Ulrich Peters Stage Director
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The Music the Music-To-Go Trio Wedding Guide Go Trio Wedding
The MusicMusic----ToToToTo----GoGo Trio Wedding Guide Processionals Trumpet Voluntary.................................................................................Clarke Wedding March.....................................................................................Wagner Jesu, Joy of Man’s Desiring...................................................................... Bach Te Deum Prelude.......................................................................... Charpentier Canon ................................................................................................. Pachelbel Air from Water Music............................................................................. Handel Sleepers Awake.......................................................................................... Bach Sheep May Safely Graze........................................................................... Bach Air on the G String................................................................................... Bach Winter (Largo) from The Four Seasons ..................................................Vivaldi MidMid----CeremonyCeremony Music Meditations, Candle Lightings, Presentations etc. Ave Maria.............................................................................................Schubert Ave Maria...................................................................................Bach-Gounod Arioso......................................................................................................... Bach Meditation from Thaïs ......................................................................Massenet -
Transatlantic Crossings in J989
SNEAK PREVIEW'S AND TRANSATLANTIC CROSSINGS IN J989 BY ELLEN LAMPERT he Welsh National Opera rang in the Richard Peduzzi, whose design collaboration New York with its American debut at with Patrice Chereau stretches over the past twenty the Brooklyn Academy of Music in years, is already at work on the decor for Cher • February with Peter Stein's production eau 's production of Mozart's Don Giovanni, Designer Reinhard Heinrich, Tof Falstaff. With sets designed by Lucio Fanti, who scheduled to open the new French Opera House at who recently made his direc also designed Stein's WNO production of Othello, the Bastille in January 1990. The building, cur torial debut with the Nether and costumes by Moidele Bickel, the production rently under construction, will host a concert on lands Opera production of was filmed in Cardiff by the BBC for an airdate la July 14, as a sentimental offering to this year's bi The Damnation ofFaust, will centennial celebration of the French Revolution, direct and design Lulu ter in 1989. (model, I) for the Heidelburg New productions on the Welsh National Opera's but full-staged productions are not scheduled until Theatre. Opening is set for 1989 home schedule include Mozart's Seraglio, di 1990. May89. rected by Giles Havergal, with sets and costumes by Back in Germany, Reinhold Daberto, from Russell Craig, who also designed the WNO/Mozart Acoustic Biihnentechnik, is overseeing extens ive The Marriage of Figaro. This production debuts renovations of the stage machinery at the Munich • on March 11 , to be followed in May with La Son Opera. -
Videografía Y Fonografía
VIDEOGRAFÍA Y FONOGRAFÍA En el listado siguiente ofrecemos una selección de las grabaciones comerciales disponibles, con los papeles principales presentados en este orden: Salome (soprano); Jochanaan (barítono- bajo); Herodes (tenor); Herodías (mezzosoprano); Narraboth (tenor);. Coro y orquesta / Director / Sello discográfico. SALOME EN AUDIO 1947 1960 Maria Cebotari, Marko Rothmüller, Julius Patzak, Maria Kouba, Hans Hotter, Julius Patzak, Kitsa Elisabeth Höngen, Karl Friedrich. Filarmónica de Damassioti, Erich Kienbacher. Orquesta Filarmónica Viena / Clemens Krauss, / CD: Gebhardt. de Viena / Hans Swarowsky / Hermann Lanske. 1974 1949 Teresa Stratas, Hans Beirer, Bernd Weikl, Astrid Ljuba Welitsch, Herbert Janssen, Frederick Jagel, Varnay, Wieslaw Ochman. Orquesta Filarmónica de Kirsten Thorborg, Brian Sullivan. Orquesta de la Viena / Karl Böhm / Götz Friedrich. Sello Unitel Metropolitan Opera House / Fritz Reiner / CD: Gebhardt. 1990 Catherine Malfitano, Simon Estes, Horst 1954 Hiestermann, Leonie Rysanek, Clemens Bieber. Christel Goltz, Julius Patzak, Hans Braun, Margherita Deutsche-Oper de Berlín / Giuseppe Sinopoli / Petr Kenney, Anton Dermota. Orquesta Filarmónica de Weigl Viena / Clemens Krauss. Sello DECCA y Naxos 1997 1961 Catherine Malfitano, Kenneth Riegel, Bryn Terfel, Anja Birgit Nilsson, Gerhard Stolze, Eberhardt Wächter, Silja, Robert Gambill. Royal Opera Covent Garden / Grace Hoffmann, Waldemar Kmentt. Orquesta Christoph von Dohnanyi/ Luc Bondy. Sello Decca Filarmónica de Viena / Sir Georg Solti. Sello DECCA 2007 1968 Nadja Michael, Iris Vermillion, Peter Bronder, Montserrat Caballé, Richard Lewis, Sherrill Milnes, Matthias Klink, Falk Struckmann / Scala de Milán / Regina Resnik, James King. Orquesta Sinfónica de Daniel Harding / Luc Bondy Londres / Erich Leinsdorf. Sello RCA. 2008 1977 Nadja Michael, Michaela Schuster, Thomas Moser, Hildegard Béhrens, Karl Walter Böhm, Jose van Joseph Kaiser, Michael Volle / Royal Opera House, Dam, Agnés Baltsa, Wieslaw Ochman. -
Premieren Der Oper Frankfurt Ab September 1945 Bis Heute
Premieren der Oper Frankfurt ab September 1945 bis heute Musikalische Leitung der Titel (Title) Komponist (Composer) Premiere (Conductor) Regie (Director) Premierendatum (Date) Spielzeit (Season) 1945/1946 Tosca Giacomo Puccini Ljubomir Romansky Walter Jokisch 29. September 1945 Das Land des Lächelns Franz Lehár Ljubomir Romansky Paul Kötter 3. Oktober 1945 Le nozze di Figaro W.A. Mozart Dr. Karl Schubert Dominik Hartmann 21. Oktober 1945 Wiener Blut Johann Strauß Horst-Dietrich Schoch Walter Jokisch 11. November 1945 Fidelio Ludwig van Beethoven Bruno Vondenhoff Walter Jokisch 9. Dezember 1945 Margarethe Charles Gounod Ljubomir Romansky Walter Jokisch 10. Januar 1946 Otto und Theophano Georg Friedrich Händel Bruno Vondenhoff Walter Jokisch 22. Februar 1946 Die Fledermaus Johann Strauß Ljubomir Romansky Paul Kötter 24. März 1946 Zar und Zimmermann Albert Lortzing Ljubomir Romansky Heinrich Altmann 12. Mai 1946 Jenufa Leoš Janáček Bruno Vondenhoff Heinrich Altmann 19. Juni 1946 Spielzeit 1946/1947 Ein Maskenball Giuseppe Verdi Bruno Vondenhoff Hans Strohbach 29. September 1946 Così fan tutte W.A. Mozart Bruno Vondenhoff Hans Strohbach 10. November 1946 Gräfin Mariza Emmerich Kálmán Georg Uhlig Heinrich Altmann 15. Dezember 1946 Hoffmanns Erzählungen Jacques Offenbach Werner Bitter Karl Puhlmann 2. Februar 1947 Die Geschichte vom Soldaten Igor Strawinsky Werner Bitter Walter Jokisch 30. April 1947 Mathis der Maler Paul Hindemith Bruno Vondenhoff Hans Strohbach 8. Mai 1947 Cavalleria rusticana / Pietro Mascagni / Werner Bitter Heinrich Altmann 1. Juni 1947 Der Bajazzo Ruggero Leoncavallo Spielzeit 1947/1948 Ariadne auf Naxos Richard Strauss Bruno Vondenhoff Hans Strohbach 12. September 1947 La Bohème Giacomo Puccini Werner Bitter Hanns Friederici 2. November 1947 Die Entführung aus dem W.A. -
The Pamphilj and the Arts
The Pamphilj and the Arts Patronage and Consumption in Baroque Rome aniè C. Leone Contents Preface 7 Acknoweedgments 9 Introduction 11 Stephanie C. Leone The Four Rivers Fountain: Art and Buieding Technoeogy in Pamphiei Rome 23 Maria Grazia D Amelio and Tod A. Marder The Aedobrandini Lunettes: from Earey Baroque Chapee Decoration to Pamphiej Art Treasures 37 Catherine Pnglisi Cannocchiaei Pamphiej per ee steeee, per i quadri e per tutto ie resto 47 Andrea G. De Marchi Committenze artistiche per ie matrimonio di Anna Pamphiej e Giovanni Andrea III Doria Landi (1671) 55 Lanra Stagno Notes on Aeessandro Stradeeea, L’avviso al Terrò giunto 77 Carolyn Giantnrco and Eleanor F. McCrickard L’avviso al Terrò giunto (Onge Tirer had reen apprised) 78 Alessandro Stradella The Jesuit Education of Benedetto Pamphiej at the Coeeegio Romano 85 Pani F. Grendler Too Much a Prince to be but a Cardinae: Benedetto Pamphiej and the Coeeege of Cardinaes in the Age of the Late Baroque 95 James M. Weiss Cardinae Benedetto Pamphiej’s Art Coeeection: Stiee-eife Painting and the Cost of Coeeecting 113 Stephanie C. Leone Cardinae Benedetto Pamphiej and Roman Society: Pestivaes, Peases, and More 139 Daria Borghese Benedetto Pamphiej’s Suneeower Carriage and the Designer Giovanni Paoeo Schor 151 Stefanie Walker Le conversazioni in musica: Cargo Prancesco Cesarini, virtuoso di Sua Ecceeeenza Padrone 161 Alexandra Nigito Pamphiej as Phoenix: Themes of Resurrection in Handee’s Itaeian Works 189 Ellen T. Harris The Power of the Word in Papae Rome: Pasquinades and Other Voices of Dissent 199 Lanrie Shepard “PlORlSCONO Dl SPEENDORE EE DUE COSPICUE LIBRARIE DEE SIGNOR CARDINAEE BENEDETTO PaMEIEIO”: STUDI E RICERCHE SUGEI INVENTARI INEDITI Dl UNA PERDUTA BiBEIOTECA 211 Alessandra Mercantini Appendice. -
FOCUS on 3 PRODUCTIONS I – Phaedra II– La Fin De L'amour
FOCUS ON 3 PRODUCTIONS I – Phaedra II– La Fin de l’Amour (The End of Love) III– Chto (What) I– PHAEDRA Phaedra by Jean Racine staged by Luc Bondy Théâtre Vidy à Lausanne Théâtre de l'Odéon – Festival d’automne Producers: Théâtre Vidy-Lausanne, ETE Kunstfestspiele Reckling hausen Europƒisches Festival, Wiener Festwochen, Theater der Nationen im Rahmen der Zÿrcher Festspiele, Odéon-Théâtre de l'Europe, Festival d'Automne à Paris PRESS REVIEW 1) Lausanne PHAEDRA, LOVE ON THE RUN. In Lausanne, Luc Bondy stages a simple and luminous show. A matter of skin. Strong, [Valérie Dréville] is also a fragile Phaedra, almost a child in the hands of a disquieting Œnone, performed by Dominique Frot. […] But Dominique Frot is also a perfectly attentive partner, a true sister of the night – nothing in the acting of her partner escapes her. René Solis, Libération, March 3, 1998 An exceptional cast, a brilliant production: Racine triumphs in Lausanne Valérie Dréville is astonishing in the title role but never obscures the remarkable performances of the other actors. Œnone,(Dominique Frot) is quite striking as well. An embodiment of possession. A frightening, demonic, gambolling goblin, able to materialize from the depths of horror. A “politician”… Jean-Louis Perrier, Le Monde, Feb. 28, 1998 LOVE UNTO DEATH It’s one of the most awaited productions of this new season: Luc Bondy stages Racine’s Phaedra in Lausanne Astonishing trio Valérie Dréville (Phaedra) and Dominique Frot (Œnone) are just overwhelming. [Dominique Frot] through Oenone, represents all the monstrosity and all the love that can coexist in the heart of a confidante. -
Il Complesso Barocco Edition
Handel: ADMETO (1726) Full score and piano-vocal Vivaldi: ERCOLE SUL TERMODONTE (1723) Full score and piano-vocal ISMN 979-0-2025-3382-6 Alan Curtis’ 1977 performance in Amsterdam‘s Concertgebouw, This important opera, performed in Rome a year earlier than DVD recorded by EMI with René Jacobs singing the title role, has now itself Il Giustino, was long thought to be lost. Nearly all the arias have Stains / Nesi / Cherici / become historical. Curtis has gone over the work and its sources again however been found, some missing their orchestral accompaniments, Dordolo / Bartoli / Scotting / and come up with new conclusions. Although the opera is published in various locations, and the lost recitatives and other missing parts Il Complesso Barocco / complete, he suggests ways to emend, cut, or compensate for the have been composed by Alessandro Ciccolini. Alan Curtis / directed by weaknesses of the outmoded libretto and restore Admeto to the John Pascoe (Spoleto position it deserves, as musically one of Handel’s greatest operas. Festival, 2006) Dynamic (2007) D. Scarlatti: TOLOMEO E ALESSANDRO (1711) Full score and piano-vocal Universally admired for his keyboard music, the vocal music of CD Domenico Scarlatti has until very recently been largely ignored. Hallenberg / Ek / Tolomeo e Alessandro was known only from a manuscript of Act I Invernizzi / Baka / Milanesi / in a private collection in Milan. Recently the entire opera turned up Nesi / Il Complesso Traetta: BUOVO D’ANTONA (1758) Full score and piano-vocal NEW in England and surprisingly revealed that Domenico was after all Barocco / Alan Curtis A charmingly light-hearted libretto by the well-known Venetian CD a very fi ne dramatic composer, perhaps even more appealingly so Universal Music Spain / playwright Carlo Goldoni, was set to music by the as-yet- Trogu-Röhrich / Russo- than his father Alessandro. -
Adaptation of Handel's Castrato Airs for Bass: a Lecture Recital, Together with Three Recitals of Selected Works of J
57? NS/d Ho, ADAPTATION OF HANDEL'S CASTRATO AIRS FOR BASS: A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS OF J. S. BACH, W. MOZART, M. RAVEL, G. FINZI, R. SCHUMANN, A. CALDARA, G. HANDEL, H. WOLF, H. DUPARC, C. IVES AND S. BARBER AND AN OPERATIC ROLE BY VERDI DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Terry L. Fern, B. M., M. M. Denton, Texas May, 1986 Fern, Terry Lee, Adaptation of Handel's Castrato Airs for Bass, A Lecture Recital Together With Three Recitals of Selected Works of J. S. Bach, W. Mozart, M. Ravel, G. Finzi, R. Schumann, A. Caldara, G. Handel, H. Wolf, H. Duparc, C- Ives and S. Barber and an Operatic Role by Verdi. Doctor of Musical Arts (Vocal Performance), May, 1986, 31 pp., 5 illustrations, bibliography, 52 titles. The lecture recital was given on April 18, 1977. The subject was Adaptation of Handel's Castrato Airs for Bass, and it included a discussion of conventions peculiar to Handelian opera seria, concerns regarding adaptation of Handel's castrato airs and a comparison of adaptation practices in eighteenth- and twentieth-century presentations of Handel's operas. Three coloratura castrato airs and two virtuoso bass airs were performed at the conclusion of the lecture. In addition to the lecture recital, one operatic role and three recitals of solo literature for voice, piano and chamber ensemble were publicly performed. These included the role of "Samuele" in A Masked Ball, by Verdi, performed in English on March 19, 1975 with the Opera Theatre of North Texas State University, a program presented on November 24, 1975,of solo literature for voice, piano, and chamber ensemble, including works by J. -
Download Booklet
DDD PHILHARMONIC SOLOISTS • CLARINET 8.557232 THE ART OF THE CLARINET Beethoven • Brahms • Berg • Mendelssohn Peter Schmidl, Clarinet • Madoka Inui, Piano Teodora Miteva, Cello • Pierre Pichler, Basset-horn Peter Schmidl The clarinettist Peter Schmidl was born in Olmütz, now Olomuc in the Czech Republic, and studied at the Vienna Musikhochschule, now the Music University, with Rudolf Jettel, being awarded a diploma with distinction. In 1965 he joined the Vienna Philharmonic Orchestra, where he is now Principal Clarinettist. He has appeared as a soloist with the orchestra, as well as with the MDR Orchestra in Leipzig, the Salzburg Mozarteum Orchestra, and the New Philharmonia in Tokyo, among others, in collaboration with conductors including Leonard Bernstein, André Previn, Karl Böhm, James Levine, Riccardo Muti, Seiji Ozawa, Nikolaus Harnoncourt, and Christoph Eschenbach. Since 1967 he has served as a professor at the Vienna Music University and has given master-classes in Europe and Japan. Peter Schmidl has recorded the greater part of the clarinet repertoire, notably Mozart’s Clarinet Concerto under Leonard Bernstein, Bernstein’s jazz Prelude, Fugue and Riffs, Mozart’s Sinfonia Concertante for wind instruments under Karl Böhm, and chamber music by Mozart, Beethoven, Brahms, Weber, Schoenberg, Danzi, Ibert and Hindemith, collaborating with Andras Schiff, Edita Gruberova, Cecilia Bartoli and others. Madoka Inui The pianist Madoka Inui was born in Kobe and had her first piano training in Tokyo. She studied at the Vienna Conservatory with Dianko Iliew and Roland Batik and was awarded her diploma unanimously with distinction. She won first prize in the Città di Stresa international piano competition and has appeared as a soloist in Austria, Japan and Spain. -
The False Secrets Les Fausses Confidences
A FILM BY LUC BONDY THE FALSE SECRETS LES FAUSSES CONFIDENCES PRESS KIT SYNOPSIS Dorante, a penniless young man, takes on the position of steward at the house of Araminte, an attractive widow whom he secretly loves. Dorante’s former valet Dubois also works there and is planning a scheme to make Araminte fall in love with Dorante. Based on his own critically acclaimed production of Marivaux’s comedy, Luc Bondy takes the play and its characters behind the stage, through the corridors and rooms of the Théâtre de l’Odéon in Paris, creating a new space between theatre and cinema. Director Luc Bondy Production Idéale audience – Pierre-Olivier Bardet ARTE France Odéon - Théâtre de l’Europe Maha Productions Based on a theatrical play by: Marivaux Screenplay: Luc Bondy Director of Photography: Luciano Tovoli Editors: Nicolas Barachin and Julie Pelat Music: Bruno Coulais Sound: François Waledisch and Christian Cartier Cast Isabelle Huppert - Aramante Louis Garrel – Dorante Bulle Ogier - Madame Argante Yves Jacques - Dubois Manon Combes - Marton Bernard Verley - Monsieur Rémy Jean –Pierre Malo - Le Compte Dorimont Fred Ulysse – Arlequin THE DIRECTOR - LUC BONDY Born in 1948 in Zurich (Switzerland) Luc Bondy was a theatre and film director. Trained in Paris at the theatrical school of Jacques Lecoq, he then worked as a director of Schaubühne Theater in Berlin and the producer of the Salzburg Festival - one of the most prominent festivals of music and drama in the world. Between 1971 and 2005 he produced, wrote or directed over 40 plays and operas, including Shakespeare’s The Winter’s Tale (1990, Lehniner Palace) Ibsen’s John Gabriel Borkman (1993, Odeon Theater in Paris) and Marivaux’s Les Fausses Confidences (2014) - which will later serve as an inspiration for his film. -
DP Julie Athénée.Pdf
sommaire distribution p.2 informations pratiques p.3 synopsis p.4 notes d’intention p.5 entretien avec Philippe Boesmans, Jean-Paul Dessy et Matthew Jocelyn p.6 autour du spectacle p.8 biographies p.9 Philippe Boesmans, compositeur p.9 Luc Bondy, livret p.9 Marie-Louise Bischofberger, livret p.9 Jean-Paul Dessy, direction musicale p.10 Matthew Jocelyn, mise en scène p.10 Ensemble Musiques Nouvelles p.10 Carolina Bruck-Santos p.11 Alexander Knop p.11 Agnieszka Slawinska p.11 tournée p.12 la saison 2009-2010 de l’Athénée p.13 julie opéra de chambre en un acte créé au Théâtre de la Monnaie à Bruxelles le 8 mars 2005 opéra de Philippe Boesmans livret Luc Bondy et Marie-Louise Bischofberger d’après Mademoiselle Julie d’August Strindberg direction musicale Jean-Paul Dessy mise en scène Matthew Jocelyn assistant à la mise en scène Yves Lenoir scénographie Alain Lagarde assisté de Françoise Henry costumes Zaïa Koscianski lumières Pierre Peyronnet coiffures Eric Crétier construction des décors Ateliers de la Maison de la Culture de Bourges chef de chant Kate de Marcken avec Carolina Bruck-Santos Julie Alexander Knop Jean Agnieszka Slawinska Kristin Et l’Ensemble Musiques Nouvelles production : La Scène nationale d'Orléans coproduction : Ensemble Musiques Nouvelles, Arcadi (Action régionale pour la création artistique et la diffusion en Île-de-France), Maison de la Culture de Bourges I avec le soutien du Ministère de la Culture et de la Communication, de la Ville de Paris et de la Région Centre I avec l'aide à la diffusion en Île-de-France d'Arcadi -
Effects of the Met: Live in HD on the Democratization of Opera in America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of 12-2020 Effects of The Met: Live in HD on the Democratization of Opera in America Anna Wigtil Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Commons This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. EFFECTS OF THE MET: LIVE IN HD ON THE DEMOCRATIZATION OF OPERA IN AMERICA by Anna K. Wigtil A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Music Major: Music Under the Supervision of Professor Pamela Starr Lincoln, Nebraska December, 2020 EFFECTS OF THE MET: LIVE IN HD ON THE DEMOCRATIZATION OF OPERA IN AMERICA Anna K. Wigtil, M.M. University of Nebraska, 2020 Advisor: Pamela Starr The Met: Live in HD satellite broadcasts of live opera performances began in 2006 and have since become popular with audiences around the world. While this could be an excellent avenue to democratize opera and make it available to new audiences, the available data indicates that most Live in HD viewers are already opera enthusiasts and have previously attended live opera performances. This thesis examines the history of the Metropolitan Opera’s broadcasting efforts, the demographics of American opera audiences, trends in Live in HD’s repertoire, and strategies to increase Live in HD’s appeal to a broader, more diverse audience that can revitalize opera’s popularity in the United States.