FALL 2016 CUES Diversify Your Assets: Invest in the Arts
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
PLAYHOUSE SQUARE January 12-17, 2016
For Immediate Release January 2016 PLAYHOUSE SQUARE January 12-17, 2016 Playhouse Square is proud to announce that the U.S. National Tour of ANNIE, now in its second smash year, will play January 12 - 17 at the Connor Palace in Cleveland. Directed by original lyricist and director Martin Charnin for the 19th time, this production of ANNIE is a brand new physical incarnation of the iconic Tony Award®-winning original. ANNIE has a book by Thomas Meehan, music by Charles Strouse and lyrics by Martin Charnin. All three authors received 1977 Tony Awards® for their work. Choreography is by Liza Gennaro, who has incorporated selections from her father Peter Gennaro’s 1977 Tony Award®-winning choreography. The celebrated design team includes scenic design by Tony Award® winner Beowulf Boritt (Act One, The Scottsboro Boys, Rock of Ages), costume design by Costume Designer’s Guild Award winner Suzy Benzinger (Blue Jasmine, Movin’ Out, Miss Saigon), lighting design by Tony Award® winner Ken Billington (Chicago, Annie, White Christmas) and sound design by Tony Award® nominee Peter Hylenski (Rocky, Bullets Over Broadway, Motown). The lovable mutt “Sandy” is once again trained by Tony Award® Honoree William Berloni (Annie, A Christmas Story, Legally Blonde). Musical supervision and additional orchestrations are by Keith Levenson (Annie, She Loves Me, Dreamgirls). Casting is by Joy Dewing CSA, Joy Dewing Casting (Soul Doctor, Wonderland). The tour is produced by TROIKA Entertainment, LLC. The production features a 25 member company: in the title role of Annie is Heidi Gray, an 11- year-old actress from the Augusta, GA area, making her tour debut. -
Composers Mascagni and Leoncavallo Biography
Cavalleria Rusticana Composer Biography: Pietro Mascagni Mascagni was an Italian composer born in Livorno on December 7, 1863. His father was a baker and dreamed of a career as a lawyer for his son, but following the good reception obtained by Mascagni’s first compositions was persuaded to allow him to study music at the Milan Conservatoire, where his teachers included Amilcare Ponchielli and Michele Saladino, and where he shared a furnished room with his fellow-student Giacomo Puccini. His first compositions won him financial support to study at the Milan Conservatory. He was of a rebellious nature and intolerant of discipline, and in 1885 he left the Conservatoire to join a modest operetta company as conductor. He became part of the Compagnia Maresca and, together with his future wife, Lina Carbognani, settled in Cerignola (Apulia) in 1886, where he formed a symphony orchestra. Here Mascagni composed at a single stroke, in only two months, the one-act opera Cavalleria rusticana, based on the short story by Verga, which was to win him the first prize in the Second Sonzogno Competition for new operas. The innovative strength of the opera and the resounding worldwide success which followed its first performance (1890, Teatro Costanzi, Rome) marked the beginning of an artistic life rich in achievements and satisfactions, both as composer and as conductor. He became increasingly prominent as a conductor and in 1892 conducted his opera I Rantzau around Europe. Further successes included Amica (1905) and Isabeau (1911), alongside such failures as Le maschere (1901). In 1915 he experimented with writing for cinema in Rapsodia satanicawith Nino Oxilia. -
Mascagni E Il Teatro Goldoni: Un Binomio Indissolubile
Mascagni e il Teatro Goldoni: un binomio indissolubile di Alberto Paloscia, Direttore artistico stagione lirica Fondazione Teatro della Città di Livorno “Carlo Goldoni” INTERVENTI Un’altra immagine positore, dopo gli anni di oscura gavetta del giovane Pietro Mascagni prima come direttore di una compagnia girovaga di operette e successivamente come animatore della vita musicale della provincia pugliese nelle veste di fonda- tore e responsabile della Filarmonica di Cerignola, abbatteva le quinte e i fondali del melodramma un po’ imbalsamato del XIX secolo e fondava, con il crudo ed ele- mentare realismo mediterraneo ereditato da Verga, un nuovo stile operistico: quello del verismo e della “Giovine Scuola Italia- na” a cui si sarebbero affiliati, di lì a poco, i nuovi ‘campioni’ del teatro musicale italia- Mascagni e il Teatro Goldoni Teatro il e Mascagni no: Leoncavallo, Puccini, Giordano, Cilèa. Dal 1890 al 1984: quasi un secolo di spettacoli storici Pietro Mascagni e la sua musica possono nel nome di Mascagni essere considerati a buon diritto i più au- Il 14 agosto 1890, infiammato dalla calura tentici protagonisti della gloriosa storia della riviera labronica, Cavalleria approda operistica del Teatro Goldoni di Livorno. nel maggiore teatro della città di Livorno, Il primo importante capitolo è la première appena tre mesi dopo il trionfo arriso nel- per Livorno dell’opera ‘prima’ del giovane la prestigiosa sede del Teatro Costanzi di astro nascente livornese, destinata a dare Roma all’atto unico vincitore del Concor- una svolta decisiva -
Los Puritanos
VINCENZO BELLINI LOS PURITANOS STREAMING METROPOLITAN OPERA HOUSE Presenta VINCENZO BELLINI LOS PURITANOS Ópera en tres actos Libreto de Cesar Pepoli, basado en el drama histórico “Têtes rondes et Cavaliers” de Jaques François Ancelot y Joseph Xavier Boniface. Reparto Elvira Anna Netrebko Arturo Eric Cutler Riccardo Franco Vassallo Giorgio John Relyea Enrichetta Maria Zifchak Gualtiero Valerian Ruminski Bruno Eduardo Valdes Coro y Orquesta del Metropolitan Opera House Dirección: Patrick Summers Producción escénica Dirección teatral Sandro Sequi Escenografía Ming Cho Lee Vestuario Peter J. Hall Dirección de TV Gary Halvorson Viernes 18 de septiembre de 2018 Transmisión vía streaming desde Metropolitan Opera House – New York, USA TEATRO NESCAFÉ DE LAS ARTES Temporada 2020 LOS PURITANOS ANTECEDENTES Toda información que se reciba con ante- cedentes sobre “Los puritanos” de Vincen- zo Bellini debe considerar que ésta es la décima y última ópera de este compositor, surgida en 1835, pocos meses antes de su temprana muerte, a los 33 años. A fines de marzo de 1833, poco después de estrenar “Beatrice di Tenda” en Vene- cia, Bellini viajó a Londres vía París, junto a la aclamada soprano Giuditta Pasta, quien encabezaría el estre- no de “Norma” en la capital inglesa. En otros teatros londinenses se presentarían también “La sonámbula” y “Capuletos y Montescos” en la misma temporada. Vincenzo Bellini Pero a Bellini le atraía mucho París, la ciu- dad más importante de Europa a la que Opera de París y encontrar una esposa, ya ya habían arribado Rossini y Donizetti, sus que hasta entonces había mantenido rela- grandes colegas belcantistas, a quienes ciones muy complejas con algunas mujeres quería seguir en la ruta geográfica y artís- casadas. -
OCT 2005NEW.Qxd
AAGGMMAAZZIINNEE Official Publication of the American Guild of Musical Artists A Branch of the Associated Actors and Artistes of America • Affiliated with the AFL-CIO Summer 2015 Volume 69, Number 1 How Technology Affects our Careers Page 2 AGMAzine Summer 2015 It would be inappropriate to go to press without recognizing the victory for many of our members and all supporters of civil rights from the Supreme Court’s decision on Marriage Equality (Obergefell v Hodges) . AGMA Establishes a New System for Reporting Illegal Discrimination By Alan S. Gordon, National Executive Director AGMA has estab - retaliation. Unfortunately, it’s a valid fear. act; the nature of the abuse, harassment or lished a system However, reporting abuse or harassment to discrimination; the employment position of for members to con - your employer remains one of the ONLY two that person (composer, coach, etc.); their fidentially report truly effective ways of dealing with sexual work relationship to the person making the instances of any abuse or other illegal discrimination. report (unless it’s obvious from their posi - illegal discrimina - tion); whether or not there were witnesses to tion, including sex - The other possible remedy exists because dis - the situation, including their names or identi - ual abuse, harass - crimination is also a violation of AGMA’s fication by job titles; and any other informa - ment and conduct collective bargaining agreements and tion you think relevant to the report. that creates a hostile Standard Artist Agreements, and so it can also Although members can report abuse encoun - work environment. be pursued through the grievance and arbitra - tered at non-union companies, we have no tion provision of our contracts and decided by ability to influence behavior among non- A number of members, including participants an arbitrator. -
Reformation 2017 Johannes Gutenberg Handout
FACES OF THE REFORMATION Gutenberg’s invention helped Johannes Gutenberg spread the ideas of the Reformation Born: 1395? | Mainz, Germany to the masses Died: 1468 | Mainz, Germany Could Johannes Gutenberg have known when he first conceived the idea of moveable type that it would contribute to the spread of the Reformation and the Renaissance and lead to the education of all levels of society? One might question his presence in the “Faces of the Reformation” series. But considering that his presses printed not only Luther’s 95 Theses but also the papal indulgences that sparked Luther’s polemic pen, it seems fitting that he should be included. Gutenberg was born about 1395 as the son of a metalsmith, and he became acquainted with the printing business at a very young age. His invention of the moveable type press made the mass production of books a reality that would change the world. By 1450, his new invention was operating. As with most new ideas of this scale, the road was not smooth. In 1446, Johann Fust, Gutenburg’s financial backer, won a lawsuit against him regarding repayment of the funds. Gutenberg’s employee and son-in-law, Peter SchÖffer, testified against him. Before this lawsuit was finalized, Gutenberg had printed a Latin Bible that contained 42 lines of Scripture per page. This “42-line Bible” is known as the Gutenberg Bible. The press for the Bible, Gutenberg’s masterpiece, along with a second book containing only Psalms, was lost to Fust in the court case. The Psalter was published after the court case with no mention of Gutenberg; only Fust’s and SchÖffer’s names appear as the printers. -
3 Italian Opera Composers June 2020
Italian Culture June 2020 Dear Italian Culture Friends I thought that it might be interesting to look this week at the work of three Italian Opera Composers who later composed some liturgical works. In the case of two of the composers, we invariably think of their operatic output. These are Giuseppe Verdi and Gioachino Rossini. The third of them, Cherubini, also wrote a number of operas before turning to liturgical music In 1831 Rossini travelled to Spain with a friend, a banker named Alexandre Aguado, owner of Chateau Margaux, famous for its Bordeaux wine (claret). While he was there, he was commissioned by Fernández Varela, a state councillor, to write a setting of the liturgical text, the Stabat Mater. Although he began the work in 1831, it was not until 1841 that the final form was completed. It was premiered on Holy Saturday 1833 in the Chapel of San Felipe el Real in Madrid but this was the only performance of that version. The choice of Holy Saturday was appropriate as the work tells part of the story of the previous day, Good Friday, and perhaps it was the rush to complete it in time for that first performance which caused Rossini’s dissatisfaction with that version and caused him to continue to revise it. In fact, the first version was not solely the work of Rossini. It was a twelve-part piece of which Rossini had written Parts 1 and 5-9. His friend, Giovanni Tadolini, had written the rest but Rossini claimed it as his own work. Rossini, the product of a musical family from Pesaro, on the Adriatic coast - his father was a trumpeter and his mother a singer - had published his first composition at the age of 18 and the next year he was contracted to write operas and manage theatres in Naples. -
Angelo Maria Bandini in Viaggio a Roma (1780-1781)
Biblioteche & bibliotecari / Libraries & librarians ISSN 2612-7709 (PRINT) | ISSN 2704-5889 (ONLINE) – 3 – Biblioteche & bibliotecari / Libraries & librarians Comitato Scientifico / Editorial board Mauro Guerrini, Università di Firenze (direttore) Carlo Bianchini, Università di Pavia Andrea Capaccioni, Università di Perugia Gianfranco Crupi, Sapienza Università di Roma Tom Delsey, Ottawa University José Luis Gonzalo Sánchez-Molero, Universidad Complutense de Madrid Graziano Ruffini, Università di Firenze Alberto Salarelli, Università di Parma Lucia Sardo, Università di Bologna Giovanni Solimine, Sapienza Università di Roma La collana intende ospitare riflessioni sulla biblioteconomia e le discipline a essa connesse, studi sulla funzione delle biblioteche e sui suoi linguaggi e servizi, monografie sui rapporti fra la storia delle biblioteche, la storia della biblioteconomia e la storia della professione. L’attenzione sarà rivolta in particolare ai bibliotecari che hanno cambiato la storia delle biblioteche e alle biblioteche che hanno accolto e promosso le figure di grandi bibliotecari. The series intends to host reflections on librarianship and related disci- plines, essays on the function of libraries and its languages and services, monographs on the relationships between the history of libraries, the his- tory of library science and the history of the profession. The focus will be on librarians who have changed the history of libraries and libraries that have welcomed and promoted the figures of great librarians. Fiammetta Sabba Angelo -
Jane Glover Conductor
13 Ardilaun Road London N5 2QR Tel: 020 7359 5183 Fax: 020 7226 9792 E-mail: [email protected] Website: www.musicint.co.uk JANE GLOVER CONDUCTOR Jane Glover studied at the University of Oxford, where, after graduation, she did her D.Phil. on 17th-century Venetian opera. She holds honorary degrees from several other universities, a personal Professorship at the University of London, and is a Fellow of the Royal College of Music. She joined Glyndebourne in 1979, becoming Music Director of Glyndebourne Touring Opera from 1981 to 1985 and Artistic Director of the London Mozart Players from 1984 to 1991. From 1990 to 1995 she served on the Board of Governors of the BBC and was created a CBE in the 2003 New Year’s Honours. She is Director of Opera at the Royal Academy of Music, London, and is also Music Director of Chicago’s Music of the Baroque. Jane Glover has appeared with the Royal Opera, Covent Garden, English National Opera, Glyndebourne and Wexford Festivals, Metropolitan Opera, Berlin Staatsoper, Royal Danish Opera, Opéra National du Rhin, Teatro Real, Madrid, Opéra National de Bordeaux, Teatro La Fenice, Glimmerglass Opera, New York City Opera, Opera Australia, Opera Theatre of St. Louis, Chicago Opera Theater, Luminato, Toronto and Aspen Festivals. Particularly known as a Mozart specialist, her core repertoire also includes Monteverdi, Handel and Britten, who indeed personally influenced and guided her when she was 16, and to whose music she constantly returns. She has performed with all the major symphony and chamber orchestras in Britain, at the BBC Proms as well as with orchestras in Europe, the US, the Far East and Australasia including the Orchestra of St Luke’s, Philadelphia Orchestra, San Francisco Symphony, Houston Symphony, St Louis Symphony, Cincinnati Symphony, Toronto Symphony, Sydney Symphony, Belgrade Philharmonic and Orchestre Nationale de Bordeaux et Aquitaine. -
Margaret Catchpole: Two Worlds Apart
Stephen DODGSON Margaret Catchpole: Two Worlds Apart (Chamber opera in four acts) Howden • Wallace • Morris • Ollerenshaw Edgar-Wilson • Brook • Moore • Willcock • Sporsén Perpetuo • Julian Perkins Stephen Act I: By the Banks of the Orwell Act II: The Cobbold Household 1 [Introduction] 2:27 Scene 1: The drawing room at Mrs Cobbold’s house DO(1D924G–20S13O) N ^ 2Scene 1: Harvest time at Priory Farm & You are young (Dr Stebbing) 4:25 3 What an almighty fuss (Luff, Laud) 1:35 Ah! Dr Stebbing and Mr Barry Margaret Catchpole: Two Worlds Apart 4 For so many years (Laud, Luff) 2:09 (Mrs Cobbold, Barry, Margaret) 6:54 Chamber opera in four acts (1979) 5 Oh harvest moon (Margaret, Laud) 5:26 * Under that far and shining sky Interlude to Scene 2 1:28 Libretto by Ronald Fletcher (1921–1992), 6 (Laud, Margaret) 1:35 based on the novel by Richard Cobbold (1797–1877) The harvest is ended Scene 2: Porch – Kitchen/parlour – First performance: 8–10 June 1979 at The Old School, Hadleigh, Suffolk, UK 7 (Denton, Margaret, Laud, Labourers) 2:19 (Drawing room Oh, my goodness gracious – look! I don’t care what you think Margaret Catchpole . Kate Howden, Mezzo-soprano 8 (Mrs Denton, Lucy, Margaret, Denton) 2:23 ) (Alice, Margaret) 2:26 Will Laud . William Wallace, Tenor 9 Margaret? (Barry, Margaret) 3:39 Come in, Margaret John Luff . Nicholas Morris, Bass The ripen’d corn in sheaves is born ¡ (Mrs Cobbold, Margaret) 6:30 (Second Labourer, Denton, First Labourer, John Barry . Alistair Ollerenshaw, Baritone Come then, Alice (Margaret, Alice, Laud) 8:46 0 Mrs Denton, Lucy, Barry) 5:10 ™ Crusoe . -
Summer Will Never Be the Same with the Metropolitan Opera Summer Series at Cineplex Entertainment Theatres Children Ages 3-13 Get in FREE!
For Immediate Release Summer Will Never Be the Same with The Metropolitan Opera Summer Series at Cineplex Entertainment Theatres Children ages 3-13 get in FREE! TORONTO, ON, June 16, 2009 (CGX.UN) – Cineplex Entertainment is pleased to present for the first time The Metropolitan Opera Summer Series, featuring six of the most popular performances shown at Cineplex Entertainment theatres from past seasons of The Met: Live in HD series. The Metropolitan Opera Summer Series opens on Saturday, June 27th with Bellini’s I Puritani starring Anna Netrebko with all six performances shown in High Definition (HD) and digital surround sound at 12 pm EST/CST, 11 am MST and 10 am PST at select Cineplex Entertainment theatres across the country. “Presenting the first-ever Metropolitan Opera Summer Series offers our guests across the country the unique chance to see and hear some of the most celebrated performers working in opera today in some of the most popular performances from The Met: Live in HD seasons,” said Pat Marshall, Vice President, Communications and Investor Relations, Cineplex Entertainment. “The Metropolitan Opera Summer Series provides great value for our guests, offering them the opportunity to experience some of the Met’s most successful performances again or for the first time as well as the ability to take their kids to experience the performances for free.” Advance tickets are available on Friday, June 19th online at www.cineplex.com/events as well as at participating theatre box offices. General admission is $9.95 + tax and children ages 3-13 are FREE! Beginning Saturday, June 27th, Cineplex Entertainment theatres will show the following six performances across the country: Saturday, June 27, 2009: I PURITANI – International sensation Anna Netrebko sings Elvira Walton in Bellini’s I Puritani, tenor Eric Cutler is Arturo, Franco Vassallo is Riccardo and John Relyea is Giorgio. -
Using Bel Canto Pedagogical Principles to Inform Vocal Exercises Repertoire Choices for Beginning University Singers by Steven M
Using Bel Canto Pedagogical Principles to Inform Vocal Exercises Repertoire Choices for Beginning University Singers by Steven M. Groth B.M. University of Wisconsin, 2013 M.M. University of Missouri, 2017 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Musical Arts College of Music 2020 1 2 3 Abstract The purpose of this document is to identify and explain the key ideals of bel canto singing and provide reasoned suggestions of exercises, vocalises, and repertoire choices that are readily available both to teachers and students. I provide a critical evaluation of the fundamental tenets of classic bel canto pedagogues, Manuel Garcia, Mathilde Marchesi, and Julius Stockhausen. I then offer suggested exercises to develop breath, tone, and legato, all based classic bel canto principles and more recent insights of voice science and physiology. Finally, I will explore and perform a brief survey into the vast expanse of Italian repertoire that fits more congruently with the concepts found in bel canto singing technique in order to equip teachers with the best materials for more rapid student achievement and success in legato singing. For each of these pieces, I will provide the text and a brief analysis of the characteristics that make each piece well-suited for beginning university students. 4 Acknowledgements Ever since my first vocal pedagogy class in my undergraduate degree at the University of Wisconsin-Madison, I have been interested in how vocal pedagogy can best be applied to repertoire choices in order to maximize students’ achievement in the studio environment.