Faculty Recital:Kathleen Randles, Mezzo Soprano

Total Page:16

File Type:pdf, Size:1020Kb

Faculty Recital:Kathleen Randles, Mezzo Soprano Illinois State University ISU ReD: Research and eData School of Music Programs Music 10-17-2000 Faculty Recital:Kathleen Randles, Mezzo Soprano Kathleen Randles Mezzo-Soprano Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/somp Part of the Music Performance Commons Recommended Citation Randles, Kathleen Mezzo-Soprano, "Faculty Recital:Kathleen Randles, Mezzo Soprano" (2000). School of Music Programs. 2061. https://ir.library.illinoisstate.edu/somp/2061 This Concert Program is brought to you for free and open access by the Music at ISU ReD: Research and eData. It has been accepted for inclusion in School of Music Programs by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. I Music 'IJepartment I J{[inois State 'University I I I !facu{ty 2(ecita{ I 1(atliieen !l(anafes, Mezzo Soprano Patricia !fo{tz, Piano I Jlris Chavez, Cfarinet I Jolin ~org, 'Viofa Pau{ ~org, Piano I I I I Kemp Recital Hall I Tuesday Evening October 17, 2000 8:00 p.m. I The sixteenth program of the 2000-2001 Season. I Ariettes oubliees Claude Debussy C'est l'extase langoureuse (1862-1918) "Le vent dans la plaine suspend son haleine" - Favart I II pleure dans mon coeur "II pleut doucement sur la ville." - A. Rimbaud L'ombre des arbres "Le rossignol qui du haul d'une branche se regarde dedans, croit etre tombe dans la ri vi ere. II est au sommet d'un chene I et toute fois ii a peur de se noyer." - Cyrano de Bergerac Chevaux de bois "Par Saint Gille/Viens nous en/Mon agile/Alezan" - V. Hugo Green I Spleen from La Clemenza di Tito, K. 621 Wolfgang Amadeus Mozart Part, Parto (1756-1791) I Aris Chavez, clarinet Intennission I Two Songs, Op. 91 Johannes Brahms Gestillte Sehnsucht ( 1833-1897) Geistliches Wiegenlied I John Borg, viola Paul Borg, piano from Kiss Me, Kate Cole Porter I So in Love (1891-1964) from Saint Louis Woman Harold Arlen I Had Myself a True Love ( 1905-1986) I from A Connecticut Yankee Richard Rodgers To Keep My Love Alive ( 1902-1979) I Lorenz Hart (1895-1943) from Kismet Robert Wright I Bored (born 1914) George Forrest (born 1915) from Evening Primrose Stephen Sondheim Take Me to the World (born 1910) I .
Recommended publications
  • The President's Report
    The 1984-85 school year also marked the end of the de Lausanne International Ballet Competition; Jo two-year process of self-study required by the Yost, high school ballet student, received a contract Southern Association of Colleges and Schools for reaf¬ with American Ballet Theatre II and Tisha Roth, a firmation of accreditation. A Visiting Committee from drama senior, was awarded one of the Princess Grace the Commission on Colleges came to campus on April Foundation Scholarships, a prestigious national com¬ 28, 1985 to conduct its three-day visit to assess the petition. Of the current senior drama students, all but undergraduate programs and the new graduate pro¬ three have secured theatre and television jobs, in¬ gram in Design and Production. The Southern cluding Kevin Jackson who has been hired by the Association, while reaffirming and praising the qual¬ "Acting Company." Two recent graduates of the ity of NCSA arts training programs, made some useful School of Music made their professional debuts: recommendations. clarinetist Daniel McKelway at the Kennedy Center in Washington, D.C. and soprano Anne Wyche at Carnegie Recital Hall in New York City. Since 1972, School of Drama alumni have appeared in more than 40 theatre productions, 15 Hollywood PERFORMANCE films and 25 television series. Patsy Pease has a regular role in "Days of our Lives," John Sanderford in "General Hospital,” and Matthew Ashford in "Search for Tomorrow.'' Bass-baritone John Cheek has Performance plays an essential role in the life of the appeared at the Metropolitan Opera every season school. This year more than 300 performances were since his 1977 debut and soprano Gianni Rolandi is presented to more than 62,000, in addition to the nor¬ a star of the New York City Opera.
    [Show full text]
  • Th E N a Tion a Lo Pe R a C En Ter Am Er Ic A
    THE NATIONA OPERA America presents CONVERSATIONS Sondra Radvanovsky In conversation with OPERA America President/CEO Marc A. Scorca L The National Opera Center March 3, 2016 | 7:00 p.m. OPERA AM ER CENTER ICA Soprano SONDRA Radvanovsky has performed in every RADVANOVSKY is a major opera house in the world, PAVEL ANTONOV PAVEL globally celebrated including the Royal Opera House, artist. The sincerity and Opéra national de Paris, Teatro alla intensity that she brings Scala and numerous others. Her home to the stage as one of theater is the Metropolitan Opera, the most prominent where she began her training in the late sopranos of her generation have won 1990s. After performances in smaller her accolades from critics and loyalty roles there, Radvanovsky caught the from passionate fans. attention of critics as Antonia in Les Contes d’Hoffmann and was singled out Though known as one of today’s as a soprano to watch. Her recordings premier Verdi sopranos, Radvanovsky include Verdi Arias and a CD of Verdi has recently expanded her repertoire opera scenes with her frequent artistic to include such bel canto roles as partner Dmitri Hvorostovsky. She also Norma and Donizetti’s “three queens,” stars in a Naxos DVD of Cyrano de the leading soprano parts in his Bergerac alongside Plácido Domingo Tudor dramas. In recent seasons, she and in transmissions of Il trovatore and has mastered the title roles in Anna Un ballo in maschera for the wildly Bolena and Maria Stuarda and the popular Met: Live in HD series. role of Queen Elizabeth in Roberto Devereux, and this season, in a feat never before undertaken by any singer in Metropolitan Opera history, Radvanovsky performs all three queens in a single season.
    [Show full text]
  • French 5­6 Teacher: Cathleen Cherry Core Text: Discovering French Rouge ​ Time/Days: Daily Grade Level: 9­12
    PRESCOTT UNIFIED SCHOOL DISTRICT YEAR­AT­A­GLANCE PACING GUIDE 2008­09 SCHOOL YEAR School: Prescott High School Course: French 5­6 Teacher: Cathleen Cherry Core Text: Discovering French Rouge ​ Time/Days: daily Grade Level: 9­12 Time Segment Unit (Thematic Big Ideas/ Essential Standards Focus (notate as “P” for Assessments (Projects, Resources & Materials ​ ​ ​ (9 Week Grading Topic or Subject) Questions (Put Power/Essential Power, “E” for Essential, & “N” for Tests, Presentations, Etc.) Needed Non­Essential) P​eriod Maximum) Standard into Qu​ estion Format for the Unit) All four Current events Current events Communication Read and discuss a news www.yahoo.fr or similar ​ quarters, on Culture article or editorial from French news Wednesdays Connections the current week organization’s website Comparisons Communities st 1 ​ quarter Reprise Describing the present Communication Weekly Quizzes for Discovering French ​ (Review) Describing the past Culture leçons A­C Reprise Referring to people, things, Connections Reprise Exam and places Comparisons Final Exam Communities st 1 ​ quarter Unité 1: Au Describing people Communication Weekly Quizzes for Discovering French ​ ​ jour le jour Caring for one’s appearance Culture leçons 1.1& 1.2 Chapter 1 Describing the various aspects Connections Chapter 1 Exam of one’s daily routine Comparisons Final Exam Expressing how one feels and Communities inquiring about others st 1 ​ quarter (may Unité 2: Helping around the house Communication Weekly Quizzes for Discovering French ​ continue into 2nd Soyons
    [Show full text]
  • Cynthia Shaw, the Kresge Foundation 248.643.9630 Phone [email protected]
    CONTACTS: Cynthia Shaw, The Kresge Foundation 248.643.9630 Phone [email protected] Mira Burack, College for Creative Studies 313.664.7939 Phone [email protected] FOR IMMEDIATE RELEASE MICHIGAN OPERA THEATRE’S DAVID DICHIERA NAMED 2013 KRESGE EMINENT ARTIST DETROIT, MICHIGAN – JANUARY 9, 2013 - Composer and operatic impresario David DiChiera – a champion of Detroit’s renaissance – has been named the 2013 Kresge Eminent Artist. The Kresge Eminent Artist award and $50,000 prize recognize DiChiera’s contributions as founder, music director, and general director of the Michigan Opera Theatre; his creativity and commitment to the community; and his efforts to build cultural bridges through the arts. A composer whose works include “Four Sonnets” (1965), “Cyrano” (2007) and the children’s opera “Rumpelstiltskin” (1973), DiChiera has presented opera, dance, and musical theater productions in Detroit and throughout Michigan for more than four decades. He has encouraged an appreciation for music and libretto in young people and adults, enriched the operatic repertoire by commissioning and premiering new productions and advanced the proposition that opera should reflect the community in which it is performed. DiChiera has opened the doors to new audiences and been a tirelessly effective force for community vitality, says Rip Rapson, president and CEO of The Kresge Foundation. “David is one of our community's most visionary leaders. He has nurtured an art form that combines music, dance, visual arts, and literature to tell stories of inspiration, power, and relevance – stories that bridge across eras and generations. He has contributed to the physical revitalization of our downtown cultural and entertainment district, re-energizing the landmark Music Hall theater and marshaling support for the opera house.
    [Show full text]
  • Cyrano De Bergerac
    Cyrano de Bergerac Summer Reading Guide - English 10 Howdy, sophomores! Cyrano de Bergerac is a delightful French play by Edmond Rostand about a swashbuckling hero with a very large nose. It is one of my favorites! Read this entire guide before starting the play. The beginning can be tough to get through because there are many confusing names and characters, but stick with it and you won’t be disappointed! On the first day of class, there will be a Reading Quiz to test your knowledge of this guide and your comprehension of the play’s main events and characters. If you are in the honors section, you will also write a Timed Writing essay the first week of school. After school starts, we will analyze the play in class through discussions and various writing assignments. We will conclude the unit by watching a French film adaptation and comparing it to the play. By the way, my class is a No Spoiler Zone. This means that you may NOT spoil significant plot events to classmates who have not yet read the book. If you have questions about the reading this summer, please email me at [email protected]. I’ll see you in the fall! - Mrs. Lee 1 Introduction Cyrano de Bergerac is a 5-act play by French dramatist and poet Edmond Rostand (1868-1918). Our class version was translated into English by Gertrude Hall. Since its 1897 Paris debut, the play has enjoyed numerous productions in multiple countries. Cultural & Historical Background By the end of the 1800s, industrialization was taking place in most of Europe, including France, and with it came a more scientific way of looking at things.
    [Show full text]
  • Libertine Strategies
    Joan Dejean LIBERTINE STRATEGIES Freedom and the Novel in Seventeenth-Century France $17.50 LIBERTINE STRATEGIES Freedom and the Novel in Seventeenth-Century France By Joan DeJean This book is an important contribution to the vigorous and growing revival of interest in the seventeenth-century French novel as the progenitor of what has become the dominant literary genre in our ow n time. In a brilliant discussion of a group of compelling works of prose fiction by freethinking authors whose flamboyant life styles, radical ideas, and auda­ cious attacks on the established order made their literary productions suspect, Joan De ­ Jean demonstrates that the issues at the heart of the libertine enterprise—autobiography, madness, fragmentation, and dialogue—are precisely those that define the problematic modernity of these works. In detailed analyses of Theophile de Viau's Fragments d'une his­ toire comique, Charles SorePs Francion, Tris­ tan L'Hermite's Lepage disgracie, Cyrano de Bergerac's L'Autre Monde and Estats et empires du soleil, D'Assoucy's Avantures, and Chapelle's Voyage a Encausse, Professor DeJean explores the complex nonfictional literary genres with which they have tradi­ tionally been associated. Occupying an unstable middle ground be­ tween autobiography and the novel, the works of the libertines are, with one exception, all written in the first person, a marked departure from the dominant literary tradition of the ro­ man heroique. They reflect both structurally and thematically the problems of an existence that is at once lived and invented. Investigat­ ing these problems, DeJean provides an ori­ ginal interpretation of the libertines* obsession with naming, analyzes their perchant for fic­ tionalizing history, and studies their peculiar ambivalence about persecution.
    [Show full text]
  • Cyrano De Más Acá
    ÁREA DE EDUCACIÓN CUADERNOS PEDAGÓGICOS 2017 CP Nº 5 CYRANO DE MÁS ACÁ NIVEL PRIMARIO – SEGUNDO CICLO 1 ÁREA DE EDUCACIÓN CUADERNOS PEDAGÓGICOS 2017 Material producido por el Área Gestión de Públicos. Colaboración pedagógica: Durán, Ana; Jaroslavsky, Sonia; Mc Loughlin, Verónica; Corcuera, Milagros; Gómez, Juan Pablo y Pansera, Aimé. Gestión de públicos. Educación. Teatro Cervantes – Teatro Nacional Argentino. [email protected] Tel. 4815-8880 int 188 y 117, int 137 (FAX) www.teatrocervantes.gob.ar 2 CP Introducción 5 Misión CYRANO DE Desde nuestro único Teatro Nacional encaramos el desafío de pensar el teatro MÁS ACÁ y lo nacional en toda su complejidad. Entendemos que el teatro nacional es una institución que va mucho más allá del edificio del Teatro Cervantes: abarca todo el país. No como centro irradiador, de la capital al interior; no como lugar de con- vergencia, del interior a la capital, sino como un nodo en una vasta red: la red de las prácticas teatrales del país. Estas prácticas definen y amplían nuestro ámbito de acción. No puede restringir- se el sentido de teatro nacional a las obras de autor argentino. Teatro nacional es el teatro que se hace en el país, o para el país, o que es relevante para el país, y que puede contribuir a agitar o transformar el país. A crearlo, en suma. Pensamos que un teatro nacional debe ser una caja de resonancia de los conflic- tos estéticos y sociales actuales, y que estos deben orientar nuestra mirada sobre el pasado y nuestra tradición. Más que un teatro-museo, queremos un teatro-re- flejo del presente y, con suerte, un teatro-reloj que adelante lo que vendrá.
    [Show full text]
  • Germany Worships the "Almighty Pfennig" Says Damrosch
    November 8, 1913 MUSICAL AMERICA 3 quietly in his study is one of the finest moments in Strauss, too. GERMANY WORSHIPS THE "ALMIGHTY "In my experience in conducting I have always found an intense interest in the preparation of the Strauss ' orchestral PFENNIG" SAYS DAMROSCH works. It is not unlike putting together t!1e parts of a great Chinese puzzle which • lIes before you, as you gaze into his mas­ "I Want to Hear No Longer of American Desire for the Almighty Dollar" Declares Conductor, In terly scores. But when the orchestra has Discussion of Musical Conditions Here and Abroad-An Estimate of Richard Strauss's Music­ been thoroughly rehearsed, when everyone !mows hjs part and the work goes well, the France Working. Along Most Promising Lines in Orchestral Music mterest IS over. When I get it before an audience I do not enjoy the music as I do other works. And you will find that after IF on entering the home of a well-known food and drink in the world to-day. And troduce this season with his orchestra. Not the 'maze of dissonances has passed, when musician some afternoon your ear were so a great many of their idealistic. traits are lasting music this, says he, but of historic.al the effects are over and Strauss becomes entranced by soft secondary harmonies, al­ disappearing. Take the old city of Nurem­ interest, especially when one thinks of the simple (and he does in several of his berg! There, where once one saw nothing obscure drum player working out his musi­ large works) he is generally commonplace.' tered after the approved manner of Gallic but quaint houses, where the atmosphere cal ideas in poverty and anticipating .
    [Show full text]
  • CHAD SHELTON, Tenor
    CHAD SHELTON, tenor Opera News praises tenor Chad Shelton for one of his trademark roles, claiming that his “Don José was the dramatic heart of this production; this was a performance that grew in complexity as he struggled to recon- cile the forces of loyalty, lust and fate. Shelton owned the final scene, as his character descended into despair fueled by psychotic obsession. His bright tone amplified the intensity of the last gripping moments.” In the 2016-17 season, he makes returns to the Grand Théâtre de Genève for his first performances of Sir Edgar Aubry in Der Vampyr and Houston Grand Opera to reprise Chairman Mao in Adams’ Nixon in China and sings Don Jose in Carmen on tour in Japan as a guest artist of the Seiji Ozawa Music Academy Opera Project. He also sings his first perfor- mances of Mahler’s Das Lied von der Erde with the Phoenix Symphony and returns to the roster of the Metropolitan Opera for its production of Cyrano de Bergerac. Last season, he retured to Houston Grand Opera for Cavardossi in Tosca and to create the role of Charles II in the world premiere of Carlisle Floyd’s Prince of Players. He made his Metropolitan Opera debut as Rodrigo in a new production of Otello and also joined the company for Elektra in addition to returning to one of his most fre- quently performed roles, Alfredo in La traviata, with Pensacola Opera. He has joined the Opéra National de Lorraine numerous times, including for the title role of Idomeneo, Giasone in Cherubini’s Medea, Don Jose in Carmen, Jack in Gerald Barry’s The Importance of Being Earnest, Lysander in A Midsummer Night’s Dream, Guido Bardi in Eine floren- tinische Tragödie, Lechmere in Owen Wingrave, Tamino in Die Zauber- flöte, and the title role of Candide.
    [Show full text]
  • David Dichiera
    DAVID DICHIERA 2013 Kresge Eminent Artist THE KRESGE EMINENT ARTIST AWARD HONORS AN EXCEPTIONAL ARTIST IN THE VISUAL, PEFORMING OR LITERARY ARTS FOR LIFELONG PROFESSIONAL ACHIEVEMENTS AND CONTRIBUTIONS TO METROPOLITAN DETROIT’S CULTURAL COMMUNITY. DAVID DICHIERA IS THE 2013 KRESGE EMINENT ARTIST. THIS MONOGRAPH COMMEMORATES HIS LIFE AND WORK. CONTENTS 3 Foreword 59 The Creation of “Margaret Garner” By Rip Rapson By Sue Levytsky President and CEO The Kresge Foundation 63 Other Voices: Tributes and Reflections 4 Artist’s Statement Betty Brooks Joanne Danto Heidi Ewing The Impresario Herman Frankel Denyce Graves 8 The Grand Vision of Bill Harris David DiChiera Kenny Leon By Sue Levytsky Naomi Long Madgett Nora Moroun 16 Timeline of a Lifetime Vivian R. Pickard Marc Scorca 18 History of Michigan Opera Theatre Bernard Uzan James G. Vella Overture to Opera Years: 1961-1971 Music Hall Years: 1972-1983 R. Jamison Williams, Jr. Fisher/Masonic Years: 1985-1995 Mayor Dave Bing Establishing a New Home: 1990-1995 Governor Rick Snyder The Detroit Opera House:1996 Senator Debbie Stabenow “Cyrano”: 2007 Senator Carol Levin Securing the Future By Timothy Paul Lentz, Ph.D. 75 Biography 24 Setting stories to song in MOTown 80 Musical Works 29 Michigan Opera Theatre Premieres Kresge Arts in Detroit 81 Our Congratulations 37 from Michelle Perron A Constellation of Stars Director, Kresge Arts in Detroit 38 The House Comes to Life: 82 A Note from Richard L. Rogers Facts and Figures President, College for Creative Studies 82 Kresge Arts in Detroit Advisory Council The Composer 41 On “Four Sonnets” 83 About the Award 47 Finding My Timing… 83 Past Eminent Artist Award Winners Opera is an extension of something that By David DiChiera is everywhere in the world – that is, 84 About The Kresge Foundation 51 Philadelphia’s “Cyranoˮ: A Review 84 The Kresge Foundation Board the combination of music and story.
    [Show full text]
  • Cyrano De Bergerac
    Cyrano de Bergerac by Edmond Rostand All new material ©2010 Enotes.com Inc. or its Licensors. All Rights Reserved. No portion may be reproduced without permission in writing from the publisher. For complete copyright information please see the online version of this text at http://www.enotes.com/cyrano-de-text Table of Contents Notes.....................................................................................................................................................................1 Reading Pointers for Sharper Insights.............................................................................................................2 Dedication............................................................................................................................................................5 Dramatis Personae..............................................................................................................................................6 Act I......................................................................................................................................................................7 A Performance at the Hotel de Bourgogne..............................................................................................7 Scene I......................................................................................................................................................7 Scene II..................................................................................................................................................11
    [Show full text]
  • PROGRAM NOTES Johan Wagenaar Cyrano De Bergerac, Op. 23
    PROGRAM NOTES by Phillip Huscher Johan Wagenaar Born November 1, 1862, Utrecht. Died June 17, 1941, The Hague. Cyrano de Bergerac, Op. 23 Wagenaar composed this concert overture, inspired by Rostand's play, in 1905. The score calls for three flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones and tuba, timpani, percussion, and strings. Performance time is approximately twelve minutes. The Chicago Symphony Orchestra has performed Wagenaar's Cyrano de Bergerac on subscription concerts at Orchestra Hall twice previously: on November 12 and 13, 1915, and on December 17 and 18, 1926, with Frederick Stock conducting. In 1902, Samuel Eberly Gross, a Chicago real estate developer who established more than 10,000 subdivisions and built rows upon rows of reasonably priced houses, won a lawsuit against Edmond Rostand, claiming that Rostand pirated a play Gross had written called The Merchant Prince of Corneville, when writing his own hit, Cyrano de Bergerac. Despite the federal judge's ruling, however, Gross's only enduring place in literature is as the model for the character Samuel E. Ross in Theodore Dreiser's novel Jennie Gerhardt. Rostand's play, on the other hand, has gone on to enjoy great success, on stage, in film (from José Ferrer's Academy Award–winning turn in Cyrano in 1950 to the knockoff Roxanne with Steve Martin in 1987), and in musical treatment--culminating in a 1936 full-scale opera by Franco Alfano, best known as the man who completed Puccini's Turandot. Just two years after Rostand's play was premiered in 1897, Victor Herbert turned it into an operetta.
    [Show full text]