DOCSLIB.ORG

Spring/Summer 2017

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

News for Friends of Leonard Bernstein Spring/Summer 2017 Special Edition © ALFRED EISENSTAEDT 2 Let the Celebrations Begin 6 Musician for the World 14 In the News Inside... 4 A Multifarious Career 8 Passing the Baton 16 Looking Ahead 5 Artful Learning 12 LeonardBernstein.com 17 Some Performances SS2017_PFR_art(20RE)_draft2.indd 1 3/31/17 4:24 PM Let the Celebrations Begin! eonard Bernstein at 100! What a by Jamie Bernstein and Age of Anxiety, explored the trou- Lpriceless and unrepeatable oppor- Craig Urquhart bling times of the 1940s. His musical tunity to share his legacy with those Candide was devised as a protest who experienced him in his lifetime, ugust 25, 2018 will against the evils of McCarthyism as well as to introduce him to the next be the 100th Birthday of in the 1950s. West Side Story con- fronted head-on the ramifications of generation. People and organizations Leonard Bernstein. Yes, 100 — though it seems like bigotry and prejudice. His prophetic all over the world are cooking up a A only yesterday that he was among us, MASS from 1971, which examines myriad exciting presentations for sharing his prodigious gifts. a war-torn nation’s crisis of faith, the celebration — as this special issue Leonard Bernstein’s range of brings together musical styles as clearly indicates. accomplishments was uniquely diverse as America itself. For those of you who had the good broad; as a composer, educator, con- Bernstein’s legacy as a conduc- fortune of experiencing Leonard ductor, political activist and more, tor is unequaled. Its very beginning Bernstein firsthand, we have a very he was a significant contributor to is now legend: on November 14, special request for you: the cultural life of the 20th century. 1943, Bernstein stepped in for ailing In the new millennium, his legacy conductor Bruno Walter at the last Please participate in the resonates more than ever. minute, creating a sensation and Leonard Bernstein Memory As a theatre composer, Bernstein appearing on the front page of The Project! and his collaborators brought us New York Times the next morning. So many of you who experienced such outstanding shows as On The From that Cinderella-like debut, Leonard Bernstein up close have a Town, Wonderful Town, West Side Bernstein went on to conduct the story to tell. The Memory Project Story and Candide. As a composer great orchestras of the world for over hopes to collect them and build for the concert hall, Bernstein’s four decades, creating along the way a unique digital memorial to the scores boldly united diverse musical a priceless trove of audio and video recordings, which together comprise Maestro. elements at a time when it was unpopular to do so. His courage a masterwork of the symphonic rep- You can submit anything from a in mixing genres paved the way for ertoire as a whole. brief audio account, to a photo of a future generations of composers to As an educator who understood memento, to a written description of take similar risks. the power of television, Bernstein, a personal experience. We know there Bernstein’s compositions em- with The New York Philharmonic, are thousands of you out there with braced the world he lived in. For brought orchestral music directly such stories! Please share them with example, his Symphony No. 2: The into the living rooms of families us, so that we can help share them with the rest of the world. DON HUNSTEIN You can submit them to the link below, or, if you prefer the old-fash- ioned forms of communication, you may send your contribution to us through the mail, to this very pub- lication. The address is on the back Prelude, Fugue & Riffs Prelude, page. (Remember to include a written permission for us to share it on our website.) We look forward to hearing from you! And we hope all you readers will enjoy many of the upcoming events cel- Spring/Summer 2017 ebrating Leonard Bernstein at 100. LeonardBernstein.com/memories J.B. ■ Leonard Bernstein at the piano. Photo by, and in loving memory of, photographer Don Hunstein who passed away on March 18, 2017. 2 SS2017_PFR_art(20RE)_draft2.indd 2 3/31/17 4:24 PM COURTESY OF THE NEW YORK PHILHARMONIC LEON LEVY ARCHIVES DIGITAL across America and around the Let the Celebrations Begin! world. Several generations were inspired and motivated by the Young People’s Concerts with the New York Philharmonic — programs that still set the standard for music education that engages, delights, and enter- tains. Bernstein’s lifelong method of using the arts as a springboard for acquiring all kinds of knowl- edge lives on in the educational reform model Artful Learning. The model, developed by Bernstein’s son Alexander, is being used in scores of schools around the United States. Not only do Artful Learning stu- dents acquire knowledge; they retain that knowledge by learning how to think creatively. Through his music-making, Leonard Bernstein found innu- merable ways to speak out against the injustices of the world. Over the decades, his music — as well as his own voice — advocated coura- © OF NYC COMMERCE DEPARTMENT AND EVENTS Town in Germany and Austria; and Leonard Bernstein geously for causes from civil rights performances of MASS in London, with students to anti-fascism to AIDS awareness. Paris, Los Angeles, Glasgow, (above) and His role as a citizen-artist provides addressing a rally and Austin among other cities. an inspiring model for the politically at New York City Bernstein’s opera A Quiet Place engaged artists of today. Hall. (left). will be presented in Vienna and The official Leonard Bernstein Budapest. In addition, the Grammy®® ® at 100 celebrations will begin in Museum is preparing a major the autumn of 2017, continuing Leonard Bernstein exhibition which through August 25, 2019. An official will travel to a number of cities in the kick-off at the Kennedy Center this United States. September marks the beginning of The Leonard Bernstein Office the worldwide festivities, events, and is beyond excited to welcome every- reflections about Bernstein’s life. one to participate in this global Festive concerts will take place celebration. We look forward to in cities Bernstein held dear to will pay special attention to his hearing from you and working with his heart — New York, Boston, contributions. you to make Leonard Bernstein at Philadelphia, Washington D. C., Bernstein’s principal recording 100 grand, memorable, and — to use Los Angeles, San Francisco — and companies, Sony and Deutsche one of Leonard Bernstein’s favorite in additional cities such as Austin, Grammophon, are issuing com- words — fun. ■ Atlanta, Houston, Tucson and many memorative box sets and remastered others. Bernstein was a man of the recordings. There will also be new Fugue & Riffs Prelude, globe, and so there will be major recordings of Bernstein’s music, Leonard Bernstein’s range events in London, Paris, Berlin, performed by the successive gener- Vienna, Prague, Rome, Budapest, ations of musicians he inspired. In of accomplishments Warsaw, as well as in Japan, China, addition, there are several documen- India, Brazil, Australia and Israel – tary films in the making, covering was uniquely broad; as and the list goes on. a broad range of topics in his life. The three music festivals with Bernstein’s musicals will receive a composer, educator, Spring/Summer 2017 which Leonard Bernstein was revivals throughout the world, closely associated — Tanglewood, including a worldwide tour of the conductor, political activist The Schleswig Holstein Music acclaimed BB Promotion’s West Side Festival and Pacific Music Festival — Story; productions of Wonderful and more... 3 SS2017_PFR_art(20RE)_draft2.indd 3 3/31/17 4:24 PM Reflections on a Multifarious Career © UNITED PRESS INTERNATIONAL inspiring, sometimes dismaying suc- released to Milan to conduct Maria cession of people who have inhabit- Callas in Medea. Such were the ed the White House. times. His patriotism was unmistak- In years to come, when people able, yet it was always an idealistic suffering from a horrible new dis- patriotism. Simply put, Bernstein ease called AIDS were shunned wanted the United States to live up and even turned away by hospitals, to its aspirations — and he was confi- Bernstein was a founding and deci- dent enough to speak his mind when sive member of “Music for Life,” he was disappointed. Like many which presented memorable con- people of his era, he had been cap- certs at Carnegie Hall to support the tivated by the Popular Front in the brave early efforts of doctors deter- 1930’s, and subsequently impressed mined to fight the virus. To the end by the tenacity with which the Soviet of his life, he continued to speak out Union had repelled the Nazis. (Let on subjects ranging from the global us not forget that the Gulag was all- threat of nuclear escalation to the but-unknown to most Americans economic policies of the Reagan era. Leonard Bernstein by Tim Page for another quarter century.) When the Berlin Wall came and The National Bernstein’s youthful enthusiasm led down in the middle of a warm Symphony ore than any other American to membership in several left wing November night, prompting the end Orchestra musician, Leonard Bernstein organizations during the 1940s, of communism’s long domination of performing M which in turn led to an FBI file that Eastern Europe (and, soon enough, Haydn's Mass in exemplified the tradition of the the Time of War “homme engagé” — that of a celebrat- grew to 800 pages by the 1980s. the fall of the Soviet Union), it had at the National ed creator and intellectual who will Within that file, one could also to be Leonard Bernstein who led the Cathedral, 1971.
Recommended publications
  • Sir John Eliot Gardiner Conductor Stravinsky Symphony in Three Movements = 160 Andante—Interlude:Q L’Istesso Tempo— Con Moto Elgar in the South (Alassio), Op

    Sir John Eliot Gardiner Conductor Stravinsky Symphony in Three Movements = 160 Andante—Interlude:Q L’Istesso Tempo— Con Moto Elgar in the South (Alassio), Op

    Program OnE HundrEd TwEnTIETH SEASOn Chicago Symphony orchestra riccardo muti Music director Pierre Boulez Helen regenstein Conductor Emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, January 20, 2011, at 8:00 Saturday, January 22, 2011, at 8:00 Sir John Eliot gardiner Conductor Stravinsky Symphony in Three Movements = 160 Andante—Interlude:q L’istesso tempo— Con moto Elgar In the South (Alassio), Op. 50 IntErmISSIon Bartók Concerto for Orchestra Introduzione: Andante non troppo—Allegro vivace Giuoco delle coppie: Allegro scherzando Elegia: Andante non troppo Intermezzo interrotto: Allegretto Finale: Presto Steinway is the official piano of the Chicago Symphony Orchestra. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. CommEntS by PHILLIP HuSCHEr Igor Stravinsky Born June 18, 1882, Oranienbaum, Russia. Died April 6, 1971, New York City. Symphony in three movements o composer has given us more Stravinsky is again playing word Nperspectives on a “symphony” games. (And, perhaps, as has than Stravinsky. He wrote a sym- been suggested, he used the term phony at the very beginning of his partly to placate his publisher, who career (it’s his op. 1), but Stravinsky reminded him, after the score was quickly became famous as the finished, that he had been com- composer of three ballet scores missioned to write a symphony.) (Petrushka, The Firebird, and The Rite Then, at last, a true symphony: in of Spring), and he spent the next few 1938, Mrs. Robert Woods Bliss, years composing for the theater and together with Mrs.
  • Jean-Guihen Queyras Violoncello

    Jean-Guihen Queyras Violoncello

    JEAN-GUIHEN QUEYRAS VIOLONCELLO Biography Curiosity, diversity and a firm focus on the music itself characterize the artistic work of Jean- Guihen Queyras. Whether on stage or on record, one experiences an artist dedicated completely and passionately to the music, whose humble and quite unpretentious treatment of the score reflects its clear, undistorted essence. The inner motivations of composer, performer and audience must all be in tune with one another in order to bring about an outstanding concert experience: Jean-Guihen Queyras learnt this interpretative approach from Pierre Boulez, with whom he established a long artistic partnership. This philosophy, alongside a flawless technique and a clear, engaging tone, also shapes Jean-Guihen Queyras’ approach to every performance and his absolute commitment to the music itself. His approaches to early music – as in his collaborations with the Freiburg Baroque Orchestra and the Akademie für Alte Musik Berlin – and to contemporary music are equally thorough. He has given world premieres of works by, among others, Ivan Fedele, Gilbert Amy, Bruno Mantovani, Michael Jarrell, Johannes-Maria Staud, Thomas Larcher and Tristan Murail. Conducted by the composer, he recorded Peter Eötvös’ Cello Concerto to mark his 70th birthday in November 2014. Jean-Guihen Queyras was a founding member of the Arcanto Quartet and forms a celebrated trio with Isabelle Faust and Alexander Melnikov; the latter is, alongside Alexandre Tharaud, a regular accompanist. He has also collaborated with zarb specialists Bijan and Keyvan Chemirani on a Mediterranean programme. The versatility in his music-making has led to many concert halls, festivals and orchestras inviting Jean-Guihen to be Artist in Residence, including the Concertgebouw Amsterdam and the Festival d’Aix-en-Provence, Vredenburg Utrecht, De Bijloke Ghent and the Orchestre Philharmonique de Strasbourg.
  • Stravinsky, Tempo, and Le Sacre Erica Heisler Buxbaum

    Stravinsky, Tempo, and Le Sacre Erica Heisler Buxbaum

    Performance Practice Review Volume 1 Article 6 Number 1 Spring/Fall Stravinsky, Tempo, and Le Sacre Erica Heisler Buxbaum Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Musicology Commons, Music Performance Commons, and the Music Practice Commons Buxbaum, Erica Heisler (1988) "Stravinsky, Tempo, and Le Sacre," Performance Practice Review: Vol. 1: No. 1, Article 6. DOI: 10.5642/ perfpr.198801.01.6 Available at: http://scholarship.claremont.edu/ppr/vol1/iss1/6 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Stravinsky, Tempo, and Le sacre Erica Heisler Buxbaum Performing the works of Igor Stravinsky precisely as he intended would appear to be an uncomplicated matter: Stravinsky notated his scores in great detail, conducted recorded performances of many of his works, and wrote commentaries that contain a great deal of specific performance information. Stravinsky's recordings and published statements, however, raise as many questions as they answer about the determination of tempo and the documentary value of recordings. Like Wagner, Stravinsky believed that the establishment of the proper tempo for a work was crucial and declared that "a piece of mine can survive almost anything but wrong or uncertain tempo." Stravinsky notated his tempi precisely with both Italian words and metronome markings and asserted on many occasions that the primary value of his recordings was that they demonstrated the proper tempi for his works.
  • The Universi ~

    The Universi ~

    The Universi ~ Presents THE CLEVELAND ORCHESTRA PIERRE BOULEZ, Conductor WEDNESDAY EVENING, DECEMBER 8, 1971 , AT 8:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM "J eux" (Games) DEBUSSY "The Miraculous Mandarin" (Complete Music of the Ballet-Pantomime) INTERMISSION Symphony No.3 in E-flat major, Op. 97 ("Rhenish") SCHUMANN Lebhaft Scherzo : seh r massig Nicht schnell Feierlich Lebhaft Columbia, Epic, and Angel R eco rds The Cleveland Orchestra has appeared here on twenty-three previous occasions since 1935 . Fourth Concert Ninety-third Annual Choral Union Series Complete Programs 3753 PROGRAM OTES "Jeux" (Games ) C LAUDE DEBUSSY Debussy composed felix in 1912, on an idea and scenario by the dancer Vaslav Nijinsky. It was produced on May 15, 1913, at the TIt/3d.tre des Champs Elysees, Paris, by the Ballets Russes of Sergei Diaghilev. The choreography was by Nijinsky, who also danced the role of the Young Man. f elix is Debussy's most "modern" composition, the most advanced in method and style , the most prophetic of such future d ~ vcJopm e nt s as the pointillism of Webern and the search for new sonorities by electronic means. The characteristic whole-tone scale of Debussy is here employed toward almost atonal ends. The gigantic orchestral apparatus is used with the utmost eco nomy as well as imagina­ tive subtlety. It is interesting to lea rn that the conductor of the present performances, Pierre Boulez, studied f eliX with special care when he was a student of Oliver Messiaen. For the sake of historical correctness, one must give the "argument" that was published at the time of the premiere, the synopsis of the action as conceived by Nijinsky and transformed into sound by Debussy.
  • A Listening Guide for the Indispensable Composers by Anthony Tommasini

    A Listening Guide for the Indispensable Composers by Anthony Tommasini

    A Listening Guide for The Indispensable Composers by Anthony Tommasini 1 The Indispensable Composers: A Personal Guide Anthony Tommasini A listening guide INTRODUCTION: The Greatness Complex Bach, Mass in B Minor I: Kyrie I begin the book with my recollection of being about thirteen and putting on a recording of Bach’s Mass in B Minor for the first time. I remember being immediately struck by the austere intensity of the opening choral singing of the word “Kyrie.” But I also remember feeling surprised by a melodic/harmonic shift in the opening moments that didn’t do what I thought it would. I guess I was already a musician wanting to know more, to know why the music was the way it was. Here’s the grave, stirring performance of the Kyrie from the 1952 recording I listened to, with Herbert von Karajan conducting the Vienna Philharmonic. Though, as I grew to realize, it’s a very old-school approach to Bach. Herbert von Karajan, conductor; Vienna Philharmonic (12:17) Today I much prefer more vibrant and transparent accounts, like this great performance from Philippe Herreweghe’s 1996 recording with the chorus and orchestra of the Collegium Vocale, which is almost three minutes shorter. Philippe Herreweghe, conductor; Collegium Vocale Gent (9:29) Grieg, “Shepherd Boy” Arthur Rubinstein, piano Album: “Rubinstein Plays Grieg” (3:26) As a child I loved “Rubinstein Plays Grieg,” an album featuring the great pianist Arthur Rubinstein playing piano works by Grieg, including several selections from the composer’s volumes of short, imaginative “Lyrical Pieces.” My favorite was “The Shepherd Boy,” a wistful piece with an intense middle section.
  • Pierre Boulez Rituel

    Pierre Boulez Rituel

    PROGRAM NOTES by Phillip Huscher Pierre Boulez Born March 26, 1925, Montbrison, France. Currently resides in Paris, France. Rituel (In memoriam Bruno Maderna) Boulez composed this work in 1974 and 1975, and conducted the first performance on April 2, 1975, in London. The score calls for three flutes and two alto flutes, three oboes and english horn, three clarinets, E- flat clarinet and bass clarinet, alto saxophone, four bassoons, six horns, four trumpets, four trombones, six violins, two violas, two cellos, and a percussion battery consisting of tablas, japanese bells, woodblocks, japanese woodblock, maracas, tambourine, sizzle cymbal, turkish cymbal, chinese cymbal, cow bells, snare drums (with and without snares), guiros, bongo, claves, maracas-tubes, triangles, hand drums, castanets, temple blocks, tom-toms, log drum, conga, gongs, and tam-tams. Performance time is approximately twenty- five minutes. Bruno Maderna died on November 13, 1973. For many years he had been a close friend of Pierre Boulez (and a true friend of all those involved in new music activities) and a treasured colleague; like Boulez, he had made his mark both as a composer and as a conductor. “In fact, to get any real idea of what he was like as a person,” Boulez wrote at the time of his death, “the conductor and the composer must be taken together; for Maderna was a practical person, equally close to music whether he was performing or composing.” In 1974 Boulez began Rituel as a memorial piece in honor of Maderna. (In the catalog of his works, Rituel follows . explosante-fixe . ., composed in 1971 as a homage to Stravinsky.) The score was completed and performed in 1975.
  • Philharmonic Au Dito R 1 U M

    Philharmonic Au Dito R 1 U M

    LUBOSHUTZ and NEMENOFF April 4, 1948 DRAPER and ADLER April 10, 1948 ARTUR RUBINSTEIN April 27, 1948 MENUHIN April 29, 1948 NELSON EDDY May 1, 1948 PHILHARMONIC AU DITO R 1 U M VOL. XLIV TENTH ISSUE Nos. 68 to 72 RUDOLF f No S® Beethoven: S°"^„passionala") Minor, Op. S’ ’e( MM.71l -SSsr0*“” « >"c Beethoven. h6tique") B1DÛ SAYÂO o»a>a°;'h"!™ »no. Celeb'“’ed °P” CoW»b» _ ------------------------- RUOOtf bKch . St«» --------------THE pWUde'Pw»®rc’^®®?ra Iren* W°s’ „„a olh.r,„. sr.oi «■ o'--d s,°3"' RUDOLF SERKIN >. among the scores of great artists who choose to record exclusively for COLUMBIA RECORDS Page One 1948 MEET THE ARTISTS 1949 /leJ'Uj.m&n, DeLuxe Selective Course Your Choice of 12 out of 18 $10 - $17 - $22 - $27 plus Tax (Subject to Change) HOROWITZ DEC. 7 HEIFETZ JAN. 11 SPECIAL EVENT SPECIAL EVENT 1. ORICINAL DON COSSACK CHORUS & DANCERS, Jaroff, Director Tues. Nov. 1 6 2. ICOR CORIN, A Baritone with a thrilling voice and dynamic personality . Tues. Nov. 23 3. To be Announced Later 4. PATRICE MUNSEL......................................................................................................... Tues. Jan. IS Will again enchant us-by her beautiful voice and great personal charm. 5. MIKLOS GAFNI, Sensational Hungarian Tenor...................................................... Tues. Jan. 25 6. To be Announced Later 7. ROBERT CASADESUS, Master Pianist . Always a “Must”...............................Tues. Feb. 8 8. BLANCHE THEBOM, Voice . Beauty . Personality....................................Tues. Feb. 15 9. MARIAN ANDERSON, America’s Greatest Contralto................................. Sun. Mat. Feb. 27 10. RUDOLF FIRKUSNY..................................................................................................Tues. March 1 Whose most sensational success on Feb. 29 last, seated him firmly, according to verdict of audience and critics alike, among the few Master Pianists now living.
  • Choral Union Concert Series

    Choral Union Concert Series

    UNIVERSITY MUSICAL SOCIETY Charles A. Sink, President Thor Johnson, Guest Conductor Lester McCoy, Associate Conductor Eighth Concert 1950-1951 Complete Series 3050 Seventy-second Annual Choral Union Concert Series CHICAGO SYMPHONY ORCHESTRA RAFAEL KUBELIK, Conductor SUNDAY EVENING, MARCH 4, 1951 AT 8:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Overture to "The School for Scandal" BARBER Symphony No. 1 in D major, Op. 60 DVORAK Allegro non tanto * Adagio Scherzo (furient) Finale—allegro con spirito INTERMISSION Theme and Four Variations ("The Four Temperaments") for String Orchestra and Piano HINDEMITH Theme Variation No. 1: Melancholic Variation No. 2: Sanguine Variation No. 3: Phlegmatic Variation No. 4: Choleric GEORGE SCHICK at the Piano Prelude to "The Mastersingers of Nuremberg" .... WAGNER The Chicago Symphony Orchestra uses the Baldwin piano, and records exclusively for R.CA. Victor. NOTE.—The University Musical Society has presented the Chicago Symphony Orchestra on pre­ vious occasions as follows: Choral Union Series, Theodore Thomas, conductor (8); in thirty-one May Festivals (1905-1935 inclusive), and in the Choral Union Series, Nov. 2, 1936 and Nov. 30, 1941, Frederick Stock, conductor; Mar. 19, 1945, Jan. 31, 1946, and Mar. 16, 1947, Desire Defauw, conductor; Oct. 26, 1947, Artur Rodzinski, conductor; Mar. 27, 1949, Fritz Busch, Guest Conductor; and Mar. 12, 1950, Fritz Reiner, Guest Conductor. ARS LONGA VITA BREVIS PROGRAM NOTES By FELIX BOROWSKI (Taken from the Program Book of the Chicago Symphony Orchestra) Overture to "The School for Scandal" .... SAMUEL BARBER The overture to "The School for Scandal" was composed in 1932 and was per­ formed for the first time at a summer concert of the Philadelphia Orchestra at Robin Hood Dell, Philadelphia, August 30, 1933.
  • Così Fan Tutte

    Così Fan Tutte

    Wolfgang Amadeus Mozart Così fan tutte CONDUCTOR Opera in two acts James Levine Libretto by Lorenzo Da Ponte PRODUCTION Lesley Koenig Saturday, April 26, 2014, 1:00–4:40 pm SET & COSTUME DESIGNER Michael Yeargan LIGHTING DESIGNER Duane Schuler STAGE DIRECTOR Robin Guarino This production of Così fan tutte was made possible by a generous gift from Alberto Vilar. Additional funding was provided by the Metropolitan Opera Club; the Denenberg Foundation, in honor of Dan Denenberg; The DuBose and Dorothy Heyward Memorial Fund; and the late Mr. and Mrs. Samuel L. Tedlow. The revival of this production is made possible GENERAL MANAGER Peter Gelb by a gift from DOLCE & GABBANA. MUSIC DIRECTOR James Levine PRINCIPAL CONDUCTOR Fabio Luisi 2013–14 Season The 184th Metropolitan Opera performance of Wolfgang Amadeus Mozart’s Così fan tutte This performance is being broadcast live over The Conductor Toll Brothers– James Levine Metropolitan Opera International IN ORDER OF VOCAL APPEARANCE Radio Network, sponsored by Ferrando Toll Brothers, Matthew Polenzani America’s luxury homebuilder®, with Guglielmo generous long-term Rodion Pogossov* support from Don Alfonso The Annenberg Maurizio Muraro Foundation, The Neubauer Family Fiordiligi Foundation, the Susanna Phillips Vincent A. Stabile Endowment for Dorabella Broadcast Media, Isabel Leonard and contributions from listeners Despina worldwide. Danielle de Niese* This performance is Cello Continuo also being broadcast David Heiss live on Metropolitan Opera Radio on Harpsichord Continuo SiriusXM channel 74. Howard Watkins* Saturday, April 26, 2014, 1:00–4:40 pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation.
  • J2P and P2J Ver 1

    J2P and P2J Ver 1

    club activities has been formed continues to latch on to inde- at MGM -Verve, including liai- pendent label product as they Club Picture Sharpens son offices on both the East and become hot. A prominent exam- West Coast. MGM artists who'll ple is Tamla- Motown, which the Continued from page ata Tebaldi, Birgit Nilsson, Ni- be available through the record Columbia club handles on a uso colai Ghiarunov, Mario del club include Roy Orbison, Sam nonexclusive basis. and its affiliated labels such as Monaco and Marilyn Horne. the Sham and the Pharaohs, the AQOQO! Command and Westminster. Animals, Herman's Hermits, Most of the important record MGM's deal with the Capitol Tie With London Connie Francis, Johnny Tillot- companies have already com- The Victor club's tie with club includes all product by mitted themselves to one club MGM, Verve and Folkways with son, Hank Williams and Erroll London gives it access to one of Garner, who recently joined the or another on an exclusive or the exception of artists whose the largest of the recorded opera label. Verve artists in the club nonexclusive basis. A notable well a contract prohibits it. MGM Rec- catalogs as as flock of include Stan Getz, Jimmy Smith, exception is Atlantic -Atco Rec- potent pop sellers. London has ords President Mort L. Nasatir ords. The clubs have indicated emphasized that none of the ex- Ella Fitzgerald, Astrud Gilberto about 200 items in its operatic and Cal Tjader. interest in the Atlantic -Atco catalog which features such ceptions were significant artists. product but the firm has yet to names as Joan Sutherland, Ren- A special division to handle The Columbia club, meantime, commit itself.
  • Central Opera Service Bulletin • Vol

    Central Opera Service Bulletin • Vol

    CENTRAL OPERA SERVICE CONFERENCE/BULLETIN Volume 27, Number 1 CENTRAL OPERA SERVICE NATIONAL CONFERENCE AN INTERNATIONAL SYMPOSIUM la The MetropotttM Opera GaiM'* Fiftieth AwUveray New York - NoTfber Iud2, 015 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center • Metropolitan Opera • New York, NY. 10023 • (212) 799-3467 I i ; i Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center • Metropolitan Opera • New York, N.Y. 10023 • (212)799-346? CENTRAL OPERA SERVICE Volume 27, Number 1 Spring/Summer 1986 CENTRAL OPERA SERVICE NATIONAL CONFERENCE AN INTERNATIONAL SYMPOSIUM In Collaboration With "Opera News" Celebrating The Metropolitan Opera Guild's Fiftieth Anniversary New York - November 1 and 2,1985 This is the special COS Conference issue. The next number will be again a regular news issue with the customary variety of subjects and a performance listing. CENTRAL OPERA SERVICE COMMITTEE Founder MRS. AUGUST BEL MONT (1879-1979) Honorary National Chairman ROBERT L.B. TOBIN National Chairman MRS. MARGO H. B1NDHARDT National Vice Chairman MRS. MARY H. DARRELL Central Opera Service Bulletin • Vol. 27, No. 1 • Spring/Summer 1986 Editor: MARIA F. RICH Assistant Editor: CHERYL KEMPLER Editorial Assistants: LISA VOLPE-REISSIG FRITZI BICKHARDT NORMA LITTON The COS Bulletin is published quarterly for its members by Central Opera Service. 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: $12.00 Regular news issues: $3.00 ISSN 0008-9508 TABLE OF CONTENTS Friday, November 1, 1985 WELCOME 1 Margo H.
  • Lise Lindstromin Conversation from London, Via Zoom, with Dr Robert Mitchell

    Lise Lindstromin Conversation from London, Via Zoom, with Dr Robert Mitchell

    Thursday 11 February 2021, 8 – 9.30pm: Lise Lindstromin conversation from London, via Zoom, with Dr Robert Mitchell Report by Minnie Biggs There was yet another excellent turnout (nearly 40) of Society members and guests to meet Lise Lindstrom in London on Zoom. A great follow up to Susan Bullock’s talk. And yet another Puccini to Wagner journey (but Turandot rather than Butterfly). Perhaps not so surprising given the similarity of their voices. Lise came from California and both of her parents were singers. In fact, she made her debut as Donna Anna - her father was the Commendatore - with the Berkeley Opera in California. Interestingly, her first real teacher was the beautifully named Met Opera star Blanche Thebom who came from Ohio, middle America. Like Susan Bullock, it took a long time for Lise to find her voice, no one knew quite what to do with it, until Turandot was suggested and initially resisted and finally turned out to be the perfect match. She has sung all the different endings of Turandot. Lise paid tribute to director Graham Vick, who taught her how to analyse every phrase to give deep meaning to the words to make the characters believable. After Turandot Lise continued with the great Strauss roles, Electra and Salome, and finally Brünnhilde in Melbourne in 2016. Lise spoke warmly of the collegiality and enthusiasm of the Melbourne company. We will be able to hear her Brünnhilde again in the OA Ring in Brisbane in November. When asked her dream role not yet performed: Minnie in La fanciulla del West.