DOCSLIB.ORG

Bernadette Greevy Bursary for Singers 2019 Application Form

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bernadette Greevy Bursary for Singers 2019 Application Form ✁ Bernadette Greevy Bursary for Singers 2019 Application Form Name: Address: Email: Telephone number: BERNADETTE GREEVY Date of birth: Details of current study: BURSARY FOR SINGERS 2019 Details of music qualifications (e.g. B.Mus, Diplomas, etc.): Guidelines and Application Form Programme as submitted by mp3: Any other information that you feel is relevant to this application: Deadline: 5pm, Friday 3 May 2019 to [email protected] Thank you for your application. The National Concert Hall invites singers to apply for the Bernadette Guidelines Greevy Bursary. One singer will be awarded the bursary of €5,000 Entrants may be from all classical voice types. They must be Irish or living by the National Concert Hall, in honour of Irish mezzo-soprano Dr in Ireland, and in third-level education or equivalent. Bernadette Greevy. Entrants will submit: The winner of the Bernadette Greevy Bursary will give a recital at the National Concert Hall at the end of the following year, featuring • programme of their choice of not more than 15 minutes’ length a new Irish piece commissioned for the occasion. in mp3 format shared via wetransfer.com to [email protected]. Please include your name in the message field, but do not attach The Bernadette Greevy Bursary is kindly supported by the your name to the recording. Department of Culture, Heritage & the Gaeltacht. • an application form with personal details and the details of their programme. About Dr Bernadette Greevy • a letter of recommendation from their teacher. Dubliner Bernadette Greevy was the first Irish winner of Harriet Cohen International Music Award for Outstanding Artistry. All entry material must be received by 5pm on Friday 3 May 2019. Further honours included: First-round entries will be judged during May, and finalists will be called • The Order of Merit of Malta back for a live audition the afternoon of 8 June. • Honorary Doctorate of Music, National University of Ireland For this audition, each finalist will be asked to prepare three pieces: • Honorary Doctorate of Music, Trinity College, Dublin • a Mahler song • The Holy Cross Pro Ecclesia et Pontifice • a Handel aria She was the founder and artistic director of the Anna Livia Dublin • a piece by a living Irish composer International Opera Festival, and supported student singers through • Finalists must provide their own accompanist, if required. her masterclasses and work as Artist in Residence at the Dublin Institute of Technology. She is remembered for wonderful performances and • After performing, finalists will undertake a short interview with the recordings of oratorio and song; her recordings include Handel, Haydn, panel of judges. Bach and she was acclaimed in particular for her interpretation of The winner of the bursary will receive €5,000, and return to the National Mahler. She also championed new Irish music, premiering works by Irish Concert Hall at the end of the following year for the Bernadette Greevy composers. Bursary Recital. Previous winners include Gavan Ring (2010), Aoife Miskelly (2011), Rachel Please note that previous winners are ineligible to re-enter. Kelly (2012), Jennifer Davis (2013), Gemma Ní Bhriain (2014), Roisín Walsh Questions? Contact [email protected] for further information. (2015), Padraic Rowan (2016) , Sarah Brady (2017) and Sinead O’Kelly (2018)..
Load more

Recommended publications
  • Aoife Miskelly Soprano
    Aoife Miskelly Soprano Northern Irish soprano Aoife Miskelly Codetta in their performance – live on studied as a Sickle Foundation Scholar on the Spanish radio – of Beethoven’s oratorio Christ Opera Masters degree course at the Royal on the Mount of Olives in Cuenca. Aoife is also Academy of Music in London, graduating in a very keen oratorio singer, having performed 2012 with the Regency Award. During her in a whole host of concerts, including Bach’s studies, Aoife was a Kathleen Ferrier Awards Christmas Oratorio, St. John and Matthew finalist (2010), won a BBC Northern Ireland Passions, Jauchzet Gott in allen Landen and Young Artists Platform Award, and was a Magnificat, Beethoven’s Mass in C (in Samling Scholar, Internationale Cologne Cathedral), Brahms’ Deutches Meistersinger Akademie Young Artist and Requiem (St. Martin in the Fields), Carissimi’s Britten-Pears Young Artist. Aoife was the Jepthe (St. John’s, Smith Square), Handel’s winner of the Hampshire National Singing Messiah, Dixit Dominus, Laudate Pueri Competition in 2011, the Bernadette Greevy Dominum, and Saul (conducted by Laurence Bursary in 2011, finalist in the Veronica Dunne Cummings), Mozart’s Requiem, Coronation International Singing Competition 2013, and Mass and Exultate Jubilate, Orff’s Carmina finalist in the 2015 Wigmore Hall Song Burana (Ulster Orchestra), Poulenc’s Gloria, Competition. Stravinsky’s Mass, Varese’s Nocturnal and Vivaldi’s Gloria. During the 2012-16 seasons Aoife was a soloist at the Cologne Opera House where she Aoife’s recent highlights include
    [Show full text]
  • A Midsummer Night's Dream
    Monday 25, Wednesday 27 February, Friday 1, Monday 4 March, 7pm Silk Street Theatre A Midsummer Night’s Dream by Benjamin Britten Dominic Wheeler conductor Martin Lloyd-Evans director Ruari Murchison designer Mark Jonathan lighting designer Guildhall School of Music & Drama Guildhall School Movement Founded in 1880 by the Opera Course and Dance City of London Corporation Victoria Newlyn Head of Opera Caitlin Fretwell Chairman of the Board of Governors Studies Walsh Vivienne Littlechild Dominic Wheeler Combat Principal Resident Producer Jonathan Leverett Lynne Williams Martin Lloyd-Evans Language Coaches Vice-Principal and Director of Music Coaches Emma Abbate Jonathan Vaughan Lionel Friend Florence Daguerre Alex Ingram de Hureaux Anthony Legge Matteo Dalle Fratte Please visit our website at gsmd.ac.uk (guest) Aurelia Jonvaux Michael Lloyd Johanna Mayr Elizabeth Marcus Norbert Meyn Linnhe Robertson Emanuele Moris Peter Robinson Lada Valešova Stephen Rose Elizabeth Rowe Opera Department Susanna Stranders Manager Jonathan Papp (guest) Steven Gietzen Drama Guildhall School Martin Lloyd-Evans Vocal Studies Victoria Newlyn Department Simon Cole Head of Vocal Studies Armin Zanner Deputy Head of The Guildhall School Vocal Studies is part of Culture Mile: culturemile.london Samantha Malk The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation A Midsummer Night’s Dream Music by Benjamin Britten Libretto adapted from Shakespeare by Benjamin Britten and Peter Pears
    [Show full text]
  • RTE NSO 25 Sept Prog.Qxp:Layout 1
    WATCH rte.ie/culture LISTEN RTÉ lyric fm ARTHUR DUFF Echoes of Georgian Dublin JOHN KINSELLA Nocturne for Strings MÍCHEÁL Ó SÚILLEABHÁIN Bean Dubh an Ghleanna Oileán/Island Traditional arr. NEIL MARTIN The Fairy Queen Danny Boy The Humours of Ballyloughlin RTÉ National Symphony Orchestra David Brophy conductor Mark Redmond uilleann pipes, flute Presented by Paul Herriott, RTÉ lyric fm FRIDAY 25 SEPTEMBER 2020, 7pm NATIONAL CONCERT HALL 1 Arthur Duff 1899-1956 Echoes of Georgian Dublin i. In College Green ii. Song for Amanda iii. Minuet iv. Largo (The tender lover) v. Rigaudon Arthur Duff showed early promise as a musician. He was a chorister at Dublin’s Christ Church Cathedral and studied at the Royal Irish Academy of Music, taking his degree in music at Trinity College, Dublin. He was later awarded a doctorate in music in 1942. Duff had initially intended to enter the Church of Ireland as a priest, but abandoned his studies in favour of a career in music, studying composition for a time with Hamilton Harty. He was organist and choirmaster at Christ Church, Bray, for a short time before becoming a bandmaster in the Army School of Music and conductor of the Army No. 2 band based in Cork. He left the army in 1931, at the same time that his short-lived marriage broke down, and became Music Director at the Abbey Theatre, writing music for plays such as W.B. Yeats’s The King of the Great Clock Tower and Resurrection, and Denis Johnston’s A Bride for the Unicorn. The Abbey connection also led to the composition of one of Duff’s characteristic works, the Drinking Horn Suite (1953 but drawing on music he had composed twenty years earlier as a ballet score).
    [Show full text]
  • Bernadette Greevy Bursary for Singers 2014
    Bernadette Greevy Bursary for Singers 2014 Guidelines and Application Form The National Concert Hall invites singers to apply for the Bernadette Greevy Bursary. One singer will be awarded the bursary of ¤5,000 by the National Concert Hall, in honour of Irish mezzo-soprano Dr Bernadette Greevy. The winner of the Bernadette Greevy Bursary will give a recital at the National Concert Hall the following year, featuring a new Irish piece commissioned for the occasion. About Dr Bernadette Greevy Dubliner Bernadette Greevy was the first Irish winner of Harriet Cohen International Music Award for Outstanding Artistry. Further honours included: • The Order of Merit of Malta • Honorary Doctorate of Music, National University of Ireland • Honorary Doctorate of Music, Trinity College, Dublin • The Holy Cross Pro Ecclesia et Pontifice She was the founder and artistic director of the Anna Livia Dublin International Opera Festival, and supported student singers through her masterclasses and work as Artist in Residence at the Dublin Institute of Technology. She is remembered for wonderful performances and recordings of oratorio and song; her recordings include Handel, Haydn, Bach and she was acclaimed in particular for her interpretation of Mahler. She also championed new Irish music, premiering works by Irish composers. Previous winners include Gavan Ring (2010), Aoife Miskelly (2011), Rachel Kelly (2012) and Jennifer Davis (2013). Guidelines Entrants may be male or female. They must be resident or domiciled in Ireland, and in third-level education or equivalent. Each entrant will submit: • three copies of an unmarked audio CD with a programme of his or her choice of not more than 15 minutes’ length • an application form with personal details and the details of his or her programme • a letter of recommendation from his or her teacher by the 1 May 2014 deadline.
    [Show full text]
  • Berlioz's Les Nuits D'été
    Berlioz’s Les nuits d’été - A survey of the discography by Ralph Moore The song cycle Les nuits d'été (Summer Nights) Op. 7 consists of settings by Hector Berlioz of six poems written by his friend Théophile Gautier. Strictly speaking, they do not really constitute a cycle, insofar as they are not linked by any narrative but only loosely connected by their disparate treatment of the themes of love and loss. There is, however, a neat symmetry in their arrangement: two cheerful, optimistic songs looking forward to the future, frame four sombre, introspective songs. Completed in 1841, they were originally for a mezzo-soprano or tenor soloist with a piano accompaniment but having orchestrated "Absence" in 1843 for his lover and future wife, Maria Recio, Berlioz then did the same for the other five in 1856, transposing the second and third songs to lower keys. When this version was published, Berlioz specified different voices for the various songs: mezzo-soprano or tenor for "Villanelle", contralto for "Le spectre de la rose", baritone (or, optionally, contralto or mezzo) for "Sur les lagunes", mezzo or tenor for "Absence", tenor for "Au cimetière", and mezzo or tenor for "L'île inconnue". However, after a long period of neglect, in their resurgence in modern times they have generally become the province of a single singer, usually a mezzo-soprano – although both mezzos and sopranos sometimes tinker with the keys to ensure that the tessitura of individual songs sits in the sweet spot of their voices, and transpositions of every song are now available so that it can be sung in any one of three - or, in the case of “Au cimetière”, four - key options; thus, there is no consistency of keys across the board.
    [Show full text]
  • Northern Ireland Tour March 21 – 26
    WILLIAM WALTON An extravaganza in One Act based on the play by Anton Chekhov Northern Ireland Tour March 21 – 26 “There’s a real buzz and sense of purpose about what this company is doing” ~ The Guardian Welcome Welcome to this evening’s performance of The Bear. Tonight’s programme showcases not only a rarely performed jewel of an opera, but also brings to Northern Ireland three wonderful singers who are making a real name for themselves on the world stage. Anna Burford and Andrew Rupp are performing with NI Opera for the first time following recent engagements at the Royal Opera House Covent Garden, and English National Opera. Those of you who saw our production of Tosca back in 2011 will remember John Molloy who sang the roles of Angelotti and Sciarrone then, and sings the role of Luka tonight. We are also delighted that some of Northern Ireland’s finest choirs are appearing in the first part of tonight’s programme, singing a selection of George Shearing’s beautiful Songs and Sonnets from Shakespeare. The combination of Northern Irish talent, internationally-renowned singers and innovative programming has been highly evident throughout our 2012/13 season, which draws to a close with this tour. From commissioning exciting new short operas from leading Irish composers and playwrights, to performing a children’s opera in Belfast Zoo and at the Beijing Music Festival, to bringing a home grown production of a Wagner opera to the Belfast stage for the first time ever, this has certainly been a year to remember. 2012/13 has also seen NI Opera make its debuts at the prestigious Buxton Festival and in the Irish Republic, whilst our programmes for nurturing the best young Irish talent – particularly our Young Artists’ Programme and our annual Festival of Voice in Glenarm – continue to prosper.
    [Show full text]
  • Marco Polo – the Label of Discovery
    Marco Polo – The Label of Discovery Doubt was expressed by his contemporaries as to the truth of Marco Polo’s account of his years at the court of the Mongol Emperor of China. For some he was known as a man of a million lies, and one recent scholar has plausibly suggested that the account of his travels was a fiction inspired by a family dispute. There is, though, no doubt about the musical treasures daily uncovered by the Marco Polo record label. To paraphrase Marco Polo himself: All people who wish to know the varied music of men and the peculiarities of the various regions of the world, buy these recordings and listen with open ears. The original concept of the Marco Polo label was to bring to listeners unknown compositions by well-known composers. There was, at the same time, an ambition to bring the East to the West. Since then there have been many changes in public taste and in the availability of recorded music. Composers once little known are now easily available in recordings. Marco Polo, in consequence, has set out on further adventures of discovery and exploration. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again. In addition to pioneering recordings of the operas of Franz Schreker, Der ferne Klang (The Distant Sound), Die Gezeichneten (The Marked Ones) and Die Flammen (The Flames), were three operas by Wagner’s son, Siegfried. Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich and Schwarzschwanenreich (The Kingdom of the Black Swan) explore a mysterious medieval world of German legend in a musical language more akin to that of his teacher Humperdinck than to that of his father.
    [Show full text]
  • 11 May 2008 Waterford Institute Of
    Society for Musicology in Ireland Annual Conference 9 – 11 May 2008 Waterford Institute of Technology (College Street Campus) Waterford Institute of Technology welcomes you to the Sixth Annual Conference of the Society for Musicology in Ireland. We are particularly delighted to welcome our distinguished keynote speaker, Professor John Tyrrell from Cardiff University. Programme Committee Dr. Hazel Farrell Dr. David J. Rhodes (Chair) Conference Organisation Fionnuala Brennan Paddy Butler Jennifer Doyle Dr. Hazel Farrell Marc Jones Dr. Una Kealy Dr. David J. Rhodes Technician: Eoghan Kinane Acknowledgements Dr. Gareth Cox Dr. Rachel Finnegan, Head of the Department of Creative and Performing Arts, WIT Norah Fogarty Dr. Michael Murphy Professor Jan Smaczny Waterford Crystal WIT Catering Services Exhibition Four Courts Press will be exhibiting a selection of new and recent books covering many areas from ancient to twenty-first century music, opera, analysis, ethnomusicology, popular and film music on Saturday 10 May Timetable Humanities & Art Building: Room HA06 Room HA07 Room HA08 Room HA17 (Auditorium) Main Building (Ground floor): Staff Room Chapel Friday 9 May 1.00 – 2.00 Registration (Foyer of Humanities & Art Building) 2.00 – 3.30 Sessions 1 – 3 Session 1 (Room HA06): Nineteenth-century Reception and Criticism Chair: Lorraine Byrne Bodley (National University of Ireland Maynooth) • Adèle Commins (Dundalk Institute of Technology): Perceptions of an Irish composer: reception theories of Charles Villiers Stanford • Aisling Kenny (National
    [Show full text]
  • Original Song Settings of Irish Texts by Irish Composers, 1900-1930
    Technological University Dublin ARROW@TU Dublin Masters Applied Arts 2018 Examining the Irish Art Song: Original Song Settings of Irish Texts by Irish Composers, 1900-1930. David Scott Technological University Dublin, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/appamas Part of the Composition Commons Recommended Citation Scott, D. (2018) Examining the Irish Art Song: Original Song Settings of Irish Texts by Irish Composers, 1900-1930.. Masters thesis, DIT, 2018. This Theses, Masters is brought to you for free and open access by the Applied Arts at ARROW@TU Dublin. It has been accepted for inclusion in Masters by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License Examining the Irish Art Song: Original Song Settings of Irish Texts by Irish Composers, 1900–1930 David Scott, B.Mus. Thesis submitted for the award of M.Phil. to the Dublin Institute of Technology College of Arts and Tourism Supervisor: Dr Mark Fitzgerald Dublin Institute of Technology Conservatory of Music and Drama February 2018 i ABSTRACT Throughout the second half of the nineteenth century, arrangements of Irish airs were popularly performed in Victorian drawing rooms and concert venues in both London and Dublin, the most notable publications being Thomas Moore’s collections of Irish Melodies with harmonisations by John Stephenson. Performances of Irish ballads remained popular with English audiences but the publication of Stanford’s song collection An Irish Idyll in Six Miniatures in 1901 by Boosey and Hawkes in London marks a shift to a different type of Irish song.
    [Show full text]
  • Dulciana Programme 2016
    Contributors: Éna Brennan (Poster and Cover Design) Eoghan Desmond (Logo and Facebook Group) Special Thanks to: Éna Brennan Jack Brennan Eoghan Desmond Seán Doherty Liath Gleeson Victoria Lavendel Matthew Lynch Jonathan Nangle Aonghus O’Lochlainn Gráinne Redican Keith Staunton Barry, Heather, Rebecca and all at the Freemasons’ Hall Freemason’s Hall June 13th 8pm Tickets 5/10 euro www.facebook.com/Dulcianachoir Music for female voices including Taverner, Rautavaara, and Doherty Programme Audivi Vocem de Caelo John Taverner (c.1490–1545) Ave Verum Corpus Francis Poulenc (1899–1963) Miserere Mei Jan Pieterszoon Sweelinck (1562–1621) O Salutaris Hostia Eriks Esenvalds (b. 1977) Pueri Concinite Jacob Handl Gallus (1550–1591) Ave Maria Francis Poulenc (1899–1963) Leanúint Liom Victoria Lavendel (b. 1990) Vecherai Rado Bulgarian folk tune Mu suda arka es Cyrillus Kreek (1889-1962) Rise Up Seán Doherty (b. 1987) In the Night Lands Jonathan Nangle (b. 1981) Blood Upon the Rose Eoghan Desmond (b. 1989) Suite de Lorca Einojuhani Rautavaara (b. 1928) Canción de jinete El Grito La Luna Maguelena Song (from Spring Cantata) Georgy Sviridov (1915–1998) Audivi Vocem de Caelo Pueri Concinite Thank you to all who played a part in making tonight John Taverner (c.1490–1545) Jacob Handl Gallus (1550–1591) such a great musical experience, especially those who I heard a voice from heaven saying: Sing together, children, came to hear Dulciana. It means an awful lot to both the Lay up the oil in your vessels when the sing songs to the newborn King; singers and I to be able to share our passion for choral bridegroom cometh.
    [Show full text]
  • Les Arts Florissants William Christie Direction Emmanuelle De Negri Soprano Katherine Watson Soprano Tim Mead Contreténor James Way Ténor Padraic Rowan Basse
    2019 20:00 07.10.Grand Auditorium Lundi / Montag / Monday Voyage dans le temps – musique ancienne et baroque / Greatest Hits Les Arts Florissants William Christie direction Emmanuelle de Negri soprano Katherine Watson soprano Tim Mead contreténor James Way ténor Padraic Rowan basse 80’ — 70’ Le clavecin de ce concert est un instrument à 2 claviers, à 16’, fait par M. Kramer d’après Chr. Zell (Hambourg, première moitié du 18e siècle). Georg Friedrich Händel (1685–1759) Messiah (Le Messie / Der Messias) HWV 56. A Sacred Oratorio (Charles Jennens) (1741) First Part Scene 1: Isaiah’s prophecy of salvation N° 1: Sinfonia: Grave – Allegro moderato N° 2: Accompagnato (tenor): «Comfort ye my people» (Isa 40, 1-3) N° 3: Air (tenor): «Ev’ry valley shall be exalted» (Isa 40, 4) N° 4: Chorus: «And the glory of the Lord shall be revealed» (Isa 40, 5) Scene 2: The coming judgment N° 5: Accompagnato (bass): «Thus saith the Lord of Hosts» (Hag 2, 6-7; Mal 3, 1) N° 6: Air (alto): «But who may abide the day of His coming» (Mal 3, 2) N° 7: Chorus: «And He shall purify» (Mal 3, 3) Scene 3: The prophecy of Christ’s birth Recitative (alto): «Behold, a virgin shall conceive» (Isa 7, 14; Matt 1, 23) N° 8: Air (alto) and Chorus: «O thou that tellest good tidings to Zion» (Isa 40, 9; 60, 1) N° 9: Accompagnato (bass): «For behold, darkness shall cover the earth» (Isa 60, 2–3) N° 10: Air (bass): «The people that walked in darkness» (Isa 9, 2) N° 11: Chorus: «For unto us a Child is born» (Isa 9, 6) Scene 4: The annunciation to the shepherds N° 12: Pifa: Larghetto
    [Show full text]
  • Marco Polo – the Label of Discovery
    Marco Polo – The Label of Discovery Since its launch in 1982, the Marco Polo label has for over twenty years sought to draw attention to unexplored repertoire.␣ Its main goals have been to record the best music of unknown composers and the rarely heard works of well-known composers.␣ At the same time it originally aspired, like Marco Polo himself, to bring something of the East to the West and of the West to the East. For many years Marco Polo was the only label dedicated to recording rare repertoire.␣ Most of its releases were world première recordings of works by Romantic, Late Romantic and Early Twentieth Century composers, and of light classical music. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again, particularly those whose careers were affected by political events and composers who refused to follow contemporary fashions.␣ Of particular interest are the operas by Richard Wagner’s son Siegfried, who ran the Bayreuth Festival for so many years, yet wrote music more akin to that of his teacher Humperdinck. To Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich, Schwarzschwanenreich (The Kingdom of the Black Swan), and Bruder Lustig, which further explores the mysterious medieval world of German legend is now added Der Heidenkönig (The Heathen King).␣ Other German operas included in the catalogue are works by Franz Schreker and Hans Pfitzner. Earlier Romantic opera is represented by Weber’s Peter Schmoll, and by Silvana, the latter notable in that the heroine of the title remains dumb throughout most of the action.
    [Show full text]