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Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr. -
Ottobre Verdiano a Parma E Provincia
FILARMONICA il pro gramm ARTURO TOSCANINI a Teatro Regio di Parma 1, 5, 9, 15, 18, 23, 26, 28 ottobre IL TROvaTORE Sabato 16 ottobre 2010 Auditorium Paganini, Parma Venerdì 18 febbraio 2011 Auditorium Paganini, Parma Musica di GIUSEPPE VERDI (Verdi Festival) Sabato 19 febbraio 2011 Teatro Alighieri, Ravenna Il Conte di Luna CLAUDIO Concerto Finale del Concorso Internazionale Domenica 20 febbraio 2011 Teatro Municipale, Piacenza SGURA / Leonora NORMA di Direzione d’Orchestra “A. Toscanini” FANTINI / TERESA ROMANO WAYNE MARSHALL (18, 23, 26, 28) / Azucena Musiche di Johannes Brahms Direttore MARIANNA TARASOVA / Manrico MARCELO ÁLVAREZ ALESSANDRO CARBONARE ANTONIO CORIANO (15, 18, Clarinetto 23, 26, 28) / Ferrando DEYAN Sabato 27 novembre 2010 Auditorium Paganini, Parma VATCHKOV / Ines MARIA Musiche di Aaron Copland, Duke Ellington, Pëtr Il’ič Čajkovskij Domenica 28 novembre Teatro Rossini, Lugo AGRESTA / Ruiz ROBERTO JACHINI VIRGILI / Un vecchio Lunedì 29 novembre 2010 Teatro Municipale, Piacenza zingaro ENRICO RINALDO / Un Giovedì 14 aprile 2011 Teatro Olimpico, Roma messo SEUNG HWA PAEK PIETARI INKINEN Maestro concertatore e direttore Direttore (Accademia Filarmonica Romana) YURI TEMIRKANOV/Maestro del ANDREA LUCCHESINI Domenica 17 aprile 2011 Auditorium Paganini, Parma coro MARTINO FAGGIANI Pianoforte Lunedì 18 aprile 2011 Teatro Manzoni, Bologna ORCHESTRA E CORO DEL TEATRO REGIO DI PARMA Musiche di Ludwig van Beethoven (MusicaInsieme) Vincitore del Concorso Internazionale Teatro Regio di Parma 10, 13, 17, 20, 24 ottobre di Direzione -
Festival Verdi
INTERNO ALETTA TESTO GUTTUSO Personalità e genio ritratti con pochi segni di matita. Decisi. Sicuri. Delineano il volto inconfondibile, lo sguardo penetrante, l’espressione severa. Il ritratto di Giuseppe Verdi realizzato da Renato Guttuso negli anni ‘60, donato al Teatro Regio di Parma dall’Archivio storico Bocchi, in ricordo di Mario Bocchi, diviene, nell’anno del Bicentenario, icona originale, esclusiva, del Festival Verdi. FONDAZIONE Presidente Sindaco di Parma Federico Pizzarotti Membri del Consiglio di Amministrazione Giuseppe Albenzio Laura Maria Ferraris Silvio Grimaldeschi Marco Alberto Valenti Amministratore esecutivo Carlo Fontana Direttore artistico Paolo Arcà Presidente del Collegio dei Revisori Giuseppe Ferrazza Revisori Andrea Frattini Alessandro Picinini Comitato promotore delle celebrazioni verdiane Presidente Paolo Peluffo Comitato di consulenza musicologica per il Festival Verdi Marcello Conati Gerardo Guccini Emilio Sala Il Festival Verdi è realizzato grazie al contributo di Major partner Partner eventi speciali Partner Main partner Sponsor Sponsor tecnici Tour operator partner Partner celebrazioni Il Teatro Regio di Parma ringrazia inoltre gli imprenditori che hanno voluto personalmente sostenere il Festival Verdi 2013 Teatro Regio di Parma 30 settembre 2013 FILARMONICA DELLA SCALA Direttore RICCARDO CHAILLY Musiche Giuseppe Verdi 1, 4, 6, 8, 11 ottobre 2013 SIMON BOCCANEGRA Musica Giuseppe Verdi 10 ottobre 2013 FILARMONICA ARTURO TOSCANINI CORO DEL TEATRO REGIO DI PARMA Direttore YURI TEMIRKANOV Musiche Giuseppe -
Marie Collier: a Life
Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family. -
BENJAMIN BRITTEN's USE of the Passacagt.IA Bernadette De Vilxiers a Thesis Submitted to the Faculty of Arts University of the Wi
BENJAMIN BRITTEN'S USE OF THE PASSACAGt.IA Bernadette de VilXiers A Thesis Submitted to the Faculty of Arts University of the Witwatersrand, Johannesburg for the Degree of Doctor of Philosophy Johannesburg 1985 ABSTRACT Benjamin Britten (1913-1976) was perhaps the most prolific cooposer of passaca'?' las in the twentieth century. Die present study of his use of tli? passac^.gl ta font is based on thirteen selected -assacaalias which span hin ire rryi:ivc career and include all genre* of his music. The passacaglia? *r- occur i*' the follovxnc works: - Piano Concerto, Op. 13, III - Violin Concerto, Op. 15, III - "Dirge" from Serenade, op. 31 - Peter Grimes, Op. 33, Interlude IV - "Death, be not proud!1' from The Holy Sonnets o f John Donne, Op. 35 - The Rape o f Lucretia, op. 37, n , ii - Albert Herring, Op. 39, III, Threnody - Billy Budd, op. 50, I, iii - The Turn o f the Screw, op . 54, II, viii - Noye '8 Fludde, O p . 59, Storm - "Agnu Dei" from War Requiem, Op. 66 - Syrrvhony forCello and Orchestra, Op. 68, IV - String Quartet no. 3, Op. 94, V The analysis includes a detailed investigation into the type of ostinato themes used, namely their structure (lengUi, contour, characteristic intervals, tonal centre, metre, rhythm, use of sequence, derivation hod of handling the ostinato (variations in length, tone colouJ -< <>e register, ten$>o, degree of audibility) as well as the influence of the ostinato theme on the conqposition as a whole (effect on length, sectionalization). The accompaniment material is then brought under scrutiny b^th from the point of view of its type (thematic, motivic, unrelated counterpoints) and its importance within the overall frarework of the passacaglia. -
Alvin Ailey Dance Foundation
2006 Spring Opera Season is sponsored by Cadillac Copyright 2010, Michigan Opera Theatre LaSalle Bank salutes those who make the arts a part of our lives. Personal Banking· Commercial Banking· Wealth Management Making more possible LaSalle Bank ABN AMRO ~ www. la sal lebank.com t:.I Wealth Management is a division of LaSalle Bank, NA Copyright 2010,i'ENm Michigan © 2005 LaSalle Opera Bank NTheatre.A. Member FDIC. Equal Opportunity Lender. 2006 The Official MagaZine of the Detroit Opera House BRAVO IS A MICHI GAN OPERA THEAT RE P UB LI CATION Sprin",,---~ CONTRI BUTORS Dr. David DiChiera Karen VanderKloot DiChiera eason Roberto Mauro Michigan Opera Theatre Staff Dave Blackburn, Editor -wELCOME P UBLISHER Letter from Dr. D avid DiChiera ...... .. ..... ...... 4 Live Publishing Company Frank Cucciarre, Design and Art Direction ON STAGE Bli nk Concept &: Design, Inc. Production LES GRAND BALLETS CANADIENS de MONTREAL .. 7 Chuck Rosenberg, Copy Editor Be Moved! Differently . ............................... ... 8 Toby Faber, Director of Advertising Sales Physicians' service provided by Henry Ford AIDA ............... ..... ...... ... .. ... .. .... 11 Medical Center. Setting ................ .. .. .................. .... 12 Aida and the Detroit Opera House . ..... ... ... 14 Pepsi-Cola is the official soft drink and juice provider for the Detroit Opera House. C INDERELLA ...... ....... ... ......... ..... .... 15 Cadillac Coffee is the official coffee of the Detroit Setting . ......... ....... ....... ... .. .. 16 Opera House. Steinway is the official piano of the Detroit Opera ALVIN AILEY AMERICAN DANCE THEATER .. ..... 17 House and Michigan Opera Theatre. Steinway All About Ailey. 18 pianos are provided by Hammell Music, exclusive representative for Steinway and Sons in Michigan. SALOME ........ ... ......... .. ... ... 23 President Tuxedo is the official provider of Setting ............. .. ..... .......... ..... 24 formal wear for the Detroit Opera House. -
Staged Treasures
Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio -
NORTHERN STARS MUSIC from the NORDIC and BALTIC REGIONS NAXOS • MARCO POLO • ONDINE • PROPRIUS • SWEDISH SOCIETY • DACAPO Northern Stars
NORTHERN STARS MUSIC FROM THE NORDIC AND BALTIC REGIONS NAXOS • MARCO POLO • ONDINE • PROPRIUS • SWEDISH SOCIETY • DACAPO Northern Stars Often inspired by folk tradition, nature, landscape and a potent spirit of independence, the music of Scandinavia, Finland and the Baltic states is distinctive and varied, with each country’s music influenced by its neighbours, yet shaped and coloured by its individual heritage. Traveling composers such as Sweden’s Joseph Kraus introduced 18th and early 19th century classical trends from Germany and Italy, but with national identity gaining increasing importance as Romantic ideals took hold, influential and distinctive creative lines were soon established. The muscular strength of Carl Nielsen’s symphonies grew out of the Danish nationalist vigor shown by Friedrich Kuhlau and Niels Gade, extending to names such as Per Nørgård today. Gade was a teacher of Edvard Grieg, who owes his position as Norway’s leading composer, at least in part, to the country’s traditional folk music and the poignant lyricism of the Hardanger fiddle. The music of Finland is dominated by the rugged symphonies of Jean Sibelius, and his Finlandia ensured his status as an enduring national symbol. Sibelius successfully combined the lessons of Viennese romanticism with a strong Nordic character, and this pragmatic approach has generated numerous contemporary giants such as Aus Sallinen, Einojuhani Rautavaara, Kalevi Aho and Kaija Saariaho. Turbulent history in the Baltic States partially explains a conspicuous individualism amongst the region’s composers, few more so than with Arvo Pärt, whose work distils the strong Estonian vocal tradition into music of striking intensity and crystalline beauty. -
MANON LESCAUT Giacomo Puccini Ritratto Da Luigi De Servi
FONDAZIONE TEATRO LA FENICE DI VENEZIA MANON LESCAUT Giacomo Puccini ritratto da Luigi De Servi. (Lucca, Museo Nazionale di Villa Guinigi). 2 FONDAZIONE TEATRO LA FENICE DI VENEZIA MANON LESCAUT dramma lirico in quattro atti NIKOLAJ RIMSKIJ-KORSAKOV musica di GIACOMO PUCCINI PALAFENICE AL TRONCHETTO Venerdì 24 marzo 2000, ore 20.00, turno A Domenica 26 marzo 2000, ore 15.30, turno B Martedì 28 marzo 2000, ore 20.00, turno D Giovedì 30 marzo 2000, ore 20.00, turno E Sabato 1 aprile 2000, ore 15.30, turno C 3 —————— Edizioni dell’Ufficio Stampa del TEATRO LA FENICE Responsabile Cristiano Chiarot Coordinamento musicologico e redazionale Carlida Steffan Ricerca iconografica Maria Teresa Muraro Copertina Tapiro Pubblicità AP srl Torino 4 SOMMARIO 7 LA LOCANDINA 11 IL LIBRETTO 52 MANON LESCAUT IN BREVE 54 ARGOMENTO - ARGUMENT - SYNOPSIS - HANDLUNG 65 ADRIANA GUARNIERI CORAZZOL LE POLIFONIE DI MANON LESCAUT 77 FRANCESCO CESARI GLI AMANTI IN FUGA 91 GIACOMO PUCCINI a cura di MIRKO SCHIPILLITI 107 BIBLIOGRAFIA ESSENZIALE a cura di GILDO SALERNO 113 WWW.MANON LESCAUT 114 BIOGRAFIE 5 Foto di scena di Manon Lescaut. Nancy, Opéra di Nancy, 1999. Allestimento in coproduzione con il Teatro La Fenice di Venezia. 6 LA LOCANDINA MANON LESCAUT dramma lirico in quattro atti libretto di RUGGERO LEONCAVALLO, DOMENICO OLIVA, GIULIO RICORDI, LUIGI ILLICA, MARCO PRAGA, GIUSEPPE GIACOSA, GIACOMO PUCCINI musica di GIACOMO PUCCINI CASA MUSICALE RICORDI, MILANO personaggi ed interpreti Manon Lescaut NORMA FANTINI (24, 26, 28, 30/3) LISA HOUBEN (1/4) Lescaut, sergente -
Cartella Presentazione Concerto 15Mag21
Sabato 15 Maggio 2021, ore 18 Il Goldoni riapre! Concerto lirico inaugurale OMAGGIO A LUCIA STANESCU ORCHESTRA DEL TEATRO GOLDONI direttore Gerardo Estrada Martínez partecipano: Maria Luigia Borsi (soprano) Antonello Palombi (tenore) Devid Cecconi (baritono) Brad Repp (violino) PROGRAMMA J. Massenet Thäis: Méditation Violino solista: Brad Repp G. Puccini La bohème: “Donde lieta uscì” Lorena Puican (soprano) U. Giordano Andrea Chenier: “Nemico della patria” Devid Cecconi (baritono) F. Cilea Adriana Lecouvreur: “Io son l’umile ancella” Maria Luigia Borsi (soprano) R. Leoncavallo Pagliacci: “Vesti la giubba” Antonello Palombi (tenore) P. Mascagni L’amico Fritz: “Son pochi fiori” Lorena Puican (soprano) G. Verdi Un ballo in maschera: “Eri tu che macchiavi quell’anima” Devid Cecconi (baritono) G. Puccini La bohème: “O soave fanciulla” Antonello Palombi (tenore), Maria Luigia Borsi (soprano) G. Puccini Turandot: “Tu che di gel sei cinta” Lorena Puican (soprano) G. Verdi Rigoletto: “Cortigiani, vil razza dannata” Devid Cecconi (baritono) G. Puccini Tosca: “Vissi d’arte” Maria Luigia Borsi (soprano) G. Puccini Tosca: “E lucevan le stelle” Antonello Palombi (tenore) BIS S. Gastaldon: Musica proibita Antonello Palombi, Maria Luigia Borsi, Devid Cecconi, Lorena Puican, Brad Repp Livorno. Riapre al pubblico il Teatro Goldoni di Livorno: “E’ un giorno che attendevamo con grande trepidazione – afferma subito il Direttore della Fondazione Goldoni Mario Menicagli – e che ci riempie di gioia. E’ passato oltre un anno dall’ultimo spettacolo in presenza e riavere il pubblico in sala, nell’assoluto rispetto delle disposizioni normative in tema di sicurezza, è un evento che intendiamo condividere con tutta la città offrendo uno straordinario concerto lirico in omaggio ed in ricordo di una grande Signora ed Artista che ha onorato con la sua professione e la sua vita la nostra città per oltre cinquant'anni: il soprano rumeno Lucia Stanescu”. -
CUL Keller Archive Catalogue
HANS KELLER ARCHIVE: working copy A1: Unpublished manuscripts, 1940-49 A1/1: Unpublished manuscripts, 1940-49: independent work This section contains all Keller’s unpublished manuscripts dating from the 1940s, apart from those connected with his collaboration with Margaret Phillips (see A1/2 below). With the exception of one pocket diary from 1938, the Archive contains no material prior to his arrival in Britain at the end of that year. After his release from internment in 1941, Keller divided himself between musical and psychoanalytical studies. As a violinist, he gained the LRAM teacher’s diploma in April 1943, and was relatively active as an orchestral and chamber-music player. As a writer, however, his principal concern in the first half of the decade was not music, but psychoanalysis. Although the majority of the musical writings listed below are undated, those which are probably from this earlier period are all concerned with the psychology of music. Similarly, the short stories, poems and aphorisms show their author’s interest in psychology. Keller’s notes and reading-lists from this period indicate an exhaustive study of Freudian literature and, from his correspondence with Margaret Phillips, it appears that he did have thoughts of becoming a professional analyst. At he beginning of 1946, however, there was a decisive change in the focus of his work, when music began to replace psychology as his principal subject. It is possible that his first (accidental) hearing of Britten’s Peter Grimes played an important part in this change, and Britten’s music is the subject of several early articles. -
GIORDANO BELLINCAMPI, Direttore
GIORDANO BELLINCAMPI , direttore Giordano Bellincampi è il direttore musicale della Auckland Philharmonia. Nato in Italia e trasferitosi a Copenaghen in giovane età, ha iniziato la sua carriera come trombonista con la Royal Danish Orchestra prima di fare il suo debutto come direttore d’orchestra nel 1994. In precedenza, è stato direttore principale de’ I Pomeriggi Musicali di Milano, direttore principale della Kristiansand Symphony Orchestra dal 2013 al 2018, direttore generale della musica della Duisburg Philharmonic dal 2012 al 2017, direttore generale della musica della Danish National Opera di Aarhus dal 2005 al 2013, direttore musicale della Copenhagen Philharmonic Orchestra dal 2000 al 2006 e, tra il 1997 e il 2000, anche direttore principale dell'Athelas Sinfonietta di Copenhagen, il principale ensemble contemporaneo in Danimarca. Bellincampi intrattiene relazioni regolari come ospite con molte orchestre in tutto il mondo, in particolare in Scandinavia ed Europa, tra cui le Orchestre Royal Stockholm, Rotterdam e Royal Flemish Philharmonic e la St Petersburg Symphony, ma anche in Nord America, Asia e Australia. Con un enorme repertorio che abbraccia la musica classica, romantica e contemporanea, è particolarmente celebre per la sua ampia conoscenza della musica sinfonica dell'Europa centrale, italiana e scandinava e per le sue interpretazioni di importanti opere corali e vocali. I momenti salienti delle ultime stagioni includono concerti di Aida di Verdi e Mozart di Don Giovanni con la Auckland Philharmonia, e spettacoli di gala della musica lirica e orchestrale di Wagner con la Duisburg Philharmonic in occasione della riapertura della casa dell'orchestra nel Mercatorhalle di Duisburg, nonché una visita acclamata alla leggendaria Concertgebouw Hall di Amsterdam, nel repertorio di Nielsen, Sibelius e Beethoven.