Florida Grand Opera to Open 2010-2011 Season with Puccini's
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English Translation of the German by Tom Hammond
Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p. -
A Film by Kasper Holten Based on Mozart's Don Giovanni
Pressekontakt Filmbüro, Valerio Bonadei, Seefeldstrasse 229, 8008 Zürich, [email protected] , 079 653 65 03 Blenkov & Schønnemann present JUAN A film by Kasper Holten Based on Mozart’s Don Giovanni A visually breathtaking drama; a story of passion, sex, guilt and destruction. Take the journey into the hidden depths of the 21st century Man Pressekontakt Filmbüro, Valerio Bonadei, Seefeldstrasse 229, 8008 Zürich, [email protected] , 079 653 65 03 Title: Juan Director: Kasper Holten Screenplay: Kasper Holten & Mogens Rukov, based on Mozart´s "Don Giovanni" English translation: Christopher Maltman & Henrik Engelbrecht after Lorenzo da Ponte Music: Wolfgang Amadeus Mozart Conductor: Lars Ulrik Mortensen Orchestra: Concerto Copenhagen Production Company: Blenkov & Schønnemann with Eurofilm and Zentropa Producers: Malene Blenkov & Michel Schønnemann Sales Company: Trust Nordisk Cast: Juan: Christopher Maltman- United Kingdom Leporello: Mikhail Petrenko - Russia Donna Anna: Maria Bengtsson - Sweden Elvira: Elizabeth Futral - USA Zerlina: Katija Dragojevic - Sweden Police Chief: Eric Halfvarson - USA Ottavio: Peter Lodahl - Denmark Masetto: Ludvig Lindström - Sweden Principal Photography: July 15th. 2009 Shooting Location: Budapest, Hungary. Budget: 29 mill. DKK / 4 mill Euro Duration: 105 minutes Shooting Format: 16mm Language: Contemporary English Pressekontakt Filmbüro, Valerio Bonadei, Seefeldstrasse 229, 8008 Zürich, [email protected] , 079 653 65 03 Pitch Juan is a famous artist and notorious playboy, thanks to his ability to become just what any woman dreams of. He turns his own life into a megalomanic work of art, playing the game of seduction like no other, driven by a manic restlessness that pushes him forward through an endless stream of conquests, betrayals, sex and eventually murder, with death lurking as the only possible outcome. -
Finley Is Falstaff by Ute Davis Those of Us Who Know the Slim, Handsome, Modest Dic Movement and Timing That Set Her Apart
é é é Soci t d' Op ra NATIONAL CAPITAL de la CAPITALE NATIONALE Opera Society Winter 2015 NEWSLETTER : BULLETIN Hiver 2015 Transformation!! Finley is Falstaff by Ute Davis Those of us who know the slim, handsome, modest dic movement and timing that set her apart. Her inter- Gerald Finley, simply stopped and gaped when he action with Sir John added vastly to my enjoyment. I un- appeared on the COC stage as the obese, overbear- derstand it even was her idea to give her coat, worn at the ing, pompous Sir John! The transformation was so Garter Inn encounter with Gerald Finley, the same lining complete and dramatic that it took the opening several material as was that of her dress. This would only be funny bars of music for me to realize that it really was Gerald to those of you who actually saw the COC production. Finley inside the masses of body padding and plastic Colin Ainsworth as Bardolfo and Robert face, neck and leg prostheses. Then he began to sing Gleadow as Pistola were appropriately disreputable and the Falstaff character truly came to life. in dress and behaviour, an excellent foil for Falstaff Indeed Finley’s Falstaff is, under the direc- whose dapper appearance whether in tweeds or hunt- tion of Robert Carsen, larger ing pink demonstrated the value than life, supremely funny and of a skilled tailor, no matter what superb entertainment. The your body shape.Lyne Fortin balance of comedy, some and Lauren Segal supplied the subtle and some obvious, with required charm and colour as moments of pathos was finely well as fine singing. -
DER ROSENI(AVALIER Bv Richardstrauss
4ry"fi"A DER ROSENI(AVALIER bv RichardStrauss Our 201'1Season Sponsor is the ViterbiFamily. This production of Der Rosenkavalierisdedicated 'ln LovingMemory of Muriel S. Gluck'TitleSponsorship, and to TitleCo-Sponsors Carol Lazier and FayeWilson, Producers' Circle Sponsors Merle and TeresaFischlowitz and Ruthand Ron Leonardi. SanDiego Opera is pleasedto recognizeAmerican Express as our CorporateProducing partner. *A$-: .Til_-i-fii.i* : (in orderof vocalappearance) ACT I Octavian Anke Vondung- The Bedroomof the Marschallin The Marschallin Twyla Robinson. The Marschallin'sMajor-Domo John Duykers - 2O Minute lntermission - BaronOchs auf Lerchenau Andrew Greenan ACT ThreeNoble Orphans NatalieMann II Ava Baker Liss The GrandHall at HerrVon Faninal,s Cherylyn Larson - 2A Minute A lVilliner TiffanyCarmel lntermission - An AnimalTrainer Manuel PazCastillo ACT ill Valzacchi Joel Sorensen A PrivateRoom at an Inn A Singer Stephen Costello A Notary KevinLangan Annina HeleneSchneiderman. Therunning time is approximately 4 hours and g minutes, Herrvon Faninal l-{ans-Joachim Ketelsen. includingtwo 20-mlnuteintermissions. lVlarianneLeitmetzerin StephanieWeiss. Sceneryconslruction and painting \,ronFan inal's Major-Domo bythe San Francisco Simeon Esper OperaScenic Shop. Sophievon Faninal PatriziaCiofi. Costumes An lnnkeeper fabricatedby the San Francisco Opera Costume Simeon Esper Shop Footmenof the . Libretto Marschallin,/FourWaiters Andrew Bennett- by Hugovon Hofmannsthai. StephenBranch. Firstperformance was held in Dresdenon January Anthony Ballard 26,1911. MichaelBlinco. Castsubject to change. A PoliceCommissioner KevinLangan Leopold Matthew Roehl. Specialthanks to San Diego Museum of Art and Torrey Mohamet FrancisGoonan. PinesChristian Church and La Jolla CountryDay School,our 2011 CommunityConversation parrners Conductor Christof Perick for Der Rosenkavalier. Director Lotfi Mansouri ScenicDesigner ThierryBosquet CostumeDesigner ThierryBosquet ri:ftt- *fr Ltt\lt* il l].:*1il5 LightrngDesigner MichaelWhitfield Sunday April 3,2011 2pm Wig and MakeupDesigner StevenW. -
Singing in English in the 21St Century: a Study Comparing
SINGING IN ENGLISH IN THE 21ST CENTURY: A STUDY COMPARING AND APPLYING THE TENETS OF MADELEINE MARSHALL AND KATHRYN LABOUFF Helen Dewey Reikofski Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2015 APPROVED:….……………….. Jeffrey Snider, Major Professor Stephen Dubberly, Committee Member Benjamin Brand, Committee Member Stephen Austin, Committee Member and Chair of the Department of Vocal Studies … James C. Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Reikofski, Helen Dewey. Singing in English in the 21st Century: A Study Comparing and Applying the Tenets of Madeleine Marshall and Kathryn LaBouff. Doctor of Musical Arts (Performance), August 2015, 171 pp., 6 tables, 21 figures, bibliography, 141 titles. The English diction texts by Madeleine Marshall and Kathryn LaBouff are two of the most acclaimed manuals on singing in this language. Differences in style between the two have separated proponents to be primarily devoted to one or the other. An in- depth study, comparing the precepts of both authors, and applying their principles, has resulted in an understanding of their common ground, as well as the need for the more comprehensive information, included by LaBouff, on singing in the dialect of American Standard, and changes in current Received Pronunciation, for British works, and Mid- Atlantic dialect, for English language works not specifically North American or British. Chapter 1 introduces Marshall and The Singer’s Manual of English Diction, and LaBouff and Singing and Communicating in English. An overview of selected works from Opera America’s resources exemplifies the need for three dialects in standardized English training. -
Renée Fleming Sings Her First La Traviata
DAVID GOCKLEY, GENERAL DIRECTOR PATRICK SUMMERS, MUSIC DIRECTOR Subscribe Now! 2002–2003 Season Renée Fleming sings her first La Traviata. See it FREE when you SUBSCRIBE NOW! DHoustonivas,divas,divas! Grand Opera celebrates “The Year of the Diva.” Renée Fleming will at long last sing her first Violetta—and, where might this Experience all the anticipated debut happen? The Met? La Scala? Vienna? No, Renée has chosen to excitement and premiere this significant role here at Houston Grand Opera. In a year of firsts— Susan Graham’s first Ariodante and The Merry Widow and Elizabeth Futral’s benefits of a full first Manon—Ms.Fleming’s Violetta will be a defining moment in the world of opera. season subscription: The season begins with the return of Ana Maria Martinez as Mimi in Puccini’s • Free parking beloved La Bohème. Laura Claycomb,the young Te x a s soprano who had • Free subscription to audiences on their feet in this season’s Rigoletto,will return in Donizetti’s Scottish Opera Cues magazine masterpiece, Lucia di Lammermoor.The season closes with the world premiere of • Free season preview The Little Prince,when Oscar-winning composer Rachel Portman turns Antoine CD or cassette de Saint-Exupéry’s much loved novel into a magical and moving opera. • Free lost ticket replacement Extraordinary singers in extraordinary productions.As a full season subscriber, • Exchange privileges you get 7 operas for the price of 6. That means you can see Renée Fleming’s debut • 10% discount on as Violetta for free! I urge you to take advantage of this offer, it’s the only way we additional tickets can guarantee you a seat. -
FY13 Annual Report View Report
ANNUAL REPORT 2012–13 3 Introduction 5 Metropolitan Opera Board of Directors 7 2012–13 Season Repertory & Events 14 2012–13 Artist Roster 15 The Financial Results 46 Patrons Introduction The Metropolitan Opera’s 2012–13 season featured an extraordinary number of artistic highlights, earning high praise for new productions, while the company nevertheless faced new financial challenges. The Met presented seven new stagings during the 2012–13 season, including the Met premieres of Thomas Adès’s The Tempest and Donizetti’s Maria Stuarda, the second of the composer’s trilogy of Tudor operas (with the third installment planned for a future season). All seven new productions, plus five revivals, were presented in movie theaters around the world as part of the Met’s groundbreaking Live in HD series, which continued to be an important revenue source for the Met, earning $28 million. Combined earned revenue for the Met (Live in HD and box office) totaled $117.3 million. This figure was lower than anticipated as the company continued to face a flat box office, complicated by the effects of Hurricane Sandy, the aftermath of which had a negative impact of approximately $2 million. As always, the season featured the talents of the world’s leading singers, conductors, directors, designers, choreographers, and video artists. Two directors made stunning company debuts: François Girard, with his mesmerizing production of Parsifal on the occasion of Wagner’s bicentennial, and Michael Mayer, whose bold reimagining of Verdi’s Rigoletto in 1960 Las Vegas was the talk of the opera world and beyond. Robert Lepage returned to direct the highly anticipated company premiere of Thomas Adès’s The Tempest, with the composer on the podium. -
MUSIC at MEMORIAL(Online)
MUSIC AT MEMORIAL An Annual Newsletter to Friends and Alumni 2010-2011 this issue Dr Ellen Waterman P.3 Meet Helen MacLeod P.10 Opera Roadshow P.4 Dr Rob Ash P.11 Music and Technology P.6 Dr Doug Angel P.12 Classical Guitar P.8 Rebecca Powell P.13 Professor Kjellrun Hestekin P.9 Dr Tom Gordon P.14 What’s Inside There has existed throughout the history of heal- ing a relationship between music and medicine. Often, the tuner of the instrument and the healer of the body have been the same individual. The ancient Greeks found this connection in Apollo, god of healing and of music, and us modern folk – if we look closely – will find a similar connec- tion with many medical professionals of today. In fact, if you comb the continent’s major urban centres you’ll find doctors’ orchestras in many of them – from Los An- geles to Philadelphia to London and Australia. The World Doctors Orchestra, founded in 2007, is a global non-profit organization that invites over 100 physicians to perform a benefit concert twice a year to raise money for medical aid projects. Is this connection between music and medicine a giant coincidence? I hesitate to think so. In the following pages a few of our grads offer up opinion on why they think there is such a close connection between the two. The School continues to reach out into the community in different ways and a young program is gaining serious momen- tum. We will visit with the MacLeods and learn how remembering the past has been a big part of shaping their family mantra. -
Network Notebook
Network Notebook Fall Quarter 2017 (October - December) A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more. -
Network Notebook
Network Notebook Summer Quarter 2017 (July - September) A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more. -
Repertoire and Performance History Virginia Opera Repertoire 1974-2020
Repertoire and Performance History Virginia Opera Repertoire 1974-2020 1974–1975 Initial Projects LA BOHÈME – January 1975 N LA TRAVIATA – June 1975 N 1975–1976 Inaugural Subscription Season TOSCA – October/November 1975 N LUCIA DI LAMMERMOOR – January 1976 N THE BARBER OF SEVILLE – March/April 1976 N 1976–1977 RIGOLETTO – October/November 1976 N IL TROVATORE – January 1977 N THE IMPRESARIO/I PAGLIACCI – March/April 1977 N 1977–1978 MADAMA BUTTERFLY – October/November 1977 N COSÌ FAN TUTTE – January/February 1978 N MARY, QUEEN OF SCOTS – American Premiere– April 1978 N 1978–1979 CARMEN – October/November 1978 N THE DAUGHTER OF THE REGIMENT – January 1979 N DON GIOVANNI – March/April 1979 N 1979–1980 LA BOHÈME – October/November 1979 N A CHRISTMAS CAROL – World Premiere – December 1979 N DON PASQUALE – January/February 1980 N THE TALES OF HOFFMAN – March 1980 N 1980–1981 PORGY AND BESS – October/November 1980 N, R HANSEL AND GRETEL – December 1980 N WERTHER – January/February 1981 N I CAPULETI E I MONTECCHI – March/April 1981 N 1981–1982 FAUST – October/November 1981 N CINDERELLA – December 1981 N LA TRAVIATA – January 1982 N THE MAGIC FLUTE – March 1982 N 1982–1983 DIE FLEDERMAUS – October/November 1982 N, R AMAHAL AND THE NIGHT VISITORS – December 1982 N MACBETH – January 1983 N THE ELIXIR OF LOVE – March 1983 N 1983–1984–Inaugural Subscription Season Richmond NORMA – October 1983 R GIANNI SCHICCHI/SUOR ANGELICA – December 1983 R RIGOLETTO – January 1984 N, R THE GIRL OF THE GOLDEN WEST – February/March 1984 N 1984–1985 THE MARRIAGE -
Carmen Study Guide MANITOBA OPERA GRATEFULLY AKNOWLEDGES OUR CARMEN PARTNERS
2 0 1 9 / 2 0 STUDY GUIDE Production Sponsors MANITOBA OPERA 1 2019/20 Carmen Study Guide MANITOBA OPERA GRATEFULLY AKNOWLEDGES OUR CARMEN PARTNERS: SEASON SPONSOR EDUCATION, OUTREACH, & COMMUNITY ENGAGEMENT SPONSORS Student Night at the Opera Sponsor 1060-555 Main Street Winnipeg MB R3B 1C3 Lower Level, Centennial Concert Hall 204-942-7470 | mbopera.ca Join our e-newsletter for exclusive behind-the-scenes content. Just go to mbopera.ca and click “Join our Mailing List.” MANITOBA OPERA 2 2019/20 Carmen Study Guide 2019/20 STUDY GUIDE CARMEN THE PRODUCTION HISTORICAL CONNECTION Fast Facts 4 Historical Background of Carmen 19 Production Information 5 Who are the Roma? 22 Introduction & Synopsis 6 Carmen in the 20th Century 26 The Principal Characters 8 Evolving Perspectives on Carmen 27 The Principal Artists 9 The Composer 14 STUDENT RESOURCES The Librettists 15 Student Activities 28 The Dramatist 16 Winnipeg Public Library Resources 37 Musical Highlights 17 Student Programming 38 Kirstin Chávez (Carmen) and David Pomeroy (Don José). Carmen, 2010. Manitoba Opera. Photo: R. Tinker. MANITOBA OPERA 3 2019/20 Carmen Study Guide THE PRODUCTION FAST FACTS •Even though it is considered by many to be •Traditionally, the tragic tale of Carmen the most popular opera of all time, ends with Don José killing Carmen in a fit had a rocky start, and was not well received of jealousy. Some modern productions have at its premiere. addressed the issue of violence perpetrated against women by altering the ending, in •Rehearsing the opera for its premiere was which Carmen kills Don José in self-defense.