DOCSLIB.ORG

The Adventures of Little Sharp-Ears

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

THE ADVENTURES OF LITTLE SHARP-EARS LYRIC THEATRE @ ILLINOIS Music and lyrics by Leoš Janáček English adaptation by Kelley Rourke Sarah Wigley, director | Andrew Megill, conductor Friday, November 15, 2019, at 7:30pm Saturday, November 16, 2019, at 5pm Sunday, November 17, 2019, at 3pm Tryon Festival Theatre THANK YOU TO OUR SPONSORS Tonight’s performance of The Adventures of Little Sharp-Ears is sponsored in part by the following generous donors: SUSAN & MICHAEL HANEY THE ACT OF GIVING OF ACT THE 2 WELCOME In honor of Krannert Center’s 50th anniversary, the resident producers—Lyric Theatre, Theatre, and Dance—are joining forces to present the classic Kander and Ebb work, Cabaret. Set in 1931 in Germany’s Weimar Republic, it follows the lives of the performers and clientele of the Kit Kat Club as the country moves in a very dark direction. Directed by Latrelle Bright, with choreography by Elliot Emadian and music direction by Julie Gunn, this iconic musical is by turns thrilling, entertaining, terrifying, and tender. Finally, Lyric Theatre will present Stephen Sondheim’s A Little Night Music, directed WELCOME TO LYRIC THEATRE @ ILLINOIS by Dawn Harris and conducted by Michael —a vibrant community that embraces a wide Tilley. In this musical comedy of manners, both range of opera and musical theatre. charming and wistful, surprises lie just around the The 2019-20 season will be full of works that corner, and a magical summer night offers new excite our curiosity, challenge our assumptions, beginnings. Romance and longing are carried deepen our understanding and lift our spirits. along on Sondheim’s lush score. First, in collaboration with Allerton Park and We are proud to represent the breadth and depth Retreat Center, we offer Songs for a New World, of sung theatre in our productions, workshops, the first musical from Tony Award winner Jason and classes. We continue to develop new Robert Brown (Parade, The Bridges of Madison masterpieces in collaboration with Beth Morrison County). This moving collection of powerful songs Projects and other colleagues and to nurture with a driving, exquisitely crafted score examines the creative and performing leaders of the 21st life, love, and the choices that we make. Next, century. We are so proud of our students and of Leos Janaček’s The Adventures of Little Sharp- their commitment to excellence and creativity. Ears, directed by Sarah Wigley, immerses us in And we are so grateful for you, our audiences. the beauty and majesty of the natural world, Thank you for supporting Lyric Theatre @ Illinois! celebrating the circle of life in the human and animal world. The lush and ground-breaking score Yours, was played at Janaček’s funeral at the composer’s Julie and Nathan Gunn request and will be conducted by Andrew Megill. CO-DIRECTORS, LYRIC THEATRE @ ILLINOIS 3 PROGRAM THE ADVENTURES OF LITTLE SHARP-EARS LYRIC THEATRE @ ILLINOIS Music and lyrics by Leoš Janáček English adaptation by Kelley Rourke Andrew Megill, conductor Sarah Wigley, director Friday, November 15, 2019, at 7:30pm Saturday, November 16, 2019, at 5pm Sunday, November 17, 2019, at 3pm Tryon Festival Theatre TIME: 1920 PLACE: Moravia ACT I Scene 2: The Tavern The Forester, Schoolmaster, and Parson meet at Scene 1: The Meadow the tavern for their usual long night of drinking. The forest creatures delight in the summer sun. The Forester teases the Schoolmaster about his The Forester pauses for a nap on his way home. unrequited love for the gypsy girl Terynka and When he wakes, he captures young Sharp-Ears, laments the loss of his youth. who is exploring the forest for the first time. Scene 3: The Forest Scene 2: The Forester’s Farmyard As he stumbles home, the Schoolmaster The Dog tells Sharp-Ears of his loneliness. Two drunkenly hallucinates a vision of Terynka and children, Pepik and Frantik, torment Sharp-Ears; reveals the secret passions that are hidden within when she defends herself, she is tied up. She him. The Parson, also lost and inebriated, is dreams of freedom. Sharp-Ears rallies the hens to tormented by guilt. The Forester drunkenly hunts free themselves from their slavery to the Rooster. the Vixen through the Forest. Chewing through her rope, Sharp-Ears escapes the farmyard and returns home to the forest. Scene 4: The Vixen’s Lair The Fox courts Sharp-Ears in her lair and a passionate encounter ensues. The forest animals ACT II bless their union with a lively celebration. Scene 1: The Badger’s Lair Sharp-Ears visits the Badger in his lair. She 20-minute intermission shames him for his greed and then forces him out, making the lair her own home. 4 ACT III Scene 3: The Meadow The Forester returns to the place he first met the Scene 1: The Forest Vixen, grieving her loss. He recalls the blissful Harasta the poacher sets a fox trap baited with days of his youth while basking in the beauty of a dead rabbit. Sharp-Ears and the Fox Cubs find nature. He sees a young fox cub who reminds the trap and mock Harasta for his incompetence. him of Sharp-Ears. A Frog appears—the grandson From a distance, Harasta shoots Sharp Ears and of the frog who had done the same thing in Act the Fox Cubs flee. I. This awakens a moment of radiant spiritual Scene 2: The Tavern understanding for the Forester as he celebrates The Innkeeper’s Wife relates the news from the inevitable cycle of life born out of death. the Parson's travels—he is homesick. The Schoolmaster reports that his beloved Terynka has married Harasta; the Innkeeper’s Wife remarks on her new fox-fur muff. The Forester accepts that he is aging and leaves the Tavern to sleep in the Forest. Lyric Theatre @ Illinois is co-produced by the University of Illinois School of Music (Jeffrey S. Sposato, director). 5 THE ADVENTURES OF LITTLE SHARP-EARS CONDUCTOR LIGHTING DESIGNER Andrew Megill Megan J. Coffel STAGE DIRECTOR SOUND DESIGNER Sarah Wigley Zia Fox MOVEMENT DIRECTOR STAGE MANAGER Genesee Spridco Maria Miguens SCENIC DESIGNER SUPERTITLES Jia Zenpeng Michael Tilley COSTUME DESIGNER MUSICAL PREPARATION William Sturman Julie Jordan Gunn 6 CAST SHARP-EARS BLUE JAY/FOX CUB Lisa Buhelos^ Kate Stenzel Lauren Falk^^ FRANTIK/FOX CUB FOX Logan Piker Berit Johnson^^ Michaela Wright^ PEPIK/FOX CUB Carissa Yau FORESTER Scott Cuva^ INNKEEPER’S WIFE/MOTHER HEN Chris Stanfill^^ Julie Malecki YOUNG SHARP-EARS/FOX CUB ROOSTER Caitlin Hennessy Kara Taft CRICKET/CHICK DOG Caroline McKinzie Gabrielle LaBare GRASSHOPPER/CHICK BADGER Anna Benoit Sergio Andrés Martínez Salazar FROG/CHICK FOX CUB/CHICK Stasia Kasimos Sydney Hoel DRAGONFLY/CHICK/FOX CUB FORESTER’S WIFE Anna Lowery Elizabeth Frodge MOSQUITO/INNKEEPER SCHOOLMASTER Nicholas Ian Koch Craig Moman OWL HARASTA Thereza Lituma Lewis McAdow WOODPECKER PARSON Nicole Rodriguez Olivia Geoffrey Schmelzer ^Performing on Friday, November 15, and Sunday, November 17. ^^Performing on Saturday, November 16. 7 UI CHAMBER SINGERS Andrew Megill, conductor Brendan Barker, graduate assistant conductor Simon Tiffin and Ty Tuttle, pianists SOPRANO TENOR Mary Currie Brendan Barker Lauren Falk Austin Cody Rowan Frantz Nicholas Koch Paige Graham Christopher Mason Caitlin Hennessy Timon Niedecke Caroline McKinzie Simon Tiffin Lydia Walsh-Rock BASS ALTO Trey Floyd Sophia Byrd Reid Gramm Liz Frodge Patrick Hockberger Kirsten Hedegaard Scott Knier Thereza Lituma Sinhaeng Lee Mora Novey Conor Pils Miranda Rowland Geoffrey Schmelzer Erin Ryan Chris Stanfill Lizzy Zarley 8 UI SYMPHONY ORCHESTRA Donald Schleicher, music director VIOLIN CELLO BASSOON Stella Childs David Caplan * Christine Breeden Stella Choi Satoshi Kamei Jordan Cavitt Yulu Fu Gabriel Pellino Emily Kuhn Doron Grossman-Naples Ethan Sandman bass Leah Haynes Odilia Got HORN Claudia Kubaryz Kevin Snyder * Joseph Goldstein Elsieui Layman Huai An Tseng Kelly Langenberg Tim Lee Clark Stevens Daniel Ostrow HARP Alli Torf Dai-An Liu Andreas Ruiz-Gehrt TRUMPET Julie Saxton FLUTE Tyler Cornwall Haley Schricker Noah Livingston Nick Jenz Trevor Thompson ** Melissa Merkel Saori Kataoka Chieh-An Yu Lizzy O’Brien Pei-Shan Yu * Matthew Reeder TROMBONE Leah Zhao Jorge Alvizures OBOE Charlie Hall VIOLA Mike Helgerman Bradley Martinez Natalie Briggs Emma Olson Saffron Bruno Hongyi Qian TUBA Eliza Haddon Austin Cooper Giorgi Khatalev * CLARINET TIMPANI Yuan mu Yang Nathan Hollis Stephen Busath Jessica Zhang Maddie Leischner Dalton Swallows PERCUSSION Matthew Anderson Fabian Correa ** concertmaster * principal 9 DIRECTOR’S NOTE Many of us hold familiar childhood fables near Sharp-Ears the fox scampers, tumbles, and and dear, often realizing the depth, morality, wrestles her way through the forest in constant and even satire these seemingly adorable tales adventure while the Forester, Schoolmaster, tell only when we reach adulthood. Amidst the and Parson find themselves tested by nostalgia spectacle of shimmering dragonflies, acrobatic and homesickness. Although we might fear for mosquitos, and dancing grasshoppers, we invite Sharp-Ears, scoff at her actions, or gasp loudly at you into Leoš Janáček’s The Adventures of Little her brazen impulsivity, our human hands long to Sharp-Ears where the freedom of the animal applaud the freedom this fox lives in and lives for. world is brought to life in both the soaring, evocative score and in the playful and sometimes It is part of the human experience to share the precarious interactions between creatures. inherent desire to go into the forest once again to find simplicity, peace, and freedom that can only Throughout literary history, the forest has be witnessed in the presence of nature. Perhaps represented a place of testing where humankind the ultimate magic of the forest lies in the blurred goes to find meaning, a destination where we lines between what separates each of us, humans may go into our unconscious selves to find and animals alike.
Recommended publications
  • Bernard Coutaz Carlos Sandúa Las Músicas Del Agua La ONE Republicana Natalie Dessay Peter Donohoe Lado Ataneli Gaspard De La N

    Bernard Coutaz Carlos Sandúa Las Músicas Del Agua La ONE Republicana Natalie Dessay Peter Donohoe Lado Ataneli Gaspard De La N

    REVISTA DE MÚSICA Año XXIII - Nº 228 - Marzo 2008 - 6,50 € DOSIER Las músicas del agua ENCUENTROS ROLA Bernard Coutaz ND Carlos Sandúa C O ACTUALIDAD R V E IL Natalie Dessay A L N A Peter Donohoe D ZÓN Lado Ataneli O EM REPORTAJE OCIONES La ONE republicana Año XXIII - Nº 228 Marzo 2008 REFERENCIAS Gaspard de la nuit de Ravel INTERIORPORTADA FILM:SCHERZO 22/2/08 18:37 Página 1 1-16 FILM:SCHERZO 22/2/08 17:36 Página 1 AÑO XXIII - Nº 228 - Marzo 2008 - 6,50 € 2 OPINIÓN DOSIER Las músicas del agua CON NOMBRE José Luis Carles PROPIO y Cristina Palmese 113 6 Natalie Dessay Rafael Banús Irusta ENCUENTROS 8 Peter Donohoe Bernard Coutaz Bruno Serrou Emili Blasco 126 10 Lado Ataneli Carlos Sandúa Pablo J. Vayón Barbara Röder 132 12 AGENDA REPORTAJE La Orquesta Nacional 18 ACTUALIDAD Republicana NACIONAL Enrique Lacomba y Gúzman Urrero Peña 136 46 ACTUALIDAD INTERNACIONAL EDUCACIÓN Pedro Sarmiento 140 60 ENTREVISTA JAZZ Rolando Villazón Pablo Sanz 142 Juan Antonio Llorente LIBROS 144 64 Discos del mes LA GUÍA 146 65 SCHERZO DISCOS CONTRAPUNTO Norman Lebrecht 152 Sumario Colaboran en este número: Javier Alfaya, Julio Andrade Malde, Íñigo Arbiza, Emili Blasco, Alfredo Brotons Muñoz, José Antonio Cantón, José Luis Carles, Jacobo Cortines, Rafael Díaz Gómez, Pierre Élie Mamou, José Luis Fernández, Fernando Fraga, Germán Gan Quesada, Joaquín García, José Antonio García y García, Carmen Dolores García González, Juan García-Rico, José Guerrero Martín, Federico Hernández, Fernando Herrero, Bernd Hoppe, Paul Korenhof, Enrique Lacomba, Antonio Lasierra, Norman
  • Eberhard Kloke · Wieviel Programm Braucht Musik? Eberhard Kloke (* 1948 in Hamburg)

    Eberhard Kloke · Wieviel Programm Braucht Musik? Eberhard Kloke (* 1948 in Hamburg)

    Eberhard Kloke · Wieviel Programm braucht Musik? Eberhard Kloke (* 1948 in Hamburg). Nach Kapellmeistertätigkeiten in Mainz, Darmstadt, Düsseldorf und Lübeck wurde Eberhard Kloke 1980 als Generalmusikdirektor nach Ulm berufen und ging 1983 in gleicher Position nach Freiburg im Breisgau. 1988 bis 1994 war er Generalmusikdirektor der Bochumer Symphoniker, und von 1993 bis 1998 übernahm er die Leitung der Nürnberger Oper und des Philharmonischen Orchesters Nürnberg. 1990 wurde Kloke mit dem Deutschen Kritikerpreis ausgezeichnet. Die Musik der Moderne bildet das Zentrum der künstlerischen Arbeit von Eberhard Kloke. In Freiburg, Bochum und Nürn- berg und von Berlin aus organisierte und leitete er großangelegte Zyklen mit zeitgenös- sischer Musik-Programmatik (Götterdämmerung_Maßstab und Gemessenes; Jakobsleiter, Ein deutscher Traum, Aufbrechen Amerika, Prometheus, Jenseits des Klanges). Seit 1998 lebt er als freiberuflicher Dirigent und Projektemacher in Berlin und gründete im Hinblick auf seine vielfältigen kulturellen Aktivitäten den Verein musikakzente 21. Seit 2001 erwei- terte sich das Arbeitsspektrum um kuratorische Aufgaben und kompositorische Heraus- forderungen. Wieviel Programm braucht Musik? Programm Musik-Konzept: Eine Zwischenbilanz 1980– 2010 Eberhard Kloke ISBN 978-3-89727-447-1 © 2010 by PFAU-Verlag, Saarbrücken Alle Rechte vorbehalten. Umschlaggestaltung: Sigrid Konrad, Saarbrücken Layout und Satz: Judy Hohl, Alexander Zuber Lektorat: Heinz-Klaus Metzger, Rainer Riehn Printed in Germany PFAU-Verlag · Hafenstr. 33 · D 66111 Saarbrücken www.pfau-verlag.de · www.pfau-music.com · [email protected] Wieviel Programm braucht Musik? Programm Musik-Konzept: Eine Zwischenbilanz 1980– 2010 4 Leitfaden für das Handbuch 8 Kapitel 1 Die Krise des Programmatischen Musik und ihr Programm in den öffentlichen Erscheinungsformen 14 Kapitel 2 Von der Expansion der Klangdistrikte Programm als musikalisches Konzept Übersicht zu den Kapiteln 3, 4 und 5: S.
  • A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina

    A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina

    University of South Carolina Scholar Commons Theses and Dissertations 2015 A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Amos, D. C.(2015). A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3642 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A SURVEY OF THE CAREER OF BARITONE, JOSEF METTERNICH: ARTIST AND TEACHER by Diana Carol Amos Bachelor of Music Oberlin Conservatory of Music, 1982 Master of Music University of South Carolina, 2011 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2015 Accepted by: Walter Cuttino, Major Professor Donald Gray, Committee Member Sarah Williams, Committee Member Janet E. Hopkins, Committee Member Lacy Ford, Senior Vice Provost and Dean of Graduate Studies ©Copyright by Diana Carol Amos, 2015 All Rights Reserved. ii ACKNOWLEDGEMENTS I gratefully acknowledge the help of my professor, Walter Cuttino, for his direction and encouragement throughout this project. His support has been tremendous. My sincere gratitude goes to my entire committee, Professor Walter Cuttino, Dr. Donald Gray, Professor Janet E. Hopkins, and Dr. Sarah Williams for their perseverance and dedication in assisting me.
  • Staged Treasures

    Staged Treasures

    Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio
  • 3 Sänger Des Jahres

    3 Sänger Des Jahres

    OW_JB_2011_020-025_OW Jb 04 S.004-025 16.09.11 10:24 Seite 20 3 Sänger des Jahres Er ist seit 24 Jahren im festen En- gagement. Trotzdem hat ihn der Theateralltag weder mit Zynismus noch mit Hochmut gegerbt. Johannes Martin Kränzle kann noch immer sonnig lächeln. Er kann an Inhalte und Figuren glauben – und an die sinnliche Kraft der Musik. Er ist bescheiden geblieben. Ein Ausnahmesänger schon deshalb, weil er seine Stim- me über so lange Zeit und viel - fältige Aufgaben hinweg frisch ge- halten hat. Vor drei, vier Jahren erst veränderte eine Koinzidenz von Zufällen sein Leben. Jetzt ist er auf dem Höhepunkt seiner Laufbahn angekommen. An der Mailänder Scala und der Berliner Staatsoper singt er unter der Leitung von Daniel Barenboim den Alberich. Bei den Salzburger Festspielen fei- erte er in der Uraufführung von Wolfgang Rihms «Dionysos» einen persönlichen Triumph. Für diese Partien vor allem wurde er zum «Sänger des Jahres» gewählt. Johannes Martin Kränzle als Don Alfonso in Mozarts «Così fan tutte» an seinem Stammhaus, der Oper Frankfurt (großes Bild), als Bartóks Blaubart an der Oper Köln und als Alberich im neuen «Ring» der Mailänder Scala und der Berliner Staatsoper © Monika Rittershaus, Detlef Kurth, DRAMA/Bresadola 20 Jahrbuch 2011 | OW_JB_2011_020-025_OW Jb 04 S.004-025 16.09.11 10:24 Seite 21 | Jahrbuch 2011 21 OW_JB_2011_020-025_OW Jb 04 S.004-025 16.09.11 10:24 Seite 22 3 Sänger des Jahres Nach den Inhalten suchen Eine Begegnung mit dem Bariton Johannes Martin Kränzle Von Stephan Mösch s klingt ehrlich. Als Johannes Martin einzigen, aber damals sehr einflussreichen Per- von einer kurzen Zusammenarbeit.

  • Performance Guide Frankfurt / Main

    Konzerte Theater Musical Oper Performance Guide Frankfurt / Main Spielplan der Frankfurter Bühnen für 3 Monate Heft 01 Oktober/November/Dezember2006 www.performance-frankfturt-main.de Platz für Ihre Werbung Inhalt TITELSTORY..............................................................S 4 ALTE OPER..............................................................S 6 FESTHALLE/MESSE....................................................S 15 THE FORSYTHE COMPANY...........................................S 18 JAHRHUNDERTHALLE...................................................S 19 KATAKOMBE..............................................................S 22 OPER FRANKFURT......................................................S 24 MOUSONTURM............................................................S 32 PAPAGENO-MUSIKTHEATER..........................................S 36 VOLKSTHEATER..........................................................S 39 DIE KOMÖDIE............................................................S 41 DIE DRAMATISCHE BÜHNE...........................................S 42 SCHAUSPIEL FRANKFURT.............................................S 42 FRITZ REMOND THEATER.............................................S 44 DIE SCHMIERE...........................................................S 45 FREIES SCHAUSPIEL...................................................S 46 ANSCHRIFT BÜHNEN...................................................S 46 IMPRESSUM...............................................................S 47 Performance 3 Titelstory 4 Performance
  • Of Heinrich Heine

    Of Heinrich Heine

    ABOUT TONIGHT’S ARTISTS Donald George is an Associate Professor of Vocal Music at the Crane School of Music – SUNY Potsdam and an Honored Professor at Shenyang Con- servatory in China. He has also taught at the Bavarian Theater Academy in Munich and sung at the Paris Opera, La Scala , Royal Opera of Brussels, Kennedy Center, the State Operas of Berlin, Hamburg and Vienna, the Festivals of Salzburg, Buenos Aires, Jerusalem, Istanbul, Blossom USA. SCHOOL OF MUSIC AND DANCE He has sung with Leonard Bernstein, Kurt Masur, Yehudi Menuhin, Jeffry Tate and recorded Elijah, Verdi Requiem, Rossini’s Aurelieano in Palmira Beall Concert Hall Monday evening and Le Nozze di Teti e Peleo (the world premiere recording), Die Schöne Müllerin. Reviews of Donald George speak of his “pleasing tenor sound, 8:00 p.m. October 26, 2009 vocally reliable in all challenges” (Verdi Requiem-Metropolitan Opera News), “A success for La Scala all possess a superb technique, and are consummate actors…including Donald George” (Peter Grimes-Corriere THE GUEST ARTIST SERIES della Sera), Donald George provides Candide with a supple, beautiful toned lyricism-His Lament is one of the highlights of the performance (Candide-Münchner Merkur). presents Lucy Mauro is an Assistant Professor at West Virginia University. She is a graduate of the Peabody Conservatory from which she received Bachelor’s, Master’s and Doctorate degrees and where she studied with “The Old Wicked Songs” Ann Schein and Julio Esteban. She is the co-editor of Essential Two- Piano Repertoire, Essential Keyboard Trios, and other forthcoming books from Alfred Publishing.
  • Annual Report 2018 Usa Water Polo Annual Report 2018

    Annual Report 2018 Usa Water Polo Annual Report 2018

    ANNUAL REPORT 2018 USA WATER POLO ANNUAL REPORT 2018 MISSION STATEMENT SA Water Polo, Inc. is a non-profit corporation designated as the sport’s national governing 2018 Board of Directors body by the United States Olympic Committee (USOC). Michael Graff Walt Price U CHAIRMAN DIRECTOR Alfonso Pulido Steve Rodosky SECRETARY DIRECTOR MISSION STATEMENT Rudy Baldoni William Smith DIRECTOR DIRECTOR Houston Hall Jessica Steffens The Mission of USA Water Polo shall be to grow the DIRECTOR DIRECTOR, AAC sport of water polo throughout the United States and Ray Kennedy REPRESENTATIVE win medals in Olympic, World Championship, and Pan DIRECTOR Brenda Villa American Games. Kay Krill DIRECTOR, ATHLETE DIRECTOR REPRESENTATIVE Jeremy Laster Peter Varellas DIRECTOR DIRECTOR, ALT. AAC REPRESENTATIVE Sheldon Pang DIRECTOR 2 www.usawaterpolo.org LETTER FROM THE CHAIRMAN From our women earning their second consecutive FINA While our sport continues to grow and expand in influence, CUP gold medal to another sterling National Junior Olympic we remain focused on providing meaningful programs tournament at Stanford University, the 2018 year was one of to help our members attain their goals and helping our notable successes for our federation. national teams achieve top performance. Longer term, we are committed to building a world-class national training Our senior women’s team captured its second straight center in Southern California and persuading the UIL in Texas FINA Cup, another FINA World League Super Final title to recognize water polo as a varsity sport, which we believe and, for good measure went undefeated. Our senior men’s will ripple across the Southwest to spark further growth team earned gold at the FINA Intercontinental Cup in New nationwide.
  • Komm Mit Mir! • Come with Me! Art Songs by Mathilde Von Kralik

    Komm Mit Mir! • Come with Me! Art Songs by Mathilde Von Kralik

    DELOS PRODUCTIONS, INC. FOR IMMEDIATE RELEASE P.O. BOX 343, SONOMA, CA 95476 707.996.3844 • 800.364.0645 Contact: Steve Williams • Public Relations, Delos WWW.DELOSMUSIC.COM 707.996.3844 • [email protected] Komm Mit Mir! • Come With Me! Art Songs by Mathilde von Kralik Premiere recording devoted to the vibrant and engaging music of Mathilde von Kralik: a pioneering Romantic- era composer whose music is ripe for rediscovery The newest in Delos’ series presenting worthy music of unjustly neglected composers, heard here in splendid performances by tenor Donald George and pianist Lucy Mauro DE 3424 (DDD) UPC: 0 13491 34242 9 Price Code: A Total Playing Time: 49:41 “Music as if from a volcano! Mathilde Kralik von Meyrswalden must indeed have had a volcanic temperament … whoever heard it won’t forget it anytime soon.” –Petra Diederichs; Rheinische Post, July 3, 2007 Given such enthusiastic critical response to Austrian composer Mathilde von Kralik (1857-1944), as well as the excellence of the works recorded here, it would indeed seem that a reassessment of her reputation and restoration of her music to modern performers’ repertoires is long overdue. A noble heritage Born into a highly cultured and musically accomplished upper-class family, she took on the “official” full name of Mathilde Aloisia Kralik von Meyrswalden after the Austrian Emperor elevated her father, a wealthy Bohemian industrialist, to the minor nobility as Wilhelm Kralik Ritter von Meyrswalden. Louise, her mother, provided her early piano training; and the entire family made music at home together. After moving to Vienna in 1870, Mathilde’s parents saw to it that their precocious daughter studied with the very finest musical peda- gogues – including private counterpoint lessons with Anton Bruckner, who was later one of her professors after she was admitted to the Vienna Conservatory in 1876.
  • Concerts and Master Classes June 30-July 19, 2014

    Concerts and Master Classes June 30-July 19, 2014

    Concerts and Master Classes June 30-July 19, 2014 1 About the Program In its ninth year, Westminster’s CoOPERAtive Program provides three weeks of intensive opera training for young singers. The program is presented in cooperation and consultation with professionals in the field of opera and is designed to help young singers prepare for the essential next step toward acceptance into an advanced young artist or summer apprentice program. The CoOPERAtive offers three levels of training: 1. CoOPERAtive Fellows - singers who are either current graduate students or post graduates, working toward a professional singing career. 2. CoOPERAtive Young Artists - singers who are current undergraduates in music conservatories around the country, who are preparing for graduate school. 3. CoOPERAtive Pianists - pianists who are working toward careers as coaches and conductors in opera and art song. CoOPERAtive is designed to assess the strengths of all participants, nurture their talents and assist in their skill development. Participants receive private coaching focusing on operatic style, performance techniques, dramatic presentation, language and diction, and body awareness, as well as résumé and application advice. CoOPERAtive features unique auditions in which singers are evaluated by professionals in the field of opera – advisors involved with regional opera and/or young artist programs. With their guidance, the program is customized to each singer’s needs to help improve his or her skills. Graduates of the program have been finalists in the Metropolitan Opera Council’s National Auditions and have gone on to work with opera companies throughout the United States. The public is welcome to attend master classes and concerts presented by participants at no charge.
  • DE 3410 New Love Must Rise Selected Songs of Margaret Ruthven Lang (1867-1972) Volume II

    DE 3410 New Love Must Rise Selected Songs of Margaret Ruthven Lang (1867-1972) Volume II

    DE 3410 New Love Must Rise Selected Songs of Margaret Ruthven Lang (1867-1972) Volume II Donald George, tenor Lucy Mauro, piano The Garden 1. On an April Apple Bough (1:44) 2. Before My Lady’s Window, Op. 19, No. 4 (1:45) 3. In the Greenwood, Op. 19, No. 2 (1:18) 4. In a Garden (2:28) 5. The Bird, Op. 40, No. 3 (2:32) 6. Nameless Pain (2:07) 7. Northward, Op. 37, No. 6 (1:20) 8. My Garden, Op. 28, No. 3 (2:00) 9. I Knew the Flowers Had Dreamed of You (2:04) The Twilight 10. Song in the Songless, Op. 38, No. 4 (3:46) 11. In the Twilight (1:33) 12. An Even Psalm, Op. 46, No. 1 (3:30) Nonsense Rhymes and Pictures, 13. The Harbor of Dreams, Op. 7, No. 3 (2:26) opp. 42 and 43 (Edward Lear) 14. In the Night, Op. 39, No. 3 (2:33) 15. There was an old Man of Dumbree (1:12) 16. There was a Young Lady in blue (:51) 17. There was a Young Lady of Parma (2:33) 18. The was an Old Person of Jodd (1:38) 19. There was a Young Lady in white (1:38) 20. There was a Young Lady whose eyes (1:30) Carol Rosenberger Delos Executive Producer: Tomorrow and a Lullaby Recorded: September 19-20, 2009, Bloch Hall, West Virginia University 21. To-Morrow, Op. 39, No. 7 (2:02) Recording Engineer 22. Lydia, Op. 32, No. 2 (2:28) and Co-Producer: Mark Benincosa, II 23.
  • Die Wiener Schule Und Preßburg/Bratislava: Reflexionen

    Die Wiener Schule Und Preßburg/Bratislava: Reflexionen

    Jana Lengová (Bratislava/Slowakei) Die Wiener Schule und Preßburg/Bratislava: Reflexionen, Aufführungen, Nachwirkung Der Beitrag beschäftigt sich mit der Rezeption der Komponisten Arnold Schönberg, Alban Berg und Anton Webern als Hauptrepräsentanten der Wiener Schule in Preßburg/Bratislava im 20. Jahrhundert bis zum Jahr 2007. Er ist in drei Themenbereiche – Reflexionen, Aufführungen, Nach- wirkung – gegliedert, die allerdings eng miteinander zusammenhängen, was bedeutet, daß die Grenzen zwischen ihnen fließend sind. Im ersten Themen- bereich sind vornehmlich die musikgeschichtlichen, ästhetischen und theo- retischen Ansichten über die erwähnten Komponisten, ihr Schaffen und ihre Bedeutung skizziert, wie sie in den zeitgenössischen slowakischen Periodika sowie in der Literatur publiziert wurden. Im zweiten Themenbereich stehen die Aufführungen der einzelnen Werke und deren Nachhall in der Musikkri- tik im Vordergrund. Im dritten Themenbereich werden die Nachwirkung der Wiener Schule und die Anregungen der Zwölftontechnik bzw. der seriel- len Kompositionsart auf das Musikschaffen der slowakischen Komponisten kurz geschildert. Mit Preßburg ist Arnold Schönberg durch seine Eltern eng verbunden. Bekanntlich stammte Samuel Schönberg, Arnolds Vater, aus dem ungari- schen Teil der Habsburgermonarchie, seine Kindheit verbrachte er – späte- stens ab 1842 – in Preßburg, und erst Anfang der 1850er Jahre übersiedelte er von Preßburg nach Wien.1 Interessanterweise lebte auch Pauline Nachod, Arnolds Mutter, obwohl in Prag geboren, kurz vor ihrer Heirat in Preßburg. Infolgedessen figurierte Arnold Schönberg in den Amtsakten als ungarischer Bürger und nach dem Zerfall Österreichs-Ungarns nach dem Ersten Weltkrieg als tschechoslowa- kischer Bürger. Jedoch blieb seine Beziehung zu Preßburg eher formal, es gibt zur Zeit keine Quellen, die seine näheren persönlichen Kontakte mit den hiesigen Musikern beweisen könnten.