DOCSLIB.ORG

Summer 2014 Boston Symphony Orchestra

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Summer 2014 Boston Symphony Orchestra boston symphony orchestra summer 2014 Andris Nelsons, Ray and Maria Stata Music Director Designate Bernard Haitink, LaCroix Family Fund Conductor Emeritus, Endowed in Perpetuity Seiji Ozawa, Music Director Laureate 133rd season, 2013–2014 Trustees of the Boston Symphony Orchestra, Inc. Edmund Kelly, Chair • William F. Achtmeyer, Vice-Chair • Carmine A. Martignetti, Vice-Chair • Stephen R. Weber, Vice-Chair • Theresa M. Stone, Treasurer David Altshuler • George D. Behrakis • Jan Brett • Paul Buttenwieser • Ronald G. Casty • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Diddy Cullinane • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Michael Gordon • Brent L. Henry • Charles W. Jack, ex-officio • Stephen B. Kay • Joyce Linde • John M. Loder • Nancy K. Lubin • Robert J. Mayer, M.D. • Robert P. O’Block • Susan W. Paine • Peter Palandjian, ex-officio • John Reed • Carol Reich • Arthur I. Segel • Roger T. Servison • Wendy Shattuck • Caroline Taylor • Roberta S. Weiner • Robert C. Winters Life Trustees Vernon R. Alden • Harlan E. Anderson • David B. Arnold, Jr. • J.P. Barger • Gabriella Beranek • Leo L. Beranek • Deborah Davis Berman • Peter A. Brooke • John F. Cogan, Jr. • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Mrs. John H. Fitzpatrick† • Nancy J. Fitzpatrick • Thelma E. Goldberg • Charles H. Jenkins, Jr. • Mrs. Béla T. Kalman • George Krupp • Mrs. Henrietta N. Meyer • Richard P. Morse • David Mugar • Mary S. Newman • Vincent M. O’Reilly • William J. Poorvu • Peter C. Read • Edward I. Rudman • Richard A. Smith • Ray Stata • Thomas G. Stemberg • John Hoyt Stookey • Wilmer J. Thomas, Jr. • John L. Thorndike • Stephen R. Weiner • Dr. Nicholas T. Zervas Other Officers of the Corporation Mark Volpe, Managing Director • Thomas D. May, Chief Financial Officer • Bart Reidy, Clerk of the Board Board of Overseers of the Boston Symphony Orchestra, Inc. Susan Bredhoff Cohen, Co-Chair • Peter Palandjian, Co-Chair Noubar Afeyan • Peter C. Andersen • Diane M. Austin • Lloyd Axelrod, M.D. • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Karen Bressler • Anne F. Brooke • Stephen H. Brown • Gregory E. Bulger • Joanne M. Burke • Richard E. Cavanagh • Dr. Lawrence H. Cohn • Charles L. Cooney • Ronald A. Crutcher • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson • Ursula Ehret-Dichter • Joseph F. Fallon • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Alexandra J. Fuchs • Robert Gallery • Levi A. Garraway • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Susan Hockfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Stephen R. Karp • John L. Klinck, Jr. • Peter E. Lacaillade • Charles Larkin • Joshua A. Lutzker • Jay Marks • Jeffrey E. Marshall • Robert D. Matthews, Jr. • Maureen Miskovic • Robert Mnookin • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Joseph J. O’Donnell • Joseph Patton • Programs copyright ©2014 Boston Symphony Orchestra, Inc. Cover photo by John Ferrillo Donald R. Peck • Steven R. Perles • Ann M. Philbin • Wendy Philbrick • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Susan Rothenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Kurt W. Saraceno • Diana Scott • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Dr. Michael Zinner • D. Brooks Zug Overseers Emeriti Helaine B. Allen • Marjorie Arons-Barron • Caroline Dwight Bain • Sandra Bakalar • George W. Berry • William T. Burgin • Mrs. Levin H. Campbell • Earle M. Chiles • Carol Feinberg Cohen • Mrs. James C. Collias • Ranny Cooper • Joan P. Curhan • Phyllis Curtin • Tamara P. Davis • Mrs. Miguel de Bragança • Paul F. Deninger • JoAnneWalton Dickinson • Phyllis Dohanian • Harriett Eckstein • George Elvin • John P. Eustis II • Pamela D. Everhart • Judy Moss Feingold • Richard Fennell • Myrna H. Freedman • Mrs. James Garivaltis • Dr. Arthur Gelb • Robert P. Gittens • Jordan Golding • Mark R. Goldweitz • Michael Halperson • John Hamill • Deborah M. Hauser • Carol Henderson • Mrs. Richard D. Hill • Roger Hunt • Lola Jaffe • Martin S. Kaplan • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • David I. Kosowsky • Robert K. Kraft • Farla H. Krentzman • Benjamin H. Lacy • Mrs. William D. Larkin • Robert J. Lepofsky • Edwin N. London • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Harry L. Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Albert Merck† • Dr. Martin C. Mihm, Jr. • John A. Perkins • May H. Pierce • Dr. Tina Young Poussaint • Daphne Brooks Prout • Robert E. Remis • John Ex Rodgers • Alan W. Rottenberg • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • Samuel Thorne • Diana Osgood Tottenham • Paul M. Verrochi • James Westra • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D. † Deceased Tanglewood The Tanglewood Festival On August 13, 15, and 16, 1936, the Boston Symphony Orchestra gave its first concerts in the Berkshire Hills of western Massachusetts; music director Serge Koussevitzky conducted. But those outdoor concerts, attended by a total of 15,000 people, did not take place at Tanglewood: the orchestra performed nearby under a large tent at Holmwood, a former Vanderbilt estate that later became The Center at Foxhollow. In fact, the first Berkshire Symphonic Festival had taken place two summers earlier, at Interlaken, when, organized by a group of music-loving Berkshire summer residents, three outdoor concerts were given by members of the New York Philharmonic, under the direction of composer/conductor Henry Hadley. But after a second concert series in 1935, plans for 1936 proved difficult, for reasons including Hadley’s health and aspects of the musical programming; so the organizing committee instead approached Koussevitzky and the BSO’s Trustees, whose enthusiastic response led to the BSO’s first concerts in the Berkshires. In the winter of 1936, following the BSO’s concerts that summer, Mrs. Gorham Brooks and Miss Mary Aspinwall Tappan offered Tanglewood, the Tappan family estate, with its buildings and 210 acres of lawns and meadows, as a gift to Koussevitzky and the orchestra. The offer was gratefully accepted, a two-weekend festival was planned for 1937, and on August 5 that year, the festival’s largest crowd to date assembled under a tent for the first Tanglewood concert, an all-Beethoven program. At the all-Wagner concert that opened the 1937 festival’s second weekend, rain and thunder twice interrupted the Rienzi Overture and necessitated the omission altogether of the Siegfried Idyll, music too gentle to be heard through the downpour. At the inter- mission, Miss Gertrude Robinson Smith, one of the festival’s founders, made an appeal to raise funds for the building of a permanent structure. The appeal was broadened by means of a printed circular handed out at the two remaining concerts, and within a short time enough money was raised to begin active planning for a “music pavilion.” Eliel Saarinen, the eminent architect selected by Koussevitzky, proposed an elaborate design that went far beyond the festival’s immediate needs, and also well beyond the $100,000 budget. When his second, simplified plans were again deemed too expensive, A banner advertising the 1939 Berkshire Symphonic Festival (BSO Archives) he finally wrote that if the Trustees insisted on remaining within their budget, they would have “just a shed...which any builder could accomplish without the aid of an architect.” The Trustees then asked Stockbridge engineer Joseph Franz to simplify Saarinen’s plans further, and the “Shed” he erected—which remains, with modifica- tions, to this day—was inaugurated on August 4, 1938, with the first concert of that year’s festival. It has resounded to the music of the Boston Symphony Orchestra every summer since, except for the war years 1942-45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the result of a collabora- tion between the acoustical consultant Bolt Beranek and Newman and archi- tect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes Talbot Orchestra Canopy, along with other improve- After the storm of August 12, 1937, which precipitated a fundraising drive ments, produced the Shed’s present for the construction of the Tanglewood Shed (BSO Archives) world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was rededicated as “The Serge Kous- sevitzky Music Shed,” recognizing the far-reaching vision of the BSO’s legendary music director. In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios were finished, and the festival had so expanded its activities
Load more

Recommended publications
  • Dorr Rebellion
    Rhode Island History Summer/Fall 2010 Volume 68, Number 2 Published by Contents The Rhode Island Historical Society 110 Benevolent Street Providence, Rhode Island 02906-3152 “The Rhode Island Question”: The Career of a Debate 47 Robert J. Manning, president William S. Simmons, first vice president Erik J. Chaput Barbara J. Thornton, second vice president Peter J. Miniati, treasurer Robert G. Flanders Jr., secretary Bernard P. Fishman, director No Landless Irish Need Apply: Rhode Island’s Role in the Framing and Fate Fellow of the Society of the Fifteenth Amendment 79 Glenn W. LaFantasie Patrick T. Conley Publications Committee Luther Spoehr, chair James Findlay Robert W. Hayman Index to Volume 68 91 Jane Lancaster J. Stanley Lemons Timothy More William McKenzie Woodward Staff Elizabeth C. Stevens, editor Hilliard Beller, copy editor Silvia Rees, publications assistant The Rhode Island Historical Society assumes no responsibility for the opinions of contributors. RHODE ISLAND HISTORY is published two times a year by the Rhode Island Historical Society at 110 Benevolent Street, Providence, Rhode Island 02906-3152. Postage is paid at Providence, Rhode Island. Society members receive each issue as a membership benefit. Institutional subscriptions to RHODE ISLAND HISTORY are $25.00 annually. Individual copies of current and back issues are available from the Society for $12.50 (price includes postage and handling). Manuscripts and other ©2010 by The Rhode Island Historical Society correspondence should be sent to Dr. Elizabeth C. Stevens, editor, at the RHODE ISLAND HISTORY (ISSN 0035-4619) Society or to [email protected]. Erik J. Chaput is a doctoral candidate in early American history at Syracuse Andrew Bourqe, Ashley Cataldo, and Elizabeth Pope, at the American University.
    [Show full text]
  • Laurel Semerdjian Mezzo-Soprano
    Laurel Semerdjian Mezzo-Soprano Laurel Semerdjian, an American mezzo-soprano of Armenian descent, has recently been hailed as "a dramatic and musical tour de force" (Pittsburgh Tribune) for her portrayal of Asakir in Pittsburgh Opera's production of Mohammed Fairouz's Sumeida's Song. Her voice has been praised for its "guttural low notes" (Pittsburgh Post Gazette) and "appealing weight, intensity and flexibility". During the 2017–2018 season, Ms. Semerdjian looks ahead to returning to both Sarasota Opera, as Flora in La traviata, and Syracuse Opera, as Suzuki in Madama Butterfly. She makes company debuts with St. Petersburg Opera (Florida) as Dritte Dame in Die Zauberflöte, with Pittsburgh's Resonance Works as Ježibaba in Rusalka, and with Washington Concert Opera debut as guest soloist in their Opera's Greatest Heroines gala concert. She will also perform both Beethoven's Symphony No. 9 and Haydn's Mass in Time of War with Washington DC's Cathedral Choral Society at the Washington National Cathedral. In the 2018–2019 season, Ms. Semerdjian looks forward to rejoining Pittsburgh Opera as Suzuki in Madama Butterfly, rejoining Tacoma Opera for her debut in the title role of The Rape of Lucretia, and performing with Syracuse's Symphoria as mezzo soloist in Haydn's Mass in Time of War and Beethoven's Symphony No. 9. Ms. Semerdjian made several significant role debuts throughout the 2016–2017 season. In her return to Bellevue City Opera she performed her first Dorabella in Così fan tutte, and in October 2016 she made her Syracuse Opera debut as Tisbe in La Cenerentola.
    [Show full text]
  • Piano; Trio for Violin, Horn & Piano) Eric Huebner (Piano); Yuki Numata Resnick (Violin); Adam Unsworth (Horn) New Focus Recordings, Fcr 269, 2020
    Désordre (Etudes pour Piano; Trio for violin, horn & piano) Eric Huebner (piano); Yuki Numata Resnick (violin); Adam Unsworth (horn) New focus Recordings, fcr 269, 2020 Kodály & Ligeti: Cello Works Hellen Weiß (Violin); Gabriel Schwabe (Violoncello) Naxos, NX 4202, 2020 Ligeti – Concertos (Concerto for piano and orchestra, Concerto for cello and orchestra, Chamber Concerto for 13 instrumentalists, Melodien) Joonas Ahonen (piano); Christian Poltéra (violoncello); BIT20 Ensemble; Baldur Brönnimann (conductor) BIS-2209 SACD, 2016 LIGETI – Les Siècles Live : Six Bagatelles, Kammerkonzert, Dix pièces pour quintette à vent Les Siècles; François-Xavier Roth (conductor) Musicales Actes Sud, 2016 musica viva vol. 22: Ligeti · Murail · Benjamin (Lontano) Pierre-Laurent Aimard (piano); Bavarian Radio Symphony Orchestra; George Benjamin, (conductor) NEOS, 11422, 2016 Shai Wosner: Haydn · Ligeti, Concertos & Capriccios (Capriccios Nos. 1 and 2) Shai Wosner (piano); Danish National Symphony Orchestra; Nicolas Collon (conductor) Onyx Classics, ONYX4174, 2016 Bartók | Ligeti, Concerto for piano and orchestra, Concerto for cello and orchestra, Concerto for violin and orchestra Hidéki Nagano (piano); Pierre Strauch (violoncello); Jeanne-Marie Conquer (violin); Ensemble intercontemporain; Matthias Pintscher (conductor) Alpha, 217, 2015 Chorwerk (Négy Lakodalmi Tánc; Nonsense Madrigals; Lux æterna) Noël Akchoté (electric guitar) Noël Akchoté Downloads, GLC-2, 2015 Rameau | Ligeti (Musica Ricercata) Cathy Krier (piano) Avi-Music – 8553308, 2014 Zürcher Bläserquintett:
    [Show full text]
  • Avec Une Histoire Personnelle Très Unique Qui Commence À Fairbanks
    Biographie, Saison 2016 – 2017 [1.019 mots] Avec une histoire personnelle très unique qui commence à Fairbanks, en Alaska, et une carrière internationale qui couvre plus de deux décennies, la mezzo-soprano Vivica Genaux charmes public et la critique avec son charisme, son engagement et sa technique vocale étonnante. Après avoir noté qu'elle «a une présence sur scène à la pelle», écrit Clive Paget dans Limelight Magazine de l'Australie en Avril 2016, que Vivica «a démontré la maîtrise complète avec son phrasé exemplaire et dextérité vocale sans effort. Ajoutez à cela une voix d'une grande richesse, facile au sommet, mais avec une capacité de plonger à volonté dans un registre plus basse robuste, et vous avez ce qui ne peut être décrit comme la real deal». Milwaukee, Wisconsin, a été le cadre de ses débuts professionnels en 1994, quand elle a interprété Isabella dans une production par Florentine Opera de L'italiana in Algeri de Gioachino Rossini, une rôle qu'elle ranimait avec grand succès en 2015 pour Opera Fairbanks. Ses débuts à la Metropolitan Opera de New York en 1997 était dans son rôle le plus joué, Rosina dans Il barbiere di Siviglia, et elle est revenue à la MET pour plus Rosinas en 2002. Dans la foulée de ces étapes, les rôles de Rossini ont pris Vivica aux théâtres d'opéra et salles de concert dans le monde entier. Son Angelina dans La Cenerentola a été entendue dans son pays natal dans des villes comme Charlotte (Caroline du Nord), West Palm Beach (Floride), et Washington, DC, et, à l'étranger, dans ses arènes prestigieux comme le Grand Théâtre de Genève, le Théâtre des Champs-Élysées et la Wiener Staatsoper et dans ses endroits comme Brême (Allemagne), Rieti (Italie), et Santiago (Chili).
    [Show full text]
  • Stony Brook Opera 2015-2016 Season
    LONG ISLAND OPERA GUILD NEWSLETTER MARCH 2016 Stony Brook Opera 2015-2016 Season A letter from the Artistic Director of Stony Brook Opera Our current season will end with a semi-staged concert performance of Giacomo Puccini’s beloved masterpiece La Department and friends from New York City who attended Bohème, sung in the original Italian language with projected those performances all told me that from a theatrical point of titles in English. The Stony Brook Symphony will be on stage, view nothing was lacking, and that they enjoyed immensely with the opera chorus behind it on risers. The Stony Brook being able to see how the singers, chorus, and orchestra Opera cast will perform from memory on the stage space in interact in the overall musical and dramatic experience. That is front of the orchestra. Timothy Long will conduct the cast, not possible when the orchestra is out of sight, as it always is chorus and orchestra. Brenda Harris, Performing Artist in in a full production. From a theatrical point of view, La Residence and a leading soprano in American regional opera Bohème presents a far greater challenge than Lucia did, in part will direct the singers, who will be fully blocked, and will use because it calls for so many “things” on stage throughout the props and furniture and minimal costuming as appropriate. opera—not only essential furniture pieces, but also numerous Tomas Del Valle of the Theatre Arts Department makes his small hand props, all of which are vital to the narrative, and Stony Brook Opera debut as the lighting designer, and he is carry great emotional weight in the plot, such as the candle planning exciting theatrical lighting for the space where the and the key, and Mimì’s bonnet, to name a few.
    [Show full text]
  • The Philharmonia Orchestra of Yale New Music New Haven
    The Yale School of Music Thomas C. Duffy, Acting Dean The Philharmonia Orchestra of Yale Shinik Hahm, music director New Music New Haven Martin Bresnick, director Friday, March 31, 2006 8:00 p.m., Woolsey Hall aaron jay kernis New Era Dance (1992) ryan vigil [ untitled ] (2006) melissa mazzioli These Worlds In Us (2006) jennifer graham Endurance (2003-06) INTERMISSION martin bresnick Grace (2000): Concerto in 3 movements for two marimbas and orchestra I. Pendula and the Center of Gravity (The Puppet Theatre) II. Of the Heaviness of Matter (only a god is a match for matter) III. Grace Will Return (most purely in a puppet or a god) Robert Van Sice and Eduardo Leandro, marimbas robinson mcclellan Gone Today (2006) jacob cooper Odradek (2006) PHILHARMONIA ORCHESTRA OF YALE Program Notes Aaron Jay Kernis: New Era Dance (1992) Commissioned for the 150th anniversary of the New York Philharmonic, Aaron Jay Kernis’s NEW ERA DANCE is a multilayered, virtuosic work for orchestra, with a sampling of electric bass and collage of sound effects. Seeking to write, as he says, a ‘larger than life’ work, the composer drew upon the pulsing, rhythmic music that blares on the streets of his neighborhood, the Washington Heights section of New York City: Latin salsa, crackmobile rap, gypsy-camp folk. Disco and 50s jazz were also added to the tumultuous mix. The title is taken from a World War 1 ragtime dance, but also suggests Kernis’s response to events taking place around the time he wrote NEW ERA DANCE: the summer of 1992. The LA riots had recently ended, the presidential election of Bill Clinton was approaching, and in the middle distance was the millennium.
    [Show full text]
  • School of Music 2016–2017
    BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Music 2016–2017 School of Music 2016–2017 BULLETIN OF YALE UNIVERSITY Series 112 Number 7 July 25, 2016 BULLETIN OF YALE UNIVERSITY Series 112 Number 7 July 25, 2016 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, PO Box 208227, New Haven CT 06520-8227 status as a protected veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Kimberly M. Goff-Crews University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and protected veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to Valarie Stanley, Director of the O∞ce for Equal Opportunity Programs, 221 Whitney Avenue, 3rd Floor, 203.432.0849.
    [Show full text]
  • NEWSLETTER of the American Handel Society
    NEWSLETTER of The American Handel Society Volume XXI, Number 3 Winter 2006 AMERICAN HANDEL SOCIETY- PRELIMINARY SCHEDULE (Paper titles and other details of program to be announced) Thursday, April 19, 2006 Check-in at Nassau Inn, Ten Palmer Square, Princeton, NJ (Check in time 3:00 PM) 6:00 PM Welcome Dinner Reception, Woolworth Center for Musical Studies Covent Garden before 1808, watercolor by Thomas Hosmer Shepherd. 8:00 PM Concert: “Rule Britannia”: Richardson Auditorium in Alexander Hall SOME OVERLOOKED REFERENCES TO HANDEL Friday, April 20, 2006 In his book North Country Life in the Eighteenth Morning: Century: The North-East 1700-1750 (London: Oxford University Press, 1952), the historian Edward Hughes 8:45-9:15 AM: Breakfast, Lobby, Taplin Auditorium, quoted from the correspondence of the Ellison family of Hebburn Hall and the Cotesworth family of Gateshead Fine Hall Park1. These two families were based in Newcastle and related through the marriage of Henry Ellison (1699-1775) 9:15-12:00 AM:Paper Session 1, Taplin Auditorium, to Hannah Cotesworth in 1729. The Ellisons were also Fine Hall related to the Liddell family of Ravenscroft Castle near Durham through the marriage of Henry’s father Robert 12:00-1:30 AM: Lunch Break (restaurant list will be Ellison (1665-1726) to Elizabeth Liddell (d. 1750). Music provided) played an important role in all of these families, and since a number of the sons were trained at the Middle Temple and 12:15-1:15: Board Meeting, American Handel Society, other members of the families – including Elizabeth Liddell Prospect House Ellison in her widowhood – lived in London for various lengths of time, there are occasional references to musical Afternoon and Evening: activities in the capital.
    [Show full text]
  • La Traviata Dido and Aeneas / Bluebeard's Castle Sondra
    La Traviata GIUSEPPE VERDI September 13 – 28, 2014 Production made possible by generous gifts from The Milan Panic Family and Barbara Augusta Teichert. Special underwriting support from Joyce and Aubrey Chernick. HENRY PURCELL / Dido and Aeneas / Bluebeard’s Castle BÉLA BARTÓK October 25 – November 15, 2014 Production made possible by the generous support of the Tarasenka Pankiv Fund (Tara Colburn). Support for the guest conductor provided by the Beatrix F. Padway and Nathaniel W. Finston Conductors Fund. Sondra Radvanovsky in Recital November 8, 2014 DANIEL CATÁN / Florencia en el Amazonas MARCELA FUENTES-BERAIN November 22 – December 20, 2014 Underwriting support from the Jane and Peter Hemmings Production Fund, a gift from the Flora L. Thornton Trust. Original production supported by Edward E. and Alicia Garcia Clark, an Anonymous Donor, AT&T, and Drs. Dennis and Susan Carlyle. THE FIGARO TRILOGY JOHN CORIGLIANO / The Ghosts of Versailles WILLIAM M. HOFFMAN February 7 – March 1, 2015 Production made possible in part by a generous gift from the Ann and Gordon Getty Foundation. T H E F I G A R O T R I L O G Y The Barber of Seville GIOACHINO ROSSINI February 28 – March 22, 2015 Production made possible by generous funding from The Seaver Endowment and from The Alfred and Claude Mann Fund, in honor of Plácido Domingo. Noah’s Flood BENJAMIN BRITTEN March 6 – 7, 2015, at the Cathedral of Our Lady of the Angels Production made possible with generous underwriting support from the Dan Murphy Foundation. T H E F I G A R O T R I L O G Y The Marriage of Figaro WOLFGANG AMADEUS MOZART March 21 – April 12, 2015 Production made possible by a generous gift from The Carol and Warner Henry Production Fund for Mozart Operas.
    [Show full text]
  • Giving Voice
    HOUSTON GRAND OPERA PRESENTS Giving Voice 2021: A Celebration of Black Artists in Opera and Song featuring Lawrence Brownlee, Co-Host and Tenor Nicole Heaston, Co-Host and Soprano ‡ Donnie Ray Albert, Baritone Frederick Ballentine, Tenor Blake Denson, Baritone † Cory McGee, Bass † Raven McMillon, Soprano † Nicholas Newton, Bass-Baritone † Zoie Reams, Mezzo-Soprano ‡ Karen Slack, Soprano Kevin J. Miller, Piano † Houston Grand Opera Studio Artist ‡ Former Houston Grand Opera Studio Artist 7:30 P.M. CT JANUARY 22, 2021 Available on demand through February 21, 2021 Giving Voice Nicholas Newton, Reginald Smith Jr., J'Nai Bridges, Nicole Heaston, Russell Thomas, and Lawrence Brownlee in the first Giving Voice “I feel it is important that the diversity regularly seen on HGO’s stage be reflected in the audience. I created Giving Voice to welcome Black and African American community members into a company, and an artform, that I love.” —Co-host and tenor Lawrence Brownlee Giving Voice Program “Si può? Si può?” from Pagliacci Ruggero Leoncavallo (1857-1919) Mr. Albert “Un bel dì, vedremo” from Madama Butterfly Giacomo Puccini (1858-1924) Ms. Heaston Così dunque tradisci … Aspri rimorsi atroci Wolfgang Amadeus Mozart (1756-1791) Mr. McGee “Caro elisir! sei mio!” from L’elisir d’amore Gaetano Donizetti (1797-1848) Ms. Heaston and Mr. Brownlee “Move out of your pond, Marian” from Marian’s Song Damien Sneed (b. 1979) Ms. Reams Deborah D.E.E.P. Mouton (b. 1985) “È sogno? o realtà” from Falstaff Giuseppe Verdi (1813-1901) Mr. Denson “E lucevan le stelle” from Tosca Giacomo Puccini (1858-1924) Mr.
    [Show full text]
  • Tosca Nixon in China a Midsummer Night's Dream
    TOSCA NIXON IN CHINA A MIDSUMMER NIGHT’S 19 DREAM THE GONDOLIERS BREAKING THE WAVES ZANETTO SUSANNA’S SECRET IRIS 20CAVALLERIA RUSTICANA ZINGARI UTOPIA, LIMITED FOX-TOT! MERRILY WE ROLL ALONG 5 Subscription Information 6 Tosca 8 Nixon in China 10 A Midsummer Night’s Dream 12 The Gondoliers 14 Breaking the Waves 16 Opera in Concert 20 Opera Highlights 22 Fox-tot! 24 Merrily We Roll Along 26 Amadeus & The Bard 28 Pop-up Opera 32 Emerging Artists 33 Opera Unwrapped 34 Dementia Friendly Performances 36 Audio-described Performances 37 Pre-show Talks 38 Get Involved 40 Box Office Information A huge thank you to all our business sponsors and corporate members: Thanks also to our corporate supporters: Accenture, Caledonian MacBrayne, Cameron, Eusebi Deli, Glasgow Chamber of Commerce, Glasgow Memory Clinic, M.A.C., NorthLink Ferries and Pentland Ferries. WELCOME TO SCOTTISH OPERA’S 2019|20 SEASON Scottish Opera has been entertaining At a time when, perhaps more than ever, audiences the length and breadth of the we are all thinking and talking about country for over 56 years, and still at the heart partnership, we are proud of the relationships of all we do are the words of our founder, that are critical both to Scottish Opera’s success Sir Alexander Gibson, whose vision was and to our ability to create new work for you. ‘to lay the treasures of opera at the feet We don’t work in isolation, and this Season of the people of Scotland’. exemplifies this spirit of collaboration across the world of opera, embracing our partnerships In our 2019/20 Season, we are delighted and co-productions with festivals, companies to take forward his momentous legacy and opera houses in Scotland, England, with a wealth of operatic fare – including Australia, Denmark, Spain and the United 12 operas – that takes us to over 50 venues, States, and with artists and creative teams and is augmented by numerous events in from near and far.
    [Show full text]
  • Death and Dying in Puritan New England: a Study Based on Early Gravestones, Vital Records, and Other Primary Sources Relating to Cape Cod, Massachusetts
    Curriculum Units by Fellows of the Yale-New Haven Teachers Institute 2003 Volume II: Everyday Life in Early America Death and Dying in Puritan New England: A Study Based on Early Gravestones, Vital Records, and other Primary Sources Relating to Cape Cod, Massachusetts Curriculum Unit 03.02.01 by Stephen P. Broker Introduction This curriculum unit uses several types of primary and secondary source material concerning the colonial period of New England to teach high school students about everyday life in early America. It describes a research program to investigate Puritan worldviews and beliefs about death and dying. The research program includes a study of New England gravestone carving and the use of imagery on the early gravestones found in Cape Cod, Massachusetts burying grounds. Using vital records of the colonial period for Cape Cod towns, connections are made between the information available from gravestones and human demographic trends in seventeenth century and eighteenth century Cape Cod.1 The source material used consists of: 1. Five hundred gravestones from seventeen of the earliest burying grounds at Cape Cod, Massachusetts, and a set of eight hundred color photographs of these gravestones; 2. An extensive database of vital statistics on Cape Cod colonists assembled from the gravestone texts; 3. A collection of published monographs on gravestone iconography that includes numerous photographs of gravestones from throughout New England; 4. Published vital records for each Cape Cod town, compiled by the towns and by the Society of Mayflower Descendants; 5. The sermons of Increase Mather, Cotton Mather, and Jonathan Edwards, three prominent religious and spiritual leaders of the New England colonial period.
    [Show full text]