“Russian Favorites”
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
The Inextricable Link Between Literature and Music in 19Th
COMPOSERS AS STORYTELLERS: THE INEXTRICABLE LINK BETWEEN LITERATURE AND MUSIC IN 19TH CENTURY RUSSIA A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment Of the Requirements for the Degree Master of Music Ashley Shank December 2010 COMPOSERS AS STORYTELLERS: THE INEXTRICABLE LINK BETWEEN LITERATURE AND MUSIC IN 19TH CENTURY RUSSIA Ashley Shank Thesis Approved: Accepted: _______________________________ _______________________________ Advisor Interim Dean of the College Dr. Brooks Toliver Dr. Dudley Turner _______________________________ _______________________________ Faculty Reader Dean of the Graduate School Mr. George Pope Dr. George R. Newkome _______________________________ _______________________________ School Director Date Dr. William Guegold ii TABLE OF CONTENTS Page CHAPTER I. OVERVIEW OF THE DEVELOPMENT OF SECULAR ART MUSIC IN RUSSIA……..………………………………………………..……………….1 Introduction……………………..…………………………………………………1 The Introduction of Secular High Art………………………………………..……3 Nicholas I and the Rise of the Noble Dilettantes…………………..………….....10 The Rise of the Russian School and Musical Professionalism……..……………19 Nationalism…………………………..………………………………………..…23 Arts Policies and Censorship………………………..…………………………...25 II. MUSIC AND LITERATURE AS A CULTURAL DUET………………..…32 Cross-Pollination……………………………………………………………...…32 The Russian Soul in Literature and Music………………..……………………...38 Music in Poetry: Sound and Form…………………………..……………...……44 III. STORIES IN MUSIC…………………………………………………… ….51 iii Opera……………………………………………………………………………..57 -
Preliminaries: Saturday, March 6, 2021 Finals
Preliminaries: Saturday, March 6, 2021 The Preliminaries will be held for competitors and judges only. Finals: Saturday, March 20, 2021 Live-Streamed Event - 1-5 p.m. The objective of the Denver Lyric Opera Guild is the encouragement and support of young singers and the continuing education of members in the appreciation and knowledge of opera. For more information on DLOG Membership and Member Events www.denverlyricoperaguild.org Denver Lyric Opera Guild Denver Lyric Opera Guild is a non-profit membership organization of over 180 members. DLOG was founded in 1965 to help support the Denver Lyric Opera Company. The opera company was forced to close in 1968, but the Guild pursued other programs in keeping with its purpose to encourage and support young singers and provide continuing education to the members in the appreciation and knowledge of opera. Competition for Colorado Singers In 1984, the Guild inaugurated its signature event, the Competition for Colorado Singers, to support singers ages 23-32 in pursuing their operatic careers. Since then, the Guild has awarded over $850,000 to Competition winners. Hundreds of young singers have successfully launched their operatic and musical careers since winning the Competition. Grants The Guild provides grants to Colorado’s colleges and universities for vocal scholarships, and to apprentice opera programs. Over the years, these grants have totaled over $812,000 from the earnings on our endowment. Grants are given to the voice performance programs at Colorado State University, Metro State University of Denver, University of Colorado, University of Denver, University of Northern Colorado, and young artist apprentice programs of Central City Opera, Opera Colorado, Opera Fort Collins, and Opera Theatre of the Rockies in Colorado Springs. -
The Late Choral Works of Igor Stravinsky
THE LATE CHORAL WORKS OF IGOR STRAVINSKY: A RECEPTION HISTORY _________________________________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia ________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts ____________________________ by RUSTY DALE ELDER Dr. Michael Budds, Thesis Supervisor DECEMBER 2008 The undersigned, as appointed by the dean of the Graduate School, have examined the thesis entitled THE LATE CHORAL WORKS OF IGOR STRAVINSKY: A RECEPTION HISTORY presented by Rusty Dale Elder, a candidate for the degree of Master of Arts, and hereby certify that, in their opinion, it is worthy of acceptance. _________________________________________ Professor Michael Budds ________________________________________ Professor Judith Mabary _______________________________________ Professor Timothy Langen ACKNOWLEDGEMENTS I would like to express my deepest gratitude to each member of the faculty who participated in the creation of this thesis. First and foremost, I wish to recognize the ex- traordinary contribution of Dr. Michael Budds: without his expertise, patience, and en- couragement this study would not have been possible. Also critical to this thesis was Dr. Judith Mabary, whose insightful questions and keen editorial skills greatly improved my text. I also wish to thank Professor Timothy Langen for his thoughtful observations and support. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS……………………………………………………………...ii ABSTRACT……………………………………………………………………………...v CHAPTER 1. INTRODUCTION: THE PROBLEM OF STRAVINSKY’S LATE WORKS…....1 Methodology The Nature of Relevant Literature 2. “A BAD BOY ALL THE WAY”: STRAVINSKY’S SECOND COMPOSITIONAL CRISIS……………………………………………………....31 3. AFTER THE BOMB: IN MEMORIAM DYLAN THOMAS………………………45 4. “MURDER IN THE CATHEDRAL”: CANTICUM SACRUM AD HONOREM SANCTI MARCI NOMINIS………………………………………………………...60 5. -
La Traviata March 5 – 13, 2011
O p e r a B o x Teacher’s Guide TABLE OF CONTENTS Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Giuseppe Verdi – a biography ...............................50 Catalogue of Verdi’s Operas . .52 Background Notes . .54 2 0 1 0 – 2 0 1 1 S E A S O N The Real Traviata . .58 World Events in 1848 and 1853 . .64 ORPHEUS AND History of Opera ........................................68 URYDICE History of Minnesota Opera, Repertoire . .79 E SEPTEMBER 25 – OCTOBER 3, 2010 The Standard Repertory ...................................83 Elements of Opera .......................................84 Glossary of Opera Terms ..................................88 CINDERELLA OCTOBER 30 – NOVEMBER 7, 2010 Glossary of Musical Terms .................................94 Bibliography, Discography, Videography . .97 Word Search, Crossword Puzzle . .100 MARY STUART Evaluation . .103 JANUARY 29 – FEBRUARY 6, 2011 Acknowledgements . .104 LA TRAVIATA MARCH 5 – 13, 2011 WUTHERING mnopera.org HEIGHTS APRIL 16 – 23, 2011 FOR SEASON TICKETS, CALL 612.333.6669 620 North First Street, Minneapolis, MN 55401 Kevin Ramach, PRESIDENT AND GENERAL DIRECTOR Dale Johnson, ARTISTIC DIRECTOR Dear Educator, Thank you for using a Minnesota Opera Opera Box. This collection of material has been designed to help any educator to teach students about the beauty of opera. This collection of material includes audio and video recordings, scores, reference books and a Teacher’s Guide. The Teacher’s Guide includes Lesson Plans that have been designed around the materials found in the box and other easily obtained items. In addition, Lesson Plans have been aligned with State and National Standards. -
Hansel and Gretel
Engelbert Humperdinck Hansel and Gretel CONDUCTOR A fairy-tale opera in three acts Vladimir Jurowski Libretto by Adelheid Wette PRODUCTION Richard Jones Tuesday, January 1, 2008, 1:00–3:10pm SET AND COSTUME DESIGNER John Macfarlane New Production LIGHTING DESIGNED BY Jennifer Tipton CHOREOGRAPHER Linda Dobell The production of Hansel and Gretel is made possible by generous gifts from the TRANSLATION Gramma Fisher Foundation, Marshalltown, Iowa, David Pountney and Karen and Kevin Kennedy. Additional funding for this production was provided by Dr. Coco Lazaroff and Joan Taub Ades and Alan M. Ades. GENERAL MANAGER Peter Gelb MUSIC DIRECTOR Hansel and Gretel was originally created for Welsh National James Levine Opera and Lyric Opera of Chicago. 2007-08 Season The 241st Metropolitan Opera performance of Engelbert Humperdinck’s Hansel and Gretel Conductor Vladimir Jurowski IN ORDER OF VOCAL APPEARANCE Gretel Christine Schäfer Hansel Alice Coote Gertrude Rosalind Plowright Peter Alan Held This afternoon’s performance is being The Sandman transmitted live in Sasha Cooke high definition to The Dew Fairy movie theaters in Lisette Oropesa the United States, Canada, and Europe, The Witch and broadcast live Philip Langridge on Metropolitan Opera Radio, on Sirius Satellite Radio channel 85. Tuesday, January 1, 2008, 1:00–3:10pm Designer John Children’s Chorus Director Elena Doria Macfarlane’s sketch for Musical Preparation Robert Morrison, John Beeson, one of the show curtains for the new production J. David Jackson, Dan Saunders, and Milos Repicky of Humperdinck’s Hansel Assistant Stage Directors Eric Einhorn, David Kneuss, and Gretel. and J. Knighten Smit Met Titles Michael Panayos Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes executed by Metropolitan Opera Costume Department Wigs executed by Metropolitan Opera Wig Department This performance is made possible in part by public funds from the New York State Council on the Arts. -
Opera's 'Wicked Women': the Presence of Female Type in the Bible and Its Translation to the Stage
Opera’s ‘Wicked Women’: The Presence of Female Type in the Bible and its Translation to the Stage Zoë Elizabeth Spencer MA by Research University of York Music December 2015 Abstract Throughout the Christian Bible and accompanying religious scriptures, female characters display common, defining traits, that mean they fall into certain ‘categories’ or types of woman. The relatively small quantity of female character profiles found in Christian scripture are continued in art-forms throughout history – in this thesis, opera will be the chosen medium. The fates of operatic heroines and biblical female characters are often extremely similar; therefore, it is interesting to see what happens dramatically when the two worlds collide. Both the Bible and opera as an art-form seem to fixate upon the ideas of the female victim, the dangerous femme fatale, and, to a lesser extent, the heroic woman. These tropes, which take different and numerous forms and guises within the Bible, are explored musically on stage. Through elements of the operas I have chosen, such as musical interaction, character profiling, and specific staging, I will address the issues facing women who inhabit the pages of the Bible and its various Apocrypha. The works that have been selected for study contain one significant, and often problematical, female character. In this thesis, I will focus on four case studies composed within sixty years of each other, around the late 19th century/early 20th century. These works are Hagith, by Karol Szymanowski, Samson et Dalila by Saint- Saëns, Judith by Serov, and Salome, the product of Strauss’s music and Wilde’s text. -
Not for Citation Without Permission of Author
NOT FOR CITATION WITHOUT PERMISSION OF AUTHOR 1220 THE BLAGOVEST THEME IN RUSSIAN MUSIC Edward V. Williams Professor of Music History University of Kansas This paper was originally presented at a Kennan Institute for Advanced Russian Studies colloquium on December 18, 1985. Copyright 1987 by the Wilson Center Kennan Institute for Advanced Russian Studies Woodrow Wilson International Center for Scholars The following essay was prepared and distributed by the Kennan Institute for Advanced Russian Studies as part of its Occasional Paper series. The series aims to extend Kennan Institute Occasional Papers to all those interested in Russian and Soviet studies and to help authors obtain timely feedback on their work. Occasional Papers are written by Kennan Institute scholars and visiting speakers. They are working papers presented at, or resulting from, seminars, colloquia, and conferences held under the auspices of the Kennan Institute. Copies of Occasional Papers and a list of Occasional Papers currently available can be obtained free of charge by writing to: Occasional Papers Kennan Institute for Advanced Russian Studies Woodrow Wilson International Center for Scholars Smithsonian Institution 955 L'Enfant Plaza, Suite 7400 Washington, D.C. 20560 The Kennan Institute for Advanced Russian Studies was established in 1975 as a program of the Woodrow Wilson International Center for Scholars. The Kennan Institute was created to provide a center in washington, D.C., where advanced research on Russia and the USSR could be pursued by qualified U.S. and foreign scholars, where encouragement and support could be given to the cultivation of Russian and Soviet studies throughout the United States, and where contact could be maintained with similar_institutions abroad. -
Teatro Lirico D'europa Reviews and History.Pages
Teatro Lirico D’Europa Giorgio Lalov, Artistic Director History and Highlights of 17 Seasons of American Tour Reviews Teatro Lirico D’Europa was created in 1988 by the late Yves Josse, a former ballet divo and brilliant French arts promoter, and Giorgio Lalov, a young Bulgarian opera singer who made his debut at Teatro alla Scala, Milan, at the age of 25 while participating in Scala’s famous international training program for young singers. The collaboration between Josse and Lalov was a huge success in a very short time, resulting in tours with over 250 performances a season throughout France, Belgium, Switzerland, Germany, Japan, the Netherlands, Denmark, Spain, Italy, Sicily, and Portugal including performances for Opera Dijon, performances at Salle Pleyel, Paris, Pavillion Baltard, Paris, Okinawa Performing Arts Center, Tivoli Gardens, Copenhagen, Theatre Carre, Amsterdam, Congresshaus, Zurich, Theatre Trinidade, Lisbon, Teatro Atlantida, Barcelona, Salida de La Compania, Madrid, Teatro Cervantes, Madrid, Teatro Bueno Vallejo, Madrid, Teatro Lope de Vega, Seville, Le Cirque Royale, Brussels and L’Atrium Theatre on the Island of Martinique. Lalov created the sets and costumes for the productions and organized the chorus and orchestra in Bulgaria. He drew soloists for the productions from a huge reservoir of operatic talent in Bulgaria, central Europe and the USA. Josse booked the performances for the company from his office in Paris. From the very beginning, the company established itself as highly competent in delivering traditional, full-scale productions featuring a full, professional orchestra and chorus, and professional opera singers who performed at the top national theatres in their native countries. -
Chicago Symphony Orchestra Riccardo Muti Zell Music Director Riccardo Muti Conductor Rosa Feola Soprano Tchaikovsky the Tempest
PROGRAM ONE HUNDRED TWENTY-FIFTH SEASON Chicago Symphony Orchestra Riccardo Muti Zell Music Director Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, April 14, 2016, at 8:00 Friday, April 15, 2016, at 8:00 Saturday, April 16, 2016, at 8:00 Friday, April 22, 2016, at 1:30 Sunday, April 24, 2016, at 3:00 Riccardo Muti Conductor Rosa Feola Soprano Tchaikovsky The Tempest, Op. 18 Tchaikovsky Romeo and Juliet INTERMISSION Mahler Symphony No. 4 in G Major Deliberately, without rushing In easy motion, without haste Serene (Poco adagio) Very leisurely ROSA FEOLA The Chicago Symphony Orchestra thanks Julie and Roger Baskes, lead sponsors of the Shakespeare in Music Celebration concert programming. Additional sponsorship support is generously provided by Joyce Chelberg, Mr. and Mrs. Richard J. Franke, the Gilchrist Foundation, Pam and Roger Hull, Jim and Kay Mabie, Judy and Scott McCue, and Burton X. and Sheli Rosenberg. This project is supported in part by an award from the National Endowment for the Arts. The Chicago Symphony Orchestra is grateful to 93XRT, WBEZ 91.5 FM, and RedEye for their generous support as media sponsors of the Classic Encounter series. This program is partially supported by grants from the Illinois Arts Council, a stage agency, and the National Endowment for the Arts. This program is part of the citywide Shakespeare 400 Celebration. COMMENTS by Phillip Huscher Pyotr Tchaikovsky Born May 7, 1840, Viatka, Russia. Died November 18, 1893, Saint Petersburg, Russia. The Tempest, Symphonic fantasia after Shakespeare, Op. 18 It was the power of whether there needed to be a tempest in The Shakespeare that helped Tempest (and if so, where should he put it—at Tchaikovsky to find his the start or in the middle?), and if not, should voice as a composer, first he call the work Miranda instead, after the play’s in Romeo and Juliet, the captivating heroine. -
Boris Godunov’ Was Good, but the Audience Wanted More
Ferruccio Furlanetto as Boris; Photo by Ken Howard San Diego Opera’s season opener ‘Boris Godunov’ was good, but the audience wanted more. MODEST MUSSORGSKY BORIS GODUNOV SAN DIEGO OPERA JANUARY 27, 2007 By: Carol Jean Delmar The San Diego Opera season began with a bang on Saturday, Jan. 27. But during the intermission, at least one patron said that she wondered why “Boris Godunov” was selected as the opening opera. The patron probably didn’t realize that the reason for the choice was Ferruccio Furlanetto, the great Italian bass who has graced the stage of the San Diego Civic Theatre since 1985 in such roles as Mozart’s Don Giovanni, Gounod’s Méphistophélès, Verdi’s King Philip II and Rossini’s Don Basilio. Furlanetto was the first Italian to sing Boris at the Mariinsky Theatre in St. Petersburg, Russia, and has also sung the part in Rome, at the Maggio Musicale in Florence and at La Scala. He is set to sing Boris at the Wiener Staatsoper in May and June. His Boris in San Diego marks the first time he has sung the role in the United States. But there is one major difference between the “Boris Godunov” that is being staged in San Diego and the “Boris” which will be performed in Vienna in May. Modest Mussorgsky originally composed a seven-scene opera based on Alexander Pushkin’s historical drama and works by Nikolay Karamzin, which was rejected by the Mariinsky Theatre. He then altered it and added a female love interest to spice things up; and later, other composers had their way with the score, including Rimsky-Korsakov and Shostakovich. -
The Hard Nut
#BAMNextWave #TheHardNut Brooklyn Academy of Music Mark Morris Dance Group Alan H. Fishman, Chairman of the Board Artistic Director, Mark Morris William I. Campbell, Vice Chairman of the Board Executive Director, Nancy Umanoff Adam E. Max, Vice Chairman of the Board Katy Clark, President Joseph V. Melillo, Executive Producer BAM and Mark Morris Dance Group present The Hard Nut BAM Howard Gilman Opera House Dec 12, 16—19 at 7:30pm; Dec 13 at 1pm & 6pm; Dec 20 at 1pm; Dec 19 at 2pm Running time: approx. two hours including intermission Based on the book by E.T.A. Hoffmann, The Nutcracker and the Mouse King Featuring the Mark Morris Dance Group MMDG Music Ensemble and The Hard Nut Singers Music by Pyotr Ilyich Tchaikovsky, The Nutcracker, Op. 71 Season Sponsor: Conducted by Colin Fowler Choreography by Mark Morris Set design by Adrianne Lobel Leadership support for dance at BAM provided by Doris Duke Charitable Foundation and Costume design by Martin Pakledinaz The Harkness Foundation for Dance. Lighting design by James F. Ingalls Production based on the work of Charles Burns Major support for dance at BAM provided by The SHS Foundation. Support for the Signature Artist Series provided by The Howard Gilman Foundation. The Hard Nut MARK MORRIS DANCE GROUP CHELSEA ACREE SAM BLACK DURELL R. COMEDY RITA DONAHUE DOMINGO ESTRADA, JR. LESLEY GARRISON LAUREN GRANT BRIAN LAWSON AARON LOUX LAUREL LYNCH STACY MARTORANA DALLAS McMURRAY BRANDON RANDOLPH NICOLE SABELLA BILLY SMITH NOAH VINSON JENN WEDDEL MICHELLE YARD SHAWN GANNON JOHN HEGINBOTHAM JUNE -
Singing the Myths of the Nation: Historical Themes in Russian Nineteenth-Century Opera
Singing the Myths of the Nation: Historical Themes in Russian Nineteenth-Century Opera Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate school of The Ohio State University By Ray Alston, M.A. Graduate Program in Slavic and East European Languages and Cultures The Ohio State University 2018 Dissertation Committee: Alexander Burry, Advisor Angela Brintlinger Helena Goscilo Jon Linford © Ray Alston 2018 Abstract Historical opera represents an important subgenre in the Russian repertoire, but many of the Russian operas on historical themes are unperformed and unknown in the West. However, they continue to play an important role in Russia’s self-exploration and historical identity. This dissertation seeks to address the matter of what it means to interpret history through the lens of opera. What assumptions about history are present in these works by virtue of the genre? To answer this question, this dissertation draws on the essays of W. H. Auden who asserts that in opera, virtuosic singing causes even real, historical persons to seem like the gods and heroes of myth. This principle serves as something of the reversal of the concept of displacement that Northrop Frye discusses in Anatomy of Criticism. According to Frye, all plots have a mythic core. Realistic works displace their mythic core by limiting the power of heroes and placing greater obstacles in their way. In opera, the process collapses. A realistic or historical plot may displace the mythic elements of the story of an opera, but the virtuosic singing reconnects the plot with its mythic core.