Programmheft
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
573824 Itunes Lortzing
LORTZING Opera Overtures Der Waffenschmied Undine Der Wildschütz Hans Sachs Malmö Opera Orchestra Jun Märkl Albert Lortzing (1801–1851) though, sketched out a plan for an opera on the subject as wrong Peter. Ivanov hands it to the Tsar, thereby obtaining early as 1845, and he was certainly aware of Lortzing’s the latter’s blessing for his union with Marie. Van Bett was Opera Overtures work. Set in 1517, when Sachs would have been 23 and a yet another of Lortzing’s richly comic bass creations, and Gustav Albert Lortzing was a multifaceted man of the staged work, first produced the evening before his death. young cobbler, Lortzing’s opera centres on Sachs’s Lortzing himself created the tenor role of Peter Ivanov. theatre – actor, singer, librettist, composer and conductor. The relatively brief and sprightly overture sets the scene courtship of his first wife, Kunigunde, daughter of goldsmith Andreas Hofer is, like Der Weihnachtsabend , a one-act Though international currency of his operas has been for a behind-the-scenes one-act piece in the tradition of Steffen (the counterpart of Wagner’s Pogner). Steffen has piece composed in 1832. It features real and imaginary limited, on German stages he was for some 150 years the Cimarosa’s Il maestro di capella , Mozart’s Der offered Kunigunde’s hand as the prize in a singing contest, episodes of the life of the innkeeper and drover who in 1809 most performed composer after Mozart and Verdi. While Schauspieldirektor and similar works. In the castle of a but has arranged that the winner should be Eoban Hesse, led the Tyrolean rebellion against occupation by Bavarian the pace of productions there has slackened over the past Count (another of those comic bass roles), the household an alderman from Augsburg. -
Zar Und Zimmermann Zar Und Zimmermann Von Albert Lortzing
BIOGRABIOGRAFFFFIENIENIENIEN:::: Premiere Zar und Zimmermann von Albert Lortzing / 222222.22 ...00006666.... Iris Ini Gerath (Inszenierung(Inszenierung)))) wurde in Düsseldorf geboren und studierte zunächst in Frankfurt und Berlin Germanistik, Philosophie, Theater-, Film- und Fernsehwissenschaften sowie Komparatistik. An der Oper Frankfurt – zur Zeit der Gielen/Zehelein-Ära – war sie Mitarbeiterin der Dramaturgie. Anschließend ging sie als Regieassistentin an das Hessische Staatstheater Wiesbaden, zunächst im Bereich Schauspiel, später im Bereich Oper. In Wiesbaden hat sie als erste Spielleiterin über 50 Produktionen betreut. In den letzten Jahren war sie als Gast- Regisseurin an verschiedenen deutschen Theatern engagiert. Neben ihren Tätigkeiten am Theater veranstaltet sie eigene Lesungen und kümmert sich intensiv um die Ausbildung von Studierenden. So ist sie seit Herbst 2003 Dozentin für Szenischen Unterricht an der Wiesbadener Musikakademie. Am Theater Lüneburg inszenierte Iris Ini Gerath in der Spielzeit 2010/2011 bereits das Musical Aida sowie zuletzt 2012/2013 Die Fledermaus . Barbara Bloch (Ausstattung) stammt aus München und studierte Bühnen- und Kostümbild am Salzburger Mozarteum, an der Hochschule für Musik und Darstellende Kunst, bei den Professoren H. B. Gallee und H. Kapplmüller. Während ihres Studiums sammelte sie erste Erfahrungen im Bereich Bühnen- und Kostümbild an den Münchner Kammerspielen und bei den Salzburger Festspielen und realisierte erste eigene Entwürfe für ein Projekt mit George Tabori in Zusammenarbeit mit der Oper Leipzig. Es folgten Arbeiten für die Kreuzgangspiele Feuchtwangen unter Imo Moszkowicz. Seit 1995 ist Barbara Bloch für das Theater Lüneburg in den Sparten Schauspiel, Ballett und Musiktheater als Bühnen- und Kostümbildnerin tätig und leitet die künstlerischen Werkstätten. Darüber hinaus führten sie seit 2000 Arbeiten zu den Burgfestpielen Jagsthausen, ans Theater Lübeck, Theater Regensburg, Stadttheater Bremerhaven sowie ans Theater Chemnitz. -
Marco Polo – the Label of Discovery
Marco Polo – The Label of Discovery Doubt was expressed by his contemporaries as to the truth of Marco Polo’s account of his years at the court of the Mongol Emperor of China. For some he was known as a man of a million lies, and one recent scholar has plausibly suggested that the account of his travels was a fiction inspired by a family dispute. There is, though, no doubt about the musical treasures daily uncovered by the Marco Polo record label. To paraphrase Marco Polo himself: All people who wish to know the varied music of men and the peculiarities of the various regions of the world, buy these recordings and listen with open ears. The original concept of the Marco Polo label was to bring to listeners unknown compositions by well-known composers. There was, at the same time, an ambition to bring the East to the West. Since then there have been many changes in public taste and in the availability of recorded music. Composers once little known are now easily available in recordings. Marco Polo, in consequence, has set out on further adventures of discovery and exploration. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again. In addition to pioneering recordings of the operas of Franz Schreker, Der ferne Klang (The Distant Sound), Die Gezeichneten (The Marked Ones) and Die Flammen (The Flames), were three operas by Wagner’s son, Siegfried. Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich and Schwarzschwanenreich (The Kingdom of the Black Swan) explore a mysterious medieval world of German legend in a musical language more akin to that of his teacher Humperdinck than to that of his father. -
221 Vocal Methods, Vocalises & Sight
90148 Schott Catalog 3-19:Project1 3/31/08 8:52 AM Page 221 VOCAL 221 VOCAL METHODS, VOCALISES & SIGHT-SINGING BACH, JOHANN SEBASTIAN ______49002984 Bist du bei mir (BWV 508) and Komm süsser Tod BACON (BWV 478) (ed. Bergmann/Tippett) Piano Reduction ______49012491 50 Easy 2-Part Exercises First Steps in A Cappella Singing High Voice Schott ED11913........................................$6.95 Schott EA1 ...................................................................$8.95 ______49008522 Willst du dein Herz mir schenken/Kein Hälmlein wächst auf Erden BWV 518 BRETT, TONA DE Medium Voice and Piano Schott ED01111..................$5.95 ______49003242 Discover Your Voice Learn to Sing BACH, JOHANN SEBASTIAN AND CHARLES GOUNOD from Rock to Classic ______49008946 Ave Maria (1854) Meditation on Tona de Brett, internationally renowned singing Prelude No. 1 in C Major teacher, presents her teaching material, worked through with stars of rock, jazz and musicals who with Violin (Violoncello) ad lib. seek help with their voices. Tona de Brett deals High Voice Schott ED07220.....................................$5.95 with the various aspects of voice-production through a wealth of exercises and examples. The working in the Studio section by Tom West will help singers prepare for the recording studio. Book/CD Pack Schott ED12498.............................$27.95 BROCKLEHURST, BRIAN ______49002573 Pentatonic Song Book (ed. Brocklehurst) BEASER, ROBERT Melody Edition Schott ED10909-01 .........................$13.95 ______49012640 Seven Deadly Sins for -
History of Opera CD Booklet
Richard Fawkes The History of Opera NON- Read by Robert Powell FICTION HISTORIES NA417612D 1 VERDI RIGOLETTO 8.660013-14 Soloists, Czecho-Slovak RSO, Alexander Rahbari Opera – the beginnings 4:15 Orazio Vecchi (1550-1605) VECCHI L’AMFIPARNASO 8.553312 Cappella Musicale di S Petronio di Bologna, Sergio Vartolo 2 The Baroque – opera emerges 5:16 Jacopo Peri (1561-1633) Giulio Caccini (1550-1610) Emilio de Cavalieri (1550-1602) CAVALIERI RAPPRESENTATIONE DI ANIMA E DI CORPO 8.554096-97 Cappella Musicale di S Petronio di Bologna, Sergio Vartolo 3 Claudio Monteverdi (1567-1643) 5:39 MONTEVERDI L’ORFEO 8.553319 Cappella Musicale di S Petronio di Bologna, Sergio Vartolo MONTEVERDI LAMENTI BAROCCHI VOL 3 8.553320 Lamento d’Arianna, Anna Caterina Antonacci, soprano Cappella Musicale di S Petronio, Sergio Vartolo 4 The first public opera house in Venice – 1637 3:06 Antonio Cesti (1623-1649) 2 5 Opera spreads 5:24 Giovanni Battista Pergolesi (1710-1736) PERGOLESI LA SERVA PADRONA SAGA 5360 Soloists, Hamburg RSO, George Singer. Used with kind permission from National Sound Archive, British Library 6 Opera in France 5:12 Jean-Baptiste Lully (1632-1687) LULLY BALLET MUSIC FOR THE SUN KING 8.554003 Aradia Baroque Ensemble, Kevin Mallon Jean Philippe Rameau (1683-1764) RAMEAU ANACREON 8.553746 Capella Savaria, Mary Térey-Smith 7 Opera in Germany – 17th century 1:41 Heinrich Schütz (1585-1672) 8 Opera in England – 17th century 6:57 John Blow (1649-1708) Henry Purcell (1659-16) PURCELL DIDO & AENEAS (ACT II Witches & Sorceress Scene) The Scholars Baroque -
Marco Polo – the Label of Discovery
Marco Polo – The Label of Discovery Since its launch in 1982, the Marco Polo label has for over twenty years sought to draw attention to unexplored repertoire.␣ Its main goals have been to record the best music of unknown composers and the rarely heard works of well-known composers.␣ At the same time it originally aspired, like Marco Polo himself, to bring something of the East to the West and of the West to the East. For many years Marco Polo was the only label dedicated to recording rare repertoire.␣ Most of its releases were world première recordings of works by Romantic, Late Romantic and Early Twentieth Century composers, and of light classical music. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again, particularly those whose careers were affected by political events and composers who refused to follow contemporary fashions.␣ Of particular interest are the operas by Richard Wagner’s son Siegfried, who ran the Bayreuth Festival for so many years, yet wrote music more akin to that of his teacher Humperdinck. To Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich, Schwarzschwanenreich (The Kingdom of the Black Swan), and Bruder Lustig, which further explores the mysterious medieval world of German legend is now added Der Heidenkönig (The Heathen King).␣ Other German operas included in the catalogue are works by Franz Schreker and Hans Pfitzner. Earlier Romantic opera is represented by Weber’s Peter Schmoll, and by Silvana, the latter notable in that the heroine of the title remains dumb throughout most of the action. -
Albert Lortzing Und Die Konversationsoper in Der Ersten Hälfte Des 19
Albert Lortzing und die Konversationsoper in der ersten Hälfte des 19. Jahrhunderts Bericht vom Roundtable aus Anlaß des 200. Geburtstages von Albert Lortzing am 22. und 23. Oktober 2001 in der Lippischen Landesbibliothek Detmold Im Auftrag der Albert-Lortzing-Gesellschaft e. V. herausgegeben von Irmlind Capelle Weitere Informationen über den Verlag und sein Programm unter: www.allitera.de Bibliographische Information der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen National bibliographie; detaillierte bibliographische Daten sind im Internet über <http://dnb.ddb.de> abrufbar. Dezember 2004 Allitera Verlag Ein Books on Demand-Verlag der Buch&media GmbH, München © 2004 Buch&media GmbH (Allitera Verlag) und Albert-Lortzing-Gesellschaft e.V., Freiberg/Sachsen Umschlaggestaltung: Kay Fretwurst unter Verwendung einer Zeichnung von H. Varges Herstellung: Books on Demand GmbH, Norderstedt Printed in Germany · isbn 3-86520-076-1 Inhalt Vorwort . 7 Jürgen Lodemann »Ehrt ihn hoch von heute an!« . 9 Von den Leuten geliebt, von den Kennern ignoriert? Zur wechselnden Popularität Albert Lortzings Sieghart Döhring Konversationsoper – Probleme und Forschungsstand . 31 Sigrid Rüttiger (†) Zar und Zimmermann von Albert Lortzing und Il Borgomastro di Saardam von Gaetano Donizetti . 45 Eine Gegenüberstellung zweier Opern gleichen Inhalts Irmlind Capelle Konversationsoper als Hofoper? – Zu Caramo oder das Fischerstechen von Albert Lortzing . 63 Sabine Henze-Döhring Lortzing und die »traditionelle« Oper – Das Finale der Undine . 83 Wolfgang Osthoff Das stille Finale – Zum ersten Finale aus Lortzings Waffenschmied . 95 Joachim Veit Musik über Musik? – Albert Lortzings Zum Großadmiral . 109 Thomas Betzwieser Die Dramatisierung des Bühnenliedes: Kotzebues Die Alpenhütte (1815) und ihre musikalischen Realisierungen . 129 Reiner Nägele »… gegen ein Heer von ini’s und ani’s« . -
T. Koopman & Amsterdam Baroque Orchestra & Choir (Antoine Marchand, 3-CD)
Johann Sebastian Bach (1685 – 1750) COMPLETE CANTATAS – L’INTÉGRALE DES CANTATES DAS KANTATENWERK VOLUME 15 Deborah York, Johannette Zomer, Sandrine Piau, Sibylla Rubens soprano Bogna Bartosz alto Jörg Dürmüller, Christoph Prégardien, Paul Agnew, James Gilchrist tenor Klaus Mertens bass THE AMSTERDAM BAROQUE ORCHESTRA & CHOIR TON KOOPMAN COMPACT DISC 1 "Unser Mund sei voll Lachens" BWV 110 "Wir müssen durch viel Trübsal" BWV 146 "Gottlob! nun geht das Jahr zu Ende" BWV 28 COMPACT DISC 2 "Tue Rechnung! Donnerwort" BWV 168 "Er rufet seinen Schafen met Namen" BWV 175 "Bisher habt ihr nichts gebeten in meinem Namen" BWV 87 "Ach Gott, wie manches Herzeleid" BWV 3 COMPACT DISC 3 "Es ist ein trotzig und verzagt Ding" BWV 176 "Es ist euch gut, daß ich hingehe" BWV 108 "Ich bin ein guter Hirt" BWV 85 "Auf Christi Himmelfahrt allein" BWV 128 "Sie werden euch in den Bann tun" BWV 183 The transition between the second and the third yearly cycle of Bach’s Leipzig cantatas (1725) by Christoph Wolff Introduction The cantatas in this fifteenth volume belong mostly to the transitional period between the second and the third yearly cycle of cantatas, i.e. the spring of 1725. BWV 3 is part of the series of chorale cantatas that give the second yearly cycle its special character, whereas BWV 28, 110, 146 and 168 already belong to the third yearly cycle. However, cantatas BWV 85, 87, 108, 128, 175, 176 and 183, mostly compositions on texts by Mariane von Ziegler, bring the second yearly cycle to its conclusion. Bach had taken up his position as Kantor of St Thomas’s, Leipzig, at the end of May 1723 and so begun his regular performances of cantatas on the First Sunday after Trinity – in other words, in the middle of the church year. -
Albert-Lortzing-Gesellschaft E. V. April 2017
Info Nr. 16/17 Albert-Lortzing-Gesellschaft e. V. April 2017 Albert-Lortzing-Gesellschaft e. V. gegründet 2001 Figurinen zu Zar und Zimmermann © UB Frankfurt Info Nr. 16/17 Albert-Lortzing-Gesellschaft e. V. April 2017 2 Info Nr. 16/17 Albert-Lortzing-Gesellschaft e. V. April 2017 Liebe Lortzing-Freunde, endlich erhalten Sie wieder einmal einen Rundbrief, der jedoch auch besonders umfang- reich geworden ist, weshalb er – wie schon einmal 2008 – als Doppel-Nummer gezählt ist. Aus Anlass des 15jährigen Bestehens eröffnen wir diesen Rundbrief mit einer Chronik der Aktivitäten der Gesellschaft, die anschließend auch auf unserer Website veröffentlicht und dort fortgeschrieben werden soll. Das Ziel unserer Gesellschaft, die „ideelle und materielle Förderung der Auseinander- setzung mit Leben und Werk Albert Lortzings“ scheint dringender denn je, denn die Zahl der Aufführungen von Werken Lortzings geht in den letzten Jahren kontinuierlich zurück. Dies ist auch der Grund, weshalb wir Sie bisher noch nicht für 2017 zu einem Mitglieder- treffen eingeladen haben, denn wir möchten dieses Treffen ja immer gerne mit einem Aufführungsbesuch verbinden. Wir haben uns jetzt entschlossen, das Treffen und die Mit- gliederversammlung mit dem Besuch der Premiere des Zar und Zimmermann in Saalfeld am 14. Oktober 2017 zu verbinden. Details hierzu entnehmen Sie bitte den beiliegenden Unterlagen. Bis dahin wünsche ich Ihnen einen schönen Sommer und verbleibe mit herzlichen Grüßen im Namen des ganzen Vorstands Ihre Irmlind Capelle Detmold, April 2017 Impressum: Herausgeber: Albert-Lortzing-Gesellschaft e. V. c/o Dr. Irmlind Capelle, Drischbreite 3, D – 32760 Detmold, Tel.: 05231 870447 e-Mail: [email protected] Redaktion: Dr. -
James Taylor, Tenor
1 James Taylor, tenor 525 Williamsdale Drive Bon Air, VA 23235 804.615.9773 [email protected] EDUCATION Master of Music, Opera Performance, Yale University, New Haven, CT B.A., Music Performance, Birmingham-Southern College, Birmingham, AL ADJUNCT PROFESSOR 2006-2014 University of Virginia, Charlottesville, VA • Served as advisor and consultant for a student-led opera program. • Recruited, taught and mentored private students, and provided advice on career options. Seven students have gone on to careers in opera in the US and Europe. • Assisted students with major recitals and gaining admissions to graduate programs. • Taught private lessons to Majors and non-majors. Directed 8 Distinguished Major recitals. ADJUNCT PROFESSOR 2006-2014 Virginia Commonwealth University, Richmond, VA • Taught private lessons to Music Majors and theater students. • Assisted students with preparation for recitals. • Taught master classes in the region. DIRECTOR OF OPERA/ASSISTANT PROFESSOR OF VOICE 2001-2006 University of Alabama, Tuscaloosa, AL • Developed relationships with students, parents and high school choral directors from 5 states to aid admissions. • Recruited 100+ students annually and assisted in acquiring needed scholarships. • Increased program visibility in the community and state by establishing relationships with Fortune 500 and Fortune 50 companies to raise funds for the department. • Created and managed an opera performance program. • Grew the department budget over 5 years through media promotion, fundraising activities and increased ticket sales. • Hired and supervised performers and stage staff; planned, directed and conducted performances. • Negotiated with music publishing companies to reduce the costs of performance rights. • Raised $5K for a high school voice competition by developing partnerships with prominent businesses. -
ARSC Journal
HISTORICAL REISSUES ROYAL OPERA HOUSE COVENT GARDEN, HISTORICAL RECORDINGS OF ACTUAL PERFORMANCES: PUCCINI: Boheme (4 June 1926)--Gioventu mia (Finale, Act 2); Dorme? ripose? (Finale, Act 4). Margaret Sheridan, soprano (Mimi); Aurora Rettore, soprano (Musetta); Angelo Minghetti, tenor (Rodolfo); Giuseppe Noto, baritone (Marcello); Eduard Cottreuil, basso (Colline); Ernesto Badini, baritone (Schaunard); Pompilio Malatesta, basso (Alcindoro); Vincenzo Bellezza, conductor. MELBA'S FAREWELL (8 June 1926): VERDI: Otello--Piangea cantando; Ave Maria. Dame Nellie Melba, soprano (Desdemona); Jane Bourguignon, mezzo-soprano (Emilia); Vincenzo Bellezza, conductor. PUCCINI: Boh~me--Entrate ••• C'e Rodol fo?; D'onde lieta usci; Addio, dolce svegliare. Dame Nellie Melba, soprano (Mimi); Aurora Rettore, soprano (Musetta); Browning Mummery, tenor (Rodolfo); John Brownlee, baritone (Marcello); Vincenzo Bellezza, conductor. Melba's farewell speech. BOITO: Mefistofele (31 Ma.J. 1926)--Ave, Signore; So lo spirito che nega; Sabha, Sabha, Saboe! Feodor Chaliapin, basso (Mefistofele); Vincenzo Bellezza, conductor. GOUNOD: Faust (22 June 1928)--Act 1 complete; Allens, amis, point de vaines alarmes! ••• Le veau d'or; Nous nous retrouverons, mes amis ••• Ainsi que la brise; Salut, demeure chaste et pure; Il etait temps; Qu'attendez-vous encore •.• Vous qui faites l'endormie. Joseph Hislop, tenor (Faust); Feodor Chaliapin, basso (Mephistopheles); Franklyn Kelsey, baritone (Wagner); Jane Laugier, mezzo-soprano (Siebel); Sir Eugene Goossens, conductor. VERDI: Otello (17 June 1926)--Inaffia l'ugola; Mio signore ••• Che brami?; A~ ••• Ora e per sempre addio; Ah! mille vite ••• Si, pel ciel marmoreo giuro; Dio! mi potevi scag liar; Tutto e spento ••• Quest'~ una ragna; Niun mi tema. Giovanni Zenatello, tenor (Otello); Giuseppe Noto, baritone (Iago); Luigi Cilla, tenor (Cassio); Octave Dua, tenor (Roderigo); Eduard Cottreuil, basso (Ludovico); Michele Sampieri, basso (Montano); Vincenzo Bellezza, con ductor. -
Lortzing's Hans Sachs
Lortzing’s Hans Sachs as inspiration for Wagner’s Die Meistersinger In his essay A Communication to my Fri- ends, Wagner recalled that, in the mid- 1840s, ‘certain good friends’ (including, no doubt, Röckel) had tried to persuade him to compose an opera in a lighter gen- re, for which Lortzing provided the obvio- us model. The 1845 sketch for Die Meistersinger And so, during a health cure at the spa at Marienbad in Bohemia in 1845 (a semi- nal year in the Wagner story) he began to think about Hans Sachs and the Master- singers of Nuremberg as possible subjects for a lighter work. At Marienbad on 16th July 1845, he signed off on a long and de- tailed three-act prose sketch that was re- markably close to the drama we know to- day. ‘I took Hans Sachs’ he wrote later, ‘as Albert Lortzing composed an opera about the final manifestation of the artistically Hans Sachs (1494–1567), a cobbler and Hans Sachs. creative popular spirit, and set him, in this poet. sense, in contrast to the pettifogging bom- Albert Lortzing (1801-51) wrote his comic bast of the other Mastersingers; to whose the love-interest is fully developed in the opera Hans Sachs in 1840, and it was first absurd pedantry of Tabulatur and prosody, I first scene, whereas it is handled more ten- performed that year at Leipzig. His best- gave a concrete personal expression in the tatively and to better effect in the final sco- known work, Zar und Zimmermann (Tsar figure of the “Marker.” ‘6 re.