Conductors (With Orchestra and Dates Performed) Nikolai Alexeev – St Petersburg Philharmonic 3-24-11 “ “ - St

Total Page:16

File Type:pdf, Size:1020Kb

Conductors (With Orchestra and Dates Performed) Nikolai Alexeev – St Petersburg Philharmonic 3-24-11 “ “ - St A – Z Conductors (with orchestra and dates performed) Nikolai Alexeev – St Petersburg Philharmonic 3-24-11 “ “ - St. Petersburg Philharmonic 2-27-14 “ “ - St. Petersburg Philharmonic 3-13-17 Petr Altrichter - Prague Symphony Orchestra 3-14-05 Vladimar Ashkenazy - The Royal Philharmonic Orchestra 2-15-89 Vladimir Ashkenazy - The Czech Philharmonic 3-22-00, 2-26-03 Vladimir Ashkenazy - The London Philhamonia Orchestra 2-26-84, 1-16-93 Vladimir Ashkenazy - Los Angeles Philharmonic 1-16-93 Daniel Barenboim - The Staatskapelle Berlin 1-8-04 Enrique Batiz - The State Symphony Orchestra of Mexico 3-18-08 “ “ - “ “ 3-11-15 Miguel Harth-Bedoya - Los Angeles Philharmonic 3-29-02 “ “ - “ “ 1-25-15 Randall Behr - Los Angeles Chamber Orchestra 1-7-90 Joshua Bell - Academy of St. Martin in the Fields 3-19-07 “ “ - ASMF 3-19-14 Paavo Berglund - Los Angeles Philharmonic 1-18-86 Herbert Blomstedt - Los Angeles Philharmonic 2-29-84 Herbert Blomstedt - Royal Concertgebouw Orchestra 2-18-04 Herbert Blomstedt - The San Francisco Symphony 2-14-90 Iona Brown - Los Angeles Chamber Orchestra 2-13-92 Semyon Bychkov - The WDR Symphony Orchestra Cologne 2-12-02 “ “ “ “ – Vienna Philharmonic 3-2-11 Riccardo Chailly - The Gewandhaus Orchestra of Leipzig 2-18-10 Edward Chivzhel - The USSR State Symphony 1-25-91 Myung-Whun Chung - Los Angeles Philharmonic 4-24-82 James Conlon – Los Angeles Philharmonic 4-2-14 “ “ “ “ - Los Angeles Opera Orchestra 11-19-19 Thomas Dausgaard - Swedish Chamber Orchestra 4-4-08 Dennis Russell Davies – Bruckner Orchestra of Linz 2-8-17 Andrew Davis - The BBC Philharmonic 3-3-98 Andrew Davis - Los Angeles Philharmonic 1-25-75 Andrew Davis - The Pittsburgh Symphony Orchestra 3-29-07 Boguslaw Dawidow – National Philharmonic of Poland 3-14-11 “ “ - Haifa Orchestra 3-11-14 “ “ - Polish Baltic Frederic Chopin Philharmonic 3-16-16 Rafael Frubeck de Burgos - National Orchestra of Spain 3-20-01 James De Preist - Orchestre Philharmonique de Monte-Carlo 4-20-98 “ “ “ “ - The Oregon Symphony 4-10-03 Edo de Waart - Minnesota Orchestra 1-23-92 Sir Edward Downes - Orchestra of the Royal Opera House Covent Garden 3-13-99 Carmen Dragon - The Glendale Symphony Orchestra 4-3-81 Gustavo Dudamel - Los Angeles Philharmonic 1-7-07, 1-11-11, 3-1-20 Charles Dutoit - Los Angeles Philharmonic 2-8-09, 2-26-12 Charles Dutoit - Orchestre National de France 3-2-94 Charles Dutoit – Royal Philharmonic Orchestra 1-24-12 Philippe Entremont - Dresden Philharmonic Orchestra 1-24-94 Philippe Entremont - Munich Symphony Orchestra 2-18-09 Mark Ermler - Moscow Philharmonic Orchestra 4-9-92 Christoph Eschenbach – Bamberg Symphony Orchestra 2-20-17 Ivan Fischer - The Budapest Festival Orchestra 1-13-06 Thierry Fischer – Royal Philharmonic 1-24-18 Thierry Fischer - Utah Symphony 2-17-20 Claus Peter Flor - Los Angeles Philharmonic 1-10-87 Daniele Gatti - The Royal Philharmonic Orchestra 1-17-2000, 2-3-04 Valery Gergiev - Kirov Orchestra of the Mariinsky Theatre 4-15-05 Carlo Maria Giulini-Los Angeles Philharmonic 11-30-78, 4-6-79, 4-12-80, 12-5-80 Derek Gleeson - Dublin Philharmonic 3-16-09 Igor Golovchin - State Symphony of Russia 2-3-94 Mark Gorenstein – State Symphony Orchestra of Russia 1-25-11 Hans Graf - Mozarteum Orchestra of Salzburg 3-12-85 Sir Chas. Groves G.C. - Los Angeles Philharmonic 3-16-85 Giancarlo Guerrero – Russian National Orchestra 2-19-13 Paavo Jarvi - The Cincinnati Symphony Orchestra 4-16-07 Mariss Jansons - The Pittsburgh Symphony Orchestra 3-28-99 Eri Klas - The Estonian National Symphony 3-25-09 Zoltan Kocsis - The Hungarian National Philharmonic Orchestra 1-22-03 Sergey Kondrashev - Moscow State Radio Symphony 3-1-04 Kazimierz Kord - The Warsaw Philharmonic 3-15-87, 1-20-97 Alexei Kornienko - Moscow State Radio Symphony 3-15-10 Emmanuel Krivine - Los Angeles Philharmonic – 2-27-00, 1-23-01 Erich Leinsdorf - Los Angeles Philharmonic 2-11-78 Roman Leontiev – Tschaikoski St. Petersburg State Orchestra 3-12-12 Xincao Li – China National Symphony 3-4-13 Jahja Ling – The San Diego Symphony 1-14-15 Keith Lockhart - The Utah Symphony Orchestra 2-26-06 Keith Lockhart – The BBC Symphony Orchestra 2-13-13 Jesus Lopez-Cobos - The Cincinnati Symphony Orchestra 3-13-92, 3-17-97 Fabio Luisi - Danish National Symphony Orchestra 3-29-17 Lorin Maazel - Orchestre National de France 3-11-87, 3-12-90 Lorin Maazel - The Symphonica Toscannini 1-23-07 Henry Mancini - The Henry Mancini Orchestra 4-25-84 Sir Neville Marriner - Academy of St. Martin in the Fields 4-30-97 Kurt Masur - The Gewandhaus Orchestr of Leipzig 4-21-91 Kurt Masur - New York Philharmonic 1-5-99 Nic McGegan – Los Angeles Philharmonic 4-3-16 Mehli Mehta - The American Youth Symphony 12-6-81, 1-13-85, 3-19-89, 1-8-95 Zubin Mehta - The Israel Philharmonic Orchestra 3-21-89, 1-7-98, 10-28-12, 11-9-15 Zubin Mehta - Los Angeles Philharmonic – 4-26-74, 4-3-75, 4-24-76, 1-15-77, 4-16-77 “ “ “ “ 12-9-77, 4-15-78, 12-19-79, 12-14-91 Robert Minczuk - The London Philharmonic Orchestra 3-15-06 Ludovic Morlot – The Boston Symphony 12-9-11 Ludovic Morlot – Seattle Symphony 4-4-18 Franz Welser-Most – The Cleveland Orchestra 4-19-12 Riccardo Muti – Chicago Symphony Orchestra 2-18-12, 10-19-17 Kent Nagano – Montreal Symphony 3-22-16 Garcia Navarro - Los Angeles Philharmonic 3-16-83 Heiichiro Ohyama - Los Angeles Chamber Orchestra 3-18-93 Heiichiro Ohyama - Los Angeles Philharmonic 2-25-89 Eiji Oue - Minnesota Orchestra 2-5-97 Christof Perick - Los Angeles Chamber Orchestra 4-7-88, 3-11-91 Matthias Pintscher – Los Angeles Philharmonic 1-7-2018 Michel Plasson - Orchestre du Capitole de Toulouse 1-10-85 Mikhail Pletnev - Russian National Orchestra 1-10-93, 4-8-98, 2-23-16, 2-26-19 Valery Polyansky - The Bolshoi Symphony Orchestra 3-5-01 Josep Pons – Orquestra Nacional de Espana 4-19-11 Carlo Ponti, Jr. - Russian National Orchestra 2-26-01 Andre Previn - Los Angeles Philharmonic 1-17-76, 1-23-88 Andre Previn - Orchestra of St. Luke’s 4-10-95 Andre Previn - The Pittsburgh Symphony Orchestra 2-21-82 David Robertson - The Saint Louis Symphony Orchestra 4-15-10, 3-19-13, 1-28-16 “ “ *special program *1-15-18 Mstislav Rostropovich - National Symphony Orchestra 10-10-83, 1-26-89 Gennady Rozhdestvensky - Los Angeles Philharmonic 2-17-08 Esa-Pekka Salonen - Los Angeles Philharmonic 2-25-95, 2-5-06 Esa-Pekka Salonen – Philharmonia Orchestra 3-19-19 Gerard Schwarz - Los Angeles Chamber Orchestra 2-10-80 “ “ - The Seattle Symphony 2-1-88, 3-18-91, 4-10-08 Yannick Nezet-Seguin – Rotterdam Philharmonic 2-12-15 Gil Shaham - Sejong Chamber Orchestra 4-6-09 Lahav Shani – Rotterdam Philharmonic 3-23-20 Yasuo Shinozaki - Los Angeles Philhamonic – 2-11-03 Kenneth Sillito - Academy of St. Martin in the Fields 2-7-96 Joseph Silverstein - The Utah Symphony Orchestra 3-6-86 Yuri Simonov - Moscow Philharmonic Orchestra 1-27-05 Vassily Sinaisky – Los Angeles Philharmonic 1-13-13 Giuseppe Sinopoli - Dresden Staatskapelle 4-25-96, 1-18-01 Leonard Slatkin - Los Angeles Philharmonic – 1-21-81 Leonard Slatkin - The Saint Louis Symphony Orchestra 2-22-93, 3-26-96 Thomas Sondergard – Royal Scottish National Orchestra 4-2-19 Vladimir Spivakov - National Philharmonic of Russia 2-23-07 Carl St. Clair - Pacific Symphony Orchestra 4-2-93, 3-4-02, 1-6-10, 1-27-11, 2-5-14 “ “ 3-19-18, 1-30-19, 2-5-20 Leos Svarovsky - The Czech Philharmonic 2-27-08 Yuri Temirkanov - Los Angeles Philharmonic 12-15-90 Yuri Temirkanov - The Royal Philharmonic Orchestra 2-7-95 Yuri Temirkanov - The St. Petersburg Philharmonic Orchestra 2-21-02 Henri Temianka - The California Chamber Symphony 1-12-82 Michael Tilson Thomas – London Symphony Orchestra 3-26-15 Michael Tilson Thomas - Los Angeles Philharmonic 11-23-82, 1-7-84 Michael Tilson Thomas - The San Francisco Symphony 3-6-00, 1-20-05, 1-29-09 Robin Ticciati - Los Angeles Philharmonic 3-21-10 Yan Pascal Tortelier - The BBC Philharmonic 3-22-95 Bramwell Tovey – Vancouver Symphony 1-29-13 “ “ - Los Angeles Philharmonic 1-6-17 Alexander Treger - The American Youth Symphony 1-31-00, 3-10-03 Alexander Treger - Los Angeles Philharmonic 1-20-98 Emmanuel Villaume – Prague Philharmonia 1-24-17 Arvo Volmer – Estonian National Symphony Orchestra 2-6-18 Christoph von Dohnanyi - The Cleveland Orchestra 10-24-91 Hans Vonk - Los Angeles Philharmonic (PSFP 25th Anniversary Season) 4-9-99 Hans Vonk - The Saint Louis Symphony Orchestra 2-16-99 Kurt Woss - The Johann Strauss Orchestra of Vienna 1-21-87 Long Yu - The China Philharmonic Orchestra 2-27-05, 4-19-11 Long Yu - The Shanghai Symphony Orchestra 11-25-09 David Zinman - The Baltimore Symphony Orchestra 3-16-88 David Zinman - Los Angeles Philharmonic 4-21-90, 1-29-94 Pinchas Zukerman - The Royal Philharmonic Orchestra 1-22-08, 1-20-14, 1-18-16 “ “ “ “ “ “ “ “ 1-23-20 Pinchas Zukerman - The Saint Paul Chamber Orchestra 1-20-83, 2-22-90 conductor.index.19 updated through 3/23/20 .
Recommended publications
  • Parsifal and Canada: a Documentary Study
    Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article.
    [Show full text]
  • 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.
    [Show full text]
  • RUSSIAN, SOVIET & POST-SOVIET SYMPHONIES Composers
    RUSSIAN, SOVIET & POST-SOVIET SYMPHONIES A Discography of CDs and LPs Prepared by Michael Herman Composers A-G KHAIRULLO ABDULAYEV (b. 1930, TAJIKISTAN) Born in Kulyab, Tajikistan. He studied composition at the Moscow Conservatory under Anatol Alexandrov. He has composed orchestral, choral, vocal and instrumental works. Sinfonietta in E minor (1964) Veronica Dudarova/Moscow State Symphony Orchestra ( + Poem to Lenin and Khamdamov: Day on a Collective Farm) MELODIYA S10-16331-2 (LP) (1981) LEV ABELIOVICH (1912-1985, BELARUS) Born in Vilnius, Lithuania. He studied at the Warsaw Conservatory and then at the Minsk Conservatory where he studied under Vasily Zolataryov. After graduation from the latter institution, he took further composition courses with Nikolai Miaskovsky at the Moscow Conservatory. He composed orchestral, vocal and chamber works. His other Symphonies are Nos. 1 (1962), 3 in B flat minor (1967) and 4 (1969). Symphony No. 2 in E minor (1964) Valentin Katayev/Byelorussian State Symphony Orchestra ( + Vagner: Suite for Symphony Orchestra) MELODIYA D 024909-10 (LP) (1969) VASIF ADIGEZALOV (1935-2006, AZERBAIJAN) Born in Baku, Azerbaijan. He studied under Kara Karayev at the Azerbaijan Conservatory and then joined the staff of that school. His compositional catalgue covers the entire range of genres from opera to film music and works for folk instruments. Among his orchestral works are 4 Symphonies of which the unrecorded ones are Nos. 1 (1958) and 4 "Segah" (1998). Symphony No. 2 (1968) Boris Khaikin/Moscow Radio Symphony Orchestra (rec. 1968) ( + Piano Concertos Nos. 2 and 3, Poem Exaltation for 2 Pianos and Orchestra, Africa Amidst MusicWeb International Last updated: August 2020 Russian, Soviet & Post-Soviet Symphonies A-G Struggles, Garabagh Shikastasi Oratorio and Land of Fire Oratorio) AZERBAIJAN INTERNATIONAL (3 CDs) (2007) Symphony No.
    [Show full text]
  • MUSICWEB INTERNATIONAL Recordings of the Year 2018 This
    MUSICWEB INTERNATIONAL Recordings Of The Year 2018 This is the fifteenth year that MusicWeb International has asked its reviewing team to nominate their recordings of the year. Reviewers are not restricted to discs they had reviewed, but the choices must have been reviewed on MWI in the last 12 months (December 2017-November 2018). The 130 selections have come from 25 members of the team and 70 different labels, the choices reflecting as usual, the great diversity of music and sources - I say that every year, but still the spread of choices surprises and pleases me. Of the selections, 8 have received two nominations: Mahler and Strauss with Sergiu Celibidache on the Munich Phil choral music by Pavel Chesnokov on Reference Recordings Shostakovich symphonies with Andris Nelsons on DG The Gluepot Connection from the Londinium Choir on Somm The John Adams Edition on the Berlin Phil’s own label Historic recordings of Carlo Zecchi on APR Pärt symphonies on ECM works for two pianos by Stravinsky on Hyperion Chandos was this year’s leading label with 11 nominations, significantly more than any other label. MUSICWEB INTERNATIONAL RECORDING OF THE YEAR In this twelve month period, we published more than 2400 reviews. There is no easy or entirely satisfactory way of choosing one above all others as our Recording of the Year, but this year the choice was a little easier than usual. Pavel CHESNOKOV Teach Me Thy Statutes - PaTRAM Institute Male Choir/Vladimir Gorbik rec. 2016 REFERENCE RECORDINGS FR-727 SACD The most significant anniversary of 2018 was that of the centenary of the death of Claude Debussy, and while there were fine recordings of his music, none stood as deserving of this accolade as much as the choral works of Pavel Chesnokov.
    [Show full text]
  • University Musical Society Oslo Philharmonic
    UNIVERSITY MUSICAL SOCIETY OSLO PHILHARMONIC ORCHESTRA MARISS JANSONS Music Director and Conductor FRANK PETER ZIMMERMANN, Violinist Sunday Evening, November 17, 1991, at 8:00 Hill Auditorium, Ann Arbor, Michigan PROGRAM Concerto in E minor for Violin and Orchestra, Op. 64 . Mendelssohn Allegro molto appassionata Andante Allegretto non troppo, allegro molto vivace Frank Peter Zimmermann, Violinist INTERMISSION Symphony No. 7 in C major, Op. 60 ("Leningrad") ..... Shostakovich Allegretto Moderate Adagio, moderate risoluto Allegro non troppo CCC Norsk Hydro is proud to be the exclusive worldwide sponsor IfiBUt of the Oslo Philharmonic Orchestra for the period 1990-93. The Oslo Philharmonic and Frank Peter Zimmermann are represented by Columbia Artists Management Inc., New York City. The Philharmonic records for EMl/Angel, Chandos, and Polygram. The box office in the outer lobby is open during intermission for tickets to upcoming Musical Society concerts. Twelfth Concert of the 113th Season 113th Annual Choral Union Series Program Notes Violin Concerto in E minor, Op. 64 root tone G on its lowest note, the flute and FELIX MENDELSSOHN (1809-1847) clarinets in pairs are entrusted with the gentle melody. On the opening G string, the solo uring his short life of 38 years, violin becomes the fundament of this delicate Mendelssohn dominated the passage. The two themes are worked out until musical world of Germany and their development reaches the cadenza, exercised the same influence in which Mendelssohn wrote out in full. The England for more than a gener­ cadenza, in turn, serves as a transition to the ationD after his death. The reason for this may reprise.
    [Show full text]
  • Lotus Approach/ECD.APR
    Musenhöhle CD-Katalog (nach Nummern sortiert) 1 LEHÁR: Tatjana, Ouvertüre und 1. Akt 53:17 Lehár, Franz 1870-1948 Tatjana, Oper in drei Akten Schellenberger, Lippert, Mewis / Rundfunkchor Berlin / Rundfunk-Sinfonieorch. Berlin / Marek Janowski 21.04.2001 DLR Bln 2 LEHÁR: Tatjana, 2., 3. und 4. Akt 73:28 Lehár, Franz 1870-1948 Tatjana, Oper in drei Akten Schellenberger, Lippert, Mewis / Rundfunkchor Berlin / Rundfunk-Sinfonieorch. Berlin / Marek Janowski 21.04.2001 DLR Bln 3 RAFF: Sinfonie Nr. 3 "Im Walde" 45:18 Raff, Joachim 1822-1882 Sinfonie Nr. 3 F-dur op. 153 "Im Walde" The Philharmonia / Francesco d' Avalos 18.04.2002 HR 2 4 ELGAR: Sinfonie Nr. 3 - Owain Arwell Hughes 57:25 Elgar, Edward 1857-1934 Sinfonie Nr. 3 c-moll, rekonstruiert und ergänzt von Anthony Payne Orchester des Dänischen Rundfunks / Owain Arwell Hughes 04.10.1999 HR 2 5 VOLKMANN: Sinfonien 1 & 2 60:35 Volkmann, Robert 1815-1883 Sinfonie Nr. 1 d-moll op. 44 Nordwestdeutsche Philharmonie / Werner Andreas Albert 12.09.1999 HR 2 Sinfonie Nr. 2 B-dur op. 53 Nordwestdeutsche Philharmonie / Werner Andreas Albert 23.05.2001 ARD-N WDR 6 MAGNARD: Sinfonien 3 & 4 73:12 Magnard, Albéric 1865-1914 Sinfonie Nr. 3 b-moll op. 11 BBC Scottish Symphony Orchestra / Jean-Yves Ossonce 14.02.1999 SFB R. Kultur Sinfonie Nr. 4 cis-moll op. 21 (1913) BBC Scottish Symphony Orchestra / Jean-Yves Ossonce 14.02.1999 SFB R. Kultur 7 LISZT: Die Legende von der heiligen Elisabeth (1) 72:29 Liszt, Franz 1811-1886 Die Legende von der heiligen Elisabeth Marton, Szalai, Szabó, Solyom-Nagy, Gáti, Gregor / Budapester Chor / Ungar.
    [Show full text]
  • The Inaugural Season 27 Season 2012-2013
    YANNICK October 2012 The Inaugural Season 27 Season 2012-2013 Friday, October 19, at 8:00 Saturday, October 20, at The Philadelphia Orchestra 8:00 Sunday, October 21, at 2:00 Yannick Nézet-Séguin Conductor Marina Poplavskaya Soprano Christine Rice Mezzo-soprano Rolando Villazón Tenor Mikhail Petrenko Bass Westminster Symphonic Choir Joe Miller Director Verdi Requiem I. Requiem (Solo Quartet and Chorus) II. Dies irae: Dies irae (Chorus) Tuba mirum (Bass and Chorus) Liber scriptus (Mezzo-soprano and Chorus) Quid sum miser (Soprano, Mezzo-soprano, and Tenor) Rex tremendae (Solo Quartet and Chorus) Recordare (Soprano and Mezzo-soprano) Ingemisco (Tenor) Confutatis (Bass and Chorus) Lacrymosa (Solo Quartet and Chorus) III. Offertorio (Solo Quartet) IV. Sanctus (Chorus I and II) V. Agnus Dei (Soprano, Mezzo-soprano, and Chorus) VI. Lux aeterna (Mezzo-soprano, Tenor, and Bass) VII. Libera me (Soprano and Chorus) This program runs approximately 1 hour, 30 minutes, and will be performed without an intermission. 228 Story Title The Philadelphia Orchestra Jessica Griffin Renowned for its distinctive vivid world of opera and Orchestra boasts a new sound, beloved for its choral music. partnership with the keen ability to capture the National Centre for the Philadelphia is home and hearts and imaginations Performing Arts in Beijing. the Orchestra nurtures of audiences, and admired The Orchestra annually an important relationship for an unrivaled legacy of performs at Carnegie Hall not only with patrons who “firsts” in music-making, and the Kennedy Center support the main season The Philadelphia Orchestra while also enjoying a at the Kimmel Center for is one of the preeminent three-week residency in the Performing Arts but orchestras in the world.
    [Show full text]
  • La Favorite Opéra De Gaetano Donizetti
    La Favorite opéra de Gaetano Donizetti NOUVELLE PRODUCTION 7, 9, 12, 14, 19 février 2013 19h30 17 février 2013 17h Paolo Arrivabeni direction Valérie Nègre mise en scène Andrea Blum scénographie Guillaume Poix dramaturgie Aurore Popineau costumes Alejandro Leroux lumières Sophie Tellier choréraphie Théâtre des Champs-Elysées Alice Coote, Celso Albelo, Ludovic Tézier, Service de presse Carlo Colombara, Loïc Félix, Judith Gauthier tél. 01 49 52 50 70 [email protected] Orchestre National de France Chœur de Radio France theatrechampselysees.fr Chœur du Théâtre des Champs-Elysées Coproduction Théâtre des Champs-Elysées / Radio France La Caisse des Dépôts soutient l’ensemble de la Réservations programmation du Théâtre des Champs-Elysées T. 01 49 52 50 50 theatrechampselysees.fr 5 Depuis quelques saisons, le bel canto La Favorite et tout particulièrement Donizetti ont naturellement trouvé leur place au Gaetano Donizetti Théâtre puisque pas moins de quatre des opéras du compositeur originaire Opéra en quatre actes (1840, version française) de Bergame ont été récemment Livret d’Alphonse Royer et Gustave Vaëz, d’après Les Amours malheureuses présentés : la trilogie qu’il a consacré ou Le Comte de Comminges de François-Thomas-Marie de Baculard d’Arnaud aux Reines de la cour Tudor (Maria Stuarda, Roberto Devereux et Anna Bolena) donnée en version de direction musicale Paolo Arrivabeni concert et, la saison dernière, Don Valérie Nègre mise en scène Pasquale dans une mise en scène de Andrea Blum scénographie Denis Podalydès. Guillaume Poix dramaturgie Aurore Popineau costumes Compositeur prolifique, héritier de Rossini et précurseur de Verdi, Alejandro Le Roux lumières Donizetti appartient à cette lignée de chorégraphie Sophie Tellier musiciens italiens qui triomphèrent dans leur pays avant de conquérir Paris.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 2005
    Tanglewood sum, ; JAMES LEVINE MUSIC DIRECTOR m ^ ^* ml/ «o*<-^- -*»5i^^ i>iim T-. ORIGINS GflUCIW formerly TRIBAL ARTS GALLERY, NYC Ceremonial and modern sculpture for new and advanced collectors Open 7 Days 36 Main St. POB 905 41 3-298-0002 Stockbridge, MA 01262 urnmg lree Estates is pleased to offer an inviting opportunity in the Berkshires: [ Comforts ofHome] our exclusive community of fifteen [ Quality of Life ] tastefully unique homes. Classic New [ Sense England designs, abundant with of Community ] luxury amenities, are built with the discerning homeowner in mind. Each is majestically sited on private wooded acres along tranquil streets. Please schedule an appointment to explore our distinctive designs and the remaining lots available at Burning Tree Estates. For more information please call or visit Burning Tree Road, Great Barrington, MA BOSTON SYMPHONY ORCHESTRA One Hundred and Twenty-Fourth Season, 2004-05 TANGLEWOOD 2005 g^± Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman John F. Cogan, Jr., Vice-Chairman Robert P. O'Block, Vice-Chairman Nina L. Doggett, Vice-Chairman Roger T. Servison, Vice-Chairman Edward Linde, Vice-Chairman Vincent M. O'Reilly, Treasurer Harlan E. Anderson Eric D. Collins Edmund Kelly Edward I. Rudman George D. Behrakis Diddy Cullinane, George Krupp Hannah H. Schneider Gabriella Beranek ex-officio R. Willis Leith, Jr. Thomas G. Sternberg Mark G. Borden William R. Elfers Nathan R. Miller Stephen R. Weber Jan Brett Nancy J. Fitzpatrick Richard P. Morse Stephen R. Weiner Samuel B. Bruskin Charles K. Gifford Ann M. Philbin, Robert C. Winters Paul Buttenwieser Thelma E. Goldberg ex-officio James F.
    [Show full text]
  • Marie Collier: a Life
    Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family.
    [Show full text]
  • Missing a Beat
    Missing a Beat Bridging Ireland's Orchestral Gaps A Review of Orchestral Provision in Ireland Review of Orchestral Provision in Ireland 1 Introductory note from The Arts Council/An Chomhairle Ealaíon This note introduces the Report 'Missing a Beat: bridging Ireland's orchestral gaps', from the perspective of the Arts Council. In response to feedback gathered during a major consultation process (2005), in the resulting document, Partnership for the Arts, the Arts Council undertook to “examine national orchestral needs and develop appropriate responses”1. This led to commissioning a review of orchestral provision in late 2007. Much of the primary research was undertaken during 2008 and 2009. The resulting report 'Missing a Beat, Bridging Ireland's Orchestral Gaps' written by Fergus Sheil, was finalised in November 2010. A postscript to the original report was written by the author in May 2012, in order to reflect developments since the original report was completed. This postscript is now appended to the original document. The report offers an overview and analysis of issues affecting orchestral provision in Ireland. It draws upon a wide range of examples of international practice to illustrate what it regards as 'gaps' and to highlight the potential that may exist for development within Ireland. Beyond its usefulness as an important reference document, the report has the potential to stimulate both further dialogue and practical cooperation amongst a broad range of stakeholders within the music sector. In this regard, the report itself notes and anticipates the need for the music sector to develop new models of practice. Embracing such an approach may prove to be essential in terms of ensuring the longer term development and sustainability of orchestral music provision in Ireland.
    [Show full text]
  • Ÿþa N N U a L R E P O R T D O C U M E N
    Annual AMERICAN Report YOUTH 2015/16 SYMPHONY Concert Season Come as your are. Leave Inspired. New Music Our Mission, Our Our Our Fiscal Alumni AYS Our Our Director! Our Vision Programs Events Audience Responsibility Spotlights Testimonials Tea m Supporters I am incredibly honored and excited to become Orchestra, to name a few. And it is because of this the next Music Director of the American Youth belief that I cherish the opportunity to contribute Symphony, an ensemble with a deep history and to the future of classical music by taking what I view a bright future in the great city of Los Angeles. as the natural next step in the progression of my journey and my life -- the American Youth Symphony. I come to AYS as a dedicated musician who after years of experience as a regular guest I am thrilled to begin guiding our musicians both conductor across five continents, a concert cellist, off-stage and on for my inaugural concert season in and a composer, looks forward to working with 2016/17. Featuring several major classical works, the today’s most talented young musicians. I’m also repertoire prepares AYS musicians for the demands the Music Director of the Alabama Symphony of a 21st century professional orchestra. Such giants Orchestra, a husband, and father of three little kids. as Mozart and Korngold need no introduction, and I am particularly excited to kick off the season Having grown up in Caracas in a musical household has with Mahler’s Symphony No.1 on October 16 and to certainly been instrumental in my choice to become join electric-guitar icon Steve Vai on-stage at Walt both a musician and a passionate advocate of the Disney Concert Hall on March 11 for a concert that arts.
    [Show full text]