Index to the Complete Blake Collection
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
English Translation of the German by Tom Hammond
Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p. -
View List (.Pdf)
Symphony Society of New York Stadium Concert United States Premieres New York Philharmonic Commission as of November 30, 2020 NY PHIL Biennial Members of / musicians from the New York Philharmonic Click to jump to decade 1842-49 | 1850-59 | 1860-69 | 1870-79 | 1880-89 | 1890-99 | 1900-09 | 1910-19 | 1920-29 | 1930-39 1940-49 | 1950-59 | 1960-69 | 1970-79 | 1980-89 | 1990-99 | 2000-09 | 2010-19 | 2020 Composer Work Date Conductor 1842 – 1849 Beethoven Symphony No. 3, Sinfonia Eroica 18-Feb 1843 Hill Beethoven Symphony No. 7 18-Nov 1843 Hill Vieuxtemps Fantasia pour le Violon sur la quatrième corde 18-May 1844 Alpers Lindpaintner War Jubilee Overture 16-Nov 1844 Loder Mendelssohn The Hebrides Overture (Fingal's Cave) 16-Nov 1844 Loder Beethoven Symphony No. 8 16-Nov 1844 Loder Bennett Die Najaden (The Naiades) 1-Mar 1845 Wiegers Mendelssohn Symphony No. 3, Scottish 22-Nov 1845 Loder Mendelssohn Piano Concerto No. 1 17-Jan 1846 Hill Kalliwoda Symphony No. 1 7-Mar 1846 Boucher Furstenau Flute Concerto No. 5 7-Mar 1846 Boucher Donizetti "Tutto or Morte" from Faliero 20-May 1846 Hill Beethoven Symphony No. 9, Choral 20-May 1846 Loder Gade Grand Symphony 2-Dec 1848 Loder Mendelssohn Violin Concerto in E minor 24-Nov 1849 Eisfeld Beethoven Symphony No. 4 24-Nov 1849 Eisfeld 1850 – 1859 Schubert Symphony in C major, Great 11-Jan 1851 Eisfeld R. Schumann Introduction and Allegro appassionato for Piano and 25-Apr 1857 Eisfeld Orchestra Litolff Chant des belges 25-Apr 1857 Eisfeld R. Schumann Overture to the Incidental Music to Byron's Dramatic 21-Nov 1857 Eisfeld Poem, Manfred 1860 - 1869 Brahms Serenade No. -
Stéphane Denève, Conductor Yefim Bronfman, Piano Clémentine
Stéphane Denève, conductor Friday, February 15, 2019 at 8:00pm Yefim Bronfman, piano Saturday, February 16, 2019 at 8:00pm Clémentine Margaine, mezzo-soprano St. Louis Symphony Chorus Amy Kaiser, director PROKOFIEV Cinderella Suite (compiled by Stéphane Denève) (1940-1944) (1891-1953) Introduction Pas-de-chale Interrupted Departure Clock Scene - The Prince’s Variation Cinderella’s Arrival at the Ball - Grand Waltz Promenade - The Prince’s First Galop - The Father Amoroso - Cinderella’s Departure for the Ball - Midnight PROKOFIEV Piano Concerto No. 2 in G minor, op. 16 (1913) Andantino; Allegretto; Tempo I Scherzo: Vivace Intermezzo: Allegro moderato Finale: Allegro tempestoso Yefim Bronfman, piano INTERMISSION 23 PROKOFIEV Alexander Nevsky, op. 78 (1938) Russia under the Mongolian Yoke Song about Alexander Nevsky The Crusaders in Pskov Arise, ye Russian People The Battle on the Ice The Field of the Dead Alexander’s Entry into Pskov Clémentine Margaine, mezzo-soprano St. Louis Symphony Chorus Amy Kaiser, director ACKNOWLEDGMENTS The 2018/2019 Classical Series is presented by World Wide Technology and The Steward Family Foundation. Stéphane Denève is the Linda and Paul Lee Guest Artist. Yefim Bronfman is the Carolyn and Jay Henges Guest Artist. The concert of Friday, February 15, is underwritten in part by a generous gift from Sally S. Levy. The concert of Saturday, February 16, is underwritten in part by a generous gift from Ms. Jo Ann Taylor Kindle. The St. Louis Symphony Chorus is underwritten in part by the Richard E. Ashburner, Jr. Endowed Fund. The St. Louis Symphony Chorus is underwritten in part by the Edward Chase Garvey Memorial Foundation. -
Hérodiade H Ér O D Ia
LIVRET DE PAUL MILLIET ET D’HENRI GRÉMONT INSPIRÉ D’HÉRODIAS DE GUSTAVE FLAUBERT CRÉATION LE 19 DÉCEMBRE 1881 À BRUXELLES DIRECTION MUSICALE JEAN-YVES OSSONCE MISE EN SCÈNE JEAN-LOUIS PICHON HÉRODIADE DÉCORS ET COSTUMES JÉRÔME BOURDIN LUMIÈRES MICHEL THEUIL COPRODUCTION OPÉRA DE SAINT-ÉTIENNE, OPÉRA DE MARSEILLE HÉRODIADE OPERA.SAINT-ETIENNE.FR SAISON 2018-2019 HÉRODIADE PASSEZ LE RÉVEILLON À L’OPÉRA ! IL BARBIERE DI SIVIGLIA OPÉRA BOUFFE EN 2 ACTES GIOACCHINO ROSSINI Adapté de la première pièce de la « Trilogie de Figaro » de Beaumarchais, le livret de Sterbini met en scène un comte Almaviva amoureux, tentant de séduire la belle Rosina enfermée par son oncle Bartolo. Pour parvenir à ses fins, le comte n’hésitera pas à se servir du talent pour la ruse du barbier Figaro, qui l’entraînera dans des plans rocambolesques. Malgré une première devenue légendaire par sa débâcle, l’opéra de Rossini s’affirme comme une œuvre majeure : revisitant les canons de l’opera buffa et poussant le genre dans ses derniers retranchements, 2 I Le Barbier de Séville impressionne toujours. Alliant à la virtuosité du bel canto le raffinement de l’opera seria, l’écriture vocale de Rossini est d’une grande habileté mélodique. Composée très rapidement, l’œuvre se savoure comme une musique de l’instant ; Rossini a su allier un langage généreux et une écriture précise, donnant à l’auditeur l’illusion de la spontanéité. Cette œuvre est aussi l’occasion de découvrir une Rosina mutine et effrontée, très éloignée de la comtesse des Noces de Figaro. SAM. 29 DÉC. -
Heartbeat Opera Presents BREATHING
December 2020 Friday the 4th at 8pm Break Every Chain Saturday the 5th at 8pm Voices of Incarceration Sunday the 6th at 3pm Reparations Now! Thursday the 10th at 8pm Black Queer Revolution Friday the 11th at 8pm To Decolonize Opera Saturday the 12th at 3pm To Love Radically Heartbeat Opera Presents BREATHING FREE a visual album featuring excerpts from Beethoven’s Fidelio, Negro Spirituals, and songs by Harry T. Burleigh, Florence Price, Langston Hughes, Anthony Davis, and Thulani Davis BREATHING FREE In 2018, Heartbeat collaborated with 100 incarcerated singers in six prison choirs to create a contemporary American Fidelio told through the lens of Black Lives Matter. In 2020 — the year of George Floyd’s murder, a pandemic which ravages our prison population, and the 250th anniversary of Beethoven’s birth — we curate a song cycle, brought to life in vivid music videos, mingling excerpts from Fidelio with Negro Spirituals and songs by Black composers and lyricists, which together manifest a dream of justice, equity... and breathing free. Oh what joy, in open air, freely to breathe again! —The Prisoners, Fidelio CONTENTS NOTE FROM DIRECTOR ETHAN HEARD NOTE FROM FILMMAKER ANAIIS CISCO NOTE FROM CREATIVE PRODUCER RAS DIA EDUCATION PROGRAM REPERTOIRE COMPOSERS & LYRICISTS CREDITS LIBRETTO FIDELIO SYNOPSIS DISCUSSION PANELS BIOS LOCATIONS SUPPORT SPECIAL THANKS COMING NEXT: THE EXTINCTIONIST 3 FROM DIRECTOR ETHAN HEARD Breathing Free began with a series of questions: How do we make Creating this work over the past two months has been humbling. opera that sings and embodies “Black Lives Matter”? What if we Making music and building trust are challenging projects when you’re collaged works by Black composers and lyricists with excerpts from collaborating on Zoom. -
The Concerts at Lewisohn Stadium, 1922-1964
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2009 Music for the (American) People: The Concerts at Lewisohn Stadium, 1922-1964 Jonathan Stern The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2239 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MUSIC FOR THE (AMERICAN) PEOPLE: THE CONCERTS AT LEWISOHN STADIUM, 1922-1964 by JONATHAN STERN VOLUME I A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2009 ©2009 JONATHAN STERN All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy. Professor Ora Frishberg Saloman Date Chair of Examining Committee Professor David Olan Date Executive Officer Professor Stephen Blum Professor John Graziano Professor Bruce Saylor Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract MUSIC FOR THE (AMERICAN) PEOPLE: THE LEWISOHN STADIUM CONCERTS, 1922-1964 by Jonathan Stern Adviser: Professor John Graziano Not long after construction began for an athletic field at City College of New York, school officials conceived the idea of that same field serving as an outdoor concert hall during the summer months. The result, Lewisohn Stadium, named after its principal benefactor, Adolph Lewisohn, and modeled much along the lines of an ancient Roman coliseum, became that and much more. -
Massenet and Opera: Richness and Diversity
jules massenet : thérèse Massenet and opera: richness and diversity Jean-Christophe Branger Massenet (184 2- 1912) is known above all for two works, Manon and Werther , and to these have been added another four: Hérodiade , Thaïs , Don Quichotte and Cendrillon , which are now enjoying renewed popularity. However, his output was much larger than that: twenty-five complete operatic works have come down to us (not counting Marie-Magdeleine , an oratorio written in 1873 and staged in 1903). But his output has been large - ly neglected because of its singularity: few people realise that Massenet experimented with opera far more than most other composers, thus cre - ating a multi-faceted world all of his own. It was in Massenet’s temperament, no doubt, to feel a constant need for change and renewal, diversity and challenge, and he was generally encouraged in that direction by his publishers and librettists and those close to him. In 1896 he told the periodical Le Temp s: You will notice [...] that my works are taken from very diverse sources. I try to vary their subjects. Manon came after Hérodiade , Esclarmonde fol - lowed Le Cid . I tear myself away from one world to immerse myself imme - diately in another one that is very different, in order to change the course of my ideas. That is the best way to avoid monotony. Massenet thus approached every genre and every register. While Le Roi de Lahore (1877), Hérodiade (1881), Le Cid (1885) and Le Mage (1891) are 40 unquestionably grand operas à la Meyerbeer (including the inevitable bal - let), Ariane (1906), Bacchus (1909), Roma (1912) and Cléopâtre (posthu - mous, 1914) belong rather to an important neo-Gluckist movement, showing a keen interest in Greek and Roman antiquity. -
Massenet's Cendrillon
Massenet’s Cendrillon: Exploring the interactions of the orchestra and vocal line as found in the role of Cendrillon, and a dramatically rich role for the lyric mezzo soprano By Kristee Haney Submitted to the graduate degree program in the School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________ Chairperson Dr. Roberta Schwartz ________________________ Joyce Castle _______________________ Mark Ferrell ________________________ Dr. John Stephens ________________________ Dr. Michelle Heffner - Hayes Date Defended: April 18th, 2014 ii The Dissertation Committee for Kristee Haney certifies that this is the approved version of the following dissertation: Massenet’s Cendrillon: Exploring the interactions of the orchestra and vocal line as found in the role of Cendrillon, and a dramatically rich role for the lyric mezzo soprano ________________________________ Chairperson Dr. Roberta Schwartz Date approved: April 18th, 2014 iii Abstract Composer Jules-Émile- Frédéric Massenet wrote a variety of roles for mezzo sopranos, and his soaring vocal lines are coupled with sensitive communication of the text. In Cendrillon, Massenet writes leading roles for three mezzo soprano voices: Le Prince Charmant, Madame de la Haltière, Cendrillon (and one featured supporting role, the step- sister Dorothée). The three leading roles involve different vocal and dramatic demands, while still allowing the unique colors of the mezzo soprano voice to shine. I will explore Massenet’s writing for the mezzo soprano and the interaction of the vocal line with the orchestra, in his “fairy tale” opera, Cendrillon. I will analyze scenes that deal with the role of title character Cendrillon and the specific vocal qualities that Massenet highlights in each: Cendrillon’s arias in Act I and Act III; the scene with La Feé in Act I; the duet with the Prince Charmant in Act II; and the duet / trio with Prince Charmant and La Feé that ends Act III. -
JULES MASSENET – His Life and Works by Nick Fuller I
JULES MASSENET – His Life and Works By Nick Fuller I. Introduction Jules Massenet’s operas made him one of the most popular composers of the late nineteenth century, his works performed throughout Europe, the Americas and North Africa. After World War I, he was seen as old- fashioned, and nearly all of his operas, apart from Werther and Manon , vanished from the mainstream repertoire. The opera-going public still know Massenet best for Manon , Werther , and the Méditation from Thaïs , but to believe, as The Grove Dictionary of Opera wrote in 1954, that ‘to have heard Manon is to have heard all of him’ is to do the composer a gross disservice. Massenet wrote twenty-seven operas, many of which are at least as good as Manon and Werther . Nearly all are theatrically effective, boast beautiful music and display insightful characterisation and an instinct for dramatic and psychological truth. In recent decades, Massenet’s work has regained popularity. Although he Figure 1 Jules Massenet, drawing by Ernesto Fontana (Source: is not the household name he once http://artlyriquefr.fr/personnages/Massenet%20Jules.html) was, and many of his operas remain little known, he has been winning new audiences. Conductors like Richard Bonynge, Julius Rudel and Patrick Fournillier have championed Massenet, while since 1990 a biennial Massenet festival has been held in his birthplace, Saint-Étienne, in the Auvergne-Rhône-Alpes, its mission to rediscover Massenet’s operas. His work has been performed in the world’s major opera houses under the baton of conductors Thomas Beecham, Colin Davis, Charles Mackerras, Michel Plasson, Riccardo Chailly and Antonio Pappano, and sung by Joan Sutherland, José van Dam, Frederica von Stade, Nicolai Gedda, Roberto Alagna, Renée Fleming, Thomas Hampson and Plácido Domingo. -
Cendrillon Program 2018
MASSENET 1819-Cover-CINDERELLA.indd 1 10/23/18 1:28 PM LYRIC OPERA OF CHICAGO Table of Contents JOHAN JACOBS / LA MONNAIE DE MUNT IN THIS ISSUE Cendrillon – pp. 20-34 6 From the General Director 20 Title Page 40 Patron Salute 8 From the Chairman 21 Synopsis 42 Production Sponsors 10 Board of Directors 23 Cast 43 Aria Society 11 Women’s Board/Guild Board/Chapters’ 24 Artist Profiles 53 Supporting Our Future – Executive Board/Young Professionals/Ryan Endowments at Lyric 30 Opera Notes Opera Center Board 54 Major Contributors – Special Events and 34 After the Curtain Falls 12 Administration/Administrative Staff/ Project Support Production and Technical Staff 36 Musical Staff/Orchestra/Chorus 55 Lyric Unlimited Contributors 14 Expanind the Bounds of Opera: 37 Backstage Life 56 Commemorative Gifts Kamaria Morris 38 Artistic Roster 57 Ryan Opera Center 58 Ryan Opera Center Alumni Around the World 59 Ryan Opera Center Contributors 60 Planned Giving: e Overture Society PHOTO CREDIT NEEDED 62 Corporate Partnerships 63 Matching Gifts, Special anks, and Acknowledgements 64 Annual Individual and Foundation Support 70 Facilities and Services/eater Staff On the cover: Cinderella illustration by THE IMPACT OF LYRIC UNLIMITED – pp. 14-18 Gustave Doré (1832-1883). 2 | December 1, 2018 - January 20, 2019 Since 1991 www.performancemedia.us | 847-770-4620 3453 Commercial Avenue, Northbrook, IL 60062 Gail McGrath Publisher & President Sheldon Levin Publisher & Director of Finance A. J. Levin Director of Operations Account Managers Rand Brichta - Arnie Hoffman Executive Editor Southeast Michael Hedge 847-770-4643 Southwest Betsy Gugick & Associates 972-387-1347 L M East Coast Manzo Media Group 610-527-7047 Marketing and Sales Consultant David L. -
The Death of Cervantes' Don Quixote: Three Musical and Literary Perspectives"
The Death of Cervantes’ Don Quixote: Three Musical and Literary Perspectives by Se Hoon Kim A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2016 by the Graduate Supervisory Committee: David Britton, Chair Jody Rockmaker William Reber ARIZONA STATE UNIVERSITY May 2016 ABSTRACT Miguel de Cervantes Saavedra created the character of Don Quixote in his book El ingenioso hidalgo Don Quijote de la Mancha, published in 1605. Since its creation, stories from the book have been reimagined in art, in literature and in music. Frequently, Cervantes – the man and author – and Quixote – the novel’s protagonist and hero – have been inextricably linked in character. Subsequent adaptors of the novel have been influenced by this connection: composers Jules Massenet (1842-1912), Jacques Ibert (1890-1962) and Mitch Leigh (1928-2014) all wrote their own versions of the Quixote saga. Though their approaches to the story are varied, the basic characteristics of it remain: Love, Life and Dreams. Those themes are reflected in the old knight’s death scene in each of their respective works. Here, the lives of the adaptors are briefly discussed and a dramatic and musical (Schenkerian), analysis of Quixote’s last hours are presented. i ACKNOWLEDGMENTS I would like to extend my appreciation to the many teachers at Arizona State University who helped me in the accomplishment of this research project: my voice teacher, Mr. Britton, who has expanded my world as a singer and who has also been a model for me as an instructor; Dr. Reber, who although he has relocated to Germany, has sustained an interest in my progress by remaining on my committee, and has offered valuable comments and support to me as a singer; Dr. -
Thérèse, from the Couvent Des Carmes to the Opéra-Comique
Thérèse , from the Couvent des Carmes to the Opéra-Comique Étienne Jardin In his memoirs, Mes souvenirs , Jules Massenet relates the sequence of events, from the summer of 1905 onwards, that led to the composition of Thérès e: a visit to the Couvent des Carmes (a Carmelite convent in the rue de Vaugirard in Paris) during which the singer Lucy Arbell was moved to tears by the fate of Lucile Desmoulins (guillotined at the age of twenty- four, shortly after her husband, a French revolutionary and journalist); the touching story, told a few days later by Countess Tornielli over din - ner at the Italian Embassy, of the faithful servant who prevented the spoli- ation of the Gallifet family home and later returned it to its owners; then a walk in the Bois de la Cambre (Brussels) in November of the same year, when the music first came to him. While the subject was forming in his mind, the composer, fascinated by ‘the horrible times of the Terror’, eager - ly sought out documents that would provide him with information on that period, before setting to work on the score. His ‘drame musical’ in two acts, completed in summer 1906, was written with the librettist Jules Claretie. The fact that the exchanges between Massenet and his librettist took place mainly by telephone (an instrument that was still relatively rare in France at that time) was used in reviews of the première of Thérèse to show just how modern the composer was. Although Thérèse was possibly originally intended for the stage of the Opéra-Comique (Salle Favart) in Paris , it was first performed in Monte 45 jules massenet : thérèse Carlo on 7 February 1907.