Puccini — TOSCA
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Parsifal and Canada: a Documentary Study
Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article. -
L'opera Famiglia PR .Qxp Layout 1
November 10, 2020 FOR IMMEDIATE RELEASE Contact: James Cassidy (859) 431-6216 [email protected] L’Opera Famiglia (Two couples, great arias) 7:30 p.m. November 21, 2020 St. Peter in Chains Cathedral Basilica 8th and Plum Cincinnati, OH The Kentucky Symphony Orchestra continues its 29th season of in-person performances and live streaming with an evening of operatic and sacred arias. The KSO, over the last 20 seasons, has offered audiences complete concert operas — Tosca, Otello, La Boheme, Rigoletto, Samson & Delilah and Turandot. These productions featured a number of internationally recognized singers, many with local ties (CCM and the Cincinnati Opera). Four of these artists return as two couples for L’Opera Famiglia on November 21 at the Cathedral Basilica of St. Peter in Chains. Mezzo soprano Stacey Rishoi appeared in a KSO “Sopranos” evening and as Delilah (Samson & Delilah). Her husband Gustav Andreassen (bass) sang the role of Sparafucille (Rigoletto). Stacey and Gus when not on the road reside Bellevue, KY. Stuart Neill KSO at St. Peter in Chains Cathedral Feb. 23, 2020 (tenor) and Sandra Lopez (soprano) met as Rodolfo and Mimi in the KSO’s 2007 production of La Boheme. They were married a couple years later and live in Miami. “As with any team sport or artistic collaboration, cast chemistry is vital for success. We were fortunate for the stars to align to find these wonderful performers available this week,” commented KSO music director, James Cassidy. Those who don’t think that opera is their cup of tea, might be surprised to find many of the selections on the program very familiar to a universal audience (see below). -
CHAN 3000 FRONT.Qxd
CHAN 3000 FRONT.qxd 22/8/07 1:07 pm Page 1 CHAN 3000(2) CHANDOS O PERA IN ENGLISH David Parry PETE MOOES FOUNDATION Puccini TOSCA CHAN 3000(2) BOOK.qxd 22/8/07 1:14 pm Page 2 Giacomo Puccini (1858–1924) Tosca AKG An opera in three acts Libretto by Giuseppe Giacosa and Luigi Illica after the play La Tosca by Victorien Sardou English version by Edmund Tracey Floria Tosca, celebrated opera singer ..............................................................Jane Eaglen soprano Mario Cavaradossi, painter ..........................................................................Dennis O’Neill tenor Baron Scarpia, Chief of Police................................................................Gregory Yurisich baritone Cesare Angelotti, resistance fighter ........................................................................Peter Rose bass Sacristan ....................................................................................................Andrew Shore baritone Spoletta, police agent ........................................................................................John Daszak tenor Sciarrone, Baron Scarpia’s orderly ..............................................Christopher Booth-Jones baritone Jailor ........................................................................................................Ashley Holland baritone A Shepherd Boy ............................................................................................Charbel Michael alto Geoffrey Mitchell Choir The Peter Kay Children’s Choir Giacomo Puccini, c. 1900 -
Model Driven Orchestration with TOSCA and ARIA Dawn of Apis
Model Driven Orchestration with TOSCA and ARIA Dawn of APIs File Edit View Insert Slide Format Arrange Tools Table Help All changes saved in Drive File Edit View Insert Slide Format Arrange Tools Table Help All changes saved in Drive Arial DIGITAL BABYLON A Background... Layout Theme... Transition... The promise of TOSCA Topology and Orchestration Specification for Cloud Applications TOSCA Descriptive Language Normative Types “tosca.nodes.compute” Abstraction openstack.nodes.compute: Derived_from: tosca.nodes.compute Extensibility “aria.kubernetes.Microservice” Composition Imports: app-backend-blueprint.yaml TOSCA Descriptive Language ● Strict ○ Object-oriented, strictly typed, polymorphic ○ Rich set of base types (Simple Profile + Simple Profile for NFV) ○ Normative lifecycle (install, uninstall, start, stop) ● Agnostic ○ Not specific to any cloud provider (multi-VIM is hard) ○ Not specific to any machine technology (tosca.nodes.Compute = VM, container, cage, or…?) ○ Base types designed to be lowest-common denominators (politics) ○ Base types are optional ○ Support for generic workflows in TOSCA 1.1 Orchestration of APIs App1 App2 Template YAML Artifact (Scripts,Images) TOSCAPackage (*.CSAR) Implementation of TOSCA Open Source Open Governance Apache 2.0 License Apache Software Foundation ARIA’s Goal BY 1. Simplify path to support TOSCA 10X ARIA’s Goal 1. Simplify BY path to support TOSCA 2. Simplify 10X creation of TOSCA applications ARIA’s Goal 1. Simplify path to support TOSCA 2. Simplify BY creation of TOSCA applications 3. Simplify 10X exploration of new models Project Principles ● Vendor Neutral ● Technology Independent ● Interoperability across orchestration vendors Spec Uses ARIA for TOSCA orchestration TOSCA Spec Definition Definition TOSCA Spec Implementation Uses ARIA for TOSCA orchestration Use Cases & Models Uses ARIA for TOSCA orchestration Others So, What is ARIA? What is ARIA? 1. -
Developing the Young Dramatic Soprano Voice Ages 15-22 Is Approved in Partial Fulfillment of the Requirements for the Degree Of
DEVELOPING THE YOUNG DRAMATIC SOPRANO VOICE AGES 15-22 By Monica Ariane Williams Bachelor of Arts – Vocal Arts University of Southern California 1993 Master of Music – Vocal Arts University of Southern California 1995 A dissertation submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas December 2020 Copyright 2021 Monica Ariane Williams All Rights Reserved Dissertation Approval The Graduate College The University of Nevada, Las Vegas November 30, 2020 This dissertation prepared by Monica Ariane Williams entitled Developing the Young Dramatic Soprano Voice Ages 15-22 is approved in partial fulfillment of the requirements for the degree of Doctor of Musical Arts School of Music Alfonse Anderson, DMA. Kathryn Hausbeck Korgan, Ph.D. Examination Committee Chair Graduate College Dean Linda Lister, DMA. Examination Committee Member David Weiller, MM. Examination Committee Member Dean Gronemeier, DMA, JD. Examination Committee Member Joe Bynum, MFA. Graduate College Faculty Representative ii ABSTRACT This doctoral dissertation provides information on how to develop the young dramatic soprano, specifically through more concentrated focus on the breath. Proper breathing is considered the single most important skill a singer will learn, but its methodology continues to mystify multitudes of singers and voice teachers. Voice professionals often write treatises with a chapter or two devoted to breathing, whose explanations are extremely varied, complex or vague. Young dramatic sopranos, whose voices are unwieldy and take longer to develop are at a particular disadvantage for absorbing a solid vocal technique. First, a description, classification and brief history of the young dramatic soprano is discussed along with a retracing of breath methodologies relevant to the young dramatic soprano’s development. -
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. -
Alvin Ailey Dance Foundation
2006 Spring Opera Season is sponsored by Cadillac Copyright 2010, Michigan Opera Theatre LaSalle Bank salutes those who make the arts a part of our lives. Personal Banking· Commercial Banking· Wealth Management Making more possible LaSalle Bank ABN AMRO ~ www. la sal lebank.com t:.I Wealth Management is a division of LaSalle Bank, NA Copyright 2010,i'ENm Michigan © 2005 LaSalle Opera Bank NTheatre.A. Member FDIC. Equal Opportunity Lender. 2006 The Official MagaZine of the Detroit Opera House BRAVO IS A MICHI GAN OPERA THEAT RE P UB LI CATION Sprin",,---~ CONTRI BUTORS Dr. David DiChiera Karen VanderKloot DiChiera eason Roberto Mauro Michigan Opera Theatre Staff Dave Blackburn, Editor -wELCOME P UBLISHER Letter from Dr. D avid DiChiera ...... .. ..... ...... 4 Live Publishing Company Frank Cucciarre, Design and Art Direction ON STAGE Bli nk Concept &: Design, Inc. Production LES GRAND BALLETS CANADIENS de MONTREAL .. 7 Chuck Rosenberg, Copy Editor Be Moved! Differently . ............................... ... 8 Toby Faber, Director of Advertising Sales Physicians' service provided by Henry Ford AIDA ............... ..... ...... ... .. ... .. .... 11 Medical Center. Setting ................ .. .. .................. .... 12 Aida and the Detroit Opera House . ..... ... ... 14 Pepsi-Cola is the official soft drink and juice provider for the Detroit Opera House. C INDERELLA ...... ....... ... ......... ..... .... 15 Cadillac Coffee is the official coffee of the Detroit Setting . ......... ....... ....... ... .. .. 16 Opera House. Steinway is the official piano of the Detroit Opera ALVIN AILEY AMERICAN DANCE THEATER .. ..... 17 House and Michigan Opera Theatre. Steinway All About Ailey. 18 pianos are provided by Hammell Music, exclusive representative for Steinway and Sons in Michigan. SALOME ........ ... ......... .. ... ... 23 President Tuxedo is the official provider of Setting ............. .. ..... .......... ..... 24 formal wear for the Detroit Opera House. -
Michael Schade at a Special Release of His New Hyperion Recording “Of Ladies and Love...”
th La Scena Musicale cene English Canada Special Edition September - October 2002 Issue 01 Classical Music & Jazz Season Previews & Calendar Southern Ontario & Western Canada MichaelPerpetual Schade Motion Canada Post Publications Mail Sales Agreement n˚. 40025257 FREE TMS 1-01/colorpages 9/3/02 4:16 PM Page 2 Meet Michael Schade At a Special Release of his new Hyperion recording “Of ladies and love...” Thursday Sept.26 At L’Atelier Grigorian Toronto 70 Yorkville Ave. 5:30 - 7:30 pm Saturday Sept. 28 At L’Atelier Grigorian Oakville 210 Lakeshore Rd.E. 1:00 - 3:00 pm The World’s Finest Classical & Jazz Music Emporium L’Atelier Grigorian g Yorkville Avenue, U of T Bookstore, & Oakville GLENN GOULD A State of Wonder- The Complete Goldberg Variations (S3K 87703) The Goldberg Variations are Glenn Gould’s signature work. He recorded two versions of Bach’s great composition—once in 1955 and again in 1981. It is a testament to Gould’s genius that he could record the same piece of music twice—so differently, yet each version brilliant in its own way. Glenn Gould— A State Of Wonder brings together both of Gould’s legendary performances of The Goldberg Variations for the first time in a deluxe, digitally remastered, 3-CD set. Sony Classical celebrates the 70th anniversary of Glenn Gould's birth with a collection of limited edition CDs. This beautifully packaged collection contains the cornerstones of Gould’s career that marked him as a genius of our time. A supreme intrepreter of Bach, these recordings are an essential addition to every music collection. -
Rimrock Opera Presents
Rimrock Opera presents Special Student Performance April 28, Thursday 9 – Noon Public Performances April 30 & May 1, 2011 Alberta Bair Theater, Billings, Montana Rimrock Opera History Until the founding of the Rimrock Opera in 1999, opera was a scarce commodity in Billings. Occasional opera performances by touring groups attracted large audiences even though the accompaniment was usually provided by piano rather than orchestra. One notable exception was the 1964 Territorial Celebration tour of Puccini‟s Girl of the Golden West, produced by the University of Montana and presented in a dozen sites throughout the state including Billings‟ Fox Theater. Included in the tour cast were Lee Mathews (who subsequently was the stage director for the 1989 premiere of Pamelia at the Alberta Bair Theater) and Edward Harris (who helped in starting the Rimrock Opera). In the 1970s, the presence of guest artist Julian Patrick at Rocky Mountain College made it possible for RMC‟s Don Pihlaja to produce The Old Maid and the Thief and Down in the Valley. In a burst of venturesome programming, Billings Symphony Orchestra conductor George Perkins directed a Billings production of The Magic Flute in 1973. (Included in the local cast in his first operatic experience was Douglas Nagel as Papageno.) Perkins later directed a lavish local production of The Mikado which featured sets designed by famed artist Hall Diteman. The opera Pamelia premiered at the Alberta Bair Theater in 1989. Pamelia combined local and professional talents and was made possible largely through the fund-raising work of Billings volunteer Ellen Alweis. The Western Opera Company presented its touring production of Die Fledermaus in October, 1993. -
Holly Flack, Coloratura Soprano
HOLLY FLACK, COLORATURA SOPRANO Coloratura soprano Holly Flack has a unique range that extends beyond an octave above high C. She has been praised as, “wielding an impressive range, effortlessly reaching higher than high notes” with her stratospheric vocal extension. Ms. Flack’s roles include Queen of the Night in The Magic Flute, Ophélie in Hamlet, Gilda in Rigoletto, Morgana in Alcina, Despina in Cosi fan Tutte, and Peep-Bo in The Mikado. As a young artist, she covered Marie in Daughter of the Regiment with Fargo-Moorhead Opera, and Olympia in Les Contes d’Hoffmann with St. Petersburg Opera. She also performed Maggie Anderson in Brigadoon, Gabrielle in Can-Can, and Mae in Oh, Kay! with Ohio Light Opera. She was a featured young artist with the iSing! International Young Artists Festival, where she was specifically chosen to perform for China’s National Day Celebration on Dragon TV, one of the largest official television networks in Shanghai. She was also featured on Jiangsu Weishi TV, a national network, in celebration of the Chinese New Year. Ms. Flack made her international debut at the Trentino Music Festival in Mezzano, Italy singing the role of the Vixen in Leos Janacek’s The Cunning Little Vixen. She has also performed with the Bel Canto Opera Festival, Astoria Opera Festival, and Operafestival di Roma. Originally from Portland, Oregon, she holds a Bachelor Degree in Vocal Performance from St. Olaf College, and a Master Degree in Vocal Performance from the University of Kentucky, where she studied with Cynthia Lawrence. 205 W. 88th St., Suite 13A*New York, NY*10024*646-620-1313*305-259-4398(fax)*Email:[email protected] www.mia-artists.com HOLLY FLACK, COLORATURA SOPRANO Performance_______________________________________________________________ Elvira L’Italiana in Algeri Winter Opera St. -
Educator's Guide
PRESENTS OPERA 101 EDUCATOR’S GUIDE WELCOME HELLO! Thank you for inviting The Atlanta Opera to perform In using this guide, we hope you will feel free to for your students! A core mission of The Atlanta adapt pages or activities to best meet the needs of Opera is to provide opportunities for students of all your students. A simple activity may be a perfect ages – we believe opera is for everyone and we are launching pad for a higher-level lesson, and a committed to ensuring that the art form is available to complex lesson may contain key points onto which the widest possible cross-section of our community. younger students can latch. Please make this guide Each year, our education programs serve more than your own! 25,000 students in Metro-Atlanta and throughout the state of Georgia. Our programs seek to inspire Thank you again for allowing us to share this creativity, stimulate critical conversations, promote experience with you. We value your feedback and an enduring appreciation of the arts, and create will take it into account in planning future education audiences for the future. programs. We look forward to hearing from you, your students, administration, and/or parents following This educator guide has been developed to help the performance. you familiarize students with the art form of opera (vocabulary, history, etc.). The guide approaches these Sincerely, subjects via a wide range of disciplines, including The Atlanta Opera English Language Arts, Science, Music, Theater and Education Department Social Studies. Our goal is to provide you with an 1575 Northside Drive, Suite 350, Atlanta, GA 30318 innovative, multidisciplinary approach to teaching 404-881-8801 required skills and curriculum, including connections to [email protected] the Georgia Standards of Excellence. -
Simon K. Lee, Tenor
SIMON K. LEE, TENOR Tenor Simon K. Lee was born in Busan, South Korea where he began his musical training. He moved to Italy, where it was discovered that he had a natural affinity for the verismo style. Carlos Montané and Mtro Ubaldo Gardini gave him confidence that his voice suits for Verdi and Puccini. Mr. Lee went on to perform a recital at the first annual Festival Notte Musicali Modenesi in Italy. Mr. Lee then moved to the United States where he participated in the Sherrill Milnes Opera Program and while there worked with Sherrill Milnes and Inci Bashar. Under the direction of world renowned opera singers, Jennifer Larmore and Giacomo Aragall, Mr. Lee continued his career to include his Carnegie Hall debut for Haydn's Paukenmesse with the New England Symphony, Giles Corey in Crucible, Cavaradossi in Tosca, Calaf in Turandot, Rodolfo in La Boheme, Alfredo in La Traviata, Radames in Aida, Duke in Rigoletto, Manrico in Il Trovatore, Riccardo in Un Ballo in Maschera, Rodolfo in La Boheme, 3rd Jew in Salome, Luigi in Il Tabarro, Rinuccio in GianniSchicchi and even a rarely heard Verdi opera the I Lombardi in his Chicago Premiere with the da Corneto Opera as Arvino. Mr. Lee has appeared in the leading tenor roles with companies in the US, Europe as well as in Asia. Mr. Lee has performed with such companies as Singapore Lyric Opera, Busan Natoyan Opera, Opera New Hampshire, Vail Opera, Palm Desert Opera, the Gold & Treasure Coast Operas, Panama City Opera, Utah Festival Opera, da Corneto Opera, Chamber Opera Chicago, Chicago Festival Opera, Kansas City Puccini Festival, Opera North Carolina, Opera Tulsa, Sunstate Opera, Teatro Lirico D'Europa and World Classical Musical Society.