Verdi Chorus to Present Spring Concert in April
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Grade 10 Music LM 4
DOWNLOAD K-12 MATERIALS AT DEPED TAMBAYAN20th and 21st Century Multimedia Forms richardrrr.blogspot.com Quarter IV: 20th AND 21st CENTURY MULTIMEDIA FORMS CONTENT STANDARDS The learner demonstrates understanding of... 1. Characteristic features of 20th and 21st century opera, musical play, ballet, and other multi-media forms. 2. The relationship among music, technology, and media. PERFORMANCE STANDARDS The learner... 1. Performs selections from musical plays, ballet, and opera in a satisfactory level of performance. 2. Creates a musical work, using media and technology. DEPEDLEARNING COMPETENCIES COPY The learner... 1. Describes how an idea or story in a musical play is presented in a live performance or video. 2. Explains how theatrical elements in a selected part of a musical play are combined with music and media to achieve certain effects. 3. Sings selections from musical plays and opera expressively. 4. Creates/improvises appropriate sounds, music, gestures, movements, and costumes using media and technology for a selected part of a musical play. 5. Presents an excerpt from a 20th or 21st century Philippine musical and highlights its similarities and differences to other Western musical p l a y s . From the Department of Education curriculum for MUSIC Grade 10 (2014) 141 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office. MUSIC Quarter IV OPERA IN THE PHILIPPINES he emergence of the Filipino opera started to take shape during the middle part of Tthe 19th century. Foreign performers, including instrumental virtuosi, as well as opera singers and Spanish zarzuela performers came to the country to perform for enthusiastic audiences. -
Lectures and Community Engagement 2017–18 About the Metropolitan Opera Guild
Lectures and Community Engagement 2017 –18 About the Metropolitan Opera Guild The Metropolitan Opera Guild is the world’s premier arts educa- tion organization dedicated to enriching people’s lives through the magic and artistry of opera. Thanks to the support of individuals, government agencies, foundations, and corporate sponsors, the Guild brings opera to life both on and off the stage through its educational programs. For students, the Guild fosters personal expression, collaboration, literacy skills, and self-confidence with customized education programs integrated into the curricula of their schools. For adults, the Guild enhances the opera-going experience through intensive workshops, pre-performance talks, and community outreach programs. In addition to educational activities, the Guild publishes Opera News, the world’s leading opera magazine. With Opera News, the Guild reaches a global audience with the most insightful and up-to-date writing on opera available anywhere, helping to maintain opera as a thriving, contemporary art form. For more information about the Metropolitan Opera Guild and its programs, visit metguild.org. Additional information and archives of Opera News can be found online at operanews.com. How to Use This Booklet This brochure presents the 2017–18 season of Lectures and Community Programs grouped into thematic sections—programs that emphasize specific Met performances and productions; courses on opera and its history and culture; and editorial insights and interviews presented by our colleagues at Opera News. Courses of study are arranged chronologically, and learners of all levels are welcome. To place an order, please call the Guild’s ticketing line at 212.769.7028 (Mon–Fri 10AM–4PM). -
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. -
Download Booklet
559274 bk Ives US 9/15/08 1:31 PM Page 16 Also available: AMERICAN CLASSICS Charles IVES Songs • 6 Tarrant Moss They are There! 8.559272 8.559273 Thoreau To Edith Walt Whitman Get this free download from Classicsonline! Macdowell: 3 Songs, Op. 60, No. 2: Fair Springtide West London Copy this Promotion Code Nax4tdaQpDvH and go to http://www.classicsonline.com/mpkey/macd7_main. Downloading Instructions 1 Log on to Classicsonline. If you do not have a Classicsonline account yet, please register at Yellow Leaves http://www.classicsonline.com/UserLogIn/SignUp.aspx. 2 Enter the Promotion Code mentioned above. 3 On the next screen, click on “Add to My Downloads”. Various Artists 8.559274 16 559274 bk Ives US 9/15/08 1:31 PM Page 2 1 Tarrant Moss (Text: Rudyard Kipling) (1902) 0:34 ^ Vote for Names! Names! Names! (Ives) (1912) 0:53 Ryan MacPherson, Tenor • Douglas Dickson, Piano Ryan MacPherson, Tenor • Douglas Dickson, Also available: 2 There is a Certain Garden (Anon.) (1897) 1:48 Laura Garritson, Eric Trudel, Pianos Tamara Mumford, Mezzo-soprano & The Waiting Soul (John Newton) (1908) 2:38 Douglas Dickson, Piano Tamara Mumford, Mezzo-soprano 3 There is a Lane (Ives) (1902) 1:11 Douglas Dickson, Piano Kenneth Tarver, Tenor • Douglas Dickson, Piano * Walking (Ives) (1900) 2:44 4 They are There! (Ives) (1942) 2:49 Michael Cavalieri, Baritone • Douglas Dickson, Piano Sara Jakubiak, Lielle Berman, Amanda Ingram, Rebecca ( Walt Whitman (Walt Whitman) (1921) 1:02 Ringle, Michael Cavalieri, Daniel Bircher, Diego Ryan MacPherson, Tenor • Eric Trudel, Piano Matamoros, Unison voices • Douglas Dickson, Piano ) Waltz (Michael Nolan / Ives) (1894) 1:32 5 The Things our Fathers Loved (Ives) (1917) 1:33 Patrick Carfizzi, Baritone • J. -
PACO164 Front.Std
[Q]oi© □ PACO 164 DIGITAL AUDIO Beecham ,..;., PACO 164 ., Puccini: La Boheme '\, , , This 1956 recording of Lo Boheme continues to stand out in the catalogue. Soloists and conductor combined to create a classic of recorded opera oozing with musicality. This remarkable achievement occurred -despite the cast and conductor having little rehearsa l time or previous col laborations to fa ll back on. This was the only time PabYm~(!_t\ Beecham and Bjiirling worked together, and while Bjiirling and de los Angeles had recorded Pogliocci in 1953 and I ,, \ appeared in four performances of Faust at the Metropolitan the same year, they never sang in a performance of Lo Boheme on the same stage. ,~ Rodolfo was Jussi Bjiirling's most frequent stage role (with 114 performances) and it lasted the longest in his repertoire (1934-1960). In an opera packed with memorable tunes Rodolfo has many of them and Bjiirling's truly \ beautiful voice captures the poetic tenderness of the exchanges with Mimi in act one before easing into the rodolfo Jussi bjorling .. lyricism needed for the aria and closing duet. As someone not particularly renowned for his stage acting, it is to our ) benefit that Bjiirling does all his acting with his voice. As the tragedy of Mimi's illness unfolds Bjiirling is able to mimi victoria de los angeles expose Rodolfo's despair simply via his vocal timbre and co louring. On ly the hard-hearted can listen to act four marcello robert merrill ~ · without a tear and those who persist in thinking as Bjiirling as a 'cold' singer are surely disproved by this display of true Italianate style. -
Verdi, Moffo, Bergonzi, Verrett, Macneil, Tozzi
Verdi Luisa Miller mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Luisa Miller Country: Italy Released: 1965 Style: Opera MP3 version RAR size: 1127 mb FLAC version RAR size: 1383 mb WMA version RAR size: 1667 mb Rating: 4.8 Votes: 183 Other Formats: WMA DXD DTS MP2 MMF ASF AU Tracklist A1 Overture A2 Act I (Part I) B Act I (Concluded) C Act II (Part I) D Act II (Concluded) E Act III (Part I) F Act III (Concluded) Credits Baritone Vocals [Miller] – Cornell MacNeil Bass Vocals [Count Walter] – Giorgio Tozzi Bass Vocals [Wurm] – Ezio Flagello Chorus – RCA Italiana Opera Chorus Chorus Master – Nino Antonellini Chorus Master [Assistant] – Giuseppe Piccillo Composed By – Verdi* Conductor – Fausto Cleva Conductor [Assistant] – Fernando Cavaniglia, Luigi Ricci Engineer – Anthony Salvatore Libretto By – Salvatore Cammarano Libretto By [Translation] – William Weaver* Liner Notes – Francis Robinson Mezzo-soprano Vocals [Federica] – Shirley Verrett Mezzo-soprano Vocals [Laura] – Gabriella Carturan Orchestra – RCA Italiana Opera Orchestra Producer – Richard Mohr Soprano Vocals [Luisa] – Anna Moffo Sound Designer [Stereophonic Stage Manager] – Peter F. Bonelli Tenor Vocals [A Peasant] – Piero De Palma Tenor Vocals [Rodolfo] – Carlo Bergonzi Notes Issued with 40-page booklet containing credits, liner notes, photographs and libretto in Italian with English translation Other versions Category Artist Title (Format) Label Category Country Year Verdi*, Moffo*, Verdi*, Moffo*, Bergonzi*, Verrett*, Bergonzi*, MacNeil*, Tozzi*, Verrett*, -
Verdi Aïda (Highlights) Mp3, Flac, Wma
Verdi Aïda (Highlights) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical / Stage & Screen Album: Aïda (Highlights) Country: UK Released: 1962 Style: Opera MP3 version RAR size: 1594 mb FLAC version RAR size: 1121 mb WMA version RAR size: 1506 mb Rating: 4.5 Votes: 405 Other Formats: DXD AA AU ADX WMA AC3 DTS Tracklist Act I A1 Si: Corre Voce / Celeste Aida A2 Ritorna Vincitori Act III A3 Qui Radamès Verra / O Patria Mia / Cieli Mio Padre / Pur Ti Riveggo Act III B1 Nel Fiero Adunansi Act IV B2 Già I Sacerdoti Adunansi B3 La Fatal Pietra Companies, etc. Copyright (c) – Radio Corporation Of America Copyright (c) – The Decca Record Company Limited Credits Baritone Vocals [Amonasro] – Giorgio Tozzi, Robert Merrill Chorus – Rome Opera House Chorus* Chorus Master – Giuseppe Conca Composed By – Verdi* Conductor – Georg Solti Liner Notes – Francis Robinson Mezzo-soprano Vocals [Amneris] – Rita Gorr Orchestra – Rome Opera House Orchestra* Soprano Vocals [Aida] – Leontyne Price Tenor Vocals [Radamès] – Jon Vickers Notes Stereo release of RB-6531 Barcode and Other Identifiers Matrix / Runout (Label side A): N2RY-2713 Matrix / Runout (Label side B): N2RY-2714 Matrix / Runout (Runout side A): N2RY-2713-1G Matrix / Runout (Runout side B): N2RY-2714-2G Other versions Category Artist Title (Format) Label Category Country Year Verdi*, Solti* RCA Verdi*, Solti* Conducting Rome Victor Conducting Rome Opera House Red Opera House LSC 2616, Orchestra* And Seal, LSC 2616, Orchestra* And US 1962 LSC-2616 Chorus*, Price*, RCA LSC-2616 Chorus*, Price*, -
Rossini Propició El Futuro De La Ópera
www.proopera.org.mx • año XXVI • número 1 • enero – febrero 2018 • sesenta pesos ENTREVISTAS Andeka Gorrotxategi Óscar Martínez ENTREVISTAS EN LÍNEA Mojca Erdmann Nancy Fabiola Herrera Willy Anthony Waters FESTIVALES Cervantino XLV OBITUARIO Dmitri Hvorostovsky JohnJohn OsbornOsborn “Rossini“Rossini propiciópropició el futuro de la ópera”pro opera¾ DIRECTORIO REVISTA COMITÉ EDITORIAL Adriana Alatriste índice Luis Gutiérrez Ruvalcaba Andrea Labastida Charles H. Oppenheim 3 Carta del Presidente FUNDADOR Y DIRECTOR EMÉRITO CONCIERTOS Xavier Torres Arpi 4 Juan Diego Flórez: Canto a México EDITOR Charles H. Oppenheim 6 En breve 6 [email protected] CORRECCIÓN DE ESTILO CRÍTICA Darío Moreno 8 Otello en Bellas Artes COLABORAN EN ESTE NÚMERO 10 Ópera en México Othón Canales Treviño Carlos Fuentes y Espinosa Luis Gutiérrez Ruvalcaba PROTAGONISTAS Ingrid Haas 12 Andeka Gorrotxategi: Ramón Jacques “Me encantaría tener puestas José Noé Mercado todas las óperas de Puccini” David Rimoch Vladimiro Rivas Iturralde RESEÑA Gamaliel Ruiz 15 Arreglo de bodas en el Cenart José Andrés Tapia Osorio David Josué Zambrano de León 16 Ópera en los estados 15 www.proopera.org.mx. FESTIVALES CORRESPONSALES EN ESTE NÚMERO 20 Cervantino XLV Eduardo Benarroch Francesco Bertini Abigaíl Brambila ENTREVISTA Jorge Binaghi 22 Óscar Martínez: John Koopman Un cantante versátil Daniel Lara y un maestro ecléctico Gregory Moomjy Maria Nockin OBITUARIO Gustavo Gabriel Otero 25 Dmitri Hvorostovsky (1962-2017) Joel Poblete Roberto San Juan Ximena Sepúlveda PORTADA Massimo Viazzo 26 John Osborn: “Rossini propició el futuro de la ópera” FOTOGRAFIA Ana Lourdes Herrera ESTRENO 25 DISEÑO GRAFICO 32 La degradación de la burguesía: Ida Noemí Arellano Bolio The Exterminating Angel, desde Nueva York DISEÑO PÁGINA WEB TESTIMONIAL Christiane Kuri – Espacio Azul 34 Pro Ópera en Los Ángeles DISEÑO LOGO 36 México en el mundo Ricardo Gil Rizo IMPRESION ÓPERA EN EL MUNDO Grupo Gama. -
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. -
Media Release
Media Release FOR IMMEDIATE RELEASE: December 15, 2016 Contact: Edward Wilensky (619) 232-7636 [email protected] Shiley dētour Series Continues with The Tragedy of Carmen (La Tragédie de Carmen) Opens March 10, 2017 with additional performances on March 11, and March 12 (matinee) The story and music of Bizet’s beloved opera Carmen distilled into a powerful 90-minute opera. Marks the Company debut of mezzo-soprano Peabody Southwell as Carmen San Diego, CA – San Diego Opera’s Shiley dētour Series continues on Friday, March 10, 2017 at the Balboa Theater with The Tragedy of Carmen, Peter Brook’s adaptation of Bizet’s beloved opera Carmen. Taking the music, plot, drama, and emotion from the original classic, this distilled 90-minute chamber opera serves as a perfect introduction to the art form. Tickets start at just $20. Additional performances are Saturday, March 11 at 7 PM and Sunday, March 12 at 2 PM. The Tragedy of Carmen tells the story of the soldier Don José who leaves his sweetheart Micaëla for the fiery and passionate Carmen. Carmen, however, has her eyes on the swaggering bullfighter Escamillo and jealously erupts that threatens to swallow them all. Four new principal singers make Company debuts with San Diego Opera for these performances. American mezzo-soprano Peabody Southwell sings the role Carmen. She is joined by Canadian tenor Adrian Kramer as Don José. Canadian soprano Andriana Chuchman sings Micaëla and American bass-baritone Ryan Kuster round out the cast. Stage director Alexander Gedeon makes his house debut staging the production and conductor Christopher Rountree, in his Company debut, leads the orchestra from the podium. -
Jose Rizal By: Marilou Diaz Abaya Film Review First, This Movie Is
Jose Rizal by: Marilou Diaz Abaya Film Review First, this movie is rated SPG. There are graphic depictions of violence and even torture. The opening few scenes depict some episodes from Rizal's novels. In one a Catholic priest rapes a Filipina. I guess I now know where the Mestizo (i.e., mixed blood) class came from in the Philippines. In the other scene a Catholic priest beats a child for alleged stealing. Strong thing, and it made me wonder how the Catholic Church could possibly retain any power in the country, if this is what the national hero thought about it. The movie tells the life story of Jose Rizal, the national hero of the Philippines. It covers his life from his childhood to his execution at the hands of the Spanish forces occupying the Philippines in the late 19th century. We are also thrown into the world of Rizal's novels (filmed in black and white), so we get a glimpse of how he viewed Filipino society under the Spanish heal. The movie introduces us to the life of subjugation of the Filipino people under the rule of the Spanish friars. From the execution of three Filipino priests in 1872 for alleged subversion to the harsh and unequal treatment of Filipino students in the schools, this film is a flashing indictment of Spanish colonial rule in the Philippines. We see scenes both from Rizal's actual life but also from his imagination The movie focuses on the condition of the society and also to the government at the time of the Spanish Colonization. -
18 Contemporary Opera and the Failure of Language
18 CONTEMPORARY OPERA AND THE FAILURE OF LANGUAGE Amy Bauer Opera after 1945 presents what Robert Fink has called ‘a strange series of paradoxes to the historian’.1 The second half of the twentieth century saw new opera houses and companies pro- liferating across Europe and America, while the core operatic repertory focused on nineteenth- century works. The collapse of touring companies confined opera to large metropolitan centres, while Cold War cultural politics often limited the appeal of new works. Those new works, whether written with political intent or not, remained wedded historically to ‘realism, illusion- ism, and representation’, as Carolyn Abbate would have it (as opposed to Brechtian alienation or detachment).2 Few operas embraced the challenge modernism presents for opera. Those few early modernist operas accepted into the canon, such as Alban Berg’s Wozzeck, while revolu- tionary in their musical language and subject matter, hew closely to the nature of opera in its nineteenth-century form as a primarily representational medium. As Edward Cone and Peter Kivy point out, they bracket off that medium of representation – the character singing speech, for instance, in an emblematic translation of her native tongue – to blur diegetic song, ‘operatic song’ and a host of other conventions.3 Well-regarded operas in the immediate post-war period, by composers such as Samuel Barber, Benjamin Britten, Francis Poulenc and Douglas Moore, added new subjects and themes while retreating from the formal and tonal challenges of Berg and Schoenberg.