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Albert-Lortzing-Gesellschaft E. V. Februar 2009
Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 Albert-Lortzing-Gesellschaft e. V. gegründet 2001 Lortzings Wohnhaus, die Große Funkenburg, in Leipzig Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 2 Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 Liebe Mitglieder, endlich halten Sie wieder einen Rundbrief in den Händen. Ich freue mich, daß auch diesmal zwei Mitglieder unserer Gesellschaft Beiträge verfasst haben, die den wesentlichen Teil dieses Rundbriefes ausmachen. Darüber hinaus finden Sie erneut Original-Rezensionen einiger Aufführungen durch Mitglieder unserer Gesellschaft sowie weitere Informationen, die hoffentlich Ihr Interesse finden. Das wichtigste Ereignis 2009 ist sicherlich das Mitgliedertreffen in Leipzig und die aus diesem Anlass stattfindende Fachtagung der Musikwissenschaftlichen Abteilung der Hochschule für Musik Felix Mendelssohn Bartholdy. Wir danken Herrn Prof. Dr. Schipperges sehr herzlich für die inhaltliche Planung und Organisation dieser Tagung. Ich wünsche allen einen schönen Frühling und freue mich, Sie bei dem Treffen in Leip- zig persönlich begrüßen zu können. Mit herzlichen Grüßen im Namen des ganzen Vorstands Ihre Irmlind Capelle Detmold, Ende Februar 2009 Impressum: Herausgeber: Albert-Lortzing-Gesellschaft e. V. c/o Prof. Dr. Bodo Gotzkowsky, Leipziger Straße 96, D – 36037 Fulda, Tel. 0661 604104 e-Mail: [email protected] Redaktion: Dr. Irmlind Capelle (V.i.S.d.P.) (Namentlich gezeichnete Beiträge müssen nicht unbe- dingt der Meinung des Herausgebers entsprechen.) © Lortzing-Gesellschaft e. V., 2009 Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 Rosina Regina Lortzing geb. Ahles Die Suche nach ihrem Grab Ein Bericht von Petra Golbs Regina Rosina (geb. -
573824 Itunes Lortzing
LORTZING Opera Overtures Der Waffenschmied Undine Der Wildschütz Hans Sachs Malmö Opera Orchestra Jun Märkl Albert Lortzing (1801–1851) though, sketched out a plan for an opera on the subject as wrong Peter. Ivanov hands it to the Tsar, thereby obtaining early as 1845, and he was certainly aware of Lortzing’s the latter’s blessing for his union with Marie. Van Bett was Opera Overtures work. Set in 1517, when Sachs would have been 23 and a yet another of Lortzing’s richly comic bass creations, and Gustav Albert Lortzing was a multifaceted man of the staged work, first produced the evening before his death. young cobbler, Lortzing’s opera centres on Sachs’s Lortzing himself created the tenor role of Peter Ivanov. theatre – actor, singer, librettist, composer and conductor. The relatively brief and sprightly overture sets the scene courtship of his first wife, Kunigunde, daughter of goldsmith Andreas Hofer is, like Der Weihnachtsabend , a one-act Though international currency of his operas has been for a behind-the-scenes one-act piece in the tradition of Steffen (the counterpart of Wagner’s Pogner). Steffen has piece composed in 1832. It features real and imaginary limited, on German stages he was for some 150 years the Cimarosa’s Il maestro di capella , Mozart’s Der offered Kunigunde’s hand as the prize in a singing contest, episodes of the life of the innkeeper and drover who in 1809 most performed composer after Mozart and Verdi. While Schauspieldirektor and similar works. In the castle of a but has arranged that the winner should be Eoban Hesse, led the Tyrolean rebellion against occupation by Bavarian the pace of productions there has slackened over the past Count (another of those comic bass roles), the household an alderman from Augsburg. -
The Art of Music :A Comprehensive Ilbrar
1wmm H?mi BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND THE GIFT or Hetirg W, Sage 1891 A36:66^a, ' ?>/m7^7 9306 Cornell University Library ML 100.M39 V.9 The art of music :a comprehensive ilbrar 3 1924 022 385 342 Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022385342 THE ART OF MUSIC The Art of Music A Comprehensive Library of Information for Music Lovers and Musicians Editor-in-Chief DANIEL GREGORY MASON Columbia UniveTsity Associate Editors EDWARD B. HILL LELAND HALL Harvard University Past Professor, Univ. of Wisconsin Managing Editor CESAR SAERCHINGER Modem Music Society of New Yoric In Fourteen Volumes Profusely Illustrated NEW YORK THE NATIONAL SOCIETY OF MUSIC Lillian Nordica as Briinnhilde After a pholo from life THE ART OF MUSIC: VOLUME NINE The Opera Department Editor: CESAR SAERCHINGER Secretary Modern Music Society of New York Author, 'The Opera Since Wagner,' etc. Introduction by ALFRED HERTZ Conductor San Francisco Symphony Orchestra Formerly Conductor Metropolitan Opera House, New York NEW YORK THE NASTIONAL SOCIETY OF MUSIC i\.3(ft(fliji Copyright, 1918. by THE NATIONAL SOCIETY OF MUSIC, Inc. [All Bights Reserved] THE OPERA INTRODUCTION The opera is a problem—a problem to the composer • and to the audience. The composer's problem has been in the course of solution for over three centuries and the problem of the audience is fresh with every per- formance. -
Dezember 2004 Albert-Lortzing-Gesellschaft E
Rundbrief Nr. 2 Albert-Lortzing-Gesellschaft e. V. Dezember 2004 Albert-Lortzing-Gesellschaft e. V. gegründet 2001 Albert Lortzing Rolands Knappen oder Das ersehnte Glück (1849) Rundbrief Nr. 2 Albert-Lortzing-Gesellschaft e. V. Dezember 2004 Rundbrief Nr. 2 Albert-Lortzing-Gesellschaft e. V. Dezember 2004 — 2 Liebe Mitglieder! Leider ist jetzt doch fast ein Jahr vergangen, bis Sie einen zweiten Rund- brief in den Händen halten. Dabei waren die Reaktionen auf den ersten durchaus positiv und ermunternd. Doch hatte mich im Herbst die Redaktion der ersten Buch-Publikation (s. S. 15) so fest im Griff, daß ich beim besten Willen zu nichts anderem gekommen bin. Dem Wunsch, den Rundbrief zu einem Forum der Mitglieder zu machen, konn- ten wir bei Nr. 2 bereits etwas näher kommen. Wir bitten auch weiterhin alle Mitglieder, uns Berichte von Aufführungen etc. zu schicken. Vielleicht ist auch jemand interessiert, CD-Rezensionen zu schreiben? Wir wünschen allen Mitgliedern eine schöne Vorweihnachtszeit und alles Gute zum neuen Jahr, in dem wir uns hoffentlich zahlreich wiedersehen werden. Detmold, im Dezember 2004 Im Auftrag des Vorstands: Irmlind Capelle Impressum: Herausgeber: Albert-Lortzing-Gesellschaft e. V. c/o Prof. Dr. Bodo Gotzkowsky, Leipziger Straße 96, D – 36037 Fulda Tel. 0661 604104 e-Mail: [email protected] Redaktion: Dr. Irmlind Capelle (V.i.S.d.P.) (Namentlich gezeichnete Beiträge müssen nicht unbedingt der Meinung des Herausgebers entsprechen.) © Lortzing-Gesellschaft e. V., 2004 Rundbrief Nr. 2 Albert-Lortzing-Gesellschaft e. V. Dezember 2004 Rundbrief Nr. 2 Albert-Lortzing-Gesellschaft e. V. Dezember 2004 — 2 Rolands Knappen oder: Das ersehnte Glück Komisch-romantische Zauberoper in drei Akten, nach Musäus‘ gleichnami- gem Märchen frei bearbeitet von G. -
1. Early Years: Maria Before La Callas 2. Metamorphosis
! 1. EARLY YEARS: MARIA BEFORE LA CALLAS Maria Callas was born in New York on 2nd December 1923, the daughter of Greek parents. Her name at birth was Maria Kalogeropoulou. When she was 13 years old, her parents separated. Her mother, who was ambitious for her daughter’s musical talent, took Maria and her elder sister to live in Athens. There Maria made her operatic debut at the age of just 15 and studied with Elvira de Hidalgo, a Spanish soprano who had sung with Enrico Caruso. Maria, an intensely dedicated student, began to develop her extraordinary potential. During the War years in Athens the young soprano sang such demanding operatic roles as Tosca and Leonore in Beethoven’s Fidelio. In 1945, Maria returned to the USA. She was chosen to sing Turandot for the inauguration of a prestigious new opera company in Chicago, but it went bankrupt before the opening night. Yet fate turned out to be on Maria’s side: she had been spotted by the veteran Italian tenor, Giovanni Zenatello, a talent scout for the opera festival at the Verona Arena. Callas made her Italian debut there in 1947, starring in La Gioconda by Ponchielli. Her conductor, Tullio Serafin, was to become a decisive force in her career. 2. METAMORPHOSIS After Callas’ debut at the Verona Arena, she settled in Italy and married a wealthy businessman, Giovanni Battista Meneghini. Her influential conductor from Verona, Tullio Serafin, became her musical mentor. She began to make her name in grand roles such as Turandot, Aida, Norma – and even Wagner’s Isolde and Brünnhilde – but new doors opened for her in 1949 when, at La Fenice opera house in Venice, she replaced a famous soprano in the delicate, florid role of Elvira in Bellini’s I puritani. -
Uniting Commedia Dell'arte Traditions with the Spieltenor Repertoire
UNITING COMMEDIA DELL’ARTE TRADITIONS WITH THE SPIELTENOR REPERTOIRE Corey Trahan, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2012 APPROVED: Stephen Austin, Major Professor Paula Homer, Committee Member Lynn Eustis, Committee Member and Director of Graduate Studies in the College of Music James Scott, Dean of the School of Music James R. Meernik, Acting Dean of the Toulouse Graduate School Trahan, Corey, Uniting Commedia dell’Arte Traditions with the Spieltenor repertoire. Doctor of Musical Arts (Performance), May 2012, 85 pp., 6 tables, 35 illustrations, references, 84 titles. Sixteenth century commedia dell’arte actors relied on gaudy costumes, physical humor and improvisation to entertain audiences. The spieltenor in the modern operatic repertoire has a similar comedic role. Would today’s spieltenor benefit from consulting the commedia dell’arte’s traditions? To answer this question, I examine the commedia dell’arte’s history, stock characters and performance traditions of early troupes. The spieltenor is discussed in terms of vocal pedagogy and the fach system. I reference critical studies of the commedia dell’arte, sources on improvisatory acting, articles on theatrical masks and costuming, the commedia dell’arte as depicted by visual artists, commedia dell’arte techniques of movement, stances and postures. In addition, I cite vocal pedagogy articles, operatic repertoire and sources on the fach system. My findings suggest that a valid relationship exists between the commedia dell’arte stock characters and the spieltenor roles in the operatic repertoire. I present five case studies, pairing five stock characters with five spieltenor roles. -
Fondazione ARENA Di VERONA
Fondazione ARENA di VERONA Bilancio di Esercizio 2015 1 Fondazione ARENA di VERONA Via Roma, 7/D – 37121 VERONA Numero R.E.A. 301845 Codice Fiscale e Registro Imprese di Verona n. 00231130238 Registro delle Persone Giuridiche n. 5P del 18/04/2002 2 3 4 Fondazione ARENA di VERONA RELAZIONE SULLA GESTIONE 5 RELAZIONE SULLA GESTIONE Il bilancio consuntivo 2015 chiude con una perdita pari a euro 1.390.125. Nonostante il risultato negativo, la situazione di Fondazione Arena di Verona appare in netto miglioramento rispetto al precedente esercizio, come meglio successivamente evidenziato nella sezione della presente relazione in c ui si illustrano i principali dati economici. Il margine operativo lordo risulta infatti nettamente positivo per Euro 3.285 migliaia rispetto all’equivalente dato 2014, pari a – Euro 2.663 migliaia, così come il margine operativo risulta solo leggermente n egativo ( - Euro 60 migliaia). Perdura, come nei due esercizi precedenti, la sofferenza legata alla flessione costante dei contributi pubblici. A fronte del venir meno degli apporti da parte dei tradizionali Enti che a veva no in passato sostenuto Fondazione Arena di Verona , tuttavia, altri Enti, sia pubblici che privati e operanti nel territorio veronese, hanno deliberato importanti contributi a favore della Fondazione, incentivati, questi ultimi, dalla rilevanza dei benefici fiscali previsti dal cosiddetto “Art bonus” del quale hanno potuto usufruire. Le vendite di biglietteria, dopo un notevole calo registrato nel 2014, nel 2015 sono rimaste sostanzialmente invariate. Purtroppo permane, dall’anno 2008, un contesto socio - economico sempre caratterizzato dalla crisi finanziaria internazionale e in particolare, da quella italiana che penalizza i consumi in tutti i settori, senza ovviamente escludere l’assistere ad uno spettacolo dal vivo, la cui fruizione viene considerata voluttuaria rispetto all’acquisto di be ni di primaria necessità. -
The Physician As Opera Character
The physician as opera character - a reflection of medical history and public perception Stefan N. Willich Institute for Social Medicine, Epidemiology and Health Economics Charité University Medical Center Humboldt University of Berlin, Germany Address for correspondence: Prof. Stefan N. Willich Institute for Social Medicine, Epidemiology and Health Economics Charité University Medical Center 10098 Berlin, Germany Tel: 030-450 529002, Fax: 030-450 529902 E-mail: [email protected] The Physician as Opera Character - A Reflection of Medical History and Public Perception Abstract/ Summary Physician characters appear in about 10% of the opera repertoire. The doctor’s importance, basis of knowledge, social status, and role in the opera change in the historic development of opera. Whereas in the 18th century the doctor does not have a healing function but plays a buffoon in a supportive role, in the 19th century he appears both as charlatan and already as a scientifically trained physician. In the 20th century, the doctor plays a major role in a socially superior position and, in addition to being a clinician, he is often depicted as a researcher. The dynamics of the physician’s role in opera history, on the one hand, reflects the development of medicine and, on the other hand, illustrates the development of the social position of doctors and the public attitude towards the medical profession over the last centuries. Key Words Physician, doctor, charlatan, opera, libretto, music 1 Introduction and methodological considerations Music is arguably the most abstract form of art. It was long considered one of the seven ‘artes liberales’ at European universities (along with grammar, dialectic, rhetoric, arithmetic, geometry and astronomy) that were a prerequisite for advanced graduate studies (1). -
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SICUREZZA & AMBIENTE Engineering SRL & S AE ! ) Elenco)principali)attività)svolte)in)qualità)di)coordinatori)per)la)sicurezza)) in)cantieri)del)pubblico)spettacolo)e)dell'intrattenimento)in)genere) anno 2007 RENATO)ZERO) Milano)Stadio)Meazza) ZUCCHERO) Milano)Arena)Civica) Biagio)ANTONACCI) Milano)Stadio)Meazza) Giovanni)ALLEVI) Milano)P.zza)DuoMo) CocaColaLive@MTV) RiMini)Parco)Marecchia) CocaColaLive@MTV) Bari)ColMata)di)Marisabella) MTV)Day)2007) Milano)P.zza)DuoMo) MTV)Day)2007) Roma)P.zza)S.Giovanni)in)Laterano) THE)POLICE) Torino)5)Stadio)Delle)Alpi) anno 2008 VASCO)ROSSI) Genova)area)Mare)porto)GE NEGRAMARO) Milano)Stadio)Meazza VASCO)ROSSI) Milano)Stadio)Meazza ZUCCHERO) Milano)Stadio)Meazza RADIOHEAD) Milano)Arena)Civica Bruce)SPRINGSTEEN) Milano)Stadio)Meazza LIGABUE) Milano)Stadio)Meazza Scuderia)FERRARI) Monza)AutodroMo INDEPEENDENCE)Day) Milano)Arena)Civica Vasco)ROSSI) Torino)Stadio)Delle)Alpi Ornella)VANONI) Milano)P.zza)DuoMo anno 2009 WrooM)2009) Madonna)di)CaMpiglio evento)Cioccolatò) Torino)P.zza)Vittorio)Emanuele evento)RAY)BAN)ReMaster) Milano)Padiglione)Ansaldo TIZIANO)FERRO) Milano)MediolanuM)ForuM Convention)Banco)Desio) Milano)MediolanuM)ForuM MTV)Mobile)Tour) Napoli)Piazza)del)Plebiscito DEPECHE)MODE) Milano)Stadio)Meazza PAUSINI)&)Co.)x)l'Abruzzo) Milano)Stadio)Meazza U2) Milano)Stadio)Meazza MADONNA) Milano)Stadio)Meazza MTV)Mobile)Tour) BARI))Largo)Santa)Chiara SICUREZZA)&)AMBIENTE)Engineering)SRL)5))©)2011)Copyright)5)tutti)i)diritti)riservati)5)è)vietata)la)riproduzione)totale)o)parziale)senza)specifica)autorizzazione)scritta) -
A Special Catalogue of the Musical Material in the University of Illinois Library
A Special Catalogue of tfec !v , ;\h icn^ h the University of Illinois Ubrarj mic 1 !: K/V ut>ji\'.<ji«- J J JU .NO EE J.,.UMI AJtV THE UNIVERSITY OF ILLINOIS LIBRARY A SPECIAL CATALOGUE OF THE MUSICAL MATERIAL IN THE UNIVERSITY OF ILLINOIS LIBRARY BY DELLA GRACE CORDELL THESIS FOR THE DEGREE OF BACHELOR OF MUSIC IN MUSIC SCHOOL OF MUSIC UNIVERSITY OF ILLINOIS 1918 Itns UNIVERSITY OF ILLINOIS June 13 19^8 THIS IS TO CERTIFY THAT THE THESIS PREPARED UNDER MY SUPERVISION BY Delia Grace Qqx.gL.61L. entitled A Special Catalogue of the Musical .Material in the University of Illinois Library. IS APPROVED BY ME AS FULFILLING THIS PART OF THE REQUIREMENTS FOR THE DEGREE of Bachelor of Music HEAD OF DEPARTMENT OF Director, School of Music i. Table of Contents. Theoretical music. Introduction. I. History 1. II. General theory 13. III. Theory of music education, and instruction 26. IV. Philosophy and esthetics 42. V. Criticism and essays 43. VI. Periodicals 45. Practical music. I. Voice 47. II. Sacred 72. III. Piano ?6. IV. Violin S3. V. Organ 88. VI. Ensemble 108. VII. Orchestral 127. Index 140. Digitized by the Internet Archive in 2013 http://archive.org/details/specialcatalogueOOuniv S Introduction. In making this special catalogue of the music material in the University of Illinois Library, the object in view was a classifi- cation of the music and musical books from the standpoint of the music student in order that the material be made more accessible to those wishing to use it. The mu3ic material is arranged on the shelves according to the library Dewey Decimal classification system by means of which all books are classified under ten main divisions. -
Section 2 Stage Works Operas Ballets Teil 2 Bühnenwerke
SECTION 2 STAGE WORKS OPERAS BALLETS TEIL 2 BÜHNENWERKE BALLETTE 267 268 Bergh d’Albert, Eugen (1864–1932) Amram, David (b. 1930) Mister Wu The Final Ingredient Oper in drei Akten. Text von M. Karlev nach dem gleichnamigen Drama Opera in One Act, adapted from the play by Reginald Rose. Libretto by von Harry M. Vernon und Harald Owen. (Deutsch) Arnold Weinstein. (English) Opera in Three Acts. Text by M. Karlev based on the play of the same 12 Solo Voices—SATB Chorus—2.2.2.2—4.2.3.0—Timp—2Perc—Str / name by Harry M. Vernon and Harald Owen. (German) 57' Voices—3.3(III=Ca).2(II=ClEb).B-cl(Cl).3—4.3.3.1—Timp—Perc— C F Peters Corporation Hp/Cel—Str—Off-stage: 1.0.Ca.0.1—0.0.0.0—Perc(Tamb)—2Gtr—Vc / 150' Twelfth Night Heinrichshofen Opera. Text adapted from Shakespeare’s play by Joseph Papp. (English) _________________________________________________________ 13 Solo Voices—SATB Chorus—1.1.1.1—2.1.1.0—Timp—2Perc—Str C F Peters Corporation [Vocal Score/Klavierauszug EP 6691] Alberga, Eleanor (b. 1949) _________________________________________________________ Roald Dahl’s Snow White and the Seven Dwarfs Text by Roald Dahl (English) Becker, John (1886–1961) Narrator(s)—2(II=Picc).2.2(II=B-cl).1.Cbsn—4.2.2.B-tbn.1—5Perc— A Marriage with Space (Stagework No. 3) Hp—Pf—Str / 37' A Drama in colour, light and sound for solo and mass dramatisation, Peters Edition/Hinrichsen [Score/Partitur EP 7566] solo and dance group and orchestra. -
6-Day Verona, Garda Lake, the Dolomites & Venice Ferrari Tour
ITALIA IN FERRARI powered by 6-Day Verona, Garda Lake, the Dolomites & Venice Ferrari Tour A New Travel Concept Red Travel offers a new travel concept; an innovative approach to the self-drive tour offering absolute luxury combined with the ultimate Gran Turismo experience. Red Travel Tours are unique journeys, individually created for you to fully experience the Italian Way of Life. Each journey is a sublime blend of art, fashion, architecture, gastronomy and spectacular scenery. Our guests will feel part of a real Ferrari team, enjoying the opportunity to personally drive the very latest models. Travelling for kilometres, accelerating through the steep, winding roads of Veneto and Trentino-Alto Adige, passing through the world-famous Dolomites Mountains, putting their driving skills to the ultimate test. Enjoy the atmosphere of Veneto, one of the most emerging regions in Italy, yet world famous for its towns Verona and Venice, its Palladian Villas, the Valdobbiadena Prosecco DOCG sparkling wine. Drive through the passes of the Dolomites Mountains and enjoy amazing views of the Alps. Behind the scenes, Red Travel staff take complete care of the Ferraris. Every morning, our guests will find their car at the entrance of the hotel, clean and polished, refuelled and fully checked, ready to begin another day of exciting driving through further dazzling landscapes. 6-Day Verona, Garda Lake, the Dolomites & Venice Ferrari Tour 6-Day Verona, Garda Lake, the Dolomites & Venice Ferrari Tour DAY 1: WELCOME TO VERONA, THE ITALIAN CAPITAL OF FASHION AND SHOPPING Afternoon You will be met at Venice Marco Polo International Airport and transferred by Mercedes E-Class· to the splendid Villa del Quar in Verona.