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ANTONELLO MANACORDA conducteur italien • Formation o études de violon entres autres avec Herman Krebbers à Amsterdam o puis, à partir de 2002, deux ans de direction d’orchestre chez Jorma Panula. • Orchestres o 1997 : il crée, avec Claudio Abbado, le Mahler Chamber Orchestra o 2006 : nommé chef permanent de l’ensemble I Pomeriggi Musicali à Milaan o 2010 : nommé chef permanent du Kammerakademie Potsdam o 2011 : chef permanent du Gelders Orkest o Frankfurt Radio Symphony, BBC Philharmonic, Mozarteumorchester Salzburg, Sydney Symphony, Orchestra della Svizzera Italia, Scottish Chamber Orchestra, Stavanger Symphony, Swedish Chamber Orchestra, Hamburger Symphoniker, Staatskapelle Weimar, Helsinki Philharmonic, Orchestre National du Capitole de Toulouse & Gothenburg Symphony • Fil rouge de sa carrière o collaboration artistique de longue durée avec La Fenice à Venise • Pour la Monnaie o dirigeerde in april 2016 het Symfonieorkest van de Munt in werk van Mozart en Schubert • Projets récents et futurs o Il Barbiere di Siviglia, Don Giovanni & L’Africaine à Frankfort, Lucio Silla & Foxie! La Petite Renarde rusée à la Monnaie, Le Nozze di Figaro à Munich, Midsummer Night’s Dream à Vienne et Die Zauberflöte à Amsterdam • Discographie sélective o symphonies de Schubert avec le Kammerakademie Potsdam (Sony Classical - courroné par Die Welt) o symphonies de Mendelssohn également avec le Kammerakademie Potsdam (Sony Classical) • Pour en savoir plus o http://www.inartmanagement.com o http://www.antonello-manacorda.com CHRISTOPHE COPPENS Artiste et metteur -
There's a Real Buzz and Sense of Purpose About What This Company Is Doing
15 FEBRUARY 7.15PM & 17 FEBRUARY 2PM “There’s a real buzz and sense of purpose about what this company is doing” ~ The Guardian www.niopera.com Grand Opera House, Belfast Welcome to The Grand Opera House for this new production of The Flying Dutchman. This is, by some way, NI Opera’s biggest production to date. Our very first opera (Menotti’s The Medium, coincidentally staged two years ago this month) utilised just five singers and a chamber band, and to go from this to a grand opera demanding 50 singers and a full symphony orchestra in such a short space of time indicates impressive progress. Similarly, our performances of Noye’s Fludde at the Beijing Music Festival in October, and our recent Irish Times Theatre Award nominations for The Turn of the Screw, demonstrate that our focus on bringing high quality, innovative opera to the widest possible audience continues to bear fruit. It feels appropriate for us to be staging our first Wagner opera in the bicentenary of the composer’s birth, but this production marks more than just a historical anniversary. Unsurprisingly, given the cost and complexities involved in performing Wagner, this will be the first fully staged Dutchman to be seen in Northern Ireland for generations. More unexpectedly, perhaps, this is the first ever new production of a Wagner opera by a Northern Irish company. Northern Ireland features heavily in this production. The opera begins and ends with ships and the sea, and it does not take too much imagination to link this back to Belfast’s industrial heritage and the recent Titanic commemorations. -
WAGNER Die Walküre
660172-74 bk Walküre US 17/7/06 10:28 Page 16 3 CDs Recorded at the Staatsoper Stuttgart, Germany, WAGNER on 29th September 2002 and 2nd January 2003. General Director: Prof. Klaus Zehelein Die Walküre Executive Producers: Dr Reinhard Ermen (SWR Radio), Gambill • Jun • Rootering • Denoke • Behle • Vaughn Dr Dietrich Mack (SWR TV) and Paul Smaczny (EuroArts) Staatsoper Stuttgart • Staatsorchester Stuttgart Producer: Thomas Angelkorte Editor: Irmgard Bauer Lothar Zagrosek Engineers: Brigitte Hermann and Karl-Heinz Runde This performance of Die Walküre is the second part of Wagner’s Ring cycle recorded live during Stuttgart Opera’s 2002/2003 season. For the first time in the history of the Ring cycle each of the four operas was staged with separate producers and casts. A production of EuroArts Music International GmbH and Südwestrundfunk in co-operation with ARTE Gefördert von der Medien- und Filmgesellschaft Baden-Württemberg 8.660172-74 16 660172-74 bk Walküre US 17/7/06 10:28 Page 2 Die Walküre Stuttgart Staatsorchester (The Valkyrie) Established in 1589 as the Court Orchestra of Württemberg, the Württemberg Stuttgart State Orchestra has a history The First Day of over four hundred years. Over the generations there have been collaborations with musicians of distinction, among them Leonhard Lechner, the Frobergers, Niccolò Jommelli, Johann Rudolf Zumsteeg, Konradin Kreutzer, of Johann Nepomuk Hummel and Carl Maria von Weber. Berlioz praised the orchestra, when he appeared with it as Der Ring des Nibelungen conductor, and in the 1880s Stuttgart was one of the first to stage the complete Ring cycle, conducted by the then (The Ring of the Nibelung) General Music Director Herman Zumpe, who had assisted Wagner at the first Bayreuth Festival. -
Adriana Lecouvreur
FRANCESCO CILEA adriana lecouvreur conductor Opera in four acts Gianandrea Noseda Libretto by Arturo Colautti, based production Sir David McVicar on the play Adrienne Lecouvreur by Eugène Scribe and Ernest Legouvé set designer Charles Edwards Friday, January 4, 2019 costume designer 7:30–11:05 PM Brigitte Reiffenstuel lighting designer New Production Adam Silverman choreographer Andrew George The production of Adriana Lecouvreur associate director Justin Way was made possible by a generous gift from The Sybil B. Harrington Endowment Fund Co-Production of the Royal Opera House, Covent Garden, London; Gran Teatre del Liceu, Barcelona; Wiener Staatsoper; San Francisco Opera; and general manager L’Opéra National de Paris Peter Gelb jeanette lerman-neubauer This production was first seen at the Royal Opera music director Yannick Nézet-Séguin House, London, on November 18, 2010. 2018–19 SEASON The 75th Metropolitan Opera performance of FRANCESCO CILEA’S adriana lecouvreur conductor Gianandrea Noseda in order of vocal appearance mlle. jouvenot Sarah Joy Miller michonnet Ambrogio Maestri poisson Tony Stevenson* mlle. dangeville Samantha Hankey quinault Patrick Carfizzi the abbé of cha zeuil Carlo Bosi the prince of bouillon Maurizio Muraro adriana lecouvreur Anna Netrebko Friday, January 4, 2019, 7:30–11:05PM maurizio Piotr Beczała the princess of bouillon Anita Rachvelishvili major- domo Christian Rozakis chambermaid Anne Dyas mlle. duclos Snezhana Chernova pantalone Bill Corry judgment of paris ballet paris Kfir Danieli shepherdesses Jennifer -
Bellini's Norma
Bellini’s Norma - A discographical survey by Ralph Moore There are around 130 recordings of Norma in the catalogue of which only ten were made in the studio. The penultimate version of those was made as long as thirty-five years ago, then, after a long gap, Cecilia Bartoli made a new recording between 2011 and 2013 which is really hors concours for reasons which I elaborate in my review below. The comparative scarcity of studio accounts is partially explained by the difficulty of casting the eponymous role, which epitomises bel canto style yet also lends itself to verismo interpretation, requiring a vocalist of supreme ability and versatility. Its challenges have thus been essayed by the greatest sopranos in history, beginning with Giuditta Pasta, who created the role of Norma in 1831. Subsequent famous exponents include Maria Malibran, Jenny Lind and Lilli Lehmann in the nineteenth century, through to Claudia Muzio, Rosa Ponselle and Gina Cigna in the first part of the twentieth. Maria Callas, then Joan Sutherland, dominated the role post-war; both performed it frequently and each made two bench-mark studio recordings. Callas in particular is to this day identified with Norma alongside Tosca; she performed it on stage over eighty times and her interpretation casts a long shadow over. Artists since, such as Gencer, Caballé, Scotto, Sills, and, more recently, Sondra Radvanovsky have had success with it, but none has really challenged the supremacy of Callas and Sutherland. Now that the age of expensive studio opera recordings is largely over in favour of recording live or concert performances, and given that there seemed to be little commercial or artistic rationale for producing another recording to challenge those already in the catalogue, the appearance of the new Bartoli recording was a surprise, but it sought to justify its existence via the claim that it authentically reinstates the integrity of Bellini’s original concept in matters such as voice categories, ornamentation and instrumentation. -
An Aural Analysis of Bel Canto
An aural analysis of bel canto: Traditions and interpretations as preserved through selected sound recordings Airlie Jane Kirkham Thesis submitted in fulfillment of the requirements for the degree of Master of Music Elder Conservatorium of Music Faculty of Humanities and Social Sciences The University of Adelaide May 2010 You created this PDF from an application that is not licensed to print to novaPDF printer (http://www.novapdf.com) 7 BIBLIOGRAPHY ABC. F M.Radio."History of Music part 2 – Bel Canto", in Sunday Afternoon Concert, 27 August 2006, 2.00-3.00p.m. Adams, Brian. La Stupenda: a Biography of Joan Sutherland. Australia: Hutchinson, 1980. Ashbrook, William. Donizetti. London: Cassell, 1965. Attaro, Monica. Interview. “Joan Sutherland.” ABC Sunday Profile, 27 March 2005. ABC radio. (18 March 2007). Braddon, Russell. Joan Sutherland. Sydney: Collins, 1962. Caruso, Enrico jr. and Andreas Farkas. Enrico Caruso. My Father and My Family. Oregon: Amadeus Press, 1990. Celletti, Rodolfo. A History of Bel Canto. Oxford: Clarendon Press, 1991. Chorley, Henry Fothergill. Thirty Years of Musical Recollections. London: Hurst and Blackett, 1862. Republished Brookfield VT USA: Ashgate, 1998. Crofton, Ian. ed. Concise Dictionary of Music. Great Britain: Collins, 1986, third edition. Crutchfield, Will. “The Bel Canto Connection.” Opera News. 62.1(1997): 30-36. Duey, Philip A. Bel Canto in its golden age: a study of its teaching concepts. New York: King’s Crown Press, 1951. Fucito, Salvatore and Barnet J. Beyer. Caruso and the Art of Singing. London: T. Fisher Unwin, 1922. Garcia, Manuel II. Hints on Singing. Trans. from the French. Beata Garcia. London: Ascherberg, Hopwood and Crew, 1894. -
La Sonnambula
Vincenzo Bellini La Sonnambula CONDUCTOR Melodramma in two acts Evelino Pidò Libretto by Felice Romani PRODUCTION Mary Zimmerman Saturday, March 21, 2009, 1:00–3:45pm SET DESIGNER Daniel Ostling New Production COSTUME DESIGNER Mara Blumenfeld LIGHTING DESIGNER T.J. Gerckens CHOREOGRAPHER The production of La Sonnambula Daniel Pelzig was made possible by a generous gift from Mr. and Mrs. Paul M. Montrone. Additional funding for this production was received from the Hermione Foundation, The Gilbert S. Kahn and John J. Noffo Kahn Endowment Fund, Mr. and Mrs. William R. Miller, and the National Endowment for the Arts. GENERAL MANAGER Peter Gelb MUSIC DIRECTOR James Levine 2008–09 Season The 71st Metropolitan Opera performance of This performance is Vincenzo Bellini’s broadcast live over The Toll Brothers– Metropolitan Opera International La Radio Network, sponsored by Toll Brothers, Sonnambula America’s luxury home builder®, with generous Conductor long-term Evelino Pidò support from The Annenberg Foundation c a s t in o r d e r o f v o c a l a p p e a r a n c e and the Lisa Vincent A. Stabile Endowment for Jennifer Black * Broadcast Media, and through Alessio contributions Jeremy Galyon from listeners worldwide. Amina Natalie Dessay This performance is also being broadcast Teresa live on Metropolitan Jane Bunnell Opera Radio on SIRIUS channel 78 Notary and XM channel 79. Bernard Fitch Natalie Dessay’s Elvino performance is Juan Diego Flórez underwritten by the Annenberg Count Rodolfo Principal Artists Michele Pertusi Fund. Saturday, March 21, 2009, 1:00–3:45pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. -
The Blake Collection Click on Item Titles Or in Memory of Nancy M
(Scroll to the end of this document for an Index to all items. Please note that this Archive contains Live Links: The Blake Collection click on item titles or pictures to go to the In Memory of Nancy M. Blake Library’s catalog, and click on citations to see full articles.) BELLINI’S NORMA featuring CECILIA BARTOLI This tragic opera is set in Roman-occupied, first-century Gaul, features a title character, who although a Druid priestess, is in many ways a modern woman. Norma has secretly taken the Roman proconsul Pollione as her lover and had two children with him. Political and personal crises arise when the locals turn against the occupiers and Pollione turns to a new paramour. Norma “is a role with emotions ranging from haughty and demanding, to desperately passionate, to vengeful and defiant. And the singer must convey all of this while confronting some of the most vocally challenging music ever composed. And if that weren't intimidating enough for any singer, Norma and its composer have become almost synonymous with the specific and notoriously torturous style of opera known as bel canto — literally, ‘beautiful singing’” (“Love Among the Druids: Bellini's Norma,” NPR World of Opera, May 16, 2008). And Bartoli, one of the greatest living opera divas, is up to the challenges the role brings. (New York Public Radio’s WQXR’s “OperaVore” declared that “Bartoli is Fierce and Mercurial in Bellini's Norma,” Marion Lignana Rosenberg, June 09, 2013.) If you’re already a fan of this opera, you’ve no doubt heard a recording spotlighting the great soprano Maria Callas (and we have such a recording, too), but as the notes with the Bartoli recording point out, “The role of Norma was written for Giuditta Pasta, who sang what today’s listeners would consider to be mezzo-soprano roles,” making Bartoli more appropriate than Callas as Norma. -
The Anniversary Gala Page 1 of 4 Opera Assn
San Francisco War Memorial 1978 The Anniversary Gala Page 1 of 4 Opera Assn. Opera House (see notes) The Anniversary Gala (see notes CAST (see notes) (see notes) *Role debut †U.S. opera debut PLACE AND TIME: Sunday, November 19 1978, at 7:00 PM San Francisco War Memorial 1978 The Anniversary Gala Page 2 of 4 Opera Assn. Opera House Sponsors: Notes: The San Francisco Opera Association in conjunction with The San Francisco Opera Guild presents THE ANNIVERSARY GALA In celebration of the Gold and Silver Jubilees of Kurt Herbert Adler Masters of Ceremonies: Dorothy Kirsten Regina Resnik Lotfi Mansouri Elisabeth Schwarzkopf Sir Geraint Evans Terry McEwen Walter Slezak Wagner, Der Fliegende Holländer -- Overture Silvio Varviso, conductor Wagner, Die Meistersinger von Nürnberg -- Prize Song Spas Wenkoff Silvio Varviso, conductor Charpentier, Louise -- Depuis le jour Dorothy Kirsten John Pritchard, conductor Mozart, Così fan tutte -- In uomini, in soldati Graziella Sciutti John Pritchard, conductor Mozart, Le Nozze di Figaro -- Aprite un po' quegli occhi Cesare Siepi John Pritchard, conductor Leoncavallo, Pagliacci -- Vesti la giubba James McCracken Francesco Molinari-Pradelli, conductor Verdi, Un Ballo in Maschera -- Morrò, ma prima in grazia Lucine Amara Janos Ferencsik, conductor Giordano, Andrea Chénier -- Nemico della patria Louis Quilico Francesco Molinari-Pradelli, conductor Humperdinck, Hänsel und Gretel -- Childrens' prayer San Francisco Boys Chorus Calvin Simmons, conductor Monteverdi, L'Incoronazione di Poppea -- Pur ti miro Carol Vaness Barry McCauley John Pritchard, conductor Verdi, Ernani -- Ernani, involami Leona Mitchell Calvin Simmons, conductor Gruber, Mei' Muatterl war a' Wienerin Walter Berry Janos Ferencsik, conductor Verdi, Macbeth -- Vieni, t'affretta! Gwyneth Jones San Francisco War Memorial 1978 The Anniversary Gala Page 3 of 4 Opera Assn. -
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660175-78 bk Siegfried US 11/16/06 11:04 AM Page 16 4 CDs Recorded at the Staatsoper Stuttgart, Germany, WAGNER on 1st October 2002 and 5th January 2003. General Director: Prof. Klaus Zehelein Siegfried Executive Producers: Dr Reinhard Ermen (SWR Radio), Dr Dietrich Mack (SWR TV) and Paul Smaczny (EuroArts) West • Göhrig • Schöne • Waag • Jun • Herrera • Ranada • Gasteen Producer: Thomas Angelkorte • Editor: Irmgard Bauer Engineers: Jürgen Buss and Karl-Heinz Runde Staatsoper Stuttgart • Staatsorchester Stuttgart This performance of Siegfried is the third part of Wagner’s Ring cycle recorded live during Stuttgart Opera’s 2002/2003 season. Lothar Zagrosek For the first time in the history of the Ring cycle each of the four operas was staged with separate producers and casts. A production of EuroArts Music International GmbH and Südwestrundfunk in co-operation with ARTE and SBS-TV Gefördert von der Medien- und Filmgesellschaft Baden-Württemberg 8.660175-78 16 660175-78 bk Siegfried US 11/16/06 11:04 AM Page 2 Stuttgart Staatsorchester Established in 1589 as the Court Orchestra of Württemberg, the Württemberg Stuttgart State Orchestra has a history Siegfried of over four hundred years. Over the generations there have been collaborations with musicians of distinction, among them Leonhard Lechner, the Frobergers, Niccolò Jommelli, Johann Rudolf Zumsteeg, Konradin Kreutzer, The Second Day Johann Nepomuk Hummel and Carl Maria von Weber. Berlioz praised the orchestra, when he appeared with it as of conductor, and in the 1880s Stuttgart was one of the first to stage the complete Ring cycle, conducted by the then Der Ring des Nibelungen General Music Director Herman Zumpe, who had assisted Wagner at the first Bayreuth Festival. -
Kptals 3 Rafael Puyana
less than magnificently with a good ear for the richness and corded and none complexity of Wagnerian orchestration sung. The poignance of Lenski's aria in Swedish, and and a fine way with a big tune. ( His (sung, like the Lohengrin, Strauss Meistersinger suite, incidentally, departs also a role Bjoerling never assumed in the from convention to include the greatest opera house) is little short of harrow- variable Der Rosenkavalier of the third -act tunes. the chorale "Wach' ing. and the Swedish songs (of with in- auf! ") Anyone building a record library quality, to be sure) are done Because his lyric sense Scenes on a budget ought to consider this prime fectious fervor. material, both for its sound and its was innate and all- embracing. Bjoerling sympathies. R.C.M. was also a uniquely satisfying exponent of the German song repertory. This. then. is a cherishable and tan- talizing reminiscence of his art. It is also a vocal experience best described as thrilling. A.R. RAFAEL PUYANA: "Baroque Afas- terpieces for the Harpsichord' kptals 3 Rafael Puyana. harpsichord. MERCURY MG 50411. LP. $4.98. c:7tZScellany MERCURY SR 90411. SD. $5.98. There are several big works here: C. P. E. Bach's Folies d'Espagne. J. C. F. Fischer's Passacaglia in D minor, Louis Couperin's Pavanne in F sharp minor, and Rameau's Gavotte and Variations. Interspersed rmong them are short, contrasting pieces by Telemann, D. Scarlatti, Chambon- JUSSI BJOERLING: "Jussi Bjoerling nières, Dieupart, and François Cou- in Concert" perin. In the Bach, Puyana's frequent changes of registration make the work Wagner: Lohengrin: In fernerer Land. -
Australian Ephemera Collection Finding Aid (PROMPT): Joan Sutherland and Richard Bonynge 2
AUSTRALIAN EPHEMERA COLLECTION FINDING AID DAME JOAN SUTHERLAND, OM, AC, DBE AND RICHARD BONYNGE, AC, CBE PERFORMING ARTS PROGRAMS AND EPHEMERA (PROMPT) PRINTED AUSTRALIANA APRIL 2018 The Sutherland/Bonynge file in the Library’s PROMPT collection documents the extensive and intertwined Australian and overseas careers of opera singer Joan Sutherland, and orchestral conductor Richard Bonynge. This husband and wife team of musicians helped the career of the other by frequently performing together, her usually as principal singer under his baton. It was Bonynge who discovered Sutherland’s ability to sing the great bel canto roles and to this end he researched and conducted the operatic repertoire which most suited his wife’s unique coloratura voice. CONTENT Printed materials in the PROMPT collection include programs and printed ephemera such as brochures, leaflets, tickets, etc. Theatre programs are taken as the prime documentary evidence of a performance by Sutherland/Bonynge. In a few cases however, the only evidence of a performance is a piece of printed ephemera. In these cases the type of piece is identified, eg, brochure. The list is based on imperfect holdings and is updated as gaps in the Library’s holdings for these artists are filled. Unless otherwise stated, all entries are based on published programs in the PROMPT collection. For a list of Joan Sutherland’s performances to 31 December 1990, please refer to Richard Bonynge’s A prima donna's progress : the autobiography of Joan Sutherland. ACCESS The Sutherland/Bonynge PROMPT files may be accessed through the Library’s Special Collections Reading Room by eCallslip request: http://nla.gov.au/nla.cat-vn2657303.