Boston Symphony Orchestra Concert Programs, Season 109, 1989-1990
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Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr. -
1718Studyguidetosca.Pdf
TOSCA An opera in three acts by Giocomo Puccini Text by Giacosa and Illica after the play by Sardou Premiere on January 14, 1900, at the Teatro Constanzi, Rome OCTOBER 5 & 7, 2O17 Andrew Jackson Hall, TPAC The Patricia and Rodes Hart Production Directed by John Hoomes Conducted by Dean Williamson Featuring the Nashville Opera Orchestra CAST & CHARACTERS Floria Tosca, a celebrated singer Jennifer Rowley* Mario Cavaradossi, a painter John Pickle* Baron Scarpia, chief of police Weston Hurt* Cesare Angelotti, a political prisoner Jeffrey Williams† Sacristan/Jailer Rafael Porto* Sciarrone, a gendarme Mark Whatley† Spoletta, a police agent Thomas Leighton* * Nashville Opera debut † Former Mary Ragland Young Artist TICKETS & INFORMATION Contact Nashville Opera at 615.832.5242 or visit nashvilleopera.org. Study Guide Contributors Anna Young, Education Director Cara Schneider, Creative Director THE STORY SETTING: Rome, 1800 ACT I - The church of Sant’Andrea della Valle quickly helps to conceal Angelotti once more. Tosca is immediately suspicious and accuses Cavaradossi of A political prisoner, Cesare Angelotti, has just escaped and being unfaithful, having heard a conversation cease as she seeks refuge in the church, Sant’Andrea della Valle. His sis - entered. After seeing the portrait, she notices the similari - ter, the Marchesa Attavanti, has often prayed for his release ties between the depiction of Mary Magdalene and the in the very same chapel. During these visits, she has been blonde hair and blue eyes of the Marchesa Attavanti. Tosca, observed by Mario Cavaradossi, the painter. Cavaradossi who is often unreasonably jealous, feels her fears are con - has been working on a portrait of Mary Magdalene and the firmed at the sight of the painting. -
La Bohème Program Notes (Michigan Opera Theatre) Christy Thomas Adams, Ph.D
La bohème Program Notes (Michigan Opera Theatre) Christy Thomas Adams, Ph.D. University of Alabama School of Music Since its premiere at the Teatro Regio in Turin in 1896 under the baton of the young Arturo Toscanini, Giacomo Puccini’s La bohème has become one of the world’s most frequently performed operas. It is the first of Puccini’s most celebrated works, which also include Tosca (1900), Madama Butterfly (1904), and Turandot (1924), and along with these helped secure his position as the leading Italian opera composer of the era and as Giuseppe Verdi’s presumed successor. In staging canonic operas like La bohème, a major challenge facing opera directors today is how to make these operas fresh, engaging, and relevant. One approach is that of Regietheater or director’s theater, in which an opera’s setting is updated by adding, removing, or altering non-musical elements—for example, situating La bohème in 21st-century rather than 19th-century Paris and transforming Rodolfo and Mimì from a painter and seamstress to graffiti and tattoo artists. Reactions to such approaches are typically mixed: some laud them as visionary ways to reframe familiar works for contemporary audiences, while others criticize them as “Eurotrash,” mere window dressings that privilege a director’s vision over the composer’s. However, in his new production for the Michigan Opera Theatre, Yuval Sharon has taken a different approach, one that will force us to hear and experience this canonic opera anew while lovingly retaining the traditional setting of Puccini’s beloved work. Rather than changing the setting, this new production changes how we progress through what is otherwise a traditional staging: La bohème’s familiar narrative is presented in reverse order, beginning with Act IV and moving through Acts III and II before concluding with Act I. -
San Diego Symphony Orchestra Puccini's
SAN DIEGO SYMPHONY ORCHESTRA PUCCINI’S GLORIOUS MASS A Jacobs Masterworks Concert Speranza Scappucci, conductor March 22 and 23, 2019 FRANZ JOSEPH HAYDN Symphony No. 88 in G Major Adagio – Allegro Largo Menuetto: Allegretto Allegro con spirito INTERMISSION GIACOMO PUCCINI Messa di Gloria Kyrie Gloria Credo Sanctus – Benedictus Agnus Dei Leonardo Capalbo, tenor Daniel Okulitch, baritone Michael Sumuel, bass San Diego Master Chorale Symphony No. 88 in G Major FRANZ JOSEPH HAYDN Born March 31, 1732, Rohrau (Austria) Died May 31, 1809, Vienna Haydn spent 30 years as Kapellmeister to the Esterhazy family at their estates on the plain east of Vienna. If, as Haydn observed, that isolation forced him “to become original,” it also had the unfortunate effect of cutting him off from mainstream European musical life. Only gradually did his extraordinary achievement with the symphony and string quartet become known to musicians across Europe. By the 1780s, when Haydn was in his third decade with the Esterhazys, his prince finally allowed him to accept commissions from outside, and suddenly he had many requests for symphonies. For a concert series in Paris, he wrote his Symphonies No. 82-87 (known as the “Paris symphonies”), and for his two trips to England he composed his final twelve symphonies (Nos. 93-104), inevitably known as the “London symphonies.” Between these two great cycles, Haydn composed five individual symphonies, probably all of them written with Parisian audiences in mind. He wrote the first two, Nos. 88 and 89, in 1787, at exactly the same moment Mozart was composing Don Giovanni in Vienna. -
View the Program!
cast EDWARD KYNASTON Michael Kelly v Shea Owens 1 THOMAS BETTERTON Ron Loyd v Matthew Curran 1 VILLIERS, DUKE OF BUCKINGHAM Bray Wilkins v John Kaneklides 1 MARGARET HUGHES Maeve Höglund v Jessica Sandidge 1 LADY MERESVALE Elizabeth Pojanowski v Hilary Ginther 1 about the opera MISS FRAYNE Heather Hill v Michelle Trovato 1 SIR CHARLES SEDLEY Raùl Melo v Set in Restoration England during the time of King Charles II, Prince of Neal Harrelson 1 Players follows the story of Edward Kynaston, a Shakespearean actor famous v for his performances of the female roles in the Bard’s plays. Kynaston is a CHARLES II Marc Schreiner 1 member of the Duke’s theater, which is run by the actor-manager Thomas Nicholas Simpson Betterton. The opera begins with a performance of the play Othello. All of NELL GWYNN Sharin Apostolou v London society is in attendance, including the King and his mistress, Nell Angela Mannino 1 Gwynn. After the performance, the players receive important guests in their HYDE Daniel Klein dressing room, some bearing private invitations. Margaret Hughes, Kynaston’s MALE EMILIA Oswaldo Iraheta dresser, observes the comings and goings of the others, silently yearning for her FEMALE EMILIA Sahoko Sato Timpone own chance to appear on the stage. Following another performance at the theater, it is revealed that Villiers, the Duke of Buckingham, has long been one STAGE HAND Kyle Guglielmo of Kynaston’s most ardent fans and admirers. SAMUEL PEPYS Hunter Hoffman In a gathering in Whitehall Palace, Margaret is presented at court by her with Robert Balonek & Elizabeth Novella relation Sir Charles Sedley. -
“Turandot” by Giacomo Puccini Libretto (English-Italian) Roles Personaggi
Giacomo Puccini - Turandot (English–Italian) 8/16/12 10:44 AM “Turandot” by Giacomo Puccini libretto (English-Italian) Roles Personaggi Princess Turandot - soprano Turandot, principessa (soprano) The Emperor Altoum, her father - tenor Altoum, suo padre, imperatore della Cina (tenore) Timur, the deposed King of Tartary - bass Timur, re tartaro spodestato (basso) The Unknown Prince (Calàf), his son - tenor Calaf, il Principe Ignoto, suo figlio (tenore) Liù, a slave girl - soprano Liú, giovane schiava, guida di Timur (soprano) Ping, Lord Chancellor - baritone Ping, Gran Cancelliere (baritono) Pang, Majordomo - tenor Pang, Gran Provveditore (tenore) Pong, Head chef of the Imperial Kitchen - tenor Pong, Gran Cuciniere (tenore) A Mandarin - baritone Un Mandarino (baritono) The Prince of Persia - tenor Il Principe di Persia (tenore) The Executioner (Pu-Tin-Pao) - silent Il Boia (Pu-Tin-Pao) (comparsa) Imperial guards, the executioner's men, boys, priests, Guardie imperiali - Servi del boia - Ragazzi - mandarins, dignitaries, eight wise men,Turandot's Sacerdoti - Mandarini - Dignitari - Gli otto sapienti - handmaids, soldiers, standard-bearers, musicians, Ancelle di Turandot - Soldati - Portabandiera - Ombre ghosts of suitors, crowd dei morti - Folla ACT ONE ATTO PRIMO The walls of the great Violet City: Le mura della grande Città Violetta (The Imperial City. Massive ramparts form a semi- (La Città Imperiale. Gli spalti massicci chiudono circle quasi that enclose most of the scene. They are interrupted tutta la scena in semicerchio. Soltanto a destra il giro only at the right by a great loggia, covered with è carvings and reliefs of monsters, unicorns, and rotto da un grande loggiato tutto scolpito e intagliato phoenixes, its columns resting on the backs of a mostri, a liocorni, a fenici, coi pilastri sorretti dal gigantic dorso di massicce tartarughe. -
Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
(De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification. -
MODELING HEROINES from GIACAMO PUCCINI's OPERAS by Shinobu Yoshida a Dissertation Submitted in Partial Fulfillment of the Requ
MODELING HEROINES FROM GIACAMO PUCCINI’S OPERAS by Shinobu Yoshida A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in The University of Michigan 2011 Doctoral Committee: Associate Professor Naomi A. André, Co-Chair Associate Professor Jason Duane Geary, Co-Chair Associate Professor Mark Allan Clague Assistant Professor Victor Román Mendoza © Shinobu Yoshida All rights reserved 2011 TABLE OF CONTENTS LIST OF FIGURES ...........................................................................................................iii LIST OF APPENDECES................................................................................................... iv I. CHAPTER ONE........................................................................................................... 1 INTRODUCTION: PUCCINI, MUSICOLOGY, AND FEMINIST THEORY II. CHAPTER TWO....................................................................................................... 34 MIMÌ AS THE SENTIMENTAL HEROINE III. CHAPTER THREE ................................................................................................. 70 TURANDOT AS FEMME FATALE IV. CHAPTER FOUR ................................................................................................. 112 MINNIE AS NEW WOMAN V. CHAPTER FIVE..................................................................................................... 157 CONCLUSION APPENDICES………………………………………………………………………….162 BIBLIOGRAPHY.......................................................................................................... -
PARLOPHON Matrix Numbers — 2-9000 to 2-9999: British Discography Compiled by Christian Zwarg for GHT Wien Diese Diskographie Dient Ausschließlich Forschungszwecken
PARLOPHON Matrix Numbers — 2-9000 to 2-9999: British Discography compiled by Christian Zwarg for GHT Wien Diese Diskographie dient ausschließlich Forschungszwecken. Die beschriebenen Tonträger stehen nicht zum Verkauf und sind auch nicht im Archiv des Autors oder der GHT vorhanden. Anfragen nach Kopien der hier verzeichneten Tonaufnahmen können daher nicht bearbeitet werden. Sollten Sie Fehler oder Auslassungen in diesem Dokument bemerken, freuen wir uns über eine Mitteilung, um zukünftige Updates noch weiter verbessern und ergänzen zu können. Bitte senden Sie Ihre Ergänzungs- und Korrekturvorschläge an: [email protected] This discography is provided for research purposes only. The media described herein are neither for sale, nor are they part of the author's or the GHT's archive. Requests for copies of the listed recordings therefore cannot be fulfilled. Should you notice errors or omissions in this document, we appreciate your notifying us, to help us improve future updates. Please send your addenda and corrigenda to: [email protected] master 2-9000 master 2-9001 master 2-9002 master 2-9003 1911.08. D30 AN GBR: London, Beka Record Co. Head Office, 77 City Road, E.C. Where My Caravan Has Rested — Song (Hermann Löhr / Edward Teschemacher) Julian Jones (MD). — (orchestra). Giuseppe Lenghi-Cellini (tenor). master 2-9004 1911.08. D30 AN GBR: London, Beka Record Co. Head Office, 77 City Road, E.C. RIGOLETTO (Giuseppe Verdi / Francesco M. Piave) I/ 1: Questa o quella — Ballata {Duca} Questa o quella Julian Jones (MD). — (orchestra). Giuseppe Lenghi-Cellini (tenor). master 2-9005 1911.08. D30 AN GBR: London, Beka Record Co. -
Newsletter • Bulletin
NATIONAL CAPITAL OPERA SOCIETY • SOCIETE D'OPERA DE LA CAPITALE NATIONALE Newsletter • Bulletin Summer 2000 L’Été A WINTER OPERA BREAK IN NEW YORK by Shelagh Williams The Sunday afternoon programme at Alice Tully Having seen their ads and talked to Helen Glover, their Hall was a remarkable collaboration of poetry and words new Ottawa representative, we were eager participants and music combining the poetry of Emily Dickinson in the February “Musical Treasures of New York” ar- recited by Julie Harris and seventeen songs by ten dif- ranged by Pro Musica Tours. ferent composers, sung by Renee Fleming. A lecture We left Ottawa early Saturday morning in our bright preceded the concert and it was followed by having most pink (and easily spotted!) 417 Line Bus and had a safe of the composers, including Andre Previn, join the per- and swift trip to the Belvedere Hotel on 48th St. Greeted formers on stage for the applause. An unusual and en- by Larry Edelson, owner/director and tour leader, we joyable afternoon. met our fellow opera-lovers (six from Ottawa, one from Monday evening was the Met’s block-buster pre- Toronto, five Americans and three ladies from Japan) at miere production of Lehar’s The Merry Widow, with a welcoming wine and cheese party. Frederica von Stade and Placido Domingo, under Sir Saturday evening the opera was Offenbach’s Tales Andrew Davis, in a new English translation. The oper- of Hoffmann. This was a lavish (though not new) pro- etta was, understandably, sold out, and so the only tick- duction with sumptuous costumes, sets descending to ets available were seats in the Family Circle (at the very reappear later, and magical special effects. -
11-03-2018 Carmen Eve.Indd
GEORGES BIZET carmen conductor Opera in four acts Omer Meir Wellber Libretto by Henri Meilhac and production Sir Richard Eyre Ludovic Halévy, based on the novella by Prosper Mérimée set and costume designer Rob Howell Saturday, November 3, 2018 lighting designer 1:00–4:25 PM Peter Mumford choreographer Christopher Wheeldon revival stage director Paula Williams The production of Carmen was made possible by a generous gift from Mrs. Paul Desmarais Sr. general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON The 1,012th Metropolitan Opera performance of GEORGES BIZET’S carmen conductor Omer Meir Wellber in order of vocal appearance mor alès le dancaïre Adrian Timpau** Javier Arrey micaël a le remendado Guanqun Yu Scott Scully don josé Yonghoon Lee solo dancers Maria Kowroski zuniga Martin Harvey Richard Bernstein carmen Clémentine Margaine fr asquita Sydney Mancasola mercédès Sarah Mesko escamillo Kyle Ketelsen Saturday, November 3, 2018, 1:00–4:25PM MARTY SOHL / MET OPERA Clémentine Margaine Chorus Master Donald Palumbo in the title role of Musical Preparation Derrick Inouye, Liora Maurer, and Bizet’s Carmen Bénédicte Jourdois* Fight Director J. Allen Suddeth Assistant Stage Directors Sara Erde and Jonathon Loy Stage Band Conductor Jeffrey Goldberg Met Titles Sonya Friedman Children’s Chorus Director Anthony Piccolo Movement Coach Sara Erde Associate Costume Designer Irene Bohan Scenery, properties, and electrical props constructed and painted by Metropolitan Opera Shops Costumes executed by Art for Art Theater Service GmbH, Vienna; Justo Algaba S.L., Madrid; Carelli Costumes, New York, and Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department This production uses gunshot effects. -
11-09-2018 Tosca Eve.Indd
GIACOMO PUCCINI tosca conductor Opera in three acts Carlo Rizzi Libretto by Giuseppe Giacosa and production Sir David McVicar Luigi Illica, based on the play La Tosca by Victorien Sardou set and costume designer John Macfarlane Friday, November 9, 2018 lighting designer 8:00–11:00 PM David Finn movement director Leah Hausman revival stage director Jonathon Loy The production of Tosca was made possible by a generous gift from Jacqueline Desmarais, in memory of Paul G. Desmarais Sr; The Paiko Foundation; and Dr. Elena Prokupets, in memory of her late husband, Rudy Prokupets Major funding was received from Rolex The revival of this production is made possible by a gift from NPD Group, Inc. general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON The 970th Metropolitan Opera performance of GIACOMO PUCCINI’S tosca conductor Carlo Rizzi in order of vocal appearance cesare angelot ti a shepherd boy Oren Gradus Davida Dayle a sacristan a jailer Patrick Carfizzi Paul Corona mario cavaradossi Joseph Calleja floria tosca Sondra Radvanovsky* baron scarpia Claudio Sgura spolet ta Brenton Ryan sciarrone Christopher Job Friday, November 9, 2018, 8:00–11:00PM MARTY SOHL / MET OPERA Sondra Radvanovsky Chorus Master Donald Palumbo in the title role and Fight Director Thomas Schall Joseph Calleja as Musical Preparation John Keenan, Howard Watkins*, Cavaradossi in Puccini’s Tosca Carol Isaac, and Jonathan C. Kelly Assistant Stage Directors Sarah Ina Meyers and Mirabelle Ordinaire Met Titles Sonya Friedman Stage Band Conductor Gregory Buchalter Italian Coach Loretta Di Franco Prompter Carol Isaac Children’s Chorus Director Anthony Piccolo Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes constructed by Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department This production uses gunshot effects.