Operas Available at the University Library

Total Page:16

File Type:pdf, Size:1020Kb

Operas Available at the University Library file:///Users/damurphy/Desktop/exhibits/opera.list.html Operas Available at the University Library ABDUCTION FROM THE SERAGLIO (Bayerischen Staatsoper - 1980) VID 433 ABDUCTION FROM THE SERAGLIO (Covent Garden - 1988)) VID 579 AGRIPPINA (Schwetzinger Festival - 1985) VT 6417 AIDA (Film – 1951 VT 6501 AIDA (La Scala – 1986) VT 858 AIDA (Verona - 1981) VT 827 AMAHL AND THE NIGHT VISITORS (NBC-1978) VT 6539 ANDREA CHENIER (Covent Garden - 1984) VT 261 ANNA BOLENA (Canadian National Opera - 1984) VT 6325 ARIADNE AUF NAXOS (Metropolitan Opera - 1988) VID 428 ART OF SINGING: Golden Voices of the Century VID 803 BARBER OF SEVILLE, THE (Film - 1947) VT 6499 BARBER OF SEVILLE, THE (Metropolitan Opera - 1989) VID 539 BARTERED BRIDE, THE (Film - 1932) VT 6503 BEGGAR’S OPERA (1983) VID 431 BILLY BUDD (English National Opera - 1988) VID 606 BIZET'S CARMEN (Film - 1984) VT 431 BIZET’S CARMEN (Film - 1984) VT 3340 BIZET’S CARMEN (Film - 1984) VT 431 BLUEBEARD’S CASTLE (1981) VID 536 BOHEME, LA (Australian National Opera - 1993) VID 902 BOHEME, LA (Covent Garden - 1982) VT 118 BOHEME, LA (Metropolitan Opera - 1982) VID 903 BORIS GODUNOV (Bolshoi Opera - 1987) VID 464 BRIGANDS, LE (Opera de Lyon - 1989) VT 3698 CADI DUPE, LE (Festival d’Alba - 1977) VT 233 CARMEN (Metropolitan Opera - 1988) VID 233 CAVALLERIA RUSTICANA (Film - 1982) VID 430 CHUSHINGURA (Tokyo Opera - 1997) VT 6447 COSI FAN TUTTE (Vienna State Opera - 1990) VID 558 file:///Users/damurphy/Desktop/exhibits/opera.list.html COSI (Film - 1995) VT 6093 CUNNING LITTLE VIXEN, THE (Chatelet Theatre Musical de Paris-1995) DVD 97 DEVIL’S BROTHER, THE (Film - 1933) VT 6489 DON GIOVANNI (Glyndebourne - 1977) VT 743 DON GIOVANNI (Losey Film - 1978) VID 604 DON GIOVANNI (Losey Film - 1978) VT 553 DON GIOVANNI (Sellars - 1990) VID 553 EINSTEIN ON THE BEACH: The Changing Image of Opera VT 5789 ELEKTRA (Film - 1982) VID 377 ELEKTRA (Metropolitan Opera - 1980) VT 427 ELEKTRA (Vienna State Opera - 1989) VID 608 ERNANI (La Scala - 1982) VID 607 EUGENE ONEGIN (Film - 1988) VID 478 EUGENE ONEGIN (Film - 1988) VT 2953 FALSTAFF (Covent Garden - 1983) VT 117 FIERY ANGEL, THE (Kirov Opera - 1993) VID 878 FREISCHUTZ, DER (Wurttemberg State Opera - 1983) VT 6982 GHOSTS OF VERSAILLES (Metropolitan Opera - 1993) VID 894 GIULIO CAESAR (English National Opera - 1984) VID 413 GOTTERDAMMERUNG (Bayeruth - 1981) VT 111 GOTTERDAMMERUNG (Metropolitan Opera - 1990) VID 603 IDOMENEO (Glyndebourne - 1974) VT 195 IL TROVATORE (Metropolitan Opera - 1988) VID 917 IN THE SHADOW OF THE STARS VT 2271 KHOVANSHCHINA (Kirov Opera - 1992) VID 920 L’AFRICAINE (San Francisco Opera - 1988) VT 944 L'ELISIR D'AMORE (Metropolitan Opera - 1981) VT 426 L’INCORONAZIONE DI POPPEA (Glyndebourne - 1984) VT 844 L’ITALIANA IN ALGERI (Schwetzinger Festival - 1987) VT 6418 L'ORFEO (Zurich Opera - 1978) VID 427 LA CENERENTOLA (La Scala - 1981) VT 3548 file:///Users/damurphy/Desktop/exhibits/opera.list.html LADY MACBETH OF MTSENSK (Film - 1992) VT 6436 LAKME (Australian National Opera - 1976) VT 6461 LAST WALTZ, THE (Film - 1935) VT 6503 LOHENGRIN (Metropolitan Opera - 1986) VT 724 LOUISE (Film - 1938) VT 6502 LUCIA DI LAMMERMOOR (Film - 1947) VT 6950 LUCIA DI LAMMERMOOR (Film - 1971) VT 136 LUCIA DI LAMMERMOOR (Metropolitan Opera - 1982) VT 425 LUISA MILLER (Opera de Lyon - 1988) VT 2845 MADAME BUTTERFLY (Film - 1995) VT 4583 MAGIC FLUTE, THE (Bayerischen Staatsopera - 1983) VID 1086 MAGIC FLUTE, THE (Film - 1973) VT 437 MAGIC FLUTE, THE (UCSC - 1999) VT 6688 MANON LESCAUT (Covent Garden - 1983) VT 219 MARIA CALLAS AT COVENT GARDEN - 1962 and 1964 VID 551 MARRIAGE OF FIGARO, THE (Glyndebourne - 1973) VT 258 MARRIAGE OF FIGARO, THE (Sellars - 1990) VID 139 MARRIAGE OF FIGARO, THE (Vienna State Opera - 1976) VID 383 MEDIUM, THE (Film - 1950) VT 6551 MEISTERSINGER VON NURNBERG, DIE (Australian National Opera - 1988) VID 851 MIDSUMMER NIGHT’S DREAM (Glyndebourne - 1981) VT 5173 NORMA (Canadian National Opera - 1981) VT 6402 NORMA (La Scala - 1977) VT 230 OEDIPUS REX (Saito Kinen Festival - 1993) VID 365 OPERA IMAGINAIRE: An Animated Opera of the Imagination VID 678 OPERAVOX DVD 145 ORFEO ED EURIDICE (Covent Garden - 1991) VT 6411 ORFEO ED EURIDICE (Glyndebourne - 1982) VID 550 ORLANDO FURIOSO (San Francisco Opera - 1990) VID 901 OTELLO (Film - 1986) VT 832 P.D.Q. BACH: THE ABDUCTION OF FIGARO VT 1709 file:///Users/damurphy/Desktop/exhibits/opera.list.html PAGLIACCI (Film - 1982) VID 432 PARSIFAL (Film - 1982) VT 1732 PARSIFAL (Metropolitan Opera - 1993) VID 916 PELLEAS ET MELISANDE (Welsh National Opera - 1992) VID 1162 PETER GRIMES (Covent Opera - 1982) VID 605 PETER GRIMES (English National Opera - 1994) VID 918 PORGY AND BESS (BBC - 1993) VT 2431 PRINCE IGOR (Kirov Opera Film - 1985) VID 17 QUEEN OF SPADES, THE (Bolshoi Opera - 1983) VT 6092 RAKE’S PROGRESS, THE (Glyndebourne - 1977) VT 3188 RHEINGOLD, DAS (1981) VID 928 RHEINGOLD, DAS (Bayreuth - 1981) VT 108 RHEINGOLD, DAS (Metropolitan Opera - 1990) VID 602 RIGOLETTO (Film - 1947) VT 6500 RIGOLETTO (Vienna State Opera - 1988) VID 538 RING CYCLE, THE (Bayreuth - 1981) VT 108 RITORNO D’ULISSE IN PATRIA, IL (Salzberg Festival - 1985) VID 472 ROSENKAVALIER, DER (Covent Garden - 1985) VID 594 ROSENKAVALIER, DER (Film - 1962) VT 1415 SADKO aka THE MAGIC VOYAGE OF SINBAD (Film - 1963) VT 6475 SALOME (Film - 1974) VID 18 SAMSON ET DALILA (San Francisco Opera - 1981) VT 882 SEMIRAMADE (Aix-en-Provence - 1980) VT 6450 SERVA PADRONA, LA (Film - 1963) VT 5928 SIEGFRIED (Bayreuth - 1981) VT 110 SIEGFRIED (Metropoolitan Opera - 1990) VID 593 SONNAMBULA, LA (Film - 1972) VT 5929 STIFFELIO (Metropolitan Opera - 1995) VID 919 TALES OF HOFFMAN (Film - 1951) VID 584 TALES OF HOFFMAN, THE (Covent Garden - 1981) VT 220 TANNHAUSER (Bayerische Staatsoper - 1995) VT 6363 file:///Users/damurphy/Desktop/exhibits/opera.list.html TANNHAUSER (Metropolitan Opera - 1982) VT 424 TOSCA (Film - 1992) VID 537 TRAGEDIE DE CARMEN, LA VT 1425 TRAVIATA, LA (Film - 1982) VID 417 TRAVIATA, LA (Film - 1982) VT 185 TREEMONISHA (Houston Grand Opera - 1982) VT 1147 TRISTAN UND ISOLDE (Bayreuth - 1983) VT 2094 TRITTICO, IL (La Scala - 1983) VT 6993 TROVATORE, IL (Film - 1949) VT 6506 TROYENS, LES (Metropolitan Opera - 1984) VT 186 TURANDOT (Metropolitan Opera - 1988) VID 254 TURN OF THE SCREW, THE (Film - 1982) VT 5174 VIE PARISIENNE, LA (Opera Lyon - 1991) VID 585 WALKURE, DIE (Bayreuth - 1981) VT 109 WALKURE, DIE (Metropoolitan Opera - 1990) VID 601 WOZZECK (Vienna State Opera - 1987) VID 535.
Recommended publications
  • A Midsummer Night's Dream
    Monday 25, Wednesday 27 February, Friday 1, Monday 4 March, 7pm Silk Street Theatre A Midsummer Night’s Dream by Benjamin Britten Dominic Wheeler conductor Martin Lloyd-Evans director Ruari Murchison designer Mark Jonathan lighting designer Guildhall School of Music & Drama Guildhall School Movement Founded in 1880 by the Opera Course and Dance City of London Corporation Victoria Newlyn Head of Opera Caitlin Fretwell Chairman of the Board of Governors Studies Walsh Vivienne Littlechild Dominic Wheeler Combat Principal Resident Producer Jonathan Leverett Lynne Williams Martin Lloyd-Evans Language Coaches Vice-Principal and Director of Music Coaches Emma Abbate Jonathan Vaughan Lionel Friend Florence Daguerre Alex Ingram de Hureaux Anthony Legge Matteo Dalle Fratte Please visit our website at gsmd.ac.uk (guest) Aurelia Jonvaux Michael Lloyd Johanna Mayr Elizabeth Marcus Norbert Meyn Linnhe Robertson Emanuele Moris Peter Robinson Lada Valešova Stephen Rose Elizabeth Rowe Opera Department Susanna Stranders Manager Jonathan Papp (guest) Steven Gietzen Drama Guildhall School Martin Lloyd-Evans Vocal Studies Victoria Newlyn Department Simon Cole Head of Vocal Studies Armin Zanner Deputy Head of The Guildhall School Vocal Studies is part of Culture Mile: culturemile.london Samantha Malk The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation A Midsummer Night’s Dream Music by Benjamin Britten Libretto adapted from Shakespeare by Benjamin Britten and Peter Pears
    [Show full text]
  • English Translation of the German by Tom Hammond
    Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p.
    [Show full text]
  • For All the Attention Paid to the Striking Passage of Thirty-Four
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Humanities Commons for Jane, on our thirty-fourth Accents of Remorse The good has never been perfect. There is always some flaw in it, some defect. First Sightings For all the attention paid to the “interview” scene in Benjamin Britten’s opera Billy Budd, its musical depths have proved remarkably resistant to analysis and have remained unplumbed. This striking passage of thirty-four whole-note chords has probably attracted more comment than any other in the opera since Andrew Porter first spotted shortly after the 1951 premiere that all the chords harmonize members of the F major triad, leading to much discussion over whether or not the passage is “in F major.” 1 Beyond Porter’s perception, the structure was far from obvious, perhaps in some way unprecedented, and has remained mysterious. Indeed, it is the undisputed gnomic power of its strangeness that attracted (and still attracts) most comment. Arnold Whittall has shown that no functional harmonic or contrapuntal explanation of the passage is satisfactory, and proceeded from there to make the interesting assertion that that was the point: The “creative indecision”2 that characterizes the music of the opera was meant to confront the listener with the same sort of difficulty as the layers of irony in Herman Melville’s “inside narrative,” on which the opera is based. To quote a single sentence of the original story that itself contains several layers of ironic ambiguity, a sentence thought by some—I believe mistakenly—to say that Vere felt no remorse: 1.
    [Show full text]
  • Understanding Character Agency Through the Music of Wozzeck
    Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 4-2016 Oppression, Evaluation, and Direction: Understanding Character Agency through the Music of Wozzeck Eric Allen Hester Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Music Commons Recommended Citation Hester, Eric Allen, "Oppression, Evaluation, and Direction: Understanding Character Agency through the Music of Wozzeck" (2016). Master's Theses. 702. https://scholarworks.wmich.edu/masters_theses/702 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. OPPRESSION, EVALUATION, AND DIRECTION: UNDERSTANDING CHARACTER AGENCY THROUGH THE MUSIC OF WOZZECK by Eric Allen Hester A Thesis submitted to the Graduate College in partial fulfillment of the requirements for the degree of Master of Arts in Music School of Music Western Michigan University April 2016 Thesis Committee: Alexander M. Cannon, Ph.D., Chair Matthew C. Steel, Ph.D. Daniel C. Jacobson, Ph.D. Paul R. Solomon, M.F.A. OPPRESSION, EVALUATION, AND DIRECTION: UNDERSTANDING CHARACTER AGENCY THROUGH THE MUSIC OF WOZZECK Eric Allen Hester, M.A. Western Michigan University, 2016 In Alban Berg’s opera, Wozzeck, the concept of agency is one of fundamental importance. The oppressive dictates of fate and social position are featured prominently in the plot of the opera, and the characters evaluate their relationship with these oppressive structures in order to direct their agency.
    [Show full text]
  • How English National Opera Is Helping People with Long Covid to Manage Their Breathing
    News Reviews More Jobs Suppliers Castings Training Awards Events SUBSCRIBE Topics WEST END MUSICAL THEATRE BACKSTAGE & TECHNICAL OBITUARIES & ARCHIVE OPERA DANCE AWARDS JOBS & AUDITIONS TRAINING & DRAMA SCHOOLS ! Features LATEST MOST READ How English National Opera is helping people with long Covid to manage their breathing Ipswich’s New Wolsey in lockdown: ‘We needed to keep working. It was our way of staying sane’ Katherine Parkinson’s culture picks in lockdown: ‘Normal People resonated with me, but I’ve never had that kind of sex’ Shooting stars: How the National Theatre’s Romeo and Juliet soared from stage to screen Cultura clash: The Brazilian festival collaborating with UK artists Alexandra Oomens in one of the films that is part of the ENO Breathe programme. Photo: Karla Gowlett Royal Opera’s Oliver Mears: ‘We are still adapting to the times, but our ambition is just as strong’ How English National Opera is helping people with long Covid to manage their breathing FEATURES MAR 29, 2021 BY ROSEMARY WAUGH Singers know more about breathing than most. So last year, English National Opera contacted the NHS with its idea for supporting people with long Covid suffering from breathlessness and associated anxiety. Singers, doctors and participants tell Rosemary Waugh how ENO Breathe has given patients a new appreciation for music Most Commented Last summer, about three months after the first national lockdown was imposed, a new facet to the coronavirus pandemic emerged: long Covid. Characterised by breathlessness, fatigue, chest pains and interrelated symptoms of anxiety, it emerged that the condition could affect patients for weeks or months after their initial diagnosis and after the point when they require care from a GP or hospital.
    [Show full text]
  • Carmen Music for Orchestra (2021) to the Movie of the Same Tle (1918) by Ernst Lubitsch DuraOn: 92 Min
    Tobias Schwencke (*1974) Carmen Music for Orchestra (2021) to the movie of the same Atle (1918) by Ernst Lubitsch Dura:on: 92 Min. WORK IN PROGRESS – Rental material available from November 2021 Instrumenta:on: Wood instruments Brass instruments Keys, Percussion, Others Strings Carmen | D 1918 | D: Ernst Lubitsch | HD-s/w-newly restored version (2021) Carmen is a 1918 German silent drama film directed by Ernst Lubitsch and starring Pola Negri, Harry Liedtke, and Leopold von Ledebur. It was based on the novella Carmen by Prosper Mérimée. Like Bizet's opera Carmen, this film only adapts the third part of Mérimée's novella and transforms the character of Don José at the beginning of the story from bandit on the run to honest man in love with his childhood sweetheart. The film was released with English inter:tles in the United States in 1921 under the alternave :tle Gypsy Blood. Tobias Schwencke was born 1974 in Berlin and grew up in Duisburg. Studied in Duisburg, Saarbrücken and Berlin, where he has lived since 2001. His work includes free composion, music theatre, theatre music, pianis:c ac:vity; regular work at the Maxim Gorki Theater Berlin, Berliner Ensemble, Staatsoper Unter den Linden. Produc:ons under his musical direc:on and involvement include the Theater an der Wien, Teatro Real Madrid, Uppsala Stadstheater (S), HAU and Radialsystem and Deutsches Theater in Berlin; Düsseldorfer Schauspielhaus, Theater Bremen, Staatstheater Wiesbaden and the Munich State Opera. Collabora:on with Herbert Fritsch, Nurkan Erpulat, Claus Peymann, Manfred Karge, Anna Bergmann, Leander Haußmann, Frank Castorf, among others.
    [Show full text]
  • TURANDOT Cast Biographies
    TURANDOT Cast Biographies Soprano Martina Serafin (Turandot) made her San Francisco Opera debut as the Marshallin in Der Rosenkavalier in 2007. Born in Vienna, she studied at the Vienna Conservatory and between 1995 and 2000 she was a member of the ensemble at Graz Opera. Guest appearances soon led her to the world´s premier opera stages, including at the Vienna State Opera where she has been a regular performer since 2005. Serafin´s repertoire includes the role of Lisa in Pique Dame, Sieglinde in Die Walküre, Elisabeth in Tannhäuser, the title role of Manon Lescaut, Lady Macbeth in Macbeth, Maddalena in Andrea Chénier, and Donna Elvira in Don Giovanni. Upcoming engagements include Elsa von Brabant in Lohengrin at the Opéra National de Paris and Abigaille in Nabucco at Milan’s Teatro alla Scala. Dramatic soprano Nina Stemme (Turandot) made her San Francisco Opera debut in 2004 as Senta in Der Fliegende Holländer, and has since returned to the Company in acclaimed performances as Brünnhilde in 2010’s Die Walküre and in 2011’s Ring cycle. Since her 1989 professional debut as Cherubino in Cortona, Italy, Stemme’s repertoire has included Rosalinde in Die Fledermaus, Mimi in La Bohème, Cio-Cio-San in Madama Butterfly, the title role of Manon Lescaut, Tatiana in Eugene Onegin, the title role of Suor Angelica, Euridice in Orfeo ed Euridice, Katerina in Lady Macbeth of Mtsensk, the Countess in Le Nozze di Figaro, Marguerite in Faust, Agathe in Der Freischütz, Marie in Wozzeck, the title role of Jenůfa, Eva in Die Meistersinger von Nürnberg, Elsa in Lohengrin, Amelia in Un Ballo in Machera, Leonora in La Forza del Destino, and the title role of Aida.
    [Show full text]
  • CARMEN.Maquia
    SECTIONS MAGAZINE EVENTS ALERTS RADIO NEWSLETTER LINKS ABOUT US ADVERTISE NOTE: NJ Stage is not affiliated with this event. For ticket info, please contact the venue directly. Ballet Hispanico: CARMEN.maquia Facebook Twitter Print Email Pinterest More Sat, March 21, 2020 @ 7:30pm Category: dance Victoria Theater @ New Jersey Performing Arts Center (NJPAC) One Center Street Newark, NJ 07102 Ballet Hispánico, the nation’s premier Latin dance organization, brings its celebrated CARMEN.maquia, a sensual, full-length work created by Spanish choreographer Gustavo Ramírez Sansano, inspired by Bizet’s beloved opera. Fueled by physically charged choreography that fuses contemporary dance with Spanish paso doble and flamenco, CARMEN.maquia takes its cues from the 1845 novella by Prosper Mérimée and the 1875 opera by Georges Bizet. The ballet tells the dramatic story of Carmen, a spirited gypsy, and her love triangle with the doting Don Jose, an army officer, and Escamillo, a bullfighter. In his version, Sansano reimagines Carmen in a Picasso-inspired setting, with a white, canvas-like set and sculptural costumes made to evoke the inside of traditional flamenco attire. Bizet’s classic score remains the soundtrack, in the form of various orchestral versions with no vocals. Currently under the artistic direction of Eduardo Vilaro, Ballet Hispánico tours worldwide with a diverse repertory by some of the foremost choreographers of our time as well as emerging artists. The company is acclaimed for works that fuse Latin dance with classical and contemporary techniques to create a new style in which theatricality and passion propel every move. “Ballet Hispánico shows what it is to be Latino in the modern world,” says The Financial Times.
    [Show full text]
  • Britten Connections a Guide for Performers and Programmers
    Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman.
    [Show full text]
  • Verdi Otello
    VERDI OTELLO RICCARDO MUTI CHICAGO SYMPHONY ORCHESTRA ALEKSANDRS ANTONENKO KRASSIMIRA STOYANOVA CARLO GUELFI CHICAGO SYMPHONY CHORUS / DUAIN WOLFE Giuseppe Verdi (1813-1901) OTELLO CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI 3 verdi OTELLO Riccardo Muti, conductor Chicago Symphony Orchestra Otello (1887) Opera in four acts Music BY Giuseppe Verdi LIBretto Based on Shakespeare’S tragedy Othello, BY Arrigo Boito Othello, a Moor, general of the Venetian forces .........................Aleksandrs Antonenko Tenor Iago, his ensign .........................................................................Carlo Guelfi Baritone Cassio, a captain .......................................................................Juan Francisco Gatell Tenor Roderigo, a Venetian gentleman ................................................Michael Spyres Tenor Lodovico, ambassador of the Venetian Republic .......................Eric Owens Bass-baritone Montano, Otello’s predecessor as governor of Cyprus ..............Paolo Battaglia Bass A Herald ....................................................................................David Govertsen Bass Desdemona, wife of Otello ........................................................Krassimira Stoyanova Soprano Emilia, wife of Iago ....................................................................BarBara DI Castri Mezzo-soprano Soldiers and sailors of the Venetian Republic; Venetian ladies and gentlemen; Cypriot men, women, and children; men of the Greek, Dalmatian, and Albanian armies; an innkeeper and his four servers;
    [Show full text]
  • Connection/Separation
    Friday, February 12, 2021 | 4 PM MANHATTAN SCHOOL OF MUSIC OPERA THEATRE Tazewell Thompson, Director of Opera Studies presents Connection/Separation Featuring arias and scenes from Carmen, Così fan tutte, Die Zauberflöte, La clemenza di Tito, L’elisir d’amore, Le nozze di Figaro, Les pêcheurs de perles, and Lucio Silla A. Scott Parry, Director MSM Opera Theatre productions are made possible by the Fan Fox and Leslie R. Samuels Foundation and the Joseph F. McCrindle Endowment for Opera Productions at Manhattan School of Music. Friday, February 12, 2021 | 4 PM MANHATTAN SCHOOL OF MUSIC OPERA THEATRE Tazewell Thompson, Director of Opera Studies presents Connection/Separation Featuring arias and scenes from Carmen, Così fan tutte, Die Zauberflöte, La clemenza di Tito, L’elisir d’amore, Le nozze di Figaro, Les pêcheurs de perles, and Lucio Silla A. Scott Parry, Director Myra Huang, Vocal Coach & Pianist Kristen Kemp, Vocal Coach & Pianist Megan P. G. Kolpin, Props Coordinator DIRECTOR’S NOTE In each of our lives—during this last year especially—we may have discovered ourselves in moments of wanting, even needing some sort of human connection, but instead finding separation by any number of barriers. In the arias and scenes that follow, we witness characters in just this kind of moment; searching for meaningful contact yet being somehow barred from achieving it. Through circumstance, distance, convention, misunderstanding, pride, fear, ego, or what have you, we may find ourselves in situations similar to the characters in this program, while looking forward to the days when connection can be more easily achieved and separation the exception to the rule.
    [Show full text]
  • View List (.Pdf)
    Symphony Society of New York Stadium Concert United States Premieres New York Philharmonic Commission as of November 30, 2020 NY PHIL Biennial Members of / musicians from the New York Philharmonic Click to jump to decade 1842-49 | 1850-59 | 1860-69 | 1870-79 | 1880-89 | 1890-99 | 1900-09 | 1910-19 | 1920-29 | 1930-39 1940-49 | 1950-59 | 1960-69 | 1970-79 | 1980-89 | 1990-99 | 2000-09 | 2010-19 | 2020 Composer Work Date Conductor 1842 – 1849 Beethoven Symphony No. 3, Sinfonia Eroica 18-Feb 1843 Hill Beethoven Symphony No. 7 18-Nov 1843 Hill Vieuxtemps Fantasia pour le Violon sur la quatrième corde 18-May 1844 Alpers Lindpaintner War Jubilee Overture 16-Nov 1844 Loder Mendelssohn The Hebrides Overture (Fingal's Cave) 16-Nov 1844 Loder Beethoven Symphony No. 8 16-Nov 1844 Loder Bennett Die Najaden (The Naiades) 1-Mar 1845 Wiegers Mendelssohn Symphony No. 3, Scottish 22-Nov 1845 Loder Mendelssohn Piano Concerto No. 1 17-Jan 1846 Hill Kalliwoda Symphony No. 1 7-Mar 1846 Boucher Furstenau Flute Concerto No. 5 7-Mar 1846 Boucher Donizetti "Tutto or Morte" from Faliero 20-May 1846 Hill Beethoven Symphony No. 9, Choral 20-May 1846 Loder Gade Grand Symphony 2-Dec 1848 Loder Mendelssohn Violin Concerto in E minor 24-Nov 1849 Eisfeld Beethoven Symphony No. 4 24-Nov 1849 Eisfeld 1850 – 1859 Schubert Symphony in C major, Great 11-Jan 1851 Eisfeld R. Schumann Introduction and Allegro appassionato for Piano and 25-Apr 1857 Eisfeld Orchestra Litolff Chant des belges 25-Apr 1857 Eisfeld R. Schumann Overture to the Incidental Music to Byron's Dramatic 21-Nov 1857 Eisfeld Poem, Manfred 1860 - 1869 Brahms Serenade No.
    [Show full text]