Oliver Mears Directs New Production of Tchaikovsky’S Eugene Onegin
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The Transformation of Pushkin's Eugene Onegin Into Tchaikovsky's Opera
THE TRANSFORMATION OF PUSHKIN'S EUGENE ONEGIN INTO TCHAIKOVSKY'S OPERA Molly C. Doran A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2012 Committee: Eftychia Papanikolaou, Advisor Megan Rancier © 2012 Molly Doran All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Since receiving its first performance in 1879, Pyotr Il’yich Tchaikovsky’s fifth opera, Eugene Onegin (1877-1878), has garnered much attention from both music scholars and prominent figures in Russian literature. Despite its largely enthusiastic reception in musical circles, it almost immediately became the target of negative criticism by Russian authors who viewed the opera as a trivial and overly romanticized embarrassment to Pushkin’s novel. Criticism of the opera often revolves around the fact that the novel’s most significant feature—its self-conscious narrator—does not exist in the opera, thus completely changing one of the story’s defining attributes. Scholarship in defense of the opera began to appear in abundance during the 1990s with the work of Alexander Poznansky, Caryl Emerson, Byron Nelson, and Richard Taruskin. These authors have all sought to demonstrate that the opera stands as more than a work of overly personalized emotionalism. In my thesis I review the relationship between the novel and the opera in greater depth by explaining what distinguishes the two works from each other, but also by looking further into the argument that Tchaikovsky’s music represents the novel well by cleverly incorporating ironic elements as a means of capturing the literary narrator’s sardonic voice. -
Scottish Opera and the National Opera Studio Join Forces for Performance in Edinburgh
PRESS RELEASE 18 December 2018 SCOTTISH OPERA AND THE NATIONAL OPERA STUDIO JOIN FORCES FOR PERFORMANCE IN EDINBURGH Scottish Opera’s Opera in Concert 2018/19 series continues on 1 February at 6pm at King’s Theatre, Edinburgh, with a performance by the Young Artists from the National Opera Studio. This collaboration with National Opera Studio provides the Young Artists a week-long residency in Glasgow, culminating in a special performance on the set of Anthropocene at the King’s Theatre, Edinburgh. The Young Artists will also work on their repertoire with the English National Opera Orchestra for the first time, prior to their Scottish Opera recital, for a special performance at London’s Cadogan Hall this January. Directed by Orpha Phelan, with Charles Peebles conducting The Orchestra of Scottish Opera, the varied programme for February’s performance by 12 opera stars of the future includes favourites from Beethoven’s Fidelio, Mozart’s The Marriage of Figaro, Carmen by Bizet and Handel’s Rodelina. This year’s show follows the success of last year’s Scottish Opera and National Opera Studio collaboration, From Russia with Love. It featured two of Scottish Opera 2018/19 Emerging Artists: mezzo-soprano Bethan Langford in performance and repetiteur Erika Gundesen, who was involved in 2018’s week-long residency. Alex Reedijk, General Director of Scottish Opera said: ‘We are excited to be working with some of the country’s most talented developing artists from the National Opera Studio and to build on the success of last year’s From Russia With Love programme. It is the first year that the ENO Orchestra has also worked with the singers, in a performance at London’s Cadogan Hall, and we are delighted to be a part of this collaboration. -
AOR Management Ltd E-Mail: [email protected] Tel: 001 206 729 6160 6910 Roosevelt Way NE Fax: 001 206 985 8499 PMB 221 Cell Tel: 001 206 915 5145 Seattle
AOR Management Ltd E-mail: [email protected] Tel: 001 206 729 6160 6910 Roosevelt Way NE Fax: 001 206 985 8499 PMB 221 Cell Tel: 001 206 915 5145 Seattle. WA 981115 ALASDAIR ELLIOTT - TENOR One of Europe’s leading character tenors, Alasdair Elliott’s acclaimed portrayals include such roles as Mime for Scottish Opera’s production of Der Ring; Pong (Turandot) for the Teatro Real, Madrid, the Royal Opera, Covent Garden and Reisopera, Netherlands; Monostatos (Die Zauberflöte) ) for the Royal Opera, Covent Garden, English National Opera, Glyndebourne Touring Opera and in Lisbon; Red Whiskers ( Billy Budd ) and the Gamekeeper ( Rusalka ) for Glyndebourne Festival Opera; Bardolpho and Ciaus ( Falstaff ) for the Royal Opera, Scottish Opera, Glyndebourne Festival Opera, and with the London Symphony Orchestra; and First and Fourth Jew ( Salome ) for Opera Royal de la Monnaie, English National Opera, Welsh National Opera and Netherlands Opera also recorded for Chandos. Other operatic roles he has made his own include Brighella ( Ariadne auf Naxos ) for the Royal Opera and ENO; Snout ( A Midsummer Night’s Dream ) for Glyndebourne Festival Opera; Goro ( Madama Butterfly ) for the Royal Opera, Opera North and Holland Park Opera; Valzacchi ( Der Rosenkavalier ) for the English National Opera and Scottish Opera; Guidobald Usodimare ( Die Gezeichneten ) for the Netherlands Opera; David (Die Meistersinger) for Staatstheatre Stuttgart; Vitek ( The Makropulos Case ) and Shvonder ( Dog’s Heart ) for English National Opera; Sellem ( The Rake’s Progress ) in Israel and Lille; Andres ( Wozzeck ) for the Royal Opera and Israeli Opera; Red Whiskers ( Billy Budd ) with the London Symphony Orchestra; Nick ( Fanciulla del West ) for Opera Zuid; Cabaretier ( Benvenuto Cellini ) with the London Symphony Orchestra; and Der Bucklige ( Die Frau ohne Schatten ) with the Netherlands Radio Philharmonic. -
Tchaikovsky Violin Concerto
Tchaikovsky Violin Concerto Friday, January 12, 2018 at 11 am Jayce Ogren, Guest conductor Sibelius Symphony No. 7 in C Major Tchaikovsky Concerto for Violin and Orchestra Gabriel Lefkowitz, violin Tchaikovsky Violin Concerto For Tchaikovsky and The Composers Sibelius, these works were departures from their previ- ous compositions. Both Jean Sibelius were composed in later pe- (1865—1957) riods in these composers’ lives and both were pushing Johan Christian Julius (Jean) Sibelius their comfort levels. was born on December 8, 1865 in Hämeenlinna, Finland. His father (a doctor) died when Jean For Tchaikovsky, the was three. After his father’s death, the family Violin Concerto came on had to live with a variety of relatives and it was Jean’s aunt who taught him to read music and the heels of his “year of play the piano. In his teen years, Jean learned the hell” that included his disas- violin and was a quick study. He formed a trio trous marriage. It was also with his sister older Linda (piano) and his younger brother Christian (cello) and also start- the only concerto he would ed composing, primarily for family. When Jean write for the violin. was ready to attend university, most of his fami- Jean Sibelius ly (Christian stayed behind) moved to Helsinki For Sibelius, his final where Jean enrolled in law symphony became a chal- school but also took classes at the Helsinksi Music In- stitute. Sibelius quickly became known as a skilled vio- lenge to synthesize the tra- linist as well as composer. He then spent the next few ditional symphonic form years in Berlin and Vienna gaining more experience as a composer and upon his return to Helsinki in 1892, he with a tone poem. -
Broken Pencil
BROKEN PENCIL ORCHESTRAL LIBRARIANS’ NEWSLETTER SPRING 2002 I N T H E N E W S EDITORIAL We are sad to learn that Helen Lambert has decided to leave Scottish Opera in July upon th Welcome to this, the second issue of her 25 anniversary with the company. We wish her every happiness in her retirement. BROKEN PENCIL. The reaction to the She will be sorely missed by all her colleagues both north and south of the border. first issue was very encouraging and has had a wide circulation; in addition Publisher Corner to the UK circulation, a copy was Thanks to Boosey & Hawkes for being brave enough to send out their Hire Library posted on Molalist, making it an questionnaire. We hope that it bears fruit. international publication. We’re hoping to continue in the same vein. Grateful thanks also go to MDS for having Schott re-paginate the cello and bass parts of As always, the quality of this, our own the critical edition of Stravinsky’s Firebird ballet. in-house publication depends upon the Agency News contributions made to it and BROKEN Still with Boosey & Hawkes, they have acquired the publisher Richard Schauer. Two PENCIL looks forward to receiving more major hire catalogues are now administered from 295 Regent Street: Simrock, which submissions both great and small! Oh, contains original publications of many works by Brahms, Dvorak, Bruch; and Anton J. and if you receive this electronically, Benjamin. This is in addition to the Böte & Bock and Charles Foley agency catalogues you can link to the e-mail and web already represented (among others). -
Tosca Nixon in China a Midsummer Night's Dream
TOSCA NIXON IN CHINA A MIDSUMMER NIGHT’S 19 DREAM THE GONDOLIERS BREAKING THE WAVES ZANETTO SUSANNA’S SECRET IRIS 20CAVALLERIA RUSTICANA ZINGARI UTOPIA, LIMITED FOX-TOT! MERRILY WE ROLL ALONG 5 Subscription Information 6 Tosca 8 Nixon in China 10 A Midsummer Night’s Dream 12 The Gondoliers 14 Breaking the Waves 16 Opera in Concert 20 Opera Highlights 22 Fox-tot! 24 Merrily We Roll Along 26 Amadeus & The Bard 28 Pop-up Opera 32 Emerging Artists 33 Opera Unwrapped 34 Dementia Friendly Performances 36 Audio-described Performances 37 Pre-show Talks 38 Get Involved 40 Box Office Information A huge thank you to all our business sponsors and corporate members: Thanks also to our corporate supporters: Accenture, Caledonian MacBrayne, Cameron, Eusebi Deli, Glasgow Chamber of Commerce, Glasgow Memory Clinic, M.A.C., NorthLink Ferries and Pentland Ferries. WELCOME TO SCOTTISH OPERA’S 2019|20 SEASON Scottish Opera has been entertaining At a time when, perhaps more than ever, audiences the length and breadth of the we are all thinking and talking about country for over 56 years, and still at the heart partnership, we are proud of the relationships of all we do are the words of our founder, that are critical both to Scottish Opera’s success Sir Alexander Gibson, whose vision was and to our ability to create new work for you. ‘to lay the treasures of opera at the feet We don’t work in isolation, and this Season of the people of Scotland’. exemplifies this spirit of collaboration across the world of opera, embracing our partnerships In our 2019/20 Season, we are delighted and co-productions with festivals, companies to take forward his momentous legacy and opera houses in Scotland, England, with a wealth of operatic fare – including Australia, Denmark, Spain and the United 12 operas – that takes us to over 50 venues, States, and with artists and creative teams and is augmented by numerous events in from near and far. -
Prokofiev Shostakovich Tchaikovsky
Prokofiev £3 Shostakovich Tchaikovsky PROGRAMME MICHAEL FOYLE VIOLIN MIHAI RITIVOIU PIANO MICHAEL COLLINS CONDUCTOR WEDNESDAY ENGLISH 16TH MAY CHAMBER 7.30PM ORCHESTRA CADOGAN HALL Programme welcome Prokofiev Violin Concerto No. 1 in D major Shostakovich Piano Concerto No. 2 in F major Welcome to the Cadogan Chekhov or Tolstoy in our Hall for what I am sure theatres or an exhibition will be a thrilling evening, such as that which has combining one of the just finished at the Royal Interval world’s great chamber Academy. We celebrate orchestras with two brilliant this amidst the turmoil young soloists and the of international relations. Tchaikovsky well-established conductor/ clarinettist Michael Collins. Thank you to the several Symphony No. 4 in F minor groups who are supporting We are celebrating three this event – not least the ‘debuts’ this evening. International Business Mihai Ritivoiu piano Michael has been a soloist and Diplomatic Exchange Michael Foyle violin with the English Chamber (IBDE) whose advisory Orchestra and tonight board I have the privilege Michael Collins conductor conducts them for the to chair, and the first time. And CMF artists, City Music Foundation. violinist Michael Foyle English Chamber Orchestra and pianist Mihai Ritivoiu May I also express our Sir Roger Gifford play with the ECO for the grateful thanks to an English Chamber Orchestra first time in their rapidly anonymous donor and Music Society developing careers. and the members of Founder, City Music Foundation Winckworth Sherwood LLP The music tonight reflects for their assistance in the the enormous contribution conception and promotion made by Russian arts to of this event. -
Anna Netrebko Has Redefined What It Means to Be an Opera Star, Becoming Perhaps the Most Celebrated Soprano in the World
mli^o=jrpf`=mofwb=i^rob^qb=OMOMW=^kk^=kbqob_hl= “A soprano with star power in the best sense, a charismatic expressivity that pervades every element of her performance.” – Anthony Tomassini, New York Times The reigning prima donna of the 21st century, Anna Netrebko has redefined what it means to be an opera star, becoming perhaps the most celebrated soprano in the world. In live performance and on award-winning recordings, her portrayals of opera’s most iconic heroines have already made an indelible mark. Now, as she ventures into bolder, more dramatic repertoire, she continues to reach new heights. From singing at the opening ceremony of the 2014 Winter Olympics to becoming the first classical artist named to TIME magazine’s list of the world’s 100most influential people, Anna serves as opera’s leading global ambassador and is widely recognized as one of today’s most compelling, committed performing artists in any genre. Offstage, on social media, she shares her infectious joie de vivre–along with her love of family, fashion, and food–inspiring people to live their most colorful lives and to celebrate what makes them unique. Now at the peak of her powers, Anna is drawing on the exceptional maturation of her voice to conquer the most demanding roles of her career. Her title role debut in Giovanna d’Arcoat the 2013 Salzburg Festival, and the concurrent release of her Verdi album on Deutsche Grammophon, marked the major turning point when she began to leave behind the lighter, more lyric roles for which she had first become known. -
Download Booklet
CHAN 3042 BOOK 29/01/2016 14:55 Page 2 Pyotr Ilyich Tchaikovsky (1840–1893) Eugene Onegin KG A Opera in three acts Text by the composer and Konstantin Shilovsky after Alexander Pushkin’s verse novel Eugene Onegin English translation by David Lloyd-Jones Eugene Onegin....................................................Thomas Hampson baritone Tatyana......................................................................Kiri Te Kanawa soprano Lensky..........................................................................Neil Rosenshein tenor Prince Gremin....................................................................John Connell bass A Captain/Zaretsky....................................................Richard Van Allan bass Monsieur Triquet..............................................................Nicolai Gedda tenor Madame Larina..................................................Linda Finnie mezzo-soprano Filippyevna............................................Elizabeth Bainbridge mezzo-soprano Olga................................................................Patricia Bardon mezzo-soprano Pyotr Ilyich Tchaikovsky Orchestra and Chorus of Welsh National Opera Gareth Jones chorus master Sir Charles Mackerras 3 CHAN 3042 BOOK 29/01/2016 14:55 Page 4 COMPACT DISC ONE TimePage TimePage No. 5 Scene and Quartet Act I 8 ‘Mesdames, I hope that you’ll excuse me’ 1:4897 1 Introduction 2:3992 Lensky, Onegin, Madame Larina 9 ‘Now tell me, which of them’s Tatyana?’ 1:4297 Scene 1 Onegin, Lensky, Tatyana, Olga No. 1 Duet and Quartet 2 ‘Oh, did you hear the lovesick shepherd boy’ 5:0892 No. 6 Scene and Arioso Tatyana, Olga, Madame Larina, Nurse 10 ‘How perfect, how wonderful’ 2:14 098 No. 2 Chorus and Dance of the Peasants Lensky, Olga, Onegin, Tatyana 3 ‘My legs ache and can no longer run’ 2:3994 11 ‘How I love you, I adore you, Olga’ 3:16 099 Leader (John Hudson), Peasants, Madame Larina Lensky, Olga 4 ‘In a cottage by the water’ 2:0594 No. 7 Closing Scene Peasants 12 ‘Ah, here you are!’ 2:40100 No. -
David Stark and Toby Coffey
Arts Marketing Association Digital Marketing Day: 2009 Seminars Hannah Rudman (chair), David Stark and Toby Coffey Innovative approaches to working with digital media Hannah Rudman is Project Lead of AmbITion (http://getambition.com), a national digital development programme. She advises on national cultural policy around digital development for England, Scotland and Wales and is Specialist Advisor to the Scottish Arts Council, the Mission Models Money programme, to IC:Innovative Craft and is a Project Mentor to the £1m Edinburgh Portal Project Pilot. She is also Arts Professional’s ‘Harnessing IT’ columnist and on the boards of Milk With 2 Sugars and New Media Scotland (http://consultrudman.com). Hannah recently founded Envirodigital (http://envirodigital.com) – a change agency that encourages organisations to become environmentally sustainable through digital developments. Envirodigital is helping to establish the new National Theatre Wales. David Stark is Director of Marketing and Communications for the Royal Scottish National Orchestra, one of five Scottish National Companies supported by the Scottish Government. He joined the marketing team in 2002 before spending a year with Scottish Opera and then returning to the RSNO in 2006 to see the Orchestra’s renaissance, as audiences grew by a third, subscriptions by 120% and the launch of a number of successful new audience series such as Classic Bites, Symphonies at Six, Naked Classics, Out & About and orchestra+. David’s passion for orchestras comes from twenty years of trumpet practice, culminating in a music degree at the University of York. Prior to this, David embarked on an abortive course in Electronic Engineering which left him with an interest in gadgets and things that blink. -
SIR ALEXANDER GIBSON CBE, MA(Glas), Honlld(Aberd), Hondmus(Glas, New'cle), Duniv(Stirl, York), Hond(OU), FRSAMD, Honram, FRCM, Honrsa, FRSA
SIR ALEXANDER GIBSON CBE, MA(Glas), HonLLD(Aberd), HonDMus(Glas, New'cle), DUniv(Stirl, York), HonD(OU), FRSAMD, HonRAM, FRCM, HonRSA, FRSA Alexander Gibson was born in Motherwell on 11 February 1926 into a family that was not especially musical. As a pupil at Dalziel High School the young Alex appeared as the Major-General in The Pirates of Penzance and it was soon clear that he was exceptionally gifted. He went with friends on Saturday nights to hear the Scottish Orchestra, as it then was, in St Andrew's Hall, Glasgow. His early musical education took place at the Royal Scottish Academy of Music and, at the age of 17, he became Organist at a nearby Congregational church. At Glasgow University he graduated with an MA in English Literature and Music. Between 1944 and 1948 Alex served as a pianist in the Royal Signals Band making arrangements for them of concertos by Mozart, Beethoven, Schumann, Grieg and Rachmaninov. He left the forces in 1948 and soon afterwards won a scholarship to the Royal College of Music where he was told that he could not join the Conducting Class as his theoretical knowledge was inadequate. By way of response he formed his own orchestra and the college authorities subsequently recognised his enormous talent. He won the Tagore Gold Medal and in 1950 attended the Conducting Class of Igor Markevitch at the Salzburg Mozarteum. The following year he went to Sadler's Wells Opera as a repetiteur and in 1952 was appointed Assistant Conductor of the BBC Scottish Orchestra. This two year contract was of untold value to him and he learned the standard concert repertoire under the direction of Ian Whyte. -
Onegin's Path from Page to Stage: a Study of Tchaikovsky’S Transposition of Pushkin’S Novel in Verse Into Novel in Music John M
United States Military Academy USMA Digital Commons West Point ETD 4-2002 Onegin's Path from Page to Stage: A Study of Tchaikovsky’s Transposition of Pushkin’s Novel in Verse into Novel in Music John M. Pendergast United States Military Academy, [email protected] Follow this and additional works at: https://digitalcommons.usmalibrary.org/faculty_etd Part of the Russian Literature Commons Recommended Citation Pendergast, John M., "Onegin's Path from Page to Stage: A Study of Tchaikovsky’s Transposition of Pushkin’s Novel in Verse into Novel in Music" (2002). West Point ETD. 11. https://digitalcommons.usmalibrary.org/faculty_etd/11 This Master's Thesis is brought to you for free and open access by USMA Digital Commons. It has been accepted for inclusion in West Point ETD by an authorized administrator of USMA Digital Commons. For more information, please contact [email protected]. ONEGIN’S PATH FROM PAGE TO STAGE: A Study of Tchaikovsky’s Transposition of Pushkin’s Novel in Verse into Novel in Music by John Pendergast A Thesis Submitted to the Faculty of the DEPARTMENT OF RUSSIAN AND SLAVIC LANGUAGES In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2002 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgement of source is made.