WGLT Program Guide, April-June, 1979
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
Debussy's Pelléas Et Mélisande
Debussy’s Pelléas et Mélisande - A discographical survey by Ralph Moore Pelléas et Mélisande is a strange, haunting work, typical of the Symbolist movement in that it hints at truths, desires and aspirations just out of reach, yet allied to a longing for transcendence is a tragic, self-destructive element whereby everybody suffers and comes to grief or, as in the case of the lovers, even dies - yet frequent references to fate and Arkel’s ascribing that doleful outcome to ineluctable destiny, rather than human weakness or failing, suggest that they are drawn, powerless, to destruction like moths to the flame. The central enigma of Mélisande’s origin and identity is never revealed; that riddle is reflected in the wispy, amorphous property of the music itself, just as the text, adapted from Maeterlinck’s play, is vague and allusive, rarely open or direct in its expression of the characters’ velleities. The opera was highly innovative and controversial, a gateway to a new style of modern music which discarded and re-invented operatic conventions in a manner which is still arresting and, for some, still unapproachable. It is a work full of light and shade, sunlit clearings in gloomy forest, foetid dungeons and sea-breezes skimming the battlements, sparkling fountains, sunsets and brooding storms - all vividly depicted in the score. Any francophone Francophile will delight in the nuances of the parlando text. There is no ensemble or choral element beyond the brief sailors’ “Hoé! Hisse hoé!” offstage and only once do voices briefly intertwine, at the climax of the lovers' final duet. -
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. -
1 CRONOLOGÍA LICEÍSTA Se Incluye Un Listado Con Las
CRONOLOGÍA LICEÍSTA Se incluye un listado con las representaciones de Aida, de Giuseppe Verdi, en la historia del Gran Teatre del Liceu. Estreno absoluto: Ópera del Cairo, 24 de diciembre de 1871. Estreno en Barcelona: Teatro Principal, 16 abril 1876. Estreno en el Gran Teatre del Liceu: 25 febrero 1877 Última representación en el Gran Teatre del Liceu: 30 julio 2012 Número total de representaciones: 454 TEMPORADA 1876-1877 Número de representaciones: 21 Número histórico: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21. Fechas: 25 febrero / 3, 4, 7, 10, 15, 18, 19, 22, 25 marzo / 1, 2, 5, 10, 13, 18, 22, 27 abril / 2, 10, 15 mayo 1877. Il re: Pietro Milesi Amneris: Rosa Vercolini-Tay Aida: Carolina de Cepeda (febrero, marzo) Teresina Singer (abril, mayo) Radamès: Francesco Tamagno Ramfis: Francesc Uetam (febrero y 3, 4, 7, 10, 15 marzo) Agustí Rodas (a partir del 18 de marzo) Amonasro: Jules Roudil Un messaggiero: Argimiro Bertocchi Director: Eusebi Dalmau TEMPORADA 1877-1878 Número de representaciones: 15 Número histórico: 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36. Fechas: 29 diciembre 1877 / 1, 3, 6, 10, 13, 23, 25, 27, 31 enero / 2, 20, 24 febrero / 6, 25 marzo 1878. Il re: Raffaele D’Ottavi Amneris: Rosa Vercolini-Tay Aida: Adele Bianchi-Montaldo Radamès: Carlo Bulterini Ramfis: Antoine Vidal Amonasro: Jules Roudil Un messaggiero: Antoni Majjà Director: Eusebi Dalmau 1 7-IV-1878 Cancelación de ”Aida” por indisposición de Carlo Bulterini. -
Berlioz's Les Nuits D'été
Berlioz’s Les nuits d’été - A survey of the discography by Ralph Moore The song cycle Les nuits d'été (Summer Nights) Op. 7 consists of settings by Hector Berlioz of six poems written by his friend Théophile Gautier. Strictly speaking, they do not really constitute a cycle, insofar as they are not linked by any narrative but only loosely connected by their disparate treatment of the themes of love and loss. There is, however, a neat symmetry in their arrangement: two cheerful, optimistic songs looking forward to the future, frame four sombre, introspective songs. Completed in 1841, they were originally for a mezzo-soprano or tenor soloist with a piano accompaniment but having orchestrated "Absence" in 1843 for his lover and future wife, Maria Recio, Berlioz then did the same for the other five in 1856, transposing the second and third songs to lower keys. When this version was published, Berlioz specified different voices for the various songs: mezzo-soprano or tenor for "Villanelle", contralto for "Le spectre de la rose", baritone (or, optionally, contralto or mezzo) for "Sur les lagunes", mezzo or tenor for "Absence", tenor for "Au cimetière", and mezzo or tenor for "L'île inconnue". However, after a long period of neglect, in their resurgence in modern times they have generally become the province of a single singer, usually a mezzo-soprano – although both mezzos and sopranos sometimes tinker with the keys to ensure that the tessitura of individual songs sits in the sweet spot of their voices, and transpositions of every song are now available so that it can be sung in any one of three - or, in the case of “Au cimetière”, four - key options; thus, there is no consistency of keys across the board. -
CHICAGO SYMPHONY ORCHESTRA RADIO BROADCASTS Broadcast Schedule – Fall 2018
CHICAGO SYMPHONY ORCHESTRA RADIO BROADCASTS Broadcast Schedule – Fall 2018 PROGRAM #: CSO 18-40 RELEASE DATE: September 28, 2018 Riccardo Muti conducts Bruckner's Fourth Symphony Rossini: Overture to William Tell Ogonek: All These Lighted Things Bruckner: Symphony No. 4 in E-flat Major, “Romantic” Prokofiev: Symphony No. 1 in D Major, Op. 25 PROGRAM #: CSO 18-41 RELEASE DATE: October 5, 2018 Riccardo Muti conducts Schubert Mass in E-flat Major Weber: Overture to Oberon Raimi: Three Lisel Mueller Settings (Elizabeth Deshong, mezzo-soprano, world premiere) Schubert: Mass No. 6 in E-flat Major, D. 950 (Chicago Symphony Chorus, Duain Wolfe, director; Amanda Forsythe, soprano; Elizabeth Deshong, mezzo- soprano; Paul Appleby, tenor; Nicholas Phan, tenor; Nahuel di Pierro, bass) Wagner: Siegfried's Rhine Journey from Götterdämmerung (Fritz Reiner, conductor) PROGRAM #: CSO 18-42 RELEASE DATE: October 12, 2018 Edo de Waart conducts Beethoven Mozart: Symphony No. 38 in D Minor, K. 504, “Prague” (Daniel Gingrich, horn) Mozart: Horn Concerto No. 3 in E-flat Major, K. 447 (Daniel Gingrich, horn) Beethoven: Symphony No. 2 in D Major, Op. 36 (Daniel Gingrich, horn) Strauss: Metamorphosen (Daniel Gingrich, horn) PROGRAM #: CSO 18-43 RELEASE DATE: October 19, 2018 Giovanni Antonini conducts Classical and Baroque Treasures Boccherini: Symphony No. 6 in D Minor, G. 506, Op. 12, No. 4, “La casa del diavolo” Vivaldi: Mandolin Concerto in C Major, RV 425 (Avi Avital, mandolin) Bach: Mandolin Concerto in D Minor, BWV 1052 (Avi Avital, mandolin) Traditional Bulgarian, arr. Avital: Bucimis (Avi Avital, mandolin) Vivaldi: Mandolin Concerto in C Major, RV 425 (Giovanni Antonini, flauntino) Haydn: Symphony No. -
Central Opera Service Bulletin
CENTRAL OPERA SERVICE BULLETIN WINTER, 1972 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center Plaza • Metropolitan Opera • New York, N.Y. 10023 • 799-3467 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Canter Plaza • Metropolitan Opera • New York, NX 10023 • 799.3467 CENTRAL OPERA SERVICE COMMITTEE ROBERT L. B. TOBIN, National Chairman GEORGE HOWERTON, National Co-Chairman National Council Directors MRS. AUGUST BELMONT MRS. FRANK W. BOWMAN MRS. TIMOTHY FISKE E. H. CORRIGAN, JR. CARROLL G. HARPER MRS. NORRIS DARRELL ELIHU M. HYNDMAN Professional Committee JULIUS RUDEL, Chairman New York City Opera KURT HERBERT ADLER MRS. LOUDON MEI.LEN San Francisco Opera Opera Soc. of Wash., D.C. VICTOR ALESSANDRO ELEMER NAGY San Antonio Symphony Ham College of Music ROBERT G. ANDERSON MME. ROSE PALMAI-TENSER Tulsa Opera Mobile Opera Guild WILFRED C. BAIN RUSSELL D. PATTERSON Indiana University Kansas City Lyric Theater ROBERT BAUSTIAN MRS. JOHN DEWITT PELTZ Santa Fe Opera Metropolitan Opera MORITZ BOMHARD JAN POPPER Kentucky Opera University of California, L.A. STANLEY CHAPPLE GLYNN ROSS University of Washington Seattle Opera EUGENE CONLEY GEORGE SCHICK No. Texas State Univ. Manhattan School of Music WALTER DUCLOUX MARK SCHUBART University of Texas Lincoln Center PETER PAUL FUCHS MRS. L. S. STEMMONS Louisiana State University Dallas Civic Opera ROBERT GAY LEONARD TREASH Northwestern University Eastman School of Music BORIS GOLDOVSKY LUCAS UNDERWOOD Goldovsky Opera Theatre University of the Pacific WALTER HERBERT GIDEON WALDKOh Houston & San Diego Opera Juilliard School of Music RICHARD KARP MRS. J. P. WALLACE Pittsburgh Opera Shreveport Civic Opera GLADYS MATHEW LUDWIG ZIRNER Community Opera University of Illinois See COS INSIDE INFORMATION on page seventeen for new officers and members of the Professional Committee. -
Musicweb International August 2020 RETROSPECTIVE SUMMER 2020
RETROSPECTIVE SUMMER 2020 By Brian Wilson The decision to axe the ‘Second Thoughts and Short Reviews’ feature left me with a vast array of part- written reviews, left unfinished after a colleague had got their thoughts online first, with not enough hours in the day to recast a full review in each case. This is an attempt to catch up. Even if in almost every case I find myself largely in agreement with the original review, a brief reminder of something you may have missed, with a slightly different slant, may be useful – and, occasionally, I may be raising a dissenting voice. Index [with page numbers] Malcolm ARNOLD Concerto for Organ and Orchestra – see Arthur BUTTERWORTH Johann Sebastian BACH Concertos for Harpsichord and Strings – Volume 1_BIS [2] Johann Sebastian BACH, Georg Philipp TELEMANN, Carl Philipp Emanuel BACH The Father, the Son and the Godfather_BIS [2] Sir Arnold BAX Morning Song ‘Maytime in Sussex’ – see RUBBRA Amy BEACH Piano Quintet (with ELGAR Piano Quintet)_Hyperion [9] Sir Arthur BLISS Piano Concerto in B-flat – see RUBBRA Benjamin BRITTEN Serenade for Tenor, Horn and Strings, etc._Alto_Regis [15, 16] Arthur BUTTERWORTH Symphony No.1 (with Ruth GIPPS Symphony No.2, Malcolm ARNOLD Concerto for Organ and Orchestra)_Musical Concepts [16] Paul CORFIELD GODFREY Beren and Lúthien: Epic Scenes from the Silmarillion - Part Two_Prima Facie [17] Sir Edward ELGAR Symphony No.2_Decca [7] - Sea Pictures; Falstaff_Decca [6] - Falstaff; Cockaigne_Sony [7] - Sea Pictures; Alassio_Sony [7] - Violin Sonata (with Ralph VAUGHAN WILLIAMS Violin Sonata; The Lark Ascending)_Chandos [9] - Piano Quintet – see Amy BEACH Gerald FINZI Concerto for Clarinet and Strings – see VAUGHAN WILLIAMS [10] Ruth GIPPS Symphony No.2 – see Arthur BUTTERWORTH Alan GRAY Magnificat and Nunc dimittis in f minor – see STANFORD Modest MUSSORGSKY Pictures from an Exhibition (orch. -
Staged Treasures
Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio -
Journal of the Conductors Guild
Journal of the Conductors Guild Volume 32 2015-2016 19350 Magnolia Grove Square, #301 Leesburg, VA 20176 Phone: (646) 335-2032 E-mail: [email protected] Website: www.conductorsguild.org Jan Wilson, Executive Director Officers John Farrer, President John Gordon Ross, Treasurer Erin Freeman, Vice-President David Leibowitz, Secretary Christopher Blair, President-Elect Gordon Johnson, Past President Board of Directors Ira Abrams Brian Dowdy Jon C. Mitchell Marc-André Bougie Thomas Gamboa Philip Morehead Wesley J. Broadnax Silas Nathaniel Huff Kevin Purcell Jonathan Caldwell David Itkin Dominique Royem Rubén Capriles John Koshak Markand Thakar Mark Crim Paul Manz Emily Threinen John Devlin Jeffery Meyer Julius Williams Advisory Council James Allen Anderson Adrian Gnam Larry Newland Pierre Boulez (in memoriam) Michael Griffith Harlan D. Parker Emily Freeman Brown Samuel Jones Donald Portnoy Michael Charry Tonu Kalam Barbara Schubert Sandra Dackow Wes Kenney Gunther Schuller (in memoriam) Harold Farberman Daniel Lewis Leonard Slatkin Max Rudolf Award Winners Herbert Blomstedt Gustav Meier Jonathan Sternberg David M. Epstein Otto-Werner Mueller Paul Vermel Donald Hunsberger Helmuth Rilling Daniel Lewis Gunther Schuller Thelma A. Robinson Award Winners Beatrice Jona Affron Carolyn Kuan Jamie Reeves Eric Bell Katherine Kilburn Laura Rexroth Miriam Burns Matilda Hofman Annunziata Tomaro Kevin Geraldi Octavio Más-Arocas Steven Martyn Zike Theodore Thomas Award Winners Claudio Abbado Frederick Fennell Robert Shaw Maurice Abravanel Bernard Haitink Leonard Slatkin Marin Alsop Margaret Hillis Esa-Pekka Salonen Leon Barzin James Levine Sir Georg Solti Leonard Bernstein Kurt Masur Michael Tilson Thomas Pierre Boulez Sir Simon Rattle David Zinman Sir Colin Davis Max Rudolf Journal of the Conductors Guild Volume 32 (2015-2016) Nathaniel F. -
Year of Recording* Conductor Soloists Orchestra Live Label Date
Year of Conductor Soloists Orchestra Live Label Date of Recording* Recording 1 1936 Bruno Walter Kerstin Thorborg, Wiener Philharmoniker Live EMI May 23 & 24, Charles Kullman 1936 2 1939 Carl Schuricht Kerstin Thorborg, Koninklijk Live MINERVA Oct 5, 1939 Carl-Martin Öhmann Concertgebouworkest, Amsterdam 3 1948 Otto Klemperer Judit Sándor, A Magyar Rádió Live archiphon Nov 2, 1948 Endre Rösler Szimfonikus Zenekarát [CD 2012] 4 1948 Bruno Walter Kathleen Ferrier, New York Philharmonic Live NYP Jan 18, 1948 Set Svanholm Editions 5 1951 Otto Klemperer Elsa Cavelti Wiener Symphoniker Live VOX 28–30 Mar 1951 Anton Dermota 6 1952 Bruno Walter Kathleen Ferrier, Wiener Philharmoniker DECCA May 14, 15 & 16, Julius Patzak 1952 7 1964 Josef Krips Dietrich Fischer-Dieskau, Wiener Symphoniker Live DGG Jun 14, 1964 Fritz Wunderlich 8 1966 Otto Klemperer Christa Ludwig, Philharmonia/New EMI Feb 19–22 & Fritz Wunderlich Philharmonia Orchestra Nov 7–8, 1964, Jul 6–9, 1966 9 1966 Leonard Bernstein Dietrich Fischer-Dieskau, Wiener Philharmoniker DECCA Mar 1966 James King 10 1972 Leonard Bernstein Christa Ludwig, Israel Philharmonic Live SONY May 18, 20 & 23, René Kollo Orchestra 1972 11 1972 Jascha Horenstein Alfreda Hodgson, BBC Northern Symphony Live BBC Apr 28, 1972 John Mitchinson Orchestra Legends 12 1972 Sir Georg Solti Yvonne Minton, Chicago Symphony DECCA May 1972 René Kollo Orchestra 13 1974 Herbert von Christa Ludwig, Berliner Philharmoniker DGG Dec 7–10, 1973, Karajan René Kollo Oct 14, 1974 14 1975 Bernard Haitink Janet Baker, Koninklijk PHILIPS -
Carlo Cossutta - Tenor 1932-2000
Carlo Cossutta - tenor 1932-2000 Fuentes: Valenti Ferro, Enzo. Las voces, Teatro Colón 1908-1982. Buenos Aires, Gaglianone, 1983, p 328, y de JH Anthonisen (https://groups.google.com/forum/#!topic/rec.mus ic.opera/aUn6y49d100 (ver Little Jimmy Olsen – mayo 2014) El Tenor italiano Carlo Cossutta nació el 8 de mayo de 1932 en Santa Croce del Carso , en Trieste, en el norte de Italia, pero emigró a Argentina, donde trabajó inicialmente como carpintero. Después de descubrir sus dotes vocales estudió en Buenos Aires con Manfredo Miselli , Mario Melani y Arturo Wolken. Es considerado argentino (si no de nacimiento, sí por residencia y formación). Sus sobresalientes cualidades le permitieron afirmarse en la escena lírica mundial entre los cantantes más cotizados de su cuerda. Su bella y noble voz lírica de los comienzos fue oscureciéndose gradualmente con una tonalidad algo mate y evolucionando hacia el “spinto”, apoyándose en un buen caudal uy en un natural vigo expresivo. También su emisión fue haciéndose más franca y segura, conservando cierta in comodidad en las notas extremas del registro agudo. Pero el hecho de que Cossutta no sea definitivamente un tenor agudo no puede ser sobreestimado en quien tiene tantas otras cualidades que ofrecer. Cossutta debutó en el Teatro Colón 1958 como Cassio en una de las funciones de Otello de Ramon Vinay, sin embargo ya había cantado en 1956 el rol de Alfredo en La Traviata en un pequeño teatro argentino.. En el Teatro Colón su primer rol de importancia fue el de Edgardo en Lucia di Lammermoor (1959); el segundo en 1962, Mario, de Tosca, y en 1963 cantó su primera Bohème.