Suor Angelica

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San Francisco Opera Association 1990-1991 War Memorial Opera House Suor Angelica Suor Angelica Sister Angelica (In Italian) Opera in one acts by Giacomo Puccini Libretto by Giovacchino Forzano Part I of a double bill, with "Pagliacci" Cast Conductor Sister Monitor Donna Petersen Nello Santi First Lay Sister Mary Mills Production John Copley Mistress of the Novices Catherine Keen Second Lay Sister Reveka Mavrovitis Designer Robert Perdziola Sister Osmina Patricia Racette Lighting Designer Sister Genovieffa Laura Claycomb 9/28 Thomas J. Munn Janet Williams Sound Designer The Novice Jillian Khuner 9/28 Roger Gans Laura Claycomb Chorus Director Sister Angelica Leona Mitchell Ian Robertson Sister Dolcina Angela Randell Musical Preparation The Nursing Sister Kristine Jepson Robert Morrison Susanna Lemberskaya First Alms Sister Maria Fortuna Kathryn Cathcart Second Alms Sister Yanyu Guo Musical Preparation The Abbess Heather Begg Patrick Summers The Princess Elena Obraztsova Ernest Fredric Knell Philip Eisenberg *San Francisco Opera debut Susan Miller Hult †Current Adler Fellow Prompter Place and Time: Late 1600s; a convent in Italy Philip Eisenberg Assistant Stage Director Laurie Feldman Supertitles Christopher Bergen Stage Manager Jerry Sherk Sunday, Sep 16 1990, 2:00 PM Wednesday, Sep 19 1990, 7:30 PM (not specified) Saturday, Sep 22 1990, 8:00 PM Friday, Sep 28 1990, 8:00 PM Tuesday, Oct 02 1990, 8:00 PM Notes Because of a labor dispute, the performances of September 7 and 12 were cancelled. New Production Scenery constructed in San Francisco Opera Scenic Studios Costumes executed by San Francisco Opera Costume Shop San Francisco Girls Chorus Elizabeth Appling, Director San Francisco Boys Chorus Elizabeth Waterbury, Associate Conductor .

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Samuel Ramey
welcome to LOS i\Ilgeles upera http://www.losangelesopera.comlproduction/index.asp?... •• PURCHASE TICKETS • 2003/2004 SEASON LA AMNATION DE FAD T La damnation de Faust The damnation of Faust / Hector Berlioz Nicholas and In French with English Supertitles Ticket Information Alexandra Lucia di Samuel Ramey, Synopsis Lammermoor r-----------.., Program Notes Denyce Graves and Photo Gallery Orfeo ed Euridice Paul Groves star in a spectacular new Recital: production by Achim Ask an Expert Hei-Kyung Hong Forward to a Freyer with Kent Friend Recital: Cecilia Nagano conducting. Bartoli Generously Madama Europe's master Underwritten by: Butterfly theatre artist Achim Freyer matches his New production Die Frau ohne made possible by a Schatten painterly visual imagery with Hector generous gift from Mr. and Mrs. Recital: Dmitri Berlioz's vivid musical imagination in the premiere of Hvorostovsky Milan Panic this new production featuring a cast of more than Le nozze di 100 singers and dancers. The legend of Faust, which Figaro tells the story of the man who sold his soul to the II trovatol'"e Devil, has captivated great imaginations for centuries. Marlowe, Goethe, Gounod, Schumann, Liszt, Mahler and Stravinsky all found inspiration in SEASON G!J1]) the Faust tale, which continues to reverberate in SPONSOR Audt today's modern world. Originally conceived as an oratoriO, Hector Berlioz's dramatic La damnation de Faust is now a mainstay of opera houses around the world. Haunting melodies and startling orchestrations flood the score and illustrate the beWitching tale of Faust's desperate struggle for power, riches, youth and, ultimately, redemption. PRODUCTION DATES: Wednesday September 10, 20036:30 p.m.
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EMILY DICKINSON's POETIC IMAGERY in 21ST-CENTURY SONGS by LORI LAITMAN, JAKE HEGGIE, and DARON HAGEN by Shin-Yeong Noh Submit
EMILY DICKINSON’S POETIC IMAGERY IN 21ST-CENTURY SONGS BY LORI LAITMAN, JAKE HEGGIE, AND DARON HAGEN by Shin-Yeong Noh Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2019 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Andrew Mead, Research Director ______________________________________ Patricia Stiles, Chair ______________________________________ Gary Arvin ______________________________________ Mary Ann Hart March 7, 2019 ii Copyright © 2019 Shin-Yeong Noh iii To My Husband, Youngbo, and My Son iv Acknowledgements This work would not have been possible without many people who aided and supported me. I am grateful to all of my committee members for their advice and guidance. I am especially indebted to my research director, Dr. Andrew Mead, who provided me with immeasurable wisdom and encouragement. His inspiration has given me huge confidence in my study. I owe my gratitude to my teacher, committee chair, Prof. Patricia Stiles, who has been very careful and supportive of my voice, career goals, health, and everything. Her instructions on the expressive performance have inspired me to consider the relationship between music and text, and my interest in song interpretation resulted in this study. I am thankful to the publishers for giving me permission to use the scores. Especially, I must thank Lori Laitman, who offered me her latest versions of the songs with a very neat and clear copy. She is always prompt and nice to me.
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Sailing on Seas of Uncertainties: Late Style and Puccini's Struggle for Self
International Journal of Ageing and Later Life, 2008 3(1): 77Á95. # The Authors Sailing on seas of uncertainties: late style and Puccini’s struggle for self-renewal By AMIR COHEN-SHALEV Abstract The popularity of Puccini’s melodramatic operas, often derided by ‘‘serious’’ musicologists, has hindered a more rounded evaluation of his attempt at stylistic change. This paper offers a novel perspective of life- span creativedevelopment in order to move the discussion of Puccini beyond the dichotomy of popular versus high-brow culture. Tracing the aspects of gradual stylistic change that began in The Girl from the Golden West (1910) through the three operas of Il Trittico: Il Tabarro, Suor Angelica, and Gianni Schicchi (1918Á1919), the paper then focuses on Puccini’s last opera, Turandot (1926), as exemplifying a potential turn to a reflexive, philosophical style which is very different from the melodramatic, sentimentalist style generally associated with his work. In order to discuss this change as embodying a turn to late style, the paper identifies major stylistic shifts as well as underlying themes in the work of Puccini. The paper concludes by discussing the case of Puccini as a novel contribution to the discussion of lateness in art, until now reserved to a selected few ‘‘old Masters.’’ Keywords: Puccini, late style, life-span development, creativity. Amir Cohen-Shalev, Department of Gerontology, University of Haifa, Israel. 77 International Journal of Ageing and Later Life Beloved and popular, the operas of Giacomo Puccini have at the same time been derided by more ‘‘serious’’ musicologists as the product of a decadent, bourgeois society (Greenwald 1993).
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Developing the Young Dramatic Soprano Voice Ages 15-22 Is Approved in Partial Fulfillment of the Requirements for the Degree Of
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Il Trittico 301
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Suor Angelica & Gianni Schicchi Program
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Casts Suor Angelica Gianni Schicchi
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La Bohème Cast 2020 Biography
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David Dichiera
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Suor Angelica
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Fall Opera Workshop - Suor Angelica St
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The Career of South African Soprano Nellie Du Toit, Born 1929
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