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CHARLES FUSSELL: CYMBELINE CHARLES FUSSELL B
CHARLES FUSSELL: CYMBELINE CHARLES FUSSELL b. 1938 CYMBELINE: DRAMA AFTER SHAKESPEARE (1984, rev. 1996) CYMBELINE [1] I. Prelude 4:03 [2] II. Duet: Imogen and Posthumus 3:26 [3] III. Interlude 1:39 [4] IV. Aria: Iachimo 1:10 [5] V. Imogen 3:39 [6] VI. Scene with Arias: Iachimo 10:19 [7] VII. Interlude 2:14 [8] VIII. Scene: Cloten 1:21 [9] IX. Song: Cloten 3:22 [10] X. Recitative and Arioso: Imogen and Belarius 3:04 ALIANA DE LA GUARDIA soprano [11] XI. Duet, Dirge: Guiderius and Arviragus 3:58 MATTHEW DiBATTISTA tenor [12] XII. Battle with Victory March 4:05 DAVID SALSBERY FRY narrator [13] XIII. Scene: Ghosts (Mother and Sicilius) and Jupiter 5:17 [14] XIV. Duet: Imogen and Posthumus 3:07 BOSTON MODERN ORCHESTRA PROJECT [15] XV. Finale: Soothsayer and Cymbeline 4:14 Gil Rose, conductor TOTAL 55:02 COMMENT By Charles Fussell The idea of a musical depiction of this work came as a result of seeing the Hartford Stage productions of Shakespeare. Their Cymbeline, directed by Mark Lamos (who later moved to opera), ended with an unforgettable scene between Imogen and her husband: “Why did you throw your wedded lady from you? Think that you are upon a rock and throw me again.” His reply, “Hang there like fruit, my soul, till the tree die.” This exchange touched me deeply and really convinced me to try some music for the songs that appear in the play as well as this beautiful expression of love. I noticed the familiar “Hark, hark the lark” was sung by the frightful Cloten. -
FOR IMMEDIATE RELEASE CONTACT: Joyce Linehan (617) 282-2510
FOR IMMEDIATE RELEASE CONTACT: Joyce Linehan (617) 282-2510 OPERA BOSTON, BEIJING MUSIC FESTIVAL CO-COMMISSION MADAME WHITE SNAKE, A NEW OPERA BASED ON ANCIENT CHINESE LEGEND NEW WORK WILL HAVE WORLD PREMIERE IN BOSTON DURING 2009/2010 SEASON BEFORE TRAVELING TO BEIJING IN OCTOBER 2010 Zhou Long, composer; Cerise Lim Jacobs, creator and librettist (BOSTON – May 14, 2008) At a press conference today Opera Boston General Director Carole Charnow announced the company’s first-ever commissioned work in its 2009/2010 season with the world premiere of Madame White Snake, a new opera based on a beloved ancient Chinese legend, by composer Zhou Long and librettist Cerise Lim Jacobs. The work is co-commissioned with the Beijing Music Festival in an historic partnership between a Chinese performing arts organization and an American opera company. The world premiere is presented by State Street Corporation. Madame White Snake will have four performances (February 24 through March 2, 2010) at the Cutler Majestic Theatre in Boston and two performances in Beijing in October, 2010. Opera Boston Music Director Gil Rose will conduct, Robert Woodruff will direct, soprano Ying Huang will sing the title role, and male soprano Michael Maniaci will sing the role of Little Green. “We are very proud to announce this major opera commission and multi-cultural production, Madame White Snake by Zhou Long and Cerise Lim Jacobs,” said Charnow. “This project marks many historic firsts; Opera Boston’s first major commission, our first collaboration with an international music organization and, perhaps most significantly, the first-ever collaboration between the Beijing Music Festival and an American opera company. -
The British Invasion a Festival of English Musical Dramas May–June 2015 the British Invasion: a Festival of English Musical Dramas 1
the british are coming THE BRITISH INVASION A FESTIVAL OF ENGLISH MUSICAL DRAMAS MAY–JUNE 2015 THE BRITISH INVASION: A FESTIVAL OF ENGLISH MUSICAL DRAMAS 1 THE BRITISH INVASION A FESTIVAL OF ENGLISH MUSICAL DRAMAS RALPH VAUGHAN WILLIAMS: P. 6 SIR JOHN IN LOVE Sunday, May 17 at 3pm Wednesday, May 20 at 7:30pm Saturday, May 23 at 7:30pm Boston University Theatre ARTHUR SULLIVAN: THE ZOO P. 20 WILLIAM WALTON: THE BEAR Friday, May 22 at 7:30pm Sunday, May 24 at 3pm Boston University Theatre KINGS, QUEENS, SAINTS & SINNERS P. 30 FIVE MONODRAMAS Saturday, May 30 at 7:30pm Boston University Theatre THOMAS ADÈS: P. 44 POWDER HER FACE Thursday, June 18 at 7:30pm Friday, June 19 at 7:30pm Saturday, June 20 at 7:30pm The Boston Conservatory Theater Gil Rose, Artistic and General Director Randolph J. Fuller, Festival Underwriter ODYSSEYOPERA.ORG THE BRITISH INVASION: A FESTIVAL OF ENGLISH MUSICAL DRAMAS 1 DAS LAND OHNE OPER—NEIN! BY RANDOLPH J. FULLER Of all the worn-out bromides Still it was unquestionably relentlessly repeated by self-styled Sullivan’s success in the field that eminent musicologists, perhaps the convinced other English composers most infuriating is the old canard to pursue careers in opera. What that England, indeed Britain could be more tempting, after as a whole, has never produced all, than to follow Sir Arthur’s anything of lasting interest, much commercial and artistic triumph of less quality, in the realm of opera. Ivanhoe (1891) with operas of their Even today you read in endless own? program notes that nothing but a musical wasteland exists between Ivanhoe was the score that opened Purcell’s Dido and Aeneas and Richard D’Oyly Carte’s magnificent the appearance of Britten’s Peter new Royal English Opera House Grimes. -
Wilde Opera Nights
WILDE OPERA NIGHTS W. S. GILBERT AND ARTHUR SULLIVAN’S OR, BUNTHORNE’S BRIDE CONDUCTED BY GIL ROSE STAGE DIRECTION BY FRANK KELLEY GILBERT AND SULLIVAN’S PATIENCE 1 DIRECTOR’S WELCOME Oscar Wilde didn’t spare his fellow literary types his razor- sharp quips. He once said “all art is quite useless” For the final installment of our Wilde Opera Nights season, we turn to a subject near and dear to our hearts: satirizing artists! And who brings a more Wildean sensibility to the task than the famous duo of Arthur Sullivan and W.S. Gilbert? Their comic operas, replete with wit, wordplay, and wacky happenings, bring us face-to-face with the ridiculousness of human society, laughing all the way. Patience; or, Bunthorne’s Bride romps through the Victorian circles that Wilde both frequented and mocked— and in fact, the rumor persists that Wilde himself was one of the inspirations behind the characters of Bunthorne and Grosvenor. PHOTO CREDIT: IRENE HAPUT It’s only natural that we’d come full circle on our voyage, where the master of wit becomes its object! And we return again to the fair isle of Britain, where traditions and social sensibilities are paramount, where culture and decorum are ripe for both admiration and mockery. Flowery verses, reveries, sighing maidens, infatuation, and marching military boots are the COVER IMAGE © TRUSTEES OF THE BRITISH MUSEUM classic ingredients of high art and of silliness! So sit back and laugh—but you might want to look over your shoulder. It could easily be you too, lover of art, that finds yourself looking in the mirror of absurdity. -
Gil Rose, Artistic Director Bmop2016 | 2017 Jordan Hall at New England Conservatory
GIL ROSE, ARTISTIC DIRECTOR BMOP2016 | 2017 JORDAN HALL AT NEW ENGLAND CONSERVATORY coming up next: Glass Works saturday, february 18 — 8pm The Picture of CELEBRATING THE ARTISTRY OF PHILIP GLASS Dorian Gray BMOP salutes the influential minimalist pioneer with a performance of his Symphony No. 2 and other works, plus the winner of the annual FRIDAY NOVEMBER 18, 2016 8:00 BMOP‑NEC Composition Competition. Boston Accent friday, march 31 — 8pm sunday, april 2 — 3pm [amherst college] Four distinctive composers, Bostonians and ex‑Bostonians, represent the richness of our city’s musical life. Featuring David Sanford’s Black Noise; John Harbison’s Double Concerto for violin, cello, and orchestra; Eric Sawyer’s Fantasy Concerto: Concord Conversations, and Ronald Perera’s The Saints. As the Spirit Moves saturday, april 22 — 8pm [sanders theatre] FEATURING THE HARVARD CHORUSES, ANDREW CLARK, DIRECTOR Two profound works from either side of the ocean share common themes of struggle and transcendence: Trevor Weston’s Griot Legacies and Michael Tippett’s A Child of Our Time. JOHN KRAMER DESIGN PROGRAM COVER ART: ARTISTS FOR HUMANITY BOSTON MODERN ORCHESTRA PROJECT | 781.324.0396 | BMOP.org Lowell Liebermann: The Picture of Dorian Gray, op. 45 (1995) OPERA IN TWO ACTS LIBRETTO BY LOWELL LIEBERMANN, BASED ON THE NOVEL BY OSCAR WILDE FRIDAY NOVEMBER 18, 2016 8:00 JORDAN HALL AT NEW ENGLAND CONSERVATORY Pre-concert talk with Mr. Liebermann 7:00 ACT I INTERMISSION ACT II Jon Jurgens Dorian Gray Matthew Curran Basil Hallward Thomas Meglioranza Lord Henry Wotton Deborah Selig Sibyl Vane David Kravitz James Vane Claudia Waite Whore Frank Kelley Lord Geoffrey Jeremy Ayres Fisher Gamekeeper Gil Rose, Conductor SYNOPSIS 7 Setting: London, 1890s ACT I Scene 1 The elegantly furnished studio of Basil Hallward, a well-known painter. -
Boston Symphony Orchestra Concert Programs, Season 127, 2007-2008
mS James Levine | M Bernard Haitink I Seiji Ozawa I Music Directo INSURANCE INVESTMENTS RETIREMENT -{ -fU eth. //W fimply pari" ^ wh$ we ate. and artists who bring At John Hancock we celebrate the talented performers legacy of support for the performing the arts to life. And proudly continue our community. arts and cultural institutions that enrich our FA the future is yours Table of Contents | Weeks 25/26 15 BSO NEWS 23 ON DISPLAY IN SYMPHONY HALL 25 BSO MUSIC DIRECTOR JAMES LEVINE 28 THE BOSTON SYMPHONY ORCHESTRA 31 "BERLIOZ'S VIRGILIAN MUSE" BY THOMAS MAY 40 THIS WEEK'S PROGRAMS 44 FROM THE MUSIC DIRECTOR Notes on the Program 47 Synopsis of "Les Troyens" 53 Hector Berlioz's "Les Troyens" 69 To Read and Hear More... Guest Artists 75 Marcello Giordani 77 Yvonne Naef 79 Anne Sofie von Otter 80 Dwayne Croft 83 Kwangchul Youn 85 Clayton Brainerd 87 Jane Bunnell 87 Philippe Castagner 89 James Courtney 89 Eric Cutler 91 Christin-Marie Hill 93 David Kravitz 93 Kate Lindsey 95 Ronald Naldi 97 Eric Owens 97 Julien Robbins 99 Tanglewood Festival Chorus 106 SYMPHONY HALL EXIT PLAN 107 SYMPHONY HALL INFORMATION THIS WEEK S PRE-CONCERT TALKS ARE GIVEN BY BSO DIRECTOR OF PROGRAM PUBLICATIONS MARC MANDEL. program copyright ©2008 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photograph by Peter Vanderwarker THE ARTS ALLOW US TO DISCOVER WHO WE CAN BE Imagine the world without music and dance, or literature and art. Life is incomplete without ways to express ourselves, and to discover who we are and what we can be. -
Berlioz' Béatrice Et Bénédict
FOR IMMEDIATE RELEASE CONTACT: Joyce Linehan 617-282-2510, [email protected] Opera Boston Opens 2012-12 Season with Berlioz’ Béatrice et Bénédict October 21 –25, 2011 Panikkar, Boulianne make company debuts in title roles; Kneuss and Perdziola—production team from La Grande-Duchesse —return to direct and design (BOSTON – Sept. 21, 2011) Opera Boston’s new production of Berlioz’ Béatrice et Bénédict —the first local staging since the early 1990s—stars Canadian mezzo-soprano Julie Boulianne in a local debut, and Sean Panikkar , a “dashing tenor with apt stage presence and a full-voiced, exceptional sound” (Opera News) and a rising star of American opera. Opera Boston Artistic Director Gil Rose conducts. Béatrice et Bénédict reunites the production team from 2010’s acclaimed La Grande-Duchesse de Gérolstein ; Metropolitan Opera Executive Stage Director David Kneuss directs and Robert Perdziola designs scenery and costumes. Performances take place on Friday, Oct. 21 and Tuesday, Oct. 25 at 7:30 p.m., and Sunday Oct. 23 at 3 p.m. at the Cutler Majestic Theatre (219 Tremont St., Boston). The opera will be sung in French with English titles and features dialogue in English. Tickets are now on sale through the Cutler Majestic Theatre box office, online at www.CutlerMajestic.org , and by phone at 617-824- 8000. French-Canadian mezzo-soprano Julie Boulianne —debuting the role of Béatrice—performs in Boston for the first time. She is an acclaimed Cenerentola, having sung the role at Florida Grand Opera, Glimmerglass, and Pacific Opera Victoria (BC). Other recent highlights include Fragoletto in Offenbach’s Les brigands at the Opéra-Comique, Lazuli in L’étoile at New York City Opera, Elisa in Tolomeo at Glimmerglass Opera, and roles in Roméo et Juliette (Stéphano) and Iphigénie en Tauride (Diane) at the Metropolitan Opera. -
Founded in 1872, the School of Music Combines the Intimacy and Intensity of Conservatory Train
Founded in 1872, the School of Music combines the intimacy and intensity of conservatory train- ing with a broadly based, traditional liberal arts education at the undergraduate level and intense coursework at the graduate level. The school offers degrees in performance, composition and theory, musicology, music education, collaborative piano, historical performance, as well as a certificate program in its Opera Institute, and artist and performance diplomas. Founded in 1839, Boston University is an internationally recognized private research university with more than 32,000 students participating in undergraduate, graduate, and professional programs. BU consists of 17 colleges and schools along with a number of multidisciplinary cen- ters and institutes which are central to the school’s research and teaching mission. The Boston University College of Fine Arts was created in 1954 to bring together the School of Music, the School of Theatre, and the School of Visual Arts. The University’s vision was to create a com- munity of artists in a conservatory-style school offering professional training in the arts to both undergraduate and graduate students, complemented by a liberal arts curriculum for under- graduate students. Since those early days, education at the College of Fine Arts has begun on the BU campus and extended into the city of Boston, a rich center of cultural, artistic and intellectual activity. Boston University College of Fine Arts School of Music Boston University Symphony Orchestra and Symphonic Chorus David Hoose, conductor Monday, April 2, 2012, 8pm Symphony Hall The 160th concert in the 2011-12 season Pre-concert lecture with Dr. Patrick Wood Uribe, Professor of Musicology Sergei Rachmaninoff The Bells, op.