Finalists Joanna Foote – Soprano
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
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. -
MONDAY 1 OCTOBER 2018 CAST AMENDMENT GÖTTERDÄMMERUNG (Richard Wagner) Monday 1 October 2018 at 4Pm
MONDAY 1 OCTOBER 2018 CAST AMENDMENT GÖTTERDÄMMERUNG (Richard Wagner) Monday 1 October 2018 at 4pm Due to the indisposition of Christina Bock, Rachael Lloyd sings Wellgunde in today’s performance. Rachael Lloyd has sung Alisa (Lucia di Lammermoor) and Kate Pinkerton (Madama Butterfly) for The Royal Opera. Other appearances include Mrs Anderssen in Sondheim’s A Little Night Music (Théâtre du Châtelet, Paris), the title role of Carmen (Raymond Gubbay Ltd at Royal Albert Hall), Miss Jessel in The Turn of the Screw, Third Lady in The Magic Flute and Pitti-Sing in The Mikado (ENO), Amastris in Xerxes (ETO, Early Opera Company), Maddalena in Rigoletto (Iford Arts), Aristea in L’Olimpiade (Buxton Festival), Meg Page in Falstaff (Glyndebourne on Tour), Woman/Mother in Dove’s The Day After (ENO Baylis) and Cornelia in Giulio Cesare (Glyndebourne Festival). Notable concert performances include Rossini’s Stabat Mater (Ulster Orchestra), Dido and Aeneas (Spitalfields Festival), Messiah (Kristiansund), Ravel’s Trois Poèmes de Stéphane Mallarmé (LPO) andSchumann’s Frauenliebe und - leben and Elgar’s Sea Pictures (Opéra de Lille). Plans include Selene in Berenice (Royal Opera). The rest of the cast remains the same with German tenor Stefan Vinke as Siegfried, Swedish soprano Nina Stemme as Brünnhilde, Austrian baritone Markus Butter as Gunther, Danish bass Stephen Milling as Hagen, American soprano Emily Magee as Gutrune, Scottish mezzo-soprano Karen Cargill as Waltraute, German baritone Johannes Martin Kränzle as Alberich, British contralto Claudia Huckle as First Norn, For all Royal Opera House press releases visit www.roh.org.uk/press German soprano Irmgard Wilsmaier as Second Norn, Norwegian soprano Lise Davidsen as Third Norn, Australian soprano Lauren Fagan as Woglinde and English mezzo-soprano Angela Simkin as Flosshilde, conducted by Antonio Pappano. -
Reynaldo Hahn | Chamber Music & Song
Vol . 1 REYNALDO HAHN | CHAMBER MUSIC & SONG JAMES BAILLIEU piano Benjamin Baker violin Tim Lowe cello Adam Newman viola Bartosz Woroch violin FOREWORD TRACK LISTING REYNALDO HAHN (1874–1947) I first came across Reynaldo Hahn through his songs. I loved their unashamed PIANO QUARTET NO.3 IN G MAJOR romanticism, their sentimentality and the effortlessly endearing quality of the 1 i Allegretto moderato 07’25 music. 2 ii Allegro assai 02’11 The popularity of his songs encouraged me to search through Hahn’s lesser- 3 iii Andante 09’48 performed chamber music and present these in a concert series at the Brighton 4 iv Allegro assai 04’50 Festival. The series was a celebration of French music and particularly a study of Benjamin Baker violin Adam Newman viola Tim Lowe cello James Baillieu piano the contrasting musical styles of Poulenc and Hahn. Hahn’s chamber music was 5 À CHLORIS 03’03 so well received that I embarked on this recording project so that it may be Benjamin Baker violin James Baillieu piano enjoyed by a wider audience. This recording shows the incredible scope of Hahn’s music, from the epic drama 6 VOCALISE-ÉTUDE 03’47 Adam Newman viola James Baillieu piano of his piano quintet to a piano quartet full of charm. Especially striking is Hahn’s wonderful gift for melody through the song transcriptions and his extraordinary 7 SI MES VERS AVAIENT DES AILES 02’21 ability to suspend time in the slow movements of his chamber music. Tim Lowe cello James Baillieu piano I am extremely grateful to my colleagues who embarked on this exploration with 8 NOCTURNE IN E-FLAT MAJOR 07’02 me. -
Kathleen Ferrier
Kathleen Ferrier ARIADNE 5004 In Celebration of BACH Kathleen Ferrier Johann Sebastian Bach (1685-1750) In Celebration of Kathleen Ferrier contralto Ena Mitchell, Friedl Riegler, Irmgard Seefried soprano William Herbert, Hugo Meyer-Welfing tenor BACH Otto Edelmann, William Parsons bass Wiener Staatsopernchor, The Cantata Singers Wiener Philharmoniker / Volkmar Andreae Magnificat Jacques Orchestra / Dr Reginald Jacques FIRST RELEASE Wiener Staatsopernchor 1 bn a – JS Bach: Magnificat, BWV 243.2 31:36 Wiener Philharmoniker bo – co JS Bach: Cantata No.11, Praise our God *b 26:07 Volkmar Andreae cp – dl JS Bach: Cantata No.67, Hold in affection Jesus Christ *c 16:24 dm JS Bach: Cantata No.147, Jesu, Joy of Man’s Desiring *d 3:33 Praise our God *Sung in English (Cantata 11) Total duration: 77:41 Hold in affection Jesus Christ Recorded at: a Grosser Musikvereinssaal, Vienna on June 10, 1950 (Cantata 67) b Kingsway Hall, London on October 6 and November 1, 1949 c Kingsway Hall, London on November 3, 1949 d Kingsway Hall, London on October 8, 1949 Jesu, Joy of Man’s Desiring Audio restoration: Adrian Tuddenham and Norman White (Cantata 147) Mastering: Paul Arden-Taylor Ariadne Cover: Kathleen Ferrier, June 7, 1950, International Bach Festival, Vienna The Cantata Singers Design: Andrew Giles Booklet Editor: Michael Quinn The Jacques Orchestra © & 2019 SOMM RECORDINGS · THAMES DITTON · SURREY · ENGLAND AAD Made in the EU Dr Reginald Jacques Ariadne Kathleen Ferrier In Celebration of BACH br Ah, tarry yet, my dearest Saviour Kathleen Ferrier contralto -
The Magic Flute Programme
Programme Notes September 4th, Market Place Theatre, Armagh September 6th, Strule Arts Centre, Omagh September 10th & 11th, Lyric Theatre, Belfast September 13th, Millennium Forum, Derry-Londonderry 1 Welcome to this evening’s performance Brendan Collins, Richard Shaffrey, Sinéad of The Magic Flute in association with O’Kelly, Sarah Richmond, Laura Murphy Nevill Holt Opera - our first ever Mozart and Lynsey Curtin - as well as an all-Irish production, and one of the most popular chorus. The showcasing and development operas ever written. of local talent is of paramount importance Open to the world since 1830 to us, and we are enormously grateful for The Magic Flute is the first production of the support of the Arts Council of Northern Austins Department Store, our 2014-15 season to be performed Ireland which allows us to continue this The Diamond, in Northern Ireland. As with previous important work. The well-publicised Derry / Londonderry, seasons we have tried to put together financial pressures on arts organisations in Northern Ireland an interesting mix of operas ranging Northern Ireland show no sign of abating BT48 6HR from the 18th century to the 21st, and however, and the importance of individual combining the very well known with the philanthropic support and corporate Tel: +44 (0)28 7126 1817 less frequently performed. Later this year sponsorship has never been greater. I our co-production (with Opera Theatre would encourage everyone who enjoys www.austinsstore.com Company) of Donizetti’s L’Elisir d’Amore seeing regular opera in Northern Ireland will tour the Republic of Ireland, following staged with flair and using the best local its successful tour of Northern Ireland operatic talent to consider supporting us last year. -
Simon Butteriss Actor/Writer/Director
Simon Butteriss Actor/Writer/Director Writer/director/translator/actor/singer/presenter - Simon Butteriss read English at Cambridge, trained at the RCM Opera School and started his career as an actor in West End plays and musicals and with the RSC, OLd Vic Company and at Chichester. He has also made numerous film and television appearances. As a performer, he is perhaps best known in the Gilbert and Sullivan patter roles, which he continues to sing all over the world and he now also pursues a busy career in international opera, singing at La Scala, Milan, with English National Opera and others. Agents Nicki Stoddart [email protected] +44 (0) 20 3214 0869 Credits Opera Production Company Notes LA COLOMBE West Green House Opera Director and translator 2016 DIE FLEDERMAUS Philharmonia Orchestra Director, Royal Festival Hall; also 2014 wrote narration CARMEN RTE Orchestra wrote narration 2014 THE MIKADO/IOLANTHE National tour director 2014 THE MIKADO Raymond Gubbay Director Royal Festival 2013 Hall,Manchester Bridgewater Hall, Birmingham Symphony Hall IOLANTHE International Gilbert and Director Buxton Opera House, 2013 Sullivan Festival Harrogate Royal Hall United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes PRINCESS IDA International Gilbert and Director Buxton Opera House, 2013 Sullivan Festival Harrogate Royal Hall THE MERRY WIDOW Philharmonia Orchestra/John Director Royal Festival Hall /also wrote 2012 Wilson Narration THE MIKADO International Gilbert and Director Buxton Opera House. 2012 Sullivan Festival Harrogate Royal Hall THE YEOMEN OF THE Philharmonia Orchestra/John Director Royal Festival Hall and, with GUARD Wilson RLPO, Liverpool Philharmonic Hall 2012 HMS PINAFORE Raymond Gubbay Director Barbican Hall, Manchester 2012 Bridgewater Hall. -
Mozart: Requiem
LSO Live Mozart Requiem Sir Colin Davis Marie Arnet Anna Stéphany Andrew Kennedy Darren Jeffery London Symphony Chorus London Symphony Orchestra Mozart Requiem, K626 (1791) Page Index Marie Arnet soprano 3 Track listing Anna Stéphany alto 4 English notes Andrew Kennedy tenor 5 French notes Darren Jeffery bass 6 German notes 7 Composer biography Sir Colin Davis conductor 8 Text London Symphony Orchestra 10 Conductor biography London Symphony Chorus 11 Artist biographies 13 Orchestra and Chorus personnel lists 14 LSO biography James Mallinson producer Daniele Quilleri casting consultant Classic Sound Ltd recording, editing and mastering facilities Jonathan Stokes and Neil Hutchinson for Classic Sound Ltd balance engineers Ian Watson and Jenni Whiteside for Classic Sound Ltd editors A high density DSD (Direct Stream Digital) recording Recorded live at the Barbican, London 30 September and 3 October 2007 © 2008 London Symphony Orchestra, London UK P 2008 London Symphony Orchestra, London UK 2 Track listing Introitus and Kyrie 1 No 1 Requiem and Kyrie (chorus, soprano) 7’12’’ p8 Sequence 2 No 2 Dies irae (chorus) 1’44’’ p8 3 No 3 Tuba mirum (soprano, alto, tenor, bass) 3’38’’ p8 4 No 4 Rex tremendae (chorus) 2’13’’ p8 5 No 5 Recordare (soprano, alto, tenor, bass) 6’03’’ p8 6 No 6 Confutatis maledictis (chorus) 2’44’’ p8 7 No 7 Lacrimosa (chorus) 2’59’’ p8 Offertorium 8 No 8 Domine Jesu (chorus, soprano, alto, tenor, bass) 4’16’’ p8 9 No 9 Hostias (chorus) 4’36’’ p9 Sanctus 10 No 10 Sanctus (chorus) 1’47’’ p9 Benedictus 11 No 11 Benedictus (chorus, soprano, alto, tenor, bass) 4’29’’ p9 Agnus Dei and Communio 12 No 12 Agnus Dei (chorus, soprano) 8’46’’ p9 TOTAL 50’35’’ 3 Wolfgang Amadeus Mozart (1756–91) Jesu’ and the ’Hostias’ were written separately. -
Noye's Fludde
"The orchestra played with consistent verve under the confident and stylish direction of Oliver Gooch" The Guardian. British conductor Oliver Gooch is rapidly establishing a reputation as a conductor of considerable versatility in a wide range of symphonic and operatic repertoire. Following an appointment by Sir Antonio Pappano as the first Associate Young Artist at the Royal Opera House, Covent Garden in 2004, his conducting career to date has seen collaborations with many of the major UK orchestras, including the LSO, Philharmonia, BBC Symphony, Hallé, Orchestra of the Royal Opera House and Northern Sinfonia. He has also continued to have a fruitful relationship with the Royal Philharmonic Orchestra, as a regular guest conductor. Further afield, he has made highly acclaimed debuts with the Queensland and Tasmanian Symphonies in Australia, New York Sinfonietta, Orchestra i Pomeriggi Musicali in Milan, and Orchestra della Toscana. He has an ongoing relationship with Italy’s major touring company, Associazione Lirica e Concertistica Italiana (AsLico). He balances orchestral engagements with extensive work in opera in the UK and abroad. He gave the American premiere of Janáček’s Šarka with Dicapo Opera in New York, and in Europe, made his Italian debut at Teatro Ponchielli, Cremona with Die Zauberflöte (praised in Corriere della Ser). In the UK, at the age of twenty one, he came to attention as Founding Artistic Director of Opera East Productions, platforming many exciting British young singers who have since gone on to have notable careers. Between 1999-2011, he conducted over thirty productions, including an award winning Rape of Lucretia designed by Sir Terry Frost, and the world premiere of Tarik O’Regan’s Heart of Darkness, in collaboration with ROH2/Opera Genesis. -
Year of Recording* Conductor Soloists Orchestra Live Label Date
Year of Conductor Soloists Orchestra Live Label Date of Recording* Recording 1 1936 Bruno Walter Kerstin Thorborg, Wiener Philharmoniker Live EMI May 23 & 24, Charles Kullman 1936 2 1939 Carl Schuricht Kerstin Thorborg, Koninklijk Live MINERVA Oct 5, 1939 Carl-Martin Öhmann Concertgebouworkest, Amsterdam 3 1948 Otto Klemperer Judit Sándor, A Magyar Rádió Live archiphon Nov 2, 1948 Endre Rösler Szimfonikus Zenekarát [CD 2012] 4 1948 Bruno Walter Kathleen Ferrier, New York Philharmonic Live NYP Jan 18, 1948 Set Svanholm Editions 5 1951 Otto Klemperer Elsa Cavelti Wiener Symphoniker Live VOX 28–30 Mar 1951 Anton Dermota 6 1952 Bruno Walter Kathleen Ferrier, Wiener Philharmoniker DECCA May 14, 15 & 16, Julius Patzak 1952 7 1964 Josef Krips Dietrich Fischer-Dieskau, Wiener Symphoniker Live DGG Jun 14, 1964 Fritz Wunderlich 8 1966 Otto Klemperer Christa Ludwig, Philharmonia/New EMI Feb 19–22 & Fritz Wunderlich Philharmonia Orchestra Nov 7–8, 1964, Jul 6–9, 1966 9 1966 Leonard Bernstein Dietrich Fischer-Dieskau, Wiener Philharmoniker DECCA Mar 1966 James King 10 1972 Leonard Bernstein Christa Ludwig, Israel Philharmonic Live SONY May 18, 20 & 23, René Kollo Orchestra 1972 11 1972 Jascha Horenstein Alfreda Hodgson, BBC Northern Symphony Live BBC Apr 28, 1972 John Mitchinson Orchestra Legends 12 1972 Sir Georg Solti Yvonne Minton, Chicago Symphony DECCA May 1972 René Kollo Orchestra 13 1974 Herbert von Christa Ludwig, Berliner Philharmoniker DGG Dec 7–10, 1973, Karajan René Kollo Oct 14, 1974 14 1975 Bernard Haitink Janet Baker, Koninklijk PHILIPS -
Music by BENJAMIN BRITTEN Libretto by MYFANWY PIPER After a Story by HENRY JAMES Photo David Jensen
Regent’s Park Theatre and English National Opera present £4 music by BENJAMIN BRITTEN libretto by MYFANWY PIPER after a story by HENRY JAMES Photo David Jensen Developing new creative partnerships enables us to push the boundaries of our artistic programming. We are excited to be working with Daniel Kramer and his team at English National Opera to present this new production of The Turn of the Screw. Some of our Open Air Theatre audience may be experiencing opera for the first time – and we hope that you will continue that journey of discovery with English National Opera in the future; opera audiences intrigued to see this work here, may in turn discover the unique possibilities of theatre outdoors. Our season continues with Shakespeare’s As You Like It directed by Max Webster and, later this summer, Maria Aberg directs the mean, green monster musical, Little Shop of Horrors. Timothy Sheader William Village Artistic Director Executive Director 2 Edward White Benson entertained the writer one One, about the haunting of a child, leaves the group evening in January 1895 and - as James recorded in breathless. “If the child gives the effect another turn of There can’t be many his notebooks - told him after dinner a story he had the screw, what do you say to two children?’ asks one ghost stories that heard from a lady, years before. ‘... Young children man, Douglas, who says that many years previously he owe their origins to (indefinite in number and age) ... left to the care of heard a story too ‘horrible’ to admit of repetition. -
CHAN 3014 Book Cover.Qxd 24/7/07 2:55 Pm Page 1
CHAN 3014 book cover.qxd 24/7/07 2:55 pm Page 1 Chan 3014(3) CHANDOS O PERA IN ENGLISH David Parry PETE MOOES FOUNDATION CHAN 3014 BOOK.qxd 24/7/07 3:00 pm Page 2 Charles Gounod (1818–1893) Faust AKG Opera in five acts (with ballet music) Libretto by Jules Barbier and Michel Carré English translation by Christopher Cowell Faust, a learned doctor ............................................................ Paul Charles Clarke tenor Mephistopheles ................................................................................ Alastair Miles bass Marguerite ...................................................................................... Mary Plazas soprano Valentin, Marguerite’s brother, a soldier........................................ Garry Magee baritone Siébel, a village youth, in love with Marguerite ..............Diana Montague mezzo-soprano Wagner, a student...................................................... Matthew Hargreaves bass-baritone Martha, Marguerite’s neighbour .......................................... Sarah Walker mezzo-soprano Geoffrey Mitchell Choir Charles Gounod Philharmonia Orchestra Nicholas Kok assistant conductor David Parry conductor 2 3 CHAN 3014 BOOK.qxd 24/7/07 3:00 pm Page 4 COMPACT DISC ONE Scene 3 35:26 [p. 54] 11 Act I 27:08 [p. 54] ‘Pride of place to the golden calf !’ 2:04 [p. 65] Mephistopheles, Chorus 1 7:03 [p.58] Introduction 12 ‘Your song deserves our thanks!’ 2:47 [p. 66] Scene 1 35:26 [p. 54] Chorus, Valentin, Wagner, Mephistopheles, Siébel 2 6:14 [p.58] ‘Nothing! In vain I have probed…’ 13 ‘Though the fiends of hell may defy resistance’ 2:32 [p. 67] Faust Siébel, Valentin, Wagner, Chorus 3 ‘Lazy little daughter open up your eyes’ 2:55 [p. 58] Scene 4 35:26 [p. 54] Chorus, Faust 14 ‘You haven’t seen the last of me yet!’ 1:33 [p.