September—December 2017 / Vol.XVII / No.3
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Broadcasting the Arts: Opera on TV
Broadcasting the Arts: Opera on TV With onstage guests directors Brian Large and Jonathan Miller & former BBC Head of Music & Arts Humphrey Burton on Wednesday 30 April BFI Southbank’s annual Broadcasting the Arts strand will this year examine Opera on TV; featuring the talents of Maria Callas and Lesley Garrett, and titles such as Don Carlo at Covent Garden (BBC, 1985) and The Mikado (Thames/ENO, 1987), this season will show how television helped to democratise this art form, bringing Opera into homes across the UK and in the process increasing the public’s understanding and appreciation. In the past, television has covered opera in essentially four ways: the live and recorded outside broadcast of a pre-existing operatic production; the adaptation of well-known classical opera for remounting in the TV studio or on location; the very rare commission of operas specifically for television; and the immense contribution from a host of arts documentaries about the world of opera production and the operatic stars that are the motor of the industry. Examples of these different approaches which will be screened in the season range from the David Hockney-designed The Magic Flute (Southern TV/Glyndebourne, 1978) and Luchino Visconti’s stage direction of Don Carlo at Covent Garden (BBC, 1985) to Peter Brook’s critically acclaimed filmed version of The Tragedy of Carmen (Alby Films/CH4, 1983), Jonathan Miller’s The Mikado (Thames/ENO, 1987), starring Lesley Garret and Eric Idle, and ENO’s TV studio remounting of Handel’s Julius Caesar with Dame Janet Baker. Documentaries will round out the experience with a focus on the legendary Maria Callas, featuring rare archive material, and an episode of Monitor with John Schlesinger’s look at an Italian Opera Company (BBC, 1958). -
Thomas D. Svatos and Twentieth-Century Czech Critical Culture
ex tempore A Journal of Compositional and Theoretical Research in Music Vol. XIV/2, Spring / Summer 2009 _________________________ A Clash over Julietta: the Martinů/Nejedlý Political Conflict - Thomas D. Svatos and Twentieth-Century Czech Critical Culture Dialectic in Miniature: Arnold Schoenberg‟s - Matthew Greenbaum Sechs Kleine Klavierstücke Opus 19 Stravinsky's Bayka (1915-16): Prose or Poetry? - Marina Lupishko Pitch Structures in Reginald Smith Brindle’s -Sundar Subramanian El Polifemo de Oro Rhythmic Cells and Organic Development: - Jean-Louis Leleu The Function of Harmonic Fields in Movement IIIb of Livre pour quatuor by Pierre Boulez Analytical Diptych: Boulez Anthèmes / Berio Sequenza XI - John MacKay co-editors: George Arasimowicz, California State University, Dominguez Hills John MacKay, West Springfield, MA associate editors: Per Broman, Bowling Green University Jeffrey Brukman, Rhodes University, RSA John Cole, Elisabeth University of Music, JAP Angela Ida de Benedictis, University of Pavia, IT Paolo Dal Molin, Université Paul Verlaine de Metz, FR Alfred Fisher, Queen‟s University, CAN Cynthia Folio, Temple University Gerry Gabel, Texas Christian University Tomas Henriques, Universidade Nova de Lisboa, POR Timothy Johnson, Ithaca College David Lidov, York University, CAN Marina Lupishko, le Havre, FRA Eva Mantzourani, Canterbury Christchurch Univ, UK Christoph Neidhöfer, McGill University, CAN Paul Paccione, Western Illinois University Robert Rollin, Youngstown State University Roger Savage, UCLA Stuart Smith, University of Maryland Thomas Svatos, Eastern Mediterranean Univ, TRNC André Villeneuve UQAM, CAN Svatos/A Clash over Julietta 1 A Clash over Julietta: The Martinů/Nejedlý Political Conflict and Twentieth-Century Czech Critical Culture Thomas D. Svatos We know and honor our Smetana, but that he must have been a Bolshevik, this is a bit out of hand. -
Avant Première Catalogue 2018 Lists UNITEL’S New Productions of 2017 Plus New Additions to the Catalogue
CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CATALOGUE 2018 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany CEO: Jan Mojto Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: February 2018 © UNITEL 2018 All rights reserved Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES LEONARD BERNSTEIN 1918 – 1990 Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music. -
A MOZART GALA from Salzburg
UNITEL and CLASSICA present A MOZART GALA from Salzburg PATRICIA PETIBON MAGDALENA KOŽENÁ EKATERINA SIURINA MICHAEL SCHADE THOMAS HAMPSON ANNA NETREBKO RENÉ PAPE DANIEL HARDING A MOZART GALA from Salzburg Patricia Petibon René Pape Daniel Harding Magdalena Kožená Thomas Hampson Ekaterina Siurina Anna Netrebko Michael Schade Music by Wolfgang Amadeus Mozart he most spectacular homage to Wolfgang Amadeus Mozart on his 250th birthday in 2006 was incontestably Conductor Daniel Harding the presentation of all of his operas and operatic Orchestra Wiener Philharmoniker T fragments at the Salzburg Festival, “Mozart22”. Recorded on Soloists Anna Netrebko film (available from Unitel Classica), this monumental project Magdalena Kožená has been preserved for posterity as a benchmark of Mozart Ekaterina Siurina interpretation in the early 21st century. Patricia Petibon Thomas Hampson The “Mozart Gala“ held at the Felsenreitschule on 30 René Pape July 2006, in the first days of the 2006 Salzburg Festival, Michael Schade presents a kind of microcosm of the Mozart festivities, with Directed by Brian Large a selection of arias and orchestral music performed by the Vienna Philharmonic under Daniel Harding and featuring Don Giovanni Overture some of the top vocalists of the 2006 Salzburg Festival. A “Madamina, il catalogo è questo“ (René Pape) sampling of exquisite hors d‘œuvres prepared by the most “Dalla sua pace“ (Michael Schade) outstanding musical chefs! Mitridate, Re di Ponto Internationally celebrated soprano Anna Netrebko lives “Nel grave tormento“ (Patricia Petibon) up to her reputation as a fiery, dramatic diva in her passionate La clemenza di Tito rendition of Elettra‘s aria “D‘Oreste, d‘Aiace” from Idomeneo. -
CHAPTER 5 EPILOGUE It Has Been My Aim in This Thesis to Address a Two-Fold Proposition. Informed by My Reading of the Work of Gi
CHAPTER 5 EPILOGUE It has been my aim in this thesis to address a two-fold proposition. Informed by my reading of the work of Gilles de Van, I have discovered that Verdi wished to realize a concept which he called posizione. He provided musical strategies which would delineate characters in their subjective and objective ‘position’ with regard to circumstance and to their relationship with other characters at any given moment of the operatic narrative. The term posizione was intended to denote a musico-dramatic mapping of the co-ordinates which could pinpoint this relationship. With Verdi’s concept in view I have investigated the posizione of Violetta Valéry’s character as it has evolved throughout the course of the operatic narrative of La traviata. In addressing the second facet of my proposition I have taken the term posizione into the broader context of its social implications for the character of Violetta and for women of suspect moral status. In order to do this I have investigated the literary and factual provenance of the narrative and the contemporary response of Despite Budden’s own speculative objection to the notion that Verdi compared Violetta with Giuseppina Strepponi, the possibility remains that the courtesan character elicited a special sympathy from Verdi. The life of Alexandre Dumas fils is the origin from which the narrative of La traviata is drawn. Dumas fils turned the experience of his own liaison with the courtesan Marie Duplessis into the novel La Dame aux Camélias which he later adapted for the stage. As characterized by Dumas, Duplessis, transformed into the more noble Marguerite Gautier, renounced her own happiness in order to save the reputation of the family to whom her lover Armand 192 Duval belonged. -
Mercoledì Opera Luglio 2013
Mercoledì Opera luglio 2013 VIVA VERDI! Nel corso del 1800, l’Italia si trasforma da paese soggiogato al dominio straniero in uno stato unificato indipendente, desideroso di far parte delle grandi potenze europee. ll Risorgimento, le lotte per l’unificazione d’Italia, non potevano lasciare indifferente l’animo del compositore che, dell’Italia e della sua vocazione alla musica e al canto, sarebbe diventato l’icona: Giuseppe Verdi. Nabucco, I Lombardi, Attila e Macbeth esprimono il sincero amore patriottico di Verdi e il suo dolore per un popolo oppresso. Il nome del Maestro rimarrà per sempre legato agli ideali del Risorgimento, trasformandosi in un acrostico rivoluzionario, “Viva V.e.r.d.i!”, da leggersi „Viva Vittorio Emanuele re d’Italia!”. Lo stesso Verdi finisce per credere in questo progetto quando capisce che l’unità del paese si può concretizza- re non tanto attraverso l’insurrezione popolare e l’utopia repubblicana di Mazzini, ma esclusivamente con un paziente lavoro diplomatico e culturale. Per questo, parlare oggi di musica, d’ Italia e di cultura significa, a duecen- to anni dalla nascita del musicista, parlare ancora di Giuseppe Verdi. Giuseppe Verdi Regia: non specificata 3 Direttore d’orchestra: James Levine ore 12:00 Interpreti: Maria Nabucco Guleghina, Juan Pons Durata: 142 minuti Giuseppe Verdi Regia: Brian Large 10 Direttore d’orchestra: Carlo Rizzo ore 12:00 Interpreti: Anna Netreb- Traviata ko, Rolando Villazon Durata: 132 minuti Giuseppe Verdi Regia: Brian Large 17 Direttore d’orchestra: ore 12:00 James Levine Interpreti: Luciano Il Trovatore Pavarotti, Eva Marton Durata: 133 minuti Giuseppe Verdi Regia: Jean-Pierre 24 Ponnelle Direttore d’orchestra: ore 12:00 Riccardo Chailly Rigoletto Interpreti: Luciano Pa- varotti, Edita Gruberova Giuseppe Verdi e Richard Wagner 31 Balletto - Compagnia Artemis Danza ore 12:00 Monica Casadei Aida e Tristan. -
Opera Enormous: Arias in the Cinema Benjamin Speed
The University of Maine DigitalCommons@UMaine Electronic Theses and Dissertations Fogler Library 5-2012 Opera Enormous: Arias in the Cinema Benjamin Speed Follow this and additional works at: http://digitalcommons.library.umaine.edu/etd Part of the Film and Media Studies Commons, Music Performance Commons, and the Theatre and Performance Studies Commons Recommended Citation Speed, Benjamin, "Opera Enormous: Arias in the Cinema" (2012). Electronic Theses and Dissertations. 1749. http://digitalcommons.library.umaine.edu/etd/1749 This Open-Access Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of DigitalCommons@UMaine. OPERA ENORMOUS: ARIAS IN THE CINEMA By Benjamin Speed B. A. , The Evergreen State College, 2002 A THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts (in Communication) The Graduate School The University of Maine May, 2012 Advisory Committee: Nathan Stormer, Associate Professor of Communication and Journalism, Advisor Laura Lindenfeld, Associate Professor of Communication and Journalism and the Margaret Chase Smith Policy Center Michael Socolow, Associate Professor of Communication and Journalism THESIS ACCEPTANCE STATEMENT On behalf of the Graduate Committee for Benjamin Jon Speed I affirm that this manuscript is the final and accepted thesis. Signatures of all committee members are on file with the Graduate School at the University of Maine, 42 Stodder -
Don Giovanni's Case
RLCS, Revista Latina de Comunicación Social, 72 – Pages 1.238 to 1.260 [Research] [Funded] | DOI:10.4185/RLCS-2017-1217en| ISSN 1138-5820 | Year 2017 How to cite this article in bibliographies / References I Villanueva-Benito, I Lacasa-Mas (2017): “The use of audiovisual language in the expansion of performing arts outside theater: Don Giovanni’s case, by Mozart”. Revista Latina de Comunicación Social, 72, pp. 1.238 to 1.260. http://www.revistalatinacs.org/072paper/1217/67en.html DOI: 10.4185/RLCS-2017-1217en The use of audiovisual language in the expansion of performing arts outside theater: Don Giovanni’s case, by Mozart Isabel Villanueva-Benito [CV] [ ORCID] [ GS] Associate professor. Universitat Internacional de Catalunya (Spain). Visiting Researcher. University of Los Angeles, California (United States). [email protected] Iván Lacasa-Mas [CV] [ ORCID] [ GS] Full Professor. Universitat Internacional de Catalunya. Visiting Scholar, University of Texas at Austin, Texas (United States). [email protected] Abstract Introduction: This paper studies opera films of centuries XX and XXI, in order to identify whether the language used is closer to the theater standards of the performing arts typical of live or those of audiovisual media. Methodology: We have performed an exhaustive contents analysis of the end of the first act from 29 filmed versions of Mozart’s Don Giovanni, according to three categories: type of film, type of camera shots used and type of editing. From these, we evaluated 41 variables. Results: We conclude that, with the purpose to expand a performance such as the operatic outside theaters, even in the XXI century, live still limits the form of films. -
BMN 2001/3.Indd
Bohuslav Martinů September – December 2001 40 Years with the Name Martinů Martinů in a Different Light Martinů Events Martinů and his Homes in Nice Today News Boston’s Martinů on Tour Where Martinů is at Home Third issue The International Bohuslav Martinů Society The Bohuslav Martinů Institute CONTENTS WELCOME Karel Van Eycken ................................................. 3 40 YEARS WITH THE NAME MARTINŮ The Bohuslav Martinů Piano Quartet will Celebrate a Major Anniversary Next Season Emil Leichner ......................................................4 A BLUE DOMAIN Stuart Wilson ......................................................5 MARTINŮ EVENTS 2001 ........................6 - 8 BOSTON’S MARTINŮ ON TOUR Gregory Terian .................................................... 7 MEMBERS’ DIARY ................................................ 8 ANNOUNCEMENT Gramophone Award for Magdalena Kožená ............... 8 MARTINŮ IN A DIFFERENT LIGHT The Musical Film for Television as a Form of Interpreting Chamber Stage Works by Bohuslav Martinů Jiří Nekvasil ....................................................... 9 MARTINŮ AND HIS HOMES IN NICE TODAY Karel Van Eycken and Marcel J. Schneider ................12 FROM GREG TERIAN’S MARTINŮ REVIEW in The Dvořák Society Newsletter ...........................13 NEWS ............................................... 14 - 15 DUOS AND TRIO FOR STRINGS Review Sandra Bergmannová ..........................................15 BOHUSLAV MARTINŮ’S CORRESPONDENCE IN THE MUSEUM OF NATIONAL LITERATURE IN PRAGUE Kateřina -
FJB 2019 Programova Skladacka AJ.Indd
7th InternationalInternatioonal Opera and Music Festival Programmee JANÁČEČE JANÁČEKJANÁ 28/ 9 – 16/ 10 BRNOBR 20200 Opera productions 7 p.m. Janáček Theatre 28. 9. Ceremonial opening of the festival LEOŠ JANÁČEK – DESTINY premiere conductor: Marko Ivanović, director: Robert Carsen Živný: Enrico Casari, Philip Sheffield / Míla Válková: Alžběta Poláčková / Míla’s Mother: Szilvia Rálik National Theatre Brno’s Janáček Opera repeat performances 29. 9. and 14. 10., 7 p.m. echoes of the festival 28. 11. and 29. 11., 5 p.m. 1. 10. 7 p.m., Reduta Theatre (Mozart Hall) LEOŠ JANÁČEK – THE DIARY OF ONE premiere of a production based on the author’s stage notes WHO DISAPPEARED tenor: Pavol Breslik, alt: Štěpánka Pučálková piano: Róbert Pechanec with the participation of soloists from National Theatre Brno’s Janáček Opera ensemble JAN JIRASKÝ’S PIANO RECITAL will take place in the first half of the evening Leoš Janáček – In the Mists, Béla Bartók – Allegro barbaro, Kryštof Mařatka – Onyrik, future and exotic tales for piano, Igor Fyodorovich Stravinsky – Piano Rag Music 2. 10. 7 p.m., Mahen Theatre LEOŠ JANÁČEK – JENŮFA conductor: Yoel Gamzou, director: Armin Petras Jenůfa: Nadine Lehner Theater Bremen 3. 10. 7 p.m., Janáček Theatre LEOŠ JANÁČEK – JENŮFA premiere conductor: Robert Kružík, director: Claus Guth Kostelnička: Karita Mattila / Jenůfa: Jana Šrejma Kačírková / Laca Klemeň: Jaroslav Březina National Theatre Brno’s Janáček Opera, in cooperation with Royal Opera House (London) repeat performance 5. 10., 7 p.m. 10. 10. 7 p.m., Janáček Theatre RICHARD STRAUSS – SALOME conductor: Balázs Kocsár, director: András Almási-Tóth Salome: Annemarie Kremer Hungarian State Opera (Budapest) 12. -
2 Marek Kopelent
2_17 Marek Kopelent Brno? For Opera? For Sure! The Janáček Academy Antonín Reichenauer 1177 2_ Dear readers, Contents: two articles in the current issue Cleaning the Score pertain to Brno, the Czech Republic’s An interview with Marek Kopelent second-largest city, a city that today is by Matěj Kratochvíl the seat of renowned universities and page 2 numerous technology companies, a city that can pride itself in a remarkable Brno? For Opera? For Sure! cultural past and present. The text about by Helena Havlíková the Brno Opera, written by Helena page 9 Havlíková, in particular shows that the Czech Republic does not begin 70th anniversary of the Janáček Academy of Music and end with Prague, an impression and Performing Arts in Brno than often arises as a result of mass by Monika Holá tourism. Furthermore, the issue contains page 18 the second and fi nal part of the article about Miloslav Kabeláč’s symphonies, Czech music Every day – Events at home and abroad and, most signifi cantly, an interview in the spring of 2017 with the composer Marek Kopelent, by Barbora Vacková who this year is celebrating his 85th page 22 birthday. Based in Prague, he continues to have a bold impact on Czech music, First edition of Antonín Reichenauer’s as a composer and infl uential teacher Concerto in G major alike. by Lukáš M. Vytlačil page 24 Wishing you a beautiful summer Petr Bakla Miloslav Kabeláč – Symphonist (Part 2) by Jaromír Havlík page 27 Reviews page 34 cover: Marko Ivanović – Čarokraj (Enchantia) photo © National Theatre Brno Czech Music Quarterly is issued ISSN 1211-0264 (Print), ISSN 1804-0586 (Online) by the Czech Music Information Centre MK ČR E 7099 with support of the Ministry of Culture of the Czech Republic and the Czech Music Fund. -
May–August 2014/ Vol.XIV / No.2
THE BOHUSLAV MARTINŮ FOUNDATION THE BOHUSLAV MARTINŮ INSTITUTE THE INTERNATIONAL MARTINŮ CIRCLE MR julia fischer at prague may–august 2014 / vol.XIV / no.2 spring festival opera what men live by martinů: a bridge between two cultures peephole into the bohuslav martinů center in polička BOHUSLAVMARTINŮ INTHEYEAR OFCZECH MUSIC & BOHUSLAVMARTINŮ DAYS contents 2014 3 PROLOGUE 4 14+15+16 SEPTEMBER 2014 9.00 pm . Lesser Town of Prague Cemetery 5 Eva Blažíčková – choreographer MARTINŮ . The Bouquet of Flowers, H 260 6 7 OCTOBER 2014 . 8.30 pm . HAMU, Martinů Hall, Prague BOHUSLAV MARTINŮ’S SOLDIER Concert in the occasion of 100th anniversary of Josef Páleníček’s birth Smetana Trio, Wenzel Grund – clarinet AND DANCER MARTINŮ . Piano Trio No 2, H 327 OLGA JANÁČKOVÁ (+ PÁLENÍČEK, JANÁČEK) THE SOLDIER AND THE DANCER IN PLZEŇ 2 NOVEMBER 2014 . 7.00 pm . National Theatre, Prague EVA VELICKÁ Ballet ensemble of the National Moravian-Silesian Theatre, Nataša Novotná – choreographer 8 MARTINŮ . The Strangler, H 314 (+ SMETANA, JANÁČEK) GEOFF PIPER MARTINA FIALKOVÁ 2 DECEMBER 2014 . 5.00 pm . Hall of Prague Conservatory Concert Marking the 40th Anniversary of the Dvořák Society for Czech and Slovak Music – programme see page 3 10 JULIA FISCHER AT PRAGUE SPRING BOHUSLAV . MARTINU DAYS FESTIVAL FRANK KUZNIK 30 NOVEMBER 2014 . 7.00 pm . HAMU, Martinů Hall, Prague TWO STARS ENCHANT THE RUDOLFINUM Concert of the winners of Bohuslav Martinů Competition PRAVOSLAV KOHOUT in the Category Piano Trio and String Quartet 2 DECEMBER 2014 . 7.30 pm . HAMU, Martinů Hall, Prague 12 Kühn Children's Choir, choirmasters: Jiří Chvála, Petr Louženský WHAT MEN LIVE BY Panocha Quartet members (Jiří Panocha, Pavel Zejfart – violin, GREGORY TERIAN Miroslav Sehnoutka – viola), Jan Kalfus – organ, Petr Kostka – recitation, Ivan Kusnjer – baritone, Daniel Wiesner – piano MARTINŮ .