Olivier Messiaen: 100 Años
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Curriculum Vitae
Name: Taiseer Elias Date: 08/11/2015 CURRICULUM VITAE 1. Personal Details Permanent Home Address: P.O. Box 686, El-Fawar, 20200 Shefaram, Israel Home Telephone Number: (04) 986-2365 Office Telephone Number: (04) 828-8481 Cellular Phone: (050) 780-5055 Fax Number: (04) 986-2365 Electronic Address: [email protected] 2. Higher Education . A. Undergraduate and Graduate Studies Period of Name of Institution Degree Year of Approval of Study and Department Degree 1974–79 Rubin Conservatory graduated cum 1979 of Music - Haifa laude 1980–83 Jerusalem Academy performance and - of Music and Dance music education 1983–85 Hebrew University B.A. in 1985 of Jerusalem: musicology cum Musicology laude; Department minor in Arabic literature and language, and Theatre. 1986–91 Hebrew University M.A. in 1991 of Jerusalem: musicology cum Musicology laude Department 2001–07 Hebrew University Ph.D. in 2007 of Jerusalem: Musicology Musicology Department 1 B. Post-Doctoral Studies NONE 3. Academic Ranks and Tenure in Institutes of Higher Education Dates Name of Institution and Rank/Position Department 1982-1983 David Yellin Teachers Music Lecturer College, Jerusalem 1993 Oranim College, Tivon Music Lecturer 1993-1995 Arab Teachers Training Music Lecturer Institute - Beit Berl College, Kfar Saba 1996-Present Jerusalem Academy of Music Professor of Violin, and Dance: Eastern Music Oud, Singing and Department Theory - Adjunct Associate Professor (with tenure) 2001– 2011 Bar-Ilan University – Professor of Theory - Department of Music Adjunct Associate Professor -
Harvey Milk Page 1 of 3 Opera Assn
San Francisco Orpheum 1996-1997 Harvey Milk Page 1 of 3 Opera Assn. Theatre Production made possible by a generous grant from Madeleine Haas Russell. Harvey Milk (in English) Opera in three acts by Stewart Wallace Libretto by Michael Korie Commissioned by S. F. Opera, Houston Grand Opera, and New York City Opera The commission for "Harvey Milk" has been funded in substantial part by a generous gift from Drs. Dennis and Susan Carlyle and has been supported by major grants from the Lila Wallace-Reader's Digest Opera for a New America, a project of OPERA America; the Caddell & Conwell Foundation for the Arts; as well as the National Endowment for the Arts. Conductor CAST Donald Runnicles Harvey Milk Robert Orth Production Messenger James Maddalena Christopher Alden Mama Elizabeth Bishop Set designer Young Harvey Adam Jacobs Paul Steinberg Dan White Raymond Very Costume Designer Man at the opera James Maddalena Gabriel Berry Gidon Saks Lighting Designer Bradley Williams Heather Carson Randall Wong Sound Designer William Pickersgill Roger Gans Richard Walker Chorus Director Man in a tranch coat/Cop Raymond Very Ian Robertson Central Park cop David Okerlund Choreographer Joe Randall Wong Ross Perry Jack Michael Chioldi Realized by Craig Bradley Williams Victoria Morgan Beard Juliana Gondek Musical Preparation Mintz James Maddalena Peter Grunberg Horst Brauer Gidon Saks Bryndon Hassman Adelle Eslinger Scott Smith Bradley Williams Kathleen Kelly Concentration camp inmate Randall Wong Ernest Fredric Knell James Maddalena Synthesizer Programmer -
Roland Böer Orchestra E Coro Del Teatro Regio
visual cover st1819.pdf 19/10/2018 15:40:07 I CONCERTI 2018-2019 ROLAND BÖER DIRETTORE ORCHESTRA E CORO DEL TEATRO REGIO GIOVEDÌ 18 APRILE 2019 – ORE 20.30 TEATRO REGIO C M Y CM MY CY CMY K Roland Böer (foto Carlo Cofano) e l’Orchestra e il Coro del Teatro Regio (foto Edoardo Piva) Roland Böer direttore Celine Byrne soprano La vedova, Un angelo e Soprano I Marina Comparato contralto Un angelo, La regina e Contralto I Carlo Allemano tenore Obadia, Acab e Tenore I Adrian Eröd basso Elias e Basso I Maria de Lourdes Rodrigues Martins soprano Soprano II Roberta Garelli contralto Contralto II Matteo Pavlica tenore Tenore II Enrico Bava basso Basso II Valentina Escobar voce bianca Il fanciullo Andrea Secchi maestro del coro Orchestra e Coro del Teatro Regio Felix Mendelssohn-Bartholdy (1809-1847) Elias oratorio in due parti su parole dell’Antico Testamento per soli, coro e orchestra op. 70 (1845-1847) Restate in contatto con il Teatro Regio: f T Y p Felix Mendelssohn-Bartholdy Elias op. 70 In Germania, nella prima metà dell’Ottocento, la pratica amatoriale del canto si sviluppò anche come fattore di aggregazione sociale per una borghe- sia in piena ascesa: si moltiplicarono così Singvereine (associazioni corali) e festival musicali cittadini i cui cavalli di battaglia erano Il Messia di Händel, Le Stagioni e La Creazione di Haydn, la Nona sinfonia di Beethoven. I fe- stival promuovevano anche la composizione di nuovi oratori: una schiera di epigoni si rifece spontaneamente ai modelli della tradizione attingendo a soggetti biblici, davvero popolari nei paesi di religione protestante, dove gli ascoltatori conoscevano a memoria le Scritture. -
Francis Poulenc
CHAN 3134(2) CCHANHAN 33134134 WWideide bbookook ccover.inddover.indd 1 330/7/060/7/06 112:43:332:43:33 Francis Poulenc © Lebrecht Music & Arts Library Photo Music © Lebrecht The Carmelites Francis Poulenc © Stephen Vaughan © Stephen CCHANHAN 33134(2)134(2) BBook.inddook.indd 22-3-3 330/7/060/7/06 112:44:212:44:21 Francis Poulenc (1899 – 1963) The Carmelites Opera in three acts Libretto by the composer after Georges Bernanos’ play Dialogues des Carmélites, revised English version by Joseph Machlis Marquis de la Force ................................................................................ Ashley Holland baritone First Commissioner ......................................................................................James Edwards tenor Blanche de la Force, his daughter ....................................................... Catrin Wyn-Davies soprano Second Commissioner ...............................................................................Roland Wood baritone Chevalier de la Force, his son ............................................................................. Peter Wedd tenor First Offi cer ......................................................................................Toby Stafford-Allen baritone Thierry, a valet ........................................................................................... Gary Coward baritone Gaoler .................................................................................................David Stephenson baritone Off-stage voice ....................................................................................... -
Trio Shaham Erez Wallfisch
Trio Shaham Erez Wallfisch Trio Shaham Erez Wallfisch THE MENDELSSOHN TRIOS Rachmaninoff Arensky Shostakovich “The trio's sheer pleasure of playing is bouncing off this Elegiac Trio Piano Trio No. 1 Piano Trio No. 2 beautifully recorded CD” Kassieke Zaken “Given excellently balanced recordings, these first class performances are evidence of sensitive and imaginative music-making”. Musicweb-international.com “The trio was given a huge ovation which they responded to with an encore of Mendelssohn's scherzo, from the opus 49 trio, played with magical ease.” Südwest Presse, Hans Herdeg, January 2013 RAVEL • FAURÉ • DEBUSSY Luister Magazine, October 2013 – Top-Rating: 10 “When Trio Shaham Erez Wallfisch was founded in 2009, it was welcomed with great enthusiasm, and again now this trio has hit – exactly like it did with its first recording (Mendelssohn trios) – with breathtaking brilliance, pungency and precision. And all of this fully in support of the music. We could be using more superlatives here, but this recording, to my opinion, is an absolutely essential one for French chamber music, and one which any self- respecting music lover would want to have in their collection… The recording itself is extremely accurate and detailed… Highest recommendation!” www.wyastone.co.uk 8 NI 5917 NI 5917Hagai Shaham, violin Arnon Erez, piano Raphael Wallfisch, 1 cello When the press has them down as “ “ (American Record Guide) and “ ” (Leipziger Volkszeitung) and these three giants decide it’s time to join forces, one had better sit up and take notice -
1 the Middle Ages
THE MIDDLE AGES 1 1 The Middle Ages Introduction The Middle Ages lasted a thousand years, from the break-up of the Roman Empire in the fifth century to the end of the fifteenth, when there was an awareness that a ‘dark time’ (Rabelais dismissively called it ‘gothic’) separated the present from the classical world. During this medium aevum or ‘Middle Age’, situated between classical antiquity and modern times, the centre of the world moved north as the civil- ization of the Mediterranean joined forces with the vigorous culture of temperate Europe. Rather than an Age, however, it is more appropriate to speak of Ages, for surges of decay and renewal over ten centuries redrew the political, social and cultural map of Europe, by war, marriage and treaty. By the sixth century, Christianity was replacing older gods and the organized fabric of the Roman Empire had been eroded and trading patterns disrupted. Although the Church kept administrative structures and learning alive, barbarian encroachments from the north and Saracen invasions from the south posed a continuing threat. The work of undoing the fragmentation of Rome’s imperial domain was undertaken by Charlemagne (742–814), who created a Holy Roman Empire, and subsequently by his successors over many centuries who, in bursts of military and administrative activity, bought, earned or coerced the loyalty of the rulers of the many duchies and comtés which formed the patchwork of feudal territories that was France. This process of centralization proceeded at variable speeds. After the break-up of Charlemagne’s empire at the end of the tenth century, ‘France’ was a kingdom which occupied the region now known as 2 THE MIDDLE AGES the Île de France. -
Stravinsky Oedipus
London Symphony Orchestra LSO Live LSO Live captures exceptional performances from the finest musicians using the latest high-density recording technology. The result? Sensational sound quality and definitive interpretations combined with the energy and emotion that you can only experience live in the concert hall. LSO Live lets everyone, everywhere, feel the excitement in the world’s greatest music. For more information visit lso.co.uk LSO Live témoigne de concerts d’exception, donnés par les musiciens les plus remarquables et restitués grâce aux techniques les plus modernes de Stravinsky l’enregistrement haute-définition. La qualité sonore impressionnante entourant ces interprétations d’anthologie se double de l’énergie et de l’émotion que seuls les concerts en direct peuvent offrit. LSO Live permet à chacun, en toute Oedipus Rex circonstance, de vivre cette passion intense au travers des plus grandes oeuvres du répertoire. Pour plus d’informations, rendez vous sur le site lso.co.uk Apollon musagète LSO Live fängt unter Einsatz der neuesten High-Density Aufnahmetechnik außerordentliche Darbietungen der besten Musiker ein. Das Ergebnis? Sir John Eliot Gardiner Sensationelle Klangqualität und maßgebliche Interpretationen, gepaart mit der Energie und Gefühlstiefe, die man nur live im Konzertsaal erleben kann. LSO Live lässt jedermann an der aufregendsten, herrlichsten Musik dieser Welt teilhaben. Wenn Sie mehr erfahren möchten, schauen Sie bei uns Jennifer Johnston herein: lso.co.uk Stuart Skelton Gidon Saks Fanny Ardant LSO0751 Monteverdi Choir London Symphony Orchestra Igor Stravinsky (1882–1971) Igor Stravinsky (1882–1971) The music is linked by a Speaker, who pretends to explain Oedipus Rex: an opera-oratorio in two acts the plot in the language of the audience, though in fact Oedipus Rex (1927, rev 1948) (1927, rev 1948) Cocteau’s text obscures nearly as much as it clarifies. -
The Concise Oxford Dictionary of Literary Terms
The Concise Oxford Dictionary of Literary Terms CHRIS BALDICK OXFORD UNIVERSITY PRESS OXFORD PAPERBACK REFERENCE The Concise Oxford Dictionary of Literary Terms Chris Baldick is Professor of English at Goldsmiths' College, University of London. He edited The Oxford Book of Gothic Tales (1992), and is the author of In Frankenstein's Shadow (1987), Criticism and Literary Theory 1890 to the Present (1996), and other works of literary history. He has edited, with Rob Morrison, Tales of Terror from Blackwood's Magazine, and The Vampyre and Other Tales of the Macabre, and has written an introduction to Charles Maturin's Melmoth the Wanderer (all available in the Oxford World's Classics series). The most authoritative and up-to-date reference books for both students and the general reader. Abbreviations Literary Terms Oxford ABC of Music Local and Family History Paperback Accounting London Place Names* Archaeology* Mathematics Reference Architecture Medical Art and Artists Medicines Art Terms* Modern Design* Astronomy Modern Quotations Better Wordpower Modern Slang Bible Music Biology Nursing Buddhism* Opera Business Paperback Encyclopedia Card Games Philosophy Chemistry Physics Christian Church Plant-Lore Classical Literature Plant Sciences Classical Mythology* Political Biography Colour Medical Political Quotations Computing Politics Dance* Popes Dates Proverbs Earth Sciences Psychology* Ecology Quotations Economics Sailing Terms Engineering* Saints English Etymology Science English Folklore* Scientists English Grammar Shakespeare English -
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. -
How the Villanelle's Form Got Fixed. Julie Ellen Kane Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1999 How the Villanelle's Form Got Fixed. Julie Ellen Kane Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Kane, Julie Ellen, "How the Villanelle's Form Got Fixed." (1999). LSU Historical Dissertations and Theses. 6892. https://digitalcommons.lsu.edu/gradschool_disstheses/6892 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been rqxroduced from the microfilm master. UMI films the text directfy firom the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fiice, vdiile others may be from any typ e o f com pater printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e g., maps, drawings, charts) are reproduced by sectioning the original, b^innm g at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Boston Symphony Orchestra Concert Programs, Season 111, 1991-1992
BOSTON Symphony Orchestra SeijiOzawa MUSIC DIRECTOR One Hundred Eleventh Season EH HORN d Our 152" l/ear THE E.B. HORN COMPANY 429 WASHINGTON STREET, BOSTON, MA BUDGET TERMS ALL MAJOR CREDIT CARDS ACCEPTED AVAILABLE MAIL OR PHONE ORDERS (617) 542-3902 OPEN MON. AND THURS. 'TIL 7 ^^H^BH Seiji Ozawa, Music Director One Hundred and Eleventh Season, 1991-92 Trustees of the Boston Symphony Orchestra, Inc. Nelson J. Darling, Jr., Chairman Emeritus J.P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Dean Freed Mrs. August R. Meyer Peter A. Brooke Avram J. Goldberg Molly Millman James F. Cleary Francis W. Hatch Mrs. Robert B. Newman John F. Cogan, Jr. Julian T. Houston Peter C. Read Julian Cohen Mrs. Bela T. Kalman Richard A. Smith William M. Crozier, Jr. Mrs. George I. Kaplan Ray Stata Deborah B. Davis Harvey Chet Krentzman Nicholas T. Zervas Nina L. Doggett R. Willis Leith, Jr. Trustees Emeriti Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen Mrs. John L. Grandin Mrs. George Lee Sargent Allen G. Barry E. Morton Jennings, Jr. Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs. John M. Bradley Thomas D. Perry, Jr. John L. Thorndike Abram T. Collier Irving W. Rabb Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Michael G. McDonough, Assistant Treasurer Daniel R. Gustin, Clerk Administration Kenneth Haas, Managing Director Daniel R. -
Leeds Studies in English
Leeds Studies in English New Series XLIII 2012 Edited by Alaric Hall Editorial assistant Victoria Cooper Leeds Studies in English <www.leeds.ac.uk/lse> School of English University of Leeds 2012 What’s in a Name? Pinning Down the Middle English Lyric Anne L. Klinck I. Perspectives Approaching the question of genre: why and how The term lyric as applied to Middle English is decidedly problematic.1 Scholars publishing collections of Middle English ‘lyrics’ or writing about them tend to avoid the problem of definition by treating the word as synonymous with ‘short poem’. The trouble is that lyric is not part of the medieval vocabulary and may not have been part of the medieval consciousness, 1 Middle English poems will be identified by their number in Julia Boffey and A. S. G. Edwards, A New Index of Middle English Verse (London: British Library, 2005); see also Carleton Brown, The Index of Middle English Verse (New York: Columbia University Press, 1943) and Supplement to The Index of Middle English Verse, ed. by Rossell Hope Robbins (University of Kentucky Press, 1965). Citations will refer principally, by poem number, to the following editions: English Lyrics of the XIIIth Century, ed. by Carleton Brown (Oxford: Clarendon, 1932); Religious Lyrics of the XIVth Century, ed. by Carleton Brown, 2nd edn rev. by G. V. Smithers (Oxford: Clarendon, 1957); Religious Lyrics of the XVth Century, ed. by Carleton Brown (Oxford: Clarendon, 1939); Secular Lyrics of the XIVth and XVth Centuries, ed. by Rossell Hope Robbins, 2nd edn (Oxford: Clarendon, 1955); Historical Poems of the XIVth and XVth Centuries, ed.