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POWDER-HER-FACE.Pdf
3 La Fenice prima dell’Opera 2012 3 2012 Fondazione Stagione 2012 Teatro La Fenice di Venezia Lirica e Balletto Thomas Adès Powder ace her f ace er InciprialeF h il viso owder owder p dès a homas t FONDAZIONE TEATRO LA FENICE DI VENEZIA TEATRO LA FENICE - pagina ufficiale seguici su facebook e twitter follow us on facebook and twitter FONDAZIONE TEATRO LA FENICE DI VENEZIA Destinare il cinque per mille alla cultura è facile e non costa nulla. Quando compili la tua dichiarazione dei redditi, indica il codice fiscale della Fondazione Teatro La Fenice di Venezia: 00187480272 Aiuti la cultura, aiuti la musica. Incontro con l’opera FONDAZIONE lunedì 16 gennaio 2012 ore 18.00 AMICI DELLA FENICE SANDRO CAPPELLETTO, MARIO MESSINIS, DINO VILLATICO STAGIONE 2012 Lou Salomé sabato 4 febbraio 2012 ore 18.00 MICHELE DALL’ONGARO L’inganno felice mercoledì 8 febbraio 2012 ore 18.00 LUCA MOSCA Così fan tutte martedì 6 marzo 2012 ore 18.00 LUCA DE FUSCO, GIANNI GARRERA L’opera da tre soldi martedì 17 aprile 2012 ore 18.00 LORENZO ARRUGA La sonnambula lunedì 23 aprile 2012 ore 18.00 PIER LUIGI PIZZI, PHILIP WALSH Powder Her Face giovedì 10 maggio 2012 ore 18.00 RICCARDO RISALITI La bohème lunedì 18 giugno 2012 ore 18.00 GUIDO ZACCAGNINI Carmen giovedì 5 luglio 2012 ore 18.00 MICHELE SUOZZO L’elisir d’amore giovedì 13 settembre 2012 ore 18.00 MASSIMO CONTIERO Clavicembalo francese a due manuali copia dello Rigoletto strumento di Goermans-Taskin, costruito attorno sabato 6 ottobre 2012 ore 18.00 alla metà del XVIII secolo (originale presso la Russell PHILIP GOSSETT Collection di Edimburgo). -
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Complete Concerts and Recording Sessions Brighton Festival Chorus 27 Apr 1968 Concert Dome Concert Hall, Brighton Brighton Festival Belshazzar's Feast Walton William Walton Royal Philharmonic Orchestra Baritone Thomas Hemsley 11 May 1968 Concert Dome Concert Hall, Brighton Brighton Festival Kyrie in D minor, K 341 Mozart Colin Davis BBC Symphony Orchestra 27 Oct 1968 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Budavari Te Deum Kodály Laszlo Heltay Brighton Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Sarah Walker Tenor Paul Taylor Bass Brian Kay 23 Feb 1969 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Symphony No. 9 in D minor, op.125 Beethoven Herbert Menges Brighton Philharmonic Orchestra Soprano Elizabeth Harwood Mezzo-Soprano Barbara Robotham Tenor Kenneth MacDonald Bass Raimund Herincx 09 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Mass in D Dvorák Václav Smetáček Czech Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Valerie Baulard Tenor Paul Taylor Bass Michael Rippon Sussex University Choir 11 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Liebeslieder-Walzer Brahms Laszlo Heltay Piano Courtney Kenny Piano Roy Langridge 25 Jan 1970 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Requiem Fauré Laszlo Heltay Brighton Philharmonic Orchestra Soprano Maureen Keetch Baritone Robert Bateman Organ Roy Langridge 09 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Mass in B Minor Bach Karl Richter English Chamber Orchestra Soprano Ann Pashley Mezzo-Soprano Meriel Dickinson Tenor Paul Taylor Bass Stafford Dean Bass Michael Rippon Sussex University Choir 1 Brighton Festival Chorus 17 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Fantasia for Piano, Chorus and Orchestra in C minor Beethoven Symphony No. -
Downloaded from Manchesterhive.Com at 09/28/2021 04:33:06PM Via Free Access
Film and the Festival of Britain sarah easen T F Britain, from 3 May to 30 September 1951, aimed to provide respite from the effects of World War II by celebrating the nation’s past achievements in the arts, industry and science, as well as looking hopefully to a future of progress and prosperity. It marked the halfway point of the century, a natural moment at which to take stock and examine advances in British society. The Director General of the Festival, Gerald Barry, promised ‘a year of fun, fantasy and colour’, an interlude of ‘fun and games’ after the long run of wartime austerity.1 Film was integral to the Festival of Britain. It related to the Festival’s three main areas of concern, the arts, industry and science. Britain’s role in international film culture had already been established by the growth of the British documentary movement since the 1930s. The Festival of Britain therefore seemed a natural place to demonstrate the fruits of British film production. The Festival of Britain site in London on the South Bank featured a purpose-built film theatre, the Telekinema, for big-screen public television broadcasts and the showing of specially commissioned Festival films.2 The Television Pavilion also displayed a brief history of the new medium. Cinemas around the nation featured seasons of classic British film- making. The exhibitions themselves also used film as a tool for expressing concepts and processes that could not easily be displayed. So film was not only a medium for the exposition of ideas within the Festival of Britain exhibitions, it also contributed to the entertainment on offer. -
Concerts with the London Philharmonic Orchestra for Seasons 1946-47 to 2006-07 Last Updated April 2007
Artistic Director NEVILLE CREED President SIR ROGER NORRINGTON Patron HRH PRINCESS ALEXANDRA Concerts with the London Philharmonic Orchestra For Seasons 1946-47 To 2006-07 Last updated April 2007 From 1946-47 until April 1951, unless stated otherwise, all concerts were given in the Royal Albert Hall. From May 1951 onwards, unless stated otherwise, all concerts were given in The Royal Festival Hall. 1946-47 May 15 Victor De Sabata, The London Philharmonic Orchestra (First Appearance), Isobel Baillie, Eugenia Zareska, Parry Jones, Harold Williams, Beethoven: Symphony 8 ; Symphony 9 (Choral) May 29 Karl Rankl, Members Of The London Philharmonic Orchestra, Kirsten Flagstad, Joan Cross, Norman Walker Wagner: The Valkyrie Act 3 - Complete; Funeral March And Closing Scene - Gotterdammerung 1947-48 October 12 (Royal Opera House) Ernest Ansermet, The London Philharmonic Orchestra, Clara Haskil Haydn: Symphony 92 (Oxford); Mozart: Piano Concerto 9; Vaughan Williams: Fantasia On A Theme Of Thomas Tallis; Stravinsky: Symphony Of Psalms November 13 Bruno Walter, The London Philharmonic Orchestra, Isobel Baillie, Kathleen Ferrier, Heddle Nash, William Parsons Bruckner: Te Deum; Beethoven: Symphony 9 (Choral) December 11 Frederic Jackson, The London Philharmonic Orchestra, Ceinwen Rowlands, Mary Jarred, Henry Wendon, William Parsons, Handel: Messiah Jackson Conducted Messiah Annually From 1947 To 1964. His Other Performances Have Been Omitted. February 5 Sir Adrian Boult, The London Philharmonic Orchestra, Joan Hammond, Mary Chafer, Eugenia Zareska, -
Record Series 1121-105.4, W. W. Law Music Collection-Compact Discs, Inventory by Genre
Record Series 1121-105.4, W. W. Law Music Collection-Compact Discs, Inventory by Genre Genre Album title Contributor (s) Date Final Box # Item # Additional Notes Original CD Blues (music) James Cotton Living the Blues James Cotton; Larry McCray; John Primer; Johnny B. Gayden; Brian Jones; Dr. John; Lucky Peterson; Joe Louis Walker 1994 1121-105-242 19 Blues (music) Willie Dixon Willie Dixon; Andy McKaie; Don Snowden 1988 1121-105-249 01 Oversized case; 2 CD box set Blues (music) Cincinnati Blues (1928-1936) Bob Coleman's Cincinnati Jug Band and Associates; Walter Coleman; Bob Coleman no date 1121-105-242 17 Found with CD album in Box #10, Item #28; Case was found separately Blues (music) Willie Dixon, The Big Three Trio Willie Dixon; The Big Three Trio 1990 1121-105-242 18 Blues (music) The Best of Muddy Waters Muddy Waters 1987 1121-105-242 08 Blues (music) The Roots of Robert Johnson Robert Johnson 1990 1121-105-242 07 Blues (music) The Best of Mississippi John Hurt Mississippi John Hurt; Bob Scherl 1987 1121-105-242 06 Blues (music) Bud Powell: Blues for Bouffemont Bud Powell; Alan Bates 1989 1121-105-242 36 Friday, May 11, 2018 Page 1 of 89 Genre Album title Contributor (s) Date Final Box # Item # Additional Notes Original CD Blues (music) Big Bill Broonzy Good Time Tonight Big Bill Broonzy 1990 1121-105-242 04 Blues (music) Bessie Smith The Collection Bessie Smith; John Hammond; Frank Walker 1989 1121-105-242 38 Blues (music) Blind Willie Johnson Praise God I'm Satisfied Blind Willie Johnson 1989 1121-105-242 20 Post-it note was found on the back of this CD case, photocopy made and placed in envelope behind CD. -
Benjamin Britten the Turn of the Screw
Benjamin Britten I • • The Turn of the Screw Edited by PATRICIA HOWARD Lecturer in Music The Open University The right of the University of Cambridge to print and sell all manner of books of granted by Henry 1711 at 1534. The University has printed and published continuously since 1584. CAMBRIDGE UNIVERSITY PRESS Cambridge London New York New Rochelle Melbourne Sydney 2 Myfanwy Piper's (The Turn of the Screw': libretto and synopsis PATRICIA HOWARD To transfer to the operatic stage a story so meticulously constructed to manipulate the responses of a reader poses enormous problems. The chief of these is to retain all the ambiguities of the plot so that the opera-goer, as much as the reader, can 'keep both stories in play at once' (see above, p. 21). Not to attempt this, to settle for either of the simple interpretations of the story, would have been an act of vandalism by no means unparalleled in the history of opera, but totally uncharacteristic of Britten. Myfanwy Piper is clear about the composer's aims: 'Neither Britten nor I ever intended to interpret the work, only to recreate it fora different medium' (Piper in Herbert (ed.), p. 11). This intention has been estinneri Lord Harewood has sug- gested that the reading which Vivien Jones identified as the 'first story' - the innocent governess and the objective reality of the ghosts - had priority with Britten: 'Harewood was adamant on the ambiva- lence of the governess's position. To him it was crucial never to know if she was mad or if everyone else was under the control of a malign influence. -
Suggestion Book for Members
Suggestions book 1959 – 1983 Melbourne Athenaeum Inc. history website: http://www.mahistory.org.au Suggestions book 1959 – 1983 Suggestions for long-play records for the Records library Date Suggestion Comment 1969 Request received for 3 sets of Wagner’s operas: Noted as “Receiving Gotterdammerung, Die Walkure, Siegfried, on Consideration”. Decca label, conducted by Georg Solti. “Judging See minutes 17th March and 14th by the excellence of Rheingold under Solti already April. in the Record Library the other sets should be well worth listening to, and I therefore request that they be obtained, set by set, as funds are available. Personally, I would prefer them in stereo, but perhaps this would make them unavailable to some who would like to explore the Ring Cycle.” 20.10.1969 “Record Library needs complete overhaul. Most Noted : “Will the member records have been here for years, few new records please communicate with the have been added.” Secretary.” 24.10.1969 “Record library needs a few modern records Noted : “New records are being suggest: added.” Mirage – Manuel & His Orchestra – Columbia Whipped Cream & Other Delights – Herb Alpert & His Tijuana Brass – Festival Hammond Pops – Klaus Wunderlich – Telefunken/Decca Trumpet A’Gogo – James Last Band – Polydor Liza Minelli – A.&M. Records Blue Midnight – Bert Kaempfert & His Orchestra – Polydor”. 05.11.1969 “How about two files in the record department. Noted : “It is regretted that a One with composers, a second with artists. How more detailed index cannot be can one find the records by Cosals etc., without provided but this suggestion going through the entire file or all the records. -
The Film Music of William Alwyn (1905 – 1985), Volume 4
William Alwyn,1960 William © Wolf Suschitzky / Lebrecht Music & Arts Photo Library The Film Music of William Alwyn (1905 – 1985), Volume 4 premiere recordings Suite from ‘The Black Tent’ (1956) 15:21 Reconstructed and arranged by Philip Lane 1 1 Main Titles and Opening Scene. Moderato 2:37 2 2 Arab Scene. Moderato 3:37 3 3 In the Camp. Moderato 4:03 4 4 Nocturne and Finale. Moderato – Poco meno mosso – Moderato 5:02 Suite from ‘On Approval’ (1944) 6:11 Reconstructed and arranged by Philip Lane 5 1 Title Music. Moderato – Vivace – A tempo di valse – 1:08 6 2 Polka. Tempo di polka 1:05 7 3 Proposal Waltz. Moderato – Tempo di valse 1:32 8 4 The Lancers. Vivace – Poco meno mosso – Tempo I – Poco meno mosso – Tempo I 2:23 3 Suite from ‘The Master of Ballantrae’ (1953) 5:52 Reconstructed and arranged by Philip Lane 9 1 Main Titles. Moderato 1:22 10 2 Jamie and Alison. Adagio – [ ] – A tempo I 2:18 11 3 Spanish Dance. Vivace – A tempo giusto ma meno 2:12 12 Prelude from ‘Fortune Is a Woman’ (1957) 4:41 Arranged by Philip Lane Moderato – Broader (Andante espressivo) – Più agitato – Moderato – Più mosso – Più mosso – Con moto 13 Mermaid’s Song (1947) 3:27 Composed for Miranda Arranged by Philip Lane Charlotte Trepass soprano Andante 4 14 Prelude from ‘Saturday Island’ (1952) 2:54 Reconstructed and arranged by Philip Lane Allegro Suite from ‘Shake Hands with the Devil’ (1959) 14:06 Reconstructed and arranged by Philip Lane 15 1 Dublin 1921. -
Sir Colin Davis Discography
1 The Hector Berlioz Website SIR COLIN DAVIS, CH, CBE (25 September 1927 – 14 April 2013) A DISCOGRAPHY Compiled by Malcolm Walker and Brian Godfrey With special thanks to Philip Stuart © Malcolm Walker and Brian Godfrey All rights of reproduction reserved [Issue 10, 9 July 2014] 2 DDDISCOGRAPHY FORMAT Year, month and day / Recording location / Recording company (label) Soloist(s), chorus and orchestra RP: = recording producer; BE: = balance engineer Composer / Work LP: vinyl long-playing 33 rpm disc 45: vinyl 7-inch 45 rpm disc [T] = pre-recorded 7½ ips tape MC = pre-recorded stereo music cassette CD= compact disc SACD = Super Audio Compact Disc VHS = Video Cassette LD = Laser Disc DVD = Digital Versatile Disc IIINTRODUCTION This discography began as a draft for the Classical Division, Philips Records in 1980. At that time the late James Burnett was especially helpful in providing dates for the L’Oiseau-Lyre recordings that he produced. More information was obtained from additional paperwork in association with Richard Alston for his book published to celebrate the conductor’s 70 th birthday in 1997. John Hunt’s most valuable discography devoted to the Staatskapelle Dresden was again helpful. Further updating has been undertaken in addition to the generous assistance of Philip Stuart via his LSO discography which he compiled for the Orchestra’s centenary in 2004 and has kept updated. Inevitably there are a number of missing credits for producers and engineers in the earliest years as these facts no longer survive. Additionally some exact dates have not been tracked down. Contents CHRONOLOGICAL LIST OF RECORDING ACTIVITY Page 3 INDEX OF COMPOSERS / WORKS Page 125 INDEX OF SOLOISTS Page 137 Notes 1. -
File Stardom in the Following Decade
Margaret Rutherford, Alastair Sim, eccentricity and the British character actor WILSON, Chris Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/17393/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/17393/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Sheffield Hallam University Learning and IT Services Adsetts Centre City Campus 2S>22 Sheffield S1 1WB 101 826 201 6 Return to Learning Centre of issue Fines are charged at 50p per hour REFERENCE Margaret Rutherford, Alastair Sim, Eccentricity and the British Character Actor by Chris Wilson A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Doctor of Philosophy September 2005 I should like to dedicate this thesis to my mother who died peacefully on July 1st, 2005. She loved the work of both actors, and I like to think she would have approved. Abstract The thesis is in the form of four sections, with an introduction and conclusion. The text should be used in conjunction with the annotated filmography. The introduction includes my initial impressions of Margaret Rutherford and Alastair Sim's work, and its significance for British cinema as a whole. -
Green for Danger (United Artists Pressbook, 1946)
THE SCREEN’S UNPARALLELED ADVENTURE IN SUSPENSE! J. ARTHUR RANK SALLY GRAY - TREVOR HOWARD - ROSAMOND JOHN "GREEN FOR RANGER" and fnedettiitiq. ALASTAIR SIM r)(t4ftecfo% @ac&Ult I rrt Arilll MEGS JUDY MOORE LtU UtNN • JENKINS * CAMPBELL* MARRIOTT Directed by SIDNEY GILLIAT • Produced by FRANK LAUNDER and SIDNEY GILLIAT From the novel by CHRISTIANA BRAND • Screenplay by SIDNEY GILLIAT and CLAUDE GUERNEY • AN INDIVIDUAL PICTURE Here’s what the show-wise editors of 12 - great national magazines told an estimated 90,000,000 readers about ^ '-^7 IL-: . another must-see . exciting entertain¬ ment . particularly delightful is Alastair Sim ..—Good Housekeeping able mystery ..—Movie Life . choice comedy amid melodrama; prize performance by Alastair Sim as a Scotland Yard sleuth . highly recommended . —Pic Magazine ". tense, absorbing melodrama . intro¬ duces the very effective warp of comedy into its woof of murder . Alastair Sim as the idiosyncratic (but, mark you, successful) Scot¬ land Yard sleuth is superb . —Promenade . engrossing murder mystery—a delightful mixture of thrills, chills and chuckles—introduc¬ ing a new film detective with a rare instinct for homicide and humor—this Alastair Sim is price¬ less ..—Cue Magazine "It has all the ingredients of a really first-class thriller. but the best thing about the picture is Alastair Sim . don't miss 'Green for Danger.' It's one of the best murder mysteries we've seen in a long time." —Motion Picture . one of the most unusual we've ever seen 1—Movie Show ". intelligent, baffling whodunit . the dia¬ log is eminently superior stuff, the same going for direction, production and acting all around. -
1 Hp0103 Roy Ward Baker
HP0103 ROY WARD BAKER – Transcript. COPYRIGHT ACTT HISTORY PROJECT 1989 DATE 5th, 12th, 19th, 26th, October and 6th November 1989. A further recording dated 16th October 1996 is also included towards the end of this transcript. Roy Fowler suggests this was as a result of his regular lunches with Roy Ward Baker, at which they decided that some matters covered needed further detail. [DS 2017] Interviewer Roy Fowler [RF]. This transcript is not verbatim. SIDE 1 TAPE 1 RF: When and where were you born? RWB: London in 1916 in Hornsey. RF: Did your family have any connection with the business you ultimately entered? RWB: None whatsoever, no history of it in the family. RF: Was it an ambition on your part or was it an accidental entry eventually into films? How did you come into the business? RWB: I was fairly lucky in that I knew exactly what I wanted to do or at least I thought I did. At the age of something like fourteen I’d had rather a chequered upbringing in an educa- tional sense and lived in a lot of different places. I had been taken to see silent movies when I was a child It was obviously premature because usually I was carried out in scream- ing hysterics. There was one famous one called The Chess Player which was very dramatic and German and all that. I had no feeling for films. I had seen one or two Charlie Chaplin films which people showed at children's parties in those days on a 16mm projector.