DOCSLIB.ORG

Miamimusicfestival.Com from the FOUNDER and ARTISTIC DIRECTOR

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

2016 SEASON JULY 31, 2016 Sponsored by: miamimusicfestival.com FROM THE FOUNDER AND ARTISTIC DIRECTOR Dear Esteemed Patrons, We are honored to have you join us for the third season of the Miami Music Festival. We have much to be proud of as our festival expands to eight weeks of classical music programming this summer! Our 2016 season features the debut of the unprecedented Miami Wagner Institute, an orchestral tribute to celebrated violinist and South Florida neighbor Ida Haendel, a growing bill of full-scale opera productions, and the welcome of many renowned guest artists and faculty members. We are so glad you Michael Rossi are here to join us for a summer of music-making. Founder and Artistic Director Miami Music Festival Our Opera Institute is delighted to welcome in- demand Wagnerian soprano Christine Goerke to the faculty as she pioneers the visionary new Wagner Institute. Culminating in a return to the New World Center for the annual MMF gala concert, select singers from the Institute will perform in showcase alongside Ms. Goerke and renowned bass-baritone Alan Held. The Opera Institute also increases to six full-scale mainstage productions, and reprises its popular Family Opera Series with activities designed to introduce children to the world of classical music. Our revamped Studio Program will also undertake two lesser-known chamber operas, Giordano’s Mese Mariano and Offenbach’s La chanson de Fortunio, marking two South Florida premieres. MMF also welcomes a new team of artistic giants to the faculty including international piano soloists, revered conductors, coaches, guest artists, and pedagogues representing the world’s leading institutions of classical music. We resume our Career Institute providing a combination of entrepreneurship seminars and one-on-one career training helping students take charge of their personal artistic development in an ever-evolving economy. This past year, we received an overwhelming number of applicants and heard countless auditions from students the world over. This season’s participants were selected from over 1,500 auditions, with students from the US, Taiwan, South Korea, Italy, China, Australia, Singapore, Ukraine, Thailand, Spain, Japan, Latvia, Lithuania, Poland and Turkey; we couldn’t be more astounded by this year’s level of talent. We thank you for attending the 2016 Miami Music Festival and encourage your continued support of Miami’s classical music community. We are proud of Miami Music Festival’s developments as it grows into an established fixture of South Florida’s cultural landscape. We hope you will explore and enjoy this season’s offerings! Sincerely, Michael Rossi, MMF Founder & Artistic Director ` ` MIAMI MUSIC FESTIVAL ORCHESTRA PIANO INSTITUTE VIOLINS Mykhailo Kovalchuk Dylan James Juan Andres Acosta Er-Hsuan Li Tristan Aniceto Camille Ripple Colin Roshak Jabari Anderson Lily Li Jason Arevalo Julian Tello Zachary Stump Nareg Balian Yu-Tung Lin Ryan Bridge Luke (Yang) Lou Elaine Bastos Alexa Thomson BASSOONS Paul Celebi Samantha Martinez-Brockhus Seth Bramlage CELLOS Anthony Adario Anna Buda Iain Forgey Ying-Chieh Chen Erika Matei Carlos Bermúdez Cecilia Chow Tristan Murphy Ani Bukujian Michael Lamar Megan Chartier Solomon Eichner Michael Refvem Siobhán Cronin Joseph Lavarias Chun-kai Wang Edward Forstman Egle Sarmaviciute Linda Duan Jordan Galvarino HORNS Nick Ginsburg Marie François Hongni Wu Ziad Elganainy Stephanie Jaimes Xu Guo Yi-Fang Wu Magdalena Gacek Jacquelyn Hernandez Leah Johnson Brian Kavolius Sirapat Jittapirom Madison Yan Anna Galura Sanae Kodaira Derek Maseloff Marina Lee Ruobing Zhang Juliette Greer Jason Mooney Hanan Rahman Yuanyuan Guo Elis R. Ramos Amanda Rosenbaum Nicholas Hatt Tadhg Sauvey Claire Ross Scott Ullman Nick Hoy Elaine Whitmire Jinha Kwon TRUMPETS BASSES CONDUCTING INSTITUTE Yazmin Lancaster Joel Cantoran Daniel Díaz Tomas Lopez Jaume Martinez Aviñó Olivia Kapell Anthony Reyes Heather MacArthur Amy Nickler Julia Tsuchiya-Mayhew Sage McBride ASSISTANT CONDUCTORS AUDITORS Zachary Parker Sean Whitworth Maria Morales Steven Aguilo-Arbues Eli Chen Zacherie Small TROMBONES Jude Park Alex Amsel Evan Cadavieco Justin Smith Kenton Campbell Sasha Petrin Jonathan McNeer David Bond Chelsea Gallo Ashley Rewolinski FLUTES Todd Craven Nicky Gluch Federico Baez BASS TROMBONE Michael Romans Pablo Devigo Gabriel Lefkowitz Jessica Chancey Morgan Fite Francesca Rossi Marc Leroy-Calatayud Austin Philemon Simona Donova TUBA Rachel (Inkyoung) Seo Matthew Scinto Nicholas Pierle Jeewoon Lee Rolando Penate Danielle Sinclair Rachel Waddell Jacobsen Woollen Rebecca Tutunick Andrew Wright Sarah Sukal David Weigert OBOES PERCUSSION Hsing-Ping Wang Arthur Bonzon Michael Yun Diane Yang Austyn Estey-Ang Andrea Domínguez de Ae-Lin Youn Michael Johnson Dios Junshi Yang Julia Millett David Espinosa VIOLAS Mary O’Keefe Olivia Farrell Bria Blackshear Anish Pandit HARP Caroline Buse CLARINETS Anna Ellsworth VOCAL COLLABORATIVE PIANO Yaniv Cohen Nicole Galisatus Jane Soh Jessica King Natalie Groom Jordan Thomas Lochlan Brown Joshua Cessna Ezra Donner Patricia Hazard Justin Landers Eun-Kyung Lee-Sullivan Jared Peroune Yueh-yin Liao Manhattan JUNE 30 @ 7:30 PM School of Music LA BOHÉME JULY 2 @ 7:30 PM MSMNYC.EDU Shepard & Ruth K. Broad by G. Puccini Performing Arts Center, Barry University MMF Opera Institute MMF Opera Institute takes on one of the most beloved works in the operatic repertoire with a timeless rendition of Puccini’s La bohème. This heartbreaking masterpiece has earned its spot amongst opera favorites with empathic characters and a thoroughly romantic score brimming with emotion. A great introduction for new opera-goers. Follow the young bohemians of 1830s Paris as they navigate relationships, love and loss. Rodolfo, a poet.......................... Andrés Peñalver | Vincent McPherson Mimì, a seamstress.....................................Betsy Diaz | Allison Lonstein Marcello, a painter..........................................Anthony Potts | Eric Viñas Musetta, a singer................................Jordan Stadvec | Rachael Marino Schaunard, a musician............................Jose Cuartas | HyungJoo Eom OFFICE OF ADMISSIONS AND FINANCIAL AID MANHATTAN SCHOOL OF MUSIC Colline, a philosopher.................................Cory McGee | John Cabrali 120 CLAREMONT AVENUE, NEW YORK, NY 10027 it all happens here 917 493 4436 | [email protected] Benoît, their landlord....................................................Ishmael Gonzalez Alcindoro, a state councillor.........................................Ishmael Gonzalez Parpignol, a toy vendor........................................................Edgar Ricaud Chorus: TRAINING THE NEXT Members of the MMF Opera Institute and Opera Studio TRAINING THE NEXT Children’s Chorus: GENERATIONGENERATION OF OF Doral Conservatory Children’s Choir CLASSICAL MUSICIANS CLASSICAL MUSICIANS CREATIVE Michael Rossi, conductor World class faculty, a stimulating, supportive Jennifer Williams, director World class faculty, a stimulating, supportive Caren Levine, principal coach atmosphere and outstanding facilities make Ron Burns, lighting design atmosphere and outstanding facilities make the Cleveland Institute of Music an ideal Camilla Haith, costume design the Cleveland Institute of Music an ideal Yuki Izumihara, set design environment for training the next generation environment for training the next generation Yee Eun Nam, projection design of classical music performers. of classical music performers. cim.edu cim.edu Bachelor of Music | Master of Music | Doctor of Musical Arts BachelorArtist Certificate of Music | MasterProfessional of Music Studies | Doctor | Artist of DiplomaMusical Arts Artist Certificate | Professional Studies | Artist Diploma MMF FAMILY OPERA SERIES Staged as a double-bill performance of one-act operas, these performances welcome young and first- time opera goers! Families are invited to participate in free supplementary activities for children outlined on our website, including an instrument petting zoo and photos with the cast! Allow your children to experience opera and live theater in a family-friendly setting. DOUBLE-BILL L’enfant JULY 1 @ 7:30 PM et les by Maurice Ravel JULY 3 @ 2:00 PM Shepard & Ruth K. Broad Performing Arts Center, Barry University Sortileges MMF Opera Institute When an old curmudgeon dies, who inherits his fortune? In the aftermath of a wealthy man’s passing, Puccini’s one-act spins the uproarious tale of scheming relatives and one This whimsical French one-act translating to “The child and the magic spells” is the first of crafty neighbor, Gianni Schicchi. Based on a brief reference in Dante’s Inferno, this comic MMF’s popular Family Opera series. In a world where furniture, fire and animals come to opera showcases a wonderfully verismo ensemble cast singing Puccini’s score full of life, Ravel’s dreamy lyric score spins a modern fable with an ageless message. humorous musical devices and features one of the most memorable arias in the operatic canon, “O mio babbino caro.” L’enfant, the child.................................Jooyeon Song | Isabel Signoret Maman, the mother.........................................................Maria De Conzo Schicchi............................................Daniil Alekseenko | Samuel Cotten La bergère...............................................Jena Carpenter | Cara Bender Lauretta.....................................................Maria Lacey | Sandra Marante La tasse chinoise, the china cup................Cynthia Hill | Katarina
Recommended publications
  • Lectures and Community Engagement 2017­–18 About the Metropolitan Opera Guild

    Lectures and Community Engagement 2017­–18 About the Metropolitan Opera Guild

    Lectures and Community Engagement 2017 –18 About the Metropolitan Opera Guild The Metropolitan Opera Guild is the world’s premier arts educa- tion organization dedicated to enriching people’s lives through the magic and artistry of opera. Thanks to the support of individuals, government agencies, foundations, and corporate sponsors, the Guild brings opera to life both on and off the stage through its educational programs. For students, the Guild fosters personal expression, collaboration, literacy skills, and self-confidence with customized education programs integrated into the curricula of their schools. For adults, the Guild enhances the opera-going experience through intensive workshops, pre-performance talks, and community outreach programs. In addition to educational activities, the Guild publishes Opera News, the world’s leading opera magazine. With Opera News, the Guild reaches a global audience with the most insightful and up-to-date writing on opera available anywhere, helping to maintain opera as a thriving, contemporary art form. For more information about the Metropolitan Opera Guild and its programs, visit metguild.org. Additional information and archives of Opera News can be found online at operanews.com. How to Use This Booklet This brochure presents the 2017–18 season of Lectures and Community Programs grouped into thematic sections—programs that emphasize specific Met performances and productions; courses on opera and its history and culture; and editorial insights and interviews presented by our colleagues at Opera News. Courses of study are arranged chronologically, and learners of all levels are welcome. To place an order, please call the Guild’s ticketing line at 212.769.7028 (Mon–Fri 10AM–4PM).
  • Coa-Program-For-Web.Pdf

    Coa-Program-For-Web.Pdf

    HOUSTON GRAND OPERA AND SID MOORHEAD, CHAIRMAN WELCOME YOU TO THE TAMARA WILSON, LIVESTREAM HOST E. LOREN MEEKER, GUEST JUDGE FRIDAY, FEBRUARY 5, 2021 AT 7 P.M. BROADCAST LIVE FROM THE WORTHAM THEATER CENTER TEXT TO VOTE TEXT TO GIVE Text to vote for the Audience Choice Award. On page Support these remarkable artists who represent 9, you will see a number associated with each finalist. the future of opera. Text the number listed next to the finalist’s name to 713-538-2304 and your vote will be recorded. One Text HGO to 61094 to invest in the next generation vote per phone number will be registered. of soul-stirring inspiration on our stage! 2 WELCOME TO CONCERT OF ARIAS 2021 SID MOORHEAD Chairman A multi-generation Texan, Sid Moorhead is the owner of in HGO’s Overture group and Laureate Society, and he serves Moorhead’s Blueberry Farm, the first commercial blueberry on the company’s Special Events committee. farm in Texas. The farm, which has been in the Moorhead family for three generations, sits on 28 acres in Conroe and Sid was a computer analyst before taking over the family boasts over 9,000 blueberry plants. It is open seasonally, from business and embracing the art of berry farming. He loves to the end of May through mid-July, when people from far and travel—especially to Europe—and has joined the HGO Patrons wide (including many fellow opera-lovers and HGO staffers) visit on trips to Italy and Vienna. to pick berries. “It’s wonderful.
  • Musicien. 1 PRÉSENTATION

    Musicien. 1 PRÉSENTATION

    Offenbach, Jacques - musicien. 1 PRÉSENTATION Offenbach, Jacques (1819-1880), violoncelliste et compositeur allemand, naturalisé français (1860), considéré comme le fondateur de l’opérette. Né à Cologne, dans la famille d’un cantor de synagogue et violoniste, Jacques (en réalité Jakob) Offenbach étudie le violon, puis le violoncelle dès l'âge de neuf ans. En 1833, son père l’amène à Paris et réussit à le faire admettre au Conservatoire, malgré ses origines étrangères. Il n’y reste qu’un an, devient violoncelliste à l'orchestre de l'Opéra-Comique, qu’il quitte dès 1835 pour une carrière soliste de musique de chambre. En 1850, il est appelé à diriger la musique à la Comédie-Française. Compositeur depuis l’enfance, il a pris quelques leçons avec Jacques Halévy en 1835, et livré régulièrement des mélodies ou pièces courtes comme l’Alcôve qui remporte, en 1847, un grand succès. Il espère être joué à l’Opéra-Comique. 2 LA GRANDE PÉRIODE CRÉATRICE En attendant, il fonde en 1855 son propre théâtre, les Bouffes-Parisiens, et rencontre le succès dès le premier spectacle, grâce aux Deux aveugles. Directeur jusqu’en 1861, compositeur, chef d’orchestre, metteur en scène, il livre continûment, sur des livrets de Ludovic Halévy, auquel se joint ensuite Henri Meilhac, des ouvrages nouveaux, parmi lesquels Orphée aux enfers (1858), la Chanson de Fortunio (1861), la Belle Hélène (1864), Barbe-Bleue (1866), la Vie parisienne (1866), la Grande- Duchesse de Gérolstein (1867), la Périchole (1868). Il triomphe aussi à l’étranger, surtout à Vienne. Après la chute du Second Empire, bien que la faveur du public soit moindre en raison de l’évolution du goût et de la présence de nouveaux auteurs comme Charles Lecocq, elle se maintient toutefois, tant lors de reprises, comme la Belle Hélène en 1876, que pour des créations comme Madame Favart ou la Fille du Tambour-major (1879), mais n’empêche pas la faillite, en 1875, de son théâtre de la Gaîté-Lyrique, fondé en 1873.
  • KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas

    KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas

    KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas GEORGES BIZET EMI 63633 Carmen Maria Stuarda Paris Opera National Theatre Orchestra; René Bologna Community Theater Orchestra and Duclos Chorus; Jean Pesneaud Childrens Chorus Chorus Georges Prêtre, conductor Richard Bonynge, conductor Maria Callas as Carmen (soprano) Joan Sutherland as Maria Stuarda (soprano) Nicolai Gedda as Don José (tenor) Luciano Pavarotti as Roberto the Earl of Andréa Guiot as Micaëla (soprano) Leicester (tenor) Robert Massard as Escamillo (baritone) Roger Soyer as Giorgio Tolbot (bass) James Morris as Guglielmo Cecil (baritone) EMI 54368 Margreta Elkins as Anna Kennedy (mezzo- GAETANO DONIZETTI soprano) Huguette Tourangeau as Queen Elizabeth Anna Bolena (soprano) London Symphony Orchestra; John Alldis Choir Julius Rudel, conductor DECCA 425 410 Beverly Sills as Anne Boleyn (soprano) Roberto Devereux Paul Plishka as Henry VIII (bass) Royal Philharmonic Orchestra and Ambrosian Shirley Verrett as Jane Seymour (mezzo- Opera Chorus soprano) Charles Mackerras, conductor Robert Lloyd as Lord Rochefort (bass) Beverly Sills as Queen Elizabeth (soprano) Stuart Burrows as Lord Percy (tenor) Robert Ilosfalvy as roberto Devereux, the Earl of Patricia Kern as Smeaton (contralto) Essex (tenor) Robert Tear as Harvey (tenor) Peter Glossop as the Duke of Nottingham BRILLIANT 93924 (baritone) Beverly Wolff as Sara, the Duchess of Lucia di Lammermoor Nottingham (mezzo-soprano) RIAS Symphony Orchestra and Chorus of La Scala Theater Milan DEUTSCHE GRAMMOPHON 465 964 Herbert von
  • 2020-21-Brochure.Pdf

    2020-21-Brochure.Pdf

    SUBSCRIPTIONS 20 21 music dance Ca l theater Performances University of California, Berkeley Letter from the Director Universities. They exist to foster a commitment to knowledge in its myriad facets. To pursue that knowledge and extend its boundaries. To organize, teach, and disseminate it throughout the wider community. At Cal Performances, we’re proud of our place at the heart of one of the world’s finest public universities. Each season, we strive to honor the same spirit of curiosity that fuels the work of this remarkable center of learning—of its teachers, researchers, and students. That’s why I’m happy to present the details of our 2020/21 Season, an endlessly diverse collection of performances rivaling any program, on any stage, on the planet. Here you’ll find legendary artists and companies like cellist Yo-Yo Ma, the Vienna Philharmonic Orchestra with conductor Gustavo Dudamel, the Mark Morris Dance Group, pianist Mitsuko Uchida, and singer/songwriter Angélique Kidjo. And you’ll discover a wide range of performers you might not yet know you can’t live without—extraordinary, less-familiar talent just now emerging on the international scene. This season, we are especially proud to introduce our new Illuminations series, which aims to harness the power of the arts to address the pressing issues of our time and amplify them by shining a light on developments taking place elsewhere on the Berkeley campus. Through the themes of Music and the Mind and Fact or Fiction (please see the following pages for details), we’ll examine current groundbreaking work in the university’s classrooms and laboratories.
  • 2019 EVITA Lloyd Webber & Rice the Marriage of Figaro Mozart the Manchurian Candidate Puts & Campbell Oklahoma! Rodgers & Hammerstein

    2019 EVITA Lloyd Webber & Rice the Marriage of Figaro Mozart the Manchurian Candidate Puts & Campbell Oklahoma! Rodgers & Hammerstein

    seagle music colony 2019 EVITA Lloyd Webber & Rice The Marriage of Figaro Mozart The Manchurian Candidate Puts & Campbell Oklahoma! Rodgers & Hammerstein Vespers Monkey & Francine Concerts in the City of Tigers * seaglecolony.org Bringing Music to the Adirondacks Since 1915 The Beechwood Group of Wells Fargo Advisors is proud to support The Seagle Music Colony Joseph Steiniger Senior Vice President - Investment Officer CERTIFIED FINANCIAL PLANNER™ [email protected] Mary E. McDonald First Vice President - Investments [email protected] The Beechwood Group 845-483-7943 www.thebeechwoodgroup.com Investment and Insurance Products: NOT FDIC Insured NO Bank Guarantee MAY Lose Value Wells Fargo Advisors, LLC, Member SIPC, is a registered broker-dealer and a separate non-bank affiliate of Wells Fargo & Company. ©2013 Wells Fargo Advisors, LLC. All rights reserved. 1113-02329 [74127-v4] Table of Contents General Information About Seagle Music Colony Restrooms are located in the Shames Rehearsal Notes from the Directors 3 Studio. Handicapped accessible restroom Seagle Music Colony Board of Directors 4 is at the rear of the theatre lobby. Seagle Music Colony Guild 4 History of Seagle Music Colony 7 Refreshments are provided in the theatre lobby 2018-2019 Seagle Music Colony Donors 8 by the Seagle Music Colony Guild. Donor Opportunities 12 2018-19 Alumni Updates 35 So that all our patrons may enjoy the performance, please turn all cell phones and pagers The Seagle Music Colony Gala 17 to the silent or off positions. The Productions Thank you for attending today’s performance. Evita 14 Monkey & Francine in the City of Tigers 16 The Marriage of Figaro 18 The Manchurian Candidate 22 Seagle Music Colony Oklahoma! 24 999 Charley Hill Road 2019 Fall Season 26 PO Box 366 Schroon Lake, NY 12870 2019 Faculty/Staff & Emerging Artists (518) 532-7875 Faculty & Staff 27 Emerging Artists 33 seaglecolony.org [email protected] Our Mission To identify, train and develop gifted singers and to present quality opera and musical theatre performances to the public.
  • Maximise Your Enjoyment and Understanding of Wagner’S Music

    Maximise Your Enjoyment and Understanding of Wagner’S Music

    Wagner Society in NSW Inc. Maximise your enjoyment and understanding of Wagner’s music Newsletter No. 123, December 2011 - January 2012 IT'S ALMOST MEMBERSHIP RENEWAL TIME Yes, it’s surprising how quickly the year slips by, and membership renewal is due by 31 January! Why renew your membership for 2012? The best reason to renew is the expanded range of activities and events that will stimulate, educate and entertain! Our calendar will expand the number of Wagner Society events from eight to ten with more variety and interest than ever before. There will be recitals, lectures, debates, fund-raisers and social occasions, focussed on the buildup to the bicentenary of Wagner's birth and Opera Australia's forthcoming Ring production in Melbourne in 2013. SO, MAXIMISE YOUR ENJOYMENT BY RENEWING YOUR MEMBERSHIP! You can renew your membership now using the renewal form at the back of this newsletter. Hamburg State Opera in two concert performances of Das Rheingold, the opening opera in Richard Wagner’s greatest President’s Report work, The Ring Cycle. In 2000 in Vienna, Ms Young made Welcome to the final newsletter for 2011. musical history when she became the first woman ever to Your Committee has been working energetically (some conduct the complete Ring Cycle. members, it seems, have been writing emails almost around Ms Young will also conduct the performance of Mahler’s the clock) in organising an exciting series of events for next mighty Symphony No. 2, known as the Resurrection year. Indeed, we have such an abundance of riches that, in Symphony that will feature soloists from the Hamburg addition to our regular functions, we will be participating State Opera.
  • Ceriani Rowan University Email: Ceriani@Rowan.Edu

    Ceriani Rowan University Email: [email protected]

    Nineteenth-Century Music Review, 14 (2017), pp 211–242. © Cambridge University Press, 2016 doi:10.1017/S1479409816000082 First published online 8 September 2016 Romantic Nostalgia and Wagnerismo During the Age of Verismo: The Case of Alberto Franchetti* Davide Ceriani Rowan University Email: [email protected] The world premiere of Pietro Mascagni’s Cavalleria rusticana on 17 May 1890 immediately became a central event in Italy’s recent operatic history. As contemporary music critic and composer, Francesco D’Arcais, wrote: Maybe for the first time, at least in quite a while, learned people, the audience and the press shared the same opinion on an opera. [Composers] called upon to choose the works to be staged, among those presented for the Sonzogno [opera] competition, immediately picked Mascagni’s Cavalleria rusticana as one of the best; the audience awarded this composer triumphal honours, and the press 1 unanimously praised it to the heavens. D’Arcais acknowledged Mascagni’smeritsbut,inthesamearticle,alsourgedcaution in too enthusiastically festooning the work with critical laurels: the dangers of excessive adulation had already become alarmingly apparent in numerous ill-starred precedents. In the two decades prior to its premiere, several other Italian composers similarly attained outstanding critical and popular success with a single work, but were later unable to emulate their earlier achievements. Among these composers were Filippo Marchetti (Ruy Blas, 1869), Stefano Gobatti (IGoti, 1873), Arrigo Boito (with the revised version of Mefistofele, 1875), Amilcare Ponchielli (La Gioconda, 1876) and Giovanni Bottesini (Ero e Leandro, 1879). Once again, and more than a decade after Bottesini’s one-hit wonder, D’Arcais found himself wondering whether in Mascagni ‘We [Italians] have finally [found] … the legitimate successor to [our] great composers, the person 2 who will perpetuate our musical glory?’ This hoary nationalist interrogative returned in 1890 like an old-fashioned curse.
  • The Time Is Now Thethe Timetime Isis Nownow Music Has the Power to Inspire, to Change Lives, to Illuminate Perspective, 20/21 SEASON and to Shift Our Vantage Point

    The Time Is Now Thethe Timetime Isis Nownow Music Has the Power to Inspire, to Change Lives, to Illuminate Perspective, 20/21 SEASON and to Shift Our Vantage Point

    20/21 SEASON The Time Is Now TheThe TimeTime IsIs NowNow Music has the power to inspire, to change lives, to illuminate perspective, 20/21 SEASON and to shift our vantage point. featuring FESTIVAL Your seats are waiting. Voices of Hope: Artists in Times of Oppression An exploration of humankind’s capacity for hope, courage, and resistance in the face of the unimaginable PERSPECTIVES Rhiannon Giddens “… an electrifying artist …” —Smithsonian PERSPECTIVES Yannick Nézet-Séguin “… the greatest generator of energy on the international podium …” —Financial Times PERSPECTIVES Jordi Savall “… a performer of genius but also a conductor, a scholar, a teacher, a concert impresario …” —The New Yorker DEBS COMPOSER’S CHAIR Andrew Norman “… the leading American composer of his generation ...” —Los Angeles Times Left: Youssou NDOUR On the cover: Mirga Gražinytė-Tyla carnegiehall.org/subscribe | 212-247-7800 Photos: NDOUR by Jack Vartoogian, Gražinytė-Tyla by Benjamin Ealovega. Box Office at 57th and Seventh Rafael Pulido Some of the most truly inspiring music CONTENTS you’ll hear this season—or any other season—at Carnegie Hall was written in response to oppressive forces that have 3 ORCHESTRAS ORCHESTRAS darkened the human experience throughout history. Perspectives: Voices of Hope: Artists in Times of Oppression takes audiences Yannick Nézet-Séguin on a journey unique among our festivals for the breadth of music 12 these courageous artists employed—from symphonies to jazz to Debs Composer’s popular songs and more. This music raises the question of why, 13 Chair: Andrew Norman no matter how horrific the circumstances, artists are nonetheless compelled to create art; and how, despite those circumstances, 28 Zankel Hall Center Stage the art they create can be so elevating.
  • Offenbach Et L'opéra-Comique

    Offenbach Et L'opéra-Comique

    Offenbach et l’opéra-comique Lionel Pons avril 2017 Les rapports de Jacques Offenbach (1819-1880) avec le genre opéra-comique relèvent, tout au long de la vie créatrice du compositeur, d’un paradoxe amoureux. La culture lyrique d’Offenbach, son expérience en tant que violoncelliste dans l’orchestre de l’Opéra-Comique, son goût personnel pour ce genre si français, qui ne dissimule pas sa dette envers le dernier tiers du XVIIIe siècle vont nécessairement le pousser à s’intéresser au genre. Le répertoire de François Adrien Boieldieu (1775-1834), de Ferdinand Hérold (1791-1833), de Nicolò Isouard (1773-1818) lui est tout à fait familier, et quoique d’un esprit particulièrement mordant, il en apprécie le caractère sentimental et la délicatesse de touche. Et presque naturellement, il développe pourtant une conscience claire de ce que réclame impérativement la survie du genre. Offenbach sauveteur de l’opéra-comique ? L’opéra-comique, tel qu’Offenbach le découvre en ce début de XIXe siècle, est l’héritier direct des ouvrages d’André-Ernest-Modeste Grétry (1741-1813), de Pierre-Alexandre Monsigny (1729-1817) ou de Nicolas Dalayrac (1753-1809). Le genre est le fruit d’une période transitionnelle (il occupe dans le répertoire français la place chronologique du classicisme viennois outre Rhin, entre le crépuscule baroque et l’affirmation du romantisme), et reflète assez logiquement le goût de l’époque pour une forme de sentimentalité, sensible en France dans toutes les disciplines artistiques entre 1760 et 1789. Les gravures de Jean-Baptiste Greuze (1725-1805), l’architecture du Hameau de Marie-Antoinette (1783-1876), due à Richard Mique (1728-1794), l’orientation morale de L’autre Tartuffe ou la mère coupable (1792) de Pierre-Augustin Caron de Beaumarchais (1732-1799), La nouvelle Héloïse (1761) de Jean-Jacques Rousseau (1712-1778) ou Paul et Virginie (1787) d’Henri Bernardin de Saint-Pierre (1737-1814) portent témoignage de cette tendance esthétique.
  • 24 Etudes, Op.151

    24 Etudes, Op.151

    DU CONSERVATOIRÉ CÍAS SE S DE PIANO DE IÉCOLE AN€IENNE ET MODEKNE PAR l?J)egre. 3?Degrc. 24 ÉTUDES TRES FÁCILES 15 ÉTUBE S POÜR.MS COUMEÍÍjaHTS B UNE MOYE¥NE DIFFICUITÉ r Op.151. l Iivre. 4 2?J)egré fteDegré. 2k ÉTUDES PACIIES 15 ÉTUDES BRILLANTES POURXES PETITES MAINS 0pll9 5eDe«jré. 18 GBJBJKDES ÉTUDES DE COHCERT. PHBMIÉRE EORCE. Op 1,53. En2Iivres. j&. ¿etíe eotlecüon dWfade*/brme complementeiSuiteA ¿aJféthodedeftano du mémeJu/eur. Degré 1. Catalogue des Ourrages paur te Piano composés par publiés par MAYENCE, B. SCHOTT'S SÓHNE Bruxeües, LONDRES, Sydney, SCHOTT FRÉRES. SCHOTT & COMP. SCHOTT & CO. Piano Seúl. M. Pf. M. Pf. Op. 101. M. Pf. M. Pf. 0|i. 13. Variations sur un Air tyrolien Op. 76. Variations brillantes di Bra• No. 11. Divertissement sur la Valse de Op. 121. Cavatine de Ricci avec Intro• favori. 2 — vura sur le Trio de Topera Le Pré Strauss. „Uivie est une danse". duction, Variations et Finale. 12. Souvenir de l'opéra La Straniera. 2 75 Op. 16. Variations brillantes aur la Ca• aux Oleres. 50 13. Sérénade sUr una mélodie de Op. 122% Fantaisie graeieuse sur une vatine „0 dolce „concentott suivies Op. 77. Variations et Fiñale Á la Hon- Ijouizetti. mélodie de Bellini, 2 75 25 groise sur la Cavatine de Topera lá. Hondean ture sur un choeur-de Op. 123. Trois Divértissements sur-des d'uu Rondeau «ur un Air francais. Popera Maometto secundo. Op. 20. Variations de bravoure «ur la Mathilde de Sabrán. 75 15. Réminiseenees de l'opéra Piquillo. Airs du ballet Giselle.
  • 2018 04 21 Houghton Symphony Orchestra

    2018 04 21 Houghton Symphony Orchestra

    Welcome to La vie est belle —“Life is beautiful!” Tonight we celebrate fun, love, joy, friendship, and laughter, and do so the French way. The first half of our program will feature our stunning vocal faculty at the Greatbatch School of Music. Though all of the pieces feature French text, the settings for these opera numbers span the globe with scenes taking place in Spain (Carmen), France (La fille du regiment), India (Lakmé), Germany (Les contes d’Hoffmann), and Sri Lanka (Les pêcheurs de perles). All of these pieces come from the best of the French opera tradition and are sure to leave you wanting more! The second half of the concert will feature Maurice Duruflé’s Requiem, a gem of the 20th century choral-orchestral repertoire. Duruflé’s work was inspired in large part by his predecessor, Gabriel Fauré, another French composer who completed his own Requiem just over 50 years earlier. Duruflé’s work mirrors Fauré’s in many ways including its structure, choice of text, and performing forces. He uses harmonic language that was modern for its time, but infuses it with the ancient liturgical music of Gregorian chant. The work is not in the strata of requiems more casual concert-goers may know such as those of Mozart, Verdi, and Fauré, but for that reason I suspect you will be surprised and delighted by what you hear tonight, perhaps for the first time. I think it contains some of the most beautiful, affective, dramatic, and meaningful music I know. I decided to pair vocal pieces celebrating life with Duruflé’s Requiem— ostensibly a work about death—because the latter is something quite different than more traditional works from the genre of the same name.