Temporada D'òpera 1984 -1985
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570895bk RStrauss US:557541bk Kelemen 3+3 3/8/09 8:42 PM Page 1 Antoni Wit Staatskapelle Weimar Antoni Wit, one of the most highly regarded Polish conductors, studied conducting with Founded in 1491, the Staatskapelle Weimar is one of the oldest orchestras in the world, its reputation inextricably linked Richard Henryk Czyz˙ and composition with Krzysztof Penderecki at the Academy of Music in to some of the greatest works and musicians of all time. Franz Liszt, court music director in the mid-nineteenth Kraków, subsequently continuing his studies with Nadia Boulanger in Paris. He also century, helped the orchestra gain international recognition with premières that included Wagner’s Lohengrin in graduated in law at the Jagellonian University in Kraków. Immediately after completing 1850. As Weimar’s second music director, Richard Strauss conducted first performances of Guntram and STRAUSS his studies he was engaged as an assistant at the Warsaw Philharmonic Orchestra by Humperdinck’s Hänsel und Gretel. The orchestra was also the first to perform Strauss’s Don Juan, Macbeth and Death Witold Rowicki and was later appointed conductor of the Poznan´ Philharmonic. He and Transfiguration. After World War II Hermann Abendroth did much to restore the orchestra’s former status and Symphonia domestica collaborated with the Warsaw Grand Theatre, and from 1974 to 1977 was artistic director quality, ultimately establishing it as one of Germany’s leading orchestras. The Staatskapelle Weimar cultivates its of the Pomeranian Philharmonic, before his appointment as director of the Polish Radio historic tradition today, while exploring innovative techniques and wider repertoire, as reflected in its many recordings. -
Richard Strauss - Éléments De Style Jacques Amblard
Richard Strauss - Éléments de style Jacques Amblard To cite this version: Jacques Amblard. Richard Strauss - Éléments de style. 2019. hal-02314490 HAL Id: hal-02314490 https://hal.archives-ouvertes.fr/hal-02314490 Preprint submitted on 12 Oct 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Richard Strauss Éléments de style Jacques Amblard, LESA (EA-3274) Abstract : le compositeur Richard Strauss, souvent taxé de « postromantique » et échappant ainsi à l’histoire, n’en fut pas moins, probablement, le plus important musicien allemand du premier XXe siècle. L’examen détaillé de son parcours nous permet de déceler un romantisme en réalité modernisé, dès la fin du XIXe siècle. La densité n’est plus celle de Wagner mais double chez ce « Richard II ». On pourrait parler de « poly-romantisme ». Ce dernier style se mélange ensuite, d’une façon originale, à partir du Chevalier à la rose, avec un néoclassicisme mozartien. Comment l’équilibre entre une telle densité lyrique et la légèreté mozartienne est-il possible ? Ce miracle dialectique culmine pourtant dans Capriccio. Ce texte fut rédigé en 2014, publié en 2016 dans Brahms (encyclopédie en ligne de l’IRCAM). -
THE NEW YORK PHILHARMONIC THIS WEEK Broadcast Schedule – Spring 2020
THE NEW YORK PHILHARMONIC THIS WEEK Broadcast Schedule – Spring 2020 PROGRAM#: NYP 20-27 RELEASE DATE: March 25, 2020 Music of Our Time: Liang, Dalbavie, Shepherd, Muhly, and Pintscher Lei LIANG (b. 1972): Verge, for 18 Strings (2009) (Magnus Lindberg, conductor) Marc‐André DALBAVIE (b. 1961): Melodia, for Instrumental Ensemble (2009) (Magnus Lindberg, conductor) Sean SHEPHERD (b. 1979): These Particular Circumstances, in seven uninterrupted episodes (2009) (Alan Gilbert, conductor) Nico MUHLY (b. 1981): Detailed Instructions, for orchestra (2010) (Alan Gilbert, conductor) Matthias PINTSCHER (b. 1971): Songs from Solomon’s garden, for baritone and chamber orchestra (2009; New York Philharmonic Co‐Commission with the Frankfurt Radio Symphony Orchestra) (Alan Gilbert, conductor; Thomas Hampson, baritone) PROGRAM#: NYP 20-28 RELEASE DATE: April 1, 2020 Bernstein Conducts Bernstein BERNSTEIN: Chichester Psalms (World Premiere performance) (Leonard Bernstein, conductor; Camerata Singers, dir. Abraham Kaplan; John Bogart, boy alto) BERNSTEIN: Kaddish, Symphony No.3 (Leonard Bernstein, conductor; Camerata Singers, dir. Abraham Kaplan; Columbus Boychoir, dir. Donald Bryant; John Bogart, boy alto; Felicia Montealegre, speaker; Jennie Tourel, mezzo-soprano) BERNSTEIN: Suites 1 and 2 from the Dybbuk (Leonard Bernstein, conductor; Paul Sperry, tenor; Bruce Fifer, bass- baritone) PROGRAM#: NYP 20-29 RELEASE DATE: April 8, 2020 American Works: Gershwin, Russo, Ellington, and Copland GERSHWIN: Porgy and Bess (selections) (recorded 1954) (André Kostelantetz, conductor) RUSSO: Symphony No. 2, “Titans” (recorded 1959) (Leonard Bernstein, conductor; Maynard Ferguson, trumpet) ELLINGTON/ Marsalis: A Tone Parallel to Harlem (recorded 1999) (Kurt Masur, conductor; Jazz at Lincoln Center Orchestra, Wynton Marsalis, artistic director & trumpet) COPLAND: The Tender Land (abridged) (recorded 1965) (Aaron Copland, conductor; Joy Clements, soprano; Claramae Turner, mezzo-soprano; Richard Cassilly, tenor; Richard Fredricks, baritone; Norman Treigle, bass; Choral Art Society, dir. -
Der Rosenkavalier by Richard Strauss
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 Octavian and the Composer: Principal Male Roles in Opera Composed for the Female Voice by Richard Strauss Melissa Lynn Garvey Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC OCTAVIAN AND THE COMPOSER: PRINCIPAL MALE ROLES IN OPERA COMPOSED FOR THE FEMALE VOICE BY RICHARD STRAUSS By MELISSA LYNN GARVEY A Treatise submitted to the Department of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2010 The members of the committee approve the treatise of Melissa Lynn Garvey defended on April 5, 2010. __________________________________ Douglas Fisher Professor Directing Treatise __________________________________ Seth Beckman University Representative __________________________________ Matthew Lata Committee Member The Graduate School has verified and approved the above-named committee members. ii I’d like to dedicate this treatise to my parents, grandparents, aunt, and siblings, whose unconditional love and support has made me the person I am today. Through every attended recital and performance, and affording me every conceivable opportunity, they have encouraged and motivated me to achieve great things. It is because of them that I have reached this level of educational achievement. Thank you. I am honored to thank my phenomenal husband for always believing in me. You gave me the strength and courage to believe in myself. You are everything I could ever ask for and more. Thank you for helping to make this a reality. -
THROUGH LIFE and LOVE Richard Strauss
THROUGH LIFE AND LOVE Richard Strauss Louise Alder soprano Joseph Middleton piano Richard Strauss (1864-1949) THROUGH LIFE AND LOVE Youth: Das Mädchen 1 Nichts 1.40 Motherhood: Mutterschaft 2 Leises Lied 3.13 16 Muttertänderlei 2.27 3 Ständchen 2.42 17 Meinem Kinde 2.52 4 Schlagende Herzen 2.29 5 Heimliche Aufforderung 3.16 Loss: Verlust 18 Die Nacht 3.02 Longing: Sehnsucht 19 Befreit 4.54 6 Sehnsucht 4.27 20 Ruhe, meine Seele! 3.54 7 Waldseligkeit 2.54 8 Ach was Kummer, Qual und Schmerzen 2.04 Release: Befreiung 9 Breit’ über mein Haupt 1.47 21 Zueignung 1.49 Passions: Leidenschaft 22 Weihnachtsgefühl 2.26 10 Wie sollten wir geheim sie halten 1.54 23 Allerseelen 3.22 11 Das Rosenband 3.15 12 Ich schwebe 2.03 Total time 64.48 Partnership: Liebe Louise Alder soprano 13 Nachtgang 3.01 Joseph Middleton piano 14 Einerlei 2.53 15 Rote Rosen 2.19 2 Singing Strauss Coming from a household filled with lush baroque music as a child, I found Strauss a little later in my musical journey and vividly remember how hard I fell in love with a recording of Elisabeth Schwarzkopf singing Vier Letze Lieder, aged about 16. I couldn’t believe from the beginning of the first song it could possibly get any more ecstatic and full of emotion, and yet it did. It was a short step from there to Strauss opera for me, and with the birth of YouTube I sat until the early hours of many a morning in my tiny room at Edinburgh University, listening to, watching and obsessing over Der Rosenkavalier’s final trio and presentation of the rose. -
Boston Symphony Orchestra Concert Programs, Summer, 1969
THE MUSIC DIRECTOR music department he organizes the vocal lenufa, Aida, Parsifal, The flying Dutch- fellows' activities, which have been much When ERICH LEINSDORF relinquishes his man, Tristan und Isolde, Elektra and Son's extended during the last two seasons. post as Music Director of the Boston Sym- Codunov, to name only a few. He now Charles Wilson becomes principal resi- phony Orchestra at the end of the 1969 lives in Hamburg. dent conductor of the New York City Berkshire Festival, he will have made a Opera Company, beginning this coming significant contribution to American mu- SHERRILL MILNES, who made his first fall. sical life. Under his leadership the Or- appearance with the Boston Symphony chestra has presented many premieres and last summer here at Tanglewood, started revived many forgotten works. Among THE SOLOISTS his professional career as a member of the latter have been the complete Schu- Margaret Hiilis's Chicago Choir, and was mann Faust, the original versions of Twenty-three year old ANDRE WATTS soon taking solo parts when the chorus Beethoven's Fidelio and Strauss's Ariadne made his debut with the Boston Sym- appeared with the Chicago Symphony. auf Naxos, and the Piano concerto no. 1 phony Orchestra last winter. He started He won scholarships to the opera depart- of Xaver Scharwenka, while among the to study the piano with his mother when ment of the Berkshire Music Center for numerous world and American premieres he was seven. Two years later he won a two consecutive summers, then joined have been works like Britten's War competition to play a Haydn concert for Boris Goldovsky's company for several requiem and Cello symphony, the piano one of the Philadelphia Orchestra chil- tours. -
January 19, 2020 Luc De Wit 3:00–4:40 PM
ALBAN BERG wozzeck conductor Opera in three acts Yannick Nézet-Séguin Libretto by the composer, based on the production William Kentridge play Woyzeck by Georg Büchner co-director Sunday, January 19, 2020 Luc De Wit 3:00–4:40 PM projection designer Catherine Meyburgh New Production set designer Sabine Theunissen costume designer Greta Goiris The production of Wozzeck was made possible lighting designer Urs Schönebaum by a generous gift from Robert L. Turner A co-production of the Metropolitan Opera; Salzburg Festival; the Canadian Opera Company, Toronto; and Opera Australia general manager Peter Gelb jeanette lerman-neubauer music director Sunday matinee performances at the Met are Yannick Nézet-Séguin sponsored by the Neubauer Family Foundation 2019–20 SEASON The 75th Metropolitan Opera performance of ALBAN BERG’S wozzeck conductor Yannick Nézet-Séguin in order of vocal appearance the captain the fool Gerhard Siegel Brenton Ryan wozzeck a soldier Peter Mattei Daniel Clark Smith andres a townsman Andrew Staples Gregory Warren marie marie’s child Elza van den Heever Eliot Flowers margret Tamara Mumford* puppeteers Andrea Fabi the doctor Gwyneth E. Larsen Christian Van Horn ac tors the drum- major Frank Colardo Christopher Ventris Tina Mitchell apprentices Wozzeck is stage piano solo Richard Bernstein presented without Jonathan C. Kelly Miles Mykkanen intermission. Sunday, January 19, 2020, 3:00–4:40PM KEN HOWARD / MET OPERA A scene from Chorus Master Donald Palumbo Berg’s Wozzeck Video Control Kim Gunning Assistant Video Editor Snezana Marovic Musical Preparation Caren Levine*, Jonathan C. Kelly, Patrick Furrer, Bryan Wagorn*, and Zalman Kelber* Assistant Stage Directors Gregory Keller, Sarah Ina Meyers, and J. -
The Following Great Artists Have Taught
The following great artists have performed, taught, and/or studied at Hidden Valley Ansel Adams Rod Gilfry Pepe Romero Photographer Baritone Guitarist Sir Thomas Allen Philip Glass Jenny Penny Baritone Composer/Pianist Principal Dancer, The Royal Ballet Julius Baker Thomas Hampson Claudette Peterson Principal Flute, New York Philharmonic Baritone Soprano Samuel Barber Gary Hines Cindy Phelps Composer Conductor, Sounds of Blackness Principal Violist, New York Philharmonic Jeanne Baxtresser Sue Hinshaw Gregor Piatigorsky Principal Flute, New York Philharmonic Soprano Cellist Randall Behr Henry Holt Paul Polivnik Conductor/Pianist Conductor Conductor Martin Bernheimer Reg Huston Margarite Porter Music Critic Bass-Baritone Principal Dancer, The Royal Ballet Roger Cantrell Eugene Izotov Jean-Pierre Rampal Conductor Principal Oboist, San Francisco Symphony Flutist Colin Carr James Jarrett Stewart Robertson Celloist Author/Aesthetist Conductor Richard Cassilly Graham Johnson Joe Robinson Tenor Pianist Principal Oboe, New York Philharmonic David Conte Emil Khudyev Neil Rosenshein Composer Associate Principal Clarinet, Seattle Sym- Tenor Ronald Cunningham phony Ali Ryerson Choreographer, The Boston Ballet Farkhad Khudyev Jazz Flutist Robert Darling Conductor,/Violinist Charles Schleuter Designer/Director Mark Kosower Principal Trumpet, Boston Symphony Or- Leonard Davis Principal Cello, The Cleveland Orchestra chestra Principal Violist, New York Philharmonic Louis Lebherz Elisabeth Schwarzkopf Warren Deck Bass Soprano Principal Tuba, New York Philharmonic -
September 2016
Program Notes for kids Opening Night with Jon Kimura Parker Saturday, September 10, 2016 8:00 p.m. Hill Auditorium Shostakovich Festive Overture Strauss Der Rosenkavalier Suite Intermission Brahms Piano Concerto No. 2 Festive Overture by Dmitri Shostakovich About the Music What kind of piece is this? Listen for... This piece is a concert overture: a short and lively intro- Look for the crash cymbals. They mark duction to an instrumental concert. An overture signals exciting and important parts of the to the audience that the performance is beginning. piece at the beginning and the end. When was it written? The woodwinds play very fast passages that are passed around to different parts Festive Overture was first performed in 1954 in Moscow. of the orchestra. What does the music Shostakovich composed it in record time, finishing it in sound like to you? Does it sound like a just three days. celebration? What is it about? Shostakovich wrote Festive Overture for a government event to celebrate the 37th anniversary of the October Revolution of 1917, when the Soviets took control of Russia. The government wanted peo- ple to think that the Revolution was a good thing for Russia, so they asked Shostakovich to compose a lively, happy, and exciting piece. After its premiere it gained widespread popularity and became a piece all orchestras play, which Shostakovich found funny given the time it took him to compose it. About the Composer Dmitri Shostakovich | Born 1906 in St. Petersburg, Russia | Died August 9, 1975 in Moscow, Russia Family & Career Dmitri Shostakovich was a child prodigy pianist and composer. -
Lost in the Stars
REVIEWS Performances Lost in the Stars Washington National Opera and the production rocked the house. In musical terms, the 2016 version is even stronger, especially 12–20 February 2016 the contributions of the orchestra, due in great part to the added forces supplied by the Kennedy Center and WNO, particularly the dark richness of added violas. Conductor John DeMain’s Kurt Weill and Maxwell Anderson’s Lost in the Stars sailed into authoritative command of Weill’s score brought the powerful the Kennedy Center this February captained by Washington music to the forefront. National Opera’s Artistic Director Francesca Zambello. The The sound of the men in the Chorus reminds me of the production was an important event in the nation’s capital, not powerful South African tradition of male ensembles, rooted in only amplifying pressing conversations about race and unequal the practice of corralling Black miners in stockades, with music justice but broadening an artistic question in what has become their only emotional outlet. Through the choral writing, the a rich musical-theater nexus—what is musical theater? Lost nation itself becomes a character, with the first act establishing the in the Stars has been a challenge to define since it debuted on context and letting music invoke the work’s panoramic feel and Broadway, where it met mixed critical response. It has continued grand themes. The audience is challenged to feel the loneliness of to perplex many critics who try ungraciously to fit it into a pre- living in fear of “the other,” and to consider how fear and greed existing genre. -
Richard Strauss Seine Kindheit Und Jugend Verlebte Richard Strauss in München, Worauf Kapellmeisterengagements Ihn 1885 * 11
Strauss, Richard Richard Strauss Seine Kindheit und Jugend verlebte Richard Strauss in München, worauf Kapellmeisterengagements ihn 1885 * 11. Juni 1864 in München, Deutschland nach Meiningen, 1886 zurück nach München und 1889 † 8. September 1949 in Garmisch, Deutschland nach Weimar führten. Nach einer abermaligen Anstel- lung an der Münchner Hofoper von 1894 bis 1898 ging Komponist, Dirigent, Opernleiter, Kulturpolitiker er 1898 als Hofkapellmeister nach Berlin und übernahm 1918 zusammen mit Franz Schalk die Leitung der Wiener »Wahre Kunst adelt jeden Saal und anständiger Gelder- Hofoper bis 1924. Seit 1908 besaß er eine Villa in Garmi- werb für Frau und Kinder schändet nicht – einmal einen sch, ab 1925 eine in Wien. Nach dem Ende des Zweiten Künstler.« Weltkriegs lebte Strauss in der Schweiz, bis er kurz vor seinem Tod 1949 nach Garmisch zurückkehrte. Eine um- Richard Strauss 1908 in Entgegnung auf Vorwürfe, dass fangreiche Reisetätigkeit als Dirigent hatte ihn von jun- er 1904 zwei Konzerte in dem New Yorker Wanamaker- gen Jahren an bis ins hohe Alter in zahlreiche Orte des Kaufhaus dirigiert hatte, zitiert nach Walter Werbeck: In- und Auslandes geführt. Einleitung, in: Werbeck 2014, S. 9. Biografie Profil Richard Strauss wurde 1864 in München als Sohn des Richard Strauss war einer der erfolgreichsten und zug- Ersten Hornisten der Münchner Hofoper Franz Strauss leich umstrittensten Musiker seiner Zeit. Als Komponist und seiner Frau Josepha Pschorr, einer Tochter des Brau- arbeitete er hauptsächlich in den Gattungen Oper, Sinfo- ereibesitzers Georg Pschorr d. Ä. geboren. Mit vier Jah- nische Dichtung und Lied. Im Zentrum seiner musikali- ren erhielt er ersten Klavierunterricht bei dem Harfenis- schen Ästhetik stand das Ziel, in Tönen plastisch und ten August Tombo, mit acht Jahren Geigenunterricht bei konkret menschliche Konflikte auszudrücken und indivi- Benno Walter, der Konzertmeister der Münchner Hof- duelle Charaktere zu schildern. -
The Following Great Artists Have Performed, Taught, And/Or Studied at Hidden Valley
The following great artists have performed, taught, and/or studied at Hidden Valley Ansel Adams Rod Gilfrey Pepe Romero Photographer Baritone Guitarist Sir Thomas Allen Philip Glass Jenny Penny Baritone Composer/Pianist Principal Dancer, The Royal Ballet Julius Baker Thomas Hampson Claudette Peterson Principal Flute, New York Philharmonic Baritone Soprano Samuel Barber Gary Hines Cindy Phelps Composer Conductor, Sounds of Blackness Principal Violist, New York Philharmonic Jeanne Baxtresser Sue Hinshaw Gregor Piatigorsky Principal Flute, New York Philharmonic Soprano Cellist Randall Behr Henry Holt Paul Polivnik Conductor/Pianist Conductor Conductor Martin Bernheimer Reg Huston Margarite Porter Music Critic Bass-Baritone Principal Dancer, The Royal Ballet Roger Cantrell Eugene Izotov Jean-Pierre Rampal Conductor Principal Oboist, San Francisco Symphony Flutist Colin Carr James Jarrett Stewart Robertson Celloist Author/Aesthetist Conductor Richard Cassilly Graham Johnson Joe Robinson Tenor Pianist Principal Oboe, New York Philharmonic David Conte Emil Khudyev Neil Rosenshein Composer Associate Principal Clarinet, Seattle Sym- Tenor Ronald Cunningham phony Ali Ryerson Choreographer, The Boston Ballet Farkhad Khudyev Jazz Flutist Robert Darling Conductor,/Violinist Charles Schleuter Designer/Director Mark Kosower Principal Trumpet, Boston Symphony Or- Leonard Davis Principal Cello, The Cleveland Orchestra chestra Principal Violist, New York Philharmonic Louis Lebherz Elisabeth Schwarzkopf Warren Deck Bass Soprano Principal Tuba, New York