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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 .......................................................................................... -
Richard Strauss's Ariadne Auf Naxos
Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails. -
A Culture of Recording: Christopher Raeburn and the Decca Record Company
A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon. -
MAY, 2010 New York Avenue Presbyterian Church Washington
THE DIAPASON MAY, 2010 New York Avenue Presbyterian Church Washington, D.C. Cover feature on pages 30–31 May 2010 Cover.indd 1 4/12/10 12:15:10 PM May 2010 pp. 2-19.indd 2 4/12/10 12:16:29 PM THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundred First Year: No. 5, Whole No. 1206 MAY, 2010 Kudos played for the inauguration program. He Established in 1909 ISSN 0012-2378 It is always a happy day when The also played the November 1942 dedica- An International Monthly Devoted to the Organ, Diapason arrives. Your magazine re- tion of the Aeolian-Skinner here in Aus- the Harpsichord, Carillon, and Church Music kindles my love for the pipe organ. tin, for he was Dean Doty’s teacher at Thanks for the tremendous contribu- the University of Michigan. tion you make with the publication of My father was an architect, therefore this marvelous journal. I was intrigued when they had a display CONTENTS Editor & Publisher JEROME BUTERA [email protected] Dan Stokes that showed how the planners for St. 847/391-1045 Louisville, Kentucky John’s determined what style of architec- FEATURES ture they wanted. They had two formats Two Organs by Bossi Vegezzi Associate Editor JOYCE ROBINSON Organ stoplists to choose from: they chose the one now in Altamura (Bari), Italy [email protected] I devour each issue with keen an- in Denver, and the other choice turned by Bill Halsey 20 847/391-1044 ticipation. My comment/suggestion re- out to be the building for the chapel that University of Michigan 49th Conference Contributing Editors LARRY PALMER lates to the cover story on pages 30–31. -
Diszkográfia Az Első Kötethez
© Typotex Kiadó Diszkográfia az első kötethez Janet Baker: Full Circle Her last year in Opera Gluck: Alceste. The Royal Opera Covent Garden Donizetti: Stuart Maria. English National Opera Gluck: Orfeo ed Euridice. Glyndebourne Festival Opera Felvétel: 1992 Warner, NVC ARTS, 2006, DVD 50-51011-4855-2-7 Beethoven: Fidelio Waltraud Meier, Plácido Domingo, Falk Stuckmann, René Pape, Soile Isokoski, Werner Güra, Kwangchul Youn Chor der Deutschen Staatsoper Berlin, Staatskapelle Berlin Vezényel: Daniel Barenboim Felvétel: Groβer Sendesaal, Berlin, May/June 1999 Teldec, 1999, 2 CD 3984-25249-2 Beethoven: Fidelio Dietrich Fischer-Dieskau, Hans Sotin, René Kollo, Gundula Janowitz, Manfred Jungwirth, Lucia Popp, Adolf Dallapozza, Karl Terkal, Alfred Sramek Wiener Staatsoperchor, Wiener Philharmoniker Vezényel: Leonard Bernstein Felvétel: Wien, Musikverein, Groβer Saal, 2/1978 Deutsche Grammophon, 1978, 2 CD 419 438-2 Beethoven: Fidelio Leonie Rysanek, Judith Blegen, Jon Vickers, Walter Berry, Giorgio Tozzi, Murray Dickie, John Macurdy, Leo Goeke, Robert Goodloe Orchestra e coro dell’Opera di San Francisco Vezényel: Karl Böhm Élő felvétel: 29. 11. 1968, San Francisco Melodram, 1990, 2 CD 27086 Beethoven: Fidelio Michael Schade, Elizabeth Norberg-Schulz, Matthias Hölle, Deborah Voigt, www.interkonyv.hu © Fodor Géza jogutóda © Typotex Kiadó 248 • Mi szól a lemezen? Günter von Kannen, Andreas Schulist, Wielfried Vorwol, Ben Heppner, Thomas Quasthoff Symphonieorchester und Chor des Bayerischen Rundfunks, Bavarian Radio Symphony Orchestra and Chorus -
Hector B Erlioz
MARDI 28 SEPTEMBRE – 20H Hector Berlioz L’Enfance du Christ Première Partie : Le Songe d’Hérode Deuxième Partie : La Fuite en Égypte entracte Troisième Partie : L’Arrivée à Saïs Ensemble Orchestral de Paris Accentus Maîtrise de Paris * Laurence Equilbey, direction Vesselina Kasarova, mezzo-soprano (Marie) Paul Groves, ténor (Récitant) Matthew Brook, baryton (Joseph) | Mardi 28 septembre 28 | Mardi Laurent Naouri, baryton-basse (Hérode / Le Père de famille) Jean-Louis Georgel, basse (Polydore) Romain Champion, ténor (Centurion) Patrick Marco, chef de chœur * Coproduction Salle Pleyel, Ensemble Orchestral de Paris, dans le cadre de la collaboration artistique d’Accentus avec l’Ensemble Orchestral de Paris. L’Enfance du Christ L’Enfance Ce concert est surtitré. | Fin du concert vers 22h10. Hector Berlioz Berlioz Hector 28/09 ACCENTUS.indd 1 22/09/10 17:16 Hector Berlioz (1803-1869) L’Enfance du Christ, trilogie sacrée op. 25 (H 130) Composition : octobre 1850 à juillet 1854. Texte et musique d’Hector Berlioz. Première exécution intégrale : Paris, salle Herz, 10 décembre 1854, sous la direction du compositeur. Principaux interprètes : Mme Meillet (la Vierge Marie), M. Meillet (saint Joseph), M. Depassio (Hérode), M. Battaille (le Père de famille), M. Jourdan (le récitant). Durée : environ 100 minutes. Riche d’une diversité parfois étonnante, L’Enfance du Christ n’a pas été conçue immédiatement dans sa version complète et définitive. La Fuite en Égypte, deuxième volet d’un vaste triptyque, forme une œuvre dans l’œuvre qui fut d’abord pensée séparément et figura au programme de nombreux concerts en France et à l’étranger. Berlioz a raconté comment lui fut suggérée la toute première page de ce qu’il aimait à qualifier d’« oratoire ». -
Western Liberal, 03-05-1915 Lordsburg Print Company
University of New Mexico UNM Digital Repository Lordsburg Western Liberal, 1889-1918 New Mexico Historical Newspapers 3-5-1915 Western Liberal, 03-05-1915 Lordsburg Print Company Follow this and additional works at: https://digitalrepository.unm.edu/lwl_news Recommended Citation Lordsburg Print Company. "Western Liberal, 03-05-1915." (1915). https://digitalrepository.unm.edu/lwl_news/864 This Newspaper is brought to you for free and open access by the New Mexico Historical Newspapers at UNM Digital Repository. It has been accepted for inclusion in Lordsburg Western Liberal, 1889-1918 by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. - n' w.m-- -' r i -- iv mm 1 1 v I i 4 y ! I I I J i i 'l I FOR YOUR OWN t ' Tbe Sipi of ) GOOD AND THE VV rl : PROSPERITY. i. Good of Lordsburg VOL. XXVIII. NO. 10 LORDSBURG, NEW MJ5XICO. MARCH 5. li)15. Jobprrlpl muí 1 l rVt HIKES andniiilKG. Colossal Tractor WATER WORKS BRINGS $14,000. lS,ii:.BlJUdlME3l Saturday morning, at the frontdoor of the postorllce, the property and I ELECTRIC HOIST FCR 85 To Haul Ore equipment of the Lordnhurg Water, THE BIG STORE Ice and Electric Company, was sold An eighty-tw- o horsepower Attumwa at public auction by James Wadill, of vr m rt j n hoist has been ordered for the H' A transaction was Culminated here Demlng, Special Master In the case. k Mine and will tie Installed directly op- this week whereby J. B. Downev and The weather was bad but neverthe- f)y. -
School of Music
University of Washington 2003-2004 School of Music Presents the CD HvA<"..,T D\SC y5s 2oot.\ II EICHINGER MEMORlAL CONCERT SERlES II 5-2 Students of CAROLE TERRY, Professor ofOrgan honor her 25 years ofteaching at the University of Washington 3:00 PM, May 2, 2004 Walker-Ames Room PROGRAM ill TOCCATA IN F , BuxWV 156........... ..............<t: 1/.......... ........................... .. .. .DIETERICH BUXTEHUDE (c. 1637-1707) - Thomas Joyce- ~r:?l PRELUDE,. F UGUE, AND VARIATION ...............9.......... ; 2~O... ............................................ C ESAR. FRANCK (81 22-1 8)90 - Yoon Shin- f-",D PRELUDE AND FUGUE IN G MINOR, BWV 535 ............... .. ... ...... ..... ....... JOHANN SEBASTIAN BACH (1685-1750) Selection from A QUAKER READER ........................... ?. ~.. ! .~... ....... .. ................ .. .. ............. NED ROREM (b. 1923) A Secret Power The World ofSilence - Sheila Bristow 0 1, 61 CANTEMTOTOLA GLORIA .......... ........ (1. ...... ... ....... ............... ... ..... .............. PIERRECOCHEREAU (1924-1984) (Improvisation from 1969, transcribed by David Briggs) - Martin Welzel [fJ SCHUBLER CHORALES ···· .. ·.. ·· ..·· ··.... ·.. ..7:J · ~ · 1{ .. ·.. .. ···· .... ·· .... ·.. .. ·.. ...... ·· .... ··.. ..................... .. .... .. ... .. ..... J. S. BACH Wachet auf, ruft uns die Stimme . Kommst du num, Jesu, yom Himmel herunter - Jiyoung Lee 113 PRAELUDlUM IN G MINOR .................... r:I....3.r... ...... ............ .. .. .. .... .. .... .. ... .. ..... VINCENT LUBECK (1656-1740) -Lisa -
Michaela Kaune Soprano
Konstantin Unger Artists.Management Scheffelstrasse 11 | D - 65187 Wiesbaden +49 611 51 0099 76 / +49 176 846 24 222 [email protected] www.ungerartists.com Michaela Kaune Soprano The internationally highly demanded soprano Michaela Kaune has invitations to major opera companies all over the world. Recently she sang Sieglinde in Beijing in WALKÜRE, a coproduction of the Salzburg Easter Festival and the Beijing Music Festival. With the same role she has been invited to the Grand Théâtre de Genève. At the Staatsoper Berlin she had to cancel due to the corona virus the role of Leonore in FIDELIO (2020). In June 2018 she made her Glyndebourne Festival debut as Marschallin in ROSENKAVALIER. Later this year, in September, Michaela Kaune sang the same role at the Ópera de Colombia in Bogotá. The Marschallin, one of her signature roles she sang in houses like the Opéra de Paris, the Bavarian State Opera, the Deutsche Oper Berlin, the China National Centre for the Performing Arts, Beijing a.o. She made her Elbphilharmonie-debut with the final scene of CAPRICCIO under Marek Janowski. Furthermore she appeared regularly at the Bavarian State Opera Munich and at the Semperoper Dresden and was invited to the Opéra National de Paris, the Vienna State Opera, the New National Theatre Tokyo, the Nederlandse Opera, Amsterdam, the Théâtre de la Monnaie Brussels, the Grand Théâtre de Genève and the Vlaamse Opera, Antwerp, as well as to the Salzburg Festival, the Bayreuth Festival, the Ravinia Festival, the Budapest Festival, the Maggio Musicale in Florence, the Festival de Radio France, the Bremen festival, the Carnegie Hall New York and to the NHK Symphony orchestra Tokyo. -
Naxcat2005 ABRIDGED VERSION
CONTENTS Foreword by Klaus Heymann . 4 Alphabetical List of Works by Composer . 6 Collections . 88 Alphorn 88 Easy Listening 102 Operetta 114 American Classics 88 Flute 106 Orchestral 114 American Jewish Music 88 Funeral Music 106 Organ 117 Ballet 88 Glass Harmonica 106 Piano 118 Baroque 88 Guitar 106 Russian 120 Bassoon 90 Gypsy 109 Samplers 120 Best Of series 90 Harp 109 Saxophone 121 British Music 92 Harpsichord 109 Trombone 121 Cello 92 Horn 109 Tr umpet 121 Chamber Music 93 Light Classics 109 Viennese 122 Chill With 93 Lute 110 Violin 122 Christmas 94 Music for Meditation 110 Vocal and Choral 123 Cinema Classics 96 Oboe 111 Wedding 125 Clarinet 99 Ondes Martenot 111 White Box 125 Early Music 100 Operatic 111 Wind 126 Naxos Jazz . 126 Naxos World . 127 Naxos Educational . 127 Naxos Super Audio CD . 128 Naxos DVD Audio . 129 Naxos DVD . 129 List of Naxos Distributors . 130 Naxos Website: www.naxos.com NaxCat2005 ABRIDGED VERSION2 23/12/2004, 11:54am Symbols used in this catalogue # New release not listed in 2004 Catalogue $ Recording scheduled to be released before 31 March, 2005 † Please note that not all titles are available in all territories. Check with your local distributor for availability. 2 Also available on Mini-Disc (MD)(7.XXXXXX) Reviews and Ratings Over the years, Naxos recordings have received outstanding critical acclaim in virtually every specialized and general-interest publication around the world. In this catalogue we are only listing ratings which summarize a more detailed review in a single number or a single rating. Our recordings receive favourable reviews in many other publications which, however, do not use a simple, easy to understand rating system. -
Michaela Kaune Soprano
Konstantin Unger Artists.Management Scheffelstrasse 11 | D - 65187 Wiesbaden +49 611 51 0099 76 / +49 176 846 24 222 [email protected] www.ungerartists.com Michaela Kaune Soprano The internationally highly demanded soprano Michaela Kaune has invitations to major opera companies all over the world. Recently she sang Sieglinde in Beijing in WALKÜRE, a coproduction of the Salzburg Easter Festival and the Beijing Music Festival. With the same role she has been invited to the Grand Théâtre de Genève. At the Staatsoper Berlin she had to cancel due to the corona virus the role of Leonore in FIDELIO (2020). In June 2018 she made her Glyndebourne Festival debut as Marschallin in ROSENKAVALIER. Later this year, in September, Michaela Kaune sang the same role at the Ópera de Colombia in Bogotá. The Marschallin, one of her signature roles she sang in houses like the Opéra de Paris, the Bavarian State Opera, the Deutsche Oper Berlin, the China National Centre for the Performing Arts, Beijing a.o. She made her Elbphilharmonie-debut with the final scene of CAPRICCIO under Marek Janowski. In the title role of JENUFA she was invited to the New National Theatre, Tokyo and the Deutsche Oper Berlin. The DVD of this production with Michaela Kaune had been nominated for the Grammy Award 2016. Further engagements include Elettra in IDOMENEO (role debut) at the Teatro la Fenice, Ellen Orford in PETER GRIMES at the Deutsche Oper Berlin, Sieglinde in WALKÜRE at the Budapest Wagner Festival and in concert performances with the Bamberg Symphonic Orchestra and the title role of ARIADNE AUF NAXOS at the Zurich Opera. -
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