Live It up in Manitoba! Cised, This Should Prove No Problem

Total Page:16

File Type:pdf, Size:1020Kb

Live It up in Manitoba! Cised, This Should Prove No Problem , ! -- " Page Sevea Thursday, August 24, 1961 Thursday, August 24, 1961 THE JEWISH POST THE JEWISH POST Page Six TUITION - (Cont, from page 6) sult. No one is deprived of a Jew- '$300 ,for Day School and $175 to I tives of the schools. It is likely that an appeal hoard •••••••• mm ••••• _____________________ _ ------~~~-~~~~~-~~- ..... ~ ..............................._... _._ .... _.......... __....... ., :ftr ,ft, ft' " ,ft, ~ :ftt:ft " ,ft, ,., - -, ,ft, " -- ------------- - cost. ish education hecause of inability to $200 for Night Schools. Mr. Morantz emphasized that will 'be set up to de?1 with situB- • A percentage of families pay the pay. ! Those assessed the full cost of, Winnipeg's Day School tuition fees tions where parents cannot reach full cost, where they are considered Mr. Marantz explained that the' educating their children will pay are perhaps the lowest on the con- agreement with the school as to Talmud Torah and Peretz Folk School Registration able to do so. The remainder are increases are necessary in order to as follows: Day School, $300 for one tinent. He said nay School fees tuition fees. billed on a sliding scale based on meet rising costs of Jewish educa- child, $480 two children, $595 three elsewhere of $400 to $450 per child ability ,to pay, on a percentage dis- tion resulting chiefly this year from children; Night School, $200 one are not unusual. count basis. This will be the first a ten per cent increase .in teacher I child, $295 ,two children, $360 three· A series of meetings will be held Cond ucts Service NOW OPEN time in four years that a family- salaries and a five per cent contri- children. The rate for kindergarten to determine the extent of revisions hy-family review .will take place. bution to the newly inaugurated is $100 for each child. in tuition fees for those able to Register For The The automatic ten per cent in- pension fund. I The increases were agreed upon pay a greater percentage of ,the Registration Hours crease will he applied to all billings I The education cost per child this through meetings of the ·Welfare education cost and' who are not Talmud Torah, Matheson and Powers, Phone JU 2-2346. except where hardships would re-. year has increased from $275 to Fund committee with rcpresenta-I doing so at present. School Opening Date Mondays through Fridays: 9 a.m. to 12 noon; 1 :30 p.m. to 5 p.m. Talmud Torah, South End Br., Fleet & Brock, Ph. HU 9-6262 Sundays: 9 a.m. to 12 noon Tuesday, Sept. 5 I. L. Peretz Folk Schools (Aikins St. Branch and Garden City Authorized by the Bureau of Jewish Education Branch), at 601 Aikins St., Phone JU 6-2254. 370 Hargrave st. Phone WHitehall 3-8437 .,...,............... ,.. ................................................................................................................. e....... u •• U cJ U & u • u u u u • - • u u u w - '0 •• 00.5.0------- ------­ sacrifice the first human being he And if, listening to the music of mood at the mme of composition, encounters in return for being The' Magic Flute and watching the! grave or gay, serene or sombre, yet granted a safe homecoming, the delightful lifesize Marionetten von! in the end we realize that the mood victim: his only son, Idamantes - Salzburg give a three-hour per- i has outgrown the moment and Tangents have always been regarded as ap- formance of the opera, we were l-become something universal and pealing more to the connoisseur vouchsafed an insight into Mozart's eternal. than to the average audience. What I found lacking in this "opera series" Wpg. Day Schools Raise Tuition -and who could improve upon the A ten per cent increase in tuition the South End branch of the Tal­ Vienna Philharmonic Orchestra and Miles Kowall, 12-yeal'-old son of fees for all community-supported mud Torah. State Opera, Ferenc Friesay con­ Mr. and M,'" B. Kowidl, 266 JcfTcr­ Jewish s"hools in the coming school. The special committee of the Wel­ DATELINE EUROPE: ducting-was the gay frivolity with son avenue, and pupil of Mr. A. year was announced .this week -by' fare Fund is also reviewing all fee which tremendous themes are re- H~lI1dl('r, will eOllduct. tilL: Mussnph S. L. 'Morantz, chairman of the edu- I assessments to asceMain whether or duced to human proportions and service al Achdus Beth Jacob Syna­ City of Music cation committee of the Jewish Wel- . not the basic fee charged' certain Festspie/e, 1961 - · h woven into the texture as sub-plots, gOgtll', 242 Manitoba aVL'llue, on Salzburg, Austria .- If you ask couldn't be better th an durlng t e fare Fund of Winnipeg. I families should be raised where as is the case in all Mozart's great Saturday, Aug. 26, at 9::,0 n.m. Kid­ me, the Manitoba Tourist Bureau is Salzburg Festiva.I From Jul y 26- Affected are, all families sending they are able to pay a greater dush following. All the relatives o h . 't b operas. Serious opera may have going about it the wrong way in August 31 , thIS C armmg c. y e- children to the Winnipeg Talmud percentage of the actual education been too restricted a vehicle for and friends are invited, attracting the uncommitted traveller comes a complete rnad house a f peo- Torah, the Peretz -Folk schools and, See TUITION, page 7 to the keystone province. Gimmicks I pie seeking hotel rooms and running Mozart's imagination, let even the like the Red River Ex. and Pine- from agency to agency trying to most rigidly conventional structure can provi.de scope for genius if it Talc.es Up Post to-Palm may have been a d equate b uy h ard -to-come-'b y ti c k e t s a t III the cays before American Ex- fantastic prices, even though as, is by Mozart. At Beth Israel press, but in this highly competitive many as six events are presented Leontyne Price field one must look towards a fool- each day. The 20th century has no If Don Giovanni with Herbert von proof system like the Salzbllrg- rule of thumb for turning out festi- Karajan conducting the Vienna 'l'ourist-by-Ordeal Method. What is vals so harried by a myriad events, Philharmonic and State Opera, pro­ required is simply to exhume the oIlen So sated with emopty entertain- vided the most sensation"al singing spiritual remains of a badly abused men I. Salzburg, despite its fleecing of the Festspiel - Leontyne Price, native son, one whose genius would of tourists and the exploitation of Graziella Sciutli ,who had taken be more readily recognized else- the Mozart name, is one of the few ill when I saw the "Marriage of where, and to promote him, posthu- places where one may hope to en- Figaro" in Amsterdam, Wilma Lipp mously of course, as one's Grosster counter the exceptional. Its cri- and Nicolai Gedda - it also con­ Sohn. To this end, a Winnipeg Festi- tcrion is fidelity of interpretation tained some of the least inspired val League would be formed, the and while .the festiv~l's tradition singing and dramatic action. The houses in which our genius suffered rests pnmanly on the Interpretat10~ I internal regions, the element in and created would become national' of Wolfgang Amadeus Mozart, It Don Giovanni that so thrilled the shrines and a string of theatres also has room for contemporary early Romantics were ominously in would be erected - considering the operatic works and dramatic pro- evidence in the music of Idomeneo: rapidity with which such civic pro- duclions such as Goethe's "Faust." in Electra (Elisabeth Grummer) cry . jects as a new city hall and library- Dresden State Opera , of revenge, for instance, which ranks art centre were eendorsed and exer- I 'th th I h t of D Ann One hour before curtain time, we I w. e ove- a e onna a live it up in Manitoba! cised, this should prove no problem. found ourselves stranded on the (Leon t yne Pri)'ce, m the c horal The Downtown Merchants Associa- train for Vienna, a cyclone having scenes where the crowd is awed by tio'n, after a stiff course in Culture the fury of the elemnts, and in blocked the main line, in a train nABBI MICHAEL L, KURZ mmercialism, would then Id ' h t th e "Companion.cruising" ••• here's a summer sport to recall the joie de vivre of the oldtime and Co called appropriately enough, Stein- omeneo s orror a e cons- Calgary (Special) - Beth Israel utilize appropriate motifs in their dorf. A cab drove us to our inn, quences of his fateful vow. Except voyageurs; club cruising as enjoyed by sailors from Winnipeg and Brandon. A great new Congregation welcomes its spiritual windows. The genius' cameo would h I th for a rather shoddy ball,et, I found t e Stein echner, to pick up e way to live it up in Manitoba! leadcr, Rabbi Michael L. Kul'z, this appear in ash trays, chocolates and tickets provided by KI;M and then Idomeneo a thrilling discovery, Don week. soap suds, or his records would be to the Mozarteum Foundation, just Giovanni, with the exception of the Companion· cruising is a pet project of Winnipeg's Redboine boaters and members of the Rabbi Kurz attended the College' displayed in hardware store and s 1 Ii' . <rl f MI'ss Fri' in time to see Joseph Keilberth con- uper a ve sm.. ·.ng 0 ce Brandon and District Boating Club. Their idea: boating is more enjoyable - and safer - of the City of New York from which billiard rooms, and locks of his hairs, duct the Dresden State Opera Orch- and Mme.
Recommended publications
  • ARSC Journal
    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
    [Show full text]
  • Eberhard Waechter“
    DIPLOMARBEIT Titel der Diplomarbeit „Eberhard Waechter“ Verfasserin Mayr Nicoletta angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2011 Studienkennzahl: A 317 Studienrichtung: Theater-, Film- und Medienwissenschaft Betreuerin: Univ.-Prof.Dr. Hilde Haider-Pregler Dank Ich danke vor allem meiner Betreuerin Frau Professor Haider, dass Sie mir mein Thema bewilligt hat und mir mit Rat und Tat zur Seite stand. Ich danke der Familie Waechter und Frau Anneliese Sch. für die Bereitstellung des Materials. Ich danke meiner Schwester Romy und meiner „Seelenverwandten“ Sheila und all meinen Freunden für ihre emotionale Unterstützung und die zahlreichen motivierenden Gespräche. Ich danke meinem Bruder Florian für die Hilfe im Bereich der Computertechnik. Ein großer Dank gilt meiner Tante Edith, einfach dafür, dass es dich gibt. Außerdem danke ich meinen Großeltern, dass sie meine Liebe zur Musik und zur Oper stets enthusiastisch aufgenommen haben und mit mir Jahr für Jahr die Operettenfestspiele in Bad Ischl besucht haben. Ich widme meine Diplomarbeit meinen lieben Eltern. Sie haben mich in den letzten Jahren immer wieder finanziell unterstützt und mir daher eine schöne Studienzeit ermöglicht haben. Außerdem haben sie meine Liebe und Leidenschaft für die Oper stets unterstützt, mich mit Büchern, Videos und CD-Aufnahmen belohnt. Ich danke euch für eure Geduld und euer Verständnis für eure oft komplizierte und theaterbessene Tochter. Ich bin glücklich und froh, so tolle Eltern zu haben. Inhalt 1 Einleitung ..........................................................................................
    [Show full text]
  • Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
    (De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification.
    [Show full text]
  • Fritz Wunderlich Greatest Successes & Rarities
    Labelcopy Fritz Wunderlich Greatest Successes & Rarities 3. Welch ein grau’nvolles Bild / Fliehe, Verräter CD1 Elisabeth Grümmer (Donna Anna) 4. Nur ihrem Frieden weih‘ ich mein Leben FRITZ WUNDERLICH Die zentrale Partie: Tamino 5. O seht, gnäd’ger Herr, dort die allerliebsten Masken / Mög‘ Gott zu unserm Werke uns Kraft und Mut verleih’n (1756 – 1791) Wolfgang Amadeus Mozart Karl Kohn (Leporello), Hermann Prey (Don Giovanni), Elisabeth DIE ZAUBERFLÖTE – as Tamino – Grümmer (Donna Anna), Hildegard Hillebrecht (Donna Elvira) 1. Dies Bildnis ist bezaubernd schön Berliner Symphoniker / Hans Zanotelli - 3-5: 1960 2. Zum Ziele führt dich diese Bahn / Die Weisheitslehre dieser Knaben ZAIDE – as Gomez – Drei Wiener Sängerknaben 6. Ja, nun lass das Schicksal wüten 7. Kannst, Geliebter, du vergeben 3. Wo willst du, kühner Fremdling, hin? / O ew’ge Nacht 8. Wack’rer Freund, voll tiefer Scham Eberhard Wächter (Sprecher) 9. O selige Wonne 4. Wie stark ist nicht dein Zauberton Maria Stader (Zaide), Horst Günter (Allazim) - Sinfonieorchester des 5. Soll ich dich, Teurer, nicht mehr seh’n? Süddeutschen Rundfunks / Alfons Rischner - 6-9: 1956 Lieselotte Fölser (Pamina), Gottlob Frick (Sarastro) DIE GÄRTNERIN AUS LIEBE – as Graf von Belfiore – 6. Der, welcher wandelt diese Straße 10. Welch ein Glück 7. Tamino mein, o welch ein Glück! 11. Nein! Geh ich fort? / Im Park hier gibt es eigenart’ge Grotten Lieselotte Fölser (Pamina), Robert Charlesbois, Alois Pernerstorfer Gustav Grefe (Nardo / Roberto) (Geharnischte) - Chor der Wiener Staatsoper - Wiener Philharmoniker/ Orchester der Württembergischen Staatsoper / Josef Dünnwald Joseph Keilberth - 1-7: 1960 (Live, Salzburger Festspiele) 10,11: 1956 (Live, Ludwigsburg, Barocktheater des Schlosses) 8.
    [Show full text]
  • ARSC Journal
    HISTORIC VOCAL RECORDINGS STARS OF THE VIENNA OPERA (1946-1953): MOZART: Die Entfuhrung aus dem Serail--Wer ein Liebchen hat gafunden. Ludwig Weber, basso (Felix Prohaska, conductor) ••.• Konstanze ••• 0 wie angstlich; Wenn der Freude. Walther Ludwig, tenor (Wilhelm Loibner) •••• 0, wie will ich triumphieren. Weber (Prohaska). Nozze di Figaro--Non piu andrai. Erich Kunz, baritone (Herbert von Karajan) •••• Voi che sapete. Irmgard Seefried, soprano (Karajan) •••• Dove sono. Elisabeth Schwarzkopf, soprano (Karajan) . ..• Sull'aria. Schwarzkopf, Seefried (Karajan). .• Deh vieni, non tardar. Seefried (Karajan). Don Giovanni--Madamina, il catalogo e questo. Kunz (Otto Ackermann) •••• Laci darem la mano. Seefried, Kunz (Karajan) • ••• Dalla sua pace. Richard Tauber, tenor (Walter Goehr) •••• Batti, batti, o bel Masetto. Seefried (Karajan) •.•• Il mio tesoro. Tauber (Goehr) •••• Non mi dir. Maria Cebotari, soprano (Karajan). Zauberfl.Ote-­ Der Vogelfanger bin ich ja. Kunz (Karajan) •••• Dies Bildnis ist be­ zaubernd schon. Anton Dermota, tenor (Karajan) •••• 0 zittre nicht; Der Holle Rache. Wilma Lipp, soprano (Wilhelm Furtwangler). Ein Miidchen oder Weibchen. Kunz (Rudolf Moralt). BEETHOVEN: Fidelio--Ach war' ich schon. Sena Jurinac, soprano (Furtwangler) •••• Mir ist so wunderbar. Martha Modl, soprano; Jurinac; Rudolf Schock, tenor; Gottlob Frick, basso (Furtwangler) •••• Hat man nicht. Weber (Prohaska). WEBER: Freischutz--Hier im ird'schen Jammertal; Schweig! Schweig! Weber (Prohaska). NICOLAI: Die lustigen Weiher von Windsor--Nun eilt herbei. Cebotari {Prohaska). WAGNER: Meistersinger--Und doch, 'swill halt nicht gehn; Doch eines Abends spat. Hans Hotter, baritone (Meinhard von Zallinger). Die Walkilre--Leb' wohl. Hotter (Zallinger). Gotterdammerung --Hier sitz' ich. Weber (Moralt). SMETANA: Die verkaufte Braut--Wie fremd und tot. Hilde Konetzni, soprano (Karajan). J. STRAUSS: Zigeuner­ baron--0 habet acht.
    [Show full text]
  • The Idea of Prima Donna: IRASM 47 (2016) 2: 237-287 the History of a Very Special Opera’S Institution
    V. Kotnik: The Idea of Prima Donna: IRASM 47 (2016) 2: 237-287 the History of a Very Special Opera’s Institution Vlado Kotnik Faculty of Humanities, Department of Media Studies University of Primorska The Idea of Prima Donna: KOPER, Slovenia E-mail: vlado.kotnik@guest. the History of a Very arnes.si Special Opera’s Institution UDC: 782 Received: March 8, 2016 Primljeno: 8. ožujka 2016. Accepted: October 10, 2016 Prihvaćeno: 10. listopada 2016. Abstract – Résumé This article examines the historical constitution and construction of prima donna, probably the most intrinsic Introduction institution of opera expand- ing from the end of the sixteenth century until today. Opera is a very complex system of different From the 16th to the 21st kinds of craft and artistry. However, throughout its century the opera’s prima donna has experienced entire history one craft in particular dominated the numerous cultural transfor- field, the craft of singers. Even now, at the beginning mations and commodifica- of the twenty-first century, singing seems to be the tions. Her idea was determined by paradigms lifeblood of opera while other elements, such as the and concepts of absence orchestra, acting, staging, setting, décor, costumes, and replaceability in the sixteenth and seventeenth etc., seem to be important but supplementary. The centuries, of human nature singing operatic voice, with all its idiosyncrasies, and body, sexuality and gender, character and charm, magnetic power, temper, theatricality, costume in the eighteenth seductiveness, drama, technique, virtuosity, century, of aura and fetish in pedantry, extravagance, mysteriousness, and artist- the nineteenth century, and of identity in the twentieth ry, drew and continues to draw people to the opera and twenty-first centuries.
    [Show full text]
  • Österreichische Musikzeitschrift
    ÖSTERREICHISCHE MUSIKZEITSCHRIFT GEGRÜNDET VON DR. PETER LAFITE + 1954 9. JAHRGANG EDITION OSTERREICHISCHE MUSIKZEITSCHRIFT WIEN VERZEICHNIS ZUM NEUNTEN JAHRGANG JANNER Walter Κ ο 1 η e d e r : Johann Nepomuk David 1 Jörg D e m u s : Bach am Klavier 7 Nobori Κ a η e k o : Die abendländische Musik in Japan (II) 17 Leopold Nowak: Robert Lach — 80 Jahre . 22 Erik We iba: Die Förderungspreisträger für Musik 23 FEBRUAR Otto Erich Deutsch: Mozart und die Schönbrunner Orangerie 37 H. C. Robbins L a η d ο η : Eine neue Mozart-Quelle 42 Ottunar W e s s e 1 y : Mozarts „Glücks-Wunsch, beim Punsch" 44 Hans S i 11 η e r : Zur sozialen Lage des Berufsmusikers 48 Egon Seefehlner: Amerikanische Musikpflege auf breiter Basis .... 53 Redaktionskomitee: Vor einer neuen Staatsopern-Ara 56 T. O.: Alexander Spitzmüller, 60 Jahre alt 58 Gustav Ρ i c h 1 e r : Oscar Straus f 58 MARZ Isolde A h 1 g r i m m und Erich F i a 1 a : Zur Aufführungspraxis der Bach'schen Cembalowerke 71 Karl Κ o b a 1 d : Julius Bittner und Franz Schreker 78 Rudolf Κ1 e i η : Der Orgelmeister Johann Neponiuk David 82 Karl Böhm: Brief an die Redaktion 92 Das Programm der Wiener Festwochen 1954 93 Philipp R u f f : Ein Jubiläum des Wiener Walzers 94 Karl Wisoko-Meytsky: Die Wiener Hofmusikkapelle in der Schweiz . 95 Rudolf Κ 1 e i η : „Mathis der Maler" in Linz 96 APRIL Rudolf Κ1 e i η : Opera semiseria 1954 105 Irmgard Seefried: Meine Wege zu Hindemith und Béla Bartók ...
    [Show full text]
  • Decca Discography
    DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982.
    [Show full text]
  • Excerpt from Navidad Nuestra [Nah-Vee-THAD Nooayss-Trah]; Music by Ariel Ramírez [Ah-Reeell Rah-MEE-Rehth] and Text by F
    La anunciacion C La anunciación C lah ah-noon-theeah-theeAWN C (excerpt from Navidad nuestra [nah-vee-THAD nooAYSS-trah]; music by Ariel Ramírez [ah-reeELL rah-MEE-rehth] and text by F. Luna [(F.) LOO-nah]) La barca C lah BAR-kah C (The Boat) C (excerpt from the suite Impresiones intimas [eem- prayss-YO-nayss een-TEE-mahss] — Intimate Impressions — by Federico Mompou [feh- theh-REE-ko mawm-POOO]) La barcheta C lah bar-KAY-tah C (The Little Boat) C (composition by Hahn [HAHN]) La bas dans le limousin C Là-bas dans le Limousin C lah-bah dah6 luh lee-môô-zeh6 C (excerpt from Chants d'Auvergne [shah6 doh-vehrny’] — Songs of the Auvergne [o-vehrny’], French folk songs collected by Joseph Canteloube [zho-zeff kah6-t’lôôb]) La bas vers leglise C Là-bas, vers l'église C lah-bah, vehr lay-gleez C (excerpt from Cinq mélodies populaires grecques [seh6k may-law-dee paw-pü-lehr greck] — Five Popular Greek Melodies — by Maurice Ravel [mo-reess rah-vell]) La belle helene C La belle Hélène C lah bell ay-lenn C (The Fair Helen) C (an opera, with music by Jacques Offenbach [ZHACK AWF-funn-bahk]; libretto by Henri Meilhac [ah6-ree meh-yack] and Ludovic Halévy [lü-daw-veek ah-lay-vee]) La belle isabeau conte pendant lorage C La belle Isabeau (Conte pendant l’orage) C lah bell ee- zah-bo (kaw6t pah6-dah6 law-rahzh) C (The Lovely Isabeau (Tale During a Storm)) C (poem by Alexandre Dumas [ah-leck-sah6-dr’ dü-mah] set to music by Hector Berlioz [eck-tawr behr-leeawz]) La belle se sied au pied de la tour C lah bell s’-seeeh o peeeh duh lah tôôr C (The Fair Maid
    [Show full text]
  • Dossier 2014 Pédagogique
    DOSSIER 2014 PÉDAGOGIQUE Die Zauberflöte Musique de Wolfgang Amadeus Mozart Livret d’Emmanuel Schikaneder DOSSIER PÉDAGOGIQUE sommaire Sommaire Préambule A lire avant le spectacle I. Présentation de l’œuvre...............................................................p. 4 1. Contexte de création de l’œuvre ........................................................................................p. 4 2. Argument...............................................................................................................................p. 5 3. Les personnages..................................................................................................................p. 6 II. Autour de l’œuvre.......................................................................p. 12 1. La Flûte enchantée et le contexte théâtral viennois de la fin du XVIIIème siècle..........p. 12 2. Mozart et la Franc-Maçonnerie...........................................................................................p. 17 III. La production au Festival d’Aix-en-Provence............................p. 18 1. Les productions de Die Zauberflöte depuis 1948...............................................................p. 19 2. La distribution de Die Zauberflöte en 2014.........................................................................p. 20 3. Le Grand Théâtre d’Aix-en-Provence..................................................................................p. 23 4. Aperçu en images..................................................................................................................p.
    [Show full text]
  • Mozart's Die Zauberflöte
    Mozart’s Die Zauberflöte – a partial discographical survey by Ralph Moore There are 128 recordings of Die Zauberflöte listed in the CLOR catalogue, of which around twenty are studio versions. I have tried any number of recordings and long despaired of ever finding one in acceptable sound which does the opera full justice. There are some good mono recordings from the 50’s, sometimes shorn of all dialogue as per Karajan’s, but most collectors understandably want a good stereo version, with the dialogue perhaps cut to manageable proportions for non-German-speakers. That which comes closest is Böhm’s 1964 recording starring Fritz Wunderlich as an ideal Tamino, but the perceived inadequacies of the female singers soon led to the observation that the ideal recording could have been produced by combining the men from Böhm’s recording with the women in Klemperer’s exactly contemporaneous studio recording. As they stand, both are arguably flawed but revisiting them has softened my own objections and few since have offered anything better. At almost every turn, some problem has compromised subsequent studio versions of the stereo and digital eras, such as the presence of throaty, constricted tenors as Tamino like Schreier, blighting all three recordings conducted by Suitner, Sawallisch and Davis, or Araiza for Karajan and Marriner. Finding a good Queen of the Night has been problematic, too; HIP influence has tended to encourage the casting of voices too small and flimsy to do justice to Mozart’s deceptively simple writing, and produced some really inadequate efforts, such as Harnoncourt’s, Norrington’s, Jacobs’ and Christie’s recordings, all of which I have excluded from the reviews below, as their mostly weak casting and small-scale or reduced forces approach render them of little merit as far as my own taste goes.
    [Show full text]
  • Celebrate Beethoven Catalogue Ludwig Van Beethoven (1770–1827)
    CELEBRATE BEETHOVEN CATALOGUE LUDWIG VAN BEETHOVEN (1770–1827) Born in Bonn in 1770, the eldest son of a singer in the Kapelle of the Archbishop-Elector of Cologne and grandson of the Archbishop’s Kapellmeister, Beethoven moved in 1792 to Vienna. There he had some lessons from Haydn and others, quickly establishing himself as a remarkable keyboard player and original composer. By 1815 increasing deafness had made public performance impossible and accentuated existing eccentricities of character, patiently tolerated by a series of rich patrons and his royal pupil the Archduke Rudolph. Beethoven did much to enlarge the possibilities of music and widen the horizons of later generations of composers. To his contemporaries he was sometimes a controversial figure, making heavy demands on listeners by both the length and the complexity of his writing, as he explored new fields of music. Beethoven’s monumental contribution to Western classical music is celebrated here in this definitive collection marking the 250th anniversary of the composer’s birth. ThisCELEBRATE BEETHOVEN catalogue contains an impressive collection of works by this master composer across the Naxos Music Group labels. Contents ORCHESTRAL .......................................................................................................................... 3 CONCERTOS ........................................................................................................................ 13 KEYBOARD ...........................................................................................................................
    [Show full text]