October, November & December 2013
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Herald Sun Entertainment Herald Sun
4/30/2015 Melbourne Theatre Company dominates Green Room Awards — but not for theatre | Herald Sun Entertainment Herald Sun Entertainment Melbourne Theatre Company dominates Green Room Awards — but not for theatre by: Sally Bennett arts editor From: Herald Sun April 20, 2015 10:30PM Share × Share this story Facebook Twitter LinkedIn Google Email 0 0 Madeleine Jones and Tom Parsons both won best actor awards for their roles in the musical “Once”. Picture: Eugene Hyland Source: News Corp Australia THE Melbourne Theatre Company has dominated this year’s Green Room Awards, announced http://www.heraldsun.com.au/entertainment/arts/melbourne-theatre-company-dominates-green-room-awards-but-not-for-theatre/story-fni0fcgk-1227312347021 1/10 4/30/2015 Melbourne Theatre Company dominates Green Room Awards — but not for theatre | Herald Sun tonight, but in an unexpected category. Instead of cleaning up the awards for theatre — where it was virtually snubbed — the company won eight awards in the musical category for its coproduction of Once with John Frost, including best production, director and male and female leads. The MTC, which also won a dance award for its coproduction with Chunky Move, tied with Opera Australia to be the two most successful companies with 10 gongs each. But our flagship theatre company came a distant fourth in the theatre category — behind the Malthouse Theatre, Bell Shakespeare and Red Stitch Actors Theatre — picking up only one award for sound design. It’s highly touted Neon Festival of Independent Theatre also managed only one award in the independent theatre category. Opera Australia’s “Eugene Onegin” won seven awards, including female lead for Nicole Car. -
Mahler's Klagende Lied
Mahler’s Klagende Lied SIMONE YOUNG’S VISIONS OF VIENNA 4 – 7 DECEMBER SYDNEY OPERA HOUSE CONCERT DIARY FEBRUARY 2020 The 1950s Latin Lounge Wed 5 Feb, 7pm Thu 6 Feb, 7pm Program includes: Sat 8 Feb, 7pm GERSHWIN Cuban Overture Sydney Town Hall MARQUEZ Danzón No.2 BERNSTEIN West Side Story – Mambo Guy Noble conductor Imogen Kelly dancer Ali McGregor soprano The Rite of Spring Symphony Hour Wed 19 Feb, 7pm RIOT AT THE BALLET Thu 20 Feb, 7pm WAGNER Die Meistersinger – Prelude Sydney Town Hall STRAVINSKY The Rite of Spring Pietari Inkinen conductor Abercrombie & Kent Debussy and Ravel Masters Series THE GREAT IMPRESSIONISTS Wed 26 Feb, 8pm RAVEL Piano Concerto in G Fri 28 Feb, 8pm MENDELSSOHN The Hebrides Sat 29 Feb, 8pm DEBUSSY La mer Thursday Afternoon Symphony Jun Märkl conductor Thu 27 Feb, 1.30pm Alexandra Dariescu piano Great Classics Sat 29 Feb, 2pm Sydney Town Hall MARCH 2020 Ben Folds Sydney Symphony Presents Fri 6 Mar, 8pm THE SYMPHONIC TOUR Sat 7 Mar, 8pm Pop icon and music innovator Ben Folds Sydney Town Hall returns to Sydney following his last sold- out shows with the Sydney Symphony. Ben Folds Nicholas Buc conductor Scheherazade Symphony Hour Wed 11 Mar, 7pm HYPNOTIC AND SUBLIME Thu 12 Mar, 7pm DEBUSSY Prelude to the Afternoon of a Faun Tea & Symphony RIMSKY-KORSAKOV Scheherazade Fri 13 Mar, 11am Alexander Shelley conductor Sydney Town Hall Debussy, Mozart and Rimsky-Korsakov Emirates Metro Series Fri 13 Mar, 8pm SENSE AND SENSUALITY Sydney Town Hall DEBUSSY Prelude to the Afternoon of a Faun MOZART Sinfonia Concertante, K.364 RIMSKY-KORSAKOV Scheherazade Alexander Shelley conductor Harry Bennetts violin Tobias Breider viola Abercrombie & Kent Beethoven Missa Solemnis Masters Series MUSIC OF INSPIRATION Wed 18 Mar, 8pm BEETHOVEN Missa Solemnis Fri 20 Mar, 8pm Sat 21 Mar, 8pm Donald Runnicles conductor Siobhan Stagg soprano Sydney Town Hall Vasilisa Berzhanskaya mezzo-soprano Samuel Sakker tenor Derek Welton bass Sydney Philharmonia Choirs Cats 240x150.indd 1 2/9/19 16:40 WELCOME Welcome to the Abercrombie & Kent Masters Series. -
The Nineteenth Century, Part 2: Nationalism and Ideology
A-R Online Music Anthology www.armusicanthology.com Content Guide The Nineteenth Century, Part 2: Nationalism and Ideology Joseph E. Jones is Associate Professor at Texas A&M by Joseph E. Jones and Sarah Marie Lucas University-Kingsville. His research has focused on German opera, especially the collaborations of Strauss Texas A&M University-Kingsville and Hofmannsthal, and Viennese cultural history. He co- edited Richard Strauss in Context (Cambridge, 2020) Assigned Readings and directs a study abroad program in Austria. Core Survey Sarah Marie Lucas is Lecturer of Music History, Music Historical and Analytical Perspectives Theory, and Ear Training at Texas A&M University- Composer Biographies Kingsville. Her research interests include reception and Supplementary Readings performance history, as well as sketch studies, particularly relating to Béla Bartók and his Summary List collaborations with the conductor Fritz Reiner. Her work at the Budapest Bartók Archives was supported by a Genres to Understand Fulbright grant. Musical Terms to Understand Contextual Terms, Figures, and Events Main Concepts Scores and Recordings Exercises This document is for authorized use only. Unauthorized copying or posting is an infringement of copyright. If you have questions about using this guide, please contact us: http://www.armusicanthology.com/anthology/Contact.aspx Content Guide: The Nineteenth Century, Part 2 (Nationalism and Ideology) 1 ______________________________________________________________________________ Content Guide The Nineteenth Century, -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Pace, I. (2012). Instrumental performance in the nineteenth century. In: Lawson, C. and Stowell, R. (Eds.), The Cambridge History of Musical Performance. (pp. 643-695). Cambridge University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/6305/ Link to published version: http://dx.doi.org/10.1017/CHOL9780521896115.027 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] C:/ITOOLS/WMS/CUP-NEW/2654833/WORKINGFOLDER/LASL/9780521896115C26.3D 643 [643–695] 5.9.2011 7:13PM . 26 . Instrumental performance in the nineteenth century IAN PACE 1815–1848 Beethoven, Schubert and musical performance in Vienna from the Congress until 1830 As a major centre with a long tradition of performance, Vienna richly reflects -
ABC2 Program Schedule
1 | P a g e ABC2 Program Guide: National: Week 6 Index Index Program Guide .............................................................................................................................................................. 3 Sunday, 5 February 2017 ...................................................................................................................................... 3 Monday, 6 February 2017 ..................................................................................................................................... 8 Tuesday, 7 February 2017 ................................................................................................................................... 13 Wednesday, 8 February 2017 ............................................................................................................................. 18 Thursday, 9 February 2017 ................................................................................................................................. 23 Friday, 10 February 2017 .................................................................................................................................... 28 Saturday, 11 February 2017 ................................................................................................................................ 33 Marketing Contacts ..................................................................................................................................................... 38 2 | P a g e ABC2 Program Guide: National: -
ABC Comedy Nov 8
1 | P a g e ABC KIDS/Comedy Program Guide: Week 46 Index Index Program Guide .............................................................................................................................................................. 3 Sunday, 8 November 2020 .................................................................................................................................... 3 Monday, 9 November 2020 .................................................................................................................................. 9 Tuesday, 10 November 2020 .............................................................................................................................. 15 Wednesday, 11 November 2020......................................................................................................................... 21 Thursday, 12 November 2020 ............................................................................................................................. 27 Friday, 13 November 2020 .................................................................................................................................. 33 Saturday, 14 November 2020 ............................................................................................................................. 39 NOTE: Program times may differ in some states if viewing on VAST or Foxtel. More information can be found at ABC Help. 2 | P a g e ABC KIDS/Comedy Program Guide: Week 46 Sunday 8 November 2020 Program Guide Sunday, 8 November 2020 -
Contents Price Code an Introduction to Chandos
CONTENTS AN INTRODUCTION TO CHANDOS RECORDS An Introduction to Chandos Records ... ...2 Harpsichord ... ......................................................... .269 A-Z CD listing by composer ... .5 Guitar ... ..........................................................................271 Chandos Records was founded in 1979 and quickly established itself as one of the world’s leading independent classical labels. The company records all over Collections: Woodwind ... ............................................................ .273 the world and markets its recordings from offices and studios in Colchester, Military ... ...208 Violin ... ...........................................................................277 England. It is distributed worldwide to over forty countries as well as online from Brass ... ..212 Christmas... ........................................................ ..279 its own website and other online suppliers. Concert Band... ..229 Light Music... ..................................................... ...281 Opera in English ... ...231 Various Popular Light... ......................................... ..283 The company has championed rare and neglected repertoire, filling in many Orchestral ... .239 Compilations ... ...................................................... ...287 gaps in the record catalogues. Initially focussing on British composers (Alwyn, Bax, Bliss, Dyson, Moeran, Rubbra et al.), it subsequently embraced a much Chamber ... ...245 Conductor Index ... ............................................... .296 -
Music As Evil: Deviance and Metaculture in Classical Music*
Music and Arts in Action | Volume 2 | Issue 1 Music as Evil: Deviance and Metaculture in Classical Music* NATHAN W. PINO Department of Sociology | Texas State University – San Marcos | USA* ABSTRACT This paper aims to apply the sociology of deviance and the concept of metaculture to the sociology of high-art and music. Examples of classical music criticisms over time are presented and discussed. Music critics have engaged in metaculture and norm promotion by labeling certain composers or styles of music as negatively deviant in a number of ways. Composers or styles of classical music have been labeled as not music, not worthy of being considered the future of music, a threat to culture, politically unacceptable, evil, and even criminal. Critics have linked composers they are critical of with other deviant categories, and ethnocentrism, racism, and other biases play a role in critics’ attempts to engage in norm promotion and affect the public temper. As society changes, musical norms and therefore deviant labels concerning music also change. Maverick composers push musical ideas forward, and those music critics who resist these changes are unable to successfully promote their dated, more traditional norms. Implications of the findings for the sociology of deviance and the sociology of music are discussed. *The author would like to thank Erich Goode, David Pino, Aaron Pino, Deborah Harris, and Ian Sutherland for their comments on an earlier version of this paper. *Texas State University - San Marcos, 601 University Drive, San Marcos, Texas 78666, USA © Music and Arts in Action/Nathan W. Pino 2009 | ISSN: 1754-7105 | Page 37 http://musicandartsinaction.net/index.php/maia/article/view/musicevil Music and Arts in Action | Volume 2 | Issue 1 INTRODUCTION The sociology of deviance has generated a large number of ideas, concepts, and theories that are used in other concentration areas within sociology, such as medical sociology, race, ethnicity, and gender studies, criminology, social problems, and collective behavior, among others (Goode, 2004). -
2013 Annual Review
Edinburgh Festival Fringe 2014 01 – 25 August edfringe.com ‘The excitement of the Edinburgh Fringe is infectious and empowering, a blast of rude energy ... there’s a heady sense that anything is possible.’ The Independent ‘It’s the biggest and best arts festival on the planet, and the comedy hub for acts from across the globe.’ Time Out London Sponsors CALEDONIAN ‘It is, quite simply, the greatest show on earth.’ The Scotsman ‘What an opportunity the Fringe offers – it’s nourishing art in every form.’ Miriam Margolyes Supporters ‘As an accredited producer at the Edinburgh Fringe for the past 13 years, it is very easy for me to sum up both the Edinburgh Fringe Society and its Arts Industry Office: essential.’ Richard Jordan, Producer Partners ‘Being at the Fringe changed my life in about a million TM ways... Never underestimate what your efforts have meant T S to thousands of performers, writers, directors and technical C R At The National Gallery Of Scotland artists and designers.’ Elaine Liner, Fringe Participant Copyright Edinburgh Festival Fringe Society Ltd 2013 All rights reserved. No part of this publication may be reproduced in any form without the written prior permission of the Edinburgh Festival Fringe Society. The Edinburgh Festival Fringe Society Ltd is a company limited by guarantee and incorporated in Scotland (No SC046605). Registered Charity No SC002995. Registered office:180 High Street, Edinburgh, EH1 1QS Telephone: 0131 226 0026 Fax: 0131 226 0016 Email: [email protected] Foreword Welcome‘The excitement to the Edinburgh Festival of the Fringe Edinburgh Society’s partners. Fringe It is not is only infectious their financial and contributions 2013 review. -
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FOR IMMEDIATE RELEASE Pasadena Symphony Association Pasadena Symphony & POPS Contact: Marisa McCarthy [email protected] (626) 793-7172 ext. 13 May 2, 2018 For artist bios and images visit: http://pasadenasymphony-pops.org/2018-pops-season- announcement/ THE PASADENA POPS & MICHAEL FEINSTEIN ANNOUNCE 2018 SUMMER CONCERT SERIES WITH GUEST STARS CHRISTINE EBERSOLE, LIZ CALLAWAY, ERICH BERGEN, ALI MCGREGOR, JULIAN OVENDEN, JOHN LLOYD YOUNG AND MORE. SINGLE TICKETS ON SALE NOW! Pasadena, CA – Principal Pops Conductor Michael Feinstein returns to the Los Angeles County Arboretum with stars of stage and screen for five concerts sure to make your summer sizzle. The 2018 Sierra Summer Concert Series commences June 23rd through September 8th with a jam-packed line-up of multiple award-winning guest artists including two-time Tony Award winner Christine Ebersole, Emmy winner Liz Callaway, Madam Secretary’s Erich Bergen, cabaret star Ali McGregor, Downton Abbey’s Julian Ovendon, Jersey Boys’ John Lloyd Young and more. Feinstein jumpstarts your summer on June 23rd with Liz Callaway and Aaron Lazar, both Merrily We Roll Along alumni, for That’s Entertainment: Gershwin to Sondheim, followed by his return as a soloist with Summer of Love: Michael Feinstein Sings the Hits of the 60's on July 21st. As you know, it wasn’t all Woodstock. The 60’s were cool with the stylish stylings of the “Mad Men” era and more. From The Beach Boys to The Mamas and The Papas, to Sinatra, Andy Williams and more, Feinstein defines the sounds of the ultimate decade! The highly-anticipated return of Classical Mystery Tour lights up the night sky on August 4th, performing your favorite hit songs for A Tribute to the Beatles, and Feinstein celebrates Leonard Bernstein’s 100th birthday on August 18th with cabaret queen Ali McGregor and Downton Abbey’s Julian Ovendon for Bernstein’s New York. -
Prokofiev CHANDOS
CHAN 10347(2) Wide cover 10/21/05 2:05 PM Page 1 Prokofiev CHANDOS CHAN 10347(2) CHAN 10347 BOOK.qxd 15/9/06 1:11 pm Page 2 Sergey Sergeyevich Prokofiev (1891–1953) Peter Joslin Collection Peter premiere recording in English The Love for Three Oranges An opera in four acts and a prologue. Libretto by the composer, for Vsevolod Meyerhold’s adaptation of L’amore delle tre melarance by Carlo Gozzi English version by Tom Stoppard A production by Opera Australia recorded live at the Sydney Opera House in February 2005 Opera Australia Chorus Michael Black chorus master Francis Greep assistant chorus master Australian Opera and Ballet Orchestra Stephen Mould assistant conductor Aubrey Murphy concert master Richard Hickox Sergey Sergeyevich Prokofiev 3 CHAN 10347 BOOK.qxd 15/9/06 1:11 pm Page 4 The King of Clubs....................................................................................................................Bruce Martin bass The Prince, his son..........................................................................................................John Mac Master tenor Clarissa, niece of the King......................................................................................Deborah Humble contralto Branco Gaica Leandro, the Prime Minister...............................................................................Teddy Tahu Rhodes baritone Truffaldino, who makes people laugh........................................................................William Ferguson tenor Pantaloon, the King’s confidant.....................................................................................Warwick -
The Story of the Symphony, Part 2: Beethoven and His Legacy
KS4/5KS5 The story of the symphony, part 2: Beethoven and his legacy Jonathan James by Jonathan James is a freelance music educator and conductor who presents and leads workshops for orchestras and INTRODUCTION venues across the UK. In the second of this three-part resource (for part one, see Music Teacher, February 2019), we will be joining the story of the symphony at its heyday in the 19th century, where the form expanded and evolved at dizzying speed. By the end of the century, symphony orchestras were up to ten times the size of their 18th-century predecessors, playing works of double the length to much larger, more discerning audiences. As before, the aim of this resource is to use the story of the symphony to give a context for analysing instrumental writing in the wider listening questions at GCSE and beyond. It gives a historical framework for set works and outlines the creative principles of key composers, questioning the choices they made as they crafted their symphonies and, in so doing, giving inspiration for the students’ own compositional thinking. The resources should broaden the vocabulary and analytical thinking required for the higher-scoring evaluative answers in the listening papers in Key Stages 4 and 5. A Spotify playlist accompanies each resource, to use for musical illustrations and listening exercises. This second part takes us from the symphonic revolutions of Beethoven in the early 1800s through the diverse response to that impressive legacy by some of the main symphonists of the Romantic era, including Berlioz, Brahms, Tchaikovsky and Dvorˇák.