Brian Law Opera Competition Program
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A Midsummer Night's Dream
Monday 25, Wednesday 27 February, Friday 1, Monday 4 March, 7pm Silk Street Theatre A Midsummer Night’s Dream by Benjamin Britten Dominic Wheeler conductor Martin Lloyd-Evans director Ruari Murchison designer Mark Jonathan lighting designer Guildhall School of Music & Drama Guildhall School Movement Founded in 1880 by the Opera Course and Dance City of London Corporation Victoria Newlyn Head of Opera Caitlin Fretwell Chairman of the Board of Governors Studies Walsh Vivienne Littlechild Dominic Wheeler Combat Principal Resident Producer Jonathan Leverett Lynne Williams Martin Lloyd-Evans Language Coaches Vice-Principal and Director of Music Coaches Emma Abbate Jonathan Vaughan Lionel Friend Florence Daguerre Alex Ingram de Hureaux Anthony Legge Matteo Dalle Fratte Please visit our website at gsmd.ac.uk (guest) Aurelia Jonvaux Michael Lloyd Johanna Mayr Elizabeth Marcus Norbert Meyn Linnhe Robertson Emanuele Moris Peter Robinson Lada Valešova Stephen Rose Elizabeth Rowe Opera Department Susanna Stranders Manager Jonathan Papp (guest) Steven Gietzen Drama Guildhall School Martin Lloyd-Evans Vocal Studies Victoria Newlyn Department Simon Cole Head of Vocal Studies Armin Zanner Deputy Head of The Guildhall School Vocal Studies is part of Culture Mile: culturemile.london Samantha Malk The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation A Midsummer Night’s Dream Music by Benjamin Britten Libretto adapted from Shakespeare by Benjamin Britten and Peter Pears -
Part V Soloists, Guest Ensembles, and Guest Conductors, 1926-2001
174 Part V Soloists, Guest Ensembles, and Guest Conductors, 1926-2001 The following list does not include soloists for staged opera performances. I have also excluded soloists who performed art songs or chamber works. This list does include “Pops” performers, even though their repertoire might be listed only as “selections” and thus excluded from Part II. See the table of contents (p.iii) for the organization of the following. Pippa Borisey (Steenbock Award - twice) Piano Beethoven, Concerto No.1 for Piano and Steve Allen Orchestra (first mvt.) / 3/11/84(y) Pops soloist / 5/7/77(p) Schumann, Concerto for Piano and Orchestra Augustin Anievas (first mvt.) / 5/18/86(y) Rachmaninoff, Rhapsody on a Theme of Paganini, Gerald Borsuk for Piano and Orchestra / 10/24/70 Beethoven, Concerto No.2 for Piano and Claudio Arrau Orchestra (first mvt.) / 2/19/35 Beethoven, Concerto No.5 for Piano and Gershwin, Concerto in F for Piano and Orchestra / Orchestra, "Emperor" / 2/3/79 4/11/51 David Askins (Steenbock Award) John Browning Mozart, Concerto No.20 for Piano and Orchestra, Barber, Concerto for Piano and Orchestra / K.466 (first movement) / 4/6/74(y) 10/9/99 Emmanuel Ax Beethoven, Concerto No.3 for Piano and Chopin, Concerto No.1 for Piano and Orchestra / Orchestra / 12/8/73 9/29/79 Mozart, Concerto No.23 for Piano and Orchestra, Paul Badura-Skoda K.488 / 10/15/77 Beethoven, Concerto No.5 for Piano and Prokofiev, Concerto No.3 for Piano and Orchestra Orchestra, "Emperor" / 4/10/68 / 4/27/91 Allen Barker Ravel, Concerto in D Major for Piano Left Hand, -
Il Segreto Di Susanna
Ermanno WOLF-FERRARI Il Segreto di Susanna Serenade for Strings Judith Howarth Àngel Òdena Oviedo Filarmonía Friedrich Haider Ermanno Wolf-Ferrari (1876–1948) Il segreto di Susanna (1905–09) · Serenade for Strings in E flat major (1893) Ermanno In 1903, the Residenztheater in Munich staged a premiere work of a master-craftsman. It was given its first performance that established the reputation of a young German-Italian at the Munich Odeon on 7 July 1894 and was well-received, WOLF-FERRARI composer, Ermanno Wolf-Ferrari (1876–1948). Although ‘with much benevolent shaking of professorial heads’, as (1876–1948) he was only 27 years old, Wolf-Ferrari’s opera Le donne Wolf-Ferrari later recalled. This Serenade is an early work, curiose succeeded not only in giving the comedies of but everything that was to characterise the composer’s art the Venetian dramatist Carlo Goldoni (1707–1793) a new from then on is already there – the individual tone of voice lease of artistic life, but also in launching a fundamental that sits somewhere between carefree cheerfulness, bliss Il segreto di Susanna renewal of opera buffa offering a clear alternative to the and bitter melancholy, the gift for writing inspired melodies Intermezzo in one act (1905–09) dominance of Richard Wagner and Giacomo Puccini. (the Andante), and not least the ability to integrate polyphonic Libretto by Enrico Golisciani (1848–1918) The years that followed were perhaps Wolf-Ferrari’s most writing into the music almost playfully, but at the same time in productive period as a composer: I quattro rusteghi, Il a way that is full of expression (the fugato of the final Presto). -
(WA Opera Society
W.A.OPERA COMPANY (W.A. Opera Society - Forerunner) PR9290 Flyers and General 1. Faust – 14th to 23rd August; and La Boheme – 26th to 30th August. Flyer. 1969. 2. There’s a conspiracy brewing in Perth. It starts September 16th. ‘A Masked Ball’ Booklet. c1971. D 3. The bat comes to Perth on June 3. Don’t miss it. Flyer. 1971. 4. ‘The Gypsy Baron’ presented by The W.A. Opera Company – Gala Charity Premiere. Wednesday 10th May, 1972. Flyer. 5. 2 great love operas. Puccini’s ‘Madame Butterfly’ ; Rossini’s ‘The Barber of Seville’ on alternate nights. September 14-30. Flyer. 1972. D 6. ‘Rita’ by Donizetti and ‘Gallantry’ by Douglas Moore. Sept. 9th-11th, & 16th, 17th. 1p. flyer. c1976. 7. ‘Sour Angelica’ by Puccini, Invitation letter to workshop presentation. 1p..Undated. 8. Letter to members about Constitution Amendments. 2p. July 1976. 9. Notice of Extraordinary General Meeting re Constitution Change. 1p. 7 July 1976. 10. Notice of Extraordinay General Meeting – Agenda and Election Notice. 1p. July 1976. 11. Letter to Members summarising events occurring March – June 1976. 1p. July 1976. 12. Memo to Acting Interim Board of Directors re- Constitutional Developments and Confrontation Issues. 3p. July 1976. 13. Campaign letter for election of directors on to the Board. 3p. 1976. 14. Short Biographies on nominees for Board of Directors. 1p.. 1976. 15. Special Priviledge Offer. for ‘The Bear’ by William Walton and ‘William Derrincourt’ by Roger Smalley. 1p. 1977. 16. Membership Card. 1976. 17. Concession Vouchers for 1976 and 1977. 18. The Western Australian Opera Company 1980 Season. -
Finley Is Falstaff by Ute Davis Those of Us Who Know the Slim, Handsome, Modest Dic Movement and Timing That Set Her Apart
é é é Soci t d' Op ra NATIONAL CAPITAL de la CAPITALE NATIONALE Opera Society Winter 2015 NEWSLETTER : BULLETIN Hiver 2015 Transformation!! Finley is Falstaff by Ute Davis Those of us who know the slim, handsome, modest dic movement and timing that set her apart. Her inter- Gerald Finley, simply stopped and gaped when he action with Sir John added vastly to my enjoyment. I un- appeared on the COC stage as the obese, overbear- derstand it even was her idea to give her coat, worn at the ing, pompous Sir John! The transformation was so Garter Inn encounter with Gerald Finley, the same lining complete and dramatic that it took the opening several material as was that of her dress. This would only be funny bars of music for me to realize that it really was Gerald to those of you who actually saw the COC production. Finley inside the masses of body padding and plastic Colin Ainsworth as Bardolfo and Robert face, neck and leg prostheses. Then he began to sing Gleadow as Pistola were appropriately disreputable and the Falstaff character truly came to life. in dress and behaviour, an excellent foil for Falstaff Indeed Finley’s Falstaff is, under the direc- whose dapper appearance whether in tweeds or hunt- tion of Robert Carsen, larger ing pink demonstrated the value than life, supremely funny and of a skilled tailor, no matter what superb entertainment. The your body shape.Lyne Fortin balance of comedy, some and Lauren Segal supplied the subtle and some obvious, with required charm and colour as moments of pathos was finely well as fine singing. -
Compositions-By-Frank-Zappa.Pdf
Compositions by Frank Zappa Heikki Poroila Honkakirja 2017 Publisher Honkakirja, Helsinki 2017 Layout Heikki Poroila Front cover painting © Eevariitta Poroila 2017 Other original drawings © Marko Nakari 2017 Text © Heikki Poroila 2017 Version number 1.0 (October 28, 2017) Non-commercial use, copying and linking of this publication for free is fine, if the author and source are mentioned. I do not own the facts, I just made the studying and organizing. Thanks to all the other Zappa enthusiasts around the globe, especially ROMÁN GARCÍA ALBERTOS and his Information Is Not Knowledge at globalia.net/donlope/fz Corrections are warmly welcomed ([email protected]). The Finnish Library Foundation has kindly supported economically the compiling of this free version. 01.4 Poroila, Heikki Compositions by Frank Zappa / Heikki Poroila ; Front cover painting Eevariitta Poroila ; Other original drawings Marko Nakari. – Helsinki : Honkakirja, 2017. – 315 p. : ill. – ISBN 978-952-68711-2-7 (PDF) ISBN 978-952-68711-2-7 Compositions by Frank Zappa 2 To Olli Virtaperko the best living interpreter of Frank Zappa’s music Compositions by Frank Zappa 3 contents Arf! Arf! Arf! 5 Frank Zappa and a composer’s work catalog 7 Instructions 13 Printed sources 14 Used audiovisual publications 17 Zappa’s manuscripts and music publishing companies 21 Fonts 23 Dates and places 23 Compositions by Frank Zappa A 25 B 37 C 54 D 68 E 83 F 89 G 100 H 107 I 116 J 129 K 134 L 137 M 151 N 167 O 174 P 182 Q 196 R 197 S 207 T 229 U 246 V 250 W 254 X 270 Y 270 Z 275 1-600 278 Covers & other involvements 282 No index! 313 One night at Alte Oper 314 Compositions by Frank Zappa 4 Arf! Arf! Arf! You are reading an enhanced (corrected, enlarged and more detailed) PDF edition in English of my printed book Frank Zappan sävellykset (Suomen musiikkikirjastoyhdistys 2015, in Finnish). -
Media Release
Media Release FOR IMMEDIATE RELEASE: November 14, 2019 Contact: Edward Wilensky (619) 232-7636 [email protected] San Diego Opera’s 2019-2020 Season Continues with Hansel and Gretel Whimsical interpretation of classic fairy tale uses puppetry to bring the magical forest to life Blythe Gaissert (Hansel) and Sara Gartland (Gretel) make welcome returns to the Company San Diego, CA – San Diego Opera’s 2019-2020 mainstage season continues with Engelbert Humperdinck’s Hansel and Gretel, which opens on Saturday, February 8, 2020 at the San Diego Civic Theatre for four performances. Additional performances are February 11, 14, and 16 (matinee), 2020. This family-friendly, fully-staged, production of Hansel and Gretel marks the welcome return of mezzo- soprano Blythe Gaissert, last heard as Hannah After in 2017’s As One, as Hansel and soprano Sara Gartland, last heard as Musetta in 2015’s La bohème, as Gretel. They will be joined by returning baritone Malcolm MacKenzie, last heard as Schaunard in 2015’s La bohème, as the Father and returning tenor Joel Sorensen, last heard as Pong in 2018’s Turandot, as the Witch. Making exciting Company debuts are sopranos Marcy Stonikas as the Mother and Devon Guthrie as the Dew Fairy/Sandman. Conductor Ari Pelto makes his Company debut leading the San Diego Symphony from the podium and stage director Brenna Conner will stage the production. This is a new production for San Diego Opera audiences from Vancouver Opera. This production uses many life-sized puppets in the style of Japanese bunraku puppetry. The puppet design is by Old Trout Puppet Workshop. -
Wolf-Ferrari
MUSICA ITALIANA Orchestral Works WOLF-FERRARI Karen Geoghegan bassoon BBC Philharmonic Gianandrea Noseda CHAN 10511 Ermanno Wolf-Ferrari (1876 – 1948) Suite from the opera ‘I gioielli della Madonna’ (1911) 16:48 1 I Festa popolare 4:34 2 II Intermezzo 4:28 3 III Serenata 3:44 4 IV Danza napolitana 3:48 © Lebrecht Music & Arts Photo Library From the opera ‘I quattro rusteghi’ (1906) 5:31 5 Prelude 2:04 6 Intermezzo 3:26 Suite-Concertino in F major, Op.16 (1932)* 21:56 for bassoon and orchestra 7 I Notturno. Andante un poco mosso 9:23 8 II Strimpellata. Presto 2 :11 9 III Canzone. Andante cantabile 4:46 10 IV Finale. Andante con moto 5:26 From the opera ‘Il segreto di Susanna’ (1909) 6:25 11 Overture 2:44 12 Intermezzo 3:41 John Bradbury solo clarinet Ermanno Wolf-Ferrari 3 Wolf-Ferrari: Orchestral Works As an Italian opera composer who was The reason Italian opera houses took more successful in Germany than in his comparatively little interest in his work at From the opera ‘L’amore medico’ (1913) 13:32 own country, Ermanno Wolf-Ferrari is a rare this time could have been that they were 13 Overture 7:59 phenomenon. He was born and died in Venice not ready for it. That is not to say that his 14 Intermezzo 5:33 but he made his home in or near Munich music was too progressive for them. On the Peter Dixon solo cello and most of his operas were first staged in contrary: if they were looking for something German versions in German opera houses. -
2 8764 Couvert Fnal
ORCHESTRE SYMPHONIQUE DE MONTRÉAL Depuis sa fondation en 1934, l’Orchestre sympho- tournée européenne en plus de dix ans (2009). En nique de Montréal s’est illustré à titre de chef septembre 2008, maestro Nagano et sept musiciens de fi le de la vie symphonique canadienne et qué- de l’OSM ont effectué une tournée au Nunavik, dans bécoise. Ambassadeur culturel de premier plan, le Nord du Québec, interprétant L’histoire du soldat l’Orchestre a acquis une réputation des plus de Stravinski, narrée en inuktitut. Également en enviables à l’international par la qualité de ses 2008, Kent Nagano et l’OSM ont fait leurs débuts nombreux enregistrements et tournées. L’OSM conjoints au Carnegie Hall de New York, où l’Or- poursuit cette riche tradition sous la gouverne chestre avait joué presque annuellement de 1982 à de son directeur musical Kent Nagano, tout en 2004 devant des salles combles. Maestro Nagano se distinguant par une programmation novatrice et l’OSM ont joué de nouveau au Carnegie Hall en qui vise à actualiser le répertoire symphonique 2011, puis ils ont pris part au Festival international et consolider l’ancrage de l’Orchestre au sein de d’Édimbourg en août de cette même année, pour la sa communauté. première fois de l’histoire de l’OSM. Après une tour- née en Amérique du Sud acclamée par la critique au L’excellence et la vision de l’OSM ont été façonnées printemps 2013, Kent Nagano et l’OSM effectuaient au fi l des ans par ses directeurs musicaux : Wilfrid en mars 2014 une tournée d’envergure en Europe. -
Central Opera Service Bulletin • Vol
CENTRAL OPERA SERVICE COMMITTEE Founder MRS. AUGUST BELMONT Honorary National Chairman ROBERT L. B. TOBIN National Chairman ELIHU M. HYNDMAN National Co-Chairmen MRS. NORRIS DARRELL GEORGE HOWERTON Profntional Committee KURT HERBERT ADLER BORIS GOLDOVSKY San Francisco Opera Goldovsky Opera Theatre WILFRED C. BAIN DAVID LLOYD Indiana University Lake George Opera Festival GRANT BEGLARIAN LOTFI MANSOURI University of So. California Canadian Opera Company MORITZ BOMHARD GLADYS MATHEW Kentucky Opera Association Community Opera SARAH CALDWELL RUSSELL D. PATTERSON Opera Company of Boston Lyric Opera of Kansas City TITO CAPOBIANCO MRS. JOHN DEWITT PELTZ San Diego Opera Metropolitan Opera KENNETH CASWELL EDWARD PURRINGTON Memphis Opera Theatre Tulsa Opera ROBERT J. COLLINGE GLYNN ROSS Baltimore Opera Company Seattle Opera Association JOHN CROSBY JULIUS RUDEL Santa Fe Opera New York City Opera WALTER DUCLOUX MARK SCHUBART University of Texas Lincoln Center ROBERT GAY ROGER L. STEVENS Northwestern University John F. Kennedy Center DAVID GOCKLEY GIDEON WALDROP Houston Grand Opera The Juilliard School Central Opera Service Bulletin • Vol. 21, No. 4 • 1979/80 Editor, MARIA F. RICH Assistant Editor, JEANNE HANIFEE KEMP The COS Bulletin is published quarterly for its members by Central Opera Service. For membership information see back cover. Permission to quote is not necessary but kindly note source. Please send any news items suitable for mention in the COS Bulletin as well as performance information to The Editor, Central Opera Service Bulletin, Metropolitan Opera, Lincoln Center, New York, NY 10023. Copies this issue: $2.00 |$SN 0008-9508 NEW OPERAS AND PREMIERES Last season proved to be the most promising yet for new American NEW operas, their composers and librettists. -
F:\2011 Russian Voices Prg Print 2.Wpd
Patrons, Supporters and Friends of Cantata Singers of Ottawa Sponsor ($1000 - $5,000) Friends ($10 - $99) Low, Murchison LLP M.A. Bennett Sanjeev Chowdhury Patrons ($500 - $1000) Rita Cullen Ross Mickelson Marc Fielding Ruth Fortune Supporters ($100 - $499) Eileen Johnson Barbara and Ted Ackison John Kalil Lowell and John Barron Cathy Patton Barbara Clark Margaret Pippy Valerie Douglas W.A. Pollard Margaret and Len Edwards Eileen Reardon Ross Jewell David Lafranchise Frances B. Macdonnell David MacWilliam P.K. Pal Dorothy Rowat Russian Voices Cantata Singers of Ottawa St. Lawrence Choir of Montreal Michael Zaugg, conductor Sunday, October 16, 2011, 4:00 pm St. Joseph’s Church, Ottawa The angel cried out Vasily Titov (c. 1650 - c. 1715) Gladsome light Roman Hurko (b. 1962) All-Night Vigil, Opus 37 Sergei Rachmaninoff (1873 - 1943) 1. Priidite, poklonimsia / Come, let us worship 2. Blagoslovi, dushe moya Ghospoda / Bless the Lord, O my soul 3. Blazhen muzh / Blessed is the man 4. Svete tihiy / Gladsome light 5. Nine otpushchayeshi / Lord, now lettest thou thy servant 6. Bogoroditse Devo / Rejoice, O Virgin Sonia Sasseville, contralto, David Menzies, tenor Now the powers of Heaven Alexander Sheremetev (1859 – 1931) Intermission Rejoice, O Virgin Victor Kalinnikov (1870 - 1927) Rejoice, O Virgin Roman Hurko (b. 1962) All-Night Vigil Sergei Rachmaninoff (1873 - 1943) 8. Hvalite imia Ghospodne / Praise the name of the Lord 9. Blagosloven yesi, Ghospodi / Blessed art Thou, O Lord 10. Voskreseniye Hristovo videvshe / Having beheld the resurrection 11. Velichit dusha moya Ghospoda / My soul magnifies the Lord 12. Slavosloviye velikoye / The great doxology Cherubic Hymn Mikhail Ippolitov-Ivanov (1859 - 1935) All-Night Vigil Sergei Rachmaninoff (1873 - 1943) 15. -
Louis Riel Tosca
LOUIS RIEL TOSCA PROGRAM SPRING 2017 CONTENTS A MESSAGE FROM GENERAL DIRECTOR 4 WHAT’S PLAYING: ALEXANDER NEEF LOUIS RIEL 12 HONOURING INDIGENEITY NEW EXPERIENCES, IN LOUIS RIEL NEW INITIATIVES 14 COMPOSER HARRY SOMERS This spring we celebrate the return ADOPTS A MODERN TONE IN of an iconic Canadian opera, Harry LOUIS RIEL Somers’ Louis Riel. 15 THE NISGA’A HISTORY OF THE “KUYAS” ARIA The fact that 50 years ago Somers and Moore made the bold decision 16 A CANADIANIZED RIEL: to focus their work on the struggles MAKING SPACE FOR MÉTIS of Riel and the Métis Nation against TO SPEAK Canada’s colonial government serves as a challenge for present and future WHAT’S PLAYING: TOSCA Great opera 18 understandings of our country. In Canada’s sesquicentennial year, these 24 A PASSION FOR PUCCINI: CONDUCTOR KERI-LYNN challenges remain at the forefront of WILSON our country’s conversations, particularly as part of the ongoing Truth and lives here. 28 GET TO KNOW ADRIANNE Reconciliation process. PIECZONKA With this new production of Louis 32 BACKSTAGE AND BEYOND Riel, we have taken the opportunity to expand our base of creative knowledge with not-for-profit arts groups, 34 BIOGRAPHIES: LOUIS RIEL and perspectives to include musical community partners, and social and performance practices that service organizations in Ontario BIOGRAPHIES: TOSCA 42 wouldn’t have been a part of the artistic to offer more than 1,000 people conversation in 1967. the opportunity to experience our EVERY NOTE COUNTS 45 mainstage programming free of 46 MEET A BOARD MEMBER: Building broader awareness of the charge.