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Un Ballo in Maschera
San Francisco Opera Association War Memorial Opera House 2014-2015 Un Ballo in Maschera A Masked Ball (In Italian) Opera in three acts by Giuseppe Verdi Libretto by Antonio Somma Based on a libretto by Eugene Scribe for Daniel Auber's opera Gustave III, ou Le Bal masque Cast Conductor Nicola Luisotti Count Horn (Sam) Christian Van Horn Count Ribbing (Tom) Scott Conner * Director Jose Maria Condemi Oscar Heidi Stober Costume Designer Gustavus III, King of Sweden (Riccardo) Ramón Vargas John Conklin Count Anckarström (Renato) Thomas Hampson Lighting Designer Brian Mulligan 10/7, 22 Gary Marder Chief Magistrate A.J. Glueckert † Chorus Director Madame Arvidson (Ulrica) Dolora Zajick Ian Robertson Christian (Silvano) Efraín Solís † Choreographer Amelia's Servant Christopher Jackson Lawrence Pech Amelia Anckarström Julianna Di Giacomo * Assistant Conductors Giuseppe Finzi Vito Lombardi * San Francisco Opera debut † Current Adler Fellow Musical Preparation Bryndon Hassman Tamara Sanikidze Place and Time: 1792 in Stockholm, Sweden John Churchwell Jonathan Khuner Fabrizio Corona Prompter Dennis Doubin Supertitles Philip Kuttner Assistant Stage Directors E. Reed Fisher Morgan Robinson Stage Manager Rachel Henneberry Costume Supervisor Jai Alltizer Wig and Makeup Designer Jeanna Parham Saturday, Oct 04 2014, 7:30 PM ACT I Tuesday, Oct 07 2014, 7:30 PM Scene 1: Levee in the king's bedroom Friday, Oct 10 2014, 7:30 PM Scene 2: Madame Arvidson's house on the waterfront Monday, Oct 13 2014, 7:30 PM INTERMISSION Thursday, Oct 16 2014, 7:30 PM ACT II Sunday, Oct 19 2014, 7:30 PM A lonely field Wednesday, Oct 22 2014, 7:30 PM INTERMISSION ACT III Scene 1: Count Anckarström's study Scene 2: The king's box at the opera Scene 3: Inside the Stockhold opera house Sponsors This production is made possible, in part, by the Bernard Osher Endowment Fund and the Thomas Tilton Production Fund. -
An Alabama School Girl in Paris 1842-1844
An Alabama School Girl in Paris 1842-1844 the letters of Mary Fenwick Lewis and her family Nancyt/ M. Rohr_____ _ An Alabama School Girl in Paris, 1842-1844 The Letters of Mary Fenwick Lewis and Her Family Edited by Nancy M. Rohr An Alabama School Girl In Paris N a n c y M. Ro h r Copyright Q 2001 by Nancy M. Rohr All rights reserved. No part of this book may be reproduced in any form without permission of the editor. ISPN: 0-9707368-0-0 Silver Threads Publishing 10012 Louis Dr. Huntsville, AL 35803 Second Edition 2006 Printed by Boaz Printing, Boaz, Alabama CONTENTS Preface...................................................................................................................1 EditingTechniques...........................................................................................5 The Families.......................................................................................................7 List of Illustrations........................................................................................10 I The Lewis Family Before the Letters................................................. 11 You Are Related to the Brave and Good II The Calhoun Family Before the Letters......................................... 20 These Sums will Furnish Ample Means Apples O f Gold in Pictures of Silver........................................26 III The Letters - 1842................................................................................. 28 IV The Letters - 1843................................................................................ -
MASSENET and HIS OPERAS Producing at the Average Rate of One Every Two Years
M A S S E N E T AN D HIS O PE RAS l /O BY HENRY FIN T. CK AU THO R O F ” ” Gr ie and His Al y sia W a ner and H W g , g is or ks , ” S uccess in Music and it W How is on , E ta , E tc. NEW YO RK : JO HN LANE CO MPANY MCMX LO NDO N : O HN L NE THE BO DLEY HE D J A , A K N .Y . O MP NY N E W Y O R , , P U B L I S HE R S P R I NTI N G C A , AR LEE IB R H O LD 8 . L RA Y BRIGHAM YO UNG UNlVERS lTW AH PRO VO . UT TO MY W I FE CO NTENTS I MASSENET IN AMER . ICA. H . B O GRAP KET H II I IC S C . P arents and Chi dhoo . At the Conservatoire l d . Ha D a n R m M rri ppy ys 1 o e . a age and Return to r H P a is . C oncert a Successes . In ar Time ll W . A n D - Se sational Sacred rama. M ore Semi religious m W or s . P ro e or and Me r of n i u k f ss be I st t te . P E R NAL R D III SO T AITS AN O P INIO NS . A P en P ic ure er en ne t by Servi es . S sitive ss to Griti m h cis . -
Newsletter • Bulletin
NATIONAL CAPITAL OPERA SOCIETY • SOCIETE D'OPERA DE LA CAPITALE NATIONALE Newsletter • Bulletin Summer 2000 L’Été A WINTER OPERA BREAK IN NEW YORK by Shelagh Williams The Sunday afternoon programme at Alice Tully Having seen their ads and talked to Helen Glover, their Hall was a remarkable collaboration of poetry and words new Ottawa representative, we were eager participants and music combining the poetry of Emily Dickinson in the February “Musical Treasures of New York” ar- recited by Julie Harris and seventeen songs by ten dif- ranged by Pro Musica Tours. ferent composers, sung by Renee Fleming. A lecture We left Ottawa early Saturday morning in our bright preceded the concert and it was followed by having most pink (and easily spotted!) 417 Line Bus and had a safe of the composers, including Andre Previn, join the per- and swift trip to the Belvedere Hotel on 48th St. Greeted formers on stage for the applause. An unusual and en- by Larry Edelson, owner/director and tour leader, we joyable afternoon. met our fellow opera-lovers (six from Ottawa, one from Monday evening was the Met’s block-buster pre- Toronto, five Americans and three ladies from Japan) at miere production of Lehar’s The Merry Widow, with a welcoming wine and cheese party. Frederica von Stade and Placido Domingo, under Sir Saturday evening the opera was Offenbach’s Tales Andrew Davis, in a new English translation. The oper- of Hoffmann. This was a lavish (though not new) pro- etta was, understandably, sold out, and so the only tick- duction with sumptuous costumes, sets descending to ets available were seats in the Family Circle (at the very reappear later, and magical special effects. -
Chytry POEM'e'
MANAGER AS ARTIST Dégot ‘APHRODISIAN BLISS’ Chytry POEM‘E’: MANAGING ‘ENGAGEMENT’ Guimarães-Costa & Pina e Cunha PERIPHERAL AWARENESS Chia & Holt FUNKY proJECts Garcia and Pérez AesthetiCS OF Emptiness Biehl POETRY PLAY Darmer, Grisoni, James & Rossi Bouchrara WORKPLACE proJECts James DVD DRAMA Taylor AVANT GARDE ORGANIZATION Vickery Aesthesis//Create International journal of art and aesthetics in management and organizational life and organizational International journal of art and aesthetics in management Volume 1//TWO: 2007 AESTHESIS: International Journal of Art and Aesthetics in Management and Organizational Life EditorS Ian W. King, Essex Management Centre, University of Essex, Colchester, UK Jonathan Vickery, Centre for Cultural Policy Studies, University of Warwick, Coventry, UK Ceri Watkins, Essex Management Centre, University of Essex, Colchester, UK Editorial coordiNator Jane Malabar [email protected] Editorial AdviSORY Board Dawn Ades, University of Essex, UK Daved Barry, Universidade Nova de Lisboa, Portugual Jo Caust, University of South Australia, Editor, Asia Pacific Journal of Arts and Cultural Management Pierre Guillet de Monthoux, University of Stockholm, Sweden Laurie Heizler, Wright Hassallthe LLP, Leamington Spa, UK Stephen Linstead, University of York, UK Nick Nissley, The Banff Centre, Canada Antonio Strati, University of Trento and University of Siena, Italy Steve Taylor, Worcester PolytechnicAes Institute, USA thesis This journal is published by THE AESTHESIS ProjEct: The Aesthesis Project was founded in January 2007 and is a research project investigatingproject art and aesthetics in management and organizational contexts. The project has its roots in the first Art of Management and Organization Conference in London in 2002, with successive conferences held in Paris and Krakow. From those events emerged an international network of academics, writers, artists, consultants and managers, all involved in exploring and experimenting with art in the context of management and organizational research. -
Ludwig Van Beethoven Hdt What? Index
LUDWIG VAN BEETHOVEN HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1756 December 8, Wednesday: The Emperor’s son Maximilian Franz, the Archduke who in 1784 would become the patron of the young Ludwig van Beethoven, was born on the Emperor’s own birthday. Christoph Willibald Gluck’s dramma per musica Il rè pastore to words of Metastasio was being performed for the initial time, in the Burgtheater, Vienna, in celebration of the Emperor’s birthday. ONE COULD BE ELSEWHERE, AS ELSEWHERE DOES EXIST. ONE CANNOT BE ELSEWHEN SINCE ELSEWHEN DOES NOT. Ludwig van Beethoven “Stack of the Artist of Kouroo” Project HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1770 December 16, Sunday: This is the day on which we presume that Ludwig van Beethoven was born.1 December 17, Monday: Ludwig van Beethoven was baptized at the Parish of St. Remigius in Bonn, Germany, the 2d and eldest surviving of 7 children born to Johann van Beethoven, tenor and music teacher, and Maria Magdalena Keverich (widow of M. Leym), daughter of the chief kitchen overseer for the Elector of Trier. Given the practices of the day, it is presumed that the infant had been born on the previous day. NEVER READ AHEAD! TO APPRECIATE DECEMBER 17TH, 1770 AT ALL ONE MUST APPRECIATE IT AS A TODAY (THE FOLLOWING DAY, TOMORROW, IS BUT A PORTION OF THE UNREALIZED FUTURE AND IFFY AT BEST). 1. Q: How come Austrians have the rep of being so smart? A: They’ve managed somehow to create the impression that Beethoven, born in Germany, was Austrian, while Hitler, born in Austria, was German! HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1778 March 26, Thursday: In the Academy Room on the Sternengasse of Cologne, Ludwig van Beethoven appeared in concert for the initial time, with his father and another child-student of his father. -
Clear Lake Symphony Newsletter Vol. 10 Issue 4 2018
Clear Lake Symphony Newsletter Vol. 10 Issue 4 www.ClearLakeSymphony.org 2018 - 2019 “Great French Masters” Concert – February 8, 2019 The Clear Lake Symphony, with Music Director, Dr. Charles Johnson, starts its 43rd season in the Fall of 2018. The Symphony, recognized as a premiere community orchestra, is a member of ASCAP and BMI. Its goals are to present classical music for the residents of the Bay Area and to provide opportunities for the Bay Area musicians to create a variety of musical experiences for the enjoymentofthecommunity. Six regular season performances including the Christmas “Pops” will be held featuring various classical selections and guest soloists. Join the Symphony as it celebrates its 43rd Anniversary with a brand new “Season of Music featuring Masters of Music”. All concerts will be held at Gloria Dei Lutheran Church Auditorium, 18220 Upper Bay Road in Nassau Bay across from NASA Johnson Space Center at 7:30 PM (see concert dates). The Clear Lake Symphony will be performing the fourth concert of their 2018-2019 season on Friday, February 8th at the Gloria Dei Lutheran Church Auditorium located at 18220 Upper Bay Road across from NASA Johnson Space Center. Celebrating their 43rd season, the Orchestra will present a fun evening of MUSIC BY GREAT FRENCH MASTERS. The Orchestra will be led by Dr. Charles Johnson, in his 38th year as Conductor and Musical Director of the Clear Lake Symphony. Dr. Charles Johnson Conductor & Musical Director Reminder: All concerts will be on Friday evenings at 7:30 p.m. For a list of all the season concerts, please click on the following link: www.ClearLakeSymphony.org Concert Tickets are available from Eye Trends, 515 Bay Area Blvd., Suite 300 (next door to Starbucks). -
TOCC0335DIGIBKLT.Pdf
WENZEL HEINRICH VEIT: COMPLETE STRING QUARTETS VOLUME ONE: QUARTETS NOS. 1 AND 2 by Markéta Kabelková and Aleš Březina Te first half of the nineteenth century saw a change from old to new forms of musical life. Performances accessible to the general public were increasingly promoted, and from the third quarter of the eighteenth century public concerts and publicly accessible musical theatres began to be developed. A lively and diverse cultural environment tends to emerge in places that are not only strong economically – that is, have a solid, educated middle class – but also have an existing cultural tradition. Although Prague was at that time the capital of the Czech kingdom and as such part of the Hapsburg monarchy, no ruler resided within the city, which therefore lacked the cultural life associated with a royal court. It was nonetheless an important European musical centre – the most important in Bohemia – and a popular stop for musicians on their concert tours. In 1810 the ‘Jednota pro zvelebení hudby v Čechách’ (‘Association for the Promotion of Music in Bohemia’) was established there and, only one year later, the Prague Conservatoire was founded, becoming the first professional training institution for musicians in central Europe. New forms of social life influenced demand for certain types of music, particularly smaller-scale compositions (songs, piano pieces and choruses). Larger instrumental compositions– such as symphonies, concertos and chamber music (which at that time was not intended for public concerts but to be played for smaller audiences) – were far less popular in Bohemia during the first half of the nineteenth century. -
1. ADOR Gustave (1845-1928) Président De La Confédération Suisse En 1919
1. ADOR Gustave (1845-1928) Président de la Confédération suisse en 1919. Deux ans plus tôt, il avait reçu, pour le compte du Comité Int. de la Croix- Rouge, le prix Nobel de la paix — L.A., signée en tête, 1 p. in-12 obl. Sur carte imprimée : Le Président de la Confédération. 125.– «Monsieur Ador présente ses compliments empressés...», remercie pour une invitation «... à la- quelle il a le grand regret de ne pouvoir se rendre...», etc. Sept lignes autographes datant du temps de sa présidence. 2. AGOULT, Au sujet de Marie d’ — L.A.S. (1 1/2 pp. in-8) du révolution- naire socialiste fr. Louis BLANC (1811-1882) ; Londres, 27.X.1862. 250.– «... I have sent you... a beautiful book written on the events of 1848 by Countess d’Agoult under the feigned name Daniel Stern. Countess d’Agoult is one of our best french writers...». L’ancien révolutionnaire trouve que Marie d’Agoult y développe des idées et aspirations fort libérales malgré ses origines aristocratiques ; et Louis Blanc de juger cet ouvrage «... the only reliable and clever account of the Revolution of February... a work most essentially deserving of notice...», etc. Intéressante. 3. ALARD Delphin (1815-1888) Violoniste français, maître de Sarasate — L.S. avec d’autres, 1 p. in-folio ; Paris, 22.X.1857. En-tête imprimé. 300.– Successeur de Baillot comme professeur de violon au Conservatoire de Paris, Alard signe ici, en tant que membre du Comité des Etudes, une très belle lettre de félicitations en faveur de son confrère Ernest DELDEVEZ (1817-1897). -
View Program
Program Giuseppe Verdi (1813-1901) INTERMISSION “Qual voluttà trascorrere” from I Lombardi (15 minutes) (Ms. Clark, Mr. Guerrero, and Mr. Brownlee) Ludwig van Beethoven (1770-1827) Verdi Rondo in C Major “Infelice, e tu credevi” from Ernani (Mr. Allen) (Mr. Brownlee) Frédéric Chopin (1810-1849) Georges Bizet (1838-1875) Valse in C-sharp Minor “Quand la flamme de l’amour” from La jolie fille de Perth (Mr. Allen) (Mr. Brownlee) Wolfgang Amadeus Mozart (1756-1791) Verdi Farewell Scene from Die Zauberflöte “Parigi, o cara” from La traviata (Ms. Clark, Mr. Guerrero, and Mr. Brownlee) (Ms. Clark and Mr. Guerrero) Verdi Giacomo Puccini (1858-1924) “La donna è mobile” from Rigoletto “In quelle trine morbide” from Manon Lescaut (Mr. Guerero) (Ms. Clark) Franz Lehár (1870-1948) Charles Gounod (1818-1893) “Nobody Could Love You More” from Paganini “Jewel Song” from Faust (Ms. Clark and Mr. Guerrero) (Ms. Clark) Puccini Gaetano Donizetti (1797-1848) “Quando m’en vo’” (Musetta’s Waltz) from La bohème “Ecco il magico liquore” from L’elisir d’amore (Ms. Clark) (Mr. Guerrero and Mr. Brownlee) Gioachino Rossini (1792-1868) Puccini “La calunnia” from Il barbiere di Siviglia “E lucevan le stelle” from Tosca (Mr. Brownlee) (Mr. Guerrero) Gounod Friedrich von Flotow (1812-1883) Prison Scene —Trio from Faust “M’appari” from Martha (Ms. Clark, Mr. Guerrero, and Mr. Brownlee) (Mr. Guerrero) Ambroise Thomas (1811-1896) “Légères hirondelles” from Mignon (Ms. Clark and Mr. Brownlee) Verdi Program and personnel subject to change. “Perdon, perdon, Amelia” from Simon Boccanegra As a courtesy to the artists, please remain seated until they have left the hall. -
Study Guide 2018-2019 Season
STUDY GUIDE 2018-2019 SEASON Please join us in thanking the generous sponsors of the Education and Outreach Activities of Virginia Opera: Alexandria Commission for the Arts ARTSFAIRFAX Chesapeake Fine Arts Commission Chesterfield County City of Norfolk CultureWorks Dominion Energy Franklin-Southampton Charities Fredericksburg Festival for the Performing Arts Herndon Foundation Henrico Education Fund National Endowment for the Arts Newport News Arts Commission Northern Piedmont Community Foundation Portsmouth Museum and Fine Arts Commission R.E.B. Foundation Richard S. Reynolds Foundation Suffolk Fine Arts Commission Virginia Beach Arts & Humanities Commission Virginia Commission for the Arts Wells Fargo Foundation Williamsburg Area Arts Commission York County Arts Commission Virginia Opera extends sincere thanks to the Woodlands Retirement Community (Fairfax, VA) as the inaugural donor to Virginia Opera’s newest funding initiative, Adopt-A-School, by which corporate, foundation, group and individual donors can help share the magic and beauty of live opera with underserved children. For more information, contact Cecelia Schieve at [email protected] 2 THE ELIXIR OF LOVE by Gaetano Donizetti Libretto by Felice Romani based on the libretto by Eugène Scribe for the opera Le Philtre by Daniel Auber Table of Contents Premiere 4 Cast of Characters 4 Brief Summary 4 Full Plot Synopsis and Musical Highlights 5 Historical Background 7 Gaetano Donizetti 8 Discussion Questions 0 A Short History of Opera 10 The Operatic Voice 11 Opera Production 13 Relevant Virginia SOLs: Science: 5.2, PH.10, PH.11 English: 4.4, 4.5, 5.4, 5.5, 5.8, 6.2, 6.4, 6.6, 7.2, 7.5, 8.2, 8.3, 9.1, 9.3, 9.5, 10.3, 10.6, 10.8, 12.3, 12.6 History: 7.8, 9.5, 9.7, 10.1, 10.4, 10.7, 10.11 Music: 4.6-4.8, 4.12, 4.13, 5.5, 5.6, 5.11, MS.5-MS.9, HS.1, HS.5-HS.9, CB.11, CI.11, CAD.11, CAR.11 Theatre Arts: M.13, M.14, TI.11-TI.13, TII.12, TII.14, TII.15 Visual Arts: 4.16, 6.19, 8.16, AII.11 3 THE ELIXIR OF LOVE Premiere First performance at Teatro della Canobbiana in Milan, Italy, on May 12, 1832. -
Carmen: a Preface to the Vocal Score by Richard Langham Smith
Carmen: a preface to the vocal score by Richard Langham Smith URTEXT IN CONTEXT Why a new edition of Carmen, an opera that has surely suffered the fate of its eponymous heroine: it has been done to death? In short, the present edition takes a different slant from other Urtexts primarily because it aims to capture the idea of the opera as a staged spectacle as well as that of a musical text: hence its designation as a ‘Performance Urtext’. Notwithstanding this dual purpose, its approach to the musical text remains founded on the ‘Urtextual’ principles largely established by German editions of the mid- and late-twentieth century, not least by the Urtext publications of Peters Edition, in this case its London operation which has provided the fundamental impetus for producing this new edition. Yet at the root of these German Urtexts is the notion of somehow carrying forward the ‘pure blue flame’ of composer-intention as set down in a final manuscript, or a submitted and proof-read score. Against this notion, however, a fundamental question must be asked: is Opera really like that? In the mounting of an operatic performance, many more people are involved than in the performance of a symphony: the scene- painters; the costume designers; the lighting crew and above all the director, metteur-en- scène or in the case of French opera, the all-important role of the régisseur. There was also the complex infrastructure behind, as it was then (and now): those responsible for the finances; for drumming up press attendance and audiences; producing the programmes and in France particularly, ensuring that the catering is up to scratch and that the restaurants around the venue are ready to serve the pre-performance entrée, the main course in the first interval, and the dessert in the second.