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ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
Federica Marsico a Queer Approach to the Classical Myth of Phaedra in Music
Federica Marsico A Queer Approach to the Classical Myth of Phaedra in Music Kwartalnik Młodych Muzykologów UJ nr 34 (3), 7-28 2017 Federica Marsico UNIVERSITY OF PAVIA A Queer Approach to the Classical Myth of Phaedra in Music The Topic In the second half of the 20th century, the myth of Phaedra, according to which the wife of King Theseus of Athens desperately falls in love with her stepson Hippolytus, was set to music by three homosexual compos- ers in the following works: the dramatic cantata Phaedra for mezzo- soprano and small orchestra (1976) by Benjamin Britten (1913-1976) after a text by the American poet Robert Lowell, the opera Le Racine: pianobar pour Phèdre (1980) by Sylvano Bussotti (1931) after a libretto drafted by the Italian composer himself and consisting of a prologue, three acts, and an intermezzo, and, last but not least, the two-act con- cert opera Phaedra (2007) by Hans Werner Henze (1926-2012) after a libretto by the German poet Christian Lehnert.1 1 In the second half of the century, other musical adaptations of the myth were also composed, namely the one-act opera Phèdre by Marcel Mihalovici (1898–1986) after a text by Yvan Goll and consisting in a prologue and five scenes (1951), the chamber opera Syllabaire pour Phèdre by Maurice Ohana (1913–1992) after a text by Raphaël Cluzel (1968), and the monodrama Phaedra for mezzo-soprano and orchestra by George Rochberg (1918–2005) after a text by Gene Rosenfeld (1976). 7 Kwartalnik Młodych Muzykologów UJ, nr 34 (3/2017) This paper summarizes the results of a three-year research project (2013–2015)2 that has proved that the three above-mentioned homo- sexual composers wilfully chose a myth consistent with an incestu- ous—and thus censored—form of love in order to portray homoerotic desire, which the coeval heteronormative society of course labelled as deviant and hence condemned. -
Erik Van Heyningen, Bass Baritone
Erik Van Heyningen, Bass Baritone Bass-baritone Erik van Heyningen is currently a resident of New York City, where he is part of the Artist Diploma in Opera Studies program at the Juilliard School. The 2018-2019 season carries many debuts for Erik, including his Carnegie Hall debut as the bass soloist in Mastervoice’s performance of Israel in Egypt, Leporello in Don Giovanni at the Juilliard School, 1st Nazarene in Salome at the Spoleto Festival, and Fernando in La gazza ladra at Teatro Nuovo. Erik Van Heyningen was a member of the 2017-2018 Michigan Opera Theatre Studio Artist program. There, he performed Angelotti and the Jailer in Tosca, Count Ceprano in Rigoletto, and Ernest Hemingway et. al in Ricky Ian Gordon’s 27. In early 2018, he made his Austin Opera debut as Truffaldino in Ariadne auf Naxos. In the summer of 2018, Erik returned to Santa Fe Opera as an Apprentice Artist to perform The Imperial Commissioner in Madame Butterfly, and Ragotzki/Archbishop in Candide. In the Summer of 2017, he joined the Santa Fe Opera for his first season as an Apprentice Artist and received the Donald Gramm Memorial award. In the Spring of 2016, Mr. Van Heyningen was a Richard Gaddes Festival Artist with Opera Theater of St. Louis, where he appeared as Truffaldino. Erik spent the previous two summers as a Gerdine Young Artist at the Opera Theatre of St. Louis, performing as both the Jailer in Dialogues of the Carmelites and Simon Fenton in Emmeline, and received the Richman Memorial Award. In addition to his operatic work, Mr. -
Iolanta Bluebeard's Castle
iolantaPETER TCHAIKOVSKY AND bluebeard’sBÉLA BARTÓK castle conductor Iolanta Valery Gergiev Lyric opera in one act production Libretto by Modest Tchaikovsky, Mariusz Treliński based on the play King René’s Daughter set designer by Henrik Hertz Boris Kudlička costume designer Bluebeard’s Castle Marek Adamski Opera in one act lighting designer Marc Heinz Libretto by Béla Balázs, after a fairy tale by Charles Perrault choreographer Tomasz Wygoda Saturday, February 14, 2015 video projection designer 12:30–3:45 PM Bartek Macias sound designer New Production Mark Grey dramaturg The productions of Iolanta and Bluebeard’s Castle Piotr Gruszczyński were made possible by a generous gift from Ambassador and Mrs. Nicholas F. Taubman general manager Peter Gelb Additional funding was received from Mrs. Veronica Atkins; Dr. Magdalena Berenyi, in memory of Dr. Kalman Berenyi; music director and the National Endowment for the Arts James Levine principal conductor Co-production of the Metropolitan Opera and Fabio Luisi Teatr Wielki–Polish National Opera The 5th Metropolitan Opera performance of PETER TCHAIKOVSKY’S This performance iolanta is being broadcast live over The Toll Brothers– Metropolitan Opera International Radio Network, sponsored conductor by Toll Brothers, Valery Gergiev America’s luxury in order of vocal appearance homebuilder®, with generous long-term marta duke robert support from Mzia Nioradze Aleksei Markov The Annenberg iol anta vaudémont Foundation, The Anna Netrebko Piotr Beczala Neubauer Family Foundation, the brigit te Vincent A. Stabile Katherine Whyte Endowment for Broadcast Media, l aur a and contributions Cassandra Zoé Velasco from listeners bertr and worldwide. Matt Boehler There is no alméric Toll Brothers– Keith Jameson Metropolitan Opera Quiz in List Hall today. -
New World Records
New World Records NEW WORLD RECORDS 701 Seventh Avenue, New York, New York 10036; (212) 302-0460; (212) 944-1922 fax email: [email protected] www.newworldrecords.org Songs of Samuel Barber and Ned Rorem New World NW 229 Songs of Samuel Barber romanticism brought him early success as a com- poser. Because of his First Symphony (1936, amuel Barber was born on March 9, 1910, in revised 1942), Bruno Walter thought of him as SWest Chester, Pennsylvania. He remembers “the pioneer of the American symphony.”(“That’s that his parents never particularly encouraged not true,” said Barber almost forty years later. him to become a musician, but as his mother’s “That should be Roy Harris.”) In the late thirties sister, the renowned Metropolitan Opera singer Barber was the first American to be performed Louise Homer, was a frequent visitor to the by Arturo Toscanini (Adagio for Strings and First Barber home, the atmosphere there was not at all Essay for Orchestra), and, not long after, his inimical to musical aspirations. Barber began to music was championed by artists of the stature study piano at six and composed his first music a of Bruno Walter (First Symphony and Second year later (a short piano piece in C minor called Essay for Orchestra), Eugene Ormandy (Violin “Sadness”). When he was ten he composed one Concerto), Artur Rodzinski (First Symphony), act of an opera, The Rose Tree, to a libretto by Serge Koussevitsky (Second Symphony), Martha the family’s Irish cook. At fourteen Barber Graham (Medea), and Vladimir Horowitz entered the newly opened Curtis Institute of (Excursions and Piano Sonata). -
Central Opera Service Bulletin
CENTRAL OPERA SERVICE BULLETIN WINTER, 1972 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center Plaza • Metropolitan Opera • New York, N.Y. 10023 • 799-3467 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Canter Plaza • Metropolitan Opera • New York, NX 10023 • 799.3467 CENTRAL OPERA SERVICE COMMITTEE ROBERT L. B. TOBIN, National Chairman GEORGE HOWERTON, National Co-Chairman National Council Directors MRS. AUGUST BELMONT MRS. FRANK W. BOWMAN MRS. TIMOTHY FISKE E. H. CORRIGAN, JR. CARROLL G. HARPER MRS. NORRIS DARRELL ELIHU M. HYNDMAN Professional Committee JULIUS RUDEL, Chairman New York City Opera KURT HERBERT ADLER MRS. LOUDON MEI.LEN San Francisco Opera Opera Soc. of Wash., D.C. VICTOR ALESSANDRO ELEMER NAGY San Antonio Symphony Ham College of Music ROBERT G. ANDERSON MME. ROSE PALMAI-TENSER Tulsa Opera Mobile Opera Guild WILFRED C. BAIN RUSSELL D. PATTERSON Indiana University Kansas City Lyric Theater ROBERT BAUSTIAN MRS. JOHN DEWITT PELTZ Santa Fe Opera Metropolitan Opera MORITZ BOMHARD JAN POPPER Kentucky Opera University of California, L.A. STANLEY CHAPPLE GLYNN ROSS University of Washington Seattle Opera EUGENE CONLEY GEORGE SCHICK No. Texas State Univ. Manhattan School of Music WALTER DUCLOUX MARK SCHUBART University of Texas Lincoln Center PETER PAUL FUCHS MRS. L. S. STEMMONS Louisiana State University Dallas Civic Opera ROBERT GAY LEONARD TREASH Northwestern University Eastman School of Music BORIS GOLDOVSKY LUCAS UNDERWOOD Goldovsky Opera Theatre University of the Pacific WALTER HERBERT GIDEON WALDKOh Houston & San Diego Opera Juilliard School of Music RICHARD KARP MRS. J. P. WALLACE Pittsburgh Opera Shreveport Civic Opera GLADYS MATHEW LUDWIG ZIRNER Community Opera University of Illinois See COS INSIDE INFORMATION on page seventeen for new officers and members of the Professional Committee. -
The Inventory of the Phyllis Curtin Collection #1247
The Inventory of the Phyllis Curtin Collection #1247 Howard Gotlieb Archival Research Center Phyllis Curtin - Box 1 Folder# Title: Photographs Folder# F3 Clothes by Worth of Paris (1900) Brooklyn Academy F3 F4 P.C. recording F4 F7 P. C. concert version Rosenkavalier Philadelphia F7 FS P.C. with Russell Stanger· FS F9 P.C. with Robert Shaw F9 FIO P.C. with Ned Rorem Fl0 F11 P.C. with Gerald Moore Fl I F12 P.C. with Andre Kostelanetz (Promenade Concerts) F12 F13 P.C. with Carlylse Floyd F13 F14 P.C. with Family (photo of Cooke photographing Phyllis) FI4 FIS P.C. with Ryan Edwards (Pianist) FIS F16 P.C. with Aaron Copland (televised from P.C. 's home - Dickinson Songs) F16 F17 P.C. with Leonard Bernstein Fl 7 F18 Concert rehearsals Fl8 FIS - Gunther Schuller Fl 8 FIS -Leontyne Price in Vienna FIS F18 -others F18 F19 P.C. with hairdresser Nina Lawson (good backstage photo) FI9 F20 P.C. with Darius Milhaud F20 F21 P.C. with Composers & Conductors F21 F21 -Eugene Ormandy F21 F21 -Benjamin Britten - Premiere War Requiem F2I F22 P.C. at White House (Fords) F22 F23 P.C. teaching (Yale) F23 F25 P.C. in Tel Aviv and U.N. F25 F26 P. C. teaching (Tanglewood) F26 F27 P. C. in Sydney, Australia - Construction of Opera House F27 F2S P.C. in Ipswich in Rehearsal (Castle Hill?) F2S F28 -P.C. in Hamburg (large photo) F2S F30 P.C. in Hamburg (Strauss I00th anniversary) F30 F31 P. C. in Munich - German TV F31 F32 P.C. -
Philharmonic Hall Lincoln Center F O R T H E Performing Arts
PHILHARMONIC HALL LINCOLN CENTER F O R T H E PERFORMING ARTS 1968-1969 MARQUEE The Chamber Music Society of Lincoln Center is Formed A new PERFORMiNG-arts institution, The Chamber Music Society of Lincoln Center, will begin its first season of con certs next October with a subscription season of 16 concerts in eight pairs, run ning through early April. The estab lishment of a chamber music society completes the full spectrum of perform ing arts that was fundamental to the original concept of Lincoln Center. The Chamber Music Society of Lin coln Center will have as its home the Center’s new Alice Tully Hall. This intimate hall, though located within the new Juilliard building, will be managed by Lincoln Center as an independent Wadsworth Carmirelli Treger public auditorium, with its own entrance and box office on Broadway between 65th and 66th Streets. The hall, with its 1,100 capacity and paneled basswood walls, has been specifically designed for chamber music and recitals. The initial Board of Directors of the New Chamber Music Society will com prise Miss Alice Tully, Chairman; Frank E. Taplin, President; Edward R. Ward well, Vice-President; David Rockefeller, Jr., Treasurer; Sampson R. Field, Sec retary; Mrs. George A. Carden; Dr. Peter Goldmark; Mrs. William Rosen- wald and Dr. William Schuman. The Chamber Music Society is being organ ized on a non-profit basis and, like other cultural institutions, depends upon voluntary contributions for its existence. Charles Wadsworth has been ap pointed Artistic Director of The Cham ber Music Society of Lincoln Center. The Society is the outgrowth of an in tensive survey of the chamber music field and the New York chamber music audience, conducted by Mr. -
Così Fan Tutte
Wolfgang Amadeus Mozart Così fan tutte CONDUCTOR Opera in two acts James Levine Libretto by Lorenzo Da Ponte PRODUCTION Lesley Koenig Saturday, April 26, 2014, 1:00–4:40 pm SET & COSTUME DESIGNER Michael Yeargan LIGHTING DESIGNER Duane Schuler STAGE DIRECTOR Robin Guarino This production of Così fan tutte was made possible by a generous gift from Alberto Vilar. Additional funding was provided by the Metropolitan Opera Club; the Denenberg Foundation, in honor of Dan Denenberg; The DuBose and Dorothy Heyward Memorial Fund; and the late Mr. and Mrs. Samuel L. Tedlow. The revival of this production is made possible GENERAL MANAGER Peter Gelb by a gift from DOLCE & GABBANA. MUSIC DIRECTOR James Levine PRINCIPAL CONDUCTOR Fabio Luisi 2013–14 Season The 184th Metropolitan Opera performance of Wolfgang Amadeus Mozart’s Così fan tutte This performance is being broadcast live over The Conductor Toll Brothers– James Levine Metropolitan Opera International IN ORDER OF VOCAL APPEARANCE Radio Network, sponsored by Ferrando Toll Brothers, Matthew Polenzani America’s luxury homebuilder®, with Guglielmo generous long-term Rodion Pogossov* support from Don Alfonso The Annenberg Maurizio Muraro Foundation, The Neubauer Family Fiordiligi Foundation, the Susanna Phillips Vincent A. Stabile Endowment for Dorabella Broadcast Media, Isabel Leonard and contributions from listeners Despina worldwide. Danielle de Niese* This performance is Cello Continuo also being broadcast David Heiss live on Metropolitan Opera Radio on Harpsichord Continuo SiriusXM channel 74. Howard Watkins* Saturday, April 26, 2014, 1:00–4:40 pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation. -
Hans Werner Henze Und Ingeborg Bachmann: Die Gemeinsamen Werke
Christian Bielefeldt Hans Werner Henze und Ingeborg Bachmann: Die gemeinsamen Werke Christian Bielefeldt, Dr. phil., Studium in Hamburg, Tätigkeit als Theatercellist, 1994 Gründung von TRE MODI, Ensemble für Alte und Neue Musik. 1998-2000 Stipendiat am DFG-Graduiertenkolleg »In- termedialität« (Siegen). Veröffentlichungen zu Neuer Musik und Filmmusik. Christian Bielefeldt Hans Werner Henze und Ingeborg Bachmann: Die gemeinsamen Werke Beobachtungen zur Intermedialität von Musik und Dichtung Der Abdruck von Zitaten aus dem unveröffentlichten Nachlass Inge- borg Bachmanns geschieht mit ausdrücklicher Erlaubnis der Erben, bei denen die Abdruckrechte gleichwohl verbleiben. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Bibliografische Information der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Angaben sind im Internet über http://dnb.ddb.de abrufbar. © 2003 transcript Verlag, Bielefeld Umschlaggestaltung: Kordula Röckenhaus, Bielefeld, unter Verwendung einer Partiturseite aus: Hans Werner Henze, Reinschrift der Musik zu Ingeborg Bachmanns Hörspiel »Die Zikaden« (1955/56), S. 1; © Sammlung Hans Werner Henze (Depositum Schott Musik International), Paul Sacher Stiftung, Basel Lektorat & Satz: Christian Bielefeldt Druck: Majuskel Medienproduktion GmbH, Wetzlar ISBN 3-89942-136-1 INHALT Vorwort 9 Biographisches 14 Zur Forschung 17 I. Konzepte von Intermedialität bei Henze und Bachmann 21 Erster Auftakt: Die Konstruktion der Überschreitung 27 Lacan. Sprache, Musik und das Genießen 31 Der Braunschweiger Vortrag: Henzes „geistige Rede der Musik“ 37 Zweiter Auftakt: Die menschliche Stimme 43 Barthes. Die Stimme und das Genießen 45 Musik und Dichtung: Die Intermedialität der Stimme 49 II. Ballettpantomime: Der Idiot 57 Musik aus der Hand der Trauer: Reihen- und Zitattechnik im Idioten 62 Intrada und Danse Nr. -
160 161 Hans Werner Henze: Distantes Ideales De Belleza
www.elboomeran.com Revista Claves de Razón Práctica nº247 SEMBLANZAS al terreno sinfónico –diez sinfonías cuya escritura se extiende des- de 1946 a 2000– o al mundo del ballet. Hans Werner Henze fue el único compositor que, en un momento en el que la vanguardia oficial de posguerra dictaminaba desde los cursos de Henze: distantes Darmstadt una absoluta ruptura con el pasado, en una suerte de tabula rasa, para imponer un paradigma musical fundado sobre un excluyente rigor constructivo, mantuvo un fértil diálogo con la tra- ideales de belleza dición. Diálogo siempre impelido por la necesidad expresiva que domina toda su producción y que, en ese sentido, tampoco podía, ni quería, renunciar a las nuevas conquistas sonoras surgidas a lo largo del siglo XX y que él mismo exploró desde primera hora. Su La música del compositor se asienta actitud, sin embargo, no tenía nada de autocomplaciente. Podría en un diálogo, tan fértil como polémico, decirse incluso que la figura de Henze resultó, en su recepción entre los lenguajes del siglo XX pública, víctima de perpetuos malentendidos, a pesar de que si- multáneamente fuera uno de los compositores más presentes en y las formas heredadas de la tradición. los principales escenarios del mundo. En las crónicas publicadas a raíz de su fallecimiento era perceptible tal situación. Tachado de DAVID CORTÉS SANTAMARTA retrógrado por los adalides de la vanguardia y de demasiado radi- cal –tanto en términos estéticos como, sobre todo, políticos– entre los conservadores. Para los primeros Henze fue alguien que trai- Asumir la mirada retrospectiva a la que obliga, necesariamente, cionó la causa vanguardista, siendo esto todavía más grave dado la muerte de un creador, resulta en el caso del compositor alemán que había demostrado su completo dominio de las nuevas técnicas: Hans Werner Henze –fallecido en 2012 a los 86 años de edad- ahí está Antifone o, gesto hiriente, la impecable y estricta organiza- una labor abrumadora. -
DANIEL OTTEVAERE +33 (0)6 64 95 82 24 - [email protected]
Carlos in Lisboa (Salome); at the Seoul Art Centre (Salome); at the Teatro Colón de Buenos Aires (The Childhood of Christ); at the Opera des Flandres (Cendrillon); at Ludwigshafen am Rhein (Boulevard Solitude); at the Opera de Monte-Carlo (Cendrillon)… He performs in Orange Festival (Macbeth), in Bregenz Festival (Le Roi Arthus), in Montpellier Radio-France Festival (Salome), in Saint-Céré Festival (The Magic Flute), in Albi Festival (The Rape of Lucretia)… He sings several characters in international creations: La Chatte Anglaise by Henze (comic opera), Doctor Faustus by K.Boehmer (Palais Garnier), Maître et Marguerite by Y.Höller (Palais Garnier), Prova d'Orchestra by Battistelli (Opera du Rhin), Yamaon by G. Scelsi within the context of the Beaux Arts Philharmonic Season in Brussels with Ensemble Musique Nouvelles (Belgian creation),… During the concert, he interprets La Damnation de Faust and The Childhood of Christ by Berlioz, Mozart's Requiem and Coronation Mass, Haydn's Theresienmesse and The Seven Last Words of Christ, Bach's Magnificat and cantatas 140, 211, 85 and 82, Schumann's Dichterliebe, Schubert's Lieder and Winterreise, Brahms… , Haendel's Alexander's Feast and Brahms' Requiem, … 138 rue Adolphe Defrenne - F 59160 LOMME DANIEL OTTEVAERE +33 (0)6 64 95 82 24 - [email protected] Daniel Ottevaere was born in Brussels. He also regularly sings for Radio France: War and Peace, Salome, La Forza del Destino, He studied singing, lyric art and melody The Beatitudes and various lyric concerts,… in Brussels (at the age of 19, he wins the 1st Prize in Jules Bastin's course at He sings with renowned artists such as Montserrat Caballé, Régine Crespin, Ruggero the Royal Conservatoire of Music), in Raimondi, Barbara Hendricks, José Van Dam, Nicolaï Gedda, June Anderson, Hans Vienna (with Hans Hotter) and in Hotter, Eva Marton, Bernd Weikl, Alfredo Kraus, Galina Vichnievskaïa, Roberto Alagna… Castelfranco-Veneto in Italy.