The Augustus Juilliard Society Newsletter
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Stony Brook Opera 2015-2016 Season
LONG ISLAND OPERA GUILD NEWSLETTER MARCH 2016 Stony Brook Opera 2015-2016 Season A letter from the Artistic Director of Stony Brook Opera Our current season will end with a semi-staged concert performance of Giacomo Puccini’s beloved masterpiece La Department and friends from New York City who attended Bohème, sung in the original Italian language with projected those performances all told me that from a theatrical point of titles in English. The Stony Brook Symphony will be on stage, view nothing was lacking, and that they enjoyed immensely with the opera chorus behind it on risers. The Stony Brook being able to see how the singers, chorus, and orchestra Opera cast will perform from memory on the stage space in interact in the overall musical and dramatic experience. That is front of the orchestra. Timothy Long will conduct the cast, not possible when the orchestra is out of sight, as it always is chorus and orchestra. Brenda Harris, Performing Artist in in a full production. From a theatrical point of view, La Residence and a leading soprano in American regional opera Bohème presents a far greater challenge than Lucia did, in part will direct the singers, who will be fully blocked, and will use because it calls for so many “things” on stage throughout the props and furniture and minimal costuming as appropriate. opera—not only essential furniture pieces, but also numerous Tomas Del Valle of the Theatre Arts Department makes his small hand props, all of which are vital to the narrative, and Stony Brook Opera debut as the lighting designer, and he is carry great emotional weight in the plot, such as the candle planning exciting theatrical lighting for the space where the and the key, and Mimì’s bonnet, to name a few. -
View the Program!
cast EDWARD KYNASTON Michael Kelly v Shea Owens 1 THOMAS BETTERTON Ron Loyd v Matthew Curran 1 VILLIERS, DUKE OF BUCKINGHAM Bray Wilkins v John Kaneklides 1 MARGARET HUGHES Maeve Höglund v Jessica Sandidge 1 LADY MERESVALE Elizabeth Pojanowski v Hilary Ginther 1 about the opera MISS FRAYNE Heather Hill v Michelle Trovato 1 SIR CHARLES SEDLEY Raùl Melo v Set in Restoration England during the time of King Charles II, Prince of Neal Harrelson 1 Players follows the story of Edward Kynaston, a Shakespearean actor famous v for his performances of the female roles in the Bard’s plays. Kynaston is a CHARLES II Marc Schreiner 1 member of the Duke’s theater, which is run by the actor-manager Thomas Nicholas Simpson Betterton. The opera begins with a performance of the play Othello. All of NELL GWYNN Sharin Apostolou v London society is in attendance, including the King and his mistress, Nell Angela Mannino 1 Gwynn. After the performance, the players receive important guests in their HYDE Daniel Klein dressing room, some bearing private invitations. Margaret Hughes, Kynaston’s MALE EMILIA Oswaldo Iraheta dresser, observes the comings and goings of the others, silently yearning for her FEMALE EMILIA Sahoko Sato Timpone own chance to appear on the stage. Following another performance at the theater, it is revealed that Villiers, the Duke of Buckingham, has long been one STAGE HAND Kyle Guglielmo of Kynaston’s most ardent fans and admirers. SAMUEL PEPYS Hunter Hoffman In a gathering in Whitehall Palace, Margaret is presented at court by her with Robert Balonek & Elizabeth Novella relation Sir Charles Sedley. -
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Rider University 1 Adjunct Instructor, Voice, 1995. B.M., M.M., University of North Carolina, FACULTY Greensboro. Ellen Abrahams Lindsey Christiansen Adjunct Instructor, Music Education, 2003. B.M.E., Temple University. Professor, Voice, 1977. B.A., University of Richmond; M.M., University of Illinois. Frank Abrahams Professor, Music Education, 1992. B.M.E., Temple University; M.M., New Mi-Hye Chyun England Conservatory; Ed.D., Temple University. Associate Professor-Librarian and Chair, Talbott Library faculty, 1991. B.A., Sungkunkwan University, Korea; M.A. in L.S., University of Maryland. Christopher Arneson Associate Professor, Voice, 2003. B.A., M.M., Binghamton University; Ingrid Clarfield D.M.A., Rutgers University. Professor, Piano, 1982. B.M., Oberlin College; M.M., Eastman School of Music, University of Rochester. Denise Asfar Adjunct Assistant Professor, Arts and Sciences, 2001. B.A., Princeton Peter Richard Conte University; M.A.T., Brown University. Adjunct Assistant Professor, Organ, 2011. Performer’s Diploma, Indiana University. Susan S. Ashbaker Adjunct Professor, Voice, 2006. B.M., M.M., Southern Illinois University; Margaret Cusack M.M., University of Illinois. Professor, Voice, and Chair of Voice and Piano Faculties, 1994. B.M., M.M.T., Oberlin College. Dalton Baldwin Adjunct Professor, Piano, 1984. B.A., Oberlin Conservatory. Elem Eley Professor, Voice, 1987. B.M., Baylor University; M.M., Southwestern Ena Bronstein Barton Baptist Theological Seminary. Adjunct Associate Professor, Piano, 1983. Artist Diploma, Escuela Moderna de Musica and Conservatorio Nacional de Musica, Santiago, Miriam Eley Chile. Adjunct Assistant Professor, Piano, 1995. B.M., Baylor University; M.M. Indiana University. Samantha Bassler Adjunct Assistant Professor, Music History, 2012. -
Beverly Sills, 1929-2007: a Beautiful Voice for Opera and the Arts
20 April 2012 | MP3 at voaspecialenglish.com Beverly Sills, 1929-2007: A Beautiful Voice for Opera and the Arts AP Opera singer Beverly Sills, right, with her daughter Muffy, and her mother Shirley Silverman, left, in this Dec. 19, 1988 photo at New York's Plaza Hotel STEVE EMBER: I’m Steve Ember. BARBARA KLEIN: And I’m Barbara Klein with PEOPLE IN AMERICA in VOA Special English. Today we tell about Beverly Sills. Her clear soprano voice and lively spirit made her one of the most famous performers in the world of opera. Sills worked hard to make opera an art form that the general public could enjoy. She spent the later part of her career as a strong cultural leader for three major performing arts centers in New York City. (MUSIC) STEVE EMBER: That was Beverly Sills performing a song from the opera “The Tales of Hoffman” by the French composer Jacques Offenbach. Sills is singing the role of Olympia, a female robot who keeps breaking down while singing a series of high notes. This difficult aria gives a good example of the sweet and expressive voice that made Beverly Sills famous. 2 AP The Brooklyn-born opera diva was a global icon of can-do American culture with her dazzling voice and bubbly personality BARBARA KLEIN: Beverly Sills was born Belle Silverman in nineteen twenty-nine. Her family lived in the Crown Heights area of Brooklyn, New York. Her father, Morris, came from Romania and her mother, Shirley, was Russian. Sills said that her father believed that a person could live the real American dream only with an educated mind. -
The Light in the Piazza
THE LIGHT IN THE PIAZZA LYRIC THEATRE @ ILLINOIS Dawn Harris, stage director | Julie Jordan Gunn, music director Thursday-Saturday, April 27-29, 2017, at 7:30pm Sunday, April 30, 2017, at 3pm Tryon Festival Theatre THANK YOU TO OUR SPONSORS This season of Lyric Theatre @ Illinois has been sponsored by a generous donation from THE ESTATE OF PHYLLIS CLINE THE ACT OF GIVING OF ACT THE 2 WELCOME Dear Friends of We are so grateful that you share our love of sung Lyric Theatre @ Illinois, theatre in all of its forms—last year we broke attendance records again! We continue to strive Welcome back to an for excellence artistically and educationally and exciting season of beautiful couldn't do what we do without your support. singing and storytelling. Our mainstage productions, scenes programs, We are celebrating Italy community outreach, and development of new in all its operatic splendor works build the artists of tomorrow, and nurturing throughout the year. First, their talent is at the center of our mission. Talent one of the first operas ever falls on people of all backgrounds and socio- written—Monteverdi's economic circumstances. Please continue to be Poppea—tells the story of the Emperor Nero and generous as we build a bright Lyric future. his insatiable passion for his mistress Poppea. Is Poppea's coronation the beginning of the end Yours, for Rome? A timeless story of sex, politics, and Julie and Nathan Gunn betrayal, in an exciting modern setting. DIRECTORS, LYRIC THEATRE @ ILLINOIS Second, the most famous Italian opera composer We are very proud to announce that the of all time—Giuseppe Verdi—was a potent University of Illinois has enthusiastically approved symbol of a united Italy. -
Renée Fleming Sings Her First La Traviata
DAVID GOCKLEY, GENERAL DIRECTOR PATRICK SUMMERS, MUSIC DIRECTOR Subscribe Now! 2002–2003 Season Renée Fleming sings her first La Traviata. See it FREE when you SUBSCRIBE NOW! DHoustonivas,divas,divas! Grand Opera celebrates “The Year of the Diva.” Renée Fleming will at long last sing her first Violetta—and, where might this Experience all the anticipated debut happen? The Met? La Scala? Vienna? No, Renée has chosen to excitement and premiere this significant role here at Houston Grand Opera. In a year of firsts— Susan Graham’s first Ariodante and The Merry Widow and Elizabeth Futral’s benefits of a full first Manon—Ms.Fleming’s Violetta will be a defining moment in the world of opera. season subscription: The season begins with the return of Ana Maria Martinez as Mimi in Puccini’s • Free parking beloved La Bohème. Laura Claycomb,the young Te x a s soprano who had • Free subscription to audiences on their feet in this season’s Rigoletto,will return in Donizetti’s Scottish Opera Cues magazine masterpiece, Lucia di Lammermoor.The season closes with the world premiere of • Free season preview The Little Prince,when Oscar-winning composer Rachel Portman turns Antoine CD or cassette de Saint-Exupéry’s much loved novel into a magical and moving opera. • Free lost ticket replacement Extraordinary singers in extraordinary productions.As a full season subscriber, • Exchange privileges you get 7 operas for the price of 6. That means you can see Renée Fleming’s debut • 10% discount on as Violetta for free! I urge you to take advantage of this offer, it’s the only way we additional tickets can guarantee you a seat. -
Nyco Renaissance
NYCO RENAISSANCE JANUARY 10, 2014 Table of Contents: 1. Executive Summary ...................................................................................................................... 2 2. History .......................................................................................................................................... 4 3. Core Values .................................................................................................................................. 5 4. The Operatic Landscape (NY and National) .............................................................................. 8 5. Opportunities .............................................................................................................................. 11 6. Threats ......................................................................................................................................... 13 7. Action Plan – Year 0 (February to August 2014) ......................................................................... 14 8. Action Plan – Year 1 (September 2014 to August 2015) ............................................................... 15 9. Artistic Philosophy ...................................................................................................................... 18 10. Professional Staff, Partners, Facilities and Operations ............................................................. 20 11. Governance and Board of Directors ......................................................................................... -
LIVE from LINCOLN CENTER March 20, 2002, 8:00 P.M. on PBS the New York City Opera: the Gershwins®' Porgy and Bess
LIVE FROM LINCOLN CENTER March 20, 2002, 8:00 p.m. on PBS The New York City Opera: The Gershwins®' Porgy and Bess The next Live From Lincoln Center telecast, on Wednesday evening March 20, will find us in the New York State Theater at Lincoln Center for the performance by the New York City Opera of The Gershwins® beloved opera PORGY AND BESS . As the years go by, this masterpiece of the American musical theater gains in stature and popularity, and it has become a staple in opera houses throughout the world. Our production is the one created to great acclaim by Sherwin M. Goldman in 1983 for Radio City Music Hall, based on his co- production with Houston Grand Opera which won Broadway’s Tony Award in 1976 for Best Musical Revival. John DeMain, conductor of the original Houston performances, will be in the pit, and the Production Director is Tazewell Thompson. The creation of PORGY AND BESS was not without its difficulties. In late 1926 George and Ira Gershwin were working on a new musical tailored for the specific talents of the remarkable British singer and actress, Gertrude Lawrence. After several working titles were abandoned, the show finally emerged as Oh, Kay. It became a solid hit. During the rehearsals for Oh, Kay Gershwin read a novel by the Southern poet, DuBose Heyward, titled Porgy. He sensed immediately that here was material for an opera, but Heyward informed him that the rights were unavailable, having been assigned to the Theater Guild for a proposed stage adaptation. It was Heyward’s wife, Dorothy, who had secretly made the adaptation for the stage. -
JUNE 2016 World Premiere of David Hertzberg's “Sunday Morning”
NEW YORK CITY OPERA RETURNS WITH THREE PREMIERES MARCH - JUNE 2016 World Premiere of David Hertzberg’s “Sunday Morning” at Inaugural New York City Opera Concerts at Appel Room in March 2016 East Coast Premiere of Hopper’s Wife at Harlem Stage in April 2016 New York City Professional Premiere of Florencia en el Amazonas Launches Spanish-language Opera Series: Ópera en Español Jazz at Lincoln Center’s Rose Theater in June 2016 February 22, 2016 – New York City Opera General Director Michael Capasso today announced the remainder of the 2016 season. New York City Opera will present three major premieres including the world premiere of “Sunday Morning” by David Hertzberg as part of the inaugural New York City Opera Concerts at Jazz at Lincoln Center’s Appel Room on March 16; the East Coast premiere of Stewart Wallace and Michael Korie’s Hopper’s Wife presented at Harlem Stage in April 2016 and the New York City professional premiere of Daniel Catán’s Florencia en el Amazonas at Jazz at Lincoln Center’s Rose Theater in June 2016. Florencia en el Amazonas launches Spanish-language Opera Series, Ópera en Español. Michael Capasso discussed the season, “In continuing with my vision for New York City Opera, these three offerings of contemporary music balance the traditional Tosca production with which we re-launched the company in January. Historically, New York City Opera presented a combination of core and contemporary repertoire; this programming represents our commitment to maintaining that approach. The initiation of our New York City Opera Concerts at the Appel Room will demonstrate further our company’s versatility and goal to present events that complement our staged productions. -
Oral History Center University of California the Bancroft Library Berkeley, California Frederica Von Stade Frederica Von Stade
Oral History Center University of California The Bancroft Library Berkeley, California Frederica von Stade Frederica von Stade: American Star Mezzo-Soprano Interviews conducted by Caroline Crawford in 2011, 2012, 2014, 2015 Copyright © 2020 by The Regents of the University of California Oral History Center, The Bancroft Library, University of California, Berkeley ii Since 1954 the Oral History Center of The Bancroft Library, formerly the Regional Oral History Office, has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Frederica von Stade dated February 2, 2012. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. -
David Dichiera
DAVID DICHIERA 2013 Kresge Eminent Artist THE KRESGE EMINENT ARTIST AWARD HONORS AN EXCEPTIONAL ARTIST IN THE VISUAL, PEFORMING OR LITERARY ARTS FOR LIFELONG PROFESSIONAL ACHIEVEMENTS AND CONTRIBUTIONS TO METROPOLITAN DETROIT’S CULTURAL COMMUNITY. DAVID DICHIERA IS THE 2013 KRESGE EMINENT ARTIST. THIS MONOGRAPH COMMEMORATES HIS LIFE AND WORK. CONTENTS 3 Foreword 59 The Creation of “Margaret Garner” By Rip Rapson By Sue Levytsky President and CEO The Kresge Foundation 63 Other Voices: Tributes and Reflections 4 Artist’s Statement Betty Brooks Joanne Danto Heidi Ewing The Impresario Herman Frankel Denyce Graves 8 The Grand Vision of Bill Harris David DiChiera Kenny Leon By Sue Levytsky Naomi Long Madgett Nora Moroun 16 Timeline of a Lifetime Vivian R. Pickard Marc Scorca 18 History of Michigan Opera Theatre Bernard Uzan James G. Vella Overture to Opera Years: 1961-1971 Music Hall Years: 1972-1983 R. Jamison Williams, Jr. Fisher/Masonic Years: 1985-1995 Mayor Dave Bing Establishing a New Home: 1990-1995 Governor Rick Snyder The Detroit Opera House:1996 Senator Debbie Stabenow “Cyrano”: 2007 Senator Carol Levin Securing the Future By Timothy Paul Lentz, Ph.D. 75 Biography 24 Setting stories to song in MOTown 80 Musical Works 29 Michigan Opera Theatre Premieres Kresge Arts in Detroit 81 Our Congratulations 37 from Michelle Perron A Constellation of Stars Director, Kresge Arts in Detroit 38 The House Comes to Life: 82 A Note from Richard L. Rogers Facts and Figures President, College for Creative Studies 82 Kresge Arts in Detroit Advisory Council The Composer 41 On “Four Sonnets” 83 About the Award 47 Finding My Timing… 83 Past Eminent Artist Award Winners Opera is an extension of something that By David DiChiera is everywhere in the world – that is, 84 About The Kresge Foundation 51 Philadelphia’s “Cyranoˮ: A Review 84 The Kresge Foundation Board the combination of music and story. -
Beverly Sills Opera Soprano, Arts Executive ( 1929 – 2007 )
Beverly Sills Opera soprano, arts executive ( 1929 – 2007 ) Sills was born and raised in Brooklyn. At age four, she performed professionally on the radio as “Bubbles” Silverman, but soon changed her name to Beverly Sills. Using that name, she was a winner on CBS Radio’s Major Bowes’ Amateur Hour in 1939. In 1947, she made her operatic stage debut in Bizet’s Carmen in Philadelphia, and, in Oc- tober 1955, she first appeared with the New York City Opera. Her reputation expanded with her performance of the title role in the New York premiere of DOUGLAS STUART MOORE’s The Ballad of Baby Doe in 1958 [editor’s note: a concert version of the opera was performed at the Century on March 31, 1957]. In 1956, Sills married journalist Peter Greenough and had two children. In 1960, Sills and her family moved near Boston, and in 1962, Sills sang the title role in Massenet’s Manon with the Opera Company of Boston, the first of many roles for opera director Sarah Caldwell. In 1966, the New York City Opera revived Handel’s then virtually unknown opera Giulio Cesare and Sills’ performance as Cleopatra made her an international opera star. Sills also made her “unofficial” Met debut in its “Opera in the Parks” program, though noth- ing further came of this other than offers for minor roles from RUDOLF BING. In 1969, Sills sang Zerbinetta in the American premiere (in a concert version) of the 1912 version of Richard Strauss’ Ariadne auf Naxos with the Boston Symphony. Her performance garnered high praise.