Coastal Symphony of Georgia 2020-21 Concert Season

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Coastal Symphony of Georgia 2020-21 Concert Season Michelle Merrill, Music Director and Conductor Brunswick High School Auditorium Monday, November 9, 2020 8:00 p.m. Coriolan Overture Ludwig von Beethoven Siegfried Idyll Richard Wagner Intermission Symphony No. 3 Ludwig von Beethoven Our second concert of the season opens and closes with the genius of Beethoven, as part of the global celebration of his 250th birthday. (December 17, 1770–December 17, 2020) Beethoven’s Coriolan Overture depicts a Roman leader’s transition from brutality to tenderness by capturing the moods of the story of Gaius Marcius Coriolanus rather than its narrative. A main C minor theme represents Coriolanus’ resolve and war-like tendencies as he is about to invade Rome. A more tender E-flat major theme reflects the pleadings of his mother to desist. An explosive beginning gives way to lighter winds, but there is a continuing sense of underlying urgency as it moves to a pastoral feeling, ending quietly as the troubled Coriolanus takes his own life. A mother and son theme also informs the second piece on the program in Richard Wagner’s Siegfried Idyll. Originally titled The Tribschen Idyll, the symphonic poem presented in sonata form celebrates private joys, domestic bliss, and the birth of a son, Siegfried. Wagner presented it to his wife Cosima as a birthday present on December 25, 1870, gathering a small ensemble on the stairs of their home, Tribschen, on Lake Lucerne, Switzerland. He later arranged the piece for full orchestra and retitled it Siegfried Idyll. This work is considered the most personal of all his compositions and has been described as a sumptuous piece of music that expresses his paternal and romantic love. Beethoven’s brilliant Symphony No. 3, Eroica, closes the program. It is considered a milestone work of classical-style composition and marks the beginning of the Romantic period in classical music. Gigantic in scope, the symphony covers a wealth of emotional ground thematically and marks the beginning of Beethoven’s creative middle-period. In terms of astonishing output of superlatively complex, original, and beautiful music, this period in his life is unrivaled by any other composer in history. This concert will inspire us! .

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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.
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IN SUMMER Lucerne Is a Wagner City
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ARSC Journal, Vol.21, No
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