DOCSLIB.ORG

Proposed Second Way Cleared High School Vote on Projects

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Proposed Second Way Cleared High School Vote on Projects a $55$0&5'2&2& sa $ 2&S$ 2asaS2£ a £ & & 51 2 a &, All the News of All the Pointes Every Thursday Morning rosse Complete Ne'lvs Coverage of All thf~ Pointes Home of the News VOL 25-NO~.-4;;8;--------------:E;:ih:::tee::rep:::;~~sr::s-;Osff;;:~=cC°e=-nd-;-at-;CD;;:lae::StrS~oMi:;t.a:::tM1t::e=-rCb-=a.i~------G=-=R:-::O=-=S=S=-E-:P~O=-:-:IN--:T=-=-E-,-M-I--C-...H-IG-A-N-,-N-0-V-E-M-B-E-R-2-6-.-.-19-6-4------$5-.-00-P-er-y-e-ar-------------------- .. lOc Per Copy 36 PagGli-Two Sections-Section --------~----------------------------------._------------------------0 HEADLINES Plant Tree to Honor President Kennedy Proposed Second Way Cleared of the WEEK To Proceed As Compiled by the High School Vote On Projects Grosse Pointe News Set for March 22 R~;~e;~r~:dinf~:tu~~ Thursday, November 19 for Permission to Enlarge INFORMED SOURCES in ~l"scow said yesterday that ap- Referendum Tentatively Scheduled for that Date, I Beach Park parently the new Soviet leaders Superintendent Wilson Tells PTA Council; are planning more changes in Reviews Steps Taken The Park will get its the Communist party and eco- Iong-hoped-for bottom filled nomic organizations. Last J.~on- The date for the referendum on the proposed sec- land at the foot of Alter day it was announced that the ond high school has been tentatively scheduled for road, and Detroit will get division of the party into two March 22, Dr. Charles H. Wilson, Superintendent of the e a s e men t it seeks organizations, agriculture and Schools, said at Monday evening's meeting of the P~TA through the Park for its industry, wou'.d be abolished. The next change. it is thought. Council, held at the Central Library. multi-million-dollar Mac k will he the abolition of regional "However." he added, "this. Avenue Relief Sewer. councils established in 1957 in is only the third or fourth time P T At is regular meeting on Mon- an attempt to improve the effi- the date has been set ill the last arents urn day. November 23, the Park ciency of industrial production. six or eight months" Dr. Wil- council, on recommendation of City Attorney Richard Rohr, * >I< * Ison t 0 I d the representative Deaf Ear to J. EDGAR HOOVER, head of ~group of P-TA officials that gave its approval to a single the F.B.I., said in a three hour conflicts with state elections S f Pl resolution to be prepared by the interview yesterday, that the ha~e arisen to postpone Grosse a ety ea city attorney, whereby the coun- Warren commission report on Pomte property owners' vote cil gives its consent to the the assassination of President' '.:~ on the IOC.1I issue. agreements. Kennedy was unfair in its cri~i-! :l The Board of Education had School Guards Still Having In the agreement approved cism of the Federal Bureau of i , .• ~I. wished to hold the election in Much Trouble In Woods by Detroit, the Park will be Investigation's neglect in not J September or October, but the given a permit for the occu- notifying the Secret Servic~ that I "') date of the primaries in Sep- Because More Kids pancy of and Detroit's conse:!t Lee Harvey Oswald was in Dal- Won't Walk to the Park's purchase of a J..',i tember eliminated this possi- las. He accused the commission's bility. The national election of 66-by-760-foot strip of bottom panel of ''taking out of context November 3 ruled out dates in Woods citizens who drive land jutting out into the De. the testimony of certain wit- November or December. their children to school, troit River. The strip is actual- nesses." He aIso charged that It was determined that March apparently seem to pay lit- ly an extension of Alter road, the Rev. Dr. Martin Luther On Friday, November 20, pupils at Maire Elemen. C. HOWE, JULIET MASER and JAMES CIOE. The 1 was available, when Governor tle heed to a plea by Police to which title is claimed by the King Jr. was "the most notori. tary St:>hoolpaused to honor the memory of the late children, sixth graders, were the principal speakers at Romney called a state special Lt. Roland Symons, issued State, under the Michigan Sub. ous liar in the country" for say- President, John F. Kennedy. Following brief ceremo- the ceremonies preceding the planting. Dr. Howe con. primary election for February merged Land Act. ing that F.B.I. agents in Georgia 15 and a special general elec- last September, to permit Detroit Consent Needed had failed to act on Negroes' nies in the gymnasium, the student body watched as a ceived the idea of the "living memorial" to President tion April 15. Under the gov- their children to walk to In order to acquire the land civil rights complaints because memorial tree was planted on the school grounds. Kennedy. Other local schools have participated in vari. ernmental organization of the school if they are within from the State Comervation De- the agents were Southenlers. Shown above (left ~o right) are PENNY MILLER, ous programs honoring Mr. Kennedy in recent days. Grosse Pointes, local school easy walking distance. partment, a consent to purchase * * * JOHN HAMMEL, principal of Maire, DR. ALBERT elections may not be held in Symons, Woods tr:rrfic safety must be received from the MEANTIME IN McCOMB, conjunction with those at a officer, disclosed on Monday, neighboring municipality, in this Miss., racial customs were bra- Santa Claus State level. November 23, that school cross. case, Detroit. ken yesterGay when 20 N('groes City Treasurel- Reveals Chorus Set Review Steps Taken ing guards are still having prob- In return for Detroit's con. patronized without incident In the body of his remarks, lerns with driving parents who sent to 'allow the Park to buy previously all-white restaurants, D F.da "The Latest on the Second High insist on blocking cross walks the strip, the Park will gra.nt motels and theaters. It was the ue rl Y Changes in Procedures For Concert School Situ3ltion," Dr. Wilson and causing congestion in the \Detroit a perpetual right-of-way first test in the area of the reviewed the steps taken to school areas. for the purpose of constructing, public aceommodRtions proposi- \ In V;Zlage date by the officers and trustees The lieutenant disclosed that I operating and m~intaining the tion in the Civil Rights Act of ., Taxpayers Fa.ce This Year !his Sunday of the Board of Education ~D.d his plea to parents to permit j Mack Avenue ~elIef Sewer. 1964. Charles Evers, state field I __ the members of the schools' their children the "luxury" of The sewer WIll begm at Mac.k secretary of the National Asso. _ County and School Levy Due December I Can Be Paid 12th Ann u a I Christmas staff. walking to classes, in the in- a!1d Bedford, .on the DetrOlt ciation for the Advancement of Populor Gentleman Usmg Without Penalty Through February 15; These include countless meet- terest of safet.y, has brought slde, !o BuckIDgha~ on the Event To Be Held At some results, but not what had Park SId:, down Buckmgham .to Colored People, led the Negroes Helicopter To Be On Next Tax Covers 15 Months ings with teacher!:. in the vari- i~to the various business estab- Hand f~r Holiday Parcells Junior High ous subject. matter areas, visi- been hoped for. Char1~:,oIx, east on CharleVOIX, lIshments. S Grosse Pointe City taxpayers will receive on Tues- At 3:30 O'clock tations to buildings recently- Some parents, he said, have and (Ilagonal1y t h r 0 ugh. the * >Ie ... eason constructed and those in vari- allowed their offspring to walk Park t? the s~w~r water-samtary day, December 1, and right on schedule, their bills for to school but there are still a plant 10 ~amstlque str~et. Friday, November 20 Wayne County and the Grosse Pointe school district The Grosse Pointe Com- ous stages of construction, and , , The entIre sewer project WIll SECRETARY OF DEFENSE A d' t t . t munity Chorus will present the division of representatives nu~ber of parents who appear cost Detroit approximately four Robert S. McNamara announced ccor mg 0 repor s JUS taxes. of the secondary departments to Ig~ore the fact that t?ey ~re million dollars. By permitting yesterday that the Administra- received from the North its 12th Annual Christmas Robert Bendzinski, City trea- (.: Concert December 6 at 3:30 into two groups. One will assist creatmg. a ~dous SItuatIOn IDetroit to cut through the tion will close a total of 95 basr,s Pole, Santa Claus is on his surer told the News on Tues- City taxes April 1 of next year. in the planning stages of the ?y blocklllg sIdew!llks and callS- Park, it was said, approximate. here and abroad in an effort to way to Grosse Pointe. Show- day, 'however tha.t there is a The ~mendment pr?vided. f~r p.m. in Parcells Junior new high school, while the mg these co~gestlons. ly 700 feet of construction will effect military economy. The ing that he has kept up ehange this year in the due date changmg Grosse POIllte CIty s High School, Mack at Ver. other will study the existing Symolls saId that t~e crossmg be eliminated, at a savings to annual savings are predicted to .
Load more

Recommended publications
  • Verdi's Rigoletto
    Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered.
    [Show full text]
  • OAMENI CU CARE NE MÂNDRIM EMOŢII AM AVUT ŞI VOI AVEA... Mărturiseşte Baritonul LUCIAN PETREAN
    OAMENI CU CARE NE MÂNDRIM EMOŢII AM AVUT ŞI VOI AVEA... Mărturiseşte baritonul LUCIAN PETREAN Michel Sturza – Când aţi fost prima dată la o reprezentaţie de operă – ce v-a atras: cântul soliştilor, jocul de scenă sau par- tea orchestrală? Lucian Petrean – Prin anii 1992-1993 eram numit cântăreţ al catedralei ortodoxe din Cluj-Napoca care se află vizavi de Opera Naţională şi unde cântau în cor numeroşi solişti de operă. Unul dintre ei, basul Ion Iercoşan – aduc un omagiu acestui mare Om şi Artist care a trecut în lumea drepţilor, Dumnezeu să îl ierte – mi-a remarcat vocea şi într-o zi m-a invitat la dânsul acasă pentru o lecţie de canto. A însemnat impulsul care m-a determinat să continui în această direcţie şi să încep să frecventez spectacole de operă; prima operă vizionată a fost „La traviata” iar venind de la Bistriţa, oraş unde, din păcate nu există teatru de operă, a reprezentat chiar primul meu contact cu acest gen de artă impresionant – cor, solişti, balet, orchestră, scenă, lumini. Am fost foarte emoţionat şi în acel moment am gândit când voi debuta şi eu pe scena operei, aş dori să fie cu rolul lui Germont. M-a atras atât complexitatea acestui gen artistic cât şi performanţa cântăreţilor. M.S. – Născut pe superbele meleaguri ale Ardealului, la Bistriţa, v-aţi îndreptat mai întâi spre cariera teologică – de ce? Studiile şi facultăţile absolvite? L.P. – În clasa a şaptea, atunci când tatăl meu m-a întrebat ce anume doresc să devin, am răspuns că vreau să fiu cântăreţ, ceea ce el la acea vreme nu considera a fi o meserie.
    [Show full text]
  • La Traviata Stagione D’Opera 2013 / 2014 Giuseppe Verdi La Traviata
    G L a i 1 u t r s a e v p i p a e t a V e r d i S t a g i o n e d ’ O p e r a LaGiutsrepapevVeiradi ta 2 0 1 3 / 2 0 1 4 Stagione d’Opera 2013 / 2014 La traviata Melodramma in tre atti Libretto di Francesco Maria Piave Musica di Giuseppe Verdi Nuova produzione Teatro alla Scala EDIZIONI DEL TEATRO ALLA SCALA TEATRO ALLA SCALA PRIMA RAPPRESENTAZIONE Sabato 7 dicembre 2013, ore 18 REPLICHE dicembre Giovedì 12 Ore 20 - Turno D Domenica 15 Ore 20 - Turno B Mercoledì 18 Ore 20 - Turno A Domenica 22 Ore 15 - Turno C Sabato 28 Ore 20 - Turno E Martedì 31 Ore 18 - Fuori abbonamento gennaio Venerdì 3 Ore 20 - Turno N Anteprima dedicata ai Giovani LaScalaUNDER30 Mercoledì 4 dicembre 2013, ore 18 In copertina: La traviata di Giuseppe Verdi. Regia e scene di Dmitri Tcherniakov, costumi di Yelena Zaytseva, luci di Gleb Filshtinsky. Allestimento realizzato per l'inaugurazione della stagione scaligera 2013-14, rendering di una delle scene ideate da Dmitri Tcherniakov. SOMMARIO 5 La traviata. Il libretto 34 Il soggetto Emilio Sala Argument – Synopsis – Die Handlung ––࠶ࡽࡍࡌ Сюжет 46 L’opera in breve Emilio Sala 48 ...la musica Claudio Toscani 53 Splendeurs et misères des courtisanes in terra italina Antonio Rostagno 71 Fisiologia della Traviata Emilio Sala 93 Eros e charitas nella Traviata Paolo Gallarati 131 Un mondo a parte Benedetta Craveri 147 Nota sull’edizione della Traviata Daniele Gatti 149 “Di quell’amor...” (Note di regia) Dmitri Tcherniakov 154 La traviata alla Scala dal 1859 al 2008 Andrea Vitalini 203 Daniele Gatti 205 Dmitri Tcherniakov 206 Gleb Filshtinsky 207 Yelena Zaytseva 208 La traviata.
    [Show full text]
  • High-Fidelity-1982-0
    New Home Audio -Video Systems That Do It AM EMBER 19& $1.50 J ICD 06398 THE MAGAZINE OF AUDIO, VIDEC. CLASSICAL MUSIC, AND POPULAF MUST How to Put Pizzazz into Your Car Stereo System Special Pullout -900 New Records from A toZ! The Big Switch to Prerecorded CassettesDoom for LPs? 983 NEW PRODUCT ROUNDUP Hundreds of Exciting New Tape Decks, Speakers, Video Recorders and Cameras, Receivers, Turntables, and More! PLUS Lab Tests on 6 New Stereo Components First VCR from Sansui 08398 .11111IIMIsr-W-WCZNIPM...0 11=111.0=1.-611MC..1k_as. 4C_Isr SAA90High SUPER AVILYN CASSE i Position OITDK Hph Ellas XlissE0 SA -X90 HIGH RESOLUTION Laboratory Standard Cassette Mechanism movimmunnsiniagininniammosi Stevie's cassette is SA -X for all the keys he plays in. f nqvanw When it comes to music, in high bias record- Froespe...111K *Ns Nam levels without distor- Stevie Wonder and TDK ing with sound per- tion or saturation. are perfectionists. Stevie's formance which 00.111.0.1 Last, but not least, perfection lies in his talent. approaches that of TDK's Laboratory TDK's perfection is in its high-energy metal. Standard Mechanism technology. The kind of The exclusive TDK gives Stevie unsur- technology that makes our double -coating of Atpassed cassette re- newly reformulated SA -X Super Avilyn I Witt liability, for a lifetime. high bias cassette the particles 1-tipcmi=uni TDK SA-X-it's .. 2OR cassette that Stevie provides . the machine for Stevie depends on to cap- optimum perform- Wonder's machine. Shouldn't it ture every note and r ancefor each fre- be the machine for yours? nuance of every / quency range.
    [Show full text]
  • Studio-Sound-1976-06
    www.americanradiohistory.com Where Technology and Artistry meet With higher and more stringent technological requirements for audio applications, so the greater need for an exact understanding of systems operational facilities for engineers, producers, artists. Cadac have available a wide range of products to suit these needs from consoles, portable to large quadrophonic, automation, monitor systems, limiters compressors, equalisers and effects devices to total installations. The most versatile recording equipment in the world. Interested? For more information 'phone, write, telex. r a,w w a. e s tt rt u u g_ g- IC y t 'r e,_ tl a. _ L. t:. sì... t:% si. a,. a a.f .t" . Ñ. 41 Ut:.IL416tbA-y4a$Wll,-1Y,-i-+i.--.dL... - - Af The leaders in music recording consoles and techniques. Cadac (London) Ltd. 141, Lower Luton Road Harpenden Herts. AL5 5EL cuduc c^. Harpenden (STD 05827) 64351 Telex 826323 www.americanradiohistory.com Intioductïon to the inteinotionol issue or indeed to other Communist countries. Conversely Sweden and Japan, while subscribing to a similar fundamental economic system, still show huge contrasts with the American way of life. MICHAEL THORNE Incidentally, one thing which we ought to concede is the impossibility of doing justice to a single recording studio in three pages of article, let alone the whole music and recording activity of a country. You will all probably read about your own area first, but it's really the others that are for your benefit or whatever. Three pages isn't going to tell you anything you didn't already STUDIO SOUND'S main aim over the last two years or so has been know about the country you work in, nor is it going to provide to develop its international coverage.
    [Show full text]
  • The Pennsylvania State University Schreyer Honors College
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE SCHOOL OF MUSIC THE VOCAL TECHNIQUE OF THE VERDI BARITONE JOHN CURRAN CARPENTER SPRING 2014 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Music with honors in Music Reviewed and approved* by the following: Charles Youmans Associate Professor of Musicology Thesis Supervisor Mark Ballora Associate Professor of Music Technology Honors Adviser * Signatures are on file in the Schreyer Honors College. i ABSTRACT I wrote this thesis in an attempt to provide useful information about the vocal technique of great operatic singers, especially “Verdi baritones”—singers specializing in dramatic lead roles of this voice-type in Giuseppe Verdi’s operas. Through careful scrutiny of historical performances by great singers of the past century, I attempt to show that attentive listening can be a vitally important component of a singer’s technical development. This approach is especially valuable within the context of a mentor/apprentice relationship, a centuries-old pedagogical tradition in opera that relies heavily on figurative language to capture the relationship between physical sensation and quality of sound. Using insights gleaned from conversations with my own teacher, the heldentenor Graham Sanders, I analyze selected YouTube clips to demonstrate the relevance of sensitive listening for developing smoothness of tone, maximum resonance, legato, and other related issues. ii TABLE OF CONTENTS Acknowledgements .................................................................................................................
    [Show full text]
  • Adio, Nicolae Herlea! 14-15 Scopului Cu Virtuozitatea Şi a Idealului Cu Creativitatea
    Editorial identitate. Compozitorii nu Scop şi ideal mai ştiu să deosebească masca de chip. În cazul muzicii, masca e ceea ce se Liviu DĂNCEANU relevă, iar chipul ceea ce se revelă. Masca are întot- E bine în artă să nu confundăm deauna nevoie de idealurile cu scopurile. Scopul, în general, companie (acompaniază ţine de eficienţă; idealul de gratuitate. Dacă ceva sau pe cineva). Chipul primul reprezintă un ţel intermediar, al doilea slăveşte soliloqul, suferind este ţelul ultim. Ca să scurtez, scopul e mai cumplit când îşi pierde aproape de materie decât idealul, care este, singurătatea. Atunci nu mai în principal, o investiţie a spiritului. are viaţă interioară. Or, un De multe ori, noi compozitorii compozitor care nu e destul spunem: îmi doresc mult ca ultima mea de singur, care nu mai are lucrare să aibă succes. Este, într-adevăr, un viaţă interioară, care devine scop şi nu un ideal. Vicios ar fi să afirm că un tonomat public ori idealul meu este ca opusul pe care tocmai exclusiv o prezenţă civică, l-am isprăvit să repurteze succes. are toate şansele să-şi Asta pentru că succesul e un piardă chipul. Fie el angelic fenomen colateral, de loc obligatoriu, al sau demonic. La limită, cred reuşitei. El nu trebuie să fie un ideal (nici nu că putem chiar forţa o poate fi), ci, eventual, un derizoriu scop de moment. anume analogie, pe de o parte între scop şi Altceva e când îţi propui ca muzica ta să dobândească reprezentările demonice şi, pe de altă parte, acea sinceritate şi autenticitate capabile să o personalizeze la între ideal şi “practicile” angelice.
    [Show full text]
  • Uva-DARE (Digital Academic Repository)
    UvA-DARE (Digital Academic Repository) Opera and nineteenth-century nation-building : the (re)sounding voice of nationalism Lajosi, K.K. Publication date 2008 Link to publication Citation for published version (APA): Lajosi, K. K. (2008). Opera and nineteenth-century nation-building : the (re)sounding voice of nationalism. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:28 Sep 2021 Chapter Four Conceptualising National Music in Hungary and Romania Music in Discourse and Practice “Any aspect of reality that we wish to grasp has been formed in advance by language, which supplies the categories in which we perceive and interpret that reality.” (Carl Dahlhaus)130 “The history of a concept is not wholly and entirely that of progressive refinement, its continuously increasing rationality, its abstraction gradient, but that of its various fields of constitution and validity, that of its successive rules of use, that of the many theoretical contexts in which it developed and matured.” (Michel Foucault)131 I.
    [Show full text]
  • MARIANA NICOLESCO Membră De Onoare a Academiei Române Din 1993
    1 MARIANA NICOLESCO Membră de Onoare a Academiei Române din 1993 Aclamată ca Regina del Belcanto, Primadonna Assoluta, Diva Divina pe cele mai renumite scene şi în principalele săli de concert ale lumii, printre care Teatrul alla Scala din Milano, Metropolitan Opera din New York, Bayerische Staatsoper München, Teatrul La Fenice din Veneţia, Teatro Municipal din Rio de Janeiro ori Gran Teatre del Liceu din Barcelona, Opéra Comique și Théâtre des Champs-Élysées Paris, Deutsche Oper Berlin, Lyric Opera Chicago, Semperoper Dresda, San Francisco Opera, Staatsoper Hamburg, Opéra de Monte Carlo, Opéra du Rhin Strasbourg, Théâtre de la Monnaie din Bruxelles, Kennedy Center Washington, Teatro Regio di Parma, Teatro Real Madrid, O’Keefe Center Toronto, Houston Grand Opera, Pretoria Opera Theatre, sau la Bunka Kaikan, Suntory Hall, Orchard Hall din Tokyo, la Nagoya, Osaka, la Festivalul de la Salzburg, Maggio Musicale Fiorentino sau Rossini Opera Festival de la Pesaro, Festivalul Casals din Puerto Rico, la Festivalul Valle d’Itria de la Martina Franca, precum și la Carnegie Hall din New York, la Royal Festival Hall de la Londra, Musikverein de la Viena, Salle Pleyel la Paris, Concertgebouw la Amsterdam, Marea Sală a Conservatorului din Moscova, Accademia di Santa Cecilia de la Roma, Severance Symphony Hall din Cleveland, Boston Symphony Hall, soprana Mariana Nicolesco a sedus publicul cu vocea sa, cu măiestria sa în arta cântului precum și cu personalitatea ei scenică, abordând cu brio un amplu repertoriu mergând de la baroc la creaţia contemporană. A interpretat în premieră mondială Seven Gates of Jerusalem de Krzysztof Penderecki la celebrarea a 3000 de ani ai Oraşului Sfânt.
    [Show full text]
  • CAPITOLUL III Din Activitatea Operei Române Din Bucureşti
    CAPITOLUL III Din activitatea Operei Române din Bucureşti SCENA LIRICA Centenar La sfârşitul anului 1985 am luat parte la un eveniment cu multiple semnificaţii în viaţa culturală a patriei noastre care a născut reverberaţii dintre cel mai înălţătoare în inimile iubitorilor de frumos ce se numără cu milioanele: Centenarul Operei Române. O sumară privire retrospectivă prilejuieşte reflecţii surprinzătoare căci la noi spectacolul liric are o tradiţie mult mai îndelungată, el - ca reprezentaţie sincretică elevată şi complexă - îşi făcuse apariţia încă din ultimele trei decenii ale secolului al XVIII-lea spre a înfrumuseţa viaţa zbuciumată a românului. În drumul lor spre alte meleaguri, diverse trupe de operă străine - mai ales italiene, franceze şi germane - poposeau pe meleagurile româneşti, susţinând reprezentaţii cu vodeviluri, comedii cu muzică şi opere. Alte trupe se constituiau special pentru provinciile româneşti, pentru oamenii acestui pământ care întotdeauna s-au înfrăţit cu frumosul, cu muzica, identificându-se şi cu actul de creaţie, dar şi cu cel de contemplaţie. Asemenea trupe au adus la noi valorile clasicilor, în frunte cu Mozart, ale cărui lucrări Răpirea din serai şi Flautul fermecat, reprezentate la scurt timp după premiera lor mondială, s-au bucurat de un nemăsurat succes. Un eveniment aparte a fost consemnat de trupa sibianului de origine germană Anton Hubacek, autorul operei Încartiruirea, prima încercare autohtonă în domeniul creaţiei de operă, a cărei premieră a avut loc la 13 noiembrie 1796. De prin 1808 trupa braşoveanului Gerger, de origine germană, a prezentat spectacole prin diferite oraşe transilvănene, printre acestea figurând opere şi comedii cu muzică. În 1815 această trupă a susţinut la Sibiu o stagiune de vară, printre operele cuprinse în repertoriu numărându-se Răpirea din serai de Mozart, Sacagiul de Cherubini, Ioan din Paris de Boieldieu.
    [Show full text]
  • Leoncavallo's Pagliacci
    Leoncavallo’s Pagliacci - A survey of the major studio recordings by Ralph Moore Given the continued popularity of this most enduring of operatic warhorses, it is surprising how few studio recordings it has received compared with other major crowd-pleasers. I have restricted my survey to studio-made, post-war recordings in Italian on the grounds that the average modern collector will want fair (mono) to excellent (digital) sound in the original language; there are only fourteen of those, plus a radio broadcast and two film soundtracks featuring names so famous I thought it best to include them, and, finally, a live concert performance which was a prime recommendation from ‘Gramophone’, the ‘Penguin Guide’ and the ‘Classical Good CD Guide’, so I could hardly ignore it - making eighteen recordings in total. The most recent studio recording in Italian was made nearly thirty years ago in 1992; perhaps that points to a continuing shortage of singers able to do justice to the brief but very demanding role of Canio. All the great tenors of the 50’s and 60’s – Del Monaco, Björling, Tucker, Corelli and Bergonzi - recorded it in the studio, sometimes twice, each of the “The Three Tenors” made his recording in the 70’s, and there is a handful of mostly lesser accounts before Rahbari conducted that final studio version – and that’s it. Doubtless there are other, worthy, live recordings but, as I always say when doing these surveys, I can consider only a sampling of approximately 140 available and have to start – or rather finish – somewhere, so I use studio provenance and quality of singers and sound combined as my criteria for inclusion and mostly exclude live versions, which still permits me to consider five recordings from the 50’s in fair mono sound.
    [Show full text]
  • Mascagni's Cavalleria Rusticana
    Mascagni’s Cavalleria rusticana A survey of the major studio recordings in Italian by Ralph Moore Cavalleria rusticana is the slightly elder brother of another classic, Pagliacci; the two operas are almost invariably paired for an evening’s entertainment and have a great deal in common. Together, “Cav ’n’ Pag” are credited with being in the vanguard of the verismo movement which changed the face of Italian opera for ever. Cavalleria isn’t quite as violent, insofar as Pagliacci culminates in two on-stage murders, whereas the demise of the anti-hero Turiddù, although it is once again the result of a stabbing, occurs off-stage and is announced to that audience via the blood-curdling scream of a horrified spectator, “Hanno ammazzato compare Turiddù!”(“Friend Turiddù’s been murdered!”). It is perhaps, even more melodic and possessed of an even more beautiful Intermezzo than Pagliacci, but both depict the lives of southern Italian “everyday country folk” in the Mezzogiorno going to church, drinking and celebrating, loving and quarrelling – and both have adultery as the spur to the plotline. However, the importance of the soprano and tenor lead roles is reversed: in Pagliacci, Nedda’s personality is fairly sketchily drawn and the focus is more upon Canio as a jealous husband – justifiably as it turns out - whereas in Cavalleria, Santuzza takes central stage. Nor is there a real villain as such in Cavalleria - unless it is Turiddù himself, who seduces and abandons one woman, only to move on to an affair with another, married woman. The preservation of the classical dramatic unities of time, place and action, in combination with ordinariness of the characters and the words they speak, consolidates the opera’s veristic nature.
    [Show full text]