand. Oregon Symphony | 23 Biographies SUSAN PLATTS choir competitions, including the Tolosa ritish-born Canadian mezzo-sopra- International Choral Contest in Spain in no Susan Platts brings a uniquely November 2014; the International Choral Brich and wide-ranging voice to con- Kathaumixw in Powell River, Canada, in cert and recital repertoire for alto and mez- June 2014; and the Seghizzi International zo-soprano. She is particularly esteemed Competition for Choral Singing in Gorizia, for her performances of Gustav Mahler’s Italy, where they became the first Ameri- works. can choir ever to win the Grand Prize in In May of 2004, as part of the Rolex the competition’s 52-year history. -
Leonard Bernstein Professional Breakthrough Came with Exceptional Force and Visibility, Establishing Him As a Stunning New Talent
which ultimately applied to Bernstein’s music in all genres. Bernstein’s Leonard Bernstein professional breakthrough came with exceptional force and visibility, establishing him as a stunning new talent. In 1943, at age twenty-five, he made his debut with the New York Philharmonic, replacing Bruno Walter at the last minute and inspiring a front-page story in the New York Times. In rapid succession, Bernstein produced a major series of compositions, some drawing on his own Jewish heritage, as in his Symphony No. 1, "Jeremiah," which had its first performance with the composer conducting the Pittsburgh Symphony in January 1944. "Lamentation," its final movement, features a mezzo-soprano delivering Hebrew texts from the Book of Lamentations. In April of that year, Bernstein’s Fancy Free was unveiled by Ballet Theatre, with choreography by the young Jerome Robbins. Leonard Bernstein photo © Susech Batah, Berlin (DG) In December, Bernstein premiered the Broadway musical On the Town, another collaboration with Robbins. While the conception of these two dramatic works was Leonard Bernstein—celebrated as one of the most influential musicians of the closely intertwined, their plots, music, and choreography were quite different. 20th century—ushered in an era of major cultural and technological transition. He Fancy Free featured three sailors on shore leave in a bar, showing off their led the way in advocating an open attitude about what constituted "good" music, physical agility as they competed for the attention of two women. The men were actively bridging the gap between classical music, Broadway musicals, jazz, and tightly bound to one another. -
Leonard Bernstein 1918–1990 a Quiet Place
LEONARD BERNSTEIN 1918–1990 A QUIET PLACE Opera in three acts · Opéra en trois actes Music by · Musique de Leonard Bernstein Libretto by · Livret de Stephen Wadsworth (1953) Libretto and orchestration adapted by · Livret et orchestration adaptés par Garth Edwin Sunderland Dede ...................................... CLAUDIA BOYLE soprano François ................................ JOSEPH KAISER tenor · ténor Junior ........................... GORDON BINTNER baritone · baryton Sam ............................. LUCAS MEACHEM baritone · baryton Funeral Director · Directeur funéraire . RUPERT CHARLESWORTH tenor · ténor Bill ............................... DANIEL BELCHER baritone · baryton Susie .................................. ANNIE ROSEN mezzo-soprano Doc .................................... STEVEN HUMES bass · basse Mrs. Doc ................................ MAIJA SKILLE mezzo-soprano Analyst · Analyste ........................... JOHN TESSIER tenor · ténor Mourners · Cortège funèbre OSM Chorus · Chœur de l’OSM Chorus Master · Chef de chœur: Andrew Megill* Orchestre symphonique de Montréal KENT NAGANO Leonard Bernstein 2 Vocal advisor and casting · Conseiller vocal et distribution: Jean-Pierre Brossmann CONTENTS · TABLE Répétiteur for the soloists · pour les solistes: Donald Wages Cue points · Points de repérage 4 First performance by Kent Nagano and Ensemble Modern in November 2013, in Berlin. The OSM presented this version in Montreal on 15 August 2014. Création à Berlin en novembre 2013 par Kent Nagano et Ensemble Modern. Kent Nagano on -
Ben Bagley's Leonard Bernstein Revisited
BEN BAGLEY’S LEONARD BERNSTEIN REVISITED Ben Bagley’s Leonard Bernstein Re- in 1949, wrote another ballet, Facsimile, we’ve done with the other albums in this visited is another delightful entry in the and his second symphony, The Age of series, we have considerably spruced Revisited series. By now, nothing in this Anxiety. up the sound. For almost all the other compilation is especially unknown, but CDs in the series, Bagley went into the back when the LP came out it was like In the 1950s, his success continued un- studio and recorded bonus material to an oasis in the desert, as all the Revis- abated – much conducting everywhere, fill out the CD length. But not in the case iteds were. It would be astonishing if premiering his opera Trouble in Tahiti, of Leonard Bernstein Revisited, which those reading these liner notes needed incidental music for the Jean Arthur/Bo- clocks in at just over forty-one minutes. biographical information on Leonard ris Karloff production of Peter Pan, he So, we’ve taken the liberty of including Bernstein, certainly one of the most wrote another Broadway musical, Won- three bonus tracks from the purported well know of all American composers derful Town (again with Comden and London cast album of West Side Story, and one who was not shy about putting Green), appeared on a series of Om- the one starring Bruce Trent and pur- himself everywhere he could put him- nibus TV programs talking about music, portedly George Chakiris – but there is self. He had an amazing life and career wrote Candide, after which came West some confusion as to what this album as composer, conductor, TV personality Side Story and then another TV series, actually was – most likely a studio cast – it was hard to escape him. -
LEONARD BERNSTEIN Browse Through the Complete Unitel Catalogue of More Than 2,000 Titles At
LEONARD BERNSTEIN Browse through the complete Unitel catalogue of more than 2,000 titles at www.unitel.de Date: March 2018 FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CONTENT CONCERTS 3 CYCLES 10 DOCUMENTARIES 12 OPERAS 18 TRIBUTES 18 CONCERTS BEETHOVEN: CHORAL FANTASY, OP. 80 UNITEL Leonard Bernstein/Homero Francesch (piano)/ © Jeunesse-Chor/Wiener Philharmoniker A05500477 | Length: 22 Min. Recording date: 1985 Format: 4:3 | Available file size: 1920x1080 BEETHOVEN: MUSIC FROM “DIE GESCHÖPFE DES PROMETHEUS” Leonard Bernstein/Wiener Philharmoniker BEETHOVEN: CORIOLAN OVERTURE, OP. 62 Leonard Bernstein/Wiener Philharmoniker A05500656 | Length: 25 Min. A05500666 | Length: 12 Min. Recording date: 1978 Recording date: 1981 Format: 4:3 | Available file size: 1920x1080 Format: 4:3 | Available file size: Upon request BEETHOVEN: OVERTURE LEONORE III BEETHOVEN: EGMONT OVERTURE, OP. -
Bernstein Protégés
WRITINGS OF JOHN MAUCERI JOHNMAUCERI.COM Conversations about Bernstein Bernstein Protégés edited by William Westbrook Burton John Mauceri Printed by Oxford University Press 1995 John Mauceri, a Bernstein protégé, has a have done: he should have been a concert pianist; highly successful conducting career on both sides he should have composed more; if only he had of the Atlantic. He has been equally at home in stayed with the Philharmonic longer. And people the opera house or on Broadway, whether wouldn't let him live his own life. But he created conducting Wagner at Scottish Opera or the West his own career, in his own image. Side Story Dances at the Hollywood Bowl. He Since Lenny was so overwhelming - conducted the European premiere of Mass at the threatening to some people - he spent a lot of his Vienna Konzerthaus in 1973, which was recorded for television, and made his debut at La Scala in life getting to read unfavorable stuff in the press. And it would be naive for anybody to think that 1984, conducting Leonard Bernstein's opera, A there are any artists who are not hurt by negative Quiet Place. He was responsible or several reviews and unfair publicity. The critics who structural changes to A Quiet Place, with the destroyed Maria Callas, who destroyed George acquiescence of the composer, following its world premiere in Houston in 1983. He has also Gershwin, have a lot to answer for. All of us fight it, and pretend that it's not there, and get up and played a crucial role in restoring much of the say that's the way it is. -
Candide Study Guide
M USIC THEATRE I NTERNATIONAL MUSIC THEATRE INTERNATIONAL is one of the world’s major dramatic licensing agencies, specializing in Broadway, Off-Broadway and West End musicals. Whether it’s a High School in Hoboken or a Summer Camp in Sacramento, a Regional Theatre in Roanoke or a Middle School in Manitoba, MTI has been a part of the theatrical scene for almost 50 years. As a leading dramatic licensing agency for Broadway, off-Broadway and West End musicals, MTI has supplied scripts, musical scores and resources to over 30,000 schools, community groups and professional theatres throughout the United States and Canada, plus thousands of additional groups in some 60 countries around the world. As exclusive representative for over 200 of the world's greatest musicals, including Guys And Dolls, West Side Story, Fiddler On The Roof, Les Misérables, Annie, Into The Woods, Damn Yankees, The Music Man, Joseph And The Amazing Technicolor® Dreamcoat, Pippin, The Fantasticks, Godspell and Little Shop Of Horrors, MTI is firmly committed to supporting and nurturing musical theatre that will continue to flourish through every stage of a person's life on all the stages of the world. Although we value all our clients, the fifteen thousand schools who perform our shows are of particular importance, for it is here that music and drama educators work to keep theatre alive in their community. MTI shares with these educators the goal of raising the next generation of theatre artists and audiences. MTI’s BROADWAY JUNIOR COLLECTION™ has brought the joy of performing Broadway’s top musicals into the Elementary and Middle School environment. -
Two Milestones in One Week
Two milestones in one week Pembroke-bred baritone performs in New York, releases first solo CD BY STEVEN MAZEY, OTTAWA CITIZENNOVEMBER 24, 2010 It's been a month of exciting back-to-back debuts for Pembroke-bred baritone Joshua Hopkins: in the same week in late October, he gave his first performance for New York City Opera in a musically challenging opera by Leonard Bernstein and he saw the release of Let Beauty Awake, his first solo recital CD, a collection of 20th-century songs for Montreal's ATMA Classique label. Hopkins, whose burnished voice and sensitive musicianship have won him many awards and a fast-developing international career, will be in Ottawa Sunday, to perform as a soloist in Bach's St. John Passion with Les Voix Baroques and Orchestre Arion at Dominion-Chalmers Church, as part of the Ottawa Chamber Music Society concert series. In New York City, where he and wife Zoe enjoyed the city's sights, theatre and restaurants, he concluded his run Nov. 21 in Bernstein's rarely performed 1983 opera A Quiet Place. It followed Hopkins' debut last year with the Metropolitan Opera in the role of Ping in Puccini's Turandot. In Bernstein's opera about a troubled suburban family, Hopkins sang the role of the troubled gay son. "The baritone Joshua Hopkins won your heart as the tormented, yet charming Junior," wrote New York Times critic Anthony Tommasini, who praised the entire cast and mentioned a prolonged ovation on opening night. Tommasini noted that stage director Christopher Alden said it's difficult to deal with "a somewhat dated character: a gay man who is 'punished' with mental illness." "Yet Bernstein's music ennobles and animates Junior, and with his mix of anguish and vitality, Hopkins triumphs over stereotype," Tommasini wrote. -
TROUBLE in TAHITI Readers
rt• s News for fr iends of Leonard Berns te in Winter 1993 To Our TROUBLE IN TAHITI Readers hen Leonard Bern ste in Wco111 posed TROUBLE !N TAHITI , he was in his ea rl y thirties, just married , and wri ting iron ically of sub urban do111es tic bliss in the J950s. Three decades later, a widower and fath er of diree grown chil dren, he wrote a sobe r sequ el, A QUIET PLACE, into wh ich the earlier opera was eve ntu all y enfold ed. Here, Bernstein and hi s libretti st Stephen Wadsworth gi ve us daughter Didi 111arried to her brother's ex-lover Fran ~o is; th e couple are devoted to helpi ng and loving Jun ior, the brother wh o sce 111 s to ha ve intern ali zed his pa rents' des pair in to a kind of helpless madn ess . By th e opera's end, th e three young adults have form ed a fragi le uni on, at las t with th eir e111b irrcred fat her's bl ess ing. "We' re only who we are," rh ey realize, as they set out to be a newl y for111cd fa mil y. The message of A QUIET PLA CE is more tim ely than ever: the traditional config ura tion of a Leonard Bernstein conducting the studio orchestra for TROUBLE IN TAHITI, London Weekend Television, 1973. fa 111il y does nor gua ra ntee its happin ess, while an un co nven by Humph rey Burton September 9th Bernstein married production at Tanglewood two tiona l gro up ing of indi vidua ls can Felicia Montealegre Cohn.