DOCSLIB.ORG

Mary Van, Soprano

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mary Van, Soprano Loyola University New Orleans School of Music Presents Mary Van, Soprano Junior Recital with Jonathan Szymanski, Accompanist and Guest Artist Voces ad Opus Sunday, February 17, 2019, 7:30 p.m. Nunemaker Auditorium Program Rejoice greatly, O daughter of Zion George Frideric Handel from Messiah (1685-1759) The Mermaid’s Song Franz Joseph Haydn (1732-1809) Leiderkries, Op. 39 Robert Schumann I. In der Fremde (1810-1856) II. Intermezzo III. Waldesgesprach IV. Die Stille V. Mondnacht Elle a fui, la tourterelle! Jacques Offenbach from Les Contes d‘Hoffman (1819-1880) Intermission Sei Ariette Vincenzo Bellini V. Per pietà, bell'idol mio (1801-1835) VI. Ma rendi pur contento My Bonny Lass She Smileth Thomas Morley (1557-1602) Voces ad Opus: Brittany Schaubhut, soprano Rebecca Sullivant, alto James Rodrigue, tenor David Murray, bass Deux Romances Claude Debussy I. Les cloches (1862-1918) II. Romance I can’t be talkin of love John Duke (1899-1984) April Elegy John Duke (1899-1984) I carry your heart John Duke (1899-1984) Translations Leiderkries, Op. 39 I. In der Fremde Aus der Heimat hinter den Blitzen rot From the homeland, behind the lightning’s red da kommen die Wolken her. there come the clouds here, Aber Vater und Mutter sind lange tot, but father and mother are long dead, es kennt mich dort Keiner mehr. and no one knows me anymore. Wie bald, ache wie bald kommt die stille How soon, ah, how soon come the quiet Zeit, time, da ruhe ich auch, unt über mir then I also rest and over me rauscht die schöne Waldeinsamkeit, rustles the beautiful forest solitude, Und keiner kennt mich mehr hier. and no one will know me anymore here. II. Intermezzo Dein Bildniss wunderselig Your image, wonderfully blessed hab’ ich im Herzensgrund, have I in my heart depths, das sicht so frisch und fröhlich it looks so fresh and joyfully mich an zu jeder Stund’. At me in every moment. Mein Herz still in sich singet My heart silently within itself sings ein altes schönes Lied, an old, beautiful song, das in die Luft sich schwinget that into the air it soars Und zu dir eilig zicht. and to you quickly goes. III. Waldesgesprach “Es ist schon spät, es ist schon kalt, “It is already late, it is already cold, was reitest du einsam durch den Wald? Why ride your alone through the wood? Der Wald is lang, du bist allein, The wood is large, you are alone, du schöne Braut! Ich führ dich heim!” you beautiful bride! I will lead you home.” “Groß ist der Männer Trug und List, “Great are the men’s deceit and cunning, vor Schmerz mein Herz gebrochen ist, from pain my heart broken is. wohl irrt das Waldhorn her und hin, one hears hunting horns here and there, O flich’, du weißt nicht, wer ich bin.” oh flee! You know not who I am.” “So reich geschmückt ist Ross und Weib, “So richly adorned is horse and lady, so wunderschön der junge Leib, so wondrously beautiful the young body, jetzt kenn’ ich dich Gott steht mir bei! Now I know you God stand me with! du bist die Hexe Lorelei.” You are the witch Loreley.” “Du kennst mich wohl, vom hohen Stein “You have recognized me, schaut still mein Schloß tief in den Rhein. silently my castle looks deep into the Rhine. es ist schon spät, es ist schon kalt, It is already late, it is already cold, kommst nimmermehr aus diesem Wald.” you will never again come out of this forest.” IV. Die Stille Es weiß und rät es doch Keiner, No one knows or guesses, wie mir so wohl is, so wohl! how happy I am, how happy! Ach, wüsst’ es nur Einer, nur Einer, Ah, if only one knew, just one, kein Mensch es sonst wissen sollt! no other person should know it! So still ist’s nicht draußen im Schnee, It is not as quiet outside in the snow, so stumm und verschwiegen sind the stars in the sky are not die Sterne nicht in der Höh’, as mute and discreet, als meine Gedanken sind. as my thought are. Ich wünscht’, ich wär ein Vöglein I wish I were a little bird und zöge über das Meer, and could fly over the sea, wohl über das Meer und weiter, well over the sea and farther, bis dass ich im Himmel wär. until I was in heaven. V. Mondnacht Es war, als hätt’ der Himmel, I was as if heaven had, die Erde stille geküsst, silently kissed the earth. Dass sie im Blütenschimmer so that the earth in the shimmer of blossoms Von ihm nur träumen müsst. could only dream of heaven. Die Luft ging durch die Felder The breeze went through the fields, die Aehren wogten sacht, the ears of corn waved gently, es rauschten leis’ die Wälder, the forests rustled softly, so sternklar war die Nacht. the night and stars were so clear. Und meine Seele spannte, And my soul spread weit ihre Flügel aus, wide its wings out, flog durch die stillen Lande flew through the still lands, als flöge sie nach Haus. as if it were flying home. Elle a fui, la tourterelle! Elle fui, la tourterelle! She has flown, the turtledove! Ah! souvenir trop doux! Ah, memory too sweet! Image trop cruelle! Image too cruel! Hélas! à mes genoux, Alas, at my knees, je l’entends, je le vois! I hear him, I see him! Elle a fui, la tourterelle, She has flown, the turtledove, elle a fui, loin de toi she has flown, far from you, mais elle est toujour fidèle, but she is always faithful, et te garde sa foi. and for you keeps her faith. Mon bien-aimé, ma voix t’appelle. My beloved, my voice calls you. Oui, tout mon coeur est à toi. Yes, all my heart is for you. Chère fleur qui viens d’éclore, Dear flower, that just opened, par pitié réponds moi! out of pity, answer me. Toi qui sais s’il m’aime encore, You who know if he loves me still, s’il me garde sa foi! if for me he keeps his faith. Mon bien-aimé, ma voix t’implore. My beloved, my voice begs you, Ah! que ton coeur vienne à moi. Ah, that your heart would come to me. Sei Ariette V. Per pietà, bell'idol mio Per pietà, bell'idol mio Have mercy, my beloved non mi dir ch’io sono ingrato and do not tell me that I am ungrateful, infelice e sventurato unhappy and unfortunate abbastanza il ciel mi fa. enough has Heaven made me. Se fedele a te son io, That I am faithful to you, se mi struggo ai tuoi bei lumi, that I burn under the gaze of your beautiful eyes, sallo amor, lo sanno i Numi, knows Cupid, the gods, il mio core, il tuo lo sa. my heart and your heart. VI. Ma rendi pur contento Ma rendi pur contento Just make then happy della mia bella il core, the heart of my beautiful one, e ti perdono, amore, and I will forgive you, Cupid, se lieto il mio non è. Even if my heart remains unhappy. Gli affanni suoi pavento I fear her sighs più degli affanni miei, more than my own, Perché più vivo in lei for I live more in her di quel ch’io vivo in me. than in myself. Deux Romances I. Les Cloches Les feuilles s’ouvraient The leaves opened sur le bord des branches, along the length of the branches délicatement. delicately. Les cloches tintaient, The bells tolled, légère et franches, lightly and freely, dans le ciel clément. in the sky temperate. Rhythmique et fervent, Rhythmic and fervent, comme une antienne, like a hymn, ce lointain appel this distant call me remémorait la blancheur chrétienne reminded me of the whiteness Christian des fleurs de l’autel. of the flowers of the altar. Ces cloches parlaient d’heureuses années, These bells spoke of happy years, et, dans le grand bois, and, in the deep forest, semblaient reverdir they seemed to make green again les feuilles fanées, the leaves withered, des jours d’autrefois. as in days gone by. II. Romance L’âme évaporée et souffrante, The vanishing and suffering soul l’âme douce, l’âme odorante the gentle soul, the fragrant soul Des lis divins que ja’ai cueillis of divine lilies that I have gathered Dans le jardin de ta pensée, in the garden of your thought, Où donc les vent l’ont-ils chassée, where then have the winds driven them, Cette âme adorable des lis? this adorable soul of the lilies? N’est-il plus un parfum qui reste Does no more perfume remain De la suavité céleste of the celestial sweetness, Des jours ou tu m’enveloppais of the days when you enveloped me D’une vapeur surnaturelle, with a magical vapor, Faite d’espoir, d’amour fidèle, made of hope, of faithful love, De béatitude et de paix? of heavenly happiness, and of peace? Acknowledgements To my parents, Donald and Gina, thank you for all of the love and support you have provided me throughout my life, and allowing me the opportunity to receive an education and pursue a career in music. I would not be the woman today without you. To my Grandma Myrle, from singer to singer, you inspired me to further my education in music, and I am grateful for your love. To all of my family, thank for your love and support in my continuing growth and education.
Load more

Recommended publications
  • Hansel and Gretel
    ENGELBERT HUMPERDINCK HANSEL AND GRETEL Education Resource Hansel and Gretel Education Resource CONTENTS About this Resource ........................................................................................................... 3 Glossary .............................................................................................................................. 5 Hansel and Gretel - About the opera .................................................................................. 7 Synopsis ........................................................................................................................................... 7 Characters and Cast ...................................................................................................................... 8 Creative Team ................................................................................................................................. 8 Workshop 1 – What is opera? ............................................................................................. 9 What is opera?................................................................................................................................. 9 Where did it come from? .............................................................................................................. 9 Voice types and singing styles ......................................................................................................10 Voice types in Hansel and Gretel ...................................................................................................11
    [Show full text]
  • Ethel Smyth: a Life of Music and Activism
    Ethel Smyth: A Life of Music and Activism As musician Sir Thomas Beecham, friend to Ethel Smyth, walked into the prison yard at Holloway Prison to visit her, he came upon the scene of dozens of suffragettes marching and singing their war-chant, its opening cry: Shout, shout, up with your song! Cry with the wind, for the dawn is breaking; March, march, swing you along, Wide blows our banner, and hope is waking. Ethel Smyth stood in her jail cell, the voices of the women rising up to her. They were singing her song, The March of the Women (words by Cicely Hamilton), composed a year earlier in 1911 as the anthem for the Women's Social and Political Union. Inspired, she stretched her arms out beyond the window bars and, in the Portrait of Ethel Smyth, 1901, words of Sir Beecham, ". beaming approbation from an overlooking upper by John Singer Sargent window, beat time in almost Bacchic frenzy with a toothbrush." The preceding anecdote illustrates the quintessential Ethel Smyth. The feisty, at times radical, activist fought not only for voting rights for women, but also for the equality of women musicians in the male-dominated milieu that was, and is, classical music. (In today's top 20 U.S. major orchestras in 2014, 91% of conductors/music directors and 63% of musicians were male, with men holding 69% of the [higher-paying] principal positions, and 82% of the concertmaster positions while only comprising 41% of all violinists. [1] Of the compositions performed by the top 21 orchestras in the 2014 – 2015 orchestral season, only 1.8% overall were composed by women, with 14.8% of living composers' compositions being by women.
    [Show full text]
  • Sydney Murrell, Mezzo-Soprano Jeanette Evins, Piano
    proudly presents the 2020-2021 Student Artist Series Sydney Murrell, mezzo-soprano Jeanette Evins, piano This Senior Recital is given in partial fulfillment of the requirements for the Bachelor of Music in Performance degree. Friday, April 23, 2021 7:30 p.m., Livestreamed from Kitt Recital Hall Program “Non so più cosa son, cosa faccio” Wolfgang Amadeus Mozart from Le nozze di Figaro (1756-1791) “Si promette facilmente” “Vorrei punirti indegno” from La finta giardiniera Selections from Liederkries, Op.39 Robert Schumann In der Fremde (1810-1856) Intermezzo Waldesgespräch Mondnacht Frülingsnacht ~Intermission~ “Werther! . Qui m’aurait di la place” Jules Massenet from Werther (1842-1912) “A Letter from Sullivan Ballou” John Kander (b.1927) “George” William Bolcom from Cabaret Songs (b.1938) Program Notes by Sydney Murrell (2021) WOLFGANG AMADEUS MOZART (1756-1791) Selections from Le nozze di Figaro and La finta giardiniera Wolfgang Amadeus Mozart was born in Salzburg, Austria, into a musical family. Mozart was considered a child prodigy. He could read and write music by the age of five and was composing by the age of six. In 1781, Mozart moved to Vienna to become a freelance musician, which was uncommon during this time. Most composers worked for aristocratic patrons during the Classical period, since the rise of amateur musicians who were frequent music-buyers didn’t occur until the late-Classical period into the early-Romantic period. Despite being relatively famous, Mozart struggled with a spending addiction which left his wife and children poor upon his death at thirty-five years old. “Non so più cosa son, cosa faccio” is sung in Le nozze di Figaro by a prepubescent boy, Cherubino, to the maid Susanna discussing his conflict of emotions about women.
    [Show full text]
  • Program Notes & Translations
    Program Notes & Translations Faculty Recital, Karisa L. Templeton, soprano Featuring Tyler Wottrich, piano Saturday, May 1, 2021 at 4:00 PM, Beckwith Recital Hall DVOŘÁK Czech composer Antonín Dvořák (1841-1904) is best known for his mAny chamber, chorAl, And symphonic works, especiAlly his “New World Symphony” No. 9. Dvořák Also wrote 8 operAs, of which Rusalka has become part of the operAtic cAnon. Based on the Hans ChristiAn Anderson fAiry tAle The Little Mermaid, this 1901 Czech operA uses elements of folklore and supernAturAl powers to tell the story of the wAter nymph RusAlkA And her desire to leAve the wAter to pursue A prince’s love. In contrAst to other settings of The Little Mermaid, Rusalka’s ending features the dArker elements of Anderson’s originAl folk story. The music is hAuntingly beautiful, both RomAntic And impressionistic with strong Czech stylistic elements. In ‘Song to the Moon,” RusAlkA, A wAter nymph, is sAddened thAt she is sepArAted from her beloved Prince who lives on lAnd. In this Act I opening AriA, she looks into the night sky And begs the moon to cArry her words of love through its beAms of light. While RusAlkA is sepArAted from her beloved, she is comforted thAt the sAme moonlight thAt touches her equAlly shines down on her love. Reminiscent of the moonlight rippling Across the wAters of her home towArds the Prince, An ArpeggiAted “rippling” motif, originally scored for harp, is present in the piano AccompAniment throughout the piece. Měsíčku na nebi hlubokém (JAroslAv KvApil) Song to the Moon: Měsíčku nA nebi hlubokém Moon up in the deep sky, Světlo tvé daleko vidí, Your light sees into farAwAy plAces, Po světě bloudíš širokém, You wander Around the wide world, Díváš se v příbytky lidí.
    [Show full text]
  • Dame Ethel Smyth: Pioneer of English Opera Eugene Gates
    Volume 11, Issue 1 The Kapralova Society Journal Spring 2013 A Journal of Women in Music Dame Ethel Smyth: Pioneer of English Opera Eugene Gates “I feel I must fight for [my music], because I lieved that her musical instincts were inher- want women to turn their minds to big and ited from her mother, whom she once de- difficult jobs; not just to go on hugging the scribed as “one of the most naturally musical shore, afraid to put out to sea.” 1 When Ethel people I have ever known.” 7 Smyth wrote these words in the early years of Ethel’s general education was typical of her career, she had little idea of the protracted that of a middle-class Victorian young lady. battle against prejudice that lay ahead of her. After private tutoring at home under the guid- Smyth was certainly not England’s first ance of a succession of governesses, she woman composer. But while most of her spent a few years in boarding school at Put- predecessors, because of social circumstances ney, where the prescribed curriculum in- and limited training, had been forced to con- cluded French, German, astronomy, chemis- fine their creative endeavours to the production try, mathematics, literature, history, drawing, of parlor music, she set her sights on the con- music, and home economics. 8 Very little is Special points of interest: quest of the opera house and concert stage. Her known about Smyth’s early musical training. published works include six operas, a concert In her memoirs, however, she mentions a mass, a double concerto, a choral symphony, governess who introduced her to classical • Ethel Smyth and English opera songs with piano and orchestral accompa- music, and inspired her to set her sights on a niment, organ pieces and chamber music.
    [Show full text]
  • The Richard B. Fisher Center for the Performing Arts at Bard College
    the richard b. fisher center for the performing arts at bard college THEEthel Smyth’s WRECKERS July 24 – August 2, 2015 About The Richard B. Fisher Center for the Performing Arts at Bard College The Richard B. Fisher Center for the Performing Arts at Bard College Chair Jeanne Donovan Fisher The Richard B. Fisher Center for the Performing Arts, an environment for world-class artistic President Leon Botstein presentation in the Hudson Valley, was designed by Frank Gehry and opened in 2003. presents Risk-taking performances and provocative programs take place in the 800-seat Sosnoff Theater, a proscenium-arch space, and in the 220-seat LUMA Theater, which features a flexible seating configuration. The Center is home to Bard College’s Theater & Performance and Dance Programs, and host to two annual summer festivals: SummerScape, which offers opera, dance, theater, operetta, film, and cabaret; and the Bard Music Festival, which celebrated its 25th year last August with “Schubert and His World.” The 2015 festival will be devoted to Carlos Chávez and the music of Mexico and the rest of Latin America. THE The Center bears the name of the late Richard B. Fisher, former chair of Bard College’s Board of Trustees. This magnificent building is a tribute to his vision and leadership. The outstanding arts events that take place here would not be possible without the contributions made by the Friends of the Fisher Center. We are grateful for their support WRECKERS and welcome all donations. By Ethel Smyth Director Thaddeus Strassberger American Symphony Orchestra Conductor Leon Botstein, Music Director Set Design Erhard Rom Costume Design Kaye Voyce Lighting Design JAX Messenger Projection Design Hannah Wasileski Hair and Makeup Design J.
    [Show full text]
  • Voice Syllabus / 2012 Edition
    74058_MDP_SyllabusCovers_RELEASE2_Layout 1 13-02-06 11:14 AM Page 56 74058_MDP_SyllabusCovers_RELEASE2_LayoutVoice 1 13-02-06 11:14 AM Page 56 VoiceSYLLABUS EDITION SYLLABUS EDITION S35_Voice Syllabus_2016.indd 2 2016-10-17 4:12 PM Contents Message from the President . 5 Register for an Examination Examination Sessions and Registration Deadlines . 106 Getting Started Online Registration . 106 What’s New . 6 Examination Fees . 106 Contact Us . 6 Examination Centers . 106 Examination Scheduling . 106 About Us The Royal Conservatory . 7 Examination Regulations The Royal Conservatory Examinations and Examination Procedures . 107 The Achievement Program . 7 Credits and Refunds for Missed Examinations . 107 The College of Examiners . 7 Candidates with Special Needs . 108 Examinations Offered . 7 Examination Results . 108 Notable Alumni . 8 Tables of Marks . 109 Strengthening Canadian Society Since 1886 . 8 Supplemental Examinations . 110 Musicianship Examinations . 111 Quick Reference— Practical Examination Certifi cates . 111 Examination Requirements Second ARCT Diplomas . 111 School Credits . 111 Certifi cate Program Overview . 9 Medals . 111 Theory Examinations . 10 RESPs . 112 Co-requisites and Prerequisites . 11 Editions . 112 Examination Repertoire . 12 Substitutions . 113 Technical Requirements . 15 Abbreviations . 114 Ear Tests and Sight Singing . 15 Thematic Catalogs . 115 International Phonetic Alphabet (IPA) Symbols . 16 Resources Grade-by-Grade Requirements General Resources . 117 Preparatory . 17 General Reference Works . 118 Grade 1 . 18 Voice Resources . 118 Grade 2 . 21 Grade 3 . 24 Grade 4 . 28 Frequently Asked Questions Grade 5 . 32 Practical Examinations . 122 Grade 6 . 37 Theory Co-requisites . 123 Grade 7 . 42 Grade 8 . 49 Practical Examination Day Grade 9 . 58 Checklist for Candidates Grade 10 . 70 Before you Leave Home .
    [Show full text]
  • MORATTI Playlet, for He Alone Is Immortal
    July 25, 1914 MUSICAL A M ER I C A 11 :perform the fu~ctions of Loge's servantl ~n the fire musIc. This takes place duro mg the last week, when there will b. per!orrp.ances every day to celebrate th( laymg of the foundation stone of tht. ECHOES OF MUSIC AlBROAD Playhouse. The. chief events will take place in the hIstorIC grounds, where stand the ruins Munich Names a Street it) Honor of Richard Strauss-First Details of Wagner Royalties Yet Made of the Abbot's Kitchen, or, in the event Public Show That Bayreuth Heirs Received $1,500,000 During First Thirty Years-More German of bad weather, in the Crispin Hall. The productions will generally be in the Hospitality for English Militant Suffragette Composer's Operas-Italian Composers Officially ~and~ of Margaret Morris, who is known m thIS country, and Mr. Boughton but Recognize Possibilities of Cinematograph as New Field for Them-English Critic DIscusses a p'agean~ play dealing with the l~gend of St. BrIde will be produced by Alice Modem Composers in Light of" Supreme Greatness" Test-Vienna Plans Another Week of Music Buckton, the author of "Eager Heart." * * * HAT is "supreme greatness"? asks ONORS continue to be heaped upon Signor Sonzogno, according to a Lon­ others, mere ordinary people, talk some­ W Gerald Cumberland, the English critic, who thereupon proceeds to ex­ H Richard Strauss. The most recent don authority, is of the opinion that times in verse and sometimes in prose." good music properly adapted for the plain in Musical Opinion, that, as it ap­ since the placing of a tablet on his na tal cinematograph can be the means of edu­ * * * pears to him, it is the power to create house in Munich and the founding of a cating people up to the level of classic OVEMBER 1 is the date set for the eI?otional thought that has not only a Richard Strauss Museum in Frankfort­ opera.
    [Show full text]
  • VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item
    VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just slight marks. For collectors searching top copies, you’ve come to the right place! The further we get from the era of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. Also featured are many “Z” shellac Victors, their best quality surface material (later 1930s) and PW (Pre-War) Victor, almost as good surface material as “Z”. Likewise laminated Columbia pressings (1923- 1940) offer particularly fine sound. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-‘14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually featuring translations of the text or similarly related comments. VERTICALLY CUT RECORDS. There were basically two systems, the “needle-cut” method employed by Edison, which was also used by Aeolian-Vocalion and Lyric and the “sapphire ball” system of Pathé, also used by Rex. and vertical Okeh.
    [Show full text]
  • The Late Works of Dame Ethel Smyth: a Musical Microcosm of Interwar British Culture
    Providence College DigitalCommons@Providence Spring 2015, British Society and Culture Liberal Arts Honors Program Spring 2015 The Late Works of Dame Ethel Smyth: A Musical Microcosm of Interwar British Culture Emily Morin Providence College Follow this and additional works at: https://digitalcommons.providence.edu/british_2015 Part of the European History Commons, European Languages and Societies Commons, and the Music Commons Morin, Emily, "The Late Works of Dame Ethel Smyth: A Musical Microcosm of Interwar British Culture" (2015). Spring 2015, British Society and Culture. 3. https://digitalcommons.providence.edu/british_2015/3 This Article is brought to you for free and open access by the Liberal Arts Honors Program at DigitalCommons@Providence. It has been accepted for inclusion in Spring 2015, British Society and Culture by an authorized administrator of DigitalCommons@Providence. For more information, please contact [email protected]. The Late Works of Dame Ethel Smyth: A Musical Microcosm of Interwar British Culture Emily Morin HON 481 003: Colloquium on British Society and Culture, 1914-1945 Dr. Grace April 20, 2015 Morin 2 The life of Dame Ethel Smyth (1858-1944) was both musically prolific and unconventional. In spite of objections from her family, Smyth left England at the age of nineteen to study music theory and composition in Leipzig, where she came into contact with Brahms, Tchaikovsky, Grieg, Clara Schumann, and other prominent composers of the era. An enthusiastic writer, she corresponded with Virginia Woolf and Edith Somerville, among others. After meeting Emmeline Pankhurst in 1910 Smyth became actively involved in the Women’s Social and Political Union (WSPU), devoting most of her time to the suffrage movement from 1911 to 1913.
    [Show full text]
  • Odaline De La Martinez Conducts Debut Recording of Ethel Smyth's Fête
    Odaline de la Martinez conducts debut recording of Ethel Smyth’s Fête Galante with Retrospect Opera Marking 75th anniversary of the suffragette composer’s death 15 November 2019 RO007 | Retrospect Opera Simon Wallfisch King Mark Milhoffer The Lover Charmian Bedford Columbine Alessandro Fisher Harlequin Carolyn Dobbin Queen Felix Kemp Pierrot Odaline de la Martinez conductor Lontano Ensemble “It was your music that cured me for ever of the old delusion that women could not do man’s work in art and all other things” George Bernard Shaw to Ethel Smyth Marking the 75th anniversary of the remarkable suffragette composer’s death in 2019, Retrospect Opera releases the first complete recording of Ethel Smyth’s Fête Galante, conducted by Odaline de la Martinez and her Lontano Ensemble. Martinez, who in 1984 became the first woman to conduct at the BBC Proms, is a renowned Smyth interpreter, and has long championed the composer’s work, first reintroducing the Smyth to the public eye with a performance of Smyth’s The Wreckers at the 1994 BBC Proms that was later released on disc. Martinez’s latest recording of Smyth’s The Boatswain’s Mate in 2016 received high acclaim. Three singers also feature on the forthcoming disc: Mark Milhofer, Carolyn Dobbin and Alessandro Fisher, now alongside Simon Wallfisch, Charmian Bedford, and Felix Kemp. With Fëte Galante, Martinez will now have released half of Smyth’s operatic output on Retrospect Opera, committing to disc a portion of Smyth’s repertoire that has long been overlooked. Next year, Martinez will release Smyth’s Four Songs, and she has also recorded orchestral works by Smyth, including her Symphonic Serenade and Double Concerto.
    [Show full text]
  • March 2020 Bel Canto
    BEL CANTO Newsletter of the Manatee Opera Guild March 2020 President’s Message March “comes in like a lion and goes out like a lamb.” as the adage goes. For opera lovers in the area, this is particularly true. The four supremely melodic and romantic operas presented this month will thrill us now, and have us humming all through the summer. I hope that you have tickets to all four, and that you enjoy them as much as I am sure I will. Thank you to Marge Melun and Ky Thompson for organizing our excellent Prelude series. Through those talks, we had the opportunity to learn more about what we are to see and hear. The Preludes make each opera experience more pleasurable. To be sure, February was marked with sadness. We will always remember Greg Trupiano and the infectious joy he brought to our Guild, and to every one who attended his classes “Understanding Opera” which he gave with Richard Russell every fall. Dave and I attended for many years, and always appreciated Greg’s vast Christopher knowledge of opera and the very special dynamic between Greg and Richard. We Nazarian, Bass, are so proud that we honored Greg at our Soirée in 2015. To my knowledge, he is the from Sydney, only honoree who ever brought gifts for the attendees, but that was pure Greg. We will surely miss Australia, at our him. There will be a memorial service for Greg on March 12 at 2 p.m. at the Opera House. All are February meeting. welcome. Thank you to Jean Roberts for the lovely luncheon honoring past and present Presidents of the Picture by Marge Melun.
    [Show full text]