In Memory of Evelyn Lear
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Eberhard Waechter“
DIPLOMARBEIT Titel der Diplomarbeit „Eberhard Waechter“ Verfasserin Mayr Nicoletta angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2011 Studienkennzahl: A 317 Studienrichtung: Theater-, Film- und Medienwissenschaft Betreuerin: Univ.-Prof.Dr. Hilde Haider-Pregler Dank Ich danke vor allem meiner Betreuerin Frau Professor Haider, dass Sie mir mein Thema bewilligt hat und mir mit Rat und Tat zur Seite stand. Ich danke der Familie Waechter und Frau Anneliese Sch. für die Bereitstellung des Materials. Ich danke meiner Schwester Romy und meiner „Seelenverwandten“ Sheila und all meinen Freunden für ihre emotionale Unterstützung und die zahlreichen motivierenden Gespräche. Ich danke meinem Bruder Florian für die Hilfe im Bereich der Computertechnik. Ein großer Dank gilt meiner Tante Edith, einfach dafür, dass es dich gibt. Außerdem danke ich meinen Großeltern, dass sie meine Liebe zur Musik und zur Oper stets enthusiastisch aufgenommen haben und mit mir Jahr für Jahr die Operettenfestspiele in Bad Ischl besucht haben. Ich widme meine Diplomarbeit meinen lieben Eltern. Sie haben mich in den letzten Jahren immer wieder finanziell unterstützt und mir daher eine schöne Studienzeit ermöglicht haben. Außerdem haben sie meine Liebe und Leidenschaft für die Oper stets unterstützt, mich mit Büchern, Videos und CD-Aufnahmen belohnt. Ich danke euch für eure Geduld und euer Verständnis für eure oft komplizierte und theaterbessene Tochter. Ich bin glücklich und froh, so tolle Eltern zu haben. Inhalt 1 Einleitung .......................................................................................... -
Cordelia''s Portrait in the Context of King Lear''s
Paula M. Rodríguez Gómez Cordelias Portrait in the Context of King Lears... 181 CORDELIAS PORTRAIT IN THE CONTEXT OF KING LEARS INDIVIDUATION* Paula M. Rodríguez Gómez** Abstract: This analysis attempts to show the relations between the individual psyche and the contents of the collective unconscious. Following Von Franzs analytical technique, the tragic action in King Lear will be read as an individuation process that will rescue archetypal contents and solve existential paradoxes that cause an imbalance between the ego and the self, leading to self-destruction. Once communication is eased and balance is restored, the transformation-seeking process that engaged the design of the play itself becomes resolved, and events can be led to a conventional tragic resolution. Jungian analysis will therefore provide a critical framework to unveil the subconscious contents that tear the character of the king between annihilation and survival, the anima complex that affects the king, responding thus for the action of the play and its centuries-old success. Keywords: collective unconscious, myth, individuation, archetype, tragedy, anima. Resumen: Este análisis pretende sacar a la luz las relaciones entre la psyche individual y los contenidos del inconsciente colectivo. Siguiendo la técnica analítica de Von Franz, la acción trágica de King Lear será entendida a través del proceso de individuación que revierte sobre los contenidos arquetípicos y resuelve las paradojas existenciales que cau- san el desequilibrio entre ego y self. Una vez que la comunicación es facilitada y el equilibrio psíquico recuperado, el proceso transformativo que afecta la génesis de la trama se resuelve y el argumento alcanza una resolución convencional. -
Ruth Peters Prologue Shakespeare by Matthew Arnold Read by Eleanor
Welcome Ruth Peters Prologue Shakespeare by Matthew Arnold read by Eleanor Zuercher Paul Hayter Introduction (and historical links in the programme) Thomas Morley (1557/8-1602) ‘My bonnie lass she smileth’ (madrigal) BCMC Singers with Chris Britton (flute), Rey Lear (flute), Christine Griggs (oboe), Robert Wells (oboe), Sarah Turnock (viol) and tambour John Dowland (1563-1626) Can she excuse my wrongs? (madrigal) Reading William Shakespeare (1564-1616) Description of Cleopatra - Anthony and Cleopatra, Act 2 Scene 2 William Byrd (1543 – 1623) Wolsey’s Wilde Giles Farnaby (1563 – 1640) Loth to Depart Thomas Morley La Volta John Bull (1562 – 1628) The King’s Hunt Chris Britton (recorder), Rey Lear (recorder and guitar), Karen Lesniak (recorder), Chris Seddon (recorder) John Farmer (fl.1591-1601) ‘Fair Phyllis I saw sitting all alone’ (madrigal) Orlando Gibbons (1583-1625) The Silver Swan (madrigal) Sonnet 130 William Shakespeare Michael Arne (1741-1786) ‘Pastorale’ Christine Griggs (oboe), Auriel Warwick (piano) Sonnet 129 William Shakespeare Henry Purcell (1659-95) Golden Sonata Christine Griggs (oboe), Robert Wells (oboe), Auriel Warwick (piano) Henry Purcell (1659-95) ‘ If Music be the Food of Love’ (arr.Chris Seddon) Cathy Bowker (piano), Sarah Turnock (viol) Thomas Arne (1710-1778) When Daisies Pied (madrigal) INTERVAL William Sterndale Bennet (1816-1875) words by Christopher Marlowe ‘ Come live with me’ (unaccompanied) Charles Wood (1866-1926) ‘Full Fathoms Five’ (unaccompanied) Carl Sandburg (1878-1967) ’They all want to play Hamlet’ Johannes Brahms (1833-1897) ‘Ophelia Lieder’ from Hamlet Helen Swift (soprano), accompanied by Cathy Bowker William Shakespeare The Death of Ophelia from Hamlet Sarah Quartel (b. 1982) ‘I know a bank where the wild thyme blows’ Alan Bullard (b. -
The Inventory of the Deborah Voigt Collection #1700
The Inventory of the Deborah Voigt Collection #1700 Howard Gotlieb Archival Research Center Voigt, Deborah #1700 6/29/05 Preliminary Listing I. Subject Files. Box 1 A Chronological files; includes printed material, photographs, memorabilia, professional material, other items. 1. 1987-1988. [F. 1] a. Mar. 1987; newsletters of The Riverside Opera Association, Verdi=s AUn Ballo in Maschera@ (role of Amelia). b. Apr. 1987; program from Honolulu Symphony (DV on p. 23). c. Nov. 1987; program of recital at Thorne Hall. d. Jan. 1988; program of Schwabacher Debut Recitals and review clippings from the San Francisco Examiner and an unknown newspaper. e. Mar. 1988; programs re: DeMunt=s ALa Monnaie@ and R. Strauss=s AElektra@ (role of Fünfte Magd). f. Apr. 1988; magazine of The Minnesota Orchestra Showcase, program for R. Wagner=s ADas Rheingold@ (role of Wellgunde; DV on pp. 19, 21), and review clippings from the Star Tribune and the St. Paul Pioneer Press Dispatch. g. Sep. - Oct. 1988; programs re: Opera Company of Philadelphia and the International Voice Competition (finalist competition 3; DV on p. 18), and newspaper clippings. 2. 1989. [F. 2] a. DV=s itineraries. (i) For Jan. 4 - Feb. 9, TS. (ii) For the Johann Strauss Orchestra on Vienna, Jan. 5 - Jan. 30, TS, 7 p. b. Items re: California State, Fullerton recital. (i) Copy of Daily Star Progress clipping, 2/10/89. (ii) Compendium of California State, Fullerton, 2/13/89. (iii) Newspaper clipping, preview, n.d. (iv) Orange County Register preview, 2/25/89. (v) Recital flyer, 2/25/89. (vi) Recital program, program notes, 2/25/89. -
Sources of Lear
Meddling with Masterpieces: the On-going Adaptation of King Lear by Lynne Bradley B.A., Queen’s University 1997 M.A., Queen’s University 1998 A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in the Department of English © Lynne Bradley, 2008 University of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photo-copying or other means, without the permission of the author. ii Meddling with Masterpieces: the On-going Adaptation of King Lear by Lynne Bradley B.A., Queen’s University 1997 M.A., Queen’s University 1998 Supervisory Committee Dr. Sheila M. Rabillard, Supervisor (Department of English) Dr. Janelle Jenstad, Departmental Member (Department of English) Dr. Michael Best, Departmental Member (Department of English) Dr. Annalee Lepp, Outside Member (Department of Women’s Studies) iii Supervisory Committee Dr. Sheila M. Rabillard, Supervisor (Department of English) Dr. Janelle Jenstad, Departmental Member (Department of English) Dr. Michael Best, Departmental Member (Department of English) Dr. Annalee Lepp, Outside Member (Department of Women’s Studies) Abstract The temptation to meddle with Shakespeare has proven irresistible to playwrights since the Restoration and has inspired some of the most reviled and most respected works of theatre. Nahum Tate’s tragic-comic King Lear (1681) was described as an execrable piece of dementation, but played on London stages for one hundred and fifty years. David Garrick was equally tempted to adapt King Lear in the eighteenth century, as were the burlesque playwrights of the nineteenth. In the twentieth century, the meddling continued with works like King Lear’s Wife (1913) by Gordon Bottomley and Dead Letters (1910) by Maurice Baring. -
2003 12-10:30 Pm the Following Volunteers Are Largely Responsible for the Successful Operation of the Festival
Michi an Festival Schoolcraft College July 20, 2003 12-10:30 pm The following volunteers are largely responsible for the successful operation of the festival. They are wearing navy blue T-shirts and will assist you in finding your way to your favorite performances, dining, the Jazz Walk and Steinway Jazz Cafe. Just ask! Enjoy! Richard Aja Jim Gumley Shroyer Family Rose Apple Carol & Fritz Patti Smith Molly Berkau Hansen Betty Smolinski Phyllis Berryman Jeanette Harris Dave, Carol & John Brady Pat Hill Travis Sneary Robin Bringard Kristin Hoy Lynne Standley- Ryan Mary Beth Busto Paul Hunt Ray & Shirley Jack Campau Karen Kendall Steinke Judi Cartright Barbara Lawlor Sam & Bonnie Ted & Liz Janie Clark Stock Linderman Jim & Sharon Mary Ann Edward Methot Cooper Sutherland Ken Murray Mary Ann Cripps Barbara Taylor Jim Newman Deborah Dani Jean & Karen Peter Davis Marcel Niemiec Tomalis Brenda & Fred Cindy Pierson Tom Tomczak Durling Kristin & Pat Linda & Steve Van Michele Elias Prouty Haverbeke M.J. Falls Arnie Robinson Fred Welsh Joyce Galindo Catherine Sailus Marlene Werts Anne Gallagher Joan Schott Marnee Westberg Chris Geinzer Dianne See Patricia Wheatley Nancy Gillis Mary Sen Bob, Betty & Ann Zimmerman Charles & Louise David Sharpe Greenwald Salute to Jack Pierson The Pied Piper of Jazz Just mention Jack Pierson's name to a group of jazz fans and someone will always tell you they were in one of his bands at Fordson High School, Henry Ford Community College or Schoolcraft College. These students follow him around as though he was the Pied Piper. They love playing for him, admire him and say they never fail to learn something .1_ new each time. -
Directed by David Schwingle
THE UNIVERSITY CLASSIC PLAYERS in William Shakespeare’s Directed by David Schwingle Set and Costume Design by Jeffrey Stegall Lighting design by Richard Streeter Music by Kenon Renfrow CAST OF CHARACTERS DIRECTOR’S NOTES Lear, King of Britain ......................................................................... Ron Pyle It is a fearful thing to write about Shakespeare (brief let me be!). The fear increases when one approaches the Goneril, Lear’s eldest daughter ............................................................... Erin Naler towering achievement that is King Lear. The wheel turns a bit more toward a paralyzed state if one considers Duke of Albany, Goneril’s husband ................................................... Harrison Miller the laden, ceremonial barge of relevant scholarship on the subjects. (Imagine entering a room and seeing Oswald, Goneril’s steward ............................................................. Nathan Pittack the eminent Shakespeare scholar, Emma Smith, or our local Spenser and Shakespeare scholar, Ron Horton, Regan, Lear’s second daughter ............................................................ Emily Arcuri comfortably seated, smiling at you!) And yet, though surrounded by giants on every side, some of Lear’s own Duke of Cornwall, Regan’s husband ..................................................... Alex Viscioni making, King Lear pushes on, so I’ll push on and pen a few words about Lear, language, and love. Cordelia, Lear’s youngest daughter .................................................... -
Oboe Trios: an Annotated Bibliography
Oboe Trios: An Annotated Bibliography by Melissa Sassaman A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved November 2014 by the Graduate Supervisory Committee: Martin Schuring, Chair Elizabeth Buck Amy Holbrook Gary Hill ARIZONA STATE UNIVERSITY December 2014 ABSTRACT This project is a practical annotated bibliography of original works for oboe trio with the specific instrumentation of two oboes and English horn. Presenting descriptions of 116 readily available oboe trios, this project is intended to promote awareness, accessibility, and performance of compositions within this genre. The annotated bibliography focuses exclusively on original, published works for two oboes and English horn. Unpublished works, arrangements, works that are out of print and not available through interlibrary loan, or works that feature slightly altered instrumentation are not included. Entries in this annotated bibliography are listed alphabetically by the last name of the composer. Each entry includes the dates of the composer and a brief biography, followed by the title of the work, composition date, commission, and dedication of the piece. Also included are the names of publishers, the length of the entire piece in minutes and seconds, and an incipit of the first one to eight measures for each movement of the work. In addition to providing a comprehensive and detailed bibliography of oboe trios, this document traces the history of the oboe trio and includes biographical sketches of each composer cited, allowing readers to place the genre of oboe trios and each individual composition into its historical context. Four appendices at the end include a list of trios arranged alphabetically by composer’s last name, chronologically by the date of composition, and by country of origin and a list of publications of Ludwig van Beethoven's oboe trios from the 1940s and earlier. -
Descendants of Llyr King Lear
Descendants of Llyr King Lear Generation 1 1. LLYR KING1 LEAR was born in 10 AD in Abt,,British Columbia,Canada. He died in 10 AD in AD,,,. He married PENARDIM CELTIC. She was born in Judea, , British Columbia, Canada. Llyr King Lear and Penardim Celtic had the following child: 2. i. BRAN THE2 BLESSED (son of Llyr King Lear and Penardim Celtic) was born in 21 AD in Monmothshire, , , England. He died in 1936 in Monmothshire, , , England. He married ENYGEUS BEN JOSEPH. She was born in Ad, Maluku, Indonesia. She died in Ely, Cambridgeshire, , England. Generation 2 2. BRAN THE2 BLESSED (Llyr King1 Lear) was born in 21 AD in Monmothshire, , , England. He died in 1936 in Monmothshire, , , England. He married ENYGEUS BEN JOSEPH. She was born in Ad, Maluku, Indonesia. She died in Ely, Cambridgeshire, , England. Bran The Blessed and Enygeus Ben Joseph had the following children: 3. i. CARADOC THE3 SILURES (son of Bran The Blessed and Enygeus Ben Joseph) was born in Trevan, Llanilid, Glamorganshire, England. He died in Avalon, Cape May, New Jersey, United States. He married LIVING VENISSA. ii. CARADOC CARACTACUS OF SILURIA (son of Bran The Blessed and Enygeus Ben Joseph) was born in 1980 in Siluria, , , England. He died in 1954 in Rome, Roma, Lazio, Italy. iii. KING OF THE SILURES CARADOC (son of Bran The Blessed and Enygeus Ben Joseph) was born in 65 AD in Trevan,Llanilid,Glamorganshire,. He died in Rome,,,. Generation 3 3. CARADOC THE3 SILURES (Bran The2 Blessed, Llyr King1 Lear) was born in Trevan, Llanilid, Glamorganshire, England. -
Central Opera Service Bulletin • Vol
CENTRAL OPERA SERVICE CONFERENCE/BULLETIN Volume 27, Number 1 CENTRAL OPERA SERVICE NATIONAL CONFERENCE AN INTERNATIONAL SYMPOSIUM la The MetropotttM Opera GaiM'* Fiftieth AwUveray New York - NoTfber Iud2, 015 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center • Metropolitan Opera • New York, NY. 10023 • (212) 799-3467 I i ; i Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center • Metropolitan Opera • New York, N.Y. 10023 • (212)799-346? CENTRAL OPERA SERVICE Volume 27, Number 1 Spring/Summer 1986 CENTRAL OPERA SERVICE NATIONAL CONFERENCE AN INTERNATIONAL SYMPOSIUM In Collaboration With "Opera News" Celebrating The Metropolitan Opera Guild's Fiftieth Anniversary New York - November 1 and 2,1985 This is the special COS Conference issue. The next number will be again a regular news issue with the customary variety of subjects and a performance listing. CENTRAL OPERA SERVICE COMMITTEE Founder MRS. AUGUST BEL MONT (1879-1979) Honorary National Chairman ROBERT L.B. TOBIN National Chairman MRS. MARGO H. B1NDHARDT National Vice Chairman MRS. MARY H. DARRELL Central Opera Service Bulletin • Vol. 27, No. 1 • Spring/Summer 1986 Editor: MARIA F. RICH Assistant Editor: CHERYL KEMPLER Editorial Assistants: LISA VOLPE-REISSIG FRITZI BICKHARDT NORMA LITTON The COS Bulletin is published quarterly for its members by Central Opera Service. Please send any news items suitable for mention in the COS Bulletin as well as performance information to The Editor, Central Opera Service Bulletin, Metropolitan Opera, Lincoln Center, New York, NY 10023. Copies this issue: $12.00 Regular news issues: $3.00 ISSN 0008-9508 TABLE OF CONTENTS Friday, November 1, 1985 WELCOME 1 Margo H. -
Die Grossen Sänger
Jürgen Kesting DIE GROSSEN SÄNGER Bandi claassen IX Inhalt Vorwort xxv EINLEITUNG Eine Stimme zur rechten Zeit Vorspiel auf dem Theater 3 Vollendung und Ende des Belcanto: Enrico Caruso 5 Dialog mit der Ewigkeit 18 Auf der Suche nach der verlorenen Zeit 27 Sänger und Schallplatte 29 Von der wiedergefundenen Zeit 37 Von Treue und Untreue 41 Von den Perspektiven der Zeit 48 I. KAPITEL Schöner Ton ist der Stoff aller Musik Goldene Zeitalter 55 Belcanto 59 Ein seismischer Schock: Das hohe C 67 Die Stimmen im Höhenrausch 71 Die übernatürlich schöne Stimme 75 II. KAPITEL Der ferne Klang oder: Die alte Schule Die alte Schule 89 Nachtigall: Adelina Patti 89 • Primadonna assoluta: Marcella Sembrich 97 • Grandeur: Lilli Lehmann 102 • Marianne Brandt 110 • »Ich habe gelernt, nie zu schreien«: Ernestine Schumann-Heink in • Die einzigartige Stimme der Welt: Francesco Tamagno 116 Zeitenwende 120 • Tenor-Virtuose: Fernando de Lucia 121 • La Gloria d'Italia: Mattia Battistini 128 - Der vollkommene Sänger: Pol Plancon 134 • Die Schule INHALT • BAND I der Mathilde Marchesi 138 • Perlen von der Märchenfee: Nellie Melba 141 und andere III. KAPITEL Das schöne Ideal: Sänger aus Frankreich Le Beau Ideal 159 Französische Bassisten: Marcel Journet 166 - Jean-Emile Vanni Marcoux 169 • Französische Sopranistinnen: Emma Calve J72 • Felia Litvinne 176 • Lyrische Tragödin: Mary Garden IJ8 • und andere 181 • Französische Mezzos und Altistinnen: Blanche Deschamps-Jehin • Marie Delna • Jeanne Gerville-Reache • Alice Raveau 184 • Französische Tenöre 186 • Dramatische Tenöre: Leon Escalais 188 • Emile Scaremberg 19 r • Georges Imbart de la Tour 192 • Albert Alvarez 193 • Paul Franz 193 • Lyrische Tenöre: Edmond Clement 197 • Albert Vaguet 199 • David Devries 200 • Rene Lapalletrie • Louis Cazette • Eugene de Creus • Leon Beyle 203 • Charles Friant 20; • Miguel Villabella 207 • Andre d'Arkor 208 • Französische Baritone: Die Klassizisten: Jean-Baptiste Faure • Lucien Fugere • Gabriel Valentin Soulacroix 209 • Maurice Renaud 213 • Dinh Gilly 215 • Arthur Endreze 217 IV. -
Alban Berg Wozzeck Mp3, Flac, Wma
Alban Berg Wozzeck mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Wozzeck Country: Germany Released: 1965 Style: Modern, Twelve-tone, Opera MP3 version RAR size: 1872 mb FLAC version RAR size: 1914 mb WMA version RAR size: 1214 mb Rating: 4.8 Votes: 163 Other Formats: ADX ASF TTA APE AU MP1 RA Tracklist Oper In 3 Akten (15 Szenen) A Erster Akt, 1. Bis 3. Szene B1 Erster Akt, 4. Und 5. Szene B2 Zweiter Akt, 1. Und 2. Szene (1. Teil) C Akt, 2. Szene (2. Teil) Bis 5. Szene D Dritter Akt, 1. Bis 5. Szene Companies, etc. Printed By – Gebrüder Jänecke Credits Choir – Chor Der Deutschen Oper Berlin, Schöneberger Sängerknaben Composed By – Alban Berg Conductor – Karl Böhm Engineer – Günter Hermanns Libretto By – Georg Büchner Orchestra – Orchester Der Deutschen Oper Berlin Photography By – Max Jacoby Producer – Otto Gerdes Recorded By – Wolfgang Lohse Recording Supervisor – Gustav Rudolf Sellner Vocals [1. Handwerksbursch] – Kurt Böhme Vocals [2. Handwerksbursch] – Robert Koffmane Vocals [Andres] – Fritz Wunderlich Vocals [Der Narr] – Martin Vantin Vocals [Doktor] – Karl Christian Kohn* Vocals [Hauptmann] – Gerhard Stolze Vocals [Margret] – Alice Oelke Vocals [Marie] – Evelyn Lear Vocals [Soldat] – Walter Muggelberg Vocals [Tambourmajor] – Helmut Melchert Vocals [Wozzeck] – Dietrich Fischer-Dieskau Notes including 40-page Booklet in German, French and English. Printed in Germany by Gebrüder Jänecke Big "Tulip"-Label, "Alle Hersteller" Yellow sticker on front: "Sample Not For Sale" (P) 1965 Barcode and Other Identifiers Other