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The President's Report
The 1984-85 school year also marked the end of the de Lausanne International Ballet Competition; Jo two-year process of self-study required by the Yost, high school ballet student, received a contract Southern Association of Colleges and Schools for reaf¬ with American Ballet Theatre II and Tisha Roth, a firmation of accreditation. A Visiting Committee from drama senior, was awarded one of the Princess Grace the Commission on Colleges came to campus on April Foundation Scholarships, a prestigious national com¬ 28, 1985 to conduct its three-day visit to assess the petition. Of the current senior drama students, all but undergraduate programs and the new graduate pro¬ three have secured theatre and television jobs, in¬ gram in Design and Production. The Southern cluding Kevin Jackson who has been hired by the Association, while reaffirming and praising the qual¬ "Acting Company." Two recent graduates of the ity of NCSA arts training programs, made some useful School of Music made their professional debuts: recommendations. clarinetist Daniel McKelway at the Kennedy Center in Washington, D.C. and soprano Anne Wyche at Carnegie Recital Hall in New York City. Since 1972, School of Drama alumni have appeared in more than 40 theatre productions, 15 Hollywood PERFORMANCE films and 25 television series. Patsy Pease has a regular role in "Days of our Lives," John Sanderford in "General Hospital,” and Matthew Ashford in "Search for Tomorrow.'' Bass-baritone John Cheek has Performance plays an essential role in the life of the appeared at the Metropolitan Opera every season school. This year more than 300 performances were since his 1977 debut and soprano Gianni Rolandi is presented to more than 62,000, in addition to the nor¬ a star of the New York City Opera. -
Cyrano De Bergerac, by Edmond Rostand
Cyrano de Bergerac, by Edmond Rostand In A Nutshell Cyrano de Bergerac is a play about an eloquent, talented, and brave, but physically unappealing, man and his love for a beautiful woman, Roxane. Playwright Edmond Rostand wrote Cyrano de Bergerac as a comedy, and something of a satire of the overly romanticized literature of France in the 1600s (literature such as Alexandre Dumas’s The Three Musketeers, which was published in 1844). As such, you’ll find it chock-full of historical references to writers, royalty, philosophers, dramatists, and scientists of the time. Light-hearted in nature, this work is full of frivolous pomp and overblown dialogue. Adding to its showy, intentionally grandiose quality is the form of the prose: rhyming couplets of twelve syllables per line in the original French. The translated meter you often see in English is iambic pentameter, which, we all know, is a party waiting to happen. Published in French in 1897, Cyrano de Bergerac hit the stages of Paris to instant acclaim. Under the flourishes of renowned stage actor Constant Coquelin (to whom Rostand dedicated his play), Cyrano came to life. Basing his main character on a historical figure of the same name, Rostand accurately recounts much of the real Cyrano’s life – as told by Le Bret and a number of other biographers – in his beloved play. The real Cyrano de Bergerac was a French dramatist who lived from 1619-1655, which means Rostand got his dates correct in writing his play. De Bergerac really did fight at the Siege of Arras in 1640 and died in 1655. -
Vherbert.Com Cyrano De Bergerac
vherbert.com VHSource, LLC Cyrano de Bergerac $950.00 DO NOT CHOOSE TO ADD THIS ITEM TO YOUR SHOPPING CART: INSTEAD Download fill out and return Information Sheet: VHS Rental Information Sheet - Orig Orch - 2013 Download a VHS Blank License 2013 - sample Contact This e-mail address is being protected from spambots. You need JavaScript enabled to view it for hard copy information This is the original orchestration for Herbert's Cyrano de Bergerac first produced in New York City on October 3, 1899, written for a production starring the vaudville star Francis Wilson. This is arguably one of the top five most beautiful Herbert scores. It was also a huge failure. Herbert wrote for the Rostand Cyrano. Francis Wilson and his librettist Stuart Reed (actually Harry B. Smith) decided the story was too sad and wrote a "happy ending." Twenty-eight performances after it opened it closed to be forgotten for 100 years. Its libretto fortunately lost forever. Fortunately, librettist Alyce Mott started from scratch, returned to the original Rostand play and wrote a new libretto to the existing score. Ask for a perusal of this beautiful PV and libretto and you will want it immediately. As this work is pre-1900, Cyrano is a bass, Christian a tenor and Roxanne a very rare for Herbert mezzo. Greatest selling point -- Cyrano is a classic tragedy and your audience already knows the Copyright ©2021 - VHSource, LLC - http://vherbert.com _PN_PAGE 1 _PN_OF 2 story. Imagine their surprise and wonder when they then hear the score. -
Th E N a Tion a Lo Pe R a C En Ter Am Er Ic A
THE NATIONA OPERA America presents CONVERSATIONS Sondra Radvanovsky In conversation with OPERA America President/CEO Marc A. Scorca L The National Opera Center March 3, 2016 | 7:00 p.m. OPERA AM ER CENTER ICA Soprano SONDRA Radvanovsky has performed in every RADVANOVSKY is a major opera house in the world, PAVEL ANTONOV PAVEL globally celebrated including the Royal Opera House, artist. The sincerity and Opéra national de Paris, Teatro alla intensity that she brings Scala and numerous others. Her home to the stage as one of theater is the Metropolitan Opera, the most prominent where she began her training in the late sopranos of her generation have won 1990s. After performances in smaller her accolades from critics and loyalty roles there, Radvanovsky caught the from passionate fans. attention of critics as Antonia in Les Contes d’Hoffmann and was singled out Though known as one of today’s as a soprano to watch. Her recordings premier Verdi sopranos, Radvanovsky include Verdi Arias and a CD of Verdi has recently expanded her repertoire opera scenes with her frequent artistic to include such bel canto roles as partner Dmitri Hvorostovsky. She also Norma and Donizetti’s “three queens,” stars in a Naxos DVD of Cyrano de the leading soprano parts in his Bergerac alongside Plácido Domingo Tudor dramas. In recent seasons, she and in transmissions of Il trovatore and has mastered the title roles in Anna Un ballo in maschera for the wildly Bolena and Maria Stuarda and the popular Met: Live in HD series. role of Queen Elizabeth in Roberto Devereux, and this season, in a feat never before undertaken by any singer in Metropolitan Opera history, Radvanovsky performs all three queens in a single season. -
French 56 Teacher: Cathleen Cherry Core Text: Discovering French Rouge Time/Days: Daily Grade Level: 912
PRESCOTT UNIFIED SCHOOL DISTRICT YEARATAGLANCE PACING GUIDE 200809 SCHOOL YEAR School: Prescott High School Course: French 56 Teacher: Cathleen Cherry Core Text: Discovering French Rouge Time/Days: daily Grade Level: 912 Time Segment Unit (Thematic Big Ideas/ Essential Standards Focus (notate as “P” for Assessments (Projects, Resources & Materials (9 Week Grading Topic or Subject) Questions (Put Power/Essential Power, “E” for Essential, & “N” for Tests, Presentations, Etc.) Needed NonEssential) Period Maximum) Standard into Qu estion Format for the Unit) All four Current events Current events Communication Read and discuss a news www.yahoo.fr or similar quarters, on Culture article or editorial from French news Wednesdays Connections the current week organization’s website Comparisons Communities st 1 quarter Reprise Describing the present Communication Weekly Quizzes for Discovering French (Review) Describing the past Culture leçons AC Reprise Referring to people, things, Connections Reprise Exam and places Comparisons Final Exam Communities st 1 quarter Unité 1: Au Describing people Communication Weekly Quizzes for Discovering French jour le jour Caring for one’s appearance Culture leçons 1.1& 1.2 Chapter 1 Describing the various aspects Connections Chapter 1 Exam of one’s daily routine Comparisons Final Exam Expressing how one feels and Communities inquiring about others st 1 quarter (may Unité 2: Helping around the house Communication Weekly Quizzes for Discovering French continue into 2nd Soyons -
Cynthia Shaw, the Kresge Foundation 248.643.9630 Phone [email protected]
CONTACTS: Cynthia Shaw, The Kresge Foundation 248.643.9630 Phone [email protected] Mira Burack, College for Creative Studies 313.664.7939 Phone [email protected] FOR IMMEDIATE RELEASE MICHIGAN OPERA THEATRE’S DAVID DICHIERA NAMED 2013 KRESGE EMINENT ARTIST DETROIT, MICHIGAN – JANUARY 9, 2013 - Composer and operatic impresario David DiChiera – a champion of Detroit’s renaissance – has been named the 2013 Kresge Eminent Artist. The Kresge Eminent Artist award and $50,000 prize recognize DiChiera’s contributions as founder, music director, and general director of the Michigan Opera Theatre; his creativity and commitment to the community; and his efforts to build cultural bridges through the arts. A composer whose works include “Four Sonnets” (1965), “Cyrano” (2007) and the children’s opera “Rumpelstiltskin” (1973), DiChiera has presented opera, dance, and musical theater productions in Detroit and throughout Michigan for more than four decades. He has encouraged an appreciation for music and libretto in young people and adults, enriched the operatic repertoire by commissioning and premiering new productions and advanced the proposition that opera should reflect the community in which it is performed. DiChiera has opened the doors to new audiences and been a tirelessly effective force for community vitality, says Rip Rapson, president and CEO of The Kresge Foundation. “David is one of our community's most visionary leaders. He has nurtured an art form that combines music, dance, visual arts, and literature to tell stories of inspiration, power, and relevance – stories that bridge across eras and generations. He has contributed to the physical revitalization of our downtown cultural and entertainment district, re-energizing the landmark Music Hall theater and marshaling support for the opera house. -
John Conklin • Speight Jenkins • Risë Stevens • Robert Ward John Conklin John Conklin Speight Jenkins Speight Jenkins Risë Stevens Risë Stevens
2011 NATIONAL ENDOWMENT FOR THE ARTS 1100 Pennsylvania Avenue, NW Washington, DC 20506-0001 John Conklin • Speight Jenkins • Risë Stevens • Robert Ward John Conklin John Conklin Speight Jenkins Speight Jenkins Risë Stevens Risë Stevens Robert Ward Robert Ward NATIONAL ENDOWMENT FOR THE ARTS 2011 John Conklin’s set design sketch for San Francisco Opera’s production of The Ring Cycle. Image courtesy of John Conklin ii 2011 NEA OPERA HONORS Contents 1 Welcome from the NEA Chairman 2 Greetings from NEA Director of Music and Opera 3 Greetings from OPERA America President/CEO 4 Opera in America by Patrick J. Smith 2011 NEA OPERA HONORS RECIPIENTS 12 John Conklin Scenic and Costume Designer 16 Speight Jenkins General Director 20 Risë Stevens Mezzo-soprano 24 Robert Ward Composer PREVIOUS NEA OPERA HONORS RECIPIENTS 2010 30 Martina Arroyo Soprano 32 David DiChiera General Director 34 Philip Glass Composer 36 Eve Queler Music Director 2009 38 John Adams Composer 40 Frank Corsaro Stage Director/Librettist 42 Marilyn Horne Mezzo-soprano 44 Lotfi Mansouri General Director 46 Julius Rudel Conductor 2008 48 Carlisle Floyd Composer/Librettist 50 Richard Gaddes General Director 52 James Levine Music Director/Conductor 54 Leontyne Price Soprano 56 NEA Support of Opera 59 Acknowledgments 60 Credits 2011 NEA OPERA HONORS iii iv 2011 NEA OPERA HONORS Welcome from the NEA Chairman ot long ago, opera was considered American opera exists thanks in no to reside within an ivory tower, the small part to this year’s honorees, each of mainstay of those with European whom has made the art form accessible to N tastes and a sizable bankroll. -
Silent Film Music and the Theatre Organ Thomas J. Mathiesen
Silent Film Music and the Theatre Organ Thomas J. Mathiesen Introduction Until the 1980s, the community of musical scholars in general regarded film music-and especially music for the silent films-as insignificant and uninteresting. Film music, it seemed, was utili tarian, commercial, trite, and manipulative. Moreover, because it was film music rather than film music, it could not claim the musical integrity required of artworks worthy of study. If film music in general was denigrated, the theatre organ was regarded in serious musical circles as a particular aberration, not only because of the type of music it was intended to play but also because it represented the exact opposite of the characteristics espoused by the Orgelbewegung of the twentieth century. To make matters worse, many of the grand old motion picture theatres were torn down in the fifties and sixties, their music libraries and theatre organs sold off piecemeal or destroyed. With a few obvious exceptions (such as the installation at Radio City Music Hall in New (c) 1991 Indiana Theory Review 82 Indiana Theory Review Vol. 11 York Cityl), it became increasingly difficult to hear a theatre organ in anything like its original acoustic setting. The theatre organ might have disappeared altogether under the depredations of time and changing taste had it not been for groups of amateurs that restored and maintained some of the instruments in theatres or purchased and installed them in other locations. The American Association of Theatre Organ Enthusiasts (now American Theatre Organ Society [ATOS]) was established on 8 February 1955,2 and by 1962, there were thirteen chapters spread across the country. -
Cyrano De Bergerac
Cyrano de Bergerac Summer Reading Guide - English 10 Howdy, sophomores! Cyrano de Bergerac is a delightful French play by Edmond Rostand about a swashbuckling hero with a very large nose. It is one of my favorites! Read this entire guide before starting the play. The beginning can be tough to get through because there are many confusing names and characters, but stick with it and you won’t be disappointed! On the first day of class, there will be a Reading Quiz to test your knowledge of this guide and your comprehension of the play’s main events and characters. If you are in the honors section, you will also write a Timed Writing essay the first week of school. After school starts, we will analyze the play in class through discussions and various writing assignments. We will conclude the unit by watching a French film adaptation and comparing it to the play. By the way, my class is a No Spoiler Zone. This means that you may NOT spoil significant plot events to classmates who have not yet read the book. If you have questions about the reading this summer, please email me at [email protected]. I’ll see you in the fall! - Mrs. Lee 1 Introduction Cyrano de Bergerac is a 5-act play by French dramatist and poet Edmond Rostand (1868-1918). Our class version was translated into English by Gertrude Hall. Since its 1897 Paris debut, the play has enjoyed numerous productions in multiple countries. Cultural & Historical Background By the end of the 1800s, industrialization was taking place in most of Europe, including France, and with it came a more scientific way of looking at things. -
Libertine Strategies
Joan Dejean LIBERTINE STRATEGIES Freedom and the Novel in Seventeenth-Century France $17.50 LIBERTINE STRATEGIES Freedom and the Novel in Seventeenth-Century France By Joan DeJean This book is an important contribution to the vigorous and growing revival of interest in the seventeenth-century French novel as the progenitor of what has become the dominant literary genre in our ow n time. In a brilliant discussion of a group of compelling works of prose fiction by freethinking authors whose flamboyant life styles, radical ideas, and auda cious attacks on the established order made their literary productions suspect, Joan De Jean demonstrates that the issues at the heart of the libertine enterprise—autobiography, madness, fragmentation, and dialogue—are precisely those that define the problematic modernity of these works. In detailed analyses of Theophile de Viau's Fragments d'une his toire comique, Charles SorePs Francion, Tris tan L'Hermite's Lepage disgracie, Cyrano de Bergerac's L'Autre Monde and Estats et empires du soleil, D'Assoucy's Avantures, and Chapelle's Voyage a Encausse, Professor DeJean explores the complex nonfictional literary genres with which they have tradi tionally been associated. Occupying an unstable middle ground be tween autobiography and the novel, the works of the libertines are, with one exception, all written in the first person, a marked departure from the dominant literary tradition of the ro man heroique. They reflect both structurally and thematically the problems of an existence that is at once lived and invented. Investigat ing these problems, DeJean provides an ori ginal interpretation of the libertines* obsession with naming, analyzes their perchant for fic tionalizing history, and studies their peculiar ambivalence about persecution. -
SOME AMERICAN OPERAS/COMPOSERS October 2014
SOME AMERICAN OPERAS/COMPOSERS October 2014 Mark Adamo-- Little Women, Lysistrata John Adams—Nixon in China, Death of Klinghoffer, Doctor Atomic Dominick Argento—Postcard From Morocco, The Aspern Papers William Balcom—A View From the Bridge, McTeague Samuel Barber—Antony and Cleopatra, Vanessa Leonard Bernstein— A Quiet Place, Trouble in Tahiti Mark Blitzstein—Regina, Sacco and Venzetti, The Cradle Will Rock David Carlson—Anna Karenina Aaron Copland—The Tender Land John Corigliano—The Ghosts of Versailles Walter Damrosch—Cyrano, The Scarlet Letter Carlisle Floyd—Susannah, Of Mice and Men, Willie Stark, Cold Sassy Tree Lukas Foss—Introductions and Goodbyes George Gershwin—Porgy and Bess Philip Glass—Satyagraha, The Voyage, Einstein on the Beach, Akhnaten Ricky Ian Gordon—Grapes of Wrath Louis Gruenberg—The Emperor Jones Howard Hanson—Merry Mount John Harbison—The Great Gatsby, Winter’s Tale Jake Heggie—Moby Dick, Dead Man Walking Bernard Hermann—Wuthering Heights Jennifer Higdon—Cold Mountain (World Premiere, Santa Fe Opera, 2015) Scott Joplin—Treemonisha Gian Carlo Menotti—The Consul, The Telephone, Amahl and the Night Visitors Douglas Moore—Ballad of Baby Doe, The Devil and Daniel Webster, Carrie Nation Stephen Paulus—The Postman Always Rings Twice, The Woodlanders Tobias Picker—An American Tragedy, Emmeline, Therese Racquin Andre Previn—A Streetcar Named Desire Ned Rorem—Our Town Deems Taylor—Peter Ibbetson Terry Teachout—The Letter Virgil Thompson—Four Saints in Three Acts, The Mother of Us All Stewart Wallace—Harvey Milk Kurt Weill—Street Scene, Rise and Fall of the City of Mahagonny . -
Cyrano De Bergerac Cyrano / the Gate of Nesle / No, Thank You Affected Young Ladies / Arrival of Roxane / End Titles
Cyrano de Bergerac Cyrano / The Gate Of Nesle / No, Thank You Affected Young Ladies / Arrival Of Roxane / End Titles Brass Band Arr.: Michal Worek Adapt.: Bertrand Moren Jean-Claude Petit EMR 32224 st + 1 Full Score 2 1 B Trombone nd + 1 E Cornet 2 2 B Trombone + 5 Solo B Cornet 1 B Bass Trombone 1 Repiano B Cornet 2 B Euphonium nd 3 2 B Cornet 3 E Bass rd 3 3 B Cornet 3 B Bass 1 B Flugelhorn 1 Timpani 2 Solo E Horn 1 1st Percussion (Glockenspiel / Tambourine) 2 1st E Horn 1 2nd Percussion (Cymbals) 2 2nd E Horn 1 Snare Drum 2 1st B Baritone 2 2nd B Baritone Print & Listen Drucken & Anhören Imprimer & Ecouter www.reift.ch Route du Golf 150 CH-3963 Crans-Montana (Switzerland) Tel. +41 (0) 27 483 12 00 Fax +41 (0) 27 483 42 43 E-Mail : [email protected] www.reift.ch DISCOGRAPHY Cinemagic 59 Track Titel / Title Time N° EMR N° EMR N° (Komponist / Composer) Blasorchester Brass Band Concert Band 1 Destiny (Satô) 4’18 EMR 12533 EMR 9885 2 Cyrano de Bergerac (Petit) 5’26 EMR 12556 EMR 32224 3 The Gadfly (Hornisse) (Shostakovich) 9’52 EMR 12423 - 4 The Wizard Of Oz (Arlen) 8’22 EMR 12558 EMR 32225 5 The Robe (Newman) 7’51 EMR 12625 EMR 32226 6 Run Free (Spirit: Stallion of the Cimarron) (Zimmer) 5’42 EMR 12653 EMR 32227 7 Star Trek (First Contact) (Goldsmith) 6’37 EMR 12639 EMR 32228 Zu bestellen bei • A commander chez • To be ordered from: Editions Marc Reift • Route du Golf 150 • CH-3963 Crans-Montana (Switzerland) • Tel.