Programme Calendar
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Wo Wagner WAGNER Wurde. © F
ANZEIGE DRESden Wo Wagner WAGNER wurde. © F. Schrader SEMPEROPER DREsdEN FRAUENKIRCHE DREsdEN LaNDESBÜHNEN SAChsEN FILM & MUSIK Richard Wagner (1913), Premiere „Der fliegende Holländer“ Richard Wagner „Siegfried-Idyll“ „Das Liebesverbot“ Stummfilm von und mit Giuseppe Becce, Inszenierung von Florentine Klepper Franz Schubert: Streichquintett Große komische Oper von Richard Helmut Imig (Dirigent) mit Constantin Trinks, Tomáš Netopil C-Dur im Rahmen „20 Jahre Wagner 21.09. und 22.09.2013, 19:30 Uhr, (Dirigent) Moritzburg Festival“ 20.05.2013, 19:00 Uhr, Albertinum, Lichthof Premiere: 15.06.2013, 19:00 Uhr Es musizieren Künstler des Moritzburg Landesbühnen Sachsen in Radebeul Dresdner Philharmoniker weitere Termine: 19.06., 19:00 Uhr; Festivals und Teilnehmer der Moritzburg DREsdNER KaPELLKNABEN © Marco Borggreve 28.06., 17:00 Uhr; 01.07., 19:00 Uhr; Festival Akademie. Konzert „Opernchöre von Wagner 07.07., 19:00 Uhr; 28.08., 19:00 Uhr 17.08.2013, 20:00 Uhr und Verdi“ „Wagner & Schumann- TECHNisCHE UNivERsitÄT und 31.08.2013, 19:30 Uhr 02.06.2013, 17:00 Uhr, Versuch eines Dialogs“ DREsdEN (LEHRstUHL FÜR Giovanni Pierluigi da Palestrina Felsenbühne Rathen und Musikalische Landpartie zu Lebens- MUSIKwissENSChaft) Aufführung „Tannhäuser“ „Stabat mater“ 07.06.2013, 19:30 Uhr, und Wirkungsorten von Richard Inszenierung von Peter Konwitschny in einer Bearbeitung von Richard Albrechtsburg Meißen Wagner und Robert Schumann Ringvorlesung „Richard Wagner 31.10., 17:00 Uhr; 10.11., 16:00 Uhr Wagner, Dresdner Philharmonie/ 15.06.2013, ab 11:00 Uhr, in Dresden – eine Spurensuche“ und 17.11.2013, 16:00 Uhr Philharmonischer Chor Dresden StadtMUSEUM DREsdEN Coselpalais in Verbindung mit der SLUB und dem zu Gast in der Frauenkirche Stadtmuseum Dresden Aufführung „Tristan und Isolde“ 27.09.2013, 20:00 Uhr Sonderausstellung „Richard Wagner Festkonzert „Berührungen“ SLUB Dresden, Vortragssaal: Inszenierung von Marco Arturo Marelli in Dresden – Mythos und Geschichte“ Chorwerke von Richard Wagner 11.04., 25.04., 06.06. -
Gianni Schicchi De Giacomo Puccini: Los Semiomotivos
2015 32 Iciar Nadal García Gianni Schicchi de Giacomo Puccini: los semiomotivos Departamento Lingüística General e Hispánica Director/es Pueo Domínguez, Juan Carlos Blesa Lalinde, José Ángel Tesis Doctoral Autor Director/es UNIVERSIDAD DE ZARAGOZA Repositorio de la Universidad de Zaragoza – Zaguan http://zaguan.unizar.es Departamento Director/es Tesis Doctoral GIANNI SCHICCHI DE GIACOMO PUCCINI: LOS SEMIOMOTIVOS Autor Iciar Nadal García Director/es Pueo Domínguez, Juan Carlos Blesa Lalinde, José Ángel UNIVERSIDAD DE ZARAGOZA Lingüística General e Hispánica 2009 Repositorio de la Universidad de Zaragoza – Zaguan http://zaguan.unizar.es Departamento Director/es Tesis Doctoral Autor Director/es UNIVERSIDAD DE ZARAGOZA Repositorio de la Universidad de Zaragoza – Zaguan http://zaguan.unizar.es GIANNI SCHICCHI DE GIACOMO PUCCINI: LOS SEMIOMOTIVOS Tesis Doctoral Presentada por Icíar Nadal García para optar al título de doctora Codirectores de la Tesis: Dr. D. José Ángel Blesa Lalinde, Universidad de Zaragoza Dr. D. Juan Carlos Pueo Domínguez, Universidad de Zaragoza Área de Teoría de la literatura y literatura comparada Departamento de Lingüística General e Hispánica Universidad de Zaragoza GIANNI SCHICCHI DE GIACOMO PUCCINI: LOS SEMIOMOTIVOS Icíar Nadal García Vº Bº Los codirectores de la tesis Fdo. Dr. Jose Ángel Blesa Lalinde Fdo. Dr. Juan Carlos Pueo Domínguez AGRADECIMIENTOS Al terminar de redactar la investigación desarrollada hasta hoy, me siento afortunada por haber encontrado tantas personas generosas y de tan gran calidad. Quiero agradecer la ayuda de los codirectores de la tesis, José Ángel Blesa y Juan Carlos Pueo, mis maestros en estos últimos años. Su asesoramiento científico, su exigencia y su entusiasmo durante este proceso, han sido decisivos. -
Programme 2016
71e CONCOURS DE GENÈVE INTERNATIONAL MUSIC COMPETITION PROGRAMME 2016 CONCOURSGENEVE.CH Partenaire principal Croquis du sinistre Quoi qu’il arrive – nous vous aidons rapidement et simplement. mobiliere.ch Agence générale Genève Denis Hostettler Route du Grand-Lancy 6a 1227 Les Acacias T 022 819 05 55 [email protected] SOMMAIRE SUMMARY I. INTRODUCTION INTRODUCTION 3 Messages de bienvenue Official messages 3 Comment fonctionne le Jury How the Jury works 10 II. CONCOURS DE CHANT VOICE COMPETITION 11 Programme Programme 12 Prix et récompenses Prizes & awards 15 Candidats Candidates 17 Membres du Jury Jury members 28 Accompagnateurs Accompanists 40 Orchestre et chef Orchestra & conductor 42 III. CONCOURS DE QUATUOR STRING QUARTET À CORDES COMPETITION 45 Programme Programme 46 Prix et récompenses Prizes & awards 48 Candidats Candidates 51 Membres du Jury Jury members 60 Compositeur Composer 71 IV. AUTOUR DU CONCOURS AROUND THE COMPETITION 73 Concert d’ouverture Opening concert 75 Concert vernissage Concert inauguration 76 Pédagogie et médiation Education & mediation 77 V. LAURÉATS PRIZE-WINNERS 85 Programme de soutien Career development programme 86 Coup de Cœur Breguet Coup de Cœur Breguet Prize 89 Tournée des lauréats Laureates tour 91 Festival des lauréats Laureates festival 93 Interview du Quatuor Voce Interview of Quatuor Voce 95 Nouvelles des lauréats News of the laureates 100 VI. SOUTIENS SUPPORTS 107 Amis du concours Friends association 108 Partenaires et soutiens Partners & Supports 111 VII. PRATIQUE PRACTICAL 113 Billetterie, tarifs Tickets, prices 115 Lieux Places 118 Organisation Organization 119 Contacts Contacts 120 — 1 — ALTERNATIVE.CH | CI/UN/CH/F/121215 CI/UN/CH/F/121215 La discipline crée la stabilité. -
A Trubadúr Rigoletto Otello Tannhäuser Iphigénie Auf Tauris Az Árnyék
OPERA REPERTOÁR OPERA REPERTOÁR OPERA REPERTOÁR BALETT REPERTOÁR BALETT REPERTOÁR BALETT REPERTOÁR G. Verdi G. Verdi Ch. W. Gluck – R. Strauss R. North – B. Downes / A. Bournonville – H. S. Løvenskiold: Harangozó Gyula – L. Delibes J. Cranko – P. I. Csajkovszkij A TRUBADÚR OTELLO IPHIGÉNIE AUF TaURIS TRÓJAI JÁTÉKOK / A SZILFID COPPÉLIA ANYEGIN Opera két részben Opera három részben Opera két részben Táncjáték három felvonásban Balett három felvonásban TRÓJAI JÁTÉKOK Karmester u Kovács János Karmester u Marco Comin Karmester u Vashegyi György Férfi balettparódia egy felvonásban Karmester u Kovács László Karmester u Silló István | Szennai Károly Rendező u Vámos László Rendező u Vámos László Rendező u Alföldi Róbert Koreográfus u Harangozó Gyula Koreográfus u John Cranko Koreográfus u Robert North Színpadra állította u ifj. Harangozó Gyula A főbb szerepekben u Fokanov Anatolij | Létay Kiss Gabriella | Sümegi Eszter A főbb szerepekben u José Cura | Marco Berti | Pasztircsák Polina A főbb szerepekben u Wierdl Eszter | Gál Gabi | Megyesi Zoltán | Haja Zsolt Cranko klasszikus balettje nagyszerűen bizonyítja, hogy Puskin költeménye a Walter Fraccaro | Hector Lopez Mendoza | Ulbrich Andrea | Wiedemann Bernadett Fokanov Anatolij | Dobi – Kiss Veronika | Nyári Zoltán Johannes von Duisburg | Zavaros Eszter Robert North angol koreográfus azért készítette balettjét, hogy sajátosan ironikus látás- Tanulságos párkapcsolati tréning, melynek közepén egy harangavatás áll. Címszereplő világirodalomnak olyan gyöngyszeme, amely örök érvényű emberi viszonyokat -
Szcenárium Art Journal of the National Theatre MITEM English, April 2019
szcenárium Art Journal of the National Theatre MITEM English, April 2019 Zsolt Szász: In the Workshop of Director Attila Vidnyánszky Madách Redivivus – Articles on The Tragedy of Man by Géza Balogh, Ildikó Sirató, Nina Király, Miklós Hubay, Ágnes Pálfi Eszter Katona: Federico García Lorca’s Reception in Hungary Márton P. Gulyás: New Mediality in Woyzeck at the National Theatre in Budapest Valdas Vasiliauskas about Eimuntas Nekrošius and Lithuania’s Youth Theatre “We Understand Our Culture Better Through the Other’s” – Interview with Nina Király AUTHORS Aurylaitė, Kristina (1970) translator, Vytautas Magnus University Balogh, Géza (1936) stage director, theatre historian, board member of UNIMA Durkóné Varga, Nóra (1965) translator, English teacher Hubay, Miklós (1918–2011) playwright, translator, dramaturg Katona, Eszter (1976) reader at Department of Hispanic Studies, University of Szeged Király, Nina (1940–2018) theatre historian, co-worker at the National Theatre in Budapest P. Gulyás, Márton (1980) film aesthete Pálfi, Ágnes (1952) poet, editor of Szcenárium Pinczés, István (1953) stage director, translator Sirató, Ildikó (1966) head of Theatre History Collection at National Széchényi Library, reader at Pannon University Szász, Zsolt (1959) puppeteer, dramaturg, stage director, managing editor of Szcenárium Vasiliauskas, Valdas (1951) theatre critic, editor, politician Vértes, László (1966) translator, interpreter Vidnyánszky, Attila (1964) stage director, general manager of the National Theatre in Budapest Támogatók PUBLISHER -
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 -
The Artist/Company
The artist/company Name of PROTON THEATRE company/director/choreographer If company, name of artistic KORNÉL MUNDRUCZÓ director: Website: WWW.PROTONTHEATRE.HU Facebook page: https://www.facebook.com/protontheatre/ Vimeo/youtube channel: https://www.youtube.com/channel/UCKMnZ- C6okybxjGniUXnoYw Name of manager: DÓRA BÜKI Email address of manager: [email protected] Telephone number of manager: +36 70 235 3233 Skype name of manager: Introduction of company/director/choreographer, artistic statement (1.000.1.500 characters): In 2009, Kornél Mundruczó, film and theatre director, and Dóra Büki, theatre producer, founded PROTON THEATRE, a virtual artistic company organised around the director’s independent productions. Besides preserving maximum artistic freedom, their goal is ensure a professional structure for their independently produced theatre plays and projects. Chiefly, their performances are realized as international co-productions, and their frequent collaborators include the Wiener festwochen; HAU Hebbel am Ufer, Berlin; KunstenFestivalDesArts, Brussels; Trafó House of Contemporary Arts, Budapest; HELLERAU, Dresden. The ensemble has currently nine performances on repertoire. Besides productions directed by the artistic leader – namely, THE ICE (2006); FRANKENSTEIN PROJECT (2007); HARD TO BE A GOD (2010); DISGRACE (2012); DEMENTIA (2013); WINTERREISE (2015); IMITATION Of LIFE (2016) – they wish to provide space for the realisation of the company members’ ideas. In this spirit the following performances were created: LAST, directed by Roland Rába (2014) and 1 LINK, directed by Gergely Bánki (2015). The performances of the PROTON THEATRE have been touring to more than 80 festivals during these years, from festival d’Avignon through Adelaide Festival to Singapore International Festival, Seoul Bo:m Festival or the Zürcher Theaterspektakel. -
Application/Pdf 983.64 KB
BIOGRAFÍAS ANGELA TEODOR CIPRIAN GHEORGHIU ILINCĂI TEODORAŞCU TEMPORADA 2017-2018 Es una de las sopranos más Tras estudiar oboe y filología, Nació en Galati, Rumanía, y es destacadas de las últimas este tenor rumano se graduó en director en la Ópera Nacional décadas. Nació en Adjud, la Universidad de Música de de Rumanía en Bucarest desde Rumanía, y se graduó en la Bucarest. Inició su carrera 2003. Graduado de la Universidad Nacional de profesional en la Ópera Universidad Nacional de Música de Bucarest. Debutó Nacional de Rumanía en 2008. Música, estudió en Francia en la Royal Opera House de Fue premiado en importantes con el director Alain Paris, Londres en 1992 como Mimì concursos de canto, como el de especialista en repertorio (La bohème) y ese mismo año en Szczecin (2008) y el Viñas francés. Ha trabajado con casi la Metropolitan Opera House (2010). Su debut internacional, todas las instituciones de Nueva York y la Staatsoper en 2009, tuvo lugar en la Ópera musicales de su país, como las de Viena. En 1994 interpretó de Hamburgo con Macduff óperas de Brasov y Timisoara, por primera vez a Violetta (Macbeth), y ese mismo año el Teatro Nacional de Opereta (La traviata) con gran éxito debutó en la Staatsoper de de Bucarest, así como con la de público y crítica. Desde Viena como Ismaele (Nabucco). Radio Televisión Rumana. Ha entonces ha cantado en los más Ha cantado en algunos de los dirigido en la Ópera de Sarajevo reputados escenarios de París teatros más prestigiosos del y en el Teatro Malibran de Breguet La Classique a Buenos Aires, pasando por mundo, como la Royal Opera Venecia, y ha colaborado con Classique Extra-Plate Guillochée 7147 Ámsterdam, Kuala Lumpur, House de Londres, la Opéra destacados artistas rumanos (el Los Ángeles, Milán, Moscú national de Paris, el Liceu de bajo Eduard Tumagian, los y Zúrich. -
Budapest, the Capital of Hungary Is Situated Along the Danube
UNIVERSITY OF VETERINARY MEDICINE BUDAPEST HUNGARY ERASMUS+ INFORMATION BROCHURE 2017/2018 TABLE OF CONTENTS HUNGARY - BUDAPEST ........................................................................................................ 3 UNIVERSITY OF VETERINARY MEDICINE ....................................................................... 3 OFFICE FOR INTERNATIONAL RELATIONS ..................................................................... 5 COUNCIL OF INTERNATIONAL AFFAIRS ......................................................................... 6 CAMPUS MAP .......................................................................................................................... 7 BECOMING AN EXCHANGE STUDENT .............................................................................. 8 APPLICATIONS ....................................................................................................................... 8 LANGUAGE OF INSTRUCTION ............................................................................................ 8 ACADEMIC CALENDAR 2017-2018 ..................................................................................... 8 CURRICULUM 2017-2018 ....................................................................................................... 9 GRADING SYSTEM ............................................................................................................... 17 LANGUAGE COURSES ......................................................................................................... 18 STUDENT -
Budapest Guide English.Pdf
Contents 5 Handy information 5 City transport 11 Museums, Churches 14 14 Cultural Avenue 22 Sights, Sightseeing 26 11 Antiques road show 36 42 26 Music, Theatres, Events 38 Beyond Budapest 40 Medicinal baths, Caves 42 40 Leisure 44 Shopping 47 38 Restaurants, Entertainment 49 44 Maps 6, 24–25, 51, 55 Legend « Tram ó Opening hours 6, 24–25, 51, 55 « Suburban railway % Admission ç Bus é Budapest Card è Castle bus accepted 49 ë Publisher: Tourism Office of Budapest Trolleybus A1 Map coordinate the official tourism marketing organization of Budapest Publication manager: László Paszternák 1 Metro 1 1 Site of museum © All rights reserved G Edited by Turizmus Kft. · Editor: Brigitta Vajk · Design: András Nász 2 Metro 2 on map 3 Metro 3 G1 Site of bath, Translation: CHFI Bt. Cover: Future Card Stúdió · Maps: TOPOGRÁF Photos: Tourist Office of Budapest photo archives ≥ Phone number cave on map The publisher does not accept responsibility for damages arising from any changes in information contained in this publication. ¥ Fax [1] Photo Publication closed: November 2005 Printing: PAUKER Printing House Co. www.budapestinfo.hu 3 Dear Readers I would like to welcome you to Budapest, a city which not only greets its guests with a rich history and unique cultural heritage, but also where we, the residents, can witness day by day its resurgence. That tourism is one of the most important economic branches of Budapest is evident in the rise in the number of tourists visiting the capital, and the growth of the quantity and quality of tourism services. Year on year several new hotels spring up in Budapest, numerous old buildings are reconstructed, and new cultural and tourism establishments are born. -
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. -
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.