N E W S R E L E a S E
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
“Lucrezia Borgia”
PROGRAMACIÓN LÍRICA DE A CORUÑA 2017 ÓPERA (en versión de concierto) “Lucrezia Borgia” Gaetano Donizetti Teatro Colón, 23 de septiembre (20.00 h.) PROGRAMACIÓN LÍRICA DE A CORUÑA 2017 EDITA Amigos de la Ópera de A Coruña DISEÑO Y MAQUETACIÓN Lamarck Publicidad TRADUCCIÓN Roxelio Xabier García Romero IMPRIME Imprenta da Deputación da Coruña Gaetano Donizetti Lucrezia Borgia Ópera en un prólogo y dos actos, con libreto de Felice Romani, basado en el drama Lucrèce Borgia de Víctor Hugo, y música de Gaetano Donizetti, estrenada en el Teatro alla Scala de Milán el 26 de diciembre de 1833. REPARTO Lucrezia Borgia Mariella Devia, soprano Gennaro Celso Albelo, tenor Don Alfonso Luiz-Ottavio Faria, bajo Maffio Orsini Elena Belfiore, mezzosoprano Rustighello Francisco Corujo, tenor Astolfo Axier Sánchez, barítono Jacoppo Liverotto Enrique Alberto Martínez, tenor Apostolo Gazella David Sánchez, bajo Oloferno Vitellozzo Ramón Farto, tenor Ascanio Petrucci Pedro Martínez Tapia, barítono Gubetta Jeroboám Tejera, bajo Coro Gaos Fernando Briones, director Orquesta Sinfónica de Galicia Andriy Yurkevych, director 6 Lucrezia Borgia Ópera en só un prólogo e dous actos, con libreto de Felice Romani, baseado no drama Lucrèce Borgia de Víctor Hugo, e música de Gaetano Donizetti, estreada no Teatro alla Scala de Milán o 26 de decembro de 1833. REPARTO Lucrezia Borgia Mariella Devia, soprano Gennaro Celso Albelo, tenor Don Alfonso Luiz-Ottavio Faria, baixo Maffio Orsini Elena Belfiore, mezzosoprano Rustighello Francisco Corujo, tenor Astolfo Axier Sánchez, barítono Jacoppo Liverotto Enrique Alberto Martínez, tenor Apostolo Gazella David Sánchez, baixo Oloferno Vitellozzo Ramón Farto, tenor Ascanio Petrucci Pedro Martínez Tapia, barítono Gubetta Jeroboám Tejera, baixo Coro Gaos Fernando Briones, director Orquestra Sinfónica de Galicia Andriy Yurkevych, director 7 ARGUMENTO El prólogo se desarrolla en Venecia, y el drama en Ferrara, a comienzos del siglo XVI. -
Fall/Winter 2002/2003
PRELUDE, FUGUE News for Friends of Leonard Bernstein RIFFS Fall/ Winter 2002 Bernstein's Mahler: A Personal View @ by Sedgwick Clark n idway through the Adagio £male of Mahler's Ninth M Symphony, the music sub sides from an almost desperate turbulence. Questioning wisps of melody wander throughout the woodwinds, accompanied by mut tering lower strings and a halting harp ostinato. Then, suddenly, the orchestra "vehemently burst[s] out" fortissimo in a final attempt at salvation. Most conductors impart a noble arch and beauty of tone to the music as it rises to its climax, which Leonard Bernstein did in his Vienna Philharmonic video recording in March 1971. But only seven months before, with the New York Philharmonic, His vision of the music is neither Nearly all of the Columbia cycle he had lunged toward the cellos comfortable nor predictable. (now on Sony Classical), taped with a growl and a violent stomp Throughout that live performance I between 1960 and 1974, and all of on the podium, and the orchestra had been struck by how much the 1980s cycle for Deutsche had responded with a ferocity I more searching and spontaneous it Grammophon, are handily gath had never heard before, or since, in was than his 1965 recording with ered in space-saving, budget-priced this work. I remember thinking, as the orchestra. Bernstein's Mahler sets. Some, but not all, of the indi Bernstein tightened the tempo was to take me by surprise in con vidual releases have survived the unmercifully, "Take it easy. Not so cert many times - though not deletion hammerschlag. -
2017–2018 Season Artist Index
2017–2018 Season Artist Index Following is an alphabetical list of artists and ensembles performing in Stern Auditorium / Perelman Stage (SA/PS), Zankel Hall (ZH), and Weill Recital Hall (WRH) during Carnegie Hall’s 2017–2018 season. Corresponding concert date(s) and concert titles are also included. For full program information, please refer to the 2017–2018 chronological listing of events. Adès, Thomas 10/15/2017 Thomas Adès and Friends (ZH) Aimard, Pierre-Laurent 3/8/2018 Pierre-Laurent Aimard (SA/PS) Alarm Will Sound 3/16/2018 Alarm Will Sound (ZH) Altstaedt, Nicolas 2/28/2018 Nicolas Altstaedt / Fazil Say (WRH) American Composers Orchestra 12/8/2017 American Composers Orchestra (ZH) 4/6/2018 American Composers Orchestra (ZH) Anderson, Laurie 2/8/2018 Nico Muhly and Friends Investigate the Glass Archive (ZH) Angeli, Paolo 1/26/2018 Paolo Angeli (ZH) Ansell, Steven 4/13/2018 Boston Symphony Orchestra (SA/PS) Apollon Musagète Quartet 2/16/2018 Apollon Musagète Quartet (WRH) Apollo’s Fire 3/22/2018 Apollo’s Fire (ZH) Arcángel 3/17/2018 Andalusian Voices: Carmen Linares, Marina Heredia, and Arcángel (SA/PS) Archibald, Jane 3/25/2018 The English Concert (SA/PS) Argerich, Martha 10/20/2017 Orchestra dell’Accademia Nazionale di Santa Cecilia (SA/PS) 3/22/2018 Itzhak Perlman / Martha Argerich (SA/PS) Artemis Quartet 4/10/2018 Artemis Quartet (ZH) Atwood, Jim 2/27/2018 Louisiana Philharmonic Orchestra (SA/PS) Ax, Emanuel 2/22/2018 Emanuel Ax / Leonidas Kavakos / Yo-Yo Ma (SA/PS) 5/10/2018 Emanuel Ax (SA/PS) Babayan, Sergei 3/1/2018 Daniil -
The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat
Sun, Feb 07, 2021 - The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 09:23 Mendelssohn String Symphony No. 02 in D English String 01460 Nimbus 5141 083603514129 Orchestra/Boughton 00:12:2347:12 Stenhammar Piano Concerto No. 1 in B flat Widlund/Royal 00391 Chandos 9074 095115907429 minor Stockholm Philharmonic/Rozhdest vensky 01:01:0517:24 Bach Concerto in D for 3 Violins, Peabody/Rood/Sato/P 01652 ESS.A.Y 1002 N/A BWV 1064 hilharmonia Virtuosi/Kapp 01:19:2909:47 Sibelius The Swan of Tuonela Philadelphia 01095 RCA 6528 07863565282 Orchestra/Ormandy 01:30:4629:00 Mozart Clarinet Concerto in A, K. 622 Marcellus/Cleveland 03728 Sony 62424 074646242421 Orchestra/Szell Classical 02:01:1621:57 Karlowicz Serenade for Strings, Op. 2 Polish National 02170 Harmonia 278 1088 314902505612 Radio-TV Mundi 2 Orchestra/Wit 02:24:13 11:08 Weber Invitation to the Dance, Op. 65 Orchestra of the 03176 Philips 420 812 028942081222 Vienna People's Opera/Bauer-Theussl 02:36:5123:25 Mendelssohn String Quartet in F minor, Op. Talich Quartet 06241 Calliope 9313 794881725922 80 03:01:4631:57 Beethoven String Quartet No. 8 in E minor, Smetana Quartet 00270 Denon 7033 N/A Op. 59 No. 2 03:35:1310:56 Schubert Impromptu in F minor, D. 935 Mitsuko Uchida 04691 Philips 456 245 028945624525 No. 1 03:47:0912:16 Corelli Concerto Grosso in B flat, Op. Cantilena/Shepherd 00794B Chandos 8336/7/8 N/A 6 No. 5 04:00:5514:27 Mozart Horn Concerto No. -
Geoffrey Baer, Who Each Friday Night Will Welcome Local Contestants Whose Knowledge of Trivia About Our City Will Be Put to the Test
From the President & CEO The Guide The Member Magazine Dear Member, for WTTW and WFMT This month, WTTW is excited to premiere a new series for Chicago trivia buffs and Renée Crown Public Media Center curious explorers alike. On March 26, join us for The Great Chicago Quiz Show hosted by 5400 North Saint Louis Avenue Chicago, Illinois 60625 WTTW’s Geoffrey Baer, who each Friday night will welcome local contestants whose knowledge of trivia about our city will be put to the test. And on premiere night and after, visit Main Switchboard (773) 583-5000 wttw.com/quiz where you can play along at home. Turn to Member and Viewer Services page 4 for a behind-the-scenes interview with Geoffrey and (773) 509-1111 x 6 producer Eddie Griffin. We’ll also mark Women’s History Month with American Websites wttw.com Masters profiles of novelist Flannery O’Connor and wfmt.com choreographer Twyla Tharp; a POV documentary, And She Could Be Next, that explores a defiant movement of women of Publisher color transforming politics; and Not Done: Women Remaking Anne Gleason America, tracing the last five years of women’s fight for Art Director Tom Peth equality. On wttw.com, other Women’s History Month subjects include Emily Taft Douglas, WTTW Contributors a pioneering female Illinois politician, actress, and wife of Senator Paul Douglas who served Julia Maish in the U.S. House of Representatives; the past and present of Chicago’s Women’s Park and Lisa Tipton WFMT Contributors Gardens, designed by a team of female architects and featuring a statue by Louise Bourgeois; Andrea Lamoreaux and restaurateur Niquenya Collins and her newly launched Afro-Caribbean restaurant and catering business, Cocoa Chili. -
Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
(De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification. -
Arturo Benedetti Michelangeli Il Divo ASCETA
Arturo Benedetti Michelangeli Il divo ASCETA Vezzi, capricci. manie. Il terrore degli organizzatori per l'eccentricità e le cancellazioni. A 20 anni dalla scomparsa del pianista, un testimone ne rivela invece il profilo spirituale francescano, il rigore anticonsumista di artigiano della musica di Carlo Piccardi iò che più sorprese alla morte di Arturo Benedetti Michelangeli, nel Cgiugno 1995, fu il funerale nella chiesetta di Pura (il villaggio presso Lugano in cui da anni abitava), con una cerimonia priva di fasto e l’inumazione in una modesta tomba, per sua volontà, priva di lapide. La cronaca di quella circostanza servì a gettare una luce di verità sulla sua vicenda esistenziale e artistica. Essa rivelava la religiosità di un uomo al servizio della musica, intesa non come ideale estetico ma concepita come transizione verso una dimensione di profondo spessore spirituale, sulla spinta del sentimento meditato e circoscritto al modello francescano dell’umiltà, della sobrietà e della rinuncia. Sapere che si circondava solo dell’essenziale in una camera spoglia, con un libro di meditazioni, un rosario accanto al letto e un crocefisso alla parete faceva capire molte cose. Faceva capire soprattutto il dramma di un artista più di altri consapevole della vanità del mondo, costretto per mestiere a confrontarsi con le sue regole fatue. In verità proprio la sua coerenza, il suo rigore nel TM Amadeus Amadeus 71 Più rifuggiva dalla mondanità e più diventava argomento di pettegolezzo, più esigeva in fatto di condizioni ottimali e più appariva eccentrico mettere tutto al servizio non del rapporto parte nel tutto. Ora sappiamo che tale potuta essere trasmessa se egli si fosse ipnotizzante col pubblico ma del messaggio riduzione alla dimensione artigianale non assoggettato alle regole che ai moderni musicale, lo portarono a essere male era solo un mezzo per ottenere abbaglianti interpreti impongono frenetici itinerari interpretato, a subire oltre misura la esiti sonori, ma anche la realizzazione di un concertistici, ossessivamente cadenzati da divinizzazione. -
Guest Artist Recital: Barry Snyder, Piano Barry Snyder
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 9-21-2003 Guest Artist Recital: Barry Snyder, piano Barry Snyder Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Snyder, Barry, "Guest Artist Recital: Barry Snyder, piano" (2003). All Concert & Recital Programs. 2997. https://digitalcommons.ithaca.edu/music_programs/2997 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. VISITING ARTISTS SERIES 2003-4 Barry Snyder, piano Sonata in B Minor Antonio Soler (1729-1783) Sonata in A Minor, D. 784 Franz Schubert (1797-1828) Allegro giusto Andante Allegro vivace Four Songs Schubert-Liszt Fruhlingsglaube Auf den Wasser Standchen vonShakespeare Ratlose Liebe Variations on a theme of Paganini, Book II Johannes Brahms (1833-1897) INTERMISSION Waltz from Coppelia Delibes-Dohnanyi Sonata No. 7 in B-flat Major, Op. 83 Sergei Prokofiev (1891-1953) Allegro inquiete Andante caloroso Precipitato Hockett Family Recital Hall C Sunday, September 21, 2003 8:15 p.m. Barry Snyder appears by arrangement with MCM Artists Internationally renowned, Barry Snyder's musical career has encompassed solo, concerto and chamber repertoires. Since winning three prizes at the 1966 Van Cliburn International Piano Competition (silver medal, Pan American Union and chamber music), Mr. Snyder's extensive performing knowledge of the complete piano literature has brought praise for his interesting programming. His performances have taken him throughout the United States, Canada, Europe, Poland, South American and Asia. -
RICCARDO MUTI New World Records 80370 CHARLES DUTOIT the PHILADELPHIA ORCHESTRA VINCENT PERSICHETTI
RICCARDO MUTI New World Records 80370 CHARLES DUTOIT THE PHILADELPHIA ORCHESTRA VINCENT PERSICHETTI Symphony for Strings Piano Concerto ROBERT TAUB, piano During the last four decades of his life, the name of Vincent Persichetti came to signify musicianship of a comprehensiveness virtually unmatched among American composers. Today his influence continues, reaching young pianists nurtured on his Sonatinas and Little Piano Book, school musicians who first experience serious contemporary music through his works for band, church choirs who turn to his Hymns and Responses for the Church Year as an inexhaustible resource, young composers who find his classic textbook Twentieth Century Harmony an indispensable tool, and soloists and conductors for whom his sonatas, concertos, and symphonies stand among the masterworks of American music. Throughout his life Persichetti encouraged healthy, creative participation in music at all levels of sophistication, while shunning dogmas that advocate one compositional approach at the expense of others. Persichetti was born in Philadelphia in 1915, and remained a lifelong resident of that city. At the age of five, he learned to play the piano, organ, and double bass at the Combs Conservatory. He also studied theory and composition under Russell King Miller, who became his most influential teacher. Immershing himself in music while in his teens, Persichetti memorized the scores to be performed weekly by the Philadelphia Orchestra and then attended the concerts to compare his mental realizations with the actual sounds. Composition was an integral part of his study from the start, as was exposure to other arts. Persichetti attended art school during his adolescence, and sculpture continued to be an important creative outlet for him until his death in 1987. -
Download Augustin Dumay Biography
Augustin Dumay International critics have compared Augustin Dumay to the great violinists of the 20th century, describing him as a “great classical stylist”, a reputation underscored by his outstanding recordings for Deutsche Grammophon: Beethoven’s complete sonatas with Maria João Pires, a set that “surely ranks with Grumiaux/Haskil, Menuhin/Kempff, or Perlman/Ashkenazy” (International Piano), Brahms’ trios in which “the Milstein legacy in Dumay’s playing is wonderfully apparent” (Gramophone), and Mozart’s concertos with the Camerata Salzburg, “without exaggeration one of the finest Mozart violin concerto discs ever made” (Classic CD), in which he “confirms that he is an exceptional interpreter of Mozart as were Stern or Grumiaux before him” (Classica). Born into a family of musicians – his mother is a cellist and pianist, his father an amateur violinist – Augustin Dumay started violin lessons at the age of 5, after attending a concert by Nathan Milstein. Aged ten, he entered the Paris Conservatoire, winning the premier prix at the age of thirteen. His first concert at the Théâtre des Champs- Élysée followed a year later and he then appeared at the Montreux Festival, playing for Joseph Szigeti and Henryk Szeryng, who invited him to replace him on a tour of South America. On his return, Augustin Dumay worked in Paris with Nathan Milstein, who said of him: “I believe he will take his place amongt the great violinists of the year 2000”. He then went on to work in Brussels with Arthur Grumiaux for five years. He soon became familiar to concert audiences in France, but his international career took off thanks to his encounter with Herbert von Karajan. -
News from Primo Artists | March 2017 View This Email in Your Browser
News from Primo Artists | March 2017 View this email in your browser PERLMAN LEADS THE PHILADELPHIA ORCHESTRA WITH AN "INCREDIBLY DEFT TOUCH" AND IS SET TO TOUR WITH MARTHA ARGERICH IN MARCH 2018 On March 15th and 16th, Itzhak Perlman play/conducted concerts with the Philadelphia Orchestra to standing ovations and top praise from The Philadelphia Inquirer. “The Mozart work took on an emotional deliberation that suggested the late Nikolaus Harnoncourt. Clearly, Perlman – who conducts with a contained Ormandyesque beat – had worked on a series of attractively evolving textures in the symphony. Primary themes spoke with a highly inflected sense of purpose. In the Dvorak 8, Perlman gave a Viennese lilt to the mysterious waltz music of the third movement, which was an incredibly deft touch.” Primo announces the first-ever tour of Itzhak Perlman and Martha Argerich in the 2017-18 season! Two living legends reuniting for a tour of the United States, surely one for the records. March 2018. 6 concerts. 5 cities. Los Angeles, San Francisco, Chicago, Washington D.C. and New York. Click here for tour details. BENEDETTI'S BANNER MONTH IN NORTH AMERICA: TOURING TO 21 CITIES AND FEATURED IN THE ECONOMIST, CNN AND ON THE TAVIS SMILEY SHOW March was a busy month for Nicola Benedetti! Viewers around the world followed the massive success of Benedetti’s 13-city Venice Baroque Orchestra North American tour and over 125,000 watched their viral tour video. Then straight onto an 8-concert tour with Royal Scottish National Orchestra which received glowing tour reviews. The Herald Scotland wrote: “Benedetti was at the top of her game on both the Bruch concerto she clearly loves so well and on the Brahms concerto.” From there, Benedetti performed Bruch with Michael Tilson Thomas on subscription concerts with the San Francisco Symphony. -
Michael Tilson Thomas and the San Francisco
Contact: Public Relations San Francisco Symphony (415) 503-5474 [email protected] sfsymphony.org/press FOR IMMEDIATE RELEASE / FEBRUARY 12, 2020 (High resolution images are available for download from the San Francisco Symphony’s Online Photo Library. MICHAEL TILSON THOMAS AND THE SAN FRANCISCO SYMPHONY EMBARK ON FINAL TOUR OF NEW YORK AND EUROPE TOGETHER WITH PERFORMANCES IN EIGHT COUNTRIES, MARCH 17–APRIL 7, 2020 Tour begins with two performances at New York’s Carnegie Hall March 17 & 18 featuring Stravinsky’s The Firebird, Saint-Saëns’ Cello Concerto No. 1 with Gautier Capuçon, the New York Premiere of San Francisco Symphony and Carnegie Hall Co-Commission I Still Dance by John Adams, and Mahler’s Symphony No. 6 European tour performances feature Pianist Daniil Trifonov in London, Hamburg, Berlin, and Vienna; and Cellist Gautier Capuçon in Munich, Amsterdam, Antwerp, Luxembourg, Lyon, and Paris SAN FRANCISCO, CA—Music Director Michael Tilson Thomas (MTT) and the San Francisco Symphony (SFS) embark on their final tour of New York and Europe together before MTT concludes his distinguished 25-year tenure as Music Director at the end of the 2019–20 season. The tour begins with two concerts at New York’s Carnegie Hall March 17–18, and continues with 14 performances in ten cities across Europe, March 21–April 7. The March 17 performance at Carnegie Hall features the New York premiere of John Adams’ new composition, I Still Dance, co-commissioned by the San Francisco Symphony and Carnegie Hall. An explosive eight-minute work written in a single movement, I Still Dance features densely interwoven parts that are driven forward by propulsive arpeggiated figures.