CD GERMANICO in GERMANIA Reviews

Total Page:16

File Type:pdf, Size:1020Kb

CD GERMANICO in GERMANIA Reviews CD GERMANICO IN GERMANIA Reviews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`$#/!(#)+!+1(!$7$&!.)>$H=7)5#67$!3)/(67$#+.)>$)S!C5$#67H-75 #(/!1)!+$)!9$#+$)!U')>$&#))$)!/$67)#(67!.)+!#)/$&B&$/1/-&#(67!)#67/(!*.!/1+$5)S!@$(#( U/#44$!4#/!7$&9$4!P#49&$?!$)/(675-(($)$4!3#)(1/*!.)+!;5$2#95$&!U/#44;<7&.)>!L1)) (->1&!+.&671.(!$#)$)!4'))5#67$)!,71&1L/$&!(.>>$&#$&$)S!"#$!A&#$!aA!5$#?!67$!#5!4-)+- 1+-&1b!8-)!1.;>$H<75/$4!".L/.(!(#)>/!(#$!4#/!(/&$)>$&!P-);'&9.)>!.)+!;1(/ 7](/$&#(67$4!A.(+&.6LS!a34B#?!($!41#!+#(6#-5>-b!*.!O$>#))!+$(!GS!AL/$(!$&/=)/!4#/ 7$&-#(67$&!3)$&>#$!.)+!UB#/*$)/=)$)!8-)!8$7$4$)/$&!".&67(6751>(L&1;/S!"#$!A)+&-7.)>? `$&(/=&.)>?!P$&&-&!.)+!M5144$)!#)(!W1B#/-5!*.!9&#)>$)?!9&#)>/!+#$!K)/$&B&$/#)!)17$!+$& :1($&$#S!A&4#)#-!;'55/!1.67!+#$!5')>(/$!!A&#$!+$&!cB$&!*.!Z!a%1&/-?!/#!51(6-b!#4!GS!AL/!4#/ <9$&!*$7)!0#)./$)!"1.$&S!3(!#(/!$#)!>$/&1>$)$(?!;1(/!(/-6L$)+$(!V14$)/-!8-55$&!T$74./ .)+!A9(67#$+((674$&*?!+1(!+#$!U')>$&#)!4#/!(/1&L$&!K)/$)(#/'/!.)+!9-7&$)+$4!P-) 8-&/&'>/S!O$#!O$))1)#?!$#)!&$#)$&!U-B&1)?!#(/!$#)!&=4#(67$&!Q1.B/41))!;&$#5#67!).&!(67H$& 8-&(/$5591&S!K)!P#49&$?!U/#44671&1L/$&!.)+!8#&/.-($4!X$&4=>$)!'7)$5/!(#$!d.5#1!V$*7)$81? +#$!#)!+$&!A.;)174$!4#/!+$&!3&(#)+1!9$($/*/!#(/S!%-4B=(!H#&+!8-)!+$)!O5'($&)!,$6#)1( A&#$!#4!GS!AL/?!aU$!+-B-!&#1!B&-6$551b?!$#)>$5$#/$/?!#)!H$567$&!+#$!U')>$&#)!#7&$!/#$;$!V1>$ 8-&/$#571;/!$#)($/*/!.)+!7#$&!H$)#>$&!;$4#)#)!L5#)>/!15(!#)!aU$&914#!51!/.1!;$+$b!-+$&!+$4 #)!H#$>$)+$4!(#6#5#1)-^:7]/74.(!9$*1.9$&)+$)aU$&91&$!14-&$b!#4!FS!AL/S "#$!9$&$#/(!$&H'7)/$!.L&1#)#(67$!U-B&1)#(/#)!d.5#1!V$*7)$81 #(/!$#)!3&$#>)#(!#)!+$&!O$($/*.)>!.)+!9#$/$/!15(!3&(#)+1!$#) C51)*(/<6L!8-L15$&!W.)(/;$&/#>L$#/S!U67-)!#)!#7&$&!$&(/$)!A&#$? aA5!(-5$!#!5.4#b?!;'55/!(#$!1.;!4#/!#7&$4!#)+#8#+.$55$)? 4'+67$)71;/^5#$95#67$)!P#49&$!.)+!+$&!9$/=&$)+$)!A&/ #7&$(!U#)>$)(S![)+!(->5$#67!9#$/$/!(#$!$#)$!"$4-)(/&1/#-) #7&$&!(/.B$)+$)!C$(1)>(L.)(/!4#/!9$*1.9$&)+$)!P&#55$&) .)+!5#$95#67$)!W-5-&1/.&L$//$)S!0#/!>5$#67;155(!7=67(/$& X#&/.-(#/'/!(#)>/!(#$!aU$!(B-(1!+e.)!:-41)-b?!<9$&/&#;;/!+1( )-67!4#/!aX$+$&!8#6#)-!#5!(.-!6-)/$)/-b!#4!GS!AL/!Z!$#)$!/-.& +$!;-&6$!8-)!4#&1L.5=($&!O&18-.&!#)!1/$49$&1.9$)+$4 P$4B-S!"#$!,1B$551!,&16-8#$)(#(!15(!9$>5$#/$)+$(!c&67$(/$&? +$&!"#&#>$)/!d1)!P-41(*!A+14.(!.)+!+#$!U-5#(/#)!9$;5<>$5) (#67!7#$&!>$>$)($#/#>!*.!$#)$&!U/$&)(/.)+$!+$(!C$(1)>(S @#6-51!A)/-)#-!%-&B-&1\!T#L#B$+#1 @#67/!H$)#>$&!(B$L/1L.5'&!#(/!3&(#)+1(!1.;>$H<75/$ C5$#67)#(1&#$!aU-&>$!+155e-)+$!b?!H$567$!+#$!1.(!+$)!T$55$)!1.;(/$#>$)+$!A.&-&1!(67#5+$&/S "1((!+#$!U')>$&#)!7'.;#>!;<&!$#)$)!0$**-(-B&1)!>$715/$)!H#&+?!#(/!7#$&!)1677=&91&?!+$)) +#$!U/#44$!L5#)>/!&$#*8-55!+.)L$5!.)+!8$&(671//$/S!U675#$Y5#67!9#$/$/!+$&!FS!AL/!4#/!aU$ B-((-)-!#!/.-#!&1#b!$#)!H$#/$&$(!O&18-.&(/<6L!4#/!P&#55$&)?!(/1661/#!.)+!W-5-&1/.&>#&51)+$)S T$))!41)!1)!+$&!A.()174$5$#(/.)>!+$&!U')>$&#)!$#)$!L&#/#(67$!A)4$&L.)>!4167$) L=))/$?!H'&$)!!$(!*H$#?!+&$#!(/$#;$!UB#/*$)/=)$!#)!+$&!$2B-)#$&/$)!V1>$!Z!19$&!+1(!(#)+ 41&>#)15$!0-4$)/$?!+#$!+$)!>&1)+#-($)!C$(14/$#)+&.6L!)#67/!/&<9$)S ,$)6#6!15(!%&-+.*$)/!71/!7#$&!)#67/!).&!$#)$!A.()174$9$($/*.)>!>$;.)+$)?!(-)+$&) 5#$;$&/!#)!+$&!P#/$5B1&/#$!1.67!$#)$!($#)$&!9$(/$)!V$#(/.)>$)!+$&!5$/*/$)!d17&$S!0#/!+$&!A&#$ af.$(/-!g!#5!815-&b?!8-4!c&67$(/$&!4#/!+<(/$&!>&-55$)+$)!M#>.&$)!.)/$&415/?!;<7&/!(#67 C$&41)#6-!$)$&>#(67!$#)S!"#$!U/#44$!L5#)>/!H#$!8-)!$#)$4!T$#67*$#67)$&!<9$&*->$)? (#))5#67?!8-5.4#)=(!.)+!>')*5#67!-7)$!+#$!9$#!#74!9$L1))/$)!7](/$&#(67^(67&#55$) UB#/*$)/=)$S!0<7$5-(!9$H'5/#>/!+$&!,-.)/$&!+1(!8#&/.-($!`#$&H$&LS!0#/!B.5(#$&$)+$& "&141/#L!;<7&/!+1(!c&67$(/$&!#)!+#$!A&#$!af.15!/.&9#)$b!$#)?!,$)6#6!)#44/!+#$($!X-&>19$ 1.;?!(#)>/!4#/!$&&$>/$&?!1.;>$H<75/$&!P-)>$9.)>S!U$#)$!$&(/$!A&#$!#4!GS!AL/S!a@1(6$!+1 8155$!#4B.&1b?!!H#&+!8-)!$#)$4!B-4B=($)!01&(67!$#)>$5$#/$/?!#(/!19$&!8-)!>$/&1>$)$4 ,71&1L/$&!.)+!(/$55/!+#$!U67=)7$#/!+$&!U/#44$!#)(!9$(/$!V#67/S 3#)!)-67!.)9$L1))/$&!@14$!#(/!+$&!8-)!"#5]1&1!K+&#(-81?!+#$!+#$!:-(4-)+1!4#/ 9&18-.&=($4!U-B&1)!8-)!(67=)$&!U.9(/1)*!(#)>/S!U#$!9$$)+$/!+$)!DS!AL/!4#/!$#)$4 +&141/#(67$)!:$6#/1/#8-!166-4B1>)1/-?!+1(!+#$!M#>.&!#4!`H#$(B15/!*H#(67$)!X1/$&!.)+ C1//$)!*$#>/?!.)+!+$&!A&#$!aU-)!h.15!4#($&-!)18#>5#-b?!H$567$!+#$!>$(B1))/$!U#/.1/#-) H#+$&(B#$>$5/?!19$&!1.67!+#$!$)-&4$!X#&/.-(#/'/!+$&!:.((#)!*.&!U671.!(/$55/S!i7)5#67 1.;>$H<75/!(#)+!#7&$!A&#$)!#4!GS!.)+!FS!AL/?!H1(!(#67!#)!51)>$)!W-5-&1/.&>#&51)+$)!'.Y$&/S A5(!U$>$(/$!5'((/!d.1)!U1)67-!$#)$)!P$)-&!8-)!1)>$)$74$4?!j.)>4'))5#67$)!P#49&$ 7=&$)S!U$#)!$&(/$(!U-5-?!$#)$!C5$#67)#(1&#$!8-)!U/.&4!.)+!T$55$)!Na@-667#$&?!67$!41#!)-) 8#+$bR?!(#)>/!$&!!4#/!8#9&#$&$)+$&!3&&$>.)>?!;$#)!>$/#BB/$)!(/1661/#!.)+!9&18-.&=($) V'.;$)S!U$#)$!7$&&#(67!1.;/&.4B;$)+$!A&#$!14!3)+$!+$(!GS!AL/$(?!aU6->5#-!15B$(/&$b? 9$>5$#/$/!+1(!c&67$(/$&!4#/!B-67$)+$)!.)+!(/14B;$)+$)!:7]/74$)S!K4!FS!AL/!;'55/!#74 4#/!aU1>>#-!g!#5!6.5/-&b!+1(!5$/*/$!U-5-!*.?!+$))!+#$!cB$&!$)+$/!4#/!$#)$4!,7-&!NaU#!8$&&k 5e14#6-!>#-&)-bR?!+$&!+$)!>5<6L5#67$)!A.(>1)>!+$(!C$(67$7$)(!B&$#(/S!d$+$4 O1&-6L;&$.)+!#(/!+#$($!(-&>;'5/#>$!3#)(B#$5.)>!4#/!#7&$&!1.(>$H->$)$)?!7-67L1&'/#>$) O$($/*.)>!*.!$4B;$75$)S!A.67!+#$!,1B$551!,&16-8#$)(#(?!+#$!(67-)!#)!+$&!$#)5$#/$)+$) U#);-)#1!;.54#)1)/!1.;(B#$5/?!)#44/!9#(!*.4!3)+$!+$(!51)>$)!T$&L$(!8-)!GGI!0#)./$) UB#$5+1.$&!4#/!#7&$4!UB#$5!8-)!B.5(#$&$)+$&!X$&8$!;<&!(#67!$#)!N"$661!F!,"(!lmF!DJGFRS O$&)+!Q-BB$ ! 1%##) ,%(-)./#'*/.*,%(-)./) ./#'3)*).4'./'*&'(&'() $<=>?@ABCC?*?<=?=*;DEE?=>B@ 26 January 2018 All content © by Joseph Newsome.
Recommended publications
  • Swedish Debut at Royal Opera Stockholm with Handel's „Xerxes“
    Press release Greek conductor George Petrou – Swedish debut at Royal Opera Stockholm with Handel’s „Xerxes“: 6. February 2015 Greek conductor George Petrou will be making his Swedish debut at the Royal Opera in Stockholm: On 6. February 2015 he will be conducting the revival of “Xerxes” by Georg Friedrich Handel. Katija Dragojevic will be heard in the titel role; other main characters will be represented by Susanna Stern (Romilda), Vivianne Holmberg (Atalante), Johanna Rudström (Arsamenes), Katarina Leoson (Amastris), John Erik Eleby (Ariodates) and Jens Persson (Elviro). The production was directed by Daniel Slater, stage design, costumes and mask by Robert Innes Hopkins. Further performances: 11., 14., 17., 24., 27. February and 3. March. George Petrou has been established as one of the world's leading Handel specialists. Many of his Handel-opera-recordings received important classical music awards like the French Diapason d’Or and Choc du monde de la musique as well as the German ECHO Klassik. For George Petrou “Xerxes” in Stockholm is also a premiere even though he has already conducted selected arias of the opera in the past: “Serse was a turning point in Handel's operatic output. It looked ahead into the future, breaking a great deal of the Opera seria conventions. Apparently it quite shocked the public with its novelty of structure and style, and it wasn't understood. However, it remains one of Handel's top creations.” “Xerxes” is one of the most frequently played operas by Handel. The plot unfolds as a comic rollercoaster of love, jealousy and secret desires in which nothing is quite as it seems.
    [Show full text]
  • The University of Chicago Objects of Veneration
    THE UNIVERSITY OF CHICAGO OBJECTS OF VENERATION: MUSIC AND MATERIALITY IN THE COMPOSER-CULTS OF GERMANY AND AUSTRIA, 1870-1930 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY ABIGAIL FINE CHICAGO, ILLINOIS AUGUST 2017 © Copyright Abigail Fine 2017 All rights reserved ii TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES.................................................................. v LIST OF FIGURES.......................................................................................... vi LIST OF TABLES............................................................................................ ix ACKNOWLEDGEMENTS............................................................................. x ABSTRACT....................................................................................................... xiii INTRODUCTION........................................................................................................ 1 CHAPTER 1: Beethoven’s Death and the Physiognomy of Late Style Introduction..................................................................................................... 41 Part I: Material Reception Beethoven’s (Death) Mask............................................................................. 50 The Cult of the Face........................................................................................ 67 Part II: Musical Reception Musical Physiognomies...............................................................................
    [Show full text]
  • Revisiting Zero Hour 1945
    REVISITING ZERO-HOUR 1945 THE EMERGENCE OF POSTWAR GERMAN CULTURE edited by STEPHEN BROCKMANN FRANK TROMMLER VOLUME 1 American Institute for Contemporary German Studies The Johns Hopkins University REVISITING ZERO-HOUR 1945 THE EMERGENCE OF POSTWAR GERMAN CULTURE edited by STEPHEN BROCKMANN FRANK TROMMLER HUMANITIES PROGRAM REPORT VOLUME 1 The views expressed in this publication are those of the author(s) alone. They do not necessarily reflect the views of the American Institute for Contemporary German Studies. ©1996 by the American Institute for Contemporary German Studies ISBN 0-941441-15-1 This Humanities Program Volume is made possible by the Harry & Helen Gray Humanities Program. Additional copies are available for $5.00 to cover postage and handling from the American Institute for Contemporary German Studies, Suite 420, 1400 16th Street, N.W., Washington, D.C. 20036-2217. Telephone 202/332-9312, Fax 202/265- 9531, E-mail: [email protected] Web: http://www.aicgs.org ii F O R E W O R D Since its inception, AICGS has incorporated the study of German literature and culture as a part of its mandate to help provide a comprehensive understanding of contemporary Germany. The nature of Germany’s past and present requires nothing less than an interdisciplinary approach to the analysis of German society and culture. Within its research and public affairs programs, the analysis of Germany’s intellectual and cultural traditions and debates has always been central to the Institute’s work. At the time the Berlin Wall was about to fall, the Institute was awarded a major grant from the National Endowment for the Humanities to help create an endowment for its humanities programs.
    [Show full text]
  • Hitler's Germania: Propaganda Writ in Stone
    Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 Hitler's Germania: Propaganda Writ in Stone Aaron Mumford Boehlert Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the Architectural History and Criticism Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Boehlert, Aaron Mumford, "Hitler's Germania: Propaganda Writ in Stone" (2017). Senior Projects Spring 2017. 136. https://digitalcommons.bard.edu/senproj_s2017/136 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Hitler’s Germania: Propaganda Writ in Stone Senior Project submitted to the Division of Arts of Bard College By Aaron Boehlert Annandale-on-Hudson, NY 2017 A. Boehlert 2 Acknowledgments This project would not have been possible without the infinite patience, support, and guidance of my advisor, Olga Touloumi, truly a force to be reckoned with in the best possible way. We’ve had laughs, fights, and some of the most incredible moments of collaboration, and I can’t imagine having spent this year working with anyone else.
    [Show full text]
  • Oscar Straus Beiträge Zur Annäherung an Einen Zu Unrecht Vergessenen
    Fedora Wesseler, Stefan Schmidl (Hg.), Oscar Straus Beiträge zur Annäherung an einen zu Unrecht Vergessenen Amsterdam 2017 © 2017 die Autorinnen und Autoren Diese Publikation ist unter der DOI-Nummer 10.13140/RG.2.2.29695.00168 verzeichnet Inhalt Vorwort Fedora Wesseler (Paris), Stefan Schmidl (Wien) ......................................................................5 Avant-propos Fedora Wesseler (Paris), Stefan Schmidl (Wien) ......................................................................7 Wien-Berlin-Paris-Hollywood-Bad Ischl Urbane Kontexte 1900-1950 Susana Zapke (Wien) ................................................................................................................ 9 Von den Nibelungen bis zu Cleopatra Oscar Straus – ein deutscher Offenbach? Peter P. Pachl (Berlin) ............................................................................................................. 13 Oscar Straus, das „Überbrettl“ und Arnold Schönberg Margareta Saary (Wien) .......................................................................................................... 27 Burlesk, ideologiekritisch, destruktiv Die lustigen Nibelungen von Oscar Straus und Fritz Oliven (Rideamus) Erich Wolfgang Partsch† (Wien) ............................................................................................ 48 Oscar Straus – Walzerträume Fritz Schweiger (Salzburg) ..................................................................................................... 54 „Vm. bei Oscar Straus. Er spielte mir den tapferen Cassian vor;
    [Show full text]
  • THE INCIDENTAL MUSIC of BEETHOVEN THESIS Presented To
    Z 2 THE INCIDENTAL MUSIC OF BEETHOVEN THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Theodore J. Albrecht, B. M. E. Denton, Texas May, 1969 TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS. .................. iv Chapter I. INTRODUCTION............... ............. II. EGMONT.................... ......... 0 0 05 Historical Background Egmont: Synopsis Egmont: the Music III. KONIG STEPHAN, DIE RUINEN VON ATHEN, DIE WEIHE DES HAUSES................. .......... 39 Historical Background K*niq Stephan: Synopsis K'nig Stephan: the Music Die Ruinen von Athen: Synopsis Die Ruinen von Athen: the Music Die Weihe des Hauses: the Play and the Music IV. THE LATER PLAYS......................-.-...121 Tarpe.ja: Historical Background Tarpeja: the Music Die gute Nachricht: Historical Background Die gute Nachricht: the Music Leonore Prohaska: Historical Background Leonore Prohaska: the Music Die Ehrenpforten: Historical Background Die Ehrenpforten: the Music Wilhelm Tell: Historical Background Wilhelm Tell: the Music V. CONCLUSION,...................... .......... 143 BIBLIOGRAPHY.....................................-..145 iii LIST OF ILLUSTRATIONS Figure Page 1. Egmont, Overture, bars 28-32 . , . 17 2. Egmont, Overture, bars 82-85 . , . 17 3. Overture, bars 295-298 , . , . 18 4. Number 1, bars 1-6 . 19 5. Elgmpnt, Number 1, bars 16-18 . 19 Eqm 20 6. EEqgmont, gmont, Number 1, bars 30-37 . Egmont, 7. Number 1, bars 87-91 . 20 Egmont,Eqm 8. Number 2, bars 1-4 . 21 Egmon t, 9. Number 2, bars 9-12. 22 Egmont,, 10. Number 2, bars 27-29 . 22 23 11. Eqmont, Number 2, bar 32 . Egmont, 12. Number 2, bars 71-75 . 23 Egmont,, 13.
    [Show full text]
  • BIO Julia Lezhneva
    Julia Lezhneva, Soprano The young Russian soprano Julia Lezhneva has been described as possessing a voice of “angelic beauty”, “pure tone” and “flawless technique”. Born into a family of geophysicists on Sakhalin Island in 1989, she began playing the piano and singing at the age of five. After graduating from the Gretchaninov Music School, she continued her vocal and piano studies at the Moscow Conservatory Academic Music College. At the age of 17 she came to international attention winning the Elena Obraztsova International Competition, and at 18 she shared the concert stage with Juan Diego Flórez at the opening of the Rossini Opera Festival in Pesaro under Alberto Zedda. In 2008 she began studying with tenor Dennis O’Neill in Cardiff, supported by the Kempinski Arts Fellowship Programme and then completed her training under Yvonne Kenny at London’s Guildhall School. In 2009 she won first prize at the Mirjam Helin International Singing Competition in Helsinki and the following year took first prize at the Paris International Opera Competition, the youngest entrant in each competition’s history. In 2010, Julia Lezhneva created a sensation at the Classical Brit awards at London’s Royal Albert Hall, singing Rossini’s Fra il padre upon the invitation of Dame Kiri Te Kanawa. In Her stage and concert appearances in 2010-2011 have included the Brussels and Berlin State operas, the Mostly Mozart festival, the Cleveland Orchestra, Les Musiciens du Louvre and Il Giardino Armonico & Europa Galante during the European concert tours. 2011, Opernwelt named her “Young Singer of the Year” for her debut at La Monnaie in Brussels.
    [Show full text]
  • The Howard Mayer Brown Libretto Collection
    • The Howard Mayer Brown Libretto Collection N.B.: The Newberry Library does not own all the libretti listed here. The Library received the collection as it existed at the time of Howard Brown's death in 1993, with some gaps due to the late professor's generosity In loaning books from his personal library to other scholars. Preceding the master inventory of libretti are three lists: List # 1: Libretti that are missing, sorted by catalog number assigned them in the inventory; List #2: Same list of missing libretti as List # 1, but sorted by Brown Libretto Collection (BLC) number; and • List #3: List of libretti in the inventory that have been recataloged by the Newberry Library, and their new catalog numbers. -Alison Hinderliter, Manuscripts and Archives Librarian Feb. 2007 • List #1: • Howard Mayer Brown Libretti NOT found at the Newberry Library Sorted by catalog number 100 BLC 892 L'Angelo di Fuoco [modern program book, 1963-64] 177 BLC 877c Balleto delli Sette Pianeti Celesti rfacsimile 1 226 BLC 869 Camila [facsimile] 248 BLC 900 Carmen [modern program book and libretto 1 25~~ Caterina Cornaro [modern program book] 343 a Creso. Drama per musica [facsimile1 I 447 BLC 888 L 'Erismena [modern program book1 467 BLC 891 Euridice [modern program book, 19651 469 BLC 859 I' Euridice [modern libretto and program book, 1980] 507 BLC 877b ITa Feste di Giunone [facsimile] 516 BLC 870 Les Fetes d'Hebe [modern program book] 576 BLC 864 La Gioconda [Chicago Opera program, 1915] 618 BLC 875 Ifigenia in Tauride [facsimile 1 650 BLC 879 Intermezzi Comici-Musicali
    [Show full text]
  • Francesco Cavalli One Man. Two Women. Three Times the Trouble
    GIASONE FRANCESCO CAVALLI ONE MAN. TWO WOMEN. THREE TIMES THE TROUBLE. 1 Pinchgut - Giasone Si.indd 1 26/11/13 1:10 PM GIASONE MUSIC Francesco Cavalli LIBRETTO Giacinto Andrea Cicognini CAST Giasone David Hansen Medea Celeste Lazarenko Isiile ORLANDO Miriam Allan Demo BY GEORGE FRIDERIC HANDEL Christopher Saunders IN ASSOCIATION WITH GLIMMERGLASS FESTIVAL, NEW YORK Oreste David Greco Egeo Andrew Goodwin JULIA LEZHNEVA Delfa Adrian McEniery WITH THE TASMANIAN SYMPHONY ORCHESTRA Ercole Nicholas Dinopoulos Alinda Alexandra Oomens XAVIER SABATA Argonauts Chris Childs-Maidment, Nicholas Gell, David Herrero, WITH ORCHESTRA OF THE ANTIPODES William Koutsoukis, Harold Lander TOWN HALL SERIES Orchestra of the Antipodes CONDUCTOR Erin Helyard CLASS OF TIMO-VEIKKO VALVE DIRECTOR Chas Rader-Shieber LATITUDE 37 DESIGNERS Chas Rader-Shieber & Katren Wood DUELLING HARPSICHORDS ’ LIGHTING DESIGNER Bernie Tan-Hayes 85 SMARO GREGORIADOU ENSEMBLE HB 5, 7, 8 and 9 December 2013 AND City Recital Hall Angel Place There will be one interval of 20 minutes at the conclusion of Part 1. FIVE RECITALS OF BAROQUE MUSIC The performance will inish at approximately 10.10 pm on 5x5 x 5@ 5 FIVE TASMANIAN SOLOISTS AND ENSEMBLES Thursday, Saturday and Monday, and at 7.40 pm on Sunday. FIVE DOLLARS A TICKET AT THE DOOR Giasone was irst performed at the Teatro San Cassiano in Venice FIVE PM MONDAY TO FRIDAY on 5 January 1649. Giasone is being recorded live for CD release on the Pinchgut LIVE label, and is being broadcast on ABC Classic FM on Sunday 8 December at 7 pm. Any microphones you observe are for recording and not ampliication.
    [Show full text]
  • NEWSLETTER Editor: Francis Knights
    NEWSLETTER Editor: Francis Knights Volume v/1 (Spring 2021) Welcome to the NEMA Newsletter, the online pdf publication for members of the National Early Music Association UK, which appears twice yearly. It is designed to share and circulate information and resources with and between Britain’s regional early music Fora, amateur musicians, professional performers, scholars, instrument makers, early music societies, publishers and retailers. As well as the listings section (including news, obituaries and organizations) there are a number of articles, including work from leading writers, scholars and performers, and reports of events such as festivals and conferences. INDEX Interview with Bruno Turner, Ivan Moody p.3 A painted villanella: In Memoriam H. Colin Slim, Glen Wilson p.9 To tie or not to tie? Editing early keyboard music, Francis Knights p.15 Byrd Bibliography 2019-2020, Richard Turbet p.20 The Historic Record of Vocal Sound (1650-1829), Richard Bethell p.30 Collecting historic guitars, David Jacques p.83 Composer Anniversaries in 2021, John Collins p.87 v2 News & Events News p.94 Obituaries p.94 Societies & Organizations p.95 Musical instrument auctions p.96 Conferences p.97 Obituary: Yvette Adams, Mark Windisch p.98 The NEMA Newsletter is produced twice yearly, in the Spring and Autumn. Contributions are welcomed by the Editor, email [email protected]. Copyright of all contributions remains with the authors, and all opinions expressed are those of the authors, not the publisher. NEMA is a Registered Charity, website http://www.earlymusic.info/nema.php 2 Interview with Bruno Turner Ivan Moody Ivan Moody: How did music begin for you? Bruno Turner: My family was musical.
    [Show full text]
  • Digital Concert Hall
    Digital Concert Hall Streaming Partner of the Digital Concert Hall 21/22 season Where we play just for you Welcome to the Digital Concert Hall The Berliner Philharmoniker and chief The coming season also promises reward- conductor Kirill Petrenko welcome you to ing discoveries, including music by unjustly the 2021/22 season! Full of anticipation at forgotten composers from the first third the prospect of intensive musical encoun- of the 20th century. Rued Langgaard and ters with esteemed guests and fascinat- Leone Sinigaglia belong to the “Lost ing discoveries – but especially with you. Generation” that forms a connecting link Austro-German music from the Classi- between late Romanticism and the music cal period to late Romanticism is one facet that followed the Second World War. of Kirill Petrenko’s artistic collaboration In addition to rediscoveries, the with the orchestra. He continues this pro- season offers encounters with the latest grammatic course with works by Mozart, contemporary music. World premieres by Beethoven, Schubert, Mendelssohn, Olga Neuwirth and Erkki-Sven Tüür reflect Brahms and Strauss. Long-time compan- our diverse musical environment. Artist ions like Herbert Blomstedt, Sir John Eliot in Residence Patricia Kopatchinskaja is Gardiner, Janine Jansen and Sir András also one of the most exciting artists of our Schiff also devote themselves to this core time. The violinist has the ability to capti- repertoire. Semyon Bychkov, Zubin Mehta vate her audiences, even in challenging and Gustavo Dudamel will each conduct works, with enthusiastic playing, technical a Mahler symphony, and Philippe Jordan brilliance and insatiable curiosity. returns to the Berliner Philharmoniker Numerous debuts will arouse your after a long absence.
    [Show full text]
  • German Influences Choirs, Repertoires, Nationalities
    CHAPTER 1 German Influences Choirs, Repertoires, Nationalities Joep Leerssen The Choir’s Message, the Choir as Medium The German League of Choral Societies held its seventh festival in Breslau in 1906–07. The official programme gazette opened with a poem by the cel- ebrated figure-head of cultural nationalism, Felix Dahn, distinguished profes- sor at the local university, authoritative legal historian, former volunteer in the Franco-Prussian War, author of many a patriotic poem, and famous for his best-selling series of historical novels set at various periods of German and Germanic history. In English translation, the poem runs like this: To the German people God has given / Music of richest sonority In order that rest and struggle, death and life / may be glorified to us in song. So sing on, then, German youth / Of all things which can swell your heart! Of the persistence of true love / Of true friendship, gold and ore; Of the sacred shivers of pious awe / Of the sheen of spring and the joy of the forest Of Wanderlust, roving from land to land / And of that darling son of sunshine —Do not neglect that!—the golden wine. / Yes, sing of all things high and lovely, But above all cherish one specific song / Which should resound inspiring and roaring: The song of the German heroic spirit! / The song of manly duty and honour, Of faithfulness uncowed by fear / Which jubilantly hurls itself onto the foes’ spears And in death wrests victory! / Only he who is willing to die as well as live © Joep Leerssen, 2015 | doi 10.1163/9789004300859_003 This is an open access chapter distributed under the terms of the CC BY-NC-ND 4.0Joep license.
    [Show full text]