Stylistic Affinity and Structural Homology Between Bergson and Debussy
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The Visual Aspects of Le Mage
The visual aspects of Le Mage Michela Niccolai The first part of Massenet’s career was marked by the composition of several grand operas: Le Roi de Lahore (1877), Hérodiade (1881), Le Cid (1885) and Le Mage (1891). The latter , produced at the Paris Opéra, directed at that time by Ritt and Gailhard, was lavishly staged and the number of costumes was extraordinary. Even so, it remained on the bill, between spring and autumn 1891, for just thirty-one performances, from the première on 16 March. The new work was not received with great enthusiasm in the press. Henry Moreno (pen name of the publisher Henri Heugel) reported in the columns of Le Ménestre l: Pointless cliché: that is what characterises Le Mage . [...] Monsieur Massenet is obviously in a difficult period, in which he is no longer able to see clear - ly the path he had been following so successfully since the beginning. Like his hero Zarastra, he is badly in need of a spell of contemplation. He would do well to withdraw to the holy mountain to consider the dangers of over- hasty production, and then return to us stronger, fortified, ready to take on new challenges. (Henri Moreno, ‘Semaine Théâtrale, Le Mage ’, Le Ménestrel , 22 March 1891, no 12, p. 92.) Even among those close to Massenet, some appear to have been disap - pointed in their expectations of Le Mage . His friend and pupil Gustave Charpentier wrote to his father from Paris on 18 March 1891: 69 jules massenet: le mage The day before yesterday I attended the première of Le Mage (by Massenet). -
Senior Recital Lauren Carroll, Soprano Amelia Hammond, Piano
Senior Recital Lauren Carroll, soprano with Amelia Hammond, piano Saturday, May 8, 2021 Sheslow Auditorium in Old Main 7:30 p.m. Chi il bel sogno di Doretta Giacomo Puccini from La rondine (1858-1924) Ein Traum Edvard Grieg Sechs Lieder, Op. 48 (1843-1907) Nachtgebet Joseph Marx (1882-1964) Cäcilie Richard Strauss (1864-1949) Depuis le jour Gustave Charpentier from Louise (1860-1956) Intermission Si, mi chiamano Mimì Giacomo Puccini from La bohéme (1858-1924) Lyric for Truelove Undine Smith-Moore (1904-1989) Monna Innominata Eric Barnum (b. 1979) Touch me Tom Cipullo Late Summer No. 4 (b. 1956) How fair this spot! (Zdes' khorosho!) Sergei Rachmaninoff 12 Romances, Op. 21, No. 7 (1873-1941) A-oo! (Ay-u!) 6 Romances, Op. 38 Spring Waters (Vesennije vody) Op. 14, No. 11 About the Artist Lauren Carroll, soprano is a senior Vocal Performance major and studies under the tutelage of Leanne Freeman- Miller. She is involved in the Drake Opera Theater, Drake Choir and Spēro. Lauren has been featured in operatic roles such as Pamina (Die Zauberflöte), Fiordiligi (Così fan tutte), and Alice Ford (Falstaff). Most recently, Lauren received First Prize in the National MTNA Competition and First Prize in the Schubert Club Competition. Following graduation, Lauren will take part in Houston Grand Opera’s Young Artist Vocal Academy program. In the fall, Lauren will begin her studies at The Shepherd School of Music at Rice University where she will begin pursuing her Master of Music in Vocal Performance. Amelia Hammond is a graduate of Drake University with a Bachelor of Music degree in Piano Performance under the tutelage of Dr. -
Louise Page 1 of 3 Opera Assn
San Francisco War Memorial 1967 Louise Page 1 of 3 Opera Assn. Opera House Louise (in French) Opera in four acts by Gustave Charpentier Libretto by Gustave Charpentier Conductor CAST Jean Périsson Julien John Alexander Stage director Louise Arlene Saunders Louis Erlo Her mother Sona Cervena Chorus Director Her father Nicola Rossi-Lemeni Vincenzo Giannini A young rag-picker Margery Tede Choreographer A coal picker Marcelle Mignot Strong Thomas Andrew A noctambulist Stuart Burrows Costumers A newspaper girl Louise Corsale Goldstein & Co. A junk man Clifford Grant A milk woman Willene Gunn A rag picker Ara Berberian First policeman Allan James Monk Second policeman John Beauchamp A street arab Marija Kova A street sweeper Carol Kirkpatrick A painter James Tarantino A sculptor Eugene Lawrence A song writer L. D. Clements A student William Booth A poet William Tredway First philosopher Winther Andersen Second philosopher Richard Styles A chair mender Ann Graber A rag vendor Rod McWherter An artichoke vendor Sheila Marks A carrot vendor Robert Glover A bird food vendor Sylvia Davis A green pea vendor Rod McWherter Blanche Jeanine Liagre Marguerite Sally Winnington Suzanne Norma Bruzzone Gertrude Donna Petersen Irma Delcina Stevenson Camille Sylvia Davis An apprentice Marija Kova Elise Ann Graber Madeleine Dolores San Miguel A watercress vendor Donna Petersen Old clothes man Raymond Manton A forewoman Walda Bradley The king of fools Stuart Burrows *Role debut †U.S. opera debut PLACE AND TIME: About 1900, in Paris San Francisco War Memorial 1967 Louise Page 2 of 3 Opera Assn. Opera House Saturday, September 30 1967, at 8:00 PM Act I -- An apartment in a workingman's tenement Tuesday, October 3 1967, at 8:00 PM Act II, Scene 1 -- A street-crossing at the foot of Montmartre Friday, October 13 1967, at 8:00 PM Scene 2 -- A sewing room in a dressmaking establishment Act III -- A garden on the hills of Montmartre Act IV -- The same as Act I San Francisco War Memorial 1967 Louise Page 3 of 3 Opera Assn. -
De Carmen À Mélisande FÉVRIER 2015 DRAMES À L’OPERA COMIQUE 18 Mars - 28 Juin 2015
DOSSIER DE PRESSE De Carmen à Mélisande FÉVRIER 2015 DRAMES À L’OPERA COMIQUE 18 mars - 28 juin 2015 Du mardi au dimanche de 10h à 18h INFORMATIONS Nocturne le vendredi jusqu’à 21h petitpalais.paris.fr Lucien Doucet, Célestine Galli Marié, cantatrice dans le rôle de Carmen, huile sur toile, 1884 © BnF et Studio Reutlinger, Mlle Garden dans Pelléas et Mélisande, photographie, vers 1904 © BnF Exposition organisée par le Petit Palais et l’Opéra Comique, avec le concours exceptionnel de la Bibliothèque nationale de France, du musée d’Orsay et du musée Carnavalet-Histoire de Paris. SOMMAIRE Communiqué de presse p. 3 Parcours de l’exposition p. 4 Repères chronologiques p. 12 Scénographie p. 13 Le catalogue de l’exposition p. 14 Autour de l’exposition p. 15 Paris Musées, le réseau des musées de la Ville de Paris p.18 Le Petit Palais p. 19 Informations pratiques p. 20 Visite de presse Le mardi 17 mars 2015 de 9h30 à 13h Attachée de Presse Mathilde Beaujard [email protected] Tel : 01 53 43 40 14 Responsable Communication Anne Le Floch [email protected] Tel : 01 53 43 40 21 Petit Palais, Musée des Beaux-Arts de la Ville de Paris 2 De Carmen à Mélisande. Drames à l’Opéra Comique - du 18 mars au 28 juin 2015 COMMUNIQUÉ DE PRESSE À l’occasion de son tricentenaire, l’Opéra Comique s’associe au Petit Palais pour évoquer quelques-uns de ses plus grands chefs-d’œuvre créés au tournant des XIXe et XXe siècles, période la plus faste de l’institution. -
La Traviata March 5 – 13, 2011
O p e r a B o x Teacher’s Guide TABLE OF CONTENTS Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Giuseppe Verdi – a biography ...............................50 Catalogue of Verdi’s Operas . .52 Background Notes . .54 2 0 1 0 – 2 0 1 1 S E A S O N The Real Traviata . .58 World Events in 1848 and 1853 . .64 ORPHEUS AND History of Opera ........................................68 URYDICE History of Minnesota Opera, Repertoire . .79 E SEPTEMBER 25 – OCTOBER 3, 2010 The Standard Repertory ...................................83 Elements of Opera .......................................84 Glossary of Opera Terms ..................................88 CINDERELLA OCTOBER 30 – NOVEMBER 7, 2010 Glossary of Musical Terms .................................94 Bibliography, Discography, Videography . .97 Word Search, Crossword Puzzle . .100 MARY STUART Evaluation . .103 JANUARY 29 – FEBRUARY 6, 2011 Acknowledgements . .104 LA TRAVIATA MARCH 5 – 13, 2011 WUTHERING mnopera.org HEIGHTS APRIL 16 – 23, 2011 FOR SEASON TICKETS, CALL 612.333.6669 620 North First Street, Minneapolis, MN 55401 Kevin Ramach, PRESIDENT AND GENERAL DIRECTOR Dale Johnson, ARTISTIC DIRECTOR Dear Educator, Thank you for using a Minnesota Opera Opera Box. This collection of material has been designed to help any educator to teach students about the beauty of opera. This collection of material includes audio and video recordings, scores, reference books and a Teacher’s Guide. The Teacher’s Guide includes Lesson Plans that have been designed around the materials found in the box and other easily obtained items. In addition, Lesson Plans have been aligned with State and National Standards. -
Anna Netrebko in Recital Day and Night Malcolm Martineau, Piano
ANNA NETREBKO IN RECITAL DAY AND NIGHT MALCOLM MARTINEAU, PIANO December 2, 2018 1819-Cover-NETREBKO.indd 1 11/12/18 11:29 AM LYRIC OPERA OF CHICAGO Since 1991 www.performancemedia.us | 847-770-4620 3453 Commercial Avenue, Northbrook, IL 60062 Gail McGrath Publisher & President Sheldon Levin Publisher & Director of Finance A. J. Levin Director of Operations Account Managers Rand Brichta - Arnie Hoffman Executive Editor Southeast Michael Hedge 847-770-4643 Lisa Middleton Southwest Betsy Gugick & Associates 972-387-1347 East Coast Manzo Media Group 610-527-7047 Marketing and Sales Consultant David L. Strouse, Ltd. 847-835-5197 Editor Roger Pines Terry Luc Graphic Designer Tahira Merchant Graphic Designer Associate Editor Magda Krance Joy Morawez - Josie Negron Accounting Willie Smith Supervisor Operations Administrative Offices: Earl Love Operations 20 North Wacker Drive Wilfredo Silva Operations Steve Dunn Web & Internet Development Suite 860 Chicago, Illinois 60606 You can view this program on your mobile device at performancemedia.us. For advertising information call 847-770-4620. To see our Terms and Conditions relating to advertising orders, Cover photo: visit our website at www.performancemedia.us. All contents copyrighted. All rights reserved. Anna Netrebko Nothing may be reproduced in any manner without written permission. © 2018 by Vladimir Shirokov Performance Media & Gail McGrath & Associates, Inc. is a Woman Owned Business 2 | December 2, 2018 LYRIC OPERA OF CHICAGO Board of Directors OFFICERS LIFE DIRECTORS Anthony Freud*+ William A. Osborn* The Honorable Bruce Rauner Edgar Foster Daniels Mary Patricia Gannon Matthew J. Parr The Honorable Rahm Emanuel Richard J. Franke Ruth Ann M. Gillis*°+ Jane DiRenzo Pigott* Honorary Chairmen of the Board Edgar D. -
Envisioning LOUISIANA
Envisioning LOUISIANA A concert presented by The Historic New Orleans Collection & the Louisiana Philharmonic Orchestra “Envisioning Louisiana” is the seventh installment of Musical Louisiana: America’s Cultural Heritage, an annual series presented by The Historic New Orleans Collection and the Louisiana Philharmonic Orchestra. Dedicated to the study of Louisiana’s contributions to the world of classical music, the award-winning program also provides educational materials to more than two thousand fourth- and eighth-grade teachers in Louisiana’s public and private schools. Since the program’s inception, Musical Louisiana has garnered both local and national recognition. The 2008 presentation, “Music of the Mississippi,” won the Big Easy Award for Arts Education; “Made in Louisiana” (2009) received an Access to Artistic Excellence grant from the National Endowment for the Arts; and “Identity, History, Legacy: La Société Philharmonique” (2011) received an American Masterpieces: Three Centuries of Artistic Genius grant from the National Endowment for the Arts. “Envisioning Louisiana” celebrates the rich natural history of Louisiana and explores how composers have depicted the state and its people through music. The concert complements the exhibition Seeking the Unknown: Natural History Observations in Louisiana, 1698–1840, on view February 23 through June 2, 2013, at The Historic New Orleans Collection, 533 Royal Street. The eighteenth annual Williams Research Center Symposium, Seeking the Unknown: Perspectives on Louisiana’s Natural History, taking place February 23, 2013, further explores the same theme. More information about these events is available at www.hnoc.org or by calling (504) 523-4662. KELLER FAMILY FOUNDATION Live internet streaming of this concert on www.LPOmusic.com is supported by the Andrew W. -
Barcelona, 1938: Una Ciutat Ocupada Musicalment Ponència Llegida Al Congrés Barcelona, 1938
Recerca Musicològica XVII-XVIII, 2007-2008 323-344 Barcelona, 1938: una ciutat ocupada musicalment Ponència llegida al Congrés Barcelona, 1938. Capital de tres governs. Política i cultura, organitzat per la Fundació Pi i Sunyer Cèsar Calmell Universitat Autònoma de Barcelona [email protected] Resumen. Barcelona 1938: una ciudad ocupada musicalmente El autor de este artículo explica detalladamente la insólita visión de una Barcelona desen- cantada y con sentimiento de pérdida, abocada al final de la guerra civil y, curiosamente, arrastrada a una extrema inflorescencia cultural en el campo de la música, llevada a cabo por las autoridades de la Repúbica en la primavera de 1938; se trata de «/…/ un relato cons- truído /…/ a espaldas de la cruda realidad vivida en el frente», con el fin de reconducir el público hacia la normalidad y de mantener un espacio cultural. La renovada brillantez del repertorio operístico (sólo el ruso, el francés y el español, sin el alemán ni el italiano), como la creación, el 8 de abril de 1938, de la Orquesta Nacional de Conciertos, constituyen los elementos clave para llevar a cabo el proyecto, en el cual se desleía, asimismo, la secular y abier- ta personalidad de la cultura musical catalana. Palabras clave: guerra civil española, cultura musical, dialéctica política del arte. Résumé. Barcelone, 1938: une ville occupée par la musique L’auteur de cet article explique de façon détaillée l’insolite vision d’une Barcelone désen- chantée, vouée à un sentiment de perte à la fin de la guerre civile et curieusement entraînée vers une extrême inflorescence culturelle dans le domaine de la musique, menée par les autorités de la République au printemps de 1938; il s’agit de «/…/ un récit construit /…/ dans le dos d’une crue réalité vécue sur le front», dans le but de reconduire le public vers la normalité et de maintenir un espace culturel. -
The Adaptability of Opera
The Adaptability of Opera: When Different Social Agents Come to Common Ground Author(s): Vlado Kotnik Source: International Review of the Aesthetics and Sociology of Music, Vol. 44, No. 2 (DECEMBER 2013), pp. 303-342 Published by: Croatian Musicological Society Stable URL: http://www.jstor.org/stable/23594802 Accessed: 06-07-2017 19:53 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 http://about.jstor.org/terms Croatian Musicological Society is collaborating with JSTOR to digitize, preserve and extend access to International Review of the Aesthetics and Sociology of Music This content downloaded from 198.199.32.254 on Thu, 06 Jul 2017 19:53:06 UTC All use subject to http://about.jstor.org/terms V. Kotnik: The Adaptability of Opera: IRASM 44 (2013) 2: 303-342 When Different Social Agents Come to Common Ground Vlado Kotnik ra^uuy ui nuiiicn nuca, University of Primorska Science and Research Centre, Garibaldijeva 1 The Adaptability of Opera: 6000 KOPER, Slovenia When Different Social UDC: 782.1:78.067 Original Scholarly Paper Agents Come to Common Izvorni znanstveni Clanak Received: October 12, 2012 Ground Primljeno: 12. listopada 2012. Accepted: January 15, 2013 Prihvaceno: 15. sijeinja 2013. Abstract - Résumé Adaptability is the key word when referring to the social history of opera, its institu tions, its protagonists, its Introduction sponsors, its audiences and publics. -
Musiciennes:Women Musicians in France During the Interwar Years
Musiciennes: Women Musicians in France during the Interwar Years, 1919-1939 Laura Ann Hamer Submitted for the Degree of Doctor of Philosophy Cardiff University, 2009 UMI Number: U584377 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U584377 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract The musical life of interwar France (1919-39) has fascinated many writers; however, the part played by women musicians has been much neglected. This thesis seeks to rectify this situation by presenting a study of the activities and reception of the musiciennes of interwar France. The thesis is divided into three parts: part one provides a contextual framework within which to situate the pursuits of women musicians by considering both their contemporary social position and the gender- specific conditions which affect the lives, careers, and reception of musiciennes. Part two focuses on conductors and composers. Jane Evrard and her Orchestre feminin de Paris are discussed within the context of the contemporaneous development of the all woman orchestra and rise of the first professional female conductors. -
JULES MASSENET – His Life and Works by Nick Fuller I
JULES MASSENET – His Life and Works By Nick Fuller I. Introduction Jules Massenet’s operas made him one of the most popular composers of the late nineteenth century, his works performed throughout Europe, the Americas and North Africa. After World War I, he was seen as old- fashioned, and nearly all of his operas, apart from Werther and Manon , vanished from the mainstream repertoire. The opera-going public still know Massenet best for Manon , Werther , and the Méditation from Thaïs , but to believe, as The Grove Dictionary of Opera wrote in 1954, that ‘to have heard Manon is to have heard all of him’ is to do the composer a gross disservice. Massenet wrote twenty-seven operas, many of which are at least as good as Manon and Werther . Nearly all are theatrically effective, boast beautiful music and display insightful characterisation and an instinct for dramatic and psychological truth. In recent decades, Massenet’s work has regained popularity. Although he Figure 1 Jules Massenet, drawing by Ernesto Fontana (Source: is not the household name he once http://artlyriquefr.fr/personnages/Massenet%20Jules.html) was, and many of his operas remain little known, he has been winning new audiences. Conductors like Richard Bonynge, Julius Rudel and Patrick Fournillier have championed Massenet, while since 1990 a biennial Massenet festival has been held in his birthplace, Saint-Étienne, in the Auvergne-Rhône-Alpes, its mission to rediscover Massenet’s operas. His work has been performed in the world’s major opera houses under the baton of conductors Thomas Beecham, Colin Davis, Charles Mackerras, Michel Plasson, Riccardo Chailly and Antonio Pappano, and sung by Joan Sutherland, José van Dam, Frederica von Stade, Nicolai Gedda, Roberto Alagna, Renée Fleming, Thomas Hampson and Plácido Domingo. -
Use of Parody Techniques in Jacques Offenbach's Opérettes and Germaine Tailleferre's Du Style Galant Au Style Méchant
Use of Parody Techniques in Jacques Offenbach’s Opérettes and Germaine Tailleferre’s Du Style Galant au Style Méchant By Melissa Cummins, ©2017 PhD University of Kansas, 2017 MM University of South Dakota, 2013 ME Southeast Missouri State University, 1994 BSE Northwest Missouri State University, 1989 Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Colin Roust Paul Laird Scott Murphy Joyce Castle Jeanne Klein Date Defended: March 15, 2017 The dissertation committee for Melissa Cummins certifies that this is the approved version of the following dissertation: Use of Parody Techniques in Jacques Offenbach’s Opérettes and Germaine Tailleferre’s Du Style Galant au Style Méchant Chair: Colin Roust Date Approved: April 26, 2017 ii Abstract In past scholarship, Germaine Tailleferre has been briefly written about as the only female member of Les Six and as a composer of instrumental music. Her body of piano music and a few of her other compositions have been analyzed, but her operatic output and style have to this point not been examined. This dissertation begins to fill that gap by studying the radio operas that were commissioned in 1955 by Radio France. Using parodic techniques developed early in her career, Tailleferre and her librettist, Denice Centore, created a cycle of five short operas that reflected the historical scope of French opera in miniature: Du Style Galant au Style Méchant. The fourth opera in the cycle, Monsieur Petitpois achéte un château, is a parody of the opérettes of Jacques Offenbach.