Issue 37, Summer 2009

Total Page:16

File Type:pdf, Size:1020Kb

Issue 37, Summer 2009 n e Issue 37, Winter 2009 NCO w s www.newchamberopera.co.uk FORTHCOMING DATES & TICKET INFORMATION Calendar Listing Those events marked with an asterisk * are University events January Friday 23 Lauren Bensted - jazz alto* TICKET DETAILS Friday 30 Aileen Thomson - soprano* February Lunchtime Vocal Friday 6 Robyn Allegra Parton - soprano & Recitals Charlotte Denham - mezzo-soprano* 1.15pm Friday 13 Jonathan Darbourne - counter-tenor* New College Ante-chapel Friday 20 Tom Bennett - bass* £2/£1 concessions on the door Gluck: Orpheus & Euridice . Orfeo: Joe Bolger Euridice: Anna Sideris Amor: Robyn Allegra Parton Gluck Conductor: Nicholas Pritchard . Director: Michael Burden 26, 27, 28 February 2009 Orpheus & Euridice New College Antechapel, 8.30pm Conductor: Nicholas Pritchard Director: Michael Burden 26, 27 and 28 February 2009 Friday 27 Jon Stainsby - baritone* 8.30pm New College Ante-chapel March £10/£5 concessions Friday 6 Dom Burnham - counter-tenor* Oxford Playhouse Box Office (01865) 305 305 OR on the door Friday 13 Max Jones - baritone* Summer Opera Summer Opera 8 (Preview), 10, 11, 12, 14, 15, 17, 18, 19 July 2009 Wednesday 8 (Preview), Saturday 11, The Warden’s Garden, New College and Tuesday 14 New Chamber Opera Please download forms from New Chamber Opera - N ew Chamber Opera Ensembl e h t tp : / / w w w. n e w c h a m b e ro p e r a . c o. u k The Band of Instruments - Phoenix - Cutting Edge Fridays 10 & 17 . Pa t ro n H a r vey McGregor Singing Pa t ro n James Bowman New College Development Office . D i rector of Pro d u c t i o n s M i chael Burden Musical Dire c t o r G a r y Cooper (01865) 279 337 . Summer Opera S t even Devine D i re c t o r, The Band of Instruments Roger Hamilton Sunday 12 D i re c t o r, Opera Studio The Art Fund . R epetiteurs T i m o t hy Motz, Mat t h ew Haw ken, Jo n athon Swinard Company Secre t a r y C l a re Atkinson (01491) 641 259 C o m p t ro l l e r G raham Midgl ey . Wa r d r o b e Diana Lintott, Fiona Hodge s Wednesday 15 P roduction administrator Christine Murray .Recitals Administrator N i cholas Pritch a rd Friends of the Oxford Botanic Garden New Chamber Opera . 4 Mansfield Road . Oxford OX1 3TA (01844) 214 468 Tel: 01865 281 966 . Fax: 01865 279 590 . Email: info @ n ewch a m b e ro p e ra.com Saturday 18 & Sunday 19 Web pages: http://www. n ewch a m b e ro p e ra . c o. u k Friends of the Welsh National Opera C o m p a ny No 3502769 . Charity No 1095069 (01865) 865 806 page 4 n The New Chamber Opera Newsletter e Issue 37, Winter 2009 NCO w www.newchamberopera.co.uk New Chamber Opera s he acquisition has been made appeared in recent decades. Richard Sandra M Burridge possible thanks to the generous Ovenden, Keeper of Special Mr D E Chamberlain Tdonations offered by the Collections and Associate Director, Robin Darwall-Smith members of the general public and Bodleian Library, said: ‘The Air Cdre J. De’Ath grants given by the V & A Purchase Bodleian Library thanks all the Margaret Forrest Grant Fund, the Friends of the members of the general public and Elizabeth Foster-Hall Bodleian, the Friends of the National the organizations whose donations Robert and Louise Gullifer Libraries, New Chamber Opera and made it possible for Erismena to be Anthony Hawkins Esmee Fairbairn Foundation.’ saved for the nation. The acquisition Christopher and Fiona Hodges o runs the Bodleian Library makes it possible for us to conserve Leofranc Holford-Strevens Press release announcing the this unique and significant Hilliard Charitable Trust purchase of the manuscript of manuscript for the benefit of Anne Hudson S generations to come”. J. F. and S. A. Iles C a v a l l i ’s E r i s m e n a ; the full announcement can be found on their hose supporters of New Oliver Jacobs website, and there is also a version on Chamber Opera who John and Elaine Ledingham our own. After several months of nail- contributed to the fund are Hermione Lee T James Lister biting activity, the news came through listed below: that enough money had been raised Naomi van Loo not only to prevent an important Roger Ainsworth Sir David and Lady Lumsden manuscript ‘the earliest surviving Clare Atkinson Mr H. J. Lush and Mrs S. E. Lush score of an opera in English’ from Anne Balfour-Fraser Stephen Moorbath going abroad, but brought it to Lady Ball Graham Midgley Oxford. The release continues: Alison Benson Anastasios Nikolopoulos Bonnie Blackburn Katharine Peet ritten by Pietro Francesco Michael Bourdeaux Bruce and Carol Phillips Cavalli (1602-1676), the Helen and Sebastian Brock Andrew Pinnock Wleading Italian opera Elizabeth Lang Brown Judith Priestman composer of the mid-17th century, John and Jeanette Burden W. Birch Reynardson Erismena dates from the 1670s, 30 Michael Burden Anne Roberts years before any other Italian operas Robert and Maggie Burden Kate and Alan Ryan were known to have been performed Peter Burge Dr and Mrs Peter Schofield in Britain. The manuscript now Matthew and Kate Shilvock enriches the Bodleian Library ’s Supporters of New Chamber outstanding music collection and is Opera an important addition to the Library’s Dr A M V Surbaum existing holdings of English 17th- and Jennifer Thorp 1 8 t h - c e n t u r y opera and theatre Susan Wollenberg music.The score has been part of a 13 Anonymous donors private collection and has been studied by only a small number of lease let us know of any errors or omissions. There scholars in the past 50 years. It is one is still a slight shortfall, which we hope will be Pbridged soon: any member who wishes to of the most significant British 17th- contribute should get in touch with us, or contact the century music manuscripts to have Bodleian Library directly. n e Issue 37, Winter 2009 NCO w s www.newchamberopera.co.uk Our new repetiteur tells all... London Taxis, Patricia Rozario and a Saturday afternoon in New College’s it was perhaps unsurprising that I bit of W. A. Mozart: an Oxford ‘Old Bursary’ – unfamiliar territory, but managed to leave both my scarf and Repetiteur’s First Experience. nothing porters’ directions could not diary on the returning Oxford Tube. The fix. Arriving on time, my carefully rest of the week was therefore inevitably Not every music undergraduate gets to planned entrance was irritatingly ruined marred by a slight confusion as to where work with a world-class soprano in by a failed attempt to open the I was meant to be, as well as a distinct their first term. It was therefore with B u r s a r y ’s old door; fortunately, a chill down the back of my neck. great excitement but slight smiling lady emerged at the window, apprehension that I Googled ‘Patricia pointing me towards the correct With nothing to track the passing days, Rozario’ to see what was expected of entrance. I trotted on round, unaware the rehearsals and two successful me… that I had just met Patricia Rozario. performances passed quickly by. I’d learnt a lot over the rapid production Realisation 1: She has a ‘Wikipedia’ And so the rehearsal began: “Right”, process; indeed the whole affair seemed entry. Now of course one shouldn’t says Michael, “Let’s take it from the marked by moments of revelation and base opinions (or one’s essays for that top”. “Er. That’s the tape bit”, I replied. realisation. Hopefully I’d emerged a matter) on such a disputed source, “We won’t use the tape until next week. better repetiteur – if not a better pianist! however the fact remains that an article It’s only the Overture to the Marriage of I consider myself very fortunate to have in Wikipedia suggests at least some Figaro; just keep the tempo going…” worked with Patricia Rozario on such an level of public recognition. And so the sight-reading began. exciting and contemporary project. Apprehension increase. Though as I appeared from the after- Realisation 4: If you get the score in show drinks and began my late-night Realisation 2: Leading composers such advance, look at everything. Even the search for dinner, I couldn’t help wishing as Arvo Part and John Tavener have bits you don’t think you’re going to I’d accepted that sandwich… written pieces especially for her. have to play. I remain unsure whether Jonathon Swinard Andrew Gant’s Don’t Go Down the Mozart has forgiven me for my on-the- Elephant After Midnight represents a spot interpretation of his great overture. Andrew Gant’s opera Don’t go down more recent dedicated work – Thankfully, the rest of the rehearsal ran the Elephant after Midnight w a s premiered in London this summer somewhat smoother; however further p re m i e red by Patricia Rozario and under the direction of Michael Burden revelations were just round the corner: and now scheduled to be repeated in New Chamber Opera conducted by John Traill and directed by Michael Oxford with yours truly at the “Well Jonathon, with regard to B u rde n at the Te t e - a - Tete Opera harpsichord. Double apprehension Monday” Michael started, “if I meet Festival at the Riverside Studios in increase.
Recommended publications
  • 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]
  • 54 Copy.Qxp 33
    n e Issue 54, Autumn 2016 NCO w s www.newchamberopera.co.uk FORTHCOMING DATES & TICKET INFORMATION Calendar Listing Those events marked with an asterisk * are University events October 14 Sofia Kirman-Baez Soprano TICKET DETAILS 21 Choral Scholars of Magdalen Choir 28 Anthony Chater Bass Lunchtime Vocal Recitals November 1.15pm 4 Izzy Pitman Soprano 11 George Robarts Baritone New College Antechapel £2/£1 concessions Henry Purcell: on the door Dido and Aeneas Henry Purcell: Conducted by James Orrell Dido and Aeneas 17, 18, 19 November 2016, 8.30pm, New College Chapel Conducted by James Orrell 17, 18, 19 November 2016 18 Lizzie Searle Soprano 8.30pm 25 Ellie Bray Soprano New College Chapel Tickets December £12 / £6 concessions 2 Tom Dixon Countertenor on the door and from http://www.ticketsource.co.uk /newchamberopera Summer Opera: July 2017 5 (Preview), 8, 11, 12, 14, 15 July 2017 Summer Opera The Warden’s Garden, New College Wednesday 5 (Preview) & Tuesday 11 New Chamber Opera Please download forms from New Chamber Opera - New Chamber Opera Ensemble http://www.newchamberopera.co.uk The Band of Instruments - Phoenix - Cutting Edge After January 2017 Singing Patron James Bowman **** Saturday 8 & Friday 14 Director of Productions Michael Burden New College Development Office Director, the Summer Opera Steven Devine (01865) 279 337 Director, The Band of Instruments Roger Hamilton . Director, Opera Studio James Orrell . Tuesday 11 Repetiteurs James Orrell, Chloe Rooke Company Secretary Clare Atkinson OXPIP (01865) 778 034 . Comptroller Graham Midgley Wardrobe Diana Lintott, Fiona Hodges Wednesday 12 . Recitals Elizabeth Jones Administrator Elizabeth Jones Friends of the Oxford Botanic Garden New Chamber Opera .
    [Show full text]
  • Mezzo Soprano Julian Perkins
    ‘I Love and I Must’ Helen Charlston – Mezzo Soprano Julian Perkins – Harpsichord Jonathan Manson – Bass Viol William Carter – Theorbo Friday 21 May 2021, 7.30pm Live at St John’s Smith Square Livestreamed and available on demand for 30 days at www.sjss.org.uk London Festival of Baroque Music Friday 21 May 2021, 7.30pm Live at St John’s Smith Square Livestreamed and available on demand for 30 days at www.sjss.org.uk ‘I Love and I Must’ Helen Charlston – Mezzo Soprano Julian Perkins – Harpsichord Jonathan Manson – Bass Viol William Carter – Theorbo Purcell Music for a while Purcell Oh Lead me to some peaceful gloom Eccles Restless in thought Purcell I love and I must Corbetta Prelude – Canary – Chaconne Purcell The Blessed Virgin’s Expostulation Purcell O Solitude Simpson Division in D major Purcell The cares of Lovers Purcell I attempt from Love’s Sickness Purcell What a sad fate is mine D Purcell Morpheus thou gentle god Blow Morlake Ground Purcell If music be the food of love Purcell Evening Hymn 2 A warm welcome to the 37th London Festival of Baroque Music, ‘Grounds for Optimism’, which brings together a combination of live concerts and online events over a long weekend as we emerge from lockdown. This year’s festival is split in to two parts. The first runs from 21st to 23rd May and this will be followed by a second part, from 18th to 20th September. Grounds for Optimism is the title of a short feature of five online concerts, given by harpsichordist Steven Devine which pairs ‘grounds’ by Henry Purcell with other intimate keyboard music from England in the late 17th century.
    [Show full text]
  • LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Filling the City with Song!
    LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Filling the city with song! Festival Programme 2009 The Grammar School at Leeds inspiring individuals is pleased to support the Leeds Lieder+ Festival Our pupils aren’t just pupils. singers, They’re also actors, musicians, stagehands, light & sound technicians, comedians, , impressionists, producers, graphic artists, playwrightsbox office managers… ...sometimes they even sit exams! www.gsal.org.uk For admissions please call 0113 228 5121 Come along and see for yourself... or email [email protected] OPENING MORNING Saturday 17 October 9am - 12noon LEEDSLIEDER+ Friday 2 October – Sunday 4 October 2009 Biennial Festival of Art Song Artistic Director Julius Drake 3 Lord Harewood Elly Ameling If you, like me, have collected old gramophone records from Dear Friends of Leeds Lieder+ the time you were at school, you will undoubtedly have a large I am sure that you will have a great experience listening to this number of Lieder performances amongst them. Each one year’s rich choice of concerts and classes. It has become a is subtly different from its neighbour and that is part of the certainty! attraction. I know what I miss: alas, circumstances at home prevent me The same will be apparent in the performances which you this time from being with you and from nourishing my soul with will hear under the banner of Leeds Lieder+ and I hope this the music in Leeds. variety continues to give you the same sort of pleasure as Lieder singing always has in the past. I feel pretty sure that it To the musicians and to the audience as well I would like to will and that if you have any luck the memorable will become repeat the words that the old Josef Krips said to me right indistinguishable from the category of ‘great’.
    [Show full text]
  • Download Booklet
    HANDEL AT VAUXHALL, VOL.1 w The Melancholy Nymph, HWV 228 No. 19 G. F. Handel [3.35] 1 Sinfonia from Acis and Galatea, HWV 49 G. F. Handel [3.36] Charles MacDougall tenor 2 Organ Improvisation in the style of John Worgan and Handel [0.59] Concerto for Strings and Basso Continuo No 1 in A Major John Hebden Daniel Moult organ e Adagio [1.59] r Fuga [1.55] Organ Concerto Op. 4 No. 2 in B flat Major, HWV 290 G. F. Handel t Largo [1.33] 3 Sinfonia: A tempo ordinario e staccato [0.49] y Allegro [3.33] 4 Allegro [4.56] 5 Adagio e staccato [0.48] u As steals the morn upon the night G. F. Handel [6.12] 6 Allegro ma non presto [3.07] from L’Allegro, il Penseroso ed il Moderato, HWV 55 Daniel Moult organ Eleanor Dennis soprano Greg Tassell tenor 7 Accompagnato: Ye verdant plains and woody mountains G. F. Handel [0.42] 8 [Air] Hush, ye pretty warbling choir! [5.43] Total timings: [48.18] from Acis and Galatea, HWV 49 Kirsty Hopkins soprano 9 Colin and Phoebe A Pastoral Thomas Arne [3.34] Eleanor Dennis soprano Greg Tassell tenor LONDON EARLY OPERA Benjamin Bevan baritone BRIDGET CUNNINGHAM CONDUCTOR 0 Dead March from Saul, HWV 53 G. F. Handel [3.06] DANIEL MOULT ORGAN SOPHIE BEVAN • ELEANOR DENNIS • KIRSTY HOPKINS q The Advice G. F. Handel [2.10] CHARLES MACDOUGALL • GREG TASSELL • BENJAMIN BEVAN Sophie Bevan soprano www.signumrecords.com HANDEL AT VAUXHALL Vauxhall though, was never a simple pleasure unfortunately memorable phrase, Dr Johnson time.
    [Show full text]
  • Verity Wingate (Soprano) Storge, His Wife ………………… Anna Harvey (Mezzo-Soprano) Zebul, His Half-Brother …………
    Programme: £2.00 In accordance with the requirements of Westminster City Council persons shall not be permitted to sit or stand in any gangway. The taking of photographs and use of recording equipment is strictly forbidden without formal consent from St John’s. Smoking is not permitted anywhere in St John’s. Refreshments are permitted only in the restaurant in the Crypt. Please ensure that all digital watch alarms, pagers and mobile phones are switched off. During the interval and after the concert the restaurant is open for licensed refreshments. Box Office Tel: 020 7222 1061. Website: www.sjss.org.uk. George Frideric Handel (1685-1759) Handel is famous for his operas, oratorios, and concerti grossi. He was born in Halle in Germany, trained in Italy, and spent most of his life in England, where he settled in 1712. He was strongly influenced by the techniques of the great composers of the Italian Baroque era, as well as by the English composer Henry Purcell. Like Johann Sebastian Bach and Domenico Scarlatti, Handel was born in 1685. While his mother encouraged his musical aspirations, his father was opposed to his wish to pursue a musical career, preferring him to study law, despite early evidence of his musical talent. Nevertheless, the young Handel was permitted to take lessons from Friedrich Wilhelm Zachow, the organist of the Liebfrauenkirche (Church of Our Lady) in Halle. From him Handel learned about harmony and contemporary styles. He analyzed scores and learned to work fugue subjects and copy music. Sometimes he would take his teacher’s place as organist for services.
    [Show full text]
  • Short Operas for Educational Settings: a Production Guide
    SHORT OPERAS FOR EDUCATIONAL SETTINGS A PRODUCTION GUIDE by Jacquelyn Mouritsen Abbott Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2020 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee Patricia Stiles, Research Director and Chair Gary Arvin Jane Dutton Dale McFadden 10 April 2020 ii Copyright ⃝c 2020 Jacquelyn Mouritsen Abbott iii To my dearest love, Marc – my duet partner in life and in song iv Acknowledgements I am deeply grateful to my research director Patricia Stiles, for her devoted teaching, help, care, and guidance. I have learned so much from you throughout the years and am profoundly grateful for your kindness and your mentorship. I am deeply indebted to Dale McFadden, Gary Arvin, and Jane Dutton—it was a great honor to have you on my committee. I offer sincerest thanks to all of the composers and librettists who sent me scores, librettos, or recordings and who answered my questions and allowed me to use musical examples from their works. These exceptional artists include Dan Shore, Michael Ching, Leanna Kirchoff, Harry Dunstan, Kay Krekow, Milton Granger, Thomas Albert, Bruce Trinkley, John Morrison, Evan Mack, Errollyn Wallen, and Paul Salerni. I also owe a special thank you to ECS publishing for allowing me to use musical examples from Robert Ward’s Roman Fever. Thanks to Pauline Viardot, Jacques Offenbach, and Umberto Giordano for inspiring the musical world for the past 150-plus years.
    [Show full text]
  • Countertenor Curriculum Vitae [email protected] +44 (0)7722 330160
    Joseph Bolger – Countertenor Curriculum Vitae [email protected] +44 (0)7722 330160 Opera Ormonte Elpidia/Handel Opera Settecento, London Handel Festival 2016 Edward The Masque of Alfred/Arne Doha Baroque Ensemble, Qatar 2016 Prince Arthur Early Morning/Bowler Size Zero Opera/Royal Opera House workshops 2015 Edward The Masque of Alfred/Arne Linden Baroque 2015 Various Excerpts of new opera by Elena Langer Welsh National Opera, The Vale Festival 2014 Guest (c) The Killing Flower/Sciarrino Music Theatre Wales 2013 Andronico Tamerlano/Handel New Chamber Opera 2013 Refugee Flight/Dove Royal Welsh College of Music and Drama 2013 Othniel (c) Joshua/Handel Opera North 2013 Spirit (c) Dido & Aeneas/Purcell Opera North 2013 Soloist Baroque Around the Block Armonico Consort Tour 2012 Soloist Too Hot to Handel Armonico Consort Tour 2012-2014 The Sandman The Sandman/Bowler Size Zero Opera, Tête à Tête Festival 2012 Turio Cajo Fabricio/Hasse Ensemble Serse, London Handel Festival 2012 Soloist Exposure/Laura Bowler The Royal Opera House, Linbury Theatre 2011 Emira Siroe/Hasse Ensemble Serse, London Handel Festival 2011 Concert Soloist Appearances Solomon/Handel Bristol University Baroque Ensemble 2015 Lute Song Recital Duo Seraphim, Brighton Early Music Festival 2015 Ode for the Birthday of Queen Anne/Handel Amadé Players, London Handel Festival 2015 Messiah/Handel Lincoln Cathedral Choir 2014 St. Matthew Passion/Bach Armonico Consort 2014 The Fifth Continent/Patterson Portsmouth Choral Union 2014 Messiah/Handel Guildford
    [Show full text]
  • Impact Case Study
    Impact case study (REF3b) Institution: University of Oxford Unit of Assessment: 35 Music, Drama, Dance and Performing Arts Title of case study: Oxford Opera: Bringing ancient and modern opera to non-academic audiences of all ages 1. Summary of the impact The University of Oxford is a leading centre for research in opera and music theatre, where the work of musicologists and practitioners intersects to mutual benefit, and outputs have attracted the wide attention of new audiences well beyond the academic community. Oxford Opera encompasses a broad historical range, but shares a set of common aims and objectives: exploring new and historical modes of performance and realisation; challenging received operatic conventions and performance traditions in a scholarly and creative manner; and disseminating research results to new listeners through professional collaborations. Young people, the general public, and other professional practitioners have all been beneficiaries. 2. Underpinning research There are several key academics in the Faculty of Music at the University of Oxford involved in opera focused research. Known collectively as Oxford Opera they are: Professor Robert Saxton, University Lecturer since 1999; Dr Martyn Harry, University Lecturer since 2009; Professor Jonathan Cross, Professor of Musicology since 2003; Professor Michael Burden, Professor of Opera Studies since 1989; Dr Suzanne Aspden, University Lecturer since 2005; and Dr Jonathan Williams, Director of College Music, St Hilda's since 2006. Oxford Opera participates in interrelated strands of research activity: the commissioning, composition, and performance of original works, exploring innovative ways to engage audiences through new modes of realisation; and the rediscovery and revival of historically neglected (especially eighteenth-century) works.
    [Show full text]
  • Handel: Belshazzar Thomas Arne: Artaxerxes
    n e Issue 35, Summer 2008 NCO w s www.newchamberopera.co.uk FORTHCOMING DATES & TICKET INFORMATION Calendar Listing Those events marked with an asterisk * are University events ICKET ETAILS *Summer Oratorio T D Handel: Belshazzar Lunchtime Vocal Recitals Peter Davoren: Belshazzar; Henry Jones: Cyrus; 1.15pm Gwendolen Martin: Nitochris; Cathy Bell: Daniel; Jon Stainsby: Gobrius New College Ante-chapel Conductor : Alexander Hodgkinson £2/£1 concessions New College Chapel, 8.00pm, £10/£5 concessions on the door on the door Summer Opera Summer Opera Thomas Arne: Artaxerxes in July Wednesday 2 (Preview) Artaxerxes: William Purefoy; Mandane: Merryn Gamba; and Tuesday 8 Artabanes: Adam Tunnicliffe; Arbaces: Joanne Edworthy; New Chamber Opera Semira: Kate Semmens; Rimenes: Nicholas Hurndall Smith/Kevin Kyle Please download forms from h t tp : / / w w w. n e w c h a m b e ro p e r a . c o. u k Director: Michael Burden;Forthcoming Musical Events dir ector: Steven Devine Fridays 4 and 11 New College Development Office 2 (Preview), 4, 5, 6, 8, 9, 11, 12, 13 July 2008 (01865) 279 509 6.30pm Saturday 5 The Warden’s Garden, New College University of Oxford Ulumni (01865) 611 622 New Chamber Opera - N ew Chamber Opera Ensembl e Sunday 6 The Band of Instruments - Phoenix - Cutting Edge National Arts Collection Fund (01491) 641 190 Pa t ro n H a r vey McGregor . Singing Pa t ro n James Bowman D i rector of Pro d u c t i o n s M i chael Burden . Musical Dire c t o r G a ry Cooper Wednesday 9 .
    [Show full text]
  • Music by Vivaldi Valentini Telemann Heinichen
    Belsize CatherineBaroque Martin, Director Music by Vivaldi Valentini Telemann Heinichen Sunday 29 September 2019, 6.30 pm St Peter’s Church, Belsize Square, Belsize Park, London, NW3 4HY www.belsizebaroque.org.uk Programme At the height of the Baroque composers used the concerto to showcase colourful combinations of unusual instruments. We explore the different colours of instruments such as the viola d’amore and the lute, and then turn everything on its head with Vivaldi’s “upside-down” concerto. Johann David Heinichen (1683–1729) Concerto grosso in G, Seibel 214b Vivace – Andante e staccato – Vivace – Alternativ forte e piano Heinichen studied law at Leipzig University – like Telemann he was one of the many Baroque composers who started out as lawyers. He spent seven years in Italy, mainly in Venice, where after two successful operas he met the Prince Elector of Saxony and was lured to Dresden, remaining there until his death ten years later. No doubt he would have liked to have been remembered for his operas, but we know him now mainly for his colourful multi-soloist concerti grossi, such as this one. Heinichen’s fast movements have the driving rhythms and variety of instrumental colour (in this case provided by flutes, oboes and bassoon) that are familiar to us from Bach’s Brandenburg concertos. His style tends to be described as light, bubbly and humorous, which is very apt here. Towards the end of the third movement Heinichen cheekily brings the music to a sudden halt at the point where we expect the piece to close, before launching suddenly into a final rustic dance.
    [Show full text]
  • Building a Library
    BUILDING A LIBRARY All selections were made from recordings available in the UK at the time of the broadcast and are full price unless otherwise stated. CD Review cannot guarantee that they have not subsequently been deleted. KEY: CD = compact disc c/w = coupled with SIS = a recording which is only available through EMI’s Special Import Service IMS = a recording which is only available through Universal Classics' Import Music Service CONTENTS September 1999 – July 2000 .................................................................................................................................................................................. 2 September 2000 – July 2001 ................................................................................................................................................................................ 23 September 2001 – July 2002 ................................................................................................................................................................................ 45 September 2002 – July 2003 ................................................................................................................................................................................ 73 September 2003 – July 2004 ................................................................................................................................................................................ 97 September 2004 – July 2005 .............................................................................................................................................................................
    [Show full text]