March 2008 1876 Was a Very Special Year! by STEVEN WIMPFHEIMER, ESQ
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Boston Symphony Orchestra Concert Programs, Season 119, 1999-2000
O Z A W A MUSIC Dl R ECTOR # m BOSTON tik mww80^_ ll^Sir" S Y M PHONY OP rUFCTPA U K i. 1 t > I K A 1 iWHHI^g i\ Ifc 19 9 9-2000 SEASON Bring your Steinway: With floor plans from acre gated community atop 2,100 to 5,000 square feet, prestigious Fisher Hill you can bring your Concert Jointly marketed by Sotheby's Grand to Longyear. International Realty and You'll be enjoying full-service, Hammond Residential Real Estate. single-floor condominium living at Priced from $1,400,000. its absolute finest, all harmoniously Call Hammond Real Estate at located on an extraordinary eight- (617) 731-4644, ext. 410. LONGYEAR ai Lfisner 3iill BROOKLINE WM> 2J!»f»*^itete mms&^mkss |Iil|lf c^s^ffl CORTLAND Hammond SOTHEBY'S PROPERTIES INC. ESIDENTIAL International Realty Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship Bernard Haitink, Principal Guest Conductor One Hundred and Nineteenth Season, 1999-2000 Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman Dr. Nicholas T. Zervas, President Julian Cohen, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Deborah B. Davis, Vice-Chairman Vincent M. O'Reilly, Treasurer Nina L. Doggett, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson William F. Connell George Krupp Robert P. O'Block, Diane M. Austin, Nancy J. Fitzpatrick R. Willis Leith, Jr. ex-officio ex-qfficio Charles K. Gifford Ed Linde Peter C. Read Gabriella Beranek Avram J. Goldberg Mrs. August R. Meyer Hannah H. Schneider Jan Brett Thelma E. Goldberg Richard P. -
State Opera and Ballet 4 International
PRESS RELEASE JUNE 13, 2013 STATE OPERA AND BALLET 4TH INTERNATIONAL ISTANBUL OPERA FESTIVAL STARTS ON JUNE 25TH International Istanbul Opera Festival where selective Turkish and world class operas meet art lovers every year, is preparing to embrace opera lovers with a rich program and unforgettable performances in its fourth year. The festival organized by Directorate General of State Opera and Ballet with contributions of DenizBank will be held between June 25th and July 8th this year. In scope of the festival, besides the Gala Concert “Viva Verdi” to be held at Hagia Irene, it will be possible to watch five different works of art in five different venues ranging from works of famous composers such as W.A. Mozart to Antonio Vivaldi. 4th International Istanbul Opera Festival organized by Directorate General of State Opera and Ballet that continues activities with the mission of providing opera and arts to all ranges of society under the main sponsorship of DenizBank that wishes to support culture and arts in Turkey will meet opera lovers between June 25th and July 8th 2013. The festival to last two weeks will meet art lovers with a total of nine performances including five opera productions and a gala concert in July under the art directorship of chief stage director Yekta Kara. In scope of the festival, guests will be able to watch “Viva Verdi” Gala Concert in the magical atmosphere of Hagia Irene besides performances of Ankara, İstanbul, Antalya and Samsun State Opera and Ballet. In the concert led by Roberto Abbado, famous soloists of opera such as baritone Marco Vratogna, tenor Stefano Secco, tenor Marco Berti and soprano Aleksandra Kurzak will take to the stage. -
Carmen Di Georges Bizet
COMUNICATO STAMPA Venezia, 30 marzo 2012 Carmen di Georges Bizet Giovedì 21 giugno 2012 alle ore 19.00 (turno A) tornerà alla Fenice un capolavoro del repertorio francese assente dal 1997: Carmen di Georges Bizet, opéra-comique in quattro atti su libretto di Henri Meilhac e Ludovic Halévy tratto dalla novella omonima di Prosper Mérimée. L’opera, proposta in un nuovo allestimento coprodotto dalla Fondazione Teatro La Fenice con il Gran Teatre de Liceu di Barcellona, la Fondazione Teatro Massimo di Palermo e la Fondazione Teatro Regio di Torino (già presentato a Barcellona nel settembre 2010 e a Palermo nel novembre 2011), permetterà di apprezzare per la prima volta a Venezia il lavoro del regista spagnolo Calixto Bieito, con le scene di Alfons Flores e i costumi di Mercè Paloma. L’Orchestra e il Coro del Teatro La Fenice (maestro del coro Claudio Marino Moretti) e il coro di voci bianche dei Piccoli Cantori Veneziani (maestro del coro Diana D’Alessio) saranno diretti dal trentenne maestro israeliano Omer Meir Wellber. Interpreti principali saranno Béatrice Uria-Monzon in alternanza con Katarina Giotas nel ruolo di Carmen; Stefano Secco in alternanza con Luca Lombardo in quello di Don José; Alexander Vinogradov e Károly Szemerédy in quello di Escamillo; Ekaterina Bakanova e Virginia Wagner in quello di Micaëla; Chiara Fracasso nel ruolo di Mercédès e Sonia Ciani in quello di Frasquita. La prima del 21 giugno 2012, trasmessa in diretta su Radio3, sarà seguita da dodici repliche, venerdì 22 e sabato 23 alle 19.00 (fuori abbonamento), domenica 24 alle 17.00 (turno B), martedì 26 (fuori abbonamento), mercoledì 27 (fuori abbonamento), giovedì 28 (turno E), e venerdì 29 (fuori abbonamento) alle 19.00, sabato 30 giugno alle 17.00 (turno C), domenica 1 (fuori abbonamento), sabato 7 (fuori abbonamento), martedì 10 (turno D) e giovedì 12 luglio (fuori abbonamento) alle 19.00. -
LA TRAVIATA Al Liceu
1 LA TRAVIATA EN EL LICEU Estreno absoluto: 6 marzo 1853 en el teatro de La Fenice de Venecia. Estreno de la segunda versión, definitiva: 6 mayo 1854 en el teatro San Benedetto de Venecia. Estreno en el Gran Teatre del Liceu: 25 octubre 1855. Última representación en el Liceu: 18 julio 2015. Total de representaciones: 251 TEMPORADA 1855-1856 25-X-1855 LA TRAVIATA Número de representaciones: 10 Es estreno en el Liceu. Número en el Liceu: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. Fechas: 25, 26, 28, 31 octubre; 1, 14, 18 noviembre; 21, 26 diciembre 1855; 6 enero 1856. Violetta Valéry: Eugénie Julienne-Dejean Flora Bervoix: Caterina Mas-Porcell Annina: Balbina Alabau Alfredo Germont: Giovanni De Vecchi Giorgio Germont: Gaetano Fiori Gastone: Josep Santés Barone Douphol: Josep Obiols Marchese d'Obigny: Francesc Sánchez Dottore Grenvil: José Aznar Giuseppe: Josep Gómez Director: Marià Obiols TEMPORADA 1859-1860 12-IV-1860 LA TRAVIATA Número de representaciones: 8 Número histórico en el Liceu: 11, 12, 123, 14, 15, 16, 17, 18. Fechas: 12, 15 abril; 1, 2, 6, 15, 17, 30 mayo 1860. Nota: Se suprimela cabaletta del aria del tenor en el segundo acto. Número histórico en el Liceu: 11, 12, 123, 14, 15, 16, 17, 18. Última "Traviata" en el Liceu: 6 enero 1856. Violetta Valéry: Carlotta Carozzi-Zucchi Flora Bervoix: Caterina Mas-Porcell 2 Annina: Isolina Porcell Alfredo Germont: Emilio Pancani Giorgio Germont: Leone Giraldoni Gastone: Gaetano Aducci Barone Douphol: Josep Obiols Marchese d'Obigny: Josep Coll Dottore Grenvil: Leopoldo Jover Giuseppe: Ignasi Costa Domestico di Flora: Francisco Sánchez Director: Marià Obiols TEMPORADA 1860-1861 1-XII-1860 LA TRAVIATA Número de representaciones: 14 Número histórico en el Liceu: 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32. -
Solo List and Reccomended List for 02-03-04 Ver 3
Please read this before using this recommended guide! The following pages are being uploaded to the OSSAA webpage STRICTLY AS A GUIDE TO SOLO AND ENSEMBLE LITERATURE. In 1999 there was a desire to have a required list of solo and ensemble literature, similar to the PML that large groups are required to perform. Many hours were spent creating the following document to provide “graded lists” of literature for every instrument and voice part. The theory was a student who made a superior rating on a solo would be required to move up the list the next year, to a more challenging solo. After 2 years of debating the issue, the music advisory committee voted NOT to continue with the solo/ensemble required list because there was simply too much music written to confine a person to perform from such a limited list. In 2001 the music advisor committee voted NOT to proceed with the required list, but rather use it as “Recommended Literature” for each instrument or voice part. Any reference to “required lists” or “no exceptions” in this document need to be ignored, as it has not been updated since 2001. If you have any questions as to the rules and regulations governing solo and ensemble events, please refer back to the OSSAA Rules and Regulation Manual for the current year, or contact the music administrator at the OSSAA. 105 SOLO ENSEMBLE REGULATIONS 1. Pianos - It is recommended that you use digital pianos when accoustic pianos are not available or if it is most cost effective to use a digital piano. -
ABRSM Music Performance Grades
Qualification Specification MUSIC PERFORMANCE GRADES WOODWIND Syllabus (Section 3) from 2022 This syllabus is specific to Woodwind and is part of the main Qualification Specification: Music Performance Grades. The remainder of that specification provides other relevant information for those preparing for Performance Grades exams and applies to all subjects (instruments). It can be found at www.abrsm.org/performancegrades and should be read when preparing for an exam. 8 July 2021 Qualification Specification: Performance Grades Contents 3. Woodwind Performance Grades syllabus 2 Introducing the qualification 2 Changes in the ‘from 2022’ syllabus 2 Performance Grades: requirements and information 3 • Instruments 3 • Performance as a whole 3 • Selecting repertoire 4 • Preparing for the exam 7 Descant Recorder repertoire lists 9 Treble Recorder repertoire lists 18 Flute repertoire lists 33 Oboe repertoire lists 48 Clarinet repertoire lists 60 Bassoon repertoire lists 74 Saxophone repertoire lists 88 Programme form 111 © 2021 by The Associated Board of the Royal Schools of Music All the syllabus information in this document, including repertoire lists, is the copyright of ABRSM. No syllabus listing may be reproduced or published without the permission of ABRSM. 3. Woodwind Performance Grades syllabus Introducing the qualification Performance Grades are new qualifications from ABRSM, introduced in 2020 to run alongside our long-standing and respected Practical Grades. They allow learners to focus on and showcase their performance skills if that is their preference. This additional suite of qualifications has been designed to allow learners to play to their strengths and interests and still have their level of achievement formally recognised with a regulated qualification that attracts UCAS points (in the UK) at Grades 6 to 8. -
Programa De Mano
Estreno absoluto por la Compañía Nacional de Danza en el Jueves Teatro de la Zarzuela de Madrid el 9 de diciembre de 2020 11 de marzo Una Giselle vista a través del romanticismo español e inspirada en la poesía de Gustavo Adolfo Bécquer Teatro Campoamor 19:00h Compañía Nacional de Danza Director artístico: Joaquín De Luz GISELLE Alba Muriel Coreografía y dirección escénica: Ayudante de vestuario: Joaquín De Luz (a partir de la original Lucía Celis de Jules Perrot y Jean Coralli) Peluquería: Música: Adolphe-Charles Adam (versión Mª Jesús Reina UNA NUEVA VISIÓN musical: Joaquín De Luz y Oliver Díaz) Construcción de escenografía: Proescen Libreto: Borja Ortiz de Gondra y Joaquín De Luz (a partir del original de Jules Henry Vernoy Confección de vestuario: DE GISELLE y Theóphile Gautier) D´Inzillo Sweet Mode Dramaturgia: Borja Ortiz de Gondra Taller de utilería: Carlos del Tronco y Palomia Bravo Joaquín De Luz Coreógrafo y director de escena Ana Garay Escenografía: Producción de la grabación fonográfica: Rosa García Andújar Fernando Arias (Aria Classica) Borja Ortiz de Gondra Figurines: Dramaturgo Espectáculo con opción de audiodescripción: Diseño de iluminación y creación guion de David Ojeda de vídeo: Pedro CHamizo Duración: 2:25h Asistentes al coreógrafo: “En 1841, la Ópera de París estrena el ballet Giselle, en el que el poeta Théophile Pino Alosa, Joan Boada, Yoko Taira ---------- Gautier, inspirándose en leyendas alemanas de Heinrich Heine, crea mitos ro- Ayudante de escenografía: OVIEDO FILARMONÍA mánticos que marcarán toda la historia de la danza: inocentes campesinas ena- Isi López-Puget Dirección musical: Oliver Díaz moradas, fiestas de la vendimia, apuestos príncipes seductores, fantasmas espec- trales de espíritus del bosque… El año anterior, Gautier había visitado España Elenco y con su libro Le voyage en Espagne inaugura la moda romántica de los viajeros europeos que descubren el país, sus tipos populares y sus danzas tradicionales. -
GCSE, AS and a Level Music Difficulty Levels Booklet
GCSE, AS and A level Music Difficulty Levels Booklet Pearson Edexcel Level 1/Level 2 GCSE (9 - 1) in Music (1MU0) Pearson Edexcel Level 3 Advanced Subsidiary GCE in Music (8MU0) Pearson Edexcel Level 3 Advanced GCE in Music (9MU0) First teaching from September 2016 First certification from 2017 (AS) 2018 (GCSE and A level) Issue 1 Contents Introduction 1 Difficulty Levels 3 Piano 3 Violin 48 Cello 71 Flute 90 Oboe 125 Cla rinet 146 Saxophone 179 Trumpet 217 Voic e 240 Voic e (popula r) 301 Guitar (c lassic al) 313 Guitar (popula r) 330 Elec tronic keyboa rd 338 Drum kit 344 Bass Guitar 354 Percussion 358 Introduction This guide relates to the Pearson Edexcel Level 1/Level 2 GCSE (9-1) in Music (1MU0), Pearson Edexcel Level 3 Advanced Subsidiary GCE in Music (8MU0) and Pearson Edexcel Level 3 Advanced GCE in Music (9MU0) qualifications for first teaching from 2016. This guide must be read and used in conjunction with the relevant specifications. The music listed in this guide is designed to help students, teachers, moderators and examiners accurately judge the difficulty level of music submitted for the Performing components of the Pearson Edexcel GCSE, AS and A level Music qualifications. Examples of solo pieces are provided for the most commonly presented instruments across the full range of levels. Using these difficult y levels For GCSE, teachers will need to use the book to determine the difficulty level(s) of piece(s) performed and apply these when marking performances. For AS and A Level, this book can be used as a guide to assist in choosing pieces to perform, as performances are externally marked. -
Staged Treasures
Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio -
Convert Finding Aid To
Fred Fehl: A Preliminary Inventory of His Dance Collection at the Harry Ransom Center Descriptive Summary Creator: Fehl, Fred, 1906-1995 Title: Fred Fehl Dance Collection 1940-1985 Dates: 1940-1985 Extent: 122 document boxes, 19 oversize boxes, 3 oversize folders (osf) (74.8 linear feet) Abstract: This collection consists of photographs, programs, and published materials related to Fehl's work documenting dance performances, mainly in New York City. The majority of the photographs are black and white 5 x 7" prints. The American Ballet Theatre, the Joffrey Ballet, and the New York City Ballet are well represented. There are also published materials that represent Fehl's dance photography as reproduced in newspapers, magazines and other media. Call Number: Performing Arts Collection PA-00030 Note: This brief collection description is a preliminary inventory. The collection is not fully processed or cataloged; no biographical sketch, descriptions of series, or indexes are available in this inventory. Access: Open for research. An advance appointment is required to view photographic negatives in the Reading Room. For selected dance companies, digital images with detailed item-level descriptions are available on the Ransom Center's Digital Collections website. Administrative Information Acquisition: Purchases and gift, 1980-1990 (R8923, G2125, R10965) Processed by: Sue Gertson, 2001; Helen Adair and Katie Causier, 2006; Daniela Lozano, 2012; Chelsea Weathers and Helen Baer, 2013 Repository: Harry Ransom Center, The University of Texas at Austin Fehl, Fred, 1906-1995 Performing Arts Collection PA-00030 Scope and Contents Fred Fehl was born in 1906 in Vienna and lived there until he fled from the Nazis in 1938, arriving in New York in 1939. -
Universiv Micrcsilms International
INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. Tlie sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. -
News from the Jerome Robbins Foundation Vol
NEWS FROM THE JEROME ROBBINS FOUNDATION VOL. 6, NO. 1 (2019) The Jerome Robbins Dance Division: 75 Years of Innovation and Advocacy for Dance by Arlene Yu, Collections Manager, Jerome Robbins Dance Division Scenario for Salvatore Taglioni's Atlanta ed Ippomene in Balli di Salvatore Taglioni, 1814–65. Isadora Duncan, 1915–18. Photo by Arnold Genthe. Black Fiddler: Prejudice and the Negro, aired on ABC-TV on August 7, 1969. New York Public Library for the Performing Arts, Jerome Robbins Dance Division, “backstage.” With this issue, we celebrate the 75th anniversary of the Jerome Robbins History Dance Division of the New York Public Library for the Performing Arts. In 1944, an enterprising young librarian at The New York Public Library named One of New York City’s great cultural treasures, it is the largest and Genevieve Oswald was asked to manage a small collection of dance materials most diverse dance archive in the world. It offers the public free access in the Music Division. By 1947, her title had officially changed to Curator and the to dance history through its letters, manuscripts, books, periodicals, Jerome Robbins Dance Division, known simply as the Dance Collection for many prints, photographs, videos, films, oral history recordings, programs and years, has since grown to include tens of thousands of books; tens of thousands clippings. It offers a wide variety of programs and exhibitions through- of reels of moving image materials, original performance documentations, audio, out the year. Additionally, through its Dance Education Coordinator, it and oral histories; hundreds of thousands of loose photographs and negatives; reaches many in public and private schools and the branch libraries.