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San Francisco Opera Center and Merola Opera Program Announce 2020 Schwabacher Recital Series
SAN FRANCISCO OPERA CENTER AND MEROLA OPERA PROGRAM ANNOUNCE 2020 SCHWABACHER RECITAL SERIES January 29 Kicks Off First of Four Recitals Highlighting Emerging Artists and Unique Musical Programs Tickets available at sfopera.com/srs and (415) 864-3330 SAN FRANCISCO, CA (January 6, 2019) — Now in its 37th year, the Schwabacher Recital Series returns on Wednesday, January 29, with performances at San Francisco’s Dianne and Tad Taube Atrium Theater that feature emerging artists from around the globe. Presented by San Francisco Opera Center and Merola Opera Program, the annual Schwabacher Series consists of four Wednesday evening recitals, the last of which concludes on April 22. The first-ever Schwabacher series was presented in December 1983, kicking off a decades-long San Francisco tradition of presenting rising international talent in the intimacy of a recital setting. The 2020 series will blend classics like Hector Berlioz’s Les Nuits d’Été with rarely performed 20th- and 21st-century works like Olivier Messiaen’s Harawi. JANUARY 29: ALICE CHUNG, LAUREANO QUANT AND NICHOLAS ROEHLER (From left to right: Alice Chung, Laureano Quant and Nicholas Roehler) The series opens on January 29 with a set of performers recently seen as part of the Merola Opera Program: mezzo-soprano Alice Chung, baritone Laureano Quant and pianist Nicholas Roehler. Twice named as a Merola artist—once in 2017 and again in 2019—Chung returns to the 1 Bay Area for this recital, having been hailed as a “force of nature” by San Francisco Classical Voice (SFCV). She will tackle a range of works, from Colombian composer Luis Carlos Figueroa’s soothing lullaby “Berceuse” to cabaret-inspired works like William Bolcom’s “Over the Piano.” Quant, a 2019 Merola participant, joins Chung to perform Bolcom’s music, as well as select songs from Berlioz’s Les Nuits d’Été and Francesco Santoliquido’s I Canti della Sera. -
Samuel Ramey
welcome to LOS i\Ilgeles upera http://www.losangelesopera.comlproduction/index.asp?... •• PURCHASE TICKETS • 2003/2004 SEASON LA AMNATION DE FAD T La damnation de Faust The damnation of Faust / Hector Berlioz Nicholas and In French with English Supertitles Ticket Information Alexandra Lucia di Samuel Ramey, Synopsis Lammermoor r-----------.., Program Notes Denyce Graves and Photo Gallery Orfeo ed Euridice Paul Groves star in a spectacular new Recital: production by Achim Ask an Expert Hei-Kyung Hong Forward to a Freyer with Kent Friend Recital: Cecilia Nagano conducting. Bartoli Generously Madama Europe's master Underwritten by: Butterfly theatre artist Achim Freyer matches his New production Die Frau ohne made possible by a Schatten painterly visual imagery with Hector generous gift from Mr. and Mrs. Recital: Dmitri Berlioz's vivid musical imagination in the premiere of Hvorostovsky Milan Panic this new production featuring a cast of more than Le nozze di 100 singers and dancers. The legend of Faust, which Figaro tells the story of the man who sold his soul to the II trovatol'"e Devil, has captivated great imaginations for centuries. Marlowe, Goethe, Gounod, Schumann, Liszt, Mahler and Stravinsky all found inspiration in SEASON G!J1]) the Faust tale, which continues to reverberate in SPONSOR Audt today's modern world. Originally conceived as an oratoriO, Hector Berlioz's dramatic La damnation de Faust is now a mainstay of opera houses around the world. Haunting melodies and startling orchestrations flood the score and illustrate the beWitching tale of Faust's desperate struggle for power, riches, youth and, ultimately, redemption. PRODUCTION DATES: Wednesday September 10, 20036:30 p.m. -
CHINEKE! ORCHESTRA Kevin John Edusei Conductor
SIGCD517_Bklt****.qxp_BookletSpread.qxt 28/04/2017 16:19 Page 1 CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CyAN mAGENTA Customer yEllOw Catalogue No. BlACK Job Title page Nos. Antonin Dvořák SympHONy NO.9, ‘FROm THE NEw wORlD’ Jean Sibelius FINlANDIA CHINEKE! ORCHESTRA Kevin John Edusei conductor 16 1 291.0mm x 169.5mm SIGCD517_Bklt****.qxp_BookletSpread.qxt 28/04/2017 16:19 Page 2 CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CyAN mAGENTA Customer yEllOw Catalogue No. BlACK Job Title page Nos. Jean Sibelius Jean Sibelius (1865-1957) Finlandia Finlandia, Op 26 9’ Antonin Dvořák A brief trip to Finland is all that is required to grasp the legendary status that Jean Sibelius has acquired in his home nation. From his long-time home, Ainola, which has become a national Symphony No. 9, ‘From the New world’ museum, it is a mere 30 minute drive to Sibelius park in Helsinki, where sits the Sibelius monument. Budding Finnish musicians attend the Sibelius Academy, partake in the International Jean Sibelius Violin Competition and perform his symphonies in Sibelius Hall. Until the introduction of the euro, his portrait was on the Finnish 100 mark bill and Finland’s 1. Finlandia Jean Sibelius .....................................................................................................................................................[7.50] national Flag Day is now held on his birthday. But how did a musician and composer become a national hero, a position usually reserved for generals, freedom fighters and politicians? Symphony No. 9 in E Minor, Op. 95, ‘From the New World’ Antonin Dvořák 2. I. Adagio - Allegro molto ...............................................................................................................................................[11.42] e answer lies with Finlandia, Sibelius’ love letter to the Finnish nation. -
I Urban Opera: Navigating Modernity Through the Oeuvre of Strauss And
Urban Opera: Navigating Modernity through the Oeuvre of Strauss and Hofmannsthal by Solveig M. Heinz A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Germanic Languages and Literatures) in the University of Michigan 2013 Doctoral Committee: Associate Professor Vanessa H. Agnew, Chair Associate Professor Naomi A. André Associate Professor Andreas Gailus Professor Julia C. Hell i For John ii Acknowledgements Writing this dissertation was an intensive journey. Many people have helped along the way. Vanessa Agnew was the most wonderful Doktormutter a graduate student could have. Her kindness, wit, and support were matched only by her knowledge, resourcefulness, and incisive critique. She took my work seriously, carefully reading and weighing everything I wrote. It was because of this that I knew my work and ideas were in good hands. Thank you Vannessa, for taking me on as a doctoral rookie, for our countless conversations, your smile during Skype sessions, coffee in Berlin, dinners in Ann Arbor, and the encouragement to make choices that felt right. Many thanks to my committee members, Naomi André, Andreas Gailus, and Julia Hell, who supported the decision to work with the challenging field of opera and gave me the necessary tools to succeed. Their open doors, email accounts, good mood, and guiding feedback made this process a joy. Mostly, I thank them for their faith that I would continue to work and explore as I wrote remotely. Not on my committee, but just as important was Hartmut. So many students have written countless praises of this man. I can only concur, he is simply the best. -
The American Opera Series May 16 – November 28, 2015
The American Opera Series May 16 – November 28, 2015 The WFMT Radio Network is proud to make the American Opera Series available to our affiliates. The American Opera Series is designed to complement the Metropolitan Opera Broadcasts, filling in the schedule to complete the year. This year the American Opera Series features great performances by the Lyric Opera of Chicago, LA Opera, San Francisco Opera, Glimmerglass Festival and Opera Southwest. The American Opera Series for 2015 will bring distinction to your station’s schedule, and unmatched enjoyment to your listeners. Highlights of the American Opera Series include: • The American Opera Series celebrates the Fourth of July (which falls on a Saturday) with Lyric Opera of Chicago’s stellar production of George Gershwin’s Porgy and Bess. • LA Opera brings us The Figaro Trilogy, including Mozart’s The Marriage of Figaro, Rossini’s The Barber of Seville, and John Corigliano’s The Ghosts of Versailles. • The world premiere of Marco Tutino’s Two Women (La Ciociara) starring Anna Caterina Antonacci, based on the novel by Alberto Moravia that became a classic film, staged by San Francisco Opera. • Opera Southwest’s notable reconstruction of Franco Faccio’s 1865 opera Amleto (Hamlet), believed lost for over 135 years, in its American premiere. In addition, this season we’re pleased to announce that we are now including multimedia assets for use on your station’s website and publications! You can find the supplemental materials at the following link: American Opera Series Supplemental Materials Please note: If you have trouble accessing the supplemental materials, please send me an email at [email protected] Program Hours* Weeks Code Start Date Lyric Opera of Chicago 3 - 5 9 LOC 5/16/15 LA Opera 2 ½ - 3 ¼ 6 LAO 7/18/15 San Francisco Opera 1 ¾ - 4 ¾ 10 SFO 8/29/15 Glimmerglass Festival 3 - 3 ½ 3 GLI 11/7/15 Opera Southwest Presents: Amleto 3 1 OSW 11/28/15 Los Angeles Opera’s Production of The Ghosts of Versailles Credit: Craig Henry *Please note: all timings are approximate, and actual times will vary. -
Mona Lisa LEON BOTSTEIN, Conductor
Friday Evening, February 20, 2015, at 8:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00 presents Mona Lisa LEON BOTSTEIN, Conductor MAX VON SCHILLINGS Mona Lisa ACT I Intermission ACT II Foreigner/Francesco del Giocondo: MICHAEL ANTHONY MCGEE, Bass-baritone Woman/Mona Fiordalisa: PETRA MARIA SCHNITZER, Soprano Lay Brother/Giovanni de Salviati: PAUL MCNAMARA, Tenor Pietro Tumoni: JUSTIN HOPKINS, Bass-baritone Arrigo Oldofredi: ROBERT CHAFIN, Tenor Alessio Beneventi: JOHN EASTERLIN, Tenor Sandro da Luzzano: CHRISTOPHER BURCHETT, Baritone Masolino Pedruzzi: MICHAEL SCARCELLE, Bass-baritone Mona Ginevra: ILANA DAVIDSON, Soprano Dianora: LUCY FITZ GIBBON, Soprano Piccarda: KATHERINE MAYSEK, Mezzo-soprano Sisto: JOHN KAWA, Tenor BARD FESTIVAL CHORALE JAMES BAGWELL, Director This evening’s concert will run approximately two hours and 20 minutes including one 20-minute intermission. Used by arrangement with European American Music Distributors Company, sole U.S. and Canadian agent for Universal Edition Vienna, publisher and copyright owner. American Symphony Orchestra welcomes the many organizations who participate in our Community Access Program, which provides free and low-cost tickets to underserved groups in New York’s five boroughs. For information on how you can support this program, please call (212) 868-9276. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. FROM THE Music Director The Stolen Smile DVDs or pirated videos. Opera is the by Leon Botstein one medium from the past that resists technological reproduction. A concert This concert performance of Max von version still represents properly the Schillings’ 1915 Mona Lisa is the latest sonority and the multi-dimensional installment of a series of concert perfor- aspect crucial to the operatic experi- mances of rare operas the ASO has pio- ence. -
Don Giovanni
NATIONAL CAPITAL OPERA SOCIETY • SOCIÉTÉ D'OPÉRA DE LA CAPITALE NATIONALE Newsletter • Bulletin Spring 2012 www.ncos.ca Printemps 2012 P.O. Box 8347, Main Terminal, Ottawa, Ontario K1G 3H8 • C.P. 8347, Succursale principale, Ottawa (Ontario) K1G 3H8 Unlucky Valentines by Shelagh Williams The February offerings of Toronto’s Canadian Opera concept allowed events to unfold naturally, although the Company (COC) featured stories of thwarted love com- second act could have been more tense and scary: this posed a century apart: Puccini’s Tosca (1900) and Kaija Scarpia did not seem as evil and lecherous as some I’ve Saariaho’s Love From Afar (2000)! seen, nor were Cavaradossi’s screams under torture as It is a pleasure to report that the Tosca was an loud and spine-chilling as they could have been. Veteran opulent production, setting forth the story in a clear, straight Canadian bass-baritone Peter Strummer knew just how forward manner, and featuring an excellent cast - a rare to evoke the humour of the Sacristan, although at times he set of claims for many operas these days! It was a re- seemed a bit too broad and irreligious in his actions. We mount of the COC’s own lovely 2008 production (which have seen American baritone Mark Delavan, here debut- I did not see) by the creative team of Scottish director ing at the COC as Scarpia, in his early days at Paul Curran, set and costume de- Glimmerglass Opera, and it is pleas- signer Kevin Knight and lighting de- Tosca ing to find that he has developed so signer David Martin Jacques. -
San Francisco Ring 2011 Text: John L. Digaetani
Text: John L. DiGaetani San Francisco Ring 2011 / San Francisco Opera Weaver Kuva: Cory I was very happy to be at the second of the three Ring cycles which the San Francisco opera performed during June of 2011. The star of the whole cycle became Nina Stem- me, a Brünnhilde who reminded many of us of Birgit Nilsson and her singing of that role. Stemme, another Swedish soprano, sang the role gloriously with a large, gorgeo- us voice which could easily be heard over the orchestra. Her top was secure, her mid- dle was very good, and her low notes usually projected well. She can even sing with por- tamento — the shaping and connecting of notes — something Birgit Nilsson could also so. But Stemme is a better actress and can move around the stage with dramatic intent. One wished that her German diction were better, but this was a minor flaw. Certainly drama and acting were real fortes in this Ring, thanks to Francesca Zambello’s forceful direction so that the sympathetic throughout this Ring, making Katy Tucker added tremendous meaning singers’ acting became consistently involved him a wonderful foil to Wotan’s attempts at and visual variety during the musical inter- and motivated. Donald Runnicles provided legality and love. ludes between the scenes, emphasizing natu- excitement from the orchestra thanks to his The production mixed visual styles, with re and its destruction by human greed and conducting an orchestra with a solid and ac- most of the singers appearing in contempo- corporate industry. The theme of industria- curate brass, though one sometimes wished rary dress, but the updating usually made lism and its destruction of nature, while re- for a lovelier tone from the strings. -
Marco Polo – the Label of Discovery
Marco Polo – The Label of Discovery Doubt was expressed by his contemporaries as to the truth of Marco Polo’s account of his years at the court of the Mongol Emperor of China. For some he was known as a man of a million lies, and one recent scholar has plausibly suggested that the account of his travels was a fiction inspired by a family dispute. There is, though, no doubt about the musical treasures daily uncovered by the Marco Polo record label. To paraphrase Marco Polo himself: All people who wish to know the varied music of men and the peculiarities of the various regions of the world, buy these recordings and listen with open ears. The original concept of the Marco Polo label was to bring to listeners unknown compositions by well-known composers. There was, at the same time, an ambition to bring the East to the West. Since then there have been many changes in public taste and in the availability of recorded music. Composers once little known are now easily available in recordings. Marco Polo, in consequence, has set out on further adventures of discovery and exploration. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again. In addition to pioneering recordings of the operas of Franz Schreker, Der ferne Klang (The Distant Sound), Die Gezeichneten (The Marked Ones) and Die Flammen (The Flames), were three operas by Wagner’s son, Siegfried. Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich and Schwarzschwanenreich (The Kingdom of the Black Swan) explore a mysterious medieval world of German legend in a musical language more akin to that of his teacher Humperdinck than to that of his father. -
Gösta Neuwirth (*1937)
© Lothar Knessl GÖSTA NEUWIRTH (*1937) Streichquartett 1976 1 Satz I 3:13 2 Satz II 4:36 3 Satz III 4:56 4 Satz IV 4:19 Sieben Stücke für Streichquartett (2008) für Ernst Steinkellner 5 d’accord 1:15 6 pensif 1:22 7 le fils de la fadeur 1:15 8 à trois 1:31 9 objet en ombre 1:06 1 0 un rêve solutréen 0:55 11 l’oubli bouilli 1:28 1 2 L’oubli bouilli (2008) 30:29 TT: 56:25 1 - 4 Annette Bik violin • Gunde Jäch-Micko violin, viola Dimitrios Polisoidis viola • Andreas Lindenbaum violoncello 5 - 11 Sophie Schafleitner violin • Gunde Jäch-Micko violin Dimitrios Polisoidis viola • Andreas Lindenbaum violoncello 5 - 12 Donatienne Michel-Dansac voice Klangforum Wien • Etienne Siebens conductor 5 - 12 Erste Bank Kompositionsauftrag 2 Klangforum Wien Klangforum Wien Vera Fischer Flöte Markus Deuter Oboe Bernhard Zachhuber, Olivier Vivarès Klarinette Gerald Preinfalk Saxophon Edurne Santos Fagott Christoph Walder Horn Anders Nyqvist Trompete Andreas Eberle Posaune Annette Bik, Sophie Schafleitner Violine Dimitrios Polisoidis, Andrew Jezek Viola Benedikt Leitner, Andreas Lindenbaum Violoncello Alexandra Dienz Kontrabass Nathalie Cornevin Harfe Krassimir Sterev Akkordeon Florian Müller Klavier, Keyboards Hsin-Huei Huang Klavier Adam Weisman, Berndt Thurner Schlagwerk Peter Böhm, Florian Bogner Klangregie und Spatialisation 3 Gösta Neuwirths Kopfwelten fehlenden Teile eins und drei lieferte. Lothar Knessl Bildlos sachliche Auskünfte zum Werk bleiben außerhalb der Schublade des Einführungszwan- L’oubli bouilli - Vanish… Ein Titel, der die Frage ges. TEIL I also, zehn Minuten: Primär linear dis- aufwirft: Wohin führen „gekochtes Vergessen und poniertes Gebilde, überwiegend dicht gewebt, Verschwinden“? Sollte sich Vergessen prozessual hie und da solistisch. -
For Immediate Release September 18, 2009
PITTBURGHOPERA page 1 For Immediate Release September 18, 2009 Contact: Kesha M. Pate, Public Relations Manager Office: (412) 281-0912 ext 248 Mobile: (412) 979-0912 [email protected] Pittsburgh Opera Presents Verdi’s Falstaff All the world’s a jest! What: Verdi’s opera Falstaff Where: Benedum Center for the Performing Arts 7th Street and Penn Avenue, Downtown Pittsburgh Discover Yourself When: Saturday, October 24, 8:00 PM Tuesday, October 27, 7:00 PM 2009-2010 Friday, October 30, 8:00 PM Sunday, November 1, 2:00 PM Season Run Time: 2 hours, 45 minutes, including 2 intermissions Language: Sung in Italian with English texts projected above the stage Tickets: Start at $10. Call 412-456-6666 for more information or visit www.pittsburghopera.org Pittsburgh, PA… Pittsburgh Opera presents Giuseppe Verdi’s final masterpiece Falstaff at the Benedum Center for the Performing Arts October 24 – November 1, 2009. This masterful comedy takes the audience on a delightful journey as the amorous pursuits of the bumbling old knight Sir John Falstaff are thwarted not once, but twice when he takes on the Merry Wives of Windsor in this Shakespearean classic. The production stars American baritone Mark Delavan, who is widely acclaimed as the quintessential Sir John Falstaff, Chilean soprano Veronica Villarroel, American baritone Stephen Powell, native Pittsburgher Kevin Glavin and a troupe worthy of any Elizabethan England theatre. Maestro Antony Walker will conduct. (more) 2425 Liberty Avenue Pittsburgh, PA 15222 www.pittsburghopera.org PITTBURGHOPERA page 2 Facts About The Opera and Composer Falstaff is an operatic commedia lyrica in three acts by Giuseppe Verdi, adapted by Arrigo Boito from Shakespeare's plays The Merry Wives of Windsor and scenes from Henry IV. -
5178 Bookl:Layout 1 06.05.2013 12:03 Uhr Seite 1 5178 Bookl:Layout 1 06.05.2013 12:03 Uhr Seite 2
5178 bookl:Layout 1 06.05.2013 12:03 Uhr Seite 1 5178 bookl:Layout 1 06.05.2013 12:03 Uhr Seite 2 FRANZ SCHREKER (1878-1934) DER FERNE KLANG Oper in drei Aufzügen / Opera in 3 Acts Text: Franz Schreker - Gesamtaufnahme / Complete Recording - Grete GABRIELE SCHNAUT Fritz THOMAS MOSER Der alte Graumann VICTOR VON HALEM Frau Graumann BARBARA SCHERLER Der Wirt JOHANN WERNER PREIN Altes Weib JULIA JUON Ein Schauspieler HANS HELM Dr. Vigelius SIEGMUND NIMSGERN Milli / Kellnerin: Barbara Hahn · Mizzi / Ein Mädchen: Gudrun Sieber · Mary / Choristin: Gertrud Ottenthal Ein Individuum: Rolf Appel · Erster Chorist: Peter Haage · Der Graf: Roland Hermann Der Chevalier: Robert Wörle · Der Baron / Zweiter Chorist / Der Polizist: Gidon Saks · Rudolf: Claudio Otelli RIAS KAMMERCHOR · RUNDFUNKCHOR BERLIN (Einstudierung / Chorus Master: Dietrich Knothe) RADIO-SYMPHONIE-ORCHESTER BERLIN GERD ALBRECHT (Dirigent / conductor) Co-Produktion: RIAS Berlin - CAPRICCIO ©+P 1991 / 2013 CAPRICCIO, 1010 Vienna, Austria Made in Austria www.capriccio.at 3 5178 bookl:Layout 1 06.05.2013 12:03 Uhr Seite 3 CD 1 ERSTER AUFZUG / ACT ONE [1] Vorspiel …………………………………………………………………………………………………………. 4:02 1. SZENE / SCENE 1 [2] „Du willst wirklich fort, Fritz“ (Grete, Fritz) …………………………………………………………………. 2:10 [3] „Ein hohes, hehres Ziel schwebt mir vor Augen“ (Grete, Fritz) …………………………………………. 5:37 [4] „Hörst du, wie sie toben“ (Grete, Fritz) …………………………………………………………………….. 2:06 2. SZENE / SCENE 2 [5] „Frau Mama zu Hause?“ (Die Alte, Grete) ………………………………………………………………… 2:10 3. SZENE / SCENE 3 [6] „Was weinst denn?“ (Mutter, Grete) ………………………………………………………………………. 1:36 4. SZENE / SCENE 4 [7] „Nur herein, meine Herren“ ………………………………………………………………………………….. 7:23 (Graumann, Wirt, Schauspieler, Grete, Vigelius, Mutter, Chor) 5. SZENE / SCENE 5 [8] „Fräulein sollten sich‘s überlegen“ (Wirt, Mutter, Grete) ………………………………………………….