DOCSLIB.ORG

Thaïs Massenet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Thaïs Massenet THAÏS MASSENET Plácido Domingo torna al Liceu per protagonitzar Thaïs, una de les òperes més representatives de Jules Massenet Plácido Domingo vuelve al Liceu para protagonizar Thaïs, una de las óperas más representativas de Jules Massenet Fitxa / Ficha Les derives del desig en 11 37 la Thaïs de Massenet / Las derivas de deseo en la Thaïs de Massenet 12 Repartiment / Reparto Estrella de Diego Thaïs entra en escena Amb el teló abaixat / 51 Marcel Cervelló 15 A telón bajado Thaïs al Liceu / 63 Thaïs en el Liceu 21 Argument / Argumento Jaume Tribó 74 Cronologia / Cronología 31 English Synopsis 88 Biografies / Biografías Temporada 2016/17 THAÏS Comédie lyrique en tres actes i set quadres. Comédie lyrique en tres actos y siete cuadros. Llibret de Louis Gallet. Música de Jules Massenet. Libreto de Louis Gallet. Música de Jules Massenet. Estrenes / Estrenos 16 de març / marzo de 1894: Estrena absoluta a l’Opéra de París / Estreno absoluto en la Opéra de París 22 de febrer / febrero de 1905: Estrena a Barcelona, al Liceu / Estreno en Barcelona, en el Liceu 8 de juliol / julio de 2007: darrera representació al Liceu (versió concertant) última representación en el Liceo (versión concertante) Total de representacions al Liceu / Total de representaciones en el Liceu: 34 Març / Marzo 2017 Torn / Turno Tarifa 1 20.00 h D 5 4 20.00 h E 5 Durada total aproximada 2h 45m Uneix-te a la conversa / Únete a la conversación liceubarcelona.cat #ThaïsLiceu facebook.com/liceu @liceu_cat @liceu_opera_barcelona 12 pag. Athanaël, monjo de la comunitat cenobita Plácido Domingo Athanaël, monje de la comunidad cenobita Nicias, noble i amant de Thaïs Celso Albelo Nicias, noble y amante de Thaïs Palémon, cap de la comunitat cenobita Damián del Castillo Palémon, jefe de la comunidad cenobita Un servent Marc Pujol Un sirviente Thaïs, cortesana i sacerdotessa de Venus Nino Machaidze Thaïs, cortesana y sacerdotisa de Venus Crobyle, esclava de Nicias Sara Blanch Myrtale, esclava de Nicias Marifé Nogales Albine, abadessa del monestir de les Filles Blanques María José Suárez Albine, abadesa del monasterio de las Hijas Blancas L’encisadora Mercedes Arcuri La encantadora THAIS – Music by Jules Massenet – Courtesy of Alphonse Leduc Editions Musicales. Repartiment / Reparto 13 Direcció musical Patrick Fournillier Dirección musical Orquestra Simfònica i Cor del Gran Teatre del Liceu Orquesta Sinfónica y Coro del Gran Teatre del Liceu Direcció del Cor Conxita Garcia Dirección del Coro Concertino Kai Gleusteen Assistents musicals Jocelyne Dienst, Jaume Tribó Asistentes musicales Sobretítols Glòria Nogué, Anabel Alenda Sobretítulos 14 pag. La soprano Mary Garden interpretà Thaïs a la Manhattan Opera House de Nova York el gener de 1907 La soprano Mary Garden interpretó a Thaïs en la Manhattan Opera House de Nueva York en enero de 1907 15 AMB EL TELÓ ABAIXAT COMPOSITOR Jules Massenet (1842-1912) va heretar els models francesos de la grand opéra, amb un gran sentit de l’espectacle, i de l’opéra comique, que barrejava fragments cantats amb d’altres que són recitats sobre arguments que –malgrat la denominació– no tenen per què ser còmics. L’obra de Massenet, contemporani de Camille Saint-Saëns i deixeble de Charles Gounod, consolida la pervivència de l’òpera francesa al llarg de la segona meitat del segle XIX i el primer terç del XX, amb obres exitoses i que es mantenen en repertori, com ara Manon (1884), Werther (1892) o Don Quichotte (1910). L’instint dramàtic del músic, així com la imaginació a l’hora d’escriure melodies que acaben tenint A TELÓN BAJADO COMPOSITOR Jules Massenet (1842-1912) heredó los modelos franceses de la grand opéra, con un gran sentido del espectáculo, y de la opéra comique, que mezclaba fragmentos cantados y recitados sobre argumentos que –a pesar de su denominación– con tienen por qué ser cómicos. La obra de Massenet, contemporáneo de Camille Saint-Saëns y disc í- pulo de Charles Gounod, consolida la pervivencia de la ópera fran cesa a lo largo de la segunda mitad del siglo XIX y primer tercio d el XX, con obras exitosas y que se mantienen en repertorio, como Manon (1884), Werther (1892) o Don Quichotte (1910). El instinto dramático del músico, así como la imaginación a la hora de escribir melodías que 16 pag. valor leitmotívic en moltes de les seves òperes, fan de Massenet un dels compositors d’òpera més importants del seu temps, amb una producció de més de trenta títols, d’èxit i funcionament desiguals, però sempre com a fruit de la seva extraordinària capacitat de treball. Amb vint-i-un anys, Massenet va obtenir el prestigiós Prix de Rome, cosa que li va permetre fer una estada a Itàlia i conèixer Franz Liszt. De retorn a França, París va ser el centre neuràlgic de l’activitat artística de Massenet, que va mantenir fins a la mort. LLIBRET I LLIBRETISTES Thaïs du per nom el d’una cèlebre prostituta que va acabar canonitzada als altars del primer cristianisme, sobre la qual –i des del segle X– corrien peces dramàtiques immortalitzant-ne l’existència. El llibret que Louis Gallet va escriure per a Massenet s’inspirava en la novel·la d’Anatole France sobre la cortesana egípcia. La versió que Massenet va presentar a l’Opéra de París va passar per una revisió posterior, d’acord amb un material sobre el qual Massenet no havia quedat del tot content. Tanmateix, tant el tractament del llibret com la música amb què Massenet impregna sovint molts fragments de la peça l’apropen més aviat a l’oratori, per l’immobilisme de moltes escenes, de caire reflexiu. Amb el teló abaixat / A telón bajado 17 acaban contando con valor de leitmotiv en muchas de sus óperas, convierten a Massenet en uno de los compositores de ópera más importantes de su tiempo, con una producción de más de treinta títulos, de éxito y funcionamiento dispares, pero siempre como fruto de su extraordinaria capacidad de trabajo. A sus veintiún años, Massenet obtuvo el prestigioso Prix de Rome, que le valió una estancia en Italia y conocer a Franz Liszt. De vuelta a Francia, París fue el centro neurálgico de la actividad artística de Massenet, hasta su muerte. LIBRETO Y LIBRETISTAS Thaïs lleva por nombre el de una célebre prostituta que acabó canonizada en los altares del primer cristianismo, sobre la cual –desde el siglo X– corrían piezas dramáticas inmortalizando su existencia. El libreto que Louis Gallet escribió para Massenet se inspiraba en la novela de Anatole France sobre la cortesana egipcia. La versión que Massenet presentó en la Opéra de París pasó por una revisión posterior, conforme a un material sobre el cual Massenet no había quedado demasiado contento. Sin embargo, tanto el tratamiento del libreto como la música con que Massenet impregna a menudo muchos fragmentos de la pieza la aproximan al oratorio, por el inmovilismo de muchas escenas, de carácter reflexivo. 18 pag. ESTRENA Escrita entre Werther (1892) i Le portrait de Manon (1894), Thaïs és la dino- vena òpera de Massenet i es va estrenar el 16 de març de 1894 a l’Opéra de París (Opéra Garnier), tot i que inicialment era destinada a l’Opéra Comique. L’escàndol no es va fer esperar quan la soprano nord-americana Sibyl Sanderson, que interpretava el rol titular, va mostrar «accidentalment» un pit nu, atenint-se a les exigències del paper, corresponent a una cèlebre corte- sana de la Tebes egípcia del segle IV dC. Independentment de l’anècdota, l’òpera va tenir ben poc èxit i es va retirar dels escenaris parisencs després de catorze representacions. El veritable èxit de Thaïs no va arribar fins al 1903, després de les funcions que va protagonitzar a Milà la soprano Lina Cavalieri abans de fer-ho a París, on el títol de Massenet va ser rebut amb grans ovacions. ESTRENA AL LICEU Thaïs es va estrenar al Gran Teatre del Liceu la nit del 22 de febrer de 1905, amb la cèlebre soprano romanesa Hariclea Darclée en el rol titular. Al número 264 de la revista Joventut (de ressonàncies filowagnerianes), Salvador Vilaregut va signar un article demolidor contra l’òpera: «L’assumpto de Thais es massa gros pel nostre miniaturista traçut [...]. El pobre Massenet s’ha carregat un pes que l’aixafa y no’n surt quasi bé may ayrós, y del conjunt ne resulta una obra mansa [...], incolora, mancada de caràcter; una música que no diu res, que no pinta res, orquestrada pobrement, amb una escassetat de timbres que fa caure les ales del cor». No n’hi havia per a tant... Amb el teló abaixat / A telón bajado 19 ESTRENO Escrita entre Werther (1892) y Le portrait de Manon (1894), Thaïs es la deci- monovena ópera de Massenet y se estrenó el 16 de marzo de 1894 en la Opéra de París (Opéra Garnier), aunque inicialmente estaba destinada a la Opéra Comique. El escándalo no se hizo esperar cuando la soprano nortea- mericana Sibyl Sanderson, que interpretaba el rol titular, mostró «acciden- talmente» un pecho desnudo, atendiendo a las exigencias del papel, corres- pondiente a una célebre cortesana de la Tebas egipcia del siglo IV d. de C. Al margen de la anécdota, la ópera cosechó escaso éxito y bajó de los escenarios parisinos tras catorce representaciones. El verdadero éxito de Thaïs no llegaría hasta 1903, tras las funciones que protagonizó en Milán la soprano Lina Cavalieri antes de hacerlo en París, donde el título de Massenet fue recibido con grandes ovaciones. ESTRENO EN EL LICEU Thaïs se estrenó en el Gran Teatre del Liceu la noche del 22 de febrero de 1905, con la célebre soprano rumana Hariclea Darclée en el rol titular.
Load more

Recommended publications
  • Marie Collier: a Life
    Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family.
    [Show full text]
  • 28Apr2004p2.Pdf
    144 NAXOS CATALOGUE 2004 | ALPHORN – BAROQUE ○○○○ ■ COLLECTIONS INVITATION TO THE DANCE Adam: Giselle (Acts I & II) • Delibes: Lakmé (Airs de ✦ ✦ danse) • Gounod: Faust • Ponchielli: La Gioconda ALPHORN (Dance of the Hours) • Weber: Invitation to the Dance ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Slovak RSO / Ondrej Lenárd . 8.550081 ■ ALPHORN CONCERTOS Daetwyler: Concerto for Alphorn and Orchestra • ■ RUSSIAN BALLET FAVOURITES Dialogue avec la nature for Alphorn, Piccolo and Glazunov: Raymonda (Grande valse–Pizzicato–Reprise Orchestra • Farkas: Concertino Rustico • L. Mozart: de la valse / Prélude et La Romanesca / Scène mimique / Sinfonia Pastorella Grand adagio / Grand pas espagnol) • Glière: The Red Jozsef Molnar, Alphorn / Capella Istropolitana / Slovak PO / Poppy (Coolies’ Dance / Phoenix–Adagio / Dance of the Urs Schneider . 8.555978 Chinese Women / Russian Sailors’ Dance) Khachaturian: Gayne (Sabre Dance) • Masquerade ✦ AMERICAN CLASSICS ✦ (Waltz) • Spartacus (Adagio of Spartacus and Phrygia) Prokofiev: Romeo and Juliet (Morning Dance / Masks / # DREAMER Dance of the Knights / Gavotte / Balcony Scene / A Portrait of Langston Hughes Romeo’s Variation / Love Dance / Act II Finale) Berger: Four Songs of Langston Hughes: Carolina Cabin Shostakovich: Age of Gold (Polka) •␣ Bonds: The Negro Speaks of Rivers • Three Dream Various artists . 8.554063 Portraits: Minstrel Man •␣ Burleigh: Lovely, Dark and Lonely One •␣ Davison: Fields of Wonder: In Time of ✦ ✦ Silver Rain •␣ Gordon: Genius Child: My People • BAROQUE Hughes: Evil • Madam and the Census Taker • My ■ BAROQUE FAVOURITES People • Negro • Sunday Morning Prophecy • Still Here J.S. Bach: ‘In dulci jubilo’, BWV 729 • ‘Nun komm, der •␣ Sylvester's Dying Bed • The Weary Blues •␣ Musto: Heiden Heiland’, BWV 659 • ‘O Haupt voll Blut und Shadow of the Blues: Island & Litany •␣ Owens: Heart on Wunden’ • Pastorale, BWV 590 • ‘Wachet auf’ (Cantata, the Wall: Heart •␣ Price: Song to the Dark Virgin BWV 140, No.
    [Show full text]
  • JC Williamson (Opera, Comic Opera, Operetta)
    AUSTRALIAN EPHEMERA COLLECTION FINDING AID J.C. WILLIAMSON OPERA, COMIC OPERA, OPERETTA PROGRAMS PERFORMING ARTS PROGRAMS AND EPHEMERA (PROMPT) PRINTED AUSTRALIANA AUGUST 2017 James Cassius Williamson was an American actor who immigrated to Australia in the 1870s. Along with business partners, such as William Musgrove, his theatre company became one of the most dominant in colonial Australia. After his death in 1913 the company, now named J.C. Williamson Ltd. continued under the direction of George Tallis and the Tait brothers (who remained involved in the company until the 1970s). J.C. Williamson continued to be one of the biggest theatre companies in Australia throughout the first three quarters of the 20th century. J.C. Williamson held the license for theatres in Melbourne, Sydney, Brisbane, Adelaide and New Zealand (at times more than one theatre in each city). In 1976 the company closed, but the name was licensed until the mid 1980s. This list includes productions of Gilbert and Sullivan operettas held in J.C. Williamson theatres, as well as those produced by J.C. Williamson and performed in other theatres under venue hire arrangements. CONTENT Printed materials in the PROMPT collection include programs and printed ephemera such as brochures, leaflets, tickets, etc. Theatre programs are taken as the prime documentary evidence of a performance staged by the J.C. Williamson company. In a few cases however, the only evidence of a performance is a piece of printed ephemera. In these cases the type of piece is identified, eg, brochure. The list is based on imperfect holdings and is updated as gaps in the Library’s holdings for these artists are filled.
    [Show full text]
  • Delius-Liner-Notes-Koanga.Pdf
    SBLX-3808 14 1-.Angel Koanga in America response: Keary's libretto was denigrated through an optical machine, in order to phere. Only the principals and a few first recording by Frank Corsaro and Delius' music highly praised. Yet get opaque darknesses and multiple color supernumeraries, representing the priest of the composer's "American" opera alack, alas, and sad to say, Miss Kemble's schemes. This process enabled us to create and his retinue, were visible during the On March 2, 1884, the ocean liner "fortune of an opera" was not to be, In the surreal, even occultish landscape sur­ wedding ceremony. Koanga and Palmyra "Gallia" departed Liverpool bound for fact, "Koanga" was not co be again until rounding Koanga's flight from his white scrolled hand in hand between the three America. Two weeks and a stormy crossing its American premiere in 1970, where masters, and the ensuing Voodoo rites. scrimmed areas on stage, their wander­ DELIUS later, she docked in New York harbor. Keary's gaucheries (revised from a revi­ As in the later "Village Romeo;· three ings sharply outlined by the imaginative With not a single celebrity aboard, the sion) still proliferated, while Delius, scrims served as projection surfaces - a Miss Porcher's use of side lighting. A few arrival passed unnoticed by the press but Wagner cum spiritual, utterly captivated. front, rear, and middle distance scrim - steps taken by the lovers, and the skies, for a brief item concerning George Payn­ More than a decade after "Koanga's" ini­ which could be flown in and out as the waters, the land itself c'.1anged magi­ KOANGA ter, the "Gallia's" bar-keep.
    [Show full text]
  • The Delius Society Journal
    The Delius Society Journal April 1981,Number 7l The Delius Society Full Membership97.00 per year Studentsf,3.50 Subscription to Libraries (Journal only) f,5.00 per year USA and CanadaUS S17.00per year President Eric Fenby OBE, Hon D Mus, Hon D Litt, Hon RAM Vice Presidents The Rt Hon Lord Boothby KBE, LLD Felix Aprahamian Hon RCO Roland Gibson M Sc, Ph D (Founder Member) Sir Charles Groves CBE Stanford Robinson OBE, ARCM (Hon), Hon CSM Meredith DaviesMA, B Mus, FRCM, Hon RAM Norman Del Mar CBE, Hon D Mus Vernon Handley MA, FRCM, D Univ (Surrey) Chairman R B Meadows 5 WestbourneHouse, Mount Park Road, Harrow, Middlesex Treasurer Peter Lyons 1 Cherry Tree Close,St. Leonards-on-Sea,Sussex TN37 6EX Secretary Miss Estelle Palmley 22 Kingsbury Road, London NW9 ORR Editor Stephen Lloyd 4l MarlboroughRoad, Luton, BedfordshireLU3 IEF Tel: Luton (0582\ 20075 Contents Editorial 3 The President'sAddress 6 Beecham:The Delius Repertoire 9 An Eveningwith Norman Del Mar l9 Book Review 2l Obituary: Robert Aickman 23 Forthcoming Events 23 Cover lllustration An early sketch of Delius by Edvard Munch reproducedby kind permissionof the Curator of the Munch Museum,Oslo, Norway. Additional copiesof this issuef,l each,inclusive of postage. ISSN-0306-0373 Editorial No recent publication can have commandedsuch widespreadcritical attention in the musical world as The New Grove whose additional adjectivein its title might seemdesigned to bestow eternal youth on this fountain of musicalknow- ledge. One wonders what they will name the seventh edition years hence. Its twenty volumesare an impressiveachievement and a pleasureto read and handle, though for the purchaserat f,850 a set a costly touch.
    [Show full text]
  • Appendix 3 (A) Early Members of Comunn Na Feinne – 1856-1860 - from the Carmichael Notes
    Appendix 3 (a) Early Members of Comunn na Feinne – 1856-1860 - from the Carmichael Notes. Archibald Douglas James D. Rankin, of Brougham Place – Wine and Spirit Merchants. Also Tea, Sugar, Provisions. Dougal Rankin, of Brougham Place – Wine and Spirit Merchants, Tobacco and Cigars. Robert A. McInnes, School Teacher Alexander McInnes, School Teacher, the Gaelic School, La Trobe Terrace. Charles Bowie Dawson, Prop., Prince of Wales Hotel, Ryrie Street. William Rae, Prop. Argyll Hotel, Western Highway (now Aberdeen Street) Alexander McKenzie, Chairman of the Barrabool Hills Road Board. Donal Cameron, “Farmer”, Little River. William McNab, Secretary Barrabool Hills Roads Board, Road Engineers’ Department. Hector Munro, Engineer. John Clark, Teesdale (Farmer?) William Fraser, Secretary, Geelong Race Club. Thomas Brown, Printers, Booksellers and Stationery. John Riddoch, Wholesale Grocer and Wine and Spirit Merchant – Office, James St., John Hedrick, Shipping Agent and Firm of Wool Brokers – Office, James St., Charles Anderson, “Squatter” Duncan McNicol, Manager for Niel Black, Glenormiston Station. William Clarkson, Wholesale and Retail Seedsman and Florist, Colonial Seed Store, 8 Great Ryrie Street, West Geelong. John MacIntosh Robert de Bruce Johnstone, Saddler, Great Malop Street Robert Shirra, “Draper” Glasgow House James Munro, Engineer James M. Anderson, Draper, 14 Malop Street – Sold out to Robert Shirra April, 1867. William Ashmore, General Furnishing Warehouse and Manufacturer 125 Moorabool Street, Geelong. Andrew Lowe, Retail Butcher – Cnr Moorabool and Malop Streets opposite the Farmer Arms Hotel. Charles Ross, Builder in Geelong Donald Scott, Wholesale and Retail Timber Merchant, Corio Street, West Angus MacCallum, Draper, Tartan House, Market Square Peter Skirving, Draper, Glasgow House 15 Malop Street, later Edinburgh House, 56 Moorabool Street, Geelong.
    [Show full text]
  • PROMPT): JC Williamson (Opera, Comic Opera, Operetta
    AUSTRALIAN EPHEMERA COLLECTION FINDING AID J.C. WILLIAMSON OPERA, COMIC OPERA, OPERETTA PROGRAMS PERFORMING ARTS PROGRAMS AND EPHEMERA (PROMPT) PRINTED AUSTRALIANA JANUARY 2015 James Cassius Williamson was an American actor who immigrated to Australia in the 1870s. Along with business partners, such as William Musgrove, his theatre company became one of the most dominant in colonial Australia. After his death in 1913 the company, now named J.C. Williamson Ltd. continued under the direction of George Tallis and the Tait brothers (who remained involved in the company until the 1970s). J.C. Williamson continued to be one of the biggest theatre companies in Australia throughout the first three quarters of the 20th century. J.C. Williamson held the license for theatres in Melbourne, Sydney, Brisbane, Adelaide and New Zealand (at times more than one theatre in each city). In 1976 the company closed, but the name was licensed until the mid 1980s. This list includes productions of Gilbert and Sullivan operettas held in J.C. Williamson theatres, as well as those produced by J.C. Williamson and performed in other theatres under venue hire arrangements. CONTENT Printed materials in the PROMPT collection include programs and printed ephemera such as brochures, leaflets, tickets, etc. Theatre programs are taken as the prime documentary evidence of a performance staged by the J.C. Williamson company. In a few cases however, the only evidence of a performance is a piece of printed ephemera. In these cases the type of piece is identified, eg, brochure. The list is based on imperfect holdings and is updated as gaps in the Library’s holdings for these artists are filled.
    [Show full text]
  • Le Nozze Di Figaro
    Synopsis Act I A manor house near Seville, the 1930s. In a storeroom that they have been allocated, Figaro and Susanna, servants to the Count and Countess Almaviva, are preparing for their wedding. Figaro is furious when he learns from his bride that the count has tried to seduce her. He’s determined to have revenge on his master. Dr. Bartolo appears with his former housekeeper Marcellina, who is equally determined to marry Figaro. She has a contract: Figaro must marry her or repay the money that he borrowed from her. When Marcellina runs into Susanna, the two rivals exchange insults. Susanna returns to her room, and the count’s young page Cherubino rushes in. Finding Susanna alone, he speaks of his love for all the women in the house, particularly the countess. When the count appears, again trying to seduce Susanna, Cherubino hides, but when Don Basilio, the music teacher, approaches, the count conceals himself. Basilio tells Susanna that everyone knows that Cherubino has a crush on the countess. Outraged, the count steps forward, but he becomes even more enraged when he discovers Cherubino and realizes that the boy has overheard his attempts to seduce Susanna. He chases Cherubino into the great hall, encountering Figaro, who has assembled the entire household to sing the praises of their master. Put on the spot, the count is forced to bless the marriage of Figaro and Susanna. To spite them and to silence Cherubino, he orders the boy to join the army without delay. Figaro sarcastically sends Cherubino off into battle. Act II In her bedroom, the countess mourns the loss of love in her life.
    [Show full text]
  • Manhattan School of Music OPERA THEATER DONA D
    Manhattan School of Music OPERA THEATER DONA D. VAUGHN, ARTISTIC DIRECTOR Manhattan School of Music wishes to express its gratitude to the Joseph F. McCrindle Foundation for its generous endowment gif to fund Opera Theater productions. Manhattan School of Music is privileged to be able to honor the legacy of Joseph F. McCrindle through its Opera Studies Program. MSM OPERA THEATER Dona D. Vaughn, Artistic Director EMMELINE An opera in two acts by Tobias Picker (BM ’76) Based on the novel by Judith Rossner Libretto by J. D. McClatchy George Manahan (BM ’73, MM ’76), Conductor Thaddeus Strassberger, Director Used by arrangement with European American Music Distributors Company, sole U.S. and Canadian agent for Schott Helicon Music Corporation, publisher and copyright owner. For this production of Emmeline some sections of the original text and music have been amended by the composer and director to reflect the contemporary setting. THURSDAY–SATURDAY, APRIL 25–27, 2019 | 7:30 PM SUNDAY, APRIL 28, 2019 | 2:30 PM NEIDORFF-KARPATI HALL A warm welcome to MSM Opera Theater’s spring mainstage production in Neidorf-Karpati Hall! It has been a wonderful year for MSM Opera Theater as we have joined in the celebration of Manhattan School of Music’s Centennial, programming works that celebrate our past productions, our distinguished alumni composers, and our current talented young artists. Our opera season began in November at The Riverside Church with two performances of Opera Scenes. The program included scenes from Marc Blitzstein’s The Harpies (premiered at MSM in 1953), Scott Eyerly’s The House of the Seven Gables (premiered at MSM in 2000), Richard Strauss’s Ariadne auf Naxos, and Puccini’s Gianni Schicchi, which was given its first performance at the Metropolitan Opera in 1918, the year of MSM’s founding.
    [Show full text]
  • Download Booklet
    110780 bk Melba4 US 23/03/2004 13:20 Page 5 Ward Marston Hayes, Middlesex 12th May 1921 ! Addio dolce svegliare alla mattina (Act 3) 4:29 ADD Mat. CR 413; unpublished on 78rpm GREAT SINGERS • MELBA In 1997 Ward Marston was nominated for the Best Historical Album Grammy Award for his production work on RIMSKY-KORSAKOV: Sadko: @ Gavotta, Minuetto (Act 4) 3:36 8.110780 1 Les diamants chez-nous sont innombrables BMG’s Fritz Kreisler collection. According to the Chicago Tribune, Marston’s name is ‘synonymous with tender 3:01 Mat. CR 414; unpublished on 78rpm [Chanson hindoue] # Sono andati? (Act 4) 4:40 loving care to collectors of historical CDs’. Opera News calls his work ‘revelatory’, and Fanfare deems him Mat. Cc 147; Cat. 03759 Mat. CR 415; unpublished on 78rpm ‘miraculous’. In 1996 Ward Marston received the Gramophone award for Historical Vocal Recording of the Year, $ Io Musetta…Oh come è bello e morbido 4:06 honouring his production and engineering work on Romophone’s complete recordings of Lucrezia Bori. He also RONALD: (Act 4) served as re-recording engineer for the Franklin Mint’s Arturo Toscanini issue and BMG’s Sergey Rachmaninov 2 Away on the hill there runs a stream 1:43 Mat. CR 416; unpublished on 78rpm Nellie recordings, both winners of the Best Historical Album Grammy. Mat. Cc 148; unpublished on 78rpm Tracks 11-14: Born blind in 1952, Ward Marston has amassed tens of thousands of opera classical records over the past four with Aurora Rettore (Mezzo-soprano), decades. Following a stint in radio while a student at Williams College, he became well-known as a reissue producer RONALD: Browning Mummery (Tenor), MELBA in 1979, when he restored the earliest known stereo recording made by the Bell Telephone Laboratories in 1932.
    [Show full text]
  • Yesterday's Australia
    Warren Fahey Presents Yesterday’sAustralia dr 20 Titles of Nostalgia Digitally Remastered Rouseabout Classics Johnny Ashcroft Bob Dyer They’re A Weird Mob (RRH22/D24117) Pick a Box (RRH10) A member of a show family and an enduring country artist with a string of In the 1940’s and 50’s Bob Dyer was our most popular radio and radio hits. Extremely well-documented booklet with wonderful memorabilia television star but he was also a hillbilly singer having recorded these from the artist’s own collection. Songs include his early recordings with songs in the late 1930’s. Also includes a complete program of Cop Rodeo Records when Johnny travelled with the Slim Dusty Show. Johnny The Lot and Pick a Box. recorded Australia’s first 10 inch record album. Includes Little Boy Lost, Percy Grainger Thunderbolt’s Lament and Playground of My Mind. Pleasant and Delightful (RRH14) Florence Astral The renowned classical pianist and composer recorded on the duo One of the Wonder Voices (RRHD16/LRH453) art piano. This collection features Grainger’s folk song arrangements A double album prepared by Jamie Moffat. features this ‘lost’ operatic and is a real joy. stars great performances that made her an international performer up there with the finest. Barbara James 20th Century Blues (RRH19/LRH427) John Brownlee Portrait (RRH17/LRH497) This is a fantastic album by one of Australia’s most famous dance hall vocalists. Shades of Ella Fitzgerald and Dakota Statton and featuring From the stages of the metropolitan opera in New York, Milan, Paris and some of the Trocadero’s best dance bands.
    [Show full text]
  • Mozart at Glyndebourne
    MOZART AT GLYNDEBOURNE This PDF is one of a series designed to assist scholars in their research on Isaiah Berlin, and the subjects in which he was interested. The series will make digitally available both selected published essays and edited transcripts of unpublished material. The page numbers in square brackets in this online text mark the beginning of the relevant page in the original publication, and are provided so that citations from book and online PDF can use the same page-numbering. The PDF is posted by the Isaiah Berlin Legacy Fellow at Wolfson College, with the support of the Trustees of the Isaiah Berlin Literary Trust. All enquiries, including those concerning rights, should be directed to the Legacy Fellow at [email protected] Mozart at Glyndebourne First published as ‘Mozart at Glyndebourne Half a Century Ago’ in John Higgins (ed.), Glyndebourne: A Celebration (London, 1984: Cape), 101–9 I wish that I could say that I was a member of that small company which, drawn by friendship, curiosity, hope, or simple faith, boarded the historic train which went from Victoria to Sussex in May 1934 for the inaugural performance of Le nozze di Figaro. Nor, I am ashamed to say, did I go in 1935. I thought only about the Salzburg Festival, which I visited every year from 1929 until the Anschluss. I was not, before the war, as I now am, an addicted reader of periodicals, and had simply not taken in the new musical phenomenon. Nobody I spoke to at Oxford, where I lived as undergraduate and don, so much as mentioned Glyndebourne’s existence before 1936 at the earliest.
    [Show full text]