The Creation HEASTON SPENCE ROSE
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UNITEL PROUDLY REPRESENTS the INTERNATIONAL TV DISTRIBUTION of Browse Through the Complete Unitel Catalogue of More Than 2,000 Titles At
UNITEL PROUDLY REPRESENTS THE INTERNATIONAL TV DISTRIBUTION OF Browse through the complete Unitel catalogue of more than 2,000 titles at www.unitel.de Date: March 2018 FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CONTENT BRITTEN: GLORIANA Susan Bullock/Toby Spence/Kate Royal/Peter Coleman-Wright Conducted by: Paul Daniel OPERAS 3 Staged by: Richard Jones BALLETS 8 Cat. No. A02050015 | Length: 164' | Year: 2016 DONIZETTI: LA FILLE DU RÉGIMENT Natalie Dessay/Juan Diego Flórez/Felicity Palmer Conducted by: Bruno Campanella Staged by: Laurent Pelly Cat. No. A02050065 | Length: 131' | Year: 2016 OPERAS BELLINI: NORMA Sonya Yoncheva/Joseph Calleja/Sonia Ganassi/ Brindley Sherratt/La Fura dels Baus Conducted by: Antonio Pappano Staged by: Àlex Ollé Cat. -
London's Symphony Orchestra
London Symphony Orchestra Living Music Thursday 12 May 2016 7.30pm Barbican Hall LSO ARTIST PORTRAIT: LEIF OVE ANDSNES Schumann Piano Concerto INTERVAL Beethoven Symphony No 9 (‘Choral’) Michael Tilson Thomas conductor Leif Ove Andsnes piano Lucy Crowe soprano London’s Symphony Orchestra Christine Rice mezzo-soprano Toby Spence tenor Iain Paterson bass London Symphony Chorus Simon Halsey chorus director Concert finishes approx 9.50pm Supported by Baker & McKenzie 2 Welcome 12 May 2016 Welcome Living Music Kathryn McDowell In Brief A very warm welcome to tonight’s LSO performance BMW LSO OPEN AIR CLASSICS 2016 at the Barbican. This evening we are joined by Michael Tilson Thomas for his first concert since the The fifth annual BMW LSO Open Air Classics announcement of his appointment as LSO Conductor concert will take place on Sunday 22 May at 6.30pm. Laureate from September 2016, in recognition of Conducted by Valery Gergiev, the LSO will perform his wonderful music-making with the LSO and his an all-Tchaikovsky programme in London’s Trafalgar extraordinary commitment to the Orchestra. We are Square, free and open to all. delighted that his relationship with the LSO will go from strength to strength. lso.co.uk/openair This evening is the second concert in our LSO Artist Portrait series, focusing on pianist Leif Ove Andsnes. LSO AT THE BBC PROMS 2016 Following his performance of Mozart’s Piano Concerto No 20 on Sunday, he returns to play Schumann’s The LSO will be returning to this year’s BBC Proms at Piano Concerto. The Orchestra is also joined this the Royal Albert Hall for a performance of Mahler’s evening by the London Symphony Chorus, led by Symphony No 3 on 29 July. -
Chan 3152(3) 160 161
CHAN 3152(3) 60 6 CHAN 3152(3) Booklet.indd 160-161 2/3/08 14:29:36 Wolfgang Amadeus Mozart (756 –79) Così fan tutte or The School for Lovers © Lebrecht Music & Arts Library Photo Music © Lebrecht Opera buffa in two acts Libretto by Lorenzo da Ponte, English version by Marmaduke Browne, adapted by John Cox Fiordiligi ladies from Ferrara, Janice Watson soprano Dorabella } sisters, living in Naples Diana Montague mezzo-soprano Guglielmo, an officer, Fiordiligi’s lover Christopher Maltman baritone Ferrando, an officer, Dorabella’s lover Toby Spence tenor Despina, maidservant to Fiordiligi and Dorabella Lesley Garrett soprano Don Alfonso, an old philosopher Sir Thomas Allen baritone Geoffrey Mitchell Choir Orchestra of the Age of Enlightenment Gareth Hancock assistant conductor Sir Charles Mackerras Wolfgang Amadeus Mozart CHAN 3152(3) Booklet.indd 2-3 2/3/08 14:28:24 COMPACT DISC ONE Time Page Time Page 1 Overture :05 [p. 96] 14 No 8, Chorus: ‘Oh, the soldier’s life for me! :0 [p.0] Act I Chorus 2 No , Trio: ‘Suspect Dorabella?’ :5 [p. 96] 15 Recitative: ‘My friends, the time is flying’ 0: [p.0] 3 Recitative: ‘Swords or pistols?’ 0:50 [p. 96] Don Alfonso, Fiordiligi, Dorabella, Ferrando, Guglielmo Ferrando, Guglielmo, Don Alfonso 16 No 9, Quintet: ‘You’ll write long letters often’ 2:2 [p.0] 4 No 2, Trio: ‘Woman’s faith is like the phoenix’ :09 [p. 97] Fiordiligi, Dorabella, Ferrando, Guglielmo, Don Alfonso, Chorus Don Alfonso, Ferrando, Guglielmo 17 Recitative: ‘Are they gone?’ 0:5 [p.05] 5 Dorabella, Don Alfonso, Fiordiligi Recitative: ‘A poetical fiction!’ :9 [p. -
Classical Season 2020 / 21
CLASSICAL SEASON 2020 / 21 Welcome Our Classical Season 2020/21 offers an exciting vision for classical music, now and for years to come. We welcome three award-winning musicians as our new Associate Artists. Our four resident orchestras, the London Philharmonic Orchestra, the Philharmonia Orchestra, the Orchestra of the Age of Enlightenment and the London Sinfonietta, present series jam-packed with outstanding music – including farewell seasons from the LPO’s Principal Conductor and Artistic Advisor Vladimir Jurowski, and Principal Conductor and Artistic Advisor of the Philharmonia, Esa-Pekka Salonen. As part of their final seasons, both conductors will exploit the dramatic possibilities of the Royal Festival Hall, with a complete Wagner Ring Cycle from Jurowski and a concert staging of Strauss’ Elektra from Salonen. The great pianist Daniel Barenboim returns to our much-loved hall and we are also proud to present Europe’s oldest civic orchestra, the Gewandhausorchester Leipzig. I look forward to seeing you here, at the beating heart of classical music in London. Elaine Bedell Chief Executive, Southbank Centre Southbank Centre has always been a natural home for musicians who are pushing music forward in new directions. Our three new Associate Artists – pianist Víkingur Ólafsson, violinist Patricia Kopatchinskaja and composer Bryce Dessner – are leading the way in changing the landscape of classical music. Some of this season’s many highlights include a weekend dedicated to the haunting music of Canadian composer Claude Vivier, our global new music festival SoundState, and a setting of the Extinction Rebellion manifesto by British composer Laura Bowler. This is music that really has something to say, and we are strongly focused on widening the audience it speaks to. -
The Young Conductor Looks to the Future
THE WORLD’S BEST CLASSICAL MUSIC REVIEWS Est 1923 . APRIL 2018 gramophone.co.uk Robin Ticciati The young conductor looks to the future PLUS Paul Lewis explores Haydn’s piano sonatas Handel’s Saul: the finest recordings UNITED KINGDOM £5.75 Intimate concerts featuring internationally acclaimed classical musicians in central London Now Booking Until July 2018 Igor Levit Cuarteto Casals: Beethoven Cycle Roderick Williams: Exploring Schubert’s Song Cycles O/Modernt: Purcell from the Ground Up Haydn String Quartet Series Jörg Widmann as Composer-Performer and much more… The Wigmore Hall Trust 36 Wigmore Street, London W1U 2BP Director: John Gilhooly OBE www.wigmore-hall.org.uk Registered Charity Number 1024838 A special eight-page section focusing on recent recordings from the US and Canada JS Bach Solo Violin Sonatas and Partitas, BWV1001-1006 talks to ... Johnny Gandelsman vn In a Circle F b ICR101 (124’ • DDD) Johnny Gandelsman The violinist and co-founder Bach’s Violin of Brooklyn Rider discusses his Sonatas and debut solo recording of Bach Partitas are among the most frequently Was it a challenge to plunge straight into performed works for the instrument, Bach for your first solo recording? or any instrument. Recordings evince a Not really. Over the the last three years spectrum of approaches, from historical I’ve performed all six Sonatas and Partitas treatments on period instruments to in concert about 30 times, which has been concepts Romantic and beyond. deeply rewarding. I wanted to capture this Among the newest journeys is Johnny moment of personal learning and growth. Gandelsman’s freshly considered account Do you miss the collaborative process of these monuments. -
Sherborne Abbey Festival Programme 2017
Eighteenth Annual SHERBORNE ABBEY Festival 28th April - 2nd May 2017 Programme £4.00 Supported by: Dunard Fund Porter Dodson Solicitors & Advisors Simon Digby Charitable Trust Adanac Financial Services Eastbury Hotel Charterhouse Auctioneers & Valuers Under the Abbey’s Health and Safety policy, there are five exit doors which persons attending concerts can use in the event of a situation arising which requires evacuation of the Abbey. These are the North East door, South East door, South West door, Great West door and Saxon door. These doors will be stewarded; in the event of an incident please make your way to the nearest exit, without rushing, and listen for instructions from the stewards. Once outside, please move clear of the immediate surroundings of the building. Sherborne Abbey Festival 2017 FESTIVAL PROGRAMME Doors open 45 minutes before stated concert times. Please note that concerts take place in several locations which are indicated in parentheses. *Denotes free entry with plate donations. Friday 28th April Sunday 30th April (continued) 1.30pm* Sherborne School Chamber Concert (Sherborne Abbey) 3.45pm* Twenty Years of Sherborne Young Singers 3.00pm Ragtime Rediscovered: Mike Denham (Cheap Street Church) (Cheap Street Church) 5.00pm* Choral Evensong: Sherborne Abbey Choir (Sherborne Abbey) 4.45pm* Jazz in the Chapel (Sherborne School Chapel) (NB Change of venue) 6.00pm Patrons’ Evening 6.10pm Jane Austen at Home: Emerald O’Hanrahan 7.45pm Parisian Moods: Gypsy Carnivals & Gabrielle Ducomble (Cheap Street Church) (Big School -
Szymanowski: Symphonies Nos 3 & 4, Stabat Mater
London Symphony Orchestra LSO Live Szymanowski Symphonies Nos 3 & 4 Stabat Mater Valery Gergiev Toby Spence Denis Matsuev Simon Halsey London Symphony Chorus London Symphony Orchestra Karol Szymanowski (1882–1937) Page Index Symphony No 3 in B flat major, ‘Song of the Night’, Op 27 (1914–16) Stabat Mater, Op 53 (1925–26) 2 Track listing Symphony No 4, ‘Symphonie Concertante’, Op 60 (1932) 3 English notes 5 French notes Valery Gergiev conductor 8 German notes Sally Matthews soprano Ekaterina Gubanova mezzo-soprano Toby Spence tenor 11 Composer biography Kostas Smoriginas bass-baritone Denis Matsuev piano 13 Texts Simon Halsey chorus director Neil Ferris assistant chorus director London Symphony Chorus 14 AMI / Polska Music information London Symphony Orchestra 15 Conductor biography 16 Soloists’ biographies 21 Chorus director biography Symphony No 3 * 22 Chorus biography & personnel 23 Orchestra personnel list 1 Moderato assai – 7’54’’ 2 Allegretto tranquillo – 6’32’’ 3 Largo 9’23’’ 24 LSO biography Stabat Mater ** 4 i. Stała Matka bolejąca (Stabat mater dolorosa) 7’12’’ 5 ii. I któż widział tak cierpiącą (Quis est homo qui non fleret) 4’11’’ 6 iii. O Matko Źródło Wszechmiłości (O, Eia, Mater, fons amoris) 2’01’’ 7 iv. Spraw niech płaczę z Tobą razem (Fac me tecum pie flere) 2’44’’ 8 v. Panno słodka racz mozołem (Virgo virginum praeclara) 2’23’’ 9 vi. Chrystus niech mi będzie grodem (Christe, cum sit hinc exire) 4’32’’ Symphony No 4 *** 10 Moderato 9’25’’ 12 Allegro non troppo 6’05’’ 11 Andante molto sostenuto 7’31’’ Total time 69’53’’ -
Fidelio Beethoven Welcome
FIDELIO BEETHOVEN WELCOME Welcome to Opera North’s new concert staging with and for our communities in the north of England of Beethoven’s only opera, Fidelio. This performance and beyond; hence the present live streamed is being live streamed just a few days before the performance. probable date of Beethoven’s birth 250 years ago this month. It is therefore our contribution to the Whilst we have all felt keenly the loss of live Beethoven 250 celebrations, but it also feels performance over the past several months, the a particularly appropriate work to be performing effect on the livelihoods of freelance musicians at the end of what has been an extraordinarily and theatre workers has been nothing short of difficult year for everyone. devastating, and the hard times will continue well into 2021. We have regretfully taken the decision In this opera, Beethoven dramatises the principles to postpone our concert staging of Parsifal next to which he was committed in the public sphere – spring; any requirement for social distancing would liberty, justice, fraternity – through a story that was make it impossible for us to mount a work of this of deep emotional importance to him. In the years scale. Some members of the present cast of Fidelio since it was first performed, Fidelio has often been were due to appear in Parsifal, but we hope to charged with new significance in times of crisis; and feature them in a replacement – Wagner-related – this year, the image of an individual held in a state programme to be announced in the new year. -
The Music and Vision Classical Music Newsletter: Something Rich And
Something Rich and Strange — Issue 109, 1 May 2017 Mike Wheeler: 'The Coull Quartet's return visit to Derby Chamber Music was their third appearance here, by my reckoning, and there could scarcely have been a more emphatic, exhilarating, or exhausting conclusion to the current season (Multi-Faith Centre, Derby University, Derby, UK, 21 April 2017). The evening began with a slightly under- characterised reading of Mozart's E flat Quartet, K 428. There was clarity in the textures, but also something circumspect about the playing. All the same, the serenade-like quality of the second movement was finely projected, and the players' clipped, dapper way with the minuet was appealing, as was their effective handling of the disruptive silences at the end of the finale. 'But while the Mozart was a touch colourless, the rest of the concert was anything but. Shostakovich's Eleventh Quartet got a searching performance that teased out the moments of desolation, the wry humour of the second of the work's seven short continuous movements, and its more savage, bitter counterpart in the fifth. There was relish, too, for the work's more arresting sonorities, such as the fourth movement's buzzing first violin over brusque comments from the other three instruments. The transition from the sombre sixth movement into the fragile seventh was a withdrawal into a private space, Shostakovich enigmatic to the last. 'Beethoven's Op 130 famously has two finales, the so-called "Grosse Fuge" and the lighter rondo he was persuaded to replace it with when it was felt to be too taxing for both players and audience. -
An Investigation Into the Role of Web 2.0 and Social Media in the Reception of Benjamin Britten's Operas
Brown, Amy Jane (2016) How Valuable is Web 2.0 to Music Criticism? An investigation into the role of Web 2.0 and social media in the reception of Benjamin Britten's operas. MMus(R) thesis http://theses.gla.ac.uk/7332/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] How Valuable is Web 2.0 to Music Criticism? An investigation into the role of Web 2.0 and social media in the reception of Benjamin Britten's operas. Amy Jane Brown BMus (Hons) Submitted in fulfilment of the requirements for the Degree of Master of Music (Research) School of Culture and Creative Arts College of Arts © June 2016 3 Abstract The internet is deeply integrated with many people's day to day lives, including that of musicians and musicologists. In this thesis, the impact of the internet on classical music criticism in the Web 2.0 age is examined. Using the examples of Britten's operas, Gloriana and Peter Grimes, an overview of their critical reception is examined, using printed reviews found in The Times since their premières, internet based reviews of two specific performances, and the reactions to these performances on Twitter. -
Jenkins at 70
Boosey & Hawkes Music Publishers Limited February 2014 2014/1 Andriessen Tapdance for 75th Chin Included in this issue: Louis Andriessen’s 75th birthday year introduces “The first is purely rhythmic, adopting patterns in Sweden MacMillan Tapdance, his new work for percussion and ensemble. from the Charleston – the soloist doesn’t Interview about new dance but portrays the sound of a The largest-ever survey of Unsuk St Luke Passion International celebrations for Louis tapdancer’s footwork. The second introduces Chin’s music took Andriessen’s 75th birthday year in 2014 fixed pitches through a solo toccata for place in Stockholm in combine first performances of new works marimba alone, and the third is a closing slow November with the with retrospectives across his output. His first movement with a single timpani drum, in composer attending large-scale orchestral work for 45 years, which the material is contained within the four enthusiastically Mysteriën, was premiered by the Royal limited span of a sixth. The ensemble received concerts at Concertgebouw Orchestra as a birthday introduces or comments on the material of the Konzerthuset. upbeat in November, and this year brings first the soloist, with its own percussionist acting The Tonsättarfestival, performances of Tapdance, a new work for as a go-between. presented by the percussion and ensemble featuring soloist Photo: Weonki Kim “The large ensemble has 18 players plus Royal Stockholm Colin Currie. strings and produces a ghostly recollection of Philharmonic, featured ten of the South The Asko/Schoenberg Ensemble under the slow jazz blues from the 1950s and ’60s, Korean-born composer’s most important Reinbert de Leeuw presents a pair of with particular reference to the music of scores, including a special emphasis on her Andriessen birthday concerts at the Horace Silver. -
FY10 & FY11 Annual Reports View Reports
ANNUAL REPORTS 2009–10 and 2010–11 2 Introduction 5 Metropolitan Opera Board of Directors 7 2009–10 Season Repertory & Events 14 2009–10 Artist Roster 16 2010–11 Season Repertory & Events 22 2010–11 Artist Roster 23 The Financial Results 45 Patrons Introduction During the 2009–10 and 2010–11 seasons, the Metropolitan Opera once again enjoyed remarkable artistic successes while grappling with the prolonged financial crisis. The company maintained its commitment to presenting a wide-ranging lineup of new productions, offering eight new stagings in the 2009–10 season, followed by seven the next year. Eleven of these productions were seen in movie theaters around the world as part of the Met’s Live in HD series, which continued to expand and provide a bright spot to the company’s financial outlook. As the world’s leading producer of alternative cinema content, the Met’s Live in HD series pushed the company’s earned revenues to record levels. The Met’s worldwide HD earnings were $27 million and $31 million, respectively, in 2009–10 and 2010–11. Combined earned revenues for the Met (HD and Met box office) equaled $119 million in 2009–10 and grew to $126 million in 2010–11. A total of 21 HD programs and 205 audio transmissions were produced during these two fiscal years, adding significantly to the Met’s rich library of intellectual content. The 2009–10 Season The 2009–10 season proved to be an extraordinary showcase for the artistry of the world’s greatest singers, conductors, directors, and designers. Such acclaimed directors as Patrice Chéreau, Richard Eyre, Bartlett Sher, and Mary Zimmerman, among others, created new productions for the Met.