1912 – Ein Herausragender Dirigentenjahrgang
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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 It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists.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. -
Premieren Der Oper Frankfurt Ab September 1945 Bis Heute
Premieren der Oper Frankfurt ab September 1945 bis heute Musikalische Leitung der Titel (Title) Komponist (Composer) Premiere (Conductor) Regie (Director) Premierendatum (Date) Spielzeit (Season) 1945/1946 Tosca Giacomo Puccini Ljubomir Romansky Walter Jokisch 29. September 1945 Das Land des Lächelns Franz Lehár Ljubomir Romansky Paul Kötter 3. Oktober 1945 Le nozze di Figaro W.A. Mozart Dr. Karl Schubert Dominik Hartmann 21. Oktober 1945 Wiener Blut Johann Strauß Horst-Dietrich Schoch Walter Jokisch 11. November 1945 Fidelio Ludwig van Beethoven Bruno Vondenhoff Walter Jokisch 9. Dezember 1945 Margarethe Charles Gounod Ljubomir Romansky Walter Jokisch 10. Januar 1946 Otto und Theophano Georg Friedrich Händel Bruno Vondenhoff Walter Jokisch 22. Februar 1946 Die Fledermaus Johann Strauß Ljubomir Romansky Paul Kötter 24. März 1946 Zar und Zimmermann Albert Lortzing Ljubomir Romansky Heinrich Altmann 12. Mai 1946 Jenufa Leoš Janáček Bruno Vondenhoff Heinrich Altmann 19. Juni 1946 Spielzeit 1946/1947 Ein Maskenball Giuseppe Verdi Bruno Vondenhoff Hans Strohbach 29. September 1946 Così fan tutte W.A. Mozart Bruno Vondenhoff Hans Strohbach 10. November 1946 Gräfin Mariza Emmerich Kálmán Georg Uhlig Heinrich Altmann 15. Dezember 1946 Hoffmanns Erzählungen Jacques Offenbach Werner Bitter Karl Puhlmann 2. Februar 1947 Die Geschichte vom Soldaten Igor Strawinsky Werner Bitter Walter Jokisch 30. April 1947 Mathis der Maler Paul Hindemith Bruno Vondenhoff Hans Strohbach 8. Mai 1947 Cavalleria rusticana / Pietro Mascagni / Werner Bitter Heinrich Altmann 1. Juni 1947 Der Bajazzo Ruggero Leoncavallo Spielzeit 1947/1948 Ariadne auf Naxos Richard Strauss Bruno Vondenhoff Hans Strohbach 12. September 1947 La Bohème Giacomo Puccini Werner Bitter Hanns Friederici 2. November 1947 Die Entführung aus dem W.A. -
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. -
Historie Premieren
Premieren der Oper Frankfurt ab September 1945 bis heute (alphabetisch nach Komponisten) Musikalische Leitung der Premiere Komponist (Composer) Titel (Title) Regie (Director) Premierendatum (Date) (Conductor) John Adams Nixon in China John Adams Peter Sellars 2. Juli 1992 Thomas Adès The Tempest (Der Sturm) Johannes Debus Keith Warner 10. Januar 2010 Eugen d'Albert Tiefland Werner Bitter Karl Puhlmann 23. April 1949 Tiefland Sebastian Weigle Anselm Weber 10. Dezember 2006 Francisco António de Almeida La Giuditta Felice Venanzoni Guillaume Bernardi 12. Juni 2010 (Bockenheimer Depot) Jörn Arnecke Unter Eis Johannes Debus Falk Richter 2. Juni 2008 (Bockenheimer Depot) Samuel Barber Vanessa Jonathan Darlington Katharina Thoma 2. September 2012 Béla Bartók Herzog Blaubarts Burg Hans Löwlein Harry Buckwitz 27. Februar 1964 Herzog Blaubarts Burg Christoph von Dohnányi Klaus Michael Grüber 26. Juni 1974 Herzog Blaubarts Burg Sylvain Cambreling Herbert Wernicke 13. März 1994 Herzog Blaubarts Burg Constantinos Carydis Barrie Kosky 5. Dezember 2010 Ludwig van Beethoven Fidelio Bruno Vondenhoff Walter Jokisch 9. Dezember 1945 Fidelio Bruno Vondenhoff Heinz Tietjen 28. Oktober 1954 Fidelio Sir Georg Solti Harry Buckwitz 1. November 1959 Fidelio Christoph Dohnányi Achim Freyer / Christoph von Dohnányi 2. April 1976 Fidelio Sylvain Cambreling Christoph Martaler 13. April 1997 Fidelio Paolo Carignani Christina Paulhofer / Alex Harb 1. Juni 2008 Vincenzo Bellini Il Pirata Imre Palló (konzertant ) 25. März 1990 (in der Alten Oper) I puritani Tito Ceccherini Vincent Boussard 2. Dezember 2018 Norma Michael Halász (konzertant) 19. Dezember 1976 Norma Pier Giorgio Morandi konzertant 28. Oktober 2008 Norma Antonino Fogliani Christof Loy (Änderung Team) 10. Juni 2018 La sonnambula Eun Sun Kim Tina Lanik 30. -
9Th International Solti-Competition Conditions
9th International Solti-Competition Conditions 9th International Conductors’ Competition Sir Georg Solti October 7 – 11, 2020 Frankfurt am Main, Germany Patroness Lady Valerie Solti Cooperation Partners Alte Oper Frankfurt Frankfurter Museums-Gesellschaft Hessischer Rundfunk / The Frankfurt Radio Symphony Oper Frankfurt Orchestras The Frankfurt Radio Symphony Frankfurter Opern- und Museumsorchester Made possible by Dr. Hans Feith and Dr. Elisabeth Feith Foundation Frankfurter Volksbank Das gemischte Doppel e.V. – Philipp Holzer Geldermann Privatsektkellerei CONDITIONS OF PARTICIPATION Applications All conductors born between including 1986 and 2002 are eligible to apply for participation in the competition. Former prize winners are not eligible to reapply. Applications must be received via www.dirigentenwettbewerb-solti.de or by email including application form only by the competition office by April 30, 2020 at the latest. No application received after that date will be accepted. Applications must be accompanied by the following documents (either in German or English): – Online application form (or pdf application form when applying by email) – Curriculum vitae (preferably in table form) – Copies in PDF format of documents evidencing applicant’s musical studies and conducting experience (cer- tificates, letters of recommendation, concert programs, etc.) – Video links (YouTube, coded video services etc.) showing recordings of representative conducting sessions (concerts or operas, including rehearsals if available) – Three different photos taken recently in HD file format (with at least one fine portrait) – Copy of birth certificate or passport (with translation if necessary) 1 of 4 There is no admission fee. Receipt of a complete set of documents will be acknowledged and confirmed. Please note that application documents and materials will not be returned. -
Florian Erdl Florian Erdl Has Been Assisting GMD Sebastian Weigle At
Florian Erdl * 1981 in München 2019 Guest conductor at Oper Frankfurt 2019 Guest conductor at LJO Hessen 2019 Concerts with the Sønderjyllands Symfoniorkester 2018 Concerts with the Philharmonie Merck since 2017 Assistant to Sebastian Weigle (Oper Frankfurt) since 2017 1st Kapellmeister and deputy GMD at Theater Pforzheim 2017 Guest conductor at Theater Coburg 2014–2017 1st Kapellmeister and deputy GMD at Landestheater in Flensburg 2012–2014 Kapellmeister at Oper Graz 2010/15 Guest conductor at Oper Kiel since 2010 Guest conductor at LJO Schleswig-Holstein 2010/12/14 Guest conductor at the Landestheater in Innsbruck since 2009 Music Director of Chamber Opera Frankfurt in the Palmengarten Florian Erdl has been assisting GMD Sebastian Weigle at Oper Frankfurt since november 2017. After the work on Richard Strauss’ Capriccio he will conduct at Oper Frankfurt Mozart’s Magic Flute (2018) and Schrekers Der Ferne Klang/The Distant Sound (2019). Coming saison he will lead four symphony concerts with the Symphonieorchester Bad Nauheim, the Badische Philharmonie Pforzheim, the Sønderjyllands Symfoniorkester and the LJO Hessen. Besides he will conduct Wagners Rhingold, Prokofieff’s L’Amour des Trois Oranges/The Love for the three Oranges and Bizets Perlenfischer/The Pearl Fishers. He also will take over the new productions of Donizettis Elisir d’amore und Stravinskis Firebird. Recent operas he has rehearsed and conducted have included besides Mozart’s Magic Flute, Così fan tutte and 20th century music (Stravinsky’s A Soldiers Tale, Bartók’s Bluebeard’s Castle) especially ones by Verdi (La Traviata, Macbeth and Un Ballo in maschera). His symphonic concert repertoire (he is also good at introducing works to an audience) ranges from late romantic & expressionistic pieces to works by Hans Werner Henze. -
Decca Discography
DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982. -
Der Rosenkavalier RICHARD STRAUSS Netherlands Philharmonic Orchestra Marc Albrecht Chorus of Dutch National Opera Live Recording by Dutch National Opera
Der Rosenkavalier RICHARD STRAUSS Netherlands Philharmonic Orchestra Marc Albrecht Chorus of Dutch National Opera Live recording by Dutch National Opera 1 RICHARD STRAUSS (1864-1949) Der Rosenkavalier Komödie für Musik in drei Aufzügen, op. 59 (Dresden 1911) Libretto: Hugo von Hofmannsthal CD 1 CD 2 Erster Aufzug Zweiter Aufzug [1] Einleitung 3:32 [1] Einleitung 0:42 [2] Wie du warst! (Octavian) 8:45 [2] Ein ernster Tag, ein großer Tag! (Faninal) 1:11 [3] Der Feldmarschall sitzt im krowatischen Wald (Octavian) 6:18 [3] In dieser feierlichen Stunde der Prüfung (Sophie) 3:38 [4] Selbstverständlich empfängt mich Ihre Gnaden (Baron) 9:07 [4] Presentation of the Rose 0:27 [5] Macht das einen lahmen Esel aus mir? (Baron) 6:18 [5] Mir ist die Ehre widerfahren (Octavian) 6:49 [6] Drei arme, adelige Waisen (Drei Waisen) 2:54 [6] Ich kenn’ Ihn schon recht wohl (Sophie) 4:04 [7] Di rigori armato il seno (Der Tenor) 5:21 [7] Jetzt aber kommt mein Herr Zukünftiger (Sophie) 8:56 [8] Mein lieber Hippolyte (Marschallin) 3:31 [8] Hab’ nichts dawider (Baron) 4:21 [9] Da geht er hin, der aufgeblas’ne, schlechte Kerl (Marschallin) 5:03 [9] Mit Ihren Augen voll Tränen (Octavian) 2:51 [10] Ach! Du bist wieder da? (Marschallin) 5:51 [10] Herr Baron von Lerchenau! (Anina, Valzacci) 14:14 [11] Die Zeit, die ist ein sonderbar’ Ding (Marschallin) 13:43 [11] Da lieg’ ich! (Baron) 11:53 total time: 70:31 total time: 59:15 2 3 CD 3 Dritter Aufzug [1] Einleitung und Pantomime 6:42 [2] Hab’n Euer Gnaden noch weitre Befehle? (Wirt) 2:32 [3] Nein, nein! I trink’ kein Wein -
Gran Teatre Del Lieeii
Gran Teatre del Lieeii Patronat de la Fundació Comissió Executiva President d'Honor Vocals representants de l'Ajuntament President Director general Ar tur Mas i Gavarró de Barcelona Joaqnini Molins i Amat Roger Cnascb i Soler Jattrne Ciurana i f^levadot President del Patronat Marta Clari i Padrós Vocals representants de la Generalitat Secretari Joaquitii Molins i Ainal de Catalunya Jaume Solé i Janer Vocal representant de la Diputació de Barcelona Ferran Mascarell i Canalda Vicepresident primer Joan Carles Garcia Cariizares Pilar Pifarré i Matas Ferran Mascarell i Canalda Vocals representants de la Societat Vocals representants del Ministerio de Educación, Vicepresident segon del Gran Teatre del Liceu Cultura y Deporte José Maria Lassalle Ruiz Manttel Bertrand i \ ergés Miguel Angel Recio Crespo Manttei Btrsqnet Arrirfat Antonio Carde 1 ferce Vicepresident tercer Javier Coll Olalla Xavier Trias i \ idal de Llobatera José Maria Coronas i Cninart Vocals representants de l'Ajuntament Agiteda ^'irlarnata y de L'rrtiella de Barcelona Vicepresident quart Jaume Cittrana i I^levadot Salvatlor Este^'e i Figueras Vocals representants del Consell de Mecenatge Marta Clari i Padrós Pablo Cigiiela IbáiTez Vocals representants de la Generalitat Carlos López Blanco Vocal representant de la Diputació de Barcelona de Catalunya Leopoldo Rodés i Castañé Joan Carles Garcia CaiTizares Jose|) M. Busrjuets i Galera Josep \'ilarasati i Salat Pilar Fernández i Bozal Vocals representants de la Societat Pilar Pifarré i Matas Director general del Gran Teatre del Liceu -
Irmgard Vilsmaier
ZU GAST BEIM IBS Stimmbänder wie Caruso – Irmgard Vilsmaier s ist eine liebenswerte Tradi- dann ein Schuh daraus. tion des IBS – Die Münchner Nach dem Besuch des EOpernfreunde, talentierte Ge- Opernstudios in Mün- sangsstudenten in München auf ih- chen engagierte sie rem Karriereweg zu begleiten. Durch Brigitte Fassbaender Auftritte 1995, 1996 und 1997 bei ans Tiroler Landesthe- Veranstaltungen des IBS langjährigen ater nach Innsbruck. Voges Jost Foto: Mitgliedern wohlbekannt, konn- Seit 10 Jahren ist sie te Helga Schmidt am 24. November freischaff end und mehr 2011 nun erneut die Sopranistin oder weniger von Kopf Irmgard Vilsmaier, zwischenzeitlich bis Fuß auf Richard in der Weltspitze angekommen, zu Wagner fi xiert. Für di- einem Künstlergespräch begrüßen. ese Leidenschaft hat Ihr Mann und die Mitarbeiterin ih- sie kürzlich auch ihren rer neuen Agentur Heidi Steinhaus, Agenten ausgetauscht. Frau Baumbach, haben sie begleitet. Als erste große Wagner- partie (neben Nornen Schon im Opernstudio orakelte ihre und Walküren, auch Lehrerin, keine Geringere als Astrid in Bayreuth) sang sie in Inns- Hochdramatische aus Niederbayern Varnay: „Irmgard, Du wirst mal eine bruck Brangäne, in Mannheim Ortrud sein, Du weißt es nur noch Sieglinde, in Trier Brünnhilde (Wal- Im November gab sie dort ihr De- nicht.“ Zur Hochdramatischen hat küre), in Tallinn Isolde und Kundry, büt als Herodias in Salome, es fol- sie sich entwickelt, nach langem, un- letztere auch in Budapest. Bei der Par- gen die Brünnhilde im Ring an einem geduldigen Kampf mit ihren dicken tie der Kundry kommt sie ins Schwär- Abend von Loriot und Lady Billows Stimmbändern. Mit acht Jahren sang men, Frauenfi guren, die stimmlich in Albert Herring von B. -
Der Rosenkavalier”
2016–17 season andris nelsons music director week 1 richard strauss “der rosenkavalier” season sponsors seiji ozawa music director laureate bernard haitink conductor emeritus lead sponsor supporting sponsor thomas adès artistic partner Through January 29, 2017 Frances Stark, Chorus girl folding self in half (detail), 2008. Paper collage, graphite on The exhibition is presented at the MFA with generous support from The Ruth and Carl J. Shapiro Fund for Education, Public Programs paper. Collection Thea Westreich Wagner and Ethan Wagner. Promised gift to the Whitney and Special Projects. Additional support from the Robert and Jane Burke Fund for Exhibitions, the Amy and Jonathan Poorvu Fund for Museum of American Art, New York. Digital image © Whitney Museum of American Art. the Exhibition of Contemporary Art and Sculpture, the Diane Krane Family and Jonathan and Gina Krane Family Fund, the Barbara Jane Anderson Fund, the Bruce and Laura Monrad Fund for Exhibitions, and the Susan G. Kohn and Harry Kohn, Jr. Fund for Contemporary Prints. “UH-OH: Frances Stark 1991–2015” was organized by the Hammer Museum, Los Angeles. The exhibition was originated with support from Brenda Potter, along with generous support from Karyn Kohl and Maurice Marciano. Table of Contents | Week 1 7 bso news 1 7 on display in symphony hall 18 bso music director andris nelsons 2 0 the boston symphony orchestra 2 3 a message from andris nelsons 2 4 this week’s program Notes on the Program 26 The Program in Brief… 27 Synopsis of “Der Rosenkavalier” 31 Richard Strauss’s -
Don Giovanni 1 Don Giovanni
Don Giovanni 1 Don Giovanni Don Juan Don GiovanniIl dissoluto punito ossia il Don Giovanni Portrait du chanteur Francisco d'Andrade (1856-1921) en Don Giovanni (n°11) par Max Slevogt (1902), Staatsgalerie Stuttgart Genre Opéra (dramma giocoso) Nb. d'actes 2 Musique Wolfgang Amadeus Mozart Livret Lorenzo da Ponte Langue Italien originale Durée 150 minutes approximative Dates de juillet-octobre 1787 composition Partition Bibliothèque nationale de France, Paris autographe Création 29 octobre 1787 théâtre des États de Prague Création 17 septembre 1805 française Opéra de Paris Versions successives • 29 octobre 1787 : Prague • 7 mai 1788 : Vienne Personnages • Don Giovanni, gentilhomme (basse) • Leporello, son valet (basse) • Le Commandeur (basse) • Donna Anna, sa fille (soprano) • Don Ottavio, fiancé de Donna Anna (ténor) Don Giovanni 2 • Donna Elvira, jeune femme délaissée par Don Giovanni (soprano) • Zerlina, jeune paysanne (soprano) • Masetto, paysan, fiancé de Zerlina (basse) • Paysans, paysannes, serviteurs, démons (chœur) Airs • Aria « Madamina, il catalogo è questo » (« Air du Catalogue ») - Leporello • Duettino « Là ci darem la mano » - Don Giovanni, Zerlina • Aria « Finch'han del vino » (Air dit « du champagne ») - Don Giovanni • Trio « Protegga il giusto cielo » (« Trio des masques ») - Donna Anna, Donna Elvira, Don Ottavio Don Giovanni[1] , K. 527 (Don Juan en français[2] ), est un opéra en deux actes et en langue italienne du genre dramma giocoso[3] de Wolfgang Amadeus Mozart, créé à Prague le 29 octobre 1787, sur un livret de Lorenzo da Ponte inspiré du mythe de Don Juan. Deuxième collaboration entre Mozart et da Ponte après Les Noces de Figaro, le livret est proposé par le librettiste (selon ses Mémoires[4] ) au compositeur à la fin du printemps 1787, pour répondre à une commande du Théâtre national de Prague passée en janvier 1787, après le succès de leur ouvrage précédent.