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Daniel Purcell the Judgment of Paris
Daniel Purcell The Judgment of Paris Anna Dennis • Amy Freston • Ciara Hendrick • Samuel Boden • Ashley Riches Rodolfus Choir • Spiritato! • Julian Perkins RES10128 Daniel Purcell (c.1664-1717) 1. Symphony [5:40] The Judgment of Paris 2. Mercury: From High Olympus and the Realms Above [4:26] 3. Paris: Symphony for Hoboys to Paris [2:31] 4. Paris: Wherefore dost thou seek [1:26] Venus – Goddess of Love Anna Dennis 5. Mercury: Symphony for Violins (This Radiant fruit behold) [2:12] Amy Freston Pallas – Goddess of War 6. Symphony for Paris [1:46] Ciara Hendricks Juno – Goddess of Marriage Samuel Boden Paris – a shepherd 7. Paris: O Ravishing Delight – Help me Hermes [5:33] Ashley Riches Mercury – Messenger of the Gods 8. Mercury: Symphony for Violins (Fear not Mortal) [2:39] Rodolfus Choir 9. Mercury, Paris & Chorus: Happy thou of Human Race [1:36] Spiritato! 10. Symphony for Juno – Saturnia, Wife of Thundering Jove [2:14] Julian Perkins director 11. Trumpet Sonata for Pallas [2:45] 12. Pallas: This way Mortal, bend thy Eyes [1:49] 13. Venus: Symphony of Fluts for Venus [4:12] 14. Venus, Pallas & Juno: Hither turn thee gentle Swain [1:09] 15. Symphony of all [1:38] 16. Paris: Distracted I turn [1:51] 17. Juno: Symphony for Violins for Juno [1:40] (Let Ambition fire thy Mind) 18. Juno: Let not Toyls of Empire fright [2:17] 19. Chorus: Let Ambition fire thy Mind [0:49] 20. Pallas: Awake, awake! [1:51] 21. Trumpet Flourish – Hark! Hark! The Glorious Voice of War [2:32] 22. -
Samuel Ramey
welcome to LOS i\Ilgeles upera http://www.losangelesopera.comlproduction/index.asp?... •• PURCHASE TICKETS • 2003/2004 SEASON LA AMNATION DE FAD T La damnation de Faust The damnation of Faust / Hector Berlioz Nicholas and In French with English Supertitles Ticket Information Alexandra Lucia di Samuel Ramey, Synopsis Lammermoor r-----------.., Program Notes Denyce Graves and Photo Gallery Orfeo ed Euridice Paul Groves star in a spectacular new Recital: production by Achim Ask an Expert Hei-Kyung Hong Forward to a Freyer with Kent Friend Recital: Cecilia Nagano conducting. Bartoli Generously Madama Europe's master Underwritten by: Butterfly theatre artist Achim Freyer matches his New production Die Frau ohne made possible by a Schatten painterly visual imagery with Hector generous gift from Mr. and Mrs. Recital: Dmitri Berlioz's vivid musical imagination in the premiere of Hvorostovsky Milan Panic this new production featuring a cast of more than Le nozze di 100 singers and dancers. The legend of Faust, which Figaro tells the story of the man who sold his soul to the II trovatol'"e Devil, has captivated great imaginations for centuries. Marlowe, Goethe, Gounod, Schumann, Liszt, Mahler and Stravinsky all found inspiration in SEASON G!J1]) the Faust tale, which continues to reverberate in SPONSOR Audt today's modern world. Originally conceived as an oratoriO, Hector Berlioz's dramatic La damnation de Faust is now a mainstay of opera houses around the world. Haunting melodies and startling orchestrations flood the score and illustrate the beWitching tale of Faust's desperate struggle for power, riches, youth and, ultimately, redemption. PRODUCTION DATES: Wednesday September 10, 20036:30 p.m. -
NEWSLETTER of the American Handel Society
NEWSLETTER of The American Handel Society Volume XXI, Number 3 Winter 2006 AMERICAN HANDEL SOCIETY- PRELIMINARY SCHEDULE (Paper titles and other details of program to be announced) Thursday, April 19, 2006 Check-in at Nassau Inn, Ten Palmer Square, Princeton, NJ (Check in time 3:00 PM) 6:00 PM Welcome Dinner Reception, Woolworth Center for Musical Studies Covent Garden before 1808, watercolor by Thomas Hosmer Shepherd. 8:00 PM Concert: “Rule Britannia”: Richardson Auditorium in Alexander Hall SOME OVERLOOKED REFERENCES TO HANDEL Friday, April 20, 2006 In his book North Country Life in the Eighteenth Morning: Century: The North-East 1700-1750 (London: Oxford University Press, 1952), the historian Edward Hughes 8:45-9:15 AM: Breakfast, Lobby, Taplin Auditorium, quoted from the correspondence of the Ellison family of Hebburn Hall and the Cotesworth family of Gateshead Fine Hall Park1. These two families were based in Newcastle and related through the marriage of Henry Ellison (1699-1775) 9:15-12:00 AM:Paper Session 1, Taplin Auditorium, to Hannah Cotesworth in 1729. The Ellisons were also Fine Hall related to the Liddell family of Ravenscroft Castle near Durham through the marriage of Henry’s father Robert 12:00-1:30 AM: Lunch Break (restaurant list will be Ellison (1665-1726) to Elizabeth Liddell (d. 1750). Music provided) played an important role in all of these families, and since a number of the sons were trained at the Middle Temple and 12:15-1:15: Board Meeting, American Handel Society, other members of the families – including Elizabeth Liddell Prospect House Ellison in her widowhood – lived in London for various lengths of time, there are occasional references to musical Afternoon and Evening: activities in the capital. -
NEWSLETTER of the American Handel Society
NEWSLETTER of The American Handel Society Volume XIX, Number 1 April 2004 THE THOMAS BAKER COLLECTION In 1985 the Music Library of The University of Western Ontario acquired the bulk of the music collection of Thomas Baker (c.1708-1775) of Farnham, Surrey from the English antiquarian dealer Richard Macnutt with Burnett & Simeone. Earlier that same year what is presumed to have been the complete collection, then on deposit at the Hampshire Record Office in Winchester, was described by Richard Andrewes of Cambridge University Library in a "Catalogue of music in the Thomas Baker Collection." It contained 85 eighteenth-century printed titles (some bound together) and 10 "miscellaneous manuscripts." Macnutt described the portion of the collection he acquired in his catalogue The Music Collection of an Eighteenth Century Gentleman (Tunbridge Wells, 1985). Other buyers, including the British Library, acquired 11 of the printed titles and 4 of the manuscripts. Thomas Baker was a country gentleman and his library, which was "representative of the educated musical amateur’s tastes, include[d] works ranging from short keyboard pieces to opera" (Macnutt, i). Whether he was related to the Rev. Thomas Baker (1685-1745) who was for many years a member of the choirs of the Chapel Royal, St. Paul’s Cathedral, and Westminster Abbey, is not clear. Christoph Dumaux as Tamerlano – Spoleto Festival USA 2003 However, his collection did contain several manuscripts of Anglican Church music. TAMERLANO AT SPOLETO The portion of the Thomas Baker Collection now at The University of Western Ontario, consisting of 83 titles, is FESTIVAL USA 2003 admirably described on the Music Library’s website Composer Gian Carlo Menotti founded the Festival dei (http://www.lib.uwo.ca/music/baker.html) by Lisa Rae Due Mondi in 1958, locating it in the Umbrian hilltown of Philpott, Music Reference Librarian. -
Or, When Did Tamburlaine Become Black? El Viaje Teatral De Tim Ūr, O ¿Cuándo Se Volvió Negro Tamburlaine?
Tim ūr’s theatrical journey: Or, when did Tamburlaine become black? El viaje teatral de Tim ūr, o ¿Cuándo se volvió negro Tamburlaine? Linda McJannet Bentley University, United States ABSTRACT RESUMEN Reviews of modern productions of Marlowe’s Las reseñas de las producciones modernas del Tamburlaine often note a three-hundred-year Tamburlaine de Marlowe a menudo dan cuenta del hiatus between a recorded performance in paréntesis de trescientos años que existió entre una 1641, just before the closing of the theatres, representación de la obra de la que se tiene noticia and Tyrone Guthrie’s revival at the Old Vic in en 1641, justo antes del cierre de los teatros, y su 1951. While the statement is mostly true with recuperación a manos de Tyrone Guthrie en el Old respect to Marlowe’s play, Tamerlane or Vic en 1951. Aunque esta afirmación es Timūr Lenk and the Ottoman emperor fundamentalmente cierta en lo tocante a la obra de Bayazid I (Marlowe’s Bajazeth) had Marlowe, Tamerlane o Tim ūr Lenk, junto con el important theatrical incarnations in the 1700s emperador otomano Bayazid I (el Bajazeth de before they declined into parody in the 1800s. Marlowe) tuvieron importantes encarnaciones en el When Marlowe’s play was revived in the teatro en el siglo XVIII, antes de degradarse y modern era, the main characters reclaimed convertirse en parodia en el siglo XIX. Cuando la their dignity, but they also acquired markers obra de Marlowe fue recuperada en la época of racial, ethnic, or religious otherness that moderna los personajes principales recobraron su had not been prominent earlier. -
74371 Kings Parade Summer 2004
KING’S Spring 2004 P ARADE King’s & Opera Editor’s letter 2 College news 2–3 Parade Profile: Judith Weir 4–5 Professor Dent and the Vexed Question of the Square Pianoforte 6–7 King’s & Opera – the listings 8–10 Members’ news 11 Books by and about members 12 Talking about books 13 Following in invisible footsteps 14 What happened to all the antimatter? 15 Foundation lunch 16–17 Bursaries and fees 18 Development news and letters 19 Crossword 20 College Editor’s Letter Keith Hopkins and Christopher Ryan The Tempest, the new opera by Thomas Adès (1989), was news premièred at Covent Garden in February and was the focus Two Fellows died within a few weeks of each of considerable media and public attention. Members of other earlier this year, both while in post. The King’s have a long tradition of involvement with opera. Reverend Dr Christopher Ryan died in February Edward Dent (Fellow 1902–1908, and 1926–1957) and Professor Keith Hopkins in early March. pioneered the idea of opera sung in English, which Christopher, who became Dean in 2002, made underpinned the English National Opera. The Rt. Hon. the Chapel a central part of College life during his The Earl of Harewood (1947, Honorary Fellow 1988), very short tenure of office and had already President of the Board of Trustees of English National become a well-respected and much-loved figure. Opera and editor of Kobbe’s Complete Opera Book, has Keith, an undergraduate at King's in 1955, a championed the art form for over fifty years, and The Fellow first in 1963, and then again from 1985, Provost, Judith Mayhew Jonas (2003), is Chairman of was Vice Provost and Professor of Ancient the Board of Trustees of the Royal Opera House. -
Lacey Biography June 21
William Lacey Conductor The music is the protagonist of this opera and of this production. For the second time after the Midsummer Night’s Dream, together with the orchestra, chorus and soloists, Lacey makes Britten in Moscow a revelation and a great event Kommersant, Billy Budd, Bolshoi Theatre, Moscow William Lacey was born in London in 1973, and now holds dual British and German citizenship. He is a conductor of wide-ranging musical interests. At the centre of his repertoire are the operas of Mozart, which he has conducted at the Bolshoi, Birmingham Opera Company, Canadian Opera Company, Garsington Opera, Houston Grand Opera, Oper Leipzig, Opera North, San Francisco Opera, Santa Fe Opera, the Stanislavsky opera in Moscow, the Royal Opera in Stockholm, St Petersburg Philharmonic Hall, Utah Opera, and even in the arctic city of Tromsø. Among earlier repertoire, he has a great love for the operas of Gluck, which he has conducted in Stockholm, Moscow and Washington DC. He conducted Monteverdi’s L’incoronazione di Poppea from the harpsichord at Houston Grand Opera, with a cast including Susan Graham, David Daniels and Frederica von Stade. He started as a Handel conductor at San Francisco Opera in 2000, when Sir Charles Mackerras gave the young Staff Conductor the opportunity to conduct half of the Semele performances. Later he developed an edition of Handel’s Tamerlano especially for Placido Domingo, which he subsequently conducted at Washington National Opera, Los Angeles Opera, and the Liceu in Barcelona. William Lacey has conducted the standard operas of Rossini, Verdi and Puccini in San Francisco, Utah, Chicago, Leipzig, Bergen, Scottish Opera, the Netherlands Reisopera, Graz, and elsewhere. -
Friday 12Th April 2019 St. James's Piccadilly, London
FRIDAY 12TH APRIL 2019 ST. JAMES’S PICCADILLY, LONDON Conductor Chris Hopkins Sibelius Finlandia Crusell Clarinet Concerto No. 2 Clarinet – Antonia Stoneman Interval – 15 minutes Järnefelt Berceuse Sibelius Symphony No. 3 © Orchestra of the City 2019 Registered Charity No. 1106325 © Orchestra of the City 2019 Registered Charity No. 1106325 Programme Notes Good evening and a very warm welcome to this evening’s Finnish extravaganza! We are delighted to present you with some very well-known and some perhaps more (definitely unfairly) neglected music from this great country, starting with Sibelius’s much-loved symphonic poem Finlandia. Siblius: Finlandia By the 1890s Sibelius had established himself at home as Finland’s greatest composer. By the early 1900s he was world famous, thanks in no small part to the popularity of this great and enduring piece. It wasn’t always known as Finlandia however, but rather as ‘Finland Awakes’ (with some of ‘The Great Hate’ which depicted destruction by Russian conquerors), the finale to six pieces that Sibelius wrote in 1899. This was the composer’s way of adding his name to the widespread protests against Russia’s planned encroachment on Finnish independence as outlined by Emperor Nicholas II’s ‘February manifesto’ earlier that year. The set of musical tableaux had their first outing in November as part of the ‘Days of the Press’ event, a cultural response to the threat from the east, and they loosely depicted scenes from the history of Finland. In the following months the piece mutated somewhat, but by the following year a piano arrangement was published under the title Finlandia and in 1901 Robert Kajanus conducted its first newly-titled orchestral outing in Helsinki. -
Redalyc.Timūr's Theatrical Journey: Or, When Did Tamburlaine Become Black?
SEDERI Yearbook ISSN: 1135-7789 [email protected] Spanish and Portuguese Society for English Renaissance Studies España McJannet, Linda Timr’s theatrical journey: Or, when did Tamburlaine become black? SEDERI Yearbook, núm. 26, 2016, pp. 31-66 Spanish and Portuguese Society for English Renaissance Studies Valladolid, España Available in: http://www.redalyc.org/articulo.oa?id=333549411002 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Tim ūr’s theatrical journey: Or, when did Tamburlaine become black? El viaje teatral de Tim ūr, o ¿Cuándo se volvió negro Tamburlaine? Linda McJannet Bentley University, United States ABSTRACT RESUMEN Reviews of modern productions of Marlowe’s Las reseñas de las producciones modernas del Tamburlaine often note a three-hundred-year Tamburlaine de Marlowe a menudo dan cuenta del hiatus between a recorded performance in paréntesis de trescientos años que existió entre una 1641, just before the closing of the theatres, representación de la obra de la que se tiene noticia and Tyrone Guthrie’s revival at the Old Vic in en 1641, justo antes del cierre de los teatros, y su 1951. While the statement is mostly true with recuperación a manos de Tyrone Guthrie en el Old respect to Marlowe’s play, Tamerlane or Vic en 1951. Aunque esta afirmación es Timūr Lenk and the Ottoman emperor fundamentalmente cierta en lo tocante a la obra de Bayazid I (Marlowe’s Bajazeth) had Marlowe, Tamerlane o Tim ūr Lenk, junto con el important theatrical incarnations in the 1700s emperador otomano Bayazid I (el Bajazeth de before they declined into parody in the 1800s. -
Handel's Messiah
ORANGE COUNTY PERFORMING ARTS CENTER RENÉE AND HENRY SEGERSTROM CONCERT HALL Sunday, December 13, 2009, at 3:00 p.m. PRESENTS WILLIAM LACEY, CONDUCTOR CHRISTINE BRANDES, SOPRANO ELIZABETH BATTON, MEZZO-SOPRANO BENJAMIN BUTTERFIELD, TENOR TIMOTHY MIX, BASS PACIFIC CHORALE JOHN ALEXANDER, ARTISTIC DIRECTOR Messiah an Oratorio by George Frideric Handel The Words selected from Holy Scripture by Charles Jennens SEGERSTROM CENTER FOR THE ARTS Pacific Symphony P-15 PROGRAM PART 1 Recit:Thy rebuke hath broken His heart .Benjamin Butterfield Overture . .Orchestra Aria: Behold, and see if there be any sorrow . .Benjamin Recit: Comfort ye my people . .Benjamin Butterfield Butterfield Aria: Ev’ry valley shall be exalted . .Benjamin Butterfield Recit: He was cut off out of the land . .Christine Brandes Chorus:And the glory of the Lord . .Pacific Chorale Aria: But thou didst not leave his soul . .Christine Brandes Recit:Thus saith the Lord . .Timothy Mix Aria:Why do the nations so furiously rage . .Timothy Mix Aria: But who may abide the day of His coming Chorus: Let us break their bonds asunder . .Pacific Chorale . .Elizabeth Batton Recit: He that dwelleth in heaven . .Benjamin Butterfield Chorus:And He shall purify . .Pacific Chorale Aria:Thou shalt break them . .Benjamin Butterfield Recit: Behold, a virgin shall conceive . .Elizabeth Batton Chorus: Hallelujah! . .Pacific Chorale Aria: O thou that tellest good tidings . .Elizabeth Batton and Pacific Chorale PART 3 Recit: For behold, darkness shall cover the earth Timothy Mix Aria: I know that my Redeemer liveth . .Christine Brandes Aria:The people that walked in darkness . .Timothy Mix Chorus: Since by man came death . .Pacific Chorale Chorus: For unto us a Child is born . -
Lento CD BOOK 8/20/03 12:46 PM Page 1
Lento CD BOOK 8/20/03 12:46 PM Page 1 C E D S L S G HOWARD SKEMPTON I N BBC SYMPHONY ORCHESTRA • MARK WIGGLESWORTH, CONDUCTOR Lento CD BOOK 8/20/03 12:46 PM Page 2 HOWARD SKEMPTON COLIN MATTHEWS IN CONVERSATION WITH HOWARD SKEMPTON Lento 12’57 CM: Did you see Lento, when you wrote it, as a would suggest, are primarily choral composers. I CM: I’ve always been impressed by the way change of direction? have been asked, more than once, to produce a you’ve been very single-minded about the music BBC Symphony Orchestra choral version of Lento: something I’ve resisted. you want to write, while being very open-minded HS: No, I saw it as a characteristic piece. I’ve about the music you care for. It’s no coincidence Mark Wigglesworth conductor always been devoted to what I call “chorales”. My My instrumental music has not been affected. The that NMC released Lento at the same time as a two previous orchestral works had been called next orchestral piece after Lento was The Light disc of James Dillon (East 11th Street, NMC Chorales and Chorales 2, and I remember Martin Fantastic for the English Chamber Orchestra: a D004) and a very eclectic mix with the Composers Cotton (then a BBC producer, and clearly the man more buoyant piece, as the title suggests. It’s Ensemble Songbook (NMC D003). Do you feel responsible for commissioning the piece) possible I would have written another piece like that the divisions that are often perceived as suggesting that Lento could easily have been Lento if I’d received a commission from a large inherent in contemporary music – complexity called Chorales 3. -
CHRISTMAS with WINCHESTER COLLEGE CHAPEL CHOIR Sara Macliver, Soprano Hong Kong Philharmonic Orchestra • William Lacey
557965 bk Winchester 20/9/05 7:43 pm Page 16 CHRISTMAS WITH WINCHESTER COLLEGE CHAPEL CHOIR Sara Macliver, Soprano Hong Kong Philharmonic Orchestra • William Lacey Photograph: Nicholas Stenning This recording was made possible through the generous support of Professor David L. C. Cheung and Mrs. Michelle Ong Cheung 8.557965 16 557965 bk Winchester 20/9/05 7:43 pm Page 2 CHRISTMAS WITH WINCHESTER COLLEGE CHAPEL CHOIR 1 Come, thou Redeemer of the earth 2:28 (Puer nobis nascitur, adapted by Michael Praetorius [1571-1621]) 2 Richard Rodney Bennett (b. 1936): Out of your sleep 1:35 3 John Tavener (b. 1944): The Lamb 2:28 4 Judith Weir (b. 1954): Illuminare, Jerusalem 2:21 5 Anon (c. 18th century) arr. Willcocks: O come, all ye faithful 3:17 Johann Sebastian Bach (1685-1750): 6 Sinfonia from Cantata, BWV 42 7:23 7 Kyrie from Mass in G, BWV 236 4:22 8 Herr, der du stark und mächtig bist from Cantata, BWV 10* 6:30 9 Jesus bleibet meine Freude from Cantata BWV 147 3:37 George Frideric Handel (1685-1759): Messiah 0 For unto us a child is born 4:07 ! Pastoral Symphony 0:58 @ There were shepherds abiding in the field* 1:20 # Glory to God in the highest* 2:07 $ Rejoice greatly, O daughter of Zion!* 4:56 % Surely, He hath borne our griefs 1:30 ^ And with his stripes we are healed 1:49 & All we like sheep 3:42 * I know that my Redeemer liveth* 6:55 ( Hallelujah Chorus 3:56 ) Lowell Mason (1792-1872) arr.