DOCSLIB.ORG

View the Printed Program from This Concert Performance

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
View the Printed Program from This Concert Performance Smithsonian American Art Museum Presents 21st CENTURY CONSORT November 7, 2015 Nan Tucker McEvoy Auditorium Smithsonian American Art Museum Smithsonian American Art Museum The 21st Century Consort gratefully acknowledges the generous support presents of the Friends of the 21st Century Consort: Therese Arcole Winslow & Francine Vivienne Patton James F. Bleakley, Jr. & Hayward Hunt Prothro, Jr. 21st Century Consort Alyce Rideout Carol Herwig & Keith Roberts & Beatrice Bobotek George Morgan Diane Epperson David Bragunier & Courtney Howland & Albert & Mary Salter Christopher Kendall, Artistic Director Sara Stern Michael Singer Boyd Sarratt & Boyd Sarratt, Manager Marie & Joe Canny Laurie Ironside & Lisa Emenheiser Shirley Cherkasky Jay Szlamowicz Morris Schapiro Richard Barber, double bass Nancy Dalzell Christopher Kendall & Bob & Carol Schwartz Dennis Deloria & Susan Schilperoort David & Sylvia Silver Paul Cigan, clarinet Suzanne Thouvenelle Jeanne Krohn & Bob Wade Murray Spalding Lisa Emenheiser, piano Diane Epperson Harald & Nancy Kingsbury Movement Arts Dan Foster, viola Freddie Mac employee Leuba James Stern & giving Rev. Jeanne MacKenzie Audrey Andrist Eliza Garth, piano David Froom & Eliza Garth Sherry & Wilbert Mahoney William W. & Sue Taylor Lee Hinkle, percussion James & Jo Ann Gillula Anthony Manzo & Doris Tennyson Teresa Ling, violin Michael Greene Rachel Young Manzo Tom & Liz Wehr Stefanie Greene Dorothy Marschak James Willey Deanne Meek, mezzo soprano Gloria Shaw Hamilton Janice & Andrew Molchon Katherine Williams James Nickel, French horn Michael Hamilton & Eugene O’Brien Derek Yale Susan Robinson, harp Myung Nam Victoria O’Reilly Wendel Yale & Maija Hay Patricia Orend Louise Seirmarco Sara Stern, flute Lambert & Jan Orkis Nick Stovall, oboe Compiled October 2015 Rachel Young, cello Mark Huffman, recording engineer Saturday, November 7, 2015 Pre-Concert Discussion 4:00 p.m. Concert 5:00 p.m. Nan Tucker McEvoy Auditorium Smithsonian American Art Museum ❖ ❖ ❖ The 21st Century Consort’s 2015 - 2016 activities are sponsored by the Smithsonian American Art Museum and funded in part by generous contributions from the Morris and Gwendolyn Cafritz Foundation, the National Endowment for the Arts, the Aaron Copland Fund for Music and the Board and Friends of the 21st Century Consort. 2 23 21st Century Consort Smithsonian American Art Museum Founded in 1975 and presenting its first public concert in the Lincoln Gallery presents of the then-National Gallery of Fine Arts—now the Smithsonian American Art Museum (SAAM)—the Consort became the resident ensemble for con- Pre-Concert Discussion temporary music at the Smithsonian Institution in 1978, performing for Christopher Kendall, David Froom, Stephen Jaffe many years at the Hirshhorn Museum and Sculpture Garden. In its annual series at SAAM, where it is ensemble-in-residence, the Consort presents con- Program certs frequently related to the museum’s exhibitions, featuring music by Beyond Beauty living composers—including world premieres—along with 20th century classics. In 1990, the Consort was awarded the Smithsonian Institution’s Smithson Medal in honor of their long, successful association...and that was Fantasy Dances David Froom a quarter century ago! Under the direction of its founder and conductor, I. Stomp Christopher Kendall, the Consort’s artists include leading players from the II. Ritual Dance National Symphony Orchestra, along with other prominent chamber musi- III. Jump cians and soloists from Washington, D.C. and elsewhere. In addition to its many recordings of contemporary American music, 40 years of live concerts Mr. Cigan, Mr. Foster, Ms. Garth, Mr. Hinkle, Mr. Kendall, with hundreds of works are archived and can be heard on the Consort’s web- Ms. Ling, Ms. Stern, Ms. Young site at 21stcenturyconsort.org. In Manus Tuas Caroline Shaw Ms. Young 21st Century Consort Board of Directors Roman Canticle Nicholas Maw Michael Hamilton, President Alyce Rideout, Treasurer Mr. Foster, Ms. Meek, Ms. Robinson, Ms. Stern Louise Seirmarco Yale, Vice President INTERMISSION James Bleakley Ex officio Dennis Deloria Christopher Kendall The Old King’s Lament Nicholas Maw David Froom Boyd Sarratt, Manager Mr. Barber Jo Ann Gillula Winslow (Win) Hayward Homage to the Breath Stephen Jaffe Jeanne Krohn Andy Molchon I. Running Pulse Janice Molchon II. Ostinato Elegaico Vivienne Patton III. Homage to the Breath John Simson Mr. Barber, Mr. Cigan, Ms. Emenheiser, Mr. Foster, Mr. Hinkle, William Taylor Mr. Kendall, Ms. Ling, Ms. Meek, Mr. Nickel, Ms. Stern, Mr. Stovall, Ms. Young The audience is invited to join the artists in the lobby following the performance for conversation and refreshments. 22 3 Program Notes and Texts Future Programs The Passion of Scrooge Ⅲ DECEMBER 5, 2015 Fantasy Dances David Froom PAUL SCHOENFIELD – Six Improvisations on Hassidic Melodies David Froom was born in California in 1951. His music has been per- BELA BARTOK – Romanian Christmas Carols formed extensively throughout the United States by major orchestras, *** ensembles, and soloists, including the Louisville, Seattle, Utah, League/ JON DEAK – The Passion of Scrooge or a Christmas Carol ISCM, and Chesapeake Symphony Orchestras, The United States Marine and Navy Bands, the Chamber Music Society of Lincoln Center, Boston Crosscurrents Ⅲ FEBRUARY 6, 2016 Musica Viva, the New York New Music Ensemble, the Haydn Trio Eisen- JOHN ADAMS – st Hallelujah Junction stadt, and the Aurelia Saxophone Quartet, and frequently by the 21 LUCIANO BERIO – Circles Century Consort. His music has been heard in performance in England, *** France, Germany, Austria, Italy, Holland, Cyprus, China, New Zealand, EUGENE O’BRIEN – Close Harmony and Australia, and is published by the American Composers Alliance and BELA BARTOK – Sonata for Two Pianos and Percussion available on CD on the Bridge (a recording by the 21st Century Consort), Navona, New Dimensions, Naxos, Arabesque, Capriccio, Centaur, Icons Ⅲ MARCH 12, 2016 Sonora, Crystal, Opus 3, and Altissimo labels. CHARLES IVES – Largo Mr. Froom has been honored by the American Academy of Arts and Let- ANDREA CLEARFIELD – Convergence GEORGE CRUMB – Voice of the Whale ters, the Guggenheim, Fromm, Koussevitzky, and Barlow Foundations, *** the Kennedy Center (first prize in the Friedheim Awards), the National JAMES PRIMOSCH – Icons Endowment for the Arts, The Music Teachers National Association JOSEPH SCHWANTNER – Sparrows (MTNA-Shepherd Distinguished Composer for 2006), and the state of Maryland (five Individual Artist Awards). He had a Fulbright grant for Imaginary Landscapes Ⅲ APRIL 30, 2016 study at Cambridge University, and fellowships to the Tanglewood Music Festival, the Wellesley Composers Conference, and the MacDowell STEPHEN ALBERT – Sun’s Heat JOHN CAGE – Imaginary Landscapes II Colony. His biography is included in Groves. He serves on the boards of PAUL SCHOENFIELD – st Café Music directors for the American Composers Alliance, the 21 Century Con- *** sort, and the New York New Music Ensemble. He has taught at the Uni- SHULAMIT RAN – Mirage versity of Utah, the University of Maryland–College Park, the Peabody DANIEL THOMAS DAVIS – To Canaan’s Fair and Happy Land Conservatory, and, since 1989, St. Mary’s College of Maryland. Mr. STEPHEN ALBERT – Flower of the Mountain Froom was educated at the University of California at Berkeley, the Uni- versity of Southern California, and Columbia University. His main com- position teachers were Chou Wen-chung, Mario Davidovsky, Alexander For Consort news and performance information, please visit the Goehr, and William Kraft. 21st Century Consort website at www.21stcenturyconsort.org and AmericanArt.si.edu/calendar. The composer writes: Fantasy Dances (in three movements, altogether lasting about thir- teen minutes) reflects my fascination with the diminishing gaps Like us on Facebook between various styles of music—both within the “modern classi- cal music” community and in the wider world generally. I revel in 4 21 soloist in concertos of Vaughan Williams, J.S. Bach, Jean Francaix, and Vivaldi a world where the new can embrace any aspect of a readily avail- with that ensemble. Stovall has taught and performed at the Aspen Music Fes- able past. The notion, suggested throughout the century just tival and School, Indiana University, the Interlochen Center for the Arts, and concluded, that we American composers might find a “third the Round Top Festival-Institute in Texas. He is a former faculty member of stream” of music, halfway-way between jazz and classical music, the Bard College Conservatory of Music and currently teaches at the Catholic has been broadened to what some might see as a beautiful and University of America, as well as in the National Symphony’s Youth Fellowship expansive lake (others might see a vast swamp), where everything Program and Summer Music Institute. After completing studies at the Inter- lochen Arts Academy with Daniel Stolper, he earned degrees at the Cleveland and anything is available to the composers searching for an effec- Institute of Music and The Juilliard School as a student of John Mack, Elaine tive means of expression. Personally, while I embrace a wide Douvas, and Nathan Hughes. range of musical interests, I do so while favoring internally and contextually consistent, continuously developing music, with an RACHEL YOUNG, a National Symphony cellist since 1998, brings a diverse musi- inclusive harmony that spans both tonal and modernist lan- cal background to her work, ranging from chamber music to teaching
Load more

Recommended publications
  • Orfeo Euridice
    ORFEO EURIDICE NOVEMBER 14,17,20,22(M), 2OO9 Opera Guide - 1 - TABLE OF CONTENTS What to Expect at the Opera ..............................................................................................................3 Cast of Characters / Synopsis ..............................................................................................................4 Meet the Composer .............................................................................................................................6 Gluck’s Opera Reform ..........................................................................................................................7 Meet the Conductor .............................................................................................................................9 Meet the Director .................................................................................................................................9 Meet the Cast .......................................................................................................................................10 The Myth of Orpheus and Eurydice ....................................................................................................12 OPERA: Then and Now ........................................................................................................................13 Operatic Voices .....................................................................................................................................17 Suggested Classroom Activities
    [Show full text]
  • Music Inspired by the Works of Thomas Hardy
    This article was first published in The Hardy Review , Volume XVI-i, Spring 2014, pp. 29-45, and is reproduced by kind permission of The Thomas Hardy Association, editor Rosemarie Morgan. Should you wish to purchase a copy of the paper please go to: http://www.ingentaconnect.com/content/ttha/thr/2014/00000016/0 0000001/art00004 LITERATURE INTO MUSIC: MUSIC INSPIRED BY THE WORKS OF THOMAS HARDY Part Two: Music composed after Hardy’s lifetime CHARLES P. C. PETTIT Part One of this article was published in the Autumn 2013 issue. It covered music composed during Hardy’s lifetime. This second article covers music composed since Hardy’s death, coming right up to the present day. The focus is again on music by those composers who wrote operatic and orchestral works, and only mentions song settings of poems, and music in dramatisations for radio and other media, when they were written by featured composers. Hardy’s work is seen to have inspired a wide variety of music, from full-length operas and musicals, via short pieces featuring particular fictional episodes, to ballet music and purely orchestral responses. Hardy-inspired compositions show no sign of reducing in number over the decades. However despite the quantity of music produced and the quality of much of it, there is not the sense in this period that Hardy maintained the kind of universal appeal for composers that was evident during the last two decades of his life. Keywords : Thomas Hardy, Music, Opera, Far from the Madding Crowd , Tess of the d’Urbervilles , Alun Hoddinott, Benjamin Britten, Elizabeth Maconchy In my earlier article, published in the Autumn 2013 issue of the Hardy Review , I covered Hardy-inspired music composed during Hardy’s lifetime.
    [Show full text]
  • Uw Music
    ~~~ ~1~SC. ::z qq SCHOOL OF MUSIC UNIVERSITY of WASHINGTON JOl7 \-1'1 Opera Workshop: Mozart Scenes Instructors: Cyndia Sieden, Stephen Stubbs Stage direction ......................................... Cyndia Sieden, Unda Kitchen, Deanne Meek Assistant Stage director ........................................................................ Gemma Balinbin Musical direction .................................................................................... Stephen Stubbs Musical coaching ............................................................... Rhonda Kline, Cyndia Sieden Piano Accompaniment ........................................................................Andrew Romanick 7:30 PM January 14, 2017 Meany Studio Theater UW MUSIC 2016-17 SEASON b vl;;> 1F /1-/931 PROGRAM I f2~CYlf.U5" <;fVhi>s/51(2cLu" ~k LE NOllE DI FIGARO: 1786 The Marriage of Figaro takes place in the palace ofthe Count and Countess Almaviva. Figaro is the Valet to the Count and Susanna the maid and confidante of the Countess. The Count is a philanderer and has his eyes on Susanna. Prior to the opera he abolished the law of 'droit de seigneur', the right of the lord of the manorto take the virginity of a bride before the wedding, but with Susanna, about to get married, he plans to re-establish this law. This provides the emotional foundation for all the characters in the opera, leaving Figaro angry, Susanna confused and the Countess bereft, relying on her page, Cherubino to cheer her up. They are reduced to hatching a plot to obstruct the Count's plans and to humiliate him. Z 1. Act II Sc. 1: Duets (Figaro and Susanna) Susanna: Gemma Balinbin / J; 2-:;- Figaro: Jacob Caspe Figaro and Susanna are preparing their bedroom as their wedding is taking place later that day. Figaro takes measurements to see ifthe bed will fit, while Susanna is concerned by the position of the room, placed between those of the Countess and the Count­ convenient in Figaro's eyes but dangerous in Susanna/so She knows the Count has designs on her, and warns Figaro of this.
    [Show full text]
  • Emerald Ensemble September 2017 the Two Elizabeths Program Notes
    Emerald Ensemble September 2017 The Two Elizabeths Program Notes with Texts and Translations Dance, clarion air (1952) Michael Tippett (1905–1998) O Lord, give thy Holy Spirit (after 1566) Thomas Tallis (c.1505–1585) Weep, O mine eyes (1599) John Bennet (c.1575–after 1614) Mitte manum tuam (2006) James MacMillan (b.1959) Fair Phyllis I saw sitting all alone (1599) John Farmer (c.1570–c.1605) O Lord, the maker of all thing William Mundy (c.1528–1591) O Care, thou wilt despatch me (1600) Thomas Weelkes (1576–1623) The Song Sung True (2013) Judith Weir (b.1954) 1. Sing — 2. Song — 3. Orpheus — 4. Folk Music intermission Lullabye for Lucy (1981) Peter Maxwell Davies (1934–2016) Come, blessed bird (1601) Edward Johnson (fl.1572–1601) O Lord, make thy servant Elizabeth (c.1570) William Byrd (c.1540–1623) Arise, awake (1601) Thomas Morley (1557/8–1602) Choral Dances, from Gloriana (1953) Benjamin Britten (1913–1976) 1. Time — 2. Concord — 3. Time and Concord — 4. Country Girls — 5. Rustics and Fishermen — 6. Final Dance of Homage The Hills (1953) John Ireland (1879–1962) Andrew Turner, from Five Epigrams (1960) Nicholas Maw (1935–2009) White-flowering days (1953) Gerald Finzi (1901–1956) 1 Dance, clarion air (1952) Michael Tippett (1905–1998) So often we hear stories of wunderkind composers who wrote masterpieces in their teens and twenties—folks like Bach, Handel, Mozart, Beethoven, Schubert, Mendelssohn, Chopin, Brahms, Prokofiev, Walton, Britten—that we forget about the slew of brilliant composers who were relatively late bloomers, among them Haydn, Bruckner, Mahler, Elgar, Janáček, Vaughan Williams, Pärt, and the present example, Michael Tippett.
    [Show full text]
  • LOC 2019-20 Issue 9 Queen of Spades-020420-NO ADS.Indd
    LYRIC OPERA OF CHICAGO THETHE QUEEN THREE OF QUEENS SPADES 2019|20 SEASON In this issue Michael Cooper / Canadian Opera Company The Queen of Spades | pp. 16-32 6 WELCOME TO YOUR LYRIC 42 Program staff 8 From the Chairman and the 43 Ryan Opera Center contributors General Director 10 Board of Directors 44 THANK YOU FOR 12 Celebration: the 2020|21 YOUR SUPPORT Lyric season 46 Production sponsors 47 Aria Society 16 PERFORMANCES 59 Supporting our future — 18 Title page and cast endowments at Lyric 19 Introduction 60 Faces of Lyric 20 Artist profiles 63 Gift planning Opera Omaha/Proving Up 2018 24 Orchestra & Chorus 66 Corporate partners Here’s to Lyric’s 2020|21 season! | pp. 12-15 28 Opera notes 68 Annual individual 32 After the curtain falls and foundation support 74 Commemorative gifts 34 BEYOND THE STAGE 36 Lyric Unlimited – 76 THE COMPANY learning & creative engagement 76 Artistic roster 78 Lyric staff 40 RYAN OPERA CENTER 80 Backstage life 42 Ryan Opera Center alumni around the world Lyric Opera of Chicago | 2 Paid ad Lyric Opera of Chicago | 3 Since 1991 Gail McGrath Tahira Merchant You can view this program Publisher & President Graphic Designer on your mobile device at Sheldon Levin lyricopera.org/programs Publisher & Director Joy Morawez of Finance Accounting For advertising information LISA MIDDLETON A. J. Levin Willie Smith call 847-770-4620. To see Executive Editor Director of Operations Supervisor Operations our Terms and Conditions Earl Love relating to advertising ROGER PINES Rand Brichta Operations orders, visit our website at Editor Arnie Hoffman Wilfredo Silva performancemedia.us.
    [Show full text]
  • Composer Brochure
    CARTER lliott E composer_2006_01_04_cvr_v01.indd 2 4/30/2008 11:32:05 AM Elliott Carter Introduction English 1 Deutsch 4 Français 7 Abbreviations 10 Works Operas 12 Full Orchestra 13 Chamber Orchestra 18 Solo Instrument(s) and Orchestra 19 TABLE TABLE OF CONTENTS Ensemble and Chamber without Voice(s) 23 Ensemble and Chamber with Voice(s) 30 Piano(s) 32 Instrumental 34 Choral 39 Recordings 40 Chronological List of Works 46 Boosey & Hawkes Addresses 51 Cover photo: Meredith Heuer © 2000 Carter_2008_TOC.indd 3 4/30/2008 11:34:15 AM An introduction to the music of Carter by Jonathan Bernard Any composer whose career extends through eight decades—and still counting—has already demonstrated a remarkable staying power. But there are reasons far more compelling than mere longevity to regard Elliott Carter as the most eminent of living American composers, and as one of the foremost composers in the world at large. His name has come to be synonymous with music that is at once structurally formidable, expressively extraordinary, and virtuosically dazzling: music that asks much of listener and performer INTRODUCTION alike but gives far more in return. Carter was born in New York and, except during the later years of his education, has always lived there. After college and some postgraduate study at Harvard, like many an aspiring American composer of his generation who did not find the training he sought at home, Carter went off to Paris to study with Nadia Boulanger, an experience which, while enabling a necessary development of technique, also lent his work a conservative, neoclassical style for a time.
    [Show full text]
  • Spoleto Festival Usa Program History 2017 – 1977
    SPOLETO FESTIVAL USA PROGRAM HISTORY 2017 – 1977 Spoleto Festival USA Program History Page 2 Table of Contents, Organized by Year 2017 .................................... 3 2016 .................................... 6 1996 .................................... 76 2015 .................................... 10 1995 .................................... 79 2014 .................................... 13 1994 .................................... 82 2013 .................................... 16 1993 .................................... 85 2012 .................................... 20 1992 .................................... 88 2011 .................................... 24 1991 .................................... 90 2010 .................................... 27 1990 .................................... 93 2009 .................................... 31 1989 .................................... 96 2008 .................................... 34 1988 .................................... 99 2007 .................................... 38 1987 .................................... 101 2006 .................................... 42 1986 .................................... 104 2005 .................................... 45 1985 .................................... 107 2004 .................................... 49 1984 .................................... 109 2003 .................................... 52 1983 .................................... 112 2002 .................................... 55 1982 .................................... 114 2001 ...................................
    [Show full text]
  • Iron Sharpens Iron: Duets for Two Women in the Teaching/Instruction of Undergraduate Women
    IRON SHARPENS IRON: DUETS FOR TWO WOMEN IN THE TEACHING/ INSTRUCTION OF UNDERGRADUATE WOMEN Laurissa Backlin, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2013 APPROVED: Lynn Eustis, Major Professor Richard Sparks, Committee Member Stephen Morscheck, Committee Member Jeffrey Snider, Chair of the Division of Vocal Studies Benjamin Brand, Director of Graduate Studies James C. Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Backlin, Laurissa. Iron Sharpens Iron: Duets for Two Women in the Teaching/Instruction of Undergraduate Women. Doctor of Musical Arts (Performance), August 2013, 61 pp., 30 figures, bibliography, 77 titles. Duet literature remains largely untapped as a pedagogical tool in the undergraduate voice studio. This dissertation examines the ways in which eight duets for female voices, although not written primarily for pedagogical use, may be used to teach four main areas of voice technique: intonation, vocal agility, legato singing, and dramatic skills. Duets are chosen primarily from the standard repertoire and are in English, German, French, Italian and Latin. The compositional styles range from the Baroque period through the 20th century. Genres include art song, oratorio, and opera. Each chapter focuses on one of the four vocal skills listed above, and includes examinations of two duets whose vocal writing (rhythm, tessitura, intervals, tempi, and text) make them appropriate candidates for pedagogical use in the improvement of that specific skill. Both male and female teachers of singing may utilize this project as a practical resource and model in how to use other duets, including those for other voice types, for similar purposes in their teaching studio.
    [Show full text]
  • SRCD385 Book
    Nicholas Maw Spring Music Voices of Memory BBC National Orchestra of Wales William Boughton Sonata for Solo Violin Harriet Mackenzie two ideas: the first is a songlike line that rises from low to very high, while the second Nicholas Maw (1935-2009) consists of a wistful sighing motive in double-stopped tremolo. A more flowing episode leads, via the sighing motive, into a solemn sequence reminiscent of a funeral march, with a steady, pulsing ostinato played both arco and pizzicato on open strings. There Spring Music for Orchestra (1982 rev.1984) 14.38 is a telescoped repeat of the faster music and the atmospheric coda is played as though 1 Allegro brillante 2.50 heard from afar. 2 - Moderato con moto, sempre grazioso 5.04 The last movement, ‘Flight’, is fast and vigorous, characterised by tremolando bowing 3 - a tempo 3.09 and shifting rhythmic accents. At the heart of the movement is a more relaxed, lyrical 4 - Comodo e sempre grazioso 3.35 passage with a richly sonorous chordal texture. After this the music rapidly gathers pace resulting in a varied reprise of the opening section before an impulsive dash to the finish. In Maw’s Sonata for Solo Violin, the constraints of writing for a single stringed Voices of Memory - Variations for Orchestra (1995) 27.01 instrument in a four-movement, large-scale work are deftly surmounted by the 5 Theme Grave e sostenuto 1.10 composer’s gift for melodic lines and rhythmic invention. Each movement has a vivid 6 Variation 1 Poco più mosso 0.54 sense of colour, formal logic and onward momentum so that the writing, however 7 Variation 2 Poco movimento 2.19 demanding it may be, never suggests an arid study or a shallow technical exercise.
    [Show full text]
  • School of Music 2010–2011
    BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Music 2010–2011 School of Music 2010–2011 BULLETIN OF YALE UNIVERSITY Series 106 Number 7 July 25, 2010 BULLETIN OF YALE UNIVERSITY Series 106 Number 7 July 25, 2010 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, PO Box 208227, New Haven CT 06520-8227 status as a special disabled veteran, veteran of the Vietnam era, or other covered veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation Managing Editor: Linda Koch Lorimer or gender identity or expression. Editor: Lesley K. Baier University policy is committed to a∞rmative action under law in employment of PO Box 208230, New Haven CT 06520-8230 women, minority group members, individuals with disabilities, special disabled veterans, veterans of the Vietnam era, and other covered veterans.
    [Show full text]
  • UW Opera Workshop Cyndia Sieden &Stephen Stubbs, Co-Directors
    1ff\.'il SCHOOL OF MUSIC \':!.f\3 UNIVERSITY of WASHINGTON -l;\\ 6(6lB 3-~ UW Opera Workshop Cyndia Sieden &Stephen Stubbs, co-directors presents - L'enfant et les Sortileges An opera in one act by Maurice Ravel, with libretto by Colette 7:30 PM March 8, 2018 Meany Studio Theater UW MUSIC 2017-18 SEASON Lt9' WIth­ L'ENFANT fT LES SORTILtGES 1. The scene opens on a room in an old house, with awindow connected to a garden. There are armchairs and agrandfather clock, and acage with asquirrel is resting on atable. The remains of afire burn in the fireplace, near which acat is sleeping. It is afternoon and the Child, six or seven years old, is sitting at his desk and feeling very lazy. He complains that he does not want to do his homework; he wants to go out, to eat all the cakes, to pull the cat's tail, and to cut off the tail of the squirrel. He wants to growl at everyone and upset his mother. 2. The door opens and Maman enters with his tea. She asks if he has finished his homework, but he sulks and gives no reply. She sees that he has done nothing, and worse, has spattered ink on the carpet. When she asks him to promise to work, he defiantly answers by sticking out his tongue. As punishment, she leaves him tea with no sugar and only dry bread, telling him to stay there until dinnertime to consider what he has done wrong, and how he has hurt his mother.
    [Show full text]
  • Madama Butterfly
    LYRIC OPERA OF CHICAGO MADAMATHE THREE BUTTERFLY QUEENS 2019|20 SEASON In this issue Dan Rest Madama Butterfly | pp. 16-32 6 WELCOME TO YOUR LYRIC 40 RYAN OPERA CENTER 8 From the Chairman and the 42 Ryan Opera Center General Director alumni around the world 10 Board of Directors 42 Program staff 12 The power of opera 43 Ryan Opera Center contributors 16 PERFORMANCES 44 THANK YOU FOR 18 Title page and cast YOUR SUPPORT 19 Introduction 46 Production sponsors 20 Artist profiles 47 Aria Society 24 Orchestra & Chorus 59 Supporting our future — Todd Rosenberg Todd 28 Opera notes endowments at Lyric The power of opera | pp. 12-15 32 After the curtain falls 60 Faces of Lyric 63 Gift planning 34 BEYOND THE STAGE 66 Corporate partners 36 Lyric Unlimited – 68 Annual individual learning & creative engagement and foundation support 74 Commemorative gifts 76 THE COMPANY 76 Artistic roster 78 Lyric staff 80 Backstage life Lyric Opera of Chicago | 2 Paid ad Lyric Opera of Chicago | 3 Since 1991 Gail McGrath Tahira Merchant You can view this program Publisher & President Graphic Designer on your mobile device at Sheldon Levin lyricopera.org/programs Publisher & Director Joy Morawez of Finance Accounting For advertising information LISA MIDDLETON A. J. Levin Willie Smith call 847-770-4620. To see Executive Editor Director of Operations Supervisor Operations our Terms and Conditions Earl Love relating to advertising ROGER PINES Rand Brichta Operations orders, visit our website at Editor Arnie Hoffman Wilfredo Silva performancemedia.us. Account Managers Operations All contents copyrighted. MAGDA KRANCE Michael Hedge Steve Dunn All rights reserved.
    [Show full text]