Podium Operette
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Podium Operette: Du Mein Schönbrunn
Podium Operette: Du mein Schönbrunn Kaiserin, Kaiser und Imperiales als Topoi der Wiener Operette Zum 300. Geburtstag Maria Theresias Universitätslehrgang Klassische Operette (Leitung: Wolfgang Dosch) Donnerstag, 11. Mai 2017 18.00 Uhr Musik und Kunst Privatuniversität der Stadt Wien MUK.podium Johannesgasse 4a, 1010 Wien PROGRAMM Leo Fall (1873, Olmütz – 1925, Wien) aus Die Kaiserin (Text: Julius Brammer/ Alfred Grünwald), 1915, Berlin Metropoltheater Wenn die Wiener Edelknaben Michiko Fujikawa, Sopran Nataliia Ulasevych, Sopran Jantus Philaretou, Bariton Wir sind drei feine Diplomaten Seungmo Jung, Tenor Wonbae Cho, Tenor Jantus Philaretou, Bariton Die Kaiserin: Original Klavierauszug Du mein Schönbrunn Adriana Hernandez Flores, Sopran Mir hat heute Nacht von ein’ Tanzerl geträumt Adriana Hernandes Flores, Sopran Jantus Philaretou, Bariton Ja, so singt man und tanzt man in Wien Nataliia Ulasevych, Sopran Seungmo Jeong, Tenor Fritzi Massary als Maria Theresia, UA Berlin 1915 2 Nico Dostal (1895, Korneuburg – 1981, Salzburg) aus Die ungarische Hochzeit (Text: Hermann Hermecke), 1939, Stuttgart Märchentraum der Liebe Wonbae Cho, Tenor Bruno Granichstaedten (1879, Wien – 1944, New York) aus Auf Befehl der Kaiserin (Text: Leopold Jacobson/ Robert Bodanzky), 1915, Wien Wann die Musik spielt Michiko Fujikawa, Sopran Nataliia Ulasevych, Sopran Seungmo Jeong, Tenor Dolores Schmidinger als Maria Theresia, Komm’, die Kaiserin will tanzen Die Ungarische Hochzeit, Lehár Festival Bad Ischl, 2015 © Foto Hofer Sonja Gebert, Sopran Branimir Agovi, Bariton -
German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
Sissi in Amerika“
DIPLOMARBEIT Titel der Diplomarbeit „Sissi in Amerika“ Verfasserin Elisabeth Niklas angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2014 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuer: Ao. Univ.-Prof. Dr. Rainer Maria Köppl 2 Danksagung: An dieser Stelle möchte ich mich bei all jenen Personen bedanken, die mich auf meinem Studienweg begeleitet haben, und dazu beigetragen haben, dass die vorliegende Arbeit in dieser Form zustande gekommen ist. Professor Rainer M. Köppl danke ich für die Anregung zu diesem Thema, die gute Betreuung, die interessanten Seminare im Laufe des Studiums und die Geduld, die er mir bis zur Fertigstellung der Arbeit entgegen brachte. Den Mitarbeitern des Filmarchivs Austria, Thomas Ballhausen, und Günter Krenn danke ich für die Unterstützung bei den ersten Recherchen. Clara Huber, die mir in ihrer eigenen Studienabschlussphase wertvolle Informationen zur Verfügung stellte, sei ebenfalls gedankt. Weiters möchte ich mich bei Kristine Krueger von der Margaret Herrick Library in Kalifornien bedanken, die mir Pressematerial zum Film Forever my Love aus dem Archiv der Bibliothek zugesendet hat. Auch meiner Familie, meinen Eltern und Geschwistern möchte ich Danke sagen. Sie haben mich geformt und zu dem gemacht, was ich bin. Danke für den Rückhalt und die Unterstützung, die ich von euch erfahren habe. Ohne euch wäre ein Studium nicht möglich gewesen. Ebenso ist meinen Freunden zu danken und im Besonderen Andreas: für Diskussion, -
Lister); an American Folk Rhapsody Deutschmeister Kapelle/JULIUS HERRMANN; Band of the Welsh Guards/Cap
Guild GmbH Guild -Light Catalogue Bärenholzstrasse 8, 8537 Nussbaumen, Switzerland Tel: +41 52 742 85 00 - e-mail: [email protected] CD-No. Title Track/Composer Artists GLCD 5101 An Introduction Gateway To The West (Farnon); Going For A Ride (Torch); With A Song In My Heart QUEEN'S HALL LIGHT ORCHESTRA/ROBERT FARNON; SIDNEY TORCH AND (Rodgers, Hart); Heykens' Serenade (Heykens, arr. Goodwin); Martinique (Warren); HIS ORCHESTRA; ANDRE KOSTELANETZ & HIS ORCHESTRA; RON GOODWIN Skyscraper Fantasy (Phillips); Dance Of The Spanish Onion (Rose); Out Of This & HIS ORCHESTRA; RAY MARTIN & HIS ORCHESTRA; CHARLES WILLIAMS & World - theme from the film (Arlen, Mercer); Paris To Piccadilly (Busby, Hurran); HIS CONCERT ORCHESTRA; DAVID ROSE & HIS ORCHESTRA; MANTOVANI & Festive Days (Ancliffe); Ha'penny Breeze - theme from the film (Green); Tropical HIS ORCHESTRA; L'ORCHESTRE DEVEREAUX/GEORGES DEVEREAUX; (Gould); Puffin' Billy (White); First Rhapsody (Melachrino); Fantasie Impromptu in C LONDON PROMENADE ORCHESTRA/ WALTER COLLINS; PHILIP GREEN & HIS Sharp Minor (Chopin, arr. Farnon); London Bridge March (Coates); Mock Turtles ORCHESTRA; MORTON GOULD & HIS ORCHESTRA; DANISH STATE RADIO (Morley); To A Wild Rose (MacDowell, arr. Peter Yorke); Plink, Plank, Plunk! ORCHESTRA/HUBERT CLIFFORD; MELACHRINO ORCHESTRA/GEORGE (Anderson); Jamaican Rhumba (Benjamin, arr. Percy Faith); Vision in Velvet MELACHRINO; KINGSWAY SO/CAMARATA; NEW LIGHT SYMPHONY (Duncan); Grand Canyon (van der Linden); Dancing Princess (Hart, Layman, arr. ORCHESTRA/JOSEPH LEWIS; QUEEN'S HALL LIGHT ORCHESTRA/ROBERT Young); Dainty Lady (Peter); Bandstand ('Frescoes' Suite) (Haydn Wood) FARNON; PETER YORKE & HIS CONCERT ORCHESTRA; LEROY ANDERSON & HIS 'POPS' CONCERT ORCHESTRA; PERCY FAITH & HIS ORCHESTRA; NEW CONCERT ORCHESTRA/JACK LEON; DOLF VAN DER LINDEN & HIS METROPOLE ORCHESTRA; FRANK CHACKSFIELD & HIS ORCHESTRA; REGINALD KING & HIS LIGHT ORCHESTRA; NEW CONCERT ORCHESTRA/SERGE KRISH GLCD 5102 1940's Music In The Air (Lloyd, arr. -
Nachlass Victor Léon
Nachlass Victor Léon Wienbibliothek im Rathaus Handschriftensammlung ZPH 906, ZPH 924, ZPH 925 Bestandssystematik Wienbibliothek im Rathaus / Handschriftensammlung - Nachlass Victor Léon / ZPH 906, ZPH 924, ZPH 925 Biographische Informationen Léon, Victor (eigentlich: Hirschfeld, Victor Leon): 4. 1. 1856 (laut Österreich Lexikon) - 23. 2. 1940 Wien; Dramatiker, Regisseur, Dramaturg. Provenienz des Bestands Der Nachlass Victor Léon wurde von der Wienbibliothek im Rathaus in den Jahren 1995 (ZPH 906, ZPH 924) und 1996 (ZPH 925) von einem Antiquariat gekauft. Wenn nicht anders angegeben, stammen die in der Systematik verzeichneten Stücke aus ZPH 906. Umfang 47 Archivboxen, 1 Foliobox. Der Bestand ist unter ZPH 906 aufgestellt. 2 Wienbibliothek im Rathaus / Handschriftensammlung - Nachlass Victor Léon / ZPH 906, ZPH 924, ZPH 925 Abkürzungsverzeichnis Anm. Anmerkung Beil. Beilage Bl. Blatt Br. Brief eh. eigenhändig Einf. Einfügungen Ex. Exemplar(e) hs. handschriftlich Korr. Korrektur Kt. Karte Ms. Manuskript o.D. ohne Datum o.T. ohne Titel (x x) Streichung ZPH Zuwachsprotokoll Handschriftensammlung 3 Wienbibliothek im Rathaus / Handschriftensammlung - Nachlass Victor Léon / ZPH 906, ZPH 924, ZPH 925 Archivbox 1 1 Werke 1.1 Bühnenmanuskripte 1.1.1 Die Königin von Arragon 1.1.2 Blinde Liebe. Oper in 1 Akt 1.1.3 Firilette. Vaudeville in 3 Akten (Zensurmanuskript) 1.1.4 Das Fürstenkind. Operette in 1 Vorspiel und 2 Akten. Teilweise nach einer Erzählung von Edmond About. Musik von Franz Lehár. (Soufflierbuch) 1.1.5 Der Cognac-König. Operette in 3 Akten. Nach einer Idee Bayards von Victor Léon und Ludwig Held. Musik von Franz Wagner 1.1.6 Wiener Lieb und Wiener Treu (in 2 Bildern) 1.1.7 Die Doppelhochzeit. -
INFORMATION ISSUED by the Assooaim of Xmh RSUCSS HI WEAT KITAIH
Volume XXX No. 12 December, 1975 INFORMATION ISSUED BY THE AssooAim Of xmH RSUCSS HI WEAT KITAIH Ernest Hearst finanzpraesidenten throughout the Reich (4.11.1941). 'Diu-ing the next few months Jews not working in economically essential indus THE ADMIMSTRAUVE STRUCTURE tries will be removed to a town in the Eastem territories. The property of Jews so removed will be taken over by the Reich. Each Jew will OF GENOCTOE be allowed to take with him 100 RM. and What will people make of the twentieth tives concerning their deportation, the organi 50kg. luggage.' What the reality of such a century two or three hundred years hence? sation of their transports and finally the "removal to a town in the Eastem territories" Will the emphasis be put on the scientific and various fates marked out for the doomed on looked like has been described in a report technological developments which altered not arrival at journey's end are all closely studied. submitted by Jewish, Quaker and Red Cross only the physical and social terms of man's This scrutiny of the administrative structure organisations to Herr Lammers, head of the existence, but enabled him to leave the con of genocide is followed by recording individual Reichs Chancellery and forwarded by him to fines of his native planet and set foot on the fates, fossilised in the reports of a watchful Himmler (14-3-1940). Clearest stars of a beckoning universe? Or will scribbling officialdom. Much of what Adler "The deported were stripped of all their the perspectives of history be dominated by relates in great detail has been told before and possessions. -
ARSC Journal
HISTORICAL VOCAL RECORDINGS ROSSINI: Le Comte Ory. Michel Roux, basso (Robert); Jeannette Sinclair, soprano (Alice); Juan Oncina, tenor (Count Ory); Monica Sinclair, con tralto (Ragonde); Ian Wallace, baritone (The Governor); Cora Canne Meijer, mezzo-soprano (Isolier); Sari Barabas, soprano (Countess Adele); Dermot Troy, tenor (A Young Nobleman); The Glyndebourne Festival Or chestra and Chorus; Vittorio Gui, conductor. EMI RLS 744. "The delicious Comte Ory," wrote Chorley in 1854, "has, with all the beauty of its music, never been a favorite anywhere. Even in the theater for which it was written, the Grand Oplra of Paris, where it still keeps its place - when Cinti-Damoreau was the heroine - giving to the music all the playfulness, finish, and sweetness which could possibly be given - the work was heard with but a tranquil pleasure ••• " He goes on to blame the libretto (by Scribe and Delaistre-Poirson) which in its day was indeed rather shocking, with Count Ory's "gang" gaining admission, disguised as nuns, to the castle of the Countess he is pursuing - male voices and all! The opera was rediscovered in the 1950's and enjoyed a real success at Glyndebourne in 1954. The recording was made two years later. The New York City Opera finally got around to Le Comte Ory a year or so ago. There are several obvious reasons for the neglect of this gem of an opera. Though the score is full of delights there is no Largo al facto tum or Una voce poco fa. The arias are brilliant but not sure fire. It is not a vehicle; the soprano and tenor roles call for virtuosity of a high order, but this is an ensemble opera and no one can take over the spotlight. -
Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated -
Robert Stolz Vienne En Flânant Mp3, Flac, Wma
Robert Stolz Vienne En Flânant mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Vienne En Flânant Country: France Released: 1981 Style: Romantic, Operetta MP3 version RAR size: 1631 mb FLAC version RAR size: 1942 mb WMA version RAR size: 1490 mb Rating: 4.1 Votes: 998 Other Formats: VOX MP3 WAV DXD VQF AU MPC Tracklist Hide Credits La Chauve Souris Composed By – Johann Strauss (Fils)* A1 Ouverture 8:00 Le Baron Tzigane Composed By – Johann Strauss (Fils)* A2 Ouverture 7:30 Le Pays Du Sourire Composed By – Franz Lehár A3 Ouverture 8:00 Die Romantiker, Op. 167 (Valse) B1 7:10 Composed By – Joseph Lanner* Abend Sterne Op. 180 (Valse) B2 5:40 Composed By – Joseph Lanner* Hans Jorgel Polka Op. 194 B3 2:30 Composed By – Joseph Lanner* Die Schönbrunner Op. 200 (Valse) B4 7:20 Composed By – Joseph Lanner* Paris Walzer Op. 101 B5 5:20 Composed By – Johann Strauss (Père)* Extempore Op. 241 (Polka Française) C1 3:00 Composed By – Joseph Strauss* Schützen Quadrille C2 5:00 Composed By – Johann Strauss (Fils)*, Joseph Strauss* Bad'ner Mad'In Op. 257 (Valse) C3 6:00 Composed By – Karl Komzak* Opernball Walzer C4 7:30 Composed By – Richard Heuberger L'Or Et L'Argent Op. 69 (Valse) C5 8:00 Composed By – Franz Lehár Hommage À Robert Stolz D1 Parade De Printemps (Marche) 2:46 D2 Adieu Mon Petit Officier (Marche) 3:06 D3 Quand Fleurissent Les Violettes (Fox Trot) 3:33 D4 Deux Cœurs, Une Valse (Valse) 2:38 D5 Printemps A Vienne (Lied) 3:03 D6 Hallo Hallo (Fox Trot Rapide) 1:58 D7 Mon Chant D'Amour Est Une Valse 3:05 D8 Viens (Slow) 3:21 D9 Salomé (Roméo) (Fox Trot Oriental) 3:27 Companies, etc. -
O Du Mein Österreich: Patriotic Music and Multinational Identity in The
O du mein Österreich: Patriotic Music and Multinational Identity in the Austro-Hungarian Empire by Jason Stephen Heilman Department of Music Duke University Date: _______________________ Approved: ______________________________ Bryan R. Gilliam, Supervisor ______________________________ Scott Lindroth ______________________________ James Rolleston ______________________________ Malachi Hacohen Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2009 ABSTRACT O du mein Österreich: Patriotic Music and Multinational Identity in the Austro-Hungarian Empire by Jason Stephen Heilman Department of Music Duke University Date: _______________________ Approved: ______________________________ Bryan R. Gilliam, Supervisor ______________________________ Scott Lindroth ______________________________ James Rolleston ______________________________ Malachi Hacohen An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2009 Copyright by Jason Stephen Heilman 2009 Abstract As a multinational state with a population that spoke eleven different languages, the Austro-Hungarian Empire was considered an anachronism during the age of heightened nationalism leading up to the First World War. This situation has made the search for a single Austro-Hungarian identity so difficult that many historians have declared it impossible. Yet the Dual Monarchy possessed one potentially unifying cultural aspect that has long been critically neglected: the extensive repertoire of marches and patriotic music performed by the military bands of the Imperial and Royal Austro- Hungarian Army. This Militärmusik actively blended idioms representing the various nationalist musics from around the empire in an attempt to reflect and even celebrate its multinational makeup. -
Senior Recital Lauren Carroll, Soprano Amelia Hammond, Piano
Senior Recital Lauren Carroll, soprano with Amelia Hammond, piano Saturday, May 8, 2021 Sheslow Auditorium in Old Main 7:30 p.m. Chi il bel sogno di Doretta Giacomo Puccini from La rondine (1858-1924) Ein Traum Edvard Grieg Sechs Lieder, Op. 48 (1843-1907) Nachtgebet Joseph Marx (1882-1964) Cäcilie Richard Strauss (1864-1949) Depuis le jour Gustave Charpentier from Louise (1860-1956) Intermission Si, mi chiamano Mimì Giacomo Puccini from La bohéme (1858-1924) Lyric for Truelove Undine Smith-Moore (1904-1989) Monna Innominata Eric Barnum (b. 1979) Touch me Tom Cipullo Late Summer No. 4 (b. 1956) How fair this spot! (Zdes' khorosho!) Sergei Rachmaninoff 12 Romances, Op. 21, No. 7 (1873-1941) A-oo! (Ay-u!) 6 Romances, Op. 38 Spring Waters (Vesennije vody) Op. 14, No. 11 About the Artist Lauren Carroll, soprano is a senior Vocal Performance major and studies under the tutelage of Leanne Freeman- Miller. She is involved in the Drake Opera Theater, Drake Choir and Spēro. Lauren has been featured in operatic roles such as Pamina (Die Zauberflöte), Fiordiligi (Così fan tutte), and Alice Ford (Falstaff). Most recently, Lauren received First Prize in the National MTNA Competition and First Prize in the Schubert Club Competition. Following graduation, Lauren will take part in Houston Grand Opera’s Young Artist Vocal Academy program. In the fall, Lauren will begin her studies at The Shepherd School of Music at Rice University where she will begin pursuing her Master of Music in Vocal Performance. Amelia Hammond is a graduate of Drake University with a Bachelor of Music degree in Piano Performance under the tutelage of Dr. -
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A,TON GIRARDI AANHETNOODLOT IS NIETTE ONTKOMEN ANTON GIRARDI AAN HET NOODLOT IS NIET TE ONTKOMEN Vertaling door 1. Tersteeg van Das Schicksal setzt den Hobe' an Anton Girardi AAN HET NOODLOT IS MET TF ONTKOMEN De Ievensroman van Alexander Girardi (cp UITGEVERIJ BOOT — 's-GRAVENHAGE Aan de nagedachtenis van mijn Vader, Alexander Girardi, gewijd, — Aan mijn vrouw, Elisabeth Charlotte Girardi Berliin, Winter 1940/41 PROLOOG. ....De mens heeft weinig van den vader, wanneer werkelcik de Hemel z0 vader is, — des te meer van zijn moeder (de Aarde). JOHANN NEPOMUK NESTROY. „Andredl... !" De voetstap van den Boer Johann Anton Girardi drukte zwaar op de planken vloer van zijn statige huis te Am- pezzo, in het land Tirol. Zij hielden stand onder zijn stap zonder te kraken, die planken, uit oude stammen van het Tiroolse bergwoud gezaagd en geschaafd, door de voorzichtige werkhand van zijn vader bewerkt en keurig precies tegen elkaar gelegd — geen tussenruimten waren er en geen kwastgaten waren er op die manier vakmanswerk was het, de arbeid van een man die huis en hof voor zijn kinderen en kindskinde- ren in orde had gehouden en daarbij tussen een zegen- spreuk en een spuw in de handen aan de toekomst gedacht. En het huis beloonde zijn moeite. Het stond, een eind van het dorp, eenzaam tussen bos en veld, trotseerde het weder en de storm, om het even of deze van de hemel omlaagzwierde of van de grenzen kwam aanblazen, zoals in die tijd, vijf jaren geleden, toen de kinderen en de grijsaards van deze bergwereld zich om de Iselvlag hadden geschaard en zich tegen een overmacht staande gehouden, voor zichzelf, voor hun nakomelingen en voor dit geheiligde, geliefde land Tirol..