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Parsifal and Canada: a Documentary Study
Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article. -
ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
Aubrey Brain (1893-1955)
Aubrey Brain (1893-1955) Aubrey Harold Brain was the son of A.E. Brain, Senior, brother of Alfred Brain, Junior, and father of Dennis Brain – all distinguished horn players. Another brother, Arthur, also played horn, but abandoned music to become a police officer. Aubrey’s first instrument was the violin, but he soon switched to horn. He first studied with his father, then with Adela Sutcliffe and Eugene Mieir, and finally with Friedrich Adolph Borsdorf at the Royal College of Music in 1911. He played in the North London Orchestral Society during his College years and was appointed principal horn of the New Symphony Orchestra in 1911. He went on the London Symphony Orchestra's tour of the US under Arthur Nikish in 1912; his father was unable to go on the tour because of his contract with Covent Garden. After returning from the tour, Aubrey joined his father and brother in a memorial concert for the Titanic. Aubrey became principal horn of Sir Thomas Beecham's opera company orchestra in 1913. It was during a tour with this company that he met Marion Beeley, a contralto for whom Sir Edward Elgar wrote "Hail, Immortal Ind!" in his opera The Crown of India. They were married in 1914. Aubrey’s early career was shadowed by the success of his older brother, Alfred, who dominated the scene until he left for the United States in 1922, and of his teacher, Borsdorf, until Borsdorf was forced to resign because of anti-German feeling at the outbreak of World War I in 1914. -
10-12-2019 Turandot Mat.Indd
Synopsis Act I Legendary Peking. Outside the Imperial Palace, a mandarin reads an edict to the crowd: Any prince seeking to marry Princess Turandot must answer three riddles. If he fails, he will die. The most recent suitor, the Prince of Persia, is to be executed at the moon’s rising. Among the onlookers are the slave girl Liù, her aged master, and the young Calàf, who recognizes the old man as his long-lost father, Timur, vanquished King of Tartary. Only Liù has remained faithful to the king, and when Calàf asks her why, she replies that once, long ago, Calàf smiled at her. The mob cries for blood but greets the rising moon with a sudden fearful reverence. As the Prince of Persia goes to his death, the crowd calls upon the princess to spare him. Turandot appears in her palace and wordlessly orders the execution to proceed. Transfixed by the beauty of the unattainable princess, Calàf decides to win her, to the horror of Liù and Timur. Three ministers of state, Ping, Pang, and Pong, appear and also try to discourage him, but Calàf is unmoved. He reassures Liù, then strikes the gong that announces a new suitor. Act II Within their private apartments, Ping, Pang, and Pong lament Turandot’s bloody reign, hoping that love will conquer her and restore peace. Their thoughts wander to their peaceful country homes, but the noise of the crowd gathering to witness the riddle challenge calls them back to reality. In the royal throne room, the old emperor asks Calàf to reconsider, but the young man will not be dissuaded. -
13Th February 2021 Dear All Tomorrow Is One of Those Strangely
13th February 2021 Dear all Tomorrow is one of those strangely named Sundays – the Sunday Next Before Lent. I’m not quite sure why the ‘next’ comes in , but it interesting that both of the penitential seasons in the church calendar have a countdown… 3rd Sunday before Advent, 2nd Sunday before Lent etc.. We often see Advent and Lent as periods leading up to the exciting seasons of Christmas and Easter, but the church calendar requires us to take them seriously in their own right. What will we be doing for Lent? Let’s gear ourselves up… get ready… set… and, go! In a recent letter I suggested a few books or courses you might be interested in. I also invited anyone to request an ash cross stone, to be left on their doorstep. Please let me know by Wednesday, so that I know how many to prepare. Tomorrow’s service details: Readings – 2 Kings 2: 1-12; 2 Corinthians 4: 3-6; Psalm 50: 1-6; Mark 9: 2-9 Hymns: Jesus on the mountain peak; ‘Tis good, Lord, to be here. Lent Course: Next Thursday is the day after Ash Wednesday, and so we will put our study of Mark’s gospel on hold, and instead follow our Lent Course. The details are the same as always: We will meet on Zoom, Thursdays 2.30-3.30ish pm. The Zoom details are: https://us04web.zoom.us/j/8109399155?pwd=STVVTU44RzJxTFFHbTY1MnI0bjJ2Zz09 Meeting ID: 810 939 9155 Passcode: 1w2C9a Please note that, on Thursday 25th February the Lent Course will take place in the morning , at 10.30am. -
In Santa Cruz This Summer for Special Summer Encore Productions
Contact: Peter Koht (831) 420-5154 [email protected] Release Date: Immediate “THE MET: LIVE IN HD” IN SANTA CRUZ THIS SUMMER FOR SPECIAL SUMMER ENCORE PRODUCTIONS New York and Centennial, Colo. – July 1, 2010 – The Metropolitan Opera and NCM Fathom present a series of four encore performances from the historic archives of the Peabody Award- winning The Met: Live in HD series in select movie theaters nationwide, including the Cinema 9 in Downtown Santa Cruz. Since 2006, NCM Fathom and The Metropolitan Opera have partnered to bring classic operatic performances to movie screens across America live with The Met: Live in HD series. The first Live in HD event was seen in 56 theaters in December 2006. Fathom has since expanded its participating theater footprint which now reaches more than 500 movie theaters in the United States. We’re thrilled to see these world class performances offered right here in downtown Santa Cruz,” said councilmember Cynthia Mathews. “We know there’s a dedicated base of local opera fans and a strong regional audience for these broadcasts. Now, thanks to contemporary technology and a creative partnership, the Metropolitan Opera performances will become a valuable addition to our already stellar lineup of visual and performing arts.” Tickets for The Met: Live in HD 2010 Summer Encores, shown in theaters on Wednesday evenings at 6:30 p.m. in all time zones and select Thursday matinees, are available at www.FathomEvents.com or by visiting the Regal Cinema’s box office. This summer’s series will feature: . Eugene Onegin – Wednesday, July 7 and Thursday, July 8– Soprano Renée Fleming and baritone Dmitri Hvorostovsky star in Tchaikovsky’s lushly romantic masterpiece about mistimed love. -
(ABH) and Gesellschaft Für Unternehmensgeschichte (GUG), 27-28 May 2016, Humboldt University Berlin, Germany
Joint Conference Association of Business Historians (ABH) and Gesellschaft für Unternehmensgeschichte (GUG), 27-28 May 2016, Humboldt University Berlin, Germany Disruptive Innovation in the Creative Industries: The adoption of the German horn in Britain 1935-75 David Smith* and Richard Blundel** *Nottingham Trent University, UK and **The Open University, UK Abstract This paper examines the interplay between innovation and entrepreneurial processes amongst competing firms in the creative industries. It does so through a case study of the introduction and diffusion into Britain of a brass musical instrument, the wide bore German horn, over a period of some 40 years in the middle of the twentieth century. The narrative contrasts the strategies followed by two brass instrument manufacturers, one a new entrant the other an incumbent. It shows how the new entrant despite a slow start, small scale and a commitment to traditional artisanal skills, was able to develop the technology of the German horn and establish itself as one of the world’s leading brands of horn, while the incumbent firm despite being the first to innovate steadily lost ground until like many of the other leading horn makers of the 1930s, it eventually exited the industry. Keywords: Disruptive innovation, Creative Industries, Musical Instruments Introduction For much of the 19th and a substantial part of the 20th century, British orchestras had a distinctive sound. This differentiated them from their counterparts in many parts of Europe and the United States. This sound was the product of the instruments they played, most notably in the horn section of the orchestra. In Britain horn players typically utilized instruments modelled on the Raoux horn from France. -
George Benjamin
Update May 2018 George Benjamin Olicantus (2001) Co-commissioned and co-produced by the Royal Opera Covent Garden London, Dutch National Opera Amsterdam, Hamburg State solo piano opera, Opéra de Lyon, Lyric Opera of Chicago, Gran Teatre del Liceu Duration 4 minutes Barcelona and Teatro Real Madrid FP: 17.5.2004, Wigmore Hall, London, UK: Paul Crossley 10.5.2018, Royal Opera House, London, UK: The Orchestra of the Score on special sale from the Hire Library Royal Opera House/George Benjamin/dir. Katie Mitchell Full score, vocal score and parts in preparation Written on Skin (2009-12) Text (0-571-54055-4) and first edition vocal score (0-571-54054-6) will opera in three parts be on sale (10th May 2018) Text by Martin Crimp (Eng) Duration 95 minutes 3(II=picc, III=picc & afl).2.2.bcl(=cl).cbcl.2(II=cbsn) - 4.4(I=ptpt).3.1 - perc(4): glsp/crot/steel drum/3 t.bells/ 5 tuned c.bells/vib/gong/2 small timp/6 mini-tablas/ 3 bongos/2 SD/2 TD/tumba/BD/small claves/ 3 mokubios/4 tpl.bl/sleigh bells/mcas/pebbles/guiro/ whip/sandpaper blocks/computer keyboard or typewriter/ small tgl/untuned c.bell/clash. cyms (2 pairs)/ 5 susp.cyms/tam-t - harp - glass harmonica - bass viola da gamba - strings (8.6.6.6.4 players) 2 first violins doubling mandolins; all double basses must have extensions to low B natural FP: 7.7.2012, Festival d’Aix en Provence, Grand Theatre de Provence, France:Christopher Purves/ Barbara Hannigan/Bejun Mehta/Victoria Simmonds/ Allan Clayton/ Mahler CO/George Benjamin Commissioned by the Festival d’Aix-en-Provence, De Nederlandse Opera (Amsterdam), Théâtre du Capitole (Toulouse), Royal Opera House Covent Garden London Cased full score 0-571-53759-6, full score 0-571-53758-8, vocal score 0-571-52672-1 and text 0-571-53760-X on sale, full score and parts for hire Dream of the Song (2014) countertenor, female chorus and orchestra Text: Ibn Gabirol (trans. -
9 September 2021
9 September 2021 12:01 AM Uuno Klami (1900-1961) Serenades joyeuses Finnish Radio Symphony Orchestra, Jussi Jalas (conductor) FIYLE 12:07 AM Johann Gottlieb Graun (c.1702-1771) Sinfonia in B flat major, GraunWV A:XII:27 Kore Orchestra, Andrea Buccarella (harpsichord) PLPR 12:17 AM Claude Debussy (1862-1918) Violin Sonata in G minor Janine Jansen (violin), David Kuijken (piano) GBBBC 12:31 AM Peter Ilyich Tchaikovsky (1840-1893) Slavonic March in B flat minor 'March Slave' BBC Philharmonic, Rumon Gamba (conductor) GBBBC 12:41 AM Maria Antonia Walpurgis (1724-1780) Sinfonia from "Talestri, Regina delle Amazzoni" - Dramma per musica Batzdorfer Hofkapelle, Tobias Schade (director) DEWDR 12:48 AM Wolfgang Amadeus Mozart (1756-1791) Sonata for piano (K.281) in B flat major Ingo Dannhorn (piano) AUABC 01:00 AM Luigi Boccherini (1743-1805) Quintet for guitar and strings in D major, G448 Zagreb Guitar Quartet, Varazdin Chamber Orchestra HRHRT 01:19 AM Carl Nielsen (1865-1931) Symphony No.3 (Op.27) "Sinfonia espansiva" Janne Berglund (soprano), Johannes Weisse (baritone), Stavanger Symphony Orchestra, Niklas Willen (conductor) NONRK 02:01 AM Claude Debussy (1862-1918) Estampes, L.100 Kira Frolu (piano) ROROR 02:14 AM Fryderyk Chopin (1810-1849) Etude in C minor Op.10'12 'Revolutionary' Kira Frolu (piano) ROROR 02:17 AM Fryderyk Chopin (1810-1849) Etude in E major, Op.10'3 Kira Frolu (piano) ROROR 02:20 AM Fryderyk Chopin (1810-1849) Etude in C minor Op.25'12 Kira Frolu (piano) ROROR 02:23 AM Constantin Silvestri (1913-1969) Chants nostalgiques, -
June WTTW & WFMT Member Magazine
Air Check Dear Member, The Guide As we approach the end of another busy fiscal year, I would like to take this opportunity to express my The Member Magazine for WTTW and WFMT heartfelt thanks to all of you, our loyal members of WTTW and WFMT, for making possible all of the quality Renée Crown Public Media Center content we produce and present, across all of our media platforms. If you happen to get an email, letter, 5400 North Saint Louis Avenue or phone call with our fiscal year end appeal, I’ll hope you’ll consider supporting this special initiative at Chicago, Illinois 60625 a very important time. Your continuing support is much appreciated. Main Switchboard This month on WTTW11 and wttw.com, you will find much that will inspire, (773) 583-5000 entertain, and educate. In case you missed our live stream on May 20, you Member and Viewer Services can watch as ten of the area’s most outstanding high school educators (and (773) 509-1111 x 6 one school principal) receive this year’s Golden Apple Awards for Excellence WFMT Radio Networks (773) 279-2000 in Teaching. Enjoy a wide variety of great music content, including a Great Chicago Production Center Performances tribute to folk legend Joan Baez for her 75th birthday; a fond (773) 583-5000 look back at The Kingston Trio with the current members of the group; a 1990 concert from the four icons who make up the country supergroup The Websites wttw.com Highwaymen; a rousing and nostalgic show by local Chicago bands of the wfmt.com 1960s and ’70s, Cornerstones of Rock, taped at WTTW’s Grainger Studio; and a unique and fun performance by The Piano Guys at Red Rocks: A Soundstage President & CEO Special Event. -
56 0809Englisch.Pdf
A Wien Holding Company Intendant Roland Geyer General sponsors of the Theater an der Wien The Theater an der Wien recieves subsidies from the Cultural Department of the City of Vienna insNoten130x205_4c_E_TheaterRZ 04.06.2008 13:53 Uhr Seite 1 „WHOEVER HEARS BUTTERFLIES LAUGHING, KNOWS THE SCENT OF CLOUDS“ (Novalis) he butterfly is a wonderful symbol of transformation and freedom. And this is a requirement that art repeatedly demands, too. The mysterious Tmetamorphosis of the ugly caterpillar into the magnificent butterfly has sti- mulated man’s imagination from time immemorial. Everyone who watches Where does a butterfly is struck by its beauty, elegance and lightness. The ancient ability to think in images and symbols is inside each one of us – and in the world of opera, too. The opera is a treasure-house of the music call the tune? irrational. It unfolds “our imagination’s most beautiful alternative world.” Mozart himself confessed, “I need only to hear talk about opera, I need only to be in the theatre and hear voices – it suffices to transport me utterly.” The Theater an der Wien, the new opera house, is aiding a development in our city that no one can now fail to notice: more and more people with an interest in culture, and younger people too, are going to the opera! They are looking for a space where dreams and longings can unfold freely with great emotion and even pathos – and the opera provides a meeting place for them: everything appears bathed in “bright” light, and in this light one is drawn in by enchanting sounds. -
The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS