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8.112023-24 Bk Menotti Amelia EU 26-03-2010 9:41 Pagina 16
8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 16 Gian Carlo MENOTTI Also available The Consul • Amelia al ballo LO M CAR EN N OT IA T G I 8.669019 19 gs 50 din - 1954 Recor Patricia Neway • Marie Powers • Cornell MacNeil 8.669140-41 Orchestra • Lehman Engel Margherita Carosio • Rolando Panerai • Giacinto Prandelli Chorus and Orchestra of La Scala, Milan • Nino Sanzogno 8.112023-24 16 8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 2 MENOTTI CENTENARY EDITION Producer’s Note This CD set is the first in a series devoted to the compositions, operatic and otherwise, of Gian Carlo Menotti on Gian Carlo the occasion of his centenary in 2011. The recordings in this series date from the mid-1940s through the late 1950s, and will feature several which have never before appeared on CD, as well as some that have not been available in MENOTTI any form in nearly half a century. The present recording of The Consul, which makes its CD début here, was made a month after the work’s (1911– 2007) Philadelphia première. American Decca was at the time primarily a “pop” label, the home of Bing Crosby and Judy Garland, and did not yet have much experience in the area of Classical music. Indeed, this recording seems to have been done more because of the work’s critical acclaim on the Broadway stage than as an opera, since Decca had The Consul also recorded Arthur Miller’s Death of a Salesman with members of the original cast around the same time. -
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 -
The Old Maid and the Thief by Gian Carlo Menotti a Grotesque Opera in 14 Scenes
THE BELHAVEN UNIVERSITY DEPARTMENT OF MUSIC Dr. Stephen W. Sachs, Chair presents Two Hilarious American Operas: The Telephone by Gian Carlo Menotti An Opera Buffa in One Act The Old Maid and the Thief by Gian Carlo Menotti A Grotesque Opera in 14 Scenes Dr. Christopher Shelt, Artistic Director Friday, November 19, 2010 at 7:30pm & Saturday, November 20, 2010 at 2:30pm Belhaven University Center for the Arts Concert Hall BELHAVEN UNIVERSITY DEPARTMENT OF MUSIC MISSION STATEMENT The Music Department seeks to produce transformational leaders in the musical arts who will have profound influence in homes, churches, private studios, educational institutions, and on the concert stage. While developing the God-bestowed musical talents of music majors, minors, and elective students, we seek to provide an integrative understanding of the musical arts from a Christian world and life view in order to equip students to influence the world of ideas. The music major degree program is designed to prepare students for graduate study while equipping them for vocational roles in performance, church music, and education. The Belhaven University Music Department exists to multiply Christian leaders who demonstrate unquestionable excellence in the musical arts and apply timeless truths in every aspect of their artistic discipline. The Music Department would like to thank our many community partners for their support of Christian Arts Education at Belhaven University through their advertising in “Arts Ablaze 2010-2011” (should be published and available on or before September 30, 2010). Special thanks tonight to Bo-Kays Florist for our reception table flowers. It is through these and other wonderful relationships in the greater Jackson community that makes an afternoon like this possible at Belhaven. -
April 2008 in This Issue
The Sacred in Opera April 2008 In this Issue... Ruth Dobson For the next two editions of the SIO newsletter, we are taking an in-depth look at one-act Christmas operas which can be easily produced and are appropriate for both children and adults. This issue we will profile Amahl and the Night Visitors, Only a Miracle, St. Nicholas, Good King Wenceslas, and The Shepherd’s Play. The next issue will highlight The Christmas Rose, The Greenfield Christmas Tree, The Finding of the King, The Night of the Star, and others. Thanks to Allen Henderson for sharing his insight into a triology of operas by Richard Shephard, Good King Wenceslas, The Shepherd’s Play, and St. Nicholas, with us in this issue. As great as Amahl and the Night Visitors is, there are these and other works waiting to be discovered by all of us. We hope you will find these suggestions interesting. These operas vary in length from 10 minutes to an hour, and can be presented alone or paired with others. Amahl and the Night Visitors is almost always a successful box office draw. Pairing it with a lesser known work could make for a very enjoyable afternoon or evening presentation and give audiences an opportunity to enjoy other equally wonderful works. Several of these operas use children as cast members, while others call for only adult performers, but all have stories appropriate for children. They are written in a variety of styles and have very different production requirements. Producers would need to take into consideration the ages of the children that are the target audience. -
Thomas Hampson, Baritone
Monday, May 3, 2021 | 3 PM Livestreamed from Gordon K. and Harriet Greenfield Hall and William R. and Irene D. Miller Recital Hall MASTER CLASS & LIVE WEBCAST Distinguished Visiting Artist for Vocal Studies and Distance Learning Thomas Hampson, baritone PROGRAM WOLFGANG AMADEUS “Dove sono i bei momenti” from Le nozze di Figaro, K. 492 MOZART (1756–1791) RICHARD STRAUSS “Wasserrose” from Mädchenblumen, Op. 22 (1864–1949) Jasmine Ismail, soprano Winston Salem, North Carolina Student of Ruth Golden Travis Bloom, piano NED ROREM Emily’s Goodbye Aria from Our Town (b. 1923) HARRY THACKER “Worth While” from Five Songs of Laurence Hope BURLEIGH (1866–1949) RICHARD STRAUSS “Cäcilie,” Op. 27, no. 2 Evangeline Ng, soprano Singapore Student of Joan Patenaude-Yarnell Fumiyasu Kawase, piano GEORGE FRIDERIC “È gelosia” from Alcina, HWV 34 HANDEL (1685–1759) GUSTAV MAHLER “Wenn mein Schatz Hochzeit macht” from Lieder eines fahrenden Gesellen (1860–1911) Yile Huang, mezzo-soprano Inner Mongolia, China Student of Maitland Peters Tongyao Li, piano FRANZ SCHUBERT “Erlkönig,” Op. 1, D. 328 (1797–1828) WOLFGANG AMADEUS “Tutto è disposto… Aprite un po’quegli ochi” from Le nozze di Figaro, K. 492 MOZART Michael Leyte-Vidal, bass-baritone Palmetto Bay, Florida Student of Ashley Putnam Travis Bloom, piano Alternates WOLFGANG AMADEUS “Ah, chi mi dice mai” from Don Giovanni, K. 527 MOZART HENRI DUPARC “Au pays où se fait la guerre” (1848–1933) Sarah Rachel Bacani, soprano Toms River, New Jersey Student of Cynthia Hoffmann Travis Bloom, piano TEXT AND TRANSLATIONS “Dove sono i bei momenti” from Le nozze di Figaro E Susanna non vien! Sono ansiosa di saper Susanna does not come! come il Conte accolse la proposta. -
Program Notes | Amahl and the Night Visitors
23 Season 2018-2019 Thursday, December 13, at 7:30 The Philadelphia Orchestra Saturday, December 15, at 8:00 Bramwell Tovey Conductor and Narrator Dante Michael DiMaio Boy Soprano (Amahl) Renée Tatum Mezzo-soprano (His Mother) Andrew Stenson Tenor (King Kaspar) Brandon Cedel Bass-baritone (King Melchior) David Leigh Bass (King Balthazar) Kirby Traylor Bass (The Page) Philadelphia Symphonic Choir (Shepherds and Villagers) Amanda Quist Director Omer Ben Seadia Stage Director Walton Crown Imperial (Coronation March) Britten The Young Person’s Guide to the Orchestra, Op. 34 Intermission Menotti Amahl and the Night Visitors First complete Philadelphia Orchestra performances Ryan Howell, designer Chris Frey, lighting desig This program runs approximately 1 hour, 45 minutes. These concerts are part of the Fred J. Cooper Memorial Organ Experience, supported through a generous grant from the Wyncote Foundation. The December 15 concert is sponsored by Medcomp. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. PO Book 16_Home.indd 23 12/7/18 10:35 AM 24 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra Philadelphia is home and orchestra, and maximizes is one of the preeminent the Orchestra continues impact through Research. orchestras in the world, to discover new and The Orchestra’s award- renowned for its distinctive inventive ways to nurture winning Collaborative sound, desired for its its relationship with its Learning programs engage keen ability to capture the loyal patrons at its home over 50,000 students, hearts and imaginations of in the Kimmel Center, families, and community audiences, and admired for and also with those who members through programs a legacy of imagination and enjoy the Orchestra’s area such as PlayINs, side-by- innovation on and off the performances at the Mann sides, PopUP concerts, concert stage. -
Nita Ann Hudson, Mezzo Soprano School of Music Stephen F
Nita Ann Hudson, mezzo soprano School of Music Stephen F. Austin State University Nacogdoches, Texas Education Master of Arts Stephen F. Austin State University, 1993 Major in Music with Vocal Pedagogy Emphasis Bachelor of Music Stephen F. Austin State University, 1990 All-Level certification in Choral Music Applied Voice Richard Berry Vocal Pedagogy David W. Jones Richard Berry Choral Conducting Ronald Anderson Tim King Theory/Composition Richard Coolidge Dan Beaty Dance Deborah Waddell-Sanford Teaching Teaching Positions: Stephen F. Austin State University, Nacogdoches, TX: 1993 – Present Lecturer – Applied Voice, Opera Workshop, Vocal Repertoire, Theory, Aural Skills East Texas Baptist State University, Marshall, TX: 1994 – 2002 Instructor – Applied Voice Related Work Experience: Assistant Director/Production Stage Manager, SFASU Opera Workshop: 1993 - Present Assignment includes various aspects of stage directing, production and choreography. Coordinate all rehearsal and production schedules for faculty, students, orchestra, and technical crews. Responsible for maintaining the correct blocking (prompt book) and all technical cues (scenic/lighting/sound). Assist the directors (staging/musical) in every aspect of production. Operas/Operettas: Albert Herring (Britten) 1993 Amelia Goes to the Ball (Menotti) 1995, 2001 Bartered Bride (Smetana) 1995, 2000, 2008 Calvary (Pasatieri) 1994 Carmen (Bizet) 1994, 2000 Cavalleria Rusticana (Mascagni) 1994, 2009 The Consul (Menotti) 1994, 2001 Elixir of Love (Donizetti) 1999 [Directed], 2004 Falstaff -
Luigi Dallapiccola's Il Prigioniero and Gian Carlo
LUIGI DALLAPICCOLA'S IL PRIGIONIERO AND GIAN CARLO MENOTTI'S THE CONSUL: A COMPARATIVE STUDY by JENNIFER GRAHAM STEPHENSON PAUL H. HOUGHTALING, COMMITTEE CHAIR SUSAN CURTIS FLEMING NIKOS A. PAPPAS STEPHEN V. PELES JONATHAN WHITAKER ELIZABETH AVERSA A DOCUMENT Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the School of Music in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2016 Copyright Jennifer Graham Stephenson 2016 ALL RIGHTS RESERVED ABSTRACT As art reflects life, so too does it hold a mirror to the lives of the people who create it. The turbulent events of the first decades of the twentieth century, including two World Wars and the rise of Italian Fascism and German Nazism in the 1920s and 30s, affected millions of lives across several continents. This document explores the ways in which Luigi Dallapiccola (1904– 1973) and Gian Carlo Menotti (1911–2007) voice their reactions to these events in their operas, Il Prigioniero (1948) and The Consul (1950). Italian composer Luigi Dallapiccola spent twenty months in internment during the First World War, and would be forced on several occasions to go into hiding during the Second World War. His opposition to Mussolini and the Italian Fascists, coupled with his quasi–obsession with internment and freedom, led to his composition of three works of “protest music,” of which Il Prigioniero is the second. Il Prigioniero tells the story of a prisoner of the Inquisition, his attempt at escape and eventual capture. Italian-American composer Gian Carlo Menotti emigrated to the United States in 1928, at age seventeen, and spent a great much of his time traveling and working in various countries. -
SAVAGE Gian Carlo Menotti Two Hundred Seventy-Fourth Program of the 2014-15 Season ______
THE LAST SAVAGE Gian Carlo Menotti Two Hundred Seventy-Fourth Program of the 2014-15 Season _______________________ Indiana University Opera Theater presents as its 439th production The Last Savage Music by Gian Carlo Menotti Libretto by Gian Carlo Menotti Constantine Kitsopoulos, Conductor Ned Canty, Stage Director Allen Moyer, Scenery and Costume Designer Lee Fiskness, Lighting Designer Walter Huff, Chorus Master Kyle Lang, Choreographer Original Lighting Design by Rick Fisher Original Choreography by Sean Curran Supertitles provided by The Santa Fe Opera Production originally designed for and created by The Santa Fe Opera _________________ Musical Arts Center Friday, November Fourteenth, Eight O’Clock Saturday, November Fifteenth, Eight O’Clock Thursday, November Twentieth, Seven O’Clock Friday, November Twenty-First, Eight O’Clock music.indiana.edu Cast of Characters Friday, November 14 Saturday November 15 Thursday, November 20 Friday, November 21 Kitty . Martha Eason Angela Yoon Abdul . Robert Gerold Eric Smedsrud Sardula . Summer Aebker Olivia Yokers Prince Kodanda . Edward Atkinson Will Perkins Mr . Scattergood . David Rugger Reuben Walker Maharaja . Jeremy Gussin Andrew Richardson Maharanee . Meghan Folkerts Olivia Thompson Catholic Priest . .Mitchell Jones Mitchell Jones Protestant Priest . .Alonza Lawrence Alonza Lawrence Rabbi . .Max Zander Max Zander Orthodox . .Bille Bruley Bille Bruley Composer . .Chris Seefeldt Chris Seefeldt Scientist . .Darian Clonts Darian Clonts Painter . .Benjamin Seiwert Benjamin Seiwert Poet . .John Sengelaub John Sengelaub Philosopher . .Johann Schram Reed Johann Schram Reed Una cantante . .Emily Dyer Emily Dyer Doctor . .Edward Graves Edward Graves Donna d’affari . .Madeline Stern Madeline Stern Una signora . .Meghan Wilhelm Meghan Wilhelm Scholars . .Benjamin Smith Benjamin Smith Lucas Wassmer Lucas Wassmer Tailors . .James C . -
Changing Fortunes > Opera News > the Met Opera Guild
Changing Fortunes > Opera News > The Met Opera Guild http://www.operanews.com/Opera_News_Magazine/2007/7/Fea... Features July 2007 — Vol. 71, No. 1 (http://www.operanews.org/Opera_News_Magazine/2007/7 /THE_CAREER_ISSUE.html) Changing Fortunes BARRY SINGER assesses the legacy of Gian Carlo Menotti, whose Saint of Bleecker Street arrives this month at Central City Opera. When Gian Carlo Menotti first Deep down, Menotti was surfaced, in 1937, as a twenty- no rebel. five-year-old Italian-born prodigy from the shores of Lake Lugano in Lombardy, by way of the Curtis Institute in Philadelphia, the world of American opera was waiting for him - or for someone, anyone like him. The Depression had taken down a number of America's major companies, including the Chicago Opera, and had pummeled the Metropolitan Opera to the brink of Muriel Dickson in the bankruptcy. Accessibility was suddenly a Met premiere of Menotti in rehearsal for paramount concern within these Menotti's Amelia Goes The Medium, 1947 infamously elitist institutions - to the Ball, 1938 (http://www.operanews.org accessibility in the populist sense of new /_uploaded/image/article (http://www.operanews.org /menottimedlg7107.jpg) social equality for potential ticket- /_uploaded/image/article Menotti in rehearsal for buyers, but also in the hardcore /dicksonamelialg7107.jpg) The Medium, 1947 marketing sense. American opera Muriel Dickson in the companies needed new operas they Met premiere of could sell. Menotti's Amelia Goes to the Ball, 1938 Of course, no one at the top knew precisely what such an opera should sound like. Menotti showed them. His first, Amelia al Ballo, was a frolicsome Puccini send-up with dark undercurrents - a mixture of diversion and dire foreboding for an American audience consumed by the oncoming conflagration in Europe. -
The Italian Girl in Algiers
ROSSINI’S THE ITALIAN GIRL IN ALGIERS AN IN-DEPTH GUIDE © 2007 Michal Daniel Written by Stu Lewis ROSSINI’S WOMAN OF VALOR “Cruda sorte” – cruel fate! These are the first words we hear from Isabella, the title character of Rossini’s L’Italiana in Algeri (The Italian Girl in Algiers). Captured by pirates, looking – in vain, she believes – for her lover, soon to be forced to become part of an Arab potentate’s harem, she certainly is someone who has the right to sing the blues, or at least the nineteenth- century Italian equivalent. And so she does – for twenty-six bars – which is all the time that a Rossini heroine has for self-pity. As she moves to the up-tempo cabaletta, she reminds us that no man, however powerful, could possibly control an intelligent woman. And so it goes with the Rossini mezzo. Like Rosina in The Barber of Seville, who acts docile as long as she has her way and turns into a viper when she doesn’t, Isabella clearly has the inner resources to come out on top. Critic Andreas Richter calls her a “female Don Giovanni” – albeit, without the latter’s amorality. As the Don had the three principal female characters in the opera gravitating toward him, Isabella wins the affection of three men – one of each voice type – manipulating two of them mercilessly. (Another similarity: like Mozart’s opera, l’Italiana is labelled a “dramma giocosa” – a jolly drama). L’Italiana is a rescue opera, but, as Beethoven was to do years later in Fidelio, Rossini and Anelli turn the rescue theme on its head by making the woman the rescuer. -
CARMINA BURANA Thursday, March 28 at 7 P.M
CLASSICAL SERIES 2018/19 SEASON CARMINA BURANA Thursday, March 28 at 7 p.m. Friday and Saturday, March 29-30 at 8 p.m. Sunday, March 31 at 2 p.m. RYAN McADAMS, guest conductor SARAH KIRKLAND Something for the Dark SNIDER AUGUSTA READ EOS (Goddess of the Dawn), a Ballet for Orchestra THOMAS I. Dawn V. Spring Rain II. Daybright and Firebright VI. Golden Chariot III. Shimmering VII. Sunlight IV. Dreams and Memories INTERMISSION ORFF Carmina burana Fortuna Imperatrix Mundi (Fortune, Empress of the World) Part I. Primo vere (In Springtime) Uf dem anger (On the lawn) Part II. In taberna (In the Tavern) Part III. Cour d’amours (The Court of Love) Blanziflor et Helena (Blanchefleur and Helen) Fortuna Imperatrix Mundi JENNIFER ZETLAN, soprano | NICHOLAS PHAN, tenor | HUGH RUSSELL, baritone KANSAS CITY SYMPHONY CHORUS, CHARLES BRUFFY, chorus director LAWRENCE CHILDREN’S CHOIR, CAROLYN WELCH, artistic director *See program insert for Carmina Burana text and translation. The 2018/19 season is generously sponsored by Friday’s concert sponsored by SHIRLEY and BARNETT C. HELZBERG, JR. JIM AND JUDY HEETER Saturday’s concert sponsored by The Classical Series is sponsored by CAROL AND JOHN KORNITZER Guest Conductor Ryan McAdams sponsored by ANN MARIE TRASK Additional support provided by R. Crosby Kemper, Jr. Fund Podcast available at kcsymphony.org KANSAS CITY SYMPHONY 43 Kansas City Symphony PROGRAM NOTES By Ken Meltzer SARAH KIRKLAND SNIDER (b. 1973) Something for the Dark (2016) 12 minutes Piccolo, 2 flutes, 2 oboes, English horn, 3 clarinets, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, bass drum, chimes, crotales, cymbals, glockenspiel, marimba, sleigh bells, snare drum, suspended cymbals, tam-tam, tom-toms, triangle, vibraphone, harp, piano, celesta and strings.