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ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
A1ib000000d8uszaaz.Pdf
KOOR EN ORKEST VAN DE MUNT Ver A i U I T DE MUNT 14 J A N U A R I 92 KOOR EN ORKEST VAN DE MUNT muzikale leiding Antonio Pappano koorleider Johannes Mikkelsen Solisten Margaret Jane Wray, sopraan Florence Quivar, mezzo Richard Greager, tenor Carlo Colombara, bas P rogr a mma GIUSEPPE VERDI (1813-1901) MESSA DA REQUIEM Requiem en Kyrie (a quattro voci soliste e coro) Dies Irae Dies Irae (coro) Tuba mirum (basso e coro) Liber scriptus (mezzosoprano e coro) Quid sum mlser (soprano, mezzosoprano e coro) Rex tremendae (quartetto e coro) Recordare (soprano e mezzosoprano) Ingemisco (solo pet tenore) Confutatis (basso e coro) Lacrymosa (quartetto e coro) Domine Jesu (offertorio a quattro voci soliste) Sanctus (fuga a due cori) Agnus Dei (soprano, mezzosoprano e coro) Lux Aeterna inleidend gesprek door Magda de Meester Foyer 19.15 uur (mezzosoprano, tenore e basso) aanvang concert 20.00 uur Libera Me geen pauze (soprano e coro) einde concert omstreeks 21 .30 uur ANTONIO PAPPANO Antonio Pappano werd in Londen geboren uit Italiaanse ouders. Hij studeerde piano, compositie en orkestdirectie bij Norma Verrilli, Arnold Franchetti en Gustav Meier. Van in het begin van zijn carrière ontwikkelde Antonio Pappano een liefde voor opera en theater. Hij heeft in talrijke operahuizen gewerkt, zoals de New York City Opera, de Opera van San Diego, het Liceu in Barcelona en de Opera van Frankfurt. Hij onderhield nauwe banden met de Lyric Opera van Chicago en het Festival van Bayreuth waar hij assistent was van Daniel Barenboim voor 'Tristan und Isolde', 'Parsifal' en de 'Ring des Nibelungen'. -
1 Madama Butterfly I Personaggi E Gli Interpreti
1 G V M e i r a a s i d c o n o a e Madama Butterfly m m o o r a i Versione originale del 17 febbraio 1904 g i P B n u a u l c Giacomo Puccini e t c t d e i e n r l i f 1 l 7 y f e Stagione d’Opera 2016 / 2017 b b r a i o 1 9 0 4 S t a g i o n e d ’ O p e r a 2 0 1 6 / 2 0 1 7 Madama Butterfly Versione originale del 17 febbraio 1904 Tragedia giapponese in due atti Musica di Giacomo Puccini Libretto di Luigi Illica e Giuseppe Giacosa (da John L. Long e David Belasco) Nuova produzione Teatro alla Scala EDIZIONI DEL TEATRO ALLA SCALA TEATRO ALLA SCALA PRIMA RAPPRESENTAZIONE Mercoledì 7 dicembre 2016, ore 18 REPLICHE dicembre Sabato 10 Ore 20 – TurNo B Martedì 13 Ore 20 – TurNo A VeNerdì 16 Ore 20 – TurNo C DomeNica 18 Ore 20 – TurNo D VeNerdì 23 Ore 20 – TurNo E REPLICHE gennaio 2017 Martedì 3 Ore 20 – Fuori abboNameNto DomeNica 8 Ore 15 – Fuori abboNameNto ANteprima dedicata ai GiovaNi LaScalaUNDER30 Domenica 4 dicembre 2016, ore 18 SOMMARIO 5 Madama Butterfly . Il libretto 40 Il soggetto ArgumeNt – SyNopsis – Die HaNdluNg – ࠶ࡽࡍࡌ – Сюжет Claudio Toscani 53 Giacomo PucciNi Marco Mattarozzi 56 L’opera iN breve Claudio Toscani 58 La musica Virgilio Bernardoni 62 La prima Butterfly , uN ricoNoscimeNto morale all’Autore. UNa possibilità iN più di ascolto, coNfroNto e coNosceNza INtervista a Riccardo Chailly 67 “UNa vera sposa...”? INgaNNo e illusioNe Nella prima Arthur Groos scaligera di Madama Butterfly 83 Madama Butterfly, uNa tragedia iN kimoNo Michele Girardi 99 Come eseguire Madama Butterfly Dieter Schickling 110 Madama Butterfly alla Scala dal 1904 al 2007 Luca Chierici 137 Alvis HermaNis e Madama Butterfly Olivier Lexa Il gesto della fragilità 167 Riccardo Chailly 169 Alvis HermaNis 170 Leila Fteita 171 Kris t¯ıNe Jur j¯aNe 172 Gleb FilshtiNsky 173 INeta SipuNova 174 Alla Sigalova 175 Olivier Lexa 176 Madama Butterfly . -
UBC High Notes Newsletter of the School of Music at the University of British Columbia
UBC High Notes Newsletter of the School of Music at the University of British Columbia Fall 2012 Director’s Welcome Welcome to the fourteenth edition of High Notes, celebrating the recent activities and major achievements of the faculty and students in the UBC School of Music! I think you will find the diversity and quality of accomplishments impressive and inspiring. A major highlight for me this year is the opportunity to welcome three exciting new full-time faculty members. Pianist Mark Anderson, with an outstanding international reputation gave a brilliant first recital at the School in October.Jonathan Girard, our new Director of the UBC Symphony Orchestra, and Assistant Professor of Conducting, led the UBC Symphony Orchestra in a full house of delighted audience members at the Chan Centre on November 9th. Musicologist Hedy Law, a specialist in 18th-century French opera and ballet is, has already established herself well with students and faculty in the less public sphere of our academic activities. See page 4 to meet these new faculty members who are bringing wonderful new artistic and scholarly energies to the School. It is exciting to see the School evolve through its faculty members! Our many accomplished part-time instructors are also vital to the success and profile of the School. This year we welcome to our team several UBC music alumni who have won acclaim as artists and praise as educators: cellist John Friesen, composer Jocelyn Morlock, film and television composer Hal Beckett, and composer-critic-educator David Duke. They embody the success of our programs, and the impact of the UBC School of Music on the artistic life of our province and nation. -
Atti Parlamentari
Camera dei Deputati - 3 0 5 - Senato della Repubblica XVII LEGISLATURA — DISEGNI DI LEGGE E RELAZIONI — DOCUMENTI — DOC. XV N. 182 VOL. II FONDAZIONE TEATRO ALLA SCALA DI MILANO OPERE LIRICHE 2011: C) LIRICA FINO A 100 ELEMENTI IN SCENA E IN BUCA (con almeno 45 professori d'orchestra) Titolo IL RITORNO DI ULISSE IN PATRIA Autore Claudio Monteverdi Nuovo Allestimento in coproduzione con Opéra National de Paris Realizato da Laboratori Teatro alla Scala Recite 6 Anteprime + 1 (anteprima il 17 settembre ) Date 19, 21, 23, 26, 28, 30 settembre Sede Teatro alla Scala Presenze Paganti 12.235 Incassi Netti € 1.242.074 Direttore Rinaldo Alessandrini Robert Wilson Regia Collaboratore alla regia: Giuseppe Frigeni Robert Wilson Scene Collaboratore alle scene: Serge von Arx Costumi Jacques Reynaud Coreografia - Luci A.J. Weissbard Video design - Interpreti Andrea Arrivabene Luigi De Donato Monica Bacelli Anna Maria Panzarella Sara Mingardo Marianna Pizzolato Mirko Guadagnini Emanuele D'Aguanno Salvo Vitale Furio Zanasi Luca Dordolo Giampaolo Fagotto Leonardo Cortellazzi Krystian Adam Raffaella Milanesi Basso continuo: Concerto Italiano Drammaturgia: Ellena Hammer Orchestra e Coro del Teatro alla Scala Maestro del coro: Bruno Casoni Note Costi diretti di produzione e € 1.643.294 allestimento Camera dei Deputati - 3 0 6 - Senato della Repubblica XVII LEGISLATURA — DISEGNI DI LEGGE E RELAZIONI — DOCUMENTI — DOC. XV N. 182 VOL. II FONDAZIONE TEATRO ALLA SCALA DI MILANO ALL 2 BALLETTO 2011: G) BALLETTO CON ORCHESTRA E PROPRIO CORPO DI BALLO O DI ALTRA FONDAZIONE -
Wagner Inlay 10/6/04 10:43 Am Page 1 NAXOS
555789 Wagner inlay 10/6/04 10:43 am Page 1 NAXOS The present recording of scenes from Tristan und Isolde and of the Immolation Scene from Götterdämmerung features three distinguished interpreters of Wagner, acclaimed for performances in the major opera houses of Europe and America. Margaret Jane Wray has performed with some of the most important musical figures of our day, including Daniel Barenboim, Maris Janssons and Seiji Ozawa and 8.555789 enjoys a busy career as a concert artist in addition to her varied operatic performances. Included on this WAGNER: disc is the rarely recorded 1862 concert ending to the Love Duet from Tristan und Isolde. DDD Richard 8.555789 WAGNER Playing Time (1813-1883) 76:39 Scenes from Tristan and Götterdämmerung TRISTAN UND ISOLDE, ACT 2, SCENES 1 & 2 7 Isolde . Margaret Jane Wray, Soprano 47313 Tristan . John Horton Murray, Tenor Brangäne . Nancy Maultsby, Mezzo-Soprano 1 Einleitung (Introduction) 1:58 ! O sink hernieder, Nacht der Liebe 2:36 57892 2 Hörst du sie noch? 2:29 @ Barg im Busen uns sich die Sonne 2:42 3 Nicht Hörnerschall tönt so hold 6:09 # Einsam wachend in der Nacht 2:43 4 Dein Werk? O tör’ge Magd! 3:56 $ Lausch, Geliebter! 1:46 5 Isolde! Tristan! Geliebte(r)! 2:57 % Unsre Liebe? Tristans Liebe? 2:10 6 Wie lange fern! Wie fern so lang! 1:19 ^ Doch unsre Liebe 1:58 4 7 Dem Tage! Dem Tage 4:51 & So stürben wir, um ungetrennt 2:57 www.naxos.com Made in the EU English translations Gesangtexte auf Deutsch • German sung texts with Booklet notes in English • Kommentar und h 8 O eitler Tagesknecht! 2:15 * Soll ich lauschen? 1:41 & 9 In deiner Hand den süssen Tod 1:56 ( O ew’ge Nacht, süsse Nacht!* 5:43 g 0 Doch es rächte sich der 2004 Naxos Rights International Ltd. -
A Culture of Recording: Christopher Raeburn and the Decca Record Company
A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon. -
WAGNER Die Walküre
660172-74 bk Walküre US 17/7/06 10:28 Page 16 3 CDs Recorded at the Staatsoper Stuttgart, Germany, WAGNER on 29th September 2002 and 2nd January 2003. General Director: Prof. Klaus Zehelein Die Walküre Executive Producers: Dr Reinhard Ermen (SWR Radio), Gambill • Jun • Rootering • Denoke • Behle • Vaughn Dr Dietrich Mack (SWR TV) and Paul Smaczny (EuroArts) Staatsoper Stuttgart • Staatsorchester Stuttgart Producer: Thomas Angelkorte Editor: Irmgard Bauer Lothar Zagrosek Engineers: Brigitte Hermann and Karl-Heinz Runde This performance of Die Walküre is the second part of Wagner’s Ring cycle recorded live during Stuttgart Opera’s 2002/2003 season. For the first time in the history of the Ring cycle each of the four operas was staged with separate producers and casts. A production of EuroArts Music International GmbH and Südwestrundfunk in co-operation with ARTE Gefördert von der Medien- und Filmgesellschaft Baden-Württemberg 8.660172-74 16 660172-74 bk Walküre US 17/7/06 10:28 Page 2 Die Walküre Stuttgart Staatsorchester (The Valkyrie) Established in 1589 as the Court Orchestra of Württemberg, the Württemberg Stuttgart State Orchestra has a history The First Day of over four hundred years. Over the generations there have been collaborations with musicians of distinction, among them Leonhard Lechner, the Frobergers, Niccolò Jommelli, Johann Rudolf Zumsteeg, Konradin Kreutzer, of Johann Nepomuk Hummel and Carl Maria von Weber. Berlioz praised the orchestra, when he appeared with it as Der Ring des Nibelungen conductor, and in the 1880s Stuttgart was one of the first to stage the complete Ring cycle, conducted by the then (The Ring of the Nibelung) General Music Director Herman Zumpe, who had assisted Wagner at the first Bayreuth Festival. -
© Chris Hardy © Nadir Bonazzi © Chang-Chih Chen © Agathe Poupeney
SEASON 20 Agence artistique production danse 21 www.ltddanse.com Chen Poupeney Bonazzi Hardy Chris Nadir Chang-Chih Agathe © © © © Alonzo King LINES Ballet Aterballetto (IT) B.DANCE (TW) Ballet de l’Opéra (US) national du Rhin (FR) Pieces on tour: Pieces on tour: Pieces on tour: Pieces on tour: • Sutra • Don Giovanni • Floating Flowers • Swan Lake • Common Ground • Shechter / Kratz / Inger • Rage • Maria de Buenos Aires • Arctic piece • Dreamers • Chaplin • Creation 2019 with Jason • Sleeping Beauties Moran and Charles Lloyd Goff Bois Batardon Le du Hansen Gregory Thierry Helge Pauline © © © © Ballet du Grand Théâtre BJM - Les Ballets Jazz Carte Blanche (NO) Compagnie Jean- de Genève (CH) de Montréal (CA) Claude Gallotta (FR) Pieces on tour: Piece on tour: Pieces on tour: Pieces on tour: • Wahada • Dance me - Léonard Cohen • Soufflette • My Ladies Rock • Fallen • Echo Flux • L’Homme à tête de chou • Minimal Maximal • Nororoca • Le Jour se rêve • Carmina Burana • Comme un trio • Une autre passion • The Nutcracker Thibault Houeix Samaya Logvinov Pippa Franck Olivier M. © © © © Dancenorth IT Dansa (ES) Malandain Ballet Biarritz Yacobson Ballet (RU) Kyle Page (AU) (FR) Pieces on tour: Pieces on tour: Pieces on tour: Pieces on tour: • Dust • The Prom • Marie-Antoinette • Don Quixote • Attractor • Kaash • Cinderella • The Queen of Spades • Songs of a Wayfarer • Rêverie Romantique / • Sleeping Beauty • Whim Sirènes • Tchaikovsky Gala • Pastoral Chaillot – Théâtre national de la Danse (FR) Associated artists Pupeney • Jann Gallois on tour with the piece Samsara Agathe © • Damien Jalet on tour with the piece Planet ALONZO KING LINES BALLET Director / Choreographer Alonzo King 12 dancers Combining a classical technique with personal intervention, Alonzo King lifts his performers to a nonstop dance becoming into a staggering articulation of bodies. -
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. -
The Cord Weekly (February 5, 1981)
THECORDWEEKLY WilfridLaurier University Waterloo, Ontario Thursday, February 5, 1981 Volume 21 Number 17 Recycled food for pigs? by JoanneRimmer These containers are wheeled out Do you ever wonder what through the plant to be fdled with happens to the mashedpotatoes and waste. When each container is filled, vegetables that youleft on yourplate it is put on the second trailer. in the Dining Hall? Well, believe it Kasters receives all the edible waste or not, they are still put to good use. and Westons is provided with a way Both the Torque Room and the to keep their plant cleaner. Such a Dining Hall save theirfood wastes system is a benefit for both for Kaster Farms Ltd. a hog farm. companies. Roger Kaster, the owner,- said that There are federal regulations they have been getting the food which Kasters must heed with scraps from Laurier for several regard to this waste. The farm must years. They also get leftovers from be kept very clean, the food is all re- approximately 30 restaurants in this cooked to kill bacteria. This area. Frito-Lay, Dare and Westons prevents hog cholera which killed also supply them with food waste. several hogs several years ago. There is no exchange of money Kasters presently have 3000 hogs but of services. Kasters provides the and expect to accommodate 4000by company with the removal of their May. food waste and the company lessens Roger Kaster estimated that if all Kasters' feed cost. Westons has just the food waste in the Waterloo renewed a contract with Kasters. Region was disposed of in this Kasters supply Westons with 2 fashion, there would be enough trailers full of containers 48 x 50. -
Of ABBA 1 ABBA 1
Music the best of ABBA 1 ABBA 1. Waterloo (2:45) 7. Knowing Me, Knowing You (4:04) 2. S.O.S. (3:24) 8. The Name Of The Game (4:01) 3. I Do, I Do, I Do, I Do, I Do (3:17) 9. Take A Chance On Me (4:06) 4. Mamma Mia (3:34) 10. Chiquitita (5:29) 5. Fernando (4:15) 11. The Winner Takes It All (4:54) 6. Dancing Queen (3:53) Ad Vielle Que Pourra 2 Ad Vielle Que Pourra 1. Schottische du Stoc… (4:22) 7. Suite de Gavottes E… (4:38) 13. La Malfaissante (4:29) 2. Malloz ar Barz Koz … (3:12) 8. Bourrée Dans le Jar… (5:38) 3. Chupad Melen / Ha… (3:16) 9. Polkas Ratées (3:14) 4. L'Agacante / Valse … (5:03) 10. Valse des Coquelic… (1:44) 5. La Pucelle d'Ussel (2:42) 11. Fillettes des Campa… (2:37) 6. Les Filles de France (5:58) 12. An Dro Pitaouer / A… (5:22) Saint Hubert 3 The Agnostic Mountain Gospel Choir 1. Saint Hubert (2:39) 7. They Can Make It Rain Bombs (4:36) 2. Cool Drink Of Water (4:59) 8. Heart’s Not In It (4:09) 3. Motherless Child (2:56) 9. One Sin (2:25) 4. Don’t We All (3:54) 10. Fourteen Faces (2:45) 5. Stop And Listen (3:28) 11. Rolling Home (3:13) 6. Neighbourhood Butcher (3:22) Onze Danses Pour Combattre La Migraine. 4 Aksak Maboul 1. Mecredi Matin (0:22) 7.