January 2015 2014–2015 SEASON LA BOHÈME
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Opera Chapman: Gems of the Bel Canto Era Opera Chapman
Chapman University Chapman University Digital Commons Printed Performance Programs (PDF Format) Music Performances 10-18-2013 Opera Chapman: Gems of the Bel Canto Era Opera Chapman Follow this and additional works at: http://digitalcommons.chapman.edu/music_programs Recommended Citation Opera Chapman, "Opera Chapman: Gems of the Bel Canto Era" (2013). Printed Performance Programs (PDF Format). Paper 811. http://digitalcommons.chapman.edu/music_programs/811 This Choral Performance is brought to you for free and open access by the Music Performances at Chapman University Digital Commons. It has been accepted for inclusion in Printed Performance Programs (PDF Format) by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. Opera Chapman: Gems of the Bel Canto Era October 18-20, 2013 Peter Atherton' ARTISTIC DIRECTOR Carol Neblett, ASSOCIATE DIRECTOR David Alt, ASSOCIATE DIRECTOR FALL 2013 calendar highlights CHAPMAN UNIVERSITY septernber September 26-28, October 3-5 September 27 Present laughter Guest Artists in Recital - The College of Peiforming Arts By Noel Coward Los Angeles Percussion Quartet and the Directed by Andrew Barnicle october Hall-Musco Conservatory of Music October 18-20 October 24-26, November 7-9 Opera Chapman: Spring Awakening present "Gems of the Bel Canto Era" Music by Duncan Sheik Book and Lyrics by Steven Sater Peter Atherton, Artistic Director Directed by Jim Taulli Carol Neblett. Associate Director novernber November 5 November 9 Opera Chapman: -
A Composer's Début, at the Philharmonic
A Composer’s Début, at the Philharmonic - The New Yorker 11/27/16, 11:27 PM The New Yorker Goings on About Town Sign in List Map Explore Search CLASSICAL MUSIC NOVEMBER 21, 2016 A Composer’s Début, at the Philharmonic Julia Adolphe, twenty-eight years old and completing a doctorate, is starting at the top with her viola concerto. By Alex Ross http://www.newyorker.com/magazine/2016/11/21/a-composers-debut-at-the-philharmonic Page 1 of 4 A Composer’s Début, at the Philharmonic - The New Yorker 11/27/16, 11:27 PM Cynthia Phelps, the principal violist of the Philharmonic, premières a new concerto by Julia Adolphe. Illustration by Wesley Allsbrook hen New York Philharmonic audiences hear the first performances of Julia W Adolphe’s viola concerto “Unearth, Release” (Nov. 17-19), they may not realize the amount of labor that goes into creating an orchestral piece from scratch: the concerto lasts approximately nineteen minutes and took about a year to compose. Adolphe, who is twenty-eight years old and is completing a doctorate at the University of Southern California’s Thornton School of Music, received the commission in late 2014, after winning a competition at the American Composers Orchestra. She met with Cynthia Phelps, the Philharmonic’s principal violist, who will be the soloist in the première, and studied her sound. Adolphe began sketching, on paper and on the computer; she went through various drafts, tried out the piece in a viola-and-piano version, and, this past summer, had run-throughs with orchestras at U.S.C. -
Deborah Riedel Paul Ferris Cameron Hill
DEBORAH RIEDEL Soprano PAUL FERRIS Tenor Tenor Paul Ferris has performed a wide rage of opera and music theatre repertoire throughout Australia and overseas. He has sung leading roles in La Traviata and Voss with Opera Australia and with the Sydney Symphony Orchestra under Stuart Challender. His performances have included much of the lyric tenor repertoire, including many roles Sydney born soprano, Deborah Riedel, in operetta, music theatre and concert. has performed major roles in most of the world’s best known opera houses, including the Metropolitan Opera, New York, the Royal Opera House, Covent Garden, Opera ~~~~~~~~ National de Paris, Vienna State Opera, Rome Opera, Munich State Opera, Netherlands Opera, Geneva Opera and many CAMERON HILL more. Her roles have included Freia in Das Violinist Rheingold, Donna Elvira, Donna Anna and Zerlina in Don Giovanni, Pamina in The Young Melbourne virtuoso violinist, Magic Flute, Mimi in La Boheme, Susanna Cameron Hill, won the national Dorcas and the Countess in The Marriage of Figaro, McClean Violin Competition in 2005 and the Marschallin in Der Rosenkavalier, was named 2006 ABC Symphony Marguerite in Faust, and the title roles in La Australia Young Performer of the Year Traviata, Tosca and Maria Stuarda. after winning the Grand Final with a She has also performed with many performance of the Stravinsky Violin European orchestras, such as the Czech Concerto with the Melbourne Symphony Philharmonic under Kurt Albrecht and Sir Orchestra. Cameron was subsequently the Charles Mackerras, the London Symphony inaugural recipient of the ABC Sir Charles under Sir Colin Davis, and with Australian Moses Young Performers Trophy. -
Season Premiere of Tosca Glitters
2019–20 Season Repertory and Casting Casting as of November 12, 2019 *Met debut The Gershwins’ Porgy and Bess By George Gershwin, DuBose and Dorothy Heyward, and Ira Gershwin New Production Sep 23, 27, 30, Oct 5mat, 10, 13mat, 16, Jan 8, 11, 15, 18, 24, 28, Feb 1mat Conductor: David Robertson Bess: Angel Blue/Elizabeth Llewellyn* Clara: Golda Schultz/Janai Brugger Serena: Latonia Moore Maria: Denyce Graves Sportin’ Life: Frederick Ballentine* Porgy: Eric Owens/Kevin Short Crown: Alfred Walker Jake: Ryan Speedo Green/Donovan Singletary Production: James Robinson* Set Designer: Michael Yeargan Costume Designer: Catherine Zuber Lighting Designer: Donald Holder Projection Designer: Luke Halls The worldwide copyrights in the works of George Gershwin and Ira Gershwin for this presentation are licensed by the Gershwin family. GERSHWIN is a registered trademark of Gershwin Enterprises. Porgy and Bess is a registered trademark of Porgy and Bess Enterprises. A co-production of the Metropolitan Opera; Dutch National Opera, Amsterdam; and English National Opera Production a gift of The Sybil B. Harrington Endowment Fund Additional funding from Douglas Dockery Thomas Manon Jules Massenet Sep 24, 28mat, Oct 2, 5, 19, 22, 26mat ____________________________________________________________________________________________________________ PRESS DEPARTMENT The Metropolitan Opera Press: 212.870.7457 [email protected] 30 Lincoln Center Plaza General: 212.799.3100 metopera.org New York, NY 10023 Fax: 212.870.7606 Conductor: Maurizio Benini Manon: Lisette Oropesa Chevalier des Grieux: Michael Fabiano Guillot de Morfontaine: Carlo Bosi Lescaut: Artur Ruciński de Brétigny: Brett Polegato* Comte des Grieux: Kwangchul Youn Production: Laurent Pelly Set Designer: Chantal Thomas Costume Designer: Laurent Pelly Lighting Designer: Joël Adam Choreographer: Lionel Hoche Associate Director: Christian Räth A co-production of the Metropolitan Opera; Royal Opera House, Covent Garden, London; Teatro alla Scala, Milan; and Théâtre du Capitole de Toulouse Production a gift of The Sybil B. -
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 -
Wagner Quarterly 152 March 2019
WAGNER SOCIETY nsw ISSUE NO 25 CELEBRATING THE MUSIC OF RICHARD WAGNER WAGNER QUARTERLY 152 MARCH 2019 PRESIDENT’S REPORT 2019 has begun very positively for the Wagner Society in NSW. We have a very promising program of speakers and performers planned for this year. Our first guest was the British conductor Anthony Negus, who came to us fresh from conducting the Flying Dutchman in Melbourne. He gave us an outline of his career, commencing with his early experience as an assistant to Reginald Goodall in path-breaking performances of The Ring in English for the ENO. He then made some particularly interesting observations about how to maintain appropriate rhythms and ‘pulse’ when conducting Wagner. He used the piano a number of times to illustrate most effectively what he was saying. Our second guest was Israeli conductor Asher Fisch, who engaged in a wonderfully animated conversation with the audience on a wide range of Wagnerian topics. Members recall with pleasure his wonderful Adelaide Ring and recent WASO Tristan und Isolde, with Stewart Skelton as Tristan. The Society is delighted that the attendances were very good for the first two events - 65 and 75 and looks forward to getting similar audiences during the rest of the year. There are promises for the Wagner Society of a number of other interesting speakers during 2019 and also some treats in Wagnerian music. CONTINUED ON PAGE 4 > The Wagner Society In New South Wales Inc. Registered Office75 Birtley Towers, Birtley Place, Elizabeth Bay NSW 2011 Print Post Approved PP100005174 March Newsletter Issue 25 / 152 1 RECENT MEETINGS Thanks to Mailis Wakeman for the photos Meeting on Sunday 10 February at the Goethe Institut - Maestro Anthony Negus Meeting on Sunday 10 March at the Goethe Institut - Maestro Asher Fisch 2 March Newsletter Issue 25 / 152 MEETINGS AND COMING EVENTS FOR YOUR DIARY 2019 9 Mar – 11 May The Ring at the Met New York 7 – 17 June The Ring in Kiel with Bradly Daley as Siegfried Kiel 13 – 23 June Wagner Days in Budapest. -
Media Release
Media Release FOR IMMEDIATE RELEASE: March 15, 2015 Contact: Edward Wilensky Phone: 619.232.7636 x248 [email protected] Afterhours: 619.384.7636 San Diego Opera Announces 2015-2016 Season Tenor René Barbera Makes His U.S. Recital Debut in the Polly Puterbaugh Emerging Artist Award Recital Saturday, September 19, 2015 (The Balboa Theatre) Soprano Patricia Racette performing her “Diva on Detour” recital in San Diego Saturday, November 14, 2015 (The Balboa Theatre) Puccini’s gripping opera Tosca starring Greer Grimsley as Scarpia, Alexia Voulgaridou as Tosca and Gwyn Hughes Jones as Cavaradossi Saturday, February 13, 2016 at 7 PM Tuesday, February 16, 2016 at 7 PM Friday, February 19, 2016 at 7 PM Sunday, February 21, 2016 at 2 PM (San Diego Civic Theatre) 1 Bass Ferruccio Furlanetto in concert with the San Diego Symphony Saturday, March 5, 2016 (Jacobs Music Center’s Copley Symphony Hall) Puccini’s tragic opera Madama Butterfly starring Latonia Moore as Cio-Cio San, J’nai Bridges as Suzuki, and Teodor Ilincăi as Pinkerton Saturday, April 16, 2016 at 7 PM Tuesday, April 19, 2016 at 7 PM Friday, April 22, 2016 at 7 PM Sunday, April 24, 2016 at 2 PM (San Diego Civic Theatre) The West Coast Premiere of Jake Heggie and Terrence McNally’s opera Great Scott, directed by Jack O’Brien and starring Isabel Leonard as Arden Scott, Nathan Gunn as Sid Taylor and Frederica von Stade as Mrs. Winnie Flato Saturday, May 7, 2016 at 7 PM Tuesday, May 10, 2016 at 7 PM Friday, May 13, 2016 at 7 PM Sunday, May 15, 2016 at 2 PM (San Diego Civic Theatre) All ticket prices remain the same with tickets as low as $35 with a three-opera season subscription starting at $105 San Diego, CA – Exciting premieres, Company debuts by internationally renowned artists, and returning San Diego Opera favorites are all part of San Diego Opera’s 2015- 2016 Season. -
Boston Symphony Orchestra Concert Programs, Season 109, 1989-1990, Subscription
BOSTON SYMPHONY ORCHESTRA SBJI OZAWA MUSIC DIRECTOR 109TH SEASON 1989-90 ^r^ After the show, enjoy the limelight. Tanqueray. A singular experience. Imported English Gin, 47.3% Alc/Vol (94.6°). 100% Grain Neutral Spirits. © 1988 Schieffelin & Somerset Co., New York, N.Y. Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Ninth Season, 1989-90 Trustees of the Boston Symphony Orchestra, Inc. Nelson J. Darling, Jr., Chairman Emeritus J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Mrs. Eugene B. Doggett Mrs. August R. Meyer Peter A. Brooke Avram J. Goldberg Mrs. Robert B. Newman James F. Geary Mrs. John L. Grandin Peter C. Read John F. Cogan, Jr. Francis W. Hatch, Jr. Richard A. Smith Julian Cohen Mrs. Bela T. Kalman Ray Stata William M. Crozier, Jr. Mrs. George I. Kaplan William F. Thompson Mrs. Michael H. Davis Harvey Chet Krentzman Nicholas T. Zervas Trustees Emeriti Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen E. Morton Jennings, Jr. Mrs. George Lee Sargent Allen G. Barry Edward M. Kennedy Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs. John M. Bradley Thomas D. Perry, Jr. John L. Thorndike Abram T. Collier Irving W. Rabb Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Michael G. McDonough, Assistant Treasurer Daniel R. Gustin, Clerk Administration Kenneth Haas, Managing Director Daniel R. -
Etruscan Concerto
476 3222 PEGGY GLANVILLE-HICKS etruscan concerto TASMANIAN SYMPHONY ORCHESTRA As a still relatively young nation, Australia could composing that they had no option but to go be considered fortunate to have collected so away. Equally true, relatively few of our few notable dead composers! For most of the composing women flourished ‘abroad’ for long, 20th century, almost every composer we could though Tasmanian Katharine Parker (Longford- claim was very much alive. Yet, sadly, this did born and Grainger protégée) did, and Melburnian not stop us from losing track of some of our Peggy Glanville-Hicks is the notable other. Peggy Glanville-Hicks 1912-1990 most talented, who went away and stayed Indeed, Edward Cole’s notes for the 1956 away, as did Percy Grainger and Arthur Benjamin American first recording of her Etruscan Etruscan Concerto [15’17] (the only Australian composer blacklisted by Concerto make the unique claim: ‘Peggy 1 I. Promenade 4’05 Goebbels), or returned too late, like Don Banks. Glanville-Hicks is the exception to the rule that 2 II. Meditation 7’26 And we are now rediscovering many other women composers do not measure up to the 3 III. Scherzo 3’46 interesting stay-aways, like George Clutsam (not standards set in the field by men.’ Caroline Almonte piano just the arranger of Lilac Time), Ernest Hutchinson, John Gough (Launceston-born, like Talented Australian women of Glanville-Hicks’ 4 Sappho – Final Scene 7’42 Peter Sculthorpe) and Hubert Clifford. generation hardly lacked precedent for going Deborah Riedel soprano Meanwhile, among those who valiantly toiled abroad, as Sutherland, Rofe and Hyde all did for away at home, we are at last realising that a while, with such exemplars as Nellie Melba 5 Tragic Celebration 15’34 names like Roy Agnew, John Antill and David and Florence Austral! Peggy Glanville-Hicks’ Letters from Morocco [14’16] Ahern might not just be of local interest, but piano teacher was former Melba accompanist 6 I. -
Central Opera Service Bulletin Volume 29, Number A
CENTRAL OPERA SERVICE BULLETIN VOLUME 29, NUMBER A CONTENTS NEW OPERAS AND PREMIERES 1 NEWS FMNQKRA COMPANIES 18 GOVERNMENT AND NATIONAL ORGANIZATIONS 24 27 ODNFERENOS H MEM AND REMWftTED THEATERS 29 FORECAST 31 ANNIVERSARIES 37 ARCHIVES AND EXHIBITIONS 39 ATTENTION C0MP0SH8. LIBRE11ISTS, FIAYWRHMTS 40 NUSIC PUBLISHERS 41 EDITIONS AND ADAPTATIONS 4t EOUCATION 44 AFPOINTMEMIS AND RESIGNATIONS 44 COS OPERA SURVEY USA 1988-89 OS INSIDE INFORMATION 57 COS SALUTES. O WINNERS (4 BOOK CORNER 66 OPERA HAS LOST. 73 PERFORMANCE LIST INC. 1969 90 SEASON (CONT.) 83 Sponsored by the Metropolitan Opera National Council CENTRAL OPERA SERVICE BULLETIN Volume 29, Number 4 Fall/Winter 1989-90 CONTENTS New Operas and Premieres 1 News from Opera Companies 18 Government and National Organizations 24 Copyright 27 Conferences 28 New and Renovated Theaters 29 Forecast 31 Anniversaries 37 Archives and Exhibitions 39 Attention Composers, Librettists, Playwrights 40 Music Publishers 41 Editions and Adaptations 42 Education 44 Appointments and Resignations 46 COS Opera Survey USA 1988-89 56 COS Inside Information 57 COS Salutes. 63 Winners 64 Book Corner 66 Opera Has Lost. 73 Performance Listing, 1989-90 Season (cont.) 83 CENTRAL OPERA SERVICE COMMITTEE Founder MRS. AUGUST BELMONT (1879-1979) Honorary National Chairman ROBERT L.B. TOBIN National Chairman MRS. MARGO H. BINDHARDT Please note page 56: COS Opera Survey USA 1988-89 Next issue: New Directions for the '90s The transcript of the COS National Conference In preparation: Directory of Contemporary Opera and Music Theater, 1980-89 (Including American Premieres) Central Opera Service Bulletin • Volume 29, Number 4 • Fall/Winter 1989-90 Editor: MARIA F. -
FY17 Annual Report View Report
Annual Report 2016–17 1 2 4 Introduction 6 Metropolitan Opera Board of Directors 7 Season Repertory and Events 14 Artist Roster 16 The Financial Results 48 Our Patrons 3 Introduction In the 2016–17 season, the Metropolitan Opera continued to present outstanding grand opera, featuring the world’s finest artists, while maintaining balanced financial results—the third year running in which the company’s finances were balanced or very nearly so. The season opened with the premiere of a new production of Wagner’s Tristan und Isolde and also included five other new stagings, as well as 20 revivals. The Live in HD series of cinema transmissions brought opera to audiences around the world for the 11th year, with ten broadcasts reaching approximately 2.3 million people. Combined earned revenue for the Met (Live in HD and box office) totaled $111 million. Total paid attendance for the season in the opera house was 75%. All six new productions in the 2016–17 season were the work of distinguished directors who had previous success at the Met. The compelling Opening Night new production of Tristan und Isolde was directed by Mariusz Treliński, who made his Met debut in 2015 with the double bill of Tchaikovsky’s Iolanta and Bartók’s Bluebeard’s Castle. French-Lebanese director Pierre Audi brought his distinctive vision to Rossini’s final operatic masterpiece Guillaume Tell, following his earlier staging of Verdi’s Attila in 2010. Robert Carsen, who first worked at the Met in 1997 on his popular production of Tchaikovsky’s Eugene Onegin, directed a riveting new Der Rosenkavalier, the company’s first new staging of Strauss’s grand comedy since 1969. -
Bizet's Immortal Masterpiece Carmen Ignites the Civic Theatre in a New
Media Release FOR IMMEDIATE RELEASE: January 19, 2016 Contact: Edward Wilensky (619) 232-7636 [email protected] Puccini’s Beloved Madama Butterfly Returns to San Diego Opera American soprano, Latonia Moore, last seen in 2013’s Aida, returns as Cio-Cio-San Romanian tenor Teodor Ilincăi makes American debut as Pinkerton American mezzo-soprano J’nai Bridges makes Company debut as Suzuki Conductor Yves Abel returns to lead the San Diego Symphony Production from Opéra de Montréal never before seen in San Diego San Diego, CA – San Diego Opera is proud to present Puccini’s Madama Butterfly as the second mainstage offering of its 2015-2016 season when it opens on Saturday, April 16, 2016 at 7 PM for four performances at the San Diego Civic Theatre. Returning to San Diego Opera in the title role, is American soprano Latonia Moore, who dazzled audiences in 2013 as Aida. The Company is excited to welcome Romanian tenor Teodor Ilincăi as Pinkerton, a role he has sung the role to critical and popular acclaim in Vienna, Paris, Budapest, Toulouse, and Hamburg, in his American debut. Also making an important Company debuts are American mezzo soprano J’nai 1 Bridges as Suzuki and American baritone Anthony Clark Evans as Sharpless. Taiwanese- American tenor Joseph Hu returns as Goro and American bass-baritone Scott Sikon returns as the Bonze. Franco-Canadian conductor Yves Abel, last heard leading the orchestra in 2014’s Pagliacci, returns to lead the San Diego Symphony for these performances. American stage director Garnett Bruce will stage the production. In Puccini’s tragic opera Madama Butterfly, the American naval officer Pinkerton marries a Japanese geisha named Cio-Cio-San (who is also known as Butterfly).