Jane Boedeker Shepherd Papers, 1937-1982
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Peter Grimes Benjamin Britten
Peter Grimes Benjamin Britten THEATER 16/17 FOR YOUR INFORMATION Do you want more information about upcoming events at the Jacobs School of Music? There are several ways to learn more about our recitals, concerts, lectures, and more! Events Online Visit our online events calendar at music.indiana.edu/events: an up-to-date and comprehensive listing of Jacobs School of Music performances and other events. Events to Your Inbox Subscribe to our weekly Upcoming Events email and several other electronic communications through music.indiana.edu/publicity. Stay “in the know” about the hundreds of events the Jacobs School of Music offers each year, most of which are free! In the News Visit our website for news releases, links to recent reviews, and articles about the Jacobs School of Music: music.indiana.edu/news. Musical Arts Center The Musical Arts Center (MAC) Box Office is open Monday – Friday, 11:30 a.m. – 5:30 p.m. Call 812-855-7433 for information and ticket sales. Tickets are also available at the box office three hours before any ticketed performance. In addition, tickets can be ordered online at music.indiana.edu/boxoffice. Entrance: The MAC lobby opens for all events one hour before the performance. The MAC auditorium opens one half hour before each performance. Late Seating: Patrons arriving late will be seated at the discretion of the management. Parking Valid IU Permit Holders access to IU Garages EM-P Permit: Free access to garages at all times. Other permit holders: Free access if entering after 5 p.m. any day of the week. -
Eugene Ormandy Commercial Sound Recordings Ms
Eugene Ormandy commercial sound recordings Ms. Coll. 410 Last updated on October 31, 2018. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2018 October 31 Eugene Ormandy commercial sound recordings Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 4 Administrative Information........................................................................................................................... 5 Related Materials........................................................................................................................................... 5 Controlled Access Headings..........................................................................................................................6 Collection Inventory...................................................................................................................................... 7 - Page 2 - Eugene Ormandy commercial sound recordings Summary Information Repository University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts Creator Ormandy, Eugene, 1899-1985 -
Guild Gmbh Guild -Historical Catalogue Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 52 742 85 00 - E-Mail: [email protected] CD-No
Guild GmbH Guild -Historical Catalogue Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 52 742 85 00 - e-mail: [email protected] CD-No. Title Composer/Track Artists GHCD 2201 Parsifal Act 2 Richard Wagner The Metropolitan Opera 1938 - Flagstad, Melchior, Gabor, Leinsdorf GHCD 2202 Toscanini - Concert 14.10.1939 FRANZ SCHUBERT (1797-1828) Symphony No.8 in B minor, "Unfinished", D.759 NBC Symphony, Arturo Toscanini RICHARD STRAUSS (1864-1949) Don Juan - Tone Poem after Lenau, op. 20 FRANZ JOSEPH HAYDN (1732-1809) Symphony Concertante in B flat Major, op. 84 JOHANN SEBASTIAN BACH (1685-1750) Passacaglia and Fugue in C minor (Orchestrated by O. Respighi) GHCD Le Nozze di Figaro Mozart The Metropolitan Opera - Breisach with Pinza, Sayão, Baccaloni, Steber, Novotna 2203/4/5 GHCD 2206 Boris Godounov, Selections Moussorgsky Royal Opera, Covent Garden 1928 - Chaliapin, Bada, Borgioli GHCD Siegfried Richard Wagner The Metropolitan Opera 1937 - Melchior, Schorr, Thorborg, Flagstad, Habich, 2207/8/9 Laufkoetter, Bodanzky GHCD 2210 Mahler: Symphony No.2 Gustav Mahler - Symphony No.2 in C Minor „The Resurrection“ Concertgebouw Orchestra, Otto Klemperer - Conductor, Kathleen Ferrier, Jo Vincent, Amsterdam Toonkunstchoir - 1951 GHCD Toscanini - Concert 1938 & RALPH VAUGHAN WILLIAMS (1872-1958) Fantasia on a Theme by Thomas Tallis NBC Symphony, Arturo Toscanini 2211/12 1942 JOHANNES BRAHMS (1833-1897) Symphony No. 3 in F Major, op. 90 GUISEPPE MARTUCCI (1856-1909) Notturno, Novelletta; PETER IILYICH TCHAIKOVSKY (1840- 1893) Romeo and Juliet -
A Collection of Stan Ruttenberg's Reviews of Mahler Recordings From
A collection of Stan Ruttenberg’s Reviews of Mahler Recordings from the Archives Of the Colorado MahlerFest (Symphonies 3 through 7 and Kindertotenlieder) Colorado MahlerFest XIII Recordings of the Mahler Third Symphony Of the fifty recordings listed in Peter Fülöp’s monumental discography (up to 1955, and many more have been added since then), I review here fifteen at my disposal, leaving out two by Boulez and one by Scherchen as not as worthy as the others. All of these fifteen are recommendable, all with fine points, all with some or more weaknesses. I cannot rank them in any numerical order, but I can say that there are four which I would rather hear more than the others — my desert island choices. I am glad to have the others for their own particular merits. Getting ready for MFest XIII we discovered that the matter of score versions and parts is complex. I use the Dover score, no date but attributed to Universal Edition; my guess this is an early version. The Kalmus edition is copied from who knows which published version. Then there is the “Critical Edition,” prepared by the Mahler Gesellschaft, Vienna. I can find two major discrepancies between the Dover/Universal and the Critical (I) the lack of horns at RN25-5, doubling the string riff and (ii) only two harp glissandi at the middle of RN28, whereas the Critical has three. Our first horn found another. Both the Dover and Critical have the horn doublings, written ff at RN 67, but only a few conductors observe them. -
View Printable Playbill
el George Frideric Hand This performance is made possible in part by the Georgina Joshi Foundation, Inc. FOR YOUR INFORMATION Do you want more information about upcoming events at the Indiana University Jacobs School of Music? There are several ways to learn more about our recitals, concerts, lectures, and more! Events Online Visit our online events calendar at music.indiana.edu/events: an up-to-date and comprehensive listing of Jacobs School of Music performances and other events. Events to Your Inbox Subscribe to our weekly Upcoming Events email and several other electronic communications through go.iu.edu/24K1. Stay “in the know” about the hundreds of events the Jacobs School of Music offers each year, most of which are free! In the News Visit our website for news releases, links to recent reviews, and articles about the Jacobs School of Music: music.indiana.edu/news. 2018-19 Opera and Ballet Theater Season Learn more about this year’s season, and reserve your seats by visiting music.indiana.edu/operaballet. Musical Arts Center The Musical Arts Center (MAC) Box Office is open M - F, 11:30 a.m. – 5:30 p.m. Call 812-855-7433 for information and ticket sales. Tickets are also available at the box office three hours before any ticketed performance. In addition, tickets can be ordered online at music.indiana.edu/boxoffice. Entrance: The MAC lobby opens for all events one hour before the performance. The MAC auditorium opens one half hour before each performance. Late Seating: Patrons arriving late will be seated at the discretion of the management. -
Cross Gender Roles in Opera
Boys Will Be Girls, Girls Will Be Boys: Cross Gender Roles in Opera University at Buffalo Music Library Exhibit October 1, 2003-January 9, 2004 An exhibit focusing on the high-voiced male castrato singers and on “pants roles,” in which women sing male roles. Created in conjunction with “Gender Week @ UB” 2003. Curated by Nara Newcomer CASE 1: Castrati : Introduction The opera stage is one place where gender roles have always been blurred, disguised, even switched – possibly multiple times within the course of an opera! Italian composers of seventeenth and eighteenth century opera seria (“serious opera” – as distinguished from comic opera) were especially free in this regard, largely connected with the high-voiced male castrati. Such traditions are not solely confined to that era, however. This exhibit will examine gender roles in opera, focusing on the castrati and upon operatic travesty, specifically upon breeches parts (“pants roles”). The photographs in the section of the exhibit on breeches parts come from the Music Library’s J. Warren Perry Collection of Memorabilia which includes over 2,000 photographs, largely operatic. Many of the photographs bear the singer’s autographs and are inscribed to Dr. Perry. A castrato is a type of high-voiced male singer, produced by castrating young boys with promising voices before they reached puberty. Castrati rose to prominence in the Italian opera seria of the 17th and 18th centuries. They were the prima donnas, even the rock stars, of their day. Somewhat ironically, however, the era of castrati both began and ended in the church. Castrati are known to have existed in Western Europe by the 1550’s and were present for centuries before in the Byzantine church. -
The Secularization of the Repertoire of the Mormon Tabernacle Choir, 1949-1992
THE SECULARIZATION OF THE REPERTOIRE OF THE MORMON TABERNACLE CHOIR, 1949-1992 Mark David Porcaro A dissertation submitted to the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music (Musicology) Chapel Hill 2006 Approved by Advisor: Thomas Warburton Reader: Severine Neff Reader: Philip Vandermeer Reader: Laurie Maffly-Kipp Reader: Jocelyn Neal © 2006 Mark David Porcaro ALL RIGHTS RESERVED ii ABSTRACT MARK PORCARO: The Secularization of the Repertoire of the Mormon Tabernacle Choir, 1949-1992 (Under the direction of Thomas Warburton) In 1997 in the New Yorker, Sidney Harris published a cartoon depicting the “Ethel Mormon Tabernacle Choir” singing “There’s NO business like SHOW business...” Besides the obvious play on the names of Ethel Merman and the Mormon Tabernacle Choir, the cartoon, in an odd way, is a true-to-life commentary on the image of the Salt Lake Mormon Tabernacle Choir (MTC) in the mid-1990s; at this time the Choir was seen as an entertainment ensemble, not just a church choir. This leads us to the central question of this dissertation, what changes took place in the latter part of the twentieth century to secularize the repertoire of the primary choir for the Church of Jesus Christ of Latter-day Saints (LDS)? In the 1860s, when the MTC began, its sole purpose was to perform for various church meetings, in particular for General Conference of the LDS church which was held in the Tabernacle at Temple Square in Salt Lake City. From the beginning of the twentieth century and escalating during the late 1950s to the early 1960s, the Choir’s role changed from an in-house choir for the LDS church to a choir that also fulfilled a cultural and entertainment function, not only for the LDS church but also for the American public at large. -
RADIO HOUR at FITZGERALD THEATER Every Kid Deserves a Brush with Inspiration
season 46 2014 - 2015 PRESENTS RADIO HOUR AT FITZGERALD THEATER Every kid deserves a brush with inspiration. Christina Baldwin Sponsored by ©2012 Target Brands, Inc. Target and the Bullseye Design are Target Inc. Brands, Target ©2012 722966 Inc. Brands, Target registered trademarks of A Commission and Regional Premiere of The Radio Hour by Jake Heggie was supported by New Music USA, made possible by annual program support and/or endowment gifts from Andrew W. Mellon Foundation, Mary Flagler Cary Charitable Trust, Rockefeller Brothers That’s why Target is on track to give Learn about the difference Fund, William and Flora Hewlett Foundation, Francis Goelet Charitable this support is making for Lead Trusts, Anonymous. Jake Heggie $1 BILLION FOR EDUCATION kids nationwide. by the end of 2015. Target.com/Education S, M 14 8 S, M 15 4 2014-2015 46TH ANNIVERSARY SEASON SPECIAL THANKS FOR THE SUPPORT OF THIS CONCERT RADIO HOUR Ann and Gordon Getty Foundation Saturday, March 14, 2015 at 8 pm Fitzgerald Theater Jack and Linda 10 East Exchange Street Hoeschler Fund of the Saint Paul, MN Saint Paul Foundation Pre-Concert Conversation with Classical Minnesota Public Radio Host The John and Ruth John Birge, composer Jake Heggie and librettist Gene Scheer at 7 pm. Huss Fund of the Saint Paul Foundation Sunday, March 15, 2015 at 4 pm Lucy R. Jones Fitzgerald Theater Garrison Keillor and Pre-Concert Conversation with Classical Minnesota Public Radio Host Jenny Lind Nilsson John Birge, composer Jake Heggie and librettist Gene Scheer at 3 pm. R C Lilly Foundation VocalEssence Chorus & Ensemble Singers Philip Brunelle, conductor Christina Baldwin, actor Nikki Swoboda, director A Commission and Regional Premiere of The Radio Hour by Jake Heggie was Charles Kemper, pianist supported by New Music USA, made possible by annual program support and/ or endowment gifts from Andrew W. -
Pittsburgh Concert Programs at Carnegie Library of Pittsburgh
Use Command F (⌘F) or CTRL + F to search this document ORGANIZATION DATE YEAR PROGRAM VENUE LOCATION John H. Mellor 11/27/1855 1855 Soiree by the pupils of Mrs. Ernest Piano warerooMs Music of John H. Mellor DepartMent: Pittsburgh Music Archive, #41 Protestant Episcopal Church of 12/29/1856 1856 Concert of Sacred Music Lafayette Hall Music East Liberty DepartMent: Pittsburgh Music Archive, #46 St. Andrew’s Church 1858 1858 Festival Concert by choral society at St. St. Andrew’s Music Andrew’s Church Church DepartMent: Pittsburgh Music Archive, #46 Lafayette Hall 2/9/1858 1858 Soiree Musicale in Lafayette Hall Lafayette Hall Music DepartMent: Pittsburgh Music Archive, #46 2/21/1859 1859 Mlle. PiccoloMini Music DepartMent: Pittsburgh Music Archive, #46 Grand Concert 186- 1860 The Grand Vocal & InstruMental concert of unknown Music the world-faMed Vienna Lady Orchestra DepartMent: Pittsburgh Concert PrograMs, v. 4 Presbyterian Church, East 5/20/186- 1860 Concert in the Presbyterian Church, East Presbyterian Churc Music Liberty Liberty, Charles C. Mellor, conductor h, East Liberty DepartMent: Pittsburgh Music Archive, #41 St. Peter’s Church 6/18/1860 1860 Oratorios - benefit perforMance for St. Peter’s Church Music purchase of organ for St. Mark’s Church in on Grant Street DepartMent: East BirMinghaM Pittsburgh Music Archive, #46 Returned Soldier Boys 1863 1863 Three PrograMs ChathaM and Wylie Music Ministrels Ave. DepartMent: Pittsburgh Concert PrograMs, v. 1 Green FaMily Minstrels 12/11/1865 1865 Benefit PrograM AcadeMy of Music Music DepartMent: Pittsburgh Concert PrograMs, v. 1 St. John's Choir 12/30/1865 1865 Benefit PrograM BirMinghaM Town Music Hall, South Side DepartMent: Pittsburgh Concert PrograMs, v. -
AUTOGRAPH AUCTION Sunday 27 November 2011 10:00
AUTOGRAPH AUCTION Sunday 27 November 2011 10:00 International Autograph Auctions (IAA) Office address Foxhall Business Centre Foxhall Road NG7 6LH International Autograph Auctions (IAA) (AUTOGRAPH AUCTION) Catalogue - Downloaded from UKAuctioneers.com Lot: 877 beneath the quotation. VG ELGAR EDWARD: (1857-1934) English Composer. A good Estimate: £80.00 - £100.00 printed score signed for The Dream of Gerontius (Op.38, 1900), First Edition published by Novello and Company Ltd., London, 1900. The tall 8vo edition has been specially bound in half blue Lot: 883 morocco with gilt title ('Nesta') to cover and gilt lettering to COATES ERIC: (1886-1957) English Composer, composed the spine. Signed by Elgar in dark fountain pen ink to the famous main title march of the film score to The Dam Busters preliminary blank with an A.M.Q.S. in his hand, two bars with (1954). Vintage signed and inscribed 4 x 6 photograph, a head words ('Praise etc.') beneath his signature. Dated Hereford, and shoulders study of Coates. Signed in dark fountain pen ink 1924, in his hand. Bearing two ownership signatures of N[esta]. to a light area of the image and dated February 1933 in his J. R. Clarke of Gloucester and Chester, one to the title page. hand. VG Rare in this form. Some light discoloration to the head of the Estimate: £100.00 - £120.00 covers and the spine faded, about VG Estimate: £400.00 - £600.00 Lot: 884 BRITTEN BENJAMIN: (1913-1976) English Composer. Vintage Lot: 878 signed postcard photograph of Britten in a head and shoulders SULLIVAN ARTHUR: (1842-1900) English Composer. -
Download Booklet
111266-67 bk Rake's Progress EU 20/7/07 14:08 Page 8 Baba’s Song. When he pushes her away she sings her Finale: Anne resolves to go to Tom. Once more the Aria of rage and recrimination. Tom finally silences her Ballad Tune is heard off-stage and Baba makes her by thrusting a wig over her face and in a Recitative he grand exit 0. falls asleep 1. Pantomime: While Tom sleeps Shadow STRAVINSKY comes in wheeling a fake machine which manufactures Scene 2: Prelude for string quartet !. Duet: In a church bread from stones. Recitative - Arioso – Recitative: Tom graveyard just before midnight Shadow offers Tom a awakes, wishing that his dream might come true. He choice of means with which to end his life, reminding sees Shadow, to whom he explains his dream of a him that his year and a day are up @. Recitative: The Rake’s Progress miraculous bread machine. Shadow then shows his Shadow grants Tom a stay to decide his fate by a game machine to the amazed Tom, who ‘makes’ bread with it, of cards #. Duet: Tom wins the first two guesses, and tastes it, and regains some hope for Anne’s love 2. almost despairs of final success $. Shadow senses Duet: Tom hopes that the machine may redeem him by success but, hearing the voice of Anne off-stage, Tom STRAVIN doing away with hunger and poverty. Shadow sees Tom places his faith once again in love, the Queen of Hearts, OR SK as a fool from whom money may be made 3 . -
Authorization to Copy
AUTHORIZATION TO COPY I authorize Kenneth S. Schmidt to scan the book I coauthored entitled, TULSA OPERA CHRONICLES, for the purpose of making a digital copy for use on the internet in the interest of preserving the history of the Tulsa Opera. Further copies may be made from this digital copy provided they are for educational, historical, personal enjoyment, or the promotion of fine art, and for non-profit use. For any other intentions, the copyright statement below applies. Laven Sowell Jack Williams June 15, 2007 Copyright © 1992 by Jack A. Williams and Laven Sowell All rights reserved under International Copyright Law. Contents May not be reproduced in whole or in part in any form without The express written consent of the authors. Library of Congress Catalog Number 92-96949 1 2 Website produced in appreciation of Mr. Laven Sowell by Ken Schmidt, student of Mr. Sowell since September 1964, Edison Jr. High School Boys Glee Club, Edison High School Mixed Chorus, and proud alumnus of the Edison High School Concert Chorus during the 1969 / 1970 school year in Tulsa, Oklahoma. Thank you for teaching me about great music. 3 To compensate for the page numbering difference between the original book and this PDF file, please add 10 to the page number when referencing the Table of Contents and the Index, and then search or scroll in your PDF viewer. 4 5 This book is dedicated to the loyal and talented chorus members, who have for many years given unselfishly of their time and talent to help make opera possible in the city of Tulsa.