Opera North:Lifelong Learning
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LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Filling the City with Song!
LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Filling the city with song! Festival Programme 2009 The Grammar School at Leeds inspiring individuals is pleased to support the Leeds Lieder+ Festival Our pupils aren’t just pupils. singers, They’re also actors, musicians, stagehands, light & sound technicians, comedians, , impressionists, producers, graphic artists, playwrightsbox office managers… ...sometimes they even sit exams! www.gsal.org.uk For admissions please call 0113 228 5121 Come along and see for yourself... or email [email protected] OPENING MORNING Saturday 17 October 9am - 12noon LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Biennial Festival of Art Song Artistic Director Julius Drake 3 Lord Harewood Elly Ameling If you, like me, have collected old gramophone records from Dear Friends of Leeds Lieder+ the time you were at school, you will undoubtedly have a large I am sure that you will have a great experience listening to this number of Lieder performances amongst them. Each one year’s rich choice of concerts and classes. It has become a is subtly different from its neighbour and that is part of the certainty! attraction. I know what I miss: alas, circumstances at home prevent me The same will be apparent in the performances which you this time from being with you and from nourishing my soul with will hear under the banner of Leeds Lieder+ and I hope this the music in Leeds. variety continues to give you the same sort of pleasure as Lieder singing always has in the past. I feel pretty sure that it To the musicians and to the audience as well I would like to will and that if you have any luck the memorable will become repeat the words that the old Josef Krips said to me right indistinguishable from the category of ‘great’. -
A Little Night Music
WELCOME It is a real pleasure to welcome you to the Quarry before last, and who share the role of Fredrika in Theatre for the first time in many months for our A Little Night Music. It’s a thrill to be able to perform co-production of Stephen Sondheim’s A Little Night Sondheim’s work in Jonathan Tunick’s original Music. This latest collaboration between Leeds orchestrations, with the brilliant Orchestra of Opera Playhouse and Opera North represents a significant North conducted by one of the world’s leading step for both organisations on the road back to a full interpreters of classic musical theatre, Jim Holmes. programme of performances for live audiences. Behind the scenes, our staff have been working The partnership between our two companies has incredibly hard to ensure a safe environment flourished since our work together five years ago for performers and audiences alike, and that on another Sondheim musical, Into the Woods, and will continue to be a top priority as we plan for has grown all the stronger during the pandemic. performances without restrictions in the coming Against the odds we made an all too brief return months. There is much to look forward to from to live performance together last October with both companies, with Pam Gems’ sensational play the Connecting Voices season, which included about the life of Edith Piaf at the Playhouse later Orpheus in the Record Shop, an extraordinary new this summer, and an autumn season that includes work by Leeds-based artist Testament, which was the magical Christmas show Wendy and Peter subsequently filmed for BBC4’s Lights Up festival. -
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MAG IC L A N T Sophie Daneman ~ soprano Beth Higham-Edwards ~ vibraphone E D Alisdair Hogarth ~ piano Anna Huntley ~ mezzo-soprano R A George Jackson ~ conductor Sholto Kynoch ~ piano O N Anna Menzies ~ cello Edward Nieland ~ treble H Sinéad O’Kelly ~ mezzo-soprano Natalie Raybould ~ soprano - T S E Collin Shay ~ countertenor Philip Smith ~ baritone Nicky Spence ~ tenor A Mark Stone ~ baritone Verity Wingate ~ soprano C L N A E R S F L Y R E H C Y B S G N O S FOREWORD Although the thought of singing and acting in front of an audience terrifies me, there is nothing I enjoy more than being alone at my piano and desk, the notes on an empty page yet to be fixed. Fortunately I am rarely overheard as I endlessly repeat words and phrases, trying to find the music in them: the exact pitches and rhythms needed to portray a particular emotion often take me an exasperatingly long time to find. One of the things that I love most about writing songs is that I feel I truly get to know and understand the poetry I am setting. The music, as I write it, allows me to feel as if I am inhabiting the character in the poem, and I often only discover what the poem really says to me when I reach the final bar. This disc features a number of texts either written especially for me (Kei Miller, Tamsin Collison, Andrew Motion, Stuart Murray), or already in existence (Kate Wakeling, Ian McMillan, 4th century Aristotle). -
Music by BENJAMIN BRITTEN Libretto by MYFANWY PIPER After a Story by HENRY JAMES Photo David Jensen
Regent’s Park Theatre and English National Opera present £4 music by BENJAMIN BRITTEN libretto by MYFANWY PIPER after a story by HENRY JAMES Photo David Jensen Developing new creative partnerships enables us to push the boundaries of our artistic programming. We are excited to be working with Daniel Kramer and his team at English National Opera to present this new production of The Turn of the Screw. Some of our Open Air Theatre audience may be experiencing opera for the first time – and we hope that you will continue that journey of discovery with English National Opera in the future; opera audiences intrigued to see this work here, may in turn discover the unique possibilities of theatre outdoors. Our season continues with Shakespeare’s As You Like It directed by Max Webster and, later this summer, Maria Aberg directs the mean, green monster musical, Little Shop of Horrors. Timothy Sheader William Village Artistic Director Executive Director 2 Edward White Benson entertained the writer one One, about the haunting of a child, leaves the group evening in January 1895 and - as James recorded in breathless. “If the child gives the effect another turn of There can’t be many his notebooks - told him after dinner a story he had the screw, what do you say to two children?’ asks one ghost stories that heard from a lady, years before. ‘... Young children man, Douglas, who says that many years previously he owe their origins to (indefinite in number and age) ... left to the care of heard a story too ‘horrible’ to admit of repetition. -
FRIDAY SERIES 4 Thomas Adès, Conductor Christianne Stotijn
26.10. FRIDAY SERIES 4 Helsinki Music Centre at 19:00 Thomas Adès, conductor Christianne Stotijn, mezzo-soprano Mark Stone, baritone György Kurtág: Ligatura – Message-Hommage 3 min à Frances-Marie Uitti (The Answered Unanswered Question), Op. 31b Jean Sibelius: The Swan of Tuonela, Op. 22/3 8 min Sanna Niemikunnas, cor anglais Jean Sibelius: Tapiola, Op. 112 18 min INTERVAL 20 min Thomas Adès: Totentanz 35 min 1 The LATE-NIGHT CHAMBER MUSIC will begin in the main Concert Hall after an interval of about 10 minutes. Those attending are asked to take (unnumbered) seats in the stalls. Kyeong Ham, oboe József Hárs, French horn Jouko Laivuori, harpsichord Thomas Adès: Sonata da caccia Op. 11 14 min 1. Gravement 2. Gayëment 3. Naïvement 4. Galament Interval at about 19.40. The concert will end at about 20.45, the late-night chamber music at about 21:15. Broadcast live on Yle Radio 1 and Yle Areena. A recording of the concert will be shown in the programme “RSO Musiikkitalossa” (The FRSO at the Helsinki Music Centre) on Yle Teema on 11.11. and 18.11. with a repeat on Yle TV 1 on 17.11. and 24.11. 2 GYÖRGY KURTÁG Kurtág. In the latter, the violins and cel- los play at the same time, but so that (b. 1926): LIGATURA – their bar lines do not coincide. In the fi- MESSAGE-HOMMAGE nal bars, a celesta joins in, rounding off À FRANCES-MARIE this enigmatic, introverted and at times UITTI (THE ANSWERED almost stagnant miniature lasting only a few minutes. -
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CHAN 3042 BOOK 29/01/2016 14:55 Page 2 Pyotr Ilyich Tchaikovsky (1840–1893) Eugene Onegin KG A Opera in three acts Text by the composer and Konstantin Shilovsky after Alexander Pushkin’s verse novel Eugene Onegin English translation by David Lloyd-Jones Eugene Onegin....................................................Thomas Hampson baritone Tatyana......................................................................Kiri Te Kanawa soprano Lensky..........................................................................Neil Rosenshein tenor Prince Gremin....................................................................John Connell bass A Captain/Zaretsky....................................................Richard Van Allan bass Monsieur Triquet..............................................................Nicolai Gedda tenor Madame Larina..................................................Linda Finnie mezzo-soprano Filippyevna............................................Elizabeth Bainbridge mezzo-soprano Olga................................................................Patricia Bardon mezzo-soprano Pyotr Ilyich Tchaikovsky Orchestra and Chorus of Welsh National Opera Gareth Jones chorus master Sir Charles Mackerras 3 CHAN 3042 BOOK 29/01/2016 14:55 Page 4 COMPACT DISC ONE TimePage TimePage No. 5 Scene and Quartet Act I 8 ‘Mesdames, I hope that you’ll excuse me’ 1:4897 1 Introduction 2:3992 Lensky, Onegin, Madame Larina 9 ‘Now tell me, which of them’s Tatyana?’ 1:4297 Scene 1 Onegin, Lensky, Tatyana, Olga No. 1 Duet and Quartet 2 ‘Oh, did you hear the lovesick shepherd boy’ 5:0892 No. 6 Scene and Arioso Tatyana, Olga, Madame Larina, Nurse 10 ‘How perfect, how wonderful’ 2:14 098 No. 2 Chorus and Dance of the Peasants Lensky, Olga, Onegin, Tatyana 3 ‘My legs ache and can no longer run’ 2:3994 11 ‘How I love you, I adore you, Olga’ 3:16 099 Leader (John Hudson), Peasants, Madame Larina Lensky, Olga 4 ‘In a cottage by the water’ 2:0594 No. 7 Closing Scene Peasants 12 ‘Ah, here you are!’ 2:40100 No. -
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. -
Democratising Opera: Opera North and the Access Agenda in Action Part of the AHRC Project ‘Opera As Adaptation’
Democratising Opera: Opera North and the access agenda in action Part of the AHRC project ‘Opera as Adaptation’ Jennifer Susan Daniel Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Performance and Cultural Industries School of Music March 2016 2 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. © 2016 The University of Leeds and Jennifer Susan Daniel The right of Jennifer Susan Daniel to be identified as Author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. 3 Acknowledgements My thanks go out to all those at Opera North (past and present) who have been so welcoming and helpful in facilitating this study, particularly Jane Bonner, Dominic Gray, Rebecca Walsh, Timothy Burke, Jo Bedford, Stuart Leeks, Peter Restall, Jacqui Cameron, and the inspirational Martin Pickard. It was also a great privilege to have Richard Farnes as my supervisor at Opera North, who facilitated so much of this study and whose musical vision, humility and leadership I have greatly admired. I am grateful to the AHRC, to Opera North Futures and to the Fund for Women Graduates for generous funding, without which I would certainly not have been able to complete this thesis. My most profound thanks are offered to my excellent academic supervisors Kara McKechnie and Rachel Cowgill, for the opportunity to work on this project, and for the inspiration, encouragement and education. -
Aufstieg Und Fall Der Stadt Mahagonny
Kurt Weill Newsletter Volume 24, Number 1 13 City. Some recently discovered documents among the Elisabeth Books Hauptmann papers, housed in the Akademie der Künste in Berlin, fill “some central gaps in the text’s history” (p. 633). By scrutiniz- ing, analyzing, and comparing these and additional sources, he Libretto im Progress: Brechts und Weills offers a comprehensive picture of the existing text sources and their interrelations. The analyses reveal hitherto unknown relationships “Aufstieg und Fall der Stadt between text sources, and Nyström offers a new system of defining Mahagonny” aus textgeschichtlicher Sicht various stages and branches, which he fortunately presents in form of a stemma. Furthermore, he provides a diagram to show which quotations Brecht borrowed from his own works. Thus, Nyström Esbjörn Nyström makes a substantial contribution to illuminating the genesis of Aufstieg und Fall der Stadt Mahagonny. His study is divided into eight chapters. While the first two Bern: Peter Lang, 2005 (Arbeiten zur Editionswissenschaft, 6), 709 pp. chapters discuss the basis for research, provide a brief survey of the ISBN: 3-03910-479-9 inherent problems, and address aspects of methodology and histo- ry, chapters 3–5 provide a description and systematization of the There was a time when the genesis of the Weill/Brecht works could textual material. Chapters 6 and 7 contain analyses and interpreta- be presented rather innocently. Such an account would have read: tions of selected parts of the libretto, followed by a conclusion in In 1927 Mahagonny: Ein Songspiel was created, in 1928 Die chapter 8 that also offers a prospect for future scholarship. -
Benjamin Britten At
13/26 Benjamin Britten at 100 BFI Southbank celebrates the centenary of one of Britain’s most innovative composers, with Peter Morley OBE, Dame Josephine Barstow, Tony Palmer, Phyllida Lloyd, John Bridcut and Paul Kildea all appearing onstage 2013 marks the centenary of the birth of Benjamin Britten, one of Britain’s greatest composers. Beginning in September and running into the first week of October, BFI Southbank will be holding a season to celebrate the ways in which Britten contributed to cinema and television, either through writing film scores or adapting operas, or as the subject of remarkable documentaries about his life and work. Benjamin Britten at 100 will include screenings of documentaries from the GPO Film Unit (for which Britten composed the music), plus a re- mastered screening of The Turn of the Screw (1959) introduced by director Peter Morley OBE. Further highlights will include special previews of new films by Tony Palmer and John Bridcut (Nocturne and Britten’s Endgame respectively) followed by director Q&As and a Season Introduction by Britten biographer Paul Kildea (which will include rarely screened home movie footage which has been digitised by the BFI National Archive). This season will give audiences a unique opportunity to augment their understanding of this remarkable composer, whose career was so inextricably linked to film and television. In 1935 aged only 21, Benjamin Britten was plucked from relative obscurity by (depending on which version of events you read) either John Grierson or Alberto Cavalcanti. Grierson was at that time the head of the GPO Film Unit, with Cavalcanti as his assistant, and required a young and talented composer to write scores for him. -
DAVID POUNTNEY, Director
THE FALL OF THE HOUSE OF USHER PRODUCTION TEAM BIOGRAPHY DAVID POUNTNEY, Director David Pountney made his San Francisco Opera directing debut in 1976 with Vec Makropulos and returned in 2007 to direct Macbeth; his production of Satyagraha was mounted by the Company in 1989. He became internationally known through his production of Katya Kabanova at the 1972 Wexford Festival. Between 1975 and 1980, he was director of productions for Scottish Opera. In 1977 he directed the world premiere of David Blakeʼs Toussaint for English National Opera (ENO) and went on to become ENOʼs director of productions in 1980, directing over 20 operas. Pountney has directed many world premieres, including three by Peter Maxwell Davies for which he also wrote the libretto, and has translated operas into English from Russian, Czech, German and Italian. As a freelance director from 1992 he worked regularly in Zurich, at Vienna State Opera, Bayerische Staatsoper, as well as opera houses in America and Japan, and in the UK has a long-standing association with Opera North. He received a Janáček medal for his Janáček cycle in Wales and Scotland, a Martinů medal for his productions of Julietta and Greek Passion (Opera North and Bregenz Festival), and his productions have twice won Olivier awards. Recent engagements include Prince Igor, The Passenger (Houston and New York); Kommilitonen, his third opera written in collaboration with Peter Maxwell Davies (Royal Academy of Music and US premiere at the Juilliard School, New York); a new Philip Glass opera, Spüren der Verirrten, for the opening of a new opera house in Linz which won the Schickaneder Prize for best opera production in 2013, and Die Zauberflöte for the lake stage in Bregenz, where he has been intendant since 2003. -
Un Ballo in Maschera Giuseppe Verdi
Un ballo in maschera Giuseppe Verdi Programme 1 1 Contents Creative Team and Cast List 4 Content editors Chloe Bridgen, Anna Picard Orchestra and Chorus List 5 Designed by Olley Design Synopsis 6 Printed by Belmont Press A Masked Ball 8 www.operahollandpark.com Article by Professor Susan Rutherford Box Office: 0300 999 1000 Un ballo in maschera: From the archives... 12 Main Office: 020 3846 6222 The Real Gustav III 14 Article by Professor Jeremy Black Registered Address: 37 Pembroke Road, London W8 6PW An interview with Alison Langer 18 Theatre Address: Ilchester Place, London W8 6LU Biographies /operahollandpark Creatives 19 @operahollandpk Cast 21 @operahollandpark /operahollandpark #OHPBallo Opera artwork by Ewelina Koszykowska for Opera Holland Park, 2019 © Opera Holland Park 2019 Reproduction of this publication in full or in part is not permitted without the written permission of the publisher. The views expressed in this magazine are not necessarily those of Opera Holland Park. For many years, OHP has commissioned artists to create images inspired by the season’s operas. The images are not representations of the productions, but the artist’s interpretations of the works. The images for the 2019 Season were created by Ewelina Koszykowska. For more information on Ewelina, please visit ewelinak.com. To donate to Opera Holland Park, visit www.operahollandpark.com/donate 2 Un ballo in maschera Giuseppe Verdi Opera in three acts First performed in this version 17 February 1859, Teatro Apollo, Rome Sung in Italian with English surtitles