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Aaron Sherber Conductor
Aaron Sherber Conductor 2306 West Rogers Avenue Baltimore, Maryland 21209 [email protected] • 443.386.2033 Experience Third Millennium Ensemble Conductor 2007, 2019 Martha Graham Dance Company Music Director 1998–2017 The Juilliard School Guest Conductor 2015 Baltimore School for the Arts Guest Conductor 2013 Baltimore Concert Opera Conductor 2012, 2009 Boston Conservatory Guest Conductor 2005 University of California, Davis Artist in Residence 2004 Birmingham (UK) Royal Ballet Guest Conductor 2004 Opera Vivente Music Director 1998–2003 Baltimore, Maryland Howard County (MD) Ballet Guest Conductor 2001 Baltimore Opera Company Assistant Conductor 2000 Johns Hopkins Symphony Orchestra Guest Conductor 1999 Baltimore, Maryland Maryland Lyric Opera Conductor 1999 Young Victorian Theatre Company Assistant Conductor 1998–99 Baltimore, Maryland Orlando Opera Company Apprentice Conductor 1996 Washington (DC) Symphony Orchestra Assistant Conductor 1995 Summer Opera Theatre Company Assistant Conductor 1995 Washington, DC Peabody Conservatory Opera Department Staff Conductor 1992–94 Baltimore, Maryland Peabody Opera Workshop Conductor 1991–94 Branford Chamber Orchestra Music Director 1988–89 New Haven, Connecticut Education Peabody Conservatory of Music MM in conducting 1992 Study with Frederik Prausnitz Yale College BA in philosophy 1989 Study with Alasdair Neale Aaron Sherber Conductor 2306 West Rogers Avenue Baltimore, Maryland 21209 [email protected] • 443.386.2033 Biography Aaron Sherber was the music director and conductor of the Martha Graham Dance Company from 1998 to 2017 and led them in acclaimed performances at venues on three continents, including City Center and the Joyce Theater in New York, the Kennedy Center and the Library of Congress in Washington DC, Sadler’s Wells in London, and the National Center for the Performing Arts in Beijing. -
The Pomegranate Cycle
The Pomegranate Cycle: Reconfiguring opera through performance, technology & composition By Eve Elizabeth Klein Bachelor of Arts Honours (Music), Macquarie University, Sydney A PhD Submission for the Department of Music and Sound Faculty of Creative Industries Queensland University of Technology Brisbane, Australia 2011 ______________ Keywords Music. Opera. Women. Feminism. Composition. Technology. Sound Recording. Music Technology. Voice. Opera Singing. Vocal Pedagogy. The Pomegranate Cycle. Postmodernism. Classical Music. Musical Works. Virtual Orchestras. Persephone. Demeter. The Rape of Persephone. Nineteenth Century Music. Musical Canons. Repertory Opera. Opera & Violence. Opera & Rape. Opera & Death. Operatic Narratives. Postclassical Music. Electronica Opera. Popular Music & Opera. Experimental Opera. Feminist Musicology. Women & Composition. Contemporary Opera. Multimedia Opera. DIY. DIY & Music. DIY & Opera. Author’s Note Part of Chapter 7 has been previously published in: Klein, E., 2010. "Self-made CD: Texture and Narrative in Small-Run DIY CD Production". In Ø. Vågnes & A. Grønstad, eds. Coverscaping: Discovering Album Aesthetics. Museum Tusculanum Press. 2 Abstract The Pomegranate Cycle is a practice-led enquiry consisting of a creative work and an exegesis. This project investigates the potential of self-directed, technologically mediated composition as a means of reconfiguring gender stereotypes within the operatic tradition. This practice confronts two primary stereotypes: the positioning of female performing bodies within narratives of violence and the absence of women from authorial roles that construct and regulate the operatic tradition. The Pomegranate Cycle redresses these stereotypes by presenting a new narrative trajectory of healing for its central character, and by placing the singer inside the role of composer and producer. During the twentieth and early twenty-first century, operatic and classical music institutions have resisted incorporating works of living composers into their repertory. -
Ildar Abdrazakov Las Versiones Del Demonio
ENTREVISTA Ildar Abdrazakov Las versiones del demonio por Ingrid Haas ldar Abdrazakov es uno de los grandes bajos en la actualidad. A sus 39 años, goza ya de una carrera sólida y llena de éxitos en teatros tan importantes como la Scala de Milán, Iel Metropolitan Opera House de Nueva York, Washington Opera, Los Ángeles Ópera, Royal Opera House de Londres, Opéra Bastille de París, el Teatro Mariinsky, el Liceu de Barcelona, el Real de Madrid, la Ópera de Montecarlo, la Ópera de San Francisco, la Ópera Estatal de Viena y la Ópera Estatal de Baviera, entre otras. La voz de Abdrazakov ha conquistado a los públicos más exigentes y a directores de orquesta de la talla de Riccardo Muti, James Levine, Valery Gergiev, Gianandrea Noseda, Anthony Pappano, Riccardo Chailly y Bertrand de Billy, sólo por nombrar a algunos. “En las tres Con su cavernoso timbre, innegable musicalidad y gallarda versiones de presencia escénica, Abdrazakov ha cantado una amplia gama de Mefistófeles que he roles que van desde Fígaro en Le nozze di Figaro de Mozart, el rol cantado, mi Fausto titular y Leporello en Don Giovanni, Moïse en Moïse et Pharaon, ha sido siempre Assur en Semiramide, Don Basilio en Il Barbiere di Siviglia, las Ramón Vargas” tres de Rossini, Oroveso en Norma de Bellini, Méphistophélès Foto: Sergei Misenko en las versiones de Faust de Gounod y La damnation de Faust de Berlioz, el rol principal de Mefistofelede Boito, los Cuatro Sí, en efecto. Vine a cantar hace unos años a la Ciudad de México: Villanos de Les contes d’Hoffmann, Walter en Luisa Miller así un recital en la Sala Nezahualcóyotl y el Requiem de Verdi en como Oberto y Attila en las óperas homónimas de Verdi, Dosifei en Bellas Artes. -
May-June 2018 Voices Which Echo Across Time Last Month, I Opened a New Chapter in My Work As the Executive Director of JFNH
Published by the Jewish Federation of New Hampshire Volume 38, Number 8 May-June 2018 Iyar-Tammuz 5778 SUMMER FUN SPECIAL IssUE Federation Renews Shlicha Contract: Funding Needed to Sustain Emissary Program sion on New Hampshire’s Jewish chil- dren from preschoolers to teens. She has also been a favorite guest of our PJ Li- Big News: Jewish Federation of New brary program, offering up her musical Hampshire is excited to announce the re- talents for a Chanukah sing-a-long and newal of our contract with the Jewish several other family events both within Agency for Israel to extend our Shlichut and outside of synagogue spaces. with Noam Wolf for a second year! She has made meaningful connections Noam Wolf arrived in August 2017 and through adult education, offering lec- has taken New Hampshire by storm, im- tures, creative presentations about Israel, plementing Israeli and Jewish enrichment and participation in religious services programming for all ages statewide with and holiday festivities. She has been a great success. In just eight short months, guest speaker at Brotherhoods, Sister- she has reached every corner of the state hoods, and many other groups. Noam as our emissary from Israel -- a program has reorganized our YLD (Young Lead- that had been deferred for several years JFNH Shlicha Noam Wolf brings Israel to Noam enjoying time with some of her ership Division) into a new “Young Men- due to cost. New Hampshire communities statewide. young friends. sches” program filled with opportunities Only eight months in!: In her first year Bethlehem to Keene and from Concord tally tailored “Trip to Israel” with pass- to socialize and experience Jewish life to date (which continues through sum- to Portsmouth! She has carried out pro- ports, cultural insights, Hebrew language, and customs through an innovative lens. -
Compact Discs by 20Th Century Composers Recent Releases - Spring 2020
Compact Discs by 20th Century Composers Recent Releases - Spring 2020 Compact Discs Adams, John Luther, 1953- Become Desert. 1 CDs 1 DVDs $19.98 Brooklyn, NY: Cantaloupe ©2019 CA 21148 2 713746314828 Ludovic Morlot conducts the Seattle Symphony. Includes one CD, and one video disc with a 5.1 surround sound mix. http://www.tfront.com/p-476866-become-desert.aspx Canticles of The Holy Wind. $16.98 Brooklyn, NY: Cantaloupe ©2017 CA 21131 2 713746313128 http://www.tfront.com/p-472325-canticles-of-the-holy-wind.aspx Adams, John, 1947- John Adams Album / Kent Nagano. $13.98 New York: Decca Records ©2019 DCA B003108502 2 028948349388 Contents: Common Tones in Simple Time -- 1. First Movement -- 2. the Anfortas Wound -- 3. Meister Eckhardt and Quackie -- Short Ride in a Fast Machine. Nagano conducts the Orchestre Symphonique de Montreal. http://www.tfront.com/p-482024-john-adams-album-kent-nagano.aspx Ades, Thomas, 1971- Colette [Original Motion Picture Soundtrack]. $14.98 Lake Shore Records ©2019 LKSO 35352 2 780163535228 Music from the film starring Keira Knightley. http://www.tfront.com/p-476302-colette-[original-motion-picture-soundtrack].aspx Agnew, Roy, 1891-1944. Piano Music / Stephanie McCallum, Piano. $18.98 London: Toccata Classics ©2019 TOCC 0496 5060113444967 Piano music by the early 20th century Australian composer. http://www.tfront.com/p-481657-piano-music-stephanie-mccallum-piano.aspx Aharonian, Coriun, 1940-2017. Carta. $18.98 Wien: Wergo Records ©2019 WER 7374 2 4010228737424 The music of the late Uruguayan composer is performed by Ensemble Aventure and SWF-Sinfonieorchester Baden-Baden. http://www.tfront.com/p-483640-carta.aspx Ahmas, Harri, 1957- Organ Music / Jan Lehtola, Organ. -
Avant Première Catalogue 2018 Lists UNITEL’S New Productions of 2017 Plus New Additions to the Catalogue
CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CATALOGUE 2018 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany CEO: Jan Mojto Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: February 2018 © UNITEL 2018 All rights reserved Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES LEONARD BERNSTEIN 1918 – 1990 Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music. -
LA TRAVIATA Al Liceu
1 LA TRAVIATA EN EL LICEU Estreno absoluto: 6 marzo 1853 en el teatro de La Fenice de Venecia. Estreno de la segunda versión, definitiva: 6 mayo 1854 en el teatro San Benedetto de Venecia. Estreno en el Gran Teatre del Liceu: 25 octubre 1855. Última representación en el Liceu: 18 julio 2015. Total de representaciones: 251 TEMPORADA 1855-1856 25-X-1855 LA TRAVIATA Número de representaciones: 10 Es estreno en el Liceu. Número en el Liceu: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. Fechas: 25, 26, 28, 31 octubre; 1, 14, 18 noviembre; 21, 26 diciembre 1855; 6 enero 1856. Violetta Valéry: Eugénie Julienne-Dejean Flora Bervoix: Caterina Mas-Porcell Annina: Balbina Alabau Alfredo Germont: Giovanni De Vecchi Giorgio Germont: Gaetano Fiori Gastone: Josep Santés Barone Douphol: Josep Obiols Marchese d'Obigny: Francesc Sánchez Dottore Grenvil: José Aznar Giuseppe: Josep Gómez Director: Marià Obiols TEMPORADA 1859-1860 12-IV-1860 LA TRAVIATA Número de representaciones: 8 Número histórico en el Liceu: 11, 12, 123, 14, 15, 16, 17, 18. Fechas: 12, 15 abril; 1, 2, 6, 15, 17, 30 mayo 1860. Nota: Se suprimela cabaletta del aria del tenor en el segundo acto. Número histórico en el Liceu: 11, 12, 123, 14, 15, 16, 17, 18. Última "Traviata" en el Liceu: 6 enero 1856. Violetta Valéry: Carlotta Carozzi-Zucchi Flora Bervoix: Caterina Mas-Porcell 2 Annina: Isolina Porcell Alfredo Germont: Emilio Pancani Giorgio Germont: Leone Giraldoni Gastone: Gaetano Aducci Barone Douphol: Josep Obiols Marchese d'Obigny: Josep Coll Dottore Grenvil: Leopoldo Jover Giuseppe: Ignasi Costa Domestico di Flora: Francisco Sánchez Director: Marià Obiols TEMPORADA 1860-1861 1-XII-1860 LA TRAVIATA Número de representaciones: 14 Número histórico en el Liceu: 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32. -
La Traviata Al Liceu
1 LA TRAVIATA AL LICEU Estrena absoluta: 6 març 1853 al teatre de La Fenice de Venècia. Estrena de la segona versió, definitiva: 6 maig 1854 al teatre San Benedetto de Venècia. Estrena al Gran Teatre del Liceu: 25 octubre 1855. Darrera representació al Liceu: 18 juliol 2015. Total de representacions: 251 TEMPORADA 1855-1856 25-X-1855 LA TRAVIATA Nombre de representacions: 10 És estrena al Liceu. Número al Liceu: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. Dates: 25, 26, 28, 31 octubre; 1, 14, 18 novembre; 21, 26 desembre 1855; 6 gener 1856. Violetta Valéry: Eugénie Julienne-Dejean Flora Bervoix: Caterina Mas-Porcell Annina: Balbina Alabau Alfredo Germont: Giovanni De Vecchi Giorgio Germont: Gaetano Fiori Gastone: Josep Santés Barone Douphol: Josep Obiols Marchese d'Obigny: Francesc Sánchez Dottore Grenvil: José Aznar Giuseppe: Josep Gómez Director: Marià Obiols TEMPORADA 1859-1860 12-IV-1860 LA TRAVIATA Nombre de representacions: 8 Número històric al Liceu: 11, 12, 123, 14, 15, 16, 17, 18. Dates: 12, 15 abril; 1, 2, 6, 15, 17, 30 maig 1860. Nota: Se suprimeix la cabaletta de l'ària del tenor al segon acte. Número històric al Liceu: 11, 12, 123, 14, 15, 16, 17, 18. Última "Traviata" al Liceu: 6 gener 1856. Violetta Valéry: Carlotta Carozzi-Zucchi Flora Bervoix: Caterina Mas-Porcell 2 Annina: Isolina Porcell Alfredo Germont: Emilio Pancani Giorgio Germont: Leone Giraldoni Gastone: Gaetano Aducci Barone Douphol: Josep Obiols Marchese d'Obigny: Josep Coll Dottore Grenvil: Leopoldo Jover Giuseppe: Ignasi Costa Domestico di Flora: Francisco Sánchez Director: Marià Obiols TEMPORADA 1860-1861 1-XII-1860 LA TRAVIATA Nombre de representacions: 14 Número històric al Liceu: 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32. -
Ildar Abdrazakov
POWER PLAYERS Russian Arias for Bass ILDAR ABDRAZAKOV CONSTANTINE ORBELIAN, CONDUCTOR KAUNAS CITY SYMPHONY ORCHESTRA KAUNAS STATE CHOIR 1 0 13491 34562 8 ORIGINAL DELOS DE 3456 ILDAR ABDRAZAKOV • POWER PLAYERS DIGITAL iconic characters The dynamics of power in Russian opera and its most DE 3456 (707) 996-3844 • © 2013 Delos Productions, Inc., © 2013 Delos Productions, 95476-9998 CA Sonoma, 343, Box P.O. (800) 364-0645 [email protected] www.delosmusic.com CONSTANTINE ORBELIAN, CONDUCTOR ORBELIAN, CONSTANTINE ORCHESTRA CITY SYMPHONY KAUNAS CHOIR STATE KAUNAS Arias from: Arias Rachmaninov: Aleko the Tsar & Ludmila,Glinka: A Life for Ruslan Igor Borodin: Prince Boris GodunovMussorgsky: The Demon Rubinstein: Onegin, Iolanthe Eugene Tchaikovsky: Peace and War Prokofiev: Rimsky-Korsakov: Sadko 66:49 Time: Total Russian Arias for Bass ABDRAZAKOV ILDAR POWER PLAYERS ORIGINAL DELOS DE 3456 ILDAR ABDRAZAKOV • POWER PLAYERS DIGITAL POWER PLAYERS Russian Arias for Bass ILDAR ABDRAZAKOV 1. Sergei Rachmaninov: Aleko – “Ves tabor spit” (All the camp is asleep) (6:19) 2. Mikhail Glinka: Ruslan & Ludmila – “Farlaf’s Rondo” (3:34) 3. Glinka: Ruslan & Ludmila – “O pole, pole” (Oh, field, field) (11:47) 4. Alexander Borodin: Prince Igor – “Ne sna ne otdykha” (There’s no sleep, no repose) (7:38) 5. Modest Mussorgsky: Boris Godunov – “Kak vo gorode bylo vo Kazani” (At Kazan, where long ago I fought) (2:11) 6. Anton Rubinstein: The Demon – “Na Vozdushnom Okeane” (In the ocean of the sky) (5:05) 7. Piotr Tchaikovsky: Eugene Onegin – “Liubvi vsem vozrasty pokorny” (Love has nothing to do with age) (5:37) 8. Tchaikovsky: Iolanthe – “Gospod moi, yesli greshin ya” (Oh Lord, have pity on me!) (4:31) 9. -
The Inventory of the Deborah Voigt Collection #1700
The Inventory of the Deborah Voigt Collection #1700 Howard Gotlieb Archival Research Center Voigt, Deborah #1700 6/29/05 Preliminary Listing I. Subject Files. Box 1 A Chronological files; includes printed material, photographs, memorabilia, professional material, other items. 1. 1987-1988. [F. 1] a. Mar. 1987; newsletters of The Riverside Opera Association, Verdi=s AUn Ballo in Maschera@ (role of Amelia). b. Apr. 1987; program from Honolulu Symphony (DV on p. 23). c. Nov. 1987; program of recital at Thorne Hall. d. Jan. 1988; program of Schwabacher Debut Recitals and review clippings from the San Francisco Examiner and an unknown newspaper. e. Mar. 1988; programs re: DeMunt=s ALa Monnaie@ and R. Strauss=s AElektra@ (role of Fünfte Magd). f. Apr. 1988; magazine of The Minnesota Orchestra Showcase, program for R. Wagner=s ADas Rheingold@ (role of Wellgunde; DV on pp. 19, 21), and review clippings from the Star Tribune and the St. Paul Pioneer Press Dispatch. g. Sep. - Oct. 1988; programs re: Opera Company of Philadelphia and the International Voice Competition (finalist competition 3; DV on p. 18), and newspaper clippings. 2. 1989. [F. 2] a. DV=s itineraries. (i) For Jan. 4 - Feb. 9, TS. (ii) For the Johann Strauss Orchestra on Vienna, Jan. 5 - Jan. 30, TS, 7 p. b. Items re: California State, Fullerton recital. (i) Copy of Daily Star Progress clipping, 2/10/89. (ii) Compendium of California State, Fullerton, 2/13/89. (iii) Newspaper clipping, preview, n.d. (iv) Orange County Register preview, 2/25/89. (v) Recital flyer, 2/25/89. (vi) Recital program, program notes, 2/25/89. -
FRENCH SYMPHONIES from the Nineteenth Century to the Present
FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen. -
Operaharmony
#OPERAHARMONY CREATING OPERAS IN ISOLATION 1 3 WELCOME TO #OPERA HARMONY FROM FOUNDER – ELLA MARCHMENT Welcome to #OperaHarmony. #Opera Harmony is a collection of opera makers from across the world who, during this time of crisis, formed an online community to create new operas. I started this initiative when the show that I was rehearsing at Dutch National Opera was cancelled because of the lockdown. Using social media and online platforms I invited colleagues worldwide to join me in the immense technical and logistical challenge of creating new works online. I set the themes of ‘distance’ and ‘community’, organised artist teams, and since March have been overseeing the creation of twenty new operas. All the artists involved in #OperaHarmony are highly skilled professionals who typically apply their talents in creating live theatre performances. Through this project, they have had to adapt to working in a new medium, as well as embracing new technologies and novel ways of creating, producing, and sharing work. #OperaHarmony’s goal was to bring people together in ways that were unimaginable prior to Covid-19. Over 100 artists from all the opera disciplines have collaborated to write, stage, record, and produce the new operas. The pieces encapsulate an incredibly dark period for the arts, and they are a symbol of the unstoppable determination, and community that exists to perform and continue to create operatic works. This has been my saving grace throughout lockdown, and it has given all involved a sense of purpose. When we started building these works we had no idea how they would eventually be realised, and it is with great thanks that we acknowledge the support of Opera Vision in helping to both distribute and disseminate these pieces, and also for establishing a means in which audiences can be invited into the heart of the process too .