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Opera is a dramatic art form that combines music, theater, language and technical design. Opera is performed by singers and musicians and is often entirely sung-through with no or very little spoken dialogue. Use the Opera Glossary to offer familiarize students with the lingo of this legendary style of performance. Librettist Writes the words to each song. Composer Writes the musical score. Conductor Coordinates the music of the orchestra with the singers on stage. Orchestra A group of instrumentalists who play the music to accompany the singers and to set the scene of the story. Soprano The highest female voice (usually the heroine character of an opera who often falls in love). Countertenor The highest male voice. The countertenor is male, but sings in the same range as an alto (lowest female voice). Oberon is a countertenor role in MIDSUMMER, it is very unusual for a lead role to be written for a countertenor. Alto The lowest female voice (often an old woman or witch character). Tenor A high male voice (usually the love interest). Unless there is a countertenor. The tenor usually takes the title of the highest male voice. Baritone The second lowest male voice. Bass The lowest male voice (often an old man or a funny character). Recitative Words that are sung to drive the action forward in the story. Aria A piece of music sung by one person (a solo usually sung by one character who sings directly to the audience to give information about who he or she is) or to portray their thoughts or feelings regarding what is happening. Additional Opera Resource for you and your students: Duet A piece of music written for two singers that can be used for dialogue in a scene, or to show Opera America: the connection between two people. operaamerica.org/NOTES Trio NOTES is a free online platform showcasing exemplary opera learning A piece of music for three singers with different vocal types that harmonize. materials from OPERA America and its member companies. Browse resources Finale and search by opera title, grade level, The last number of an opera. It is usually the most extravagant and stirring part of the opera. subject area, time required and more! THE NEW VICTORY ® THEATER ®.

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Overture to Oberon Composed from 1825-26 Carl Maria Von Weber Born in Eutin, Germany, November 18, 1786 Died in London, June 5
OVERTURE TO OBERON COMPOSED FROM 1825-26 CARL MARIA VON WEBER BORN IN EUTIN, GERMANY, NOVEMBER 18, 1786 DIED IN LONDON, JUNE 5, 1826 The tragic tale of the composition of Weber’s final opera Oberon is perhaps as interesting as the plot of the opera itself. Dying of consumption at the age of 38, the impoverished Weber felt he could not refuse the offer from English impresario Charles Kemble to compose an opera on the subject of Oberon, King of the Faeries, for the London stage— even though he sensed that the project would be the death of him. “Whether I travel or not, in a year I’ll be a dead man,” he wrote to a friend after he had completed the Oberon score, of his decision to make the trip to England to see the work through to performance. “But if I do travel, my children will at least have something to eat, even if Daddy is dead—and if I don’t go they’ll starve. What would you do in my position?” Both points of Weber’s prediction proved correct: The 12 initial performances of Oberon netted his family a great deal of money; and within a few weeks of the work’s successful premiere in April 1826, the composer collapsed of exhaustion and died. Though the composition of operas had always been the center of Weber’s existence, it was not until the last six years of his life that he had finally been given the opportunity to compose the three stage works that quickly took their place among the masterworks of Romanticism: Der Freischütz, Euryanthe, and Oberon.
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"A Midsummer Night's Dream" at Eastman Thratre; Jan. 21
of the University of Rochester Walter Hendl, Director presents THE EASTMAN OPERA THEATRE's PRODUCTION of A MIDSUMMER NIGHT'S DREAM by Benjamin Britten Libretto adapted from William Shakespeare by Benjamin Britten and Peter Pears LEONARD TREASH, Director EDWIN McARTHUR, Conductor THOMAS STRUTHERS, Designer Friday Evening, January 21, 1972, at 8:15 Saturday Evening, January 22, 1972, at 8:15 CAST (in order of appearance) Friday, January 21 Saturday, January 22 Cobweb Robin Eaton Robin Eaton Pease blossom Candace Baranowski Candace Baranowski Mustardseed Janet Obermeyer Janet Obermeyer Moth Doreen DeFeis Doreen DeFeis Puck Larry Clark Larry Clark Oberon Letty Snethen Laura Angus Tytania Judith Dickison Sharon Harrison Lysander Booker T. Wilson Bruce Bell Hermia Mary Henderson Maria Floros Demetrius Ralph Griffin Joseph Bias Helena Cecile Saine Julianne Cross Quince James Courtney James Courtney Flute Carl Bickel David Bezona Snout Bruce Bell Edward Pierce Starveling Tonio DePaolo Tonie DePaolo Bottom Alexander Stephens Alexander Stephens Snug Dan Larson Dan Larson Theseus Fredric Griesinger Fredric Griesinger Hippolyta '"- Laura Angus Letty Snethen Fairy Chorus: Edwin Austin, Steven Bell, Mark Cohen, Thomas Johnson, William McNeice, Gregory Miller, John Miller, Swan Oey, Gary Pentiere, Jeffrey Regelman, James Singleton, Marc Slavny, Thomas Spittle, Jeffrey VanHall, Henry Warfield, Kevin Weston. (Members of the Eastman Childrens Chorus, Milford Fargo, Conductor) . ' ~ --· .. - THE STORY Midsummer Night's Dream, Its Sources, Its Construction,
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Swr2-Musikstunde-20130215.Pdf
__________________________________________________________________________ 2 MUSIKSTUNDE mit Trüb Freitag, 15. 2. 2013 „Weber, Wald und Wolfsschluchzen: Das Theatergenie Carl Maria von“ (5) MUSIK: INDIKATIV, NACH CA. … SEC AUSBLENDEN Carl Maria von Weber war ein Komponist der Zukunft. Zeitlebens genoss er kein besonders hohes Ansehen innerhalb der „Zunft“ - aber die Nachgeborenen verehren ihn. In seinen Memoiren etwa schrieb Héctor Berlioz: „Der Komponist hat den kindischen Forderungen der Mode und den noch gebieterischeren Forderungen der Sängereitelkeit (…) nirgends auch nur im geringsten nachgegeben. Er hat seine schlichte Wahrhaftigkeit, seine stolze Ursprünglichkeit, seinen Hass gegen den Formelkram, seine Würde dem Publikum gegenüber, dessen Beifall er durch keine feige Herablassung erkaufen wollte, seine Größe ebenso im Freischütz wie im Oberon bewahrt.“ Robert Schumann fand im Weber'schen Oeuvre „alles höchst geistreich und meisterhaft“, Tschaikowsky hörte vor allem „(viel) Wärme, (…) Unmittelbarkeit der Eingebung, (vollständiges) Fehlen von Künstelei und technischer Anstrengung“. Claude Debussy meinte: „Er erforscht die Seele der einzelnen Instrumente und legt sie mit behutsamer Hand bloß. Sie offenbaren sich ihm und geben ihm mehr, als er gefordert hatte.“ Und im Gespräch mit Erwin Kroll, anno 1932, verriet Strawinsky lapidar: „Weber ist einer meiner Lieblingskomponisten.“ Nicht zu vergessen auch die Hommage der Tat: Gustav Mahler bewunderte Weber so sehr, dass er dessen Opernfragment „Die drei Pintos“ bis zur Bühnenreife bearbeitete, und Paul Hindemith schuf eines seiner bekanntesten Orchesterstücke nach Webers Schauspielmusik zu „Turandot“: Sinfonische Metamorphosen über Themen von Carl Maria von Weber. MUSIK: HINDEMITH, SINF. METAMORPHOSEN, TRACK 5 (3:54) Schönste Form des Komplimentes: das liebevoll umspielte Zitat. Herbert Blomstedt dirigierte das San Francisco Symphony Orchestra mit dem Beginn von Paul Hindemiths Sinfonischen Metamorphosen über Themen von Carl Maria von Weber.
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Download Booklet
570725bk Euphonium:557541bk Kelemen 3+3 16/5/08 4:29 PM Page 1 Roland Fröscher Roland Fröscher was born in 1977 in Belp, near Berne, Switzerland. After completing his training as a primary school teacher, he went on to study euphonium at the Conservatoires of Berne and Lausanne under Roger Bobo. He was awarded the Teaching Diploma with Distinction in summer 2002. He also studied “School Music II” at the University of Berne. In summer 2005 he was awarded the Soloists’ Diploma, with Distinction, having studied under Thomas Rüedi, and was also awarded the Orchestral Direction Diploma, having completed a course under Dominique Roggen. Fröscher has appeared as a guest soloist with various ensembles, symphony orchestras, brass bands and wind orchestras, in Europe as well as in Canada and the USA. Fröscher also enjoys a busy concert schedule as a chamber musician, Music for performing with the renowned tuba quartet Les Tubadours as well as pianist Jean-Jacques Schmid. He is conductor of Brass Band Rapperswil-Wierezwil, and teaches euphonium at the Musikschule Region Gürbetal and the Hochschule der Künste Bern. Fröscher has won numerous prestigious competitions and awards, which include: national youth Euphonium championship events (SSEW, SSQW); the Friedl-Wald competition (2003); “Brass Player of the Year” at the Hochschule der Künste Bern (2004); third prize at the International Euphonium Competition in Lieksa, Finland (2004); the Tschumi Prize (2005). www.rolandfroescher.ch and Orchestra Capella Istropolitana Cappella Istropolitana was founded in 1983. The orchestra has performed in nearly all European countries, as well as ROGGEN in the United States, Canada, Japan, Korea, China, Macao and Hong Kong.
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Nature, Weber and a Revision of the French Sublime
Nature, Weber and a Revision of the French Sublime Naturaleza, Weber y una revisión del concepto francés de lo sublime Joseph E. Morgan Nature, Weber, and a Revision of the French Sublime Joseph E. Morgan This article investigates the emergence Este artículo aborda la aparición y and evolution of two mainstream evolución de dos de los grandes temas romantic tropes (the relationship románticos, la relación entre lo bello y between the beautiful and the sublime lo sublime, así como la que existe entre as well as that between man and el hombre y la naturaleza, en la nature) in the philosophy, aesthetics filosofía, la estética y la pintura de la and painting of Carl Maria von Weber’s época de Carl Maria von Weber. El foco time, directing it towards an analysis of se dirige hacia el análisis de la expresión Weber’s musical style and expression as y el estilo musicales de Weber, tal y manifested in his insert aria for Luigi como se manifiesta en la inserción de Cherubini’s Lodoïska “Was Sag Ich,” (J. su aria “Was sag ich?” (J.239) que 239). The essay argues that the escribió para la ópera Lodoïska de Luigi cosmopolitan characteristic of Weber’s Cherubini. Este estudio propone que el operatic expression, that is, his merging carácter cosmopolita de las óperas de of French and Italian styles of operatic Weber (con su fusión de los estilos expression, was a natural consequence operísticos francés e italiano) fue una of his participation in the synaesthetic consecuencia natural de su movement of the Romantic era.
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SAMUEL HASSELHORN, Baritone
SAMUEL HASSELHORN, baritone OBERON’S GROVE (New York): “What a great pleasure to hear Mr. Hasselhorn’s voice. His singing was so beautiful and expressive, with a warm sound and finely-tuned phrases. In Schumann’s Dichterliebe, he took us on an interior journey of hope, despair, anger, and resignation. There were countless moments to savor in his interpretation— his take ranks with the best I have heard.” CRESCENDO MAGAZINE: “The baritone showed an impressive range of vocal abilities and offered moments of emotion and pure musicality that will not soon be forgotten. When Hasselhorn suspended and melted his final note into the resonance of the piano, it took our breath away.” KIELER NEWS (Germany): "A first among equals was Samuel Hasselhorn, whose supple, virile baritone effortlessly sprang to life in all registers, and whose perfect articulation and fine dynamic subtleties lent every phrase absolute authority and nobility." First Prize, 2017 Das Lied Competition • First Prize, 2015 Young Concert Artists International Auditions Second Prize, 2015 Wigmore Hall Song Competition (London) First Prize, 2013 International Schubert Competition (Dortmund) Prix de Lied, 2013 Nadio and Lili Boulanger Competition (Paris) Lindemann Vocal Chair of YCA • Barbara Forester Austin Fund for Art Song of YCA YOUNG CONCERT ARTISTS, INC. 1776 Broadway, Suite 1500 New York, NY 10107 Telephone: (212) 307-6655 [email protected] www.yca.org Photo: Nikolaj Lund Young Concert Artists, Inc. 1776 Broadway, Suite 1500, New York, NY 10019 telephone: (212) 307-6655 fax: (212) 581-8894 e-mail: [email protected] website: www.yca.org SAMUEL HASSELHORN , baritone Baritone Samuel Hasselhorn captured First Prize at the prestigious Queen Elisabeth Competition in May, 2018.
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Markus Schroer
Markus Schroer Carl Maria von Webers Oberon Markus Schroer Carl Maria von Webers Oberon Edition Quantum Bibliografi sche Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografi e; detaillierte bibliografi sche Daten sind im Internet über http://dnb.d-nb.de abrufbar © 2010 agenda Verlag GmbH & Co. KG Drubbel 4, D-48143 Münster Tel. +49-(0)251-799610, Fax +49-(0)251-799519 [email protected], www.agenda.de Umschlaggestaltung: Frank Hättich Druck und Bindung: DIP, Witten ISBN 978-3-89688-404-6 Vorwort Carl Maria von Webers letzte Oper – der Oberon – war ein Auftrags- werk, das er für das Covent Garden Theatre in London komponierte. Die von der kontinentaleuropäischen Operntradition vollkommen ab- weichende Musiktheatertradition in England hat maßgeblichen Ein- fluß auf James Robinson Planchés Gestaltung des Oberon-Librettos ausgeübt, so daß in Verbindung mit Webers Musik ein Werk entstan- den ist, das in dieser Form wohl einzigartig sein dürfte. Die vorliegende Arbeit wurde im Wintersemester 2002/2003 von der Philosophischen Fakultät der Westfälischen Wilhelms-Universität Münster als Dissertation angenommen. Für die Publikation wurde le- diglich ein Personenregister ergänzend hinzugefügt. An dieser Stelle möchte ich all denjenigen danken, die zum Gelingen dieser Arbeit bei- getragen haben. Mein erster Dank gilt meinem verehrten Lehrer und Doktorvater, Herrn Prof. Dr. Klaus Hortschansky, der die Entstehung der Arbeit stets mit großem Interesse verfolgte und mir in vielen per- sönlichen Gesprächen durch seine Anregungen und Hinweise den richtigen Weg wies. Herrn Privatdozent Dr. Ralf Martin Jäger möchte ich für die Übernahme des Korreferates danken. Im Rahmen meiner Recherchen habe ich die Dienstleistungen zahlreicher Bibliotheken in Anspruch nehmen müssen.
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Die Drei Pintos Opera in Three Acts
660142-43bk USA 26/7/04 9:37 pm Page 16 WEXFORD FESTIVAL OPERA “There is a kind of house party atmosphere which spreads from the theatre to the hotels: Wexford is unlike any other festival, the enthusiasm is unique; it is the total experience that matters”. WEBER The New York Times 2 CDs (Completed by Mahler) Founded in 1951, Wexford Festival Opera presents three annual productions of rare operas, the artistic standards of which have been hailed by critics the world over. Presented consecutively over what is now an eighteen day event the operas and the supporting programme of over forty other events attracts audiences from all Die drei Pintos over the world. The Festival has been described by the Daily Express as “the opera lovers’ perfect treat – the town has an exquisite small theatre which stages little known operas in elegantly economical productions”. Opera in Three Acts But of course Wexford is much more. The warmth and intimacy of the town, the genuine welcome of the people for visitors to the event and the coastal location all add to make Wexford, according to the Financial Times. Holzer • Furlong • Zechmeister • Marilley • Shaw • Svab “a setting that never goes stale no matter how often one visits”. The Festival itself takes over the town with a festive air permeating every side street. The traders compete with each other for the best festive window. The Wexford Festival Opera Chorus artists and audiences mingle in the cafes and bars along Main Street. Audiences gather from all over the world as they have done for over fifty years to experience artistic delights, a festival of international repute, with opera at its core.
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Carl Maria Von Weber Was Born in Eutin, Germany, in 1786, and He
Three Quintets by and for Heinrich Joseph Baermann D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor Musical Arts in the Graduate School of The Ohio State Univeristy By Alisha Leighanne Miller Graduate Program in Music The Ohio State University 2009 Document Committee: James M. Pyne, advisor Charles Atkinson, co-advisor Russel C. Mikkelson Copyright by Alisha Leighanne Miller 2009 Abstract Carl Maria von Weber and Giacomo Meyerbeer each dedicated a clarinet quintet to Heinrich Joseph Baermann in 1813; a few years later Baermann wrote three quintets for himself. Carl Maria von Weber‟s Quintet for clarinet, 2 violins, viola and cello in B- flat Major, op. 34, Giacomo Meyerbeer‟s Sonate for clarinet with accompaniment of 2 violins, viola and cello, and Heinrich Joseph Baermann‟s Quintet for clarinet, 2 violins, viola and cello with 2 bassoons, 2 horns and contrabass ad libitum in E-flat Major, op. 19, like all of the clarinet quintets from the second decade of the nineteenth century, are written for B-flat clarinet. Although officially chamber works, they each feature the clarinet as a solo instrument supported by an accompanimental texture. The string instruments introduce and development important motives, but with few exceptions the thematic material is presented by the clarinet. As one would expect, the clarinet lines contain passages of technical display and cantabile melodies; they also present contrasting elements such as wide leaps adjacent to minor second intervals and juxtaposition of duple and triple rhythms. Moreover, textural contrast is achieved ii through the alternation of clarinet and the full string quartet, as well as in dialogue between clarinet and a single string instrument.
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Program Notes | Brahms and Central Europe
23 Season 2018-2019 Thursday, February 21, at 7:30 The Philadelphia Orchestra Friday, February 22, at 2:00 Saturday, February 23, at 8:00 Andrés Orozco-Estrada Conductor Ricardo Morales Clarinet Janáček Taras Bulba I. The Death of Andrey II. The Death of Ostap III. The Prophecy and Death of Taras Bulba Weber Clarinet Concerto No. 2 in E-flat major, Op. 74 I. Allegro II. Romanza: Andante III. Alla polacca Intermission Brahms Symphony No. 3 in F major, Op. 90 I. Allegro con brio II. Andante III. Poco allegretto IV. Allegro—Un poco sostenuto This program runs approximately 1 hour, 50 minutes. These concerts are part of the Fred J. Cooper Memorial Organ Experience, supported through a generous grant from the Wyncote Foundation. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. 24 Please join us following the February 22 concert for a free Chamber Postlude featuring members of The Philadelphia Orchestra and a special guest. Hummel Septett militaire in C major, Op. 114, for piano, flute, violin, clarinet, cello, trumpet, and bass I. Allegro con brio II. Adagio III. Menuetto: Allegro IV. Finale: Vivace Luba Agranovsky Piano Erica Peel Flute Jeoung-Yin Kim Violin Paul Demers Clarinet Robert Cafaro Cello Anthony Prisk Trumpet Nathaniel West Bass 25 26 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra Philadelphia is home and orchestra, and maximizes is one of the preeminent the Orchestra continues impact through Research.
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Freischu%CC%88Tz%20Educational
Dear Opera friends, teachers, scholars and kids, on the occasion of the 200th anniversary of the premiere of Der Freischütz, June 18th, 1821 in Berlin, we want to share some information that you can use for school and education. The film as well as the music of Der Freischütz can be found on the homepage www.freischütz.com which we are publishing on the occasion of the anniversary. Enjoy! Syquali Crossmedia AG IMPRESSUM © Syquali Crossmedia AG & Family Weber in Zurich for the 200th anniversary of the Freischütz opera 2021 With kind support from Merbag AG. Syquali Crossmedia AG Seestrasse 261 CH-8038 Zurich Switzerland 2 Contents GREETING 5 CARL MARIA VON WEBER 6 WORKS 7 TRAVELS 8 DER FREISCHÜTZ - THE PLOT 10 LETTERS 13 HISTORY 14 SUBJECT MATTER AND TIME 16 A GOTHIC NOVEL 17 TURN OF AN ERA 18 ROMANTICISM 19 INTERNATIONAL CARL MARIA VON WEBER SOCIETY 20 CARL MARIA VON WEBER COLLECTED WORKS (WEGA) 20 CARL-MARIA-VON-WEBER-MUSEUM IN DRESDEN 21 SUMMARY 22 3 Greeting Carl-Maria von Weber opened up new perspectives for German opera in his day, both for music and performance practice, especially with »Der Freischütz«. With »Hunter’s Bride - Der Freischütz« Jens Neubert has created something great new. He looked right into this masterpiece of Carl Maria von Weber - felt it and especially listened to it. He made Weber’s »Der Freischütz« a matter close to his heart. The director left Webers’s novel music and its colorful sounds integral in a won- derful way, interpreted it in a classic way and, in a congenial way, transported the work into the composer’s unrest and upheaval.
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Samuel Hasselhorn, Baritone Oberon's Grove Samuel Hasselhorn @ the Morgan Library
NEWS from Young Concert Artists, Inc. Samuel Hasselhorn, baritone Oberon's Grove Samuel Hasselhorn @ The Morgan Library Above: Samuel Hasselhorn Wednesday March 14th, 2018 - Young Concert Artists presenting baritone Samuel Hasselhorn and pianist Renate Rohlfing in a noontime recital at the Morgan Library. I had heard the Hasselhorn/Rohlfing duo at Merkin Hall in February 2017 and was keen to hear them again today, especially as Schumann's Dichterliebe was on the program. I very much liked Mr. Hasselhorn's dynamic modulations in the opening An Silvia by Franz Schubert; this the baritone linked to another setting on the same theme, Gerald Finzi's Who is Sylvia? and he then followed thru with another Finzi, O Mistress Mine, in which the singer's lower notes resonated nicely. Mr. Hasselhorn's English diction was crystal clear, and in these two Finzi songs his approach - both in his way with words and even somewhat the sound of his voice - reminded me of Sir Thomas Allen. High praise indeed. Hugo Wolf's dramatic/comic Lied des transfereiten Zettel is a rendering of Bottom's bird-song from Shakespeare's A Midsummer Night's Dream. Here Mr. Hasselhorn's droll donkey braying was enthusiastically delivered, to the audience's delight. Mr. Hasselhorn continued in Shakespearean mode with Erich Korngold's Four Shakespeare Songs, Op. 31. These were so beautifully and expressively sung, with his clarity of words very nicely matched to his warm sound and finely-turned phrases. In this Korngold set, the value to a singer of finding just the right pianist was underscored by Ms.
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