DOCSLIB.ORG

[email protected] New

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Johnsonk@Nyphil.Org New FOR IMMEDIATE RELEASE ARTIST UPDATES December 12, 2012 Contact: Katherine E. Johnson (212) 875-5718; [email protected] New Year’s Eve Concert, December 31 BETH BEHRS, LILLA CRAWFORD, and BRIAN D’ARCY JAMES TO JOIN ONE SINGULAR SENSATION: CELEBRATING MARVIN HAMLISCH WITH THE NEW YORK PHILHARMONIC Previously Announced Performers Include Joshua Bell, Raúl Esparza, Michael Feinstein, Maria Friedman, Josh Groban, Megan Hilty, Audra McDonald, Kelli O’Hara, and Frederica von Stade Paul Gemignani To Conduct and Lonny Price To Direct Audra McDonald To Host Concert To Be Nationally Telecast on Live From Lincoln Center The New York Philharmonic has announced that actress Beth Behrs, of CBS’s 2 Broke Girls; actress Lilla Crawford, currently starring in Annie on Broadway; and star of Broadway and television Brian d’Arcy James will join the Orchestra for One Singular Sensation: Celebrating Marvin Hamlisch, a special New Year’s Eve concert saluting the late composer-conductor. As previously announced, the Philharmonic will also be joined by Marvin Hamlisch’s friends and collaborators, including Joshua Bell, Raúl Esparza, Michael Feinstein, Maria Friedman, Josh Groban, Megan Hilty, Audra McDonald, Kelli O’Hara, and Frederica von Stade performing repertoire from Mr. Hamlisch’s works for stage and film, including A Chorus Line and Sweet Smell of Success. Paul Gemignani will conduct and Lonny Price will direct the performance Monday, December 31, 2012, at 7:30 p.m. Audra McDonald will host from the stage, and the concert will be telecast nationally on Live From Lincoln Center on PBS stations at 8:00 p.m. [check local listings]. A portion of the proceeds from sales of all tickets to the New Year’s Eve concert is tax deductible and will go towards supporting the New York Philharmonic’s education activities, in honor of Marvin Hamlisch. * * * Credit Suisse is the Global Sponsor of the New York Philharmonic. Artist Updates: One Singular Sensation: Celebrating Marvin Hamlisch / 2 * * * Broadcast funding provided in part by Leni and Peter May. * * * Programs of the New York Philharmonic are supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, the New York State Council on the Arts, and the National Endowment for the Arts. * * * Live From Lincoln Center is made possible by a major grant from MetLife. In addition to underwriting from MetLife, the series is also made possible with generous support from the Robert Wood Johnson 1962 Charitable Trust, Thomas H. Lee and Ann Tenenbaum, The Robert and Renée Belfer Family Foundation, and the National Endowment for the Arts. Tickets Tickets start at $95. Limited ticket availability. A portion of the proceeds from sales of all tickets to the New Year’s Eve concert is tax deductible and will go towards supporting the New York Philharmonic’s education activities, in honor of Marvin Hamlisch. All tickets may be purchased online at nyphil.org or by calling (212) 875-5656, 10:00 a.m. to 6:00 p.m., Monday through Saturday, and noon to 5:00 p.m. on Sunday. Tickets may also be purchased at the Avery Fisher Hall Box Office at Lincoln Center, Broadway at 65th Street. The Box Office opens at 10:00 a.m. Monday through Saturday, and at noon on Sunday. On performance evenings, the Box Office closes one-half hour after performance time; other evenings it closes at 6:00 p.m. To determine ticket availability, call the Philharmonic’s Customer Relations Department at (212) 875-5656. [Ticket prices subject to change.] For press tickets, call Lanore Carr in the New York Philharmonic Communications Department at (212) 875-5714, or e-mail her at [email protected]. (more) Artist Updates: One Singular Sensation: Celebrating Marvin Hamlisch / 3 One Singular Sensation: Celebrating Marvin Hamlisch New York Philharmonic Avery Fisher Hall Monday, December 31, 2012, 7:30 p.m. Live From Lincoln Center telecast on PBS stations, 8:00 p.m. [check local listings] Paul Gemignani, conductor Lonny Price, director Audra McDonald, host Beth Behrs, vocalist* Lilla Crawford, vocalist* Joshua Bell, violin Raúl Esparza, vocalist Michael Feinstein, piano and vocalist* Maria Friedman, vocalist Josh Groban, vocalist* Megan Hilty, vocalist* Brian d’Arcy James, vocalist* Audra McDonald, vocalist Kelli O’Hara, vocalist Frederica von Stade, vocalist Program to feature Marvin Hamlisch’s music for stage and film, including selections from A Chorus Line and Sweet Smell of Success. * denotes New York Philharmonic debut # # # Tumblr — Your Backstage Pass Photography is available by contacting the Communications Department at (212) 875-5700; [email protected]. .
Load more

Recommended publications
  • View the 2019 Conductors Guild NYC Conference Program Booklet!
    The World´s Only Manufacturer of the Celesta CELESTA ACTION The sound plate is placed above a wooden resonator By pressing the key the felt hammer is set in moti on The felt hammer strikes the sound plate from above CELESTA MODELS: 3 ½ octave (f1-c5) 4 octave (c1-c5) 5 octave (c-c5) 5 ½ octave Compact model (c-f5) 5 ½ octave Studio model (c-f5) (Cabinet available in natural or black oak - other colors on request) OTHER PRODUCTS: Built-in Celesta/Glockenspiel for Pipe Organs Keyboard Glockenspiel „Papageno“ (c2-g5) NEW: The Bellesta: Concert Glockenspiel 5½ octave Compact model, natural oak with wooden resonators (c2-e5) SERVICES: worldwide delivery, rental, maintenance, repair and overhaul Schiedmayer Celesta GmbH Phone Tel. +49 (0)7024 / 5019840 Schäferhauser Str. 10/2 [email protected] 73240 Wendlingen/Germany www.celesta-schiedmayer.de President's Welcome Dear Friends and Colleagues, Welcome to New York City! My fellow officers, directors, and I would like to welcome you to the 2019 Conductors Guild National Conference. Any event in New York City is bound to be an exciting experience, and this year’s conference promises to be one you won’t forget. We began our conference with visits to the Metropolitan Opera for a rehearsal and backstage tour, and then we were off to the Juilliard School to see some of their outstanding manuscripts and rare music collection! Our session presenters will share helpful information, insightful and inspiring thoughts, and memories of one of the 20th Century’s greatest composers and conductors, Pierre Boulez. And, what would a New York event be without a little Broadway, and Ballet? An event such as this requires dedication and work from a committed planning committee.
    [Show full text]
  • Debussy's Pelléas Et Mélisande
    Debussy’s Pelléas et Mélisande - A discographical survey by Ralph Moore Pelléas et Mélisande is a strange, haunting work, typical of the Symbolist movement in that it hints at truths, desires and aspirations just out of reach, yet allied to a longing for transcendence is a tragic, self-destructive element whereby everybody suffers and comes to grief or, as in the case of the lovers, even dies - yet frequent references to fate and Arkel’s ascribing that doleful outcome to ineluctable destiny, rather than human weakness or failing, suggest that they are drawn, powerless, to destruction like moths to the flame. The central enigma of Mélisande’s origin and identity is never revealed; that riddle is reflected in the wispy, amorphous property of the music itself, just as the text, adapted from Maeterlinck’s play, is vague and allusive, rarely open or direct in its expression of the characters’ velleities. The opera was highly innovative and controversial, a gateway to a new style of modern music which discarded and re-invented operatic conventions in a manner which is still arresting and, for some, still unapproachable. It is a work full of light and shade, sunlit clearings in gloomy forest, foetid dungeons and sea-breezes skimming the battlements, sparkling fountains, sunsets and brooding storms - all vividly depicted in the score. Any francophone Francophile will delight in the nuances of the parlando text. There is no ensemble or choral element beyond the brief sailors’ “Hoé! Hisse hoé!” offstage and only once do voices briefly intertwine, at the climax of the lovers' final duet.
    [Show full text]
  • KS5 Exploring Performance Styles in Musical Theatre
    Exploring performance KS5 styles in Musical Theatre Heidi McEntee Heidi McEntee is a Dance and KS5 – BTEC LEVEL 3, UNIT D10 Performing Arts specialist based in the Midlands. She has worked in education for over fifteen years delivering a variety of Dance and Performing Arts qualifications at Introduction Levels 1, 2 and 3. She is a Senior Unit D10: Exploring Performance Styles is one of the three units which sit within Module D: Assessment Associate working on musical theatre Skills Development from the new BTEC Level 3 in Performing Arts Practice Performing Arts qualifications and (musical theatre) qualification. This scheme of work focuses on the first unit which introduces a contributing author for student and explores different musical theatre styles. revision guides. This unit requires learners to develop their practical skills in dance, acting and singing while furthering their understanding of musical theatre styles. The unit culminates in a performance of two extracts in two different styles of musical theatre as well as a critical review of the stylistic qualities within these extracts. This scheme of work provides a suggested approach to six weeks of introductory classes, as a part of a full timetable, which explores the development of performance styles through the history of musical theatre via practical activities, short projects and research tasks. Learning objectives By the end of this scheme, learners will have: § Investigated the history of musical theatre and the factors which have influenced its development Unit D10: Exploring Performance § Explored the characteristics of different musical theatre styles and how they have developed Styles from BTEC L3 Nationals over time Performing Arts Practice (musical § Applied stylistic conventions to the performance of material theatre) (2019) § Examined professional work through critical analysis.
    [Show full text]
  • KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas
    KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas GEORGES BIZET EMI 63633 Carmen Maria Stuarda Paris Opera National Theatre Orchestra; René Bologna Community Theater Orchestra and Duclos Chorus; Jean Pesneaud Childrens Chorus Chorus Georges Prêtre, conductor Richard Bonynge, conductor Maria Callas as Carmen (soprano) Joan Sutherland as Maria Stuarda (soprano) Nicolai Gedda as Don José (tenor) Luciano Pavarotti as Roberto the Earl of Andréa Guiot as Micaëla (soprano) Leicester (tenor) Robert Massard as Escamillo (baritone) Roger Soyer as Giorgio Tolbot (bass) James Morris as Guglielmo Cecil (baritone) EMI 54368 Margreta Elkins as Anna Kennedy (mezzo- GAETANO DONIZETTI soprano) Huguette Tourangeau as Queen Elizabeth Anna Bolena (soprano) London Symphony Orchestra; John Alldis Choir Julius Rudel, conductor DECCA 425 410 Beverly Sills as Anne Boleyn (soprano) Roberto Devereux Paul Plishka as Henry VIII (bass) Royal Philharmonic Orchestra and Ambrosian Shirley Verrett as Jane Seymour (mezzo- Opera Chorus soprano) Charles Mackerras, conductor Robert Lloyd as Lord Rochefort (bass) Beverly Sills as Queen Elizabeth (soprano) Stuart Burrows as Lord Percy (tenor) Robert Ilosfalvy as roberto Devereux, the Earl of Patricia Kern as Smeaton (contralto) Essex (tenor) Robert Tear as Harvey (tenor) Peter Glossop as the Duke of Nottingham BRILLIANT 93924 (baritone) Beverly Wolff as Sara, the Duchess of Lucia di Lammermoor Nottingham (mezzo-soprano) RIAS Symphony Orchestra and Chorus of La Scala Theater Milan DEUTSCHE GRAMMOPHON 465 964 Herbert von
    [Show full text]
  • Composition Catalog
    1 LEONARD BERNSTEIN AT 100 New York Content & Review Boosey & Hawkes, Inc. Marie Carter Table of Contents 229 West 28th St, 11th Floor Trudy Chan New York, NY 10001 Patrick Gullo 2 A Welcoming USA Steven Lankenau +1 (212) 358-5300 4 Introduction (English) [email protected] Introduction 8 Introduction (Español) www.boosey.com Carol J. Oja 11 Introduction (Deutsch) The Leonard Bernstein Office, Inc. Translations 14 A Leonard Bernstein Timeline 121 West 27th St, Suite 1104 Straker Translations New York, NY 10001 Jens Luckwaldt 16 Orchestras Conducted by Bernstein USA Dr. Kerstin Schüssler-Bach 18 Abbreviations +1 (212) 315-0640 Sebastián Zubieta [email protected] 21 Works www.leonardbernstein.com Art Direction & Design 22 Stage Kristin Spix Design 36 Ballet London Iris A. Brown Design Boosey & Hawkes Music Publishers Limited 36 Full Orchestra Aldwych House Printing & Packaging 38 Solo Instrument(s) & Orchestra 71-91 Aldwych UNIMAC Graphics London, WC2B 4HN 40 Voice(s) & Orchestra UK Cover Photograph 42 Ensemble & Chamber without Voice(s) +44 (20) 7054 7200 Alfred Eisenstaedt [email protected] 43 Ensemble & Chamber with Voice(s) www.boosey.com Special thanks to The Leonard Bernstein 45 Chorus & Orchestra Office, The Craig Urquhart Office, and the Berlin Library of Congress 46 Piano(s) Boosey & Hawkes • Bote & Bock GmbH 46 Band Lützowufer 26 The “g-clef in letter B” logo is a trademark of 47 Songs in a Theatrical Style 10787 Berlin Amberson Holdings LLC. Deutschland 47 Songs Written for Shows +49 (30) 2500 13-0 2015 & © Boosey & Hawkes, Inc. 48 Vocal [email protected] www.boosey.de 48 Choral 49 Instrumental 50 Chronological List of Compositions 52 CD Track Listing LEONARD BERNSTEIN AT 100 2 3 LEONARD BERNSTEIN AT 100 A Welcoming Leonard Bernstein’s essential approach to music was one of celebration; it was about making the most of all that was beautiful in sound.
    [Show full text]
  • Center Stage WINTER2017.Indd
    CENTER STAGE WINTER 2017 Center StageWINTER 2017 Newsletter of UW Theatre & Dance Content A scene from the original protest comedy, FASCISM! THE MUSICAL. Eminently Engaged .................................2 Dance Theatre of Harlem: 2017 Eminent Artists-in-Residence ...................................4 EMINENTLY ENGAGED Willingham is Outstanding Alumnus ...6 appy Holidays to you and yours from the Department of Alumni News ..............................................7 Theatre and Dance at the University of Wyoming! With restructuring efforts at UW still ongoing, 2017 has Simpson Wins Obie Award ...................9 been a challenging, but richly rewarding year, and, on H that has resulted in a renewed sense of purpose that our Faculty Spotlight ......................................10 work in the theatre and dance arts is more relevant than ever. Welcome New Faculty ...........................10 2017 was distinguished by the planning for and the arrival and hosting of our Eminent Artists-in-Residence, the celebrated Dance Theatre Thanks! .........................................................11 of Harlem (DTH), an effort ably coordinated by Marsha Knight, who has been working to bring in DTH for a number of years, and supported by the UW Office of the President. The Company, onsite much of September, participated in several outreach activities and Eminent Artists-in-Residence presented a spectacular Gala Concert, which featured a new, original work by choreographer Darrell Grand Moultrie commissioned for the residency, “Harlem On My Mind.” DTH artists were onsite throughout the fall semester to teach and set works on our students (see Dance Theatre of Harlem on p.4). The Eminent Artist program, made possible by an endowment from the Wyoming State Legislature, and the Guest Artist Series that it has supported, has provided wonderful training and networking opportunities to our students, as well as access to artists of the highest caliber to our audiences.
    [Show full text]
  • Music with Heart.Pdf
    Wonderful Life 2018 insert.qxp_IAWL 2018 11/5/18 8:07 PM Page 1 B Y E DWARD S ECKERSON usic M with Heart American opera is alive and well in the imagination of Jake Heggie LMOND A AREN K 40 SAN FRANCISCO OPERA Wonderful Life 2018 insert.qxp_IAWL 2018 11/5/18 8:07 PM Page 2 n the multifaceted world of music theater, opera has true only to himself and that his unapologetic fondness for and always occupied the higher ground. It’s almost as if love of the American stage at its most lyric would dictate how he the very word has served to elevate the form and would write, in the only way he knew how: tonally, gratefully, gen- willfully set it apart from that branch of the genre where characters erously, from the heart. are wont to speak as well as sing: the musical. But where does Dissenting voices have accused him of not pushing the enve- thatI leave Bizet’s Carmen or Mozart’s Magic Flute? And why is it lope, of rejoicing in the past and not the future, of veering too so hard to accept that music theater comes in a great many forms close to Broadway (as if that were a bad thing) and courting popu- and styles and that through-sung or not, there are stories to be lar appeal. But where Bernstein, it could be argued, spent too told in words and music and more than one way to tell them? Will much precious time quietly seeking the approval of his cutting- there ever be an end to the tedious debate as to whether Stephen edge contemporaries (with even a work like A Quiet Place betray- Sondheim’s Sweeney Todd or Leonard Bernstein’s Candide are ing a certain determination to toughen up his act), Heggie has musicals or operas? Both scores are inherently “operatic” for written only the music he wanted—needed—to write.
    [Show full text]
  • DISTRICT AUDITIONS THURSDAY, JANUARY 21, 2021 the 2020 National Council Finalists Photo: Fay Fox / Met Opera
    NATIONAL COUNCIL 2020–21 SEASON ARKANSAS DISTRICT AUDITIONS THURSDAY, JANUARY 21, 2021 The 2020 National Council Finalists photo: fay fox / met opera CAMILLE LABARRE NATIONAL COUNCIL AUDITIONS chairman The Metropolitan Opera National Council Auditions program cultivates young opera CAROL E. DOMINA singers and assists in the development of their careers. The Auditions are held annually president in 39 districts and 12 regions of the United States, Canada, and Mexico—all administered MELISSA WEGNER by dedicated National Council members and volunteers. Winners of the region auditions executive director advance to compete in the national semifinals. National finalists are then selected and BRADY WALSH compete in the Grand Finals Concert. During the 2020–21 season, the auditions are being administrator held virtually via livestream. Singers compete for prize money and receive feedback from LISETTE OROPESA judges at all levels of the competition. national advisor Many of the world’s greatest singers, among them Lawrence Brownlee, Anthony Roth Costanzo, Renée Fleming, Lisette Oropesa, Eric Owens, and Frederica von Stade, have won National Semifinals the Auditions. More than 100 former auditioners appear appear on the Met roster each season. Sunday, May 9, 2021 The National Council is grateful to its donors for prizes at the national level and to the Tobin Grand Finals Concert Endowment for the Mrs. Edgar Tobin Award, given to each first-place region winner. Sunday, May 16, 2021 Support for this program is generously provided by the Charles H. Dyson National Council The Semifinals and Grand Finals are Audition Program Endowment Fund at the Metropolitan Opera. currently scheduled to take place at the Met.
    [Show full text]
  • Fall/Winter 2017/2018
    News for Friends of Leonard Bernstein Fall/Winter 2017/2018 PAM KONER-YOHAI PAM Inside... 2 And Away We Go! 6 Wilbur’s New World 11 LB & the NY Philharmonic 4 Artful Learning 8 Musical Humor in Candide 12 Burton Bernstein 5 LB & Felicia Take a Knee 10 DG Releases 13 In the News FW1718_PFR_art_draft.indd 1 11/22/17 12:58 PM And Away We Go! s this issue makes clear, by Jamie Bernstein and Nézet-Séguin. The following ALeonard Bernstein at 100 Craig Urquhart week, back in Philadelphia, the has shot forth as if out of a orchestra gave performances musical cannon. The concerts, eonard Bernstein at 100 has of West Side Story in concert. recordings, books, educational launched, with Bernstein- To observe the devastation of initiatives, exhibitions, and more like energy. As of this Hurricane Irma and the subse- publishing, there are over quent heartbreak and controversy (on six continents and in all 50 L2,300 events on the centennial surrounding the rescue efforts, states!) are tumbling over each calendar! We don’t have enough Maestro Nézet-Séguin stopped the other like overexcited puppies – space to report on all of them, but orchestra and chorus to let these and it’s not even 2018 yet. here are a few of the highlights. Stephen Sondheim lyrics resonate Thanks to the festivities, less- On September 22, the John F. into the sudden silence: er known Bernstein works are Kennedy Center for the Perfor- Nobody knows in America now finding their moment in the ming Arts officially kicked off Puerto Rico’s in America! sun.
    [Show full text]
  • Dissertation Final Corrected
    FROM PENCIL TO PERFORMANCE: The creative nexus of arranging, orchestration and music direction in works of contemporary pop/rock musical theatre BRYAN SCHIMMEL 8300995 A thesis submitted to the Faculty of Humanities University of the Witwatersrand, Johannesburg in fulfilment of the requirements for the Degree of Master of Music Final Corrected Submission 22 September 2014 ABSTRACT In the art form of musical theatre, available literature on the creative musical aspects of musicals has focused primarily on the composers and/or lyricists; their works having been extensively analysed and documented. There is, however, comparatively less literature and documentation on the processes that guide the transformation of the theatre composer’s work to an eventual performance embracing arranging, orchestration and music direction. This dissertation explores these practices from two perspectives – the creative and the recreative. First, from the creative perspective, I challenge Joseph P. Swain who makes a compelling case for composition as a tool of dramaturgy in his book The Broadway Musical: A Critical and Musical Survey (2002). I contest that his argument cannot hold true for pop/rock musicals in which the scores are comprised of pre-existing popular music that was not originally or intentionally composed for the stage. In order to understand how music functions as a dramatic element in musical theatre, it must follow that all collaborative creative forces that contribute to this music must be evaluated in a holistic manner. Dramaturgy contextualises and elucidates storytelling and artistic vision. While Swain has postulated that composition is an element of dramaturgy, I offer the notion that since arranging and orchestration contextualise and elucidate the composition they therefore cannot be excluded as dramaturgical devices.
    [Show full text]
  • SF Opera Guild Virtual Event April 28.Pdf
    SAN FRANCISCO OPERA GUILD PRESENTS “LIFE. CHANGING. AN EVENING WITH FREDERICA VON STADE & JAKE HEGGIE,” APRIL 28 Frederica von Stade; Jake Heggie (photo: Karen Almond); Gasia Mikaelian SAN FRANCISCO, CA (April 21, 2021) — San Francisco Opera Guild will present a complimentary virtual livestream event Life. Changing. An Evening with Frederica von Stade & Jake Heggie on Wednesday, April 28 at 6 pm Pacific. Mezzo-soprano Frederica von Stade (“Flicka”), American composer Jake Heggie and San Francisco Opera Guild students, alumni and teachers will share inspiring stories and uplifting songs, while celebrating music’s power to change lives. The event includes an intimate Q&A that will give attendees the chance to ask Flicka and Jake questions. KTVU Mornings on 2 news anchor and longtime opera enthusiast Gasia Mikaelian will serve as emcee. Life. Changing. is open to the public; complimentary advance registration required: give.sfoperaguild.com/LifeChanging. 1 Frederica von Stade said: “I love being with my pal, the wonderful Jake Heggie, to celebrate the great efforts of San Francisco Opera Guild in reaching out to the young people of the Bay Area. It means so much to me because I know firsthand of these efforts and have seen the amazing results. I applaud the Guild’s Director of Education Caroline Altman and her work with the Opera Scouts and the amazing team at the Guild. Music changed my life, and I’m excited to celebrate how it changes the lives of our precious young people.” Jake Heggie said: “I'm delighted to join with my great friend Frederica von Stade to spotlight the important, ongoing work in music education made possible by San Francisco Opera Guild.
    [Show full text]
  • 01-15-2019 Pelleas Eve.Indd
    CLAUDE DEBUSSY pelléas et mélisande conductor Opera in five acts Yannick Nézet-Séguin Libretto by the composer, adapted from production Sir Jonathan Miller the play by Maurice Maeterlinck set designer Tuesday, January 15, 2019 John Conklin 7:30–11:30 PM costume designer Clare Mitchell First time this season lighting designer Duane Schuler revival stage director Paula Williams The production of Pelléas et Mélisande was made possible by a generous gift from Pierre and Ailene Claeyssens general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON The 115th Metropolitan Opera performance of CLAUDE DEBUSSY’S pelléas et mélisande conductor Yannick Nézet-Séguin in order of vocal appearance gol aud Kyle Ketelsen mélisande Isabel Leonard geneviève Marie-Nicole Lemieux DEBUT arkel Ferruccio Furlanetto pellé as Paul Appleby* yniold This performance A. Jesse Schopflocher is being broadcast live on Metropolitan a shepherd Opera Radio on Jeremy Galyon SiriusXM channel 75 and streamed at a physician metopera.org. Paul Corona Tuesday, January 15, 2019, 7:30–11:30PM KAREN ALMOND / MET OPERA Paul Appleby and Chorus Master Donald Palumbo Isabel Leonard in Musical Preparation Derrick Inouye, Carol Isaac, the title roles of Jonathan C. Kelly, and Marie-France Lefebvre Debussy’s Pelléas et Mélisande Assistant Stage Director Robin Guarino Children’s Chorus Director Anthony Piccolo Prompter Marie-France Lefebvre Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes executed by Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department This performance is made possible in part by public funds from the New York State Council on the Arts.
    [Show full text]