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Darwin Prakash CV July 2021
DARWIN PRAKASH Baritone [email protected] | +447498700209 Date of Birth 23rd June 1993 Education 2017-2019 Advanced Diploma in Opera Royal Academy of Music, London 2015-2017 MA Performance (Vocals) Royal Academy of Music, London 2011-2014 BSc (Hons.) Geology University of Delhi, India Prizes, Awards and Scholarships 2019 Queen's Commendation for Excellence Award Royal Academy of Music, London 2019 First Prize and Audience Prize National Mozart Competition, UK 2018 English Speaking Union Scholarship Georg Solti Accademia, Italy 2015-2017 Full Entrance Scholarship Royal Academy of Music, London 2017-2019 Susie Sainsbury Scholarship Royal Academy of Music, London 2017 Second Prize Richard Lewis/ Jean Shanks Award 2017 Philip Hattey Award & Scholarship Royal Academy of Music, London 2016 Gus Christie Award Glyndebourne Opera Performing Highlights 2021 Liceu Opera Barcelona Finalist Tenor Viñas Competition 2020 Staatsoper Hannover Steuermann Tristan und Isolde Richard Wagner Staatsoper Hannover Kaherdin Le vin herbé Frank Martin Staatsoper Hannover Fiorello, Ufficale Il barbiere di Siviglia Rossini 2019 Staatsoper Hannover Sergente La Boheme Puccini Staatsoper Hannover Second Nazarene Salome Strauss Staatsoper Hannover Baritone,Sherifa Hamed und Sherifa Zad Moultaka Glyndebourne Opera Chorus Il barbiere di Siviglia Rossini Glyndebourne Opera Chorus La damnation de Faust Berlioz Royal Academy Opera Ibn- Hakia Iolanta Tchaikovsky 2018 Royal Academy Opera Escamillo La tragédie de Carmen Gounod Royal Academy Opera Immigration Officer Flight Jonathan Dove British Youth Opera Lysander Enchanted Island (Pastiche) Jeremy Sams 2017 Royal Academy Opera Masetto Don Giovanni Mozart Opera Holland Park Leporello Don Giovanni Mozart Concert 2021 Jewish Culture Commemoration Staatsoper Hannover 2019 Opening Concert Staatsoper Hannover 2019 Handel's Messiah Arundel Cathedral, UK 2018 Beethoven 9th Symphony Marlborough College, UK 2018 Georg Solti Accademia Concert Piazza Solti, Grosseto, Italy 2018 Songs of War Recital Wilfred Owen Association at St. -
Advance Program Notes New York Gilbert & Sullivan Players H.M.S
Advance Program Notes New York Gilbert & Sullivan Players H.M.S. Pinafore Friday, May 5, 2017, 7:30 PM These Advance Program Notes are provided online for our patrons who like to read about performances ahead of time. Printed programs will be provided to patrons at the performances. Programs are subject to change. Albert Bergeret, artistic director in H.M.S. Pinafore or The Lass that Loved a Sailor Libretto by Sir William S. Gilbert | Music by Sir Arthur Sullivan First performed at the Opera Comique, London, on May 25, 1878 Directed and conducted by Albert Bergeret Choreography by Bill Fabis Scenic design by Albère | Costume design by Gail Wofford Lighting design by Benjamin Weill Production Stage Manager: Emily C. Rolston* Assistant Stage Manager: Annette Dieli DRAMATIS PERSONAE The Rt. Hon. Sir Joseph Porter, K.C.B. (First Lord of the Admiralty) James Mills* Captain Corcoran (Commanding H.M.S. Pinafore) David Auxier* Ralph Rackstraw (Able Seaman) Daniel Greenwood* Dick Deadeye (Able Seaman) Louis Dall’Ava* Bill Bobstay (Boatswain’s Mate) David Wannen* Bob Becket (Carpenter’s Mate) Jason Whitfield Josephine (The Captain’s Daughter) Kate Bass* Cousin Hebe Victoria Devany* Little Buttercup (Mrs. Cripps, a Portsmouth Bumboat Woman) Angela Christine Smith* Sergeant of Marines Michael Connolly* ENSEMBLE OF SAILORS, FIRST LORD’S SISTERS, COUSINS, AND AUNTS Brooke Collins*, Michael Galante, Merrill Grant*, Andy Herr*, Sarah Hutchison*, Hannah Kurth*, Lance Olds*, Jennifer Piacenti*, Chris-Ian Sanchez*, Cameron Smith, Sarah Caldwell Smith*, Laura Sudduth*, and Matthew Wages* Scene: Quarterdeck of H.M.S. Pinafore *The actors and stage managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. -
Marschner Heinrich
MARSCHNER HEINRICH Compositore tedesco (Zittau, 16 agosto 1795 – Hannover, 16 dicembre 1861) 1 Annoverato fra i maggiori compositori europei della sua epoca, nonché degno rivale in campo operistico di Carl Maria von Weber, strinse amicizia con i maggiori musicisti del tempo, fra cui Ludwig van Beethoven e Felix Mendelssohn Bartoldy. Dopo gli studi fatti a Lipsia ed a Praga con Tomášek e dopo essersi introdotto nel mondo musicale viennese, fu nominato maestro di cappella a Bratislava e successivamente divenne il direttore dei teatri dell'opera di Dresda e Lipsia; fu quindi ad Hannover nel periodo 1830-59, per dirigere la cappella di corte. Marschner fu fondamentalmente un compositore teatrale, fra le opere che gli conferirono maggior fama si annoverano: Der Vampyr (1828), Der templar und die Jüdin (1829) e un'opera di gusto popolare e leggendario, come è nel suo stile, intitolata Hans Heiling (1833), la quale ha alcune analogie con L'olandese volante di Richard Wagner. Caratteristica dell'arte di Marschner sono: la ricerca (nel melodramma) di soggetti soprannaturali caratteristici di quel senso puramente romantico di "orrore dilettevole", ma anche cavallereschi e soprattutto popolari, resi attraverso una ritmica incalzante, una vasta coloritura dei timbri orchestrali e con l'ausilio di numerosi leitmotiv e fili conduttori musicali. Non mancano inoltre nella sua produzione numerosi Lieder, due quartetti per pianoforte e ben sette trii per pianoforte particolarmente apprezzati da Robert Schumann. 2 3 HANS HEILING Tipo: Opera romantica in un prologo e tre atti Soggetto: libretto di Philipp Eduard Devrient Prima: Berlino, Königliches Opernhaus, 24 maggio 1833 Cast: la regina degli spiriti (S), Hans Heiling (Bar), Anna (S), Gertrude (A), Konrad (T), Stephan (B), Niklas (rec); spiriti, contadini, invitati, giocatori, tiratori Autore: Heinrich Marschner (1795-1861) Il personaggio di Hans Heiling, tra quelli creati da Marschner, rappresenta una delle più notevoli incarnazioni del tipico tema romantico dell’io diviso, condannato a non trovare la propria unità. -
Der Vampyr De Heinrich Marschner
DESCUBRIMIENTOS Der Vampyr de Heinrich Marschner por Carlos Fuentes y Espinosa ay momentos extraordinarios Polidori creó ahí su obra más famosa y trascendente, pues introdujo en un breve cuento de en la historia de la Humanidad horror gótico, por vez primera, una concreción significativa de las creencias folclóricas sobre que, con todo gusto, el vampirismo, dibujando así el prototipo de la concepción que se ha tenido del monstruo uno querría contemplar, desde entonces, al que glorias de la narrativa fantástica como E.T.A. Hoffmann, Edgar Allan dada la importancia de la Poe, Joseph Sheridan Le Fanu, Jules Verne y el ineludible Abraham Stoker aprovecharían y Hproducción que en ellos se generara. ampliarían magistralmente. Sin duda, un momento especial para la literatura fantástica fue aquella reunión En su relato, Polidori presenta al vampiro, Lord Ruthven, como un antihéroe integrado, a de espléndidos escritores en Ginebra, su manera, a la sociedad, y no es difícil identificar la descripción de Lord Byron en él (sin Suiza, a mediados de junio de 1816 (el mencionar que con ese nombre ya una escritora amante de Byron, Caroline Lamb, nombraba “año sin verano”), cuando en la residencia como Lord Ruthven un personaje con las características del escritor). Precisamente por del célebre George Gordon, Lord Byron, eso, por la publicación anónima original, por la notoria emulación de las obras de Byron y a orillas del lago Lemán, departieron el su fama, las primeras ediciones del cuento se atribuyeron a él, aunque con el tiempo y una baronet Percy Bysshe Shelley, notable incómoda cantidad de disputas, terminara por dársele el crédito al verdadero escritor, que poeta y escritor, su futura esposa Mary fuera tío del poeta y pintor inglés Dante Gabriel Rossetti. -
Gilbert & Sullivan
ST DAVIDS PLAYERS 14th - 18th OCTOBER 2014 PLEASE ST DAVIDS PLAYERS NOTE: www.stdavidsplayers.co.uk St David’s Players take no responsibility for any oers or advert content contained in this le. Special oers shown in adverts may no longer be valid. eat well with Riverford get your 3rd vegbox free free * vegbox Libretto by W S Gilbert Music by Arthur Sullivan in the edition by David Russell Hulme © Oxford University Press 2000. Performed by arrangement with Oxford University Press. All rights reserved. Director Jane May Musical Director Mark Perry 14th - 18th OCTOBER 2014 Nightly at 7.30pm Matinée on Saturday 18th at 2.30pm enjoy better veg vegboxes from £10.35 ST LOYE’S FOUNDATION healthy, seasonal, all organic Supporting free delivery ST LOYE’S FOUNDATION in 2014 e Exeter Barneld eatre is tted Members of the audience are asked to Members of the audience are reminded try a seasonal organic vegbox today with free delivery with an Inductive Loop system. SWITCH OFF any mobile phones and the unauthorised use of photographic, T Members of the audience with hearing other mobile devices (including SMS text recording or video equipment is not aids should set them to the ‘T’ position messaging and Internet browsing) permitted in the auditorium call 01803 762059 or visit www.riverford.co.uk/FTBF14 ank you *Free vegbox on your 3rd delivery when you place a regular vegbox order. New customers only. Programme © 2014 | Published by St David’s Players | www.stdavidsplayers.co.uk Programme design and typesetting by D Saint | [email protected] Print services arranged by Backstage Supplies Ltd. -
Mona Lisa LEON BOTSTEIN, Conductor
Friday Evening, February 20, 2015, at 8:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00 presents Mona Lisa LEON BOTSTEIN, Conductor MAX VON SCHILLINGS Mona Lisa ACT I Intermission ACT II Foreigner/Francesco del Giocondo: MICHAEL ANTHONY MCGEE, Bass-baritone Woman/Mona Fiordalisa: PETRA MARIA SCHNITZER, Soprano Lay Brother/Giovanni de Salviati: PAUL MCNAMARA, Tenor Pietro Tumoni: JUSTIN HOPKINS, Bass-baritone Arrigo Oldofredi: ROBERT CHAFIN, Tenor Alessio Beneventi: JOHN EASTERLIN, Tenor Sandro da Luzzano: CHRISTOPHER BURCHETT, Baritone Masolino Pedruzzi: MICHAEL SCARCELLE, Bass-baritone Mona Ginevra: ILANA DAVIDSON, Soprano Dianora: LUCY FITZ GIBBON, Soprano Piccarda: KATHERINE MAYSEK, Mezzo-soprano Sisto: JOHN KAWA, Tenor BARD FESTIVAL CHORALE JAMES BAGWELL, Director This evening’s concert will run approximately two hours and 20 minutes including one 20-minute intermission. Used by arrangement with European American Music Distributors Company, sole U.S. and Canadian agent for Universal Edition Vienna, publisher and copyright owner. American Symphony Orchestra welcomes the many organizations who participate in our Community Access Program, which provides free and low-cost tickets to underserved groups in New York’s five boroughs. For information on how you can support this program, please call (212) 868-9276. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. FROM THE Music Director The Stolen Smile DVDs or pirated videos. Opera is the by Leon Botstein one medium from the past that resists technological reproduction. A concert This concert performance of Max von version still represents properly the Schillings’ 1915 Mona Lisa is the latest sonority and the multi-dimensional installment of a series of concert perfor- aspect crucial to the operatic experi- mances of rare operas the ASO has pio- ence. -
Central Opera Service Bulletin • Vol
CENTRAL OPERA SERVICE COMMITTEE Founder MRS. AUGUST BELMONT Honorary National Chairman ROBERT L. B. TOBIN National Chairman ELIHU M. HYNDMAN National Co-Chairmen MRS. NORRIS DARRELL GEORGE HOWERTON Profntional Committee KURT HERBERT ADLER BORIS GOLDOVSKY San Francisco Opera Goldovsky Opera Theatre WILFRED C. BAIN DAVID LLOYD Indiana University Lake George Opera Festival GRANT BEGLARIAN LOTFI MANSOURI University of So. California Canadian Opera Company MORITZ BOMHARD GLADYS MATHEW Kentucky Opera Association Community Opera SARAH CALDWELL RUSSELL D. PATTERSON Opera Company of Boston Lyric Opera of Kansas City TITO CAPOBIANCO MRS. JOHN DEWITT PELTZ San Diego Opera Metropolitan Opera KENNETH CASWELL EDWARD PURRINGTON Memphis Opera Theatre Tulsa Opera ROBERT J. COLLINGE GLYNN ROSS Baltimore Opera Company Seattle Opera Association JOHN CROSBY JULIUS RUDEL Santa Fe Opera New York City Opera WALTER DUCLOUX MARK SCHUBART University of Texas Lincoln Center ROBERT GAY ROGER L. STEVENS Northwestern University John F. Kennedy Center DAVID GOCKLEY GIDEON WALDROP Houston Grand Opera The Juilliard School Central Opera Service Bulletin • Vol. 21, No. 4 • 1979/80 Editor, MARIA F. RICH Assistant Editor, JEANNE HANIFEE KEMP The COS Bulletin is published quarterly for its members by Central Opera Service. For membership information see back cover. Permission to quote is not necessary but kindly note source. Please send any news items suitable for mention in the COS Bulletin as well as performance information to The Editor, Central Opera Service Bulletin, Metropolitan Opera, Lincoln Center, New York, NY 10023. Copies this issue: $2.00 |$SN 0008-9508 NEW OPERAS AND PREMIERES Last season proved to be the most promising yet for new American NEW operas, their composers and librettists. -
Carnegie Hall Rental
Friday Evening, October 26, 2012, at 8:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00 presents 50th Birthday Celebration LEON BOTSTEIN, Conductor JOHN STAFFORD SMITH The Star-Spangled Banner Arr. by LEOPOLD STOKOWSKI CHARLES IVES Symphony No. 4 Prelude: Maestoso Allegretto Fugue: Andante moderato Largo maestoso BLAIR MCMILLEN, Piano THE COLLEGIATE CHORALE Intermission GUSTAV MAHLER Symphony No. 8 in E-flat Major (“Symphony of a Thousand”) Part 1: Hymnus: Veni, Creator Spiritus Part 2: Final scene from Goethe’s Faust Part 2 Magna Peccatrix: REBECCA DAVIS, Soprano Una Poenitentium: ABBIE FURMANSKY, Soprano Mater Gloriosa: KATHERINE WHYTE, Soprano Mulier Samaritana: SUSAN PLATTS, Mezzo-soprano Maria Aegyptiaca: FREDRIKA BRILLEMBOURG, Mezzo-soprano (continued) This evening’s concerT will run approximaTely Two and a half hours, inlcuding one 20-minuTe inTermission. The Empire State Building is liT red and white this evening in honor of American Symphony Orchestra’s 50th Birthday. We would like to Thank the Empire State Building for This special honor. American Symphony Orchestra welcomes students and teachers from ASO’s arts education program, Music Notes. For information on how you can support Music Notes, visit AmericanSymphony.org. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. Dr. Marianus: CLAY HILLEY, Tenor Pater EcsTaticus: TYLER DUNCAN, Baritone Pater Profundus: DENIS SEDOV, Bass THE COLLEGIATE CHORALE JAMES BAGWELL, Director THE BROOKLYN YOUTH CHORUS DIANNE BERKUN, Director THE Program JOHN STAFFORD SMITH (Arr. by LEOPOLD STOKOWSKI) The Star-Spangled Banner Smith: Born March 30, 1750 in Gloucester, England Died September 21, 1836 in London Stokowski: Born April 18, 1882 in London Died September 13, 1977 in Nether Wallop, Hampshire, England Composed by Smith as “The Anacreontic Song” in 1775 in London Stokowski first arranged the song in 1940. -
Zombie Parsifal Kagen, Melissa the Opera Quarterly
Zombie Parsifal ANGOR UNIVERSITY Kagen, Melissa The Opera Quarterly DOI: 10.1093/oq/kbx022 PRIFYSGOL BANGOR / B Published: 30/12/2017 Peer reviewed version Cyswllt i'r cyhoeddiad / Link to publication Dyfyniad o'r fersiwn a gyhoeddwyd / Citation for published version (APA): Kagen, M. (2017). Zombie Parsifal: Undead Walkers and Post-Apocalyptic Stagings. The Opera Quarterly, 33(2), 122-139. https://doi.org/10.1093/oq/kbx022 Hawliau Cyffredinol / General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. 28. Sep. 2021 Zombie Parsifal: Undead Walkers and Post-apocalyptic Stagings melissa kagen bangor university This essay locates zombies in Wagner’s Parsifal, interpreting them within the work’s original nineteenth-century context and reading recent productions in light of contemporary zombie studies. Immediately, a question arises: why zombies? Perhaps Kundry, the wandering Jewess, could be seen as an undead wanderer. Parsifal, too, is cursed to wander past endurance, and Amfortas clearly suffers from an inconvenient and painful immortality. -
Precious Nonsense
Precious Nonsense NEWSLETTER OF THE MIDWESTERN GILBERT AND SULLIVAN SOCIETY March 1992 -- Issue 33 ✠★✡ ✠★✡ ✠★✡ ✠★✡ ✠★✡ ✠★✡ ✠★✡ ✠★✡ Her honeymoon With that buffoon At seven commences, so you shun her! Although this isn't June, this seems to be the season for engagements and brides (see the "Oh, Members" section for an explanation). There is also a wedding afoot in the Cole household: S/A Cole's brother is getting married, so for the past two months she has been occupied with helping make arrangements. That's why the Nonsense was delayed (again). But we tried to make it worth the wait. We have a couple of book reviews, a lot of production announcements, the long, long delayed Membership Cards, and even a couple of prize giveaways. So let's toddle away, with or without the Lord High Executioner. ✠★✡ ✠★✡ ✠★✡ ✠★✡ ✠★✡ ✠★✡ ✠★✡ ✠★✡ Oh, Members, How Say You, What is it What Cheer! What Cheer! {Midwest- You've Done? ern} Jeordano Martinez was responsible for the ac- Hugh Locker has reported that the Chicago radio claimed production of Mikado recently presented at station WFMT (98.7 FM) is going to be airing a com- North Central College in Naperville (Illinois). As far as plete survey of the Gilbert and Sullivan Operas during we know, this was the first substantial G&S performance April, at 1:00 on Thursday afternoons. Some of you to take place at North Central College since the 1970's, may remember a talk given at the Basingstoke! G&S so it was nice to see a return to the classics. Weekend in 1989, where the presenter lamented the fact that so little G&S was broadcast in the Chicago area. -
GREAT OPERATIC ARIAS GREAT OPERATIC ARIAS CHAN 3112 CHANDOS O PERA in ENGLISH BARRY BANKS Tenor Sings BEL CANTO ARIAS
CHAN 3112 Book Cover.qxd 20/9/06 11:02 am Page 1 GREAT OPERATIC ARIAS GREAT OPERATIC ARIAS CHAN 3112 CHANDOS O PERA IN ENGLISH BARRY BANKS BANKS BARRY tenor sings BEL CANTO ARIAS sings BEL CANTO PETER MOORES FOUNDATION CHAN 3112 BOOK.qxd 20/9/06 11:08 am Page 2 Christian Steiner Barry Banks sings Bel canto Arias 3 CHAN 3112 BOOK.qxd 20/9/06 11:08 am Page 4 Time Page Time Page Gioachino Rossini (1792–1868) Igor Stravinsky (1882–1971) from The Italian Girl in Algiers from The Rake’s Progress Lindoro’s Cavatina (Languir per una bella) Tom Rakewell’s Recitative and Aria 1 ‘In dreams of endless pleasure’ 7:16 [p. 46] 6 ‘Here I stand’ – ‘Since it is not by merit’ 2:40 [p. 48] London Philharmonic Orchestra London Philharmonic Orchestra from Stabat Mater (Cujus animam) Gaetano Donizetti (1797–1848) 2 ‘Through her soul in endless grieving’ 6:25 [p. 46] London Philharmonic Orchestra from Don Pasquale Ernesto’s Prelude and Aria (Cercherò lontana terra) from Count Ory 7 ‘Poor lost Ernesto’ – Count’s Cavatina (Que le destin prospère) 3 ‘I shall go, no more returning’ 9:47 [p. 48] ‘May destiny befriend you’ 4:38 [p. 46] London Philharmonic Orchestra London Philharmonic Orchestra from CHAN 3011(2) Don Pasquale from Moses in Egypt from The Elixir of Love Amenophis’ and Pharaoh’s Duet (Parla, spiegar non posso) Nemorino’s Romance (Una furtiva lagrima) 4 ‘The blow at last has fallen’ 7:10 [p. 46] 8 ‘Only one teardrop’ 5:14 [p. -
Style in the Music of Arthur Sullivan: an Investigation
Open Research Online The Open University’s repository of research publications and other research outputs Style in the Music of Arthur Sullivan: An Investigation Thesis How to cite: Strachan, Martyn Paul Lambert (2018). Style in the Music of Arthur Sullivan: An Investigation. PhD thesis The Open University. For guidance on citations see FAQs. c 2017 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000e13e Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk STYLE IN THE MUSIC OF ARTHUR SULLIVAN: AN INVESTIGATION BY Martyn Paul Lambert Strachan MA (Music, St Andrews University, 1983) ALCM (Piano, 1979) Submitted 30th September 2017 for the degree of Doctor of Philosophy Faculty of Arts and Social Sciences Open University 1 Abstract ABSTRACT Style in the Music of Arthur Sullivan: An Investigation Martyn Strachan This thesis examines Sullivan’s output of music in all genres and assesses the place of musical style within them. Of interest is the case of the comic operas where the composer uses parody and allusion to create a persuasive counterpart to the libretto. The thesis attempts to place Sullivan in the context of his time, the conditions under which he worked and to give due weight to the fact that economic necessity often required him to meet the demands of the market.