'My Festival' • Carl Ebert 'S Influence • Hamlet's Music
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Theatre in England 2011-2012 Harlingford Hotel Phone: 011-442
English 252: Theatre in England 2011-2012 Harlingford Hotel Phone: 011-442-07-387-1551 61/63 Cartwright Gardens London, UK WC1H 9EL [*Optional events — seen by some] Wednesday December 28 *1:00 p.m. Beauties and Beasts. Retold by Carol Ann Duffy (Poet Laureate). Adapted by Tim Supple. Dir Melly Still. Design by Melly Still and Anna Fleischle. Lighting by Chris Davey. Composer and Music Director, Chris Davey. Sound design by Matt McKenzie. Cast: Justin Avoth, Michelle Bonnard, Jake Harders, Rhiannon Harper- Rafferty, Jack Tarlton, Jason Thorpe, Kelly Williams. Hampstead Theatre *7.30 p.m. Little Women: The Musical (2005). Dir. Nicola Samer. Musical Director Sarah Latto. Produced by Samuel Julyan. Book by Peter Layton. Music and Lyrics by Lionel Siegal. Design: Natalie Moggridge. Lighting: Mark Summers. Choreography Abigail Rosser. Music Arranger: Steve Edis. Dialect Coach: Maeve Diamond. Costume supervisor: Tori Jennings. Based on the book by Louisa May Alcott (1868). Cast: Charlotte Newton John (Jo March), Nicola Delaney (Marmee, Mrs. March), Claire Chambers (Meg), Laura Hope London (Beth), Caroline Rodgers (Amy), Anton Tweedale (Laurie [Teddy] Laurence), Liam Redican (Professor Bhaer), Glenn Lloyd (Seamus & Publisher’s Assistant), Jane Quinn (Miss Crocker), Myra Sands (Aunt March), Tom Feary-Campbell (John Brooke & Publisher). The Lost Theatre (Wandsworth, South London) Thursday December 29 *3:00 p.m. Ariel Dorfman. Death and the Maiden (1990). Dir. Peter McKintosh. Produced by Creative Management & Lyndi Adler. Cast: Thandie Newton (Paulina Salas), Tom Goodman-Hill (her husband Geraldo), Anthony Calf (the doctor who tortured her). [Dorfman is a Chilean playwright who writes about torture under General Pinochet and its aftermath. -
ANNUAL REPORT 2013 2013: the Year in Brief
ANNUAL REPORT 2013 2013: The year in brief The 2013 Festival was one of Glydebourne’s Journey into cyberspace most ambitious, showcasing six highly Months before the Festival itself, diverse operas. Glyndebourne’s auditorium was the Ariadne auf Naxos was a choice prompted venue for the world premiere of our latest by Music Director Vladimir Jurowski, community opera, Imago*. Our education who, in his last season at Glyndebourne, department commissioned the work, in longed to tackle his first staged opera partnership with Scottish Opera, from by Richard Strauss. Katharina Thoma composer Orlando Gough and librettist directed, making her Glyndebourne debut. Stephen Plaice. The two-act piece brought Rameau’s Hippolyte et Aricie, directed by together over 75 local amateur singers Jonathan Kent, continued Glyndebourne’s (ranging in age from 15 to 73) working with exploration of Baroque operas less well- professional soloists as well as 25 young known in the UK – an interest shared by musicians in the pit with members of conductor William Christie. Don Pasquale Aurora Orchestra. by Donizetti was revived by Mariame Likened to a ‘La bohème for the digital age,’ Clément with a cast including Danielle Imago tells how a wheelchair-bound woman de Niese and Alessandro Corbelli. For the of 80, confined to a care home, creates an Britten centenary, Billy Budd was an obvious 18 year old avatar through whom she can selection. Falstaff and Le nozze di Figaro made re-experience the joys – and uncertainties – welcome returns. of youth. All perfectly suited Glyndebourne’s 1,200- The first performance, on 6 March, was seat auditorium. -
Don Giovanni Was Made Possible by a Generous Gift from the Richard and Susan Braddock Family Foundation, and Sarah and Howard Solomon
donWOLFGANG AMADEUS MOZARTgiovanni conductor Opera in two acts Fabio Luisi Libretto by Lorenzo Da Ponte production Michael Grandage Saturday, October 22, 2016 PM set and costume designer 1:00–4:30 Christopher Oram lighting designer Paule Constable choreographer Ben Wright revival stage director Louisa Muller The production of Don Giovanni was made possible by a generous gift from the Richard and Susan Braddock Family Foundation, and Sarah and Howard Solomon Additional funding was received from Jane and Jerry del Missier and Mr. and Mrs. Ezra K. Zilkha general manager Peter Gelb The revival of this production is made possible music director emeritus by a gift from Rolex James Levine principal conductor Fabio Luisi 2016–17 SEASON The 556th Metropolitan Opera performance of WOLFGANG AMADEUS MOZART’S don giovanni conductor Fabio Luisi in order of vocal appearance leporello maset to Adam Plachetka Matthew Rose donna anna Hibla Gerzmava continuo David Heiss, cello don giovanni Howard Watkins*, Simon Keenlyside harpsichord the commendatore mandolin solo Kwangchul Youn Joyce Rasmussen Balint don ot tavio Paul Appleby* donna elvir a Malin Byström zerlina Serena Malfi Saturday, October 22, 2016, 1:00–4:30PM This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation. Global sponsorship of The Met: Live in HD is also provided by Bloomberg Philanthropies. Chorus Master Donald Palumbo Musical -
The York Realist
Press Release Tuesday 24 October 2017 DONMAR WAREHOUSE AND SHEFFIELD THEATRES ANNOUNCE FULL CASTING FOR THE YORK REALIST A Donmar Warehouse and Sheffield Theatres co-production By Peter Gill Donmar Warehouse: Thursday 8 February – Saturday 24 March 2018 PRESS NIGHT: Tuesday 13 February 2018 Sheffield Theatres: Tuesday 27 March – Saturday 7 April Director Robert Hastie Designer Peter McKintosh Lighting Designer Paul Pyant Sound Designer Emma Laxton Composer Richard Taylor Full cast includes Jonathan Bailey, Ben Batt, Lucy Black, Brian Fletcher, Lesley Nicol, Katie West and Matthew Wilson. The Donmar Warehouse and Sheffield Theatres today announce full casting for Donmar Associate Director and Sheffield Theatres Artistic Director Robert Hastie’s new revival of Peter Gill’s modern masterpiece The York Realist. Jonathan Bailey joins the cast as John, opposite the previously announced Ben Batt who will play George. Full casting also includes Lucy Black, Brian Fletcher, Lesley Nicol, Katie West and Matthew Wilson. ‘I live here. I live here. You can’t see that, though. You can’t see it. This is where I live. Here.’ A cottage, 1960s Yorkshire. The York Mystery plays are in rehearsal. Farmhand George strains against his roots as a new world opens up to him. Peter Gill’s influential play about two young men in love is a touching reflection on the rival forces of family, class and longing. Donmar Associate Robert Hastie returns for this timely revival from one of our greatest living playwrights, following his previous productions My Night with Reg and Splendour. Making theatre accessible to as many people as possible remains at the heart of the Donmar’s mission. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
02-23-2020 Cosi Fan Tutte Mat.Indd
WOLFGANG AMADEUS MOZART così fan tutte conductor Opera in two acts Harry Bicket Libretto by Lorenzo Da Ponte production Phelim McDermott Sunday, February 23, 2020 PM set designer 3:00–6:35 Tom Pye costume designer Laura Hopkins lighting designer Paule Constable The production of Così fan tutte was revival stage director made possible by generous gifts from Sara Erde William R. Miller, and John Sucich / Trust of Joseph Padula Additional funding was received from the The Walter and Leonore Annenberg Endowment Fund, and the National Endowment for the Arts Co-production of the Metropolitan Opera and English National Opera In collaboration with Improbable general manager Peter Gelb jeanette lerman-neubauer Sunday matinee performances at the Met are music director Yannick Nézet-Séguin sponsored by the Neubauer Family Foundation 2019–20 SEASON The 202nd Metropolitan Opera performance of WOLFGANG AMADEUS MOZART’S così fan tutte conductor Harry Bicket in order of vocal appearance ferrando skills ensemble Ben Bliss* Leo the Human Gumby Jonathan Nosan guglielmo Ray Valenz Luca Pisaroni Josh Walker Betty Bloomerz don alfonso Anna Venizelos Gerald Finley Zoe Ziegfeld Cristina Pitter fiordiligi Sarah Folkins Nicole Car Sage Sovereign Arthur Lazalde dorabella Radu Spinghel Serena Malfi despina continuo Heidi Stober harpsichord Jonathan C. Kelly cello David Heiss Sunday, February 23, 2020, 3:00–6:35PM RICHARD TERMINE / MET OPERA A scene from Chorus Master Donald Palumbo Mozart’s Così Musical Preparation Joel Revzen, Liora Maurer, fan tutte and Jonathan -
Richard STRAUSS Intermezzo Elisabeth Söderström
RICHARD STRAUSS INTERMEZZO Elisabeth Söderström Glyndebourne Festival Opera London Philharmonic Orchestra Sir John Pritchard RICHARD STRAUSS © SZ Photo/Lebrecht Music & Arts Photo Library Richard Strauss (1864 –1949) Intermezzo A bourgeois comedy with symphonic interludes in two acts Libretto by the composer English translation by Andrew Porter Christine Elisabeth Söderström soprano Robert Storch, her husband, a conductor Marco Bakker baritone Anna, their maid Elizabeth Gale soprano Franzl, their eight-year-old son Richard Allfrey spoken Baron Lummer Alexander Oliver tenor The Notary Thomas Lawlor bass-baritone His wife Rae Woodland soprano Stroh, another conductor Anthony Rolfe Johnson tenor A Commercial Counsellor Donald Bell Robert’s Skat baritone partners A Legal Counsellor Brian Donlan baritone { A Singer Dennis Wicks bass Fanny, the Storchs’ cook Barbara Dix spoken Marie, a maid Susan Varley spoken Therese, a maid Angela Whittingham spoken Resi, a young girl Cynthia Buchan soprano Glyndebourne Festival Opera London Philharmonic Orchestra Sir John Pritchard 3 compact disc one Time Page Act I Scene 1 1 ‘Anna, Anna! Where can the silly creature be?’ 5:52 [p.28] The Wife, the Husband, Anna 2 ‘Have you got all the master’s things?’ 6:02 [p.32] The Wife, Anna, the Husband 3 ‘And now I’ll have my hair done!’ 11:16 [p.35] The Wife, Anna, The Son, Housemaid, Cook 4 'Oh! Frau Huß! Good morning' 2:59 [p.39] The Wife, Anna Scene 2 5 ‘You blockhead! Can’t you see, this is a toboggan run?’ 4:08 [p.39] The Wife, Baron Lummer 6 Waltz 1:55 [p.40] -
Engineering an Opera House: the New Glyndebourne
Engineering an opera house: I L 10431 r) the new Glyndebourne Stas Brzeski Derek Sugden John Thornton John Turzy1 l\.. H'I sightlines and create the required acoustic; layout of the building is based on circular the fabric must provide good acoustic isola forms, which are used to soften its impact on tion; and the ventilation system should be the site. Recognizing that the auditorium and inaudible. Also, theatre and lighting equip stage areas have the same requirement for ment have very specific needs. (These are acoustic isolation and generate similar the technical criteria; the architectural plan widths, they are contained by an oval-shaped ning, too, has its own demands). massive brick wall, the 'fortress wall', At one Apart from the requirement that only one sea end is the auditorium, at the other the back son should be lost during construction, stage, and between lie the side and centre Glyndebourne presented another challenge: stages with the flytower above. how to relate to the House and gardens, and Around the fortress wall is wrapped the an maintain those qualities which make cillary accommodation: dressing rooms, 'Glyndebourne' unique. offices, and circulation space. Primary ser The concept vice;:; distribution is located in this zone. Whatever success the design has stems from There is a basement. The area behind the the simplicity and clarity of the overall con proscenium contains plantrooms, stage 1. Glyndebourne in 1934: Organ Room (left), cept of the building, which works for all dis Theatre (right). equipment and dressing rooms, whilst in front ciplines at all levels. The diagram may seem there is a ventilation plenum beneath the obvious but a study of other theatres soon Introduction auditorium, cloakrooms for the public, and reveals that its clarity is exceptional. -
Royal Opera House Website
OPERA and MUSIC | SUMMER 2018 THE ROYAL OPERA REPERTORY PAGE JOYCE DIDONATO AND ANTONIO PAPPANO 2 RECITAL LOHENGRIN 3 MAMZER BASTARD 7 LA BOHÈME 10 CAVE 17 DON GIOVANNI 20 FALSTAFF 23 JETTE PARKER YOUNG ARTISTS SUMMER 27 PERFORMANCE 2018 L’ANGE DE NISIDA IN CONCERT 31 OTHER EVENTS 34 THE ROYAL OPERA PRESENTS: JOYCE DIDONATO AND ANTONIO PAPPANO RECITAL 4 June 2018 at 8pm American mezzo-soprano Joyce DiDonato appears in recital on the Royal Opera House main stage, accompanied on the piano by The Royal Opera’s Music Director Antonio Pappano. The duo previously performed together in a recital at the opening of Wigmore Hall’s 2014/15 Season, the recording of which – Joyce and Tony: Live at Wigmore Hall – was named Best Classical Solo Vocal Album at the 2016 Grammy Awards. Joyce DiDonato made her Royal Opera debut in 2003 as Fox (The Cunning Little Vixen). She has since returned to sing Rosina (Il barbiere di Siviglia), Donna Elvira (Don Giovanni, including on tour with The Royal Opera to Japan), Cendrillon, Elena (La donna del lago), Maria Stuarda, Charlotte (Werther) and in Plácido Domingo’s 2012 Operalia concert. This Season she has sung Semiramide for the Company. Antonio Pappano is Music Director of The Royal Opera, a position he has held since 2002. During his tenure he has conducted an extensive repertory, including works by Mozart, Verdi, Wagner, Puccini, Richard Strauss, Ravel, Berg, Shostakovich and Britten, as well as the world premieres of Birtwistle’s The Minotaur (2008) and Turnage’s Anna Nicole (2011), and works for The Royal Ballet. -
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Image Makers: Designers C;: H a I" T Ll R 12 LIGHTING and SOUND I Feel That Light Is Like Music
" " Image Makers: Designers c;: H A I" T ll R 12 LIGHTING AND SOUND I feel that light is like music. In some abstract, emotlona~ cerebral, nonliterary way, it makes us feel, it makes us see, it makes us think, all without knowing exactly how and why. 1 \ • Jennifer Tipto1, lighting De~lgner THE LIGHTING DESIGNER In today's theatre, lighting, Stage lighting is a powerful theatrical tool to focus an audience's attention, sound, and computer enhance understanding, and give aesthetic pleasure. It is sometimes sur 'u technologies affect what we prising to learn that the "lighting" designer emerged in the theatre well tee, how we see, how we before the invention of electricity. hear, how we feel, and often what we understand. As Background areas oftheatrical design, lighting and sound, along The Greeks called their theatres "seeing places." These were outdoor the with the new "machines," atres, and performances took place chiefly during daylight hours, but not ',il,, are essential to the modem without some attention to lighting effects. Playwrights. who were also the I.''' ' stage's theatrical earliest directors, called for drama~c effects with torches, fires, and even effectiveness. sunlight. Aeschylus in Agamemnon, which tells the story of the King's re 'i'i turn at the close of the Trojan War, begins wtth a Watchman standing atop ! 'I the palace to watch for beacons shining from distant mountaintops that it i. I ·: will signal Agamemnon's returri to Argos. Most interpreters think that the ·'II' '' Watchman's speech begins virtually fn the early morning mist and that his '' recognition of the signal flames coincides with the actual sunrise over the Theatre of Dionysus. -
~Lag(8Ill COMPANIES INC
May 2001 BAMcinematek 2001 Spring Season 651 ARTS Brooklyn Philharmonic Orchestra BAM Spring Season sponsor: PH il iP M ORRIS ~lAG(8Ill COMPANIES INC. 2001 Spring Broo Iyn Academy of Music Bruce C. Ratner Alan H. Fishman Chairman of the Board Chairman, Campaign for BAM Karen Brooks Hopkins Joseph V. Melillo President Executive Producer presents Royal National Theatre Hamlet by William Shakespeare Approximate BAM Howard Gilman Opera House running time: May 30 & 31; June 1 & 2,2001, at 7:30pm 3 hours and June 2 at 2pm 15 minutes with one intermission Director John Caird Designer Tim Hatley Lighting designer Paul Pyant Music John Cameron Fight director Terry King Sound designer Christopher Shutt Company voice work Patsy Rodenburg U.S . tour general management SFX Theatrical Group/Sondra R. Katz BAM Theater sponsors: AOL Time Warner In c. and Fleet Leadership support: The Peter Jay Sharp Foundation; The Shubert Foundation, Inc.; and The Norman & Rosita Winston Foundation, Inc. Official airline for the BAM presentation of the Royal National Theatre in Hamlet British Airways The actors in Hamlet appear Additional support: The Laura Pels Foundation with the special permission of Actors' Equity Association. The American stage managers are The U.S. tour is sponsored by The American Associates of members of Actors' Equity the Royal National Theatre and The British Council. Association. Design and costumes are generously supported by Alan and Jean Horan. 25 The Players Horatio Simon Day Hamlet, Prince of Denmark Simon Russell Beale Hamlet, his father