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Musica Antigua Para Nuestro Tiempo
Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. TOME NOTA Los conciertos iniciarán exactamente a la hora indicada en los avisos de prensa y en el programa de mano. Llegar con media hora de antelación le permitirá ingresar al concierto con tranquilidad y disfrutarlo en su totalidad. Si al momento de llegar al concierto éste ya ha iniciado, el personal del auditorio le indicará el momento adecuado para ingresar a la sala de acuerdo con las recomendaciones dadas por los artistas que están en escena. Agradecemos se abstenga de consumir comidas y bebidas, o fumar durante el concierto, con el fin de garantizar un ambiente adecuado tanto para el público como para los artistas. Durante el transcurso del concierto por favor mantenga apagados sus equipos electrónicos, incluyendo teléfonos celulares, buscapersonas y alarmas de reloj . Esto ayuda a crear un ambiente propicio para disfrutar la música. Por respeto a los derechos de autor de los compositores e intérpretes, no está permitido realizar grabaciones de audio o video ni tomar fotografías durante el concierto. Foto portada: corresponde a detalle del arpa del clavecin Rainer Schütze donado por Ra fel Puyana. Colección de Arte Banco de la República Los conciertos realizados en la Sala de Conciertos de la Biblioteca Lu1s Angel Arango están autorizados por la Dirección Administrativa de la Secretaria de Gobierno de Bogotá, mediante la Resolución 071 del 14 de febrero de 2014. Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. De Bach a Puyana A comienzos del siglo XIX , tras varios cambios políticos, sociales, culturales y estéticos, la música de Johann Sebastian Bach casi que había sido olvidada. -
2 Fifteenth Berkeley Festival & Exhibition 2
2 FIFTEENTH BERKELEY FESTIVAL & EXHIBITION 2 june 3–10, 2018 Festival Advisory Committee, Board of Directors & Staff ...............................................................................................2 Festival Supporters ...........................................................................................................................................................3 Welcome ..........................................................................................................................................................................6 Festival Calendar .............................................................................................................................................................8 Main Stage Players Sunday, June 3 Seattle Historical Arts for Kids ...............................................................................................................................14 California Bach Society ..........................................................................................................................................17 Monday, June 4 Christine Brandes & Elizabeth Blumenstock ..........................................................................................................23 Tuesday, June 5 San Francisco Conservatory Baroque Ensemble Students and Alumni ...................................................................27 Davis Senior High School Baroque Ensemble ........................................................................................................30 -
Halloween-Themed “Haunted Hearts” Features Bach’S Brandenburg Concerto No
Contact: Stefan Scherer-Emunds [email protected] (312) 957-0000 FOR IMMEDIATE RELEASE: Halloween-Themed “Haunted Hearts” Features Bach’s Brandenburg Concerto No. 5, Piazzolla’s Oblivion, Herrmann’s Psycho Score & More Alongside Bone-Chilling Narration Chicago, IL – (September 21, 2016) Just in time for Halloween, the Chicago Philharmonic’s 2016-17 season dedicated to love continues October 30 with Haunted Hearts, conjuring up bittersweet past loves, nightmarish scenes, and the bug that got away. C.P.E. Bach’s Symphony No. 5, a devilishly difficult showpiece, sets the tone with its careening runs and shocking use of harmony. Piazzolla’s tango-infused Oblivion, Michael Nyman’s minimalistic Concerto for Amplified Harpsichord and Strings, and a suite from Bernard Herrmann’s cataclysmic Psycho score follow. Next, the orchestra performs Woolf’s evocative tonal soundscape, My Insect Bride. Bach’s Brandenburg Concerto No. 5 – with its treacherous but beloved harpsichord cadenza – reminds the audience that it’s all in good fun after all. Tim Hopper of the Steppenwolf Theatre provides bone-chilling narration, and expert theremin player Mysterion performs eerie pre-concert music. Audience members are invited to come in costume. Haunted Hearts Sunday, October 30, 2016, 3 pm Harris Theater for Music and Dance (205 E Randolph St, Chicago) Scott Speck, conductor Jory Vinikour, harpsichord Marie Tachouet, flute David Perry, violin Tim Hopper of Steppenwolf Theatre, narrator NEXT! foyer music: Mysterion, theremin Carl Philipp Emanuel Bach: Symphony No. 5 Astor Piazzolla: Oblivion Michael Nyman: Concerto for Amplified Harpsichord and Strings Bernard Herrmann: Suite from Psycho Randall Woolf: My Insect Bride Johann Sebastian Bach: Brandenburg Concerto No. -
2021 WFMT Opera Series Broadcast Schedule & Cast Information —Spring/Summer 2021
2021 WFMT Opera Series Broadcast Schedule & Cast Information —Spring/Summer 2021 Please Note: due to production considerations, duration for each production is subject to change. Please consult associated cue sheet for final cast list, timings, and more details. Please contact [email protected] for more information. PROGRAM #: OS 21-01 RELEASE: June 12, 2021 OPERA: Handel Double-Bill: Acis and Galatea & Apollo e Dafne COMPOSER: George Frideric Handel LIBRETTO: John Gay (Acis and Galatea) G.F. Handel (Apollo e Dafne) PRESENTING COMPANY: Haymarket Opera Company CAST: Acis and Galatea Acis Michael St. Peter Galatea Kimberly Jones Polyphemus David Govertsen Damon Kaitlin Foley Chorus Kaitlin Foley, Mallory Harding, Ryan Townsend Strand, Jianghai Ho, Dorian McCall CAST: Apollo e Dafne Apollo Ryan de Ryke Dafne Erica Schuller ENSEMBLE: Haymarket Ensemble CONDUCTOR: Craig Trompeter CREATIVE DIRECTOR: Chase Hopkins FILM DIRECTOR: Garry Grasinski LIGHTING DESIGNER: Lindsey Lyddan AUDIO ENGINEER: Mary Mazurek COVID COMPLIANCE OFFICER: Kait Samuels ORIGINAL ART: Zuleyka V. Benitez Approx. Length: 2 hours, 48 minutes PROGRAM #: OS 21-02 RELEASE: June 19, 2021 OPERA: Tosca (in Italian) COMPOSER: Giacomo Puccini LIBRETTO: Luigi Illica & Giuseppe Giacosa VENUE: Royal Opera House PRESENTING COMPANY: Royal Opera CAST: Tosca Angela Gheorghiu Cavaradossi Jonas Kaufmann Scarpia Sir Bryn Terfel Spoletta Hubert Francis Angelotti Lukas Jakobski Sacristan Jeremy White Sciarrone Zheng Zhou Shepherd Boy William Payne ENSEMBLE: Orchestra of the Royal Opera House, -
Jane Glover Conductor
13 Ardilaun Road London N5 2QR Tel: 020 7359 5183 Fax: 020 7226 9792 E-mail: [email protected] Website: www.musicint.co.uk JANE GLOVER CONDUCTOR Jane Glover studied at the University of Oxford, where, after graduation, she did her D.Phil. on 17th-century Venetian opera. She holds honorary degrees from several other universities, a personal Professorship at the University of London, and is a Fellow of the Royal College of Music. She joined Glyndebourne in 1979, becoming Music Director of Glyndebourne Touring Opera from 1981 to 1985 and Artistic Director of the London Mozart Players from 1984 to 1991. From 1990 to 1995 she served on the Board of Governors of the BBC and was created a CBE in the 2003 New Year’s Honours. She is Director of Opera at the Royal Academy of Music, London, and is also Music Director of Chicago’s Music of the Baroque. Jane Glover has appeared with the Royal Opera, Covent Garden, English National Opera, Glyndebourne and Wexford Festivals, Metropolitan Opera, Berlin Staatsoper, Royal Danish Opera, Opéra National du Rhin, Teatro Real, Madrid, Opéra National de Bordeaux, Teatro La Fenice, Glimmerglass Opera, New York City Opera, Opera Australia, Opera Theatre of St. Louis, Chicago Opera Theater, Luminato, Toronto and Aspen Festivals. Particularly known as a Mozart specialist, her core repertoire also includes Monteverdi, Handel and Britten, who indeed personally influenced and guided her when she was 16, and to whose music she constantly returns. She has performed with all the major symphony and chamber orchestras in Britain, at the BBC Proms as well as with orchestras in Europe, the US, the Far East and Australasia including the Orchestra of St Luke’s, Philadelphia Orchestra, San Francisco Symphony, Houston Symphony, St Louis Symphony, Cincinnati Symphony, Toronto Symphony, Sydney Symphony, Belgrade Philharmonic and Orchestre Nationale de Bordeaux et Aquitaine. -
Le Temple De La Gloire
april insert 4.qxp_Layout 1 5/10/17 7:08 AM Page 15 A co-production of Cal Performances, Philharmonia Baroque Orchestra & Chorale, and Centre de musique baroque de Versailles Friday and Saturday, April 28 –29, 2017, 8pm Sunday, April 30, 2017, 3pm Zellerbach Hall Jean-Philippe Rameau Le Temple de la Gloire (The Temple of Glory) Opera in three acts with a prologue Libretto by Voltaire featuring Nicholas McGegan, conductor Marc Labonnette Camille Ortiz-Lafont Philippe-Nicolas Martin Gabrielle Philiponet Chantal Santon-Jeffery Artavazd Sargsyan Aaron Sheehan New York Baroque Dance Company Catherine Turocy, artistic director Brynt Beitman Caroline Copeland Carly Fox Horton Olsi Gjeci Alexis Silver Meggi Sweeney Smith Matthew Ting Andrew Trego Philharmonia Baroque Orchestra & Chorale Bruce Lamott, chorale director Catherine Turocy, stage director and choreographer Scott Blake, set designer Marie Anne Chiment, costume designer Pierre Dupouey, lighting designer Sarah Edgar, assistant director Cath Brittan, production director Major support for Le Temple de la Gloire is generously provided by Philharmonia Baroque Orchestra & Chorale supporters: David Low & Dominique Lahaussois, The Waverley Fund, Mark Perry & Melanie Peña, PBO’s Board of Directors, and The Bernard Osher Foundation. Cal Performances and Philharmonia Baroque Orchestra & Chorale dedicate Le Temple de la Gloire to Ross E. Armstrong for his extraordinary leadership in both our organizations, his friendship, and his great passion for music. This performance is made possible, in part, by Patron Sponsors Susan Graham Harrison and Michael A. Harrison, and Francoise Stone. Additional support made possible, in part, by Corporate Sponsor U.S. Bank. april insert 4.qxp_Layout 1 5/10/17 7:08 AM Page 16 Title page of the original 1745 libretto of Le Temple de la Gloire . -
Margaret Catchpole: Two Worlds Apart
Stephen DODGSON Margaret Catchpole: Two Worlds Apart (Chamber opera in four acts) Howden • Wallace • Morris • Ollerenshaw Edgar-Wilson • Brook • Moore • Willcock • Sporsén Perpetuo • Julian Perkins Stephen Act I: By the Banks of the Orwell Act II: The Cobbold Household 1 [Introduction] 2:27 Scene 1: The drawing room at Mrs Cobbold’s house DO(1D924G–20S13O) N ^ 2Scene 1: Harvest time at Priory Farm & You are young (Dr Stebbing) 4:25 3 What an almighty fuss (Luff, Laud) 1:35 Ah! Dr Stebbing and Mr Barry Margaret Catchpole: Two Worlds Apart 4 For so many years (Laud, Luff) 2:09 (Mrs Cobbold, Barry, Margaret) 6:54 Chamber opera in four acts (1979) 5 Oh harvest moon (Margaret, Laud) 5:26 * Under that far and shining sky Interlude to Scene 2 1:28 Libretto by Ronald Fletcher (1921–1992), 6 (Laud, Margaret) 1:35 based on the novel by Richard Cobbold (1797–1877) The harvest is ended Scene 2: Porch – Kitchen/parlour – First performance: 8–10 June 1979 at The Old School, Hadleigh, Suffolk, UK 7 (Denton, Margaret, Laud, Labourers) 2:19 (Drawing room Oh, my goodness gracious – look! I don’t care what you think Margaret Catchpole . Kate Howden, Mezzo-soprano 8 (Mrs Denton, Lucy, Margaret, Denton) 2:23 ) (Alice, Margaret) 2:26 Will Laud . William Wallace, Tenor 9 Margaret? (Barry, Margaret) 3:39 Come in, Margaret John Luff . Nicholas Morris, Bass The ripen’d corn in sheaves is born ¡ (Mrs Cobbold, Margaret) 6:30 (Second Labourer, Denton, First Labourer, John Barry . Alistair Ollerenshaw, Baritone Come then, Alice (Margaret, Alice, Laud) 8:46 0 Mrs Denton, Lucy, Barry) 5:10 ™ Crusoe . -
The Family Bach November 2016
Music of the Baroque Chorus and Orchestra Jane Glover, Music Director Violin 1 Flute Gina DiBello, Mary Stolper, principal concertmaster Alyce Johnson Kevin Case, assistant Oboe concertmaster Jennet Ingle, principal Kathleen Brauer, Peggy Michel assistant concertmaster Bassoon Teresa Fream William Buchman, Michael Shelton principal Paul Vanderwerf Horn Violin 2 Samuel Hamzem, Sharon Polifrone, principal principal Fritz Foss Ann Palen Rika Seko Harpsichord Paul Zafer Stephen Alltop François Henkins Viola Elizabeth Hagen, principal Terri Van Valkinburgh Claudia Lasareff- Mironoff Benton Wedge Cello Barbara Haffner, principal Judy Stone Mark Brandfonbrener Bass Collins Trier, principal Andrew Anderson Performing parts based on the critical edition Carl Philipp Emanuel Bach: The Complete Works (www.cpebach.org) were made available by the publisher, the Packard Humanities Institute of Los Altos, California. The Family Bach Jane Glover, conductor Sunday, November 20, 2016, 7:30 PM North Shore Center for the Performing Arts, Skokie Tuesday, November 22, 2016, 7:30 PM Harris Theater for Music and Dance, Chicago Gina DiBello, violin Mary Stolper, flute Sinfonia from Cantata No. 42 Johann Sebastian Bach (1685-1750) Adagio and Fugue for 2 Flutes Wilhelm Friedemann Bach and Strings in D Minor (1710-1784) Adagio Allegro Violin Concerto No. 2 in E Major J. S. Bach Allegro Adagio Allegro assai Gina DiBello, violin INTERMISSION Flute Concerto in B-flat Major Carl Philipp Emanuel Bach (1714-1788) Allegretto Adagio Allegro assai Mary Stolper, flute Symphony in G Minor, op. 6, no. 6 Johann Christian Bach (1735-1782) Allegro Andante più tosto Adagio Allegro molto Biographies Acclaimed British conductor Jane Glover has been Music of the Baroque’s music director since 2002. -
View Commencement Program
THOSE WHO EXCEL REACH THE STARS FRIDAY, MAY 10, 2019 THE RIVERSIDE CHURCH MANHATTAN SCHOOL OF MUSIC NINETY-THIRD COMMENCEMENT Processional The audience is requested to rise and remain standing during the processional. ANTHONY DILORENZO “The Golden Palace and the Steamship” from The Toymaker (b. 1967) WILLIAM WALTON Crown Imperial: Coronation March (1902–1983) (arr. J. Kreines) BRIAN BALMAGES Fanfare canzonique (b. 1975) Commencement Brass and Percussion Ensemble Kyle Ritenauer (BM ’11, MM ’15), Conductor Gustavo Leite (MM ’19), trumpet Changhyun Cha (MM ’20), trumpet Caleb Laidlaw (BM ’18, MM ’20), trumpet Sean Alexander (BM ’20), trumpet Imani Duhe (BM ’20), trumpet Matthew Beesmer (BM ’20), trumpet Olivia Pidi (MM ’19), trumpet Benjamin Lieberman (BM ’22), trumpet Kevin Newton (MM ’20), horn Jisun Oh (MM ’19), horn Eli Pandolfi (BM ’20), horn Liana Hoffman (BM ’20), horn Emma Potter (BM ’22), horn Kevin Casey (MM ’20), trombone Kenton Campbell (MM ’20), trombone Julia Dombroski (MM ’20), trombone David Farrell (MM ’20), trombone Morgan Fite (PS ’19), bass trombone Patrick Crider (MM ’19), bass trombone Mark Broschinsky (DMA ’11), euphonium Logan Reid (BM ’20), bass trombone Emerick Falta (BM ’21), tuba Brandon Figueroa (BM ’20), tuba Cooper Martell (BM ’20), percussion Hyunjung Choi (BM ’19), percussion Tae McLoughlin (BM ’20), percussion Hamza Able (BM ’20), percussion Introduction Monica Coen Christensen, Dean of Students Greetings Lorraine Gallard, Chair of the Board of Trustees James Gandre, President Presentation of Commencement Awards Laura Sametz, Member of the Musical Theatre faculty and the Board of Trustees Musical Interlude GEORGE LEWIS Artificial Life 2007 (b. 1952) Paul Mizzi (MM ’19), flute Wickliffe Simmons (MM ’19), cello Edward Forstman (MM ’19), piano Thomas Feng (MM ’19), piano Jon Clancy (MM ’19), percussion Presentation of the President’s Medal for Distinguished Service President Gandre Joyce Griggs, Executive Vice President and Provost John K. -
Publicity Book
JORY VINIKOUR conductor, harpsichordist Jory Vinikour is recognized as one of the outstanding harpsichordists of his generation. A highly diversified career brings him to the world!s most important festivals and concert halls as recital and concerto soloist, partner to several of today!s finest singers, and increasingly as a conductor. Born in Chicago, Jory Vinikour came to Paris on a scholarship from the Fulbright Foundation to study with Huguette Dreyfus and Kenneth Gilbert. First Prizes in the International Harpsichord Competitions of Warsaw (1993) and the Prague Spring Festival (1994) brought him to the public!s attention, and he has since appeared in festivals and concert series such as Besançon Festival, Deauville, Nantes, Monaco, Cleveland Museum of Art, Miami Bach Festival, Indianapolis Early Music Festival, etc. A concerto soloist with a repertoire ranging from Bach to Nyman, passing by Poulenc!s Concert Champêtre, Jory Vinikour has performed as soloist with leading orchestras including Rotterdam Philharmonic, Flanders Opera Orchestra, Orchestre de la Suisse Romande, Lausanne Chamber Orchestra, Philharmonic of Radio France, Ensemble Orchestral de Paris, and Moscow Chamber Orchestra with conductors such as Armin Jordan, Marc Minkowski, Marek Janowski, Constantine Orbelian, John Nelson, and Fabio Luisi. He recorded Frank Martin!s Petite Symphonie Concertante with the Lausanne Chamber Orchestra under the direction of Armin Jordan (Suisse Romande, 2005), and also performed the Harpsichord Concerto by the same composer with the Symphony Orchestra of the MDR in Leipzig!s Gewandhaus under the direction of Martin Haselböck in January of 2003. A complete musician, Mr. Vinikour is gaining a reputation as a conductor (studies with Vladimir Kin and Denise Ham) and music director. -
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International Masterclasses of French Baroque Music for Singers and Harpsichordists
International Masterclasses of French Baroque Music for Singers and Harpsichordists 7–11 March 2018 Academy of Performing Arts, Music and Dance Faculty Lichtenstein Palace, Praha 1 LECTURERS: Chantal Santon-Jeffery – solo vocal performance, interpretation, ornamentation Deda Cristina Colonna – gesture, scenic aspects, dance Jory Vinikour – harpsichord, basso continuo Benoît Dratwicki – rhetoric, declamation and pronunciation of the French language Barbara Nestola – rhetoric, declamation and pronunciation of the Italian language MASTERCLASS SYLLABUS AND OBJECTIVES: The attendants will study arias from Baroque operas and cantatas in French and Italian by composers such as Lully, Rameau, Campra, Montéclair and Clérambault, with a special emphasis on ornamentation, declamation, gesture and scenic aspects of performance. VOCALISTS: - individual lessons of solo performance and interpretation - individual lessons of gesture, dance and scenic aspects of performance - individual lessons of rhetoric and pronunciation of French and Italian languages - chamber music - lectures by leading specialists in the field - performance by the lecturers - final performance by the participants - possibility of attendance as an auditor for the duration of the masterclass HARPSICHORDISTS: - individual lessons (basso continuo, accompaniment of vocal repertoire) - chamber music (basso continuo, accompaniment of vocal repertoire) - lectures by leading specialists in the field - performance by the lecturers - final performance by the participants - possibility of attendance as an auditor for the duration of the masterclass The masterclasses are aimed at students from conservatories and music universities, professionals and music pedagogues. The classes will be taught through English. Sheet music for the studied material will be provided by the Centre de musique baroque de Versailles (free of charge). ATTENDANCE FEE: 2600 CZK / 100 EUR (including VAT) Attendance fee for auditors will be determined individually; the number of passive participants is limited.