Giuseppe Verdi Messa Da Requiem, the Death of the Bishop of Brindisi Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

Giuseppe Verdi Messa Da Requiem, the Death of the Bishop of Brindisi Mp3, Flac, Wma Giuseppe Verdi Messa da Requiem, The Death of the Bishop of Brindisi mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Messa da Requiem, The Death of the Bishop of Brindisi Country: Europe Released: 2001 MP3 version RAR size: 1318 mb FLAC version RAR size: 1145 mb WMA version RAR size: 1140 mb Rating: 4.5 Votes: 946 Other Formats: ADX WAV APE WMA DTS DTS MIDI Tracklist Giuseppe Verdi: Messa da Requiem 1-1 Requiem and Kyrie 8:54 Dies irae 1-2 Dies irae 2:14 1-3 Tuba mirum 1:56 1-4 More stupebit 1:15 1-5 Liber scriptus 4:49 1-6 Quid sum miser 3:38 1-7 Rex tremendae 3:37 1-8 Recordare 4:04 1-9 Ingemisco 3:50 1-10 Confutatis 3:46 1-11 Dies irae 1:25 1-12 Lacrymosa 5:32 Offertorio 1-13 Domine Jesu Christe 4:25 1-14 Hostias 5:32 1-15 Sanctus 2:42 1-16 Agnus dei 4:38 2-1 Lux aeterna 6:02 Libera me 2-2 Libera me, Domine 2:18 2-3 Dies irae 4:48 2-4 Libera me, Domine 5:35 Gian Carlo Menotti: The Death of the Bishop of Brindisi 2-5 And now the night begins 6:43 2-6 Good men let us pass 3:07 2-7 Behold the singing children 2:12 2-8 Away, away! 1:00 2-9 Give them your blessing! 1:01 2-10 Why did I let them leave? 2:03 2-11 I shall kiss Our Lord's tomb 4:20 2-12 I blessed them to their doom 4:08 2-13 Do not fret, my brother 3:29 2-14 Sleep, sleep in peace 2:51 Arnold Schoenberg: Gurre-Lieder 2-15 Interlude 7:36 2-16 Song of the Wood-Dove 10:26 Credits Bass Vocals – Ezio Flagello (tracks: 1-1 to 1-16; 2-1 to 2-4), George London (tracks: 2-5 to 2-14) Chorus – Boston Chorus Pro Musica* (tracks: 1-1 to 1-16; 2-1 to 2-4), New England Conservatory Chorus (tracks: 2-5 to 2-14) Chorus Master – Alfred Nash Patterson (tracks: 1-1 to 1-16; 2-1 to 2-4), Lorna Cooke deVaron (tracks: 2-5 to 2-14) Conductor – Erich Leinsdorf Engineer – Anthony Salvatore Mezzo-soprano Vocals – Lili Chookasian Orchestra – Boston Symphony Orchestra Producer – Richard Mohr Soprano Vocals – Birgit Nilsson (tracks: 1-1 to 1-16; 2-1 to 2-4) Tenor Vocals – Carlo Bergonzi (tracks: 1-1 to 1-16; 2-1 to 2-4) Notes Recorded in Symphony Hall, Boston, October 5 and 6, 1964, and April 5, 1965 (Verdi); October 19, 1964 (Menotti, Schoenberg) © 2001 BMG Entertainment Digitally remastered in Weiss 24/96 technology Barcode and Other Identifiers Barcode: 0 90266 37472 4 Related Music albums to Messa da Requiem, The Death of the Bishop of Brindisi by Giuseppe Verdi Gaetano Donizetti - MESSA DI REQUIEM Giovanni Sgambati - Messa da Requiem op. 38 für Bariton Dies Irae - Ludwig Van Beethoven - Giuseppe Verdi - Missa Solemnis - Messa Di Requiem Verdi, Elena Filipova, Gloria Scalchi, César Hernández , Carlo Colombara, Hungarian State Opera Chorus And Orchestra, Pier Giorgio Morandi - Requiem (Quattro Pezzi Sacri) Helmuth Rilling - Messa Per Rossini Verdi - Anna Tomowa-Sintow, Agnes Baltsa, José Carreras, José van Dam, Karajan, Konzertvereinigung Wiener Staatsopernchor, Wiener Philharmoniker - Requiem Verdi - Requiem Mass.
Recommended publications
  • 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]
  • Verdi's Rigoletto
    Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered.
    [Show full text]
  • Publicacion 585.Pdf
    Ópera patrocinada por: Con el patrocinio de Iberdrola ABAO-OLBE ABRE LA 65 TEMPORADA DE ÓPERA DE BILBAO CON LUCREZIA BORGIA DE DONIZETTI, UNA HISTORIA DE LEYENDA • Grandes figuras en el dúo protagonista: Elena Mosuc y Celso Albelo, • Coproducción del Teatro Regio di Torino, Teatro de Bergamo y Teatro de Sassari concebida por Francesco Bellotto • En el foso, José Miguel Pérez Sierra al frente de la Euskadiko Orkestra Sinfonikoa Bilbao, 18 de octubre de 2016.- ABAO-OLBE (Asociación Bilbaína de Amigos de la Ópera) inaugura su 65 Temporada con Lucrezia Borgia de Donizetti. Este título sube a escena, con el patrocinio de Iberdrola, los próximos días 22, 25, 28 y 31 de octubre, quince años después de su última representación en la temporada bilbaína. Esta tragedia, basada en el drama homónimo de Victor Hugo, narra la historia de la conocida noble italiana Lucrezia Borgia. Para dar vida a los protagonistas de esta ópera considerada como uno de los títulos belcantistas por antonomasia, donde tanto el texto como la música quedan subordinados a la voz, ABAO-OLBE ha reunido a un elenco encabezado por dos grandes figuras de la lírica: Elena Mosuc como ‘Donna Lucrezia Borgia’ y Celso Albelo como ‘Gennaro’. La soprano rumana, una de las mejores sopranos belcantistas, y el tenor tinerfeño, reciente triunfador en Viena y el Metropolitan Opera House, han sido artífices de momentos inolvidables en las temporadas de ABAO, como su memorable actuación conjunta en I Puritani, el primer bis en el Euskalduna protagonizado por el canario en L’elisir d’amore y los bises de Mosuc junto a Leo Nucci en todas las funciones de Rigoletto.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1967-1968
    IAN 13 ***>*!& EIGHTH WEEK August 18, 19, 20, 1967 7 .T)S TWO MAGNIFICENT RECORDING ACHIEVEMENTS BY THE BOSTON SYMPHONY UNDER ERICH LEINSDORF BOSTON I NTLSSON I , ^v Wagner r Rt SYMPH()NY CHOOKASIAN aZtZ ?ATTTl?M j [i/yUIrjiVJ LEINSDORF BERGONZ1 Pro M"liir" Vohtngnti &&L**j6kl*m\ FLAGELLO \ Complete Boston Symphony Orchestra/Leinsdorf Konya • Amara Gorr Dooley • Hines • Marsh Boston Chorus Pro Musica • Patterson rca Victor nvtwsHoovt The first absolutely complete Verdi Requiem featurin; Lohengrin on records. four celebrated soloists rca Victor d @The most trusted name in sound ^*- EIGHTY-SIXTH SEASON 1966-1967 BOSTON SYMPHONY ORCHEST ERICH LEINSDORF, Music Director Charles Wilson, Assistant Conductor Thirtieth Berkshire Festival - 1967 MUSIC SHED AT TANGLEWOOD Concert Bulletin of the EIGHTH WEEK Copyright, 1967, by Boston Symphony Orchestra, Inc. The Trustees of The BOSTON SYMPHONY ORCHESTRA, Inc. President Vice-President Treasurer FIenby B. Cabot Talcott M. Banks John L. Thorndtkb Philip K. Allen Francis W. Hatch Henry A. Laughlin >v. Abram Berkowitz Andrew Heiskell Edward G. Murray Theodore P. Ferris Harold D. Hodgkinson John T. Noonan Robert H. Gardiner E. Morton Jennings, Jr. Mrs. James FI. Perkins Sidney R. Rabb Raymond S. Wilkins Trustees Emeritus Pale rey Perkins Lewis Perry Edward A. Taet Tangleivood Advisory Committee Alan J. Blau George E. Mole Jesse L. Thomason Lawrence K. Miller Whitney S. Stoddard Robert K. Wheeler H. George Wilde Chairmen of the Boards of Selectmen (Ex Officio): Stockbridge, Arthur W. Maskell, Jr. Lenox, John Pignatelli Lee, Andre Jaotjbn Thomas D. Perry, Jr., Manager Norman S. Shirk James J. Brosnahan Assistant Manager Business Administrator William Moyer Harry J.
    [Show full text]
  • Nicolas Flagello Passion of Martin Luther King (Original Version) L’Infinito the Land
    8.112065 Flagello conducts Flagello STEREO Nicolas Flagello Passion of Martin luther King (original version) l’Infinito The land ezio Flagello , Bass-baritone ambrosian Singers london Philharmonic orchestra I Musici di Firenze Nicolas Flagello (1962 and 1969 recordings) Nicolas Nicolas Flagello (1928-1994) Flagello Passion of Martin Luther King • L’Infinito • The Land (1928-1994) The brothers Nicolas Flagello (1928-1994) and Ezio Berlin Deutsche Opera, as well as London’s Covent Flagello (1931-2009) were born in New York City to a Garden. He was widely acclaimed in the title roles of family that had been musically active for generations. Falstaff and Gianni Schicchi , in addition to Dr Dulcamara Passion of Martin luther King (1968) (original version) 48:32 Their father, a successful dress designer, was an amateur in L’elisir d’amore , Sparafucile in Rigoletto , Klingsor in (Texts by Martin Luther King, Jr., 1929-1968 / Latin Liturgy) oboist, and their mother had been a singer whose father Parsifal, Pogner in Die Meistersinger , and many others. 1 Hosanna Filio David 4:15 (conductor and composer Domenico Casiello) was said In 1966 he created the rôle of Enobarbus in the world 2 At the Center of Non-Violence 5:24 to have studied with Verdi. Both boys became immersed première of Samuel Barber’s Antony and Cleopatra. In 3 Cor Jesu 6:04 in music at an early age, although their parents did not addition he appeared on the concert stage with many of 4 In the Struggle for the Freedom 6:47 encourage them to pursue it professionally. Nicolas the world’s leading orchestras.
    [Show full text]
  • Verdi Rigoletto Mp3, Flac, Wma
    Verdi Rigoletto mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Rigoletto Country: US Released: 1964 Style: Opera, Romantic MP3 version RAR size: 1893 mb FLAC version RAR size: 1785 mb WMA version RAR size: 1409 mb Rating: 4.5 Votes: 110 Other Formats: RA MP3 AAC WMA ASF TTA VOX Tracklist Rigoletto A1 Act I A2 Act II (Part 1) B Act II (Concluded) C Act III D Act IV Credits Baritone Vocals [Rigoletto] – Robert Merrill Bass Vocals [Sparafucile] – Ezio Flagello Chorus Master – Nino Antonellini Conductor – Georg Solti Conductor [Assistant Conductor] – Luigi Ricci, Ugo Catania Engineer [Recording Engineer] – Lewis Layton Libretto By – Francesco Piave* Mezzo-soprano Vocals [Maddalena] – Rosalind Elias Music By – Giuseppe Verdi Orchestra, Chorus – RCA Italiana Opera Orchestra And Chorus Producer – Richard Mohr Soprano Vocals [Gilda] – Anna Moffo Stage Manager [Stereophonic Stage Manager] – Peter F. Bonelli Tenor Vocals [Duke Of Mantua] – Alfredo Kraus Notes Based on Victor Hugo's play Le Roi s'amuse Recorded in the RCA Italiana Studios, Rome, Italy Includes booklet with libretto Shaded dog label Other versions Category Artist Title (Format) Label Category Country Year Verdi* - Robert Merrill, Verdi* - Robert Anna Moffo, Alfredo Merrill, Anna Moffo, Kraus, Ezio Flagello, Alfredo Kraus, Ezio Rosalind Elias, Sir Flagello, Rosalind Lyrica, RCA LRC Georg Solti*, RCA LRC Elias, Sir Georg Victor Gold Italy 1994 01011 Italiana Opera 01011 Solti*, RCA Italiana Seal, BMG Orchestra And RCA Opera Orchestra Italiana Opera Chorus - And RCA
    [Show full text]
  • Manhattan School of Music OPERA THEATER DONA D
    Manhattan School of Music OPERA THEATER DONA D. VAUGHN, ARTISTIC DIRECTOR Manhattan School of Music wishes to express its gratitude to the Joseph F. McCrindle Foundation for its generous endowment gif to fund Opera Theater productions. Manhattan School of Music is privileged to be able to honor the legacy of Joseph F. McCrindle through its Opera Studies Program. MSM OPERA THEATER Dona D. Vaughn, Artistic Director EMMELINE An opera in two acts by Tobias Picker (BM ’76) Based on the novel by Judith Rossner Libretto by J. D. McClatchy George Manahan (BM ’73, MM ’76), Conductor Thaddeus Strassberger, Director Used by arrangement with European American Music Distributors Company, sole U.S. and Canadian agent for Schott Helicon Music Corporation, publisher and copyright owner. For this production of Emmeline some sections of the original text and music have been amended by the composer and director to reflect the contemporary setting. THURSDAY–SATURDAY, APRIL 25–27, 2019 | 7:30 PM SUNDAY, APRIL 28, 2019 | 2:30 PM NEIDORFF-KARPATI HALL A warm welcome to MSM Opera Theater’s spring mainstage production in Neidorf-Karpati Hall! It has been a wonderful year for MSM Opera Theater as we have joined in the celebration of Manhattan School of Music’s Centennial, programming works that celebrate our past productions, our distinguished alumni composers, and our current talented young artists. Our opera season began in November at The Riverside Church with two performances of Opera Scenes. The program included scenes from Marc Blitzstein’s The Harpies (premiered at MSM in 1953), Scott Eyerly’s The House of the Seven Gables (premiered at MSM in 2000), Richard Strauss’s Ariadne auf Naxos, and Puccini’s Gianni Schicchi, which was given its first performance at the Metropolitan Opera in 1918, the year of MSM’s founding.
    [Show full text]
  • The Verdi Requiem - a Partial Survey of the Discography by Ralph Moore
    The Verdi Requiem - A Partial Survey of the Discography by Ralph Moore The circumspect title of my survey arises from the fact that although over eighty recordings are listed in the Wikipedia discography (see also MWI Masterwork Index) it is not complete and there are probably many more circulating in the form of private recordings on what used to be called “pirate” labels. For instance, in my own comparatively modest collection of thirty-five recordings are a live Karajan performance from 1970 on the “Gala” label, the Naxos release conducted by Morandi and the LSO Live recording conducted by Colin Davis, none of which is included in that Wiki list. The Karajan recording is superb but, unfortunately, in muddy mono sound and while the Naxos double CD makes a good super-bargain “starter suggestion”, it is not as good as many of the recordings discussed below. Furthermore, I have discarded some dozen or so which I came to regard as “shelf-cloggers”, insofar as I had no desire to play them again, so I am able to venture an opinion and express some preferences but am by no means in any position to make definitive statements about “best” recordings, even if I desired to do so. Besides, individual taste in performers and personal convictions regarding how this work should be approached and sound will govern others’ choices; all I propose to do is provide some assessment of those recordings with which I am familiar. I have often encountered fellow music-lovers who have no taste for Verdi’s operas but still enjoy the Requiem, which is amusing as the work surely merits what some construe as the derogatory label of “Verdi’s greatest opera”.
    [Show full text]
  • Verdi's Un Ballo in Maschera
    Verdi’s Un ballo in Maschera - A survey of the studio and selected live recordings by Ralph Moore Given the popularity of Un ballo in maschera, it is surprising how relatively few studio recordings it has received: only a dozen, considered below. I have added to those, for their worth and interest, five live radio broadcasts and two recordings of live performances. The most recent was recorded twenty-five years ago. I have excluded any not sung in Italian. It is performed and recorded under two guises: its original version, narrating the assassination of Gustavus III of Sweden and, recast to avoid the spectacle of a monarch being assassinated on stage, its adaptation under pressure from the Roman censors to a new location in Boston, Massachusetts, with the characters’ names changed accordingly; thus Gustavus rather absurdly becomes Riccardo, Earl of Warwick, governor of Boston during the British colonial period. Modern stage productions tend to revert to the Swedish setting but the only recordings below to do so are Karajan’s in 1989 and the live production with Pavarotti in Vienna in 1986. It is expertly structured, paced and balanced – close to flawless as operas go and nowhere as far- fetched in the action or as unbelievable in motivation as some others, as long as you make allowance for a bit of jiggery-pokery to do with fortune-telling and magic herbs. Its trio of main characters are credible and sympathetic; Riccardo/Gustavo is a likeable tenor-hero whose character is portrayed in some depth; he evinces the usual romantic ardour but also a sense of humour; Amelia is passionate and principled without being sentimentalised; Renato/Anckarström is not the vengeful monster of the type we see in Don Carlo in La forza del destino but a man wracked and tormented by the betrayal of his wife and best friend.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 86, 1966-1967, Subscription
    ^*-"^f*>. /*- v4 \ r BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON EIGHTY-SIXTH SEASON 1966-1967 EXCELLAIT SURTOUT POUR LES FANFARES!" Although it is difficult to trace the origin of the French horn, it is generally accepted that it was developed in France during the 17th century • An outgrowth of the early primitive and the later sophisticated hunting horn, its value in the use of Fanfares was acclaimed during the reign of Louis XIII • It was also discovered that strange and wonderful musical effects could be had by inserting the hand in the bell • One of the first orchestral uses came in 1717 when Handel included the French horn in his score of the "Water Music" • The modern instrument embodies a main tube measuring approximately 7 feet 4 inches in length, coiled in circles and finally expanding into a widely flared bell • As the French horn lends its importance to the value of the modern symphony orchestra, so too does the trained and reliable insurance office develop a modern and sensible insurance program for business and personal accounts • We would welcome an opportunity to analyze your need for complete protection. We respectfully invite your inquiry CHARLES H. WATKINS 8c CO. Richard P. Nyquist — Charles G. Carleton 0BRI0N, RUSSELL 8c CO. 147 MILK STREET BOSTON, MASSACHUSETTS Insurance of Every Description Telephone 542-1250 EIGHTY-SIXTH SEASON, 1966-1967 CONCERT BULLETIN OF THE Boston Symphony Orchestra ERICH LEINSDORF, Music Director Charles Wilson, Assistant Conductor The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot • President Talcott M. Banks Vice-President John L.
    [Show full text]
  • 8.112065 Bk Flagello EU 8.112065 Bk Flagello EU
    8.112065 rr Flagello_EU_8.112065 rr Flagello_EU 13/01/12 21.44 Pagina 1 CMYK NAXOS Historical NAXOS 8.112065 Nicolas Playing STEREO ADD Flagello Time (1928-1994) ൿ DISC PROHIBITED. THIS COMPACT AND COPYING OF BROADCASTING UNAUTHORISED PUBLIC PERFORMANCE, RESERVED. TRANSLATIONS AND TEXTS ARTWORK, THIS SOUND RECORDING, RIGHTS IN ALL 77:39 8.112065 1963, 2012 & Ezio Flagello, Bass-baritone Ambrosian Singers • London Philharmonic Orchestra I Musici di Firenze • Nicolas Flagello Ꭿ Passion of Martin Luther King (1968) (original version) 48:32 The Flagello brothers combined 1 2012 Naxos Rights International Ltd. Hosanna Filio David 4:15 their remarkable musical talents 2 At the Center of Non-Violence 5:24 to create the unique artistic 3 Cor Jesu 6:04 4 In the Struggle for the Freedom 6:47 synergy of these recordings. 5 Et Flagellis Subditum 2:12 Ezio’s career flourished at the Flagello conducts 6 We’ve Got Some Difficult Days Ahead 4:33 Metropolitan Opera and abroad, 7 Death Is Inevitable 4:28 and composer Nicolas made good 8 Stabat Mater 6:48 9 Jubilate Deo 3:02 use of his rich bass-baritone voice 0 I Have a Dream 4:59 in luxuriant settings of Ezio Flagello, Bass-baritone • Leslie Pearson, Organ Tennyson’s verses in The Land, Ambrosian Singers • London Philharmonic Orchestra • Nicolas Flagello here partnered with Leopardi’s World première of original version L’Infinito, a gloomy expression of Recorded in Barking Assembly Hall, London, England, 1 and 3 May 1969 humility and awe in the face of ! L’Infinito (1956) 3:01 the Infinite.
    [Show full text]
  • Copyright 2010, Michigan Opera Theatre
    Copyright 2010, Michigan Opera Theatre Copyright 2010, Michigan Opera Theatre DETROIT GRAND OPERA ASSOCIATION with Oakland University University Center for Adult Education Detroit Public Library presents OVERTURE TO OPERA IV 1965 Season A program of excerpts taken from Operas to be presented in Detroit by the Metropolitan Opera Company of New York in May and the Metropolitan Opera National Company in October, 1965. Copyright 2010, Michigan Opera Theatre OUEKTUR£ 70 OPERA IV CALENDAR FEBRUARY 8, 1:15 p.m.-Dondero High School, Royal Oak (for students) FEBRUARY 9, 8:15 p.m.-Dondero High School, Royal Oak. Admission: $1.00 For ticket information call: Mrs. Denton Kunze, Ll 2-7545; Mrs. Arthur Moore, LI 1-3779; Mrs. John Redfield, Ll 6-7560 FEBRUARY 14, 3:15 p.m.-Oakland University, University Theater, Rochester Admission: $1.00, no charge to students and faculty. For ticket information call: Mr. James Petty, 338-7211 FEBRUARY 17, 2:00 p.m.-Ferndale High School (for students) FEBRUARY 21, 8:00 p.m.-Fries Auditorium, Grosse Pointe War Memorial. Admission: $1.00 For ticket information call: TU 1-7511 FEBRUARY 24, 8:15 p.m.-Ambassador Auditorium, University of Windsor, Windsor, Ontario Admission: Adults $1.25, students 75 cents. For ticket information call: Music Department, 253-4232; Mrs. Stuart Young, 252-3335 FEBRUARY 28, 3:00 p.m.-Ford Central Office Building Auditorium, The American Road, Dearborn Admission: $1.00. For ticket information call: Mrs. James Beard, LO 1-9176; Mrs. Bruce Simpson, LO 5-2522 MARCH 3,8:15 p.m.-Copernicus Junior High School, Hamtramck.
    [Show full text]