ONLINE CONCERT DECEMBER 6TH 2020 in Aid of St Lawrence Seal
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The Wedding of Kevin Roon & Simon Yates Saturday, the Third of October
The wedding of Kevin Roon & Simon Yates Saturday, the third of October, two thousand and nine Main Lounge The Dartmouth Club at the Yale Club New York City Introductory Music Natasha Paremski & Richard Dowling, piano Alisdair Hogarth & Malcolm Martineau, piano Welcome David Beatty The Man I Love music by George Gershwin (1898–1937) arranged for piano by Earl Wild (b. 1915) Richard Dowling, piano O Tell Me the Truth About Love W. H. Auden (1907–1973) Catherine Cooper I Could Have Danced All Night from My Fair Lady music by Frederick Loewe (1901–1988) lyrics by Alan Jay Lerner (1918–1986) Elizabeth Yates, soprano Simon Yates, piano Sonnet 116 William Shakespeare (1564–1616) Lilla Grindlay Allemande from the Partita No.4 in D major, BWV 828 Johann Sebastian Bach (1685–1750) Jeremy Denk, piano Prayer of St. Francis of Assisi Eileen Roon from Liebeslieder Op. 52 Johannes Brahms (1833–1897) text by Georg Friedrich Daumer (1800–1875) translations © by Emily Ezust Joyce McCoy, soprano Jennifer Johnston, mezzo-soprano Matthew Plenk, tenor Eric Downs, bass-baritone Alisdair Hogarth & Malcolm Martineau, piano number 8 Wenn so lind dein Auge mir When your eyes so gently und so lieblich schauet, and so fondly gaze on me, jede letzte Trübe flieht, every last sorrow flees welche mich umgrauet. that once had troubled me. Dieser Liebe schöne Glut, This beautiful glow of our love, lass sie nicht verstieben! do not let it die! Nimmer wird, wie ich, Never will another love you so treu dich ein Andrer lieben. as faithfully as I. number 9 Am Donaustrande On the banks of the Danube, da steht ein Haus, there stands a house, da schaut ein rosiges and looking out of it Mädchen aus. -
Programmealtham Wilpshire Great Harwood Ramsgreave Hapton Brownhill Huncoat Rishton
A MUSICAL CELEBRATION OF 200 YEARS OF THE CANAL! Barrowford Stonyhurst Newchurch in Pendle Barrow Fence Hurst Green A RHAPSODY TOSabden THE Nelson Brockhall Higham Village LEEDS & LIVERPOOL CANAL Whalley Brierfield Billington Simonstone Padiham Langho ProgrammeAltham Wilpshire Great Harwood Ramsgreave Hapton Brownhill Huncoat Rishton Church Oswaldtwistle Guide Crawshawbooth Lumb Waterside Rossendale Haslingden Rawtenstall Newchurch Darwen Hoddlesden Waterfoot Helmshore Cowpe Edenfield SUPER SLOW WAY: A RHAPSODY TO THE LEEDS & LIVERPOOL CANAL CONTENTS 3 Foreword 12 Biographies Laurie Peake, Super Slow Way 12 Ian McMillan, Words and Narration Richard Parry, Canal & River Trust 13 Ian Stephens, Composer 14 Clark Rundell, Conductor 4 A Rhapsody to Leeds 14 Ian Brownbill, Producer 15 Amanda Roocroft, Solo Soprano & Liverpool Canal 15 Jonathan Aasgaard, Solo Cello 16 Kuljit Bhamra, Solo Tabla 16 Farmeen Akhtar, Narrator 17 Lisa Parry, Narrator 17 Super Slow Way Chamber Choir 18 Children’s Voices of Blackburn 19 Blackburn People’s Choir 19 Brighouse and Rastrick Band superslowway.org.uk Foreword 3 LAURIE PEAKE The Leeds & Liverpool Canal was the artery that fed the Industrial Revolution, forever changing the lives and landscape of the north of England. Its history spans 200 years and, like its meandering path through the countryside, there have been many twists and turns along the way. Super Slow Way: A Rhapsody to the Leeds & Liverpool Canal is a celebration of the history, people and stories of the Leeds & Liverpool Canal through music, using a series of poems specially written by celebrated Yorkshire poet Ian McMillan. The canal was ofcially opened in Blackburn in October 1816 when, for the frst time, the journey could be made from the coalfelds of Yorkshire, through the weaving mills of Lancashire to the port of Liverpool, bringing work and industry to the towns along the way, making them centres of the Industrial Revolution and the towns we see today. -
Boston Symphony Orchestra Concert Programs, Season 117, 1997
i 1 997-98 SEASON Symphony Orchestra SEIJf OZAWA, Music Director r f SMfc . The Fund Market,Inc Over 2.500 Funds From 2'X> Fund Families 6l7.555.937I Fax: 1. 6:7. 555. 4679 Voice Mad: 1617.5s5.i5 Mortgage &17. 5.55.3719 126 Revere Way, Boston, MA 021 19 A Member of AGF Banx Corp. BostonPlus 1' a u 1 S i 1 v e r m a n 1-800-BBX-PLUS Direct: 413.555.1346 Voice Mail: 413.555.4769 Ife BankBoston SM BostonPlus will dramatically simplify your finances, because this one account provides all the services you need. Call BostonPlus Specialist at 1-800-BBX-PLUS. t's Amazing What You Can Do Securities and Mutual Funds: Mutual funds and securities are offered through BankBoston • Not FDIC Insured «No Bank Investor Services, Inc. (member NASD/SIPC), a wholly Guarantee • May Lose Value owned subsidiary of BankBoston, N.A. Member FDIC ~M Seiji Ozawa, Music Director Bernard Haitink, Principal Guest Conductor One Hundred and Seventeenth Season, 1997-98 Trustees of the Boston Symphony Orchestra, Inc. R. Willis Leith, Jr., Chairman Nicholas T. Zervas, President Peter A. Brooke, Vice- Chairman William J. Poorvu, Vice-Chairman and Treasurer Mrs. Edith L. Dabney, Vice-Chairman Ray Stata, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Harlan E. Anderson Nader F. Darehshori Julian T. Houston Robert P. O'Block, Gabriella Beranek Deborah B. Davis Edna S. Kalman ex-officio James F. Cleary Nina L. Doggett George Krupp Vincent M. O'Reilly John F. Cogan, Jr. Charles K. Gifford, Mrs. -
La Traviata at Its 1956 London Language of the Russian Court, While the Act III Ball in Premiere
CHOThe magazinRe of Opera HoUlland Park | AuStumn 2019 CHORUS AUTUMN 2019 page 2 Discovery matinee Dates On Sunday 21 June, we will be hosting our first Discovery matinee. This performance of Rigoletto will be aa relaxed performance with Touch for your Tour, audio-description and accessible ticket pricing, to allow newcomers to calendar Dates for your diary discover opera. 2020 Season at a glance February 27 Young Artists’ Circle Launch The Gore London ● Eugene Onegin, 7.30pm YA Young Artists performance ● Rigoletto, 7.30pm ● Discovery matinee, 2pm March ● The Merry Widow , 7.30pm 11 Young Artists Masterclass with Amanda Roocroft Pushkin House ● Margot la Rouge / Le Villi, 7.30pm 18 Monstrous and sublime: Verdi's Rigoletto Italian Cultural Institute ● Royal Ballet School, 7.00pm ● matinee, 2pm 25 Supporters’ Spring Reception Chris Beetles Gallery ● Pirates of Penzance , 7.30pm 31 Waltz, schmaltz, cash and champagne: Lehár's The Merry Widow Mathiessen Gallery May June 30 Eugene Onegin Dress Rehearsal Opera Holland Park Theatre Mon Tues Weds Thur Fri Sat Sun June 4 Rigoletto Dress Rehearsal Opera Holland Park Theatre 1 2 345 6 7 ● ● ● 9 Pre-show Talk with Lada Valešová Opera Holland Park Theatre 8 ●9 ●10 ●11 ●12 ●13 14 18 Pre-show Talk with Dane Lam Opera Holland Park Theatre 15 16 17 18 YA 19 20 21 23 Pre-show Talk with Professor Jeremy Black Opera Holland Park ● ● ● ● ● Theatre 22 ●23 ●24 ●25 ●26 ●27 28 29 30 July 16 The Merry Widow Dress Rehearsal Opera Holland Park Theatre 17 Margot la Rouge / Le Villi Dress Rehearsal Opera Holland Park Theatre July 23 Pre-show Talk with Martin Lloyd-Evans Opera Holland Park Theatre Mon Tues Weds Thur Fri Sat Sun 30 Pre-show Talk with Tim Ashley Opera Holland Park Theatre 1 ●2 ●3 ●4◗ 5 678910 11 12 13 14 15 16 17 ●18 19 Opera Holland Park 20 ●21 ●22 ●23 ●24 ●25 26 Christmas Concert 2019 27 ●28 ●29 ●30 ●31 Toast the festive season with Opera Holland Park at our Christmas Concert on Saturday 7 December, 7pm , at St August Columba's Church in the heart of Knightsbridge. -
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MONTEVERDI © Lebrecht Music & Arts Photo Library ???????????? Claudio Monteverdi (1567 – 1643) The Coronation of Poppea Dramma musicale in a Prologue and two acts Libretto by Giovanni Francesco Busenello, English translation by Geoffrey Dunn Prologue Fortune Barbara Walker soprano Virtue Shirley Chapman soprano Love Elizabeth Gale soprano Opera Ottone, most noble lord Tom McDonnell baritone Poppea, most noble lady, mistress of Nero, Janet Baker mezzo-soprano raised by him to the seat of empire Nero, Roman emperor Robert Ferguson tenor Ottavia, reigning empress, repudiated by Nero Katherine Pring mezzo-soprano Drusilla, lady of the court, in love with Ottone Barbara Walker soprano Seneca, philosopher, preceptor to Nero Clifford Grant bass Arnalta, aged nurse and confidante of Poppea Anne Collins mezzo-soprano Lucano, poet, intimate of Nero, nephew of Seneca Emile Belcourt tenor Valletto, page of the empress John Brecknock tenor Damigella, lady-in-waiting to the empress Iris Saunders soprano Liberto, Captain of the praetorian guard Norman Welsby baritone First soldier Robin Donald tenor Second soldier John Delaney tenor Lictor, officer of imperial justice Anthony Davey bass Pallas Athene, goddess of wisdom Shirley Chapman soprano Chorus of Sadler’s Wells Opera Orchestra of Sadler’s Wells Opera Raymond Leppard 3 compact disc one Time Page Act I 1 Sinfonia 2:55 p. 30 Prologue 2 ‘Virtue, go hide yourself away’ 7:16 p. 30 Fortune, Virtue, Love Scene 1 3 ‘Again I’m drawn here’ 8:32 p. 31 Ottone, Soldier 2, Soldier 1 4 ‘My lord, do not go yet!’ 9:54 p. 32 Poppea, Nero Scene 2 5 ‘At last my hopes have ended’ 6:38 p. -
None but Thelonelyheart Amanda Roocroft Malcolm Martineau Tchaikovsky | Debussy | Strauss CD Booklet-Final 24/9/07 17:33 Page 2 CD Booklet-Final 24/9/07 17:33 Page 3
CD Booklet-Final 24/9/07 17:33 Page 1 None but theLonelyHeart Amanda Roocroft Malcolm Martineau Tchaikovsky | Debussy | Strauss CD Booklet-Final 24/9/07 17:33 Page 2 CD Booklet-Final 24/9/07 17:33 Page 3 Amanda Roocroft has secured an international reputation as one of Britain’s most exciting singers, in opera, concert, and in recital. In concert she has appeared with leading orchestras throughout Europe and North America with conductors including Sir Simon Rattle, Zubin Mehta, Mariss Jansons, Ivor Bolton, Sir John Eliot Gardiner, Daniele Gatti, Sir Neville Marriner, Sir Andrew Davis, Sir Charles Mackerras, Valery Gergiev and Bernard Haitink. She enjoys a close relationship with the Royal Opera House, Covent Garden, the Glyndebourne Festival, the English National Opera, the Welsh National Opera and the Bayerische Staatsoper in Munich, and her roles in these houses have included Fiordiligi (Così fan tutte), Countess (Le nozze di Figaro), Donna Elvira (Don Giovanni), Desdemona (Otello), Amelia (Simon Boccanegra), Mimì (La Bohème), Eva (Die Meistersinger), Ginevra (Ariodante), Cleopatra (Giulio Cesare), Jenifer (The Midsummer Marriage), Tatiana (Eugene Onegin) and the title roles in Madama Butterfly, Kát’a Kabanová and Jenu˚fa. Recent opera highlights include Elisabetta (Don Carlo) in Amsterdam (Riccardo Chailly/Willy Decker); Ellen Orford (Peter Grimes) in Salzburg (Sir Simon Rattle/Trevor Nunn); a tour of Japan as the Countess (Le nozze di Figaro) with the Bayerische Staatsoper and Zubin Mehta; and the title role in Jenufa in Berlin, Barcelona and, most recently, at the English National Opera for which she won the 2007 Laurence Olivier Award for Outstanding Achievement in Opera. -
Koor Singers & Players
KOOR SINGERS & PLAYERS www.koor.app present Beethoven Mass in C Beethoven Overture, ‘Zur Namensfeier’ Live-streamed from Blackheath Halls www.blackheathhalls.com December 16th, 2020 Tonight’s performance will be without interval Tonight’s performers Charlotte Shaw SOPRANO Martha McLorinan MEZZO SOPRANO Laurence Kilsby TENOR Jonathan Brown BASS KOOR SINGERS & PLAYERS Sarah Sexton LEADER Simon Capet CONDUCTOR David Clegg ARTIST ADMINISTRATOR Programme Beethoven Overture, ‘Zur Namensfeier’ Beethoven Mass in C Notes Overture, ‘Zur Namensfeier’ (Name Day), Opus 115 Beethoven’s “Namensfeier” Overture, Op. 115 was a result of the composer's long compositional process. It began with ideas the composer sketched in 1809. These fragments resurfaced around 1811 when Beethoven first became interested in creating a musical setting of Friedrich Schiller’s “Ode to Joy.” Schiller’s liberating words reached epic new heights in the final movement of the Ninth Symphony, written some thirteen years later. Beethoven’s first attempt at the “Ode to Joy” sprang to life in this fleeting, fun-loving Overture. It was originally scheduled to be performed on the Feast of St. Francis of Assisi, the name day of the Austrian Emperor Franz I. Beethoven failed to complete the work in time and it was premiered on Christmas Day, 1815 instead. As with the Choral Fantasy, you can hear seeds of the Ninth Symphony in this music. Yet, there is nothing serious, profound, or earth-shattering here. Instead, it is a festive, celebratory romp—an “ode to joy” that delivers pure, unsophisticated fun. Out of the bombast leaps a frolicking cast of instrumental voices. At moments, strange, quirky dissonances seem to anticipate the sounds of the twentieth century. -
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Most recitals for voice and piano follow a traditional pattern of programming – they comprise a few song cycles or groups of songs per concert, exploring the musical world of no more than four or five composers. Anyone who has had the good fortune to see Amanda Roocroft perform in opera will know that, in addition to her obvious gifts as a singer, she is an extraordinary actress. When we began working together in 2009 it occurred to us that we could tell a story through songs, similar to the way in which a story is told through opera. Taking my cue from cycles such as Frauenliebe und -leben by Loewe and Schumann, and inspired by more modern ways of programming (an obvious influence is Graham Johnson’s Songmaker’s Almanac), I thought we could explore one protagonist’s emotional journey by juxtaposing thirty or so songs. I was careful not to pick songs in which our two central characters moved from or into different social classes: we never learn his name, and her name is mentioned for the first time in the last song. Everything is kept in the first person so that the words sung are always from the point of view of the girl (subtleties in the music comment on his mental state, but he never speaks directly – only in reported speech through her). It is a story which communicates themes of love and loss, the joys and pains of a relationship. One of the delights of such programming is that a song, when placed in a new and challenging context, is often further illuminated, its power to communicate made new. -