An Unconventional Idea Opera, Art Song, and the Ages of the Voice
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Boston Symphony Orchestra Concert Programs, Summer, 1961-1962
Music Shed — Tanglewood Lenox, Massachusetts Thursday, August 2, 1962, at 8:00 For the Benefit of the Berkshire Music Center THE BOSTON POPS ARTHUR FIEDLER, Conductor Soloist EARL WILD, Piano PROGRAM *The Stars and Stripes Forever Sousa *Suite from "Le Cid" Massenet Castiliane — Aragonaise — Aubade — Navarraise #Mein Lebenslauf ist Lieb' und Lust, Waltzes Josef Strauss Pines of Rome Respighi I. The Pines of the Villa Borghese II. The Pines near a Catacomb III. The Pines of the Janiculum IV. The Pines of the Appian Way Intermission *Concerto in F for Piano and Orchestra Gershwin I. Allegro II. Adagio; Andante con moto III. Allegro agitato Soloist: Earl Wild *Selection from "West Side Story" Bernstein I Feel Pretty — Maria — Something's Coming — Tonight — One Hand, One Heart — Cool — A-mer-i-ca Mr. Wild plays the Baldwin Piano Baldwin Piano *RCA Victor Recording Special Event at Tanglewood Thursday, August 23 A GALA EVENING of Performances by the Students For the Benefit of the Berkshire Music Center ORDER OF EVENTS 4 :00 Chamber Music in the Theatre 5 :00 Music by Tanglewood Composers in the Chamber Music Hall 6:00 Picnic Hour 7 :00 Tanglewood Choir on the Main House Porch 8 :00 The Berkshire Music Center Orchestra Concert in the Shed In Mahler's Third Symphony, with the Festival Chorus and Florence Kopleff, Contralto Conductor—Richard Burgin Admission tickets . (All seats unreserved except boxes) $2.50 — Box Seats $5.00 Grounds open for admission at 3 :00 p.m. REMAINING FESTIVAL CONCERTS (The final concerts of Charles Munch as Music Director of the Boston Symphony Orchestra) EVENINGS — 8 :00 P.M. -
Richard Strauss's Ariadne Auf Naxos
Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails. -
Finding Aid to the Historymakers ® Video Oral History with Mattiwilda Dobbs Janzon
Finding Aid to The HistoryMakers ® Video Oral History with Mattiwilda Dobbs Janzon Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Janzon, Mattiwilda Dobbs, 1925-2015 Title: The HistoryMakers® Video Oral History Interview with Mattiwilda Dobbs Janzon, Dates: March 1, 2005 Bulk Dates: 2005 Physical 5 Betacame SP videocasettes (2:25:17). Description: Abstract: Opera singer Mattiwilda Dobbs Janzon (1925 - 2015 ) was the first African American woman to appear in a principal role at La Scala Opera House in Milan. Dobbs also desegregated the San Francisco Opera Company and performed at the Metropolitan Opera in New York. Dobbs passed away on December 8, 2015 in Atlanta, Georgia. Janzon was interviewed by The HistoryMakers® on March 1, 2005, in Arlington, Virginia. This collection is comprised of the original video footage of the interview. Identification: A2005_056 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Opera singer Mattiwilda Dobbs was born on July 11, 1925 in Atlanta, Georgia. The fifth of six daughters, she sang her first solo at age six and began her musical studies in piano during Dobbs’ childhood. A member of the last graduating class from Atlanta University Lab School, Dobbs earned her high school diploma in 1942. Receiving her B.A. degree in music from Spelman College in 1946, Dobbs began her formal voice training under the direction of Naomi Maise and Willis Laurence James. After graduating, she studied with Lotte Leonard and Pierre Bernac and attended the Mannes College of Music and the Berkshire Music Center’s Opera Workshop. -
14 Pierrepont at a Crossroads of Literatures
14 Pierrepont at a crossroads of literatures An instructive parallel between the first branch of the Karlamagnús Saga, the Dutch Renout and the Dutch Flovent Abstract: In the French original of the first branch of the Karlamagnús Saga [= fKMSI], in the Dutch Renout and in the Dutch Flovent – three early 13th century texts from present-day Bel- gium – a toponym Pierrepont plays a conspicous part (absent, however, from the French models of Renout and Flovent); fKMSI and Renout even have in common a triangle ‘Aimon, vassal of Charlemagne – Aie, his wife – Pierrepont, their residence’. The toponym is shown to mean Pierrepont (Aisne) near Laon in all three texts. In fKMSI, it is due almost certainly to the intervention of one of two Bishops of Liège (1200−1238) from the Pierrepont family, and in the other two texts to a similar cause. Consequently, for fKMSI a date ‘before 1240’ is proposed. According to van den Berg,1 the Middle Dutch Flovent, of which only two frag- ments are preserved,2 was probably written by a Fleming (through copied by a Brabantian) and can very roughly be dated ‘around 1200’ on the basis of its verse technique and syntax. In this text, Pierrepont plays a conspicuous part without appearing in the French original.3 In the first fragment, we learn that King Clovis is being besieged in Laon by a huge pagan army (vv. 190 ss.). To protect their rear, the pagans build a castle at a distance of four [presumably French] miles [~18 km] from Laon. Its name will be Pierlepont (vv. -
Central Opera Service Bulletin
CENTRAL OPERA SERVICE BULLETIN WINTER, 1972 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center Plaza • Metropolitan Opera • New York, N.Y. 10023 • 799-3467 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Canter Plaza • Metropolitan Opera • New York, NX 10023 • 799.3467 CENTRAL OPERA SERVICE COMMITTEE ROBERT L. B. TOBIN, National Chairman GEORGE HOWERTON, National Co-Chairman National Council Directors MRS. AUGUST BELMONT MRS. FRANK W. BOWMAN MRS. TIMOTHY FISKE E. H. CORRIGAN, JR. CARROLL G. HARPER MRS. NORRIS DARRELL ELIHU M. HYNDMAN Professional Committee JULIUS RUDEL, Chairman New York City Opera KURT HERBERT ADLER MRS. LOUDON MEI.LEN San Francisco Opera Opera Soc. of Wash., D.C. VICTOR ALESSANDRO ELEMER NAGY San Antonio Symphony Ham College of Music ROBERT G. ANDERSON MME. ROSE PALMAI-TENSER Tulsa Opera Mobile Opera Guild WILFRED C. BAIN RUSSELL D. PATTERSON Indiana University Kansas City Lyric Theater ROBERT BAUSTIAN MRS. JOHN DEWITT PELTZ Santa Fe Opera Metropolitan Opera MORITZ BOMHARD JAN POPPER Kentucky Opera University of California, L.A. STANLEY CHAPPLE GLYNN ROSS University of Washington Seattle Opera EUGENE CONLEY GEORGE SCHICK No. Texas State Univ. Manhattan School of Music WALTER DUCLOUX MARK SCHUBART University of Texas Lincoln Center PETER PAUL FUCHS MRS. L. S. STEMMONS Louisiana State University Dallas Civic Opera ROBERT GAY LEONARD TREASH Northwestern University Eastman School of Music BORIS GOLDOVSKY LUCAS UNDERWOOD Goldovsky Opera Theatre University of the Pacific WALTER HERBERT GIDEON WALDKOh Houston & San Diego Opera Juilliard School of Music RICHARD KARP MRS. J. P. WALLACE Pittsburgh Opera Shreveport Civic Opera GLADYS MATHEW LUDWIG ZIRNER Community Opera University of Illinois See COS INSIDE INFORMATION on page seventeen for new officers and members of the Professional Committee. -
Boston Symphony Orchestra Concert Programs, Season 77, 1957-1958, Subscription
*l'\ fr^j BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON 24 G> X will MIIHIi H tf SEVENTY-SEVENTH SEASON 1957-1958 BAYARD TUCEERMAN. JR. ARTHUR J. ANDERSON ROBERT T. FORREST JULIUS F. HALLER ARTHUR J. ANDERSON, JR. HERBERT 8. TUCEERMAN J. DEANE SOMERVILLE It takes only seconds for accidents to occur that damage or destroy property. It takes only a few minutes to develop a complete insurance program that will give you proper coverages in adequate amounts. It might be well for you to spend a little time with us helping to see that in the event of a loss you will find yourself protected with insurance. WHAT TIME to ask for help? Any time! Now! CHARLES H. WATKINS & CO. RICHARD P. NYQUIST in association with OBRION, RUSSELL & CO. Insurance of Every Description 108 Water Street Boston 6, Mast. LA fayette 3-5700 SEVENTY-SEVENTH SEASON, 1957-1958 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN with historical and descriptive notes by John N. Burk Copyright, 1958, by Boston Symphony Orchestra, Inc. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Jacob J. Kaplan Vice-President Richard C. Paine Treasurer Talcott M. Banks Michael T. Kelleher Theodore P. Ferris Henry A. Laughlin Alvan T. Fuller John T. Noonan Francis W. Hatch Palfrey Perkins Harold D. Hodgkinson Charles H. Stockton C. D. Jackson Raymond S. Wilkins E. Morton Jennings, Jr. Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Edward A. Taft Thomas D. -
Boston Symphony Orchestra Concert Programs, Summer, 1946
TANGLEWOOD— LENOX, MASSACHUSETTS THE Berkshire Music Center SERGE KOUSSEVITZKY, Director presents " ! cc PETER GRIMES" 11 by BENJAMIN BRITTEN Tuesday Evening, August 6 Wednesday Evening, August 7 Friday Evening, August 9 IP •*• 1946 W' !.«.w,a'i STEINWiV Since the time of Liszt, the Steinway has consistently been, year after year, the medium chosen by an overwhelming number of concert artists to express their art. Eugene List, Mischa El man and William Kroll, soloists of this Berk- shire Festival, use the Steinway. Significantly enough, the younger artists, the Masters of tomorrow, entrust their future to this world-famous piano — they cannot afford otherwise to en- danger their artistic careers. The Stein- way is, and ever has been, the Glory Road of the Immortals. M. STEINERT & SONS CO. : 162 BOYLSTON ST., BOSTON Jerome F. Murphy, President • Also Worcester and Springfield THEATRE-CONCERT HALL TANGLEWOOD (Between Stockbridge and Lenox, Massachusetts) Berkshire Music Center . SERGE KOUSSEVITZKY, Director Season 1946 Program Bulletin with historical and descriptive notes by John N. Burk COPYRIGHT, 1946, BY BOSTON SYMPHONY ORCHESTRA, InC. The trustees of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Henry B. Sawyer Vice-President Richard C. Paine Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Jacob J. Kaplan Alvan T. Fuller Roger I. Lee Jerome D. Greene Bentley W. Warren N, Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott TANGLEWOOD ADVISORY COMMITTEE Allan J. Blau G. Churchill Francis George P. Clayson Lawrence K. Miller Bruce Crane James T. Owens Henry W. Dwight Lester Roberts George W. Edman Whitney S. -
2017 Convention Schedule
WEDNESDAY, JANUARY 4 2:00PM – 5:00PM Board of Directors Meeting Anacapa 6:00PM - 9:00PM Pre-Conference Dinner & Wine Tasting Villa Wine Bar 618 Anacapa Street, Santa Barbara 7:00PM – 10:00PM Opera Scenes Competition Rehearsal Grand Ballroom THURSDAY, JANUARY 5 8:00AM – 5:00PM Registration Grand Foyer 9:00AM – 5:00PM EXHIBITS Grand Foyer 9:00AM – 9:30AM MORNING COFFEE Grand Foyer Sponsored by the University of Colorado at Boulder College of Music 9:30AM-10:45AM Sierra Madre The 21st Century Way: Redefining the Opera Workshop Justin John Moniz, Florida State University Training programs have begun to include repertoire across varying genres in order to better equip young artists for prosperous careers in today’s evolving operatic canon. This session will address specific acting and movement methods geared to better serve our current training modules, offering new ideas and fresh perspectives to help redefine singer training in the 21st century. Panelists include: Scott Skiba, Director of Opera, Baldwin Wallace Conservatory; Carleen Graham, Director of HGOco, Houston Grand Opera; James Marvel, Director of Opera, University of Tennessee-Knoxville; Copeland Woodruff, Director of Opera Studies, Lawrence University. 11:00AM-12:45PM Opening Ceremonies & Luncheon Plaza del Sol Keynote Speaker: Kostis Protopapas, Artistic Director, Opera Santa Barbara 1:00PM-2:15PM The Janus Face of Contemporary American Opera Sierra Madre Barbara Clark, Shepherd School of Music, Rice University The advent of the 21st century has proven fertile ground for the composition -
Newsletter • Bulletin
NATIONAL CAPITAL OPERA SOCIETY • SOCIETE D'OPERA DE LA CAPITALE NATIONALE Newsletter • Bulletin Summer 2000 L’Été A WINTER OPERA BREAK IN NEW YORK by Shelagh Williams The Sunday afternoon programme at Alice Tully Having seen their ads and talked to Helen Glover, their Hall was a remarkable collaboration of poetry and words new Ottawa representative, we were eager participants and music combining the poetry of Emily Dickinson in the February “Musical Treasures of New York” ar- recited by Julie Harris and seventeen songs by ten dif- ranged by Pro Musica Tours. ferent composers, sung by Renee Fleming. A lecture We left Ottawa early Saturday morning in our bright preceded the concert and it was followed by having most pink (and easily spotted!) 417 Line Bus and had a safe of the composers, including Andre Previn, join the per- and swift trip to the Belvedere Hotel on 48th St. Greeted formers on stage for the applause. An unusual and en- by Larry Edelson, owner/director and tour leader, we joyable afternoon. met our fellow opera-lovers (six from Ottawa, one from Monday evening was the Met’s block-buster pre- Toronto, five Americans and three ladies from Japan) at miere production of Lehar’s The Merry Widow, with a welcoming wine and cheese party. Frederica von Stade and Placido Domingo, under Sir Saturday evening the opera was Offenbach’s Tales Andrew Davis, in a new English translation. The oper- of Hoffmann. This was a lavish (though not new) pro- etta was, understandably, sold out, and so the only tick- duction with sumptuous costumes, sets descending to ets available were seats in the Family Circle (at the very reappear later, and magical special effects. -
Alvin Ailey Dance Foundation
2006 Spring Opera Season is sponsored by Cadillac Copyright 2010, Michigan Opera Theatre LaSalle Bank salutes those who make the arts a part of our lives. Personal Banking· Commercial Banking· Wealth Management Making more possible LaSalle Bank ABN AMRO ~ www. la sal lebank.com t:.I Wealth Management is a division of LaSalle Bank, NA Copyright 2010,i'ENm Michigan © 2005 LaSalle Opera Bank NTheatre.A. Member FDIC. Equal Opportunity Lender. 2006 The Official MagaZine of the Detroit Opera House BRAVO IS A MICHI GAN OPERA THEAT RE P UB LI CATION Sprin",,---~ CONTRI BUTORS Dr. David DiChiera Karen VanderKloot DiChiera eason Roberto Mauro Michigan Opera Theatre Staff Dave Blackburn, Editor -wELCOME P UBLISHER Letter from Dr. D avid DiChiera ...... .. ..... ...... 4 Live Publishing Company Frank Cucciarre, Design and Art Direction ON STAGE Bli nk Concept &: Design, Inc. Production LES GRAND BALLETS CANADIENS de MONTREAL .. 7 Chuck Rosenberg, Copy Editor Be Moved! Differently . ............................... ... 8 Toby Faber, Director of Advertising Sales Physicians' service provided by Henry Ford AIDA ............... ..... ...... ... .. ... .. .... 11 Medical Center. Setting ................ .. .. .................. .... 12 Aida and the Detroit Opera House . ..... ... ... 14 Pepsi-Cola is the official soft drink and juice provider for the Detroit Opera House. C INDERELLA ...... ....... ... ......... ..... .... 15 Cadillac Coffee is the official coffee of the Detroit Setting . ......... ....... ....... ... .. .. 16 Opera House. Steinway is the official piano of the Detroit Opera ALVIN AILEY AMERICAN DANCE THEATER .. ..... 17 House and Michigan Opera Theatre. Steinway All About Ailey. 18 pianos are provided by Hammell Music, exclusive representative for Steinway and Sons in Michigan. SALOME ........ ... ......... .. ... ... 23 President Tuxedo is the official provider of Setting ............. .. ..... .......... ..... 24 formal wear for the Detroit Opera House. -
Michael Schade at a Special Release of His New Hyperion Recording “Of Ladies and Love...”
th La Scena Musicale cene English Canada Special Edition September - October 2002 Issue 01 Classical Music & Jazz Season Previews & Calendar Southern Ontario & Western Canada MichaelPerpetual Schade Motion Canada Post Publications Mail Sales Agreement n˚. 40025257 FREE TMS 1-01/colorpages 9/3/02 4:16 PM Page 2 Meet Michael Schade At a Special Release of his new Hyperion recording “Of ladies and love...” Thursday Sept.26 At L’Atelier Grigorian Toronto 70 Yorkville Ave. 5:30 - 7:30 pm Saturday Sept. 28 At L’Atelier Grigorian Oakville 210 Lakeshore Rd.E. 1:00 - 3:00 pm The World’s Finest Classical & Jazz Music Emporium L’Atelier Grigorian g Yorkville Avenue, U of T Bookstore, & Oakville GLENN GOULD A State of Wonder- The Complete Goldberg Variations (S3K 87703) The Goldberg Variations are Glenn Gould’s signature work. He recorded two versions of Bach’s great composition—once in 1955 and again in 1981. It is a testament to Gould’s genius that he could record the same piece of music twice—so differently, yet each version brilliant in its own way. Glenn Gould— A State Of Wonder brings together both of Gould’s legendary performances of The Goldberg Variations for the first time in a deluxe, digitally remastered, 3-CD set. Sony Classical celebrates the 70th anniversary of Glenn Gould's birth with a collection of limited edition CDs. This beautifully packaged collection contains the cornerstones of Gould’s career that marked him as a genius of our time. A supreme intrepreter of Bach, these recordings are an essential addition to every music collection. -
Dubberly Curriculum Vitae
STEPHEN DUBBERLY Opera Conductor Division of Conducting and Ensembles College of Music University of North Texas Denton, TX 76203-1367 940-367-8770 EDUCATION 1992 Doctor of Musical Arts Yale University, New Haven, Connecticut 1986-87 Graduate Fellowship Piano Performance The University of Texas at Austin 1986 Master of Musical Arts Yale University 1985 Master of Music Yale University 1979 Diploma with honors College Preparatory Uruguayan-American School, Montevideo, Uruguay 1974-78 5 Performance Certificates Piano, Solfège Conservatorio Juan Sebastián Bach, Montevideo conducting studies with Harold Evans, Otto-Werner Mueller, and Kirk Trevor piano studies with Santiago Baranda Reyes, Boris Berman, Claude Frank, and Seymour Lipkin vocal literature studies with Nico Castel, David Garvey, Thomas Grubb, and Gérard Souzay PROFESSIONAL EXPERIENCE 2016- Conductor Red River Lyric Opera Wichita Falls, Texas 2016- Music Director Opera in Concert in Italy Urbino, Texas 2015 Chorus Master OPERA San Antonio San Antonio, Texas 2013-2015 Conductor Opera Breve Wichita Falls, Texas 2012- Music Director Opera in Concert Dallas, Texas 2012- Conductor Frontiers Festival/ Fort Worth Opera Ft. Worth, Texas 2010-2016 Chorus Master, Associate Conductor Fort Worth Opera Ft. Worth, Texas 2008 Chorus Master Fort Worth Opera Ft. Worth, Texas 2002-2014 Music Director Christ Presbyterian Church Flower Mound, Texas 2001-02 Music Director Black Tie Opera Ensemble Houston, Texas 1999- Associate Professor of Music University of North Texas Denton, Texas (tenured in 2002) Music Director, UNT Opera 1999-2001 Music Director American Bel Canto Opera Denton/Kansas City 1998-99 Music Staff Des Moines Metro Opera Indianola, Iowa 1998-99 Music Director Totally Vocal! Institute Knoxville, Tennessee 1997-99 Director of Music First Presbyterian Church Crossville, Tennessee 1996-99 Music Director Knoxville Opera Studio Knoxville, Tennessee 1993- Pianist Bel Canto Festival Highlands, North Carolina 1992-97 Music Staff Opera Theatre of Saint Louis St.