DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 28,1908-1909, Trip

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

ACADEMY OF MUSIC . BROOKLYN Twenty-eighth Season, 1908-1909 MAX FIEDLER, Conductor programme of % FOURTH CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY EVENING, FEBRUARY 19 AT 8,15 PRECISELY COPYRIGHT, 1908, BY C. A. ELLIS MANAGER PUBLISHED BY C. A. ELLIS, _ . — __ — Mme. CECILE CHAMINADE The World's Greatest 'Woman Composer Mme. TERESA CARRENO The World's Greatest Woman Pianist Mme. LILLIAN NORDICA The World's Greatest Woman Singer USE L[fA ^""^ Piano. I THE JOHN CHURCH CO., 37 West 33d Street New York City * Boston Symphony Orchestra PERSONNEL TWENTY-EIGHTH SEASON, 1908-19091 MAX 1FIEDLER, Conductor First Violins. Hess, Willy Roth, O. Hoffmann, J. Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Noach, S. Mahn, F. Eichheim, H. Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W.[ Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Marble, E. Eichler, J. Tischer-Zeitz, H . Kuntz, A, Goldstein, H. Goldstein, S. Kurth, R. Werner, H. Violas. Ferir, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge,'M. Sauer, G. Gietzen, A. Violoncellos. Warnke, H. Nagel, R. Barth, C. Loeffler, E. Warnke, J.\ Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Ludwig, O. Gerhardt, G. Kunze, M. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G. Sadony, P. Brooke, A. Lenom, C. Mimart, P. Mueller, E. Battles, A. Sautet, A. Vannini, A. Regestein, E. Fox, P. English Horn Bass Clarinet. Contra-bassoon. Mueller, F. Stumpf, K. Helleberg, J. Horns. Horns. Trumpets. Trombones. Tuba, Hess, M. Schmid, K. Kloepfel, L. Hampe, C Lorehz, O Lorbeer, H. Gebhardt, W. Mann, J. Mausebach, A. Hain, F. Hackebarth, A. Heim, G. KenfieW, L. Merrill, Phair, J. Schumann, C. C. Harp. Tympani. Percussion. Schuecker, H. Rettberg, A. Dworak, J. Senia, T. Kandler, F. Ludwig, C. Burkhardt, H. Librarian. Sauerquell, J. 3 Qfyt 0M[) tearing Btmto to purchasers Bears a name which has become known possible value produced as representing the highest in the piano industry. that is highest and best It has been associated with all in piano making since 1823. piano worth and is a Its name is the hall mark of instrument guarantee to the purchaser that in the highest artistic value bearing it, is incorporated the possible. CHICKERING & SONS PIANOFORTE MAKERS Established 1823 791 TREMONT STREET BOSTON, U.S. A. Represented in New York by JOHN WANAMAKER DOStOn ACADEMY OF MUSIC, Symphony i Brooklyn. OrCFlGStrfl Twenty-eighth Season, J908-J909. Twenty-first Season in Brooklyn, MAX FIEDLER, Conductor. FOURTH CONCERT, FRIDAY EVENING, FEBRUARY 19, AT 8.15 PRECISELY. PROGRAMME. Paderewski Symphony in B minor, Op. 24 First time in Brooklyn I. Adagio maestoso ; Allegro con fuoco. II. Andante con moto. III. Allegro vivace. Beethoven . Concerto for Pianoforte, No. 5, in E-flat major, Op. 73 I. Allegro. II. Adagio un poco moto. ^ III. Rondo : Allegro ma non troppo. SOLOIST, Mr. PADEREWSKI. The pianoforte is a Weber. NOTE.— As the DOORS WILL BE CLOSED during the performance of the first movement of the Symphony, which requires 25 MINUTES, patrons are urgently requested to be prompt in attendance. There will be an intermission of ten minutes after the symphony. 5 e Always the Ktiak m 3j§jia(>? & (§m BALTIMORE NEW YORK WASHINGTON — Symphony in B minor, Op. 24 Ignace Paderewski (Born, November 6, i860, at Kurilowka, in Podolia, a former province of Poland; now living at Morges, Switzerland.) The following sketch of this symphony is based on information furnished by the composer. The symphony Op. 24 is in three movements: I. Adagio maestoso; Allegro fuoco; II. Andante con moto; III. Allegro vivace. The themes of the first movement were sketched in the summer of 1904. The three movements which now compose the work were com- pleted, and the parts were copied in December, 1908. "The symphony is written as a patriotic tribute of the composer to his native country, and it was directly inspired by the fortieth anniversary of the revolution of 1863-64. There is no absolute programme for either the first or second movement. The first movement is free, but classical in form. It seeks to celebrate Poland's great heroic past. The themes, although racial in character, are not based on popular melo- dies. The same is true of the second (slow) movement in which the composer endeavors to express the lyric nature of his race. "In the third movement Mr. Paderewski has followed a sharply defined programme. It is in effect a symphonic poem, and is peculiarly in memory of the revolution of 1863-64. "In the opening of the movement is felt the spirit of social and po- litical unrest which filled the country prior to the outbreak of the war, the unrest of the young hot-heads, the youth of the nation, who longed for independence. Older heads, conservative age, counselled patience and caution, urged the impossibility of a successful issue. This despond- ent feeling is expressed in a treatment of the national anthem, from which all buoyancy and joyousness have been taken. The anthem is treated not unlike a dirge; it appears in a subdued, sad mood. GRAND OPERAS In this Season's Repertory TIEFLAND, by E. D 'Albert, German and English text Price, $5.00 LA HABANERA, by R. La Parra, French text . 3-5° LE VILLI, by G. Puccini, English text 2.50 The Same, Italian text . 3.00 LA WALLY, by A. Catalani, Italian text . 4.00 FALSTAFF, by Giuseppe Verdi, Italian and English text 4.00 BOOSEY & COMPANY, Publishers, 9 East Seventeenth Street NEW YORK 7 : MADAME TETRAZZINI Uses exclusively the HARDMAN PIANO In both her American and European homes To my Friends Hardman, Peck 6* Co. The Hardman Piano is my choice. I therefore use it exclusively. *>£<%_^ London, May 2gt igoB. HARDMAN, PECK & COMPANY Established 1842 524 FULTON STREET, BROOKLYN, N.Y. New York Warerooms, 138 Fifth Avenue "The youth refuse to listen. The atmosphere of restlessness subdues the remonstrances of the elders, and the spark of revolution ignites with the appearance of the second theme, a theme of brilliant chivalric char- acter, which has been heralded by faint distant trumpet-calls,—the sum- mons to war. "Light-hearted, gay, and confident, the youth of Poland depart for battle. The first conflict is characterized by the use of sarrusophones, which, with their dark, heavy coloring, express the weight and over- whelming strength of the oppressing force. Again is* heard the Polish anthem, this time strong, vigorous, and battling yet, as the conflict pro- ; gresses, it is gradually lost in the gloom of defeat, finally disappearing in an atmosphere of utter despair. * 'Then a funeral dirge celebrates the heroes that are gone. The themes of unrest heard in the first movement reappear, but are divested of their substance. They are as shadowy and as unsubstantial as the heroes that have passed away. They are bitter memories of defeat. Upward they soar, higher and higher,—lamentations for the fatherland ascending to heaven. ' 'A quick transition of mood follows, from gloom to brightness. Hope returns, and in the recapitulation and climax one hears again the splen- did buoyancy of the theme of chivalry from this third movement, the theme of the heroic past from the first movement, and a third theme * on which will be built the fourth movement yet to be written." The symphony is complete as a work in its present shape, but Mr. Paderewski contemplates a fourth movement. It will be a scherzo. The work is scored for three flutes, three oboes (one interchangeable with English horn) , three clarinets (one interchangeable with bass clari- net), two bassoons, contrabassoon, three sarrusophones, four trumpets, four horns, three trombones, one bass tuba, harp, organ, a set of three C. SCHIRMER, 35 UNION SQUARE, NEW YORK NEW DANCE MUSIC FOR PIANO SOLO (ALSO PUBLISHED FOR ORCHESTRA) GABRIEL ALLIER, Les Idoles (Idols of the Heart) Waltz ...... $0.75 Graceful in style and conception, fine rhythm. J. B. BOLDI, Chanson Bohe'mienne. Intermezzo-Valse .60 The most spontaneous and characteristic Gypsy Waltz. ENRICO CARUSO and R. BARTHELEMY, Adorables Tourments (Love's Torment) •'** Valse • The reigning success of London, Paris and along the Riviera. The big- gest hit since "The Merry Widow Waltz." As a song it is a favorite number on Mr. Caruso's programs. EMILE DELMAS, Valse frivole 1.00 A little waltz of careless and unconcerned gayety of mood. 60 E. LAUNAY, Elle est charmante (She is lovely) . Valse-Boston A langorous French waltz of immensely captivating swing. 1.00 ALEX. MAITINSKY, Les Charmeuses (The Charmers) Valse . A waltz embodying alluring melody, elegant facility of style and genuine swing of rhythm. ARMAND TEDESCO, La Debutante. Valse langoureuse 75 The catchiest French " Valse lente " that has appeared for years. 9 Conservatory of MUSIC GEORGE W. CHADWICK, Director Huntington Avenue, Boston, Mass. EVERY DEPARTMENT UNDER SPECIAL MASTERS CLASS OR PRIVATE INSTRUCTION The free privileges of lectures, concerts, and recitals, the opportunities of ensemble practice and appearing before audiences, and the daily associa- tions are invaluable advantages to the music student. PIANOFORTE DEPARTMENT The Pianoforte Course is designed to equip the student for a career as soloist or teacher, or both, and diplomas are granted accordingly. The course includes Sight Playing, Ensemble, Playing with Orchestra, and the following theoretical studies : Solfeggio, Theory of Music, Harmony and Analysis, Lectures on Musical History, Lectures on Orchestral Instruments, Lectures on English Literature. The Pianoforte Normal Course gives students in this department an opportunity to gain practical experience in the art of teaching without the necessity of going through the experimental period which would other- wise be unavoidable.
Recommended publications
  • ESCLARMONDE Opera in 4 Acts (With Prologue & Epilogue) Music

    ESCLARMONDE Opera in 4 Acts (With Prologue & Epilogue) Music

    ESCLARMONDE Opera in 4 acts (with prologue & Epilogue) Music by Jules Massenet Libretto by Alfred Blau & Louis de Gramont First Performance: Opéra, Paris, May 14, 1889 Prologue. There is no overture or prelude. the curtain rises abruptly on the Basilica in Byzantium, before the closed doors of the sanctuary. The court of the Emperor Phorcas, who is both ruler and magician, is gathered to witness his abdication in favor of his daughter Esclarmonde. Phorcas reveals that he has instructed Esclarmonde in the mysteries of his magical powers, but he imposes the condition that if she is to retain these powers and her throne, she must remain veiled to all men until she reaches the age of twenty. Then a tournament will be held, and the winner will be awarded her hand in marriage and will share her power as ruler of Byzantium. The doors of the sanctuary open. the veiled, richly garbed and bejewelled. Esclarmonde appears, accompanied by her sister Parséis to act as the guardian of her sister, and then, bidding farewell to all, he hands over his crown and scepter to Esclarmonde amid the acclamations of the assembled court. Act I. A terrace of the palace, Esclarmonde is musing on her feelings for Roland, a French knight when she once saw and fell in love with, unbeknown to him. When Parséis joins her and remarks on her tears, she confesses that she feels her father's conditions have condemned her to a life of loneliness. Parséis suggests that with her magic powers she can choose her eventual husband; then, learning that she is in love with Roland, suggests that she uses her powers to bring him to her.
  • Appropriations of Gregorian Chant in Fin-De-Siècle French Opera: Couleur Locale – Message-Opera – Allusion?

    Appropriations of Gregorian Chant in Fin-De-Siècle French Opera: Couleur Locale – Message-Opera – Allusion?

    Journal of the Royal Musical Association, 145/1, 37–74 doi:10.1017/rma.2020.7 Appropriations of Gregorian Chant in Fin-de-siècle French Opera: Couleur locale – Message-Opera – Allusion? BENEDIKT LESSMANN Abstract This article compares three French operas from the fin de siècle with regard to their appropriation of Gregorian chant, examining their different ideological and dramaturgical impli- cations. In Alfred Bruneau’s Le rêve (1891), the use of plainchant, more or less in literal quotation and an accurate context, has often been interpreted as naturalistic. By treating sacred music as a world of its own, Bruneau refers to the French idea of Gregorian chant as ‘other’ music. In Vincent d’Indy’s L’étranger (1903), a quotation of Ubi caritas does not serve as an occasional illustration, but becomes essential as part of the leitmotif structure, thus functioning as the focal point of a religious message. Jules Massenet’s Le jongleur de Notre-Dame (1902) provides a third way of using music associated with history and Catholicism. In this collage of styles, plainchant is not quoted literally, but rather alluded to, offering in this ambiguity a mildly anti-clerical satire. Thus, through an exchange, or rather through a bizarre and unfortunate reversal, church music in the theatre is more ecclesiastical than in the church itself. Camille Bellaigue1 In an article in the Revue des deux mondes of 1904, the French critic Camille Bellaigue described the incorporation of church music into contemporary opera, referring to anticipated examples by Meyerbeer and Gounod; to works less well known today, such as Lalo’s Le roi d’Ys (which quotes the Te Deum); and also (quite extensively) to Wagner’s Parsifal, the ‘masterpiece […] or the miracle of theatrical art that is not only Email: [email protected] I am grateful to Stefan Keym for his support and advice with my doctoral studies and beyond.
  • Don Quichotte Fiche Pédagogique

    Don Quichotte Fiche Pédagogique

    12 > 17 MARS 2019 DON QUICHOTTE OPÉRA PARTICIPATIF Inspiré librement de Don Quichotte de Jules Massenet FICHE PÉDAGOGIQUE SAISON 2018 .19 WWW.OPERALIEGE.BE LE ROMAN DE CERVANTES 400 ANS DE SUCCÈS Don Quichotte est un personnage imaginaire tout droit sorti d’un livre, en deux parties, écrit il y a plus de 400 ans par l’écrivain espagnol Miguel de Cervantes Saavedra (1547-1616). Le titre original, El Ingenioso Hidalgo Don Quijote de la ? Mancha , peut être traduit par «L’ingénieux noble Don Quichotte de la Manche». Considéré comme le premier roman moderne, c’est encore de nos jours un des livres les plus lus au monde! ? L’histoire de Cervantes conte les aventures d’un pauvre hidalgo, dénommé Alonso Quichano, et tellement obsédé par les romans de chevalerie qu’il finit un jour par se prendre pour le chevalier errant Don Quichotte, dont la mission est de parcourir l’Espagne pour combattre le mal et protéger les opprimés. Même s’il est rangé de nos jours parmi les chefs-d’oeuvre classiques, cet ouvrage ? était considéré à l’époque de Cervantes comme un roman comique, une parodie des romans de chevalerie, très à la mode au Moyen Âge en Europe. Il fait également partie d'une tradition littéraire typiquement espagnole, celle du roman picaresque (de l'espagnol pícaro, « misérable », « futé »), genre littéraire dans lequel un héros, pauvre, raconte ses aventures. Gravure de FREDERICK MACKENZIE (1788-1854) représentant CERVANTES Le roman de Cervantes et le personnage de Don Quichotte ont inspiré de nombreux artistes peintres ou sculpteurs et ont donné naissance à de multiples adaptations en films, livres, chansons, opéras, comédies musicales, ballets ou encore pièces de théâtre.
  • Aragon: a Translation

    Aragon: a Translation

    ARAGON: A TRANSLATION Verna Griswold Looney, M. A. Morehead State University, 1979 Director of Thesis=---~---'_ 1.,.9~-·-f,_1&,-;~...,.#?...------ Louis Aragon, a modern French poet, many of whose poems were published clandestinely by the French underground during World War II, became a national hero to the people of France, He was a founder of the Surrealist movement and was deeply involved with Cubism and Dadaism. During the early 1930's, however, Aragon broke with these movements when he joined the Communist party. Partly because of his ideology, Aragon has not established a literary reputation in the United States. More importantly, however, is the lack of English translations of his works of poetry. Most of his novels have been translated into English, but the I present author has found to date only one volume of I l poetry which was translated by e. e. cummings, The Red Front, whose original title is Front Rouge, published l in 1933 by Contempo Publishers. j This thesis , Aragon: A Translation, is an English translation of Aragon by Ge orges Sadoul , consisting of t hree sections. The first one is a crit ical and biographical treatise on Aragon written by Ge orges Sadoul. It treats the early life of Louis Aragon and Elsa , his wife , beginning with Sadoul ' s initial meeting of Aragon i n the 1920' s and continuing through Aragon ' s love affai r with the U. S . S . R. in the 19JO ' s and his involvement with the underground forces duri ng World War II in his native France . The second part of the thesis is a choice of t exts written by Aragon and selected by Sadoul .
  • Massenet and Opera: Richness and Diversity

    Massenet and Opera: Richness and Diversity

    jules massenet : thérèse Massenet and opera: richness and diversity Jean-Christophe Branger Massenet (184 2- 1912) is known above all for two works, Manon and Werther , and to these have been added another four: Hérodiade , Thaïs , Don Quichotte and Cendrillon , which are now enjoying renewed popularity. However, his output was much larger than that: twenty-five complete operatic works have come down to us (not counting Marie-Magdeleine , an oratorio written in 1873 and staged in 1903). But his output has been large - ly neglected because of its singularity: few people realise that Massenet experimented with opera far more than most other composers, thus cre - ating a multi-faceted world all of his own. It was in Massenet’s temperament, no doubt, to feel a constant need for change and renewal, diversity and challenge, and he was generally encouraged in that direction by his publishers and librettists and those close to him. In 1896 he told the periodical Le Temp s: You will notice [...] that my works are taken from very diverse sources. I try to vary their subjects. Manon came after Hérodiade , Esclarmonde fol - lowed Le Cid . I tear myself away from one world to immerse myself imme - diately in another one that is very different, in order to change the course of my ideas. That is the best way to avoid monotony. Massenet thus approached every genre and every register. While Le Roi de Lahore (1877), Hérodiade (1881), Le Cid (1885) and Le Mage (1891) are 40 unquestionably grand operas à la Meyerbeer (including the inevitable bal - let), Ariane (1906), Bacchus (1909), Roma (1912) and Cléopâtre (posthu - mous, 1914) belong rather to an important neo-Gluckist movement, showing a keen interest in Greek and Roman antiquity.
  • Esclarmonde Page 1 of 2 Opera Assn

    Esclarmonde Page 1 of 2 Opera Assn

    San Francisco War Memorial 1974 Esclarmonde Page 1 of 2 Opera Assn. Opera House The new production of "Esclarmonde" is made possible by a generous gift from Mrs. Rudolph Light Esclarmonde (in French) Opera in four acts by Jules Massenet Libretto by Alfred Blau and Louis de Gramont Conductor CAST Richard Bonynge The Emperor Phorcas Clifford Grant* Production Esclarmonde Joan Sutherland* Lotfi Mansouri Parséis Huguette Tourangeau* Scenery and costumes designed by Enéas William Harness* Beni Montresor The Chevalier Roland Giacomo Aragall* Chorus Director Cléomer, King of France Philip Booth* Byron Dean Ryan The Bishop of Blois Robert Kerns* Choreographer A Saracen envoy Gary Burgess* Norbert Vesak A Byzantine herald Gary Burgess* Lighting Designer Robert Brand *Role debut †U.S. opera debut Musical Preparation PLACE AND TIME: Legendary -- the Byzantine Empire and France Bliss Johnston Costumes executed by Casa d'Arte Fiore, Milan Miss Sutherland's costumes by Barbara Matera, Ltd., New York Wednesday, October 23 1974, at 8:00 PM PROLOGUE -- The Basilica in Byzantium Saturday, October 26 1974, at 8:00 PM Act I -- A terrace of the palace of the Empress Esclarmonde Tuesday, October 29 1974, at 8:00 PM INTERMISSION Saturday, November 2 1974, at 2:00 PM Act II, Scene 1 -- The enchanted island Friday, November 8 1974, at 8:00 PM Scene 2 -- A room in the palace on the enchanted island INTERMISSION Act III, Scene 1 -- Outside the ramparts of the besieged city of Blois Scene 2 -- A room in the palace of King Cléomer INTERMISSION Act IV -- The forest of Ardennes EPILOGUE -- The Basilica in Byzantium San Francisco War Memorial 1974 Esclarmonde Page 2 of 2 Opera Assn.
  • Massenet's Cendrillon

    Massenet's Cendrillon

    Massenet’s Cendrillon: Exploring the interactions of the orchestra and vocal line as found in the role of Cendrillon, and a dramatically rich role for the lyric mezzo soprano By Kristee Haney Submitted to the graduate degree program in the School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________ Chairperson Dr. Roberta Schwartz ________________________ Joyce Castle _______________________ Mark Ferrell ________________________ Dr. John Stephens ________________________ Dr. Michelle Heffner - Hayes Date Defended: April 18th, 2014 ii The Dissertation Committee for Kristee Haney certifies that this is the approved version of the following dissertation: Massenet’s Cendrillon: Exploring the interactions of the orchestra and vocal line as found in the role of Cendrillon, and a dramatically rich role for the lyric mezzo soprano ________________________________ Chairperson Dr. Roberta Schwartz Date approved: April 18th, 2014 iii Abstract Composer Jules-Émile- Frédéric Massenet wrote a variety of roles for mezzo sopranos, and his soaring vocal lines are coupled with sensitive communication of the text. In Cendrillon, Massenet writes leading roles for three mezzo soprano voices: Le Prince Charmant, Madame de la Haltière, Cendrillon (and one featured supporting role, the step- sister Dorothée). The three leading roles involve different vocal and dramatic demands, while still allowing the unique colors of the mezzo soprano voice to shine. I will explore Massenet’s writing for the mezzo soprano and the interaction of the vocal line with the orchestra, in his “fairy tale” opera, Cendrillon. I will analyze scenes that deal with the role of title character Cendrillon and the specific vocal qualities that Massenet highlights in each: Cendrillon’s arias in Act I and Act III; the scene with La Feé in Act I; the duet with the Prince Charmant in Act II; and the duet / trio with Prince Charmant and La Feé that ends Act III.
  • JULES MASSENET – His Life and Works by Nick Fuller I

    JULES MASSENET – His Life and Works by Nick Fuller I

    JULES MASSENET – His Life and Works By Nick Fuller I. Introduction Jules Massenet’s operas made him one of the most popular composers of the late nineteenth century, his works performed throughout Europe, the Americas and North Africa. After World War I, he was seen as old- fashioned, and nearly all of his operas, apart from Werther and Manon , vanished from the mainstream repertoire. The opera-going public still know Massenet best for Manon , Werther , and the Méditation from Thaïs , but to believe, as The Grove Dictionary of Opera wrote in 1954, that ‘to have heard Manon is to have heard all of him’ is to do the composer a gross disservice. Massenet wrote twenty-seven operas, many of which are at least as good as Manon and Werther . Nearly all are theatrically effective, boast beautiful music and display insightful characterisation and an instinct for dramatic and psychological truth. In recent decades, Massenet’s work has regained popularity. Although he Figure 1 Jules Massenet, drawing by Ernesto Fontana (Source: is not the household name he once http://artlyriquefr.fr/personnages/Massenet%20Jules.html) was, and many of his operas remain little known, he has been winning new audiences. Conductors like Richard Bonynge, Julius Rudel and Patrick Fournillier have championed Massenet, while since 1990 a biennial Massenet festival has been held in his birthplace, Saint-Étienne, in the Auvergne-Rhône-Alpes, its mission to rediscover Massenet’s operas. His work has been performed in the world’s major opera houses under the baton of conductors Thomas Beecham, Colin Davis, Charles Mackerras, Michel Plasson, Riccardo Chailly and Antonio Pappano, and sung by Joan Sutherland, José van Dam, Frederica von Stade, Nicolai Gedda, Roberto Alagna, Renée Fleming, Thomas Hampson and Plácido Domingo.
  • Wertherin Huebner French Opera at the Fin De Siecle

    Wertherin Huebner French Opera at the Fin De Siecle

    WARNING OF COPYRIGHT RESTRICTIONS1 The copyright law of the United States (Title 17, U.S. Code) governs the maKing of photocopies or other reproductions of the copyright materials. Under certain conditions specified in the law, library and archives are authorized to furnish a photocopy or reproduction. One of these specified conditions is that the photocopy or reproduction is not to be “used for any purpose other than in private study, scholarship, or research.” If a user maKes a reQuest for, or later uses, a photocopy or reproduction for purposes in excess of “fair use,” that user may be liable for copyright infringement. The Yale University Library reserves the right to refuse to accept a copying order, if, in its judgement fulfillment of the order would involve violation of copyright law. 137 C.F.R. §201.14 2018 FRENCH OPERA AT THE FIN DE SIÉCLE Wagnerism, Nationalism, and Style Steven Huebner tu OXFORD UNIVERSITY PRESS Werther STAGECRAFT Massenet's delay in getting down to Werther in the early 1880s may have been caused partly by difficulties in extracting an opera from an epistolary novel. The succession of Werther's letters, mainly to his friend Wilhelm, traces the psycho- logical state of the protagonist along a downward curve of increasing despair and alienation, after his initial optimistic identification with resplendent Nature and elation during the first days with his beloved Lotte. Goethe's heroine, like Prévost's Manon, appears mainly through the eyes of her obsessive admirer. As with the figure of Manon, the stage would require Charlotte to have a larger degree of dramatic agency in her own right.
  • |What to Expect from Cendrillon

    |What to Expect from Cendrillon

    | WHAT TO EXPECT FROM CENDRILLON IT IS THE MOST BELOVED FAIRY TALE OF ALL TIME: A YOUNG WOMAN THE WORK: of unmatched grace, beauty, and goodness overcomes the abuse of her CENDRILLON stepfamily, profits from the help of a fairy godmother, wins the heart of a An opera in four acts, sung in French royal suitor, and lives happily ever after. For almost two thousand years, Music by Jules Massenet versions of the Cinderella story have spread across the globe, inspiring inter- Libretto by Henri Cain pretation by myriad authors, playwrights, musicians, and filmmakers. In the Based on the fairy tale fin-de-siècle opera by Jules Massenet, the virtue of the title character is made Cendrillon by Charles Perrault more poignant by her sadness—occasionally, even her despair. In addition First performed May 24, 1899 to incorporating the iconic elements familiar from Charles Perrault’s fairy at the Opéra-Comique, Paris, France tale—the carriage formed from a pumpkin, the midnight curfew, and the singular glass slipper—Massenet infuses his opera with comedy, romance, PRODUCTION and wistfulness. Bertrand de Billy, Conductor This new production by director Laurent Pelly quite literally brings the Laurent Pelly, Production storybook tale to life. Inspired by an edition of Perrault’s Cendrillon as illus- Barbara de Limburg, Set Designer trated by Gustave Doré that Pelly read as a child, the production is steeped Laurent Pelly, Costume Designer in the physical, typographical materials of the fairy tale. The set evokes Duane Schuler, Lighting Designer the pages of a book, with black and white text forming its walls, and the shapes of characters and props appearing as large cut-out letters.
  • The Vocality of Sibyl Sanderson in Massenet's Manon and Esclarmonde Tamara D. Thompson

    The Vocality of Sibyl Sanderson in Massenet's Manon and Esclarmonde Tamara D. Thompson

    The Vocality of Sibyl Sanderson in Massenet’s Manon and Esclarmonde Tamara D. Thompson Submitted to the Royal College of Music, London in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Musicology May, 2016 ii TABLE OF CONTENTS Page Figures iv Tables vi Examples vii INTRODUCTION 1 Research Aims and Objectives 1 Key Definitions 3 Sources and Methodology 4 Literature Review 14 Why Manon and Esclarmonde? 25 CHAPTER ONE SIBYL SANDERSON: LA BELLE CRÉATRICE 27 Biographical Information 27 Personality 34 Physical Appearance 39 CHAPTER TWO TRAINING LA BELLE SIBYL: THE ARTISTIC EDUCATION OF SIBYL SANDERSON 47 Conservatoire and California (1881–1885) 47 Paris (1885–1887) 56 Composers as Coaches (1887–1892) 78 Paris (1892–1896) 83 CHAPTER THREE VOCALITY: LA VOIX EST UN RAVISSEMENT 100 Sound 105 Characterisation 108 Vocal Demands in Manon 113 Vocal Demands in Esclarmonde 119 iii CHAPTER FOUR MANON: SANDERSON’S RE-CREATION OF THE RÔLE 128 Manon: History of the Opera 128 Manon: How Story and Staging Inform Vocality 136 Manon: Score Annotations 157 Musical Analysis: ‘Je suis encore tout étourdie’ 183 Musical Analysis of ‘Gavotte’ 206 Musical Analysis: ‘Fabliau’ 217 CHAPTER FIVE ESCLARMONDE: SANDERSON’S CREATION OF THE RÔLE 233 Esclarmonde: History of the Opera and Sanderson as la créatrice 233 Esclarmonde: How Story and Staging Inform Vocality 257 Musical Analysis: Esprits de l’air’ 278 Musical Analysis: Ah ! Roland ! 295 CONCLUSION 307 Research Questions and Answers 307 Contributions to Knowledge 311 Future Research Plans 316 BIBLIOGRAPHY 318 iv Figures Figure 1: List of Sources ..................................................................................................... 4 Figure 2: Letter excerpt ....................................................................................................
  • Cendrillon Program 2018

    Cendrillon Program 2018

    MASSENET 1819-Cover-CINDERELLA.indd 1 10/23/18 1:28 PM LYRIC OPERA OF CHICAGO Table of Contents JOHAN JACOBS / LA MONNAIE DE MUNT IN THIS ISSUE Cendrillon – pp. 20-34 6 From the General Director 20 Title Page 40 Patron Salute 8 From the Chairman 21 Synopsis 42 Production Sponsors 10 Board of Directors 23 Cast 43 Aria Society 11 Women’s Board/Guild Board/Chapters’ 24 Artist Profiles 53 Supporting Our Future – Executive Board/Young Professionals/Ryan Endowments at Lyric 30 Opera Notes Opera Center Board 54 Major Contributors – Special Events and 34 After the Curtain Falls 12 Administration/Administrative Staff/ Project Support Production and Technical Staff 36 Musical Staff/Orchestra/Chorus 55 Lyric Unlimited Contributors 14 Expanind the Bounds of Opera: 37 Backstage Life 56 Commemorative Gifts Kamaria Morris 38 Artistic Roster 57 Ryan Opera Center 58 Ryan Opera Center Alumni Around the World 59 Ryan Opera Center Contributors 60 Planned Giving: e Overture Society PHOTO CREDIT NEEDED 62 Corporate Partnerships 63 Matching Gifts, Special anks, and Acknowledgements 64 Annual Individual and Foundation Support 70 Facilities and Services/eater Staff On the cover: Cinderella illustration by THE IMPACT OF LYRIC UNLIMITED – pp. 14-18 Gustave Doré (1832-1883). 2 | December 1, 2018 - January 20, 2019 Since 1991 www.performancemedia.us | 847-770-4620 3453 Commercial Avenue, Northbrook, IL 60062 Gail McGrath Publisher & President Sheldon Levin Publisher & Director of Finance A. J. Levin Director of Operations Account Managers Rand Brichta - Arnie Hoffman Executive Editor Southeast Michael Hedge 847-770-4643 Southwest Betsy Gugick & Associates 972-387-1347 L M East Coast Manzo Media Group 610-527-7047 Marketing and Sales Consultant David L.