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Sold-Out Sessions to Tan Dun's the First Emperor Even Before Opera
FOR IMMEDIATE RELEASE More Shows for The Metropolitan Opera in HD Digital at Golden Village VivoCity Sold-out Sessions to Tan Dun’s The First Emperor even before Opera premieres tomorrow Singapore, 19 September 2007 – Due to popular and overwhelming demand, Golden Village has added 7 more shows for The Metropolitan Opera: Tan Dun’s The First Emperor in High-Definition (HD) Digital exclusively at GV VivoCity from 20 September to 3 October 2007 daily. 5 out of the original 9 sessions for The First Emperor have been fully sold out before the opera premieres tomorrow. Remaining sessions are left with tickets on the first two rows from the screen. Golden Village is now adding new sessions in response to the great demand. Opera fans who were not able to catch The Metropolitan Opera in HD Digital at GV VivoCity will now be given another chance to experience the phenomenon. Screening details: 20 – 26 September 2007 – 7pm daily and 3.30pm on the weekends 4 sessions remaining and tickets are selling fast! Golden Village Seats only available in the first two rows from the screen . VivoCity 27 September – 3 October 2007 – 7pm daily 7 new sessions added Tickets to The First Emperor are at $15 per ticket. Tickets are available at GV Box Offices and at www.gv.com.sg . Staged by world-renown film director Zhang Yimou, written by acclaimed Academy Award winner Tan Dun, The First Emperor stars Plácido Domingo (one of the Three Tenors ) as Qin Shi Huang. Please visit www.gv.com.sg for more information. -
Contributi Alla Bibliografia Di G. Paisiello 239 Nazione. Cm. 17
U. Rolandi - Contributi alla bibliografia di G. Paisiello 239 nazione. Cm. 17><11 - pagg. 64, in 3 atti. Poeta (F. Livigni) non no- minato. Nome del Paisiello. La 1.a esecuzione avvenne a Venezia (T. S. Moisè, C. 1773) e non a Napoli (D. C.) dove fu dato nella seguente estate al T. Nuovo. - 32. - L'IPERMESTRA. Padova, Nuovo, 1791 (v. Sonneck). Bru- nelli (Teatri di Padova p. 285) la dice « già scritta in Russia ». Ignoto al D. C. " L' Isola d i s a b i t a t a, cantata su testo del Metastasio. Li- sbona, T. S. Carlo, E. 1799. Libretto in Biblioteca S. Cecilia (Roma). Ignoto al D. C. e ad altri. * I e f te sa c r i f i c i u m. Eseguito a, Venezia (Conservatorio Men- dicanti). Il libretto trovasi alla Bibl. S. Cecilia (Roma), ma è senza data. Il Carvalhaes — da cui deriva il libretto stesso -- dice essere 1774. Non trovo ricordato questo lavoro dal D. C. o da altri. * La Lavandara astuta. v. Il Matrimonio inaspettato. * La Locanda (e la Locandiera) v. 11 Fanatico in berlina. 33. - LUCIO PAPIRIO I DITTATORE Lisbona, Salvaterra, 1775 (v. Sonneck). * Madama l'umorista v. La Dama umorista. * 11 Maestro di scuola napolitano. v. La Scuffiara amante. * Il Marchese Tulipano. v. Il e7'Catrimonio inaspettato. * La Ma s c h e r a t a. Con questo titolo fu data al Ballhuset di Stocolma, I'l 1 dicembre 1788 un'opera « con musica del Sacchini e del Paisiello ». Forse si trattò di un'opera pasticcio, caso frequente allora. -
Juilliard415 Program Notes
PROGRAM NOTES The connected realms of madness and enchantment were endlessly fascinating to the Baroque imagination. People who are mad, or who are under some kind of spell, act beyond themselves in unexpected and disconcerting ways. Perhaps because early modern culture was so highly hierarchical, 17th- and 18th-century composers found these moments where social rules were broken and things were not as they seem — these eruptions of disorder — as fertile ground for musical invention. Our concert today explores how some very different composers used these themes to create strange and wonderful works to delight and astonish their listeners. We begin in late 17th-century England at a moment when London theaters were competing to stage ever more spectacular productions. Unlike in other countries, the idea of full-blown opera did not quite take root in England. Instead, the taste was for semi-operas where spoken plays shared the stage with astonishing special effects and elaborate musical numbers. One of the biggest Restoration theaters in London was the Dorset Garden House, which opened in 1671. Its impresario, Thomas Betterton, had gone twice to France to study the theatrical machinery perfected by the Paris Opéra. Betterton went on to stage lavish versions of Shakespeare, packed with interpolated musical numbers and coups de théâtre. The last of these was a magnificent version of Shakespeare’s Midsummer Night’s Dream, now called “The Fairy Queen,” produced for the 1691-92 season. In between the acts of Shakespeare, Betterton introduced a series of Las Vegas-like show stoppers. A dance for six monkeys? A symphony while swans float down an onstage river? A chaconne for twenty-four Chinese dancers? Anything is possible in this world of enchantment, where things are not what they seem. -
Brian Wilson's Spacious Estate in West Suburban St
May 24, 1998---- The backyard of Brian Wilson's spacious estate in west suburban St. Charles overlooks a calm pond. A playground set stands near the water. Wilson slowly walks out of the basement studio in the home he shares with wife Melinda and daughters Daria, 2, and Delanie, 6 months old. Wilson squints into the midday sun. He looks at a playground slide. Then he looks at a swing set. Wilson elects to sit down on the saddle swing. In a life of storied ups and downs, Wilson's career is on the upswing. The June release of ``Imagination'' (Giant Records) is a return to 1966's ``Pet Sounds'' in terms of orchestration and instrumentation, with its the ambitious patterns of tympanies and snare drums. But equally important are Wilson's vocals, which are the smoothest and most soulful since 1970's ``Sunflower.'' Wilson, 55, has suddenly defied age. Mick Jagger and Pete Townshend are brittle rock 'n' roll barnacles. Ray Davies and Paul McCartney have matured gracefully. Yet here's Wilson singing with effervescent hope on ``Dream Angel,'' which he co-wrote with his co-producer Joe Thomas and Jim Peterik of Survivor and Ides of March fame. The song was inspired by Wilson's new daughters. They make him happy. He says that is why he is writing happy music. On ``Dream Angel,'' Wilson even returned to the tight, late '50s harmonies of the Dell Vikings (``Come Go With Me'') and the Four Freshmen - happy-go-lucky voices that influenced the Beach Boys when they were young. -
10-26-2019 Manon Mat.Indd
JULES MASSENET manon conductor Opera in five acts Maurizio Benini Libretto by Henri Meilhac and Philippe production Laurent Pelly Gille, based on the novel L’Histoire du Chevalier des Grieux et de Manon Lescaut set designer Chantal Thomas by Abbé Antoine-François Prévost costume designer Saturday, October 26, 2019 Laurent Pelly 1:00–5:05PM lighting designer Joël Adam Last time this season choreographer Lionel Hoche revival stage director The production of Manon was Christian Räth made possible by a generous gift from The Sybil B. Harrington Endowment Fund general manager Peter Gelb Manon is a co-production of the Metropolitan Opera; jeanette lerman-neubauer Royal Opera House, Covent Garden, London; Teatro music director Yannick Nézet-Séguin alla Scala, Milan; and Théâtre du Capitole de Toulouse 2019–20 SEASON The 279th Metropolitan Opera performance of JULES MASSENET’S manon conductor Maurizio Benini in order of vocal appearance guillot de morfontaine manon lescaut Carlo Bosi Lisette Oropesa* de brétigny chevalier des grieux Brett Polegato Michael Fabiano pousset te a maid Jacqueline Echols Edyta Kulczak javot te comte des grieux Laura Krumm Kwangchul Youn roset te Maya Lahyani an innkeeper Paul Corona lescaut Artur Ruciński guards Mario Bahg** Jeongcheol Cha Saturday, October 26, 2019, 1:00–5:05PM 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. Digital support of The Met: Live in HD is provided by Bloomberg Philanthropies. The Met: Live in HD series is supported by Rolex. -
Plácido Domingo – a Short Biography
Plácido Domingo – a short biography Plácido Domingo was born in the Barrio de Salamanca district of Madrid on January 21, 1941. He is the son of Plácido Domingo Ferrer and Pepita Embil Echaníz, two Spanish Zarzuela performers, who nurtured his early musical abilities. Domingo's father, a violinist performing for opera and zarzuela orchestra, was half Catalan and half Aragonese, while his mother, an established singer, was a Basque. After moving to Mexico at the age of 8, Plácido Domingo went to Mexico City’s Conservatory of Music to study piano and conducting, but eventually was sidetracked into vocal training after his voice was discovered. The highly gifted singer had his first professional engagement as accompanist to his mother in a concert at Mérida, Yucatan, in 1957. He soon achieved great acclaim at international level. Challenged by cosmopolitan groups and new roles In 1961, Domingo made his operatic debut in a leading role as Alfredo in La Traviata at Monterrey. The performance of La Traviata included a baritone singing in Hungarian, a soprano in German, a tenor in Italian, and the chorus in Hebrew. Domingo credits this cosmopolitan group for improving his abilities in several languages. At the end of 1962, he signed a six month contract with the Israel National Opera in Tel Aviv but later extended the contract and stayed for two and a half years, singing in 280 performances and incorporating 12 different roles. Domingo has sung and continues to sing in every important Opera House in the world including the Metropolitan Opera in New York, Milan’s La Scala, the Vienna State Opera, London's Covent Garden, Paris' Bastille Opera, the San Francisco Opera, Chicago's Lyric Opera, the Washington National Opera, the Los Angeles Opera, the Teatro del Liceu in Barcelona, Teatro Colon in Buenos Aires, the Real in Madrid, and at the Bayreuth and Salzburg Festivals. -
Commissioned Orchestral Version of Jonathan Dove’S Mansfield Park, Commemorating the 200Th Anniversary of the Death of Jane Austen
The Grange Festival announces the world premiere of a specially- commissioned orchestral version of Jonathan Dove’s Mansfield Park, commemorating the 200th anniversary of the death of Jane Austen Saturday 16 and Sunday 17 September 2017 The Grange Festival’s Artistic Director Michael Chance is delighted to announce the world premiere staging of a new orchestral version of Mansfield Park, the critically-acclaimed chamber opera by composer Jonathan Dove and librettist Alasdair Middleton, in September 2017. This production of Mansfield Park puts down a firm marker for The Grange Festival’s desire to extend its work outside the festival season. The Grange Festival’s inaugural summer season, 7 June-9 July 2017, includes brand new productions of Monteverdi’s Il ritorno d'Ulisse in patria, Bizet’s Carmen, Britten’s Albert Herring, as well as a performance of Verdi’s Requiem and an evening devoted to the music of Rodgers & Hammerstein and Rodgers & Hart with the John Wilson Orchestra. Mansfield Park, in September, is a welcome addition to the year, and the first world premiere of specially-commissioned work to take place at The Grange. This newly-orchestrated version of Mansfield Park was commissioned from Jonathan Dove by The Grange Festival to celebrate the serendipity of two significant milestones for Hampshire occurring in 2017: the 200th anniversary of the death of Austen, and the inaugural season of The Grange Festival in the heart of the county with what promises to be a highly entertaining musical staging of one of her best-loved novels. Mansfield Park was originally written by Jonathan Dove to a libretto by Alasdair Middleton based on the novel by Jane Austen for a cast of ten singers with four hands at a single piano. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
Watermark W Atermark
WATERMARK A SCHOLARLY JOURNAL PUBLISHED BY THE GRADUATE PROGRAM IN ENGLISH AT CALIFORNIA STATE UNIVERSITY, LONG BEACH 8 WATERMARK 8 WATERMARK SPRING 2014 Watermark accepts submissions annually between October and February. We are 8 WWW WWW dedicated to publishing original critical and theoretical essays concerned with literature of all genres and periods, as well as works representing current issues Editor ∙ in the fields of rhetoric and composition. Reviews of current works of literary Mary Sotnick criticism or theory are also welcome. Managing Editors ∙ Rusty Rust Jaime Rapp All submissions must be accompanied by a cover letter that includes the author’s ∙ name, phone number, email address, and the title of the essay or book review. All essay submissions should be approximately 12-15 pages and must be typed American Literature Editors Levon Parseghian ∙ Shouhei J. Tanaka ∙ Amy Desusa in MLA format with a standard 12 pt. font. Book reviews ought to be 750-1,000 words in length. As this journal is intended to provide a forum for emerging British Literature Editors voices, only student work will be considered for publication. Submissions will Bethany Acevedo not be returned. Please direct all questions to [email protected] and address all submissions to: Ethnic American Literature Jaime Rapp ∙ Rusty Rust ∙ Phương Lưu Department of English: Watermark California State University, Long Beach Rhetoric & Composition Editors 1250 Bellflower Boulevard Dya Cangiano Long Beach, CA 90840 Medieval & Renaissance Studies Editors Visit us -
Detroit Symphony Orchestra SIXTEN EHRLING, Conductor
1966 Eighty-Eighth Season 1967 UNIVERSITY MUSICAL SOC I E TY THE UNIVERSITY OF MICHIGAN Charles A. Sink, President Gail W. Rector, Executive Director Lester McCoy, Conductor Sixth Program Eighty-eighth Annu.al Choral Union Series Complete Series 3545 First program in the Sesquicentennial Year of The University of Michigan Detroit Symphony Orchestra SIXTEN EHRLING, Conductor SUNDAY AFTERNOON, JANUARY 8, 1967, AT 2:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Overture to "Don Giovanni" MOZART Symphony No.8 in F major, Op. 93 BEETHOVEN Allegro vivace e con brio Allegretto scherzando Tempo di menuetto Allegro vivace Variations for Orchestra LESLIE BASSETT 1966 Pulitzer Prize Composition (Ann Arbor premiere) INTERMISSION Symphony No.2 in D major, Op. 73 BRAHMS Allegro non troppo Adagio non troppo Allegretto grazioso quasi andantino Allegro con spirito Steinway Piano A R S LON G A V I T A BREVIS PROGRAM NOTES Overture to Don Giovanni WOLFGANG AMADEUS MOZART The Overture begins with an extensive, rather menacing introduction, which contains two themes from the final scene in which the statue of the commander receives Don Giovanni's dinner invitation. The main body of the overture (molto allegro) is in sonata allegro form. Symphony No.8 in F major, Op. 93 LUDWIG VAN BEETHOVEN Standing between the giant Seventh and Ninth Symphonies, the F-major Sym phony has often been looked upon as a jolly, likeable, little cousin but one without much substance. Beethoven even contributed to this impression by calling it "my little one." It is not so often remembered, however, that he went on to say that it was "much better" than tbe Seventh. -
1. Early Years: Maria Before La Callas 2. Metamorphosis
! 1. EARLY YEARS: MARIA BEFORE LA CALLAS Maria Callas was born in New York on 2nd December 1923, the daughter of Greek parents. Her name at birth was Maria Kalogeropoulou. When she was 13 years old, her parents separated. Her mother, who was ambitious for her daughter’s musical talent, took Maria and her elder sister to live in Athens. There Maria made her operatic debut at the age of just 15 and studied with Elvira de Hidalgo, a Spanish soprano who had sung with Enrico Caruso. Maria, an intensely dedicated student, began to develop her extraordinary potential. During the War years in Athens the young soprano sang such demanding operatic roles as Tosca and Leonore in Beethoven’s Fidelio. In 1945, Maria returned to the USA. She was chosen to sing Turandot for the inauguration of a prestigious new opera company in Chicago, but it went bankrupt before the opening night. Yet fate turned out to be on Maria’s side: she had been spotted by the veteran Italian tenor, Giovanni Zenatello, a talent scout for the opera festival at the Verona Arena. Callas made her Italian debut there in 1947, starring in La Gioconda by Ponchielli. Her conductor, Tullio Serafin, was to become a decisive force in her career. 2. METAMORPHOSIS After Callas’ debut at the Verona Arena, she settled in Italy and married a wealthy businessman, Giovanni Battista Meneghini. Her influential conductor from Verona, Tullio Serafin, became her musical mentor. She began to make her name in grand roles such as Turandot, Aida, Norma – and even Wagner’s Isolde and Brünnhilde – but new doors opened for her in 1949 when, at La Fenice opera house in Venice, she replaced a famous soprano in the delicate, florid role of Elvira in Bellini’s I puritani. -
Composition Catalog
1 LEONARD BERNSTEIN AT 100 New York Content & Review Boosey & Hawkes, Inc. Marie Carter Table of Contents 229 West 28th St, 11th Floor Trudy Chan New York, NY 10001 Patrick Gullo 2 A Welcoming USA Steven Lankenau +1 (212) 358-5300 4 Introduction (English) [email protected] Introduction 8 Introduction (Español) www.boosey.com Carol J. Oja 11 Introduction (Deutsch) The Leonard Bernstein Office, Inc. Translations 14 A Leonard Bernstein Timeline 121 West 27th St, Suite 1104 Straker Translations New York, NY 10001 Jens Luckwaldt 16 Orchestras Conducted by Bernstein USA Dr. Kerstin Schüssler-Bach 18 Abbreviations +1 (212) 315-0640 Sebastián Zubieta [email protected] 21 Works www.leonardbernstein.com Art Direction & Design 22 Stage Kristin Spix Design 36 Ballet London Iris A. Brown Design Boosey & Hawkes Music Publishers Limited 36 Full Orchestra Aldwych House Printing & Packaging 38 Solo Instrument(s) & Orchestra 71-91 Aldwych UNIMAC Graphics London, WC2B 4HN 40 Voice(s) & Orchestra UK Cover Photograph 42 Ensemble & Chamber without Voice(s) +44 (20) 7054 7200 Alfred Eisenstaedt [email protected] 43 Ensemble & Chamber with Voice(s) www.boosey.com Special thanks to The Leonard Bernstein 45 Chorus & Orchestra Office, The Craig Urquhart Office, and the Berlin Library of Congress 46 Piano(s) Boosey & Hawkes • Bote & Bock GmbH 46 Band Lützowufer 26 The “g-clef in letter B” logo is a trademark of 47 Songs in a Theatrical Style 10787 Berlin Amberson Holdings LLC. Deutschland 47 Songs Written for Shows +49 (30) 2500 13-0 2015 & © Boosey & Hawkes, Inc. 48 Vocal [email protected] www.boosey.de 48 Choral 49 Instrumental 50 Chronological List of Compositions 52 CD Track Listing LEONARD BERNSTEIN AT 100 2 3 LEONARD BERNSTEIN AT 100 A Welcoming Leonard Bernstein’s essential approach to music was one of celebration; it was about making the most of all that was beautiful in sound.