DOCSLIB.ORG

Great Performances in the Albert Hall the Second 25 Years (1954 – 1979)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Great Performances in the Albert Hall the Second 25 Years (1954 – 1979) Canberra Choral Society proudly presents GREAT PERFORMANCES ALexANDeR BALus IN THE ALBERT HALL the second 25 years (1954–1979) 20 September 2014 | Canberra Playhouse Conducted by Brett Weymark Starring Tobias Cole, Christopher Saunders and Jacqueline Porter with Christopher Richardson and Christina Wilson Sunday 13 July 2014 Great Performances in the Albert Hall the second 25 years (1954 – 1979) Conductor/MC: Tobias Cole Featuring Louise Page, Christopher Lincoln Bogg, Anthony Smith and CCS Chorus With Katie Cole, Barbara Jane Gilby, Joy McDonald and the Turner Trebles Guests Veronica Thwaites-Brown and Peter Tregear God Save the Queen (all) 1954–Vienna Boys Choir (Turner Trebles) Emperor's Waltz (Johann Strauss) 1955–Medea (Elizabethan Trust Theatre starring Judith Anderson) (Katie Cole and Tobias Cole) 1956–Miklos Gafni (Christopher Lincoln Bogg) Recondita Armonia (Puccini) Mattina (Leoncavallo) Torna a Surriento (de Curtis) 1957–Leontyne Price (Louise Page) 'Piangerò' from Giulio Cesare in Egitto (Handel) Après un rêve (Faure) 1959–Beryl Kimber 1961–Isaac Stern (Barbara Jane Gilby) ‘Loure’, ‘Gavotte en rondeau’ from Partita No. 3 in E (JS Bach) ‘Sonatensatz: Scherzo’ from FAE Sonata (Brahms) 1960–The Magic Pudding (Peter Scriven’s Puppets) (Joy McDonald) 1961–The Sentimental Bloke (singalong) 2 Interval 1963–Rita Streich (Louise Page) ‘O luce di quest’anima’ from Linda di Chamounix (Donizetti) 1965–Canberra Choral Society ‘Hallelujah’ from Messiah (Handel) 1968–Canberra Children’s Choir (Turner Trebles) ‘Wolcum Yole’ from Ceremony of Carols (Britten) 1968–Canberra Choral Society ‘Kyrie’, ‘Gloria’ excerpt from Missa Solemnis (Beethoven) (with Louise Page, Veronica Thwaites-Brown, Christopher Lincoln Bogg & Peter Tregear) 1969–Canberra Choral Society ‘Quando corpus morietur’, ‘Amen’ from Stabat Mater (Dvořák) (with Louise Page, Veronica Thwaites-Brown, Christopher Lincoln Bogg & Peter Tregear) 1969–Canberra Choral Society ‘Dona Nobis Pacem’ from Mass in B minor (JS Bach) 1970–Canberra Choral Society ‘O Haupt voll Blut’ from St Matthew Passion (JS Bach) 1971–Canberra Choral Society ‘Lacrymosa’ from Requiem (WA Mozart) 1972–Canberra Choral Society ‘Conquissabit’ from Dixit Dominus (Handel) 1975–Canberra Choral Society ‘Amen’ from Messiah (Handel) 3 A Message from CCS President, Alison White Canberra Choral Society is really delighted to return for our second in the series Great Performances at Albert Hall. This much-loved venue has witnessed some truly wonderful performances over the years and we have much pleasure in recreating some of those historic performances this afternoon. I would particularly like to acknowledge all the talented Canberra artists who have contributed to the program and of course our dynamic and creative conductor and artistic director, Tobias Cole. I would also like to thank the very hard-working members of the Canberra Choral Society committee and choir members who devote hours of their time to the choir and without whose hard work we could not possibly put on these performances. The Canberra Choral Society relies in major part on funding from ticket sales and donations and I gratefully acknowledge those donors who have so generously supported this concert. You too can choose to support us and by doing so help us to present high quality and creative performances for Canberra audiences. All donations to the Canberra Choral Society are tax deductible. Our next performance will be the Australian premiere of Handel’s oratorio Alexander Balus, with acclaimed tenor Christopher Saunders and our own Tobias Cole as two of the leading soloists, along with many other talented musicians and singers. This concert will be performed on original instruments in the Canberra Playhouse and we look forward to seeing you in the audience on Saturday 20 September. In the meantime I hope you really enjoy this entertaining program. Alison White ‘While on the subject of goosebump-raising singing voices, Canberra’s greatest vocal goosebump-raiser is Tobias Cole the counter-tenor. He materialised (an unprogrammed surprise) singing as Queen Elizabeth I in … Great Performances in the Albert Hall – the first 25 years. Cole, this column’s 2012 Canberran of the year, gets that gong for 2013 4 A Message from CCS Artistic Director, Tobias Cole For its first thirty-seven years the Albert Hall served as Canberra’s major performance venue. Whenever a singer, musician, or company (dance, theatre or puppet) of national or international renown visited Canberra, people would put on their finest and make their way to the Albert Hall. After the Canberra Theatre opened in 1965, the Albert Hall became an affordable and preferred performance venue for community groups including Canberra Choral Society. But when the Canberra School of Music Auditorium (now known as Llewellyn Hall) opened in 1976, CCS deserted the Albert Hall for the larger stage and, arguably, better acoustics of the new venue. I am sure you will enjoy all our guest artists this afternoon, including Beryl Kimber and Isaac Stern (Barbara Jane Gilby), Albert, the grumpy pudding (Joy McDonald), American soprano Leontyne Price (Louise Page), Polish tenor Miklos Gafni (Christopher Lincoln Bogg), Australia’s expat actress Judith Anderson (Katie Cole), the Vienna Boys Choir (Turner Trebles), and many famous accompanists and local orchestras (Anthony Smith). I have drawn my information from three main sources: the online digital newspaper collection on the National Library’s Trove website, Peter Campbell’s book on the history of Canberra Choral Society and a very insightful conversation I had with local writer Lenore Coltheart, whose history of the Albert Hall will be published very soon. Enjoy this glimpse of what it might have been like for Canberrans of the 50’s, 60’s and 70’s to experience a performance in our Albert Hall. Tobias Cole as well, in part for staging things so progressive, so unpretentious and so excellent. Concert-going, music loving Canberrans speak of him with the fondness with which, in his heyday, football-loving Canberrans used to speak of Mal Meninga.’ (Ian Warden, Canberra Times, 31 December 2013) 5 Great Performances Scrapbook 1954-1979 Extracts from the Canberra Times 8 June 1954 18 June 1956 6 6 October 1955 Great Performances Scrapbook 1954-1979 6 October 1955 5 August 1957 7 Great Performances Scrapbook 1954-1979 3 August 1960 10 June 1961 8 Great Performances Scrapbook 1954-1979 8 March 1961 My Sentimental Bloke (Singalong) Bill! You're the man that I adore Bill! You're the man I've waited for All my life I knew that someone soon Would come to me out of my dreams Bill! When you say you'll love me true Bill! When you say I'll do for you My heart tells me now that I'm bespoke I know I'm yours, My Sentimental Bloke. Music by Albert Arlen, lyrics by Nancye Brown 9 Great Performances Scrapbook 1954-1979 25 September 1963 25 September 1963 15 March 1965 10 Great Performances Scrapbook 1954-1979 11 October 1968 15 October 1968 11 Great Performances Scrapbook 1954-1979 11 April 1969 28 October 1969 12 Great Performances Scrapbook 1954-1979 19 October 1970 All articles in our Great Performances Scrapbook come from the Canberra Times via the amazing resource trove.nla.gov.au. 13 Our Artists Tobias Cole, CCS Artistic Director Tobias Cole has gained a reputation as a highly sought after choral trainer and innovative concert programmer and was recently appointed a Distinguished Artist in Residence at the ANU School of Music. As CCS Artistic Director, his inspiring long- term vision includes presenting one Handel dramatic oratorio in Canberra each year. He is well qualified for the task, with a Helpmann Award nomination in Handel’s Julius Caesar (Opera Australia, 2007) and a Green Room Award in the title role of Handel’s Xerxes (Victorian Opera, 2009). CCS has presented two of Handel’s dramatic oratorios under Tobias’ leadership: Saul (2012) and a sellout Theodora at the Canberra Playhouse in 2013. 2014 will see the Australian premiere of Alexander Balus. Tobias is also one of Australia’s most successful countertenors, travelling the country as a soloist in opera, oratorio and theatre. Last year he performed in a staged production of Bach’s St Matthew Passion with Opera Queensland, Dido and Aeneas for Sydney Philharmonia Choirs, Theodora for the Canberra Choral Society, concerts at the Australian Festival of Chamber Music, the Canberra International Music Festival and the Woodend Winter Arts Festival, Carmina Burana for the Canberra Symphony Orchestra, Handel’s Messiah for the Queensland Symphony Orchestra and a number of guest appearances with the Song Company. This year Tobias has appeared in the Canberra International Music Festival and in New Zealand with the Christchurch Symphony Orchestra. In August he will perform the title role in Philip Glass's Akhnaten with the State Opera of South Australia. 14 Our Artists Louise Page Louise Page is one of Australia’s most highly regarded singers and has performed in opera, operetta, oratorio, cabaret, recital and broadcasts throughout Europe and Australia. She is the winner of the inaugural Mietta's Song Recital Competition, the vocal grand final of the ABC Young Performer of the Year Award, the Robert Stolz/Apex scholarship to Vienna, and the Belgian Radio and Television Opera en Bel Canto City of Ghent Prize. Louise has performed throughout Europe, including at the Vienna State Opera as a member of the young artist program. Now based in Canberra, she has performed with the Sydney, Queensland, Canberra and Central Coast Symphony Orchestras and the National Capital Orchestra, and in recital for Musica Viva, the ABC, the Australian Festival of Chamber Music, the Canberra International Music Festival and many others. Louise has recorded six CDs with accompanist Phillipa Candy, varying from Lieder to operetta, Australian music and Christmas songs. Her awards include a Canberra Critics Circle Award for music (2007), Canberra Times Artist of the Year (2007) and an OAM for services to the performing arts (2013).
Load more

Recommended publications
  • Julius+Caesar+Play+Critique.Pdf
    "Julius Caesar." Shakespearean Criticism. Ed. Michael L. LaBlanc. Vol. 74. Detroit: Gale, 2003. Literature Resources from Gale. Gale. Cape Cod Regional Technical High School. 4 Jan. 2011 <http://go.galegroup.com/ps/start.do?p=LitRG&u=mlin_s_ccreg>. Title: Julius Caesar Source: Shakespearean Criticism. Ed. Michael L. LaBlanc. Vol. 74. Detroit: Gale, 2003. From Literature Resource Center. Document Type: Work overview, Critical essay Introduction Further Readings about the Topic Introduction Julius Caesar contains elements of both Shakespeare's histories and tragedies, and has been classified as a "problem play" by some scholars. Set in Rome in 44 b.c., the play describes a senatorial conspiracy to murder the emperor Caesar and the political turmoil that ensues in the aftermath of the assassination. The emperor's demise, however, is not the primary concern for critics of Julius Caesar; rather, most critics are interested in the events surrounding the act--the organization of the conspiracy against Caesar and the personal and political repercussions of the murder. Shakespeare's tragedies often feature the death of the titular character at the play's end. Many commentators have noted that Julius Caesar's unusual preempting of this significant event--Caesar is killed less than halfway through the play--diminishes the play's power early in the third act. Scholars are interested in the play's unconventional structure and its treatment of political conflict, as well as Shakespeare's depiction of Rome and the struggles the central characters face in balancing personal ambition, civic duty, and familial obligation. Modern critics also study the numerous social and religious affinities that Shakespeare's Rome shares with Elizabethan England.
    [Show full text]
  • Julius Caesar
    DISCOVERY GUIDE 2009 Julius Caesar Directed by Robert Currier Costume Design - Claire Townsend Set Design - Mark Robinson Lighting Design - Ellen Brooks Properties Design - Joel Eis Stage Manager - Allison Ward Producer - Lesley Currier Discovery Guide written by Luis Araquistain www.marinshakespeare.org 415/499-4488 Welcome to the Discovery Guide for Julius Caesar Introduction---------------------------------------------------- Marin Shakespeare Company is thrilled to present Shakespeare’s riveting historical drama, Julius Caesar. As one of Shakespeare’s most notable and often quoted plays (“Et tu, Brute?”), this show makes an intriguing introduction to ‘the Bard’ for students who are new to Shakespeare and an action-packed re-introduction for students already familiar with Shakespeare’s plays. The story is both an exciting adventure, as well as a portrait of political greatness in action, with lessons to teach about ancient Rome and the world today. This DISCOVERY GUIDE will provide you with some background on the play, explanations of characters and plot lines and pre- and post-show activities, exercises and discussion questions for further deepen your theatre-going experience! Let us know if this DISCOVERY GUIDE is helpful ([email protected])! Enjoy! Contents---------------------------------------------------------- PAGE 1 Discover: the origins of the play PAGES 2 - 4 Discover: the characters (including actor headshots) PAGES 4 - 7 Discover: the story of the play (or hear a recording at marinshakespeare.org) PAGE 8 Discover:
    [Show full text]
  • Giulio Cesare Music by George Frideric Handel
    Six Hundred Forty-Third Program of the 2008-09 Season ____________________ Indiana University Opera Theater presents as its 404th production Giulio Cesare Music by George Frideric Handel Libretto by Nicola Francesco Haym (adapted from G. F. Bussani) Gary Thor Wedow,Conductor Tom Diamond, Stage Director Robert O’Hearn,Costumes and Set Designer Michael Schwandt, Lighting Designer Eiddwen Harrhy, Guest Coach Wendy Gillespie, Elisabeth Wright, Master Classes Paul Elliott, Additional Coachings Michael McGraw, Director, Early Music Institute Chris Faesi, Choreographer Adam Noble, Fight Choreographer Marcello Cormio, Italian Diction Coach Giulio Cesare was first performed in the King’s Theatre of London on Feb. 20, 1724. ____________________ Musical Arts Center Friday Evening, February Twenty-Seventh Saturday Evening, February Twenty-Eighth Friday Evening, March Sixth Saturday Evening, March Seventh Eight O’Clock music.indiana.edu Cast (in order of appearance) Giulio Cesare (Julius Caesar) . Daniel Bubeck, Andrew Rader Curio, a Roman tribune . Daniel Lentz, Antonio Santos Cornelia, widow of Pompeo . Lindsay Ammann, Julia Pefanis Sesto, son to Cornelia and Pompeo . Ann Sauder Archilla, general and counselor to Tolomeo . Adonis Abuyen, Cody Medina Cleopatra, Queen of Egypt . Jacqueline Brecheen, Meghan Dewald Nireno, Cleopatra’s confidant . Lydia Dahling, Clara Nieman Tolomeo, King of Egypt . Dominic Lim, Peter Thoresen Onstage Violinist . Romuald Grimbert-Barre Continuo Group: Harpsichord . Yonit Kosovske Theorbeo, Archlute, and Baroque Guitar . Adam Wead Cello . Alan Ohkubo Supernumeraries . Suna Avci, Joseph Beutel, Curtis Crafton, Serena Eduljee, Jason Jacobs, Christopher Johnson, Kenneth Marks, Alyssa Martin, Meg Musick, Kimberly Redick, Christiaan Smith-Kotlarek, Beverly Thompson 2008-2009 IU OPERA theater SEASON Dedicates this evening’s performance of by George Frideric Handel Giulioto Georgina Joshi andCesare Louise Addicott Synopsis Place: Egypt Time: 48 B.C.
    [Show full text]
  • Doctors in Performance 2016
    Doctors in Performance 2016 Second Festival Conference of Music Performance and Artistic Research 8­9 SEPTEMBER 2016 Royal Irish Academy of Music, Dublin Welcome to the Royal Irish Academy of Music, Dublin I am delighted to welcome you to the Royal Irish Academy of Music (RIAM) for the second Doctors in Performance Festival Conference. We are delighted to host an event which promotes the value of Artistic Research that is embedded in artistic practice. I hope that guests from outside Ireland enjoy our vibrant capital city, and that you will all have a Deborah Kelleher, Director, memorable time in the company of supportive Royal Irish Academy of colleagues over the course of the next two days. Music WiFi Connect to: RIAM­GUESTS Password: 36Westland Twitter @RIAMAcademyDub #DocsPerf16 1 Conference Schedule Thursday 8 September 2016 Morning Session 9:00 am − 12:30 pm 9:00 am − 10:00 am Registration Foyer Welcome and opening remarks: Katherine Brennan 9:40 am − 10:00 am Deborah Kelleher, Director, RIAM Hall 10:05 am − 11:25 am Parallel sessions 1 − 4 Recital Room Katherine Brennan Hall Organ Room Early Music Room Chair: Majella Chair: Markus Kuikka Chair: Päivi Järviö Boland Recital: Maciej Fortuna and Lecture Recital: Assi Lecture Recital: Jing Krzysztof Dys Karttunen Ouyang (Ignacy Jan Paderewski (Sibelius Academy, University (Royal Northern Academy of Music, Poznań) of the Arts Helsinki) College of Music) am ‘Classical inspirations in jazz ‘Reciprocal approaches – the ‘The characteristic 10:55 compositions based on grotesque narratives
    [Show full text]
  • Art Song Canberra Annual Report 2006
    Art Song Canberra Inc. www.artsongcanberra.org SEASON OF SONG 2015 In 2015 Art Song Canberra will present seven recitals of fine art song by an outstanding array of award-winning, highly-accomplished artists, many of them widely experienced on the world stage. Background Art Song Canberra was founded as the A.C.T. Lieder Society in 1976 by a small group of devotees led by Eleanor Houston OAM of Covent Garden fame. Its purpose is to foster and extend the love of art song. This is done mainly by: presenting the Season of Song, an annual series of high quality concerts, to its members and the general public; providing development opportunities such as masterclasses for talented amateur singers; conducting Members’ Soirées, gatherings of members to sing and play together in a social setting, in the manner of the earliest Lieder societies; and awarding the Art Song Canberra Prize for supreme achievement in art song in the Open sections of the Singing Division of the Australian National Eisteddfod. In each year of its life the society has presented a series art song recitals. The great majority of the society’s artists have been highly accomplished both in Australia and internationally. Singers have included such noted Australians as Eleanor Houston, Michael Martin, Sally-Anne Russell, Greta Bradman, Merlyn Quaife, Tobias Cole, Christopher Allan, Louise Page and Christina Wilson. Overseas-based singers have included Susan Burghardt (USA), Tanya Aspelmeier, Knut Schoch, Erwin Belakowitsch and Australian Sally Wilson (Germany), Rebecca Ryan (New Zealand), Thomas Weinhappel (Austria) and Bruce Cain (USA) who appeared with guitarist David Asbury.
    [Show full text]
  • KARINA CANELLAKIS 2018/19 Season Announcement 2018 the 2018 Honens Piano Competition with the Calgary Philharmonic
    KARINA CANELLAKIS 2018/19 Season Announcement 2018 The 2018 Honens Piano Competition with the Calgary Philharmonic September 5 Festival GALA Concert September 7 Competition Finals September 11 Los Angeles Philharmonic at the Hollywood Bowl JULIA PERRY A Short Piece for Large Orchestra BERNSTEIN Symphony No. 2, “The Age of Anxiety” Jean-Yves Thibaudet, piano BRAHMS Symphony No. 2 in D major, Op. 73 September 15, 16 Milwaukee Symphony ANDREW NORMAN New Work RACHMANINOFF Piano Concerto No. 2 in C minor, Op. 18 Boris Giltberg, piano STRAVINSKY Le Sacre du Printemps September 21, 22 Milwaukee Symphony BOULANGER D’un soir triste DVORAK Piano Concerto in G minor, Op. 33 Sunwook Kim, piano BRAHMS Symphony No. 2 in D major, Op. 73 October 1-4 Oslo Philharmonic DVORAK The Noon Witch SZYMANOWSKI Violin Concerto No. 2 Nicolai Znajder, violin RACHMANINOFF Symphonic Dances October 10 London Philharmonic Orchestra at Royal Festival Hall SIBELIUS Pojhola‘s Daughter DVORAK Piano Concerto in g minor, Op. 33 Pierre-Laurent Aimard, piano BARTOK Concerto for Orchestra, SZ 116 October 18, 20 Royal Stockholm Philhamonic STRAUSS Die Frau ohne Schatten Symphonic Fantasy SZYMANOWSKI Violin Concerto no. 1 Nicola Benedetti, violin DVORAK Symphony No. 7 in d minor, Op. 70 November 2018 in Australia: November 1, 2 Adelaide Symphony Orchestra MOZART Symphony No. 35 in D major, K. 385 “Haffner“ BRUCH Concerto for Violin No. 1 in G minor, Op. 26 Natsuko Yoshimoto, violin STRAVINSKY Firebird Suite (1945) November 9 Tasmanian Symphony Orchestra in Hobart SCHUMANN Overture, Julius Caesar Elena KATS-CHERWIN Piano Concerto No. 3 Anna-Tamara Cislowska, piano BACH-WEBERN Ricercare, from The Musical Offering MENDELSSOHN Symphony No.
    [Show full text]
  • Julius Caesar in Renaissance Literary
    RESEÑAS 395 ILUSTRACIÓN. Virginia Brown: «Julius larmente importantes en todo lo relativo Caesar in Renaissance Literary Bio - al texto y recepción de la obra. Contiene graphy» 325-340. José Ignacio Velázquez contribuciones de prestigiosos especialis - Ezquerra: «Julio César a través de la lite - tas sobre la figura y la obra de Julio César César y ratura francesa: entre el de Grévin y creemos que está llamada a ser un punto La mort de César de Voltaire» 341-363. de partida necesario en esta materia. Antonio Ballesteros González: «Las obras romanas de Shakespeare como paradigma MANUEL AYUSO GARCÍA de subversión política en la Inglaterra isa - Julius Caesar belina: el ejemplo de » 365- 383. Javier Moraleda Díaz: «Las notas crí - Bellum Gallicum El Buscón. ticas de Pedro Chacón al QUEVEDO , Francisco de, Edi - de Julio César» 385-398, M. a Victoria Fer - ción crítica de las cuatro versiones, edi - nández-Savater Martín-Matilde Conde Sa - ción de Alfonso Rey, Madrid, Consejo Su - lazar: «El retrato de la puente (de César) y perior de Investigaciones Científicas, el modo de edificarla’ en la interpretación Anejos de Ia Revista de Filología Espa - de los comentarios Humanistas» 399-424. ñola, 2007 (441 + LXII pp). Genoveva García-Alegre Sánchez: «Unas Commentarii anotaciones escolares a los La presente monografía ofrece la edi - de César (1574): la enseñanza del latín del ción crítica de cada una de las cuatro ver - Z príncipe Felipe, futuro Felipe III» 425- siones conocidas —una impresa ( ) y tres s, C B 440. Ana Martínez Arancón: «César, manuscritas (respectivamente, y )— Buscón ejemplo y aviso para príncipes.
    [Show full text]
  • YOUNG CAESAR, California Maverick Lou Harrison's
    YOUNG CAESAR, California maverick Lou Harrison’s sublime and sinuous depiction of Caesar’s love for another man, was performed and recorded live at Walt Disney Concert Hall on June 13, 2017. The Industry’s new performance edition fuses Harrison’s original gamelan-inspired orchestration with his lush orchestral writing from later on. This performance and recording is presented in collaboration with the Los Angeles Philharmonic. Track Listing 3 Synopsis 4 Artistic & Production Credits 5 Yuval Sharon • Lou Harrison’s Capital Cs 7 Robert Gordon • Me and Lou and Gaius Julius Caesar 8 John Rockwell • Lou Harrison and His Young Caesar 11 Marc Lowenstein • A Legacy of Beauty, of Joy, of Integrity 13 Biographies 16 Recording Credits 21 About The Industry 22 About the LA Phil 23 Photo Credits 24 1 Prelude 2 Act I: Overture 3 Scene 1a: “The Day of the Ceremony” 4 Aria: “What Is So Fine About Becoming a Man” 5 Scene 1b: “Ceremony and Processional” 6 Scene 2: “Death of Caesar’s Father” 7 Aria: “Yesterday His Eyes Were Bright” 8 Scene 3: Introduction 9 Aria: “The Living Must Live” 10 Scene 3: “Campus Martius” 11 Scene 4: “Cossutia’s Despair” 12 Scene 5: “Gaius and Cornelia” 13 Aria and Lullaby: “Now Grasp Your Daughter” 14 Scene 6: “Caesar Wandering” 15 Scene 7a: “In Mitylene” 16 Scene 7b: “Caesar and Dionysus” 17 Act II: Overture 18 Scene 8a: “Procession” 19 Scene 8b: “The Throne Room” 20 Scene 9: “Caesar in the Royal Chamber” 21 Aria: “And That Crown of His” 22 Scene 10: “Banquet” 23 Aria: “Entertainment and Eroticon” 24 Scene 11: “Bed Scene” 25 Aria: “Take Your Chances, Gaius” 26 Scene 12: “Fuming Romans” 27 Scene 13: “The Voyage” 28 Aria: “One Year We Lose in Battle” 29 Air “It Is Very Strange” 30 Sailor’s Chorus: “Good Priapus of the Harbour” 31 Scene 14: “Caesar’s Departure” 32 Barcarolle: “Hail Gaius, and Pity Nicomedes” ACT II Scene 8: In Bithynia, King Nicomedes receives the ambassador of Rome—but because he was expecting someone more experienced, he mistakenly welcomes Caesar’s physician.
    [Show full text]
  • Canberra International Music Festival 27 April – 6 May 2018
    CANBERRA INTERNATIONAL MUSIC FESTIVAL 27 APRIL – 6 MAY 2018 Experience the music adventure CONCERT CALENDAR PAGE 1 OPENING GALA 7.30 pm Friday April 27 Fitters’ Workshop 5 Personal Injury Lawyers 2 DAPPER'S DELIGHT 11 am Saturday April 28 Fitters’ Workshop 9 3 ROGER WOODWARD I 3 pm Saturday April 28 Fitters’ Workshop 11 4 FOUR SEASONS 8 pm Saturday April 28 Fitters’ Workshop 15 5 BACH ON SUNDAY 11 am Sunday April 29 Fitters’ Workshop 19 National Gallery of Australia 6 ENOCH ARDEN 3 pm Sunday April 29 23 Instrumental Fairfax Theatre 7 CLASSIC SOUVENIR 6.30 pm Sunday April 29 Fitters’ Workshop 27 Starts at 8 FROM THE LETTER TO THE LAW 11 am Monday April 30 31 in protecting the National Library of Australia 9 ISRAEL IN EGYPT 6.30 pm Monday April 30 Fitters’ Workshop 37 10 am, 10 REQUIEM Tuesday May 1 Australian War Memorial 41 11.30 am rights of more 11 ROGER WOODWARD II 6.30 pm Tuesday May 1 Fitters’ Workshop 45 12 GLASS GAMES 12 pm Wednesday May 2 Canberra Glassworks 49 Canberrans. 13 ULYSSES NOW 6.30 pm Wednesday May 2 Fitters’ Workshop 52 8.30 am - –– TASTE OF THE COUNTRY Thursday May 3 Annual Festival Trip 57 4 pm 14 ORAVA QUARTET 6 pm Thursday May 3 Fitters’ Workshop 59 THE ASPIRATIONS OF A J O 15 8 pm Thursday May 3 Canberra Theatre 63 M R DAISE MORROW At Maliganis Edwards Johnson, we’ve seen 2018 Canberra 16 RETURN TO BASICS 11 am Friday May 4 Canberra Grammar School 65 firsthand how an injury can impact lives.
    [Show full text]
  • 2 a Message from CCS President, Alison White I Warmly Welcome You to the Albert Hall and Our Performance Which Celebrates This L
    A Message from CCS President, Alison White I warmly welcome you to the Albert Hall and our performance which celebrates this lovely venue and relives some of the great concerts which were held here in Canberra’s early years. There is something for everyone in this afternoon’s concert and I would like to acknowledge all the talented local Canberra artists who have contributed to the program and of course our creative and talented conductor and Artistic Director, Tobias Cole. I would also like to thank the very hard-working members of the Canberra Choral Society committee and choir members who devote hours of their time to the choir and without whose hard work we could not possibly put on these performances. The Canberra Choral Society relies in major part on funding from ticket sales and donations and I gratefully acknowledge those donors who have so generously supported this concert. You too can choose to support us and by doing so help us to present high quality and creative performances for Canberra audiences. All donations to the Canberra Choral Society are tax deductible. Our next performance will be the Australian premiere on period instruments of the Handel oratorio Theodora, with acclaimed soprano Greta Bradman, guest conductor Brett Weymark from Sydney Philharmonia Choirs and our own Tobias Cole, along with many other talented musicians and singers. This concert will be performed in the Canberra Playhousea first for the CCS and a really exciting venture. We look forward to seeing you in the audience on Sunday 23 June. In the meantime I hope you enjoy today’s entertaining program.
    [Show full text]
  • 60 Years of Opera Australia 2016 Anniversary Year
    BACKGROUNDER 60 Years of Opera Australia 2016 Anniversary Year - OA’s first performance was on 21 July, 1956 at the Theatre Royal in Adelaide. The opera was The Marriage of Figaro by Mozart. During its history, OA has had three names - the Australia Elizabethan Theatre Trust (1956), The Australian Opera (1970) and finally Opera Australia (1996). Many people confuse the Sydney Opera House with Opera Australia, however in reality OA didn’t perform there until 17 years after the company’s formation. OA’s history is also intrinsically linked with Victoria. In 1977 Victoria State Opera (VSO) was established as a successor to the Victorian Opera Company. In 1984 the VSO got its home theatre in the State Theatre, Arts Centre Melbourne, which continues to be OA’s Victorian home to this day. On OA’s 40th anniversary in 1996, the VSO and AO merged to formally become the Opera Australia we know now, with offices in both Sydney and Melbourne. The then Artistic Director of VSO Lindy Hume was appointed Artistic Director of Oz Opera, keeping the opera touring tradition alive which was born back in 1959. (Oz Opera has also since been absorbed into the OA brand, with regional and school tours continuing). This year industry website Bachtrack announced (a) that OA is the third busiest opera company in the world, also with the third busiest opera performer (Ben Rasheed). This level of success is impressive when you consider unlike European opera companies who have seasonal breaks, OA never closes. OA’s success is despite trends overseas which have seen many orchestras and opera houses unfortunately close.
    [Show full text]
  • The Melba – Spring 2017
    Edition 17 Spring 2017 BEING MELBA WITH EMMA MATTHEWS A MEZZO ASCENDING - EMILY EDMONDS WINS DAME HEATHER BEGG AWARD A FOREIGN CONCEPT - LANGUAGE, CULTURE AND ETIQUETTE Cleo Lee-McGowan - Joseph Sambrook Opera Scholarship In this edition of The Melba, you continued with him winning the Stacey Alleaume will reprise her role CONTENTS NOTE FROM will read how each of our scholars German-Australian Opera Grant: of Micaëla (Carmen) and Violetta has been working to prepare for a twelve-month contract with (La traviata) with Opera Australia PAGE 2 THE GENERAL these important ‘next steps’ and Wiesbaden Opera from the middle next year, Samuel Piper will make • Note from the General how Melba Opera Trust continues of next year. Last month, Bronwyn his debut with Opera Queensland as Manager MANAGER to support their development Douglas received the prestigious Masetto (Don Giovanni) and you can • About Melba Opera Trust with our three-tier program. One Dame Joan Sutherland & Richard hear Nicholas Tolputt perform both • Sterling Leadership and Vision of our challenges is to ensure Bonynge Bel Canto Award along with Messiah and Bernstein Classics with that the suite of Melba programs a suite of other awards including Melbourne Symphony Orchestra. PAGE 3 remain responsive to the ever- the Audience Choice. Melba proudly At Melba headquarters, planning changing world of opera. Recent congratulates Fiona, Damian, Daniel • Since We Last Wrote is underway for our own 2018 enhancements to the Mentor and Bronwyn on their achievements program as we prepare to hear the PAGE 4-5 Program are highlighted in the pages and we are looking forward to next generation of promising young that follow.
    [Show full text]