Season of Song 2010
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Marie Collier: a Life
Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family. -
The Voice and Histories of Emotion: 1500-1800 Performance Collaboratory
program THE VOICE AND HISTORIES OF EMOTION: 1500-1800 Performance Collaboratory Presented by ARC Centre of Excellence for the History of Emotions Hosted by Department of Performance Studies The University of Sydney 29 September – 1 October 2014 program THE VOICE AND HISTORIES OF EMOTION: 1500-1800 Performance Collaboratory Presented by ARC Centre of Excellence for the History of Emotions (CHE) Hosted by Department of Performance Studies The University of Sydney 29 September – 1 October 2014 Venues Collaboratory Organising Committee Main Venue Jane Davidson & Penelope Woods, CHE The Rex Cramphorn Studio Alan Maddox, Ian Maxwell & Glen McGillivray, Department of Performance Studies The University of Sydney The University of Sydney The studio is on Level 1 of the John Woolley Building, A20, and is accessed from Manning Rd, down the concrete steps opposite the Old Teachers’ College. sydney.edu.au/arts/about/maps.shtml?locationID=A20 Monday Afternoon Venue The Old School, Building G15 Important Notice Maze Crescent, University of Sydney. Participants can access wifi internet through the The Old School building backs onto Cadigal Green ‘UniSydney’ network, not ‘Uni-Sydney Guest’ network. in the Darlington section of campus, a 5-10 minute account name: historyofemotions walk from Performance Studies. password: 58316659 sydney.edu.au/arts/about/maps.shtml?locationID=G15 program Day 1: Monday 29 September, Rex Cramphorn Studio 8.30am Registration at The Rex Cramphorn Studio 9.15am Welcome 9.30–10.30am Session 1: KeynoTe Chaired by Jane davidson -
Philharmonic Hall Lincoln Center F O R T H E Performing Arts
PHILHARMONIC HALL LINCOLN CENTER F O R T H E PERFORMING ARTS 1968-1969 MARQUEE The Chamber Music Society of Lincoln Center is Formed A new PERFORMiNG-arts institution, The Chamber Music Society of Lincoln Center, will begin its first season of con certs next October with a subscription season of 16 concerts in eight pairs, run ning through early April. The estab lishment of a chamber music society completes the full spectrum of perform ing arts that was fundamental to the original concept of Lincoln Center. The Chamber Music Society of Lin coln Center will have as its home the Center’s new Alice Tully Hall. This intimate hall, though located within the new Juilliard building, will be managed by Lincoln Center as an independent Wadsworth Carmirelli Treger public auditorium, with its own entrance and box office on Broadway between 65th and 66th Streets. The hall, with its 1,100 capacity and paneled basswood walls, has been specifically designed for chamber music and recitals. The initial Board of Directors of the New Chamber Music Society will com prise Miss Alice Tully, Chairman; Frank E. Taplin, President; Edward R. Ward well, Vice-President; David Rockefeller, Jr., Treasurer; Sampson R. Field, Sec retary; Mrs. George A. Carden; Dr. Peter Goldmark; Mrs. William Rosen- wald and Dr. William Schuman. The Chamber Music Society is being organ ized on a non-profit basis and, like other cultural institutions, depends upon voluntary contributions for its existence. Charles Wadsworth has been ap pointed Artistic Director of The Cham ber Music Society of Lincoln Center. The Society is the outgrowth of an in tensive survey of the chamber music field and the New York chamber music audience, conducted by Mr. -
Francesco Cavalli One Man. Two Women. Three Times the Trouble
GIASONE FRANCESCO CAVALLI ONE MAN. TWO WOMEN. THREE TIMES THE TROUBLE. 1 Pinchgut - Giasone Si.indd 1 26/11/13 1:10 PM GIASONE MUSIC Francesco Cavalli LIBRETTO Giacinto Andrea Cicognini CAST Giasone David Hansen Medea Celeste Lazarenko Isiile ORLANDO Miriam Allan Demo BY GEORGE FRIDERIC HANDEL Christopher Saunders IN ASSOCIATION WITH GLIMMERGLASS FESTIVAL, NEW YORK Oreste David Greco Egeo Andrew Goodwin JULIA LEZHNEVA Delfa Adrian McEniery WITH THE TASMANIAN SYMPHONY ORCHESTRA Ercole Nicholas Dinopoulos Alinda Alexandra Oomens XAVIER SABATA Argonauts Chris Childs-Maidment, Nicholas Gell, David Herrero, WITH ORCHESTRA OF THE ANTIPODES William Koutsoukis, Harold Lander TOWN HALL SERIES Orchestra of the Antipodes CONDUCTOR Erin Helyard CLASS OF TIMO-VEIKKO VALVE DIRECTOR Chas Rader-Shieber LATITUDE 37 DESIGNERS Chas Rader-Shieber & Katren Wood DUELLING HARPSICHORDS ’ LIGHTING DESIGNER Bernie Tan-Hayes 85 SMARO GREGORIADOU ENSEMBLE HB 5, 7, 8 and 9 December 2013 AND City Recital Hall Angel Place There will be one interval of 20 minutes at the conclusion of Part 1. FIVE RECITALS OF BAROQUE MUSIC The performance will inish at approximately 10.10 pm on 5x5 x 5@ 5 FIVE TASMANIAN SOLOISTS AND ENSEMBLES Thursday, Saturday and Monday, and at 7.40 pm on Sunday. FIVE DOLLARS A TICKET AT THE DOOR Giasone was irst performed at the Teatro San Cassiano in Venice FIVE PM MONDAY TO FRIDAY on 5 January 1649. Giasone is being recorded live for CD release on the Pinchgut LIVE label, and is being broadcast on ABC Classic FM on Sunday 8 December at 7 pm. Any microphones you observe are for recording and not ampliication. -
An Introductory Survey on the Development of Australian Art Song with a Catalog and Bibliography of Selected Works from the 19Th Through 21St Centuries
AN INTRODUCTORY SURVEY ON THE DEVELOPMENT OF AUSTRALIAN ART SONG WITH A CATALOG AND BIBLIOGRAPHY OF SELECTED WORKS FROM THE 19TH THROUGH 21ST CENTURIES BY JOHN C. HOWELL Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. __________________________________________ Mary Ann Hart, Research Director and Chairperson ________________________________________ Gary Arvin ________________________________________ Costanza Cuccaro ________________________________________ Brent Gault ii ACKNOWLEDGMENTS I am indebted to so many wonderful individuals for their encouragement and direction throughout the course of this project. The support and generosity I have received along the way is truly overwhelming. It is with my sincerest gratitude that I extend my thanks to my friends and colleagues in Australia and America. The Australian-American Fulbright Commission in Canberra, ACT, Australia, gave me the means for which I could undertake research, and my appreciation goes to the staff, specifically Lyndell Wilson, Program Manager 2005-2013, and Mark Darby, Executive Director 2000-2009. The staff at the Sydney Conservatorium, University of Sydney, welcomed me enthusiastically, and I am extremely grateful to Neil McEwan, Director of Choral Ensembles, and David Miller, Senior Lecturer and Chair of Piano Accompaniment Unit, for your selfless time, valuable insight, and encouragement. It was a privilege to make music together, and you showed me how to be a true Aussie. The staff at the Australian Music Centre, specifically Judith Foster and John Davis, graciously let me set up camp in their library, and I am extremely thankful for their kindness and assistance throughout the years. -
Graeme De Graaff Biography
Biography Graeme de Graaff Graeme Ernest de Graaff was born in Melbourne in 1932. the other evenings when he and John scrambled up the stone The youngest of three, he was very close to his younger stairs to the sixpenny gallery of the Royal Opera House. The sister Shirley. They grew up in Dandenong, on the outskirts West London Mission was presided over by Donald Soper, a of Melbourne and went to the local primary school. Graeme charismatic preacher who used to speak outdoors on Tower started school at the age of three. His mother, Isabella, said Hill and in Hyde Park. she could cope no longer with his endless questions. In any case she was an enthusiastic croquet player and she felt he After their time in England, John and Graeme hitch-hiked should be at school instead of watching her play. It was while through Europe. Graeme’s parents came to England and the watching the game that the three year old developed his four drove through Scandinavia. On returning to Melbourne, interest in croquet, which is now a great pleasure. Graeme entered the Methodist Queen’s College at Melbourne University, enrolling for an Honours History Arts Degree In 1937 the children of Victoria had their education as a theology student. At the end of the first year he was interrupted for a year by the polio epidemic which swept invited to transfer to a Philosophy Degree. The head of that through the country. All the schools were closed and Shirley Department, Professor Boyce-Gibson, and the Master of contracted the disease. -
75Th ANNIVERSARY 2020
75th ANNIVERSARY 2020 What better time is there to note the history of one of Lane Cove’s icons than a 75th Anniversary? 2020 marks that celebratory year for Lane Cove Music. On 26th March 1946 Reverend Louis Blanchard, Minister of St. Andrew’s Presbyterian Church Longueville, was inspired to call a meeting to form a music club with the object of providing first class classical and semi-classical music and entertainment for church members and friends. Initial meetings were held at the Manse, the Vestry and the Church Hall. The idea was so well received that a group was formed as an organisation of St. Andrew’s Presbyterian Church Longueville and named the “Longueville-Northwood Music Club” with a constitution being drawn up and adopted on 22nd May 1946. Until the end of 1959 concerts were held in the Masonic Hall at 231 Longueville Road, now the Shinnyo Australia Buddhist Temple. Rev. Louis Blanchard 1973 The current name Lane Cove Music dates from 2007, the abbreviated version being in step with the trend set by other music clubs, omission of ‘club’ being deemed to sound less exclusive at a time when all clubs were seeking a membership boost. For expediency the capitals ‘LCM’ or words ‘the club’ will be used henceforth in this text. At that initial meeting in March 1946 it was agreed there would be five concerts held in the first year – subscriptions to be one guinea, being one pound one shilling (£1/1- in pre 1966 currency) with a fee of four shillings for visitors. By the third meeting the Executive Committee had been elected with Rev. -
The First Australian to Sing at the Bayreuth Festival
The first Australian to sing at the Bayreuth Festival The soprano Norma Gadsden was the first Australian to sing at the Bayreuth Festival, performing there in 1937 just two years before the outbreak of the Second World War. Born Dorothy Smith in Sydney in 1898, she moved with her family to Melbourne as a teenager. Known to her friends and colleagues as Dolly, she attended the Albert Street Conservatorium hoping, initially, to establish a career as a pianist. There she discovered that she also had a fine voice and was given singing lessons, including by Melba during one of her visits home. In July 1917, when she was only seventeen, Dolly married Norman Gadsden, scion of a well-off packaging and jute importing family. He embarked for the war just a few days after their marriage. The young couple had two beautiful children but their marriage did not work out and, at twenty-two, Dolly decided to leave her husband and two children, to see if her voice held the key to her future. 1 Lieutenant Norman Gadsden in 1917. In 1929 Dolly travelled to Paris where she found lodgings in the same house as Marjorie Lawrence who was the girlfriend of the landlady’s son and was therefore given the best room in the house! Dolly worked for a year in Breslau studying German and the Wagnerian repertoire. With her warm voice, placed between a mezzo and a soprano, she attracted the notice of the conductor Franz von Hoesslin, and she was engaged to sing Sieglinde for her Monte Carlo debut on 22 January 1937. -
OCA MELBA MUSIC CONCERT SATURDAY 21 March 2020 at 3Pm
OCA MELBA MUSIC CONCERT SATURDAY 21 March 2020 at 3pm Celebrating the 145th Anniversary of Music at PLC PLC PERFORMING ARTS CENTRE MELBOURNE WELCOME I have been so inspired by the enthusiasm and generosity of all our Old Collegian musicians who have joined together today, to entertain us and to raise money for the OCA Melba Music Scholarships. For my hardworking OCA Committee, after 18 months of planning the dream of holding a concert in the new PAC has become a reality. A very special thank you to all our talented musicians and the numerous Old Collegians who have joined together to make this concert happen. In particular I thank our Concert Coordinator, Dr Ros McMillan (1959), our co-comperes Peter Ross and Lisa Leong (1989), our backstage team, our ushers and our refreshments team. A special thank you to the Principal for making the PAC available and also for all the support we have received from PLC Departments including Audio Visual, Publications, the Print Office and the Development Office. Special thanks should go to PLC’s Heritage Centre Manager, Janet Davies (1980), who has provided the story of our rich music heritage with photo boards and key dates, and PLC Archivist Jane Dyer. Please join us in the foyer after the concert to celebrate with complimentary finger food and a glass of bubbly so that we can all enjoy our rich heritage and share memories of PLC music and the positive impact that music has in our lives. Ailsa Wilson President, PLC Old Collegians’ Association Music has played an important part in PLC life for 145 years. -
Chalet Monet INSIDE the HOME of by RICHARD BONYNGE DAME JOAN SUTHERLAND Foreword by MARILYN HORNE and RICHARD BONYNGE Photographer: DOMINIQUE BERSIER
Book Release M September 2020 Melbourne Books Chalet Monet INSIDE THE HOME OF by RICHARD BONYNGE DAME JOAN SUTHERLAND Foreword by MARILYN HORNE AND RICHARD BONYNGE photographer: DOMINIQUE BERSIER This sumptuously produced coffee table book captures the essence of the fairy tale that is Chalet Monet. Inside its pages over 1000 photographs bring to life the lavish home of the greatest international cultural icons in opera, Dame Joan Sutherland OM AC DBE and her husband, Maestro Richard Bonynge AC CBE. High on the slopes of the village of Les Avants, overlooking Lake Geneva in Switzerland, Chalet Monet is a spectacularly unique residence, a tower and picture windows, surrounded by beautiful gardens give way to a home brimming with antiques, paintings and objet d’art. The opulence of each of the distinctive rooms over the four floors and vistas is artfully captured in stunning photography. Each item has its own provenance; gifted by royalty or celebrities, embroidered by Dame Joan or collected by Richard. A who’s who of artists, designers influential figures and living legends. A house of a thousand stories, the house breathes with living history. Inside the home of Dame Joan Sutherland In his charming, eloquent, conversational style, Richard and Richard Bonynge Bonynge takes us inside the home he has shared with Dame Joan, and in so doing provides rare insight into their lives, OUVERTURE 1 and the lives of stars, royalty, presidents and cultural icons whom they called friends and neighbours. For those fortunate enough to have discovered and experienced for the senses where many a story has been told or begun. -
Radio Aktuell
RADIO AKTUELL NR. 26/2018 | IHR RUNDFUNK-PROGRAMM VOM 30. JUNI – 6. JULI | WWW.HOERZU.DE LIVE-KONZERT Engels- musik Eröffnungskonzert des MDR-Musiksommers „Es soll ein Konzert sein, dass sich die Engel im Himmel freuen“, sagte Mendelssohn über sein Violinkonzert e-Moll op. 64. Er brauchte sechs Jahre, bis er die Komposition fertiggestellt hatte. Das Werk war von Anfang an ein Erfolg und wurde bereits Ende des 19. Jh. zu den größten Violinkonzerten in der Literatur gezählt. Die Norwegerin Eldbjørg Hemsing (Foto) führt es mit dem MDR-Sinfonieorchester auf. Am Pult steht Kristjan Järvi SA 18.05 MDR Kultur NIKOLAJ LUND NIKOLAJ B FOTO: HÖHEPUNKTE DER WOCHE LESUNG PORTRÄT FEATURE „Fünf Wochen im Ballon“ (1/45) Ingmar Bergman The Sixteen Der Roman von Jules Verne erzählt Einblicke in das Leben und das Werk Das Vokalensemble wurde vor 41 Jahren über eine Abenteuerreise in Afrika des 2007 verstorbenen Regisseurs von Harry Christophers gegründet MO 15.10 MDR Kultur DO 19.04 RBB Kultur FR 18.04 RBB Kultur CYAN MAGENTA YELLOW BLACK CYAN MAGENTA YELLOW BLACK SA 30. JUNI RADIOPROGRAMM NACH SPARTEN SORTIERT 30. JUNI SA M M GESELLSCHAFT 9.04 RBB KULTUR HAUPTSENDER KLASSIK, JAZZ & KULTUR INFORMATION DEUTSCHLAND- RUNDFUNK BERLIN-BRANDENBURG MDR DLFDKULTUR KULTUR MDR KULTUR NDR KULTUR SWR 2 HR 2 BR-KLASSIK FUNK MDR AKTUELL 5.05 Aus den 6.00 Am Morgen 6.00 Klassisch 6.03 Musik am Morgen 6.04 Kultur- 6.05 Auftakt 5.35 Presseschau 5.00 Stunden- L RADIOBERLIN 88,8 L KULTURRADIO L RADIOEINS L SACHSEN-ANHALT R R R Archiven 6.45 Kalenderblatt in den Tag Werke von J. -
DIUMENGE, 1 DE SETEMBRE DEL 2019 Sentim Dues De Les Tres Cantates Que Bach Va Compondre Per a L'onzè Diumenge Després De La Trinitat
PROGRAMACIÓ DE CATALUNYA MÚSICA DIUMENGE, 1 DE SETEMBRE DEL 2019 Sentim dues de les tres cantates que Bach va compondre per a l'onzè diumenge després de la Trinitat. Es tracta de les obres que porten, per ordre cronològic, els números de catàleg 199, 179 i 113 i 07:00 OBERTURA d'un diumenge en què, després d'algunes setmanes amb els textos més flagel·lants, arriben lectures boniques i animoses. El cap de setmana anima a escoltar els clàssics preferits i a passar- s'ho bé sintonitzant una selecció musical atractiva. 11:00 ELS CONCERTS SAARIAHO, KAIJA: "Notes on light" (Notes sobre la llum) per a violoncel i orquestra. Concerts d'intercanvi provinents de la Unió Europea de Radiodifusió Anssi Karttunen, violoncel. UER-EBU. Presentació de l’equip de Catalunya Música. Orquestra de París. Dir.: Christoph Eschenbach. CONCERTS DE L'ORQUESTRA SIMFÒNICA DE LA (27m) RADIOTELEVISIÓ JAPONESA Ludwig van Beethoven: Concert per a piano i orquestra n. 4 en Sol, TELEMANN, GEORG PHILIPP: Concert per a trompeta, dos oboès i op. 58. Bagatel·la en Sol, op. 126 n. 5. Simfonia n. 4 en Si b, op. 60. baix continu en Re, TWV 43:D7. Maria João Pires, piano. Hannes Rux, trompeta. Orquestra Simfònica de la Radiotelevisió Japonesa (NHK). Camerata Köln. Dir.: Herbert Blomstedt. La Stagione de Frankfurt. Enregistrat per la Radiotelevisió Japonesa el divendres 20 d'abril del Dir.: Michael Schneider. 2018. (13m) Auditori de la Radiotelevisió Japonesa. Tòquio. Concert d'intercanvi. WEBER, CARL MARIA VON: "Invitació a la dansa", rondó brillant, op. (72m) 65 (orquestració d'Hector Berlioz).