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English Translation of the German by Tom Hammond
Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p. -
Oscar Wilde Society Newsletter
Oscar Wilde Society Newsletter Edited by Aaron Eames No. 50. March 2018 The Importance of Being Earnest: The Original Theatre Company Touring Production The Original Theatre Company’s The Importance of Being Earnest is the most recent production by its Artistic Director, Alastair Whatley. The Company provides a valuable service by producing plays for small theatres, particularly away from London, which may otherwise find it hard to attract producers. The production started its four months’ provincial tour at the Yvonne Arnaud Theatre in Guildford, Surrey. The tour continues at Theatre Royal, Winchester (5-10 March), Manchester Opera House (13-17 March), Salisbury Playhouse (20-24 March), Garrick Theatre, Lichfield (27-31 March), Churchill Theatre, Bromley (3-7 April), Cambridge Arts Theatre (9-14 April), Theatre Royal, York (17-21 April), Devonshire Park Theatre, Eastbourne (24-28 April), Theatre Royal, Windsor (30 April-5 May), and Royal & Derngate Theatre, Northampton (8-12 May). It is an excellent production with some interesting new ideas. When Thomas Howes appears as Algy, full of vanity, confidence and cynicism, and with splendidly clear diction, it is immediately evident that this is going to be a faithful and enjoyable production. He and Peter Sandys-Clarke as Jack, in an equally accomplished performance, make a delightful double act. Gwen Taylor as Lady Bracknell wears a striking lilac and yellow ensemble and a majestic hat to match. When she interrogates Jack and hears his account of how he was found, she successfully combines indignation with amusement at the absurdity of Jack’s answers. Kerry Ellis’s Gwendolen wears a blue and orange outfit rather like a younger version of that worn by her Lady Bracknell; she is formidable and clearly will become like her mother in much less than a hundred and fifty years. -
Sounding Nostalgia in Post-World War I Paris
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Sounding Nostalgia In Post-World War I Paris Tristan Paré-Morin University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Paré-Morin, Tristan, "Sounding Nostalgia In Post-World War I Paris" (2019). Publicly Accessible Penn Dissertations. 3399. https://repository.upenn.edu/edissertations/3399 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3399 For more information, please contact [email protected]. Sounding Nostalgia In Post-World War I Paris Abstract In the years that immediately followed the Armistice of November 11, 1918, Paris was at a turning point in its history: the aftermath of the Great War overlapped with the early stages of what is commonly perceived as a decade of rejuvenation. This transitional period was marked by tension between the preservation (and reconstruction) of a certain prewar heritage and the negation of that heritage through a series of social and cultural innovations. In this dissertation, I examine the intricate role that nostalgia played across various conflicting experiences of sound and music in the cultural institutions and popular media of the city of Paris during that transition to peace, around 1919-1920. I show how artists understood nostalgia as an affective concept and how they employed it as a creative resource that served multiple personal, social, cultural, and national functions. Rather than using the term “nostalgia” as a mere diagnosis of temporal longing, I revert to the capricious definitions of the early twentieth century in order to propose a notion of nostalgia as a set of interconnected forms of longing. -
Christabel Lady Aberconway
CHRISTABEL LADY ABERCONWAY She was born into a distinguished family of Irish Macnaghtens in 1890. I was born into a family of Scottish/Australian McNaughtons fifty years later. It seemed unlikely we would ever meet. But we had some common interests and eventually did meet—in London in the Swinging Sixties. My mother, Lilian May Besant, and my father, Charles Dudley McNaughton, built a double-brick house in Burwood, eight miles from the center of Melbourne, Australia, and moved in when they married in December 1935. When my sister, Eril Margaret, was born on 8 April 1938, she occupied the second bedroom at the back of the house. After I arrived on 22 July 1940 a third bedroom was added by building a “sleep-out” of fibro-cement behind Eril’s room, punching a door through her brick wall and putting a second door from the sleep-out onto the back verandah. Our rooms were not large. Eril had to put up with traffic from inside the house to my room. The sleep-out became a refuge for some difficult-to-place furniture, including my mother’s large foot-operated Singer sewing machine, a large dark-stained secretaire that belonged to my father, and a large sailing-ship print. My father died of a brain tumor in 1944 and when my step-father joined us in 1946, his cedar chest of drawers landed in my room. I lived in this room through high school, college and a two-year master’s degree and never thought about redecorating. The brick wall between our two bedrooms was painted on my side once or twice, and the curtains on the narrow strip of windows to the south were replaced. -
INTERDISCIPLINARY JOURNAL of DECADENCE STUDIES Volume 3, Issue 2 Winter 2020 Review: Michèle Mendelssohn, Making Oscar Wilde (O
INTERDISCIPLINARY JOURNAL OF DECADENCE STUDIES Volume 3, Issue 2 Winter 2020 Review: Michèle Mendelssohn, Making Oscar Wilde (Oxford University Press, 2018) & Matthew Sturgis, Oscar: A Life (Head of Zeus Ltd, 2018) Richard Haslam ISSN: 2515-0073 Date of Acceptance: 1 December 2020 Date of Publication: 21 December 2020 Citation: Richard Haslam, ‘Michèle Mendelssohn, Making Oscar Wilde (Oxford University Press, 2018) & Matthew Sturgis, Oscar: A Life (Head of Zeus Ltd, 2018)’, Volupté: Interdisciplinary Journal of Decadence Studies, 3.2 (2020), 143–149. DOI: 10.25602/GOLD.v.v3i2.1457.g1570 volupte.gold.ac.uk This work is licensed under a Creative Commons Attribution- ShareAlike 4.0 International License. Michèle Mendelssohn, Making Oscar Wilde (Oxford: Oxford University Press, 2018), 360 pp. ISBN 9780198802365 Matthew Sturgis, Oscar: A Life (London: Head of Zeus Ltd, 2018), 890 pp. ISBN 9781788545976 Richard Haslam Saint Joseph’s University, Philadelphia In ‘The Critic as Artist’ (1890; 1891), Oscar Wilde’s spokesperson Gilbert declares ‘Every great man nowadays has his disciples, and it is always Judas who writes the biography.’1 One book that bears out Gilbert’s claim is Lord Alfred Douglas’ Oscar Wilde and Myself (1914), but many later biographers have served Wilde more charitably, and none more so than Richard Ellmann, whose influential 1987 account concludes that Wilde was ‘so generous, so amusing, and so right’.2 Of course, as Horst Schroeder and others have argued, Ellmann’s book (although itself ‘generous’ and ‘amusing’) was not always ‘right’ about the details of Wilde’s life, and Matthew Sturgis mentions this deficiency as one justification for producing another biography. -
Victoria Embankment Foreshore Hoarding Commission
Victoria Embankment Foreshore Hoarding Commission 1 Introduction ‘The Thames Wunderkammer: Tales from Victoria Embankment in Two Parts’, 2017, by Simon Roberts, commissioned by Tideway This is a temporary commission located on the Thames Tideway Tunnel construction site hoardings at Victoria Embankment, 2017-19. Responding to the rich heritage of the Victoria Embankment, Simon Roberts has created a metaphorical ‘cabinet of curiosities’ along two 25- metre foreshore hoardings. Roberts describes his approach as an ‘aesthetic excavation of the area’, creating an artwork that reflects the literal and metaphorical layering of the landscape, in which objects from the past and present are juxtaposed to evoke new meanings. Monumental statues are placed alongside items that are more ordinary; diverse elements, both man-made and natural, co-exist in new ways. All these components symbolise the landscape’s complex history, culture, geology, and development. Credits Artist: Simon Roberts Images: details from ‘The Thames Wunderkammer: Tales from Victoria Embankment in Two Parts’ © Simon Roberts, 2017. Archival images: © Copyright Museum of London; Courtesy the Trustees of the British Museum; Wellcome Library, London; © Imperial War Museums (COM 548); Courtesy the Parliamentary Archives, London. Special thanks due to Luke Brown, Demian Gozzelino (Simon Roberts Studio); staff at the Museum of London, British Museum, Houses of Parliament, Parliamentary Archives, Parliamentary Art Collection, Wellcome Trust, and Thames21; and Flowers Gallery London. 1 About the Artist Simon Roberts (b.1974) is a British photographic artist whose work deals with our relationship to landscape and notions of identity and belonging. He predominantly takes large format photographs with great technical precision, frequently from elevated positions. -
Decorative Art in America Oscar Wilde Decorative Art in America
DECORATIVE ART IN AMERICA OSCAR WILDE DECORATIVE ART IN AMERICA A LECTURE BY OSCAR WILDE TOGETHER WITH LETTERS REVIEWS AND INTERVIEWS EDITED WITH AN INTRODUCTION BY RICHARD BUTLER GLAENZER NEW YORK BRENTANO'S MCMVI Copyright, 1906, by BRENTANO'S THE DE VlNNE PRIOSS CONTENTS PAGE INTRODUCTION • • VII DECORATIVE ART IN AMERICA • 1 JOAQUIN MILLER, THE GOOD SAMARITAN • 17 MRS. LANGTRY AS HESTER GRAZEBROOK 23 " VERA" AND THE DRAMA 3 1 MR. WHISTLER'S" TEN O'CLOCK" 39 THE RELATION OF DRESS TO ART · 47 THE TOMB OF KEATS 55 KEATS' SONNET ON BLUE · 63 ENGLISH POETESSES • LONDON MODELS • "DORIAN GRAY" AND ITS CRITICS 101 RUDYARD KIPLING AND THE ANGLO-INDIANS. 117 "A HOUSE OF POMEGRANATES" • 121 THE RELATION OF THE ACTOR TO THE PLAY 127 THE CENSURE AND "SALOME" 135 PARIS, THE ABODE OF ARTISTS 145 SARAH BERNHARDT AND " SALOME" • • • • 149 THE ETHICS OF JOURNALISM 153 DRAMATIC CRITICS AND "AN IDEAL HUSBAND" • • 161 NOTES Introduction . 175 Decorative Art in America • 181 Joaquin Miller, the Good Samaritan • 187 V vi CONTENTS PAGE Mrs. Langtry as Hester Grazebrook • • 193 "Vera" and the Drama . • 195 Mr. Whistler's" Ten O'Clock" • • 197 The Relation of Dress to Art . • • • • 201 20 The Tomb of Keats • 5 21 Keats' Sonnet on Blue • 9 English Poetesses • • • • 229 London Models . • 241 "Dorian Gray" and its Critics • 245 Mr. Kipling and the Anglo-Indians • 25 1 "A House of Pomegranates" . 253 The Relation of the Actor to the Play . 255 The Censure and "Salome" • 257 Paris, the Abode of Artists . · 261 Sarah Bernhardt and" Salome" • 263 The Ethics of Journalism • 265 Dramatic Critics and"An Ideal Husband" · 269 INDEX . -
Moreau's Materiality: Polymorphic Subjects, Degeneration, and Physicality Mary C
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Moreau's Materiality: Polymorphic Subjects, Degeneration, and Physicality Mary C. Slavkin Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE AND DANCE MOREAU’S MATERIALITY: POLYMORPHIC SUBJECTS, DEGENERATION, AND PHYSICALITY By MARY C. SLAVKIN A Thesis submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Masters of Arts Degree Awarded: Spring Semester, 2009 The Members of the Committee approve the Thesis of Mary Slavkin defended on March 30, 2009. ___________________________ Lauren Weingarden Professor Directing Thesis ___________________________ Richard Emmerson Committee Member ___________________________ Adam Jolles Committee Member Approved: _______________________________________________ Richard Emmerson, Chair, Department of Art History _______________________________________________ Sally McRorie, Dean, College of Visual Arts, Theatre and Dance The Graduate School has verified and approved the above named committee members. ii For David. Thanks for all the tea. iii TABLE OF CONTENTS LIST OF FIGURES..........................................................................................................v ABSTRACT.....................................................................................................................ix CHAPTER 1: Introduction...............................................................................................1 -
Rethinking the Dynamics of Music and Nationalism
Rethinking the Dynamics of Music and Nationalism University of Amsterdam, 26-29 September 2017 Conference Booklet Organizational committee: Prof. dr. Joep Leerssen, Professor of Modern European Literature, University of Amsterdam dr. Kasper van Kooten, Postdoctoral Research Fellow, University of Amsterdam 1 Table of Contents: Schedule p. 3 Abstracts p. 10 Practical Information p. 44 2 Schedule: Tuesday 26 September Opening of Conference Location: Vlaams Cultuurhuis De Brakke Grond, Nes 45, 1012 KD Amsterdam (close to Dam Square) 18.30 Registration, coffee and tea 19.00 Kasper van Kooten, Postdoctoral research fellow, Modern European Literature, University of Amsterdam – Welcome and introduction 19.05 Katharine Ellis, Professor of Music, University of Cambridge – Nationalism, Ethnic Nationalism, and the Third Republic’s Folk Music Problem 19.50 Joep Leerssen, Professor of Modern European Literature, University of Amsterdam – The Persistence of Voice: Instrumental Music and Romantic Orality of the Late John Neubauer (1933-2015) 20.10 Krisztina Lajosi-Moore, Assistant Professor in Modern European Literature and Culture, University of Amsterdam, and Kasper van Kooten – Opera and National Identity-Articulation in Germany and Hungary 20.30 – 21.15 Audience questions and panel discussion – The Outer Edges of National-Classical Music: Territory, Society, Tradition 21.15 - 22.00 Drinks 3 Wednesday 27 September Location: De Rode Hoed, Cultureel Centrum, Keizersgracht 102, 1015 CV Amsterdam Room: Vrijburgzaal Banningzaal 09.00-10.00 Keynote: Graeme -
Love, Law and Oscar Wilde by Jerry James
Love, Law and Oscar Wilde by Jerry James At thy martyrdom the greedy and cruel Crowd to which thou speakest will assemble; All will come to see thee on thy cross, And not one will take pity on thee. — James Rennell Rodd, Inscription to Oscar Wilde in Songs in the South, 1880 Oscar Wilde When The Importance of Being Ernest There is no indication Wilde did not opened on Valentine’s Day, 1895, Oscar deeply care for Constance Lloyd when they Wilde was at the pinnacle of his success. He were wed on May 29, 1884. Indeed, had his had two plays running in London, and aptly intentions been mercenary, he would have for the day, he was in love. Inconveniently, married a much wealthier woman. But to the beloved was not his wife of ten years, what would be their ultimate regret, Wilde but Lord Alfred Douglas. That love would did not yet know himself. Before he did, be the reason why, a little over three months they would have two sons. later, Wilde would find himself bankrupt In 1886, Wilde, 32, began an affair with and imprisoned. Robbie Ross, 17. There has been much He had been a celebrity for fifteen years, speculation about Wilde’s claim that this “…the natural pet of the aristocracy whose was his first same-sex experience. (He selfish prejudices he defended and whose didn’t call it homosexual, because the term leisure he amused,“ as his friend Frank wasn’t coined until 1892.) But all agree it Harris put it. To these, leading a double life changed his life. -
Oscar Wilde, the Importance of Being Earnest Resource Pack for Teachers - Comprehensive Version
The Importance of Being Earnest by Oscar Wilde ETF Resource Pack for Teachers Comprehensive Version Arbeitsmaterialien für den Englisch - Unterricht (Oberstufe Gymnasium) The English Theatre Frankfurt – Oscar Wilde, The Importance of Being Earnest Resource Pack for Teachers - Comprehensive Version Contents 1 A Wild(e) Life p. 2 2 The first stage production p. 5 3 Plot and text extracts p. 7 4 Glimpses into Victorian Life p. 15 5 Themes of the Play p. 17 6 Further Questions for Study and Discussion p. 21 7 Different Approaches to the play p. 21 8 Recent productions p. 26 2 The English Theatre Frankfurt – Oscar Wilde, The Importance of Being Earnest Resource Pack for Teachers - Comprehensive Version 1 A Wild(e) Life Oscar Wilde, celebrated playwright and literary provocateur, was born in Dublin on October 16, 1854. He was educated at Trinity College, Dublin and Magdalen College, Oxford before settling in London. During his days at Dublin and Oxford, he developed a set of attitudes and postures for which he would eventually become famous. Chief among these were his flamboyant style of dress, his contempt for conventional values, and his belief in aestheticism—a movement that embraced the principle of art for the sake of beauty and beauty alone. After a stunning performance in college, Wilde settled in London in 1878, where he moved in circles that included the novelists Henry James and the young William Butler Yeats. Literary and artistic acclaim were slow in coming to Wilde. In 1884, when he married Constance Lloyd, Wilde’s writing career was still a work in progress. -
Oscar Wilde Against the Marquess of Bannard, 1899
CHAPTER 5 ‘I HAVE GOT AS FAR AS THE HOUSE OF DETENTION’ LEFT: The Boulevard from Quelques On 5 April 1895, the jury at the Old Bailey returned a verdict of ‘not aspects de la vie de Paris, by Pierre guilty’ in the libel trial brought by Oscar Wilde against the Marquess of Bannard, 1899. On his release from prison Queensberry. The verdict indicated that Queensberry had been justified in in May 1897, Oscar Wilde settled for a calling Wilde a sodomite in the public interest. The packed court room time in Berneval-sur-Mer, claiming: ‘If I had cheered and the judge passed Queensberry’s counsel, Edward Carson, live in Paris I may be doomed to things I a note congratulating him on his ‘searching crossXam’ and having ‘escaped don’t desire. I am afraid of big towns.’ Less the rest of the filth’. Within minutes of the collapse of the case, the trial than a year later, however, a letter to the papers had been sent to the Director of Public Prosecutions. publisher Leonard Smithers from Naples The press almost universally crowed at the result: announced ‘I shall be in Paris on Sunday next. It is my only chance of working. I There is not a man or woman in the English-speaking world possessed of the miss an intellectual atmosphere, and I am treasure of a wholesome mind…not under a deep debt of gratitude to the tired of Greek bronzes...My life has gone to Marquess of Queensberry for destroying the High Priest of the Decadents.