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Inside the Ring: Essays on Wagner's Opera Cycle
Inside the Ring: Essays on Wagner’s Opera Cycle John Louis DiGaetani Professor Department of English and Freshman Composition James Morris as Wotan in Wagner’s Die Walküre. Photo: Jennifer Carle/The Metropolitan Opera hirty years ago I edited a book in the 1970s, the problem was finding a admirer of Hitler and she turned the titled Penetrating Wagner’s Ring: performance of the Ring, but now the summer festival into a Nazi showplace An Anthology. Today, I find problem is finding a ticket. Often these in the 1930s and until 1944 when the myself editing a book titled Ring cycles — the four operas done festival was closed. But her sons, Inside the Ring: Essays on within a week, as Wagner wanted — are Wieland and Wolfgang, managed to T Wagner’s Opera Cycle — to be sold out a year in advance of the begin- reopen the festival in 1951; there, published by McFarland Press in spring ning of the performances, so there is Wieland and Wolfgang’s revolutionary 2006. Is the Ring still an appropriate clearly an increasing demand for tickets new approaches to staging the Ring and subject for today’s audiences? Absolutely. as more and more people become fasci- the other Wagner operas helped to In fact, more than ever. The four operas nated by the Ring cycle. revive audience interest and see that comprise the Ring cycle — Das Wagnerian opera in a new visual style Rheingold, Die Walküre, Siegfried, and Political Complications and without its previous political associ- Götterdämmerung — have become more ations. Wieland and Wolfgang Wagner and more popular since the 1970s. -
Arts and Culture Unnumbered Sparks: Janet Echelman, TED Sculpture Foreword
Arts and Culture Unnumbered Sparks: Janet Echelman, TED Sculpture Foreword Imagine a world without performing or visual arts. Imagine – no opera houses, no theatres or concert halls, no galleries or museums, no dance, music, theatre, collaborative arts or circus – and in an instant we appreciate the essential, colourful, emotive and inspiring place that creative pursuits hold in our daily life. Creating opportunities for arts to flourish is vital, and this includes realising inspiring venues which are cutting edge, beautiful, functional, sustainable, have the right balance of architecture, acoustics, theatrical and visual functionality and most importantly are magnets for artists and audiences, are enjoyable spaces and places, and allow the shows and exhibitions to go on. 4 Performing Arts Bendigo Art Gallery 5 Performing Arts Arts and Culture Performing and Visual Arts 03 08 – 87 88 – 105 Foreword Performing Musicians, Arts Artists, Sculptors and Festivals 106 – 139 140 – 143 144 Visual Arup Services Photography Arts Clients and Credits Collaborators Contents Foreword 3 Victoria Theatre and Concert Hall 46 Singapore South Bank Studio, Queensland Symphony Orchestra 50 Australia Performing Marina Bay Sands Theatres 52 Arts 8 Singapore Elisabeth Murdoch Hall Federation Concert Hall 56 Melbourne Recital Centre 10 Australia Australia Chatswood Civic Place 58 Sydney Opera House 14 Australia Australia Carriageworks 60 Glasshouse Arts, Conference and Australia Entertainment Centre 16 Australia Greening the Arts Portfolio 64 Australia Melbourne -
Pavel Lisitsian Discography by Richard Kummins
Pavel Lisitsian Discography By Richard Kummins e-mail: [email protected] Rev - 17 June 2014 Composer Selection Other artists Date Lang Record # The capital city of the country (Stolitsa Agababov rodin) 1956 Rus 78 USSR 41366 (1956) LP Melodiya 14305/6 (1964) LP Melodiya M10 45467/8 (1984) CD Russian Disc 15022 (1994) MP3 RMG 1637 (2005 - Song Listen, maybe, Op 49 #2 (Paslushai, byt Anthology Vol 1) Arensky mozhet) Andrei Mitnik, piano 1951 Rus MP3 RMG 1766 (2006) 78 USSR 14626 (1947) LP Vocal Record Collector's Armenian (trad) Armenian girls (Hayotz akhchikner) Matvei Sakharov, piano 1947 Arm Society 1992 Armenian girls (Hayotz akhchikner) LP Melodiya 45465/6 (1984) Armenian (trad) (arranged by Aleksandr Dolukhanian) Matvei Sakharov, piano 1948 Arm MP3 RMG 1766 (2006) Armenian girls (Hayotz akhchikner) 1960 (San LP New York Records PL 101 Armenian (trad) (arranged by Aleksandr Dolukhanian) Maro Ajemian, piano Francisco) Arm (1960) Crane (Groong) 1960 (San LP New York Records PL 101 Armenian (trad) (arranged by Aleksandr Dolukhanian) Maro Ajemian, piano Francisco) Arm (1960) Russian Folk Instrument Orchestra - Crane (Groong) Central TV and All-Union Radio LP Melodiya 45465/6 (1984) Armenian (trad) (arranged by Aleksandr Dolukhanian) - Vladimir Fedoseyev 1968 Arm MP3 RMG 1766 (2006) LP DKS 6228 (1955) Armenian (trad) Dogwood forest (Lyut kizil usta tvoi) Matvei Sakharov, piano 1955 Arm MP3 RMG 1766 (2006) Dream (Yeraz) (arranged by Aleksandr LP Melodiya 45465/6 (1984) Armenian (trad) Dolukhanian) Matvei Sakharov, piano 1948 Arm MP3 RMG -
Bram Fischer and the Meaning of Integrity Stephen Ellman
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of North Carolina School of Law NORTH CAROLINA JOURNAL OF INTERNATIONAL LAW AND COMMERCIAL REGULATION Volume 26 | Number 3 Article 5 Summer 2001 To Live Outside the Law You Must Be Honest: Bram Fischer and the Meaning of Integrity Stephen Ellman Follow this and additional works at: http://scholarship.law.unc.edu/ncilj Recommended Citation Stephen Ellman, To Live Outside the Law You Must Be Honest: Bram Fischer and the Meaning of Integrity, 26 N.C. J. Int'l L. & Com. Reg. 767 (2000). Available at: http://scholarship.law.unc.edu/ncilj/vol26/iss3/5 This Comments is brought to you for free and open access by Carolina Law Scholarship Repository. It has been accepted for inclusion in North Carolina Journal of International Law and Commercial Regulation by an authorized editor of Carolina Law Scholarship Repository. For more information, please contact [email protected]. To Live Outside the Law You Must Be Honest: Bram Fischer and the Meaning of Integrity Cover Page Footnote International Law; Commercial Law; Law This comments is available in North Carolina Journal of International Law and Commercial Regulation: http://scholarship.law.unc.edu/ncilj/vol26/iss3/5 To Live Outside the Law You Must Be Honest: Bram Fischer and the Meaning of Integrity* Stephen Ellmann** Brain Fischer could "charm the birds out of the trees."' He was beloved by many, respected by his colleagues at the bar and even by political enemies.2 He was an expert on gold law and water rights, represented Sir Ernest Oppenheimer, the most prominent capitalist in the land, and was appointed a King's Counsel by the National Party government, which was simultaneously shaping the system of apartheid.' He was also a Communist, who died under sentence of life imprisonment. -
State Composers and the Red Courtiers: Music, Ideology, and Politics in the Soviet 1930S
JYVÄSKYLÄ STUDIES IN HUMANITIES 78 Simo Mikkonen State Composers and the Red Courtiers Music, Ideology, and Politics in the Soviet 1930s JYVÄSKYLÄN YLIOPISTO JYVÄSKYLÄ STUDIES IN HUMANITIES 78 Simo Mikkonen State Composers and the Red Courtiers Music, Ideology, and Politics in the Soviet 1930s Esitetään Jyväskylän yliopiston humanistisen tiedekunnan suostumuksella julkisesti tarkastettavaksi yliopiston Villa Ranan Blomstedtin salissa marraskuun 24. päivänä 2007 kello 12. Academic dissertation to be publicly discussed, by permission of the Faculty of Humanities of the University of Jyväskylä, in the Building Villa Rana, Blomstedt Hall, on November 24, 2007 at 12 o'clock noon. UNIVERSITY OF JYVÄSKYLÄ JYVÄSKYLÄ 2007 State Composers and the Red Courtiers Music, Ideology, and Politics in the Soviet 1930s JYVÄSKYLÄ STUDIES IN HUMANITIES 78 Simo Mikkonen State Composers and the Red Courtiers Music, Ideology, and Politics in the Soviet 1930s UNIVERSITY OF JYVÄSKYLÄ JYVÄSKYLÄ 2007 Editors Seppo Zetterberg Department of History and Ethnology, University of Jyväskylä Irene Ylönen, Marja-Leena Tynkkynen Publishing Unit, University Library of Jyväskylä Jyväskylä Studies in Humanities Editorial Board Editor in Chief Heikki Hanka, Department of Art and Culture Studies, University of Jyväskylä Petri Karonen, Department of History and Ethnology, University of Jyväskylä Matti Rahkonen, Department of Languages, University of Jyväskylä Petri Toiviainen, Department of Music, University of Jyväskylä Minna-Riitta Luukka, Centre for Applied Language Studies, University of Jyväskylä Raimo Salokangas, Department of Communication, University of Jyväskylä URN:ISBN:9789513930158 ISBN 978-951-39-3015-8 (PDF) ISBN 978-951-39-2990-9 (nid.) ISSN 1459-4331 Copyright ©2007 , by University of Jyväskylä Jyväskylä University Printing House, Jyväskylä 2007 ABSTRACT Mikkonen, Simo State composers and the red courtiers. -
1. Early Years: Maria Before La Callas 2. Metamorphosis
! 1. EARLY YEARS: MARIA BEFORE LA CALLAS Maria Callas was born in New York on 2nd December 1923, the daughter of Greek parents. Her name at birth was Maria Kalogeropoulou. When she was 13 years old, her parents separated. Her mother, who was ambitious for her daughter’s musical talent, took Maria and her elder sister to live in Athens. There Maria made her operatic debut at the age of just 15 and studied with Elvira de Hidalgo, a Spanish soprano who had sung with Enrico Caruso. Maria, an intensely dedicated student, began to develop her extraordinary potential. During the War years in Athens the young soprano sang such demanding operatic roles as Tosca and Leonore in Beethoven’s Fidelio. In 1945, Maria returned to the USA. She was chosen to sing Turandot for the inauguration of a prestigious new opera company in Chicago, but it went bankrupt before the opening night. Yet fate turned out to be on Maria’s side: she had been spotted by the veteran Italian tenor, Giovanni Zenatello, a talent scout for the opera festival at the Verona Arena. Callas made her Italian debut there in 1947, starring in La Gioconda by Ponchielli. Her conductor, Tullio Serafin, was to become a decisive force in her career. 2. METAMORPHOSIS After Callas’ debut at the Verona Arena, she settled in Italy and married a wealthy businessman, Giovanni Battista Meneghini. Her influential conductor from Verona, Tullio Serafin, became her musical mentor. She began to make her name in grand roles such as Turandot, Aida, Norma – and even Wagner’s Isolde and Brünnhilde – but new doors opened for her in 1949 when, at La Fenice opera house in Venice, she replaced a famous soprano in the delicate, florid role of Elvira in Bellini’s I puritani. -
Flying Over the Abyss Η Υπερβαση Τησ Αβυσσοσ
FLYING OVER THE ABYSS Η ΥΠΕΡΒΑΣΗ ΤΗΣ ΑΒΥΣΣΟΣ 7 NOVEMBER 2015 – 29 FEBRUARY 2016 CONTEMPORARY ART CENTRE OF THESSALONIKI - STATE MUSEUM OF CONTEMPORARY ART FLYING OVER THE ABYSS Η ΥΠΕΡΒΑΣΗ ΤΗΣ ΑΒΥΣΣΟΣ CONTEMPORARY ART CENTRE OF THESSALONIKI Tuesday - Wednesday - Thursday - Saturday - Sunday 10:00-18:00 Friday 10:00-22:00 Monday Closed All works exhibited are courtesy of the D.Daskalopoulos Collection. Our warmest thanks to the D.Daskalopoulos Collection and Nikos Kazantzakis Museum for their generous loans to the exhibition. Marina Abramović Alexis Akrithakis Matthew Barney Hans Bellmer Lynda Benglis John Bock Louise Bourgeois Heidi Bucher Helen Chadwick Savvas Christodoulides Abraham Cruzvillegas Robert Gober Asta Gröting Jim Hodges Jenny Holzer Kostas Ioannidis Mike Kelley William Kentridge Martin Kippenberger Sophia Kosmaoglou Sherrie Levine Stathis Logothetis Ana Mendieta Maro Michalakakos Doris Salcedo Kiki Smith Costas Tsoclis Mark Wallinger CONTEMPORARY ART CENTRE OF THESSALONIKI Suggested exhibition route according to room numbering Ground floor 1st floor ROOM 2 ROOM 1 ROOM 2 ROOM 3 ROOM 4 ROOM 5 ROOM 2 Tracing a human being’s natural course from life to death, the exhibition Flying over the Abyss follows, in a way, the flow of the universal text of The Saviors of God by that great Cretan, Nikos FLYING OVER Kazantzakis. It neither illustrates, nor narrates. The text, concretely actual and precious, in its original manuscript, does remain complete in its roundness and maximum in its creative artistry. THE ABYSS Unravelled comes along the harrowing of the other, not alienated, yet refreshing moments of the Η ΥΠΕΡΒΑΣΗ contemporary artistic creation. In the exhibition, works by Greek and international artists share in, pointing out the trauma of birth, the luminous interval of life and creativity, and death. -
Graduation 2009
GRADUATION 2009 Presentation speech for Sir Sydney Kentridge KCMG QC for the honorary degree of Doctor of Laws of the University honoris causa Chancellor, on a beam in our Hunter Street Library, there is an early piece of Graffiti: it says ‘Burdett and Liberty for Ever’. Although these words were written long before this University was even thought of, many of us still draw inspiration from them. A commitment to Liberty is central to what this University stands for – and it has also been the crucial theme in the life of our Honorand. Chancellor: A good many of Sir Sydney’s cases have centred on issues of freedom and liberty, first in South Africa and later in this country. In South Africa he frequently appeared for leaders of the anti-apartheid movement and his clients included Chief Albert Luthulo, Nelson Madela and Archbishop Desmond Tutu. He is perhaps best known for representing the family of Stephen Biko. Lord Alexander of Weedon wrote of his performance at the Inquest, ‘Through remorseless and deadly cross-questioning, sometimes with brilliant irony, Kentridge established that the founder of the Black Consciousness Movement had been killed by police brutality. The verdict of accidental death was seen as risible’ In this country Sir Sydney has continued to defend freedom. He was so effective when representing the Countryside Alliance in its attempts to stop the proposed ban on fox hunting that he was accused of ‘overstating his case’. Nothing daunted, when the case got to the House of Lords, he began ‘Perhaps I could overstate my case again’. -
PDF Press Release
P R E S S R E L E A S E FOR IMMEDIATE RELEASE: January 4, 2008 Williams College Museum of Art Presents William Kentridge Prints February 9 – April 27, 2008 and June 21 – August 24, 2008 and History of the Main Complaint, 1996 February 2–April 27, 2008 Williamstown, MA—The Williams College Museum of Art (WCMA) presents William Kentridge Prints, the first of a two-part exhibition, which features 120 works by this pioneering South-African artist. WCMA will also be showing Kentridge's film History of the Main Complaint, 1996, in the museum's media field gallery. Okwui Enwezor, Dean of Academic Affairs at San Francisco Art Institute and Adjunct Curator at International Center of Photography, New York, will give a lecture entitled "(Un) Civil Engineering: William Kentridge's Allegorical Landscapes" on Saturday, April 12 at 2:00 pm in Brooks -Rogers Recital Hall at Williams College. This is a free public program and all are invited to attend. William Kentridge Prints represents over a third of the out put in the medium of printmaking for Kentridge, who works in the tradition of socially and politically engaged artists such as William Hogarth, Francisco Goya, Honore Daumier, and Kathe Kollwitz. Kentridge's work reflects on the human condition, specifically the history of apartheid in his own country and the ways in which our personal and collective histories are intertwined. The work in this exhibition ranges from 1976 to 2004 and includes aquatint, drypoint, engraving, etching, monoprint, 15 LAWRENCE HALL DRIVE SUITE 2 WILLIAMSTOWN MASSACHUSETTS 01267-2566 telephone 413.597.2429 facsimile 413.458.9017 web WWW.WCMA.ORG linocut, lithograph, and silkscreen techniques, often in combinations. -
A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina
University of South Carolina Scholar Commons Theses and Dissertations 2015 A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Amos, D. C.(2015). A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3642 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A SURVEY OF THE CAREER OF BARITONE, JOSEF METTERNICH: ARTIST AND TEACHER by Diana Carol Amos Bachelor of Music Oberlin Conservatory of Music, 1982 Master of Music University of South Carolina, 2011 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2015 Accepted by: Walter Cuttino, Major Professor Donald Gray, Committee Member Sarah Williams, Committee Member Janet E. Hopkins, Committee Member Lacy Ford, Senior Vice Provost and Dean of Graduate Studies ©Copyright by Diana Carol Amos, 2015 All Rights Reserved. ii ACKNOWLEDGEMENTS I gratefully acknowledge the help of my professor, Walter Cuttino, for his direction and encouragement throughout this project. His support has been tremendous. My sincere gratitude goes to my entire committee, Professor Walter Cuttino, Dr. Donald Gray, Professor Janet E. Hopkins, and Dr. Sarah Williams for their perseverance and dedication in assisting me. -
William Kentridge Brings 'Wozzeck' Into the Trenches
William Kentridge Brings ‘Wozzeck’ Into the Trenches The artist’s production of Berg’s brutal opera, updated to World War I, has come to the Metropolitan Opera. By Jason Farago (December 26, 2019) ”Credit...Devin Yalkin for The New York Times Three years ago, on a trip to Johannesburg, I had the chance to watch the artist William Kentridge working on a new production of Alban Berg’s knifelike opera “Wozzeck.” With a troupe of South African performers, Mr. Kentridge blocked out scenes from this bleak tale of a soldier driven to madness and murder — whose setting he was updating to the years around World War I, when it was written, through the hand-drawn animations and low-tech costumes that Metropolitan Opera audiences have seen in his stagings of Berg’s “Lulu” and Shostakovich’s “The Nose.” Some of what I saw in Mr. Kentridge’s studio has survived in “Wozzeck,” which opens at the Met on Friday. But he often works on multiple projects at once, and much of the material instead ended up in “The Head and the Load,” a historical pageant about the impact of World War I in Africa, which New York audiences saw last year at the Park Avenue Armory. Mr. Kentridge’s “Wozzeck” premiered at the Salzburg Festival in 2017. Zachary Woolfe of The New York Times called it “his most elegant and powerful operatic treatment yet.” At the Met, the Swedish baritone Peter Mattei will sing the title role for the first time; Elza van den Heever, like Mr. Kentridge from Johannesburg, plays his common-law wife, Marie; and Yannick Nézet- Séguin, the company’s music director, will conduct. -
Helen Joseph's
Foreword: Helen Joseph’s – If this be Treason – by Benjamin Trisk I was unaware of Helen Joseph’s memoir of the Treason Trial (1956 – 1961) until I came across a letter to I.A. Maisels QC (Isie), who was my father-in-law. I was helping him tidy up some old papers around 1991 or 1992 (he died at the end of 1994) and I found a hand-written letter among his papers. It was addressed to him in an unknown hand and dated 22nd February 1961. A facsimile of the letter is included in this book. Among the signatories to the letter was Helen Joseph.She was one of the activists who was detained and charged with others in December 1956. Between December 5 and December 12, 1956, 156 people were arrested. The charge was High Treason. In those days, there was first a preparatory examination (which concluded in January 1958) and 92 of the 156 were then committed for trial. The others were free to go. The Treason Trial, as it is known, commenced in August 1958. This was known as the First Indictment and the State quickly realized, as a brilliant Defence team first dissected and then destroyed the State’s argument that it would have to withdraw the charges- which it did in October 1958. The State, however, was not giving up and the trial commenced again in January 1959 (the Second Indictment) with a further reduction in the number of the accused. 30 of the original 156 then faced charges from High Treason. Until the time when I found the letter, I had known very little about the Treason Trial.