DOCSLIB.ORG

Peer Gynt (Complete Incidental Music) Soloists • Malmö Chamber Choir Malmö Symphony Orchestra • Bjarte Engeset

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Peer Gynt (Complete Incidental Music) Soloists • Malmö Chamber Choir Malmö Symphony Orchestra • Bjarte Engeset 570871-72 bk Grieg 8/15/08 2:26 PM Page 20 Vaarnatt og seljekall by Nicolai Astrup (1880-1928) GRIEG 2 CDs (©Sparebankstiftelsen DnB NOR, Norway); Photograph: Erik Fuglseth, Norway Peer Gynt (Complete Incidental Music) Soloists • Malmö Chamber Choir Malmö Symphony Orchestra • Bjarte Engeset Get this free download from Classicsonline! Svendsen: Norwegian Folksong: I Fjol gjaett’e Gjeitinn: Andantino Copy this Promotion Code Nax65iW92KhM and go to www.classicsonline.com/mpkey/sve12_main. Downloading Instructions 1 Log on to Classicsonline. If you do not have a Classicsonline account yet, please register at http://www.classicsonline.com/UserLogIn/SignUp.aspx. 2 Enter the Promotion Code mentioned above. 3 On the next screen, click on “Add to My Downloads”. 8.570871-72 20 570871-72 bk Grieg 8/15/08 2:26 PM Page 2 Peer Gynt Also available: Peer Gynt . Hans Jakob Sand Åse (Aase), his mother . Anne Marit Jacobsen Solveig . Isa Katharina Gericke Fiddler (Hardanger fiddle) . Gjermund Larsen Dairymaid (Herdgirl); Witch . Unni Løvlid Dairymaid (Herdgirl); Witch . Kirsten Bråten Berg Dairymaid (Herdgirl) . Lena Willemark The Mountain King (Dovre-King); Senior Troll (Courtier); The Bøyg (Voice in the Darkness); Button-moulder . Erik Hivju Anitra . Itziar M. Galdos Thief . Knut Stiklestad Fence; sings ‘Peer Gynt’s Serenade’ . Yngve A. Søberg Malmö Chamber Choir (Chorus Master: Dan-Oluf Stenlund) Boys’ and Girls’ Choruses of the Lund Cultural School (Chorus Master: Karin Fagius) Malmö Symphony Orchestra Bjarte Engeset Before a Southern Convent (Foran Sydens Kloster) 8.570236 Isa Katharina Gericke, Soprano Marianne E. Andersen, Alto Malmö Chamber Choir (women’s voices) (Chorus Master: Dan-Oluf Stenlund) Malmö Symphony Orchestra Bjarte Engeset Bergliot Bergliot . Frøydis Armand Malmö Symphony Orchestra 8.557991 Bjarte Engeset 8.570871-72 2 19 8.570871-72 570871-72 bk Grieg 8/15/08 2:26 PM Page 18 Lund School of Culture Choruses CD 1 75:58 Act IV The Lund School of Culture in Sweden has extensive choral activities for young people aged nine to nineteen, and is Peer Gynt, Op. 23 ^ Morning Mood (Morgenstemning) 4:14 the base of the lower secondary school choirs Köramellerna and Boys’ Voice. This is not the first collaboration with (Text: Henrik Ibsen) & The Thief and the Fence (Tyven og heleren) 1:25 the Malmö Symphony Orchestra and Lund School of Culture; for many years the lower secondary choirs have taken * Arabian Dance (Arabisk dans) 4:47 part in the Nalle Christmas concerts. They have also performed at Malmö Opera and Music Theatre in productions Act I ( Anitra’s Dance (Anitras dans) 3:28 such as Macbeth, Othello and Dead Man Walking. Köramellerna and Boys’ Voice are conducted by Karin Fagius. ) Peer Gynt (spoken) 0:18 1 Prelude – At the Farm Wedding ¡ Peer Gynt’s Serenade (Peer Gynts serenade) 2:47 Malmö Chamber Choir (I bryllupsgården) (Forspill til Akt I) 5:12 ™ Peer Gynt and Anitra (Peer Gynt og Anitra) 3:16 2 The “Buck-ride” (“Bukkerittet”) £ Solveig’s Song (Solveigs sang) 5:11 The first concert of the Malmö Chamber Choir took place in November 1975 and Photo: Andreas Nilsson (spoken dialogue) 4:05 ¢ Peer Gynt at the Statue of Memnon was widely acclaimed in southern Sweden. Since then the choir has given about (Peer Gynt ved Memnonstøtten) 2:05 seven hundred concerts and made recordings for record companies, television and 3 Halling 1:14 radio. Most of the concerts have been given in Skåne, some thirty in Norrland and 4 Springar 2:16 more than a hundred in other parts of Sweden. In all, some hundred concerts have been given during tours in Denmark, Norway, Finland, Czechoslovakia, Germany, Act II CD 2 52:06 Switzerland, Hungary, Belgium, Holland, England, Israel and the United States. There have also been a number of first performances of works specially written for 5 The Bridenapping. Ingrid’s Lament Act V Dan-Olof Stenlund and his ensemble. Over the years many choir members have been recruited from the Malmö (Bruderovet. Ingrids klage) 4:18 Academy of Music and from the Copenhagen Royal Academy of Music. After a few years in the choir several of 6 Peer Gynt (spoken) 0:36 1 Peer Gynt’s Homecoming (Peer Gynts hjemfart. them have then pursued their own careers, winning great success as soloists, conductors and church musicians. 7 Peer Gynt and the Dairymaids Stormfull aften på havet) 2:39 (Peer Gynt og seterjentene) 3:44 2 The Shipwreck (Skipsforliset) 1:27 Malmö Symphony Orchestra 8 Peer Gynt and the Woman in Green 3 Solveig sings in the Hut (Peer Gynt og Den grønnkledte) 2:23 (Solveig synger i hytten) 1:43 Founded in 1925, the Malmö Symphony Orchestra is a young and vigorous orchestra. For 9 Great men ride in style! (Peer Gynt: 4 Peer Gynt (spoken) 0:26 many years dividing its energies between opera and concerts, since 1991 the orchestra “På ridestellet skal storfolk kjendes!”) 0:19 5 Night Scene (Nattscene) 7:43 has been fully committed to symphonic repertoire, which it performs in its own concert 0 6 Peer Gynt (spoken) 1:51 hall. With a complement of a hundred musicians, the orchestra offers an exciting variety In the Hall of the Mountain King 7 Whitsun Hymn: “O Blessed Morning” of concert programmes to large and enthusiastic audiences. The main focus is on the rich (I Dovregubbens hall) 2:51 (Pinsesalme: “Velsignede morgen”) 1:26 tradition of orchestral music, with the ambition of bringing it into the future. Several ! Dance of the Mountain King’s Daughter recordings have been acclaimed internationally and rewarded with the Cannes Classical (Dans av Dovregubbens datter) 1:44 8 Peer Gynt and Solveig (spoken) 0:50 Photo: Klas Andersson Award and Diapason d’Or, with a recording of the Berwald symphonies with Sixten @ Peer Gynt chased by the Trolls 9 Solveig’s Lullaby (Solveigs vuggevise) 5:51 Ehrling receiving a Gramophone Award. The collaboration of the Malmö Symphony Orchestra with Naxos and BIS (Peer Gynt jages av troll) 3:28 has done much to enhance its international reputation. Among the orchestra’s principal conductors over the years # Peer Gynt and the Bøyg 0 may be mentioned Herbert Blomstedt, Vernon Handley, James DePreist and Paavo Järvi. Vassily Sinaisky was (Peer Gynt og Bøygen) 4:33 Before a Southern Convent appointed principal conductor in 2007. (Foran Sydens Kloster), Op. 20 9:26 (Text: Björnstjerne Björnson) Act III $ Prelude. Åse’s Death (Forspill. Åses død) 3:56 ! Bergliot, Op. 42 18:45 % Åse’s Death (Åses død) 7:47 (Text: Björnstjerne Björnson) 8.570871-72 18 3 8.570871-72 570871-72 bk Grieg 8/15/08 2:26 PM Page 4 Edvard Grieg (1843-1907) Erik Hivju Peer Gynt, Op. 23 • Foran Sydens Kloster, Op. 20 • Bergliot, Op. 42 Norwegian actor Erik Hivju has performed over seventy rôles at the National Theatre in Oslo Peer Gynt: Synopsis between 1968 and 2007. In recent years he has played Dagfinn the Peasant in the Nordic co- production The Pretenders (2005) and the Old Man in Sleep (2005). Erik Hivju has also been a Act I guest actor on a host of Norwegian stages, appearing for instance as Willy Loman in Death of a Salesman at Rogaland Theatre, Hjalmar Ekdal in The Wild Duck, Creon in Antigone, both at Young Peer Gynt has grown up in poverty in a Norwegian inland village. In the opening scene he tells his mother a Agder Theatre, and as the judge in Crime and Punishment at Riksteatret. In 2006 he played the fantastic tale about his dramatic encounter with a buck reindeer when out hunting in the mountains (Prelude CD 1, Dovre-Master (Old Man of the Mountains) in Bentein Baardson’s production of Peer Gynt at the Track 1 and The “Buck-ride” CD 1, Track 2). Their heated dialogue ends with Peer heaving his mother up on to the pyramids in Giza, Egypt, and in autumn 2007 appeared in Erasmus Montanus, directed by roof of the mill-house and rushing off to the wedding at Hægstad (‘Halling’ CD 1, Track 3). There he has his crucial Gábor Zsámbéki. He has also appeared in several film and television productions, including Gåten Knut Hamsun first meeting with a young woman called Solveig (‘Springar’ CD 1, Track 4). Her parents warn her to keep away (1996), Salige er de som tørster/Blessed Are Those Who Thirst (1997), Island of Darkness (1997) and Svarte from Peer, who is already at loggerheads with several of the wedding guests. The act ends with Peer slinging the penger, hvite løgner (2004). He won the ‘Amanda award’ for his contribution to Fjernsynteatret’s production of bride Ingrid over his shoulder and carrying her off into the mountains (The Bridenapping. Ingrid’s Lament CD 1, Molière’s Tartuffe. Track 5). Marianne E. Andersen Act II Born in Oslo, Marianne E. Andersen trained at London’s Royal Academy of Music where she Peer is soon bored with Ingrid; Solveig has touched him much more deeply. The country people try to hunt him graduated with the highest honours, and at the National Opera Studio. Further studies with down, and he revels in the thrill of the chase (CD 1, Track 6). On the run in the mountains, he meets three sexually teachers including Vera Rozsa in London and Ileana Cotrubas in France, have helped her gather provocative cow-girls (Peer Gynt and the Dairymaids CD 1, Track 7), and then a still more seductive creature (Peer prizes and awards of national and international status and to become a finalist in the Belvedere Gynt and the Woman in Green CD 1, Track 8). Peer and the woman in green arrive in the realm of the trolls on the International Singing Competition in Vienna.
Load more

Recommended publications
  • Romantic Listening Key
    Name ______________________________ Romantic Listening Key Number: 7.1 CD 5/47 pg. 297 Title: Symphonie Fantastique, 4th mvmt Composer: Berlioz Genre: Program Symphony Characteristics Texture: ____________________________________________________ Text: _______________________________________________________ Voicing/Instrumentation: orchestra What I heard: timp start, high bsn solo Number: 7.2 CD 6/11 pg 339 Title: The Moldau Composer: Smetana Genre: symphonic poem Characteristics Texture: homophonic Text: _______________________________________________________ Voicing/Instrumentation: orchestra What I heard: flute start Sections: two springs, the river, forest hunt, peasant wedding, moonlight dance of river nymphs, the river, the rapids, the river at its widest point, Vysehrad the ancient castle Name ______________________________ Number: 7.3 CD 5/51 pg 229 Title: Symphonie Fantastique, 5th mvmt (Dream of a Witch's Sabbath) Composer: Berlioz Genre: program symphony Characteristics Texture: homophonic Text: _______________________________________________________ Voicing/Instrumentation: orchestra What I heard: funeral chimes, clarinet idee fix, trills & grace notes Number: 7.4 website Title: 1812 Overture Composer: Tchaikovsky Genre: concert overture Characteristics Texture: homophonic Text: _______________________________________________________ Voicing/Instrumentation: orchestra What I heard: soft beginning, hunter motive, “Go Napoleon”, the battle Name ______________________________ Number: 7.5 website Title: The Sorcerer's Apprentice
    [Show full text]
  • Grieg & Musical Life in England
    Grieg & Musical Life in England LIONEL CARLEY There were, I would prop ose, four cornerstones in Grieg's relationship with English musicallife. The first had been laid long before his work had become familiar to English audiences, and the last was only set in place shortly before his death. My cornerstones are a metaphor for four very diverse and, you might well say, ve ry un-English people: a Bohemian viol­ inist, a Russian violinist, a composer of German parentage, and an Australian pianist. Were we to take a snapshot of May 1906, when Grieg was last in England, we would find Wilma Neruda, Adolf Brodsky and Percy Grainger all established as significant figures in English musicallife. Frederick Delius, on the other hand, the only one of thi s foursome who had actually been born in England, had long since left the country. These, then, were the four major musical personalities, each having his or her individual and intimate connexion with England, with whom Grieg established lasting friendships. There were, of course, others who com­ prised - if I may continue and then finally lay to rest my architectural metaphor - major building blocks in the Grieg/England edifice. But this secondary group, people like Francesco Berger, George Augener, Stop­ ford Augustus Brooke, for all their undoubted human charms, were firs t and foremost representatives of British institutions which in their own turn played an important role in Grieg's life: the musical establishment, publishing, and, perhaps unexpectedly religion. Francesco Berger (1834-1933) was Secretary of the Philharmonic Soci­ ety between 1884 and 1911, and it was the Philharmonic that had first prevailed upon the mature Grieg to come to London - in May 1888 - and to perform some of his own works in the capital.
    [Show full text]
  • Peer Gynt: Suite No. 1 Instrumentation: Piccolo, 2 Flutes, 2 Oboes, 2
    Peer Gynt: Suite No. 1 Instrumentation: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, strings. Duration: 15 minutes in four movements. THE COMPOSER – EDVARD GRIEG (1843-1907) – Grieg spent much of the 1870s collaborating with famous countrymen authors. With Bjørnstjerne Bjørnson, the composer had hoped to mount a grand operatic history of King Olav Tryggvason but the two artists soon ran afoul of one another. A possible contributing factor was Grieg’s moonlighting project with Henrik Ibsen but, in truth, Bjørnson and the composer had been nursing hurt feelings for a while by the time the latter began to stray. THE MUSIC – As it turned out, Grieg’s back-up plan was more challenging than rewarding at first. He was to compose incidental music that expanded and stitched together the sections of Ibsen’s epic poem. This he did with delight, but soon found the restrictions of the theatrical setting more a burden than a help creatively. “In no case,” he claimed, “had I opportunity to write as I wanted” but the 1876 premiere was a huge success regardless. Grieg seized the chance to re-work some of the music and add new segments during the 1885 revival and did the same in 1902. The two suites he published in 1888 and 1893 likely represent his most ardent hopes for his part of the project and stand today as some of his most potently memorable work. Ibsen’s play depicted the globetrotting rise and fall of a highly symbolic Norwegian anti-hero and, in spite of all the aforementioned struggles, the author could not have chosen a better partner than Grieg to enhance the words with sound.
    [Show full text]
  • Beyond the Storm
    Pamela J. Marshall Beyond the Storm oboe collection of Poetry-Inspired Solos PREVIEWSpindrift Music Company www.spindrift.com Publishing contemporary classical music and promoting its performance and appreciation collection of Poetry-Inspired Solos Beyond the Storm by Pamela J. Marshall for oboe La Mer by Oscar Wilde (1854-1900) From Poems, 1881 A white mist drifts across the shrouds, A wild moon in this wintry sky Gleams like an angry lion's eye Out of a mane of tawny clouds. The muffled steersman at the wheel Is but a shadow in the gloom;-- And in the throbbing engine-room Leap the long rods of polished steel. The shattered storm has left its trace Upon this huge and heaving dome, For the thin threads of yellow foam Float on the waves like ravelled lace. PREVIEWSpindrift Music Company www.spindrift.com aer "La Mer" by Oscar Wilde Beyond the Storm Pamela J. Marshall Andante misterioso, con licenza q = 86 Oboe p p mp pp mp pp 2 p pp mp 4 (like a throbbing engine) 5 (as if two voices, staccato notes extremely clipped) 11 mp pp 15 18 mp pp pp 21 pp mp 26 mp 27 PREVIEW Copyright © 2007 Pamela J. Marshall 28 mf 29 f 33 mf 38 p mp 43 mf 48 mp 51 pp 54 mp p 57 p mf 61 PREVIEWmp 64 p ppp 2 Spindrift Music Company Publishing contemporary classical music and promoting its performance and appreciation 38 Dexter Road Lexington MA 02420-3304 USA 781-862-0884 [email protected] www.spindrift.com Selected Music by Pamela J.
    [Show full text]
  • Alkymisten En Studie Av Åge Aleksandersens Musikk
    Emnekode: MUS5013 Navn: Fanny Louise Wullum Fahsing Alkymisten En studie av Åge Aleksandersens musikk Dato: 21.mai 2019 Totalt antall sider: 91 Alkymisten En studie av Åge Aleksandersens musikk Fanny Louise Wullum Fahsing Mastergradsoppgave i musikkvitenskap, Fakultet for lærerutdanning, kunst og kulturfag NORD UNIVERSITET LEVANGER 21.05. 2019 Sammendrag Hensikten med å skrive denne oppgaven ikke vært å skrive en ny biografi om Åge, men å prøve å få et innblikk i hvordan Aleksandersen jobber når han skriver musikk, hva det er som inspirerer han til å skrive, og hvordan han jobber sammen med musikerne sine for å utvikle ideer han har til ferdige sanger. Tittelen på oppgaven; Alkymisten, har jeg valgt fordi det er en selvbiografisk sang, der Åge beskriver sin karriere med sine oppturer og nedturer. I første del av oppgaven har jeg skrevet om populærmusikk som kategori, om «trønderrock» som begrep og som identitet for musikere fra Namdalsregionen, samt om musikkproduksjon som fagfelt. Jeg har også skrevet om valg av metode og valg av kilder. I andre del av oppgaven gjennomgår jeg Åge Aleksandersens karriere gjennom en beskrivelse av barndom og oppvekst i Namsos, hans «læretid» i Prudence, og deretter kommer en historisk oppsummering hans solokarriere. I tredje del kommer jeg inn på Åges rolle som låtskriver og produsent, blant annet sett i forhold til hvordan fonogrambransjen har operert de siste årene, samt hvordan Åges musikalske praksis i studio arter seg. Jeg sier også noe om musikere han har samarbeidet med; spesielt om musikere med folkemusikalsk bakgrunn. I fjerde del sier jeg noe om hvordan Åge og Sambandet jobber sammen i dag, før jeg avrunder med å si noe om perspektivene Åge har på hvordan han kommer til å jobbe med musikk i fremtiden.
    [Show full text]
  • Christianialiv
    Christianialiv Works from Norway’s Golden Age of wind music Christianialiv The Staff Band of the Norwegian Armed Forces The second half of the 19th century is often called the “Golden Age” of Norwegian music. The reason lies partly in the international reputations established by Johan Svendsen and Edvard Grieg, but it also lies in the fact that musical life in Norway, at a time of population growth and economic expansion, enjoyed a period of huge vitality and creativity, responding to a growing demand for music in every genre. The Staff Band of the Norwegian Armed Forces (to use its modern name) played a key role in this burgeoning musical life not just by performing music for all sections of society, but also by discovering and fostering musical talent in performers and composers. Johan Svendsen, Adolf Hansen, Ole Olsen and Alfred Evensen, whose music we hear on this album, can therefore be called part of the band’s history. Siste del av 1800-tallet er ofte blitt kalt «gullalderen» i norsk musikk. Det skyldes ikke bare Svendsens og Griegs internasjonale posisjon, men også det faktum at musikklivet i takt med befolkningsøkning og økonomiske oppgangstider gikk inn i en glansperiode med et sterkt behov for musikk i alle sjangre. I denne utviklingen spilte Forsvarets stabsmusikkorps en sentral rolle, ikke bare som formidler av musikkopplevelser til alle lag av befolkningen, men også som talentskole for utøvere og komponister. Johan Svendsen, Adolf Hansen, Ole Olsen og Alfred Evensen er derfor en del av korpsets egen musikkhistorie. The Staff Band of the Norwegian Armed Forces / Ole Kristian Ruud Recorded in DXD 24bit/352.8kHz 5.1 DTS HD MA 24/192kHz 2.0 LPCM 24/192kHz + MP3 and FLAC EAN13: 7041888519027 q e 101 2L-101-SABD made in Norway 20©14 Lindberg Lyd AS 7 041888 519027 Johan Svendsen (1840-1911) Symfoni nr.
    [Show full text]
  • But Not Dejected, JOHANNE DYBWAD, 51 Years Old
    Narrator: List of characters: Actress, director, primadonna, woman scorned - but not dejected, JOHANNE DYBWAD, 51 years old. INGEBORG KØBER, psychic medium, newlywed, hounded into submission, 23 years old; JOHAN SCHARFFENBERG, racist, medical doctor, psychiatrist, nationalist, lover of all practices ancient Greek - except drinking, bad poet, 49 years old. AASTA HANSTEEN, painter, language pionéer, self-taught theologist and a flaying critic of the Norwegian church, nationalist/ anti-imperialist, suffragette, Sapphian, misandrist, bad poet, deceased. Narrator: Location: Vor Frelsers graveyard in Oslo. Everyone's who's anyone is here. Either vertically or horizontally. (To the melody of Red, red rosie) Ibsen, Bjørnson. Wildenvey og Kielland. Wergeland, Welhaven, Tranmæl og Lie Ringnes, Gude, Bull, Nordraak, Sohlberg, Hoel, Backer, Blix og Bratlie Fearnley, Collett, Braathen, Brøgger, Schweigaard, Munch og Karsten, Thrane, Aasta Hansteen. -Køber: Ingeborg Køber- -Narrator: -a naïve 23-year old newlywed has travelled from her woodboard kingdom Fredrikstad to Christiania to see the famous actress- -Dybwad: -Johanne Dybwad- -Narraror: -perform Medea at The National Theatre in Christiania. (...) Køber is curious and sensitive, but not a scholarly woman. She's been coined «sweet» but «stupid» by her own patriarch. She's led a sheltered life – in the shadow of her brothers Ludvig and Ragnar who are her parent's favourite children. Køber was entirely unprepared for the shock that is- -Dybwad: -Johanne Dybwad's- -Narrator: -Medea. -Dybwad: Dybwad- -Narrator: -is a theatre phenomenon and grande dame. She acts, directs, and informs the bougie public with her radical performativity. «She is a fire, a bitter blow that cleanses, and courage and truth have reached greater limits»1 Encyclopedia: Nordahl Grieg describing Dybwad.
    [Show full text]
  • The Torpedo Under the Ark : "Ibsen and Women"
    / The Torpedo under the Ark "Ibsen and Women" by- Ellen Key Authorized translation from the Swedish by MamahBoutonBorthwick The Ralph Fletcher Seymour Co. FINE ARTS BUILDING, CHICAGO Copyrighted 1912 by The Ralph Fletcher Seymour Co. THE TORPEDO UNDER THE ARK "IBSEN AND WOMEN" By Ellen Key. “To My Friend the Revolutionist.” “To shift the chessmen is no affair of mine. To upset the chess-board—there you have me absolutely.You invoke a deluge to sweep the world. With joy I lay my torpedo under the ark.” Henrik Ibsen— In my eighteenth year, my mother made me happy with three books. Up¬ on the covers I read: “The Comedy of Love.” “Brand.” “Peer Gynt.” I knew that Ibsen was a new Nor¬ wegian poet but my knowledge, like 3 THE TORPEDO UNDER THE ARK that of most Swedish readers in 1868, was limited to that fact. It was then with the real joy of a discoverer that I buried myself in the new world of poetry and ideas which “Brand” and “Peer Gynt” revealed to me. In the “Comedy of Love,” however, I found myself in the sphere of my own dearest thoughts. That is to say, five years before,“The Bailiff’s Daughter” had become one of my devotional books. It is in this splendid work of Camilla Collett*, that Ibsen, according to his own testimony, found part of the metal which he after¬ ward, in “The Comedy of Love,” formed into piercing arrows and sing¬ ing strains. The delight with which I read and re-read “The Comedy of Love,” may best be depicted if I men¬ tion that—when immediately afterwards *The first great Norwegian feminist and sister of Henrik Wegeland, the great poet of Norway, in the years 1830-40.
    [Show full text]
  • Scene for Folkemusikk & Folkedans
    BARNEFORESTILLINGER KONSERTER 2015 SESONGPROGRAM HØST o N 10 SCHOUS KULTURBRYGGERI FORESTILLINGER & DANS SCENE FOR FOLKEMUSIKK & FOLKEDANS Følg oss på Facebook www.riksscenen.no Velkommen til ny sesong! Riksscenen fyller 5 år i høst. Det markerer vi med vår hittil største enkeltsatsing – en splitter ny juleforestilling som vi har døpt ”Pøbel i pels”. En annerledes, urban julefortelling der skilsmissegutten Thomas (Eirik Risholm Velle) må ta seg gjennom byen fordi han vil feire julen med pappa. Med seg på veien får han følge av en ganske rampete bakgårdskatt (Silje Onstad Hålien), og som seg hør og bør skjer det mye underveis. Vi har fått med oss et knippe flotte kunstnere i dette prosjektet. Dansekompaniet Villniss er medprodusent, Jesper Halle har skrevet manus, Andreas Ljones er musikkansvarlig og Odd Nordstoga skal snekre sammen et par gode melodier. Lars Vik fra Grenland friteater har regi, og teateret er også samarbeidspart. Vi skal ikke tøffe oss like mye som katta og si at vi akter å slå besøkstallene til Putti Putti Plot i første omgang, men vår intensjon er at Pøbel i pels skal vises årlig. Så forhåpentligvis liker dere forestillingen så godt at dere gjør den til en juletradisjon for hele familien. Men vi har ytterligere 62 konserter/forestillinger å by på. Ikke mindre enn fem danseforestillinger der særlig Hallgrim Hansegård står i sentrum som månedens artist i oktober med bl.a. Leahkit og GotoGuta. Vi får endelig besøk av Elle Sofe Henriksen med hennes forestilling Jorggáhallan, og Ola Stinnerbom kommer med Man must dance. Sammen med Coda festivalen og kunstnerisk leder Patrick Shaw Iversen står vi også bak nyproduksjonen Migrations North East der indonesiske dansere og gamelanmusikere møter norske jazzutøvere med Nils Petter Molvær i spissen.
    [Show full text]
  • Årsmelding 2010 Copyright © 2011 by Norsk Kulturråd All Rights Reserved Utgitt Av Norsk Kulturråd I Kommisjon Hos Fagbokforlaget
    NORSK KULTURRÅD Årsmelding 2010 Copyright © 2011 by Norsk kulturråd All rights reserved Utgitt av Norsk kulturråd i kommisjon hos Fagbokforlaget Grafisk produksjon: John Grieg AS, Bergen Omslagsdesign ved forlaget Forsidebilde: Fra Vegard Vinge og Ida Müllers oppsetning av Vildanden. Foto: Magnus Skrede. Sideombrekking: Laboremus Sandefjord AS Redaksjon: Janne Stang Dahl og Mari Johansen Sekretariatfunksjonen til Fond for lyd og bilde og Statens kunstnerstipend er administrativt tilknyttet og samlokalisert med Norsk kulturråd. Fond for lyd og bilde og Statens kunstnerstipend har egne styrende organ og gir ut egne årsmeldinger. Norsk kulturråd Grev Wedels plass 1 Postboks 8052 Dep N-0031 Oslo Tlf: +47 22 47 83 30 Faks: +47 22 33 40 42 www.kulturrad.no Innhold Innledning .............................................. 5 Tildelinger og innkjøp ........................... 26 Allmenne kulturformål ............................. 26 Kunst og publikum ................................. 6 Rom for kunst .......................................... 27 Barne- og ungdomskultur ......................... 29 Råd og utvalg ......................................... 7 Andre formål ............................................ 34 Billedkunst og kunsthåndverk................... 37 Administrasjonen .................................. 11 Musikk ..................................................... 49 Scenekunst................................................ 80 Kommunikasjonsvirksomhet ................ 13 Litteratur .................................................
    [Show full text]
  • A Century of Ibsen
    ; A CENTURY OF IBSEN BY HENRY CHARLES SUTER OXR liundred years ago, there was born in a Norwegian town an "infant crying in the night" who grew to be a writer, but not one "with no language but a cry." For it has been well cited that Henrik Ibsen became the apostle of those who insist on self- realization and self-expression. In those days Ibsen sensed a devo- tion to formulas that fostered the use of fantastic phrases that possessed little positive potency. Crowd psychology took the place of individual thinking, and concerted action was more active than careful deliberation. Echoes multiplied by artifice were glorified as public opinion mathematical arrangements of votes contrived in consequence, a mechanical conception of society; and ultimately humanitarianism displaced humanism. Ibsen pilloried all this and made his appeal to those who were willing to pay the price of straight thinking. Ibsen owed little to life's circumstances of lowliness, since his father became insolvent ere he reached the age of eight. So his \outh was spent in studying poetry to relieve the monotony of ap- prenticeship to an apothecary. In his twenties he was aiding the management of the theater of Bergen, his home town, but the chief outcome was that comradery critics caused him to witness drama in larger cities. Before he had seen one play produced, he had written several himself, although these are not found among those preserved for us. The wretched attic in the JVild Duck was con- jured up in his memory from childhood; when nearly forty he was often unable to buy stamps to dispatch his manuscripts ; and even at successful maturity, a "poet's pension" arrived changing neerl into frugal comfort.
    [Show full text]
  • Social-Ecological Resilience in the Viking-Age to Early-Medieval Faroe Islands
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2015 Social-Ecological Resilience in the Viking-Age to Early-Medieval Faroe Islands Seth Brewington Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/870 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SOCIAL-ECOLOGICAL RESILIENCE IN THE VIKING-AGE TO EARLY-MEDIEVAL FAROE ISLANDS by SETH D. BREWINGTON A dissertation submitted to the Graduate Faculty in Anthropology in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2015 © 2015 SETH D. BREWINGTON All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Anthropology to satisfy the dissertation requirement for the degree of Doctor of Philosophy. _Thomas H. McGovern__________________________________ ____________________ _____________________________________________________ Date Chair of Examining Committee _Gerald Creed_________________________________________ ____________________ _____________________________________________________ Date Executive Officer _Andrew J. Dugmore____________________________________ _Sophia Perdikaris______________________________________ _George Hambrecht_____________________________________
    [Show full text]