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Met Opera Feb 02-Feb 08 2021 https://www.metopera.org/ Week 47 - Black History Month at the Met, Part I https://www.metopera.org/user-information/nightly-met-opera-streams/ Tuesday, February 02 — 00:30-23:30 The Gershwins’ Porgy and Bess Starring Angel Blue, Golda Schultz, Latonia Moore, Denyce Graves, Frederick Ballentine, Eric Owens, AlFred Walker, and Donovan Singletary, conducted by David Robertson. Production by James Robinson. From February 1, 2020. Wednesday, February 03 — 00:30-23:30 Verdi’s La Forza del Destino Starring Leontyne Price, Isola Jones, Giuseppe Giacomini, Leo Nucci, and Bonaldo Giaiotti, conducted by James Levine. Production by John Dexter. From March 24, 1984. Thursday, February 04 — 00:30-23:30 Poulenc’s Dialogues des Carmélites Starring Maria Ewing, Jessye Norman, Betsy Norden, Régine Crespin, and Florence Quivar, conducted by Manuel Rosenthal. Production by John Dexter. From April 4, 1987. Friday, February 05 — 00:30-23:30 Rossini’s La Cenerentola Starring Elina Garanča, Lawrence Brownlee, Simone Alberghini, Alessandro Corbelli, and John Relyea, conducted by Maurizio Benini. Production by Cesare Lievi. From May 9, 2009. Saturday, February 06 — 00:30-23:30 Mozart’s Le Nozze di Figaro Starring Carol Vaness, Kathleen Battle, Frederica von Stade, Thomas Allen, and Ruggero Raimondi, conducted by James Levine. Production by Jean-Pierre Ponnelle. From December 14, 1985. Sunday, February 07 — 00:30-23:30 Strauss’s Ariadne auf Naxos Starring Jessye Norman, Kathleen Battle, Tatiana Troyanos, and James King, conducted by James Levine. Production by Bodo Igesz. From March 12, 1988. Monday, February 08 — 00:30-23:30 Puccini’s TosCa Starring Shirley Verrett, Luciano Pavarotti, and Cornell MacNeil, conducted by James Conlon. Production by Tito Gobbi. From December 19, 1978. .

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Ariadna En Naxos
RICHARD STRAUSS ARIADNA EN NAXOS STREAMING METROPOLITAN OPERA HOUSE Presenta RICHARD STRAUSS ARIADNA EN NAXOS Ópera en dos partes: Prólogo y Ópera Libreto de Hugo von Hofmannsthal, basado en “El burgués gentilhombre” de Molière y el mito griego de Ariadna y Baco. Reparto Ariadna - Prima Donna Jessye Norman Baco - Tenor James King Zerbinetta Kathleen Battle Compositor Tatiana Troyanos Maestro de música Franz Ferdinand Nentwig Arlequín Stephen Dickson Scaramuccio Allan Glassman Trufaldín Artur Korn Brighella Anthony Laciura Nayade Barbara Bonney Driada Gweneth Bean Echo Dawn Upshaw Mayordomo Nico Castel Coro y Orquesta del Metropolitan Opera House Dirección: James Levine Producción escénica Dirección teatral Bodo Igesz Escenografía Oliver Messel Vestuario Jane Greenwood Miércoles 13 de mayo de 2020 Transmisión vía streaming desde Metropolitan Opera House – New York, USA TEATRO NESCAFÉ DE LAS ARTES Temporada 2020 ARIADNA EN NAXOS ANTECEDENTES te el nombre de Hugo von Haffmannsthal, poeta, escritor y dramaturgo austriaco, quien creó los libretos de las más famo- sas producciones del compositor para la escena. Entre ellos los de la terna citada y el de “Ariadna en Naxos”, su sexta con- tribución para la lírica, con una gestación muy compleja. Strauss compuso la ópera “Ariadna en Naxos” en un acto y como homenaje a Max Reinhardt, quien fuera en 1911 el re- gisseur (director de escena) en el estreno mundial de “El caballero de la rosa”. “Ariadna en Naxos” se representó en Strauss y Hofmannsthal octubre de 1912 en el marco de una ce- remonia turca, inserta a su vez en el de- Junto al inglés Benjamin Britten (1913- sarrollo de una adaptación alemana de la 1976), Richard Strauss (1864-1949) forma la comedia “El burgués gentilhombre” de pareja de los más importantes y prolíficos Molière, hecha por Hoffmansthal.
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Der Rosenkavalier by Richard Strauss
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 Octavian and the Composer: Principal Male Roles in Opera Composed for the Female Voice by Richard Strauss Melissa Lynn Garvey Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC OCTAVIAN AND THE COMPOSER: PRINCIPAL MALE ROLES IN OPERA COMPOSED FOR THE FEMALE VOICE BY RICHARD STRAUSS By MELISSA LYNN GARVEY A Treatise submitted to the Department of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2010 The members of the committee approve the treatise of Melissa Lynn Garvey defended on April 5, 2010. __________________________________ Douglas Fisher Professor Directing Treatise __________________________________ Seth Beckman University Representative __________________________________ Matthew Lata Committee Member The Graduate School has verified and approved the above-named committee members. ii I’d like to dedicate this treatise to my parents, grandparents, aunt, and siblings, whose unconditional love and support has made me the person I am today. Through every attended recital and performance, and affording me every conceivable opportunity, they have encouraged and motivated me to achieve great things. It is because of them that I have reached this level of educational achievement. Thank you. I am honored to thank my phenomenal husband for always believing in me. You gave me the strength and courage to believe in myself. You are everything I could ever ask for and more. Thank you for helping to make this a reality.
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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.
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Iolanta Bluebeard's Castle
iolantaPETER TCHAIKOVSKY AND bluebeard’sBÉLA BARTÓK castle conductor Iolanta Valery Gergiev Lyric opera in one act production Libretto by Modest Tchaikovsky, Mariusz Treliński based on the play King René’s Daughter set designer by Henrik Hertz Boris Kudlička costume designer Bluebeard’s Castle Marek Adamski Opera in one act lighting designer Marc Heinz Libretto by Béla Balázs, after a fairy tale by Charles Perrault choreographer Tomasz Wygoda Saturday, February 14, 2015 video projection designer 12:30–3:45 PM Bartek Macias sound designer New Production Mark Grey dramaturg The productions of Iolanta and Bluebeard’s Castle Piotr Gruszczyński were made possible by a generous gift from Ambassador and Mrs. Nicholas F. Taubman general manager Peter Gelb Additional funding was received from Mrs. Veronica Atkins; Dr. Magdalena Berenyi, in memory of Dr. Kalman Berenyi; music director and the National Endowment for the Arts James Levine principal conductor Co-production of the Metropolitan Opera and Fabio Luisi Teatr Wielki–Polish National Opera The 5th Metropolitan Opera performance of PETER TCHAIKOVSKY’S This performance iolanta is being broadcast live over The Toll Brothers– Metropolitan Opera International Radio Network, sponsored conductor by Toll Brothers, Valery Gergiev America’s luxury in order of vocal appearance homebuilder®, with generous long-term marta duke robert support from Mzia Nioradze Aleksei Markov The Annenberg iol anta vaudémont Foundation, The Anna Netrebko Piotr Beczala Neubauer Family Foundation, the brigit te Vincent A. Stabile Katherine Whyte Endowment for Broadcast Media, l aur a and contributions Cassandra Zoé Velasco from listeners bertr and worldwide. Matt Boehler There is no alméric Toll Brothers– Keith Jameson Metropolitan Opera Quiz in List Hall today.
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Diane Dufresne À L’Orchestre Métropolitain an Interview with Yannick Nézet-Séguin En Entrevue Jazz : La Filière Asiatique II
Mars 2004 March Vol. 9.6 GRATUIT FREE GRATUIT Diane Dufresne à l’Orchestre Métropolitain An Interview with Yannick Nézet-Séguin en entrevue Jazz : la filière asiatique II Société canadienne des postes – Envois de publication convention nº 40025257 de publication convention Société canadienne des postes – Envois No.Agreement Publications Mail Sales Canada Post 40025257 Leon Fleisher: The Music Comes First Get close to Canada Discover it by train Découvrez le Canada Voyagez en train For more information, contact us at 1 888 VIA-RAIL (1 888 842-7245) TTY 1 800 268-9503 (hearing impaired) Pour plus de renseignements, contactez-nous au 1 888 VIA-RAIL (1 888 842-7245) ATS 1 800 268-9503 (malentendants) La Nouvelle collection GEMINI Les Trésors d’EMI Déjà 25 titres de 2 cd, dont plusieurs sont disponible pour la première fois à prix économique 2 CDs pour le prix de 1 seul Parmi les artistes en vedettes : Sir Simon Rattle, Sir Thomas Beecham, Carlo Maria Giulini, Vladimir Ashkenazy, Itzhak Perlman, Elisabeth Schwarzkopf, Dietrich Fischer-Dieskau, Daniel Barenboim, Yehudi Menuhin & Cécile Ousset Son remasterisé numériquement aux Studios Abbey Road Textes et traductions disponibles à l’adresse www.emiclassics.com Une gamme d’oeuvres jumelées en parfaite harmonie Photos: Photonica En vente dans tous les bons magasins ou sur le www.shopemi.com/classical ATMAclassique « À entendre, le Mahler de Nézet-Séguin. Un Mahler vécu, plein de surprises ... qui chante continuellement. » — CLAUDE GINGRAS, LA PRESSE « Un Mahler éblouissant à l’Orchestre Métropolitain ! Avec ce nouvel enregistrement, cet orchestre acquiert ses lettres de noblesse... » — MICHEL FERLAND, RADIO-CANADA « ..
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Central Opera Service Bulletin
CENTRAL OPERA SERVICE BULLETIN WINTER, 1972 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center Plaza • Metropolitan Opera • New York, N.Y. 10023 • 799-3467 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Canter Plaza • Metropolitan Opera • New York, NX 10023 • 799.3467 CENTRAL OPERA SERVICE COMMITTEE ROBERT L. B. TOBIN, National Chairman GEORGE HOWERTON, National Co-Chairman National Council Directors MRS. AUGUST BELMONT MRS. FRANK W. BOWMAN MRS. TIMOTHY FISKE E. H. CORRIGAN, JR. CARROLL G. HARPER MRS. NORRIS DARRELL ELIHU M. HYNDMAN Professional Committee JULIUS RUDEL, Chairman New York City Opera KURT HERBERT ADLER MRS. LOUDON MEI.LEN San Francisco Opera Opera Soc. of Wash., D.C. VICTOR ALESSANDRO ELEMER NAGY San Antonio Symphony Ham College of Music ROBERT G. ANDERSON MME. ROSE PALMAI-TENSER Tulsa Opera Mobile Opera Guild WILFRED C. BAIN RUSSELL D. PATTERSON Indiana University Kansas City Lyric Theater ROBERT BAUSTIAN MRS. JOHN DEWITT PELTZ Santa Fe Opera Metropolitan Opera MORITZ BOMHARD JAN POPPER Kentucky Opera University of California, L.A. STANLEY CHAPPLE GLYNN ROSS University of Washington Seattle Opera EUGENE CONLEY GEORGE SCHICK No. Texas State Univ. Manhattan School of Music WALTER DUCLOUX MARK SCHUBART University of Texas Lincoln Center PETER PAUL FUCHS MRS. L. S. STEMMONS Louisiana State University Dallas Civic Opera ROBERT GAY LEONARD TREASH Northwestern University Eastman School of Music BORIS GOLDOVSKY LUCAS UNDERWOOD Goldovsky Opera Theatre University of the Pacific WALTER HERBERT GIDEON WALDKOh Houston & San Diego Opera Juilliard School of Music RICHARD KARP MRS. J. P. WALLACE Pittsburgh Opera Shreveport Civic Opera GLADYS MATHEW LUDWIG ZIRNER Community Opera University of Illinois See COS INSIDE INFORMATION on page seventeen for new officers and members of the Professional Committee.
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MU 270/Voice
California State Polytechnic University, Pomona COURSE SYLLABUS MU 270 - Performance Seminar/VOICE –Spring 2014 Time and Location: T 1-1:50 Bldg. 24-191 Instructor/ office: Lynne Nagle; Bldg. 24 – 155 and 133 Office Hours: M 9:30-10:30; T11:00-12:00; T 4:00-5:00; others TBA Phone: (909) 869-3558 e-mail: [email protected] Textbook and Supplies: No textbook is needed; notebook required. Course Objectives: To provide a laboratory recital situation wherein students may perform for each other, as well as for the instructor, for critical review. They will share song literature, musical ideas, production techniques, stylistic approaches, etc., in order to learn from each other as well as from the instructor. Assignments and Examinations:!In-class performances: You will be expected to perform a minimum of 3 times (5 for upper division) during each quarter, each performance taking place on a different day. Songs may be repeated for performance credit, but lower division students must perform at least 3 different songs and upper division at least 4 different songs. Please provide a spoken translation when performing in a foreign language. A brief synopsis of an opera, musical or scene is also appropriate if time allows. ALL PERFORMANCES IN SEMINAR ARE TO BE MEMORIZED except for traditional use of the score for oratorio literature. You are also expected to contribute to the subsequent discussion. Concert Reports: TWO (2) typed reports on choral/vocal concerts, recitals or shows must be submitted by week 10 seminar or sooner. You may use any concert you have attended since the end of the previous quarter.
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Così Fan Tutte
Wolfgang Amadeus Mozart Così fan tutte CONDUCTOR Opera in two acts James Levine Libretto by Lorenzo Da Ponte PRODUCTION Lesley Koenig Saturday, April 26, 2014, 1:00–4:40 pm SET & COSTUME DESIGNER Michael Yeargan LIGHTING DESIGNER Duane Schuler STAGE DIRECTOR Robin Guarino This production of Così fan tutte was made possible by a generous gift from Alberto Vilar. Additional funding was provided by the Metropolitan Opera Club; the Denenberg Foundation, in honor of Dan Denenberg; The DuBose and Dorothy Heyward Memorial Fund; and the late Mr. and Mrs. Samuel L. Tedlow. The revival of this production is made possible GENERAL MANAGER Peter Gelb by a gift from DOLCE & GABBANA. MUSIC DIRECTOR James Levine PRINCIPAL CONDUCTOR Fabio Luisi 2013–14 Season The 184th Metropolitan Opera performance of Wolfgang Amadeus Mozart’s Così fan tutte This performance is being broadcast live over The Conductor Toll Brothers– James Levine Metropolitan Opera International IN ORDER OF VOCAL APPEARANCE Radio Network, sponsored by Ferrando Toll Brothers, Matthew Polenzani America’s luxury homebuilder®, with Guglielmo generous long-term Rodion Pogossov* support from Don Alfonso The Annenberg Maurizio Muraro Foundation, The Neubauer Family Fiordiligi Foundation, the Susanna Phillips Vincent A. Stabile Endowment for Dorabella Broadcast Media, Isabel Leonard and contributions from listeners Despina worldwide. Danielle de Niese* This performance is Cello Continuo also being broadcast David Heiss live on Metropolitan Opera Radio on Harpsichord Continuo SiriusXM channel 74. Howard Watkins* Saturday, April 26, 2014, 1:00–4:40 pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation.
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Journal of the Conductors Guild
Journal of the Conductors Guild Volume 32 2015-2016 19350 Magnolia Grove Square, #301 Leesburg, VA 20176 Phone: (646) 335-2032 E-mail: [email protected] Website: www.conductorsguild.org Jan Wilson, Executive Director Officers John Farrer, President John Gordon Ross, Treasurer Erin Freeman, Vice-President David Leibowitz, Secretary Christopher Blair, President-Elect Gordon Johnson, Past President Board of Directors Ira Abrams Brian Dowdy Jon C. Mitchell Marc-André Bougie Thomas Gamboa Philip Morehead Wesley J. Broadnax Silas Nathaniel Huff Kevin Purcell Jonathan Caldwell David Itkin Dominique Royem Rubén Capriles John Koshak Markand Thakar Mark Crim Paul Manz Emily Threinen John Devlin Jeffery Meyer Julius Williams Advisory Council James Allen Anderson Adrian Gnam Larry Newland Pierre Boulez (in memoriam) Michael Griffith Harlan D. Parker Emily Freeman Brown Samuel Jones Donald Portnoy Michael Charry Tonu Kalam Barbara Schubert Sandra Dackow Wes Kenney Gunther Schuller (in memoriam) Harold Farberman Daniel Lewis Leonard Slatkin Max Rudolf Award Winners Herbert Blomstedt Gustav Meier Jonathan Sternberg David M. Epstein Otto-Werner Mueller Paul Vermel Donald Hunsberger Helmuth Rilling Daniel Lewis Gunther Schuller Thelma A. Robinson Award Winners Beatrice Jona Affron Carolyn Kuan Jamie Reeves Eric Bell Katherine Kilburn Laura Rexroth Miriam Burns Matilda Hofman Annunziata Tomaro Kevin Geraldi Octavio Más-Arocas Steven Martyn Zike Theodore Thomas Award Winners Claudio Abbado Frederick Fennell Robert Shaw Maurice Abravanel Bernard Haitink Leonard Slatkin Marin Alsop Margaret Hillis Esa-Pekka Salonen Leon Barzin James Levine Sir Georg Solti Leonard Bernstein Kurt Masur Michael Tilson Thomas Pierre Boulez Sir Simon Rattle David Zinman Sir Colin Davis Max Rudolf Journal of the Conductors Guild Volume 32 (2015-2016) Nathaniel F.
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COLORATURA and LYRIC COLORATURA SOPRANO
**MANY OF THESE SINGERS SPANNED MORE THAN ONE VOICE TYPE IN THEIR CAREERS!** COLORATURA and LYRIC COLORATURA SOPRANO: DRAMATIC SOPRANO: Joan Sutherland Maria Callas Birgit Nilsson Anna Moffo Kirstin Flagstad Lisette Oropesa Ghena Dimitrova Sumi Jo Hildegard Behrens Edita Gruberova Eva Marton Lucia Popp Lotte Lehmann Patrizia Ciofi Maria Nemeth Ruth Ann Swenson Rose Pauly Beverly Sills Helen Traubel Diana Damrau Jessye Norman LYRIC MEZZO: SOUBRETTE & LYRIC SOPRANO: Janet Baker Mirella Freni Cecilia Bartoli Renee Fleming Teresa Berganza Kiri te Kanawa Kathleen Ferrier Hei-Kyung Hong Elena Garanca Ileana Cotrubas Susan Graham Victoria de los Angeles Marilyn Horne Barbara Frittoli Risë Stevens Lisa della Casa Frederica Von Stade Teresa Stratas Tatiana Troyanos Elisabeth Schwarzkopf Carolyn Watkinson DRAMATIC MEZZO: SPINTO SOPRANO: Agnes Baltsa Anja Harteros Grace Bumbry Montserrat Caballe Christa Ludwig Maria Jeritza Giulietta Simionato Gabriela Tucci Shirley Verrett Renata Tebaldi Brigitte Fassbaender Violeta Urmana Rita Gorr Meta Seinemeyer Fiorenza Cossotto Leontyne Price Stephanie Blythe Zinka Milanov Ebe Stignani Rosa Ponselle Waltraud Meier Carol Neblett ** MANY SINGERS SPAN MORE THAN ONE CATEGORY IN THE COURSE OF A CAREER ** ROSSINI, MOZART TENOR: BARITONE: Fritz Wunderlich Piero Cappuccilli Luigi Alva Lawrence Tibbett Alfredo Kraus Ettore Bastianini Ferruccio Tagliavani Horst Günther Richard Croft Giuseppe Taddei Juan Diego Florez Tito Gobbi Lawrence Brownlee Simon Keenlyside Cesare Valletti Sesto Bruscantini Dietrich Fischer-Dieskau
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Oral History Center University of California the Bancroft Library Berkeley, California Frederica Von Stade Frederica Von Stade
Oral History Center University of California The Bancroft Library Berkeley, California Frederica von Stade Frederica von Stade: American Star Mezzo-Soprano Interviews conducted by Caroline Crawford in 2011, 2012, 2014, 2015 Copyright © 2020 by The Regents of the University of California Oral History Center, The Bancroft Library, University of California, Berkeley ii Since 1954 the Oral History Center of The Bancroft Library, formerly the Regional Oral History Office, has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Frederica von Stade dated February 2, 2012. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley.
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Strauss' Capriccio
Richard Strauss’ Capriccio - A survey of the discography by Ralph Moore Strauss’ swansong opera Capriccio is not especially well represented in the catalogue; of the 22 complete recordings listed in the CLOR catalogue, only around a dozen have ever been available on CD and the rest were on video. Of those CD issues, several are no longer available and only three are studio recordings; two are radio broadcasts and the remainder are live or live composite stage performances. I consider here ten recordings, including all three of those studio accounts. The libretto was based on an original concept by Stefan Zweig, who had fled to the USA after the rise of the Nazis and committed suicide earlier in the year of the opera’s premiere, 1942. It was further developed by his successor as Strauss’ librettist, Josef Gregor, then Strauss himself took it over before passing it to his conductor friend Clemens Krauss – incidentally, possessor of one of the most blatant comb-overs in history - who completed it with continued input from the composer. The text is witty and more enjoyable if the libretto is to hand or you speak German. Like Strauss’ domestic comedy Intermezzo, Capriccio is wordy and conversational, but its intellectual and philosophical content is certainly higher and couched in some of the most sublime music Strauss ever penned. As a result, it is more popular and frequently performed than other of his late works. It is a vehicle for a supreme singer-actress with a creamy voice and a gift for enlivening text; noted performers who made recordings include Krauss’ second wife, Viorica Ursuleac, Lisa Della Casa, Elisabeth Schwarzkopf, Gundula Janowitz, Kiri Te Kanawa and, more recently, Renée Fleming.
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