Hansel and Gretel Synopsis 5 Guiding Questions 6
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Britten’S Ever-Fresh Musical Ideas, Create a Work of Charm and Considerable Dramatic Impetus
CMYK N Composed in a remarkably fecund period following the success of Peter Grimes, the 1948 cantata AXOS St Nicolas wedded amateur chorus with professional soloists and string orchestra in a highly effective re-telling of the story. The unusual forces, together with Britten’s ever-fresh musical ideas, create a work of charm and considerable dramatic impetus. The companion work on this CD is the rarely-heard 8.557203 student work Christ’s Nativity of 1931, featuring a carefully chosen sequence of texts to unify this short DDD suite. These fresh and atmospheric accounts were originally released on Collins Classics. 8.557203 Benjamin Playing Time BRITTEN 66:00 (1913-1976) 1 - 9 St Nicolas, Op. 42 45:20 BRITTEN: A Cantata 0 - $ Christ’s Nativity 16:19 Christmas Suite for Chorus (1931) % Psalm 150, Op. 67 4:21 St Nicolas St Nicolas Tracks 1 - 9 Philip Langridge, Tenor • Tallis Chamber Choir • English Chamber Orchestra Tracks 0 - $ BBC Singers www.naxos.com Made in E.C. Sung texts in English Booklet notes in English • Kommentar auf Deutsch h h Track % New London Children’s Choir • London Schools Symphony Orchestra & 1996 Lambourne Productions Ltd. Tracks 1 - % Steuart Bedford g 2003 HNH International Ltd. BRITTEN: Recorded at All Hallows, Gospel Oak, London Tracks 1 - 9 and % recorded 16th-17th March 1996 Producer: John H West • Engineer: Mike Hatch, Floating Earth Music Publishers: Boosey & Hawkes Music Publishers Limited Tracks 0 - $ recorded 21st March 1996 Producer: Michael Emery • Digital Editor: Marvin Ware • Balance Engineer: Mike Hatch, Floating Earth Music Publishers: Faber Music • MCPS • Text to St Nicolas g 1948 by Boosey & Co Ltd. -
Boston Symphony Orchestra Concert Programs, Summer, 2001, Tanglewood
SEMI OIAWA MUSIC DIRECTOR BERNARD HAITINK PRINCIPAL GUEST CONDUCTOR • i DALE CHIHULY INSTALLATIONS AND SCULPTURE / "^ik \ *t HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE ELM STREET, STOCKBRIDGE, MA 01262 . ( 41 3.298.3044 www. holstenga I leries * Save up to 70% off retail everyday! Allen-Edmoi. Nick Hilton C Baccarat Brooks Brothers msSPiSNEff3svS^:-A Coach ' 1 'Jv Cole-Haan v2^o im&. Crabtree & Evelyn OB^ Dansk Dockers Outlet by Designs Escada Garnet Hill Giorgio Armani .*, . >; General Store Godiva Chocolatier Hickey-Freeman/ "' ft & */ Bobby Jones '.-[ J. Crew At Historic Manch Johnston & Murphy Jones New York Levi's Outlet by Designs Manchester Lion's Share Bakery Maidenform Designer Outlets Mikasa Movado Visit us online at stervermo OshKosh B'Gosh Overland iMrt Peruvian Connection Polo/Ralph Lauren Seiko The Company Store Timberland Tumi/Kipling Versace Company Store Yves Delorme JUh** ! for Palais Royal Phone (800) 955 SHOP WS »'" A *Wtev : s-:s. 54 <M 5 "J* "^^SShfcjiy ORIGINS GAUCftV formerly TRIBAL ARTS GALLERY, NYC Ceremonial and modern sculpture for new and advanced collectors Open 7 Days 36 Main St. POB 905 413-298-0002 Stockbridge, MA 01262 Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship Bernard Haitink, Principal Guest Conductor One Hundred and Twentieth Season, 2000-2001 SYMPHONY HALL CENTENNIAL SEASON Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman Dr. Nicholas T. Zervas, President Julian Cohen, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Deborah B. Davis, Vice-Chairman Vincent M. O'Reilly, Treasurer Nina L. Doggett, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson John F. Cogan, Jr. Edna S. -
Policing: Ethnic Identification Among African American Police in Washington, D.C
“Black-on-Black” Policing: Ethnic Identification Among African American Police in Washington, D.C. and Oakland, CA The study advances an emerging literature on African American intra- ethnic distinction in examining the phenomenon in the context of policing. Data from the study derives from in-depth interviews with African American police officers in Oakland, California and Washington, D.C. – two cities with substantial African American authority in the police department and in local government. I find that the African American officers interviewed in the study situate themselves within "ethnic mobility” narratives in which their work in the criminal justice system furthers African American group interests, in contrast with the perceptions of police work expressed by friends and family. I show that these narratives conceptualize low-income African American communities in both inclusive and exclusive terms, depending on how officers define ethnic mobility and ethnic welfare. The findings lend credibility to research on the malleability of ethnic solidarity, while also informing socio-legal scholarship investigating ethnic diversity as an avenue toward police reform. Keywords: police, African American, race, ethnicity, urban. The Negro, more than perhaps a member of any other group, is bound by his ethnic definition even when he becomes a policeman. Nicholas Alex, Black in Blue (1969) “If it were up to me, I’d build big walls and just flood the place. Biblical like. Flood the place and start a-fresh. I think that’s all you can do….I’d let the good people build an ark and float out. Old people, working people, line ‘em up two by two” [emphasis added]. -
1. SUNSCREEN BOSSA NOVA I. Hand It Here, I Need to Rub My Legs
LIBRETTO 1. 3. SUNSCREEN BOSSA NOVA VACATIONERS’ CHORUS I. I. Hand it here, I need to rub my legs... TODAY THEY HAVE RAISED ‘Cause later they’ll peel and crack, THE RED AND YELLOW FLAG UP And chap. HIGH: THE WHIRLPOOLS OF THE SEA, Hand it I will rub you… DROP-OFFS, Otherwise, you’ll be red as a lobster… R IP-TIDES, UNDERTOWS. Hand it I will rub you… YOU’RE NOT ALLOWED TO WADE IN 2. DEEPER THAN YOUR KNEES! YOUNG MAN FROM THE VOLCANO COUPLE 4. SIREN’S ARIA I. I flew to a Portuguese corrida – I. A short trip, just for fun. The man I once married, But then the pilot had to land the plane My ex, he drowned in South-East Asia. in London: He was the best of swimmers, So I called up my friends On vacation with his girlfriend. And stayed over for a couple of days. To this very day, no one can understand And from that day on, how it could happen to him: Linda and I never been apart. Some say he was swimming out too far beyond the shore, Not a single climatologist predicted a And the deep waters took him in. scenario like this. Others, knowing him better, Maybe someone had a feeling – perhaps Claim he had suffered a cramp due to the bull?… a magnesium deficiency… …perhaps the bull?… 5. O la vida VACATIONERS’ CHORUS La vida... II. 8. YOU ARE STRONGLY ADVISED TO SONG OF EXHAUSTION. STAY ON SHORE, WORKAHOLIC’S SONG YOU SHOULD NOT LEAVE YOUR CHILDREN UNOBSERVED! I. -
Press Information Eno 2013/14 Season
PRESS INFORMATION ENO 2013/14 SEASON 1 #ENGLISHENO1314 NATIONAL OPERA Press Information 2013/4 CONTENTS Autumn 2013 4 FIDELIO Beethoven 6 DIE FLEDERMAUS Strauss 8 MADAM BUtteRFLY Puccini 10 THE MAGIC FLUte Mozart 12 SATYAGRAHA Glass Spring 2014 14 PeteR GRIMES Britten 18 RIGOLetto Verdi 20 RoDELINDA Handel 22 POWDER HeR FAce Adès Summer 2014 24 THEBANS Anderson 26 COSI FAN TUtte Mozart 28 BenvenUTO CELLINI Berlioz 30 THE PEARL FISHERS Bizet 32 RIveR OF FUNDAMent Barney & Bepler ENGLISH NATIONAL OPERA Press Information 2013/4 3 FIDELIO NEW PRODUCTION BEETHoven (1770–1827) Opens: 25 September 2013 (7 performances) One of the most sought-after opera and theatre directors of his generation, Calixto Bieito returns to ENO to direct a new production of Beethoven’s only opera, Fidelio. Bieito’s continued association with the company shows ENO’s commitment to highly theatrical and new interpretations of core repertoire. Following the success of his Carmen at ENO in 2012, described by The Guardian as ‘a cogent, gripping piece of work’, Bieito’s production of Fidelio comes to the London Coliseum after its 2010 premiere in Munich. Working with designer Rebecca Ringst, Bieito presents a vast Escher-like labyrinth set, symbolising the powerfully claustrophobic nature of the opera. Edward Gardner, ENO’s highly acclaimed Music Director, 2013 Olivier Award-nominee and recipient of an OBE for services to music, conducts an outstanding cast led by Stuart Skelton singing Florestan and Emma Bell as Leonore. Since his definitive performance of Peter Grimes at ENO, Skelton is now recognised as one of the finest heldentenors of his generation, appearing at the world’s major opera houses, including the Metropolitan Opera, New York, and Opéra National de Paris. -
LIBRETTO LOOP” (Created by Todd Woodard)
OPERA WARM UP ACTIVITY: “LIBRETTO LOOP” (created by Todd Woodard) • OBJECTIVE: To build a foundational knowledge of some basic Opera terms through physical and vocal engagement, while simultaneously building energy and ensemble. • STARTING POSITION: A Standing Circle (or “Loop”) • Sample TA Intro: “What is Libretto? … Yes, Libretto might be the text of an opera, but those words are brought to life through music, movement, emotion and ENERGY. So in this game, we are going to use some Opera terms as our simple libretto, and share them by passing ENERGY through, across and within our LOOP, using music, movement, and emotion.” • TERMS with ACTIONS: o RECITATIVE: • Pass LIBRETTO Energy to the person next to you by singing the word “Recitative” to a TA-set or individualized melody with a directional clap • This continues in same direction until someone changes it with a different term o ARIA: “Hold onto the energy before you pass it by taking a solo moment in the spotlight” • Person sings “Aria! Aria! Aria!”, perhaps bending on a knee with arm outstretched, or striking another strong emotional pose • Then pass the energy with “Recitative” or with one of the terms below o VIBRATO • Person with energy shakes hands out in the direction of previous person to induce a vibrato in the voice while singing an extended “Vi- brAAAAA-TOOOOOO”) • This bounces the energy back to the previous person and they continue with energy pass in the opposite direction o MELODY • First person sings “Melody” to a melody of their choice as they pass it to another person -
A Culture of Recording: Christopher Raeburn and the Decca Record Company
A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon. -
Britten Connections a Guide for Performers and Programmers
Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman. -
Last Breath Dragon Queen
Last Breath of the Dragon Queen An adventure for 30th-level characters By David Noonan “Tiamat who formed all things, illustration by William O’Connor Made in addition weapons invincible; cartography by Sean Macdonald and Mike Schley TM & © 2010 Wizards of the Coast LLC All rights reserved. she spawned monster-serpents, Sharp of tooth, and merciless of fang; With poison, instead of blood, she filled their bodies. Fierce monster-vipers she clothed with terror, With splendor she decked them, she made them of lofty stature. Whoever beheld them, terror overcame him, Their bodies reared up and none could withstand their attack.” —Enuma Elish, The Epic of Creation, L.W. King trans. February 2010 | Dungeon 175 4 Last Breath of the Dragon Queen “Last Breath of the Dragon Queen” is an adventure for times. Furthermore, she’s discovering that encourag- of Fiery Splendor, nor does he know where within five 30th-level characters. By the end of the adventure, ing competition and rivalry among her underlings is those caverns Tiamat’s lair could be found. the characters should have saved the universe, slain at best a double-edged sword. Many of Tiamat’s lieu- The Platinum Dragon does, however, have a lead. a god, and achieved their epic destinies, thus ending tenants are taking advantage of the Dragon Queen’s Centuries ago, a paladin named Berath led a cru- the campaign. This adventure is the final chapter in distraction to settle old scores and climb the pecking sade into the Caverns of Fiery Splendor. He’d grown the Scales of War adventure path, the culmination of order on the backs of their rivals. -
The Inventory of the Deborah Voigt Collection #1700
The Inventory of the Deborah Voigt Collection #1700 Howard Gotlieb Archival Research Center Voigt, Deborah #1700 6/29/05 Preliminary Listing I. Subject Files. Box 1 A Chronological files; includes printed material, photographs, memorabilia, professional material, other items. 1. 1987-1988. [F. 1] a. Mar. 1987; newsletters of The Riverside Opera Association, Verdi=s AUn Ballo in Maschera@ (role of Amelia). b. Apr. 1987; program from Honolulu Symphony (DV on p. 23). c. Nov. 1987; program of recital at Thorne Hall. d. Jan. 1988; program of Schwabacher Debut Recitals and review clippings from the San Francisco Examiner and an unknown newspaper. e. Mar. 1988; programs re: DeMunt=s ALa Monnaie@ and R. Strauss=s AElektra@ (role of Fünfte Magd). f. Apr. 1988; magazine of The Minnesota Orchestra Showcase, program for R. Wagner=s ADas Rheingold@ (role of Wellgunde; DV on pp. 19, 21), and review clippings from the Star Tribune and the St. Paul Pioneer Press Dispatch. g. Sep. - Oct. 1988; programs re: Opera Company of Philadelphia and the International Voice Competition (finalist competition 3; DV on p. 18), and newspaper clippings. 2. 1989. [F. 2] a. DV=s itineraries. (i) For Jan. 4 - Feb. 9, TS. (ii) For the Johann Strauss Orchestra on Vienna, Jan. 5 - Jan. 30, TS, 7 p. b. Items re: California State, Fullerton recital. (i) Copy of Daily Star Progress clipping, 2/10/89. (ii) Compendium of California State, Fullerton, 2/13/89. (iii) Newspaper clipping, preview, n.d. (iv) Orange County Register preview, 2/25/89. (v) Recital flyer, 2/25/89. (vi) Recital program, program notes, 2/25/89. -
Late Fall 2020 Classics & Jazz
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To Download the Full Archive
Complete Concerts and Recording Sessions Brighton Festival Chorus 27 Apr 1968 Concert Dome Concert Hall, Brighton Brighton Festival Belshazzar's Feast Walton William Walton Royal Philharmonic Orchestra Baritone Thomas Hemsley 11 May 1968 Concert Dome Concert Hall, Brighton Brighton Festival Kyrie in D minor, K 341 Mozart Colin Davis BBC Symphony Orchestra 27 Oct 1968 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Budavari Te Deum Kodály Laszlo Heltay Brighton Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Sarah Walker Tenor Paul Taylor Bass Brian Kay 23 Feb 1969 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Symphony No. 9 in D minor, op.125 Beethoven Herbert Menges Brighton Philharmonic Orchestra Soprano Elizabeth Harwood Mezzo-Soprano Barbara Robotham Tenor Kenneth MacDonald Bass Raimund Herincx 09 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Mass in D Dvorák Václav Smetáček Czech Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Valerie Baulard Tenor Paul Taylor Bass Michael Rippon Sussex University Choir 11 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Liebeslieder-Walzer Brahms Laszlo Heltay Piano Courtney Kenny Piano Roy Langridge 25 Jan 1970 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Requiem Fauré Laszlo Heltay Brighton Philharmonic Orchestra Soprano Maureen Keetch Baritone Robert Bateman Organ Roy Langridge 09 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Mass in B Minor Bach Karl Richter English Chamber Orchestra Soprano Ann Pashley Mezzo-Soprano Meriel Dickinson Tenor Paul Taylor Bass Stafford Dean Bass Michael Rippon Sussex University Choir 1 Brighton Festival Chorus 17 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Fantasia for Piano, Chorus and Orchestra in C minor Beethoven Symphony No.