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Bregenz's Floating Stage
| worldwide | austria PC Control 04 | 2016 Art, technology and nature come together to deliver a great stage experience Advanced stage control technology produces magical moments on Bregenz’s floating stage The seventy-year history of the Bregenz Festival in Austria has been accompanied by a series of technical masterpieces that make watching opera on Lake Constance a world-famous experience. From July to August, the floating stage on Lake Constance hosts spectacular opera performances that attract 7,000 spectators each night with their combination of music, singing, state-of-the- art stage technology and effective lighting against a spectacular natural backdrop. For Giacomo Puccini’s “Turandot”, which takes place in China, stage designer Marco Arturo Marelli built a “Chinese Wall” on the lake utilizing complex stage machinery controlled by Beckhoff technology. | PC Control 04 | 2016 worldwide | austria © Bregenzer Festspiele/Karl Forster © Bregenzer Festspiele/Karl The centerpiece of the floating stage is the round area at its center with an extendable rotating stage and two additional performance areas below it. The hinged floor features a video wall on its under- side for special visual effects, projecting various stage setting images. The tradition of the Bregenz Festival goes back to 1946, when the event started The backdrop that Marco Arturo Marelli designed for “Turandot” consists with a performance of Wolfgang Amadeus Mozart’s musical comedy “Bastian of a 72-meter-long wall that snakes across the stage like a giant dragon. A and Bastienne” on two gravel barges anchored in the harbor. The space on the sophisticated structure of steel, concrete and wood holds the 29,000 pieces barges soon became too small, and the organizers decided to build a real stage in place. -
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas GEORGES BIZET EMI 63633 Carmen Maria Stuarda Paris Opera National Theatre Orchestra; René Bologna Community Theater Orchestra and Duclos Chorus; Jean Pesneaud Childrens Chorus Chorus Georges Prêtre, conductor Richard Bonynge, conductor Maria Callas as Carmen (soprano) Joan Sutherland as Maria Stuarda (soprano) Nicolai Gedda as Don José (tenor) Luciano Pavarotti as Roberto the Earl of Andréa Guiot as Micaëla (soprano) Leicester (tenor) Robert Massard as Escamillo (baritone) Roger Soyer as Giorgio Tolbot (bass) James Morris as Guglielmo Cecil (baritone) EMI 54368 Margreta Elkins as Anna Kennedy (mezzo- GAETANO DONIZETTI soprano) Huguette Tourangeau as Queen Elizabeth Anna Bolena (soprano) London Symphony Orchestra; John Alldis Choir Julius Rudel, conductor DECCA 425 410 Beverly Sills as Anne Boleyn (soprano) Roberto Devereux Paul Plishka as Henry VIII (bass) Royal Philharmonic Orchestra and Ambrosian Shirley Verrett as Jane Seymour (mezzo- Opera Chorus soprano) Charles Mackerras, conductor Robert Lloyd as Lord Rochefort (bass) Beverly Sills as Queen Elizabeth (soprano) Stuart Burrows as Lord Percy (tenor) Robert Ilosfalvy as roberto Devereux, the Earl of Patricia Kern as Smeaton (contralto) Essex (tenor) Robert Tear as Harvey (tenor) Peter Glossop as the Duke of Nottingham BRILLIANT 93924 (baritone) Beverly Wolff as Sara, the Duchess of Lucia di Lammermoor Nottingham (mezzo-soprano) RIAS Symphony Orchestra and Chorus of La Scala Theater Milan DEUTSCHE GRAMMOPHON 465 964 Herbert von -
Saison 2017/18 Établissement Public Salle De Concerts Grande-Duchesse Joséphine-Charlotte
Saison 2017/18 Établissement public Salle de Concerts Grande-Duchesse Joséphine-Charlotte Philharmonie Luxembourg Orchestre Philharmonique du Luxembourg Saison 2017/18 Nous remercions nos partenaires qui, Partenaires d’événements: en associant leur image à la Philharmonie et à l’Orchestre Philharmonique du Luxembourg et en soutenant leur programmation, permettent leur diversité et l’accès à un public plus large. Partenaire officiel: Partenaire automobile exclusif: Partenaires média: Sommaire / Inhalt / Content Une extraordinaire diversité 4 Découvrir la musique Musek erzielt (4–8 ans) 216 Bienvenue! 6 L’imagination au pouvoir Philou F (5–9 ans) 218 POST Luxembourg – Partenaire officiel 11 Artiste en résidence: Jean-François Zygel 118 Philou D (5–9 ans) 222 Dating 122 Familles (6–106 ans) 226 Les dimanches de Jean-François Zygel 124 Miouzik F (9–12 ans) 230 Orchestre Lunch concerts 126 Miouzik D (9–12 ans) 232 La beauté d’un cheminement artistique Yoga & Music 128 iPhil (14–18 ans) 236 Directeur musical: Gustavo Gimeno 16 résonances 130 Workshops 240 Grands rendez-vous 20 PhilaPhil 132 Aventure+ 24 Fondation EME 135 Fräiraim & Partenaires L’heure de pointe 30 Fräiraim 246 Fest- & Bienfaisance-Concerten 32 Jazz, World & Chill Solistes Européens, Luxembourg – Retour aux sources Une métaphore musicale de la démocratie Cycle Rencontres SEL A 250 Artiste en résidence: Paavo Järvi 36 Orchestre en résidence: Solistes Européens, Luxembourg – Grands orchestres 40 JALCO & Wynton Marsalis 140 Cycle Rencontres SEL B 252 Grands chefs 44 Jazz & beyond -
Architecture and Space Our Congress Centre in Pictures and Figures Culture Meets Congress and Finds Him Devastatingly Good Looking
Architecture and Space Our congress centre in pictures and figures Culture meets Congress and finds him devastatingly good looking Mrs Culture and Mr Congress appear from opposite sides of the plaza in front of Bregenz Festival House. She is very elegantly dressed, he has more of a sporty look. Both of them are presumably on their way to an event taking place in the centre. As they approach one another it is clear how glad they are to meet again. Culture: Hello! Well now, you look damn good. Congress: You’re not the first person to say so. Culture (a little taken aback): And you’re pretty self-confident with it. Congress: Did I just adopt the wrong tone? Culture : The right tone is more my domain. Congress: In the figurative sense, yes. But technically speaking it’s mine. Sound, lighting, stage set are my responsibilities, and I feel equal to them all. Culture : There seem to be developments in your life which I have never gone through. Congress: That’s right. I’m doing a lot of sport at the moment. Culture: Please don’t do too much. I’m not too keen on muscle-bound types. Congress: Don’t worry, I’m mainly building up my stamina. The body is my house, it’s got to be solid. Culture : The body is the house in which your soul and mind dwell. Congress: Yeah, them too. But without a strong body... Culture : The body matters a lot to me, too, but not in the sense of what’s external. -
Newsletter • Bulletin
NATIONAL CAPITAL OPERA SOCIETY • SOCIETE D'OPERA DE LA CAPITALE NATIONALE Newsletter • Bulletin Summer 2000 L’Été A WINTER OPERA BREAK IN NEW YORK by Shelagh Williams The Sunday afternoon programme at Alice Tully Having seen their ads and talked to Helen Glover, their Hall was a remarkable collaboration of poetry and words new Ottawa representative, we were eager participants and music combining the poetry of Emily Dickinson in the February “Musical Treasures of New York” ar- recited by Julie Harris and seventeen songs by ten dif- ranged by Pro Musica Tours. ferent composers, sung by Renee Fleming. A lecture We left Ottawa early Saturday morning in our bright preceded the concert and it was followed by having most pink (and easily spotted!) 417 Line Bus and had a safe of the composers, including Andre Previn, join the per- and swift trip to the Belvedere Hotel on 48th St. Greeted formers on stage for the applause. An unusual and en- by Larry Edelson, owner/director and tour leader, we joyable afternoon. met our fellow opera-lovers (six from Ottawa, one from Monday evening was the Met’s block-buster pre- Toronto, five Americans and three ladies from Japan) at miere production of Lehar’s The Merry Widow, with a welcoming wine and cheese party. Frederica von Stade and Placido Domingo, under Sir Saturday evening the opera was Offenbach’s Tales Andrew Davis, in a new English translation. The oper- of Hoffmann. This was a lavish (though not new) pro- etta was, understandably, sold out, and so the only tick- duction with sumptuous costumes, sets descending to ets available were seats in the Family Circle (at the very reappear later, and magical special effects. -
Polish Composer's Masterpiece Premiered After 31 Years
Polish Composer’s Masterpiece Premiered after 31 Years Anna S. Debowska - July 23, 2013 ''The Merchant of Venice'' at the festival in Bregenz (Photo Bregenzer Festspiele / Karl Forster) The real bombshell of the Bregenzer Festspiele in Austria was “The Merchant of Venice.” This was the first time the opera by Andrzej Czajkowski – an eccentric piano genius and survivor of the Warsaw ghetto – has been staged. The outstanding work will have its Polish premiere next year. The classical music festival in Bregenz on Lake Constance is organized with two aims. The festival presents spectacular productions of famous operas on its stage on the water. These are attended by tens of thousands of listeners from Austria, Germany, Switzerland, and England. It also, ambitiously, highlights works by forgotten composers. This two-pronged approach is the brainchild of the English director David Pountney, who has been the artistic director of the Bregenzer Festspiele for nine years. He decided to revive the tradition of the festival, the first edition of which took place in 1946, on the stage built on the lake. He already has staged “Il Travatore,” “Aida,” “Andrea Chenier,” and this year, “The Magic Flute.” He provides light, witty, and cleverly high-tech productions that are open to innovative and quirky ideas. The performances on the water always start in the evening as darkness slowly settles on the lake. Festival organizers use a sound system, but the productions are performed by very talented singers who are able to project in the unusual setting. Every evening, close to seven thousand spectators gather at the floating amphitheater under the night sky. -
Breathtaking Spectacle on Bregenz's Floating Stage Requires Complex
| 26 worldwide | austria PC Control 02 | 2021 PC-based control runs the stage machinery for “Rigoletto” Breathtaking spectacle on Bregenz’s floating stage requires complex drive technology The Bregenz Festival (Bregenzer Festspiele) on Lake Constance proved once again with an enthralling stage spectacle that audi- ences still love great opera, even in the 21st century. During the five-week 2019 season, roughly 180,000 spectators came to see Giuseppe Verdi’s “Rigoletto.” And the upcoming season, which will have its premiere on July 22, 2021, is almost completely sold out as well. An oversized clown figure – a kind of alter ego of Rigoletto – functions as the stage. To handle its complex movements, the Bregenz Festival depends on control technology from Beckhoff. | PC Control 02 | 2021 worldwide | austria 27 The main With a diameter of 22 meters (72 feet) and a total area cabinet and of 338 square meters (3,638 square feet), the collar the panel for forms the central stage area. Mounted on a seesaw, controlling the the head can be moved across the entire stage. hydraulics are each equipped with a built-in 15-inch CP6602 Panel PC from Beckhoff. © Bregenzer Festspiele/Anja Köhler/andereart.de © Bregenzer Festspiele/Anja | 28 worldwide | austria PC Control 02 | 2021 The “Seebühne Bregenz” (Bregenz floating stage) is famous for its spectacu- and to subject each of them to a safety analysis with regard to their drive lar productions, but Philipp Stölzl’s staging exceeds all past performances in force, load and speed,” explains Wolfgang Urstadt, the technical director of terms of aesthetics as well as technical feasibility. -
In Association With
OVERTURE OPERA GUIDES in association with It is a pleasure to be able to welcome this Overture Opera Guide to The publisher John Calder began the Opera Guides series un- Mozart’s Die Zauberflöte (The Magic Flute), the eighteenth to be der the editorship of the late Nicholas John in association with published since the series in association with ENO was relaunched English National Opera in 1980. It ran until 1994 and even- in 2010. tually included forty-eight titles, covering fifty-eight operas. The books in the series were intended to be companions to the Mozart’s penultimate opera – written in the vernacular, with spoken works that make up the core of the operatic repertory. They dialogue and music that ranges from the deeply serious to the light- contained articles, illustrations, musical examples and a com- hearted – has delighted audiences since its premiere in September 1791 plete libretto and singing translation of each opera in the series, at a small theatre tucked away in the Viennese suburbs. Exploring as well as bibliographies and discographies. key issues of the Enlightenment, Die Zauberflöte is one of Mozart’s major contributions to the lyric theatre, and no opera company The aim of the present relaunched series is to make available can be without a production of it for long. This guide’s publication again the guides already published in a redesigned format with coincides with a revival at ENO of director Simon McBurney’s new illustrations, many revised and newly commissioned arti- staging of the work, a production whose innovative theatricality has cles, updated reference sections and a literal translation of the won many new admirers for the opera. -
Download Bio
Mauricio Trejo www.MauricioTrejo.com [email protected] Mexican-Italian Tenor, Mauricio Trejo, was recently distinguished by the Wagner Society of New York as a promising Wagnerian Tenor. In August 2016 Mr.Trejo received a full scholarship to further and expand hi Wagnerian Tenor repertoire at the Lotte Lehmann Akademie where he also perform concerts in Germany. He has been hailed as "a tenor with a silver bullet top," "the possessor of a clear and powerful instrument of great beauty,” "a revelation." (Luzerner Zeitung) A Sony Classical Recording Artist as one of the original American Tenors. Mauricio has been honored with numerous awards such as the Placido Domingo Scholarship under the auspices of SIVAM, the Panasonic Scholar of the Year, a winner in the International Caruso Competition and a finalist in the Arena di Verona Turandot Competition in the role of Calaf. Mr. Trejo has also been featured in television performances in a nationwide airing on PBS and on TV Azteca in Mexico In May 2017 Mauricio made his debut in the role of Otello by Giuseppe Verdi in New York City. He is also currently expanding his repertory in preparation of Siegfried, Siegmund, Bacchus, and Florestan. Before expanding to the dramatic and Wagnerian repertoire, he performed the leading tenor roles in Tosca, Cavalleria Rusticana, Il Tabarro, Turandot, I Pagliacci, Madama Butterfly, La Boheme, La Traviata, Rigoletto, Lucia di Lammermoor, L'Elisir D'Amore and Der Rosenkavalier. Mauricio's international operatic and concert career has taken him to North, Central and South America, Europe and the Middle East. Performed with companies that include the Opera Orchestra Of New York, Bregenzer Festspiele in Austria, Opernhaus Zurich, Santa Fe Opera, Sarasota Opera, Opera Santa Barbara, Lyric Opera of Vinrginia, New Israeli Opera, The New York Grand Opera, and the Opera Nacional de Panama. -
Quaybrothers PREVIEW.Pdf
contents 6 Foreword Glenn D. Lowry 8 Acknowledgments 10 THE MANIC DEPARTMENT STORE New Perspectives on the Quay Brothers Ron Magliozzi 16 THOSE WHO DESIRE WITHOUT END Animation as “Bachelor Machine” Edwin Carels 21 O N DECIPHERING THE PHARMACIST’S PRESCRIPTION FOR LIP-READING PUPPETS A project by the Quay Brothers 28 PlATES 62 Works by the Quay Brothers 63 Selected Bibliography 64 Trustees of The Museum of Modern Art The book also contains a project by the Quay Brothers on the front and back inside covers. Ron Magliozzi t is gratifying to report, right at the start, that the As illustrators, stage designers, and film- The twins’ “facility for drawing”6 was encouraged by reputed inaccessibility of the Quay Brothers’ work is a makers in a range of genres, the Quays have their family. At home, snowy pastoral landscapes of a Imyth. The challenge of deciphering meaning and narra- penetrated many fields of visual expression red barn at different distances were hung side by side, tive in the roughly thirty theatrical shorts and two features for a number of different audiences, from coincidentally suggesting a cinema tracking shot. Stark that the filmmakers have produced since 1979 is real avant-garde cinema and opera to publication countryside landscapes dotted with trees appeared indeed, a characteristic of their work that they adopted art and television advertising. Looking at commonly in their youthful drawings, often with ele- on principle when they were still students. Interpreters of their artistic endeavors as a whole, in the ments of telling human interest, as in Bicycle Course for their stop-motion puppet films, such as the defining Street context of fresh biographical information and Aspiring Amputees (1969) and Fantasy-Penalty for of Crocodiles (1986), have described them as alchemists, new evidence of their creativity, provides Missed Goal (c.1968). -
A Opera Catalogue Sectio#42336
Opera Operetta Music Theatre Supplement 2009 www.boosey.com/opera Opera Operetta Music Theatre Chamber Opera Musicals Stageworks for Young Audiences Stageworks for Young Performers from Boosey & Hawkes Bote & Bock Anton J. Benjamin Supplement 2009 Edited by David Allenby Cover illustrations: John Adams: Doctor Atomic Penny Woolcock’s production for the Metropolitan Opera and English National Opera (2008) with Gerald Finley as Oppenheimer Photo: © 2008 Ken Howard/Metropolitan Opera Detlev Glanert: Caligula Christian Pade’s world premiere production for Oper Frankfurt (2006) with Ashley Holland (Caligula) Photo: Monika Rittershaus Unsuk Chin: Alice in Wonderland Achim Freyer’s world premiere production for the Bavarian State Opera (2007) with Sally Matthews (Alice) Photo: Wilfried Hösl Jacques Offenbach: Les Fées du Rhin Vocal score in the Offenbach Edition Keck (OEK) published by Boosey & Hawkes / Bote & Bock Harrison Birtwistle: The Minotaur Stephen Langridge’s world premiere production for The Royal Opera in London (2008) with John Tomlinson (The Minotaur) and Johan Reuter (Theseus) Photo: Bill Cooper Michel van der Aa: The Book of Disquiet Still from the composer’s video for his world premiere production for Linz 2009 European Capital of Culture (2009) with Klaus Maria Brandauer Photo: Michel van der Aa Published by Boosey & Hawkes Music Publishers Limited Aldwych House 71–91 Aldwych London WC2B 4HN www.boosey.com an company © Copyright 2009 Boosey & Hawkes Music Publishers Ltd Printed in England by Halstan & Co Ltd, Amersham, Bucks Designed and typeset by David J Plumb ARCA PPSTD ISBN 978-0-85162-599-7 Contents 4 Introduction 5 Abbreviations 6 Catalogue 52 Addenda 55 Title Index 56 Boosey & Hawkes Addresses Introduction This 2009 Supplement contains works added since the publication of the 2004 Boosey & Hawkes Opera Catalogue. -
Branding Brussels Musically: Cosmopolitanism and Nationalism in the Interwar Years
BRANDING BRUSSELS MUSICALLY: COSMOPOLITANISM AND NATIONALISM IN THE INTERWAR YEARS Catherine A. Hughes A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2015 Approved by: Annegret Fauser Mark Evan Bonds Valérie Dufour John L. Nádas Chérie Rivers Ndaliko © 2015 Catherine A. Hughes ALL RIGHTS RESERVED ii ABSTRACT Catherine A. Hughes: Branding Brussels Musically: Cosmopolitanism and Nationalism in the Interwar Years (Under the direction of Annegret Fauser) In Belgium, constructions of musical life in Brussels between the World Wars varied widely: some viewed the city as a major musical center, and others framed the city as a peripheral space to its larger neighbors. Both views, however, based the city’s identity on an intense interest in new foreign music, with works by Belgian composers taking a secondary importance. This modern and cosmopolitan concept of cultural achievement offered an alternative to the more traditional model of national identity as being built solely on creations by native artists sharing local traditions. Such a model eluded a country with competing ethnic groups: the Francophone Walloons in the south and the Flemish in the north. Openness to a wide variety of music became a hallmark of the capital’s cultural identity. As a result, the forces of Belgian cultural identity, patriotism, internationalism, interest in foreign culture, and conflicting views of modern music complicated the construction of Belgian cultural identity through music. By focusing on the work of the four central people in the network of organizers, patrons, and performers that sustained the art music culture in the Belgian capital, this dissertation challenges assumptions about construction of musical culture.