DOCSLIB.ORG

Cary Vibbard

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cary Vibbard ,, ^ . ' tf «-•",> i 6—Third Section SYKACISSE HERAI2>i 8SXDAT ^••^^^••••••••^^•^•••••••••^•^•••••^•^•••••••^^•••^••^^^•••^••^^^••••^••••••^ ••IIIIIMHIIIMI • Ml MVHII IMIII MM !•!••• I - I • II Andre PokhWill Concerto in A Minor With Child Violinist Tenor Soloist Dec. 13 Banks of Don Not Just Music, But Rowers S.U. Symphony John Charles Thomas Sings Here Dec. 10 "Primitives'* In S. U. Oratorio Sends Singers Too, Make Life Interesting and Will Play Bach, Are Shown With To Syracuse Provide Soul's Refreshment Brahms, Liszt Modern r h Helen Kwalwasser, 6, Is Solo- ork Gallery Displays Notable Russian Male Choru> •• usic Sir Days p/ Week and Sunday, Also Musicals, Inc., 5 ol Ancestors. Work Appears Monday at Cen- i An Organist -Director's hours — How Spent ist at Grouse College tra! Hish School ' Tuesday Nisht Announces of Artistic Dependents ,-00 ^ Jtf.— TcAe Pro/. ribSen! *o "The Cossscis tre eocs^ err K#lea the Appearaaee BT ELENOBE iLELXOGG l Msrosr In the A i ****• appear JLssociaU& Press Staff Writer I- f 4T - Xcw Voric. Kov. i-fc. — *Uti«flc«Ja to ^CC ! or Social 8:15 Hour With. o'clock Thomas, ^risiisiTes/* the parxraiw ot un- the pacirtc advenr of one of the greax- Protf. Asier* Pc^aii kcowri ancestors, are beisg put to a Qf,* C*^T*»-J» or** issizis* t<?iis Izs the urorZvl Metropolitan difficult test in a 2few Tort art ftal- —The Don Cos£2c]£ Hxisslsn Male 11. began siudjins tiro years lery. TSiey art* being huris with Chorus. TS:<2lr sppeararxc* :s .Svracuo^ Bussed wisn plich. exceptional mu- Ope by their arctic is sciedulei for Atonclsy nieh- Kov. sical flhiiiry, and extraordinary talent Obition <iesisa«J for the vio-lin. s?5e has made s^ici Company of figure paintir 26. es tincc^i Auci:or; outstanding improvement tfaar &he !s High School, untier ihe? auspices piaceci on this program because o' her Baritone, in a lie -Syracuse Civic Music ability to play nrusical-y ancl anis- exhibition, which. was arranged lion. -ically rather T.^an because of her Concert by th* College Art; Association, -will be as*."* says Director Po!ah o* bis pupil. r Kralt. above, tencr soloist *3TO *i.G"*^ I?y*T? t»Ci? ^* *?TV^"—T?<? OH aeni over the country. She -will play all rhree moTem.eni« of Monday Xigfct, Artist* included range £rod Henri for the laec nine years at St. Bar- the bar-.frs of rhe *-Qu:« Chrises. a siasdsrti concern number; tholomews Episcopal Church In New Couturier, who died in 16&i, to Ed- Don.** as ^hey are Tcorti to call the Ss A y-ir-or -or Dec. 10, York' City and president of tie Co- vide river ^hat; io'K's ward. Bibercaan. T2Kir lusibia School of Music, where £• th* long trial Iroaa the "Simner** of teaches at tbe surnmer canap in Wa- through the sieppes. is aiwsys a liT- at Lincoln Hall, - frns been engaged to 11*5 meniory. Refugees forever from AUeczo Ass Colonial days to the 2Oth century orchesirai numbers: appear In the University Chorus their native Hussia, *h.eir longing lor The Central artist who points * girl with * green presentatJoa of Mendelssohn's ora- the homeland is poured out in. *b- Th* iac* or a portrait oT a £at woman's torio. "Sr. Paul." in Grouse Cot!*s«. fc^ Klerii SehooL spinal column. Dec. 13. The orchestra,, now beginning its The "Umner" was chiefly concerned Mr. Krafs bas had a wide experi- -hi^h ricxisg boo^s *hey present ence in concert and oratorio work. an ir^posin^ sight; as tiler mirch en nili year, has given n^arly 50 pub- with getting a faithful likeness. The lic concerts and has grown in. artistic He has been so!oist for six yeera to the s:a£* in milirary rorraation srature year by. year. This will be The romantic or classical moods of Euro- in the Badi festival at BethleHezn. aad stand a- acientlori In a serai- pean arc are reflected in eome of these Fa., and iiaj appeared witb tae New circle. Without any "glTing of the only orchestra! concert given in Syra- patritisss. but others sr* stiff, na«re, Torlc Oratorio Soc!*trt Handel asi ZllJ-** *****c * -.-.Q^f^•—.-•-.l r. Serge JJ_T Tickets are on sale at n Butler's and delightfully decorative. Haydn Society of Boston, Mendels- they begin to sing, producing effects office and the TTnirersicy B Store. sohn Choir. Pittsburgh, and tbm in crescendo and dimiEiaeno zh« There is the flush of life in. poxtrlatc a Cappella Chorus in MH^rauiee. feir, i£ any* other chcrusec con 2s? bv Thomas Sully f™^ Samuel Waldo, Dr. .Howard layman, conductor at 4JO 4^C«* *i* w V C* both. bom 1783. John Neagle. bom THE WOMEN'S JURY 44 the University Chorus, says that th» Some of the songs Rose Bampton 1736, na» an excellent portrait of Mr. 1934-35 chorus haa the largest num- «??d, shoutrntg, soidier style, and in Joseph. Taggart." There Is also a can- ber of trahied voices in its history. striving consrass are th* religious vas described ac an oil afcetch for Cop- *T* eosgs with tii-eir intense devorional PASSES ON THING^^> S ley's portrait, of Mrs* Ford at the Sho ws HowEasy •^ r^r^ • ^^i^"^^^"^^^"^"^^*^fc^^"^^^i^^^^^^^^^^^^^^^^^^^^^^^^i"»i^*^^pi« . S effect. All of their smEins: la in r Athenaeum. - Through Whistler. F* Vi ps. Duve- omas Left This, their aTth transcor.t!neriU2 Brief Comment on Life and Living neck. and Chase, the exhibition pro- Th « tour, has been a continual march of To MakMet' ' ceeds to the modems. There is a bril- triumph, frosa. Quebec to Vancouver liantly painted Sargent, with more and irora there to Mexico, in every American Contralto Has Defi- OSRALD225B , 33-i Montgomery Street—aiy early love was color i'n"»n usual. Sobert Henri and Medical Study dry sold-out houses. The Toronto George Xiufcs. the former with a smart nite Ideas Regarding Fu- Beethoven's "Moonlight" sonata, Jn recent years I Snd. particular in- nude and the letter with a portrait" 31ail-Bmpire said of their concert: terest la concerto b. orchestra, particiilarly by •THral "Xo other coscerz stage £~oup so - of "Henry," bridge the centuries. To Study«/ Voice ture of Grand Opera Here The modems shown here run to ries ^he listeners &T«i~to "a Tr 3£ES. 3DWAED S. BAHLOW, 5O8 r>erwitt Street— Regardless1 of •where emotions are more real zhazi violent blues, green" faces, speakeasy Son of Methodist Clergyman objects, and pictures in. the mind Torfc. Nov. 24 (#•). — For years wiicther he t^7i;s much, or Hstle, the person who feT^s "the greater under- interiors, though Alexander Brook's more real than masters of fact.*" , Harry L, Vibbard the European traoitioa has domi- standing of 'ffnglte'X is the person w2ao n?a&es the lewest mista "The Model" is decorative. of Musical Wife Won nated Grand Opera in America. Many f^ Some 500 "primitives" who are alive When the company played Seattle conversation- ' - , ^* - Music ScholarsKip the Post-InT-eHicencer oT that; citv re- Americans have felt it necessary to now in. more than 40 countries have ^^ ™. Her Hobby Is Her Garden there axe concerts and recrsals either- ssudy. to train, to zoafce their debrrat pictures in an exhibit at Bocifeller ported tria~ an audience of more ^han BASX3S KLOCK, 615- James Street — mere are lots 4,700. -s-hich included many leaders and Collecting China (Now down town or at Grouse College, abroad. Center. None of them Is more than 12 The varied .career.of John Charle* Professor and Mrs. Vibbard enter- But -shere's another group of Amer- of -fc>iir>gft I should like zo see here in t^he United States, Although. years old. .... of the civic and social life of ihe Exhausted) tain friends- h Thomas, Met2x>politan Opera Com- clt^- listened to £oe "superb artistry" icans -who bruit reputations solely in there are wonderful tf^ygs abroad I hope first to see California and These children . draw and paint with t Simday brings services at Fourth. •Ehe United States. Ireshness, vigor, and fearlessness", and pany baritone, reveals a continuou* of ^he men. Among talented Trotnen. most ac- have a, real holiday there. ' In Porzland. Ore., the Oregonian re- Church, one of the "in the heart . Typical of this group is Bose. sometimes with brilliant results. There succession of artistic triumphs and tively Identified -with, musical inter- of -E-h-e city" churches and the Sab- Bampton of Buffalo. are only two still lifes in the whole ported tha« every seat in the Munlci- H. KHVAXD. 300 Sedgwiclt Zttive — The advantage of notable achievements in. the several ' pal AudiTorium -s-as sold and many ests in. Syracuse is Mrs. Harry I*. baih ended on Monday 'morning the iliss Bampcon. young contralso of show, only one touch of romance, and week-day schedule starts over again traveling in the United Spates 2s the one language. I should HSe a long fields of musical art. and today ihix additional tenaporary seats put in," Vibbard, director o* the Music School tSie Mezropoiitan Opera, has never no mother love- native American baritone stands »o that the audience numbered 5,000. at Sluslc School Settlement. -even been to Burope, holiday in California. wit&. the mountains, lite desert and zfee ocean, so Living Tip to their traditions, the t • » among the gifted singers of the world. Settlement, organist of the Fourth * French children show amazingly good In Toronto* Massey Heli TTBS As & girl, Mrs. Vibbard says she "Quite often," she said. Tin asked: close by. Mr. Thomas, sings at .
Load more

Recommended publications
  • Parsifal and Canada: a Documentary Study
    Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article.
    [Show full text]
  • RCA Victor LCT 1 10 Inch “Collector's Series”
    RCA Discography Part 28 - By David Edwards, Mike Callahan, and Patrice Eyries. © 2018 by Mike Callahan RCA Victor LCT 1 10 Inch “Collector’s Series” The LCT series was releases in the Long Play format of material that was previously released only on 78 RPM records. The series was billed as the Collector’s Treasury Series. LCT 1 – Composers’ Favorite Intepretations - Vienna Philharmonic Orchestra [195?] Rosca: Recondita Amonia – Enrico Caruso/Madama Butterfly, Entrance of Butterfly – G. Farrar/Louise: Depuis Le Jour – M. Garden/Louise: Depuis Longtemps j’Habitais – E Johnson/Tosca: Vissi D’Arte – M. Jeritza/Der Rosenkavailier Da Geht ER Hin and Ich Werd Jetzt in Die Kirchen Geh’n – L Lehmann/Otello: Morte d’Otello – F. Tamagno LCT 2 – Caruso Sings Light Music – Enrico Caruso and Mischa Elman [195?] O Sole Mio/The Lost Chord/For You Alone/Ave Maria (Largo From "Xerxes")/Because/Élégie/Sei Morta Nella Vita Mia LCT 3 – Boris Goudnoff (Moussorgsky) – Feodor Chalipin, Albert Coates and Orchestra [1950] Coronation Scene/Ah, I Am Suffocating (Clock Scene)/I Have Attained The Highest Power/Prayer Of Boris/Death Of Boris LCT 4 LCT 5- Hamlet (Shakespeare) – Laurence Olivier with Philharmonia Orchestra [1950] O That This Too, Too Solid Flesh/Funeral March/To Be Or Not To Be/How Long Hast Thou Been Gravemaker/Speak The Speech/The Play Scene LCT 6 – Concerto for Violin and Orchestra No. 2 in G Minor Op. 63 (Prokofieff) – Jascha Heifetz and Serge Koussevitzky and the Boston Symphony Orchestra [1950] LCT 7 – Haydn Symphony in G Major – Arturo Toscanini and the NBC Symphony Orchestra [195?] LCT 8 LCT 9 LCT 10 –Rosa Ponselle in Opera and Song – Rosa Ponselle [195?] La Vestale: Tu Che Invoco; O Nume Tutelar, By Spontini/Otello: Salce! Salce! (Willow Song); Ave Maria, By Verdi/Ave Maria, By Schubert/Home, Sweet Home, By Bishop LCT 11 – Sir Harry Lauder Favorites – Harry Lauder [195?] Romin' In The Gloamin'/Soosie Maclean/A Wee Deoch An' Doris/Breakfast In Bed On Sunday Morning/When I Met Mackay/Scotch Memories LCT 12 – Concerto for Piano and Orchestra No.
    [Show full text]
  • Toscanini VII, 1937-1942
    Toscanini VII, 1937-1942: NBC, London, Netherlands, Lucerne, Buenos Aires, Philadelphia We now return to our regularly scheduled program, and with it will come my first detailed analyses of Toscanini’s style in various music because, for once, we have a number of complete performances by alternate orchestras to compare. This is paramount because it shows quite clear- ly that, although he had a uniform approach to music and insisted on both technical perfection and emotional commitment from his orchestras, he did not, as Stokowski or Furtwängler did, impose a specific sound on his orchestras. Although he insisted on uniform bowing in the case of the Philadelphia Orchestra, for instance, one can still discern the classic Philadelphia Orchestra sound, despite its being “neatened up” to meet his standards. In the case of the BBC Symphony, for instance, the sound he elicited from them was not far removed from the sound that Adrian Boult got out of them, in part because Boult himself preferred a lean, clean sound as did Tosca- nini. We shall also see that, for better or worse, the various guest conductors of the NBC Sym- phony Orchestra did not get vastly improved sound result out of them, not even that wizard of orchestral sound, Leopold Stokowki, because the sound profile of the orchestra was neither warm in timbre nor fluid in phrasing. Toscanini’s agreement to come back to New York to head an orchestra created (pretty much) for him is still shrouded in mystery. All we know for certain is that Samuel Chotzinoff, representing David Sarnoff and RCA, went to see him in Italy and made him the offer, and that he first turned it down.
    [Show full text]
  • 04-30-2019 Walkure Eve.Indd
    RICHARD WAGNER der ring des nibelungen conductor Die Walküre Philippe Jordan Opera in three acts production Robert Lepage Libretto by the composer associate director Tuesday, April 30, 2019 Neilson Vignola 6:00–11:00 PM set designer Carl Fillion costume designer François St-Aubin lighting designer Etienne Boucher The production of Die Walküre was made video image artist possible by a generous gift from Ann Ziff and Boris Firquet the Ziff Family, in memory of William Ziff revival stage directors The revival of this production is made possible Gina Lapinski J. Knighten Smit by a gift from Ann Ziff general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin In collaboration with Ex Machina 2018–19 SEASON The 541st Metropolitan Opera performance of RICHARD WAGNER’S die walküre conductor Philippe Jordan in order of vocal appearance siegmund waltr aute Stuart Skelton Renée Tatum* sieglinde schwertleite Eva-Maria Westbroek Daryl Freedman hunding ortlinde Günther Groissböck Wendy Bryn Harmer* wotan siegrune Michael Volle Eve Gigliotti brünnhilde grimgerde Christine Goerke* Maya Lahyani frick a rossweisse Jamie Barton Mary Phillips gerhilde Kelly Cae Hogan helmwige Jessica Faselt** Tuesday, April 30, 2019, 6:00–11:00PM Musical Preparation Carol Isaac, Jonathan C. Kelly, Dimitri Dover*, and Marius Stieghorst Assistant Stage Directors Stephen Pickover and Paula Suozzi Stage Band Conductor Gregory Buchalter German Coach Marianne Barrett Prompter Carol Isaac Scenery, properties, and electrical props constructed and painted
    [Show full text]
  • Santa Barbara Music Club P.O
    Upcoming Music Club Events Beethoven Birthday Celebration Saturday, December 13, 2003 at 3:00 PM In the Faulkner Gallery “Sonata in C-minor, op. 30, no. 2” Barbara Coventry, violin and Allen Bishop, piano “Sonata in A, op. 69” Ervin Klinkon, cello, and Allen Bishop, piano “Trio in D, op. 70, no. 1 (Ghost) Barbara Coventry, violin, Ervin Klinkon, cello, and Allen Bishop, piano ************************************************** Matinee Program at 3:00 PM Saturday, December 20, 2003 at the Faulkner Gallery Gabrielle Peng, Kimberly Peng, and Sheppard Peng, violins, with Beverly Staples, piano, Bach “Concerto for 3 Violins in D” and McLean “Tango for 3 Violins and Piano” MORNING PROGRAM Sarah Hodges, flute and Seungah Seo, piano, Poulenc “Sonata” Elaine Renner, cello, and Viva Knight, piano, Brahms “First Sonata in E-minor, op.38” Marian Drandell-Gilbert, piano, Bach “Jesu, Joy of Man’s Desiring,” Albeniz “Cantos de España,” Debussy “Jardins sous la pluie” and Liszt, “La Campanella” Wednesday December 10, 2003 11:00 a.m. Membership Information: See the Music Club table by the entrance of the room, visit www.sbmusicclub.org or call Beverly Yellen at (805) 682-3462 The Unitarian Society 1535 Santa Barbara St. Santa Barbara Music Club P.O. Box 3974 Santa Barbara, California Santa Barbara, CA 93130 Notes on the Performers Morning Program Mahlon Balderston, organ, has a Bachelor of Music degree from Oberlin College Wednesday, December 10, 2003 at 11:00 a.m. and a Master of Arts degree from Iowa State University. He is Professor Emeritus The Unitarian Society, 1535 Santa Barbara St. of Santa Barbara City College, and is Music Director and organist at the Unitarian Society.
    [Show full text]
  • Carnegie Hall
    CARNEGIE HALL VICTOR DE SABATA 259-3-244-50 ALFRED SCOH PUBLISHER 156 FIFTH AVENUE. NEW YORK CARNEGIE HALL PROGRAM 3 CARNEGIE HALL ANNOUNCEMENTS RCA VICTOR RECORDING MARCH CHOPIN—Sonata in B-flat minor, Op. 35. Artur Rubinstein, Pianist. 24, Fri. 2:30 p.m.—The Philharmonic-Symphony So­ WDM-1082................. Price $3.51 ciety of New York An RCA Victor 45 r.p.m. release 24, Fri. 8:30 p.m.—Oratorio Societv LIBERTY MUSIC SHOPS SiSliSÄ iE: 25, Sat. 2:30 p.m.—Jose Torres, Spanish Dancer 25, Sat. 8:45 p.m.—The Philharmonic-Symphony So­ ciety of New York 26, Sun. 2:45 p.m.—The Philharmonic-Symphony So­ ciety of New York VISIT 26, Sun. 5:30 p.m.—Barbara Denenholz, Pianist. "Twi­ light Concert Series” 26, Sun. 8:30 p.m.—B’nai B’rith Victory Lodge No. CARNEGIE HALE’S OWN 1481. George Gershwin Memorial Concert 27, Mon. 8:30 p.m.—Jeanette Haien, Pianist GALLERY BAR AND 28, Tues. 8:30 p.m.—The Philadelphia Orchestra 29, Wed. 8:30 p.m.—League for Religious Labor in RESTAURANT Eretz Israel. Benefit Concert and All-Star show Before the Concert . 30, Thurs. 8:45 p.m.—The Philharmonic-Symphony So­ We serve the largest selection ciety of New York 31, Fri. 2:30 p.m.—The Philharmonic-Symphony So­ of liqueurs in townl ciety of New York After the Concert . Church of The Healing Christ — Dr. Emmet Fox, Pastor Services every Sunday morning and Wednesday noon Choice of Sandwich, Pastry and Coffee 75/ Luncheon served from One P.M.
    [Show full text]
  • July 1946) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 7-1-1946 Volume 64, Number 07 (July 1946) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 64, Number 07 (July 1946)." , (1946). https://digitalcommons.gardner-webb.edu/etude/193 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. PHOTO BY PHILIP ^ENDREAU, N. Y. mm . ! i-AYVRENCE TIBBETT, recently appeared for the first time on STUDY? Metropolitan Opera any operatic stage when she sang the TO Bass, and Robert Law- title role in “Carmen” with the New York SHALL I GO WHERE rence, former music City Opera Company. According to news- critic turned, conductor, paper accounts, she “made an instant and making joint con- are pronounced success . giving an im- York City) operatic^ ap- Private Teachers (New cert and personation of uncommon interest and pearances in Italy, fea- appeal.” (^JniroJucing a post war marvel of concerts HELEN ANDERSON turing in their DAVIS American com- Walt music world, completely revolutionizing HAROLD FREDERICK Concert Pianist Lawrence music by whitman’s elegy, “When Lilacs the piano, harmony Tibbett Tibbett is Last in the VOICE Interesting course— posers.
    [Show full text]
  • Portland • Oregon
    AMICAMICAA 20032003 PORPORTLTLANDAND •• OREGOOREGONN The AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION JANUARY/FEBRUARY 2003 VOLUME 40, NUMBER 1 THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963. ROBIN PRATT, PUBLISHER, 630 EAST MONROE ST., SANDUSKY, OH 44870-3708 -- Phone 419-626-1903, e-mail: [email protected] Visit the AMICA Web page at: http://www.amica.org Associate Editor: Mr. Larry Givens VOLUME 40, Number 1 January / February 2003 AMICA BULLETIN Display and Classified Ads FEATURES Articles for Publication Letters to the Publisher A Grand Event — 10 Chapter News AMICA - Italy— 11 Upcoming Publication DEADLINES Pseudonym’s — 12 The ads and articles must be received Oliver Denton — 13 by the Publisher on the 1st of the Odd number months: Coenraad V. Bos — 14 January July March September Chickering Pianoforte Manufactory — 22 May November Carry On — 30 Bulletins will be mailed on the 1st week of the even months. Letter from Mrs. Bartier — 31 Robin Pratt, Publisher Convention — 33 630 East Monroe Street Sandusky, Ohio 44870-3708 Phone: 419-626-1903 e-mail: [email protected] DEPARTMENTS AMICA International — 2 MEMBERSHIP SERVICES President’s Message — 3 New Memberships . $42.00 From the Publisher’s Desk — 3 Renewals . $42.00 Calendar of Events — 4 Additional $5.00 due if renewed past the Jan. 31 deadline Letters —5 Address changes and corrections Tech Tips —32 Directory information updates Chapter News — 38 Additional copies of Classified Ads — 50 Member Directory .
    [Show full text]
  • 05-07-2019 Walkure Eve.Indd
    Synopsis Act I Mythical times. Pursued by enemies during a storm, Siegmund exhaustedly stumbles into an unfamiliar home. Sieglinde finds him lying by the hearth, and the two feel an immediate attraction. Sieglinde’s husband, Hunding, interrupts them, asking the stranger who he is. Calling himself “Woeful,” Siegmund tells of a disaster-filled life, only to learn that Hunding is a kinsman of his enemies. Hunding tells his guest that they will fight to the death in the morning. Alone, Siegmund calls on his father, Wälse—who was in fact Wotan, leader of the gods, in human disguise—for the sword that he once promised him. Sieglinde reappears, having given Hunding a sleeping potion. She tells of her wedding, at which a one-eyed stranger thrust into a tree a sword that has since resisted every effort to pull it out. Sieglinde confesses her unhappiness to Siegmund, and he embraces her and promises to free her from her forced marriage to Hunding. As moonlight floods het room, Siegmund compares their feelings to the marriage of love and spring. Sieglindeaddr esses him as “Spring” but asks if his father was really “Wolf,” as he said earlier. When Siegmund gives his father’s name as “Wälse” instead, Sieglinde recognizes him as her twin brother. Siegmund pulls the sword from the tree and claims Sieglinde as his bride, rejoicing in the union of the Wälsungs. The pair rush off together into the night. Act II In the mountains, Wotan tells his warrior daughter, the Valkyrie Brünnhilde, that she must defend his mortal son Siegmund in his upcoming battle with Hunding.
    [Show full text]
  • ARSC Journal, Vol
    THE TOSCANINI LEGACY Don McCormick and Seth Winner This article1 concerns the collection of documents and recordings forming a special part of the holdings of the Performing Arts Research Center of The New York Public Library at Lincoln Center in New York that is now entitled "The Toscanini Legacy." Described by The Library's President, Dr. Vartan Gregorian, as "one of the greatest archives ever to document a single career," this collection of scores, books, letters, pictures, films and recordings was developed and expanded from the Maes­ tro's own personal collection by his late son, Walter, who spared neither effort nor expense to make the archive as comprehensive as possible. During the 1940s, 50s and 60s, it filled ever larger portions of the 28-room Villa Pauline, the family home in Riverdale, New York. In amassing the collection, Walter devoted much of his time to searching out existing dubbings of his father's broadcast and "live" non-broadcast performances and rerecording and restoring as many of them as possible. That Walter realized the importance of documenting his father's performances throughout his life is well demonstrated by the existence in the Legacy of six single-sided shellac discs of Toscanini rehearsing the La Scala Orchestra in 1926. Knowing that his father had an aversion to early recording techniques, yet realizing the importance of the recently developed microphone, Walter himself made these rare, fragmented excerpts from a box in the theatre. In the last years of his life, Walter searched desperately for a home for this great collection. After a severe stroke led to events that created financial difficulties for him, he was forced to sell his beloved Villa Pauline in 1970, and it was later demolished.
    [Show full text]
  • Lotte Lehmann Collection., Date (Inclusive): 1880S-1976 Date (Bulk): 1920S-1976 Collection Number: PA Mss 02 Creator: Lotte Lehmann
    http://oac.cdlib.org/findaid/ark:/13030/kt2f59n79n No online items Preliminary Guide to the Lotte Lehmann Collection, 1880s-1976 Processed by Numerous Special Collections staff including Beth Witherell, Dave Tambo, David Seubert, Catlin Hunter and Ursula Clarke; Student Assistants: Jace Turner (photographs); Department of Special Collections Davidson Library University of California, Santa Barbara Santa Barbara, CA 93106 Phone: (805) 893-3062 Fax: (805) 893-5749 Email: [email protected] URL: http://www.library.ucsb.edu/speccoll/speccoll.html © 2002 The Regents of the University of California. All rights reserved. Preliminary Guide to the Lotte PA Mss 02 1 Lehmann Collection, 1880s-1976 Preliminary Guide to the Lotte Lehmann Collection, 1880s-1976 Collection number: PA Mss 02 Department of Special Collections Davidson Library University of California, Santa Barbara Contact Information: Department of Special Collections Davidson Library University of California, Santa Barbara Santa Barbara, CA 93106 Phone: (805) 893-3062 Fax: (805) 893-5749 Email: [email protected] URL: http://www.library.ucsb.edu/speccoll/speccoll.html Processors: Numerous Special Collections staff including Beth Witherell, Dave Tambo, David Seubert, Catlin Hunter and Ursula Clarke. Student Assistants: Jace Turner (photographs) Date Completed: Photographs completed 2002. Encoded by: David Seubert © 2002 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Lotte Lehmann Collection., Date (inclusive): 1880s-1976 Date
    [Show full text]
  • Forgotten Splendour
    FORGOTTEN SPLENDOUR A Chronology of the North Shore Music Festival 1909 to 1939 by Andrew Cottonaro Beginning in 1909 and lasting until 1939, the North Shore Music Festival of Northwestern University was a significant musical and social event in the Chicago area. For a few days each Spring, the campus hosted a diverse body of performers in a series of grand concerts. Naturally, some of that era’s most eminent singers could be heard there. Their presence certainly helped to sell tickets and their artistry helped to sustain the festival as a popular and critical success. Now, sixty years later, the festival hardly even counts as a faded memory. To date, two books (in part), offer a general outline of the festival’s history, but both lack any detailed analysis of who appeared and what was actually sung. This is the first attempt to present a chronology of the vocal offerings (quite distinct from the orchestral offerings) at the festival. Northwestern University, the official sponsor of the festival, is located in Evanston, Illinois (USA). The town is a suburb of Chicago, directly north of the city and on the banks of Lake Michigan. Because of this geographic position, Evanston and the other cities of the area are called the North Shore, hence the origin of the festival’s name. Northwestern University was incorporated in 1850 and gradually won recognition for its academic excellence. The establishment of musical studies, however, was a tangled web of many failed efforts. In a final and desperate attempt to salvage musical education, the university’s board of trustees in 1891 appointed Peter Christian Lutkin (1858-1931) to direct musical studies, a post that he held until his death.
    [Show full text]