DOCSLIB.ORG

There's a Real Buzz and Sense of Purpose About What This Company Is Doing

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
There's a Real Buzz and Sense of Purpose About What This Company Is Doing 15 FEBRUARY 7.15PM & 17 FEBRUARY 2PM “There’s a real buzz and sense of purpose about what this company is doing” ~ The Guardian www.niopera.com Grand Opera House, Belfast Welcome to The Grand Opera House for this new production of The Flying Dutchman. This is, by some way, NI Opera’s biggest production to date. Our very first opera (Menotti’s The Medium, coincidentally staged two years ago this month) utilised just five singers and a chamber band, and to go from this to a grand opera demanding 50 singers and a full symphony orchestra in such a short space of time indicates impressive progress. Similarly, our performances of Noye’s Fludde at the Beijing Music Festival in October, and our recent Irish Times Theatre Award nominations for The Turn of the Screw, demonstrate that our focus on bringing high quality, innovative opera to the widest possible audience continues to bear fruit. It feels appropriate for us to be staging our first Wagner opera in the bicentenary of the composer’s birth, but this production marks more than just a historical anniversary. Unsurprisingly, given the cost and complexities involved in performing Wagner, this will be the first fully staged Dutchman to be seen in Northern Ireland for generations. More unexpectedly, perhaps, this is the first ever new production of a Wagner opera by a Northern Irish company. Northern Ireland features heavily in this production. The opera begins and ends with ships and the sea, and it does not take too much imagination to link this back to Belfast’s industrial heritage and the recent Titanic commemorations. The production stars three of Northern Ireland’s finest opera singers in Bruno Caproni, Giselle Allen and Doreen Curran, as well as the wonderful Ulster Orchestra. Three of our current young artists, as well as three from last year’s programme, are involved in the production, and the chorus is drawn from talented singers all over the country. And of course we are delighted to be back at the Grand Opera House – one of Northern Ireland’s most treasured Victorian architectural jewels. I would like to thank the Peter Moores Foundation for generously supporting this production, and as ever, we are indebted to the Arts Council of Northern Ireland for its continuing support and guidance. I would particularly like to thank Rosa Solinas, outgoing Head of Music at the Arts Council, who is in the process of taking up her new position as Chief Executive of the Ulster Orchestra. Rosa has been a strong advocate of opera in Northern Ireland for many years, and a great friend of NI Opera. We wish her every success in her exciting new role. Our second full season closes next month with a Northern Ireland tour of Walton’s The Bear, and we hope to see you again in Newtownabbey, Omagh, Enniskillen, Belfast or Coleraine. Thank you for your support, and I hope you enjoy the show. Roy Bailie Chairman DIRECTOR’S NOTES Wagner’s fourth opera was premiered in Dresden is appropriate. Despite its composer’s professed Sean Rafferty Festival of Voice vocal competition, along with in June 1843. With stage sets cannibalised from irreligion, The Flying Dutchman is filled with Patron, NI Opera singers from last year’s Young Artists’ Programme, other productions in the theatre’s repertoire, references to angels and salvation. Perhaps this is Páidí Ó Dubháin, Mary McCabe and Gemma it found only limited success, its audiences to be expected in what is, after all, a remote and When I was asked by NI Prince. nonplussed by the opera’s Nordic bleakness and conservative community on the fringes of northern Opera last year to be Patron dissimilarity to the same composer’s lavish grand Europe. Senta’s commitment to the Dutchman, of the company, I was Away from the opera house, NI Opera’s opera Rienzi premiered in the same theatre only in this context, seems less pathological – more delighted to accept for two development programmes provide them with a year earlier. A transitional work between his understandable, and potentially more heroic. It reasons. First, I believe that mentoring and coaching from some of the earlier, more conventional operas and his later certainly was to Wagner, who stressed that Senta’s Northern Ireland needs and most respected names in the opera world, both music dramas, Wagner continued to tinker with ‘naivety’ was a positive trait; doubtless, Senta was deserves a first class opera here and in London, and give them invaluable Dutchman for the rest of his life, never quite his fantasy as much as it is the Dutchman’s. But company that can bring innovative productions experience through sharing the stage with achieving the final version he sought. Nevertheless, she is also no mere cipher or mental case, to be of the highest quality to people throughout the established singers in recitals. The Flying Dutchman has become one of his most confined to the kitchen or to the asylum. Senta country. Although only two years old, NI Opera is popular operas, its compact directness giving the embodies other values important to Wagner, doing that already. NI Opera has been fortunate enough to receive lie to Wagner’s reputation – persistent amongst important to the Wagner who only six years after generous funding from the Arts Council of non-admirers – for tedious long-windedness. the opera’s premiere would man the barricades in Equally important is recruiting and nurturing the Northern Ireland to bring its development revolt against capitalism and the established order. most promising local talent. We have a long and programmes to life, but we need more help to give A large part of the reason for the opera’s The Dutchman is a criminal who has alienated rich tradition in Ireland of producing wonderful more young people even greater opportunities. directness lies in the very personal circumstances himself from the world – and hence, mankind – opera singers, musicians, directors, designers The present economic climate makes funding all of its composition. Certainly, the essence of the by challenging it, by engaging in a fruitless and and conductors, but without enough support the more difficult to come by, and so it is even story – the eternal wanderer, a strong-willed martyr ferocious battle with life as it is. By energetically and encouragement the current generation of more important to have your support and help. doomed to a lonely existence on the turbulent choosing him and offering him a ‘home’ in herself, young professionals may not be able to fulfill their seas of life – appealed to Wagner’s image of Senta also makes an abdication from the world, but undoubted potential. Please think of sponsoring our young artists. himself (as well as being a staple for Romantic it is constructive and joyous. It is a positive choice For a relatively modest financial commitment art in general). Feeling his way towards a new to reject a conventional, patriarchal, conservative Bold initiatives such as NI Opera’s Young Artists’ you can make a real difference. aesthetic, and dismissing in ever more combative society - locked in surface relationships and Programme and its annual Festival of Voice in terms what he regarded as the debased work of his acquisitive greed - in favour of love. Glenarm give young people with exceptional talent If you enjoy the performances of our young artists contemporaries (as well as the corruption of society the chance to develop and become genuinely in The Flying Dutchman and would like to know in general), Wagner was in any case a difficult man. Nevertheless, the opera’s tragedy lies in the world-class. more about opportunities to sponsor them, please Perpetually falling out with managements and certainty that both the Dutchman and Senta are call Clíona Donnelly, NI Opera’s General Manager endlessly accumulating debts, restlessly seeking a trapped in their pasts as much as the other. Senta This performance of The Flying Dutchman is a on 028 9027 7734, or alternatively send an email to country in Europe that was worthy of him, Wagner and Wagner offer a possibility for redemption that good example. Of the current class of NI Opera [email protected]. nursed a keen sense of injustice matched by a the Dutchman – the nameless Everyman – and Young Artists, Eugene Monteith is Assistant sense of being not only victimised, but Other. mankind have the opportunity to seize. For the Conductor for the production, and Laura Sheerin Thank you for supporting NI Opera and its young In 1839, harried by creditors in Riga where he was characters, the outcome may even actually be and Aaron O’Hare are singing in the chorus. Also artists. Enjoy the show! principal conductor of the opera house, Wagner spiritually redemptive or transfiguring; Wagner’s in the chorus is Dawn Burns, the winner of the 2012 (plus wife and dog) escaped through the Baltic Sea subsequent modifications to the opera worked in a melodramatic episode culminating in a forced hard at emphasising this. But in human terms, night landing on the Norwegian coast. This landing neither Senta or the Dutchman have been able provided fruitful sonic and atmospheric material to escape the worlds from which they come, for the first scene of his already germinating opera, the decisions they have taken, and the people and Wagner (in characteristically self-mythologising they are. Perhaps Wagner, for all his personal mood) later laboriously altered the libretto’s preoccupations and subsequent mysticism, original Scottish setting to a Norwegian one, thus recognised this predicament to be the reality of identifying even more with his nameless wanderer. the human lot. It’s fortunate, at least, that while it is this tension that leads to the opera’s fatal outcome, The other essential component of Wagnerian it also generated its imperishable music and lasting music drama, that of the woman unconditionally place in the art of the world.
Load more

Recommended publications
  • Gustav Mahler : Conducting Multiculturalism
    GUSTAV MAHLER : CONDUCTING MULTICULTURALISM Victoria Hallinan 1 Musicologists and historians have generally paid much more attention to Gustav Mahler’s famous career as a composer than to his work as a conductor. His choices in concert repertoire and style, however, reveal much about his personal experiences in the Austro-Hungarian Empire and his interactions with cont- emporary cultural and political upheavals. This project examines Mahler’s conducting career in the multicultural climate of late nineteenth-century Vienna and New York. It investigates the degree to which these contexts influenced the conductor’s repertoire and questions whether Mahler can be viewed as an early proponent of multiculturalism. There is a wealth of scholarship on Gustav Mahler’s diverse compositional activity, but his conducting repertoire and the multicultural contexts that influenced it, has not received the same critical attention. 2 In this paper, I examine Mahler’s connection to the crumbling, late nineteenth- and early twentieth-century depiction of the Austro-Hungarian Empire as united and question whether he can be regarded as an exemplar of early multiculturalism. I trace Mahler’s career through Budapest, Vienna and New York, explore the degree to which his repertoire choices reflected the established opera canon of his time, or reflected contemporary cultural and political trends, and address uncertainties about Mahler’s relationship to the various multicultural contexts in which he lived and worked. Ultimately, I argue that Mahler’s varied experiences cannot be separated from his decisions regarding what kinds of music he believed his audiences would want to hear, as well as what kinds of music he felt were relevant or important to share.
    [Show full text]
  • Aoife Miskelly Soprano
    Aoife Miskelly Soprano Northern Irish soprano Aoife Miskelly Codetta in their performance – live on studied as a Sickle Foundation Scholar on the Spanish radio – of Beethoven’s oratorio Christ Opera Masters degree course at the Royal on the Mount of Olives in Cuenca. Aoife is also Academy of Music in London, graduating in a very keen oratorio singer, having performed 2012 with the Regency Award. During her in a whole host of concerts, including Bach’s studies, Aoife was a Kathleen Ferrier Awards Christmas Oratorio, St. John and Matthew finalist (2010), won a BBC Northern Ireland Passions, Jauchzet Gott in allen Landen and Young Artists Platform Award, and was a Magnificat, Beethoven’s Mass in C (in Samling Scholar, Internationale Cologne Cathedral), Brahms’ Deutches Meistersinger Akademie Young Artist and Requiem (St. Martin in the Fields), Carissimi’s Britten-Pears Young Artist. Aoife was the Jepthe (St. John’s, Smith Square), Handel’s winner of the Hampshire National Singing Messiah, Dixit Dominus, Laudate Pueri Competition in 2011, the Bernadette Greevy Dominum, and Saul (conducted by Laurence Bursary in 2011, finalist in the Veronica Dunne Cummings), Mozart’s Requiem, Coronation International Singing Competition 2013, and Mass and Exultate Jubilate, Orff’s Carmina finalist in the 2015 Wigmore Hall Song Burana (Ulster Orchestra), Poulenc’s Gloria, Competition. Stravinsky’s Mass, Varese’s Nocturnal and Vivaldi’s Gloria. During the 2012-16 seasons Aoife was a soloist at the Cologne Opera House where she Aoife’s recent highlights include
    [Show full text]
  • A Midsummer Night's Dream
    Monday 25, Wednesday 27 February, Friday 1, Monday 4 March, 7pm Silk Street Theatre A Midsummer Night’s Dream by Benjamin Britten Dominic Wheeler conductor Martin Lloyd-Evans director Ruari Murchison designer Mark Jonathan lighting designer Guildhall School of Music & Drama Guildhall School Movement Founded in 1880 by the Opera Course and Dance City of London Corporation Victoria Newlyn Head of Opera Caitlin Fretwell Chairman of the Board of Governors Studies Walsh Vivienne Littlechild Dominic Wheeler Combat Principal Resident Producer Jonathan Leverett Lynne Williams Martin Lloyd-Evans Language Coaches Vice-Principal and Director of Music Coaches Emma Abbate Jonathan Vaughan Lionel Friend Florence Daguerre Alex Ingram de Hureaux Anthony Legge Matteo Dalle Fratte Please visit our website at gsmd.ac.uk (guest) Aurelia Jonvaux Michael Lloyd Johanna Mayr Elizabeth Marcus Norbert Meyn Linnhe Robertson Emanuele Moris Peter Robinson Lada Valešova Stephen Rose Elizabeth Rowe Opera Department Susanna Stranders Manager Jonathan Papp (guest) Steven Gietzen Drama Guildhall School Martin Lloyd-Evans Vocal Studies Victoria Newlyn Department Simon Cole Head of Vocal Studies Armin Zanner Deputy Head of The Guildhall School Vocal Studies is part of Culture Mile: culturemile.london Samantha Malk The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation A Midsummer Night’s Dream Music by Benjamin Britten Libretto adapted from Shakespeare by Benjamin Britten and Peter Pears
    [Show full text]
  • Britten Spring Symphony Welcome Ode • Psalm 150
    BRITTEN SPRING SYMPHONY WELCOME ODE • PSALM 150 Elizabeth Gale soprano London Symphony Chorus Alfreda Hodgson contralto Martyn Hill tenor London Symphony Orchestra Southend Boys’ Choir Richard Hickox Greg Barrett Richard Hickox (1948 – 2008) Benjamin Britten (1913 – 1976) Spring Symphony, Op. 44* 44:44 For Soprano, Alto and Tenor solos, Mixed Chorus, Boys’ Choir and Orchestra Part I 1 Introduction. Lento, senza rigore 10:03 2 The Merry Cuckoo. Vivace 1:57 3 Spring, the Sweet Spring. Allegro con slancio 1:47 4 The Driving Boy. Allegro molto 1:58 5 The Morning Star. Molto moderato ma giocoso 3:07 Part II 6 Welcome Maids of Honour. Allegretto rubato 2:38 7 Waters Above. Molto moderato e tranquillo 2:23 8 Out on the Lawn I lie in Bed. Adagio molto tranquillo 6:37 Part III 9 When will my May come. Allegro impetuoso 2:25 10 Fair and Fair. Allegretto grazioso 2:13 11 Sound the Flute. Allegretto molto mosso 1:24 Part IV 12 Finale. Moderato alla valse – Allegro pesante 7:56 3 Welcome Ode, Op. 95† 8:16 13 1 March. Broad and rhythmic (Maestoso) 1:52 14 2 Jig. Quick 1:20 15 3 Roundel. Slower 2:38 16 4 Modulation 0:39 17 5 Canon. Moving on 1:46 18 Psalm 150, Op. 67‡ 5:31 Kurt-Hans Goedicke, LSO timpani Lively March – Lightly – Very lively TT 58:48 4 Elizabeth Gale soprano* Alfreda Hodgson contralto* Martyn Hill tenor* The Southend Boys’ Choir* Michael Crabb director Senior Choirs of the City of London School for Girls† Maggie Donnelly director Senior Choirs of the City of London School† Anthony Gould director Junior Choirs of the City of London School
    [Show full text]
  • Verdi Week on Operavore Program Details
    Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
    [Show full text]
  • Biographies (396.2
    ANTONELLO MANACORDA conducteur italien • Formation o études de violon entres autres avec Herman Krebbers à Amsterdam o puis, à partir de 2002, deux ans de direction d’orchestre chez Jorma Panula. • Orchestres o 1997 : il crée, avec Claudio Abbado, le Mahler Chamber Orchestra o 2006 : nommé chef permanent de l’ensemble I Pomeriggi Musicali à Milaan o 2010 : nommé chef permanent du Kammerakademie Potsdam o 2011 : chef permanent du Gelders Orkest o Frankfurt Radio Symphony, BBC Philharmonic, Mozarteumorchester Salzburg, Sydney Symphony, Orchestra della Svizzera Italia, Scottish Chamber Orchestra, Stavanger Symphony, Swedish Chamber Orchestra, Hamburger Symphoniker, Staatskapelle Weimar, Helsinki Philharmonic, Orchestre National du Capitole de Toulouse & Gothenburg Symphony • Fil rouge de sa carrière o collaboration artistique de longue durée avec La Fenice à Venise • Pour la Monnaie o dirigeerde in april 2016 het Symfonieorkest van de Munt in werk van Mozart en Schubert • Projets récents et futurs o Il Barbiere di Siviglia, Don Giovanni & L’Africaine à Frankfort, Lucio Silla & Foxie! La Petite Renarde rusée à la Monnaie, Le Nozze di Figaro à Munich, Midsummer Night’s Dream à Vienne et Die Zauberflöte à Amsterdam • Discographie sélective o symphonies de Schubert avec le Kammerakademie Potsdam (Sony Classical - courroné par Die Welt) o symphonies de Mendelssohn également avec le Kammerakademie Potsdam (Sony Classical) • Pour en savoir plus o http://www.inartmanagement.com o http://www.antonello-manacorda.com CHRISTOPHE COPPENS Artiste et metteur
    [Show full text]
  • Repor 1 Resumes
    REPOR 1RESUMES ED 018 277 PS 000 871 TEACHING GENERAL MUSIC, A RESOURCE HANDBOOK FOR GRADES 7 AND 8. BY- SAETVEIT, JOSEPH G. AND OTHERS NEW YORK STATE EDUCATION DEPT., ALBANY PUB DATE 66 EDRS PRICEMF$0.75 HC -$7.52 186P. DESCRIPTORS *MUSIC EDUCATION, *PROGRAM CONTENT, *COURSE ORGANIZATION, UNIT PLAN, *GRADE 7, *GRADE 8, INSTRUCTIONAL MATERIALS; BIBLIOGRAPHIES, MUSIC TECHNIQUES, NEW YORK, THIS HANDBOOK PRESENTS SPECIFIC SUGGESTIONS CONCERNING CONTENT, METHODS, AND MATERIALS APPROPRIATE FOR USE IN THE IMPLEMENTATION OF AN INSTRUCTIONAL PROGRAM IN GENERAL MUSIC FOR GRADES 7 AND 8. TWENTY -FIVE TEACHING UNITS ARE PROVIDED AND ARE RECOMMENDED FOR ADAPTATION TO MEET SITUATIONAL CONDITIONS. THE TEACHING UNITS ARE GROUPED UNDER THE GENERAL TOPIC HEADINGS OF(1) ELEMENTS OF MUSIC,(2) THE SCIENCE OF SOUND,(3) MUSICAL INSTRUMENTS,(4) AMERICAN FOLK MUSIC, (5) MUSIC IN NEW YORK STATE,(6) MUSIC OF THE THEATER,(7) MUSIC FOR INSTRUMENTAL GROUPS,(8) OPERA,(9) MUSIC OF OTHER CULTURES, AND (10) HISTORICAL PERIODS IN MUSIC. THE PRESENTATION OF EACH UNIT CONSISTS OF SUGGESTIONS FOR (1) SETTING THE STAGE' (2) INTRODUCTORY DISCUSSION,(3) INITIAL MUSICAL EXPERIENCES,(4) DISCUSSION AND DEMONSTRATION, (5) APPLICATION OF SKILLS AND UNDERSTANDINGS,(6) RELATED PUPIL ACTIVITIES, AND(7) CULMINATING CLASS ACTIVITY (WHERE APPROPRIATE). SUITABLE PERFORMANCE LITERATURE, RECORDINGS, AND FILMS ARE CITED FOR USE WITH EACH OF THE UNITS. SEVEN EXTENSIVE BE.LIOGRAPHIES ARE INCLUDED' AND SOURCES OF BIBLIOGRAPHICAL ENTRIES, RECORDINGS, AND FILMS ARE LISTED. (JS) ,; \\',,N.k-*:V:.`.$',,N,':;:''-,",.;,1,4 / , .; s" r . ....,,'IA, '','''N,-'0%')',", ' '4' ,,?.',At.: \.,:,, - ',,,' :.'v.'',A''''',:'- :*,''''.:':1;,- s - 0,- - 41tl,-''''s"-,-N 'Ai -OeC...1%.3k.±..... -,'rik,,I.k4,-.&,- ,',V,,kW...4- ,ILt'," s','.:- ,..' 0,4'',A;:`,..,""k --'' .',''.- '' ''-.
    [Show full text]
  • Benjamin Britten: a Catalogue of the Orchestral Music
    BENJAMIN BRITTEN: A CATALOGUE OF THE ORCHESTRAL MUSIC 1928: “Quatre Chansons Francaises” for soprano and orchestra: 13 minutes 1930: Two Portraits for string orchestra: 15 minutes 1931: Two Psalms for chorus and orchestra Ballet “Plymouth Town” for small orchestra: 27 minutes 1932: Sinfonietta, op.1: 14 minutes Double Concerto in B minor for Violin, Viola and Orchestra: 21 minutes (unfinished) 1934: “Simple Symphony” for strings, op.4: 14 minutes 1936: “Our Hunting Fathers” for soprano or tenor and orchestra, op. 8: 29 minutes “Soirees musicales” for orchestra, op.9: 11 minutes 1937: Variations on a theme of Frank Bridge for string orchestra, op. 10: 27 minutes “Mont Juic” for orchestra, op.12: 11 minutes (with Sir Lennox Berkeley) “The Company of Heaven” for two speakers, soprano, tenor, chorus, timpani, organ and string orchestra: 49 minutes 1938/45: Piano Concerto in D major, op. 13: 34 minutes 1939: “Ballad of Heroes” for soprano or tenor, chorus and orchestra, op.14: 17 minutes 1939/58: Violin Concerto, op. 15: 34 minutes 1939: “Young Apollo” for Piano and strings, op. 16: 7 minutes (withdrawn) “Les Illuminations” for soprano or tenor and strings, op.18: 22 minutes 1939-40: Overture “Canadian Carnival”, op.19: 14 minutes 1940: “Sinfonia da Requiem”, op.20: 21 minutes 1940/54: Diversions for Piano(Left Hand) and orchestra, op.21: 23 minutes 1941: “Matinees musicales” for orchestra, op. 24: 13 minutes “Scottish Ballad” for Two Pianos and Orchestra, op. 26: 15 minutes “An American Overture”, op. 27: 10 minutes 1943: Prelude and Fugue for eighteen solo strings, op. 29: 8 minutes Serenade for tenor, horn and strings, op.
    [Show full text]
  • 2013-14 Page 2 Page
    Arts Council of Northern Ireland - 2013-14 www.artscouncil-ni.org arts council of northern ireland annual review 2013-14 arts council of northern ireland annual review 2013-14 Prime Cut Production’s ‘The Conquest of Happiness’ Happiness’ of ‘The Conquest Production’s Cut Prime page 2 page page 3 page Our Vision Front Cover: Lyric Theatre Production, ‘Brendan at the Chelsea’. Photo: Steffan Hill Steffan Photo: Chelsea’. the at ‘Brendan Production, Theatre Lyric Cover: Front Our vision is to ‘place the arts at the heart of our social, economic and creative life’. In Ambitions for the Arts*, our new five-year strategic plan for the development of the arts in Northern Ireland, 2013-18, we identify the main themes covering what we believe needs to be done to achieve this vision - championing the arts, promoting Public funding brings access, building a sustainable sector. In this Annual Review 2013-14, you will see the great art within the reach progress that has been made in these areas, from the transformation of Derry~Londonderry through the UK City of Culture 2013 creative programme to the range of everyone of international showcase opportunities now available to our artists and performers. * available at www.artscouncil-ni.org arts council of northern ireland annual review 2013-14 arts council of northern ireland annual review 2013-14 Contents Welcome Welcome to the Arts Council of Northern Ireland’s Annual Review 2013-2014. Chair’s Foreword 6 This calendar-style review of our combined Exchequer and Chief Executive’s Foreword 8 National Lottery-funded activities covers many of the artistic highlights of the last (financial) year, expanding in greater detail on several of the most significant events.
    [Show full text]
  • Marie Collier: a Life
    Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family.
    [Show full text]
  • RSTD OPERN Ma Rz April Ok 212X433
    RSTD OPERN_März April_ok_212x433 12.02.13 09:40 Seite 1 Opernprogramm März 2013 März Gaetano Donizetti Anna Bolena 20.00 - 22.55 Anna Bolena: Edita Gruberova, Giovanna Seymour: Delores Ziegler, Enrico VIII.: Stefano Palatchi, Lord Rochefort: Igor Morosow, 2 Lord Riccardo Percy: José Bros, Smeton: Helene Schneiderman, Sir Hervey: José Guadalupe Reyes. Samstag Chor und Orchester des Ungarischen Rundfunks und Fernsehens, Leitung: Elio Boncompagni, 1994. März Richard Wagner Das Liebesverbot 20.00 - 22.40 Friedrich: Hermann Prey, Luzio: Wolfgang Fassler, Claudio: Robert Schunk, Antonio: Friedrich Lenz, Angelo: Kieth Engen, 5 Isabella: Sabine Hass, Mariana: Pamela Coburn, Brighella: Alfred Kuhn. Dienstag Chor der Bayerischen Staatsoper, Bayerisches Staatsorchester, Leitung: Wolfgang Sawallisch, 1983. März Georg Friedrich Händel Alessandro 20.00 - 23.20 Alessandro Magno: Max Emanuel Cencic, Rossane: Julia Lezhneva, Lisaura: Karina Gauvin, Tassile: Xavier Sabata, 7 Leonato: Juan Sancho, Clito: In-Sung Sim, Cleone: Vasily Khoroshev. Donnerstag The City of Athens Choir, Armonia Atenea, Leitung: George Petrou, 2011. März Giuseppe Verdi Aroldo 20.00 - 22.15 Aroldo: Neil Shicoff, Mina: Carol Vaness, Egberto: Anthony Michaels-Moore, Briano: Roberto Scandiuzzi, 9 Godvino: Julian Gavin, Enrico: Sergio Spina, Elena: Marina Comparato. Samstag Coro del Maggio Musicale Fiorentino, Orchestra del Maggio Musicale Fiorentino, Leitung: Zubin Mehta, 2001. März Wolfgang Amadé Mozart La finta giardiniera 20.00 - 23.10 Sandrina: Sophie Karthäuser, Contino Belfiore: Jeremy Ovenden, Arminda: Alex Penda, 12 Cavaliere Ramiro: Marie-Claude Chappuis, Podestà: Nicolas Rivenq, Serpetta: Sunhae Im, Roberto: Michael Nagy. Dienstag Freiburger Barockorchester, Leitung: René Jacobs, 2011. Der neue Konzertzyklus im Mozarthaus Vienna: mozartakademie 2013 „Magic Moments – Magische Momente in den Werken großer Meister“ 20.03.
    [Show full text]
  • Now We Are 126! Highlights of Our 3 125Th Anniversary
    Issue 5 School logo Sept 2006 Inside this issue: Recent Visits 2 Now We Are 126! Highlights of our 3 125th Anniversary Alumni profiles 4 School News 6 Recent News of 8 Former Students Messages from 9 Alumni Noticeboard 10 Fundraising 11 A lot can happen in 12 just one year In Memoriam 14 Forthcoming 16 Performances Kim Begley, Deborah Hawksley, Robert Hayward, Gweneth-Ann Jeffers, Ian Kennedy, Celeste Lazarenko, Louise Mott, Anne-Marie Owens, Rudolf Piernay, Sarah Redgwick, Tim Robinson, Victoria Simmons, Mark Stone, David Stout, Adrian Thompson and Julie Unwin (in alphabetical order) performing Serenade to Music by Ralph Vaughan Williams at the Guildhall on Founders’ Day, 27 September 2005 Since its founding in 1880, the Guildhall School has stood as a vibrant showcase for the City of London's commitment to education and the arts. To celebrate the School's 125th anniversary, an ambitious programme spanning 18 months of activity began in January 2005. British premières, international tours, special exhibits, key conferences, unique events and new publications have all played a part in the celebrations. The anniversary year has also seen a range of new and exciting partnerships, lectures and masterclasses, and several gala events have been hosted, featuring some of the Guildhall School's illustrious alumni. For details of the other highlights of the year, turn to page 3 Priority booking for members of the Guildhall Circle Members of the Guildhall Circle are able to book tickets, by post, prior to their going on sale to the public. Below are the priority booking dates for the Autumn productions (see back cover for further show information).
    [Show full text]