DOCSLIB.ORG

Musical Times Publications Ltd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Musical Times Publications Ltd. Review Source: The Musical Times and Singing Class Circular, Vol. 27, No. 517 (Mar. 1, 1886), p. 166 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3365196 Accessed: 18-10-2015 06:03 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 134.121.47.100 on Sun, 18 Oct 2015 06:03:48 UTC All use subject to JSTOR Terms and Conditions I66 THE MUSICAL TIMES. MARCHI, I886. Notturnein B flcrt. For the Pianoforte. Composed by M. AmbroiseThomas, the composerof " Mignon" and G. J. Rubini. [E. Ascherberger and Co.] of "Hamlet," is engaged upon a new operatic work entitled " Miranda,"which is to be brought out at the WHATEVERpraise is due for writing a melodious and Paris Opera. The libretto is from the pen of M. Jules easily playable little Sketch for the pianoforte, has certainly Barbier,and the suject is borrowedfrom Shakespeare's been earned by the composer of this graceful Notturne. " Tempest." There is no attempt at what is termed " treatment " of the Hector Berlioz'sOpera " BenvenutoCellini " is about to themes; but the passages lie well uXnderithehands, and the be revivedat the Paris OperaComique, with M. Talazac piece may be conscientiously recommended both to teachers in the title part. and pUpils. Accordingto an arrangementmade between the Town Soft VoValxtatiesfior the OrgX. By George Calkin. Councilof Paris and the directorsof the OdeonTheatre Book VII. [Novello, Ewer and Co.] the latterhave agreed to reserveten afternoonperformances of opera during a season for the special admissionof HEREwe have six short pieces of two pages each, all7 as sixteenhundred children from the elementaryschools of the- title declares, intended for soft stops, but well con- the capital. The operas performedare to be standard trasted with one another. They are written with much works,and the sum paid by the councilfor this arrange- elegance and refinement of style. Some of them might ment is to be I5,000 francs. have been signed by Henry Smart, and higher praise than M. Pasdeloup,the celebratedConductor of the now ex- this it is impossible to bestow. tinct ConcertsPopulaires of Paris,has just openeda course of instruction in concerted instrumental music in the French capital which is attracting a great number of FOREIGN NOTES. pUpilS. THE recent hostile demonstrations directed against the The technicaldirection of the forthcomingperformances appearance at one of the Berlin Philharmonic Concerts of at Bayreuthof " Tristanund Isolde7 and " Parsifal" has M. Saint-Saens, on the part of an ultra-patriotic section of been entrustedto Herr Kranich,of Darmstadt,a pupilof the audience, have since been followed up, in a negative the late Herr Brandt,who so distinguishedhimself in the sense, at Bremen, Dresden, and Cassel by the French managementof the scenic and mechanicalcontrivances at artist being requested to cancel his engagements entered the " Festspiele" of I876. I'he following are the names nto with Concert entrepreneurs in those towns. At Prague of artistswho will fill the principalparts in boththe above- too, where M. Saint-Saens's Opera " Henry VIII." ha mentioned works during this year's " Festspiele"-viz. lbeen in full preparation at the Stadt-Theater, the perfor- MesdamesAmalia Materna, Therese Malten, Rosa Papier mance of that work has been abandoned at the last Rosa Sucher; Herren Betz, Anton Fuchs, H. Gudehus gnoment. That the wrath of German " patriots " is AlbertNiemann, F. Planck, Th. Reichmann,Emil Scaria directed solely against the injudicious public utterances of Gustav Siehr, EIeinrichVogl, H. Wiegand, and Her- the artist in question, and in no way against French art mann Winkelmann-a goodly array, truly, of first-rate as such, every impartial observer knows; but its manifes- artists, considering the verv limited number of " prin- tations, however ephemeral they may be, are, nevertheless, cipal" characters represented in " Tristan" and in regrettable and somewhat disappointing to the friends of " Parsifal." the fatherland of symphonic music. Respecting the In the January number of the BayrextherBlatter, a 4' Lohengrin " question in Paris, M. Ernest Reyer writes, in numberof letterswritten by RichardWagner are published the yournd l desDebats: " The scheme of a ' Lohengrin ' for the Ersttime, containinginteresting references as to the premiere at the Comique has tumbled into the water, but will historyof the foundationof the " Festspiele,"the erection be fished out again sooner or later. We regret this momen- of the BayreuthTheatre, and kindredsubjects, all of them tary solution of the Wagner question the less, since we should worthy the notice of the many admirersof the master. only have had a curtailed version of the work at the The presentyear, it will be remembered,is the tenth after Comique. After the lapse of some little time, Wagner's the first productionof the " Nibelungen" Tetralogy at Opera will be brought out in its entirety at one of our Bayreuth. theatres, where mistaken patriotism does not enter into The MonatsheftefiRr Musikgeschichte has unearthedthe calculations, and it will then be applauded as though it following critiqueon RichardWagner's first Symphony were a work by Mozart or Weber." There is some proba- (producedat the LeipzigGewandhaus on 3anuaryIO, I833) lbility of M. Reyer's prediction being soon realised. It is containedin the AllgemeineMusikalische Zeitxng of that stated in the Resue Wagnerie1sne,and other journals, that period, viz. :- " The new Symphony of the youthful the well-known impresario M. Schurmann will produce R. Wagner (he is barelytwenty) was, with the exception 4C Lohengrin" during the months of May and June next of its second movement,most favourablyreceived by a at the Eden Theatre of Paris, with a company of Austrian very numerousaudience, as indeedit deservedto be. We artists, and in the German language. Should the venture shouldscarcely be able to say whatmore could be expected be successful, other works of the poet-composer are to from a first essay in this exalted art-form,unless indeed' follow. It remains to be seen whether M. Schurmann has our demandsexceeded all reasonablebounds. The work not been too sanguine. Meanwhile, there was a per- may be consideredthe resultof muchapplication, while the formance on the I4th ult., at the Eden Theatre, of the imaginativepowers displayed in it are by no meanssmall- tnusic of the first act of " Die Walkure," as forming part of its peculiar constructionbetrays originality of thought one of M. Lamoureux's Subscription Concerts, which has and the entire work, in fact,-evidencesso muchgenuine created an immense enthusiasm, and thus the much vexed and earnestexertion in the rightdirection that we can only Wagner question would seem to be gradually solving itself regard this young man with hopeful anticipationfor his in the French capital, as it has done long since elsewhere. future. Although his manifest endeavoursto remaintrue The Archbishop of Lyons has addressed a letter to M. to himself as get cost hinl some considerableefforts, and Massenet, strongly condemning the performance in that althoughhis use of orchestraleSects lacks at presentthe town of that composer's Opera " Herodiade," which he necessaryexperience . these are shortcomingswhich characterises as a travests of the personality of St. John continuedapplication to his artwill soon obliterate. That the Baptist and a perversion of 13iblical history. which HerrWagner already possesses cannot be acquired " Herodiade," it will be remembered, was first brought at all, since it mui>tbe bornwithin the soul." out some years since at the De la Monnaie, of Brussels A " cyclus" of Wagner'sistage works, rangirlgfrom where it almost monopolised an entire season. " Rienzi" to the " Ring des Nibelungen,"has just been A happy idea has occurred to Herr Munkacsy, the completedat the Leipzig Stadt-Theater. eminent painter, residing in Paris. At the salon where A Symphonyin F, by Eugen d'Albert,has just been his new picture, representing the dying Mozart listening producedwith much success at one of the Philharmonic to the strains of his Requiem, is just now being exhibited Concertsof Berlin. the artist lately caused that immortal composition to be Mendelssohn'sfirst operaticwork, " Die Hochzeit des performed in the presence of a select audience, doubtless Camacho,"was producedon the gth ult. at aConcertof greatly enhancing thereby the intensity of the impressions the Berlin OpernVerein, under the direction of Georg to be derived from the contemplation of his picture. Bloch. The work was originallyperformed on April29, This content downloaded from 134.121.47.100 on Sun, 18 Oct 2015 06:03:48 UTC All use subject to JSTOR Terms and Conditions.
Recommended publications
  • Parsifal and Canada: a Documentary Study

    Parsifal and Canada: a Documentary Study

    Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article.
  • Wagner's Parsifal by Roger Scruton Review

    Wagner's Parsifal by Roger Scruton Review

    Wagner’s Parsifal by Roger Scruton review – in defence of the insufferable | Books | The Guardian 30/05/2020, 09:31 Wagner’s Parsifal by Roger Scruton review 8 in defence of the insufferable Nietzsche famously called Wagner’s last opera poisonous, but does its theme of redemption offer an antidote to our ills? Stuart Jeffries Sat 30 May 2020 07.30 BST An English National Opera production of Parsifal. Photograph: Tristram Kenton/The Guardian In his 1998 book On Hunting, Roger Scruton defended the unspeakable in pursuit of the uneatable. In his last, now posthumously published book, the philosopher who died in January stands up for the unbearable responsible for the insufferable. The unbearable? The megalomaniac, narcissistic, antisemitic monster Richard Wagner. And the insufferable? The life-hating curse on the senses that was his last opera. So at least argued Nietzsche, who damned Wagner’s Parsifal with the histrionics only a former devotee can muster. “Parsifal,” he snarled in the essay “Nietzsche Contra Wagner”, “is a work of perfidy, of vindictiveness, of a secret attempt to poison the presuppositions of life – a bad work.” Parsifal, which received its premiere at Bayreuth in 1882, unfolds in an unsavoury twilight milieu of death, curdling blood and toxic sex. The castle of Montsalvat is home to a community of grimly celibate knights who guard the Holy Grail, a chalice holding the blood https://www.theguardian.com/books/2020/may/30/wagners-parsifal-by-roger-scruton-review-in-defence-of-the-insufferable Page 1 of 4 Wagner’s Parsifal by Roger Scruton review – in defence of the insufferable | Books | The Guardian 30/05/2020, 09:31 of Christ collected after the crucifixion, along with the Holy Lance with which he was pierced.
  • Allusions and Historical Models in Gaston Leroux's the Phantom of the Opera

    Allusions and Historical Models in Gaston Leroux's the Phantom of the Opera

    Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 2004 Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera Joy A. Mills Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the French and Francophone Literature Commons, Other Theatre and Performance Studies Commons, and the Translation Studies Commons Recommended Citation Mills, Joy A., "Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera" (2004). Honors Theses. 83. https://scholarlycommons.obu.edu/honors_theses/83 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. Gaston Leroux's 1911 novel, The Phantom of the Opera, has a considerable number of allusions, some of which are accessible to modern American audiences, like references to Romeo and Juilet. Many of the references, however, are very specific to the operatic world or to other somewhat obscure fields. Knowledge of these allusions would greatly enhance the experience of readers of the novel, and would also contribute to their ability to interpret it. Thus my thesis aims to be helpful to those who read The Phantom of the Opera by providing a set of notes, as it were, to explain the allusions, with an emphasis on the extended allusion of the Palais Garnier and the historical models for the heroine, Christine Daae. Notes on Translations At the time of this writing, three English translations are commercially available of The Phantom of the Opera.
  • Ernest Guiraud: a Biography and Catalogue of Works

    Ernest Guiraud: a Biography and Catalogue of Works

    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1990 Ernest Guiraud: A Biography and Catalogue of Works. Daniel O. Weilbaecher Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Weilbaecher, Daniel O., "Ernest Guiraud: A Biography and Catalogue of Works." (1990). LSU Historical Dissertations and Theses. 4959. https://digitalcommons.lsu.edu/gradschool_disstheses/4959 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps.
  • From Page to Stage: Wagner As Regisseur

    From Page to Stage: Wagner As Regisseur

    Wagner Ia 5/27/09 3:55 PM Page 3 Copyrighted Material From Page to Stage: Wagner as Regisseur KATHERINE SYER Nowadays we tend to think of Richard Wagner as an opera composer whose ambitions and versatility extended beyond those of most musicians. From the beginning of his career he assumed the role of his own librettist, and he gradually expanded his sphere of involvement to include virtually all aspects of bringing an opera to the stage. If we focus our attention on the detailed dramatic scenarios he created as the bases for his stage works, we might well consider Wagner as a librettist whose ambitions extended rather unusually to the area of composition. In this light, Wagner could be considered alongside other theater poets who paid close attention to pro- duction matters, and often musical issues as well.1 The work of one such figure, Eugène Scribe, formed the foundation of grand opera as it flour- ished in Paris in the second quarter of the nineteenth century. Wagner arrived in this operatic epicenter in the fall of 1839 with work on his grand opera Rienzi already under way, but his prospects at the Opéra soon waned. The following spring, Wagner sent Scribe a dramatic scenario for a shorter work hoping that the efforts of this famous librettist would help pave his way to success. Scribe did not oblige. Wagner eventually sold the scenario to the Opéra, but not before transforming it into a markedly imaginative libretto for his own use.2 Wagner’s experience of operatic stage produc- tion in Paris is reflected in many aspects of the libretto of Der fliegende Holländer, the beginning of an artistic vision that would draw him increas- ingly deeper into the world of stage direction and production.
  • Florida State University Libraries

    Florida State University Libraries

    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Gustav Mahler, Alfred Roller, and the Wagnerian Gesamtkunstwerk: Tristan and Affinities Between the Arts at the Vienna Court Opera Stephen Carlton Thursby Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC GUSTAV MAHLER, ALFRED ROLLER, AND THE WAGNERIAN GESAMTKUNSTWERK: TRISTAN AND AFFINITIES BETWEEN THE ARTS AT THE VIENNA COURT OPERA By STEPHEN CARLTON THURSBY A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2009 The members of the Committee approve the Dissertation of Stephen Carlton Thursby defended on April 3, 2009. _______________________________ Denise Von Glahn Professor Directing Dissertation _______________________________ Lauren Weingarden Outside Committee Member _______________________________ Douglass Seaton Committee Member Approved: ___________________________________ Douglass Seaton, Chair, Musicology ___________________________________ Don Gibson, Dean, College of Music The Graduate School has verified and approved the above named committee members. ii To my wonderful wife Joanna, for whose patience and love I am eternally grateful. In memory of my grandfather, James C. Thursby (1926-2008). iii ACKNOWLEDGEMENTS The completion of this dissertation would not have been possible without the generous assistance and support of numerous people. My thanks go to the staff of the Austrian Theater Museum and Austrian National Library-Music Division, especially to Dr. Vana Greisenegger, curator of the visual materials in the Alfred Roller Archive of the Austrian Theater Museum. I would also like to thank the musicology faculty of the Florida State University College of Music for awarding me the Curtis Mayes Scholar Award, which funded my dissertation research in Vienna over two consecutive summers (2007- 2008).
  • Boston Symphony Orchestra Concert Programs, Season 42,1922

    Boston Symphony Orchestra Concert Programs, Season 42,1922

    SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY Thursday Evening, April 12, at 8.00 PRoGRKttttE SSfflfflffl Steinway & Sons STEINERT JEWETT WOODBURY « PIANOS v Duo-Art REPRODUCING PIANOS AND PIANOLA PIANOS victroLas victor records M. STEINERT & SONS SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY FORTY-SECOND SEASON 1922-1923 INC. PIERRE MONTEUX, Conductor SEASON 1922-1923 THURSDAY EVENING, APRIL 12, at 8.00 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1923, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President GALEN L. STONE Vice-President ERNEST B. DANE . Treasurer ALFRED L. AIKEN ARTHUR LYMAN FREDERICK P. CABOT HENRY B. SAWYER ERNEST B. DANE GALEN L. STONE M. A. DE WOLFE HOWE BENTLEY W. WARREN JOHN ELLERTON LODGE E. SOHIER WELCH W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager l 'CHE INSTRUMENT OF THE IMMORTALS Q OMETIMES people who want a Steinway think it economi- cal to buy a cheaper piano in the beginning and wait for a Steinway. Usually this is because they do not realize with what ease Franz Liszt and convenience a Steinway can at his Steinway be bought. This is evidenced by the great number of people who come to exchange some other piano in partial payment for a Steinway, and say: "If I had only known about your terms I would have had a Steinway long ago!" You may purchase a new Steinway piano with a cash deposit of 10%, and the bal- ance will be extended over a period of two years. 'Prices: $875 and up Convenient terms.
  • Boston Symphony Orchestra Concert Programs, Season 39,1919

    Boston Symphony Orchestra Concert Programs, Season 39,1919

    ACADEMY OF MUSIC . PHILADELPHIA Monday Evening, January 5, at 8.15 *'.. 1% "v V Mly$fr BOSTON ^wd -^ SYMPHONY ORCHESTRA INCORPORATED THIRTY-NINTH SEASON J9J9-J920 / ',i V ll |U«.,....,|.U PRSQRsnnc THIS IMSTBUMEINIT ©F QUALITY SlOJXOtir CL6AB AS A ©5'I~L " TZ^ Highest Class Talking Machine in the World" Josef Hofmann says: "The Orchestra is the greatest MUSICAL MEDIUM and stimu- lus of the Community." The Talking Machine is the only Musical Instrument that brings the orchestra into the home 1311 WALNUT STREET PHILADELPHIA ACADEMY OF MUSIC, PHILADELPHIA Thirty-fifth Season in Philadelphia INCORPORATED Thirty-ninth Season, 1919-1920 PIERRE MONTEUX, Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE MONDAY EVENING, JANUARY 5 AT 8.15 COPYRIGHT, 1920, BY BOSTON SYMPHONY ORCHESTRA, INCORPORATED W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager — ww% I 1 Xl p <m* A name that is spoken with the full pride of ownership—that carries with it the deep satis- faction of possessing the ultimate expression of man's handiwork in Musical Art. A name that is cherished as a Family Tradition that keeps afresh for the next generation the associations and fond remembrances which cluster around the home piano. Supreme achievement of patience, skill and ex- perience, founded on inborn Ideals of Artistry. vmp i mmm iJPs f Catalogue and prices on application Sold on convenient payments Old pianos taken in exchange Inspection invited 107-109 East 14th Street New York Subway Express Stations at the Door REPRESENTED BY THE FOREMOST DEALERS EVERYWHERE Thirty-ninth Season, 1919-1920 PIERRE MONTEUX, Conductor Violins.
  • Wagner on Ljubljana's Concert and Opera Stages

    Wagner on Ljubljana's Concert and Opera Stages

    J. WEISS • WAGNER ON LJUBLJANA’S .... UDK 78.073Wagner R.(497.4) Jernej Weiss Pedagoška fakulteta, Univerza v Mariboru Faculty of Pedagogy, University of Maribor Wagner on Ljubljana’s Concert and Opera Stages Wagner na ljubljanskih koncertnih in opernih odrih Prejeto: 19. avgust 2013 Received: 19th August 2013 Sprejeto: 7. oktober 2013 Accepted: 7th October 2013 Ključne besede: Richard Wagner, Filharmonična Keywords: Richard Wagner, Ljubljana Phil- družba v Ljubljani, Deželno gledališče v Ljubljani, harmonic Society, Ljubljana Provincial Theatre, SNG Opera in balet Ljubljana Slovenian National Theatre Opera and Ballet Ljubljana Iz v l e č e k Ab s t r a c t Članek prikazuje najpomembnejše mejnike v lju- The contribution presents the most important bljanski koncertni in operni poustvarjalnosti del milestones in Ljubljana’s concert and opera stag- Richarda Wagnerja. V povezavi s programskimi ings of Richard Wagner’s works. In connection usmeritvami vodilnih glasbenih institucij v 19. in with the programme orientations of the leading 20. stoletju na Slovenskem in sočasnimi kulturno- music institutions in the 19th and 20th centuries političnimi spremembami skuša določiti razloge za in Slovenia and the concurrent cultural-political (ne)uprizarjanje Wagnerjevih del in tako opraviti z changes, it attempts to determine the reasons for nekaterimi pri nas žal še vedno aktualnimi stereo- the (non)staging of Wagner’s works and in this tipi, povezanimi z Wagnerjevo glasbo. way deal with some of the, unfortunately, still existing stereotypes related
  • The Story of an Operetta

    The Story of an Operetta

    Vorträge und Abhandlungen zur Slavistik ∙ Band 15 (eBook - Digi20-Retro) Nicholas G. Zekulin The Story of an Operetta Le dernier sorcier by Pauline Viardot and Ivan Turgenev Vol. 1 Verlag Otto Sagner München ∙ Berlin ∙ Washington D.C. Digitalisiert im Rahmen der Kooperation mit dem DFG-Projekt „Digi20“ der Bayerischen Staatsbibliothek, München. OCR-Bearbeitung und Erstellung des eBooks durch den Verlag Otto Sagner: http://verlag.kubon-sagner.de © bei Verlag Otto Sagner. Eine Verwertung oder Weitergabe der Texte und Abbildungen, insbesondere durch Vervielfältigung, ist ohne vorherige schriftliche Genehmigung des Verlages unzulässig. «Verlag Otto Sagner» ist ein Imprint der Kubon & Sagner GmbHNicholas. G. Žekulin - 9783954794058 Downloaded from PubFactory at 01/10/2019 03:51:33AM via free access Bayerische Staatsbibliothek München ISBN 3-87690-428-5 © by Verlag Otto Sagner, München 1989. Abteilung der Firma Kubon und Sagner, Buchexport/import GmbH München Offsetdruck: Kurt Urlaub, Bamberg Nicholas G. Žekulin - 9783954794058 Downloaded from PubFactory at 01/10/2019 03:51:33AM via free access 00047504 Vorträge und Abhandlungen zur Slavistik• i • herausgegeben von Peter Thiergen (Bamberg) Band 15 1989 VERLAG OTTO SAGNER * MÜNCHEN Nicholas G. Žekulin - 9783954794058 Downloaded from PubFactory at 01/10/2019 03:51:33AM via free access Nicholas G. Žekulin - 9783954794058 Downloaded from PubFactory at 01/10/2019 03:51:33AM via free access THE STORY OF AN OPERETTA LE DERNIER SORCIER BY PAULINE VIARDOT AND IVAN TURGENEV von Nicholas G. Žekulin Nicholas G. Žekulin - 9783954794058 Downloaded from PubFactory at 01/10/2019 03:51:33AM via free access PART I BADINERIES IN BADEN-BADEN Nicholas G. Žekulin - 9783954794058 Downloaded from PubFactory at 01/10/2019 03:51:33AM via free access 00047504 For Marian, with whom so many of my musical experiences are associated.
  • New Production Fund at the Jewish Community Foundation

    New Production Fund at the Jewish Community Foundation

    Media Release For immediate release: March 9, 2016 Contact: Edward Wilensky, Director of Media Relations [email protected] 619.232.7636 Cast Change Announcement Mezzo-soprano Kate Aldrich to sing the role of Arden Scott in the West Coast Premiere of Great Scott San Diego, CA – Mezzo-soprano Kate Aldrich will sing the role of Arden Scott in the West Coast premiere of Jake Heggie and Terrence McNally’s new opera, Great Scott, directed by Jack O’Brien. Kate Aldrich replaces mezzo-soprano Isabel Leonard who withdrew, after having decided to not add the role to her repertory at this point in time. Ms. Aldrich made her Company debut in 2008 as Elizabeth in Donizetti’s Maria Stuarda. Great Scott opens on Saturday, May 7, 2016 and tells the story of Arden Scott, a modern day woman and opera diva. Arden returns to her hometown for the first time since becoming an international opera star, to help save her home opera company run by her mentor. The struggle of a make-or-break opera premiere is juxtaposed with the thriving Grizzlies, the home football team appearing in the Super Bowl, both happening on the same evening. Arden Scott must face the demons she left behind and the ones she lives with daily. Does disaster await her or perhaps there is hope and success on the horizon? About Kate Aldrich Hailed by the San Francisco Sentinel as “the Carmen of this Generation” after her debut with the San Francisco Opera in 2006, American mezzo-soprano Kate Aldrich has also performed the title role of Bizet’s opera to much critical acclaim in theatres such as the Bavarian State Opera Munich, Deutsche Oper Berlin, Arena di Verona and many others.
  • Parola Scenica: Towards Realism in Italian Opera Etdhendrik Johannes Paulus Du Plessis

    Parola Scenica: Towards Realism in Italian Opera Etdhendrik Johannes Paulus Du Plessis

    Parola Scenica: Towards Realism in Italian Opera ETDHendrik Johannes Paulus du Plessis A thesis submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of PhD by Thesis Abstract This thesis attempts to describe the emergence of a realistic writing style in nine- teenth-century Italian opera of which Giuseppe Verdi was the primary architect. Frequently reinforced by a realistic musico-linguistic device that Verdi would call parola scenica, the object of this realism is a musical syntax in which nei- ther the dramatic intent of the text nor the purely musical intent overwhelms the other. For Verdi the dramatically effective depiction of a ‘slice of a particular life’—a realist theatrical notion—is more important than the mere mimetic description of the words in musical terms—a romantic theatrical notion in line with opera seria. Besides studying the device of parola scenica in Verdi’s work, I also attempt to cast light on its impact on the output of his peers and successors. Likewise, this study investigates how the device, by definition texted, impacts on the orchestra as a means of realist narrative. My work is directed at explaining how these changes in mood of thought were instrumental in effecting the gradual replacement of the bel canto singing style typical of the opera seria of Rossini, Donizetti, and Bellini, by the school of thought of verismo, as exemplified by Verdi’s experiments. Besides the work of Verdi and the early nineteenth-cen- tury Italian operatic Romanticists, I touch also briefly on the œuvres of Puccini, ETDGiordano and the other veristi.