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Lectures and Community Engagement 2017–18 About the Metropolitan Opera Guild
Lectures and Community Engagement 2017 –18 About the Metropolitan Opera Guild The Metropolitan Opera Guild is the world’s premier arts educa- tion organization dedicated to enriching people’s lives through the magic and artistry of opera. Thanks to the support of individuals, government agencies, foundations, and corporate sponsors, the Guild brings opera to life both on and off the stage through its educational programs. For students, the Guild fosters personal expression, collaboration, literacy skills, and self-confidence with customized education programs integrated into the curricula of their schools. For adults, the Guild enhances the opera-going experience through intensive workshops, pre-performance talks, and community outreach programs. In addition to educational activities, the Guild publishes Opera News, the world’s leading opera magazine. With Opera News, the Guild reaches a global audience with the most insightful and up-to-date writing on opera available anywhere, helping to maintain opera as a thriving, contemporary art form. For more information about the Metropolitan Opera Guild and its programs, visit metguild.org. Additional information and archives of Opera News can be found online at operanews.com. How to Use This Booklet This brochure presents the 2017–18 season of Lectures and Community Programs grouped into thematic sections—programs that emphasize specific Met performances and productions; courses on opera and its history and culture; and editorial insights and interviews presented by our colleagues at Opera News. Courses of study are arranged chronologically, and learners of all levels are welcome. To place an order, please call the Guild’s ticketing line at 212.769.7028 (Mon–Fri 10AM–4PM). -
Who Seek God and Are Drawn by Christ
CHRIST EPISCOPAL CHURCH IN THE CITY OF ROCKVILLE AND THE DIOCESE OF WASHINGTON THE NATIVITY OF OUR LORD JESUS CHRIST DECEMBER 24, 2020 AT 8:00 PM PRELUDE A CHRISTMAS PRELUDE Charles Callahan Robert Toense, flute AT THE GATHERING OF THE PEOPLE CAROL O COME, ALL YE FAITHFUL Adeste Fideles O come, all ye faithful, Sing, choirs of angels, joyful and triumphant, Sing in exultation; O come ye, O come ye, to Bethlehem; sing, all ye citizens of heaven above; come and behold him, glory to God, glory in the highest; born the King of angels; (Refrain)) Refrain: O come, let us adore him; O come, let us Yea, Lord, we greet thee, adore him; O come, let us adore him, Christ, born this happy morning, the Lord! Jesus, to thee be glory given; Word of the Father, God from God, now in flesh appearing. Light from Light eternal, (Refrain) Lo! he abhors not the Virgin's womb; only begotten Son of the Father; (Refrain) CCLAMATION A Priest The Word was made flesh and dwells among us. People We behold his glory. Priest There is on Body and one Spirit: People There is one hope in God’s call to us; Priest One Lord, one Faith, one Baptism; People One God and Father of all. LIGHTING OF THE CHRIST CANDLE READING We have been watching and waiting and Christmas is finally here! Tonight, we light the Candle of Hope, the Candle of Peace, the Candle of Joy and the Candle of Love. Now we add the large white candle in the center of Advent wreaths: the Christ Candle. -
L'opéra Moby Dick De Jake Heggie
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 20 | 2020 Staging American Nights L’opéra Moby Dick de Jake Heggie : de nouveaux enjeux de représentation pour l’œuvre d’Herman Melville Nathalie Massoulier Édition électronique URL : http://journals.openedition.org/miranda/26739 DOI : 10.4000/miranda.26739 ISSN : 2108-6559 Éditeur Université Toulouse - Jean Jaurès Référence électronique Nathalie Massoulier, « L’opéra Moby Dick de Jake Heggie : de nouveaux enjeux de représentation pour l’œuvre d’Herman Melville », Miranda [En ligne], 20 | 2020, mis en ligne le 20 avril 2020, consulté le 16 février 2021. URL : http://journals.openedition.org/miranda/26739 ; DOI : https://doi.org/10.4000/ miranda.26739 Ce document a été généré automatiquement le 16 février 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. L’opéra Moby Dick de Jake Heggie : de nouveaux enjeux de représentation pour ... 1 L’opéra Moby Dick de Jake Heggie : de nouveaux enjeux de représentation pour l’œuvre d’Herman Melville Nathalie Massoulier Le moment où une situation mythologique réapparaît est toujours caractérisé par une intensité émotionnelle spéciale : tout se passe comme si quelque chose résonnait en nous qui n’avait jamais résonné auparavant ou comme si certaines forces demeurées jusque-là insoupçonnées se mettaient à se déchaîner […], en de tels moments, nous n’agissons plus en tant qu’individus mais en tant que race, c’est la voix de l’humanité tout entière qui se fait entendre en nous, […] une voix plus puissante que la nôtre propre est invoquée. -
Pakistan Floods: After the Deluge & the Future of Migration?
Winter 2010 Pakistan Floods: After the Deluge & The Future of Migration? Winter 2010 ISSN 1813-2855 Editor-In-Chief 3 Editorial Jean-Philippe Chauzy 4 Editors Jemini Pandya 4 Pakistan – After the Deluge Chris Lom Niurka Piñeiro Jared Bloch 8 Mass Communications 8 Layout Programme Talks and Listens to Valerie Hagger Joseph Rafanan Pakistan’s Flood Victims Cover Photo Asim Hafeez/OnAsia 11 Giving Voice to Haiti’s © IOM 2010 - MPK0304 11 Earthquake Victims Migration is published twice a year in English, French and Spanish. All correspondence 14 In Search of Normal: Thoughts and inquiries concerning this publication should be sent to: about Haiti after the Earthquake 14 International Organization for Migration (IOM) PO Box 71 17 Helping the Lost Youth CH Geneva 19 Switzerland of Tanzania Tel.: +41 22 717 91 11 Fax: +41 22 798 61 50 17 E-mail: [email protected] The Silent Plight of Migrant Migration is available online 23 on the IOM website: Farm Workers in South Africa http://www.iom.int IOM is committed to the 25 Tehnology, Vigilance and Sound 25 principle that humane and Judgement – Managing the Dominican orderly migration benefits migrants and society. As Republic’s Borders an intergovernmental organization, IOM acts 28 with its partners in the 28 Biometric Passport and Indentification international community Card: Armenia Enters the Digital Age to: assist in meeting the operational challenges of migration; advance understanding of migration 30 Shedding Light on South-South issues; encourage social Migration to Aid Development and economic development 30 through migration; and uphold the human dignity and well-being of migrants. -
Riders of the Purple Sage, Arizona Opera February & March 2017 As
Riders of the Purple Sage, Arizona Opera February & March 2017 As her helper, the gunslinger Lassiter, Morgan Smith gave us a stunning performance of a role in which the character’s personality gradually unfolds and grows in complexity. Maria Nockin, Opera Today, 7 March 2017 On opening night in Tucson, the lead roles of Jane and Lassiter were sung by soprano Karin Wolverton and baritone Morgan Smith, who both deliver memorable arias. Smith plays Lassiter with vintage Clint Eastwood menace as he growls out his provocative maxim, “A man without a gun is only half a man.” Kerry Lengel, Arizona Republic, 27 February 2017 Moby-Dick, Dallas Opera November 2016 Morgan Smith brings a dense, dark baritone to the role of Starbuck, the ship's voice of reason Scott Cantrell, Dallas News, 5 November 2016 Morgan Smith, who played Starbuck, gave a stunningly powerful performance in this scene, making the internal conflict in the character believable and real. Keith Cerny, Theater Jones, 6 December 2016 First Mate Starbuck is again sung by baritone Morgan Smith, who offers convincing muscularity and authority. J. Robin Coffelt, Texas Classical Review, 6 November 2016 Morgan Smith finely acted in the role of second in command, Starbuck, and his singing was even finer. When Starbuck attempts to dissuade Captain Ahab from his fool’s mission to wreck vengeance on the white whale, the audience was treated to the evening's most powerful and passionate singing — his duets with tenor Jay Hunter Morris as Ahab in particular. Monica Smart, Dallas Observer, 8 November 2016 Madama Butterfly, Kentucky Opera September 2016 With a diplomatic air and a rich, velvety baritone, he upheld the title of Consul and caretaker in a fatherly way. -
Piano • Vocal • Guitar • Folk Instruments • Electronic Keyboard • Instrumental • Drum ADDENDUM Table of Contents
MUsic Piano • Vocal • Guitar • Folk Instruments • Electronic Keyboard • Instrumental • Drum ADDENDUM table of contents Sheet Music ....................................................................................................... 3 Jazz Instruction ....................................................................................... 48 Fake Books........................................................................................................ 4 A New Tune a Day Series ......................................................................... 48 Personality Folios .............................................................................................. 5 Orchestra Musician’s CD-ROM Library .................................................... 50 Songwriter Collections ..................................................................................... 16 Music Minus One .................................................................................... 50 Mixed Folios .................................................................................................... 17 Strings..................................................................................................... 52 Best Ever Series ...................................................................................... 22 Violin Play-Along ..................................................................................... 52 Big Books of Music ................................................................................. 22 Woodwinds ............................................................................................ -
100 Years: a Century of Song 1970S
100 Years: A Century of Song 1970s Page 130 | 100 Years: A Century of song 1970 25 Or 6 To 4 Everything Is Beautiful Lady D’Arbanville Chicago Ray Stevens Cat Stevens Abraham, Martin And John Farewell Is A Lonely Sound Leavin’ On A Jet Plane Marvin Gaye Jimmy Ruffin Peter Paul & Mary Ain’t No Mountain Gimme Dat Ding Let It Be High Enough The Pipkins The Beatles Diana Ross Give Me Just A Let’s Work Together All I Have To Do Is Dream Little More Time Canned Heat Bobbie Gentry Chairmen Of The Board Lola & Glen Campbell Goodbye Sam Hello The Kinks All Kinds Of Everything Samantha Love Grows (Where Dana Cliff Richard My Rosemary Grows) All Right Now Groovin’ With Mr Bloe Edison Lighthouse Free Mr Bloe Love Is Life Back Home Honey Come Back Hot Chocolate England World Cup Squad Glen Campbell Love Like A Man Ball Of Confusion House Of The Rising Sun Ten Years After (That’s What The Frijid Pink Love Of The World Is Today) I Don’t Believe In If Anymore Common People The Temptations Roger Whittaker Nicky Thomas Band Of Gold I Hear You Knocking Make It With You Freda Payne Dave Edmunds Bread Big Yellow Taxi I Want You Back Mama Told Me Joni Mitchell The Jackson Five (Not To Come) Black Night Three Dog Night I’ll Say Forever My Love Deep Purple Jimmy Ruffin Me And My Life Bridge Over Troubled Water The Tremeloes In The Summertime Simon & Garfunkel Mungo Jerry Melting Pot Can’t Help Falling In Love Blue Mink Indian Reservation Andy Williams Don Fardon Montego Bay Close To You Bobby Bloom Instant Karma The Carpenters John Lennon & Yoko Ono With My -
Community Carol Sing Deck the Halls I Saw Three Ships
COMMUNITY CAROL SING DECK THE HALLS I SAW THREE SHIPS TABLE Deck the halls with boughs of holly, I saw three ships come sailing in, Fa la la la la, la la la la. On Christmas day, On Christmas day. OF CONTENTS Tis the season to be jolly... I saw three ships come sailing in, Don we now our gay apparel... On Christmas day in the morning. DECK THE HALLS page 3 Troll the ancient Yuletide carol... And what was in those ships all three… The Virgin Mary and Christ were there… O COME, ALL YE FAITHFUL page 3 See the blazing Yule before us... Pray, whither sailed those ships all I SAW THREE SHIPS page 3 Strike the harp and join the chorus... three.. Follow me in merry measure... O they sailed into Bethlehem… HERE WE COME A-WASSAILING page 3 While I tell of Yuletide treasure... page 4 IT CAME UPON A MIDNIGHT CLEAR Fast away the old year passes, HERE WE COME A-WASSAILING Hail the new, ye lads and lasses... HARK! THE HERALD ANGELS SING page 4 Here we come a-wassailing Among Sing we joyous, all together... the leaves so green; Here we come GOD REST YE MERRY GENTLEMEN page 5 Heedless of the wind and weather... a-wandering, So fair to be seen. RUDOLPH THE RED-NOSED REINDEER page 5 Chorus: Love and joy come to you, O COME ALL YE FAITHFUL JINGLE BELLS page 6 And to you our wassail, too. O come all ye faithful, And God bless you and JINGLE BELL ROCK page 6 joyful and triumphant. -
Chorales American Spiritual Fall 2013
The Salisbury Chorale and University Chorale with guest artists from the American Spiritual Ensemble present Conceived by John Wesley Wright Sunday, November 17, 2013 • 5 p.m. Holloway Hall Auditorium ASE Soloists: Karen Slack, soprano Cherry Duke, mezzo-soprano John Wesley Wright, tenor Michael Preacely, baritone Dr. William Folger, Musical Director Susan Zimmer, Pianist Sponsored by The Peter and Judy Jackson Music Performance Fund and the Fulton School of Liberal Arts PROGRAM I (Prophecy, Birth, Life of Christ) Over My Head . .arr. Osby Hodges, Rev. Todd O’Neal and John Wesley Wright; Intro transcribed by Jitsuko Tanaka John Wesley Wright, tenor and Ensemble De Virgin Mary Had a Baby Boy . .arr. Vaughan Meakins Michael Preacely, baritone and Ensemble** Rockin’ Jerusalem . .arr. John W. Work Karen Slack, soprano and Ensemble Sister Mary . .arr. Roland Hayes Cherry Duke, mezzo-soprano Lil’ Boy . .arr. Roland Hayes Michael Preacely, baritone Mary Had a Baby . .arr. Roland Carter John Wesley Wright, tenor and Ensemble Sweet Little Jesus Boy . .Robert MacGimsey Cherry Duke, mezzo-soprano Ride On, Jesus . .arr. R.Nathaniel Dett Karen Slack, soprano Glory Hallelujah to Duh Newbo’n King . .adapted by Rosephanye Powell ASE Soloists and Ensemble II (Christ’s Passion, Teachings, the Judgment, Ultimate Victory) Spirituals Medley . .arr. Rev. Todd O’Neal and transcribed by Steve Milloy ASE Soloists and Ensemble Were You There? . .arr. Harry T. Burleigh Michael Preacely, baritone Calvary . .arr. Steven Sametz John Wesley Wright, tenor and Small Ensemble † Take My Mother Home . .arr. Hall Johnson Cherry Duke, mezzo-soprano 1 Wade in the Water (Spiritual Quodlibet) . .arr. Ysaye M. -
December 22, 2019 8:30A.M
December 22, 2019 8:30 Prelude Welcome Process with light “Heaven and Nature Sing” (sung as call and response) Sing a new song to the Lord/Sing a new song to the Lord Lift your hearts with gratitude/Lift your hearts with gratitude Sing a new song to the Lord/Sing a new song to the Lord Lift your hearts with gratitude/Lift your hearts with gratitude and Joy,/and Joy Peaceful Joy/Peaceful Joy Your steadfast love and faithfulness/Your steadfast love and faithfulness is ever present in our lives/is ever present in our lives Your steadfast love and faithfulness/Your steadfast love and faithfulness is ever present in our lives/is ever present in our lives with Joy,/with Joy Peaceful Joy/Peaceful Joy Reading Let the sea laugh, and all that fills it; the world and those who dwell in it! Let the waters clap their hands; let the hills ring out with joy before the Beloved, who radiates [Peace] to all the earth. For Love reigns over the world with truth and justice bringing order and balance to all of Creation. Sung call and response continue We sing/We sing We sing/We sing Joy to the World/Joy to the World Heaven and nature sing/Heaven and nature sing Joy to the World/Joy to the World Heaven and nature sing/Heaven and nature sing with Joy/with Joy Peaceful Joy/Peaceful Joy 1 December 22, 2019 8:30 Advent Candle Lighting We continue our journey toward Christmas this week. This week we will in addition to lighting the candles of Hopeful Joy, Loving Joy and Unabashed Joy we will light the candle of Peaceful Joy. -
Connection/Separation
Friday, February 12, 2021 | 4 PM MANHATTAN SCHOOL OF MUSIC OPERA THEATRE Tazewell Thompson, Director of Opera Studies presents Connection/Separation Featuring arias and scenes from Carmen, Così fan tutte, Die Zauberflöte, La clemenza di Tito, L’elisir d’amore, Le nozze di Figaro, Les pêcheurs de perles, and Lucio Silla A. Scott Parry, Director MSM Opera Theatre productions are made possible by the Fan Fox and Leslie R. Samuels Foundation and the Joseph F. McCrindle Endowment for Opera Productions at Manhattan School of Music. Friday, February 12, 2021 | 4 PM MANHATTAN SCHOOL OF MUSIC OPERA THEATRE Tazewell Thompson, Director of Opera Studies presents Connection/Separation Featuring arias and scenes from Carmen, Così fan tutte, Die Zauberflöte, La clemenza di Tito, L’elisir d’amore, Le nozze di Figaro, Les pêcheurs de perles, and Lucio Silla A. Scott Parry, Director Myra Huang, Vocal Coach & Pianist Kristen Kemp, Vocal Coach & Pianist Megan P. G. Kolpin, Props Coordinator DIRECTOR’S NOTE In each of our lives—during this last year especially—we may have discovered ourselves in moments of wanting, even needing some sort of human connection, but instead finding separation by any number of barriers. In the arias and scenes that follow, we witness characters in just this kind of moment; searching for meaningful contact yet being somehow barred from achieving it. Through circumstance, distance, convention, misunderstanding, pride, fear, ego, or what have you, we may find ourselves in situations similar to the characters in this program, while looking forward to the days when connection can be more easily achieved and separation the exception to the rule. -
West Side Story
West Side Story West Side Story is an American musical with a book rary musical adaptation of Romeo and Juliet . He prpro-o- byby Arthur Laurents, mmususiic bbyy Leonard Bernstein,, posed that the plot focus on the conflict between an Irish libretto/lyrics by Stephen Sondheim, and conception and Catholic family and a Jewish family living on the Lower choreography byby Jerome Robbins..[1] It was inspired by East Side ofof Manhattan,,[6] during the Easter–Passover William Shakespeare's play Romeo and Juliet .. season. The girl has survivvived the Holocaust and emi- The story is set in the Upper West Side neighborhood grated from Israel; the conflict was to be centered around in New York City in the mid-1950s, an ethnic, blue- anti-Semitism of the Catholic “Jets” towards the Jewish “Emeralds” (a name that made its way into the script as collar ne neighighborhood. (In the early 1960s much of thethe [7] neineighborhood would be clecleared in anan urban renewal a reference). Eager to write his first musical, Laurents project for the Lincoln Center, changing the neighbor- immediately agreed. Bernstein wanted to present the ma- hood’s character.)[2][3] The musical explores the rivalry terial in operatic form, but Robbins and Laurents resisted between the Jets and the Sharks, two teenage street gangs the suggestion. They described the project as “lyric the- of different ethnic backgrounds. The members of the ater”, and Laurents wrote a first draft he called East Side Sharks, from Puerto Rico, are taunted by the Jets, a Story. Only after he completed it did the group realize it white gang.[4] The young protagonist, Tony, a former was little more than a musicalization of themes that had member of the Jets and best friend of the gang leader, alreadybeencoveredinin plaplaysys liklikee Abie’s Irish Rose.