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Mario Ferraro 00
City Research Online City, University of London Institutional Repository Citation: Ferraro Jr., Mario (2011). Contemporary opera in Britain, 1970-2010. (Unpublished Doctoral thesis, City University London) This is the unspecified version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/1279/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] CONTEMPORARY OPERA IN BRITAIN, 1970-2010 MARIO JACINTO FERRARO JR PHD in Music – Composition City University, London School of Arts Department of Creative Practice and Enterprise Centre for Music Studies October 2011 CONTEMPORARY OPERA IN BRITAIN, 1970-2010 Contents Page Acknowledgements Declaration Abstract Preface i Introduction ii Chapter 1. Creating an Opera 1 1. Theatre/Opera: Historical Background 1 2. New Approaches to Narrative 5 2. The Libretto 13 3. The Music 29 4. Stage Direction 39 Chapter 2. Operas written after 1970, their composers and premieres by 45 opera companies in Britain 1. -
T H E P Ro G
08-11 Skin_GP2 copy 7/30/15 2:46 PM Page 1 Tuesday Evening, August 11, 2015 at 7:30 Thursday Evening, August 13, 2015 at 7:30 m Saturday Afternoon, August 15, 2015 at 3:00 a r g o Written on Skin (U.S. stage premiere) r P Opera in Three Parts e Music by George Benjamin h Text by Martin Crimp T This performance is approximately one hour and 40 minutes long and will be performed without intermission. Presented in collaboration with the New York Philharmonic as part of the Lincoln Center–New York Philharmonic Opera Initiative (Program continued) Please make certain all your electronic devices are switched off. The Mostly Mozart Festival presentation of Written on Skin is made possible in part by major support from Sarah Billinghurst Solomon and Howard Solomon. These performances are made possible in part by the Josie Robertson Fund for Lincoln Cen ter. David H. Koch Theater 08-11 Skin_GP2 copy 7/30/15 2:46 PM Page 2 Mostly Mozart Festival The Mostly Mozart Festival is made possible by Sarah Billinghurst Solomon and Howard Solomon, Rita E. and Gustave M. Hauser, Chris and Bruce Crawford, The Fan Fox and Leslie R. Samuels Foundation, Inc., Charles E. Culpeper Foundation, S.H. and Helen R. Scheuer Family Foundation, and Friends of Mostly Mozart. Public support is provided by the New York State Council on the Arts. Artist Catering provided by Zabar’s and zabars.com MetLife is the National Sponsor of Lincoln Center United Airlines is a Supporter of Lincoln Center WABC-TV is a Supporter of Lincoln Center “Summer at Lincoln Center” is supported by Diet Pepsi Time Out New York is a Media Partner of Summer at Lincoln Center Used by arrangement with European American Music Distributors Company, U.S. -
NI5976 Book 1 Note
George Benjamin Born in 1960, George Benjamin began composing at the age of seven. In 1976 he entered the Paris Conservatoire to study with Messiaen, after which he worked with Alexander Goehr at George Benjamin King's College, Cambridge. When he was only 20 years old, Ringed by the Flat Horizon was played at the BBC Proms by the BBC Symphony Orchestra under Mark Elder. The London & Sinfonietta and Simon Rattle premiered At First Light two years later. Antara was commissioned Martin Crimp for the 10th anniversary of the Pompidou Centre in 1987 and Three Inventions was written for the 75th Salzburg Festival in 1995. The London Symphony Orchestra under Pierre Boulez premiered Palimpsests in 2002 to mark the opening of ‘By George’, a season-long portrait which included the first performance of Shadowlines by Pierre-Laurent Aimard. More recent celebrations of Benjamin’s work have taken place at the Southbank Centre in 2012 (as part of the UK’s Cultural Olympiad), at the Barbican in 2016 and at the Wigmore Hall in 2019. The last decade has also seen multi-concert retrospectives in San Francisco, Frankfurt, Turin, Milan, Aldeburgh, Toronto, Dortmund, New York and at the 2018 Holland Festival. Benjamin’s first operatic work Into the Little Hill, written with playwright Martin Crimp, was commissioned in 2006 by the Festival d'Automne in Paris. Their second collaboration, Written on Skin, premiered at the Aix-en-Provence festival in July 2012, has since been scheduled by over 20 international opera houses, winning as many international awards. Lessons in Love and Violence, a third collaboration with Martin Crimp, premiered at the Royal Opera House in 2018; both works were filmed by BBC television, and a related ’Imagine’ profile on Benjamin was broadcast on BBC1 in October 2018. -
Sunday 20Th June
PROGRAMME: SUNDAY 20 JUNE Joseph Middleton Director Jane Anthony Founder leedslieder1 @LeedsLieder @leedsliederfestival #LLF21 Welcome to The Leeds Lieder 2021 Festival Ten Festivals and a Pandemic! In 2004 a group of passionate, visionary song enthusiasts began programming recitals in Leeds and this venture has steadily grown to become the jam-packed season we now enjoy. With multiple artistic partners and thousands of individuals attending our events every year, Leeds Lieder is a true cultural success story. 2020 Ameling Elly was certainly a year of reacting nimbly and working in new paradigms. Middleton Joseph We turned Leeds Lieder into its own broadcaster and went digital. It has Director, Leeds Lieder Director, been extremely rewarding to connect with audiences all over the world Leeds Lieder President, throughout the past 12 months, and to support artists both internationally known and just starting out. The support of our Friends and the generosity shown by our audiences has meant that we have been able to continue our award-winning education programmes online, commission new works and provide valuable training for young artists. In 2021 we have invited more musicians than ever before to appear in our Festival and for the first time we look forward to being hosted by Leeds Town Hall. The art of the A message from Elly Ameling, song recital continues to be relevant and flourish in Yorkshire. Hon. President of Leeds Lieder As the finest Festival of art song in the North, we continue to provide a platform for international stars to rub shoulders with the next generation As long as I have been in joyful contact with Leeds Lieder, from 2005 until of emerging musicians. -
George Benjamin (B.1960) Dream of the Song (2015)
George Benjamin (b.1960) Dream of the Song (2015) George William John Benjamin was born on January 31, 1960, in London, and lives there. “Dream of the Song” was a co-commission of the Royal Concertgebouw Orchestra Amsterdam, BBC Symphony Orchestra, Boston Symphony Orchestra, and Festival d’Automne. The world premiere was given September 25, 2015, by countertenor Bejun Mehta with the Royal Concertgebouw Orchestra and Netherlands Chamber Choir under the composer’s direction. The BSO’s part in the commission was to celebrate the 75th anniversary of the Tanglewood Music Center. The American premiere took place at Tanglewood in July 2016, with Stefan Asbury conducting the Tanglewood Music Center Orchestra, countertenor Daniel Moody, and the Lorelei Ensemble in Seiji Ozawa Hall. The score of “Dream of the Song” calls for countertenor solo, an ensemble of eight solo voices, two oboes, four horns, percussion (two players: glockenspiel, two vibraphones, two gongs, two pairs of cymbals), two harps, and strings. Duration is about fifteen minutes. Vocal music has dominated George Benjamin’s recent catalog: his opera Written on Skin, on a text by playwright Martin Crimp, has been acclaimed since its 2012 premiere as among the best operas in a generation, a masterpiece of the new millennium. This succeeded the composer’s “lyric tale” Into the Little Hill, also in collaboration with Crimp, a smaller-scale but also highly praised dramatic work. In their accumulations of scenes into works of forty and ninety minutes, respectively, Into the Little Hill and Written on Skin represented vast expansions of his compositional canvas. This newfound breadth and the concentration on the human voice—which are, naturally, closely related phenomena—continue in his latest work, Dream of the Song, an orchestral song cycle for countertenor that is his biggest non-stage work, arguably, since 1987’s Antara. -
Dossier Pédagogique Into the Little Hill
Into the Little Hill Opéra de George Benjamin 6-7 novembre 2019 Livret Martin Crimp Direction musicale Alphonse Cemin Mise en scène Jacques Osinski Ensemble Carabanchel Me 6 novembre à 20h Je 7 novembre à 14h30 Contact p. 3 Préparer votre venue Service des relations avec les publics p. 4 Claire Cantuel / Marion Dugon Résumé Delphine Feillée / Léa Siebenbour 03 62 72 19 13 p. 5 [email protected] Les personnages p. 7 OPÉRA DE LILLE George Benjamin 2, rue des Bons-Enfants BP 133 p. 8 59001 Lille cedex Le guide d’écoute Dossier réalisé avec la collaboration p. 14 Le projet de mise en scène d’Emmanuelle Lempereur, enseignante missionnée à l’Opéra de Lille. p. 16 Septembre 2019. Repères biographiques : chef d’orchestre et metteur en scène p. 17 En classe : autour de Into the little hill p. 19 La voix à l’opéra p. 20 L’Opéra de Lille p. 23 L’Opéra : un lieu, un bâtiment et un vocabulaire 2 • • • Préparer votre venue Ce dossier vous aidera à préparer votre venue avec les élèves. L’équipe de l’Opéra de Lille est à votre disposition pour toute information complémentaire et pour vous aider dans votre approche pédagogique. Si le temps vous manque, nous vous conseillons, prioritairement, de : - écouter quelques extraits de l’opéra (guide d’écoute p. 8) - lire le projet de mise en scène (p. 14) Si vous souhaitez aller plus loin, un dvd pédagogique sur l’Opéra de Lille peut vous être envoyé sur demande. Les élèves pourront découvrir l’Opéra, son histoire, une visite virtuelle du bâtiment, ainsi que les différents spectacles présentés et des extraits musicaux et vidéo. -
Investigating New Models for Opera Development
A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details 1 INVESTIGATING NEW MODELS FOR OPERA DEVELOPMENT JULIAN MONTAGU PHILIPS DOCTOR OF PHILOSOPHY IN MUSICAL COMPOSITION UNIVERSITY OF SUSSEX SEPTEMBER 2010 (incorporating minor corrections as of April 2012) 2 PREFACE Since this doctoral submission accounts for a Composer-in-Residence scheme within the context of Glyndebourne Festival Opera in 2006-9, the bulk of this submission has grown out of collaborative relationships with writers, directors, performers and conductors. The most important collaborative partners include writers Simon Christmas, Edward Kemp and Nicky Singer; the directors Olivia Fuchs, Clare Whistler, Freddie Wake-Walker and John Fulljames, and the conductors Leo McFall and Nicholas Collon. In addition a host of young singers have contributed to this project’s final performance outputs; I am greatly indebted to all of them for their imagination, generosity and commitment. Aside from bibliographical sources detailed below (bibliography, page 360), other source material that has been fed into this submission includes interviews with Glyndebourne’s General Director, David Pickard, and an archiving of the extensive email development exchange out of which the chamber opera, The Yellow Sofa emerged (Appendix 13, p. -
Lessons in Love and Violence - George Benjamin / Martin Crimp
Lessons in Love and Violence GEORGE BENJAMIN MARTIN CRIMP Temporada 2020-2021 Temporada Amb el patrocini en exclusiva de: Lessons in Love and Violence - George Benjamin / Martin Crimp Tornar a l'índex Patronat de la Fundació del Gran Teatre del Liceu Comissió Executiva de la Fundació del Gran Teatre del Liceu President d'honor President President de la Generalitat de Catalunya Salvador Alemany Mas President del patronat Vocals representants de la Generalitat de Catalunya Salvador Alemany Mas Àngels Ponsa Roca, Lluís Baulenas Cases Vicepresidenta primera Vocals representants del Ministerio de Cultura y Deporte Àngels Ponsa Roca Amaya de Miguel Toral, Antonio Garde Herce Vicepresidenta segona Vocals representants de l'Ajuntament de Barcelona Andrea Gavela Llopis Joan Subirats Humet, Marta Clarí Padrós Vicepresident tercer Vocal representant de la Diputació de Barcelona Joan Subirats Humet Joan Carles Garcia Cañizares Vicepresidenta quarta Vocals representants de la Societat del Gran Teatre del Núria Marín Martínez Liceu Vocals representants de la Generalitat de Catalunya Javier Coll Olalla, Manuel Busquet Arrufat Lluís Baulenas Cases, Irene Rigau Oliver, Rosa Tubau LLorià, Vocals representants del Consell de Mecenatge Àngels Barbarà Fondevila Luis Herrero Borque, Elisa Durán Montolío Vocals representants del Ministerio de Cultura y Deporte Secretari Javier García Fernández, Amaya de Miguel Toral, Joan Francesc Joaquim Badia Armengol Marco Conchillo, Santiago de Torres Sanahuja Director general Vocals representants de l'Ajuntament de Barcelona -
HANDEL Flavio
HANDEL FLAVIO Tim Mead . Rosemary Joshua . Iestyn Davies . Renata Pokupic´ Hilary Summers . Thomas Walker . Andrew Foster-Williams Early Opera Company CHANDOS early music CHRISTIAN CURNYN HANDEL FLAVIO © Lebrecht Music & Arts Photo Library George Frideric HANdel (1685–1759) FLAVIO, RE DE’ LONGOBARDI, HWV 16 (1723) Opera in Three Acts Libretto by Nicola Haym afterIl Flavio Cuniberto by Matteo Noris Performing edition prepared by Peter Jones Personaggi Flavio, Re de’ Longobardi ..............................................................................Tim Mead counter-tenor Guido, figlio d’Ugone ............................................................................. Iestyn Davies counter-tenor Emilia, figlia di Lotario ............................................................................ Rosemary Joshua soprano Teodata, figlia d’Ugone ............................................................................Hilary Summers contralto Vitige, amante di Teodata ..............................................................Renata Pokupić mezzo-soprano Ugone, consigliere di Flavio .............................................................................Thomas Walker tenor Lotario, consigliere di Flavio ...................................... Andrew Foster-Williams bass-baritone Early Opera Company Christian Curnyn 5 COMPACT DISC ONE Time Page 1 1 Overture 4:22 p. 76 Act I Scene I 2 2 Recitativo. Vitige. ‘Fra i ciechi orror’ notturni’ 0:42 p. 76 with Teodata 3 3 Duetto. Vitige and Teodata. ‘Ricordati, mio ben’ 4:29 p. 77 Scene II 4 4 Sinfonia 0:21 p. 78 5 5 Recitativo. Ugone. ‘Lotario, al sacro nodo’ – p. 78 with Lotario, Guido, Teodata Scene III Recitativo. Emilia. ‘Con l’alma reverente’ 1:46 p. 79 with Guido, Ugone, Lotario, Teodata 6 6 Aria. Emilia. ‘Quanto dolci, quanto care’ 3:48 p. 81 Scene IV 7 7 Recitativo. Guido. ‘Son pur felice al fine’ 0:25 p. 82 8 8 Aria. Guido. ‘Bel contento già gode quest’alma’ 5:27 p. 82 6 Time Page Scene V 9 9 Recitativo. Ugone. ‘O dell’Italo soglio, eccelso nume’ 1:35 p. -
PROGRAMME: FRIDAY 18 JUNE Joseph Middleton Director Jane Anthony Founder
PROGRAMME: FRIDAY 18 JUNE Joseph Middleton Director Jane Anthony Founder leedslieder1 @LeedsLieder @leedsliederfestival #LLF21 Welcome to The Leeds Lieder 2021 Festival Ten Festivals and a Pandemic! In 2004 a group of passionate, visionary song enthusiasts began programming recitals in Leeds and this venture has steadily grown to become the jam-packed season we now enjoy. With multiple artistic partners and thousands of individuals attending our events every year, Leeds Lieder is a true cultural success story. 2020 Elly Ameling was certainly a year of reacting nimbly and working in new paradigms. Joseph Middleton Joseph We turned Leeds Lieder into its own broadcaster and went digital. It has Director, Leeds Lieder Director, been extremely rewarding to connect with audiences all over the world Leeds Lieder President, throughout the past 12 months, and to support artists both internationally known and just starting out. The support of our Friends and the generosity shown by our audiences has meant that we have been able to continue our award-winning education programmes online, commission new works and provide valuable training for young artists. In 2021 we have invited more musicians than ever before to appear in our Festival and for the first time we look forward to being hosted by Leeds Town Hall. The art of the A message from Elly Ameling, song recital continues to be relevant and flourish in Yorkshire. Hon. President of Leeds Lieder As the finest Festival of art song in the North, we continue to provide a platform for international stars to rub shoulders with the next generation As long as I have been in joyful contact with Leeds Lieder, from 2005 until of emerging musicians. -
Download Booklet
Lydia Kakabadse : CONCERTATO The Coachman’s Terror (18:07) for violin, viola, cello, double bass 1 I Snow Storms Gather 2:55 2 II Stranded amidst Swirling Snows 2:34 3 III Evil Spirits Gather Round 4:29 4 IV A Landscape so Desolate 3:37 5 V Straying into the Unknown 4:30 Dance Sketches (10:03) for violin, viola, cello, double bass 6 I Arabian Folk Dance 3:39 7 II Stately Court Dance 4:05 8 III Dance of the Clockwork Toys 2:17 Concertato (11:32) for cello & double bass 9 I Andante espressione 2:46 10 II Andante legato 2:31 11 III Andante con brio 2:49 12 IV Andante energico 3:23 Two Chamber Songs (5:41) for mezzo-soprano, violin, viola, cello, double bass 13 Spellbound 2:21 14 Eldorado 3:19 Cantus Planus (12:08) for violin, viola, cello, double bass 15 I Matins3:56 16 II Lauds 3:45 17 III Vespers 4:25 Recitativo Arioso + Variations (11:10) for violin, viola, cello, double bass 18 I Recitativo Arioso 4:32 19 II First Variation 2:22 20 III Second Variation 4:14 total duration 68:43 CONCERTATO notes by the composer Originating from the Latin concertare meaning “to fight” or “contend with”, the term concertato was sometimes used in early Baroque music, involving “rivalry” or “contrast” between groups of singers/players. In the string quartets and especially the duet for cello and double bass in this album, each instrument contrasts and vies with the other(s). THE COACHMAN’S TERROR When I first came across the poem Devils by Alexander Pushkin (1799 – 1837), I was instantly inspired to set this powerfully atmospheric poem to music. -
From Oldham to Oxford: the Formative Years of Sir William Walton
From Oldham to Oxford: The Formative Years of Sir William Walton Gary D. Cannon A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2014 Reading Committee: Geoffrey P. Boers, Chair Abraham Kaplan Giselle E. Wyers Program Authorized to Offer Degree: School of Music © Copyright 2014 Gary D. Cannon University of Washington Abstract From Oldham to Oxford: The Formative Years of Sir William Walton Gary D. Cannon Chair of the Supervisory Committee: Professor Geoffrey Boers Choral Conducting, School of Music The formative years of William Walton (1902–1983) are rarely considered when studying the composer’s life and works. However, careful study of that period indicates many of the directions that the adult Walton would take. Industrial Lancashire was more musically active during the period of Walton’s youth (covering the years 1902 to 1912) than is generally considered. His time as a chorister and later undergraduate at Christ Church, Oxford (1912 to 1920), is replete with influential interactions with talented adults and fellow students. Detailed consideration of Walton’s juvenilia reveals a keen thinker who assimilated these various influences in a unique manner. Far more than merely a springboard for a future talent, these years resulted in inspired works and a firm purpose for the budding composer. From Oldham to Oxford The Formative Years of Sir William Walton Contents Introduction..................................................................................................................................................