Lotte Lehmann Collection., Date (Inclusive): 1880S-1976 Date (Bulk): 1920S-1976 Collection Number: PA Mss 02 Creator: Lotte Lehmann
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Parsifal and Canada: a Documentary Study
Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article. -
From the Violin Studio of Sergiu Schwartz
CoNSERVATORY oF Music presents The Violin Studio of Sergiu Schwartz SPOTLIGHT ON YOUNG VIOLIN VIRTUOSI with Tao Lin, piano Saturday, April 3, 2004 7:30p.m. Amamick-Goldstein Concert Hall de Hoernle International Center Program Polonaise No. 1 in D Major ..................................................... Henryk Wieniawski Gabrielle Fink, junior (United States) (1835 - 1880) Tambourin Chino is ...................................................................... Fritz Kreisler Anne Chicheportiche, professional studies (France) (1875- 1962) La Campanella ............................................................................ Niccolo Paganini Andrei Bacu, senior (Romania) (1782-1840) (edited Fritz Kreisler) Romanza Andaluza ....... .. ............... .. ......................................... Pablo de Sarasate Marcoantonio Real-d' Arbelles, sophomore (United States) (1844-1908) 1 Dance of the Goblins .................................................................... Antonio Bazzini Marta Murvai, senior (Romania) (1818- 1897) Caprice Viennois ... .... ........................................................................ Fritz Kreisler Danut Muresan, senior (Romania) (1875- 1962) Finale from Violin Concerto No. 1 in g minor, Op. 26 ......................... Max Bruch Gareth Johnson, sophomore (United States) (1838- 1920) INTERMISSION 1Ko<F11m'1-za from Violin Concerto No. 2 in d minor .................... Henryk Wieniawski ten a Ilieva, freshman (Bulgaria) (1835- 1880) llegro a Ia Zingara from Violin Concerto No. 2 in d minor -
English Translation of the German by Tom Hammond
Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p. -
Die Tote Stadt
Portrait Georges Rodenbach von Lucien Lévy-Dhurmer (1895). Die tote • Die Hauptpersonen Stadt • Paul – Marie – Marietta • Aufführungsgeschichte, Fotos • Fakten • Rodenbachs Roman und Drama • Genesis – Illustrationen – Bedeutung – Textauszug • Korngolds Oper • Korngolds Selbstzeugnis – Genesis – Handlung • Psychologie • Musik • Nähe zu Mahler – Gesangspartien – musikalisches Material – Instrumentation • Videobeispiele © Dr. Sabine Sonntag Hannover, 17. Juni 2011 DIE HAUPTPERSONEN Paul Die verstorbene Marie Die Tänzerin Marietta Die Hauptdarstellerin Brügge Die Hauptdarstellerin Brügge Une Ville Abandonnée von Fernand Khnopff (1904) AUFFÜHRNGSGESCHICHTE FOTOS Aufführungen Die tote Stadt • 1967: Wien • 1975: New York City Aufführungen Die tote Stadt • 5. Februar 1983, Deutsche Oper Berlin Götz Friedrich, Anmoderation der Sendung von Die tote Stadt, ARD Aufführungen Die tote Stadt • 1985: Wien • 1988: Düsseldorf • 1991: New York City • 1990: Niederl. Radio • 1993: Amsterdam • 1995: Ulm • 1996: Catania Aufführungen Die tote Stadt • 1997: Spoleto, Wiesbaden • 1998: Washington • 1999: Bremerhaven, Köln • 2000: Karlsruhe • 2001: Straßburg • 2002: Bremen, Gera • 2003: Braunschweig, Zürich, Stockholm Aufführungen Die tote Stadt • 2004: Berlin, Salzburg • 2005: Osnabrück • 2006: Genf, Barcelona, New York City • 2007: Hagen • 2008: Bonn • 2009: Nürnberg, Venedig • 2010: Bern, Helsinki, Regensburg London 2009 Berlin, Deutsche Oper, 2004 Frankfurt 2011 Gelsenkirchen 2010 Madrid 2010 New York 1975 Nürnberg 2010 Palermo 1996 Regensburg 2011 San Francisco 2008 Helsinki 2010 Die Wiederentdeckung 1983 Berlin, Deutsche Oper 1983 FAKTEN • Text von Paul Schott alias Julius Korngold, Erich Wolfgang Korngolds Vater. • UA am 4. Dezember 1920 gleichzeitig im Stadttheater Hamburg (Dirigent: Egon Pollack) sowie im Stadttheater Köln (Dirigent: Otto Klemperer) • 1921 Wien, 1921 Met (Met-Debut von Maria Jeritza) • Das Libretto basiert auf dem symbolistischen Roman Das tote Brügge Bruges-la-morte, 1892; dt. -
ARSC New York Chapter MARCH 2014 Meeting
ARSC New York Chapter MARCH 2014 Meeting !!NOTE CHANGE OF DATE!! 7 P. M. Thursday, 3/27/14 at the CUNY Sonic Arts Center West 140th Street & Convent Avenue, New York or, enter at 138th Street off Convent Avenue Shepard Hall (the Gothic building) – Recital Hall (Room 95, Basement level) An elevator is located in the center of the building ARSCNY is again pleased to present “The Two Gary’s” (Galo and Thalheimer, respectively) …reprising their gala presentations of recordings by Lauritz Melchior (“The Great Dane: Lauritz Melchior – A 40th Anniversary Tribute”) and German singers in Verdi roles. Both are expanded versions of presentations given at the ARSC national conference in Kansas City, MO in May 2013. Danish tenor Lauritz Melchior (1890-1973) was arguably the greatest Wagnerian tenor in the history of that species. Melchior began his career as a baritone, making his operatic debut as Sivlio in Leoncavallo’s Pagliacci at the Royal Opera, Copenhagen in 1913. On the advice of Mme. Charles Cahier, Melchior restudied as a tenor with Vilhelm Herold, and made a second debut in 1918 in the title role of Wagner’s Tannhäuser. After further studies with Anna Bahr-Mildenburg, Melchior began his international career at the Royal Opera House, Covent Garden in 1924 as Siegmund in Wagner’s Die Walküre, followed by a Bayreuth debut later that year, and a Metropolitan Opera debut in 1926. Melchior combined a voice of unrivalled power with a true bel canto production, allowing him to remain virtually unchallenged in the heldentenor repertoire until his retirement from the stage in 1950. -
Der Rosenkavalier by Richard Strauss
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 Octavian and the Composer: Principal Male Roles in Opera Composed for the Female Voice by Richard Strauss Melissa Lynn Garvey Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC OCTAVIAN AND THE COMPOSER: PRINCIPAL MALE ROLES IN OPERA COMPOSED FOR THE FEMALE VOICE BY RICHARD STRAUSS By MELISSA LYNN GARVEY A Treatise submitted to the Department of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2010 The members of the committee approve the treatise of Melissa Lynn Garvey defended on April 5, 2010. __________________________________ Douglas Fisher Professor Directing Treatise __________________________________ Seth Beckman University Representative __________________________________ Matthew Lata Committee Member The Graduate School has verified and approved the above-named committee members. ii I’d like to dedicate this treatise to my parents, grandparents, aunt, and siblings, whose unconditional love and support has made me the person I am today. Through every attended recital and performance, and affording me every conceivable opportunity, they have encouraged and motivated me to achieve great things. It is because of them that I have reached this level of educational achievement. Thank you. I am honored to thank my phenomenal husband for always believing in me. You gave me the strength and courage to believe in myself. You are everything I could ever ask for and more. Thank you for helping to make this a reality. -
Shining the Spotlight on New Talent Independent Opera
Independent Opera Shining the spotlight on new talent INDEPENDENT OPERA AT SADLER’S WELLS 2005–2020 Introduction Message from Wigmore Hall Thursday 15 October 2020, 7.30pm In this period of uncertainty, Independent Opera at Sadler’s It gives me great pleasure to welcome Independent Opera Wells is grateful to be able to present its annual Scholars’ to Wigmore Hall for its fourth showcase event. Now, more Independent Opera Recital at Wigmore Hall. For this final concert in Independent than ever, such opportunities are vital for young singers. Opera’s 15-year history, we are thrilled to bring together We are immensely grateful to Independent Opera for its four talented singers: tenor Glen Cunningham, soprano pioneering work and for its extraordinary commitment Scholars’ Recital Samantha Quillish, bass William Thomas, mezzo-soprano to young artists when they need it most. Tonight’s concert Lauren Young and renowned pianist Christopher Glynn. is a great example of the spirit of Independent Opera and all that it has represented over so many years. I hope Antonín Dvorˇák The four emerging artists you will hear tonight were Glen Cunningham tenor that you all enjoy this concert. Cigánské melodie, Op. 55 selected from Independent Opera’s partner conservatoires: Royal College of Music No. 1 Má písenˇ zas mi láskou zní Royal College of Music, Royal Academy of Music, Guildhall John Gilhooly Director No. 4 Když mne stará matka zpívat School of Music & Drama and Royal Conservatoire of Samantha Quillish soprano Moravian Duets, Op. 38 Scotland. The Independent Opera Voice Scholarships were Royal Academy of Music No. -
Preliminary Pages [PDF]
THE SUBSTANCE OF STYLE HOW SINGING CREATES SOUND IN LIEDER RECORDINGS, 1902-1939 A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Rebecca Mara Plack May 2008 © 2008 Rebecca Mara Plack THE SUBSTANCE OF STYLE HOW SINGING CREATES SOUND IN LIEDER RECORDINGS, 1902-1939 Rebecca Mara Plack, Ph. D. Cornell University 2008 In this dissertation, I examine the relationship between vocal technique and performance style through 165 audio clips of early Lieder recordings. I proceed from the starting point that many stylistic gestures are in fact grounded in a singer’s habitual vocalism. Vibrato, tempo and rubato are directly affected by a singer’s voice type and his physical condition, and portamento has long been a technical term as well as a stylistic one. If we consider these technical underpinnings of style, we are inevitably moved to ask: how do a singer’s vocal habits affect what we perceive to be his style? Does a singer’s habitual vocalism result in his being more likely to make certain style gestures, or even unable to make others? To address these questions, I begin by defining a vocabulary that draws on three sources: the language of vocal pedagogy, data derived from voice science, and evidence drawn from recordings themselves. In the process, I also consider how some Lieder singers distorted the word “technique,” using it to signify emotional detachment. Next, I examine the ways in which a recording represents the performer, addressing how singers are affected by both changing aesthetics and the aging process; both of these lead to a discussion of how consistently some performers make certain stylistic gestures throughout their recordings. -
Richard Strauss's Ariadne Auf Naxos
Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails. -
Tertis's Viola Version of Elgar's Cello Concerto by Anthony Addison Special to Clevelandclassical
Preview Heights Chamber Orchestra conductor's notes: Tertis's viola version of Elgar's Cello Concerto by Anthony Addison Special to ClevelandClassical An old adage suggested that violists were merely vio- linists-in-decline. That was before Lionel Tertis! He was born in 1876 of musical parents who had come to England from Poland and Russia and, at three years old, he started playing the piano. At six he performed in public, but had to be locked in a room to make him practice, a procedure that has actually fostered many an international virtuoso. At thirteen, with the agree- ment of his parents, he left home to earn his living in music playing in pickup groups at summer resorts, accompanying a violinist, and acting as music attendant at a lunatic asylum. +41:J:-:/1?<1>95@@1041?@A0510-@(>5:5@E;88131;2!A?5/@-75:3B5;85:-?45? "second study," but concentrating on the piano and playing concertos with the school or- chestra. As sometime happens, his violin teacher showed little interest in a second study <A<58-:01B1:@;8045?2-@41>@4-@41C-?.1@@1>J@@102;>@413>;/1>E@>-01 +5@4?A/4 encouragement, Tertis decided he had to teach himself. Fate intervened when fellow stu- dents wanted to form a string quartet. Tertis volunteered to play viola, borrowed an in- strument, loved the rich quality of its lowest string and thereafter turned the old adage up- side down: a not very obviously gifted violinist becoming a world class violist. But, until the viola attained respectability in Tertis’s hands, composers were reluctant to write for the instrument. -
German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
Current Review
Current Review Christian Ferras plays Beethoven and Berg Violin Concertos aud 95.590 EAN: 4022143955906 4022143955906 Fanfare (Robert Maxham - 2012.05.01) Audite’s program of violin concertos by Ludwig van Beethoven and Alban Berg captures two moments in the life of Christian Ferras, the first a studio recording from November 19, 1951, made in the Jesus-Christus-Kirche after the 18-year-old violinist had given a live performance of the work at the Titania Palast and more than a decade before he would record the work with Herbert von Karajan and the same orchestra. The young Ferras sounds both flexible and sprightly in the first movement’s passagework, producing a suave tone that might be described as almost gustatory in its effect as he soars above the orchestra. That tone lacks the sharp edge of Zino Francescatti’s and even the slightly reedy quality of Arthur Grumiaux’s, and he never seems to be deploying it simply for the sheer beauty of it: As sumptuous as it might sound, it always serves his high-minded concept of the work itself. And his playing of Fritz Kreisler’s famous cadenza similarly subordinates virtuosity to musical effect. Karl Böhm sets the mood for a probing exploration of the slow movement, in which Ferras sounds similarly committed; he never allows himself to be diverted into mannerism or eccentricity, as Anne-Sophie Mutter does in her performance with Kurt Masur and the New York Philharmonic (Deutsche Grammophon 289 471 349, Fanfare 26:5 and 26:6). What the young Michael Rabin achieved in the showpieces of Wieniawski and Paganini, Ferras arguably exceeded in the music of Beethoven.