DOCSLIB.ORG

La-Boheme-Websites.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
La-Boheme-Websites.Pdf GIACOMO PUCCINIʼS LA BOHÈME Links to resources and lesson plans related to Pucciniʼs opera, La Bohème. The Aria Database: La Bohème http://www.aria-database.com/search.php?sid=a197d478ca7f11f8dddfcfb675b8cc5a&X=3&individualOpera=5 Information on 5 arias for La Bohème, including roles, voice parts, vocal range, synopsis, with aria libretto and translation. Cambridge Studies in Opera: “The Puccini Problem” http://www.cambridge.org/us/catalogue/catalogue.asp?isbn=9780521856881&ss=exc Excerpt from Alexandra Wilsonʼs book, “The Puccini Problem” with .pdf download. Canadian Opera Company: Study Guide for La Bohème http://files.coc.ca/studyguides/Boheme_StudyGuide_1314.pdf Columbia University: New York City Opera Project: La Bohème http://www.columbia.edu/itc/music/NYCO/laboheme/index.html Multimedia guide for Pucciniʼs opera, La Bohème. IMSLP / Petrucci Music Library: La Bohème http://imslp.org/wiki/La_Boh%C3%A8me_(Puccini,_Giacomo) Read online or download full music scores and vocal scores in French, Italian and English for La Bohème, music by Giacomo Puccini. Internet Archive: Anna Netrebko - Puccini, La Boheme-Quando Men Vo (Musetta's Waltz) https://archive.org/details/AnnaNetrebko-PucciniLaBoheme-quandoMenVomusettasWaltz MP3 of Anna Netrebko singing Quando Men Vo (Musettaʼs Waltz). Internet Archive: Canadian Opera Company's Synopsis of La Boheme https://archive.org/details/CanadianOperaCompanyCanadianOperaCompany_sSynopsisofLaBoheme An audio reading of the Canadian Opera Company's La Boheme synopsis. Internet Archive: Carlos Kleiber La Boheme Act 1 https://archive.org/details/CanadianOperaCompanyCanadianOperaCompany_sSynopsisofLaBoheme MP3 of Act 1 of La Boheme at La Scala, recorded on March 30, 1979, featuring Luciano Pavarotti and Ileana Cotrubas, conducted by Carlos Kleiber. Internet Archive: Canadian Opera Company's Synopsis of La Boheme https://archive.org/details/CanadianOperaCompanyCanadianOperaCompany_sSynopsisofLaBoheme An audio reading of the Canadian Opera Company's La Boheme synopsis. Internet Archive: Les Derniers bohêmes : Henri Murger et son temps (1874) https://archive.org/details/lesderniersboh00mail Read online or download a .pdf of Henri Murgerʼs Les Derniers bohêmes SAN FRANCISCO OPERA Education Materials PUCCINI’S LA BOHÈME Websites Internet Archive: La Boheme O soave fanciulla - Enrico Caruso Giacomo Puccini RCA Victor https://archive.org/details/LaBohemeOSoaveFanciulla “O soave fanciulla” from opera “La Boheme,” sung by Enrico Caruso and Nellie Melba. LA Opera: Lesson Plan: La Bohème http://www.laopera.org/DocumentsLAO/education/lessons/La%20Boheme%20- %20Never%20Get%20Out%20Alive.pdf As a result of this lesson, students will be able to describe how qualities in the music convey a specific emotion for a specific character (i.e., sympathy, disgust, humor, tragedy). The Metropolitan Opera http://www.metopera.org/metopera/season/synopsis/boheme?customid=7 Features the synopsis for La Bohème in 8 different languages, including English. Mount Holyoke College: Generations of Parisian Bohemia https://www.mtholyoke.edu/courses/rschwart/hist255-s01/boheme/generations.html A website created by Courtney Hopf, Leslie Kogan, and Rachel Brown for Mount Holyoke College's History 255: 'Les Miz and Les Media.' NPR Music: 'La Boheme': 19th-Century 'Reality Opera' http://www.npr.org/2011/09/30/140929024/la-boheme-19th-century-reality-opera Pucciniʼs La Boheme and the new style called verismo. On World of Opera, host Lisa Simeone brings us a performance of La Boheme from the Kennedy Center for the Performing Arts in Washington, D.C. NPR Music: “Puccini's 'La Boheme' At Its Best” http://www.npr.org/2011/07/18/103285060/puccinis-la-boheme-at-its-best Ted Libbey And Fred Child Recommend Puccini's La Boheme – The program tells the story behind the 1956 studio recording by conductor Thomas Beecham, featuring Jussi Bjorling, Victoria de los Angeles and Robert Merrill. NPR Music: Simple Feelings, Powerful Drama: Puccini's 'La Boheme' http://www.npr.org/templates/story/story.php?storyId=130239317 Hear an introduction to La Boheme from the Vienna State Opera NPR All Things Considered: “In Pricey Cities, Being A Bohemian Starving Artist Gets Old Fast” http://www.npr.org/2014/05/15/312779821/in-pricey-cities-being-a-bohemian-starving-artist-gets-old-fast Josh Shaw, who ran a recent Pacific Opera Project production of La Boheme in Los Angeles, says the opera's famous story of starving artists hits a little close to home. NPR All Things Considered: Puccini's Beloved 'Boheme,' Times Two http://www.npr.org/templates/story/story.php?storyId=93609600 William Berger, author of Puccini Without Excuses, compares two recordings of La Bohème, Deutsche Grammophon featuring Anna Netrebko and Rolando Villazón and recording by Telarc, featuring Norah Amsellem and Marcus Haddock. SAN FRANCISCO OPERA Education Materials PUCCINI’S LA BOHÈME Websites Opera Today: Vittorio Grigolo and Angela Gheorghiu on why they love La Bohème (The Royal Opera) http://www.operatoday.com/content/2008/11/puccini_madama_.php Vittorio Grigolo, Angela Gheorghiu, Massimo Cavalletti and Irina Lungu introduce the main characters of La Bohème. Operadis http://www.operadis-opera-discography.org.uk/ This website contains "discographies" which were generated by CLOR of the all opera recordings, including a listing of the 285 recordings of Giacomo Pucciniʼs La Bohème. CLOR is an Indexed Electronic Catalogue (IEC) on CD-ROM in which it is intended to list all recordings that are or have been commercially available of "complete" operas or of extended excerpts of operas longer than about 20 minutes, i.e. as long or longer than one LP-side. Audio and video recordings are included and the term "opera" is taken to include operettas, opéra-bouffes, G&S, zarzuelas and a few musicals, as well as works normally described as operas. Pittsburg Opera Education: Curriculum Circle for La Bohème http://www.pittsburghopera.org/files/file/Lesson%20Plan%20Stems%20and%20Curriculum%20Circle%20for%20L a%20boheme(1).pdf The Royal Opera: How to Stage an Opera: Exploring the complex naturalism of La Bohème http://www.roh.org.uk/news/how-to-stage-an-opera-exploring-the-complex-naturalism-of-la-boheme John Copley's classic production is intended to create an engrossing and believable world. San Francisco Opera: La Bohème http://sfopera.com/Season-Tickets/2014-15-Season/La-Boheme.aspx http://sfopera.com/Season-Tickets/2014-15-Season/La-Boheme-for-Families.aspx La Bohème overview, synopsis and audio excerpts. San Francisco Opera: La Bohème Production Rental http://sfopera.com/About/Production-Rentals/La-Boheme.aspx?path=sets http://sfopera.com/About/Production-Rentals/La-Boheme.aspx?path=costumes Photos of 1996 production with set designs by Michael Yeargan and costume designs by Walter Mahoney. Seattle Opera: La Bohème http://seattleopera.org/tickets/production.aspx?productionID=122 Website includes an opera synopsis, opera trailer, videos and iPad app. Stanford Universityʼs Opera Glass http://opera.stanford.edu/Puccini/ The Opera Glass website, featuring La Bohème and many other operas, includes detailed information on Libretto, Source Texts, Performance Histories, Synopses, Discographies, Role Creators. YouTube http://www.youtube.com/ There are many video clips of La Bohème and other operas that can be viewed on YouTube. SAN FRANCISCO OPERA Education Materials PUCCINI’S LA BOHÈME Websites .
Load more

Recommended publications
  • UNITEL PROUDLY REPRESENTS the INTERNATIONAL TV DISTRIBUTION of Browse Through the Complete Unitel Catalogue of More Than 2,000 Titles At
    UNITEL PROUDLY REPRESENTS THE INTERNATIONAL TV DISTRIBUTION OF Browse through the complete Unitel catalogue of more than 2,000 titles at www.unitel.de Date: March 2018 FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CONTENT BRITTEN: GLORIANA Susan Bullock/Toby Spence/Kate Royal/Peter Coleman-Wright Conducted by: Paul Daniel OPERAS 3 Staged by: Richard Jones BALLETS 8 Cat. No. A02050015 | Length: 164' | Year: 2016 DONIZETTI: LA FILLE DU RÉGIMENT Natalie Dessay/Juan Diego Flórez/Felicity Palmer Conducted by: Bruno Campanella Staged by: Laurent Pelly Cat. No. A02050065 | Length: 131' | Year: 2016 OPERAS BELLINI: NORMA Sonya Yoncheva/Joseph Calleja/Sonia Ganassi/ Brindley Sherratt/La Fura dels Baus Conducted by: Antonio Pappano Staged by: Àlex Ollé Cat.
    [Show full text]
  • 10-12-2019 Turandot Mat.Indd
    Synopsis Act I Legendary Peking. Outside the Imperial Palace, a mandarin reads an edict to the crowd: Any prince seeking to marry Princess Turandot must answer three riddles. If he fails, he will die. The most recent suitor, the Prince of Persia, is to be executed at the moon’s rising. Among the onlookers are the slave girl Liù, her aged master, and the young Calàf, who recognizes the old man as his long-lost father, Timur, vanquished King of Tartary. Only Liù has remained faithful to the king, and when Calàf asks her why, she replies that once, long ago, Calàf smiled at her. The mob cries for blood but greets the rising moon with a sudden fearful reverence. As the Prince of Persia goes to his death, the crowd calls upon the princess to spare him. Turandot appears in her palace and wordlessly orders the execution to proceed. Transfixed by the beauty of the unattainable princess, Calàf decides to win her, to the horror of Liù and Timur. Three ministers of state, Ping, Pang, and Pong, appear and also try to discourage him, but Calàf is unmoved. He reassures Liù, then strikes the gong that announces a new suitor. Act II Within their private apartments, Ping, Pang, and Pong lament Turandot’s bloody reign, hoping that love will conquer her and restore peace. Their thoughts wander to their peaceful country homes, but the noise of the crowd gathering to witness the riddle challenge calls them back to reality. In the royal throne room, the old emperor asks Calàf to reconsider, but the young man will not be dissuaded.
    [Show full text]
  • In Santa Cruz This Summer for Special Summer Encore Productions
    Contact: Peter Koht (831) 420-5154 [email protected] Release Date: Immediate “THE MET: LIVE IN HD” IN SANTA CRUZ THIS SUMMER FOR SPECIAL SUMMER ENCORE PRODUCTIONS New York and Centennial, Colo. – July 1, 2010 – The Metropolitan Opera and NCM Fathom present a series of four encore performances from the historic archives of the Peabody Award- winning The Met: Live in HD series in select movie theaters nationwide, including the Cinema 9 in Downtown Santa Cruz. Since 2006, NCM Fathom and The Metropolitan Opera have partnered to bring classic operatic performances to movie screens across America live with The Met: Live in HD series. The first Live in HD event was seen in 56 theaters in December 2006. Fathom has since expanded its participating theater footprint which now reaches more than 500 movie theaters in the United States. We’re thrilled to see these world class performances offered right here in downtown Santa Cruz,” said councilmember Cynthia Mathews. “We know there’s a dedicated base of local opera fans and a strong regional audience for these broadcasts. Now, thanks to contemporary technology and a creative partnership, the Metropolitan Opera performances will become a valuable addition to our already stellar lineup of visual and performing arts.” Tickets for The Met: Live in HD 2010 Summer Encores, shown in theaters on Wednesday evenings at 6:30 p.m. in all time zones and select Thursday matinees, are available at www.FathomEvents.com or by visiting the Regal Cinema’s box office. This summer’s series will feature: . Eugene Onegin – Wednesday, July 7 and Thursday, July 8– Soprano Renée Fleming and baritone Dmitri Hvorostovsky star in Tchaikovsky’s lushly romantic masterpiece about mistimed love.
    [Show full text]
  • Ryman Healthcare Full Year Result - 31 March 2018 Full Year Highlights
    Ryman Healthcare Full year result - 31 March 2018 Full year highlights . Underlying profit up 14.2% to $203.5 million . Reported profit up 8.8% to $388.2 million . Full year dividend 20.4 cents per share; up 14.6% . $5.8 billion of total assets . 16 new villages in the pipeline Kevin Hickman myRyman Four year certification 70% 60% 60% 50% 39% 40% 35% 32% 33% 30% 27% 20% 15% 13% 10% 0% Note: Percent of villages with 4 year certification. Includes aged care providers with 15 or more villages. Data as at 23 April 2018 Aberfeldie Melbourne Nellie Melba Wheelers Hill, Melbourne Coburg Melbourne Burwood East Melbourne Geelong Victoria Mount Eliza Mornington Peninsula, Melbourne Mount Martha Mornington Peninsula, Melbourne Victoria Logan Campbell Greenlane, Auckland Devonport Lynfield Auckland Auckland Karori Havelock North Wellington, New Zealand Hawkes Bay, New Zealand $100m $150m $200m $250m 16 years of underlying profit growth underlyingprofit 16 years of $50m $0m 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 $100m $200m $300m $400m $500m Reported profit growth profit Reported $0m 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 FY18 investing cash flows $600m $500m $44 $35 $45 $27 $400m $300m $350 $296 $200m $100m $97 $111 $0m Mar-17 Mar-18 Purchase of land New villages Projects Village upgrades $0bn $1bn $2bn $3bn $4bn $5bn $6bn $7bn Total assets Total 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 Bank facilities $700m $600m $500m $400m $300m $200m $100m $0m 1 Year 2 years 3 years 4 years 5 years Gearing Mar-18 Mar-17 (millions) (millions) Net debt $1,060 $838 Net assets $1,941 $1,652 Gearing ratio * 35% 34% * Gearing ratio calculated as net debt / net debt plus equity Development margin 30% Target range 20% 10% 0% 2012 2013 2014 2015 2016 2017 2018 Group development margin Margin excluding Bob Scott Note: 2018 margin restated to exclude Bob Scott.
    [Show full text]
  • Verdi Week on Operavore Program Details
    Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
    [Show full text]
  • Myra Hess Had to Wait for Her Ultimate Breakthrough in Her English Homeland; for This Reason, She Initially Had to Earn Her Living by Teaching
    Hess, Myra Irene Scharrer. However, Myra Hess had to wait for her ultimate breakthrough in her English homeland; for this reason, she initially had to earn her living by teaching. Her first major success abroad was her debut in Amster- dam, where she performed Schumann's Piano Concerto in A minor, Op. 54 with the Concertgebouw Orchestra un- der Willem Mengelberg in 1912. In 1922 followed her de- but in New York, where she was celebrated with equal en- thusiasm. Her career advanced rapidly from that point onwards, and she rose to the position of one of the most successful pianists in her homeland during the ensuing years. During the 1930s, she undertook extended concert tours throughout all of Europe, including the Scandinavi- an countries, Czechoslovakia, Hungary, Rumania, Tur- key, Yugoslavia, Germany, France and Holland. At the be- ginning of the Second World War, when all of London's concert halls were closed, she founded the legendary "Lunchtime Recitals" at the National Gallery, offering the London public a broad spectrum of high-quality pro- grammes with both young and established musicians. She herself performed at the National Gallery 146 times. The concerts were held without interruption until 10 Ap- Die Pianistin Myra Hess ril 1946. In 1941 Myra Hess was honoured with the title "Dame Commander of the Order of the British Empire" Myra Hess for her special efforts on behalf of musical life in her ho- meland. After the Second World War, the meanwhile fa- * 25 February 1890 in Hampstead (im heutigen mous pianist regularly gave concerts in her native count- Londoner Stadtbezirk Camden), England ry and in the USA, where she enjoyed great popularity.
    [Show full text]
  • 1718Studyguidetosca.Pdf
    TOSCA An opera in three acts by Giocomo Puccini Text by Giacosa and Illica after the play by Sardou Premiere on January 14, 1900, at the Teatro Constanzi, Rome OCTOBER 5 & 7, 2O17 Andrew Jackson Hall, TPAC The Patricia and Rodes Hart Production Directed by John Hoomes Conducted by Dean Williamson Featuring the Nashville Opera Orchestra CAST & CHARACTERS Floria Tosca, a celebrated singer Jennifer Rowley* Mario Cavaradossi, a painter John Pickle* Baron Scarpia, chief of police Weston Hurt* Cesare Angelotti, a political prisoner Jeffrey Williams† Sacristan/Jailer Rafael Porto* Sciarrone, a gendarme Mark Whatley† Spoletta, a police agent Thomas Leighton* * Nashville Opera debut † Former Mary Ragland Young Artist TICKETS & INFORMATION Contact Nashville Opera at 615.832.5242 or visit nashvilleopera.org. Study Guide Contributors Anna Young, Education Director Cara Schneider, Creative Director THE STORY SETTING: Rome, 1800 ACT I - The church of Sant’Andrea della Valle quickly helps to conceal Angelotti once more. Tosca is immediately suspicious and accuses Cavaradossi of A political prisoner, Cesare Angelotti, has just escaped and being unfaithful, having heard a conversation cease as she seeks refuge in the church, Sant’Andrea della Valle. His sis - entered. After seeing the portrait, she notices the similari - ter, the Marchesa Attavanti, has often prayed for his release ties between the depiction of Mary Magdalene and the in the very same chapel. During these visits, she has been blonde hair and blue eyes of the Marchesa Attavanti. Tosca, observed by Mario Cavaradossi, the painter. Cavaradossi who is often unreasonably jealous, feels her fears are con - has been working on a portrait of Mary Magdalene and the firmed at the sight of the painting.
    [Show full text]
  • About the Exhibition Tenorissimo! Plácido Domingo in Vienna
    Tenorissimo! Plácido Domingo in Vienna May 17th, 2017 - January 8th, 2018 Lobkowitzplatz 2, 1010 Wien [email protected] T +43 1 525 24 5315 About the exhibition An unmistakable dark timbre, highly dramatic expressiveness, an impressive, vast repertoire – all this enraptures the fans of the Spanish crowd-pleaser with waves of enthusiasm. The Theatermuseum celebrates Plácido Domingo on the anniversary of his stage debut: He has been singing at the Vienna State Opera for 50 years. When the Tenor, then still considered as insider tip, made his debut at the State Opera in the title role of Verdi‘s Don Carlo, not only he took stage and cast in storm, but also the hearts of the Viennese audience – a true love relationship, unbroken till today. This performance contributed to an unparalleled career, taking him to the world‘s leading opera houses. Vienna has always been a very special “home port“ for the opera star. Here he performed 30 different roles in 300 shows and was awarded the title Austrian Kammersänger. The exhibition at the Theatermuseum documents the most important appearances of the “Tenorissimo“ in Vienna with original costumes and props, photographs and memorabilia, video and audio samples. The presentation portrays him also as baritone, the role fach on which he concentrated almost exclusively in the past 10 years, and refers to his activities as conductor, taking him regularly to the orchestra pit of the Vienna State Opera since the end of the 1970s. Without hesitation Plácido Domingo can be described as one of the most versatile, curious and longest serving representative of his musical genre.
    [Show full text]
  • La-Boheme-Study-Guide-Reduced.Pdf
    VANCOUVER OPERA PRESENTS LA BOHÈME Giacomo Puccini STUDY GUIDE OPERA IN FOUR ACTS By Giacomo Puccini Libretto by Giuseppe Giacosa and Luigi Illica, based on Henri Murger’s novel Scènes de la Vie de bohème. In Italian with English Surtitles™ CONDUCTOR Judith Yan DIRECTOR Renaud Doucet QUEEN ELIZABETH THEATRE February 14, 16, 19 & 21at 7:30PM | February 24 at 2PM DRESS REHEARSAL Tuesday, February 12 at 7PM OPERA EXPERIENCE Tuesday, February 19 and 21 at 7:30PM EDUCATION LA BOHÈME VANCOUVER OPERA | STUDY GUIDE LA BOHÈME Giacomo Puccini CAST IN ORDER OF VOCAL APPEARANCE MARCELLO, A PAINTER Phillip Addis RODOLFO, A POET Ji-Min Park COLLINE, A PHILOSOPHER Neil Craighead SCHAUNARD, A MUSICIAN Geoffrey Schellenberg BENOIT, A LANDLORD J. Patrick Raftery MIMI, A SEAMSTRESS France Bellemare PLUM SELLER Wade Nott PARPIGNOL, A TOY SELLER William Grossman MUSETTA, A WOMAN OF THE LATIN QUARTER Sharleen Joynt ALCINDORO, AN ADMIRER OF MUSETTA J. Patrick Raftery CUSTOMS OFFICER Angus Bell CUSTOMS SERGEANT Willy Miles-Grenzberg With the Vancouver Opera Chorus as habitués of the Latin Quarter, students, vendors, soldiers, waiters, and with the Vancouver Opera Orchestra. SCENIC DESIGNER / COSTUME DESIGNER André Barbe CHORUS DIRECTOR/ ASSOCIATE CONDUCTOR Leslie Dala CHILDREN’S CHORUS DIRECTOR / PRINCIPAL RÉPÉTITEUR Kinza Tyrrell LIGHTING DESIGNER Guy Simard WIG DESIGNER Marie Le Bihan MAKEUP DESIGNER Carmen Garcia COSTUME COORDINATOR Parvin Mirhady MUSICAL PREPARATION Tina Chang, Perri Lo* STAGE MANAGER Theresa Tsang ASSISTANT DIRECTOR Peter Lorenz ASSISTANT STAGE MANAGERS Marijka Asbeek Brusse, Michelle Harrison ASSISTANT LIGHTING DESIGNER Sara Smith ENGLISH SURTITLE™ TRANSLATIONS David Edwards Member of the Yulanda M. Faris Young Artist Program* The performance will last approximately 2 hours and 18 minutes.
    [Show full text]
  • Les Séjours D'euridice
    Automne et hiver euridice opéra 2006-2007 séjours culturels 5 rue du 4 septembre - 13100 Aix-en-Provence Tél. +33 (0) 442 91 33 91 - Fax +33 (0) 442 91 33 90 [email protected] - www.euridice-opera.com heures d’ouverture culturels séjours du lundi au vendredi de 9 h à 12 h et de 14 h à 18 h Agence de voyages, licence n° LI 013 96 00 98 SARL au capital de 108 000 E - R.C.S Aix-en-Provence B 402 294 730 - NAF 633 Z euridice opéra Garantie financière 99 092 E - Deutsche Bank, 3 avenue de Friedland, 75008 Paris RC Professionnelle - Generali France, 5 rue de Londres, 75009 Paris, Police n° 56.204.843.V La quête éternelle du bonheur trouve son apaisement dans la musique… euridice Edito Calendrier . 4 desmatières Table opéra séjours culturels A feuilleter sans modération, voici notre sélection de Les séjours d’Euridice . 6 voyages lyriques pour l’automne et l’hiver 2006. Vous y Envolée luxueuse à Salzbourg et Vienne . 7 trouverez un large choix de séjours individuels inoubliables. Escapade à Valencia et en Andalousie . 8 Nos forfaits répondent à toutes vos exigences et vous Rembrandt à Amsterdam . 10 laissent la plus grande liberté sur place. Ils sont aussi un cadeau idéal pour fêter avec éclat toute grande occasion. Berlin, Staatsoper Unter den Linden, Nous vous proposons : Deutsche Oper . 11 D’excellentes places de spectacle Budapest, Opera . 18 Une sélection des plus beaux hôtels Copenhague, Det Kongelige Teater . 20 Un service personnalisé de qualité Une grande facilité de réservation Dresde, Semperoper .
    [Show full text]
  • LA TRAVIATA Al Liceu
    1 LA TRAVIATA EN EL LICEU Estreno absoluto: 6 marzo 1853 en el teatro de La Fenice de Venecia. Estreno de la segunda versión, definitiva: 6 mayo 1854 en el teatro San Benedetto de Venecia. Estreno en el Gran Teatre del Liceu: 25 octubre 1855. Última representación en el Liceu: 18 julio 2015. Total de representaciones: 251 TEMPORADA 1855-1856 25-X-1855 LA TRAVIATA Número de representaciones: 10 Es estreno en el Liceu. Número en el Liceu: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. Fechas: 25, 26, 28, 31 octubre; 1, 14, 18 noviembre; 21, 26 diciembre 1855; 6 enero 1856. Violetta Valéry: Eugénie Julienne-Dejean Flora Bervoix: Caterina Mas-Porcell Annina: Balbina Alabau Alfredo Germont: Giovanni De Vecchi Giorgio Germont: Gaetano Fiori Gastone: Josep Santés Barone Douphol: Josep Obiols Marchese d'Obigny: Francesc Sánchez Dottore Grenvil: José Aznar Giuseppe: Josep Gómez Director: Marià Obiols TEMPORADA 1859-1860 12-IV-1860 LA TRAVIATA Número de representaciones: 8 Número histórico en el Liceu: 11, 12, 123, 14, 15, 16, 17, 18. Fechas: 12, 15 abril; 1, 2, 6, 15, 17, 30 mayo 1860. Nota: Se suprimela cabaletta del aria del tenor en el segundo acto. Número histórico en el Liceu: 11, 12, 123, 14, 15, 16, 17, 18. Última "Traviata" en el Liceu: 6 enero 1856. Violetta Valéry: Carlotta Carozzi-Zucchi Flora Bervoix: Caterina Mas-Porcell 2 Annina: Isolina Porcell Alfredo Germont: Emilio Pancani Giorgio Germont: Leone Giraldoni Gastone: Gaetano Aducci Barone Douphol: Josep Obiols Marchese d'Obigny: Josep Coll Dottore Grenvil: Leopoldo Jover Giuseppe: Ignasi Costa Domestico di Flora: Francisco Sánchez Director: Marià Obiols TEMPORADA 1860-1861 1-XII-1860 LA TRAVIATA Número de representaciones: 14 Número histórico en el Liceu: 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32.
    [Show full text]
  • A Culture of Recording: Christopher Raeburn and the Decca Record Company
    A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon.
    [Show full text]