Christopher Ainslie Countertenor
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Portrait Marc Minkowski · Les Musiciens Du Louvre – Grenoble · So Klingt Nur Dortmund
2,50 E Konzerthaus DortmunD · Portrait marc minKowsKi · Les musiciens Du Louvre – GrenobLe · so klinGt nur DortmunD. Abo: Portrait Marc Minkowski – Festival-Pass III Wir bitten um Verständnis, dass Bild- und Tonaufnahmen während der Vorstellung nicht gestattet sind. Förderkreis des Handwerks e.V. zugunsten KONZERTHAUS DORTMUND 4 I 5 Portrait marc minKowsKi · Les musiciens Du Louvre – GrenobLe · DonnerstaG, 29.05.08 · 20.00 Dauer: ca. 2 Stunden inklusive Pause Les Musiciens du Louvre – Grenoble · Marc Minkowski Dirigent Ludwig van Beethoven (1770–1827) »Die Geschöpfe des Prometheus« op. 43 Musik zum Ballett von Salvatore Vigano Overtura. Adagio – Allegro molto e con brio (Introduzione) La Tempesta. Allegro non troppo Poco adagio – Allegro con brio Maestoso – Andante Adagio – Andante quasi Allegretto Allegro con brio – Presto Allegro – Comodo Andante – Allegro – Allegretto Finale: Allegretto – Allegro molto – Presto – Pause – Sinfonie Nr. 3 Es-Dur op. 55 »Eroica« Allegro con brio Marcia funebre (Adagio assai) Scherzo (Allegro vivace) Finale (Allegro molto) Gefördert durch die Signal Iduna Gruppe Beethoven beim Komponieren am Klavier (Fotografie nach einem Gemälde von Albert Gräfle) 6I7 Programm Portrait marc minKowsKi · Les musiciens Du Jean-Philippe Rameau (1683–1764) Louvre – GrenobLe · samstaG, 31.05.08 · 20.00 »Une Autre Symphonie Imaginaire« (»Eine andere Symphonie Imaginaire«) Aus »Castor et Pollux«: Ouvertüre Dauer: ca. 2 Stunden 15 Minuten inklusive Pause Aus »Zoroastre«: Air tendre en rondeau (Akt I, III. Szene) Les Musiciens du Louvre – Grenoble · Marc Minkowski Dirigent Aus »Les Paladins«: Air des Furies (Akt II, VIII. Szene) Christoph Willibald Gluck (1714 –1787) Aus »Les Indes galantes« Auszüge aus dem Ballett »Don Juan ou le festin de pierre« Le turc Généreux: Air pour les esclaves africains (I. -
Handel's Oratorios and the Culture of Sentiment By
Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera. -
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. -
Featuring the Brandenburg Choir Noël! Noël! Featuring the Brandenburg Choir
Noël! Noël! Featuring the Brandenburg Choir Noël! Noël! Featuring the Brandenburg Choir Morgan Balfour (San Francisco) soprano 2019 Australian Brandenburg Orchestra Brandenburg Choir SYDNEY Matthew Manchester Conductor City Recital Hall Paul Dyer AO Artistic Director, Conductor Saturday 14 December 5:00PM Saturday 14 December 7:30PM PROGRAM Wednesday 18 December 5:00PM Mendelssohn Hark! The Herald Angels Sing Wednesday 18 December 7:30PM Anonymous Sonata à 9 Gjeilo Prelude MELBOURNE Eccard Ich steh an deiner Krippen hier Melbourne Recital Centre Crüger Im finstern Stall, o Wunder groβ Saturday 7 December 5:00PM Palestrina ‘Kyrie’ from Missa Gabriel Archangelus Saturday 7 December 7:30PM Arbeau Ding Dong! Merrily on High Handel ‘Rejoice greatly, O daughter of Zion’ NEWTOWN from Messiah, HWV 56 Friday 6 December 7:00PM Head The Little Road to Bethlehem Gjeilo The Ground PARRAMATTA Tuesday 10 December 7:30PM Vivaldi La Folia, RV 63 Handel Eternal source of light divine, HWV 74 MOSMAN Traditional Deck the Hall Wednesday 11 December 7:00PM Traditional The Coventry Carol WAHROONGA Traditional O Little Town of Bethlehem Thursday 12 December 7:00PM Traditional God Rest Ye Merry, Gentlemen Palmer A Sparkling Christmas WOOLLAHRA Adam O Holy Night Monday 16 December 7:00PM Gruber Stille Nacht Anonymous O Come, All Ye Faithful CHAIRMAN’S 11 Proudly supporting our guest artists. Concert duration is approximately 75 minutes without an interval. Please note concert duration is approximate only and subject to change. We kindly request that you switch off all electronic devices prior to the performance. This concert will be broadcast on ABC Classic on 21 December at 8:00PM NOËL! NOËL! 1 Biography From our Principal Partner: Macquarie Group Paul Dyer Imagination & Connection Paul Dyer is one of Australia’s leading specialists On behalf of Macquarie Group, it is my great pleasure to in period performance. -
Handel Rinaldo Tuesday 13 March 2018 6.30Pm, Hall
Handel Rinaldo Tuesday 13 March 2018 6.30pm, Hall The English Concert Harry Bicket conductor/harpsichord Iestyn Davies Rinaldo Jane Archibald Armida Sasha Cooke Goffredo Joélle Harvey Almirena/Siren Luca Pisaroni Argante Jakub Józef Orli ´nski Eustazio Owen Willetts Araldo/Donna/Mago Richard Haughton Richard There will be two intervals of 20 minutes following Act 1 and Act 2 Part of Barbican Presents 2017–18 We appreciate that it’s not always possible to prevent coughing during a performance. But, for the sake of other audience members and the artists, if you feel the need to cough or sneeze, please stifle it with a handkerchief. Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. If anything limits your enjoyment please let us know The City of London during your visit. Additional feedback can be given Corporation is the founder and online, as well as via feedback forms or the pods principal funder of located around the foyers. the Barbican Centre Welcome Tonight we welcome back Harry Bicket as delighted by the extravagant magical and The English Concert for Rinaldo, the effects as by Handel’s endlessly inventive latest instalment in their Handel opera music. And no wonder – for Rinaldo brings series. Last season we were treated to a together love, vengeance, forgiveness, spine-tingling performance of Ariodante, battle scenes and a splendid sorceress with a stellar cast led by Alice Coote. -
Jean-Philippe Rameau
BKLA0100665021-AFCD-NO 19.12.2005 11:20 Uhr Seite 1 Rameau/Barto/Ondine: ODE 1067-2 CD 5” BOOKLET A BASKET OF WILD STRAWBERRIES A Selection of Keyboard Jewels by Jean-Philippe Rameau TZIMON BARTO, piano YELLOW MAGENTA CYAN BLACK <P#1> BKLA0100665021-AFCD-NO 19.12.2005 11:20 Uhr Seite 2 0% Rameau/Barto/Ondine: ODE 1067-2 Rame 3% 5% 7% 45% IN 50% By 55% Ho 93% Tzi 95% Qu plea 97% Ma unt 100% incr mu ied, som stan In ope Tzi Tri tem com He Sui Jean-Philippe Rameau the (1683 – 1764) Roy <P#2> BLACK4 BKLA0100665021-AFCD-NO 19.12.2005 11:20 Uhr Seite 3 Rameau/Barto/Ondine: ODE 1067-2 INTERVIEW WITH TZIMON BARTO By Susan Gould How did you first come to Rameau – or vice versa? Tzimon Barto: I’ve always had a predilection for early art: the Italian Trecento and Quattrocento, for instance, and in music, the Renaissance and Baroque. It’s what I listen to for pleasure, so I was familiar with Rameau. But then, in 2001, I saw his opera Platée, performed by Marc Minkowski and Les Musiciens du Louvre: I’ve never seen better opera in my life! That is, until I went to a production of Rameau’s Les Boréades in 2003 performed by William Christie’s incredible group, Les Arts Florissants, and it was the same. Everything was perfectly in sync: the 3 musical interpretations, the direction, sets, costumes, dazzling choreography, yet not in a stud- ied, overly-historical way. Both productions were updated to modern times, and yet they were somehow very Baroque, with similarities to our age of surfeit and excess. -
Spring 2015 CUES Internet at the Speed of Whoa
OPERAVolume 55 Number 05 | Spring 2015 CUES Internet at the speed of whoa. XFINITY® Internet delivers the fastest and most reliable in-home WiFi for all rooms, all devices, all the time. To learn more call 866-620-9714 or visit comcast.com Restrictions apply. Not available in all areas. Features and programming vary depending on area and level of service. WiFi claims based on April and October 2013 study by Allion Test Labs, Inc. Actual speeds vary and are not guaranteed. Reliably fast speed based on February 2013 FCC Broadband Report. Call for restrictions and complete details. ©2014 Comcast. All rights reserved. All trademarks are property of their respective owners. DIE WALKÜRE APRIL 18, 22, 25, 30 MAY 3 SWEENEY TODD APRIL 24, 26, 29 MAY 2, 8, 9 PATRICK SUMMERS PERRYN LEECH ARTISTIC & MUSIC DIRECTOR MANAGING DIRECTOR Margaret Alkek Williams Chair ADVERTISE IN OPERA CUES Opera Cues is published by Houston Grand Opera Association; all rights reserved. Opera Cues is produced by Houston Grand Opera’s Communications Department, Judith Kurnick, director. Director of Publications Laura Chandler Art Direction / Production Pattima Singhalaka Contributors Kim Anderson Paul Hopper Perryn Leech Elizabeth Lyons Patrick Summers For information on all Houston Grand Opera productions and events, or for a complimentary season brochure, please call the Customer Care Center at 713-228-OPERA (6737). Houston Grand Opera is a member of OPERA America, Inc., and the Theater District Association, Inc. Find HGO online: HGO.org facebook.com / houstongrandopera twitter.com / hougrandopera instagram.com/hougrandopera Readers of Houston Grand Opera’s Opera Cues magazine are the Mobile: HGO.org most desirable prospects for an advertiser’s message. -
Saison 2020-2021
SAISON 2020-2021 250e anniversaire de l’Opéra Royal de Versailles Ce programme est présenté sous réserve de modifications et de précisions des conditions réglementaires dans le cadre de la crise sanitaire. 1 OPERA MIS EN SCÈNE Joseph Bodin de Boismortier (1689-1755) Don Quichotte chez la Duchesse Annulé Opéra ballet comique en trois actes sur un livret de Charles-Simon Favart créé à l’Académie Royale de Musique le 12 février 1743. Emiliano Gonzalez Toro Don Quichotte Chantal Santon Jeffery Altisidore, La Reine du Japon Jean-Gabriel Saint Martin Sancho Pança João Fernandez Montesinos, Merlin, le Traducteur Camille Poul La Paysanne, Une Amante, Une Suivante Charles Barbier Un Amant Gilles Benizio Le Duc, Le Japonais Concert Spirituel Chœur et orchestre Hervé Niquet Direction Corinne et Gilles Benizio (alias Shirley et Dino) Mise en scène Cie La Feuille d’Automne Philippe Lafeuille Chorégraphie Vendredi 25 décembre – 16h Samedi 26 décembre – 19h Dimanche 27 décembre – 15h Opéra Royal Tarif C Spectacle en langue française Durée : 1h45 sans entracte En 1743, deux ans avant que Rameau n’imagine son Platée, Boismortier fait jouer à l’Académie Royale de Musique un « ballet comique » extraordinairement moderne et loufoque : Don Quichotte chez la Duchesse. Au fil d’une intrigue totalement délirante, le héros croise des monstres, des enchanteurs, des princesses, des Japonais… qui sont le prétexte à autant de danses et de chœurs décalés et audacieux. La beauté musicale voisine avec un comique parodique et irrévérencieux. Une œuvre de choix pour Hervé Niquet, Corinne et Gilles Benizio ! S’il est de nos jours peu connu, Boismortier fut un compositeur prolixe du règne de Louis XV, produisant dans tous les genres en vogue. -
Evening Program
2021 18:30 & 20:30 24.04.Grand Auditorium Samedi / Samstag / Saturday Voyage dans le temps «Rameau: une symphonie imaginaire» Les Musiciens du Louvre Marc Minkowski direction Ce concert sera filmé et disponible ultérieurement sur la chaîne YouTube ainsi que la page Facebook de la Philharmonie Luxembourg. Jean-Philippe Rameau (1683–1764) Zaïs: Ouverture (1748) Castor et Pollux: Scène funèbre (1737) Les Fêtes d’Hébé: Air tendre (1739) Dardanus: Tambourins (1739) Le Temple de la Gloire: Air tendre pour les Muses (1745) Les Boréades: Contredanse (1763) La Naissance d’Osiris: Air gracieux (1754) Les Boréades: Gavottes pour les Heures et les Zéphirs (1763) Platée: Orage (1745) Les Boréades: Prélude (1763) Concert N° 6 en sextuor: 1. La Poule (1768) Les Fêtes d’Hébé: Musette & Tambourin (1739) Hippolyte et Aricie: Ritournelle (1733) Naïs: Rigaudons (1749) Les Indes galantes: Danse des Sauvages (1735) Les Boréades: Entrée de Polymnie (1763) Les Indes galantes: Chaconne (1735) 60’ Les Boréades, œuvre posthume de Jean-Philippe Rameau, 1764, Origine: Manuscrit Bibliothèque Nationale de France, Paris. Rés.Vmb Ms4. Copyright 1982, 1998 et 2001 Alain Villain, Éditions Stil, Paris D’Distanzknuddler Martin Fengel Une symphonie du cœur Sylvie Bouissou Immense génie déconnecté des conventions sociales, souvent en décalage avec son époque, d’abord trop italien pour les lullistes, puis plus assez pour les adeptes de l’opéra-comique, trop « savant » pour avoir du cœur, Rameau a subi les goûts versatiles, les amours et les trahisons d’une société inconstante. Sans doute faut-il voir dans la remarque de d’Alembert, coauteur avec Diderot de l’En- cyclopédie, le commentaire le plus éclairé sur sa musique : « Il a osé tout ce qu’il a pu, et non tout ce qu’il aurait voulu oser […] il nous a donné non pas la meilleure musique dont il était capable, mais la meil- leure que nous puissions recevoir » (Mélanges de littérature, d’histoire et de philosophie, t. -
Publicity Book
JORY VINIKOUR conductor, harpsichordist Jory Vinikour is recognized as one of the outstanding harpsichordists of his generation. A highly diversified career brings him to the world!s most important festivals and concert halls as recital and concerto soloist, partner to several of today!s finest singers, and increasingly as a conductor. Born in Chicago, Jory Vinikour came to Paris on a scholarship from the Fulbright Foundation to study with Huguette Dreyfus and Kenneth Gilbert. First Prizes in the International Harpsichord Competitions of Warsaw (1993) and the Prague Spring Festival (1994) brought him to the public!s attention, and he has since appeared in festivals and concert series such as Besançon Festival, Deauville, Nantes, Monaco, Cleveland Museum of Art, Miami Bach Festival, Indianapolis Early Music Festival, etc. A concerto soloist with a repertoire ranging from Bach to Nyman, passing by Poulenc!s Concert Champêtre, Jory Vinikour has performed as soloist with leading orchestras including Rotterdam Philharmonic, Flanders Opera Orchestra, Orchestre de la Suisse Romande, Lausanne Chamber Orchestra, Philharmonic of Radio France, Ensemble Orchestral de Paris, and Moscow Chamber Orchestra with conductors such as Armin Jordan, Marc Minkowski, Marek Janowski, Constantine Orbelian, John Nelson, and Fabio Luisi. He recorded Frank Martin!s Petite Symphonie Concertante with the Lausanne Chamber Orchestra under the direction of Armin Jordan (Suisse Romande, 2005), and also performed the Harpsichord Concerto by the same composer with the Symphony Orchestra of the MDR in Leipzig!s Gewandhaus under the direction of Martin Haselböck in January of 2003. A complete musician, Mr. Vinikour is gaining a reputation as a conductor (studies with Vladimir Kin and Denise Ham) and music director. -
Download Booklet
The opportunity to record a disc of Handel’s course, but the very first operatic aria I knew and HANDELIAN PYROTECHNICS operatic arias came to me very early on in my life. learnt was ‘Art thou troubled? Music will calm GEORGE FRIDERIC HANDEL (1685-1759) I turned it down. As far as self-promotion and thee’: a not-very-faithful English rendering of general career-advancement were concerned, I ‘Dove sei’ from Handel’s Rodelinda. My choices could see how useful such a recording might be. for this recording have thus been guided by what Artistically-speaking I could not feel comfortable is significant to me, as well as their general with it. At this stage I had performed only a excellence. ‘Se possono tanto’ may seem obscure Xerxes, HWV 40 Rodelinda, regina de’ Longobardi, HWV 19 couple of Handel’s operatic roles on stage and I to some, but Poro was my first ever Handel role, 1 Ombra mai fù [3.11] 7 Dove sei [4.44] had found them a stern examination of technique, and I really need no excuse to include what is, stamina and emotional reserves. I resolved along with ‘Qual nave smaritta’ and ‘Dove sei’, Poro, re dell’Indie, HWV 28 Radamisto, HWV 12 therefore to aim to revisit this concept only when I a shining illustration of how frequently and 2 Se possono tanto due luci vezzose [5.45] 8 Qual nave smarrita [6.12] had performed a significant number of his operas, skilfully Handel uses the radiance of E major for 9 Ombra cara [7.44] and to choose repertoire for a recording that I a character’s defining aria. -
Handel Newsletter-2/2001 Pdf
NEWSLETTER of The American Handel Society Volume XV, Number 3 December 2000 MHF 2001 The 2001 Maryland Handel Festival & Conference marks the conclusion of the Festival’s twenty-year project of performing all Handel’s dramatic English oratorios in order of composition. With performances of THEODORA, May 4 and JEPHTHA, May 6 conducted by Paul Traver, we welcome back to the MHF stage soloists from previous seasons including: Linda Mabbs and Sherri Karam, soprano; Lorie Gratis and Leneida Crawford, mezzo-soprano; Derek Lee Ragin, countertenor; Charles Reid, tenor; Philip Collister, bass; with the Smithsonian Chamber Orchestra, Kenneth Slowik, Music Director; the University of Maryland Chorus, Edward Maclary, Music Director; and The Maryland Boys Choir, Joan Macfarland, director. As always, the American Handel Society and Maryland Handel Festival will join forces to present a scholarly conference, which this year brings together internationally renowned scholars from Canada, England, France, Germany, and the United States, and which will consist of four conference sessions devoted to various aspects of Handel studies today. Special events include the Howard Serwer Lecture (formerly the American Handel Society Lecture), to be presented on Saturday May 5 by the renowned HANDEL IN LONDON scholar Nicholas Temperley, the American Handel Society Dinner, later that same evening, and the pre- By 2002 there will be at least six different institutions concert lecture on Sunday May 6. in London involved with Handel: The conference and performances will take place in 1. British Library the new Clarice Smith Performing Arts Center at the University of Maryland; lodgings will once again be located at the Inn and Conference Center, University The British Library, holding the main collection of of Maryland University College, where the Society Handel autographs, is (together with the Royal dinner will also take place.