DOCSLIB.ORG

Download Booklet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Booklet 559274 bk Ives US 9/15/08 1:31 PM Page 16 Also available: AMERICAN CLASSICS Charles IVES Songs • 6 Tarrant Moss They are There! 8.559272 8.559273 Thoreau To Edith Walt Whitman Get this free download from Classicsonline! Macdowell: 3 Songs, Op. 60, No. 2: Fair Springtide West London Copy this Promotion Code Nax4tdaQpDvH and go to http://www.classicsonline.com/mpkey/macd7_main. Downloading Instructions 1 Log on to Classicsonline. If you do not have a Classicsonline account yet, please register at Yellow Leaves http://www.classicsonline.com/UserLogIn/SignUp.aspx. 2 Enter the Promotion Code mentioned above. 3 On the next screen, click on “Add to My Downloads”. Various Artists 8.559274 16 559274 bk Ives US 9/15/08 1:31 PM Page 2 1 Tarrant Moss (Text: Rudyard Kipling) (1902) 0:34 ^ Vote for Names! Names! Names! (Ives) (1912) 0:53 Ryan MacPherson, Tenor • Douglas Dickson, Piano Ryan MacPherson, Tenor • Douglas Dickson, Also available: 2 There is a Certain Garden (Anon.) (1897) 1:48 Laura Garritson, Eric Trudel, Pianos Tamara Mumford, Mezzo-soprano & The Waiting Soul (John Newton) (1908) 2:38 Douglas Dickson, Piano Tamara Mumford, Mezzo-soprano 3 There is a Lane (Ives) (1902) 1:11 Douglas Dickson, Piano Kenneth Tarver, Tenor • Douglas Dickson, Piano * Walking (Ives) (1900) 2:44 4 They are There! (Ives) (1942) 2:49 Michael Cavalieri, Baritone • Douglas Dickson, Piano Sara Jakubiak, Lielle Berman, Amanda Ingram, Rebecca ( Walt Whitman (Walt Whitman) (1921) 1:02 Ringle, Michael Cavalieri, Daniel Bircher, Diego Ryan MacPherson, Tenor • Eric Trudel, Piano Matamoros, Unison voices • Douglas Dickson, Piano ) Waltz (Michael Nolan / Ives) (1894) 1:32 5 The Things our Fathers Loved (Ives) (1917) 1:33 Patrick Carfizzi, Baritone • J. J. Penna, Piano David Pittsinger, Bass • Eric Trudel, Piano ¡ Watchman! (John Bowring) (1913) 1:54 6 Thoreau (Henry David Thoreau) (1915) 2:25 Mary Phillips, Mezzo-soprano • J. J. Penna, Piano Robert Gardner, Baritone • J. J. Penna, Piano ™ Weil’ auf Mir (Nikolas Lenau) (1902) 1:43 7 Those Evening Bells (Thomas Moore) (1907) 1:37 Robert Gardner, Baritone • J. J. Penna, Piano Patrick Carfizzi, Baritone • Eric Trudel, Piano £ West London (Matthew Arnold) (1921) 3:10 8 Through Night and Day Robert Gardner, Baritone • J. J. Penna, Piano (Ives / J.S.B. Monsell) (1897) 2:30 ¢ When Stars are in the Quiet Skies Leah Wool, Mezzo-soprano • Douglas Dickson, Piano (Edward Bulwer-Lytton) (1898) 3:03 9 To Edith (Harmony Twitchell Ives) (1919) 1:33 Kenneth Tarver, Tenor • Laura Garritson, Piano Mary Phillips, Mezzo-soprano • J. J. Penna, Piano ∞ Where the Eagle Cannot See 0 Tolerance (Rudyard Kipling) (1913) 0:57 (Monica Peveril Turnbull) (1906) 2:00 8.559270 Ryan MacPherson, Tenor • Eric Trudel, Piano Jennifer Casey Cabot, Soprano • Eric Trudel, Piano ! Tom Sails Away (Ives) (1917) 2:43 § The White Gulls Patrick Carfizzi, Baritone • J. J. Penna, Piano (Anon., trans. Maurice Morris) (1921) 2:50 @ Ein Ton (Peter Cornelius) (1900) 1:25 Mary Phillips, Mezzo-soprano • J. J. Penna, Piano Sumi Kittelberger, Soprano • Eric Trudel, Piano ¶ Widmung # Two Little Flowers (Wolfgang Müller von Königswinter) (1899) 2:11 (Harmony Twitchell Ives) (1921) 1:30 Sumi Kittelberger, Soprano • Eric Trudel, Piano Michael Cavalieri, Baritone • Douglas Dickson, Piano • Wie Melodien Zieht es Mir $ Two Slants (Christian and Pagan): (Klaus Groth) (1899) 2:56 a. Duty (Ralph Waldo Emerson) (1921) 0:57 Kenneth Tarver, Tenor • Eric Trudel, Piano Matthew Plenk, Tenor • Eric Trudel, Piano ª Wiegenlied (Georg Scherer) (1906) 2:28 8.559271 % Two Slants (Christian and Pagan): Mary Phillips, Mezzo-soprano • Douglas Dickson, Piano b. Vita (Marcus Manilius) (1921) 0:51 º William Will (Susan Benedict Hill) (1896) 4:06 Matthew Plenk, Tenor • Eric Trudel, Piano Patrick Carfizzi, Baritone • Douglas Dickson, Piano 8.559274 215 8.559274 559274 bk Ives US 9/15/08 1:31 PM Page 14 ⁄ The World’s Highway ‹ Yellow Leaves (Henry Bellamann) (1923) 1:28 Also available: (Harmony Twitchell Ives) (1906) 2:52 Mary Phillips, Mezzo-soprano • Douglas Dickson, Piano Jennifer Casey Cabot, Soprano • Eric Trudel, Piano ¤ The World’s Wanderers (Percy Bysshe Shelley) (1898) 1:53 Tamara Mumford, Mezzo-soprano Douglas Dickson, Piano Recorded in Sprague Hall, Yale University, New Haven, USA, from May to June, 2005 Producer: Andrew Lang (K&A Productions Ltd.) • Engineer: Eugene Kimball • Editor: Peter Newble Publishers: Merion Music Inc. (tracks 6, 8, 10-15, 19, 23, 24, 26); Peer International Corporation (tracks 1, 3-5, 7, 9, 16, 17, 20-22, 27-29, 31, 32); Associated Music Publishers Inc. (tracks 2, 18, 25, 30, 33) Charles Ives (1874-1954) Songs • 6 When, in 1922, Charles Ives published a volume Although it would be possible to collate Ives’s entitled 114 Songs, he was indirectly drawing attention songs according to type, the alphabetic approach to the fact that the genre had played a central part in his adopted by this edition ensures each volume (of which output. 85 years on and, for all that his wider reputation this is the sixth and last) contains a representative cross- may now rest on his orchestral, chamber and piano section of his achievement. A wide range of poets is set music, songs represent the heart of his creative thinking. (Ives could be highly interventionist when it suited his Nor was that initial volume comprehensive; Ives having purpose), including (mainly early) German settings as written almost 200 songs, of which this present edition well as forays into French and Italian writers. Moreover, includes all those he completed. The expressive variety the temporal distance (1887-1926) traversed by the encountered is accordingly vast: indeed, the gradual songs is as little compared to their stylistic diversity or evolution of Ives’s songwriting, from those drawing their emotional range. overtly on the Austro-German Lieder and English The extent to which Ives reworked songs parlour-song traditions to ones that evince anarchic throughout his career is considerable, whether 8.559269 humour as keenly as others do a profound vision, is substituting a text or reworking the actual music. To this analogous to the evolution of American music over the end, songs with a musical or textual connection are last quarter of the nineteenth and the first quarter of the crosslinked accordingly (i.e. in brackets at the end of the twentieth centuries. relevant paragraph). 8.559274 14 3 8.559274 559274 bk Ives US 9/15/08 1:31 PM Page 4 The setting of Rudyard Kipling’s Tarrant Moss daughter which inspired the composer to essay one of Eric Trudel (1902) uses just two verses, treated in a peremptory the simplest and most tender of his later songs. fashion as if to suggest that the text was merely the A further setting of Rudyard Kipling, Tolerance A native of Quebec, Canada, Eric Trudel graduated from the Quebec Conservatory of nearest one to hand (see also Volume 5, track 27, Naxos (1913) affirms Ives’s life-long belief in the mutual Music with the highest honours. He won the prestigious Prix d’Europe competition, 8.559273). interdependence of men with a rhetorical force that is all which enabled him to study privately with pianists Garrick Ohlsson, Jean-Claude Set to an anonymous text, There is a Certain the greater owing to the song’s sheer brevity. Pennetier, Marc Durand and Louis Lortie. He has worked as a pianist at the Banff Center Garden (1897) has a tripping and irregular piano part The First World War occasioned Tom Sails Away Festival for the Arts, L’Opéra de Montréal, Connecticut Grand Opera, Les Grands Ballets against which the vocal line unfolds a little awkwardly, (1917), an evocation of family parting set to Ives’s own Canadiens, the OK MOZART Festival and the Pro Arte Singers. His faculty though the charm of the song is undoubted. words that ranks among the most potent and finely appointments include the Banff Centre for the Performing Arts, the Conservatoire de A revision of an earlier German song, now to Ives’s realised of his ‘childhood recollection’ songs. Musique du Québec in Trois-Rivières, Montreal Opera’s Atelier Lyrique, the Université own text, There is a Lane (1902) is a brief but winsome Although he had used this music elsewhere, Ives’s du Québec-Montréal and formerly Yale University’s School of Music (2001-2005). On setting; the fond nostalgia of its vocal line underscored setting of Peter Cornelius’s Ein Ton (1900) is the most CD he can be heard on the CBC and Star labels. by the piano (see also below, track 27). fitting guise for its bitter-sweet sentiments (see also A late addition to his song canon, They are There! Volume 3, track 9, Naxos 8.559271, and Volume 4, (1942) was Ives’s contribution to the American war track 18, Naxos 8.559272). effort; setting his own (updated) text with a conviction Setting verse by the composer’s wife, Harmony aptly summed up by the subtitle ‘Fighting for the Twitchell Ives, Two Little Flowers (1921) is inscribed to People’s New Free World’. It can be performed (as the children named at the close and its wistful aura is Leah Wool here) by unison voices, and with a lively ad lib made more so by the piano’s gentle discords. instrumental part. Ives left a memorable, breathlessly A typically thoughtful dualism from his later years, Mezzo-soprano Leah Wool is rapidly garnering critical acclaim on stages across the enthusiastic recording (see also Volume 3, track 2, Two Slants (1921) finds Ives drawing a pointed contrast United States. In addition to engagements with the Metropolitan Opera and New York Naxos 8.559271). between the lofty ‘Christian’ sentiment expressed by City Opera, her career highlights include the title rôle in Cendrillon at Central City Opera, Written during the previous world war, The Things Ralph Waldo Emerson in Duty with the introspective Hansel in Hansel and Gretel at Opera Theatre of Saint Louis, Erika in Vanessa at Central our Fathers Loved (1917) sets Ives’s own text with a ‘Pagan’ musing (and set here to the original Latin) as City Opera, Stéphano in Roméo et Juliette at Toledo Opera, Hermia in A Midsummer fervency which threatens to break through the ascribed to Marcus Manilius in Vita.
Load more

Recommended publications
  • Media Release
    Media Release FOR IMMEDIATE RELEASE: December 15, 2016 Contact: Edward Wilensky (619) 232-7636 [email protected] Shiley dētour Series Continues with The Tragedy of Carmen (La Tragédie de Carmen) Opens March 10, 2017 with additional performances on March 11, and March 12 (matinee) The story and music of Bizet’s beloved opera Carmen distilled into a powerful 90-minute opera. Marks the Company debut of mezzo-soprano Peabody Southwell as Carmen San Diego, CA – San Diego Opera’s Shiley dētour Series continues on Friday, March 10, 2017 at the Balboa Theater with The Tragedy of Carmen, Peter Brook’s adaptation of Bizet’s beloved opera Carmen. Taking the music, plot, drama, and emotion from the original classic, this distilled 90-minute chamber opera serves as a perfect introduction to the art form. Tickets start at just $20. Additional performances are Saturday, March 11 at 7 PM and Sunday, March 12 at 2 PM. The Tragedy of Carmen tells the story of the soldier Don José who leaves his sweetheart Micaëla for the fiery and passionate Carmen. Carmen, however, has her eyes on the swaggering bullfighter Escamillo and jealously erupts that threatens to swallow them all. Four new principal singers make Company debuts with San Diego Opera for these performances. American mezzo-soprano Peabody Southwell sings the role Carmen. She is joined by Canadian tenor Adrian Kramer as Don José. Canadian soprano Andriana Chuchman sings Micaëla and American bass-baritone Ryan Kuster round out the cast. Stage director Alexander Gedeon makes his house debut staging the production and conductor Christopher Rountree, in his Company debut, leads the orchestra from the podium.
    [Show full text]
  • 18 Contemporary Opera and the Failure of Language
    18 CONTEMPORARY OPERA AND THE FAILURE OF LANGUAGE Amy Bauer Opera after 1945 presents what Robert Fink has called ‘a strange series of paradoxes to the historian’.1 The second half of the twentieth century saw new opera houses and companies pro- liferating across Europe and America, while the core operatic repertory focused on nineteenth- century works. The collapse of touring companies confined opera to large metropolitan centres, while Cold War cultural politics often limited the appeal of new works. Those new works, whether written with political intent or not, remained wedded historically to ‘realism, illusion- ism, and representation’, as Carolyn Abbate would have it (as opposed to Brechtian alienation or detachment).2 Few operas embraced the challenge modernism presents for opera. Those few early modernist operas accepted into the canon, such as Alban Berg’s Wozzeck, while revolu- tionary in their musical language and subject matter, hew closely to the nature of opera in its nineteenth-century form as a primarily representational medium. As Edward Cone and Peter Kivy point out, they bracket off that medium of representation – the character singing speech, for instance, in an emblematic translation of her native tongue – to blur diegetic song, ‘operatic song’ and a host of other conventions.3 Well-regarded operas in the immediate post-war period, by composers such as Samuel Barber, Benjamin Britten, Francis Poulenc and Douglas Moore, added new subjects and themes while retreating from the formal and tonal challenges of Berg and Schoenberg.
    [Show full text]
  • Media – History
    Matej Santi, Elias Berner (eds.) Music – Media – History Music and Sound Culture | Volume 44 Matej Santi studied violin and musicology. He obtained his PhD at the University for Music and Performing Arts in Vienna, focusing on central European history and cultural studies. Since 2017, he has been part of the “Telling Sounds Project” as a postdoctoral researcher, investigating the use of music and discourses about music in the media. Elias Berner studied musicology at the University of Vienna and has been resear- cher (pre-doc) for the “Telling Sounds Project” since 2017. For his PhD project, he investigates identity constructions of perpetrators, victims and bystanders through music in films about National Socialism and the Shoah. Matej Santi, Elias Berner (eds.) Music – Media – History Re-Thinking Musicology in an Age of Digital Media The authors acknowledge the financial support by the Open Access Fund of the mdw – University of Music and Performing Arts Vienna for the digital book pu- blication. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche National- bibliografie; detailed bibliographic data are available in the Internet at http:// dnb.d-nb.de This work is licensed under the Creative Commons Attribution-NonCommercial-NoDeri- vatives 4.0 (BY-NC-ND) which means that the text may be used for non-commercial pur- poses, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/ To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contacting rights@transcript- publishing.com Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder.
    [Show full text]
  • Teacher Materials 2017/18 Season
    Teacher Materials 2017/18 Season LAOpera.org • 213.972.3157 LA OPERA’S EDUCATION AND COMMUNITY ENGAGEMENT PROGRAMS ARE MADE POSSIBLE BY GENEROUS SUPPORT FROM Max. H. Gluck Foundation The Green Foundation The Hearst Foundation Endowment Los Angeles County Supervisor Sheila Kuehl Los Angeles County Supervisor Mark Ridley-Thomas Dan Murphy Foundation Rosemary and Milton Okun The Opera League of Los Angeles Rx for Reading Emanuel Treitel Anonymous(2) Beatrice and Paul F. Bennett California Arts Council City of Los Angeles, Department of Cultural Affairs Hispanics for Los Angeles Opera Los Angeles County Arts Commission The Ralph M. Parsons Foundation Eric L. Small / Flora L. Thornton Foundation Wells Fargo Anonymous The Blue Ribbon The Boeing Company The California State Library The Capital Group Companies Charitable Foundation The Louis and Harold Price Foundation Mr. and Mrs. Joseph A. Saunders US Bank Foundation Susan Zolla, in memory of Edward M. Zolla Vladimir & Araxia Buckhantz Foundation The George and Ann Leal Family Patty and Ken McKenna Metropolitan Associates Moss Foundation Nesbitt Foundation The Kenneth T. & Eileen Norris Foundation John and Mary Lynn Rallis Mr. and Mrs. Robert E. G. Ronus Ken and Wendy Ruby The Winnick Family Foundation Employees Community Fund of Boeing California The Maurer Family Foundation The Recording Industries’ Music Performance Trust Fund John and Beverly Stauffer Foundation Official Piano of LA Opera The Opera Buffs Inc. Pacific Western Bank Pasadena Showcase House for the Arts Frederick R. Weisman Philanthropic Foundation LA Opera would also like to extend a very special thank you to For information on how to donate Lisa See, Chair, and Eric Small and Linda Pascotto, Vice-Chairs of the LA Opera Board’s to LA Opera’s Education and Education Committee for their tireless service to the Education and Community Community Engagement programs, Engagement Department.
    [Show full text]
  • Opera SAN JOSÉ
    2018 | 2019 SEASON Opera SAN JOSÉ Celebrating 35 YEARS of Excellence Message from General Director Larry Hancock I suspect that it is impossible to say in few words what Melville’s Moby- Dick is about. It seems to be about everything. It may be doubtful that anyone can say precisely what any great work of literature is about. In Search of Lost Time, War and Peace, Middlemarch, Great Expectations, Moby-Dick…The words string along, leading into deeper knowledge page after page, clearer understanding character by character, so that after 800 pages of, say, Middlemarch, you put the book down and know…what? That humanity is…what? That life is lived… how? By whom? But you know you’ve learned something. The search for a more concise meaning is a bit easier after epic literature has been put in the crucible of opera and rendered. Opera, using music, with its layered emotions, penetrates instantaneously on many levels and at once. The sounding of a single chord can convey a whole page of description. Composer Jake Heggie and librettist Gene Scheer have distilled Melville’s epic from 24 hours and 38 minutes (the duration of the audiobook) to three hours of music. Anything that is not essential to the narrative, and a great portion of Melville’s revolutionary novel is not narrative, has been set aside, and as a stage doesn’t provide scene changes by beginning new paragraphs, some words that were spoken in different times and other places have been moved into the here and now, and realizations in the novel that emerge only after long introspective monologues are expressed in a flash, expanded in meaning by an entire orchestra.
    [Show full text]
  • Central Opera Service Bulletin Volume 29, Number A
    CENTRAL OPERA SERVICE BULLETIN VOLUME 29, NUMBER A CONTENTS NEW OPERAS AND PREMIERES 1 NEWS FMNQKRA COMPANIES 18 GOVERNMENT AND NATIONAL ORGANIZATIONS 24 27 ODNFERENOS H MEM AND REMWftTED THEATERS 29 FORECAST 31 ANNIVERSARIES 37 ARCHIVES AND EXHIBITIONS 39 ATTENTION C0MP0SH8. LIBRE11ISTS, FIAYWRHMTS 40 NUSIC PUBLISHERS 41 EDITIONS AND ADAPTATIONS 4t EOUCATION 44 AFPOINTMEMIS AND RESIGNATIONS 44 COS OPERA SURVEY USA 1988-89 OS INSIDE INFORMATION 57 COS SALUTES. O WINNERS (4 BOOK CORNER 66 OPERA HAS LOST. 73 PERFORMANCE LIST INC. 1969 90 SEASON (CONT.) 83 Sponsored by the Metropolitan Opera National Council CENTRAL OPERA SERVICE BULLETIN Volume 29, Number 4 Fall/Winter 1989-90 CONTENTS New Operas and Premieres 1 News from Opera Companies 18 Government and National Organizations 24 Copyright 27 Conferences 28 New and Renovated Theaters 29 Forecast 31 Anniversaries 37 Archives and Exhibitions 39 Attention Composers, Librettists, Playwrights 40 Music Publishers 41 Editions and Adaptations 42 Education 44 Appointments and Resignations 46 COS Opera Survey USA 1988-89 56 COS Inside Information 57 COS Salutes. 63 Winners 64 Book Corner 66 Opera Has Lost. 73 Performance Listing, 1989-90 Season (cont.) 83 CENTRAL OPERA SERVICE COMMITTEE Founder MRS. AUGUST BELMONT (1879-1979) Honorary National Chairman ROBERT L.B. TOBIN National Chairman MRS. MARGO H. BINDHARDT Please note page 56: COS Opera Survey USA 1988-89 Next issue: New Directions for the '90s The transcript of the COS National Conference In preparation: Directory of Contemporary Opera and Music Theater, 1980-89 (Including American Premieres) Central Opera Service Bulletin • Volume 29, Number 4 • Fall/Winter 1989-90 Editor: MARIA F.
    [Show full text]
  • John Packard, Heldentenor
    Sally Mitchell-Innes Corbeil Tel: 450-653-4990 CP 1113 Fax: 450-482-3833 St-Basile-le-Grand, Quebec Email: [email protected] J3N 1M5 Canada Web: www.micartists.com ARTIST BIOGRAPHY John Packard, heldentenor American singer John Packard has garnered international prominence on the opera stage as a baritone. He has recently transitioned to tenor and is poised to make a name for himself singing Heldentenor repertoire. John created the role of Joseph deRocher for San Francisco Opera’s world premiere of Jake Heggie’s acclaimed Dead Man Walking (“a voice of ferocious power and insistence” – San Francisco Chronicle; “a deeply and powerfully affecting characterization”, The New York Times). John has performed the role more than 50 times in Europe and the USA, and can be heard in a live recording on Erato Disques. John debuted Verdi’s Rigoletto (“…a superb Verdi Baritone in John Packard - a seamless voice, with character and a gleaming upper register”, Opera Magazine) at the Hawaii Opera Theater in 2006, and has since performed the role for Shreveport Opera and Teatro Lirico d’Europa, and with Nickel City Opera in June 2010. John has performed Rossini’s Barber of Seville more than 50 times, most recently with Buffalo’s Nickel City Opera (“….John Packard is the best Figaro I have ever seen… his singing is lusty, on the mark and marvelously expressive. He even accompanies himself on the guitar” – The Buffalo News). Of his performance as Billy in Billy Budd, The Kansas City Star stated “… everything about this 50th anniversary production sparkled, especially John Packard .” Mr.
    [Show full text]
  • Download the Playbill
    TOSCA Composer: Giacomo Puccini Act I — Rome, June 1800;The Church of Sant’Andrea della Valle. Napoleon Bonaparte is advancing with his army. Bonaparte is the political enemy of Scarpia and the hero of Cavaradossi and Angelotti. Angelotti, an escaped political prisoner, takes refuge in a side chapel of the church of Sant’Andrea della Valle in Rome. An elderly sacristan comes to tidy up, followed by Cavaradossi, a painter, who is at work on a portrait of the Madonna. Cavaradossi compares his Madonna’s blonde-haired, blue-eyed charm with the dark beauty of his lover, the famous singer Floria Tosca (“Recondita armonia”). Angelotti emerges from hiding to find Cavaradossi, his political ally,who promises to help his friend escape from Rome. Angelotti hides again at the sound of Tosca’s voice from outside. Tosca jealously demands to know why the door was locked. Cavaradossi reassures her, and they join in a passionate duet (“Non la sospiri”). Once Tosca has gone, Angelotti reappears and he and Cavaradossi plan his flight. A cannon shot from the Castel Sant’Angelo announces the discovery of Angelotti’s escape. They exit. The sacristan enters followed by clerics and choir boys, all excited by rumors of Bonaparte’s defeat (“Tutta qui la cantoria”). Baron Scarpia, the chief of police, arrives with his henchman Spoletta in search of the escaped prisoner. Tosca returns, and Scarpia plays upon Tosca’s jealousy in hopes of discovering Angelotti’s whereabouts (“Tosca divina”). When she leaves to seek her lover, Scarpia has her followed. As the crowd intones the “Te Deum,” Scarpia vows to bring Cavaradossi to the gallows and Tosca into his arms (“Va, Tosca! Nel tuo cuor s’annida Scarpia”).
    [Show full text]
  • George Hogan
    George Hogan Curriculum Vitae 201 East Ninth Avenue Belton, TX 76513 (254) 718-3222 Cell [email protected] INDEX Education Colleges and Universities Attended Degrees Received/Pending Opera Apprenticeships Vocal Master Classes Private Vocal Teachers Private Master Coach Conductors Stage Directors Teaching Experience University and High School Private Voice Studios Conservatory University Opera Theater Stage Directing Administrative Experience Professional Level University Level Church Level Conducting/Stage Directing Experience Professional Scholastic Church Educational Opera Experience Awards/Grants Professional Organizations Memberships Community Service Performance Credits Scholastic Opera/Musical Theater National Opera/Musical Theater International Opera Oratorio and Concert (Professional) Oratorio (Scholastic) Oratorio (Church) Recitals (Scholastic and Professional) Recitals (Church) Church Soloist Positions Critical Acclaim (Reviews) Oratorio, Musical Theater, Concert Opera. Staged Opera George Hogan Curriculum Vitae Education (Universities) Colleges and Universities Attended Major/Degree Attended McMurry College Music Major 1977-1978 Abilene, Texas George Peabody College Music Major 1978-1979 Nashville, Tennessee Scarritt College Religion/Arts 1979-80 Nashville, Tennessee Degrees Received Trevecca Nazarene University BM 1982 Academy of Vocal Arts Performance 1986 Philadelphia, Pennsylvania Certificate Southwestern Baptist Theological Seminary MM 2005 Fort Worth, Texas Education (Opera Apprenticeships) Merola Opera Program Apprentice
    [Show full text]
  • Verdi Chorus to Present Spring Concert in April
    Verdi Chorus To Present Spring Concert In April broadwayworld.com/los-angeles/article/Verdi-Chorus-To-Present-Spring-Concert-In-April-20190321 by BWW News Desk Mar. 21, 2019 Tweet Share March 20, 2019 This Spring marks the start of the 36th season of the Verdi Chorus, who will present their Spring Concert, L'Amore e la Vita (Love and Life) for two performances only at the First United Methodist Church in Santa Monica on April 6 and 7. Led by Founding Artistic Director Anne Marie Ketchum, the Verdi Chorus is the only choral group in Southern California that focuses primarily on the dramatic and diverse music for opera chorus. This program, which Ketchum humorously calls the Rom-Com of opera, will feature selections from two Verdi operas I vespri siciliani and Ernani, three Donizetti operas - Don Pasquale, La fille du r giment and L'elisir d'amore, as well as operatic sequences from Bizet's Les p cheurs de perles (The Pearl Fishers), Delibes' Lakm , and Puccini's La rondine. The program will feature four guest soloists: critically acclaimed Los Angeles Opera favorite Jamie Chamberlin, praised for her shimmering tones and star-struck vulnerability by Opera News; her equally acclaimed husband, tenor Nathan Granner, one of the original The American Tenors (Sony Classical), and known for his vibrant and flexible voice (The Boston Globe) and for possessing utter control of a ravishing mixed head sound (Opera News), celebrated mezzo soprano Danielle Marcelle Bond, who was hailed by the Los Angeles Times with a Brava! for her performance in Long Beach Opera's production of John Adams' Death of Klinghoffer ; and renowned baritone Roberto Perlas G mez who, with over 100 roles to his credit, has performed extensively throughout the United States.
    [Show full text]
  • Please Silence All Electronic Mobile Devices. WELCOME!
    Please silence all electronic mobile devices. WELCOME! At the age of sixty-two, Jules Massenet attended Francis de Croisset’s boulevard comedy Chérubin and was so taken with it that he decided to adapt it as his 17th opera. He called in the seasoned librettist Henri Cain to convert the play into an opera libretto, creating the standard arias, ensembles, and recitatives his audience would expect. The score is a wonderful mixture of Massenet’s own idea of the 18th century and the musical language of his day. He quotes his own well-known operas and tips his hat to the musical language of Debussy’s impressionism, the rich harmonies of Wagner, and the fluid dialogue of Verdi and Puccini. While the story is only a loose continuation of Beaumarchais’ Marriage of Figaro, Massenet honors Mozart’s setting by casting Cherubino as a mezzo-soprano, thus creating another great operatic ‘trouser role.’ It has been a great pleasure to have Eli Villanueva as our guest Stage Director; he has been generous with his time, creative, and extremely supportive of these young artists, many singing their first operatic role. We are grateful to our Design Team as well as to Ted Abenheim and the professional crew he has assembled; they all make very hard work seem effortless! Finally … the libretto calls for Ensoleillad to marry the King of Spain. In our version there is no king. We are delighted that faculty violinist Moni Simeonov joins us to contribute a famous tune from another Massenet opera, allowing us – in our own way – to include this narrative turn of events!
    [Show full text]
  • LBO King Arthur Final Release
    Contact: Davidson & Choy Publicity David Barber, [email protected] 323-954-7510 x20 (o) 213-718-7100 (c) Contact: Jenny Rivera C.E.O. & Executive Director [email protected] 562-470-7464 x109 (o) World Premiere Long Beach Opera re-imagination King Arthur by Henry Purcell Stage Director / Adaptation by Andreas Mitisek With Culture Clash and Musica Angelica Three performances only! Sunday, January 12 at 2:30 pm Saturday, January 18 at 7:30 pm Sunday, January 19 at 2:30 pm Beverly O’Neill Theatre, Long Beach Tickets at LongBeachOpera.org Long Beach - December 3, 2019 – Long Beach Opera presents a new production of Purcell’s King Arthur - -- a collaboration with Chicano provocateurs CULTURE CLASH and the authentic sounds of LA ‘s premiere Baroque orchestra MUSICA ANGELICA -- in January 2020 for only three performances at Long Beach’s Beverly O’Neill Theatre. Performances are Sunday January 12, Saturday January 18 and Sunday, January 19. In this world premiere of LBO's re-imagination of the work, with adaptation and direction by Andreas Mitisek in collaboration with Culture Clash, King Arthur returns as a superhero who fights a mysterious, strange and unnatural force that is attacking Earth and threatening life as we know it. Will he be able to save humanity? How will he stand up against a race of alien shape shifters who desire to conquer the galaxy? King Arthur's experience as a knight – with the aid of Purcell’s most adventurous music -- comes in handy as he rescues his beloved princess. Featuring the authentic sounds of Musica Angelica Baroque Orchestra, with music direction by Concert Master Ilia Korol.
    [Show full text]