|What to Expect from Akhnaten
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Staatsoper Stuttgart Wird Temporär Zum Online-Opernhaus
Pressemitteilung Stuttgart, 21. April 2020 Staatsoper Stuttgart wird temporär zum Online-Opernhaus Oper trotz Corona: Filmstudio auf der Bühne des Opernhauses eingerichtet; Die Staatsoper Stuttgart setzt ihr digitales On- Demand-Programm mit Unterstützung der LBBW mit Mefistofele und Satyagraha fort Die behördlichen Verordnungen zur Eindämmung der Verbreitung des Corona- Virus wurden bis zum 3. Mai 2020 verlängert. Dies bedeutet, dass mindestens bis zu diesem Datum auch keine Vorstellungen in den Spielstätten der Staatstheater Stuttgart stattfinden. Das Internet wird also, wie bereits in den vergangenen Wochen, zur zentralen Bühne für die Staatsoper Stuttgart: „Wir lassen uns von dieser misslichen Situation nicht unterkriegen – und spielen weiter, natürlich unter Berücksichtigung aller hygienischen Vorgaben und in ständigem Austausch mit dem Amtsarzt. Dass so viele Künstler*innen des Ensembles aus freien Stücken ein so vielfältiges Programm entwickeln, dass durch die Arbeit der Ton- und Videoabteilung analoge Kunst auch digital erfahrbar wird, macht mich sehr glücklich“, so Opernintendant Viktor Schoner. Die Mitarbeiter*innen der Ton- und Videoabteilung der Staatstheater Stuttgart haben in den vergangenen Wochen ein Film- und Tonstudio auf der Bühne des Opernhauses eingerichtet. So schafft die Staatsoper durch die Unterstützung ihres Digitalpartners, der LBBW, eine Infrastruktur, die es auch längerfristig ermöglicht, dem Publikum als Online-Opernhaus zugänglich zu sein: In 12 Stunden pro Woche werden aktuell Videos mit Künstler*innen der Staatsoper, des Staatsorchesters und des Staatsopernchors für das Programm „Oper trotz Corona“ produziert. Geplant sind zudem dramaturgische oder kleinere szenische Formate. Generalmusikdirektor Cornelius Meister dirigierte bereits ein Konzert mit Mitgliedern des Staatsorchesters – die Musiker*innen allesamt in jeweils einer Laube des ersten Rangs verteilt und durch Wände voneinander getrennt. -
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. -
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. -
Modernist Aesthetic in the Case of Lord Alfred Douglas and Marie Carmichael Stopes
33 The Poetry That Dare Not Speak Its Name: Modernist Aesthetic in the Case of Lord Alfred Douglas and Marie Carmichael Stopes Christina Hauck Kansas State University An improbable friendship sprang up in 1938 when one “Mrs Carmi- chael,” representing herself as a young mother, wrote Lord Alfred Douglas to show him a sonnet and ask his advice about publishing it. Little realizing that he was entering into correspondence with the notorious birth control advocate, Marie Carmichael Stopes, the staunchly Catholic Douglas wrote back kindly, calling Mrs. Carmichael a “pleasant poet” and lamenting his own difficulties publishing (Hall 282). If Douglas didn’t understand quite whom he was writing to, Stopes herself, rabidly homophobic and anti-Catholic, must have: Douglas’s claim to fame lay less in his poetry, whose quality critics debated fiercely when they bothered to read it at all, but in his having been a central actor in the events leading up to Oscar Wilde’s trial and imprisonment.1 By the time the correspondence had be- gun, Douglas had long converted to Catholicism and was admitting only to limited homosexual activities over a limited period, with Wilde or any- one else; Stopes apparently believed him.2 After several months, Stopes revealed her “true” identity. Douglas, understandably, was nervous. In a letter to George Bernard Shaw, he writes: I am fated to make friends with my enemies. For the last three months I have been corresponding with a lady who wrote about my poetry and poetry in general. She expressed great admira- tion for me as a poet. -
Metropolitan Opera 19-20 Season Press Release
Updated: November 12, 2019 New Productions of Porgy and Bess, Der Fliegende Holländer, and Wozzeck, and Met Premieres of Agrippina and Akhnaten Headline the Metropolitan Opera’s 2019–20 Season Yannick Nézet-Séguin, in his second season as Music Director, conducts the new William Kentridge production of Wozzeck, as well as two revivals, Met Orchestra concerts at Carnegie Hall, and a New Year’s Eve Puccini Gala starring Anna Netrebko Sunday matinee performances are offered for the first time From Roberto Alagna to Sonya Yoncheva, favorite Met singers return Debuting conductors are Karen Kamensek, Antonello Manacorda, and Vasily Petrenko; returning maestros include Valery Gergiev and Sir Simon Rattle New York, NY (February 20, 2019)—The Metropolitan Opera today announced its 2019–20 season, which opens on September 23 with a new production of the Gershwins’ classic American opera Porgy and Bess, last performed at the Met in 1990, starring Eric Owens and Angel Blue, directed by James Robinson and conducted by David Robertson. Philip Glass’s Akhnaten receives its Met premiere with Anthony Roth Costanzo as the title pharaoh and J’Nai Bridges as Nefertiti, in a celebrated staging by Phelim McDermott and conducted by Karen Kamensek in her Met debut. Acclaimed visual artist and stage director William Kentridge directs a new production of Berg’s Wozzeck, starring Peter Mattei and Elza van den Heever, and led by the Met’s Jeanette Lerman-Neubauer Music Director Yannick Nézet-Séguin. In another Met premiere, Sir David McVicar stages the black comedy of Handel’s Agrippina, starring Joyce DiDonato as the conniving empress with Harry Bicket on the podium. -
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1661 ·~upds 06v :l!snw 1un woN ~u-e r .A.rnw Vll3d0 3H.L .LV .LNVA3'l liV~SO Oscar Levant is known for his songs in the area of popular music, but his operas are virtually unknown. Obtaining and studying any one of his three operas should be important for establishing him as more than a popular-music composer. Levant's opera Carnival, from the 20th Century Fox movie Charlie Chan at the Opera, is especially worthy of consideration. Through careful analysis of this work, much can be learned about the style and interests of Oscar Levant. While comparisons to other composers and their works may be too extensive for this specific paper, some comparisons to Levant's own popular tunes of the same time period as Carnival may reveal remarkable similarities and/or differences. Along with an analysis of the score, observation of the opera as it is presented in the movie will provide information about the basis for its content and reveal its incorporation into the movie's plot. In addition, seeing the movie will give aural information, such as the types of instruments used. The interest in this topic stems from Oscar Levant's own books A Smattering of Ignorance, The Unimportance of Being Oscar, and The Memoirs of an Amnesiac. He refers to this opera in A Smattering of Ignorance. but his references to his musical acquaintances in The Memoirs of an Amnesiac may supply additional facts to help in understanding his musical style. Examining c 'arnival will contribute to showing the significance of Oscar Levant's style of composition. -
Akhnaten 12:55Pm | November 23
AKHNATEN 12:55PM | NOVEMBER 23 2019-2020 RICHARD HUBERT SMITH / ENGLISH NATIONAL OPERA NATIONAL ENGLISH / SMITH HUBERT RICHARD Met Opera AT THE PARAMOUNT THEATER The Paramount Theater is pleased to bring the award-winning 2019-2020 Met Opera Live in HD season, in its 14th year, to Charlottesville. This season will feature ten transmissions from the Met’s stage, including three new productions and two Met premieres. Pre-opera lectures will be held again this season and will take place in the auditorium (see website for lecture times and details). Doors to the auditorium will close during the lecture and will re-open for audience seating prior to the start of the broadcast. NEW PRODUCTIONS Wozzeck* • The Gershwins’ Porgy and Bess* Der Fliegende Holländer* REVIVALS Turandot • Manon • Madama Butterfly Tosca • Maria Stuarda MET PREMIERES Akhnaten* • Agrippina* *First Time in HD TICKETING & SUBSCRIPTIONS July 11 - On Sale to Met Members July 15 - On Sale to Paramount Star Circle Members July 17 - On Sale to all Paramount Members July 19 - On Sale to General Public Single Event Pricing $25 Adult, $23 Senior, $18 Student Subscription Pricing Reserved seats for all performances. $225 Adult, $207 Senior, $162 Student Box Office 215 East Main Street, Charlottesville, VA 22902 Monday - Friday 10AM - 2PM 434-979-1333 www.theparamount.net All tickets go on sale at 10:00AM on the dates specified above. Subscribers from previous seasons will have their preferred seat locations held throughout the duration of the pre-sale. If not renewed, seat locations will be released at 10:00AM on July 19, 2019. -
On the Rejection of Oscar Wilde's the Picture of Dorian Gray by W. H. Smith
humanities Article On the Rejection of Oscar Wilde’s The Picture of Dorian Gray by W. H. Smith Satoru Fukamachi Faculty of Humanities, Doho University, Nagoya 453-8540, Japan; [email protected] Received: 1 September 2020; Accepted: 26 October 2020; Published: 29 October 2020 Abstract: Wilde’s only novel, The Picture of Dorian Gray, is widely said to have been rejected by W. H. Smith, but there is no doubt that this did not happen. The letter sent to Wilde by the publisher strongly indicates that W. H. Smith contemplated removing the July issue of Lippincott’s Magazine, but does not go so far as to say that the bookstore did. This letter is the only evidence, however, that this is not absolute. The refusal to sell is mere speculation. The fact that none of Wilde’s contemporaries mentioned the incident of The Picture of Dorian Gray that supposedly happened, while the boycott of George Moore’s Esther Waters, which was much less topical than this one, was widely reported and discussed, provides further evidence that Wilde’s work was not rejected. Given that the censorship of literary works by private enterprises was still topical in the 1890s, it is unbelievable that the rejection of Wilde’s novel would not have been covered by any newspaper. It makes no sense, except to think that such a thing did not exist at all. It is also clear that this was not the case in the 1895 Wilde trial. Wilde’s lawyer argued that the piece was not a social evil because it was sold uninterruptedly, and the other side, which would have liked to take advantage of it in any way, never once touched on the boycott. -
Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
(De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification. -
The American Opera Series May 16 – November 28, 2015
The American Opera Series May 16 – November 28, 2015 The WFMT Radio Network is proud to make the American Opera Series available to our affiliates. The American Opera Series is designed to complement the Metropolitan Opera Broadcasts, filling in the schedule to complete the year. This year the American Opera Series features great performances by the Lyric Opera of Chicago, LA Opera, San Francisco Opera, Glimmerglass Festival and Opera Southwest. The American Opera Series for 2015 will bring distinction to your station’s schedule, and unmatched enjoyment to your listeners. Highlights of the American Opera Series include: • The American Opera Series celebrates the Fourth of July (which falls on a Saturday) with Lyric Opera of Chicago’s stellar production of George Gershwin’s Porgy and Bess. • LA Opera brings us The Figaro Trilogy, including Mozart’s The Marriage of Figaro, Rossini’s The Barber of Seville, and John Corigliano’s The Ghosts of Versailles. • The world premiere of Marco Tutino’s Two Women (La Ciociara) starring Anna Caterina Antonacci, based on the novel by Alberto Moravia that became a classic film, staged by San Francisco Opera. • Opera Southwest’s notable reconstruction of Franco Faccio’s 1865 opera Amleto (Hamlet), believed lost for over 135 years, in its American premiere. In addition, this season we’re pleased to announce that we are now including multimedia assets for use on your station’s website and publications! You can find the supplemental materials at the following link: American Opera Series Supplemental Materials Please note: If you have trouble accessing the supplemental materials, please send me an email at [email protected] Program Hours* Weeks Code Start Date Lyric Opera of Chicago 3 - 5 9 LOC 5/16/15 LA Opera 2 ½ - 3 ¼ 6 LAO 7/18/15 San Francisco Opera 1 ¾ - 4 ¾ 10 SFO 8/29/15 Glimmerglass Festival 3 - 3 ½ 3 GLI 11/7/15 Opera Southwest Presents: Amleto 3 1 OSW 11/28/15 Los Angeles Opera’s Production of The Ghosts of Versailles Credit: Craig Henry *Please note: all timings are approximate, and actual times will vary. -
Kulturpolitische Konzeptionen Zur Künstlerischen Entwicklung Von Zeitgenössischem Musiktheater
Universität Hildesheim Fachbereich Kulturwissenschaften und Ästhetische Kommunikation KULTURPOLITISCHE KONZEPTIONEN ZUR KÜNSTLERISCHEN ENTWICKLUNG VON ZEITGENÖSSISCHEM MUSIKTHEATER UNTERSUCHT AM BEISPIEL DER STAATSOPER HANNOVER, DER BAYERISCHEN STAATSOPER UND DER STAATSOPER STUTTGART Diplomarbeit im Studiengang Kulturwissenschaften und ästhetische Praxis Erstgutachter: Prof. Dr. Wolfgang Schneider Zweitgutachter: Prof. Dr. Wolfgang Löffler Johanna Schweizer Orléansstr. 22 31135 Hildesheim Hildesheim im Juli 2005 „Das Schlimmste ist die Ausschaltung des Risikos zugunsten des Markterfolges. Wir müssen mit Kunst nach einem anderen Kriterium umgehen als dem der Einschaltquote“ (Klaus Zehelein) 2 INHALTSVERZEICHNIS EINLEITUNG 1 BEDEUTUNG DER BEGRIFFE KULTURPOLITIK, MUSIKTHEATER UND ZEITGENÖSSISCHES MUSIKTHEATER 1.1 Kulturpolitik 1.1.1 Kulturpolitikbegriff 1.1.2 Kulturpolitische Handlungsträger 1.1.3 Kulturpolitische Konzeptionen 1.2 Musiktheater 1.2.1 Musiktheater als szenische Interpretation 1.2.2 Musiktheater als musikalische Form 1.3 Zeitgenössisches Musiktheater 2 RAHMENBEDINGUNGEN DER ENTWICKLUNG VON ZEITGENÖSSISCHEM MUSIKTHEATER 2.1 Problematik der zeitgenössischen Arbeit 2.1.1 Dispositionelle Abhängigkeit 2.1.2 Zeitliche Abhängigkeit 2.1.3 Räumliche Abhängigkeit 2.2 Entstehung unabhängiger Modelle 2.3 Entwicklung und aktuelle Situation der Modelle 2.3.1 Erste zeitgenössische Modelle in den 60er und 70er Jahren 2.3.2 Entstehung weiterer Modelle in den Folgejahren 2.3.3 Erste Schließungen und ‚Stilllegungen’ 2.3.4 Gemeinsame Probleme der -
MUSICAL and DRAMATIC FUNCTIONS of LOOPS and LOOP BREAKERS in PHILIP GLASS's OPERA the VOYAGE Chia-Ying Wu Dissertation Prepar
MUSICAL AND DRAMATIC FUNCTIONS OF LOOPS AND LOOP BREAKERS IN PHILIP GLASS’S OPERA THE VOYAGE Chia-Ying Wu Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS May 2016 APPROVED: David Bard-Schwarz, Major Professor Hendrik Schulze, Related Field Professor Stephen Slottow, Committee Member Frank Heidlberger, Chair of the Division of Music History, Theory, and Ethnomusicology Warren Henry, Interim Dean of the College of Music Costas Tsatsoulis, Dean of the Toulouse Graduate School Copyright 2016 by Chia-Ying Wu ii ACKNOWLEDGEMENTS Continuous support from faculty members and students of Music History, Theory and Musicology Division at the University of North Texas, and my family make the production of this dissertation possible. I wish to express my deepest appreciation to my major professor, Dr. David Schwarz, for guiding me through doctoral coursework, qualifying exams, dissertation proposal, and this dissertation; and also to my related field professor, Dr. Hendrik Schulze, who provides me insights into the field of opera. I appreciate the help from dissertation committee member Dr. Stephen Slottow for shaping this research from an idea to a dissertation; and also the help from Dr. Margaret Notley for the early development of this dissertation. I thank Jay Smith, a PhD student in music theory, for sharing his paper presented at the 2015 Texas Society for Music Theory conference. Finally, I would like to give special thanks to my father professor Chung-Yu (Peter) Wu at the National Chiao-Tung University in Taiwan, my mother Chao-Ling Wu Tseng, my younger sister Ying-Hsuen Wu, and relatives for their encouragement.