Performer Biographies
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Bibliography for the Study of Shakespeare on Film in Asia and Hollywood
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 6 (2004) Issue 1 Article 13 Bibliography for the Study of Shakespeare on Film in Asia and Hollywood Lucian Ghita Purdue University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the Critical and Cultural Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Ghita, Lucian. "Bibliography for the Study of Shakespeare on Film in Asia and Hollywood." CLCWeb: Comparative Literature and Culture 6.1 (2004): <https://doi.org/10.7771/1481-4374.1216> The above text, published by Purdue University Press ©Purdue University, has been downloaded 2531 times as of 11/ 07/19. -
01-25-2020 Boheme Eve.Indd
GIACOMO PUCCINI la bohème conductor Opera in four acts Marco Armiliato Libretto by Giuseppe Giacosa and production Franco Zeffirelli Luigi Illica, based on the novel Scènes de la Vie de Bohème by Henri Murger set designer Franco Zeffirelli Saturday, January 25, 2020 costume designer 8:00–11:05 PM Peter J. Hall lighting designer Gil Wechsler revival stage director Gregory Keller The production of La Bohème was made possible by a generous gift from Mrs. Donald D. Harrington Revival a gift of Rolex general manager Peter Gelb This season’s performances of La Bohème jeanette lerman-neubauer and Turandot are dedicated to the memory music director Yannick Nézet-Séguin of Franco Zeffirelli. 2019–20 SEASON The 1,344th Metropolitan Opera performance of GIACOMO PUCCINI’S la bohème conductor Marco Armiliato in order of vocal appearance marcello muset ta Artur Ruciński Susanna Phillips rodolfo a customhouse serge ant Roberto Alagna Joseph Turi colline a customhouse officer Christian Van Horn Edward Hanlon schaunard Elliot Madore* benoit Donald Maxwell mimì Maria Agresta Tonight’s performances of parpignol the roles of Mimì Gregory Warren and Rodolfo are underwritten by the alcindoro Jan Shrem and Donald Maxwell Maria Manetti Shrem Great Singers Fund. Saturday, January 25, 2020, 8:00–11:05PM MARTY SOHL / MET OPERA Roberto Alagna as Chorus Master Donald Palumbo Rodolfo and Maria Musical Preparation Caren Levine*, Joshua Greene, Agresta as Mimì in Jonathan C. Kelly, and Patrick Furrer Puccini’s La Bohème Assistant Stage Directors Mirabelle Ordinaire and J. Knighten Smit Met Titles Sonya Friedman Stage Band Conductor Joseph Lawson Children’s Chorus Director Anthony Piccolo Italian Coach Loretta Di Franco Prompter Joshua Greene Associate Designer David Reppa Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes executed by Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department Ladies millinery by Reggie G. -
American Spiritual Program Spring 2009
American Spiritual Ensemble Sunday, February 22, 2009 • 4 p.m. Asbury United Methodist Church Comprised of some of the finest voices in the world, the internationally acclaimed ensemble offers stirring renditions of Negro spirituals, Broadway songs and other music in the African-American tradition. The concert is sponsored by Asbury United Methodist Church; the Peter and Judy Jackson Music Performance Fund; Salisbury University’s Department of Music, Office of the Dean of the Charles R. and Martha N. Fulton School of Liberal Arts and Office of Multicultural Student Services; the SU Foundation, Inc.; and is made possible, in part, by a grant from the Salisbury Wicomico Arts Council, awarded by the Maryland State Arts Council and the National Endowment for the Arts. AMERICAN SPIRITUAL ENSEMBLE EVERETT MCCORVEY , F OUNDER AND MUSIC DIRECTOR www.americanspiritualensemble.com PROGRAM Walk Together, Children ............................................................arr. William Henry Smith We Shall Walk Through the Valley in Peace ............................................arr. Moses Hogan Plenty Good Room ......................................................................arr. William Henry Smith Oh, What A Beautiful City! ........................................................................arr. Johnie Dean Mari-Yan Pringle, Jeryl Cunningham, Sopranos I Want Jesus to Walk With Me ....................arr. Eurydice Osterman/Tedrin Blair Lindsay Ricky Little, Baritone Fi-yer, Fi-yer Lord (from the operetta Fi-yer! )......................Hall -
A Historical Study of Management-Labor Relations Pertaining to the Dieselization of Railroads in the United States
This dissertation has been microfilmed exactly as received 66—15,063 A D L E R , Jr., Philip, 1930— A HISTORICAL STUDY OF MANAGEMENT-LABOR RELATIONS PERTAINING TO THE DIESELIZATION OF RAILROADS IN THE UNITED STATES. The Ohio State University, Ph.D., 1966 Economics, commerce-business University Microfilms, Inc., Ann Arbor, Michigan A HISTORICAL STUDY OF laiAOSRSLT-IABCB RELATIONS PERTAINING TO THE DISSSIJSATIOE OF RAILROADS IK THE UNITED STATES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohic State University 2y Philip Adler, Jr., B. 3 B. A. The Ohio State University 1?66 sproved b y : r~Advig? Jy Depai'tment of Business Organisation ACKNOWLEDGMENTS I wish to express sincere appreciation to those who have helped in the organization and development of this investigation. It is impossible to list here the names of all who have given so generously of their time and knowledge to make this study possible. I am particularly indebted to my adviser, Dr. Michael Jucius, without whose guidance, patience, and inspiration this study would not have been possible. I would like to thank the members of ny reading committee, Professor Charles B. Hicks, Professor Rate Howell, and Professor Reed M. Powell for their valuable criticisms and suggestions. I also would like to thank the various individuals from the railroad industry for their enthusiastic cooperation throughout the research for this study. The encouragement provided by Mrs. Mildred Chavous of the Graduate School is most deeply appreciated, as is the guidance provided by the editorial staff of the Graduate School. -
The Tragedy of Hamlet
THE TRAGEDY OF HAMLET THE WORKS OF SHAKESPEARE THE TRAGEDY OF HAMLET EDITED BY EDWARD DOWDEN n METHUEN AND CO. 36 ESSEX STREET: STRAND LONDON 1899 9 5 7 7 95 —— CONTENTS PAGE Introduction ix The Tragedy of Hamlet i Appendix I. The "Travelling" of the Players. 229 Appendix II.— Some Passages from the Quarto of 1603 231 Appendix III. Addenda 235 INTRODUCTION This edition of Hamlet aims in the first place at giving a trustworthy text. Secondly, it attempts to exhibit the variations from that text which are found in the primary sources—the Quarto of 1604 and the Folio of 1623 — in so far as those variations are of importance towards the ascertainment of the text. Every variation is not recorded, but I have chosen to err on the side of excess rather than on that of defect. Readings from the Quarto of 1603 are occa- sionally given, and also from the later Quartos and Folios, but to record such readings is not a part of the design of this edition. 1 The letter Q means Quarto 604 ; F means Folio 1623. The dates of the later Quartos are as follows: —Q 3, 1605 161 1 undated 6, For ; Q 4, ; Q 5, ; Q 1637. my few references to these later Quartos I have trusted the Cambridge Shakespeare and Furness's edition of Hamlet. Thirdly, it gives explanatory notes. Here it is inevitable that my task should in the main be that of selection and condensation. But, gleaning after the gleaners, I have perhaps brought together a slender sheaf. -
[Collection Title]
1 New Orleans Opera Association Archives 99 boxes/68 linear ft Special Collections & Archives J. Edgar & Louise S. Monroe Library Loyola University New Orleans Collection 74 2 Contents Collection Summary ....................................................................................................................... 3 Series Description .......................................................................................................................... 7 Container List ................................................................................................................................. 8 Series I: Administrative Files ..................................................................................................... 8 Subseries I-A: Artist Fees ...................................................................................................... 8 Subseries I-B: Awards and Grants ......................................................................................... 8 Subseries I-C: Board of Directors 1943-1999 ........................................................................ 9 Subseries I-D: Budgets ........................................................................................................ 10 Subseries I-E: Clubs and Guilds .......................................................................................... 10 Subseries I-F: Correspondence ............................................................................................ 10 Subseries I-G: Facilities and Sets ........................................................................................ -
German Jews in the United States: a Guide to Archival Collections
GERMAN HISTORICAL INSTITUTE,WASHINGTON,DC REFERENCE GUIDE 24 GERMAN JEWS IN THE UNITED STATES: AGUIDE TO ARCHIVAL COLLECTIONS Contents INTRODUCTION &ACKNOWLEDGMENTS 1 ABOUT THE EDITOR 6 ARCHIVAL COLLECTIONS (arranged alphabetically by state and then city) ALABAMA Montgomery 1. Alabama Department of Archives and History ................................ 7 ARIZONA Phoenix 2. Arizona Jewish Historical Society ........................................................ 8 ARKANSAS Little Rock 3. Arkansas History Commission and State Archives .......................... 9 CALIFORNIA Berkeley 4. University of California, Berkeley: Bancroft Library, Archives .................................................................................................. 10 5. Judah L. Mages Museum: Western Jewish History Center ........... 14 Beverly Hills 6. Acad. of Motion Picture Arts and Sciences: Margaret Herrick Library, Special Coll. ............................................................................ 16 Davis 7. University of California at Davis: Shields Library, Special Collections and Archives ..................................................................... 16 Long Beach 8. California State Library, Long Beach: Special Collections ............. 17 Los Angeles 9. John F. Kennedy Memorial Library: Special Collections ...............18 10. UCLA Film and Television Archive .................................................. 18 11. USC: Doheny Memorial Library, Lion Feuchtwanger Archive ................................................................................................... -
TURANDOT Cast Biographies
TURANDOT Cast Biographies Soprano Martina Serafin (Turandot) made her San Francisco Opera debut as the Marshallin in Der Rosenkavalier in 2007. Born in Vienna, she studied at the Vienna Conservatory and between 1995 and 2000 she was a member of the ensemble at Graz Opera. Guest appearances soon led her to the world´s premier opera stages, including at the Vienna State Opera where she has been a regular performer since 2005. Serafin´s repertoire includes the role of Lisa in Pique Dame, Sieglinde in Die Walküre, Elisabeth in Tannhäuser, the title role of Manon Lescaut, Lady Macbeth in Macbeth, Maddalena in Andrea Chénier, and Donna Elvira in Don Giovanni. Upcoming engagements include Elsa von Brabant in Lohengrin at the Opéra National de Paris and Abigaille in Nabucco at Milan’s Teatro alla Scala. Dramatic soprano Nina Stemme (Turandot) made her San Francisco Opera debut in 2004 as Senta in Der Fliegende Holländer, and has since returned to the Company in acclaimed performances as Brünnhilde in 2010’s Die Walküre and in 2011’s Ring cycle. Since her 1989 professional debut as Cherubino in Cortona, Italy, Stemme’s repertoire has included Rosalinde in Die Fledermaus, Mimi in La Bohème, Cio-Cio-San in Madama Butterfly, the title role of Manon Lescaut, Tatiana in Eugene Onegin, the title role of Suor Angelica, Euridice in Orfeo ed Euridice, Katerina in Lady Macbeth of Mtsensk, the Countess in Le Nozze di Figaro, Marguerite in Faust, Agathe in Der Freischütz, Marie in Wozzeck, the title role of Jenůfa, Eva in Die Meistersinger von Nürnberg, Elsa in Lohengrin, Amelia in Un Ballo in Machera, Leonora in La Forza del Destino, and the title role of Aida. -
Subscribers Save up to 49%
SUBSCRIBERS SAVE UP TO 49% DON GIOVANNI RUSALKA THE ELIXIR OF LOVE CARMEN THE 2015-2016 SEASON AT THE KAUFFMAN CENTER FOR THE PERFORMING ARTS 1 Few experiences on earth reveal the sheer beauty of the human voice quite like it. Opera has the power to move, to change, to enthrall and to delight. It touches our every emotion and leaves us breathless. Lyric Opera of Kansas City is thrilled to include four spectacular works for this upcoming season. Don Giovanni, Mozart’s haunting tale of lust and ultimate consequence, is updated to the smoky days of film noir, complete with fedoras and femme fatales. Rusalka is Dvořák’s lush and enchanting legend of a mermaid whose desperate quest for love means sacrificing her very self. The Elixir of Love, from Donizetti, is a delightful, bright and funny romp in a charming small town where snake oil may actually work. And finally, Carmen, Bizet’s sweeping masterpiece of seduction and betrayal, is complete with flaming dress and fighting bull. The 2015-16 season will dazzle, seduce, thrill and charm with each performance. Lyric Opera brings the best and the brightest artists to Kansas City, so don’t miss your chance to secure your seat. Our Season Ticket offers have more options than ever before, so order yours today! © Aaron Lindberg Lindberg © Aaron 21 Order tickets today at kcopera.org or call 816.471.7344 Subscriptions START AT JUST $79! © Aaron Lindberg Lindberg © Aaron Dark shadows hide mistaken identities while intrigue and revenge abound. © Patrick Pfister for Kentucky Opera Order tickets today at kcopera.org or call 816.471.7344 September 26 - October 4, 2015 MOZART'S Dark Desires and Destiny. -
City-Map-2017.Pdf
3 New Town Hall 11 Hofbräuhaus The Kunstareal (art quarter) Our Service Practical Tips Located in walking distance to one another, the rich variety contained in the museums and galleries in immediate proximity to world-renowned München Tourismus offers a wide range of services – personal and Arrival universities and cultural institutions in the art quarter is a unique multilingual – to help you plan and enjoy your stay with various By plane: Franz-Josef-Strauß Airport MUC. Transfer to the City by treasure. Cultural experience is embedded in a vivacious urban space offers for leisure time, art and culture, relaxation and enjoyment S-Bahn S1, S8 (travel time about 40 min). Airport bus to main train featuring hip catering and terrific parks. In the Alte Pinakothek 1 , in the best Munich way. station (travel time about 45 min). Taxi. Neue Pinakothek 2 and Pinakothek der Moderne 3 , Museum By railroad: Munich Hauptbahnhof, Ostbahnhof, Pasing Brandhorst 4 and the Egpytian Museum 5 as well as in the art By car: A8, A9, A92, A95, A96. Since 2008 there has been a low-emission galleries around Königsplatz 6 – the Municipal Gallery in Lenbach- Information about Munich/ zone in Munich. It covers the downtown area within the “Mittlerer Ring” haus 7 , the State Collections of Antiques 8 , the Glyptothek 9 and Hotel Reservation but not the ring itself. Access is only granted to vehicles displaying the the Documentation Center for the History of National Socialism 10 appropriate emission-control sticker valid all over Germany. – a unique range of art, culture and knowledge from more than 5,000 Mon-Fr 9am-5pm Phone +49 89 233-96500 www.muenchen.de/umweltzone 9 Church of Our Lady 6 Viktualienmarkt 6 Königsplatz years of human history can be explored. -
Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and -
Hamlet-Production-Guide.Pdf
ASOLO REP EDUCATION & OUTREACH PRODUCTION GUIDE 2016 Tour PRODUCTION GUIDE By WILLIAM SHAKESPEARE ASOLO REP Adapted and Directed by JUSTIN LUCERO EDUCATION & OUTREACH TOURING SEPTEMBER 27 - NOVEMBER 22 ASOLO REP LEADERSHIP TABLE OF CONTENTS Producing Artistic Director WHAT TO EXPECT.......................................................................................1 MICHAEL DONALD EDWARDS WHO CAN YOU TRUST?..........................................................................2 Managing Director LINDA DIGABRIELE PEOPLE AND PLOT................................................................................3 FSU/Asolo Conservatory Director, ADAPTIONS OF SHAKESPEARE....................................................................5 Associate Director of Asolo Rep GREG LEAMING FROM THE DIRECTOR.................................................................................6 SHAPING THIS TEXT...................................................................................7 THE TRAGEDY OF HAMLET CREATIVE TEAM FACT IN THE FICTION..................................................................................9 Director WHAT MAKES A GHOST?.........................................................................10 JUSTIN LUCERO UPCOMING OPPORTUNITIES......................................................................11 Costume Design BECKI STAFFORD Properties Design MARLÈNE WHITNEY WHAT TO EXPECT Sound Design MATTHEW PARKER You will see one of Shakespeare’s most famous tragedies shortened into a 45-minute Fight Choreography version