MORATTI Playlet, for He Alone Is Immortal
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Hansel and Gretel
ENGELBERT HUMPERDINCK HANSEL AND GRETEL Education Resource Hansel and Gretel Education Resource CONTENTS About this Resource ........................................................................................................... 3 Glossary .............................................................................................................................. 5 Hansel and Gretel - About the opera .................................................................................. 7 Synopsis ........................................................................................................................................... 7 Characters and Cast ...................................................................................................................... 8 Creative Team ................................................................................................................................. 8 Workshop 1 – What is opera? ............................................................................................. 9 What is opera?................................................................................................................................. 9 Where did it come from? .............................................................................................................. 9 Voice types and singing styles ......................................................................................................10 Voice types in Hansel and Gretel ...................................................................................................11 -
2012 Conference Abstracts (In Order of Presentation)
2012 Conference Abstracts (in order of presentation) Thursday afternoon Session 1a: Mapping Musical Modernities at the BBC (3rd Floor) Vaughan Williams, Boult and the BBC JENNY DOCTOR, SYRACUSE UNIVERSITY Much scholarly discussion in recent years has focused on re-mapping notions of biography, exploring in music not only composers, performers and librettists, but also patrons, concert organizers and programme builders. In parallel with this emerged new ideas of institutional biography, opening up questions that contextualized the institution in terms of its cultural role. With such expanded impressions of biography, identity and contribution in mind, I explore Ralph Vaughan Williams and the BBC, considering the composer’s broadcasting activities and opportunities in relation to his Corporation contacts, in particular his interactions with BBC Music Director and Chief Conductor Adrian Boult. “The Best Possible Performance”: The BBC’s 1942 Music Policy and the Problem of Swung Classics CHRISTINA BAADE, MCMASTER UNIVERSITY This paper examines the BBC’s 1942 ban on swung classics, locating it at the nexus of three strands of British cultural expression during the Second World War: 1. the vogue for Russian (and Soviet) culture; 2. the expansion of American-style popular music in Britain; and 3. the development of People’s War discourses of democracy, populism, and tolerance. This paper argues that the ban represented a direct attempt to combat the commoditization of music and to develop a more musical citizenry. The BBC’s adoption of repressive means for democratic aims demonstrated the challenges of music broadcasting in modern mass culture. “The Machine Stops” and the Musical Acousmêtre LOUIS NIEBUR, UNIVERSITY OF NEVADA, RENO In 1966, BBC Television broadcast an adaptation of E.M. -
Ethel Smyth: a Life of Music and Activism
Ethel Smyth: A Life of Music and Activism As musician Sir Thomas Beecham, friend to Ethel Smyth, walked into the prison yard at Holloway Prison to visit her, he came upon the scene of dozens of suffragettes marching and singing their war-chant, its opening cry: Shout, shout, up with your song! Cry with the wind, for the dawn is breaking; March, march, swing you along, Wide blows our banner, and hope is waking. Ethel Smyth stood in her jail cell, the voices of the women rising up to her. They were singing her song, The March of the Women (words by Cicely Hamilton), composed a year earlier in 1911 as the anthem for the Women's Social and Political Union. Inspired, she stretched her arms out beyond the window bars and, in the Portrait of Ethel Smyth, 1901, words of Sir Beecham, ". beaming approbation from an overlooking upper by John Singer Sargent window, beat time in almost Bacchic frenzy with a toothbrush." The preceding anecdote illustrates the quintessential Ethel Smyth. The feisty, at times radical, activist fought not only for voting rights for women, but also for the equality of women musicians in the male-dominated milieu that was, and is, classical music. (In today's top 20 U.S. major orchestras in 2014, 91% of conductors/music directors and 63% of musicians were male, with men holding 69% of the [higher-paying] principal positions, and 82% of the concertmaster positions while only comprising 41% of all violinists. [1] Of the compositions performed by the top 21 orchestras in the 2014 – 2015 orchestral season, only 1.8% overall were composed by women, with 14.8% of living composers' compositions being by women. -
Sydney Murrell, Mezzo-Soprano Jeanette Evins, Piano
proudly presents the 2020-2021 Student Artist Series Sydney Murrell, mezzo-soprano Jeanette Evins, piano This Senior Recital is given in partial fulfillment of the requirements for the Bachelor of Music in Performance degree. Friday, April 23, 2021 7:30 p.m., Livestreamed from Kitt Recital Hall Program “Non so più cosa son, cosa faccio” Wolfgang Amadeus Mozart from Le nozze di Figaro (1756-1791) “Si promette facilmente” “Vorrei punirti indegno” from La finta giardiniera Selections from Liederkries, Op.39 Robert Schumann In der Fremde (1810-1856) Intermezzo Waldesgespräch Mondnacht Frülingsnacht ~Intermission~ “Werther! . Qui m’aurait di la place” Jules Massenet from Werther (1842-1912) “A Letter from Sullivan Ballou” John Kander (b.1927) “George” William Bolcom from Cabaret Songs (b.1938) Program Notes by Sydney Murrell (2021) WOLFGANG AMADEUS MOZART (1756-1791) Selections from Le nozze di Figaro and La finta giardiniera Wolfgang Amadeus Mozart was born in Salzburg, Austria, into a musical family. Mozart was considered a child prodigy. He could read and write music by the age of five and was composing by the age of six. In 1781, Mozart moved to Vienna to become a freelance musician, which was uncommon during this time. Most composers worked for aristocratic patrons during the Classical period, since the rise of amateur musicians who were frequent music-buyers didn’t occur until the late-Classical period into the early-Romantic period. Despite being relatively famous, Mozart struggled with a spending addiction which left his wife and children poor upon his death at thirty-five years old. “Non so più cosa son, cosa faccio” is sung in Le nozze di Figaro by a prepubescent boy, Cherubino, to the maid Susanna discussing his conflict of emotions about women. -
Mary Van, Soprano
Loyola University New Orleans School of Music Presents Mary Van, Soprano Junior Recital with Jonathan Szymanski, Accompanist and Guest Artist Voces ad Opus Sunday, February 17, 2019, 7:30 p.m. Nunemaker Auditorium Program Rejoice greatly, O daughter of Zion George Frideric Handel from Messiah (1685-1759) The Mermaid’s Song Franz Joseph Haydn (1732-1809) Leiderkries, Op. 39 Robert Schumann I. In der Fremde (1810-1856) II. Intermezzo III. Waldesgesprach IV. Die Stille V. Mondnacht Elle a fui, la tourterelle! Jacques Offenbach from Les Contes d‘Hoffman (1819-1880) Intermission Sei Ariette Vincenzo Bellini V. Per pietà, bell'idol mio (1801-1835) VI. Ma rendi pur contento My Bonny Lass She Smileth Thomas Morley (1557-1602) Voces ad Opus: Brittany Schaubhut, soprano Rebecca Sullivant, alto James Rodrigue, tenor David Murray, bass Deux Romances Claude Debussy I. Les cloches (1862-1918) II. Romance I can’t be talkin of love John Duke (1899-1984) April Elegy John Duke (1899-1984) I carry your heart John Duke (1899-1984) Translations Leiderkries, Op. 39 I. In der Fremde Aus der Heimat hinter den Blitzen rot From the homeland, behind the lightning’s red da kommen die Wolken her. there come the clouds here, Aber Vater und Mutter sind lange tot, but father and mother are long dead, es kennt mich dort Keiner mehr. and no one knows me anymore. Wie bald, ache wie bald kommt die stille How soon, ah, how soon come the quiet Zeit, time, da ruhe ich auch, unt über mir then I also rest and over me rauscht die schöne Waldeinsamkeit, rustles the beautiful forest solitude, Und keiner kennt mich mehr hier. -
"A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 Piano Solo | Twelfth 12Th Street Rag 1914 Euday L
Box Title Year Lyricist if known Composer if known Creator3 Notes # "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 piano solo | Twelfth 12th Street Rag 1914 Euday L. Bowman Street Rag 1 3rd Man Theme, The (The Harry Lime piano solo | The Theme) 1949 Anton Karas Third Man 1 A, E, I, O, U: The Dance Step Language Song 1937 Louis Vecchio 1 Aba Daba Honeymoon, The 1914 Arthur Fields Walter Donovan 1 Abide With Me 1901 John Wiegand 1 Abilene 1963 John D. Loudermilk Lester Brown 1 About a Quarter to Nine 1935 Al Dubin Harry Warren 1 About Face 1948 Sam Lerner Gerald Marks 1 Abraham 1931 Bob MacGimsey 1 Abraham 1942 Irving Berlin 1 Abraham, Martin and John 1968 Dick Holler 1 Absence Makes the Heart Grow Fonder (For Somebody Else) 1929 Lewis Harry Warren Young 1 Absent 1927 John W. Metcalf 1 Acabaste! (Bolero-Son) 1944 Al Stewart Anselmo Sacasas Castro Valencia Jose Pafumy 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Accidents Will Happen 1950 Johnny Burke James Van Huesen 1 According to the Moonlight 1935 Jack Yellen Joseph Meyer Herb Magidson 1 Ace In the Hole, The 1909 James Dempsey George Mitchell 1 Acquaint Now Thyself With Him 1960 Michael Head 1 Acres of Diamonds 1959 Arthur Smith 1 Across the Alley From the Alamo 1947 Joe Greene 1 Across the Blue Aegean Sea 1935 Anna Moody Gena Branscombe 1 Across the Bridge of Dreams 1927 Gus Kahn Joe Burke 1 Across the Wide Missouri (A-Roll A-Roll A-Ree) 1951 Ervin Drake Jimmy Shirl 1 Adele 1913 Paul Herve Jean Briquet Edward Paulton Adolph Philipp 1 Adeste Fideles (Portuguese Hymn) 1901 Jas. -
Program Notes & Translations
Program Notes & Translations Faculty Recital, Karisa L. Templeton, soprano Featuring Tyler Wottrich, piano Saturday, May 1, 2021 at 4:00 PM, Beckwith Recital Hall DVOŘÁK Czech composer Antonín Dvořák (1841-1904) is best known for his mAny chamber, chorAl, And symphonic works, especiAlly his “New World Symphony” No. 9. Dvořák Also wrote 8 operAs, of which Rusalka has become part of the operAtic cAnon. Based on the Hans ChristiAn Anderson fAiry tAle The Little Mermaid, this 1901 Czech operA uses elements of folklore and supernAturAl powers to tell the story of the wAter nymph RusAlkA And her desire to leAve the wAter to pursue A prince’s love. In contrAst to other settings of The Little Mermaid, Rusalka’s ending features the dArker elements of Anderson’s originAl folk story. The music is hAuntingly beautiful, both RomAntic And impressionistic with strong Czech stylistic elements. In ‘Song to the Moon,” RusAlkA, A wAter nymph, is sAddened thAt she is sepArAted from her beloved Prince who lives on lAnd. In this Act I opening AriA, she looks into the night sky And begs the moon to cArry her words of love through its beAms of light. While RusAlkA is sepArAted from her beloved, she is comforted thAt the sAme moonlight thAt touches her equAlly shines down on her love. Reminiscent of the moonlight rippling Across the wAters of her home towArds the Prince, An ArpeggiAted “rippling” motif, originally scored for harp, is present in the piano AccompAniment throughout the piece. Měsíčku na nebi hlubokém (JAroslAv KvApil) Song to the Moon: Měsíčku nA nebi hlubokém Moon up in the deep sky, Světlo tvé daleko vidí, Your light sees into farAwAy plAces, Po světě bloudíš širokém, You wander Around the wide world, Díváš se v příbytky lidí. -
Norbeck, Peters & Ford
Norbeck, Peters & Ford 59 Congress Street Saint Albans, VT 05478-1611 USA 1-802-524-7673; 1-800-654-5302 Fax: 1 888 819 4831 email: [email protected] website: www.norpete.com Auction Number 146 •- AUCTION Closing Date: Friday, 29 May, 2015 1001. AINO ACKTÉ: FAUST – Air des bijoux / LOHENGRIN – Einsam in trüben Tagen (in French). 10½” brown Parl. Odeon PO 93 (XPr 1-2/4-2), (w.Ackté’s signature embossed in shellac). M-A, superlative copy. MB 35 “It is difficult to realise that Ackté's sensational début at Covent Garden was as Salome in Richard Strauss' opera. Here she sings…with grace and excellent coloratura technique, and although she was Finnish, the style is typically French, and with immaculate diction. - John Freestone 1002. AGUSTARELLO AFFRE (The French Tamagno): ARMIDE – Plus j’observe ces lieux (Gluck) / MARCELLE DEMOUGEOT, AGUSTARELLO AFFRE, JUSTE NIVETTE: FAUST - Anges purs, anges radieux. 10½” brown & white French Odéon 97011/60895 (XP 4250/4267). A or better, choice copy has few faintest rubs, positively inaud. MB 15 1003. AGUSTARELLO AFFRE (The French Tamagno): SIGURD – Esprits, gardiens (Reyer) / L’ATTAQUE DU MOULIN – Adieux à la forêt (Bruneau). 10½” brown & gold / brown & white French Odéon 36682/36741 (XP 2460/2565). A to M-A, choice copy. MB 15 1004. AGUSTARELLO AFFRE (The French Tamagno): L’AFRICAINE – Pays merveilleux, 2s. 10½” brown & gold French Odéon 36695/72 (XP 2463/75). A to M-A, choice copy has, Sd.2 only, very few superficial pap.scuffs, barely visible & inaud. MB 15 1005. AGUSTARELLO AFFRE (The French Tamagno): GUILLAUME TELL – Asile héréditaire / LOHENGRIN – In fernem Land (in French). -
Dame Ethel Smyth: Pioneer of English Opera Eugene Gates
Volume 11, Issue 1 The Kapralova Society Journal Spring 2013 A Journal of Women in Music Dame Ethel Smyth: Pioneer of English Opera Eugene Gates “I feel I must fight for [my music], because I lieved that her musical instincts were inher- want women to turn their minds to big and ited from her mother, whom she once de- difficult jobs; not just to go on hugging the scribed as “one of the most naturally musical shore, afraid to put out to sea.” 1 When Ethel people I have ever known.” 7 Smyth wrote these words in the early years of Ethel’s general education was typical of her career, she had little idea of the protracted that of a middle-class Victorian young lady. battle against prejudice that lay ahead of her. After private tutoring at home under the guid- Smyth was certainly not England’s first ance of a succession of governesses, she woman composer. But while most of her spent a few years in boarding school at Put- predecessors, because of social circumstances ney, where the prescribed curriculum in- and limited training, had been forced to con- cluded French, German, astronomy, chemis- fine their creative endeavours to the production try, mathematics, literature, history, drawing, of parlor music, she set her sights on the con- music, and home economics. 8 Very little is Special points of interest: quest of the opera house and concert stage. Her known about Smyth’s early musical training. published works include six operas, a concert In her memoirs, however, she mentions a mass, a double concerto, a choral symphony, governess who introduced her to classical • Ethel Smyth and English opera songs with piano and orchestral accompa- music, and inspired her to set her sights on a niment, organ pieces and chamber music. -
The Richard B. Fisher Center for the Performing Arts at Bard College
the richard b. fisher center for the performing arts at bard college THEEthel Smyth’s WRECKERS July 24 – August 2, 2015 About The Richard B. Fisher Center for the Performing Arts at Bard College The Richard B. Fisher Center for the Performing Arts at Bard College Chair Jeanne Donovan Fisher The Richard B. Fisher Center for the Performing Arts, an environment for world-class artistic President Leon Botstein presentation in the Hudson Valley, was designed by Frank Gehry and opened in 2003. presents Risk-taking performances and provocative programs take place in the 800-seat Sosnoff Theater, a proscenium-arch space, and in the 220-seat LUMA Theater, which features a flexible seating configuration. The Center is home to Bard College’s Theater & Performance and Dance Programs, and host to two annual summer festivals: SummerScape, which offers opera, dance, theater, operetta, film, and cabaret; and the Bard Music Festival, which celebrated its 25th year last August with “Schubert and His World.” The 2015 festival will be devoted to Carlos Chávez and the music of Mexico and the rest of Latin America. THE The Center bears the name of the late Richard B. Fisher, former chair of Bard College’s Board of Trustees. This magnificent building is a tribute to his vision and leadership. The outstanding arts events that take place here would not be possible without the contributions made by the Friends of the Fisher Center. We are grateful for their support WRECKERS and welcome all donations. By Ethel Smyth Director Thaddeus Strassberger American Symphony Orchestra Conductor Leon Botstein, Music Director Set Design Erhard Rom Costume Design Kaye Voyce Lighting Design JAX Messenger Projection Design Hannah Wasileski Hair and Makeup Design J. -
Voice Syllabus / 2012 Edition
74058_MDP_SyllabusCovers_RELEASE2_Layout 1 13-02-06 11:14 AM Page 56 74058_MDP_SyllabusCovers_RELEASE2_LayoutVoice 1 13-02-06 11:14 AM Page 56 VoiceSYLLABUS EDITION SYLLABUS EDITION S35_Voice Syllabus_2016.indd 2 2016-10-17 4:12 PM Contents Message from the President . 5 Register for an Examination Examination Sessions and Registration Deadlines . 106 Getting Started Online Registration . 106 What’s New . 6 Examination Fees . 106 Contact Us . 6 Examination Centers . 106 Examination Scheduling . 106 About Us The Royal Conservatory . 7 Examination Regulations The Royal Conservatory Examinations and Examination Procedures . 107 The Achievement Program . 7 Credits and Refunds for Missed Examinations . 107 The College of Examiners . 7 Candidates with Special Needs . 108 Examinations Offered . 7 Examination Results . 108 Notable Alumni . 8 Tables of Marks . 109 Strengthening Canadian Society Since 1886 . 8 Supplemental Examinations . 110 Musicianship Examinations . 111 Quick Reference— Practical Examination Certifi cates . 111 Examination Requirements Second ARCT Diplomas . 111 School Credits . 111 Certifi cate Program Overview . 9 Medals . 111 Theory Examinations . 10 RESPs . 112 Co-requisites and Prerequisites . 11 Editions . 112 Examination Repertoire . 12 Substitutions . 113 Technical Requirements . 15 Abbreviations . 114 Ear Tests and Sight Singing . 15 Thematic Catalogs . 115 International Phonetic Alphabet (IPA) Symbols . 16 Resources Grade-by-Grade Requirements General Resources . 117 Preparatory . 17 General Reference Works . 118 Grade 1 . 18 Voice Resources . 118 Grade 2 . 21 Grade 3 . 24 Grade 4 . 28 Frequently Asked Questions Grade 5 . 32 Practical Examinations . 122 Grade 6 . 37 Theory Co-requisites . 123 Grade 7 . 42 Grade 8 . 49 Practical Examination Day Grade 9 . 58 Checklist for Candidates Grade 10 . 70 Before you Leave Home . -
VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item
VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just slight marks. For collectors searching top copies, you’ve come to the right place! The further we get from the era of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. Also featured are many “Z” shellac Victors, their best quality surface material (later 1930s) and PW (Pre-War) Victor, almost as good surface material as “Z”. Likewise laminated Columbia pressings (1923- 1940) offer particularly fine sound. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-‘14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually featuring translations of the text or similarly related comments. VERTICALLY CUT RECORDS. There were basically two systems, the “needle-cut” method employed by Edison, which was also used by Aeolian-Vocalion and Lyric and the “sapphire ball” system of Pathé, also used by Rex. and vertical Okeh.