DOCSLIB.ORG

Deyhim) Who Attempts to Break Free from the So Amanda Means's Black-And-White and Color Portraits of Light Bulbs Are at Ricco/Ma

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Deyhim) Who Attempts to Break Free from the So Amanda Means's Black-And-White and Color Portraits of Light Bulbs Are at Ricco/Ma Cobiirn's "London" (t909) nnd yoes throiij;li to Kneuss) with an impressive cast, featuring Dawn Buitcrlly," and other classics. (Plorcncc Gould Dnvid l.iiCliapcllc's "LiiClia|Klli; Land" (1996). Upshaw, Carol Vaness, Susan Craham, i'lacidi) l-lall, .5.5 E. .sydi .St. 35.5-6160. Oct. 5-6 at 8 and Tlii; volumes in lictwcen include ;i Camera Domingo, Mark Oswald, Antonio Barasoida, and Oct. 7 at 7.) Work issue devoted to Paul Strand (1917), Leiii Hao Jiang Tian; tlio conductor is James Levine. " L O G I C O F T H E B I R D S " Riefcnscalil's "Sclioiihcit ini Olynipischcn (Oct. 3 and Oct. 6 at S.) ♦ Tchaikovsky's "Eugene A collaboration, loosely based on twelfth-ccnciity Kampf" (1937), and work from more recent lead Onegin," with Solveig Kringclborn, Katarina Persi.in mystical writings, between four noted ers .and mnvericks—Peter licard, Michael l.esy, Katncus, Marcello Giordani, Thomas Hanipson, Iranian-btirn artists—the visual artist Sbirin Nc- and Allen Ginshetg make it in. The show is a and Rohert Lloyd; Vladimir jutowski. (Oct. 4 and shat, the composer .Snssaii Deyhim, theliimmaker pleasure, hut innsi of all it's an excuse for a lush Oct. 8 at 7:30.) • "La Bohemc," with liei-Kyung Ghasem Hbrahiinian, and tlie writer Shoja Azari. catalogue, "The Book of 101 Books" (2001). Hong and Matcello Giordani as Mimi and Ro- It combines film, music, and drama to illustrate the Through Nov. 3. (Roth Horowitz, I60A E 70th dolfo, and hiva Mula and Bruno Caproni as Mu- story of an Iranian woman (a role sung in Farsi by St. 717-9067.) setta and Marcello; Carlo Rizzi. (Oct. 5 at 8.) ♦ Deyhim) who attempts to break free from the so With Prank Lopardo replacing Giordani. (Oct. 9 at cial and political tealilies of her country. (The S^jor/ List 8.) • The last performance this scastw of Berg's Kitchen, 512 W. 19th St. 255-5793. Oct. .5-6 at 8. "Wo77.cck," with Katarina Dalaynian (as Marie], Through Oct. 16. Note: Phe proceeds fi'om the AMY ARBUS Wolfgang Neumann, Graham Clark, Palk Struck- opening-night performance will be donated to Bateman, 560 Broadway. 227-1431. maim, and Michael Devlin; James Levine. (Oct. 6 the Kitchen's local (ire department, Engine Com Through Nov. 14. at 1:30.) (Metropolitan Opera House. 362-6000.) pany No. 3.) tT- Amanda Means's black-and-white and color portraits of light bulbs are at Ricco/Maresca through October 13. JEFF BROUWS N E W Y O R K C I T Y O P E R A Mann, 210 Eleventh Ave. 989-7600. Bellini's "The Capiilcl.s .and the Montagues," di- OKCHE5TRA5 AND CHO[\U5EJ Through Nov, 3. reeted by Thor Steingraber. With Mary Dunleavy JOHN COFFER (as Juliet), Sarah Connolly (as Romeo), Raul Her The Viewing Room, 114 W. 17th .St. nandez, jan Opalach, and John Marcus Bindcl; NEW YORK PHILHARMONIC 646-638-L92C. Through Oct. 31. Joseph Rescigno conducts. (Oct. 3 at 7;30, Oct. 5 Oct. 4-6 at 8, and Oct. 9 at 7:30: Andre Ptevin's pro M A R K C O H E N at 8, and Oct. 7 at 1:30.) ♦ "The Magic Flute," gram runs the gamut of emotions, from the childlike Silverstein, 504 W. 22nd St. 627-3930. .snug in English, with Pamela Armstrong, Aline innocence of Mozart's "Pine KIcinc Naehimusik" to I'hrough Nov. 10. Kutan, John Osborn, Daniel Belelicr, Gustav An- the high drama of Dimitti Mitropoulos'.s string- PAUL D'AMATO drcasseii-aad Keith Jameson; David Aglet. (Get. 4 orchestra arrangement of Beethoven's Quartet Milo, .552 W. 24th St.414.0370. and Oet. 9 at 7:30.) • Jonathan Miller's produc No. 14 in C-Sliati> Minoi. In between comes Brit Through Oct. 27. tion of "The Mikado," with Jan Opalach (in the ten's pastoral "Serenade" (with ilic tenor Anthony PHILIP-LORCA Dl CORCIA title tolc), Angela Turner Wilson, Linda lioark- Dean Griffey and Philip Myers, the orchestra's prin PaccWildenstein Chelsea, 534 W, 2Sth St. Sii luiimcr, Jennifer Dudley, Richard Troxcll, and cipal hornist), :i mastetpiecc of lyrical elegy. ♦ Sfoic; 929-700(1. Through Oct. 13. Richard Siiart; Gemld .Steichcn. (Oct. 6 at 1:30.) ♦ In the Hist of an expandeil scries of ptc-eonccrt Ice- PAUL FUSCO Verdi's "M.icheih," a rcturu of the 1997 produc tntes and recitals, tlic orchcsita's artistic adminis Beiirubi, 52 E. 76tii .St. 5 17-.3766. tion, with Richard Paul Pink in the title role and trator, Jeremy fjeffen, discusses the music of Britten Through Oct. 13. Lauren Planigaii reprising her role as Lady Mac and the poetry of Bl.ake, one hour before each con LUI6I 6KIRRI / TODD KIDO beth. Despite its siyiistic discontinuities (it was cert. (Avery l-ishcr Mali. 72I-6500.) Saul, 535 W. 22nd St. 627-2410, written in 1847 and extensively revised eighteen BERLIN PHILHARMONIC ORCHESTRA Through Oct. 20. years later), this ircnchanr Shakespeare adaptation Carnegie Hall's official opening-night concert pro AMANDA MEANS is more notable for its dramatic ambience than for ceeds as selieduled, with Claudio Abhado (in his Ricco/Maresca, 529 W. 20th St. 627-4819. its individual moments—though Lady Macbcth's l.ist season,IS artt.siic director) leading the orches Through Oct. 13. sleepwalking scene remains one of the composer's tra in music hv Mahler (four songs from "Des LARRY SULTAN most haunting creations. George Manahan con Knahen Wurderhorn," with the baritone Thomas Borden, 560 Broadway. 43 I •() 166. ducts. (Oct. 6 at 8.) (New York Stare Theatre. Quasthoff) and Beethoven (the "Eroica" and the Through Oct. 13. 307-4100.) "Kgmoiu" Oveiiute). A portion of the concert's LA GRAN SCENA OPERA CO. proceeds will be donated to the relief efforts of the Sec the iiiiiseiim listiitjrs fur jrhutogral'hy It scarcely seem.s helievahle, hut after two glorious World Trade Center tragedy. (Oct. 3 ar 7.) ♦ Ab axbikitions at the MetropoUtan Museinn decades the writer-director lea Siff—known to hado and rhe B.P.O. rcinrn for an evening of nf A> /. the Whitney Miiscion of American Art. his tans as the falsetto soprano Vera Galupe- Brahms (the First Pi.ano Concerto, with Maunzio .nui ll>e Aineriean Miiseiiin nf Natural History, Borszkh—is closing down his all-male New York Pollini) and Beethoven (tlic .Symplioiiy No. 7 in company (thougli it is rumored that Madame Vera A Major). (Oct. .5 at 8.) ♦ A final concert, featur may continue to make solo .ippe.iranees). Us ing Beethoven's l-'ifth and SLxth Symplinnies. (Oct. CLA2i"5ICAL MU5IC final production, "Vera... Life ofa Diva," a bio- 6 at 8.) (247-7800.) OPEllA cpic of the incomparable La Dementia, will find AZUOLiUKAS BOYS' CHOIR OF VILNIUS the company's favorite cliaractcts—including The Lithuanian ensemble makes its first tour of tlic African-American diva Kavatina Turner (Kyle United .8tates, presenting music by Rachmaninoff, METROPOLITAN OPERA Cluireh Cheseborough) and Maestro Lorenzo Rutter, Bernstein (seleetions from "West Side Jean-Pierre Poniielle's 1982 prodiiecion of Mo Costaloita Denato (Todd Sislcy)—spooling arhi.s Story"), and others- (.Soeieiv for Ethical Culture, 2 zart's "Idomeneo" returns (directed by David and scenes from "Tosca," "Manon," "Madama W.64cliSr, 982-1335, Oct.hat 8.) 18 THE NE'W ■tORKER. OCTOBER 8, 200I.
Load more

Recommended publications
  • Verdi Week on Operavore Program Details
    Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
    [Show full text]
  • 05-09-2019 Siegfried Eve.Indd
    Synopsis Act I Mythical times. In his cave in the forest, the dwarf Mime forges a sword for his foster son Siegfried. He hates Siegfried but hopes that the youth will kill the dragon Fafner, who guards the Nibelungs’ treasure, so that Mime can take the all-powerful ring from him. Siegfried arrives and smashes the new sword, raging at Mime’s incompetence. Having realized that he can’t be the dwarf’s son, as there is no physical resemblance between them, he demands to know who his parents were. For the first time, Mime tells Siegfried how he found his mother, Sieglinde, in the woods, who died giving birth to him. When he shows Siegfried the fragments of his father’s sword, Nothung, Siegfried orders Mime to repair it for him and storms out. As Mime sinks down in despair, a stranger enters. It is Wotan, lord of the gods, in human disguise as the Wanderer. He challenges the fearful Mime to a riddle competition, in which the loser forfeits his head. The Wanderer easily answers Mime’s three questions about the Nibelungs, the giants, and the gods. Mime, in turn, knows the answers to the traveler’s first two questions but gives up in terror when asked who will repair the sword Nothung. The Wanderer admonishes Mime for inquiring about faraway matters when he knows nothing about what closely concerns him. Then he departs, leaving the dwarf’s head to “him who knows no fear” and who will re-forge the magic blade. When Siegfried returns demanding his father’s sword, Mime tells him that he can’t repair it.
    [Show full text]
  • Private Studies with Leif Lauritsen and André Orlowitz 2
    CV of David Danholt, Tenor Born in Faaborg, Denmark Education: Private studies with Leif Lauritsen and André Orlowitz 2002-2005: The Opera Academy at the Royal Opera House, Copenhagen 2005-2007: The Soloist Class, The Royal Academy of Music, Copenhagen 2007-: Private studies with Tonny Landy, Gregory Lamar and Klavs Lewinsky OPERA: 2004: Lysander, A Midsummer Night's Dream, Royal Opera House, Copenhagen, DK 2005: A Messenger, Aida, Royal Opera House, Copenhagen, DK Eurimaco, Il Ritorno d'Ulisse in Patria, Royal Opera House, Copenhagen, DK Don Ottavio, Don Giovanni, The Rialto Theatre, Copenhagen, DK 2006: Gastone, La Traviata, Royal Opera House, Copenhagen, DK 2007: The Fisherman, Le Rossignol, Bramstrup, DK 2008: Faust, National Opera, Århus Steuerman, Der fliegende Holländer, National Opera, Århus, DK Tamino, Die Zauberflöte, National Opera, Århus, DK 2009: Nemorino, L'Elisir d'Amore, National Opera, Århus, DK Alfredo, La Traviata, National Opera, Århus, DK 2010: Idomeneo, National Opera, Århus, DK SS-Officer and cover the role of Walter, Die Passagierin, Bregenzer Festspiele, AU Hans, The Bartered Bride, Staatstheater Mainz, DE 2012: Don Ottavio, Don Giovanni, National Opera, Århus, DK Idomeneo, Grange Park Opera, UK Junger Seemann & Hirte, Tristan & Isolde, National Opera, Århus, DK 2013: Claudio, Das Liebesverbot (Wagner), Oper Leipzig/Bayreuther Festspiele, DE Arindal, Die Feen (Wagner), Chelsea Opera Group, London (Concert performance), UK 2014: Claudio, Das Liebesverbot (Wagner), Oper Leipzig, DE Arindal, Die Feen (Wagner),
    [Show full text]
  • RSTD OPERN Ma Rz April Ok 212X433
    RSTD OPERN_März April_ok_212x433 12.02.13 09:40 Seite 1 Opernprogramm März 2013 März Gaetano Donizetti Anna Bolena 20.00 - 22.55 Anna Bolena: Edita Gruberova, Giovanna Seymour: Delores Ziegler, Enrico VIII.: Stefano Palatchi, Lord Rochefort: Igor Morosow, 2 Lord Riccardo Percy: José Bros, Smeton: Helene Schneiderman, Sir Hervey: José Guadalupe Reyes. Samstag Chor und Orchester des Ungarischen Rundfunks und Fernsehens, Leitung: Elio Boncompagni, 1994. März Richard Wagner Das Liebesverbot 20.00 - 22.40 Friedrich: Hermann Prey, Luzio: Wolfgang Fassler, Claudio: Robert Schunk, Antonio: Friedrich Lenz, Angelo: Kieth Engen, 5 Isabella: Sabine Hass, Mariana: Pamela Coburn, Brighella: Alfred Kuhn. Dienstag Chor der Bayerischen Staatsoper, Bayerisches Staatsorchester, Leitung: Wolfgang Sawallisch, 1983. März Georg Friedrich Händel Alessandro 20.00 - 23.20 Alessandro Magno: Max Emanuel Cencic, Rossane: Julia Lezhneva, Lisaura: Karina Gauvin, Tassile: Xavier Sabata, 7 Leonato: Juan Sancho, Clito: In-Sung Sim, Cleone: Vasily Khoroshev. Donnerstag The City of Athens Choir, Armonia Atenea, Leitung: George Petrou, 2011. März Giuseppe Verdi Aroldo 20.00 - 22.15 Aroldo: Neil Shicoff, Mina: Carol Vaness, Egberto: Anthony Michaels-Moore, Briano: Roberto Scandiuzzi, 9 Godvino: Julian Gavin, Enrico: Sergio Spina, Elena: Marina Comparato. Samstag Coro del Maggio Musicale Fiorentino, Orchestra del Maggio Musicale Fiorentino, Leitung: Zubin Mehta, 2001. März Wolfgang Amadé Mozart La finta giardiniera 20.00 - 23.10 Sandrina: Sophie Karthäuser, Contino Belfiore: Jeremy Ovenden, Arminda: Alex Penda, 12 Cavaliere Ramiro: Marie-Claude Chappuis, Podestà: Nicolas Rivenq, Serpetta: Sunhae Im, Roberto: Michael Nagy. Dienstag Freiburger Barockorchester, Leitung: René Jacobs, 2011. Der neue Konzertzyklus im Mozarthaus Vienna: mozartakademie 2013 „Magic Moments – Magische Momente in den Werken großer Meister“ 20.03.
    [Show full text]
  • La Clemenza Di Tito
    La clemenza di Tito La clemenza di Tito (English: The Clemency of Titus), K. 621, is an opera seria in La clemenza di T ito two acts composed by Wolfgang Amadeus Mozart to an Italian libretto by Caterino Mazzolà, after Pietro Metastasio. It was started after the bulk of Die Zauberflöte Opera by W. A. Mozart (The Magic Flute), the last opera that Mozart worked on, was already written. The work premiered on 6 September 1791 at theEstates Theatre in Prague. Contents Background Performance history Roles Instrumentation Synopsis Act 1 The composer, drawing by Doris Act 2 Stock, 1789 Recordings Translation The Clemency of Titus See also References Librettist Caterino Mazzolà External links Language Italian Based on libretto by Pietro Metastasio Background Premiere 6 September 1791 In 1791, the last year of his life, Mozart was already well advanced in writing Die Estates Theatre, Zauberflöte by July when he was asked to compose an opera seria. The commission Prague came from the impresario Domenico Guardasoni, who lived in Prague and who had been charged by the Estates of Bohemia with providing a new work to celebrate the coronation of Leopold II, Holy Roman Emperor, as King of Bohemia. The coronation had been planned by the Estates in order to ratify a political agreement between Leopold and the nobility of Bohemia (it had rescinded efforts of Leopold's brother Joseph II to initiate a program to free the serfs of Bohemia and increase the tax burden of aristocratic landholders). Leopold desired to pacify the Bohemian nobility in order to forestall revolt and strengthen his empire in the face of political challenges engendered by the French Revolution.
    [Show full text]
  • Merola Opera Program 2017 Summer Festival Continues Its 60Th
    Contact: Ruben Pimentel Rachel Krasner Director of Marketing & Communications Marketing & Events Associate [email protected] [email protected] 415.936.2323 415.936.2320 Jean Shirk [email protected] 510.332.4195 FOR IMMEDIATE RELEASE / May 24, 2017 Merola Opera Program 2017 Summer Festival continues its 60th Anniversary Season with Schwabacher Summer Concerts July 6 at 7:30 pm at San Francisco Conservatory of Music and July 9 at 2:30 pm at Bing Concert Hall at Stanford University (l to r: Anne Manson, David Lefkowich) (San Francisco, CA – May 24, 2017) - The acclaimed Merola Opera Program, one of the most prestigious and selective opera training programs in the United States, celebrates its 60th Anniversary Season with the 2017 Summer Festival, presenting the popular Schwabacher Summer Concerts Thursday, July 6 at 7:30 pm at the San Francisco Conservatory of Music and Sunday, July 9 at 2:30 pm at the Bing Concert Hall at Stanford University. Conducted by Anne Manson and directed by David Lefkowich, the Schwabacher Summer Concert features this year’s Merola Opera artists performing extended scenes from operas including The Ballad of Baby Doe by Douglas Moore, Lucrezia Borgia by Gaetano Donizetti, Der Freischütz by Carl Maria von Weber, Thaïs by Jules Massenet, Cavalleria rusticana by Pietro Mascagni, and Street Scene by Kurt Weill. Tickets for the concert at the 1 San Francisco Conservatory of Music range from $25 to $45, with a limited number of $15 student tickets available. Tickets for the concert at Bing Concert Hall are $30 to $40. Conductor Anne Manson has served as Music Director of the Manitoba Chamber Orchestra since 2008 and recently renewed her contract through 2020.
    [Show full text]
  • Michael Schade at a Special Release of His New Hyperion Recording “Of Ladies and Love...”
    th La Scena Musicale cene English Canada Special Edition September - October 2002 Issue 01 Classical Music & Jazz Season Previews & Calendar Southern Ontario & Western Canada MichaelPerpetual Schade Motion Canada Post Publications Mail Sales Agreement n˚. 40025257 FREE TMS 1-01/colorpages 9/3/02 4:16 PM Page 2 Meet Michael Schade At a Special Release of his new Hyperion recording “Of ladies and love...” Thursday Sept.26 At L’Atelier Grigorian Toronto 70 Yorkville Ave. 5:30 - 7:30 pm Saturday Sept. 28 At L’Atelier Grigorian Oakville 210 Lakeshore Rd.E. 1:00 - 3:00 pm The World’s Finest Classical & Jazz Music Emporium L’Atelier Grigorian g Yorkville Avenue, U of T Bookstore, & Oakville GLENN GOULD A State of Wonder- The Complete Goldberg Variations (S3K 87703) The Goldberg Variations are Glenn Gould’s signature work. He recorded two versions of Bach’s great composition—once in 1955 and again in 1981. It is a testament to Gould’s genius that he could record the same piece of music twice—so differently, yet each version brilliant in its own way. Glenn Gould— A State Of Wonder brings together both of Gould’s legendary performances of The Goldberg Variations for the first time in a deluxe, digitally remastered, 3-CD set. Sony Classical celebrates the 70th anniversary of Glenn Gould's birth with a collection of limited edition CDs. This beautifully packaged collection contains the cornerstones of Gould’s career that marked him as a genius of our time. A supreme intrepreter of Bach, these recordings are an essential addition to every music collection.
    [Show full text]
  • Les Pages Sur Les Festivals D'été
    festivalsSummer d’été Une pléiade de festivals de musique classique se disputent chaque été les faveurs des mélomanes. Le plaisir des yeux y rejoint celui des oreilles, les sites étant souvent splendides et totalement dépaysants. La Scena en brosse, ce mois-ci, un portrait pastoral. A growing number of festivals appeal to classical music lovers. They aim to please their patrons’ ears, but also they strive to delight their eyes, being located in bucolic pastures. This month, La Scena attempts to capture their unique appeal. 3 2pm. StAC. Ensemble vocal Joseph-François- über die Folie d’Espagne, Wq. 118/9, H.263 JULY Perrault; Oakville Children’s Choir; Academic (1778); Mozart: Fantaisie in C minor, K.V. 475 12 20h. EcLER. $10-22. Chausson: Quatuor; Brahms: Choir of Adam Mickiewicz University; Bach (1785); 9 Variationen über ein Menuett von Quatuor #3 en sol mineur. Quatuor Kandinsky Children’s Chorus of Scarborough; Prince of Duport, K.V. 573 (1789); Haydn: Variations in F 13 20h. ÉNDVis. $10-22. Piazzolla: “Four for Tango”; Wales Collegiate Chamber Choir; Choral Altivoz minor, Hob. xvii/6 (1793); Beethoven: 6 Castonguay-Prévost-Michaud: “Redemptio” 3 8pm. A&CC. Cantare-Cantilena Ensemble; Young Variations, op.34 (1802). Cynthia Millman-Floyd, (poème Serge-Patrice Thibodeau); Dvorak: Voices of Melbourne; Daughter of the Baltic fortepiano “Cypresses” #6 10 5 12; Chostakovich: 2 Pieces 3 8pm. GowC. St. John’s Choir; Scunthorpe Co- 3 8pm. DAC Sir James Dunn Theatre. $20-25. Guy: for String Quartet; Reinberger: Nonet op.139. Operative Junior Choir; Amabile Boys Choir Nasca Lines. Upstream Orchestra; Barry Guy, bass Quatuor Arthur-LeBlanc; Eric Lagacé, contre- 4 8pm.
    [Show full text]
  • Aruilffi * &Til
    ffiH"A GIUSEPPEVERDI AIDA Librettobv AntonioGhislanzoni Thisproduction of Ardais dedicatedto DiamondProducers' Circle Sponsors lris and Matthew Strauss, TitleCo-Sponsors Gillian and Tony Thornley, and Producers' Circle Sponsors Jennifer and RichardGreenfield, Lyndaand RichardKerr, Barbara Kjos, John Rebeloand SarahB. Marsh-Rebeloand Friendsof Pam Slater-Price. SanDiego Opera is pleasedto recognizeNorthern Trust as our CorporateProducing Partner for Aida. Sincerethanks also go to AmericanAirlines. OfficialAirline of SanDiego Opera, SycuanCasino, Phone Etiquette Sponsor, and PointLoma Nazarene University, Supertitles Sponsor. ilA$T: $ilTTit*t: (in orderof vocalappearance) Setting:The periodof the Pharaoh'spower. Memphisand Thebes Ramfis ReinhardHagen Radames Walter Fraccaro. ACT I Amneris Jill Grove. Scene1 : A Hallin the Palacein Memphis Aida LatoniaMoore" Scene2. lnsidethe Templeof Vulcan Kingof Egypt Ashraf Sewailam ACT II Messenger Greg Fedderly Scene'l : Amneris'apartments in Thebes Priestess PritiGandhi Scene2; The Gatesof Thebes Amonasro Mark S. Doss - 2O Minute lntermission - Conductor DanieleCallegari- ACT Director Andrew Sinclair III TheTemple of lsison the Banksof the Nile Choreographer Kennethvon Heidecke ScenicDesigner ZandraRhodes ACT IV Cncfr rma Dacinnar ZandraRhodes TheJudgment Hall and SubterraneanTomb LrghtingDesigner ChristopherMaravich Wig and MakeupDesigner Steven Bryant . ChorusMaster CharlesF. Prestinari Therunning time is approximately 3 hours, tncluding one intermission. Supertitles ChristopherBergen . Byarrangement
    [Show full text]
  • Opera Recordings: a Very Personal Guide by Ralph Moore
    “Untouchable” and ”Most Recommendable” Opera Recordings: a very personal guide by Ralph Moore My handful of regular readers might have noticed some glaring omissions in the list of thirty-seven major operas whose discographies I have surveyed over the last couple of years - operas whose quality and popularity are such that one might reasonably have expected me to have included them in my labours. There are, after all, probably around fifty truly first-rate operas which have been most often performed and recorded and I have by no means covered them all. I received requests to survey some of the following but on consideration, I realised that there were good reasons for my reluctance to do so. The most obvious omissions are these twelve operas: Verdi’s La traviata and Il trovatore; Wagner’s Lohengrin and Tannhäuser; Mozart’s Don Giovanni; Puccini’s La bohème, Tosca, Madama Butterfly and Turandot; Rossini’s Il barbiere di Siviglia; Donizetti’s Lucia di Lammermoor and Beethoven’s Fidelio. My reason for not having reviewed them collectively is that either the opera in question has received one or two recordings of such definitive quality that consideration of the others is otiose or there are so many good recordings of it in the catalogue that making a helpful or meaningful recommendation becomes difficult. I have therefore decided to circumvent the problem by making some brief, annotated recommendations and guidance for those major operas hitherto neglected. Obviously, my selections are highly subjective and controversial, and other collectors will be dismayed that I have ostensibly rejected their own candidates for recordings of classic status or nominated one they loathe but at the same time I think I may fairly claim that these are, in general, recordings which have stood the test of time.
    [Show full text]
  • SYMPHONY #1, “A S (1903-9) Ralph Vaughan Williams (1872-1958)
    presents SYMPHONY #1, “A SEA SYMPHONY” (1903-9) Ralph Vaughan Williams (1872-1958) Performed by the UNIVERSITY SYMPHONY & COMBINED CHORUS Peter Erös, conductor 7:30 PM March 14, 2008 Meany Theater PROGRAM A Song for All Seas, All Ships On the Beach at night, Alone The Waves The Explorers A SEA SYMPHONY is a remarkably evocative piece of music by Ralph Vaughan Williams for a large choir, soprano and baritone soloists and orchestra. The text is from Walt Whitman’s collection “Leaves of Grass.” This is perfect for Vaughan Williams, encompassing everything from descrip– tions of ships at sea, daring explorers and innovators, introspection on the meaning of progress, the Second Coming, and a transcendent final voyage to the afterlife. Bertrand Russell introduced Vaughan Williams to the poet’s work while they were both undergraduates at Cambridge. The piece is a true choral symphony, where the choir leads the themes and drives the action, rather than merely intoning the words and pro– viding a bit of vocal color; it is more like an oratorio than a symphony. It is Vaughan Williams’ first symphonic work, and such was his lack of confidence in the area that he returned to study under Ravel in Paris for three months before he felt able to complete it. It was premiered in 1910 at the Leeds Festival. There are four movements: “A Song for all Seas, all Ships,” “On the Beach at night, Alone,” “The Waves,” and “The Explorers.” The first is an introduction, dealing with the sea, sailing ships and steamers, sailors and flags.
    [Show full text]
  • Recital VIII
    2011 DE XVII Ciclo de Lied UNIO J DE 20 Recital VIII 10 TEMPORADA 11 Recital VIII XVII Ciclo de Lied NA N CY FABIOLA HERRERA , mezzosoprano RUBÉ N FER N Á N DEZ -AGUIRRE , piano Lunes 20 de Junio, a las 20:00 horas » S UDO N « : IE R E S RECITAL VIII Coproducido por Miembro de: CATÁLOGO GE N ERAL DE PUBLICACIO N ES OF ICIALES http://publicaciones.administracion.es © TEATRO DE LA ZARZUELA JOVELLA N OS , 4 - 28014 MADRID , ES P AÑA OF ICI N AS : LOS MADRAZO , 11 - 28014 MADRID , ES P AÑA TEL . CE N TRALITA : 34 91 524 54 00 FAX : 34 91 523 30 59 http://teatrodelazarzuela.mcu.es DE P ARTA M E N TO DE ABO N OS Y TAQUILLAS : 34 91 524 54 10 FAX : 34 91 524 54 12 Edición del programa: Teatro de La Zarzuela Coordinación editorial y gráfica: Víctor Pagán Coordinación de textos: Gerardo Fernández San Emeterio Diseño gráfico, maquetación y fotografía: Argonauta Diseño Impresión: Imprenta Nacional del Boletín Oficial del Estado D.L: M-25842-201 Nipo: 556-11-014-1 2 PROGRAMA Primera Parte Segunda Parte ISAAC ALBÉ N IZ DARIUS MIL H AUD (1860-1909) (1892-1974) IL E N EST DE L’A M OUR CH A N SO N S DE N ÉGRESSE CH A N SO N DE BARBERI N E 1. Mon histoire 2. Abandonnée 3. Sans feu ni lieu EDUARD TOLDRÀ (1895-1962) SEIS CA N CIO N ES XAVIER MO N SALVATGE (selección) (1912-2002) 2. Madre, unos ojuelos vi CI N CO CA N CIO N ES N EGRAS 3.
    [Show full text]