Boston Symphony Orchestra Concert Programs, Season 57,1937-1938, Subscription Series
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
2. Nat Phillips Collection Finding
NAT PHILLIPS COLLECTION FINDING AID FRYER Library, The University of Queensland (UQFL9) Comprising eleven boxes of miscellanea, including scripts, scores, jokes, lyrics, business and legal papers, and photographs, the Nat Phillips Collection is the most extensive collection of early twentieth-century Australian variety ephemera in existence. While the bulk of the collection is ephemera belonging to Nat Phillips, including items associated with the Stiffy and Mo Revue Company and Fullers' Theatres, it also includes manuscripts and miscellanea belonging to John N. McCallum and Cremorne Theatre (including Will Mahoney and Walter Johnson), Tom Armstrong and Jack Phillips. One of the most significant aspects of the Nat Phillips collection is that it provides us with a much clearer understanding of the Australian larrikin personas developed by Phillips and Rene. Although based on Irish and Jewish theatrical types, Stiffy and Mo found much appeal with audiences throughout the country, capturing the same spirit that was emanating from the larrikin Aussie soldier of the First World War. The collection, which through accidental good fortune survived all odds, is now also able to serve as a reminder to historians and cultural theorists that popular entertainment is an area worthy of much further study. The Collection was discovered through sheer luck in 1972 when University of Queensland lecturer Dr Robert Jordan (later professor of drama at the University of New South Wales) and his first wife were looking through a Brisbane bric-a-brac shop. The Jordans notified the Fryer Library of the boxes and they were apparently purchased for a nominal sum. Descendants of Phillips' brother, Jack, have since informed the Library that the boxes possibly disappeared during a bitter divorce between Jacob "Jack" Phillips (Nat's brother) and his wife. -
Catalogo Delle Opere a Stampa E Una Cartolina Con Firma Autografa, Il Primo 24 Pp
Lim Antiqua s.a.s - Studio bibliografico Via della Chiesa IX, 44 Loc. Monte San Quirico 55100 LUCCA Telefono e Fax +39 0583 34 2218 (dalle 9 alle 13) +39 333 2551758 www.limantiqua.com/it email: [email protected] P. IVA 01286300460 Dati per bonifico: C/C postale n. 11367554 IBAN: IT 67 Q 07601 13700 000011367554 BIC: BPPIITRRXXX Orario di apertura Lunedì – Venerdì ore 9.00/14.00 Gli ordini possono essere effettuati per telefono, email o via fax. Il pagamento può avvenire tramite contrassegno, bollettino postale, bonifico sul conto postale o PayPal. Le spese di spedizione sono a carico del destinatario. I prezzi indicati sono comprensivi di IVA. Gli ordini saranno ritenuti validi e quindi evasi anche in caso di disponibilità parziale dei pezzi richiesti. Compositori p. 2 Direttori d’orchestra p. 26 Strumentisti e pianisti p. 38 Cantanti d’opera p. 43 5. Pierre Boulez Compositori 1. Franco Alfano (Napoli 1875 – Sanremo 1954) Lettera autografa firmata del compositore napoletano noto per aver completato Turandot di Puccini, indirizzata al giornalista Giorgio Pillon. Dat. 12 gennaio 1946: “Chiarissimo Professore, la notizia della morte di Romualdo Pantini, mio vecchio caro amico, mi è giunta di sorpresa …Io devo a Pantini innumerevoli consigli se non altrettante reali collaborazioni. “Eliana” datosi al Teatro Reale di Roma, dopo l’estero, due anni fa, appartiene a queste ultime. Anche per “Sakuntala” egli mi è stato largo di suggerimenti”. Franco Alfano rivestì prestigiosi incarichi tra i quali ricordiamo l'insegnamento al Liceo di Bologna, nel 1918 la direzione del Conservatorio di Bologna e dal 1923 la direzione del conservatorio "Giuseppe Verdi" di Torino che mantenne sino al 1939. -
Il Recupero Dell'antico Nell'opera Di Ottorino
SCUOLA DI DOTTORATO IN STORIA E CRITICA DEI BENI ARTISTICI , MUSICALI E DELLO SPETTACOLO XXII CICLO IL RECUPERO DELL’ANTICO NELL’OPERA DI OTTORINO RESPIGHI E L’ARCHIVIO DOCUMENTARIO ALLA FONDAZIONE “GIORGIO CINI” DI VENEZIA Coordinatore: prof. ALESSANDRO BALLARIN Supervisore: prof. ANTONIO LOVATO Dottoranda: MARTINA BURAN DATA CONSEGNA TESI 30 giugno 2010 2 A Riccardo e Veronica 3 4 INDICE PREMESSA ………………………………………..…………………………..……. p. 9 I. IL FONDO “OTTORINO RESPIGHI ” ………………………………………… » 13 1. Configurazione originaria del fondo ………………………………………… » 14 2. Interventi di riordino …………………………………………………………. » 16 3. Descrizione del contenuto ……………………………………………………. » 20 II. RITRATTO DI OTTORINO RESPIGHI ……………………………..……..... » 31 1. L’infanzia e le prime opere …………………………………………………... » 32 2. I primi passi verso il recupero dell’antico …………………………………… » 35 3. L’incontro con Elsa …………………………………………………………... » 38 4. Le trascrizioni di musiche antiche e Casa Ricordi …………………………... » 40 5. Il “periodo gregoriano” ……………………………………………………... » 42 6. L’incontro con Claudio Guastalla …………………………………………… » 44 7. Le opere ispirate al gregoriano ……………………………………………… » 46 8. La nomina all’Accademia d’Italia e il Manifesto…………………………….. » 48 9. La fiamma e l’elaborazione dell’Orfeo ………………………………………. » 53 10. Lucrezia ……………………………………………………………………... » 58 III. IL CONTESTO ………………………………………..………………...……… » 63 1. Il recupero dell’antico ………………………………………………………... » 63 1.1 La rinascita del gregoriano …………………………………………. » 64 1.2 Angelo De Santi, Giovanni Tebaldini e Lorenzo Perosi ……………. -
IL CINEMA RITROVATO 2008 Cineteca Del Comune Di Bologna
XXXVII Mostra Internazionale del Cinema Libero IL CINEMA RITROVATO 2008 Cineteca del Comune di Bologna XXII edizione / 22nd Edition Sabato 28 giugno - Sabato 5 luglio / Saturday 28 June - Saturday 5 July Questa edizione del festival è dedicata a Vittorio Martinelli This festival’s edition is dedicated to Vittorio Martinelli IL CINEMA RITROVATO 2008 Via Azzo Gardino, 65 - tel. 051 219 48 14 - fax 051 219 48 21 - cine- XXII edizione [email protected] Segreteria aperta dalle 9 alle 18 dal 28 giugno al 5 luglio / Secretariat Con il contributo di / With the financial support of: open June 28th - July 5th -from 9 am to 6 pm Comune di Bologna - Settore Cultura e Rapporti con l'Università •Cinema Lumière - Via Azzo Gardino, 65 - tel. 051 219 53 11 Fondazione Cassa di Risparmio in Bologna •Cinema Arlecchino - Via Lame, 57 - tel. 051 52 21 75 Ministero per i Beni e le Attività Culturali - Direzione Generale per il Cinema Modalità di traduzione / Translation services: Regione Emilia-Romagna - Assessorato alla Cultura Tutti i film delle serate in Piazza Maggiore e le proiezioni presso il Programma MEDIA+ dell’Unione Europea Cinema Arlecchino hanno sottotitoli elettronici in italiano e inglese Tutte le proiezioni e gli incontri presso il Cinema Lumière sono tradot- Con la collaborazione di / In association with: ti in simultanea in italiano e inglese Fondazione Teatro Comunale di Bologna All evening screenings in Piazza Maggiore, as well as screenings at the L’Immagine Ritrovata Cinema Arlecchino, will be translated into Italian -
1-5 Frontespizio
UNIVERSITÀ DEGLI STUDI DI NAPOLI “L’ORIENTALE” CENTRO DI STUDI EBRAICI ARCHIVIO DI STUDI EBRAICI III\5 ALOMA BARDI ESOTISMI MUSICALI DEL DIBBUK ISPIRAZIONI DA UN SOGGETTO DEL FOLCLORE EBRAICO UniorPress AdSE III\5 ARCHIVIO DI STUDI EBRAICI DIRETTO DA GIANCARLO LACERENZA REDAZIONE: DIANA JOYCE DE FALCO, DOROTA HARTMAN CENTRO DI STUDI EBRAICI DIPARTIMENTO ASIA, AFRICA E MEDITERRANEO UNIVERSITÀ DEGLI STUDI DI NAPOLI “L’ORIENTALE” PIAZZA S. DOMENICO MAGGIORE 12, 80134 NAPOLI TEL.+39 0816909675 - FAX.+39 0815517852 E-MAIL: [email protected] In copertina: Solomon Epstein, The Dybbuk: An Opera in Yiddish in Three Acts. Atto III, Scena 7 (Finale dell’opera): la sposa velata; trasfigurazione e morte di Leah. Il soprano Camilla Griehsel nella parte di Leah; regia Rachel Michaeli. Suzanne Dellal Centre for Dance and Theatre, Tel Aviv, 2 maggio 1999. Used by permission. © Rachel Michaeli, [email protected] ISBN 978-88-6719-056-0 Prodotto da IL TORCOLIERE – Officine Grafico-Editoriali di Ateneo © Università degli Studi di Napoli “L’Orientale” 2014 Edizione digitale UniorPress - 2020 UNIVERSITÀ DEGLI STUDI DI NAPOLI “L’ORIENTALE” CENTRO DI STUDI EBRAICI ARCHIVIO DI STUDI EBRAICI III\5 ALOMA BARDI ESOTISMI MUSICALI DEL DIBBUK ISPIRAZIONI DA UN SOGGETTO DEL FOLCLORE EBRAICO Napoli 2014 A Gabriele Boccaccini con gratitudine per quello che mi ha insegnato sull’ebraismo e ancor di più per il suo esempio di studioso AB SOMMARIO PREFAZIONE Il dramma Der Dybuk di S. An-Ski e la musica 11 I. RICERCA ETNOGRAFICA E ORIGINI DELL’INTERESSE MUSICALE 15 An-Ski e la musica del Dibbuk 17 Le musiche di scena di Yoel Engel 22 Le trascrizioni di A.Z. -
A Season in Federal Street J
A Season In Federal Street J. B. W^illiamson and the Boston Theatre 1796-1797 BY JOHN ALDEN F each autumn brings with it its own atmosphere of ex- I citement and suspense at the opening of a new theater season, we who experience it share no doubt a feeling as old as the theater itself. And we can the more readily project ourselves backwards to the evening of September 19, 1796, when the curtains of the Boston Theatre parted upon the first scene of Reynolds's comedy, The Dramatist. Emotions on both sides of the footlights may well have resembled ours today: optimistic anticipation tempered by an awareness of the uncertain fortunes of the stage. The fact of the matter is that the season of 1796-97 in Federal Street was a disastrous one. But the very misfor- tunes of the ten months in question provide the substance of our interest in it today. Had the season been a successful one, it would probably mean that we should know less about it, for the disasters which fell upon the Theatre have left their skeletons from which it is now possible to recon- struct more effectively the theatrical life of Boston over a century and a half ago. It is true that both W. W. Clapp in his Record of the Boston Stage (Boston, 1853) and G. O. Seilhamer in his History of the American Theatre (Philadelphia, 1881-91) have already given a generous picture of the early drama in Boston. There remains, however, a copious body of documentation regarding the Federal Street Theatre from which much IO AMERICAN ANTIQUARIAN SOCIETY [April, may be learned. -
Holland Memorial. Sketch of the Life of George
Jr n rr m Hi SB ess MM . > > > » > i >> II * > >> >.l ••> > I •» > > »"» > ;x>>> >> >> >> > >) >> » _>>» &3 .' Xk\ >^> ^ >> > > » » i -O J; - > > > "> * -> > » a > :> > » . -> * >-> > J» > JP»- -> > '> »>« . > i >z» *> »> :> > > •> > > >» . > .). >> > i) i» > . >• > ' >y> ) > >>> "> -> •' - > p • > o> "» > 5 > >> > o> > -> -, o> > > ->. .>> >» ii> Tt> j > > > > -> ""» • ,- >> . - > 3E» > > , ) > -i "» ~» ."> >> a < O I >*> T> » >;> - >"5 V> >-> ' 3> '™ ->.>' I » i >•> . 3i » >>> » £> 3 > » >••; .-» -' -3*' - . >. 8> "3^ >>>.. - "3^ & > » »T7 ^fc i > 2 > • » j>-> > ^ i » I >J>.; :» • > "> ~J>: » > > > . :» > » t> > i> > -> S>> IB > > ^>» >, 3 "a ^3> > > I 5>J3I > • > ) > > i.> J» > i --3 >> -; >a»-^» 3 J3J> ;. > P J 5» > > • > 3 ' • » ^^> .D>>>£e»-»5o -^ . ' > •> J> 3 . >] > .3 • > 1 J •> > - > s> > > -• - > » -• .> _> > > • >J > > _, ^> . > • • a » a a » 3 j > > >-^> i _! * »^ >~.»'ji " * •* -> -» > J*» •i> 1 -^ "^ >'_'> Tfc • o ->;. C; >3t v» ^j * > •> v^>~ S »a . *'' :' -^£j* • * -S 'm» ' > »>j > ' ^» >»> > > ^>~7afc - ^-U^P *~ > > >'ito . t». 'Mm >J^£, c."»orare Holland. "> Ftom tht New York Ihrald, Dec :<:jty, arter A lorg life of 79 vuara and a**" >" f < ' h. -j '',,-j/ <7> j o ( : L HOLLAND MEMORIAL. SKETCH OF THE LIFE OF George Holly n d . THE VETERAN COMEDIAN, WITH DRAMATIC REM I X [SC E XC ES. ANECDOTES, &c. Edition limited to 250 Copies, 50 of which are on quarto paper. NEW YORK T . H . MORE E L 78 Nassau Street. 1871. 7tf' ' MEMORIAL. AZLITT, an acute critic in all that relates to the stage, has justly observed that "the most pleasant feature in the profession of a player, and which, indeed, is peculiar to it, is that we not only admire the talents of those who adorn it, but we contract a personal intimacy with them. There is no class of society whom so many persons regard with affection as actors. -
The Theatre on the Frontier the University of Chicago Press Chicago, Illinois
4o (Su^Ji^o-i^ /'^t^(j>i ^c^ L I B R.AR.Y OF THE U N 1 VERS ITY or 1 LLl NOIS 792 C23t> Col ILL Hm. SUBViy ^ THE THEATRE ON THE FRONTIER THE UNIVERSITY OF CHICAGO PRESS CHICAGO, ILLINOIS THE BAKER & TAYLOR COMPANY THE CAMBRIDGE UNIVERSITY PRESS THE MARUZEN-KABUSHIKI-KAISHA TOKYO, OSAKA, KYOTO, FUKUOKA, SENDAl THE COMMERCIAL PRESS, LIMITED THE THEATRE ON THE FRONTIER THE EARLY YEARS OF THE ST. LOUIS STAGE By WILLIAM G. B. CARSON THE UNIVERSITY OF CHICAGO PRESS CHICAGO • ILLINOIS COPYRIGHT 1932 BY THE UNIVERSITY OF CHICAGO ALL RIGHTS RESERVED. PUBLISHED MARCH I932 . V\\ ^r TO MY WIFE ELIZABETH CHAPIN CARSON PREFACE COLLECTING material for a work of this sort one TNmust inevitably call upon others for assistance and ad- vice. Such has assuredly been my experience, and I cannot let this book go from my hands without acknowledg- ing some at least of this aid. Throughout the years devoted to my research and to the actual writing of the pages which follow I have had the benefit of the sympathetic counsel of Professor George C. D. Odell of Columbia University, and from his colleague Professor Ralph Leslie Rusk I have also received valuable suggestions. To the Missouri Historical So- ciety in St. Louis I am indebted for the use of its library, its newspaper files, and the manuscripts and prompt-copies in the Gundlach Collection, without which my work could not even have been begun. I must also most gratefully acknowl- edge the personal assistance of Mrs. Nettie H. -
Massachusetts Arts Curriculum Framework
Massachusetts Arts Curriculum Framework November 1999 Massachusetts Department of Elementary & Secondary Education 350 Main Street, Malden, MA 02148 Phone 781-338-3000 TTY: N.E.T. Relay 800-439-2370 www.doe.mass.edu Massachusetts Arts Curriculum Framework October 1999 October, 1999 Dear Colleagues, I am pleased to present to you the Massachusetts Arts Curriculum Framework that was adopted by the Board of Education in June, 1999. This second edition of the Arts Curriculum Framework presents the new statewide guidelines for learning, teaching, and assessment in dance, music, theatre, and visual arts for the Commonwealth’s public schools. Based on scholarship, sound research, and effective practice, the Framework will enable teachers and administrators to strengthen curriculum and instruction from PreKindergarten through grade 12. I am proud of the work that has been accomplished. The comments and suggestions received on the first edition of the Arts Curriculum Framework of 1996, as well as comments on subsequent working drafts, have strengthened this new edition. I want to thank everyone who worked with us to create a high quality document that provides challenging learning standards for Massachusetts students. We will continue to work with schools and districts in implementing the Arts Curriculum Framework over the next several years, and we encourage your comments as you use it. All of the curriculum frameworks are subject to continuous review and improvement, for the benefit of the students of the Commonwealth. Thank you again for your -
9780521802642 Index.Pdf
Cambridge University Press 0521802644 - Theatre, Society and the Nation: Staging American Identities S. E. Wilmer Index More information Index abolition, 8 Alien and Sedition Acts, 55, 74, 76, 99 abortion, 151, 162, 164, 184 Alien Act, 99 Acquired Immune Deficiency Syndrome Sedition Act, 59, 62 (aids), 14, 181, 183–186 Allegory, The (MacKaye), 100, 155 “Acres of Diamonds” speech (Conwell), Allen, Ethan, 48, 50 11, 99 American Communist Party, 103, 119 Across the Continent (McCloskey), 9 American Company, see London Act of Congress (1790), 9 Company of Comedians Action for Women in Theatre, 161 American Dream, The (Albee), 13 actor-managers, 156–157 American Dreams (Houston), 187 Actors Alliance of America, 158 American Federation of Labor (AFL), Actresses Franchise League, 156, 158 98, 109–110 Adams, Abigail, 39, 152 American Indians, 4, 5, 7, 9, 10, 11, 12, 13, Adams, John, 39, 41, 43, 46–47, 152 18, 19, 21, 23, 24, 25–26, 31, 49, 65, Adams, Samuel, 39, 40, 42, 43, 49 80–97, 101, 129, 131, 138, 144, 149, 166, Addison, Joseph, 18, 29, 40 175, 182, 183, 187, 193, 194, 196, 197, Adulateur, The (Warren), 39–40 198, 199 Aeschylus, 165 American Indian Movement (AIM), affirmative action, 173 129 African American, 5, 8, 10, 12, 13, 99, Bureau of Indian Affairs, 129 100, 101, 127–129, 131, 132, 133–138, Court of Indian Offences, 82 149, 174, 178–181, 182, 185, 186, 187, Red Power (see American Indian 188, 189, 194 Movement), 131 agit-prop, 119, 125 religious intolerance, 83–84 Agrell, Alfhild, 157 Tribes: Arapaho, 86, 88, 92; Caddo, 86, aids, see -
Index to the Proceedings by Ruth Canedy Cross
Index to the Proceedings by Ruth Canedy Cross FOREWORD As might be expected, the forty-four volumes of Proceedings (1905-1979) covered by this index provide a solid background of history: the landing at and settlement of "Newtown[e]"; the allotment of land and establishment—and later alteration—of town boundaries; the organization and division of churches; the effects of war, from the early Indian struggles and the Revolutionary War to the Vietnam conflict; the growth of and changes in population; the rise and decline and subsequent revival of industry. Along with this, from almost the very beginning, runs the history of Harvard; "town and gown" have shared many of the same problems, and each has profoundly affected the other. All this is enlivened by first-hand accounts from diaries and letters and recollections by people who were there while it was happening. For example: In the 1630s, Governor Winthrop reprimands Lieutenant-Governor Dudley for "extravagance" in wainscoting his new house, to which Dudley replies that it was done "for warmth...and the charge was little." We hear of a "student rebellion" at Harvard in the 1660s, apparently over religious matters; 300 years later the issues are different but the sentiments are the same. An exchange of correspondence between General Heath and General Burgoyne in 1777 reflects their frustrations in attempting to provide decent accommodations for the "Convention Troops" held prisoner in Cambridge. Written in 1827 to her son Stephen, Louisa Storrow Higginson's letters (read by a younger son, Thomas Wentworth Higginson, in 1906 at the sixth meeting of the newly formed Society) paint a vivid picture of family life--with ten children of her own and two stepdaughters, she says of a neighbor's sick child, "he is a dear little boy and I longed to have him for my own to take care of." Four companies of Harvard students guard the Arsenal in 1861, this task being taken over by the Washington Home Guard during the draft riots of 1863. -
A Historical Who's Who of Vermont Theatre George B
University of Vermont ScholarWorks @ UVM Center for Research on Vermont Occasional Papers Research Centers and Institutes 1991 A historical who's who of Vermont theatre George B. Bryan Follow this and additional works at: https://scholarworks.uvm.edu/crvocc Recommended Citation Bryan, George B., "A historical who's who of Vermont theatre" (1991). Center for Research on Vermont Occasional Papers. 19. https://scholarworks.uvm.edu/crvocc/19 This Article is brought to you for free and open access by the Research Centers and Institutes at ScholarWorks @ UVM. It has been accepted for inclusion in Center for Research on Vermont Occasional Papers by an authorized administrator of ScholarWorks @ UVM. For more information, please contact [email protected]. OCCASIONAL PAPER #13 CENTER FOR RESEARCH ON VERMONT UNIVERSITY OF VERMONT BURLINGTON, VERMONT 05405 802/656-4389 A HISTORICAL WHO'S WHO OF VERMONT THEATRE by George B. Bryan Department of Theatre University of Vermont C. I 0 1991 by the University of Vermont. All rights reserved ISBN 0-944277-21-7 The Center for Research on Vermont University of Vermont Burlington, VT 05405 802/656-4389 TABLE OF CONTENTS Foreword v Theatre and Drama in Vermont: An Overview 1 Introduction to the Directory 17 Abbreviations Used in the Directory 19 The Directory 21 About the Author 77 iii FOREWORD The Center for Research on Vermont is delighted to again be issuing an Occasional Paper for its Vermont and nationwide readers. This time it is our special pleasure to publish materials of the Center's Director, Dr. George B. Bryan of the University of Vermont's Department of Theatre.