Naughty Marietta
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North Shore Music Festival
JANUARY 20, 1923 AND /AMERICAN ENDEAVOR. IN GRAND OPERA, SYMPHONY' ^ND CHAMBER. MUSIC AND CLASSIC DANCING By IZETTA MAY McHENRY BEETHOVEN ASSOCIATION NORTH SHORE MUSIC FESTIVAL American Operatic and Oratorio Sing Offer* Brilliant Program at Third Con er, Dies After Illness of Several cert of Series Months Thr third ronrrrt (iTro thla tpaion bj tfa* Plans Announced for Fifteenth Season—Several BoctboTPn A.wxiatlon pruTpd on* of thr moit At bis home In New York City, Oeorite J. PBjoyablp pTpDt, of the year In New York. American Artists To Be Soloists Hamlin, one of this country's beat-known The aMlatioit artUta were: Ilarold Bauer, tenors, parsed away on the afternoon of Janu¬ Pablo Caeala. Jaoquea Tfaibaud, Mme. C'barlea ary 11 after an lllnerr eitendinc over aereral Cahier and Albert Htoesael, and thla impo«lsK The datee for the fifteenth Music PeatWal Gates, eoprano; Mabel Garrison, soprano; months. Mr. Hamlin was tbe flrrt artist to array of aoloiata aenrpd to attract an audirore have beep announced by tbe Chicago North Giuseppe Danise, baritone; Beniamino Gigli, present a procram of the ronca of Rl(4iard which completely niled Aeotlan Hall on the Shore FestiTsl Aatociation as May 24 to May tenor; Margaret Matzenauer, merzo-«oprano; Btrauas In America, and be created aereral evenins of January 8. BertboTen'a Trio In 30. The feat'Tal will be held at Erankton, Edith Mason, soprano; Tito Srhipa. tenor; oratorio parts and ten oyiera rolet. Hla alnc- H Flat, Op. TO, No. 2. played by Meaara. Bauer, III., In tbe Patten tlymnaalum of Nortbweatern Bose Lutiger Gannon, contralto, and Theo. -
THE CZECH SONGS of RUDOLF FRIML, 1901-1911 by Daniel
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Voice Area Recital
Voice Area Recital Annie Flood, piano Friday, April 23rd, 2021 Live Streamed from The Myrtle Woldson Performing Arts Center Recital Hall 5:30 pm Featuring students from the voice studios of Amy Porter & Darnelle Preston ———— ———— O leggiadri occhi belli Anonymous edited and arr. by Alessandro Parisotti (1853-1913) Ian Grooms, baritone An die Nachtigall Johannes Brahms (1833-1897) Madeleine Reed, soprano Che fiero costume Giovanni Legrenzi (1626-1690) Ryan Hayes, baritone Bel piacere George Friedrich Handel Agrippina (1685-1759) Matias Lagrange, soprano Orpheus with His Lute William Schumann (1910-1992) Rachel Gotvald, mezzo-soprano Vaga luna Vincenzo Bellini (1801-1835) Samuel Johnson Backes, baritone Einsamkeit Franz Schubert Winterreise (1797-1828) Brenna Adams, mezzo-soprano Finche lo strale George Friedrich Handel Floridante (1685-1795) Sarah Maeda, mezzo-soprano Dein blaues Auge Johannes Brahms (1833-1897) Rodrigo Gonzalez, tenor El majo discreto Enrique Granados Tonadillas al estilo antiguo, H136 (1867-1916) Allison Vermilya, soprano Nur wer die Sehnsucht kennt Pytor Ilyich Tchaikovsky (1840-1893) Teagan Servais, soprano Come l’allodoletta Stefano Donaudy (1879-1925) William DeKlotz, baritone Gretchen am Spinnrade Franz Schubert (1797-1828) Dora Huestis, mezzo-soprano La paloma blanca Latin American Folksong Arr. Edward Kilenyi (1884-1968) Francisco Vazquez Baur, baritone Night Florence B. Price (1887-1953) Olivia Howe, soprano A Word on My Ear Flanders and Swann (1922-1975/1923-1994) Clare Casey, soprano Cinque…dieci… W. A. Mozart -
The Fortune Teller the OHIO LIGHT OPERA STEVEN BYESS STEVEN DAIGLE Conductor Artistic Director the Fortune Teller
VICTOR HERBERT The Fortune Teller THE OHIO LIGHT OPERA STEVEN BYESS STEVEN DAIGLE Conductor Artistic Director The Fortune Teller Music......................................Victor Herbert ENSEMBLE: Book and Lyrics......................Harry B. Smith Jacob Allen, Natalie Ballenger, Sarah Best, Lori Birrer, John Vocal Score Reconstruction........Adam Aceto Callison, Ashley Close, Christopher Cobbett, Mary Griffin, Anna-Lisa Hackett, Geoffrey Kannerberg, Andy Maughan, Ohio Light Opera Olivia Maughan, Evan McCormack, Geoffrey Penar, Will Perkins, Madeline Piscetta, Zachary Rusk, Mark Snyder, Raina Thorne, Artistic Director........................Steven Daigle Angela Vågenes, Joey Wilgenbusch. Conductor.................................Steven Byess Stage Director.......................Ted Christopher Sound Designer..........................Brian Rudell PROGRAM NOTES ...............................Michael D. Miller Choreographer.....................Carol Hageman Victor Herbert, acknowledged as Costume Designer.................Whitney Locher the Father of American Operetta, Scenic Designer...............................Erich Keil was born in Dublin in 1859, the Lighting Designer.....................Krystal Kennel grandson of Irish novelist-artist- Production Stage Manager...Katie Humphrey composer Samuel Lover. The family eventually moved to Stuttgart where CAST: Victor’s initial studies toward a Musette / Irma...........................Amy Maples career in medicine or law were soon Sandor...........................David Kelleher-Flight replaced -
Oscar Hammerstein II Collection
Oscar Hammerstein II Collection Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2018 Contact information: http://hdl.loc.gov/loc.music/perform.contact Catalog Record: https://lccn.loc.gov/2014565649 Additional search options available at: https://hdl.loc.gov/loc.music/eadmus.mu018003 Processed by the Music Division of the Library of Congress Finding aid encoded by Library of Congress Music Division, 2018 Collection Summary Title: Oscar Hammerstein II Collection Span Dates: 1847-2000 Bulk Dates: (bulk 1920-1960) Call No.: ML31.H364 Creator: Hammerstein, Oscar, II, 1895-1960 Extent: 35,051 items Extent: 160 containers Extent: 72.65 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. LC Catalog record: https://lccn.loc.gov/2014565649 Summary: Oscar Hammerstein II was an American librettist, lyricist, theatrical producer and director, and grandson of the impresario Oscar Hammerstein I. The collection, which contains materials relating to Hammerstein's life and career, includes correspondence, lyric sheets and sketches, music, scripts and screenplays, production materials, speeches and writings, photographs, programs, promotional materials, printed matter, scrapbooks, clippings, memorabilia, business and financial papers, awards, and realia. Selected Search Terms The following terms have been used to index the description of this collection in the LC Catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically. People Brill, Leighton K.--Correspondence. Buck, Pearl S. (Pearl Sydenstricker), 1892-1973--Correspondence. Buck, Pearl S. (Pearl Sydenstricker), 1892-1973. Crouse, Russel, 1893-1966. -
Herbert's Songs: Designed for Classical Singers A
HERBERT’S SONGS: DESIGNED FOR CLASSICAL SINGERS A CREATIVE PROJECT PAPER SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE DEGREE MASTERS OF MUSIC BY LAURA R. KRELL DR. MEI ZHONG-ADVISOR BALL STATE UNIVERSITY MUNCIE, INDIANA JULY, 2012 Herbert’s Songs: Designed for Classical Singers Introduction Victor Herbert has undoubtedly provided America some of its greatest, most tender, romantic, invigorating, and challenging songs for soprano. Today, Herbert’s masterworks appear simultaneously in both Musical Theater Anthologies and Operatic Collections. Many students encounter questions as to performance practice: can these songs be sung as “musical theater,” with young, immature voices, or should they be studied by classical singers? Despite the pool of speculation swirling around this issue, there has not been any significant research on this particular topic. This study will detail the vocal abilities of Herbert’s most prolific sopranos (Alice Nielsen, Fritzi Scheff, and Emma Trentini), and identify compositional elements of three of Herbert’s most famous arias (“The Song of the Danube,” “Kiss Me Again,” and “Italian Street Song”), using historical data to demonstrate that each composition was tailored specifically for the versatility and profound vocal ability of each opera singer, and is poorly mishandled by those without proper classical training. The writer will offer observations from three amateur online recordings of “Art Is Calling For Me.” The writer will use the recordings to highlight specific pitfalls untrained singers may encounter while singing Herbert, such as maneuvering coloratura passages, breath control, singing large intervallic leaps, and the repeated use of the upper tessitura. -
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials ..................................................................................................................................... -
The Hyechra Club
THE HYECHRA CLUB The narrator has had a lively interest in The Hyechka Club since its beginning and believes that its history merits recording and dmu- menting in The Chronicles of OkZuhoma, Members of the Club in the past have been interested and its members today are interested in building and supporting a city and a state as cultural centers in which to rear patriotic and Clod-fearing children worthy of the loftiest ideals. Instead of a brief history, this band of music lovers is entitled to a fdsized, two volume publication to report ad* quately all that they have given to the education of young people along cdtural lines and to the wealth of Tulsa and the State of Oklahoma as expressed in the leadership and influence of the known and unknown contributors. Looking over the names of world famous artists that have appeared on its early programs and in its annual Spring Festivals, the words of Warner Van Valkenburg are a fitting tribute and introduction even to this brief history of Tulsa's pioneer organization of music lovers :l "I AM MUSIC. "I am the hymns of the Christian Martyrs in the catacombs; I am the songs of thanksgiving of the kneeling Pilgrime; I am the fugues of Bach, and the oratorios of Handel and Haydn; I am the magic flute of Momrt; I am the immortal symphonies of Beethoven; I am the throbbing mee- sages of Schubert and Schumann; I am the nocturnes of Chopin and the folk melodies of Dvorak; I am the rhapsodies of Linzt and the music- dramas of Wagner; I am the voice of Peter Tchaikowski, crying in the wilderness; I am Brahms and Richard Straues, and Verdi, fulfilling the command of destiny; yea I have breathed upon the harps of MacDowell and Cadman, and have sung of a new world in the west. -
The Winterreise Project Annie Shikany, Director Evgenia Truksa and Shiyu Tan, Pianists DIRECTOR’S NOTE
Friday, December 18, 2020 CLASSICAL VOICE SECOND YEAR PERFORMANCE CLASS presents The Winterreise Project Annie Shikany, Director Evgenia Truksa and Shiyu Tan, Pianists DIRECTOR’S NOTE The Second Year Performance Class is excited to present Müller and Schubert’s masterpiece Winterreise (Winter Journey). Each student is performing a song from the cycle (recorded either on site at MSM or remotely from the students’ individual locations). We explored the song cycle through the lens of the identity of “Fremd” declared in Gute Nacht. Usually translated as “stranger/ foreigner,” the Fremdling is revealed upon deeper investigation to be a foreigner in their own land. We widened the scope of our exploration to include Black and indigenous poets and poets of color—poets of our time— who verbally distill the truth of the Fremdling journey as well as utilize nature and symbolism in the same manner as Müller. Framing Winterreise in this way has created a sense of community within our class as well as expanded our understanding of community as we open our consciousness to the journeys of others and a more complete picture of the human journey. Thank you for your continued support of these young singers and these performance opportunities, which are so important to their exciting journey of artistic growth! Enjoy the show! –Annie Shikany Winterreise, D. 911 Poems by Willhelm Müller Music by Franz Schubert 1. Gute Nacht (“Good Night”) Gavon Mitchell, baritone Putnam Valley, New York Student of Catherine Malfitano Shiyu Tan, pianist A stranger I arrived here, Why should I stay longer a stranger I go hence. -
Royal Opera House Website
OPERA and MUSIC | SUMMER 2018 THE ROYAL OPERA REPERTORY PAGE JOYCE DIDONATO AND ANTONIO PAPPANO 2 RECITAL LOHENGRIN 3 MAMZER BASTARD 7 LA BOHÈME 10 CAVE 17 DON GIOVANNI 20 FALSTAFF 23 JETTE PARKER YOUNG ARTISTS SUMMER 27 PERFORMANCE 2018 L’ANGE DE NISIDA IN CONCERT 31 OTHER EVENTS 34 THE ROYAL OPERA PRESENTS: JOYCE DIDONATO AND ANTONIO PAPPANO RECITAL 4 June 2018 at 8pm American mezzo-soprano Joyce DiDonato appears in recital on the Royal Opera House main stage, accompanied on the piano by The Royal Opera’s Music Director Antonio Pappano. The duo previously performed together in a recital at the opening of Wigmore Hall’s 2014/15 Season, the recording of which – Joyce and Tony: Live at Wigmore Hall – was named Best Classical Solo Vocal Album at the 2016 Grammy Awards. Joyce DiDonato made her Royal Opera debut in 2003 as Fox (The Cunning Little Vixen). She has since returned to sing Rosina (Il barbiere di Siviglia), Donna Elvira (Don Giovanni, including on tour with The Royal Opera to Japan), Cendrillon, Elena (La donna del lago), Maria Stuarda, Charlotte (Werther) and in Plácido Domingo’s 2012 Operalia concert. This Season she has sung Semiramide for the Company. Antonio Pappano is Music Director of The Royal Opera, a position he has held since 2002. During his tenure he has conducted an extensive repertory, including works by Mozart, Verdi, Wagner, Puccini, Richard Strauss, Ravel, Berg, Shostakovich and Britten, as well as the world premieres of Birtwistle’s The Minotaur (2008) and Turnage’s Anna Nicole (2011), and works for The Royal Ballet. -
1914 the Ascap Story 1964 to Page 27
FEBRUARY 29, 1964 SEVENTIETH YEAR 50 CENTS New Radio Study 7A^ I NEW YORK-Response Ratings, a new and unique continuing study measuring radio station and jockey effectiveness, will he 'r, launched in next week's issue. This comprehensive radio analysis- another exclusive Billboard feature-will he carried weekly. Three different markets will be profiled in each issue. It will kick off in the March 7 Billboard with a complete study of the New York, Nashville, and San Francisco markets. In subsequent weeks, the study will consider all key areas. This service has been hailed by broadcast The International Music -Record Newsweekly industry leaders as a major breakthrough in station and personality Radio -TV Programming Phono-Tape Merchandising Coin Machine Operating analysis. Beatles Business Booms But Blessings Mixed Beatles Bug BeatlesGross r z As They 17 Mil. Plus Paris Dealer, 31-4*- t 114 In 6 Months 150 Yrs. Old, Control Air NEW YORK - In the six By JACK MAHER six months prior to the peak of Keeps Pace NEW YORK - While a few their American success, Beatles manufacturers were congratu- records grossed $17,500,000 ac- Story on Page 51 lating the Beatles for infusing cording to EMI managing direc- new life and excitement into the tor John Wall. record business others were This figure, which does not quietly venting their spleen include the huge sales of Beatles against the British group. records ín the U. S., shows the At the nub of their blasphe- staggering impact the group has mies was the enormous amount had on the record industry t r 1.+ra. -
Pittsburgh Opera NEWS RELEASE
3/13/2008 Pittsburgh Opera NEWS RELEASE CONTACT: BETH PARKER (412) 281-0912 X 248 [email protected] PHOTOS: MAGGIE JOHNSON (412) 281-0912 X 262 [email protected] Pittsburgh Opera Announces the Triumphant Return of Aida WHAT: Giuseppe Verdi’s Aida WHERE: The Benedum Center for the Performing Arts WHEN: Saturday, March 29 at 8:00 PM Tuesday, April 1 at 7:00 PM Friday, April 4 at 8:00 PM Sunday, April 6 at 2:00 PM RUN TIME: 3 hours and 15 minutes with two intermissions. E LANGUAGE: Sung in Italian with English texts projected above the stage. TICKETS: Start at $16. Call (412) 456-6666, visit www.pittsburghopera.org or purchase in person at the Theater Square box office at 665 Penn Avenue. Pittsburgh, PA . Pittsburgh Opera announces Giuseppe Verdi’s spectacular grand opera Aida as its third mainstage opera of the season. Returning to the Benedum stage for the first time since 1995, this magnificent production features a powerhouse international cast starring Hungarian diva Eszter Sümegi as Aida, Ukrainian tenor Vladimir Kuzmenko as Radamès, and Mark S. Doss as Amonasro. Superstar mezzo-soprano Stephanie Blythe, making her role debut as Amneris, rounds out the quartet of principals—all new to Pittsburgh audiences. Maestro Antony Walker leads more than 150 singers and instrumentalists in Verdi’s most famous score, while Metropolitan Opera stage director Stephen Pickover marshals an additional 75 supernumeraries and dancers for the opera’s famous processions and ceremonies. THE OPERA Since its first Cairo production in 1871, Giuseppe’s Verdi’s Aida has been a mega-hit, known worldwide for its famous and fiendishly difficult arias, the exotic Egyptian mystique of the score, and the spectacular triumphal scene in the second act.