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Filumena and the Canadian Identity a Research Into the Essence of Canadian Opera
Filumena and The Canadian Identity A Research into the Essence of Canadian Opera Alexandria Scout Parks Final thesis for the Bmus-program Icelandic Academy of the Arts Music department May 2020 Filumena and The Canadian Identity A Research into the Essence of Canadian Opera Alexandria Scout Parks Final Thesis for the Bmus-program Supervisor: Atli Ingólfsson Music Department May 2020 This thesis is a 6 ECTS final thesis for the B.Mus program. You may not copy this thesis in any way without consent from the author. Abstract In this thesis I sought to identify the essence of Canadian opera and to explore how the opera Filumena exemplifies that essence. My goal was to first establish what is unique about Canadian opera. To do this, I started by looking into the history of opera composition and performance in Canada. By tracing these two interlocking histories, I was able to gather a sense of the major bodies of work within the Canadian opera repertoire. I was, as well, able to deeper understand the evolution, and at some points, stagnation of Canadian opera by examining major contributing factors within this history. My next steps were to identify trends that arose within the history of opera composition in Canada. A closer look at many of the major works allowed me to see the similarities in terms of things such as subject matter. An important trend that I intend to explain further is the use of Canadian subject matter as the basis of the operas’ narratives. This telling of Canadian stories is one aspect unique to Canadian opera. -
MARIUS by Marcel Pagnol (1931) Directed by Alexander Korda
PRESS PACK CANNES CLASSICS OFFICIAL SELECTION 2015 MARIUS by Marcel Pagnol (1931) Directed by Alexander Korda Thursday 21 May 2015 at 5pm, Buñuel Theatre Raimu and Pierre Fresnay in Marius by Marcel Pagnol (1931). Directed by Alexander Korda. Film restored in 2015 by the Compagnie Méditerranéenne de Films - MPC and La Cinémathèque Française , with the support of the CNC , the Franco-American Cultural Fund (DGA-MPA-SACEM- WGAW), the backing of ARTE France Unité Cinéma and the Archives Audiovisuelles de Monaco, and the participation of SOGEDA Monaco. The restoration was supervised by Nicolas Pagnol , and Hervé Pichard (La Cinémathèque Française). The work was carried out by DIGIMAGE. Colour grading by Guillaume Schiffman , director of photography. Fanny by Marcel Pagnol (Directed by Marc Allégret, 1932) and César by Marcel Pagnol (1936), which complete Marcel Pagnol's Marseilles trilogy, were also restored in 2015. "All Marseilles, the Marseilles of everyday life, the Marseilles of sunshine and good humour, is here... The whole of the city expresses itself, and a whole race speaks and lives. " René Bizet, Pour vous , 15 October 1931 SOGEDA Monaco LA CINÉMATHÈQUE FRANÇAISE CONTACTS Jean-Christophe Mikhaïloff Elodie Dufour Director of Communications, Press Officer External Relations and Development +33 (0)1 71 19 33 65 +33 (0)1 71 1933 14 - +33 (0)6 23 91 46 27 +33 (0)6 86 83 65 00 [email protected] [email protected] Before restoration After restoration Marius by Marcel Pagnol (1931). Directed by Alexander Korda. 2 The restoration of the Marseilles trilogy begins with Marius "Towards 1925, when I felt as if I was exiled in Paris, I realised that I loved Marseilles and I wanted to express this love by writing a Marseilles play. -
Early Music Vancouver Hosts Panel Discussion on Indigeneity in the Arts with Jonathon Adams, Marion Newman, Reneltta Arluk, and Dylan Robinson
FOR IMMEDIATE RELEASE June 8, 2021 Early Music Vancouver Hosts Panel Discussion on Indigeneity in the Arts With Jonathon Adams, Marion Newman, Reneltta Arluk, and Dylan Robinson Vancouver, BC – On Monday, June 14 at 11AM PDT, Early Music Vancouver will host Continuum: A conversation on historical musics and Indigenous resurgence. This four-person panel will address the issues of Canadian historical erasure of Indigenous peoples, white supremacy, Indigenous cultural resurgence, and the contemporary performance of historical musics and theatre in an Indigenous mode. The discussion was conceived of by EMV’s summer artist-in- residence, Cree-Métis Two-Spirit baritone Jonathon Adams. “In bringing together this brilliant, generous group of Indigenous scholars and artists, I sincerely hope to inspire and encourage Indigenous attendees with the knowledge that important and exciting work is being done by and for our communities across Turtle Island,” said Adams. “I hope non-Indigenous attendees will take away a sense of urgency when it comes to the ongoing need for greater Indigenous representation in conversations around equity, history, art, culture and community.” The panelists hail from across the country and from a variety of disciplines, offering a wide spectrum of perspectives. They include Adams and three other Indigenous arts leaders: mezzo-soprano Marion Newman, writer and academic Dylan Robinson, and multi-talented theatre artist Reneltta Arluk. Kwagiulth and Stó:lō First Nations, English, Irish and Scottish mezzo-soprano Marion Newman is one of Canada’s most accomplished singers in works ranging from Vivaldi to Vivier. Newman has been a member of the Indigenous Advisory Council of the Regina Symphony since its inception and sits on the advisory board of the Canadian Music Centre of BC, the Association for Opera in Canada and is part of the Circle of Indigenous Artists for the Canadian Opera Company. -
Dialogue on Use of Indigenous Songs in Canadian Compositions Hosted by Coc
For immediate release: April 12, 2017 DIALOGUE ON USE OF INDIGENOUS SONGS IN CANADIAN COMPOSITIONS HOSTED BY COC Toronto – On April 19, 2017, the Canadian Opera Company is hosting a meeting at the Four Seasons Centre for the Performing Arts, organized by Dr. Dylan Robinson of Queen’s University, to discuss First Nations song protocol and the use of Indigenous songs in Canadian compositions, such as Harry Somers’ Louis Riel. Those who have been invited to the April 19 gathering are members of the Nisg̱ a’a, Métis and other First Nations arts and music communities, members of the 2017 Louis Riel production, representatives from the Canadian Opera Company, National Arts Centre, Canadian Music Centre, and Canada Council for the Arts, as well as advisors and executors to the estates of Louis Riel’s composer Harry Somers and librettist Mavor Moore. “One intention of the gathering is to begin the process of developing policy related to Indigenous protocol for new music involving Indigenous participants, and music that misuses Indigenous song,” says Dr. Dylan Robinson, Assistant Professor and Canada Research Chair in Indigenous Arts. “This work of creative repatriation is essential in the ongoing process of reconciliation.” The score of Somers’ Louis Riel includes the “Kuyas” aria, which opens Act III and is sung in Cree by the artist in the role of Marguerite Riel, Louis Riel’s wife. The music for the “Kuyas” aria was based on a Nisg̱ a’a mourning song called “Song of Skateen” that was recorded by Marius Barbeau and transcribed by Sir Ernest MacMillan on the Nass River in 1927. -
PETER GRIMES by SUZANNE VANSTONE a Scene from the Opera Australia Production of Peter Grimes , 2009
Canadian Opera COmpany Fall 2013 Per forman ce PETER GR IM ES (l –r) Dimitri Pittas as Rodolfo and Joshua Hopkins as Marcello in the Canadian Opera Company/Houston Grand Opera (HGO)/San Francisco Opera co-production of La Bohème , 2012, HGO. Photo: Felix Sanchez CONTEN TS 4 REMEMBERING LOTFI 6 JOHN CAIRD DIRECTS A NEW BOHÈME BY SUZANNE VANSTONE 12 HEPPNER ON PETER GRIMES BY SUZANNE VANSTONE A scene from the Opera Australia production of Peter Grimes , 2009. 20 CANADA’S FUTURE OPERA STARS Photo: Branco Gaica TAKE CENTRE STAGE BY JENNIFER PUGSLEY 24 COMING THIS WINTER MOZART’S COSÌ FAN TUTTE BY CLAIRE MORLEY 28 COMING THIS WINTER VERDI’S UN BALLO IN MASCHERA BY GIANNA WICHELOW Canadian Opera COmpany Fall 2013 Per forman ce n CANADIAN OPERA COMPANY EDITORS: Suzanne Vanstone, former Senior Communications Manager, Editorial; Gianna Wichelow, Senior Communications Manager, Creative; Claire Morley, Communications Officer n RJ PERFORMANCE MEDIA INC .: PRESIDENT AND PUBLISHER: Joe Marin o n CEO: Frank Barbosa n SECRETARY TREASURER: Rajee Muthuraman n FINANCE: Gina Zicari n NATIONAL ACCOUNT DIRECTORS: Danny Antunes, Gary Bell, Tom Marino, Paul Radford n ART DIRECTOR /DESIGN: Jan Haring a n GRAPHIC ARTIST: Glenda Moniz n Cover images: La Bohème : Dimitri Pittas as Rodolfo and Katie Van Kooten as Mimì in the Canadian Opera Company/Houston Grand Opera (HGO)/San Francisco Opera co-production of La Bohème , 2012, HGO. Photo: Felix Sanchez Peter Grimes : (l –r) Taryn Fiebig and Lorina Gore as Auntie’s Nieces and Stuart Skelton as Peter Grimes in the Opera Australia production of Peter Grimes , 2009. -
2Chicago Fall 04-Done
TORONTO , S HAW FESTIVAL & N IAGARA Thursday, October 18th through Sunday, October 21st Four Seasons Center for the Performing Arts and the Hilton Toronto Toronto on Lake Ontario “When the curtain went up, opera in Canada entered a Rufus Wainwright’s Hadrian , set to Daniel MacIvor’s new era… Toronto now finds itself with one of the finest libretto depicting the Roman Emperor Hadrian’s new opera houses anywhere.” Opera devastating grief after his lover Antinous drowns in the Nile. The composer and librettist have been inspired to “I strongly suspect – in fact, firmly believe – that the celebrate this classical same-sex model of eros set in Shaw Festival at Canada’s Niagara-on-the-Lake is 2nd century Rome and immortalized at the arch ae - the best repertory theater on the entire continent.” Karita Mattila ological ruins of Hadrian’s Villa at Tivoli. The cast of New York Magazine ‘Eugene Onegin’ will feature Joyce El-Khoury, Joseph Kaiser and Gordon Bintner as the The opera Hadrian: “The highly anticipated world protagonists; and ‘Hadrian’ boasts American baritone premiere from composer Rufus Wainwright and librettist Thomas Hampson in the title role, Isaiah Bell as the Daniel MacIvor features the company debuts of opera young Antinous, and veterans Karita Mattila and Ben legends Thomas Hampson and Karita Mattila … and Heppner among the principals. the return out of retirement of heldentenor Ben In addition to the operas, a third performance will be a Heppner .” Canadian Opera Co. concert by the city’s esteemed Toronto Symphony Orchestra at Roy Thomson Hall, where guest Joyce El-Khoury: “Blessed with old-school vocal and Thomas Hampson conductor Thomas Sondergard will be on the podium physical glamour and a richly-coloured, flexible for works by Thomas Adès, Britten, Poulenc and soprano…” Presto Classical Debussy. -
Norma Ariodante
NORMA ARIODANTE PROGRAM FALL 2016 Great opera lives here. Proud sponsor of the Canadian Opera Company’s 2016/2017 Season. 16-1853 Canadian Opera Company Fall House Program Ad_Ev2.indd 1 2016-08-05 3:20 PM CONTENTS A MESSAGE FROM GENERAL DIRECTOR 4 WHAT’S PLAYING: ALEXANDER NEEF NORMA 10 THE DRAMA BEHIND BELLINI’S At its most fundamental, opera NORMA is about compelling, imaginative, 13 GET TO KNOW inspiring storytelling. When music ELZA VAN DEN HEEVER and voices collaborate in the act of storytelling the result can be an 14 WHAT’S PLAYING: ARIODANTE extremely powerful expression of humanity. 20 FROM ARTASERSE TO ARIODANTE This season at the COC we have BIOGRAPHIES: NORMA a remarkable array of stories 25 for you to enjoy—from tales of 28 BIOGRAPHIES: ARIODANTE ancient druids and princesses, to fictional opera divas; from mythic THE BMO EFFECT 31 characters in a mythical land to 32 BACKSTAGE AND BEYOND real-life champions of human rights. Their stories may be different, but 35 BACKING A WINNING TEAM they are deeply felt and intensely 36 MATTHEW AUCOIN: communicated, and they are our Doing What Comes Naturally stories. In them, we see our own struggles and successes, joys and 38 CENTRE STAGE: fears, and we are grateful for the An Experience You Won’t Forget shared experience. 40 MEET THE GUILDS During this 10th anniversary season 42 AN OPEN LETTER FROM JOHANNES DEBUS in our marvelous opera house, the Four Seasons Centre for the 44 REMEMBERING LOUIS RIEL Performing Arts, I am particularly to achieving the greatest proud that the COC is a home for heights of artistic excellence, in, 49 CREATING A BETTER DONOR once again, an all-COC season. -
SFSFF 2018 Program Book
elcome to the San Francisco Silent Film Festival for five days and nights of live cinema! This is SFSFFʼs twenty-third year of sharing revered silent-era Wmasterpieces and newly revived discoveries as they were meant to be experienced—with live musical accompaniment. We’ve even added a day, so there’s more to enjoy of the silent-era’s treasures, including features from nine countries and inventive experiments from cinema’s early days and the height of the avant-garde. A nonprofit organization, SFSFF is committed to educating the public about silent-era cinema as a valuable historical and cultural record as well as an art form with enduring relevance. In a remarkably short time after the birth of moving pictures, filmmakers developed all the techniques that make cinema the powerful medium it is today— everything except for the ability to marry sound to the film print. Yet these films can be breathtakingly modern. They have influenced every subsequent generation of filmmakers and they continue to astonish and delight audiences a century after they were made. SFSFF also carries on silent cinemaʼs live music tradition, screening these films with accompaniment by the worldʼs foremost practitioners of putting live sound to the picture. Showcasing silent-era titles, often in restored or preserved prints, SFSFF has long supported film preservation through the Silent Film Festival Preservation Fund. In addition, over time, we have expanded our participation in major film restoration projects, premiering four features and some newly discovered documentary footage at this event alone. This year coincides with a milestone birthday of film scholar extraordinaire Kevin Brownlow, whom we celebrate with an onstage appearance on June 2. -
Post-National Operatic Narratives Author(S): Linda Hutcheon and Michael Hutcheon Source: Narrative, Vol
Otherhood Issues: Post-National Operatic Narratives Author(s): Linda Hutcheon and Michael Hutcheon Source: Narrative, Vol. 3, No. 1 (Jan., 1995), pp. 1-17 Published by: Ohio State University Press Stable URL: http://www.jstor.org/stable/20107040 Accessed: 10/11/2009 11:34 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=ohiosup. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Ohio State University Press is collaborating with JSTOR to digitize, preserve and extend access to Narrative. http://www.jstor.org Linda Hutcheon and Michael Hutcheon Otherhood -
Canadian Opera Company Announces Commission of New Opera by Composer Rufus Wainwright and Playwright Daniel Macivor
For immediate release: December 2, 2013 CANADIAN OPERA COMPANY ANNOUNCES COMMISSION OF NEW OPERA BY COMPOSER RUFUS WAINWRIGHT AND PLAYWRIGHT DANIEL MACIVOR Hadrian Scheduled for World Premiere in COC’s 2018/2019 Season Toronto – Alexander Neef, General Director of the Canadian Opera Company, today released details of the company’s new opera commission, Hadrian, composed by internationally acclaimed Canadian-American singer, songwriter and composer Rufus Wainwright with libretto by award-winning Canadian actor, director and playwright Daniel MacIvor. Inspired by the Roman Emperor Hadrian and his love for Antinous, Hadrian is currently in development and is scheduled to open the COC’s 2018/2019 mainstage season. Set at the end of the classical era, Hadrian tells the story of the Roman Emperor Hadrian and his profound grief at the death of his lover Antinous. Hadrian’s relationship with Antinous, a young man in his entourage, was frowned upon by many in his inner circle. In fact, during this period of the most critical changes in religious history – the rise of monotheism in the face of the end of the old pagan deities – Hadrian’s love for Antinous was not only discouraged, it was dangerous. When Antinous drowns in the Nile at the height of their love affair, many questions arise about the nature of his death. Hadrian offers answers to those questions and in turn raises more questions about self-sacrifice, jealousy, treachery and love itself. “We began the process of creating a new opera for the Canadian Opera Company several years ago, and I’m very proud to say that we are now at the stage where we can make the news public,” says COC General Director Alexander Neef. -
Canadian Opera Company Announces Commission of New Opera by Composer Ana Sokolović and Playwright Michel Marc Bouchard
Embargoed until 6:30 p.m. EST January 14, 2015 CANADIAN OPERA COMPANY ANNOUNCES COMMISSION OF NEW OPERA BY COMPOSER ANA SOKOLOVIĆ AND PLAYWRIGHT MICHEL MARC BOUCHARD Toronto – Alexander Neef, General Director of the Canadian Opera Company, announced today the commission of a new opera for its mainstage by one of Canada’s most important composers, Ana Sokolović. Titled La Reine- Garçon, the libretto is by Quebec playwright Michel Marc Bouchard and based on his play of the same name. Inspired by Queen Christina of Sweden who ruled the country in the 17th century before abdicating her throne at the age of 27, La Reine-Garçon is currently in development and is scheduled to have its world premiere in the COC’s 2019/2020 season. Sweden’s Queen Christina (1626-1689) sought to make her country the most sophisticated in Europe. She was an enigmatic, flamboyant and unpredictable individual with a passion for philosophy and the arts, leading an unconventional lifestyle by adopting masculine dress and behaviour. She was also obsessed with celibacy, which encouraged other royals in their romantic pursuit of her. Her personal aspirations and her unconventional sexuality, however, put her at profound odds with her court and her country. As the daughter of a Protestant champion in the Thirty Years’ War, Christina ultimately caused a great scandal when she abdicated her throne and converted to Roman Catholicism in 1654. La Reine-Garçon focuses on the visit of French philosopher René Descartes to the Swedish court, while Christina, newly in love with the Countess Ebba Sparre and under pressure from male pretenders, calls into question everything that defines what she has been to date. -
Examining the Canadian Opera Company's Role in Opera Education in Ontario Schools: 1950-1 990
Examining the Canadian Opera Company's Role in Opera Education in Ontario Schools: 1950-1 990 by Donnalee Smith B. A., Wilfrid Laurier University,l975 B. Ed., University of Toronto,I 976 Early Childhood Music Ed. Certificate, Ryerson University, 1997 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in the Department of Curriculum and Instruction We accept this thesis as conforming to the required standard O Donnalee Smith, 2004 University of Victoria All rights reserved. This thesis may not be reproduced, in whole or in part, by photocopy or other means, without the permission of the author. Supervisor: Dr. Betty Hanley Abstract As a music educator I discovered that many students shared my excitement about opera when it was part of their school program or on field trips to experience an opera. This discovery led me to wonder what opera education had been presented to teachers and students in the past and how effective these programs had been. This thesis examines the Canadian Opera Company's (COC) role in opera education in Ontario schools from 1950-1990. This historical study focuses on five major research questions to determine what happened in opera education for Ontario students over a 4-decade period. Data were collected in two ways. First, primary evidence was gathered from the Joan Baille Archives located in the Joey and Toby Tanenbaum Opera Centre in Toronto. Secondly, I interviewed four people who had been closely associated with the COC and were eye witnesses to some of the events over the 4 decades.