13895 Wagner News
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Network Notebook
Network Notebook Fall Quarter 2018 (October - December) 1 A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more. -
The Wagner Society Members Who Were Lucky Enough to Get Tickets Was a Group I Met Who Had Come from Yorkshire
HARMONY No 264 Spring 2019 HARMONY 264: March 2019 CONTENTS 3 From the Chairman Michael Bousfield 4 AGM and “No Wedding for Franz Liszt” Robert Mansell 5 Cover Story: Project Salome Rachel Nicholls 9 Music Club of London Programme: Spring / Summer 2019 Marjorie Wilkins Ann Archbold 18 Music Club of London Christmas Dinner 2018 Katie Barnes 23 Visit to Merchant Taylors’ Hall Sally Ramshaw 25 Dame Gwyneth Jones’ Masterclasses at Villa Wahnfried Roger Lee 28 Sir John Tomlinson’s masterclasses with Opera Prelude Katie Barnes 30 Verdi in London: Midsummer Opera and Fulham Opera Katie Barnes 33 Mastersingers: The Road to Valhalla (1) with Sir John Tomlinson Katie Barnes 37 Mastersingers: The Road to Valhalla (2) with Dame Felicity Palmer 38 Music Club of London Contacts Cover picture: Mastersingers alumna Rachel Nicholls by David Shoukry 2 FROM THE CHAIRMAN We are delighted to present the second issue of our “online” Harmony magazine and I would like to extend a very big thank you to Roger Lee who has produced it, as well as to Ann Archbold who will be editing our Newsletter which is more specifically aimed at members who do not have a computer. The Newsletter package will include the booking forms for the concerts and visits whose details appear on pages 9 to 17. Overseas Tours These have provided a major benefit to many of our members for as long as any us can recall – and it was a source of great disappointment when we had to suspend these. Your committee have been exploring every possible option to offer an alternative and our Club Secretary, Ian Slater, has done a great deal of work in this regard. -
Hywelian Guild 2013
Hywelian Guild 2013 CONTENTS Beauty and the Beast 22 Review and photos In the Lost Property Cup- 24 Editorial and apologia 3 board Do you know these girls? President's letter 4 Events, dear Girls, Events 25 Sally Davis reprises another A photographic round up of re- successful year for School cent happenings Who’s Who and What’s On 6 Wales 101 26 Officers and Committee, Branch Why Wales gets left out of the Secretaries foreign visitor’s itinerary Secretary’s Report 8 Howlers of the past 27 Sue Rayner looks back on the Silly answers from long ago Hywelian year Branch Reports 9 In the Beginning 28 Hywelians meeting up An early HSL pupil’s view What Are They Up To Now? 11 That Crowns Everything 29 Hywelians’ News Coronation memories Hywelian Guild and GDST 17 Birthday Celebrations 30 New initiatives for closer working One hundred and something not out - twice! A Life ... 18 Three Generations 32 Olympic success for Hannah Family connections with HSL Mills ...On the Ocean Wave 19 Obituaries, in memoriam 33 A lifetime’s adventure for Mererid Lives remembered Hunt Leavers’ News 21 Online and on the Web 39 Analysis of last year’s move- ments post HSL Cover photographs (from top): Noah’s Ark garden, celebratory song First Summer at Hazelwood for Junior School girls Official opening of the new playground at the Junior School, Hazelwood 2 HYWELIAN GUILD 2013 It was a chance remark that got me deavour in the last magazine and into this mess. All I said was that I we are thrilled to report on pro- knew how to use a particular desk gress in that area. -
Wagner: Das Rheingold
as Rhe ai Pu W i D ol til a n ik m in g n aR , , Y ge iin s n g e eR Rg s t e P l i k e R a a e Y P o V P V h o é a R l n n C e R h D R ü e s g t a R m a e R 2 Das RheingolD Mariinsky Richard WAGNER / Рихард ВагнеР 3 iii. Nehmt euch in acht! / Beware! p19 7’41” (1813–1883) 4 iv. Vergeh, frevelender gauch! – Was sagt der? / enough, blasphemous fool! – What did he say? p21 4’48” 5 v. Ohe! Ohe! Ha-ha-ha! Schreckliche Schlange / Oh! Oh! Ha ha ha! terrible serpent p21 6’00” DAs RhEingolD Vierte szene – scene Four (ThE Rhine GolD / Золото Рейна) 6 i. Da, Vetter, sitze du fest! / Sit tight there, kinsman! p22 4’45” 7 ii. Gezahlt hab’ ich; nun last mich zieh’n / I have paid: now let me depart p23 5’53” GoDs / Боги 8 iii. Bin ich nun frei? Wirklich frei? / am I free now? truly free? p24 3’45” Wotan / Вотан..........................................................................................................................................................................René PaPe / Рене ПАПЕ 9 iv. Fasolt und Fafner nahen von fern / From afar Fasolt and Fafner are approaching p24 5’06” Donner / Доннер.............................................................................................................................................alexei MaRKOV / Алексей Марков 10 v. Gepflanzt sind die Pfähle / These poles we’ve planted p25 6’10” Froh / Фро................................................................................................................................................Sergei SeMISHKUR / Сергей СемишкуР loge / логе..................................................................................................................................................Stephan RügaMeR / Стефан РюгАМЕР 11 vi. Weiche, Wotan, weiche! / Yield, Wotan, yield! p26 5’39” Fricka / Фрикка............................................................................................................................ekaterina gUBaNOVa / Екатерина губАновА 12 vii. -
OCT 2005NEW.Qxd
AAGGMMAAZZIINNEE Official Publication of the American Guild of Musical Artists A Branch of the Associated Actors and Artistes of America • Affiliated with the AFL-CIO Summer 2015 Volume 69, Number 1 How Technology Affects our Careers Page 2 AGMAzine Summer 2015 It would be inappropriate to go to press without recognizing the victory for many of our members and all supporters of civil rights from the Supreme Court’s decision on Marriage Equality (Obergefell v Hodges) . AGMA Establishes a New System for Reporting Illegal Discrimination By Alan S. Gordon, National Executive Director AGMA has estab - retaliation. Unfortunately, it’s a valid fear. act; the nature of the abuse, harassment or lished a system However, reporting abuse or harassment to discrimination; the employment position of for members to con - your employer remains one of the ONLY two that person (composer, coach, etc.); their fidentially report truly effective ways of dealing with sexual work relationship to the person making the instances of any abuse or other illegal discrimination. report (unless it’s obvious from their posi - illegal discrimina - tion); whether or not there were witnesses to tion, including sex - The other possible remedy exists because dis - the situation, including their names or identi - ual abuse, harass - crimination is also a violation of AGMA’s fication by job titles; and any other informa - ment and conduct collective bargaining agreements and tion you think relevant to the report. that creates a hostile Standard Artist Agreements, and so it can also Although members can report abuse encoun - work environment. be pursued through the grievance and arbitra - tered at non-union companies, we have no tion provision of our contracts and decided by ability to influence behavior among non- A number of members, including participants an arbitrator. -
07 – Spinning the Record
VI. THE STEREO ERA In 1954, a timid and uncertain record industry took the plunge to begin investing heav- ily in stereophonic sound. They were not timid and uncertain because they didn’t know if their system would work – as we have seen, they had already been experimenting with and working the kinks out of stereo sound since 1932 – but because they still weren’t sure how to make a home entertainment system that could play a stereo record. Nevertheless, they all had their various equipment in place, and so that year they began tentatively to make recordings using the new medium. RCA started, gingerly, with “alternate” stereo tapes of monophonic recording sessions. Unfortunately, since they were still uncertain how the results would sound on home audio, they often didn’t mark and/or didn’t file the alternate stereo takes properly. As a result, the stereo versions of Charles Munch’s first stereo recordings – Berlioz’ “Roméo et Juliette” and “Symphonie Fanastique” – disappeared while others, such as Fritz Reiner’s first stereo re- cordings (Strauss’ “Also Sprach Zarathustra” and the Brahms Piano Concerto No. 1 with Ar- thur Rubinstein) disappeared for 20 years. Oddly enough, their prize possession, Toscanini, was not recorded in stereo until his very last NBC Symphony performance, at which he suf- fered a mental lapse while conducting. None of the performances captured on that date were even worth preserving, let alone issuing, and so posterity lost an opportunity to hear his last half-season with NBC in the excellent sound his artistry deserved. Columbia was even less willing to pursue stereo. -
Rewriting the Plot Mark Berry Is Left Confused by Some of Günter Krämer's Directorial Decisions in the Concluding Parts Of
CORE Metadata, citation and similar papers at core.ac.uk Provided by Royal Holloway - Pure The Wagner Journal Volume 5 Number 3 Rewriting the Plot Mark Berry is left confused by some of Günter Krämer‘s directorial decisions in the concluding parts of his Paris ‘Ring‘ Siegfried. Torsten Kerl (Siegfried), Katarina Dalayman (Brünnhilde), Juha Uusitalo (The Wanderer), Peter Sidhom (Alberich), Wolfgang Ablinger-Sperrhacke (Mime), Qiu Lin Zhang (Erda), Stephen Milling (Fafner), Elena Tsallagova (Woodbird); Orchestra of the Opéra National de Paris/Philippe Jordan (conductor); Günter Krämer (director), Jürgen Backmann (set designs), Falk Bauer (costumes), Diego Leetz (lighting), Otto Pichler (choreography). Opéra Bastille, Paris, 31 March 2011 Götterdämmerung. Torsten Kerl (Siegfried), Katarina Dalayman (Brünnhilde), Iain Paterson (Gunther), Christiane Libor (Gutrune, Third Norn), Hans-Peter König (Hagen), Sophie Koch (Waltraute), Peter Sidhom (Alberich), Nicole Piccolomini (First Norn, Floßhilde), Daniela Sindram (Second Norn, Wellgunde), Caroline Stein (Woglinde); Chorus and Orchestra of the Opéra National de Paris (chorus master: Patrick Marie Aubert)/Philippe Jordan (conductor); Günter Krämer (director), Jürgen Backmann (set designs), Falk Bauer (costumes), Diego Leetz (lighting), Otto Pichler (choreography), Stephan Bischoff (video). Opéra Bastille, Paris, 18 June 2011 If it would be an exaggeration to say that Günter Krämer straightforwardly sets his Siegfried in the 1960s, there are certainly elements of that era to the setting, which -
WAGNER / Рихард Вагнер DISC 3 45’41” (1813–1883) Zweiter Aufzug – Act Two (Conclusion) 1 Xii
lk a Waü GN r W , joNas k e e pe kY au r m iNs or f e ri C m i a a Val H k er e a m Y s N a t D j N G r N e , a r a r e G N i e é V p a p e , N i N a s t e e m m 2 Die Walküre Mariinsky Richard WAGNER / Рихард ВагнеР DISC 3 45’41” (1813–1883) Zweiter Aufzug – Act Two (conclusion) 1 xii. Schwer wiegt mir der Waffen Wucht / My load of armour weighs heavy on me p18 2’28” DiE WAlkÜRE 2 xiii. Dritte Szene: Raste nun hier, gönne dir Ruh’! / Scene Three: Do stop here, and take a rest p18 8’56” (ThE VAlkyRiE / ВалькиРия) 3 xiv. Wo bist du, Siegmund? / Where are you, Siegmund? p19 3’49” 4 xv. Vierte Szene: Siegmund! Sieh auf mich! / Scene Four: Siegmund, look at me p19 10’55” Siegmund / Зигмунд...................................................................................................................................Jonas KAUFMANN / Йонас Кауфман 5 xvi. Du sahst der Walküre sehrenden Blick / you have seen the Valkyrie’s searing glance p20 4’27” hunding / Хундинг................................. ..............................................................................................Mikhail PETRENKO / михаил ПетренКо 6 xvii. So jung un schön erschimmerst du mir / So young and fair and dazzling you look p20 4’58” Wotan / Вотан..........................................................................................................................................................................René Pape / рене ПаПе 7 xviii. Funfte Szene: Zauberfest bezähmt ein Schlaf / Scene Five: Deep as a spell sleep subdues p21 3’01” Sieglinde / Зиглинда........................................................................................................................................................Anja -
Radio 3 Listings for 2 – 8 June 2012 Page 1 of 10
Radio 3 Listings for 2 – 8 June 2012 Page 1 of 10 SATURDAY 02 JUNE 2012 4:49 AM plays works by two of the most influential composers for the Durante, Francesco (1684-1755) piano, Liszt and Debussy. Two sides of Liszt are on display in SAT 01:00 Through the Night (b01j29g1) Concerto per quartetto for strings No.3 in E flat major the solemn Invocation (from the Harmonies Poetiques et Susan Sharpe presents a recital of early organ music Lübeck, Concerto Köln Religieuses) and his brilliantly virtuosic Grosses Konzertsolo, Frescobaldi and Pasquini. Performed by Andrea Marcon and while Debussy's Images show his genius for evocative piano recorded at the 2009 Ansbach Bach Week. 5:01 AM textures. Presented by Sean Rafferty. Rimsky-Korsakov, Nikolai (1844-1908) 1:01 AM May Night: overture FULL PROGRAMME Lübeck, Vincent (1654-1740) Calgary Philharmonic Orchestra, Mario Bernardi (conductor) Liszt: Invocation from Harmonies Poétiques et Religieuses Prelude in D minor (first version) Andrea Marcon (organ) 5:09 AM Debussy: Images oubliées Chopin, Frédéric (1810-1849) Debussy: Images Book I 1:10 AM Scherzo for piano No.4 (Op.54) in E major Debussy: L'isle joyeuse Frescobaldi, Girolamo (1583-1643) Simon Trpceski (piano) Liszt: Grosses Konzertsolo Canzon III; Toccata IV 'per l'Elevazione' Andrea Marcon (organ) 5:21 AM Jean-Efflam Bavouzet (piano). Schuyt, Cornelis (1557-1616) 1:21 AM Voi bramate, ben mio Bernardo Storace (fl.1664) Netherlands Chamber Choir, Paul van Nevel (conductor) SAT 15:00 Saturday Classics (b01jg7z8) Ballo della battaglia for keyboard; -
Garrick Ohlsson
bernard haitink conductor emeritus seiji ozawa music director laureate 2013–2014 Season | Week 14 andris nelsons music director designate season sponsors Table of Contents | Week 14 7 bso news 15 on display in symphony hall 16 the boston symphony orchestra 19 old strains reawakened: the boston symphony’s historical instrument collection by douglas yeo 27 this week’s program Notes on the Program 28 The Program in Brief… 29 Richard Wagner 35 Witold Lutos´lawski 43 Dmitri Shostakovich 51 To Read and Hear More… Guest Artists 57 Andris Poga 59 Garrick Ohlsson 62 sponsors and donors 72 future programs 74 symphony hall exit plan 75 symphony hall information the friday preview talk on january 24 is given by harlow robinson of northeastern university. program copyright ©2014 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photo of BSO principal bassoon Richard Svoboda by Stu Rosner BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617)266-1492 bso.org andris nelsons, ray and maria stata music director designate bernard haitink, lacroix family fund conductor emeritus, endowed in perpetuity seiji ozawa, music director laureate 133rd season, 2013–2014 trustees of the boston symphony orchestra, inc. Edmund Kelly, Chair • William F. Achtmeyer, Vice-Chair • Carmine A. Martignetti, Vice-Chair • Stephen R. Weber, Vice-Chair • Theresa M. Stone, Treasurer David Altshuler • George D. Behrakis • Jan Brett • Paul Buttenwieser • Ronald G. Casty • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Diddy Cullinane • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Michael Gordon • Brent L. -
Wagnerkalender – Sluitingsdatum Van Deze Kalender 1 December 2017
Wagnerkalender – sluitingsdatum van deze kalender 1 december 2017 Amsterdam Tristan und Isolde, 18, 22, 25, 30 januari, 4, 7, 10 en 14 februari 2018 Pierre Audi regie, Christof Hetzer decor, Marc Albrecht dirigent, Stephen Gould (Tristan), Ricarda Merbeth (Isolde), Günther Groisböck (Marke), Ian Paterson (Kurwenal), Michelle Breedt (Brangäne), Roger Smeets (Ein Steuermann), Marc Lachner (Ein Hirt/Ein Junger Seemann) Tannhäuser light, 26 mei, Muziekgebouw aan het IJ Pocketversie van Tannhäuser, samengesteld door Carel Alphenaar. Michael Gieler dirigent, zangers: Laetitia Gerards, Gustavo Peña, Aylin Sezer, Michael Wilmering, orkest: leden van het Koninklijk Concertgebouworkest. Der Ring ohne Worte (arr. Lorin Maazel), Concertgebouw 13 juni 2018 UVA-orkest J.Pzn. Sweelinck Fragmenten uit de Ring, 20, 21 en 22 juni 2018, Concertgebouw Concertant, Koninklijk Concertgebouworkest o.l.v. Daniele Gatti, met medewerking van Eva-Maria Westbroek. Antwerpen Parsifal, 18, 21, 24, 27, 29 maart, 1 en 4 april 2018 Tatjana Gürbaca regie, Henrik Ahr decor, Cornelius Meister dirigent, Erin Caves (Parsifal), Tanja Ariane Baumgartner (Kundry), Stefan Kocan (Gurnemanz), Christoph Pohl (Amfortas), Károly Szemerédy (Klingsor), Markus Suihkonen (Titurel) Baden Baden - Festspielhaus Parsifal, 24 en 30 maart, 2 april 2018 Dieter Dorn regie, Magdalena Gut decor, Simon Rattle dirigent, Stephen Gould (Parsifal), Franz-Josef Selig (Gurnemanz), Ruxandra Donose (Kundry), Evgeny Nikitin (Klingsor), Gerald Finley (Amfortas) Der fliegende Holländer, 18 mei 2018 (concertant)