Eastman Opera Theatre
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
The KF International Marcella Sembrich International Voice
The KF is excited to announce the winners of the 2015 Marcella Sembrich International Voice Competition: 1st prize – Jakub Jozef Orlinski, counter-tenor; 2nd prize – Piotr Buszewski, tenor; 3rd prize – Katharine Dain, soprano; Honorable Mention – Marcelina Beucher, soprano; Out of 92 applicants, 37 contestants took part in the preliminary round of the competition on Saturday, November 7th, with 9 progressing into the final round on Sunday, November 8th at Ida K. Lang Recital Hall at Hunter College. This year's competition was evaluated by an exceptional jury: Charles Kellis (Juilliard, Prof. emeritus) served as Chairman of the Jury, joined by Damon Bristo (Vice President and Artist Manager at Columbia Artists Management Inc.), Markus Beam (Artist Manager at IMG Artists) and Dr. Malgorzata Kellis who served as a Creative Director and Polish song expert. About the KF's Marcella Sembrich Competition: Marcella Sembrich-Kochanska, soprano (1858-1935) was one of Poland's greatest opera stars. She appeared during the first season of the Metropolitan Opera in 1883, and would go on to sing in over 450 performances at the Met. Her portrait can be found at the Metropolitan Opera House, amongst the likes of Luciano Pavarotti, Placido Domingo, and Giuseppe Verdi. The KF's Marcella Sembrich Memorial Voice Competition honors the memory of this great Polish artist, with the aim of popularizing Polish song in the United States, and discovering new talents (aged 18-35) in the operatic world. This year the competition has turned out to be very successful, considering that the number of contestants have greatly increased and that we have now also attracted a number of International contestants from Japan, China, South Korea, France, Canada, Puerto Rico and Poland. -
Jason Robinson and Anthony Davis Dates Available in 2012-2014
Jason Robinson and Anthony Davis dates available in 2012-2014 “[For Robinson and Davis,] mood and interplay are more important than volume or scale.” -Ron Wynn, JazzTimes Magazine “[A] consummate summation of the jazz tradition in its most conversational and fundamental form.” -Troy Collins, All About Jazz “almost Ellingtonian in their lapidary elegance and beauty, highlighting the richness of Davis’ chordal voicings and Robinson’s big, brawny, Ben Webster-ish tone on tenor.” -The Stash Dauber “[I]nspired by their mutual passion for the music of Duke Ellington and spohisticated blues forms in a variety of hues, [their duet] is by turns lyrical and edgy, inviting and challenging. It’s steeped in jazz traditions that are handily extended, which is Robinson’s raison d’etre for making music.” -George Varge, San Diego Union-Tribune Moody, stark, and emotionally charged. Captured on their critically acclaimed debut recording Cerulean Landscape (Clean Feed, 2010), Robinson and pianist Anthony Davis have collaborated for more than ten years as a duo. Telepathic interplay, inspired improvisation, and dynamic original compositions carry listeners to a brilliant and evocative soundscape marked by emotional subtlety, a vast array of sounds, and poignant melodicism. With Duke Ellington, Billy Strayhorn, and the post- 60s jazz avant-garde as central reference points, Robinson and Davis bring together their formidable experience in many different music worlds, spilling over the traditional boundaries of the horn/piano duo. One moment minimalist, another orchestral, another beautifully melodic – their duo invites us into a sound world of deep blues, a place of surreal horizons, intense emotions, and hypnotic melodies. -
The Inventory of the Deborah Voigt Collection #1700
The Inventory of the Deborah Voigt Collection #1700 Howard Gotlieb Archival Research Center Voigt, Deborah #1700 6/29/05 Preliminary Listing I. Subject Files. Box 1 A Chronological files; includes printed material, photographs, memorabilia, professional material, other items. 1. 1987-1988. [F. 1] a. Mar. 1987; newsletters of The Riverside Opera Association, Verdi=s AUn Ballo in Maschera@ (role of Amelia). b. Apr. 1987; program from Honolulu Symphony (DV on p. 23). c. Nov. 1987; program of recital at Thorne Hall. d. Jan. 1988; program of Schwabacher Debut Recitals and review clippings from the San Francisco Examiner and an unknown newspaper. e. Mar. 1988; programs re: DeMunt=s ALa Monnaie@ and R. Strauss=s AElektra@ (role of Fünfte Magd). f. Apr. 1988; magazine of The Minnesota Orchestra Showcase, program for R. Wagner=s ADas Rheingold@ (role of Wellgunde; DV on pp. 19, 21), and review clippings from the Star Tribune and the St. Paul Pioneer Press Dispatch. g. Sep. - Oct. 1988; programs re: Opera Company of Philadelphia and the International Voice Competition (finalist competition 3; DV on p. 18), and newspaper clippings. 2. 1989. [F. 2] a. DV=s itineraries. (i) For Jan. 4 - Feb. 9, TS. (ii) For the Johann Strauss Orchestra on Vienna, Jan. 5 - Jan. 30, TS, 7 p. b. Items re: California State, Fullerton recital. (i) Copy of Daily Star Progress clipping, 2/10/89. (ii) Compendium of California State, Fullerton, 2/13/89. (iii) Newspaper clipping, preview, n.d. (iv) Orange County Register preview, 2/25/89. (v) Recital flyer, 2/25/89. (vi) Recital program, program notes, 2/25/89. -
Too Many Notes: Complexity and Culture in Voyager Lewis, George E
Too Many Notes: Complexity and Culture in Voyager Lewis, George E. Leonardo Music Journal, Volume 10, 2000, pp. 33-39 (Article) Published by The MIT Press For additional information about this article http://muse.jhu.edu/journals/lmj/summary/v010/10.1lewis.html Access Provided by University of California @ Santa Cruz at 09/27/11 9:42PM GMT W A Y S WAYS & MEANS & M E A Too Many Notes: Computers, N S Complexity and Culture in Voyager ABSTRACT The author discusses his computer music composition, Voyager, which employs a com- George E. Lewis puter-driven, interactive “virtual improvising orchestra” that ana- lyzes an improvisor’s performance in real time, generating both com- plex responses to the musician’s playing and independent behavior arising from the program’s own in- oyager [1,2] is a nonhierarchical, interactive mu- pears to stand practically alone in ternal processes. The author con- V the trenchancy and thoroughness tends that notions about the na- sical environment that privileges improvisation. In Voyager, improvisors engage in dialogue with a computer-driven, inter- of its analysis of these issues with ture and function of music are active “virtual improvising orchestra.” A computer program respect to computer music. This embedded in the structure of soft- ware-based music systems and analyzes aspects of a human improvisor’s performance in real viewpoint contrasts markedly that interactions with these sys- time, using that analysis to guide an automatic composition with Catherine M. Cameron’s [7] tems tend to reveal characteris- (or, if you will, improvisation) program that generates both rather celebratory ethnography- tics of the community of thought complex responses to the musician’s playing and indepen- at-a-distance of what she terms and culture that produced them. -
TIRESIAN SYMMETRY (Cuneiform Rune 346) Format: CD
Bio information: JASON ROBINSON Title: TIRESIAN SYMMETRY (Cuneiform Rune 346) Format: CD Cuneiform publicity/promotion dept.: 301-589-8894 / fax 301-589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American radio) www.cuneiformrecords.com FILE UNDER: JAZZ / AVANT-JAZZ Saxophonist/Composer Jason Robinson Takes a Mythic Journey with New Album: Tiresian Symmetry featuring Robinson with All-Star Band: George Schuller, Ches Smith, Marty Ehrlich, Liberty Ellman, Drew Gress, Marcus Rojas, Bill Lowe, JD Parran A ubiquitous and often pivotal figure in the stories and myths of ancient Greece, the blind prophet Tiresias was blessed and cursed by the gods, experiencing life as both a man and a woman while living for hundreds of years. In saxophonist/composer Jason Robinson’s polydirectional masterpiece Tiresian Symmetry, he doesn’t seek to tell the soothsayer’s story. Rather for his seventh album as a leader, he’s gathered an extraordinary cast of improvisers to investigate the nature of narrative itself in a jazz context. The music’s richly suggestive harmonic and metrical relationships elicit a wide array of responses, but ultimately listeners find their own sense of order and meaning amidst the sumptuous sounds. For Robinson, a capaciously inventive artist who has flourished in a boggling array of settings, from solo excursions with electronics and free jazz quartets to roots reggae ensembles and multimedia collectives, Tiresian Symmetry represents his most expansive project yet. “I was attracted to the myth of the soothsayer, who tells the future even when it’s not welcome information,” Robinson says. “But on a more technical level I was intrigued by the numerical relationships. -
UC San Diego UC San Diego Electronic Theses and Dissertations
UC San Diego UC San Diego Electronic Theses and Dissertations Title Searchings Permalink https://escholarship.org/uc/item/1wv0j95z Author Duan, Ran Publication Date 2015 Supplemental Material https://escholarship.org/uc/item/1wv0j95z#supplemental Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California i UNIVERSITY OF CALIFORNIA, SAN DIEGO Searchings A Thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in Music by Ran Duan Committee in charge: Professor Chinary Ung, Chair Professor Anthony Davis Professor Lei Liang 2015 i ii Copyright Ran Duan, 2015 All rights reserved. ii iii The Thesis of Ran Duan is approved and it is acceptable in quality and form for publication on microfilm and electronically: ___________________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Chair University of California, San Diego 2015 iii iv TABLE OF CONTENTS Signature Page……………………………………………………………………… iii Table of Contents………………………………………………………….……….. iv List of Figures ……………………………………………………...……………..... v List of Supplemental Files ……………………………………………………....... viii Abstract of the Thesis………………………………………………………….…… ix Spectral Illuminations on Edgard Varèse’s Ionisation…………………………….. 1 Hearing Chinese: a survey of dialects and their musical applications…………….. 17 Style and Genre in Lear on the 2nd Floor……………………………….…………. -
UNIVERSITY of CALIFORNIA, SAN DIEGO How Music Travels: the Opera Blood Hunger Child a Dissertation Submitted in Partial Satisfac
UNIVERSITY OF CALIFORNIA, SAN DIEGO How Music Travels: the Opera Blood Hunger Child A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Jon Forshee Committee in charge: Professor Anthony Davis, Chair Professor Katharina Rosenberger, Co-Chair Professor Norman Bryson Professor Amy Cimini Professor Aleck Karis Professor Lei Liang 2017 Copyright Jon Forshee, 2017. All rights reserved. The Dissertation of Jon Forshee is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Co-Chair Chair University of California, San Diego 2017 iii TABLE OF CONTENTS Signature Page…………………………………………….……………………………iii Table of Contents……………………………………………………………………….iv List of Supplemental Files……………….…………..…………………………….…...v List of Figures…………………………………………………………………………...vi Vita……………………………………………………………………………….…..….vii Abstract of the Dissertation……………………………………………………...…...viii How Music Travels - The Opera Blood, Hunger, Child: Introduction…….…………1 Chapter 1: Sources and Background……….………………………………………...7 Chapter 2: The Story….……………………………………………………...………..15 Chapter 3: The Libretto in Verse…..………………………………………………… 19 Chapter 4: Vocal Types and Orchestration….……………………………………….31 Chapter 5: Transcription as Creative Practice...…………………………………….34 Chapter 6: Esu-Legba and the Orisha…...………………………………………….36 Chapter 7: The Story within the Story……………………………………………….54 References…………………………………………………………………………..…58 iv LIST OF SUPPLEMENTAL FILES Blood | Hunger | Child, Chamber Opera -
Strauss' Four Last Songs
Richard Strauss: Four Last Songs A discographical survey by Ralph Moore I consider forty-six recordings of the Vier Letzte Lieder here, which is a goodly number, but by no means the total of all of those released in the nearly seventy years since their premiere in 1950. A survey cannot hope – or even want – to encompass every version but I have tried to include the most notable and have deliberately missed out a few which I know to be less than premium quality but have also reviewed one or two in the “caveat emptor” category as best avoided (see also MWI review index). These songs feature frequently in lists of personal nominations for favourite recordings, such as in the BBC radio programme “Desert Island Discs”. They are not a cycle as such, but all deal with the readiness for death and emanate a sense of calm, resignation and even transfiguration; I quote unashamedly from Wikipedia: “Towards the end of Im Abendrot, after the soprano's intonation of ‘Ist dies etwa der Tod?’ (‘Is this perhaps death?’), Strauss musically quotes his own tone poem Death and Transfiguration, written 60 years earlier. As in that piece, the quoted seven-note phrase (known as the ‘transfiguration theme’) has been seen as the fulfilment of the soul through death.” They are amenable to successful performance by a range of soprano voice-types, from the mezzo- tinged soprano falcon of Jessye Norman to the light, lyric sopranos of Lucia Popp or Anneliese Rothenberger, and although one or two sopranos have come a cropper in attempting them, there are many more admirable and even superlative recordings than failures. -
Wagner News No: 223 November 2016 Wagner News Number 223 November 2016 CONTENTS
wagner news No: 223 November 2016 Wagner News Number 223 November 2016 CONTENTS 3 An eightieth birthday letter to the President John Crowther 4 Johan Botha 1965-2016 Karen West 6 A message from the Chairman Richard Miles 7 Editorial Ray Godson Bayreuth 2016 8 Review Parsifal Alan Ridgewell 11 Review Tristan und Isolde Andrew Brannon 13 Wagner’s bells John Crowther 16 Interview with Catherine Foster Michael Bousfield 19 Bayreuth 2016 – two diaries Anthony Spooner Neil King 27 Review Die Walküre Saffron Walden Paul Dawson-Bowling 29 Review Die Meistersinger Munich Jeremy Rowe 32 From the Archives 34 Katie Stevenson at the Proms 34 Gwyneth Jones Masterclass at Royal College of Music Paul Dawson-Bowling 35 Wagner at the Proms 2016 Katie Barnes 36 Paul Dawson-Bowling talk on “Wagner the Man” Ray Godson 38 Book Review “The Ring of Truth” by Roger Scruton Richard Miles 40 Correspondence 41 Wagner Society Contacts 42 Forthcoming Events Cover image:Christian Steiner, New York The views expressed in articles in this journal are the views of the authors of the article which do not necessarily represent the views of the editor or his colleagues on the committee of the Wagner Society Printed by Rap Spiderweb – www.rapspiderweb.com 0161 947 3700 DAME GWYNETH: SERENELY IN COMMAND An open birthday card to our President for her eightieth birthday on 7 November 2016 John Crowther Dear Dame Gwyneth, Please allow an ordinary member of the Wagner Society to pay tribute to you on this your special birthday. I greatly admire the way in which you have supported the Society for many years, but especially in the three years since Wagner’s bicentenary. -
MONC NE 2020 Program FINAL.Pub
JANUARY 26, 2020 JORDAN HALL NEW ENGLAND CONSERVATORY OF MUSIC New England Regional Finals Awards FIRST PLACE: $6,000 Patrons of MONC, New England Region: $5,200 Mrs. Edgar Tobin Award: $800, from the Tobin Endowment SECOND PLACE: $5,000 Sponsored by the patrons of MONC, New England Region THIRD PLACE: $4,000 Sponsored by the patrons of MONC, New England Region SUSAN EASTMAN ENCOURAGEMENT AWARD: $3,000 PHILIP R. NICHOLS ENCOURAGEMENT AWARD: $2,000 Connecticut and Boston District winners who advance to the New England Finals receive stipends of $500. Thanks to a contribution in memory of Henry and Marguerite Wyman by their family, and to the generosity of all our patrons, finalists who do not place or are not given encouragement awards will each receive additional stipends of $1,000. A Legacy Fund has been established to designate a one-time or annual encouragement award for someone special and to help fund student tickets. This year we wish to thank Robert Eastman, Irene Nichols, and Christopher and Tatiana Eklund for their generous support of this fund. Winners of the district auditions advance to their region’s finals, where they compete to advance to the National Semifinals on the stage of the Metropolitan Opera. Approximately ten Semi-Finalists are selected as National Finalists and compete the following Sunday in the Grand Finals Concert, accompanied by the Metropolitan Opera Orchestra. The jury awards approximately five Grand Winners $15,000 each. The concert is broadcast on the Metropolitan Opera Radio Network. The remaining National Finalists receive $7,500 each, and singers who were National Semi-Finalists but did not advance to the National Finals will be given $2,500 to further their studies. -
Deborah Voigt: Una Cantante Que
año XX • número 3 mayo – junio 2012 • cincuenta pesos FESTIVALES Ecos del FAOT ENTREVISTAS José Álvarez John Bills David Lomelí Xavier Ribes ENTREVISTAS EN LÍNEA Plácido Petra Lang Carmina Escobar RETRATO Apuntes sin sombra de Hugo von Hofmannsthal CRÍTICA Death in Venice y La traviata en Bellas Artes Deborah Voigt: Una cantante que se expresa sin límitespro opera www.proopera.org.mx ¾ CARTAS AL EDITOR Una corrección En la crónica que don José Noé Mercado escribió sobre el Festival Internacional Cervantino, menciona que Virginia Tola interpretó, entre otras piezas, la canción “Plaisir d’amour” de Giovanni Battista Martini (Pro Ópera enero-febrero, página 17). En realidad el compositor fue Jean-Paul-Egide Martini, francés nacido en Baviera, conocido como “Martini, il tedesco”. Giovanni Battista Martini (alias “Padre” Martini), conocido como “Martini, l’italiano”, fue el muy famoso musicólogo y pedagogo que dio clases de contrapunto al entonces quinceañero W. A. Mozart en Bolonia. Para complicar lo de los Martinis, Vicente Martín y Soler, sobresaliente compositor de óperas bufas, era conocido como “Martini, lo spagnuolo”. Por cierto, “Plaisir d’amour” fue orquestada posteriormente por Hector Berlioz y recientemente arreglada una infinidad de veces. Es una bellísima canción que tiene frecuentemente efectos telúricos en mi estado de ánimo. Terencio Somarone Confusiones Quisiera hacer notar algunas confusiones que aparecen en dos artículos de Pro Ópera en su edición marzo–abril 2012. A menos que la redacción me empuje a confundir el significado del párrafo, Marino Faliero fue compuesta por Donizetti en 1835. El En el artículo Los “pactos jurídicos” del diablo, Alejandro Anaya estreno fue mes y medio después que el de I puritani y contó en los y Gonzalo Uribarri escriben: “… por ejemplo, de Shakespeare, su papeles principales con el mismo reparto empleado por Bellini: los Romeo y Julieta ha sido no sólo llevada a la ópera por Gounod, celebérrimos Grisi, Rubini, Tamburini y Lablache. -
If There's No "Fat Lady," When Is the Opera Over? an Exploration of Changing Physical Image Standards in Present-Day Opera
University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 1-1-2012 If There's No "Fat Lady," When Is the Opera Over? An Exploration of Changing Physical Image Standards in Present-Day Opera Emily L. Stephenson University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Music Performance Commons Recommended Citation Stephenson, Emily L., "If There's No "Fat Lady," When Is the Opera Over? An Exploration of Changing Physical Image Standards in Present-Day Opera" (2012). Electronic Theses and Dissertations. 627. https://digitalcommons.du.edu/etd/627 This Thesis is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. IF THERE’S NO “FAT LADY,” WHEN IS THE OPERA OVER? AN EXPLORATION OF CHANGING PHYSICAL IMAGE STANDARDS IN PRESENT-DAY OPERA A Thesis Presented to the Faculty of Arts and Humanities University of Denver In Partial Fulfillment of the Requirements for the Degree Master of Arts by Emily L. Stephenson August 2012 Advisor: Sarah Morelli, PhD © Copyright by Emily L Stephenson 2012 All Rights Reserved Author: Emily L Stephenson Title: If there’s no “fat lady,” when is the opera over? An examination of changing physical image standards in present-day opera Advisor: Sarah Morelli, Phd Degree Date: August 2012 Abstract Though present-day American society generally assumes opera is one of the few remaining entertainment fields where talent matters more than physical appearance, as the 2004 firing of Deborah Voigt demonstrates, present-day opera singers are increasingly being held to stricter image standards.