Der Händel-Festspiele 2015
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The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice. -
Handel's Oratorios and the Culture of Sentiment By
Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera. -
Private Musiksammlung Archiv CD/DVD
Private Musiksammlung Aktualisierung am: 04.09.15 Archiv CD/DVD - Oper Sortierung nach: in CD - mp3 / DVD - MEGP- Formaten 1. Komponisten 2. Werk-Nummer (op.Zahl etc) TA und TR: Daten sind bei „alne“ vorhanden 3. Aufnahmejahr Auskünfte über Mail [email protected] Diese Datei erreichen Sie unter: T und TR: Daten sind bei „EO“ vorhanden http://www.euro-opera.de/T-TA-TR.pdf Auskünfte über Mail in Kürze auch unter: [email protected] http://www.cloud-de.de/~Alne_Musik/ Haas Haas Die heilige Elisabeth - 1 München Maria Venuti - Wolf Bruno Weil Ch-O - BR 4 Euba - - - - - - - Elmar Schloter, Joseph Haas (1879 - - Orgel - 1960) - Münchener 21.03.2004 - Rundfunkorchester op. 84 - cda403 T- VHS-Audi CD o Haas Die heilige Elisabeth - 1990 München Maria Venuti - Wolf Bruno Weil Ch - 26.11.1990 BR 4 Euba - - - - - - - - 1659,01 Joseph Haas (1879 - - 1960) - Münchner 31.03.2010 - Rundfunkorchester op. 84 - cda1003 T- Dok 409 2 CD 2 Haas Scharlatan - 1997 Prag Vladimir Chmelo - Anda-Louise Israel Yinon O - BR 4 Bogza - Miroslav Svejda - Leo 529,01 Pavel Haas (1899 - - MarianVodicka - Ladislav Mlejnek - 1944) - Orchester der Prager 22.06.1999 - Jan Jezek - - - - Staatsoper Oper 1 - T- VHS-Audio Haas Scharlatan - 2009 Gera Andreas Scheibner - Franziska Rauch - Jens Troester O - 06.03.2009 MDR Figaro Peter-Paul Haller - Konrad 1355,01 Pavel Haas (1899 - - Zorn - - - - - Kay Kuntze - Duncan 1944) - Sarlatán Opernchor und 07.03.2009 - Hayler Philharmonisches Oper 1 - cda1601 T- Dok 124 CD 6 Haas Bluthaus - 2011 Schwetzingen Sarah Wegener - Ruth Hartmann -
Spanish Local Color in Bizet's Carmen.Pdf
!@14 QW Spanish Local Color in Bizet’s Carmen unexplored borrowings and transformations Ralph P. Locke Bizet’s greatest opera had a rough start in life. True, it was written and composed to meet many of the dramatic and musical expectations of opéra comique. It offered charming and colorful secondary characters that helped “place” the work in its cho- sen locale (such as the Spanish innkeeper Lillas Pastia and Carmen’s various Gypsy sidekicks, female and male), simple strophic forms in many musical numbers, and extensive spoken dialogue between the musical numbers.1 Despite all of this, the work I am grateful for many insightful suggestions from Philip Gossett and Roger Parker and from early readers of this paper—notably Steven Huebner, David Rosen, Lesley A. Wright, and Hervé Lacombe. I also benefi ted from the suggestions of three specialists in the music of Spain: Michael Christoforidis, Suzanne Rhodes Draayer (who kindly provided a photocopy of the sheet-music cover featuring Zélia Trebelli), and—for generously sharing his trove of Garciana, including photocopies of the autograph vocal and instrumental parts for “Cuerpo bueno” that survive in Madrid—James Radomski. The Bibliothèque nationale de France kindly provided microfi lms of their two manu- scripts of “Cuerpo bueno” (formerly in the library of the Paris Conservatoire). Certain points in the present paper were fi rst aired briefl y in one section of a wider-ranging essay, “Nineteenth-Century Music: Quantity, Quality, Qualities,” Nineteenth-Century Music Review 1 (2004): 3–41, at 30–37. In that essay I erroneously referred in passing to Bizet’s piano-vocal score as having been published by Heugel; the publisher was, of course, Choudens. -
Die Zauberflöte
Die Zauberflöte What’s in a Title? Harrison Powley cholars have argued over Die Zauberflöte for many years. Is it a fairy-tale Sopera, a metaphorical discussion of Masonic and Rosicrucian beliefs, or a contemporary political or philosophical commentary on the 1780s and ₁ the Enlightenment? It can be all these and more, but for many in the audi- ence during fall 1791 it was entertainment, pure and simple. The audience at the Theater auf der Weiden came from all levels of society. The nobility and educated attended as well as the working and servant classes. In a work so rich with literary, visual, and musical symbols, it is easy to ₂ gloss over the most obvious ones: the magical musical instruments. Musi- cal instruments of Mozart’s day were similar in some ways to instruments in common use today yet quite different in construction, sound, and per- formance techniques. As performers and conductors try to communicate music of past centuries, they have turned in recent years to performing music on the instruments for which the composers wrote the music, using either surviving instruments or modern reconstructions in an attempt to recreate the timbres or tone colors, tempi, ornamentation, tunings, and the like ₃ of the past. This essay focuses primarily on Mozart’s use of two instruments: the Zauberflöte (magic flute) and the Zauberglöckchen (magic bells). We know what a flute is and what bells are, but why and how are they “magic”? In fact, why do Schikaneder and Mozart use these instruments at specific times in the work, and what meanings did they convey to Mozart’s audi- ence? We will also discuss several surviving instruments that could have influenced Mozart’s music. -
NEWSLETTER of the American Handel Society
NEWSLETTER of The American Handel Society Volume XXVII, Number 2 Summer 2012 FROM THE PRESIDENT’S DESK SUMMER 2012 I would like to thank all the members of the Society who have paid their membership dues for 2012, and especially those who paid to be members of the Georg-Friedrich-Händel Gesellschaft and/or friends of The Handel Institute before the beginning of June, as requested by the Secretary/Treasurer. For those of you who have not yet renewed your memberships, may I urge you to do so. Each year the end of spring brings with it the Handel Festivals in Halle and Göttingen, the latter now regularly scheduled around the moveable date of Pentecost, which is a three-day holiday in Germany. Elsewhere in this issue of the Newsletter you will find my necessarily selective Report from Halle. While there I heard excellent reports on the staging of Amadigi at Göttingen. Perhaps other members of the AHS would be willing to provide reports on the performances at Göttingen, and also those at Halle that I was unable to attend. If so, I am sure that the Newsletter Angelica Kauffmann, British, born in Switzerland, 1741-1807 Portrait of Sarah Editor would be happy to receive them. Harrop (Mrs. Bates) as a Muse ca. 1780-81 Oil on canvas 142 x 121 cm. (55 7/8 x 47 5/8 in.) Princeton University Art Museum. Museum purchase, Surdna Fund The opening of the festival in Halle coincided and Fowler McCormick, Class of 1921, Fund 2010-11 photo: Bruce M. White with the news of the death of the soprano Judith Nelson, who was a personal friend to many of us. -
NEWSLETTER of the American Handel Society
NEWSLETTER of The American Handel Society Volume XXXI, Number 2 Summer 2016 HANDEL’S GREATEST HITS: REPORT FROM HALLE THE COMPOSER’S MUSIC IN EIGHTEENTH-CENTURY BENEFIT CONCERTS Buried in The London Stage are advertisements for concerts including or devoted to Handel’s music. Starting in the 1710s and continuing through the eighteenth century, musicians of all types used Handel’s music on their concert programs, most especially during their benefit evenings.1 These special events were dedicated to promoting a sole performer (or other members of the theatrical staff at a particular playhouse or concert hall). As was tradition, performers would have organized these events from beginning to end by hiring the other performers, renting the theater, creating advertisements, soliciting patrons, and The Handel Festival in Halle took place this year from programming the concert. Advertisements suggest that singers Friday, May 27 to Sunday, June 12, 2016 with the theme “History – and instrumentalists employed Handel’s music in benefit concerts Myth – Enlightenment.” Following the pattern established last year, for their own professional gain. They strategically programmed the Festival extended over three weekends. The Opening Concert, particular pieces that would convey specific narratives about their which had been a feature of recent Festivals, was not given. Instead, own talents, as well as their relationship to the popular composer. the first major musical event was the premiere of the new staging Benefit concerts were prime opportunities for performers of Sosarme, Re di Media at the Opera House, using performing to construct a narrative, or a story, through their chosen program. materials prepared by Michael Pacholke for the Hallische Händel- On the one hand, concert programs allowed performers to Ausgabe (HHA). -
Der Händel-Festspiele 2016
MAGAZIN DER HÄNDEL-FESTSPIELE 2016 GESCHICHTE – MYTHOS – AUFKLÄRUNG Ι DAS FESTSPIELTHEMA HÄNDEL IN HALLE Ι HÄNDEL-HAUS-NEWS AUF EINEN BLICK Ι FESTSPIELKALENDER MIT ALLEN TERMINEN UND KÜNSTLERVERZEICHNIS DIE STIFTUNG HÄNDEL-HAUS DANKT IHREN FÖRDERERN UND SPONSOREN Inhalt Mythos Aufklärer – Mythos Volk? Dido Romelia Lichtenstein Händel und die UEFA Champions League Asylantin, Königin, Geliebte Gespräch mit der Händel-Preisträgerin 2016 deutsche städte medien Seite 7 Seite 12 Seite 14 Händel in Halle 20 HANDEL FOR BRASS Steffen Schier IHREN PARTNERN 22 STIMMEN · BILDEN · LEBEN 5 GRUSSWORTE Der Statdtsingechor zu Halle feiert seinen 900. Geburtstag Festspielthema Cordula Timm-Hartmann STADTMARKETING Geschichte – Mythos – Aufklärung GROUP 26 HÄNDEL MIT HERZ Der Komponist und die Kinder 9 MYTHOS AUFKLÄRER – MYTHOS VOLK? des Londoner Foundling Hospital ZWEI TOPOI DER HÄNDEL-REZEPTION Dr. Konstanze Musketa UND IHRE KONTEXTE PD Dr. Juliane Riepe und 32 HÄNDELS IPOD Prof. Dr. Wolfgang Hirschmann Patricia Reese im Gespräch mit Katharina Bäuml 14 DIDO: ASYLANTIN · KÖNIGIN · GELIEBTE Dr. Erik Dremel 36 SOSARME, RE DI MEDIA Patricia Reese / Dr. Michael Pacholke 16 ÜBRIGENS HAT ER (HÄNDEL) DIESE ZAUBERKRAFT NOCH HEUTE 38 ERINNERN · SEHEN · HÖREN IHREN MEDIEN- UND KULTURPARTNERN Patricia Reese im Gespräch mit der Händel- ERLEBEN · ENTDECKEN Preisträgerin Romelia Lichtenstein Händel-Haus-News KULTUR Kompendium 44 FESTSPIELKALENDER 61 VERANSTALTUNGSORTE 58 KÜNSTLERVERZEICHNIS 62 IMPRESSUM Händel-Festspiele Magazin 2016 3 Entdecken ist einfach. GRUSSWORT DES OBERBÜRGERMEISTERS DER STADT HALLE (SAALE) Entdecken DR. BERND WIEGAND Sie, was mit der Sparkasse alles einfach Liebe Leserinnen und Leser, Halle (Saale) ist ein Ort, an dem die der Händel-Festspiele, die mit den Auf- Werk und seiner Pflege. -
UNIVERSITY of CALIFORNIA Los Angeles An
UNIVERSITY OF CALIFORNIA Los Angeles An Introductions to the Art of Singing Italian Baroque Opera: A Brief History and Practice A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Musical Arts in Music by Gloria Chu Young Chung-Ahn 2015 ABSTRACT OF THE DISSERTATION An Introductions to the Art of Singing Italian Baroque Opera: A Brief History and Practice by Gloria Chu Young Chung-Ahn Doctor of Musical Arts in Music University of California, Los Angeles, 2015 Professor Michael E. Dean, Chair At the start of this dissertation, my original intention was to offer insight into performance practices of opera in the late baroque period in the form of a guide to young singers. As I delved into this subject matter, I began to realize how much this subject could not be understood until the singer had an understanding of the beginnings of baroque music pertaining to its considerable historical significance in the development of opera as well as its overall perceived styles. The term baroque, in itself, has caused much confusion for those in academia ii and more so to students who endeavor to recreate an authentic baroque sound and performance. Upon evaluating my own understanding of baroque music and its reaches into the operatic art form, I decided to include in this dissertation an abridged history of the baroque period such as terms and ideas that every young musician should be familiar with, as well as contributions to baroque opera of famous composers and singers, whose names became synonymous with the term Baroque. -
Le Concert Lorrain & Nederlands Kamerkoor Olv.Christoph Prégardien
architectuur theater dans muziek MUZIEK BLAUWE ZAAL GROTE PODIA LE CONCERT LORRAIN & NEDERLANDS KAMERKOOR olv. CHRISTOPH PRÉGARDIEN DO 22 MAART 2012 T +32 (0)3 248 28 28 WWW.DESINGEL.BE DESGUINLEI 25 / B-2018 ANTWERPEN WORD FAN VAN DESINGEL OP FACEBOOK deSingel is een kunstinstelling van de Vlaamse Gemeenschap en geniet de steun van hoofdsponsor mediasponsors 2011-2012 FOCUS PRÉGARDIEN CHRISTOPH PRÉGARDIEN PUBLIEKE MASTERCLASSES ZANG ZA 28 EN ZO 29 JAN 2012 CHRISTOPH PRÉGARDIEN . JULIAN PRÉGARDIEN . MICHAEL GEES VR 2 MRT 2012 LE CONCERT LORRAIN & NEDERLANDS KAMERKOOR OLV. CHRISTOPH PRÉGARDIEN DO 22 MRT 2012 CHRISTOPH PRÉGARDIEN . CAMERATA MUSICA LIMBURG A/D LAHN OLV. JAN SCHUMACHER ZA 28 APR 2012 INTERVIEW CHRISTOPH PRÉGARDIEN ZA 28 APR 2012 (NA CONCERT) 2011-2012 BACH KAMMERORCHESTER BASEL OLV. JULIA SCHRÖDER DO 15 DEC 2011 FREIBURGER BAROCKORCHESTER & COLLEGIUM VOCALE GENT OLV. MARCUS CREED VR 23 DEC 2011 KOOR & ORKEST COLLEGIUM VOCALE GENT OLV. PHILIPPE HERREWEGHE DO 26 JAN 2012 LE CONCERT LORRAIN & NEDERLANDS KAMERKOOR OLV. CHRISTOPH PRÉGARDIEN DO 22 MRT 2012 RIAS KAMMERCHOR & AKADEMIE FÜR ALTE MUSIK BERLIN OLV. HANS-CHRISTOPH RADEMANN DO 3 MEI 2012 KOOR & ORKEST BACH COLLEGIUM JAPAN OLV. MASAAKI SUZUKI DO 31 MEI 2012 inleiding Katherina Lindekens / 19.15 uur / blauwe foyer begin 20.00 uur einde omstreeks 22.10 uur er is geen pauze teksten programmaboekje Ignace Bossuyt, 2011 vertaling interview Prégardien Marleen Wauters coördinatie programmaboekje deSingel LE CONCERT LORRAIN & NEDERLANDS KAMERKOOR CHRISTOPH PRÉGARDIEN muzikale leiding RUTH ZIESAK sopraan ANDREAS SCHOLL altus JAMES GIlcHRIST tenor (Evangelist) ERIC STOKLOSSA tenor (aria’s) YORCK-FELIX SPEER bas (Christus) DIETRICH HENSCHEL bas (aria’s en Pilatus) JOHANN SEBASTIAN BACH (1685-1750) Johannes-Passion, BWV245 gelieve uw GSM uit te schakelen De inleidingen kan u achteraf beluisteren via www.desingel.be Selecteer hiervoor voorstelling/concert/tentoonstelling van uw keuze. -
Press Folder 2021 Halle Handel Festival
PRESS KIT Handel Festival Halle 2021 since 1922 in Halle an der Saale 28 May – 13 June 2021 PRESS KIT for the presentation of the 2021 HANDEL FESTIVAL programme, a music festival in authentic venues in the city of George Frideric Handel’s birth, Halle an der Saale Virtual press conference 3 December 2020, 10 am, in the chamber music hall of the Handel House, Große Nikolaistraße 5, 06108 Halle (Saale) Live in the chamber music hall: • Clemens Birnbaum, Director of the Handel House Foundation and Di- rector of the Handel Festival • Karl Altenburg, curator of the annual exhibition "Off the Pedestal - Of Heroes and Redeemers” • Philipp Amelungsen, Chief dramaturge of the opera “Teseo” HWV 9 Live music from the Händel House: • Kammersängerin and Handel Prize winner Romelia Lichtenstein (soprano) will sing two arias from "Teseo" and one aria from the "Brock- es Passion" accompanied by Kathrin Wittrisch (harpsichord) and Dietlind von Poblozki (violin) Film statements will be made by: • Dr. Bernd Wiegand, Lord Mayor of the City of Halle (Saale) and Chair- man of the Board of Trustees of the Handel House Foundation • Prof. Dr. Wolfgang Hirschmann, Chairman of the Advisory Board of the Handel House Foundation and President of the Georg Friedrich Han- del Society, International Association e. V. • Walter Sutcliffe, Director and designated artistic director of the Halle Opera • Prof. Dr. Michael Maul, Director of the Bach Festival Leipzig • Dr. Jürgen Fox, Chairman of the Saalesparkasse Executive Board / Member of the Handel House Foundation Board -
Carmen: a Preface to the Vocal Score by Richard Langham Smith
Carmen: a preface to the vocal score by Richard Langham Smith URTEXT IN CONTEXT Why a new edition of Carmen, an opera that has surely suffered the fate of its eponymous heroine: it has been done to death? In short, the present edition takes a different slant from other Urtexts primarily because it aims to capture the idea of the opera as a staged spectacle as well as that of a musical text: hence its designation as a ‘Performance Urtext’. Notwithstanding this dual purpose, its approach to the musical text remains founded on the ‘Urtextual’ principles largely established by German editions of the mid- and late-twentieth century, not least by the Urtext publications of Peters Edition, in this case its London operation which has provided the fundamental impetus for producing this new edition. Yet at the root of these German Urtexts is the notion of somehow carrying forward the ‘pure blue flame’ of composer-intention as set down in a final manuscript, or a submitted and proof-read score. Against this notion, however, a fundamental question must be asked: is Opera really like that? In the mounting of an operatic performance, many more people are involved than in the performance of a symphony: the scene- painters; the costume designers; the lighting crew and above all the director, metteur-en- scène or in the case of French opera, the all-important role of the régisseur. There was also the complex infrastructure behind, as it was then (and now): those responsible for the finances; for drumming up press attendance and audiences; producing the programmes and in France particularly, ensuring that the catering is up to scratch and that the restaurants around the venue are ready to serve the pre-performance entrée, the main course in the first interval, and the dessert in the second.