Guide to Brno – City of Music
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English Translation of the German by Tom Hammond
Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p. -
Karel Burian – the Guest of Budapest (1913–1924)
100 Ferenc János Szabó Institute of Musicology, Research Centre for the Humanities Hungarian Academy of Sciences, Budapest Karel Burian – the Guest of Budapest (1913–1924) Abstract | In the present article the last third of Karel Burian’s career is discussed, not only because it is perhaps a less known period of Burian’s biography, but also because it is close- ly connected with Hungarian culture. In these years he appeared in Budapest as a regular guest of the Royal Hungarian Opera mainly as a Wagner singer but also in French, Italian and Hungarian operas, and celebrated his thirty-year jubilee as an opera singer also in Bu- dapest. After a chronological overview, certain special aspects of Burian’s Hungarian activity are examined, e. g. his Hungarian naturalization (the so called ‘Hungarian divorce’) and the political context of his appearances at the end of the First World War. Keywords | Karel Burian – First World War – Hungarian divorce – Hungary – Naturalization – Opera, Scandals – Richard Wagner 1 Introduction1 Even today, the name of the Czech Heldentenor Karel Burian sounds familiar not only in his na- tive land, but also among the opera lovers in Hungary. Despite the fact that it was required to sing in Hungarian on the stage of the Royal Hungarian Opera, the most successful Wagner tenor of the fi rst quarter of the 20th century in Budapest was a foreign singer: Karel Burian. In the present article I discuss the last ten years of his career, not only because it is perhaps a less known period of Burian’s biography, but also because it is closely connected with Hungarian musical culture. -
Boston Symphony Orchestra Concert Programs, Season 40,1920
EMPIRE THEATRE .... FALL RIVER Sunday Afternoon, December 26, 1920, at 3.00 Under the Auspices of the Woman's Club of Fall River ^1p %% 3T ^•^-.••frfr Anw % BOSTON >mi\ SYMPHONY ORCHESTRH INCORPORATED FORTIETH SEASON 1920-1921 PRoGRHttttE i ! 3 * - 5 STEINWAY & SONS STEINERT JEWETT WOODBURY STEINWAY PIANOLA WEBER PIANOLA STECK PIANOLA WHEELOCK PIANOLA STROUD PIANOLA Most Complete Stock of Records in New England Fa!) River Address 52 No, Main Street EMPIRE THEATRE FALL RIVER FORTIETH SEASON, 1920-1921 INCORPORATED PIERRE MONTEUX, Conductor SUNDAY AFTERNOON, DECEMBER 26, at 3.00 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1920, BY BOSTON SYMPHONY ORCHESTRA, INCORPORATED THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President GALEN L. STONE Vice-President ERNEST B. DANE Treasurer ALFRED L. AIKEN FREDERICK E. LOWELL FREDERICK P. CABOT ARTHUR LYMAN ERNEST B. DANE HENRY B. SAWYER M. A. DE WOLFE HOWE GALEN L. STONE JOHN ELLERTON LODGE BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD. Assistant Manager ^hp dm* ^HE INSTRUMENT OF THE IMMORTALS LISZT, greatest of all pianists, preferred -i the Steinway. Wagner, Berlioz, Rubinstein and a host of master-musicians esteemed it more highly than any other instrument. It is these traditions that have inspired Steinway achievement and raised this piano to its artistic pre-eminence which is today recognized throughout the world. 107-109 East 14th Street New York City Subway Express Stations at the Door REPRESENTED BY THE FOREMOST DEALERS EVERYWHERE Fortieth Season, 1920-1921 ' PIERRE MONTEUX, Conductor Violins. Burgin, R. Hoffmann, J. Gerardi, A. Sauvlet, H. -
German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
Famous People from Czech Republic
2018 R MEMPHIS IN MAY INTERNATIONAL FESTIVAL Tennessee Academic Standards 2018 EDUCATION CURRICULUM GUIDE MEMPHIS IN MAY INTERNATIONAL FESTIVAL Celebrates the Czech Republic in 2018 Celebrating the Czech Republic is the year-long focus of the 2018 Memphis in May International Festival. The Czech Republic is the twelfth European country to be honored in the festival’s history, and its selection by Memphis in May International Festival coincides with their celebration of 100 years as an independent nation, beginning as Czechoslovakia in 1918. The Czech Republic is a nation with 10 million inhabitants, situated in the middle of Europe, with Germany, Austria, Slovakia and Poland as its neighbors. Known for its rich historical and cultural heritage, more than a thousand years of Czech history has produced over 2,000 castles, chateaux, and fortresses. The country resonates with beautiful landscapes, including a chain of mountains on the border, deep forests, refreshing lakes, as well as architectural and urban masterpieces. Its capital city of Prague is known for stunning architecture and welcoming people, and is the fifth most- visited city in Europe as a result. The late twentieth century saw the Czech Republic rise as one of the youngest and strongest members of today’s European Union and NATO. Interestingly, the Czech Republic is known for peaceful transitions; from the Velvet Revolution in which they left Communism behind in 1989, to the Velvet Divorce in which they parted ways with Slovakia in 1993. Boasting the lowest unemployment rate in the European Union, the Czech Republic’s stable economy is supported by robust exports, chiefly in the automotive and technology sectors, with close economic ties to Germany and their former countrymen in Slovakia. -
American Music Abroad Silver Tour 2018 France, Germany, Czech Republic, Austria and Switzerland Itinerary and Director Biographies
American Music Abroad Silver Tour 2018 France, Germany, Czech Republic, Austria and Switzerland Itinerary and Director Biographies Haut Königsbourg Castle, Alsace SILVER TOUR . $5199.00 * The price includes Airline Taxes and Fuel Surcharge of $350.00. ITINERARY Saturday, June 30 - Monday, July 2 Check-in at a university in Pennsylvania for pre-tour orientation sessions. Three days of intensive rehearsals culminate with a buffet dinner and Farewell Concert for family and friends on the evening of July 2. Tuesday, July 3 - JFK AIRPORT - ZURICH Morning recording sessions. Afternoon transfer to JFK Airport, NY for transatlantic flights to Europe. Monday, July 9 - PRAGUE On your guided tour of Prague, view sights such as Wednesday, July 4 Wenceslas Square, St. Nicholas Church and the 14th ZURICH - COLMAR century Astronomical Clock, which adorns the Old Arrival in Zurich, Switzerland. Town Hall. Cross the statue-lined Charles Bridge, the Board coaches and travel into oldest bridge in the city, dating from 1357. Free time the Alsace region of France, for lunch and further exploring. An evening concert is an area that reflects a unique planned. blend of German and French culture. Arrive in Colmar, the Tuesday, July 10 - PRAGUE - SOUTHERN CZECH best preserved town in Alsace. Visit Prague Castle, overlooking the city. See St. Tonight, a guided walking tour Vitus Cathedral and the Golden Lane, a picturesque of Colmar. street of pastel cottages built into the fortifications. This afternoon, travel south through the Bohemian Thursday, July 5 - ALSACE REGION countryside to the historic town of Cesky Krumlov, Morning visit to Haut Königsbourg Castle, perched high known for its lovely castle. -
AAA Midwest Traveler | September/October 2018 AAA.Com Walks
Feast for the These UNESCO Creative Cities give travelers a taste Sensesof American cuisine, art, design, and music. BY LISA WATERMAN GRAY On weekday mornings, Kansas City’s 18th & Vine Jazz District Tom’s on W. 19th Terrace. Visitors should also check out Green Lady is pretty quiet. But after dark, live performances at the Blue Room Lounge, Majestic Restaurant and Jazz Club, and The Phoenix KC. Jazz Club inside the American Jazz Museum get the place hopping. The UNESCO designation “… provides a unique opportunity for The iconic 1912 Gem Theater across the street and the Mutual our city to showcase its cultural significance and contributions to Musicians Foundation on Highland Avenue also draw fans amid music history,” says Scott Wagner, Kansas City’s mayor pro tem this birthplace neighborhood of Kansas City jazz. The historical and 1st District councilman at-large. “Our application showed the district also played a pivotal role in local African-American life. movement of jazz from Kansas City to (New York, New Orleans and O Last year, Kansas City, Mo., was named a UNESCO City of Music. Chicago) and the world – especially Europe.” Since 2004, the UNESCO (United Nations Educational, Scientific The Wendell Phillips Neighborhood Association, home to Kansas and Cultural Organization) Creative Cities Network has recognized City’s Historic 18th & Vine Jazz District, filed the winning application. member cities for their accomplishments in Music, Crafts and Folk While there is a four-year plan associated with UNESCO’s desig- Art, Design, Film, Gastronomy, Literature, and Media Arts. The nation, Wagner said it’s “less about museums and more about cul- network includes nearly 200 cities in 72 countries. -
Reflections 3 Reflections
3 Refl ections DAS MAGAZIN DES ÖSTERREICHISCHEN Refl ections SONG CONTEST CLUBS AUSGABE 2019/2020 AUSGABE | TAUSEND FENSTER Der tschechische Sänger Karel Gott („Und samkeit in der großen Stadt beim Eurovision diese Biene, die ich meine, die heißt Maja …“) Song Contest 1968 in der Royal Albert Hall wurde vor allem durch seine vom böhmischen mit nur 2 Punkten den bescheidenen drei- SONG CONTEST CLUBS Timbre gekennzeichneten, deutschsprachigen zehnten Platz, fi ndet aber bis heute großen Schlager in den 1970er und 1980er Jahren zum Anklang innerhalb der ESC-Fangemeinde. Liebling der Freunde eingängiger U-Musik. Neben der deutschen Version, nahm Karel Copyright: Martin Krachler Ganz zu Beginn seiner Karriere wurde er Gott noch eine tschechische Version und zwei ÖSTERREICHISCHEN vom Österreichischen Rundfunk eingela- englische Versionen auf. den, die Alpenrepublik mit der Udo Jürgens- Hier seht ihr die spanische Ausgabe von „Tau- DUNCAN LAURENCE Komposition „Tausend Fenster“ zu vertreten. send Fenster“, das dort auf Deutsch veröff ent- Zwar erreichte der Schlager über die Ein- licht wurde. MAGAZINDAS DES Der fünfte Sieg für die Niederlande DIE LETZTE SEITE | ections Refl AUSGABE 2019/2020 2 Refl ections 4 Refl ections 99 Refl ections 6 Refl ections IMPRESSUM MARKUS TRITREMMEL MICHAEL STANGL Clubleitung, Generalversammlung, Organisation Clubtreff en, Newsletter, Vorstandssitzung, Newsletter, Tickets Eurovision Song Contest Inlandskorrespondenz, Audioarchiv [email protected] Fichtestraße 77/18 | 8020 Graz MARTIN HUBER [email protected] -
The Journal of Social Sciences Research ISSN(E): 2411-9458, ISSN(P): 2413-6670 Special Issue
The Journal of Social Sciences Research ISSN(e): 2411-9458, ISSN(p): 2413-6670 Special Issue. 2, pp: 605-610, 2018 Academic Research Publishing URL: https://arpgweb.com/journal/journal/7/special_issue Group DOI: https://doi.org/10.32861/jssr.spi2.605.610 Original Research Open Access The Positioning Strategy of Ambon as a Music City: Case Study – Ambon City (Maluku, Indonesia) Towards World Music City Setyabudhi Rahardjo Situmorang* Department of Church Music, Faculty of Arts and Religion, Institut Agama Kristen Negeri (IAKN) Ambon, Maluku, Indonesia Esy Tiurmauli Sihaloho Department of Church Music, Faculty of Arts and Religion, Institut Agama Kristen Negeri (IAKN) Ambon, Maluku, Indonesia Abstract Ambon City has been awarded as a Music and Culinary City of Indonesia by The Bekraf RI (Republic of Indonesia’s Creative Economy Agency). This article discusses how the preparations that have been carried out by the city of Ambon towards the world music city and the various problems associated within it. A number of relevant stakeholders in Ambon were interviewed and opened various evaluations and problem solving. Various programs that have been carried out are in accordance with the standards requested by UNESCO, but the priority scale in the executed steps requires more careful attention. Some things that still need more attention are related to information, regulation, relations between stakeholders, organizing music festivals (live performances) and bureaucratic systems. This article concludes that efforts related to the world music city still need a serious effort in positioning Ambon in the midst of global competition. Keywords: Positioning strategy; Ambon city of music; World music city. -
Annual Report 2017 CONTENT DIRECTOR GENERAL’S FOREWORD 3 CZECH RADIO’S MISSION and VISION 4
Annual Report 2017 CONTENT DIRECTOR GENERAL’S FOREWORD 3 CZECH RADIO’S MISSION AND VISION 4 PROJECTS AND EVENTS 8 Give Blood with Czech Radio 10 Water Week 12 Jesus’ Grandkids 14 Czech Radio Ball 16 Open Doors Day + Prague Museum Night 18 Vinohradská 12 Gallery 20 EBU Radio Assembly in Pilsen 22 Euroradio Folk Festival in Český Krumlov 24 Art Is Not Dead! 26 Summer with Sherlock Holmes 28 A Day with Anthropoid 30 Green Wave: We know the right route 32 Karlovy Vary International Film Festival 34 Gourmet Year 36 Audioport in Tugendhat Villa 38 Czeching Showcase 40 Debates on Czech Radio Plus 42 4th Anniversary of Radio Junior 44 ON AIR 46 News, Current Affairs and Sports 48 Music, Art and Culture 51 Science, Technology, Educational Content 55 Society and Lifestyle, Programmes for Minorities 56 Entertainment 60 Production for Children and Young Adults 61 Regional Broadcasting 62 International Broadcasting 65 Internet and Multimedia 66 Archive 69 OFF AIR 70 Artistic Ensembles 73 Festivals and Contests 79 Communication and Marketing 80 International Relations 84 Radioservis 87 Czech Radio Foundation 91 ORGANISATION AND MANAGEMENT 93 Technology 94 Finance 96 Listenership 100 Czech Radio Management 102 Organisational Chart 104 Czech Radio Council and Supervisory Committee 103 Czech Radio Headquarters – Atrium DIRECTOR GENERAL’S FOREWORD Dear readers and fans of Czech Radio, I am delighted to inform you that 2017 was another successful year in the history of Czech Radio. Our service fulfilled its informative cultural, entertainment Last but not least, our special projects are also worth mention‑ and educational roles. -
The History of Europe — Told by Its Theatres
THE HISTORY OF EUROPE — TOLD BY ITS THEATRES Exhibition magazine CONTENT 4 Introductions We live in Europe, and it is therefore our task to make this part of the world work, in a peaceful way and for the best of all people liv - 6 Mediterranean experience ing here. To achieve this, we have to cooperate across borders, be - 10 religious impact cause only together we can solve the challenges we are facing together. For this, institutions are necessary that make cooperation 14 Changing society – possible on a permanent basis. For this, it is necessary to jointly changing building create an idea of how Europe shall develop now and in the future. 18 The Theatre royal, drury lane For this, it is necessary to remember where we come from – to remember our common history in Europe. 22 Max littmann For this, the touring exhibition The history of Europe – told by and the democratisation its theatres proposes a unique starting point: our theatres. And this of the auditorium is not a coincidence. Since the first ancient civilisations developed 24 Aesthetics and technology in Europe 2500 years ago, the history of Europe has also been the 28 The nation history of its theatre. For 2500 years, theatre performances have been reflecting our present, past and possible future. For the per - 34 Spirit of the nation set ablaze formances, this special form of a joint experience and of joint re - 38 To maintain the common flection, Europeans have developed special buildings that in turn identity – the Teatr Wielki mirror the development of society. And thus today we find theatre in Warsaw buildings from many eras everywhere in Europe. -
Karel Burian and Hungary Research Director: Anna Dalos Phd Liszt Ferenc Academy of Music Doctoral School No
DLA Theses Ferenc János Szabó Karel Burian and Hungary Research director: Anna Dalos PhD Liszt Ferenc Academy of Music Doctoral School No. 28 for the History of Art and Culture Budapest 2011 I. Antecedents of the research Karel Burian was one of the best tenors of the first two decades of the twentieth century. The authors of his biographies always mention his Wagner roles – mainly Tristan – and his long presence in New York, and primarily the world premiere of Salome by Richard Strauss, when he played the role of Herod to much acclaim. His reputation and popularity might be measured against those of Enrico Caruso. Burian was first engaged in Budapest as a young but already well- known Wagner-tenor, he worked there for one year as a member of the Opera House, then later as guest singer regularly until his death. He was likely the most influential operatic world star in Budapest at the beginning of the twentieth century, and was the founder and for many years the only intended representative of the Heldentenor role in Hungary. He primarily sang Wagner operas, but there was also a Hungarian opera on his repertoire in Budapest. A study of his activities in Hungary contributes to our knowledge of Hungarian opera life, and Burian’s whole career affected the cultural history of the period because of his frequent guest appearances in Budapest. Burian’s Budapest activity had a great influence on the young composers of that time, most notably on Béla Bartók and Zoltán Kodály as well. There is a relatively large amount of literature about Burian, mostly in Czech, English and German.