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Piers Lane Biography
Piers Lane Biography “… No praise could be high enough for Piers Lane whose playing throughout is of a superb musical intelligence, sensitivity, and scintillating brilliance…” (Bryce Morrison, Gramophone) London-based Australian pianist Piers Lane has a flourishing international career, which has taken him to more than forty countries. Highlights of the past few years have included a sold-out performance with the London Philharmonic Orchestra and Alexander Verdernikov at London’s Royal Festival Hall, concerto performances at Lincoln Center’s Avery Fisher Hall, a three-recital series entitled Metamorphoses and other performances for the London Pianoforte series at Wigmore Hall and five concerts for the opening of the Recital Centre in Melbourne. Five times soloist at the BBC Proms in London’s Royal Albert Hall, Piers Lane’s wide-ranging concerto repertoire exceeds eighty works and has led to engagements with many of the world’s great orchestras including the BBC and ABC orchestras; the Aarhus, American, Bournemouth and Gothenburg Symphony Orchestras; the Australian Chamber Orchestra, Kanazawa Ensemble, Orchestre National de France, City of London Sinfonia, and the Royal Philharmonic, Royal Liverpool Philharmonic and Warsaw Philharmonic orchestras among others. Leading conductors with whom he has worked include Andrey Boreyko, Sir Andrew Davis, Richard Hickox, Andrew Litton, Sir Charles Mackerras, Jerzy Maxymiuk, Maxim Shostakovich, Vassily Sinaisky, Yan Pascal Tortelier and Antoni Wit. His 2007 performance of Beethoven’s Emperor Concerto with the Queensland Symphony Orchestra and Pietari Inkinen received the Limelight Magazine Award for Best Orchestral Performance in Australia. 1 Festival appearances have included, among others, Aldeburgh, Bard, Bergen, Cheltenham, Como Autumn Music, Consonances , La Roque d’Anthéron, Newport, Prague Spring, Ruhr Klavierfestival, Schloss vor Husum and the Chopin festivals in Warsaw, Duszniki- Zdroj, Mallorca and Paris. -
“Voice of Ireland”. Today Tommy Is One of Ireland’S Top Entertainers with Over 6.5 Million Youtube Hits and Over 3.5 Million Album Sales Worldwide
TOMMY FLEMING BIOGRAPHY With his powerfully distinctive voice, Tommy Fleming has been described as the “Voice of Ireland”. Today Tommy is one of Ireland’s top entertainers with over 6.5 million YouTube hits and over 3.5 million album sales worldwide. The youngest of six children, Tommy was born in 1971 in Aclare, County Sligo. His natural singing ability was evident at a young age whilst participating in local talent competitions. While still at school, Tommy formed his first rock band, The Face of February, and embarked on gigging in local pubs. After leaving school Tommy joined a quartet, Jarog, gaining a legion of fans. However, despite this success, record companies weren’t exactly knocking on Tommy’s door. Then a chance encounter with renowned producer and composer Phil Coulter changed all that. In July 1993, Phil heard Tommy performing at a charity event in Westport, County Mayo. Within days Tommy was guesting with Phil and his orchestra at the Opera House (Cork), the National Concert Hall (Dublin) and The University Concert Hall (Limerick). Four months later he was playing to huge audiences across the US and Canada, culminating in two shows in the Boston Symphony Hall and the legendary Carnegie Hall in New York. Tommy’s career then took another leap forward when he was invited by Galway traditional group De Danann, to join them as lead vocalist, following in the footsteps of living legends as Mary Black, Maura O’Connell, Dolores Keane and Paul Brady. The collaboration lasted three years and introduced Tommy to a worldwide audience touring Australia, Hong Kong, China and the US. -
1718Studyguidetosca.Pdf
TOSCA An opera in three acts by Giocomo Puccini Text by Giacosa and Illica after the play by Sardou Premiere on January 14, 1900, at the Teatro Constanzi, Rome OCTOBER 5 & 7, 2O17 Andrew Jackson Hall, TPAC The Patricia and Rodes Hart Production Directed by John Hoomes Conducted by Dean Williamson Featuring the Nashville Opera Orchestra CAST & CHARACTERS Floria Tosca, a celebrated singer Jennifer Rowley* Mario Cavaradossi, a painter John Pickle* Baron Scarpia, chief of police Weston Hurt* Cesare Angelotti, a political prisoner Jeffrey Williams† Sacristan/Jailer Rafael Porto* Sciarrone, a gendarme Mark Whatley† Spoletta, a police agent Thomas Leighton* * Nashville Opera debut † Former Mary Ragland Young Artist TICKETS & INFORMATION Contact Nashville Opera at 615.832.5242 or visit nashvilleopera.org. Study Guide Contributors Anna Young, Education Director Cara Schneider, Creative Director THE STORY SETTING: Rome, 1800 ACT I - The church of Sant’Andrea della Valle quickly helps to conceal Angelotti once more. Tosca is immediately suspicious and accuses Cavaradossi of A political prisoner, Cesare Angelotti, has just escaped and being unfaithful, having heard a conversation cease as she seeks refuge in the church, Sant’Andrea della Valle. His sis - entered. After seeing the portrait, she notices the similari - ter, the Marchesa Attavanti, has often prayed for his release ties between the depiction of Mary Magdalene and the in the very same chapel. During these visits, she has been blonde hair and blue eyes of the Marchesa Attavanti. Tosca, observed by Mario Cavaradossi, the painter. Cavaradossi who is often unreasonably jealous, feels her fears are con - has been working on a portrait of Mary Magdalene and the firmed at the sight of the painting. -
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. -
THE CZECH SONGS of RUDOLF FRIML, 1901-1911 by Daniel
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La Bohème Program Notes (Michigan Opera Theatre) Christy Thomas Adams, Ph.D
La bohème Program Notes (Michigan Opera Theatre) Christy Thomas Adams, Ph.D. University of Alabama School of Music Since its premiere at the Teatro Regio in Turin in 1896 under the baton of the young Arturo Toscanini, Giacomo Puccini’s La bohème has become one of the world’s most frequently performed operas. It is the first of Puccini’s most celebrated works, which also include Tosca (1900), Madama Butterfly (1904), and Turandot (1924), and along with these helped secure his position as the leading Italian opera composer of the era and as Giuseppe Verdi’s presumed successor. In staging canonic operas like La bohème, a major challenge facing opera directors today is how to make these operas fresh, engaging, and relevant. One approach is that of Regietheater or director’s theater, in which an opera’s setting is updated by adding, removing, or altering non-musical elements—for example, situating La bohème in 21st-century rather than 19th-century Paris and transforming Rodolfo and Mimì from a painter and seamstress to graffiti and tattoo artists. Reactions to such approaches are typically mixed: some laud them as visionary ways to reframe familiar works for contemporary audiences, while others criticize them as “Eurotrash,” mere window dressings that privilege a director’s vision over the composer’s. However, in his new production for the Michigan Opera Theatre, Yuval Sharon has taken a different approach, one that will force us to hear and experience this canonic opera anew while lovingly retaining the traditional setting of Puccini’s beloved work. Rather than changing the setting, this new production changes how we progress through what is otherwise a traditional staging: La bohème’s familiar narrative is presented in reverse order, beginning with Act IV and moving through Acts III and II before concluding with Act I. -
Beethoven: Symphony No 9 “Choral” – Australian World Orchestra Posted on April 16, 2014 by Barry Walmsley
Beethoven: Symphony No 9 “Choral” – Australian World Orchestra Posted on April 16, 2014 by Barry Walmsley Australian World Orchestra Sydney Philharmonia Choir Conductor: Alexander Briger ABC 481 0550 The scale of a work such as Beethoven’s Ninth Symphony is truly staggering. Whilst the work has been overused for civic celebratory events, the concert experience (and this recording, which originates from a live concert in the Sydney Opera House) is something that can touch listeners in profound ways. The complexity of the music is only equalled by its challenging compositional ideas, along with the treatment of text (by Schiller), and the fusion of what, for the most part, are incompatibles, that is, the choral and the symphonic idiom. Structurally, the work is really a set of variations, showing a total connection from beginning to end. These totally new elements (the unconventional symphonic layout and the use of words within a symphony) helped to underline, in the public’s mind, that Beethoven had truly gone mad. This particular recording emanated from one of the most exciting of recent concert events, the inaugural season by the newly created Australian World Orchestra, an initiative to bring together the finest of Australian orchestral musicians from around the country and across the world. Thus, it saw players return from such illustrious orchestras as the Berlin and Vienna Philharmonics, Chicago and London Symphonies, the Concertgebouw and Gewandhaus, to be part of this concept orchestra. Bringing the whole project together, as its artistic and musical director, was conductor Alexander Briger, who has established himself on the world stage as one of the new dynamic conductors of this era. -
Opera Australia's 60Th Anniversary Costume and Memorabilia
MEDIA RELEASE Own a piece of opera history: Opera Australia’s 60th anniversary costume and memorabilia exhibition and auction Exhibition | Saturday 24 – Thursday 29 June 2017 | The Opera Centre, Surry Hills, Sydney Auction | Friday 30 June – Saturday 1 July 2017 | The Opera Centre, Surry Hills, Sydney Opera Australia is diving into sixty years of costumes, accessories, artworks and memorabilia in an anniversary exhibition at The Opera Centre. The week-long event will culminate in an auction where the public can bid for an exclusive piece of Australia’s operatic story. This is the first time Opera Australia has opened its vaults to give thousands of opera fans the opportunity to get up close to over 2,000 items costumes, accessories, artworks and memorabilia worn and inspired by their idols. Highlights of the exhibition and auction include: Costumes from Baz Luhrmann’s famous 1990 production of La Bohème Dame Kiri Te Kanawa ONZ DBE AC’s costume for the role as ‘Violetta’ in the 1978 production of La Traviata Yvonne Kenny AM’s costume for the roles of ‘Sylva Varescu’ in the 2001 production of The Gypsy Princess, ‘Hanna’ in the 2004 production of The Merry Widow and ‘Armida’ in the 1999 production of Rinaldo Sigrid Thornton’s costume for the role of Desirée in 2009 production of A Little Night Music. Dame Heather Begg DNZM OBE’s costume for the role of ‘The Countess Di Coigny’ in the 2001 production of Andrea Chénier Cheryl Barker AO’s costume for the role of ‘Lauretta’ in 2007 production of Gianni Schicchi Opera Australia CEO Craig Hassall explained the motivation behind the historic move. -
John Russell's Experience
John Russell’s experience John Russell, Soldiers’ Band member 1972–1974 from the UK has fond memories of his time in Ballarat. I started my involvement in music at a young age. First, trying the violin at about three years of age and taught by my father who was a good amateur violinist. In fact I really do not remember learning to read music; it just happened. Several years were spent at the piano and finally the cornet and trumpet. I played with an assortment of bands in and around my home town of Northampton both pure brass and also big bands for dances. All the time listening and learning from those around me. Finally I was off to uni to become a teacher with interests in both science and maths. Whilst in College Hall I met up with a fellow student and was introduced the ‘A’ Grade band sponsored by Watneys Brewery. The two guys that ran this band, Albert Meek (MD for the Royal Scots Greys) and its principal cornet Gwynne Price were also tutors at the army school of music, Kneller Hall, and were valuable contributors to my development as a player. I certainly had several interesting years with this band. However, in contesting terms there was another band in London that always seem to make top spot: Hanwell Silver Band. In due course I got invited to join Hanwell on soprano cornet and spent the rest of my time in England with them. Yes, many ‘A’ Grade contests were won and a number of recordings made. -
San Diego Symphony Orchestra Puccini's
SAN DIEGO SYMPHONY ORCHESTRA PUCCINI’S GLORIOUS MASS A Jacobs Masterworks Concert Speranza Scappucci, conductor March 22 and 23, 2019 FRANZ JOSEPH HAYDN Symphony No. 88 in G Major Adagio – Allegro Largo Menuetto: Allegretto Allegro con spirito INTERMISSION GIACOMO PUCCINI Messa di Gloria Kyrie Gloria Credo Sanctus – Benedictus Agnus Dei Leonardo Capalbo, tenor Daniel Okulitch, baritone Michael Sumuel, bass San Diego Master Chorale Symphony No. 88 in G Major FRANZ JOSEPH HAYDN Born March 31, 1732, Rohrau (Austria) Died May 31, 1809, Vienna Haydn spent 30 years as Kapellmeister to the Esterhazy family at their estates on the plain east of Vienna. If, as Haydn observed, that isolation forced him “to become original,” it also had the unfortunate effect of cutting him off from mainstream European musical life. Only gradually did his extraordinary achievement with the symphony and string quartet become known to musicians across Europe. By the 1780s, when Haydn was in his third decade with the Esterhazys, his prince finally allowed him to accept commissions from outside, and suddenly he had many requests for symphonies. For a concert series in Paris, he wrote his Symphonies No. 82-87 (known as the “Paris symphonies”), and for his two trips to England he composed his final twelve symphonies (Nos. 93-104), inevitably known as the “London symphonies.” Between these two great cycles, Haydn composed five individual symphonies, probably all of them written with Parisian audiences in mind. He wrote the first two, Nos. 88 and 89, in 1787, at exactly the same moment Mozart was composing Don Giovanni in Vienna. -
Culture Report Eunic Yearbook 2011 Culture Report Eunic Yearbook 2011
CULTURE REPORT EUNIC YEARBOOK 2011 CULTURE REPORT EUNIC YEARBOOK 2011 Cultural relations are the glue that holds alliances together. The geopolitics of the 21st century mean we need to see a revival of cultural diplomacy. China and India are already expanding their external cultural policies. Despite Europe‘s huge cultural diversity, the EU has still not developed an adequate cultural strategy for its foreign policy. The establishment of the European External Action Service (EEAS) provides an opportunity to tighten up and co-ordinate the EU‘s existing cultural foreign policy. In this edition of the Culture Report, 30 authors from 20 different countries examine what this all means. Foreword: Crisis and new awakenings by Sebastian Körber 4 CHAPTER 1: EXTERNAL PERSPECTIVES A Brave New World - Globalisation as Europe’s touchstone by Yang Lian 8 All talk and no action by Mai’a K. Davis Cross 20 Art at the heart of mainstream entertainment – an interview by Regis Debray with Frédéric Martel 28 Seizing the day by André Azoulay 38 The cultural revolution by Reem Kassem 45 A gateway to two worlds by Julie Chénot 48 Welcome to the real world by André Lemos 54 A union of double standards by Mahir Namur 60 2 Contents Moving the chairs in the global boardroom by Rajeef Balasubramanyam 64 Europe‘s forgotten fringes by Jurko Prochasko 70 Peeking through the open window by Hela Kamarou 78 CHAPTER 2: EUROPE IN THE WORLD THE WORLD IN EUROPE Now is the time by Robert Palmer 86 Common spaces by Gerhard Sabathil 96 A necessity, not a luxury by Marietje Schaake -
Song Book 1 5Pm—PRE-SHOW ACTIVITIES 7
PRESENTED BY Song book 1 5PM—PRE-SHOW ACTIVITIES 7. 3 0 PM—MAIN CONCERT STARTS 9.30PM—FIREWORKS DISPLAY* *SUBJECT TO WEATHER BRIGHTON JAGUAR LAND ROVER A PROUD SPONSOR OF BAYSIDE CAROLS IN THE PARK BRIGHTON JAGUAR LAND ROVER 227 - 229 NEPEAN HWY, BRIGHTON (03) 9595 9999 brightonjaguar.com.au brightonlandrover.com.au PERFORMERS This year’s concert will feature The Southern Area Concert band together with Vocally Wild and Mosaic Choirs under the direction of Robert Dryden. Students from Sandringham East Primary and St Leonard’s College will also perform along with Theatre De La DanSe Special Guest - Michael Cormick Michael Cormick is an internationally renowned singer and actor with a diverse career throughout Australia, the United Kingdom and Europe. Australian credits include Beauty and the Beast (The Beast) - for which he won an Australian MO Award, Cats (Munkustrap), Joseph and the Amazing Technicolour Dreamcoat (Pharoah), Grease (Kenickie), Sunset Boulevard (Joe Gillis), The Rocky Horror Show (Eddie/Dr. Scott), Mamma Mia ! (Sam), Annie (Daddy Warbucks) Next To Normal (Dr Madden) and Blood Brothers (The Narrator). His international credits include lead roles in The Phantom of the Opera, Calamity Jane, Romeo & Juliet, Chess, Evita, End of the Rainbow and Lloyd Webber’s The Woman in White opposite Simon Callow and Anthony Andrews. Michael has also performed in concert throughout Europe, including Rome, Paris, Edinburgh and Cyprus. Along with frequent television appearances including Carols by Candlelight and the Terry Wogan Show (BBC London), Michael has featured as a guest performer in the Royal Command performances of The Phantom of the Opera and Les Miserables in London, the Australian Football League Grand Final entertainment, the official opening of Stadium Australia and the opening of the Christmas Festival at Royal Albert Hall, London.