CD-Liste Dirigenten ABC... Hans-Christoph
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ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
Julia Hamari Geb
Julia Hamari geb. am 21. November 1942 in Budapest Erste Begegnung mit Karl Richter 1966 Eigentlich ist für mich ein Wunder geschehen, und so versuche ich jetzt, Richter im Geist anzu- schauen und zu ihm zu sprechen. Es war für mich ein phantastisches Erlebnis. In Budapest habe ich 1965 den großen Franz-Liszt- Wettbewerb gewonnen, dabei war ich die jüngste Teilnehmerin. Nach diesem Wettbewerb wurde eine Schallplatte gemacht, die wahrscheinlich herumgeschickt wurde, und so ist diese Schallplatte auch in Wien angekommen. Es war gerade Festspielzeit. Und wenn ich mich gut erinnere, hatte Christa Ludwig abgesagt, und man hat mich gefragt. Als kleine, 22jährige, klein eben, noch Schü- lerin, und von der Hochschule nur weg durch diesen Wettbewerb. Unglaublich aufgeputzt kam ich damals aus Ungarn an. Wir waren arm, es war eigentlich eine dunkle Zeit, aber nicht für mich. Für mich schien die Sonne durch die Musik und dadurch, dass ich dachte, man liebt mich und hilft mir. Im Musikverein in Wien wurde ich dann Richter vorgestellt. Er kam in den Raum und ich stand da, absolut unbekannt, wirklich ein kleines Mädchen, nichts anderes. Und er stand vor mir und guckte mich so an mit seinen irre großen, richtigen - ich sage immer, also positiv, wirklich mit Liebe gemeint - Fischaugen. Ich versuchte, diese Fischaugen anzustarren, und ich wurde gelähmt. Minu- tenlang gelähmt. Ich guckte diese zwei Augen an und ich dachte, ich kann keinen Ton singen. Und dann sagte er in seinem goldigen sächsischen Dialekt - ich versuche noch heute, es für meine Schüler nachzumachen -: „Na, kommen Sie, singen wir ein bisschen.“ Und dann hat er mich in ein großes Zimmer geführt und hat sofort die Erbarme- dich-Arie aus der Matthäus-Passion angefan- gen. -
Matthew Chellis • Tenor
Matthew Chellis • Tenor 881 Homestead Court, Erie, Colorado 80516 CU Boulder Office C137 Phone: 917.705.1261 E-Mail: [email protected] Web: www.matthewchellis.com Artist Representative: Randsman Artist Management Phone: 212.290.2281 MC Education: Juilliard Opera Center Post Graduate Training 1993-1995 Manhattan School of Music Master of Music, 1993 The University of Michigan Bachelor of Musical Arts – Vocal Performance / Marketing, 1987 Teaching Career: Associate Professor of Voice, University of Colorado Boulder – 2014-present § Voice Faculty Instructor § PUEC Committee § Director of BM/MT Degree Program § Curriculum Committee Adjunct Professor of Voice, Roosevelt University – 2007-2014 • Voice Faculty Instructor • Director of Senior Opera Scenes Program • Senior Performance Class Instructor • Guest lecturer in Pedagogy/Diction Adjunct Professor of Voice, New York University – 2001-2006 Up North Vocal Institute, Boyne City, Michigan – 2011-Present § Creator, General and Artistic Director § Oversee all operations of summer festival § Master Voice Teacher/Clinician § Musical Theatre Master Classes Taos Opera Institute, Master Teacher -Taos, New MeXico - Summer 2009, 2010 Private Voice Studio – Boulder, Colorado 2015 - present; Chicago, Illinois 2007 – 2014; New York, New York – 1996-2007. Students represented in major Opera and Theatre companies in the U.S., Europe and on Broadway. Current/Future Engagements: 2019/2020: Covid restrictions did not allow any in person performance. Covid cancellation of the Verdi Requiem with the CU -
2017 Convention Schedule
WEDNESDAY, JANUARY 4 2:00PM – 5:00PM Board of Directors Meeting Anacapa 6:00PM - 9:00PM Pre-Conference Dinner & Wine Tasting Villa Wine Bar 618 Anacapa Street, Santa Barbara 7:00PM – 10:00PM Opera Scenes Competition Rehearsal Grand Ballroom THURSDAY, JANUARY 5 8:00AM – 5:00PM Registration Grand Foyer 9:00AM – 5:00PM EXHIBITS Grand Foyer 9:00AM – 9:30AM MORNING COFFEE Grand Foyer Sponsored by the University of Colorado at Boulder College of Music 9:30AM-10:45AM Sierra Madre The 21st Century Way: Redefining the Opera Workshop Justin John Moniz, Florida State University Training programs have begun to include repertoire across varying genres in order to better equip young artists for prosperous careers in today’s evolving operatic canon. This session will address specific acting and movement methods geared to better serve our current training modules, offering new ideas and fresh perspectives to help redefine singer training in the 21st century. Panelists include: Scott Skiba, Director of Opera, Baldwin Wallace Conservatory; Carleen Graham, Director of HGOco, Houston Grand Opera; James Marvel, Director of Opera, University of Tennessee-Knoxville; Copeland Woodruff, Director of Opera Studies, Lawrence University. 11:00AM-12:45PM Opening Ceremonies & Luncheon Plaza del Sol Keynote Speaker: Kostis Protopapas, Artistic Director, Opera Santa Barbara 1:00PM-2:15PM The Janus Face of Contemporary American Opera Sierra Madre Barbara Clark, Shepherd School of Music, Rice University The advent of the 21st century has proven fertile ground for the composition -
2005 Distinguished Faculty, John Hall
The Complete Recitalist June 9-23 n Singing On Stage June 18-July 3 n Distinguished faculty John Harbison, Jake Heggie, Martin Katz, and others 2005 Distinguished Faculty, John Hall Welcome to Songfest 2005! “Search and see whether there is not some place where you may invest your humanity.” – Albert Schweitzer 1996 Young Artist program with co-founder John Hall. Songfest 2005 is supported, in part, by grants from the Aaron Copland Fund for Music and the Virgil Thomson Foundation. Songfest photography courtesy of Luisa Gulley. Songfest is a 501(c)3 corporation. All donations are 100% tax-deductible to the full extent permitted by law. Dear Friends, It is a great honor and joy for me to present Songfest 2005 at Pepperdine University once again this summer. In our third year of residence at this beautiful ocean-side Malibu campus, Songfest has grown to encompass an ever-widening circle of inspiration and achievement. Always focusing on the special relationship between singer and pianist, we have moved on from our unique emphasis on recognized masterworks of art song to exploring the varied and rich American Song. We are once again privileged to have John Harbison with us this summer. He has generously donated a commission to Songfest – Vocalism – to be premiered on the June 19 concert. Our singers and pianists will be previewing his new song cycle on poems by Milosz. Each time I read these beautiful poems, I am reminded why we love this music and how our lives are enriched. What an honor and unique opportunity this is for Songfest. -
Concerts with the London Philharmonic Orchestra for Seasons 1946-47 to 2006-07 Last Updated April 2007
Artistic Director NEVILLE CREED President SIR ROGER NORRINGTON Patron HRH PRINCESS ALEXANDRA Concerts with the London Philharmonic Orchestra For Seasons 1946-47 To 2006-07 Last updated April 2007 From 1946-47 until April 1951, unless stated otherwise, all concerts were given in the Royal Albert Hall. From May 1951 onwards, unless stated otherwise, all concerts were given in The Royal Festival Hall. 1946-47 May 15 Victor De Sabata, The London Philharmonic Orchestra (First Appearance), Isobel Baillie, Eugenia Zareska, Parry Jones, Harold Williams, Beethoven: Symphony 8 ; Symphony 9 (Choral) May 29 Karl Rankl, Members Of The London Philharmonic Orchestra, Kirsten Flagstad, Joan Cross, Norman Walker Wagner: The Valkyrie Act 3 - Complete; Funeral March And Closing Scene - Gotterdammerung 1947-48 October 12 (Royal Opera House) Ernest Ansermet, The London Philharmonic Orchestra, Clara Haskil Haydn: Symphony 92 (Oxford); Mozart: Piano Concerto 9; Vaughan Williams: Fantasia On A Theme Of Thomas Tallis; Stravinsky: Symphony Of Psalms November 13 Bruno Walter, The London Philharmonic Orchestra, Isobel Baillie, Kathleen Ferrier, Heddle Nash, William Parsons Bruckner: Te Deum; Beethoven: Symphony 9 (Choral) December 11 Frederic Jackson, The London Philharmonic Orchestra, Ceinwen Rowlands, Mary Jarred, Henry Wendon, William Parsons, Handel: Messiah Jackson Conducted Messiah Annually From 1947 To 1964. His Other Performances Have Been Omitted. February 5 Sir Adrian Boult, The London Philharmonic Orchestra, Joan Hammond, Mary Chafer, Eugenia Zareska, -
Madness at Noon: Mather Hall See Story on Page 4 Page 2, the TRIPOD, TUESDAY, SEPTEMBER 24, 1972 Jewish Studies: Making the Investment
THE TRINITY TUESDAY SEPTEMBER 26,1972 TRINITY COLLEGE I POD HARTFORD, CONN. o a Madness At Noon: Mather Hall See Story on Page 4 Page 2, THE TRIPOD, TUESDAY, SEPTEMBER 24, 1972 Jewish Studies: Making The Investment When the Jewish Studies program at undertook the operating costs, and will Trinity was established in 1967 by a grant of continue to do so until the $100,000 goal is $14,000 from the Jewish Theological met. Seminary in New York, it was with the idea Asked for reasons explaining the fact that that when the grant, a declining one in terms 4/5 of the goal still must be met, Director of of money given over the years, was entirely Development Judson Reese replied that used up, the college would take over the "The fund raising plan has been to appeal to funding of the program. Thus, in order to interested people on a broad basis, with ensure the continuation of the program, a small gifts coming from a large number of committee was formed in 1969 to raise people, rather than large gifts coming from $100,000 over a period of four years. At the a very few people. The committee feels it present time, $21,000 has been raised by important to inform people that Trinity has approximately 200 gifts, and while this is far the Jewish Studies program, and this type of short of the goal, Director of Development fund-raising method facilitates that ob- Judson Reese is fully confident that the goal jective. It takes longer to raise the money, will be reached. -
The Word "Great' Chael Schopper (Baritone), Nireno
FALLA: Nights in the Gardens of Spain(see almost twenty years before Chopin's first pub- me in Miss Boehm's performance here than in SAINT -SANS: Concerto No. 2) lished nocturnes, three pieces by Field had Noel Lee's recording for Nonesuch. I was been published under that name. By 1834, struck by the decided element of Irish folksong FIELD: Nineteen Nocturnes. MaryLouise when Chopin's first three had come off the in No. 8, and No. 11 is an unexpected exercise Boehm (piano). TURNABOUT TV -S 34349/ press, some twenty of Field's were extant (ti- in Schubertian major -minor contrasts. The 50 two discs $5.96. tled variously as nocturnes and romances), long -lost No. 19, subtitled The Troubadour, Performance: Neat though currently available standard editions in- excites more than usual interest for the polo- Recording: Intimate clude only eighteen. In this first integral re- naise -style fanfare that opens and closes its ini- cording of the Field Nocturnes, the American tial section and also serves as a coda. John Field (1782-1837), the Irish-born corn- pianist Mary Louise Boehm has been able to Miss Boehm's performances are clear and poser -pianist, is bracketed neatly with Hum- add a No. 19 in C Major from a score at King's neatly articulated from the rhythmic stand- mel and Weber-he was two years older than College, Cambridge. Numbers 8 in A and 16 point, but not as nuanced in phrasing as Noel one and two younger than the other. He in F are also firsts for the American catalog. -
UCSB Opera Theatre Presents Dominick Argento Chamber Opera Competition Finalists
University of California, Santa Barbara Department of Music Santa Barbara, CA 93106-6070 CONTACT: Adriane Hill Marketing and Communications Manager Department of Music University of California, Santa Barbara (805) 893-3230 [email protected] www.music.ucsb.edu FOR IMMEDIATE RELEASE / December 12, 2016 UCSB OPERA THEATRE PRESENTS DOMINICK ARGENTO CHAMBER OPERA COMPETITION FINALISTS UCSB students present excerpts from operas chosen as finalists for the Dominick Argento Chamber Opera Competition at Hahn Hall at the Music Academy of the West SANTA BARBARA, December 12, 2016—UCSB’s Opera Theatre program will present excerpts from the three operas chosen as finalists for the 2016-2018 Dominick Argento Chamber Opera Competition on Friday, January 6, 2017 at 7:30 p.m. at Hahn Hall at the Music Academy of the West. The performance is part of the National Opera Association’s annual convention, which will be held for the first time in Santa Barbara from January 4-8, 2017 at the Fess Parker Hotel. Following UCSB Opera Theatre’s presentation of the opera excerpts, a panel of judges—including Kostis Protopapas, Henry Price, Robin Guarino, and Michael Ching—will select the winning opera, which will be performed in its entirety at the 2018 convention. The Dominick Argento Chamber Opera Competition encourages the composition and performance of short operas especially useful in opera workshops and other training venues. The 2016-2018 finalists include After Life by Tom Cipullo (composer) and David Mason (librettist); Letters from Quebec to Providence in the Rain by Jeremy Gill (composer & librettist); and The Scarecrow by Joseph Turrin (composer) and Bernard Stambler (librettist). -
The Daily Egyptian, September 18, 1976
Southern Illinois University Carbondale OpenSIUC September 1976 Daily Egyptian 1976 9-18-1976 The aiD ly Egyptian, September 18, 1976 Daily Egyptian Staff Follow this and additional works at: http://opensiuc.lib.siu.edu/de_September1976 Volume 58, Issue 21 Recommended Citation , . "The aiD ly Egyptian, September 18, 1976." (Sep 1976). This Article is brought to you for free and open access by the Daily Egyptian 1976 at OpenSIUC. It has been accepted for inclusion in September 1976 by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. ouse votes new probes of assassinations By Edmohd Breto:n conS'piracy involved. I do not know the made the rest of this year. B.F. Sisk, D-Calif., argued it could Associated Pres. Writer identity of the conspirators or their Del. Walter Fauntroy of the District of .accomplish little. WASHING'to..N (AP) -The House motives. That should be investigated in Columbia said "new information "For God's sake, if you have any voted Friday to launch new in de th." '. justifies 'this investigation" of the King respect for the dolla.rs of taxpayers, let's vesti~ations into the assassinations of ~rlier, Speaker Carl rubert said he is death. Fauntroy served as Washington vote this resolution down," Sisk said. President John F . Kennedy and civil designating Downing as chairman of the director of the Southern Christian "To me, it is almost unbelievable that rights leader Martin Luthet King. 12-member select committee and Rep. Leadership Conference when King we should be here, close to October, even "It adopted, 280 to 65, a resolution to set Henry B. -
Decca Discography
DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982. -
CD-Liste Komponisten ABC... Johann Sebastian Bach
1 CD 1 CD 3 CD 3 CD 848,08 VHS-A 693,02 848,1 3 CD 849,01 CD 810,09 V 1,4 V 1,4 2,01 VHS-A 703,02 VHS-A 400,05 2,02 V 105,3 H 269,1 3 CD 810,04 08.06.12 Elisabeth Speiser, Kurt Equiluz, Siegmund Nimsgern, , , , , , Julia Hamari, Schreier, Peter Dietrich Fischer-Dieskau, , , , , , Anna Reynolds, Anna Reynolds, Kurt Equiluz, Siegmund Nimsgern, , , , , Hertha Töpper, , , , , , , , Edith Mathis, Schmidt, Trudeliese Schreier, Peter Dietrich Fischer- Dieskau, , , , , , , , , , , , , -- , , , , , , , , -- Danz,Johannette Jan Ingeborg Zomer, -- , Kooj, , Peter , , Kobow, Edith Mathis, Schmidt, Trudeliese -- Schreier, Peter Dietrich Fischer- Dieskau, , , , , Anna Schreier, Reynolds, Peter --Dietrich Fischer-Dieskau, , , , , , Danz,Johannette Jan Ingeborg Zomer, -- , Kooj, , Peter , , Kobow, Kieth Lutze, HelmutGert Krebs, --Engen, , , , , , Ursula Buckel, Barbara Bornemann, -- Hoefflin, , , , , , Edith Mathis, Julia Hamari, Peter --Schreier, Dietrich Fischer-Dieskau, , , , , -- -- -- -- -- Philippe Herreweghe Philippe Herreweghe Richter Karl Richter Karl Karl Richter Karl Richter Karl Richter Karl -- -- -- Richter Karl -- Richter Karl -- -- Richter Karl -- Kurt Thomas -- Richter Karl -- -- -- -- -- -- a rg h h h h h h h h h h h h C Münchener Bach-Orche C Münchner Bach Chor C FrankfurterKantorei C Münchener Bach-Orche C C Münchener Bach-Chor C C K O Gent Collegium Vocale C Münchener Bach-Chor C Münchener Bach-Chor C Gent Collegium Vocale C Münchner Bach Chor Münchner Bach Chor Münchner Bach Chor Johann Sebastian Bach (1685 - 1750) München München