FOR IMMEDIATE RELEASE ARTIST and PROGRAM CHANGES July 17, 2017
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Doctor Atomic
John Adams Doctor Atomic CONDUCTOR Opera in two acts Alan Gilbert Libretto by Peter Sellars, PRODUCTION adapted from original sources Penny Woolcock Saturday, November 8, 2008, 1:00–4:25pm SET DESIGNER Julian Crouch COSTUME DESIGNER New Production Catherine Zuber LIGHTING DESIGNER Brian MacDevitt CHOREOGRAPHER The production of Doctor Atomic was made Andrew Dawson possible by a generous gift from Agnes Varis VIDEO DESIGN and Karl Leichtman. Leo Warner & Mark Grimmer for Fifty Nine Productions Ltd. SOUND DESIGNER Mark Grey GENERAL MANAGER The commission of Doctor Atomic and the original San Peter Gelb Francisco Opera production were made possible by a generous gift from Roberta Bialek. MUSIC DIRECTOR James Levine Doctor Atomic is a co-production with English National Opera. 2008–09 Season The 8th Metropolitan Opera performance of John Adams’s Doctor Atomic Conductor Alan Gilbert in o r d e r o f v o c a l a p p e a r a n c e Edward Teller Richard Paul Fink J. Robert Oppenheimer Gerald Finley Robert Wilson Thomas Glenn Kitty Oppenheimer Sasha Cooke General Leslie Groves Eric Owens Frank Hubbard Earle Patriarco Captain James Nolan Roger Honeywell Pasqualita Meredith Arwady Saturday, November 8, 2008, 1:00–4:25pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from the Neubauer Family Foundation. Additional support for this Live in HD transmission and subsequent broadcast on PBS is provided by the Alfred P. Sloan Foundation. Ken Howard/Metropolitan Opera Gerald Finley Chorus Master Donald Palumbo (foreground) as Musical Preparation Linda Hall, Howard Watkins, Caren Levine, J. -
Pizzazz on the Podium
Montage Art, books, diverse creations 14 Open Book 15 Bishop Redux 16 Kosher Delights 17 And the War Came 18 Off the Shelf 19 Chapter and Verse 20 Volleys in F# Major places this orchestra square- ly at the center of cultural and intellectual discourse.” The Philharmonic sounds better than it has in decades, too, because Gilbert has im- proved morale, changed the seating plan, and worked on details of tone and balance— even the much-reviled acoustics of Avery Fisher Hall at Lincoln Center sound Alan Gilbert less jagged now. The conducting conductor is also pre- CHRIS LEE the New York Pizzazz on the Podium Philharmonic pared to be surprised: at Avery Fisher to him, his job is both Alan Gilbert’s music that should be heard Hall in Lincoln to lead and take in Center what the musicians by richard dyer are offering. The unexpected hit of his first season ike his celebrated predecessor as diverse as György Ligeti and Wynton was Ligeti’s avant-garde opera, Le Grand Leonard Bernstein ’39, D.Mus. Marsalis, named a composer-in-residence Macabre, in a staging by visual artist Doug ’67, Alan Gilbert ’89 seems to en- (Magnus Lindberg), and started speaking Fitch ’81, a friend who had tutored art in joy whipping up a whirlwind and informally to the audience, as Bernstein Adams House when Gilbert was in col- then taking it for an exhilarating sometimes did. His programs are full of lege. To publicize the opera, Gilbert ap- L ride. Though only in his second year on interconnections and his seasons add peared in three homespun videos that the the job, the second Harvard-educated mu- up; Gilbert has said that every piece tells Philharmonic posted on YouTube; Death, sic director of the New York Philharmonic a story, and every program should, too. -
2020-21 Season Brochure
2020 SEA- This year. This season. This orchestra. This music director. Our This performance. This artist. World This moment. This breath. This breath. 2021 SON This breath. Don’t blink. ThePhiladelphiaOrchestra MUSIC DIRECTOR YANNICK NÉZET-SÉGUIN our world Ours is a world divided. And yet, night after night, live music brings audiences together, gifting them with a shared experience. This season, Music Director Yannick Nézet-Séguin and The Philadelphia Orchestra invite you to experience the transformative power of fellowship through a bold exploration of sound. 2 2020–21 Season 3 “For me, music is more than an art form. It’s an artistic force connecting us to each other and to the world around us. I love that our concerts create a space for people to gather as a community—to explore and experience an incredible spectrum of music. Sometimes, we spend an evening in the concert hall together, and it’s simply some hours of joy and beauty. Other times there may be an additional purpose, music in dialogue with an issue or an idea, maybe historic or current, or even a thought that is still not fully formed in our minds and hearts. What’s wonderful is that music gives voice to ideas and feelings that words alone do not; it touches all aspects of our being. Music inspires us to reflect deeply, and music brings us great joy, and so much more. In the end, music connects us more deeply to Our World NOW.” —Yannick Nézet-Séguin 4 2020–21 Season 5 philorch.org / 215.893.1955 6A Thursday Yannick Leads Return to Brahms and Ravel Favorites the Academy Garrick Ohlsson Thursday, October 1 / 7:30 PM Thursday, January 21 / 7:30 PM Thursday, March 25 / 7:30 PM Academy of Music, Philadelphia Yannick Nézet-Séguin Conductor Michael Tilson Thomas Conductor Lisa Batiashvili Violin Yannick Nézet-Séguin Conductor Garrick Ohlsson Piano Hai-Ye Ni Cello Westminster Symphonic Choir Ravel Le Tombeau de Couperin Joe Miller Director Szymanowski Violin Concerto No. -
JANUARY 5, 7 & 10, 2012 Thursday, January 5, 2012, 7
01-05 Gilbert:Layout 1 12/28/11 11:09 AM Page 19 JANUARY 5, 7 & 10, 2012 Thursday , January 5 , 2012, 7:3 0 p.m. 15,2 93rd Concert Open rehearsal at 9:45 a.m. Saturday , January 7 , 2012, 8:00 p.m. 15,295 th Concert Tuesday, January 10 , 2012, 7:3 0 p.m. 15,296 th Concert Alan Gilbert , Conductor Global Sponsor Alan Gilbert, Music Director, holds The Yoko Nagae Ceschina Chair . This concert will last approximately two hours, which includes Major support provided by the Francis one intermission . Goelet Fund . Avery Fisher Hall at Lincoln Center Home of the New York Philharmonic Exclusive Timepiece of the New York Philharmonic January 2012 19 01-05 Gilbert:Layout 1 12/28/11 11:09 AM Page 20 New York Philharmonic Alan Gilbert, Conductor Thomas ADÈS Polaris: Voyage for Orchestra (2010–11; New York (b. 1971) Premiere, Co-Commissioned by the New York Philharmonic and Miami’s New World Symphony, Amsterdam’s Royal Concertgebouw Orchestra, Lisbon’s Calouste Gulbenkian Foundation, London’s Barbican Centre, the Los Angeles Philharmonic, and the San Francisco Symphony) Intermission MAHLER Symphony No. 9 (1908–10) (1860–1911) Andante comodo In the tempo of a comfortable ländler, somewhat clumsy and very coarse Allegro assai, very insolent Very slow and even holding back Classical 105.9 FM WQXR is the Radio The New York Philharmonic’s concert -recording Station of the New York Philharmonic. series, Alan Gilbert and the New York Phil - harmonic: 2011–12 Season, is now available for download at all major online music stores. -
"If There Were More Cynthia Phelpses Around, There Might Be More Viola Recitals…She Is a Master of Her Instrument -- Rema
"If there were more Cynthia Phelpses around, there might be more viola recitals…she is a master of her instrument -- remarkable technique and warm, full sound." – THE WALL STREET JOURNAL "Not only does CYNTHIA PHELPS produce one of the richest, deepest viola timbres in the world, she is a superb musician" (Seattle Post-Intelligencer). Principal Violist of the New York Philharmonic, Ms. Phelps has distinguished herself both here and abroad as one of the leading instrumentalists of our time. The recipient of numerous honors and awards, including the Pro Musicis International Award and first prize at both the Lionel Tertis International Viola Competition and the Washington International String Competition, she has captivated audiences with her compelling solo and chamber music performances. She is "a performer of top rank...the sounds she drew were not only completely unproblematical --technically faultless, generously nuanced-- but sensuously breathtaking" (The Boston Globe). Ms. Phelps performs throughout the world as soloist with orchestras, including the Minnesota Orchestra, Shanghai, San Diego, Santa Barbara, Eastern Music Festival and Vermont Symphonies, Orquesta Sinfonica de Bilbao, and Rochester and Hong Kong Philharmonic among others. World-wide, her electrifying solo appearances with the New York Philharmonic garner raves; they have included Berlioz's Harold in Italy, the Bartok Viola Concerto, Strauss's Don Quixote, the Benjamin Lees Concerto for String Quartet, the premiere of a concerto written for her by Sofia Gubaidulina and most recently, the premiere of a new concerto by the young composer Julia Adolphe written for her. She has appeared as soloist with the orchestra across the globe, including Vienna’s Musikverein, London’s Royal Festival Hall, and the Concertgebouw in Amsterdam among others. -
Soundadvice: New York Philharmonic Earshot Readings: Composer Spotlight - Julia Adolphe 5/30/14 10:01 AM
SoundAdvice: New York Philharmonic EarShot Readings: Composer Spotlight - Julia Adolphe 5/30/14 10:01 AM Share 0 More Next Blog» Create Blog Sign In THURSDAY, MAY 29, 2014 ABOUT SOUNDADVICE New York Philharmonic EarShot Readings: Composer SoundAdvice is the place where Spotlight - Julia Adolphe composers and artists share the inside story of their work with listeners and audiences. Here you'll find SoundAdvice sits down with Julia Adolphe, one of the composers selected to insights into the creative process. participate in the New York Philharmonic EarShot Readings in June, part of Whether in rehearsal, a readings the inaugural NY PHIL BIENNIAL. Her piece, Dark Sand, Sifting Light, will be program, or concert, these artists read on June 3, followed by feedback from the New York Philharmonic share the anticipation, the challenges, musicians, maestro Alan Gilbert, and mentor composers. risks and rewards of putting themselves on the line, creating a new piece of orchestra music and hearing it realized "right before your ears." SEARCH THIS BLOG Search BLOG ARCHIVE ▼ 2014 (24) ▼ May (11) New York Philharmonic EarShot American Composers Orchestra: What was the inspiration for your piece that Readings: Composer S... will be read at the New York Philharmonic EarShot Readings? How has that been incorporated into the work? New York Philharmonic EarShot Readings: Composer S... Julia Adolphe: The inspiration for Dark Sand, Sifting Light came from the sonic 23rd Annual Underwood New experience of hearing music in the distance. I’ve always loved the sound of a piano Music Readings: Composer... http://acosoundadvice.blogspot.com/2014/05/new-york-philharmonic-earshot-readings_29.html Page 1 of 5 SoundAdvice: New York Philharmonic EarShot Readings: Composer Spotlight - Julia Adolphe 5/30/14 10:01 AM being heard from an open window, a familiar melody drifting into focus from far 23rd Annual Underwood New away. -
Rossini Propició El Futuro De La Ópera
www.proopera.org.mx • año XXVI • número 1 • enero – febrero 2018 • sesenta pesos ENTREVISTAS Andeka Gorrotxategi Óscar Martínez ENTREVISTAS EN LÍNEA Mojca Erdmann Nancy Fabiola Herrera Willy Anthony Waters FESTIVALES Cervantino XLV OBITUARIO Dmitri Hvorostovsky JohnJohn OsbornOsborn “Rossini“Rossini propiciópropició el futuro de la ópera”pro opera¾ DIRECTORIO REVISTA COMITÉ EDITORIAL Adriana Alatriste índice Luis Gutiérrez Ruvalcaba Andrea Labastida Charles H. Oppenheim 3 Carta del Presidente FUNDADOR Y DIRECTOR EMÉRITO CONCIERTOS Xavier Torres Arpi 4 Juan Diego Flórez: Canto a México EDITOR Charles H. Oppenheim 6 En breve 6 [email protected] CORRECCIÓN DE ESTILO CRÍTICA Darío Moreno 8 Otello en Bellas Artes COLABORAN EN ESTE NÚMERO 10 Ópera en México Othón Canales Treviño Carlos Fuentes y Espinosa Luis Gutiérrez Ruvalcaba PROTAGONISTAS Ingrid Haas 12 Andeka Gorrotxategi: Ramón Jacques “Me encantaría tener puestas José Noé Mercado todas las óperas de Puccini” David Rimoch Vladimiro Rivas Iturralde RESEÑA Gamaliel Ruiz 15 Arreglo de bodas en el Cenart José Andrés Tapia Osorio David Josué Zambrano de León 16 Ópera en los estados 15 www.proopera.org.mx. FESTIVALES CORRESPONSALES EN ESTE NÚMERO 20 Cervantino XLV Eduardo Benarroch Francesco Bertini Abigaíl Brambila ENTREVISTA Jorge Binaghi 22 Óscar Martínez: John Koopman Un cantante versátil Daniel Lara y un maestro ecléctico Gregory Moomjy Maria Nockin OBITUARIO Gustavo Gabriel Otero 25 Dmitri Hvorostovsky (1962-2017) Joel Poblete Roberto San Juan Ximena Sepúlveda PORTADA Massimo Viazzo 26 John Osborn: “Rossini propició el futuro de la ópera” FOTOGRAFIA Ana Lourdes Herrera ESTRENO 25 DISEÑO GRAFICO 32 La degradación de la burguesía: Ida Noemí Arellano Bolio The Exterminating Angel, desde Nueva York DISEÑO PÁGINA WEB TESTIMONIAL Christiane Kuri – Espacio Azul 34 Pro Ópera en Los Ángeles DISEÑO LOGO 36 México en el mundo Ricardo Gil Rizo IMPRESION ÓPERA EN EL MUNDO Grupo Gama. -
Media Release
Media Release FOR IMMEDIATE RELEASE: Wednesday, March 10, 2021 Contact: Suzanne Calvin (cell) 817.995.1687 [email protected] The Dallas Opera returns to Winspear with new “Welcome Back” Song Series starting March 31, 2021, featuring four major stars in three unique events: bass Morris Robinson on March 31; soprano Leah Crocetto and mezzo-soprano Jamie Barton on April 3; and countertenor John Holiday on April 9. Socially distanced seating and other COVID precautions in place for all events. TDO 2020/2021 season subscribers are offered one recital free—no strings attached! DALLAS, TX, MARCH 10, 2021 – The Dallas Opera announced today that it will be launching a new, three- event “Welcome Back” Song Series in the Winspear Opera House commencing March 31, 2021. The company’s first event in the Winspear since it was forced to cease live performances in February, 2020, because of COVID-19, the new series will feature four celebrated opera stars in three unique events: bass Morris Robinson on Wednesday, March 31; soprano Leah Crocetto and mezzo-soprano Jamie Barton on Saturday, April 3; and countertenor John Holiday on Friday, April 9. 1 Sponsor for the “Welcome Back” Song Series is Ann Stuart, PhD, who is chairman of The Dallas Opera’s board of directors, and former chancellor and president of Texas Woman’s University. Tickets, priced at $15, $25, and $50 for each event, are available now for members of TDO’s subscriber and donor family, with general public sale commencing March 17. Ian Derrer, The Dallas Opera’s Kern Wildenthal General Director and CEO, also announced that all current subscribers (2020/2021 season) are being offered the opportunity to enjoy one of the recitals free. -
Commissions and Premieres
Commissions and Premieres In its 2020–2021 season, Carnegie Hall continues its longstanding commitment to the music of tomorrow, commissioning 19 works, and presenting 8 world and 24 New York premieres. This includes daring new solo, chamber, and orchestral works by established and emerging composers, as well as thought-provoking performances that cross musical genres. Carnegie Hall Commissions COMPOSER TITLE PERFORMERS THOMAS ADÈS Angel Symphony City of Birmingham Symphony Orchestra (NY Premiere, co-commissioned by Carnegie Hall) Mirga Gražinytė-Tyla, Music Director and Conductor LERA AUERBACH New Work Artemis Quartet (NY Premiere, co-commissioned by Carnegie Hall) KINAN AZMEH New Work Kinan Azmeh Cityband (World Premiere, commissioned by Carnegie Hall) LISA BIELAWA Sanctuary American Composers Orchestra (NY Premiere, co-commissioned by Carnegie Hall) George Manahan, Music Director and Conductor Jennifer Koh, Violin TYONDAI BRAXTON New Work Third Coast Percussion (NY Premiere, co-commissioned by Carnegie Hall) Movement Art Is feat. Jon Boogz & Lil Buck, Co-Founders, Choreographers, and Movement Artists OSVALDO GOLIJOV Falling Out of Time Silkroad Ensemble (NY Premiere, co-commissioned by Carnegie Hall) JLIN New Work Third Coast Percussion (NY Premiere, co-commissioned by Carnegie Hall) Movement Art Is feat. Jon Boogz & Lil Buck, Co-Founders, Choreographers, and Movement Artists VLADIMIR MARTYNOV New Work Kronos Quartet (NY Premiere, co-commissioned by Carnegie Hall) JESSIE MONTGOMERY Divided Sphinx Virtuosi (NY Premiere, co-commissioned -
Circle Map Program of Contemporary Classical Works by Kaija Saariaho to Feature New York Premieres Performed by the New York Philharmonic
Circle Map Program of Contemporary Classical Works by Kaija Saariaho to Feature New York Premieres Performed by the New York Philharmonic Site-Specific Realization by Armory Artistic Director Pierre Audi Conducted by Esa-Pekka Salonen Two Performances Only - October 13 and 14, 2016 New York, NY — August 16, 2016 — Park Avenue Armory will present Circle Map, two evenings of immersive spatial works by internationally acclaimed Finnish composer Kaija Saariaho performed by the New York Philharmonic under the baton of its Marie-Josée Kravis Composer-in-Residence Esa-Pekka Salonen on October 13 and 14, 2016. Conceived by Pierre Audi to take full advantage of the Wade Thompson Drill Hall, the engagement marks the orchestra’s first performance at the Armory since 2012’s Philharmonic 360, the acclaimed spatial music program co-produced by the Armory and Philharmonic. A program of four ambitious works that require a massive, open space for their full realization, Circle Map will utilize the vast drill hall in an immersive presentation that continually shifts the relationship between performers and audience. The staging will place the orchestra at the center of the hall, with audience members in a half-round seating arrangement and performances taking place throughout. Longtime Saariaho collaborator Jean-Baptiste Barrière will translate the composer’s soundscapes into projections that include interpretations of literary and visual artworks from which inspiration for specific compositions are drawn. “Our drill hall is an ideal setting and partner for realizing spatial compositions, providing tremendous freedom for composers and performers,” said Rebecca Robertson, President and Executive Producer of Park Avenue Armory. -
New York Philharmonic
New York Philharmonic 2 3 Alan Gilbert and the New York Philharmonic New York Philharmonic 2012–13 Season Alan Gilbert has said that every concert offer with the audience in a very palpable, Alan Gilbert, Conductor should be an event, a philosophy that visceral, and potent way.” Emanuel Ax, Piano pervades the New York Philharmonic’s pro- These high-quality recordings of almost grams week after week. Twelve of these 30 works, available internationally, reflect concerts are captured live in Alan Gilbert Alan Gilbert’s wide-ranging interests and Recorded live October 4–6, 2012 and the New York Philharmonic: 2012–13 passions, from Bach’s B-minor Mass to Avery Fisher Hall at Lincoln Center for the Performing Arts Season, demonstrating the excitement sur- brand-new music by Christopher Rouse. rounding the Orchestra as the Music Direc- Bonus content includes audio record- J.S. BACH (1685–1750) tor has entered the fourth year of his tenure. ings of the Music Director's occasional Keyboard Concerto No. 1 in D minor, BWV 1052 About his rapport with the Philharmonic onstage commentaries, program notes players, Alan Gilbert has said: “The chem- published in each concert’s Playbill, and (ca. 1714–17/ca.1729–39) 21:43 istry between the Orchestra and me is encores — all in the highest audio quality Allegro 8:02 ever-evolving and deepening. It is a great available for download. Adagio 6:01 joy to make music with these incredible For more information about the series, Allegro 7:40 musicians and to share what we have to visit nyphil.org/recordings. -
A Composer's Début, at the Philharmonic
A Composer’s Début, at the Philharmonic - The New Yorker 11/27/16, 11:27 PM The New Yorker Goings on About Town Sign in List Map Explore Search CLASSICAL MUSIC NOVEMBER 21, 2016 A Composer’s Début, at the Philharmonic Julia Adolphe, twenty-eight years old and completing a doctorate, is starting at the top with her viola concerto. By Alex Ross http://www.newyorker.com/magazine/2016/11/21/a-composers-debut-at-the-philharmonic Page 1 of 4 A Composer’s Début, at the Philharmonic - The New Yorker 11/27/16, 11:27 PM Cynthia Phelps, the principal violist of the Philharmonic, premières a new concerto by Julia Adolphe. Illustration by Wesley Allsbrook hen New York Philharmonic audiences hear the first performances of Julia W Adolphe’s viola concerto “Unearth, Release” (Nov. 17-19), they may not realize the amount of labor that goes into creating an orchestral piece from scratch: the concerto lasts approximately nineteen minutes and took about a year to compose. Adolphe, who is twenty-eight years old and is completing a doctorate at the University of Southern California’s Thornton School of Music, received the commission in late 2014, after winning a competition at the American Composers Orchestra. She met with Cynthia Phelps, the Philharmonic’s principal violist, who will be the soloist in the première, and studied her sound. Adolphe began sketching, on paper and on the computer; she went through various drafts, tried out the piece in a viola-and-piano version, and, this past summer, had run-throughs with orchestras at U.S.C.