THE CLAPPER RAIL Spring 2015
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Darynn Zimmer Is an Active Soprano, Producer, Recording Artist and Educator
Darynn Zimmer is an active soprano, producer, recording artist and educator. She has sung with international and American festivals, orchestras and regional operatic companies: Spoleto (USA & Italy); Orquestra Petrobras, Rio; Aspen Opera Theater; American Music Theater Festival; Cen- ter for Contemporary Opera; American Opera Projects: Encompass New Opera Theater: Greens- boro; Skylight and Tampa, performing contemporary and standard repertoire by Bach, Copland, Anthony Davis, Donizetti, Foss, Glass, Monteverdi, Orff and Somei Satoh, among many others. She has appeared as soprano soloist at Carnegie Hall, Alice Tully Hall, Merkin Concert Hall, and the Morgan Library, and with conductors such as Marin Alsop, Bradley Lubman, Paul Nadler, Anton Coppola, David Randolph, Robert Bass and Richard Westenburg. In recent engagements, Ms. Zimmer performed at the 2016 Bergedorfer Musiktage, the largest summer festival in Hamburg. She was invited to perform the Children’s Songs, Op.13, by Mieczyslaw Weinberg in Chamber Music at the Scarab Club in Detroit, a performance co-spon- sored by Michigan Opera Theater to highlight their production of The Passenger. She per- formed these songs again in Miami, in connection with the production at Florida Grand Opera. As performer and co-producer, Ms. Zimmer was part of ‘Ciao, Philadelphia 2015’ festival in, “Introducing B Cell City,” a multi-media work in progress addressing cancer and the environ- ment. Ms. Zimmer sang ‘Elizabeth Christine,’ in a Center for Contemporary Opera showcase of Scott Wheeler’s opera, The Sorrows of Frederick. She appeared in the world premiere of Zin- nias: The Life of Clementine Hunter by Toshi Reagon and Bernice Johnson Reagon, directed by Robert Wilson. -
REGION I0 - MARINE Seymour Schiff 603 Mead Terrace, South Hempstead NY 11550 Syschiff @ Optonline.Net
REGION I0 - MARINE Seymour Schiff 603 Mead Terrace, South Hempstead NY 11550 syschiff @ optonline.net Alvin Wollin 4 Meadow Lane, Rockville Centre NY 11 570 After a series of unusually warm winters and a warm early December, we went back to the reality of subnormal cold and above normal snow. For the three months, temperatures were, respectively, 1.3"F, 4.6" and 4.5" below normal, with a season low 8" on 16 February. This season's average temperature was 10" below last year. Precipitation was very slightly above normal for December, half of normal for January, fifty percent above normal in February, with half of it in the form of snow. On 7 February, 5" fell. And an additional 19" fell on the 16-17th, for the fourth snowiest month on record. The warm early weather induced an unusual number of birds to stay far into the season and kept some for the entire winter. On the other hand, there were absolutely no northern finches, except for a very few isolated Pine Siskins. On 14 December, a Pacific Loon in basic plumage was found by Tom Burke, Gail Benson and Bob Shriber at Camp Hero on the Montauk CBC. It was subsequently seen there and at the point by others on 24,27 and 28 December. On 28 December, Guy Tudor saw a Greater Shearwater sail in toward Montauk Point before returning out to sea. This is a very late record. A Least Bittern, apparently hit by a car "somewhere in East Hampton" on 25 February, was turned over to a local rehabilitator. -
Mario Ferraro 00
City Research Online City, University of London Institutional Repository Citation: Ferraro Jr., Mario (2011). Contemporary opera in Britain, 1970-2010. (Unpublished Doctoral thesis, City University London) This is the unspecified version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/1279/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] CONTEMPORARY OPERA IN BRITAIN, 1970-2010 MARIO JACINTO FERRARO JR PHD in Music – Composition City University, London School of Arts Department of Creative Practice and Enterprise Centre for Music Studies October 2011 CONTEMPORARY OPERA IN BRITAIN, 1970-2010 Contents Page Acknowledgements Declaration Abstract Preface i Introduction ii Chapter 1. Creating an Opera 1 1. Theatre/Opera: Historical Background 1 2. New Approaches to Narrative 5 2. The Libretto 13 3. The Music 29 4. Stage Direction 39 Chapter 2. Operas written after 1970, their composers and premieres by 45 opera companies in Britain 1. -
Prospective Encounters
FOUR INNOVATIVE EVENTS IN GREENWICH VILLAGE presented by the NEW YORK PHILHARMONIC PIERRE BOULEZ, Music Director EISNER AND LUBIN AUDITORIUM, LOEB STUDENT CENTER, NEW YORK UNIVERSITY Friday Evening, February 18, 1972, at 7:30 p.m. PROSPECTIVE ENCOUNTER IV PIERRE BOULEZ, Conductor STANLEY SILVERMAN PLANH Stanley Silverman, Guitar Violin Flute, Alto Flute Percussion Kenneth Gordon Paige Brook Richard Fitz Viola Clarinet, Gordon Gottlieb Sol Greitzer Bass Clarinet Mandolin Cello Stephen Freeman Jacob Glick Bernardo Altmann GEORGE CRUMB "Ancient Voices of Children" A Cycle of Songs on Texts by Garcia Lorca I "El niho busca su voz" ("The Little Boy Was Looking for his Voice") "Dances of the Ancient Earth" II "Me he perdido muchas veces por el mar" ("I Have Lost Myself in the Sea Many Times") III "6De d6nde vienes, amor, mi nino?" ("From Where Do You Come, My Love, My Child?") ("Dance of the Sacred Life-Cycle") IV "Todas ]as tardes en Granada, todas las tardes se muere un nino" ("Each After- noon in Granada, a Child Dies Each Afternoon") "Ghost Dance" V "Se ha Ilenado de luces mi coraz6n de seda" ("My Heart of Silk Is Filled with Lights") Jan DeGaetani, Mezzo-soprano Joseph Lampke, Boy soprano Oboe Harp Percussion Harold Gomberg Myor Rosen Raymond DesRoches Mandolin Piano Richard Fitz Jacob Glick PaulJacobs Gordon Gottlieb Orchestra Personnel Manager, James Chambers ERIC SALZMAN with QUOG ECOLOG QUOG Josh Bauman Imogen Howe Jon Miller Tina Chancey Garrett List Barbara Oka Tony Elitcher Jim Mandel Walter Wantman Laura Greenberg Bill Matthews -
The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) Spring 4-27-2013 Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Part of the Music Commons Recommended Citation Chapman, David Allen, "Collaboration, Presence, and Community: The hiP lip Glass Ensemble in Downtown New York, 1966-1976" (2013). All Theses and Dissertations (ETDs). 1098. https://openscholarship.wustl.edu/etd/1098 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Peter Schmelz, Chair Patrick Burke Pannill Camp Mary-Jean Cowell Craig Monson Paul Steinbeck Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966–1976 by David Allen Chapman, Jr. A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2013 St. Louis, Missouri © Copyright 2013 by David Allen Chapman, Jr. All rights reserved. CONTENTS LIST OF FIGURES .................................................................................................................... -
Preserve Our H Eritage! Join the H Istorical Society of R Ockland C Ounty!
Historic Preservation Focus: Crow House In conjunction with “Influencers,” the HSRC’s semi-permanent Rockland Voices exhibition fea- tures the special mini-exhibit “Crow House: Hand- made by Henry Varnum Poor.” Poor seemed to turn everything he touched into art, and that is perhaps nowhere more evident than in the house $500.00 and studio he designed and built as a place of $1,000.00 $2,500.00 $5,000.00 comfort for his family on South Mountain Road. ....... ....... How it was conceived, constructed, and enjoyed ............ are illustrated through archival images and docu- ................. ments. Contemporary photographic images from Zip: Zip: the past decade help shed light on the present condition of this important artist's home and stu- Ceramics Studio, Poor’s Crow House dio and beg the question: What does the future Photograph courtesy Friends of Crow House mail: - State: State: E hold for Crow House? ................................ ................................ ................................ loved Brook House until her death in 1981. Some ................................ Acknowledgments s Circles of these homes stayed within the families; others ’ "Influencers" is a joint project of the HSRC and were sold, with new residents—some famous; Rockland Center for the Arts. “Influencers” and others, low-profile—entering the enclave. “Crow House: Handmade by Henry Varnum Poor” April 24–October 27, 2019 President Sustaining Patron Benefactor At the same time, South Mountain Road was PatronMuseum were made possible by a grant from the Office of Wednesdays–Fridays & Sundays,12–4 pm succumbing to suburban spread. Homes ranging the Rockland County Executive, Department of from modest middle-class colonials to spectacular Economic Development and Tourism. -
Nashville Community Theatre: from the Little Theatre Guild
NASHVILLE COMMUNITY THEATRE: FROM THE LITTLE THEATRE GUILD TO THE NASHVILLE COMMUNITY PLAYHOUSE A THESIS IN Theatre History Presented to the Faculty of the University of Missouri – Kansas City in partial fulfillment of the requirements for the degree MASTER OF ARTS by ANDREA ANDERSON B.A., Trevecca Nazarene University, 2003 Kansas City, Missouri 2012 © 2012 ANDREA JANE ANDERSON ALL RIGHTS RESERVED THE LITTLE THEATRE MOVEMENT IN NASHVILLE, TENNESSEE: THE LITTLE THEATRE GUILD AND THE NASHVILLE COMMUNITY PLAYHOUSE Andrea Jane Anderson, Candidate for the Master of Arts Degree University of Missouri - Kansas City, 2012 ABSTRACT In the early 20th century the Little Theatre Movement swept through the United States. Theatre enthusiasts in cities and towns across the country sought to raise the standards of theatrical productions by creating quality volunteer-driven theatre companies that not only entertained, but also became an integral part of the local community. This paper focuses on two such groups in the city of Nashville, Tennessee: the Little Theatre Guild of Nashville (later the Nashville Little Theatre) and the Nashville Community Playhouse. Both groups shared ties to the national movement and showed a dedication for producing the most current and relevant plays of the day. In this paper the formation, activities, and closure of both groups are discussed as well as their impact on the current generation of theatre artists. iii APPROVAL PAGE The faculty listed below, appointed by the Dean of the College of Arts and Sciences, have examined a thesis titled “Nashville Community Theatre: From the Little Theatre Guild to the Nashville Community Playhouse,” presented by Andrea Jane Anderson, candidate for the Master of Arts degree, and certify that in their opinion it is worthy of acceptance. -
Ardea Arts__Rep Sheet__2017 Copy
ARDEA ARTS Repertory & Current Projects Commissioned & Developed by Ardea Arts Development & Premiere Partner: University of Kentucky Opera Theatre (UKOT) Music: Glen Roven, Tomas Doncker, Ansel Elgort Story & Libretto: Charles R Smith Jr. Concept-Direction: Grethe B Holby Development & Premiere Partner: UKOT World Premiere October 2017 in Lexington KY with UKOT 2017 Two major workshops scheduled for Spring-Summer in NYC 2017 Full Staged Workshop & 3 Performances, East Flatbush, Brooklyn 2016 Act I and II Workshop University of Kentucky Opera Theater 2015-2016 Libretto Reading & Dramatization: WNYC-live-steamed and broadcast WQXR 2015 Community Engagement Performance Event: Coney Island with City Parks Foundation 2014 Major Support National Endowment for the Arts, Opera America, Jody and John Arnhold, Pam & Bill Michealcheck, Richenthal Foundation, Lynn Schneider, Laurie M. Tisch Illumination Fund, and many individual donors Commissioned & Developed by Ardea Arts Music: Kitty Brazelton Libretto: George Plimpton, Origin, Dramaturgy, Direction: Grethe Barrett Holby Development Partners: Atlantic Center for the Arts, Montclair State University World Concert Premiere in partnership with Garden State Philharmonic, NJ 2017 Full Semi-Staged Concert Presentatiions Ardea Arts/FOI, Chelsea Studios NYC 2008 Act II Workshop Montclair State University, NJ - Peak Performance Series 2006 Act I Workshop; Atlantic Center for the Arts, FL & Ardea Arts, NYC 2005 DJ Workshop Family Opera Initiative NYC 2004 Major support The Jaffe Family Foundation and many -
Darmstadt As Other: British and American Responses to Musical Modernism. Twentieth-Century Music, 1 (2)
Heile, B. (2004) Darmstadt as other: British and American responses to musical modernism. Twentieth-Century Music, 1 (2). pp. 161-178. ISSN 1478-5722 Copyright © 2004 Cambridge University Press A copy can be downloaded for personal non-commercial research or study, without prior permission or charge The content must not be changed in any way or reproduced in any format or medium without the formal permission of the copyright holder(s) When referring to this work, full bibliographic details must be given http://eprints.gla.ac.uk/52652/ Deposited on: 03 April 2013 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk twentieth century music http://journals.cambridge.org/TCM Additional services for twentieth century music: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here Darmstadt as Other: British and American Responses to Musical Modernism BJÖRN HEILE twentieth century music / Volume 1 / Issue 02 / September 2004, pp 161 178 DOI: 10.1017/S1478572205000162, Published online: 22 April 2005 Link to this article: http://journals.cambridge.org/abstract_S1478572205000162 How to cite this article: BJÖRN HEILE (2004). Darmstadt as Other: British and American Responses to Musical Modernism. twentieth century music, 1, pp 161178 doi:10.1017/S1478572205000162 Request Permissions : Click here Downloaded from http://journals.cambridge.org/TCM, IP address: 130.209.6.42 on 03 Apr 2013 twentieth-century music 1/2, 161–178 © 2004 Cambridge University Press doi:10.1017/S1478572205000162 Printed in the United Kingdom Darmstadt as Other: British and American Responses to Musical Modernism BJO}RN HEILE Abstract There is currently a backlash against modernism in English-language music studies. -
Negotiating Cultural Allies: American Music in Darmstadt, 1946-1956 Author(S): Amy C
American Musicological Society Negotiating Cultural Allies: American Music in Darmstadt, 1946-1956 Author(s): Amy C. Beal Source: Journal of the American Musicological Society, Vol. 53, No. 1 (Spring, 2000), pp. 105- 139 Published by: University of California Press on behalf of the American Musicological Society Stable URL: http://www.jstor.org/stable/831871 Accessed: 22/11/2010 15:41 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=ucal. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. 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]. University of California Press and American Musicological Society are collaborating with JSTOR to digitize, preserve and extend access to Journal of the American Musicological Society. -
North American Cities and Their Vicinity
504 i£x ICibrtB SEYMOUR DURST When you leave, please leave this book Because it has been said "Ever thing comes t' him who waits Except a loaned book." Avery Architectural and Fine Arts Library Gift of Seymour B. Durst Old York Library Digitized by the Internet Archive in 2014 https://archive.org/details/northamericancitOOunse "HE HAD FOUND THE CAPTAIN AGREEABLE AND COMPANIONABLE." HARPER'S NEW MONTHLY MAGAZINE. Vol. LXXX1X. NOVEMBER, 1894. No. DXXX1V. sea-ugbbejis o/jvew ymx by Thomas A.Janvier. i. domination the most romantic of our his- SEA-STEALING, though they did not torians have not ventured the suggestion call it by so harsh a name, was a lead- that anybody ever went to sleep when ing industry with the thrifty dwellers in there was a bargain to be made; and in this town two hundred years ago. That the period to which I now refer, when the was a good time for sturdy adventure English fairly were settled in possession afloat; and our well-mettled New-York- of New York by twenty years of occu- ers were not the kind then, any more pancy, exceeding wide-awakeness was the than they are now, to let money-making rule. Nor was anybody troubled with chances slip away by default. Even in squeamishness. Therefore it was that our referring to what is styled (but very er- townsfolk, paltering no more with for- roneously) the drowsy period of the Dutch tune than they did with moral scruples, Copyright, 1894, by Harper aud Brothers. All rights reserved. — — 814 HARPER'S NEW M >NTHLY MAGAZINE. -
A Performer's Guide to the American Theater Songs of Kurt Weill
A Performer's Guide to the American Musical Theater Songs of Kurt Weill (1900-1950) Item Type text; Electronic Dissertation Authors Morales, Robin Lee Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 16:09:05 Link to Item http://hdl.handle.net/10150/194115 A PERFORMER’S GUIDE TO THE AMERICAN MUSICAL THEATER SONGS OF KURT WEILL (1900-1950) by Robin Lee Morales ________________________________ A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2 0 0 8 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As member of the Document Committee, we certify that we have read document prepared by Robin Lee Morales entitled A Performer’s Guide to the American Musical Theater Songs of Kurt Weill (1900-1950) and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. Faye L. Robinson_________________________ Date: May 5, 2008 Edmund V. Grayson Hirst__________________ Date: May 5, 2008 John T. Brobeck _________________________ Date: May 5, 2008 Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement.