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American Opera 20Th Century Style at USD November 16 and 17 Office of Publicnfor I Mation
University of San Diego Digital USD News Releases USD News 1973-10-31 American Opera 20th Century Style at USD November 16 and 17 Office of Publicnfor I mation Follow this and additional works at: http://digital.sandiego.edu/newsreleases Digital USD Citation Office of Public Information, "American Opera 20th Century Style at USD November 16 and 17" (1973). News Releases. 872. http://digital.sandiego.edu/newsreleases/872 This Press Release is brought to you for free and open access by the USD News at Digital USD. It has been accepted for inclusion in News Releases by an authorized administrator of Digital USD. For more information, please contact [email protected]. .NEWS RELEASE UNIVERSITY OF .SAN DIEGO OFFICE OF PUBLIC INFORMATION CONTACT: SARAS. FINN ill TELEPHONE : 714-291-6480 / EXT. 354 SD ADDRESS: RM. 266 DE SALES HALL, ALCALA PARK, SAN DIEGO, CA 92110 AMERICAN OPERA 20TH CENTURY STYLE AT USD NOVEMBER 16 AND 1 7 IMMEDIATE RELEASE San Diego, California "American Opera Twentieth Century Style", under the direction of pianist Ilana Mysior, will be presented on November 16 and 17 in the University of San Diego's Camino Theatre. The 8:15 p.m. per formances are open to the public. The West Coast premi ere of "Captain Lovelock", a contemporary work in one act by John Duke, will highlight the three-part program. Duke, a teacher at Smith College, has set his story of a middle aged widow and her daughters at the turn of the century. The romantic comedy weaves around a mother who has been reawakened in her desire to remarry only to be spoofed by her daughters . -
MASSENET and HIS OPERAS Producing at the Average Rate of One Every Two Years
M A S S E N E T AN D HIS O PE RAS l /O BY HENRY FIN T. CK AU THO R O F ” ” Gr ie and His Al y sia W a ner and H W g , g is or ks , ” S uccess in Music and it W How is on , E ta , E tc. NEW YO RK : JO HN LANE CO MPANY MCMX LO NDO N : O HN L NE THE BO DLEY HE D J A , A K N .Y . O MP NY N E W Y O R , , P U B L I S HE R S P R I NTI N G C A , AR LEE IB R H O LD 8 . L RA Y BRIGHAM YO UNG UNlVERS lTW AH PRO VO . UT TO MY W I FE CO NTENTS I MASSENET IN AMER . ICA. H . B O GRAP KET H II I IC S C . P arents and Chi dhoo . At the Conservatoire l d . Ha D a n R m M rri ppy ys 1 o e . a age and Return to r H P a is . C oncert a Successes . In ar Time ll W . A n D - Se sational Sacred rama. M ore Semi religious m W or s . P ro e or and Me r of n i u k f ss be I st t te . P E R NAL R D III SO T AITS AN O P INIO NS . A P en P ic ure er en ne t by Servi es . S sitive ss to Griti m h cis . -
Merola Opera Program: Schwabacher Summer Concert
Merola Opera Program Schwabacher Summer Concert 2017 WHEN: VENUE Sunday, Bing JuLy 9, 2017 ConCert HaLL 2:30 PM Photo: Kristen Loken Program (Each excerpt’s cast listed by order of appearance) Jules Massenet: Thaïs (1894) Giacomo Puccini: Le Villi (1884) from act 2 “La tregenda” “Ah, je suis seule…Dis-moi que je suis belle…Étranger, te voilà.” orchestra thaïs—Mathilda edge Douglas Moore: The Ballad of Baby Doe (1956) athanaël—thomas glass act 1, Scenes 2 and 3 nicias—andres acosta “What a lovely evening…Willow where we met together… Warm as the autumn light…Now where do you suppose that Pietro Mascagni: Cavalleria rusticana (1890) he can be?...I send these lacy nothings.” “Tu qui, Santuzza…Fior di giaggiolo… Ah, lo vedi, che hai tu detto.” Baby doe—Kendra Berentsen Horace tabor—dimitri Katotakis turiddu—Xingwa Hao augusta tabor—alice Chung Santuzza—alice Chung Kate—Mathilda edge Lola—alexandra razskazoff Meg—Felicia Moore Samantha—alexandra razskazoff Kurt Weill: Street Scene (1947) townspeople—Mathilda edge, act 1, Scene 7 (“ice Cream Sextet”) Felicia Moore, alexandra razskazoff, andres acosta, “First time I come to da America…” thomas glass Lippo—andres acosta Gaetano Donizetti: Lucrezia Borgia (1833) Mrs. Jones—alexandra razskazoff from act 1 Mrs. Fiorentino—Kendra Berentsen “Tranquillo ei posa…Com’è bello…Ciel! Che vegg’io?...Di Mrs. olsen—alice Chung pescatore ignobile.” Henry—Xingwa Hao Mr. Jones—thomas glass Lucrezia—alexandra razskazoff Mr. olsen—dimitri Katotakis gubetta—thomas glass duke—dimitri Katotakis rustighello—Xingwa Hao anne Manson, conductor gennaro—andres acosta david Lefkowich, director Carl Maria von Weber: Der Freischütz (1821) from act 2 “Wie nahte mir der Schlummer…Leise, leise, fromme Weise… Wie? Was? Entsetzen!” agathe—Felicia Moore Max—Xingwa Hao Ännchen—Kendra Berentsen INTERMISSION PROGRAM SUBJECT TO CHANGE. -
Hansel and Gretel
LEON WILSON CLARK OPERA SERIES SHEPHERD SCHOOL OPERA and the SHEPHERD SCHOOL CHAMBER ORCHESTRA present HANSEL AND GRETEL An opera in three acts by Engelbert Humperdinck Libretto by Adelheid Wette Richard Bado, conductor Debra Dich son, stage director and choreographer October 26, 28, 30 and November 1 7:30 p.m. Wortham Opera Theatre Cel e b ratin . g1; 1975 -2005 1/7 Years THE SHEPHERD SCHOOL t ~ IC RICE UNIVERSITY CAST (in order of vocal appearance) Wednesday, October 26; Friday, October 28; Sunday, October 30 Gretel. Angela Mortellaro Hansel. Kira Austin-Young Mother . Valerie Rogotzke Father. Colm Estridge Sandman . Audrey Walstrom Dew Fairy Hannah Nelson Witch . James Hall Tuesday, November 1 Gretel. Hannah Nelson Hansel . Audrey Walstrom Mother . Valerie Rogotzke Father. Raines Taylor Sandman. Kelly Duerr Dew Fairy Amanda Conley Witch . James Hall Angels and Gingerbread children: Rebecca Henry, Andrea Leyton Mange, Catherine Ott-Holland, Quinn Shadko, Lauren Snouffer, Ryan Stickney, Meghan Tarkington, Emily Vacek Demons: Grace Field, Katina Mitchell, Keith Stonum, Dan Williamson Members of the SHEPHERD SCHOOL CHAMBER ORCHESTRA Larry Rachleff, music director Violin I Cello Trumpet Kristi Helberg, Madeleine Kabat John Williamson concertmaster Victoria Bass Jonathan Brandt Rachelle Hunt Cristian Macelaru Double Bass Trombone Kristiana Matthes Jordan Scapinello, Colin Wise principal Pei-Ju Wu Harp Edward Botsford Kaoru Suzuki Earecka Tregenza Violin II Flute Timpani Steven Zander, Leslie Richmond Evy Pinto principal Oboe 'v Jessica -
CUMULATIVE INDEX: SECTION (A): ARTICLES
CUMULATIVE INDEX to Czech Music and Other Society Journals: 1974-1994 Abstracted by Richard Beith Issue 2 July 1995 INTRODUCTION The Dvořák Society has always published a journal since the Society was founded in 1974. In the early years, the format and title changed frequently, but the name Czech Music has been used since 1978 and the familiar A5 format has been in use since 1980. Journal size has varied from the first issue, a single sheet of foolscap, printed on both sides, to the latest issue with 192 A5 size pages. Up until the Autumn 1987 issue, Czech Music also contained the “current information” listing concert dates, latest record news and forthcoming Society events. Since 1988 the entirely separate Newsletter has been published to cover such “current information”. Ephemeral items such as crosswords, concert announcements and new record issue news are omitted from the index, particularly such information appearing in the Journals prior to 1988, i.e. before the introduction of the separate Newsletter. The titles of articles, as printed, have occasionally been expanded by additional explanations in parenthesis. For example, “Music to Dismember” referring to cuts in live performances of Dvořák’s works now has the added comment: (Performance Cuts). Titles of musical works have generally been left in the language of the original articles, Czech, English or Slovak as appropriate. As the journals have not been given continuous pagination within one volume, i.e., as every separate issue starts with a page 1, a very full reference is given, egg: “March 74 1:1:1” = March 1974 issue, Volume 1, No 1, article starting on page 1; Summer 1993 18:1:87 = Summer 1993 issue, Volume 18, No 1, article starting on page 87. -
The Ballad of Baby Doe Will Be Heard This Week in a Cleveland Opera Production
Baby Doe Is An Opera Rich In Americana by Robert Finn, Music Critic The Cleveland Plain Dealer Sunday, March 29, 1992 A good many European musicians-most prominently Antonin Dvorak-have wondered publicly why American composers did not draw more inspiration from this country's rich store of legend and history. One composer who heeded that advice was former Clevelander Douglas Moore, whose popular opera The Ballad of Baby Doe will be heard this week in a Cleveland Opera production. In addition to making this opera out of the true story of Horace Tabor and young Elizabeth (Baby Doe) McCourt, Moore also composed operas about Daniel Webster and Carrie Nation. His most popular orchestra piece is called The Pageant of P.T. Barnum. Moore wrote Baby Doe on a commission from the Koussevitzky Music Foundation in the mid-l950s. It was premiered in 1956 in Central City, Colorado, and was taken up the next season by the New York City Opera in a celebrated production starring Beverly Sills. The story is a conventional love triangle in the distinctively American setting of 1880s Colorado. Horace Tabor, a venturesome Vermonter who struck it rich in the western gold fields, deserts his somewhat formidable wife for the charms of the young and flirtatious Baby Doe. Eventually the two are married, scandal ensues and Tabor is impoverished by the abandonment of silver as the standard for U.S. currency. The last scene is a flashback and flash-forward, showing Baby Doe, now a white-haired old woman, freezing to death years later at the entrance to the played-out silver mine. -
“The Librettist Wears Skirts”: Female Librettists in 19Th-Century Bohemia
UNIVERSITY OF CALIFORNIA Santa Barbara “The Librettist Wears Skirts”: Female Librettists in 19th-Century Bohemia A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Emma Taylor Parker Committee in charge: Professor Derek Katz, Chair Professor David Paul Professor Stefanie Tcharos June 2016 The dissertation of Emma Taylor Parker is approved. ___________________________________________________________ David Paul ___________________________________________________________ Stefanie Tcharos ___________________________________________________________ Derek Katz, Committee Chair June 2016 “The Librettist Wears Skirts”: Female Librettists in 19th-Century Bohemia Copyright © 2016 By Emma Taylor Parker iii Acknowledgements Writing a dissertation is not for the faint of heart and I certainly would not have finished this dissertation without a veritable village of supporters. I would like to thank the Fulbright Commission in the Czech Republic who sponsored my research year in Prague, especially Dr. Hanka Ripková, director of the commission, who was a truly hospitable host, and Andrea Semancová who patiently answered innumerable questions along every step of the journey. I am so grateful to them and the rest of the wonderful staff for their support, both financial and emotional. I am also grateful to Dr. Jarmila Gabrielová who sponsored my Fulbright application and was, along with her students, gracious in welcoming me to her graduate seminar at Charles University and extremely helpful in pointing me in the right direction during my time there. Haig Utidijian and the Charles University Chorus afforded me incomparable performing opportunities, a much-needed musical outlet during my time in Prague, and most of all, their warm friendship. And of course, without my fellow Fulbrighters (especially Laura Brade and John Korba) I would have been on a plane home more times that I can count. -
KANSAS CITY DISTRICT AUDITIONS SATURDAY, JANUARY 30, 2021 the 2020 National Council Finalists Photo: Fay Fox / Met Opera
NATIONAL COUNCIL 2020–21 SEASON KANSAS CITY DISTRICT AUDITIONS SATURDAY, JANUARY 30, 2021 The 2020 National Council Finalists photo: fay fox / met opera CAMILLE LABARRE NATIONAL COUNCIL AUDITIONS chairman The Metropolitan Opera National Council Auditions program cultivates young opera CAROL E. DOMINA singers and assists in the development of their careers. The Auditions are held annually president in 39 districts and 12 regions of the United States, Canada, and Mexico—all administered MELISSA WEGNER by dedicated National Council members and volunteers. Winners of the region auditions executive director advance to compete in the national semifnals. National fnalists are then selected and BRADY WALSH compete in the Grand Finals Concert. During the 2020–21 season, the auditions are being administrator held virtually via livestream. Singers compete for prize money and receive feedback from LISETTE OROPESA judges at all levels of the competition. national advisor Many of the world’s greatest singers, among them Lawrence Brownlee, Anthony Roth Costanzo, Renée Fleming, Lisette Oropesa, Eric Owens, and Frederica von Stade, have won National Semifnals the Auditions. More than 100 former auditioners appear appear on the Met roster each season. Sunday, May 9, 2021 The National Council is grateful to its donors for prizes at the national level and to the Tobin Grand Finals Concert Endowment for the Mrs. Edgar Tobin Award, given to each frst-place region winner. Sunday, May 16, 2021 Support for this program is generously provided by the Charles H. Dyson National Council The Semifnals and Grand Finals are Audition Program Endowment Fund at the Metropolitan Opera. currently scheduled to take place at the Met. -
Below Is the Complete Narration, Delivered
Below is the complete narration, delivered by David Kanzeg, at the Champagne Wedding Tea at the nd Willard InterContinenal Hotel in Washington, D.C., on Sunday afternoon, October 22 , 2006. The narration provided the context for excerpts of the opera The Ballad of Baby Doe, by Douglas Moore and John LaTouche, performed by apprentices from the Washington National Opera. *********************************************************************************************************************** Once upon a time…in a land far away…there was a beautiful princess….Well, maybe not a princess. But almost. Today we’ll hear about an American-style fairy tale, full of gold and diamonds and silver. Lots of silver. Ladies and gentlemen, I'm Dave Kanzeg, your host for this afternoon. And I'd like to welcome you to this special performance, honoring the 20th anniversary of the reopening of this magnificent building, and in celebration of the unique place that the Willard InterContinental Hotel has occupied in the life of this city since Henry and Edwin Willard started the ball rolling back in 1850. Our program will not only occupy this beautiful room via a performance, but it's also inextricably connected to this space in both historical AND musical terms. To students of Colorado history, the Willard th Hotel is a turning point in the life of the 19 -century’s most colorful silver baron. To opera fans, who may have no inkling that such a place exists in the present day, the Willard Hotel is the setting of the closing scene of the First Act of one of the most performed American operas. The fact that it still sits here, in real th life, at the corner of 14 and Pennsylvania, is the unique reality we’ve come here today to celebrate. -
Opera Vocal Scores 76 Opera Full Scores 78 Opera Librettos 81 Opera Chorus Parts
61 MUSICOpera DISPATCH 62 The Orchestra Accompaniment Series 63 Opera Aria Collections 67 Cantolopera Series 68 Opera Vocal Scores 76 Opera Full Scores 78 Opera Librettos 81 Opera Chorus Parts 2006 62 THE ORCHESTRA ACCOMPANIMENT SERIES Recorded in Prague with the Czech Symphony Orchestra. The CDs in these packs contain two versions of each selection: one with a singer, and one with orchestra accompaniment only. All books in the series contain historical and plot notes about each opera, operetta or show, and piano/vocal reductions of the music. The singers heard on these recordings are top professionals from Covent Garden, English National Opera, and other main stages. 3 ARIAS FOR BARITONE/BASS Includes “Largo al foctotum” from Il barbiere di siviglia, “Votre toast, je peux vous le rendre (Toreador Song)” from Carmen, and “Madamina! Il catologo e questo” from Don Giovanni. ______00740061 Book/CD Pack .................................................................................$14.95 3 FAMOUS TENOR ARIAS Includes “Che gelida manina” from La Boheme, “La donna e mobile” from Rigoletto, and “Nessun dorma!” from Turandot. ______00740060 Book/CD Pack ..................................................................................$14.95 3 PUCCINI ARIAS FOR SOPRANO Includes “Quando men vo,” from La Boheme, “O mio babbino caro,” from Gianni Schicchi, and “Un bel di vedremo,” from Madama Butterfly. ______00740058 Book/CD Pack ..................................................................................$14.95 3 SEDUCTIVE ARIAS FOR MEZZO-SOPRANO Includes “Habanera” and “Seguidilla” from Carmen and “Mon coeur s’ouvre a ta voix” from Samson et dalila. ______00740059 Book/CD Pack ..................................................................................$14.95 BROADWAY – FULL DRESS PERFORMANCE Includes: Cabaret • If I Loved You • You’ll Never Walk Alone • People Will Say We’re in Love • Can’t Help Lovin’ Dat Man • Climb Ev’ry Mountain • Edelweiss • The Sound of Music • I’m Gonna Wash That Man Right Outa My Hair. -
85 ANTONÍN DVOŘÁK Musician and Craftsman John
Naturally his son would follow in the traditional family business. Accordingly, having spent six years at school, Antonín left shortly before his twelfth birthday and became 8 apprenticed to his father in the butchers’ trade. In order to improve the lad’s chances ANTONÍN DVOŘÁK of success he was sent a year later to become a butcher’s apprentice at Zlonice, Musician and Craftsman where he stayed with his mother’s younger brother, Antonín Zdeněk (b. 1823). His John Clapham uncle, who was steward to Count Kinsky, treated him like a son, for he had no chil- I dren of his own. This attractive Czech town, lying some twenty or more miles away Biographical Sketch by road to the west of Nelahozeves, offered chances of picking up a little German, Antonín Dvořák came of sturdy peasant stock. His great-grandfather Jan Dvořák which was an important point for one who was destined to become a publican, but (1724-1777) lived just beyond the north-eastern fringe of Prague at Třeboradice, the musical opportunities were very much greater. Josef Toman, schoolmaster, and where he combined farming with innkeeping. Eventually he died in the house in organist and choirmaster of the church, was a baritone singer, and played the violin, which he had been born. Six out of his family of ten survived infancy, the third of trumpet and double bass in addition to the organ. Antonín Liehmann (1808-1879), a these being the composer’s grandfather, Jan Nepomuk Dvořák (1764-1842). The teacher of German and music and a typical Czech Musikant, was an excellent organist latter became both publican and butcher, first at Vodolka (now known as Odolena with a talent for improvisation, a good violinist and clarinettist who also played the Voda), and from 1818 at Nelahozeves, where the composer himself was to be born. -
Central Opera Service Bulletin
CENTRAL OPERA SERVICE BULLETIN VOLUME 18, NUMBER 4 INDEX NEW OPERAS AND PREMIERES 1 MORE BICENTENNIAL OPERAS 1 POSTPONEMENTS AND CANCELLATIONS 3 AMERICAN PREMIERES 3 FOREIGN PREMIERES 4 NEW COMPANIES 6 OPERA ECONOMICS 7 OPERA COMPANIES: DEVELOPMENTS 9 NEW ARTS CENTERS 10 COS INSIDE INFORMATION 11 TRANSLATIONS 11 SETS AND COSTUMES FOR RENT 12 PERFORMANCE LISTING, 1975-76 conk 14 PERFORMANCE LISTING, Summer 1976 25 FIRST PERFORMANCE LISTING, 1976-77 33 ADDENDA TO 1976 DIRECTORY 45 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center • Metropolitan Opera • New York, N.Y. 10023 • (212) 799-3467 Sponsored by the Metropolitan Opera National Council Central Opera .Service • Lincoln Center • Metropolitan Opera • New York, N.Y, 10023 • (212) 799-3467 CENTRAL OPERA SERVICE COMMITTEE Founder MRS. AUGUST BELMONT Honorary National Chairman ROBERT L. B. TOBIN National Chairman EUHU M. HYNDMAN National Co-Chairmen MRS. NORRIS DARRELL GEORGE HOWERTON Professional Committee KURT HERBERT ADLER DAVID GOCKLEY San Francisco Opera Houston Grand Opera PETER HERMAN ADLER BORIS GOLDOVSKY American Opera Center Goldovsky Opera Theatre VICTOR ALESSANDRO RICHARD KARP San Antonio Symphony Pittsburgh Opera ROBERT G. ANDERSON JOHN M. LUDWIG Tulsa Opera Spring Opera, San Francisco WILFRED C. BAIN GLADYS MATHEW Community Opera Indiana University RUSSELL D. PATTERSON GRANT BEGLARIAN Kansas City Lyric Theater University of So. California MRS. JOHN DEWITT PELTZ MORITZ BOMHARD Metropolitan Opera Kentucky Opera Association JAN POPPER SARAH CALDWELL University of California, L. A. Opera Company of Boston GLYNN ROSS TITO CAPOBIANCO Seattle Opera Association San Diego Opera JULIUS RUDEL ROBERT J. COLLINGE New York City Opera Baltimore Opera Company GEORGE SCHICK JOHN CROSBY Manhattan School of Music Santa Fe Opera MARK SCHUBART WALTER DUCLOUX Lincoln Center University of Texas ROGER L.