Events Lectures & Seminars EVENTS Masterclasses & Workshops Special Events 2015 Chamber Music Series
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RCM International Student Guide.Pdf
INTERNATIONAL STUDENT GUIDE TOP WITH MORE THAN CONSERVATOIRE FOR 800 PERFORMING ARTS STUDENTS IN THE UK, SECOND IN FROM MORE THAN EUROPE AND JOINT THIRD IN THE WORLD QS WORLD UNIVERSITY RANKINGS 2016 60 COUNTRIES THE RCM IS AN INTERNATIONAL LOCATED OPPOSITE THE COMMUNITY ROYAL IN THE HEART OF LONDON ALBERT HALL HOME TO THE ANNUAL TOP UK SPECIALIST INSTITUTION BBC PROMS FESTIVAL FOR MUSIC COMPLETE UNIVERSITY GUIDE 2017 100% OF SURVEY RESPONDENTS IN OVER OF EMPLOYMENT OR 40% FURTHER STUDY STUDENTS BENEFIT FROM SIX MONTHS AFTER GRADUATION FOR SCHOLARSHIPS THREE CONSECUTIVE YEARS HIGHER EDUCATION STATISTICS AGENCY SURVEY CONCERTS AND MASTERCLASSES TOP LONDON WATCHED IN CONSERVATOIRE COUNTRIES FOR WORLD-LEADING WORLDWIDE IN 2014 75 RESEARCH VIA THE RCM’s RESEARCH EXCELLENCE FRAMEWORK YOUTUBE CHANNEL 2 ROYAL COLLEGE OF MUSIC / WWW.RCM.AC.UK WELCOME The Royal College of Music is one of the world’s greatest conservatoires, training gifted musicians from all over the globe for a range of international careers as performers, conductors and composers. We were proud to be ranked the top conservatoire for performing arts in the UK, second in Europe and joint third in the world in the 2016 QS World University Rankings. The RCM provides a huge Founded in 1882 by the future King Edward VII, number of performance the RCM has trained some of the most important opportunities for its students. figures in British and international music life. We hold more than 500 Situated opposite the Royal Albert Hall, our events a year in our building and location are the envy of the world. -
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MAG IC L A N T Sophie Daneman ~ soprano Beth Higham-Edwards ~ vibraphone E D Alisdair Hogarth ~ piano Anna Huntley ~ mezzo-soprano R A George Jackson ~ conductor Sholto Kynoch ~ piano O N Anna Menzies ~ cello Edward Nieland ~ treble H Sinéad O’Kelly ~ mezzo-soprano Natalie Raybould ~ soprano - T S E Collin Shay ~ countertenor Philip Smith ~ baritone Nicky Spence ~ tenor A Mark Stone ~ baritone Verity Wingate ~ soprano C L N A E R S F L Y R E H C Y B S G N O S FOREWORD Although the thought of singing and acting in front of an audience terrifies me, there is nothing I enjoy more than being alone at my piano and desk, the notes on an empty page yet to be fixed. Fortunately I am rarely overheard as I endlessly repeat words and phrases, trying to find the music in them: the exact pitches and rhythms needed to portray a particular emotion often take me an exasperatingly long time to find. One of the things that I love most about writing songs is that I feel I truly get to know and understand the poetry I am setting. The music, as I write it, allows me to feel as if I am inhabiting the character in the poem, and I often only discover what the poem really says to me when I reach the final bar. This disc features a number of texts either written especially for me (Kei Miller, Tamsin Collison, Andrew Motion, Stuart Murray), or already in existence (Kate Wakeling, Ian McMillan, 4th century Aristotle). -
Music by BENJAMIN BRITTEN Libretto by MYFANWY PIPER After a Story by HENRY JAMES Photo David Jensen
Regent’s Park Theatre and English National Opera present £4 music by BENJAMIN BRITTEN libretto by MYFANWY PIPER after a story by HENRY JAMES Photo David Jensen Developing new creative partnerships enables us to push the boundaries of our artistic programming. We are excited to be working with Daniel Kramer and his team at English National Opera to present this new production of The Turn of the Screw. Some of our Open Air Theatre audience may be experiencing opera for the first time – and we hope that you will continue that journey of discovery with English National Opera in the future; opera audiences intrigued to see this work here, may in turn discover the unique possibilities of theatre outdoors. Our season continues with Shakespeare’s As You Like It directed by Max Webster and, later this summer, Maria Aberg directs the mean, green monster musical, Little Shop of Horrors. Timothy Sheader William Village Artistic Director Executive Director 2 Edward White Benson entertained the writer one One, about the haunting of a child, leaves the group evening in January 1895 and - as James recorded in breathless. “If the child gives the effect another turn of There can’t be many his notebooks - told him after dinner a story he had the screw, what do you say to two children?’ asks one ghost stories that heard from a lady, years before. ‘... Young children man, Douglas, who says that many years previously he owe their origins to (indefinite in number and age) ... left to the care of heard a story too ‘horrible’ to admit of repetition. -
News Release
Brooklyn 30 Lafayette Avenue Communications Department Academy Brooklyn NY 11217-1486 Elena Park of Telephone, 718.636 .4111 Melissa Cusick Music Fax:718.857 .2021 FateemaJones Tamara Mccaw Kila Packett 718 .636.4129 [email protected] NewsRelease BAM Presents the U.S. Production Premiere of Opera Theatre Company (OTC) of Ireland's Acclaimed Staging of Handel's Rodelinda OTC returns to the BAM Harvey Theater following a highly praised engagement during BAM's 1997 Spring Season Music by George Frideric Handel Libretto by Nicola Francesco Haym Conductor and harpsichordist Laurence Cummings Directed by James Conway Set and costume design by Neil Irish Lighting design by Simon Corder With Yvonne Howard , Charles Johnston, Jonathan Peter Kenny, Iain Paton, Helen Williams The New York Collegium BAM Harvey Theater May 16, 17, 19 at 7:30; May 20 at 3pm Tickets: $25, 50, 75 (limited availability remains) Sung in English with surtitles Brooklyn, April 27, 2001-Four years after making its U.S. debut at BAM with a well-received version ofHandel'sAmadigi, the Opera Theatre Company (OTC) oflreland returns to the BAM Harvey Theater with four perfonnances of the rarely presented Handel opera Rodelinda . The New York Collegium, led by conductor and harpsichordist Laurence Cummings, is joined by a roster of acclaimed soloists : soprano Helen Williams in the title role, mezzo-soprano Yvonne Howard (Edwige), baritone Charles Johnston (Garibaldo), countertenor Jonathan Peter Kenny (Bertarido), and tenor Iain Paton (Grimoaldo). The Sunday Times (U.K.) said of the production, "This is a truly unmissable staging of one of Handel's greatest operas." Four performances will take place at the BAM Harvey Theater (651 Fulton Street), May 16, 17, and 19 at 7:30pm and I May 20 at 3pm. -
Handel's Orlando
INDEPENDENT OPERA presents Handel’s Orlando Saturday 21 June 2008, 7pm Wigmore Hall Welcome Messages from Independent Opera It gives me great pleasure to welcome Independent Opera to INDEPENDENT OPERA at Sadler’s Wells was created in 2005 Wigmore Hall. I salute this valuable young organisation and all to provide a London performance platform for talented young it has achieved over such a short timescale. directors, designers, singers and others involved in the staging and performance of opera. We are delighted to partner with Independent Opera for the Wigmore Hall / Independent Opera Voice Fellowship and Building on the success of our first two productions, I applaud the pioneering work of Independent Opera’s INDEPENDENT OPERA Artist Support was launched in 2007. extensive fellowship programme as well as its commitment to This is a comprehensive programme of fellowships and a wide range of repertoire. scholarships designed to help promising young artists in the period immediately after their formal education ends. It funds I hope that you enjoy tonight’s performance of Orlando. singing lessons, coaching sessions and other activities that will help them make their way professionally. Our partnership with Wigmore Hall is particularly rewarding and provides a fellowship for a singer intent on pursuing a career in both opera and song. We welcome enquiries from individuals interested in sponsoring a fellowship. More information about Artist Support can be found at the back of this programme. John Gilhooly Director We hope you enjoy this evening’s performance of musical Wigmore Hall extracts from our 2006 production of Orlando. Anna Gustafson Director of Operations & Chief Executive, Artist Support INDEPENDENT OPERA at Sadler’s Wells Honorary Patrons It is with great pleasure that we present this performance DENT O EN PE Laurence Cummings EP R of Orlando at Wigmore Hall tonight. -
Institution: the Open University
Impact case study (REF3b) Institution: The Open University Unit of Assessment: D35 Music, Drama, Dance and Performing Arts Title of case study: Performing and contextualising the music of George Frideric Handel 1. Summary of the impact Extensive research conducted by Donald Burrows on the music and biography of Handel has had a significant impact on the way Handel’s music is performed and heard. It has directly enabled and influenced a large number of public performances internationally, by a range of ensembles. It has also materially contributed to enhancing public awareness, and enjoyment of the music of this important composer, and of his historical significance, through publications and input to festivals, recordings, broadcasts and exhibitions. The research has facilitated and supported performances of Baroque music that are ‘authentic’ in content and style, at a time when Handel’s music has been a fundamental repertory for orchestras, choirs and opera companies. 2. Underpinning research The research programme has produced outputs that have provided essential resources for performers, and have enhanced the understanding of Handel and his music in the general public. The research has involved the simultaneous pursuit of musical and documentary sources, in order to establish the textual history of Handel’s works, to interpret this history in terms of chronological, historical and biographical factors, and to present the results in forms that help performers make key decisions about the music. The musical sources for most of Handel’s major works are complex in content because the composer made many changes between composition, performance and revivals: identification of his various ‘performing versions’ (and associated matters of performance practice) provides the basis on which good modern performances can be planned and executed. -
B Minor Mass for Soloists, Chorus & Orchestra BWV 232 CREDO
CD2 B Minor Mass for soloists, chorus & orchestra BWV 232 CREDO J.S. Bach Credo in Unum Deum (Chorus) [1.49] Patrem Omnipotentem (Chorus) [1.56] Et in unum Dominum (Soprano, Alto) [4.40] Et incarnates est (Chorus) [3.03] CD1 Crucifixus (Chorus) [3.06] Et resurrexit (Chorus) [4.05] KYRIE Kyrie Eleison (Chorus) [9.30] Et in Spiritum Sanctum (Bass) * [4.51] Christe Eleison (Duet) [4.46] Confiteor unum Dominum (Soprano, Alto) [5.58] Kyrie Eleison (Chorus) [3.49] SANCTUS & BENEDICTUS Sanctus (Chorus) [5.24] GLORIA Gloria in excelsis Deo & Et in terra pax (Chorus) [5.40] Osanna (Chorus) [2.50] - Benedictus (Tenor) & Osanna (Chorus) [7.29] Laudamus Te (Soprano) [4.22] Gratias agimus tibi (Chorus) [3.15] Agnus Dei Domine Deus (Soprano, Tenor) [5.33] 3 Agnus Dei (Alto) [5.27] Qui Tollis (Chorus) [3.05] ! Dona Nobis Pacem (Chorus) [3.45] Qui Sedes ad dextram Patris (Alto) [4.17] Total timings: [54.20] Quoniam Tu Solus Sanctus (Bass) ** [4.29] - Cum Sancto Spiritu (Chorus) [3.56] RODOLFUS CHOIR / Southern Sinfonia / RALPH ALLWOOD DIRECTOR Total timings: [52.48] CATHERINE BACKHOUSE SOPRANO / CLINT VAN DER LINDE ALTO BEN JOHNSON TENOR / Colin Campbell Bass** / HÅKAN VRAMSMO Bass* www.signumrecords.com “The B minor”. That phrase alone resonates with soloist for this, but I think that, though difficult, it Most of this young choir hadn’t sung the work nothing out of it anyway, and it was only a gravity in the hearts and minds of those who love sits well in a nimble voice, and it is exciting to use before. -
Over 100 Opera Makers
#OPERAHARMONY CREATING OPERAS IN ISOLATION 1 3 WELCOME TO #OPERA HARMONY FROM FOUNDER – ELLA MARCHMENT Welcome to #OperaHarmony. #Opera Harmony is a collection of opera makers from across the world who, during this time of crisis, formed an online community to create new operas. I started this initiative when the show that I was rehearsing at Dutch National Opera was cancelled because of the lockdown. Using social media and online platforms I invited colleagues worldwide to join me in the immense technical and logistical challenge of creating new works online. I set the themes of ‘distance’ and ‘community’, organised artist teams, and since March have been overseeing the creation of twenty new operas. All the artists involved in #OperaHarmony are highly skilled professionals who typically apply their talents in creating live theatre performances. Through this project, they have had to adapt to working in a new medium, as well as embracing new technologies and novel ways of creating, producing, and sharing work. #OperaHarmony’s goal was to bring people together in ways that were unimaginable prior to Covid-19. Over 100 artists from all the opera disciplines have collaborated to write, stage, record, and produce the new operas. The pieces encapsulate an incredibly dark period for the arts, and they are a symbol of the unstoppable determination, and community that exists to perform and continue to create operatic works. This has been my saving grace throughout lockdown, and it has given all involved a sense of purpose. When we started building these works we had no idea how they would eventually be realised, and it is with great thanks that we acknowledge the support of Opera Vision in helping to both distribute and disseminate these pieces, and also for establishing a means in which audiences can be invited into the heart of the process too . -
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SOLOISTS /OPERA NORTH/ RICHARD FARNES CHAN 3162(3) GIUSEPPE VERDI: DON CARLOS CHANDOS Giuseppe Verdi (1813 – 1901) DON CARLOS Opera in four acts Libretto by Joseph Méry and Camille du Locle, after Schiller English translation by Andrew Porter © Lebrecht Music & Arts Photo Library Photo & Arts Music © Lebrecht Philip II, King of Spain Alastair Miles bass Don Carlos, Infante of Spain Julian Gavin tenor Rodrigo, Marquis of Posa William Dazeley baritone The Grand Inquisitor John Tomlinson bass Elisabeth de Valois, Philip’s Queen Janice Watson soprano Giuseppe Verdi Giuseppe Princess of Eboli Jane Dutton mezzo-soprano Thibault,Elisabeth de Valois’ page Julia Sporsén soprano Countess of Aremberg silent Count of Lerma Stephen Briggs tenor An old Monk Clive Bayley bass Voice from Heaven Rebecca Ryan soprano Royal Herald Campbell Russell tenor Flemish Deputies Julian Close bass Grant Doyle baritone Stephen Richardson bass Riccardo Simonetti baritone A. Galloway Bell bass Stephen Dowson baritone Chorus of Opera North Timothy Burke chorus master Orchestra of Opera North David Greed leader Alexander Ingram assistant conductor Giuseppe Verdi Richard Farnes 3 Time Page Time Page compact disc one 11 ‘Carlos my friend, hope of our future’ 4:27 [p.47] Act I Rodrigo, Eboli, Elisabeth Scene 1: At the tomb of Charles V in the Monastery of San Juste 12 ‘I come before the Queen and I ask for a favour’ 7:57 [p.48] 1 Prelude 2:17 [p.40] 13 ‘Here where I stand let the earth crack asunder’ 1:46 [p.50] 2 ‘Charles the Fifth, our mighty Lord’ 4:01 [p.40] Don Carlos, -
JAC VAN STEEN CONDUCTS FAURÉ Wednesday 14 and Thursday 15 November 2018 7.30Pm | Amaryllis Fleming Concert Hall Jac Van Steen C
JAC VAN STEEN CONDUCTS FAURÉ Wednesday 14 and Thursday 15 November 2018 7.30pm | Amaryllis Fleming Concert Hall Jac van Steen conductor Wei-Ting Wu violin Charlotte Bowden soprano James Atkinson baritone RCM Symphony Orchestra RCM Chorus MORE MUSIC INVESTING IN THE FUTURE OF MUSIC Our More Music development is a once-in-a-generation opportunity to transform our campus. New state-of-the-art facilities at the heart of our building will complement our existing spaces and heritage. Our plans include: two new performance spaces additional practice rooms for students a new Royal College of Music Museum a new café/ restaurant and courtyard area with improved access a new organ Over the next few months, some instruments and equipment may be visible on the Amaryllis Fleming Concert Hall stage and access routes around the College may vary. Wayfinding signage will be regularly updated to reflect changes. We ask for your patience and understanding as we transform our campus. To find out more or to help us realise our vision please visit www.rcm.ac.uk/moremusic If you have any questions please contact [email protected] JAC VAN STEEN CONDUCTS FAURÉ Wednesday 14 and Thursday 15 November 2018, 7.30pm Amaryllis Fleming Concert Hall Jac van Steen conductor Wei-Ting Wu violin Charlotte Bowden soprano James Atkinson baritone RCM Symphony Orchestra RCM Chorus Lucy Griffiths chorus director Franck Les Éolides (10’) (1822–1890) L Boulanger D'un soir triste (11’) (1893–1918) Dutilleux Sur le même accord (10’) (1916– 2013) INTERVAL Fauré Requiem (36’) (1845–1924) i Introit et Kyrie ii Offertory iii Sanctus iv Pie Jesu v Agnus Dei vi Libera me vii In Paradisum Our evening of French music begins with Les Éolides, a symphonic poem based on Greek classical mythology. -
Pulpit and Playhouse May 2019
Music of the Baroque Chorus and Orchestra Jane Glover, Music Director Soprano Violin 1 Cello Laura Amend Gina DiBello, Barbara Haffner, Alyssa Bennett Elliott Golub Honorary principal Hannah DePriest Concertmaster Chair Judy Stone Kemper Florin Kathleen Brauer, Mark Brandfonbrener Kateri Gormley co-assistant Kate Lee concertmaster Katelyn Lee Kevin Case, Bass Rosalind Lee co-assistant Collins Trier Susan Nelson concertmaster Bahareh Poureslami Teresa Fream Rachel Sparrow Michael Shelton Flute Emily Yiannias Mary Stolper Violin 2 Alto Sharon Polifrone, Oboe Ilana Goldstein principal Anne Bach, principal Julia Hardin Ann Palen Margaret Butler Amanda Koopman Rika Seko Chelsea Lyons Paul Vanderwerf Maggie Mascal Bassoon Josh R. Pritchett William Buchman Viola Elizabeth Hagen Tenor principal Harpsichord/Organ Madison Bolt Terri Van Valkinburgh Stephen Alltop Matthew Cummings Claudia Lasareff- Sam Grosby Mironoff Paul Hunter Benton Wedge Supertitles Ryan Townsend Strand Robert McConnell Zachary Vanderburg Bass Jan Jarvis Keven Keys Kevin Krasinski John Orduña Stephen Richardson Kyle Sackett Pulpit & Playhouse—Bach, Handel, Purcell Nicholas Kraemer, conductor and harpsichord Sunday, May 12, 2019, 7:30 PM North Shore Center for the Performing Arts, Skokie Monday, May 13, 2019, 7:30 PM Harris Theater for Music and Dance, Chicago Sherezade Panthaki, soprano Véronique Filloux, soprano Reginald Mobley, countertenor Thomas Cooley, tenor Christopher Edwards, baritone Anne Bach, oboe Margaret Butler, oboe Cantata 131, “Aus der Tiefen rufe Johann Sebastian -
Music by Wolfgang Amadeus Mozart
Music by Wolfgang Amadeus Mozart CAST: PRODUCTION: Idomeneo: Mark Wilde Musical Director: Nicholas Jenkins Idamante: Sam Furness Director: James Hurley Ilia: Rebecca Bottone Designer: Rachel Szmukler Electra: Kirstin Sharpin Lighting Designer: Ben Pickersgill Arbace: Will Davies Assistant Director: Laura Attridge Voice of Neptune: Pauls Putnins Assistant Musical Director: Jeremy Cooke Production Manager: Isolde Nash Blackheath Halls Opera Chorus Costume Supervisor: Laura Rushton Blackheath Halls Orchestra Costume Assistant: Evelien Coleman Pupils from Greenvale School Community Costume Assistant: Rita Craft Pupils from Charlton Park Academy Senior Stage Manager: Sasja Ekenberg Pupils from Year 5 at Beecroft Garden Deputy Stage Manager: Jean Hally Primary School Assistant Stage Managers: Matthew Carlisle Pupils from Year 5 at Mulgrave and Emily May Sions Primary School Community Stage Manager: Sarah Southerton Project Manager: Rose Ballantyne BLACKHEATH HALLS TEAM: Assistant Project Manager: Isabel Jeakins General Manager: Keith Murray Community Engagement Manager: Publicity and Programme Designer: Rose Ballantyne Colin Dunlop Operations Manager: Hannah Benton Technical Manager: Malcom Richards TRINITY LABAN PROJECT TEAM: Marketing and Box Office Co-ordinator: Project Manager: Heather Stephenson Elizabeth Green Project Leader: Development Officer:Fiona Sanderson Joe Townsend Bookkeeper: Debra Skeet Running Time: Administrator: Caroline Foulkes 2hrs and 50mins Communications Consultant: Clare Fisher Welcome to Blackheath Halls Opera’s production of Mozart’s Idomeneo. Welcome to Blackheath Halls! It is the ninth year of our Community Opera programme and I am thrilled This year’s community opera performances of Mozart’s Idomeneo, bring to a that it continues to grow and develop year on year offering people close another wide-ranging and lively season here at Blackheath Halls.