Newsletter • Bulletin Fall 2007 Automne 2007
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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. -
NEWSLETTER of the American Handel Society
NEWSLETTER of The American Handel Society Volume XVIII, Number 1 April 2003 A PILGRIMAGE TO IOWA As I sat in the United Airways terminal of O’Hare International Airport, waiting for the recently bankrupt carrier to locate and then install an electric starter for the no. 2 engine, my mind kept returning to David Lodge’s description of the modern academic conference. In Small World (required airport reading for any twenty-first century academic), Lodge writes: “The modern conference resembles the pilgrimage of medieval Christendom in that it allows the participants to indulge themselves in all the pleasures and diversions of travel while appearing to be austerely bent on self-improvement.” He continues by listing the “penitential exercises” which normally accompany the enterprise, though, oddly enough, he omits airport delays. To be sure, the companionship in the terminal (which included nearly a dozen conferees) was anything but penitential, still, I could not help wondering if the delay was prophecy or merely a glitch. The Maryland Handel Festival was a tough act to follow and I, and perhaps others, were apprehensive about whether Handel in Iowa would live up to the high standards set by its august predecessor. In one way the comparison is inappropriate. By the time I started attending the Maryland conference (in the early ‘90’s), it was a first-rate operation, a Cadillac among festivals. Comparing a one-year event with a two-decade institution is unfair, though I am sure in the minds of many it was inevitable. Fortunately, I feel that the experience in Iowa compared very favorably with what many of us had grown accustomed Frontispiece from William Coxe, Anecdotes fo George Frederick Handel and John Christopher Smith to in Maryland. -
Wagner Oct 04.Indd
Wagner Society in NSW Inc. Newsletter No. 98, November 2004 IN NEW SOUTH WALES INC. President’s Report Dear Members Neidhardt Ring This is our final Newsletter for 2004, and in less than 4 weeks the first cycle of the Neidhardt Ring in Adelaide will begin. This is an historic and monumental undertaking for the State Opera of South Australia, and we in the Eastern States, who cannot hope to dine on such exalted operatic fare in our own cities, will once again pilgrimage to Adelaide and its Festival Hall. In his review of Ring productions at our July meeting, Dr Antony Ernst mentioned that many opera companies are destroyed by the demands of staging the Ring, as moths to a flame, and we must all hope that this is emphatically not the case for the State Opera of South Australia. Some stagings of the Ring disappear forever after their first performances, and again we must all hope that this can be revived in Adelaide, or perhaps staged in other cities here and overseas. This Ring is being characterised by some commentators as the first truly Australian Ring, but I prefer to follow the Bayreuth tradition by naming this Ring after its producer, Elke Neidhardt. “Nach Adelaide!” Society Events PLEASE NOTE: In response to many requests over the last few years, the Management Committee has decided that all functions for 2005 will begin at 2:00PM. On Sunday 19 September, Dr Jim Leigh spoke about different recordings of the Ring and introduced the film made in November 1964 of the recording of the Solti Gotterdammerung in the Sofiensaal, Vienna. -
NEWSLETTER of the American Handel Society
NEWSLETTER of The American Handel Society Volume XXI, Number 3 Winter 2006 AMERICAN HANDEL SOCIETY- PRELIMINARY SCHEDULE (Paper titles and other details of program to be announced) Thursday, April 19, 2006 Check-in at Nassau Inn, Ten Palmer Square, Princeton, NJ (Check in time 3:00 PM) 6:00 PM Welcome Dinner Reception, Woolworth Center for Musical Studies Covent Garden before 1808, watercolor by Thomas Hosmer Shepherd. 8:00 PM Concert: “Rule Britannia”: Richardson Auditorium in Alexander Hall SOME OVERLOOKED REFERENCES TO HANDEL Friday, April 20, 2006 In his book North Country Life in the Eighteenth Morning: Century: The North-East 1700-1750 (London: Oxford University Press, 1952), the historian Edward Hughes 8:45-9:15 AM: Breakfast, Lobby, Taplin Auditorium, quoted from the correspondence of the Ellison family of Hebburn Hall and the Cotesworth family of Gateshead Fine Hall Park1. These two families were based in Newcastle and related through the marriage of Henry Ellison (1699-1775) 9:15-12:00 AM:Paper Session 1, Taplin Auditorium, to Hannah Cotesworth in 1729. The Ellisons were also Fine Hall related to the Liddell family of Ravenscroft Castle near Durham through the marriage of Henry’s father Robert 12:00-1:30 AM: Lunch Break (restaurant list will be Ellison (1665-1726) to Elizabeth Liddell (d. 1750). Music provided) played an important role in all of these families, and since a number of the sons were trained at the Middle Temple and 12:15-1:15: Board Meeting, American Handel Society, other members of the families – including Elizabeth Liddell Prospect House Ellison in her widowhood – lived in London for various lengths of time, there are occasional references to musical Afternoon and Evening: activities in the capital. -
The Catacoustic Consort
PROFILE Annalisa Pappano (Artistic Director, Viola da gamba & Lirone; Cincinnati) studied at Indiana University’s Early Music Institute and at Oberlin Conserva- GUEST ARTIST tory of Music. Her playing has been described by critics as “mercurial and enchanting” and “with a sound that is lighter than air with the airy luster SERIES PRESENTS of gilding on the mirrors of a rococo drawing room.” She has performed throughout Belgium, England, Ireland, Canada, and the U.S. and has appeared on nationally syndicated radio. Pappano is a member of the Oberlin Consort of Viols and Atalante and has performed with numerous other ensembles in- cluding the Houston Grand Opera, the Cleveland Opera, the Portland Opera, the Portland Baroque Orchestra, Opera Atelier (Toronto), American Opera Theater, the Concord Ensemble, Cappella Artemisia (Bologna), Consortium Carissimi, La Donna Musicale, Les Voix Baroques, Le Nouvel Opera, and Bella Voce. She has taught at Viola da Gamba Society of America national conclaves, the Viola da Gamba Society Pacific Northwest and Northeast chapters, the San Diego Early Music Workshop, ViolsWest, the Madison Early Music Workshop, and has been a guest lecturer at numerous universities. THE CATACOUSTIC She has performed at the Berkeley, Bloomington, and Vancouver early music festivals. Pappano led Catacoustic to win the grand prize in the Naxos/Early Music America Live Recording Competition and recorded a program of Italian CONSORT laments on the Naxos label. Pappano teaches viola da gamba at the University of Cincinnati College-Conservatory of Music. Daniel Swenberg (Theorbo; Highland Park, NJ) plays a variety of Renais- sance and Baroque Lutes, Theorbos, and early Guitars. -
Opera, Dance, Classical Music Arts Holidays
OPERA, DANCE, TRAVELFOR THE ARTS CLASSICAL MUSIC SPRING & SUMMER FESTIVALS 2016 ARTS HOLIDAYS www.travelforthearts.com +44 20 8799 8350 [email protected] welcome to the world of OPERA, DANCE, CLASSICAL MUSIC ARTS HOLIDAYS Welcome to Travel for the Arts, the UK’s leading opera, All details including hotels, meals, excursions and tour leaders classical music and dance holiday specialist, established in are hand-picked, and we endeavour to provide the best tickets 1988 for The Friends of Covent Garden. We specialise in available for every performance. Our group tours are exclusive creating bespoke tours for private groups and arranging and rarely exceed 25 in number. We have no upper age limit ‘à la Carte’ itineraries for individuals. for participation and we are fully ABTA, IATA and ATOL bonded to assure quality and complete financial security. We are constantly searching for the finest Opera, Ballet and Classical Music performances worldwide. This brochure We pride ourselves on the personal care we give to our includes the highlights of the 2016 Spring and Summer patrons; many of our travellers are regulars with up to 100 TFA festivals, and we are delighted to be offering you the chance tours under their belts. We hope to welcome you on our of our to visit several new destinations once again. We hope that tours soon! you will find our selection of highlights tempting. www.travelforthearts.com Travel for the Arts for Travel MEET OUR TEAM Travel for the Arts is staffed by a team of specialists with a wealth of experience in travel, music and the arts, who are involved in the planning of every tour from conception to fruition. -
FOR IMMEDIATE RELEASE CONTACT: Joyce Linehan (617) 282-2510
FOR IMMEDIATE RELEASE CONTACT: Joyce Linehan (617) 282-2510 OPERA BOSTON, BEIJING MUSIC FESTIVAL CO-COMMISSION MADAME WHITE SNAKE, A NEW OPERA BASED ON ANCIENT CHINESE LEGEND NEW WORK WILL HAVE WORLD PREMIERE IN BOSTON DURING 2009/2010 SEASON BEFORE TRAVELING TO BEIJING IN OCTOBER 2010 Zhou Long, composer; Cerise Lim Jacobs, creator and librettist (BOSTON – May 14, 2008) At a press conference today Opera Boston General Director Carole Charnow announced the company’s first-ever commissioned work in its 2009/2010 season with the world premiere of Madame White Snake, a new opera based on a beloved ancient Chinese legend, by composer Zhou Long and librettist Cerise Lim Jacobs. The work is co-commissioned with the Beijing Music Festival in an historic partnership between a Chinese performing arts organization and an American opera company. The world premiere is presented by State Street Corporation. Madame White Snake will have four performances (February 24 through March 2, 2010) at the Cutler Majestic Theatre in Boston and two performances in Beijing in October, 2010. Opera Boston Music Director Gil Rose will conduct, Robert Woodruff will direct, soprano Ying Huang will sing the title role, and male soprano Michael Maniaci will sing the role of Little Green. “We are very proud to announce this major opera commission and multi-cultural production, Madame White Snake by Zhou Long and Cerise Lim Jacobs,” said Charnow. “This project marks many historic firsts; Opera Boston’s first major commission, our first collaboration with an international music organization and, perhaps most significantly, the first-ever collaboration between the Beijing Music Festival and an American opera company. -
Decca Discography
DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982. -
Spoleto Festival Usa Program History 2016 – 1977
SPOLETO FESTIVAL USA PROGRAM HISTORY 2016 – 1977 Spoleto Festival USA Program History Page 2 2016 Opera Porgy and Bess; created by George Gershwin, DuBose and Dorothy Heyward, and Ira Gershwin; conductor, Stefan Asbury; director, David Herskovits; visual designer, Jonathan Green; lighting designer, Lenore Doxsee; wig and makeup designer, Ruth Mitchell; set designer, Carolyn Mraz; costume designer, Annie Simon; fight director, Brad Lemons; Cast: Alyson Cambridge, Lisa Daltirus, Eric Greene, Courtney Johnson, Lester Lynch, Sidney Outlaw, Victor Ryan Robertson, Indra Thomas; Spoleto Festival USA Orchestra, Johnson C. Smith University Concert Choir; Charleston Gaillard Center *La Double Coquette; music by Antoine Dauvergne with additions by Gérard Pesson; libretto by Charles-Simon Favart with additions by Pierre Alferi; director, Fanny de Chaillé; costume designer, Annette Messager; costume realization, Sonia de Sousa; lighting designer, Gilles Gentner; lighting realization, Cyrille Siffer; technical stage coordination, Francois Couderd; Cast: Robert Getchell, Isabelle Poulenard, Mailys de Villoutreys; Dock Street Theatre *The Little Match Girl; music and libretto by Helmut Lachenmann; conductor, John Kennedy; co-directors, Mark Down and Phelim McDermott; costume designer, Kate Fry; lighting designer, James F. Ingalls; set designer, Matt Saunders; puppet co-designers, Fiona Clift, Mark Down, Ruth Patton; Cast: Heather Buck, Yuko Kakuta, Adam Klein; Soloists: Chen Bo, Stephen Drury, Renate Rohlfing, Memminger Auditorium Dance Bill T. Jones/Arnie -
Toronto Early Music Centre Distributed Free to TEMC Members - Cost to Non-Members Is $2.00 Toronto Early Music News Contents of Vol
Toronto Early Music News Volume 27, No. 2 June ’11 - August ’11 a quarterly bulletin of the Toronto Early Music Centre Distributed free to TEMC members - Cost to non-members is $2.00 Toronto Early Music News Contents of Vol. 27 no. 2 Calendar of Forthcoming Events is a quarterly bulletin of the Toronto Early Music Centre (TEMC) . Opinions expressed in June . 2 it are those of the authors and may not be endorsed by the Toronto Early Music Centre . Free Tafelmusik Baroque Summer Institute (TBSI) Concerts 2011 . 4 Unsolicited manuscripts, letters, etc . are welcome, as is any information about early 27th annual Early Music Fair . 6 music concerts, events, recordings and copies of recordings for review . The deadline for the News Items the next issue (September ’11–November ’11) is August 12, 2011 . Speak Up! . 7 Subscription is free with membership to the Toronto Early Music Centre . For rates and Toronto Early Music Centre’s Telephone # 416-464-7610 . 7 other membership benefits, please call 416-464-7610, send e-mail to [email protected] E-mail News And Updates . 7 or write to us at the Toronto Early Music Centre (TEMC), P.O. Box 714, Station P, Have You Been Wondering If Your TEMC Membership Has Expired? . 7 Toronto, ON M5S 2Y4 . Web site: http://www.interlog.com/~temc . Medieval & Renaissance Reference Website . 8 Toronto Early Music Centre The TEMC Vocal Circle . 8 Board of Directors Prima la musica . 9 CanadaCD .ca . 9 Frank Nakashima, President Michael Lerner, Secretary Make A Donation . 10 Kathy Edwards, Treasurer TEMC Newsletter Online Instructions . -
NEWSLETTER of the American Handel Society
NEWSLETTER of The American Handel Society Volume XIX, Number 1 April 2004 THE THOMAS BAKER COLLECTION In 1985 the Music Library of The University of Western Ontario acquired the bulk of the music collection of Thomas Baker (c.1708-1775) of Farnham, Surrey from the English antiquarian dealer Richard Macnutt with Burnett & Simeone. Earlier that same year what is presumed to have been the complete collection, then on deposit at the Hampshire Record Office in Winchester, was described by Richard Andrewes of Cambridge University Library in a "Catalogue of music in the Thomas Baker Collection." It contained 85 eighteenth-century printed titles (some bound together) and 10 "miscellaneous manuscripts." Macnutt described the portion of the collection he acquired in his catalogue The Music Collection of an Eighteenth Century Gentleman (Tunbridge Wells, 1985). Other buyers, including the British Library, acquired 11 of the printed titles and 4 of the manuscripts. Thomas Baker was a country gentleman and his library, which was "representative of the educated musical amateur’s tastes, include[d] works ranging from short keyboard pieces to opera" (Macnutt, i). Whether he was related to the Rev. Thomas Baker (1685-1745) who was for many years a member of the choirs of the Chapel Royal, St. Paul’s Cathedral, and Westminster Abbey, is not clear. Christoph Dumaux as Tamerlano – Spoleto Festival USA 2003 However, his collection did contain several manuscripts of Anglican Church music. TAMERLANO AT SPOLETO The portion of the Thomas Baker Collection now at The University of Western Ontario, consisting of 83 titles, is FESTIVAL USA 2003 admirably described on the Music Library’s website Composer Gian Carlo Menotti founded the Festival dei (http://www.lib.uwo.ca/music/baker.html) by Lisa Rae Due Mondi in 1958, locating it in the Umbrian hilltown of Philpott, Music Reference Librarian. -
November-2019-Seattle-Symphony
NOVEMBER 2019 My legacy. My partner. You have dreams. Goals you want to achieve during your lifetime and a legacy you want to leave behind. The Private Bank can help. Our highly specialized and experienced wealth strategists can help you navigate the complexities of estate planning and deliver the customized solutions you need to ensure your wealth is transferred according to your wishes. Take the first step in ensuring the preservation of your wealth for your lifetime and future generations. To learn more, please visit unionbank.com/theprivatebank or contact: Lisa Roberts Managing Director, Private Wealth Management [email protected] 415-705-7159 Wills, trusts, foundations, and wealth planning strategies have legal, tax, accounting, and other implications. Clients should consult a legal or tax advisor. ©2019 MUFG Union Bank, N.A. All rights reserved. Member FDIC. Union Bank is a registered trademark and brand name of MUFG Union Bank, N.A. Untitled-3 1 4/30/19 12:11 PM CONTENTS NOVEMBER 2019 4 / Calendar 6 / The Orchestra 50 / Benaroya Hall Guide FEATURES 5 / Community Connections 7 / Meet the Musicians 10 / On a High Note 12 / Sounds of the Season 51 / The Lis(z)t CONCERTS 14 / November 6 Chick Corea Rhapsody in Blue 19 / November 8, 9 & 10 The Movie Music of John Williams 21 / November 14, 15 & 16 Rachmaninov Symphony No. 2 24 / November 15 Beethoven & Ravel 29 / November 21 & 23 CHICK COREA Stravinsky The Rite of Spring 14 34 / November 22 Orfeo ed Euridice THE MOVIE MUSIC OF 19 JOHN WILLIAMS 21 EFE BALTACIGIL ON THE COVER: Thomas Dausgaard by Brandon Patoc COVER DESIGN: Stephanie Tucker EDITOR: Rachel Spain © 2019 Seattle Symphony.