Handel Aria Competition Final Concert
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Bernstein's Trouble in Tahiti By
Postwar Modernity and the Wife's Subjectivity: Bernstein's Trouble in Tahiti By: Elizabeth L. Keathley Keathley, Elizabeth. “Postwar Modernity and the Wife's Subjectivity: Bernstein's Trouble in Tahiti,” American Music, Vol. 23 No. 2 (Summer 2005): 220-257. Made available courtesy of University of Illinois Press: http://www.jstor.org/stable/4153033 ***© University of Illinois Press. Reprinted with permission. No further reproduction is authorized without written permission from University of Illinois Press. This version of the document is not the version of record. Figures and/or pictures may be missing from this format of the document. *** Abstract: Leonard Bernstein's short opera Trouble in Tahiti (1951-52) is a humorous but scathing satire on postwar consumerism and bourgeois marriage. Such critiques are now so commonplace that it may be difficult to appreciate the opera's political edge unless it is seen against the backdrop of repression that marked the years following World War II: in an era in which a group as mainstream as the League of Women Voters was denounced as a "communist front organization," Trouble in Tahiti's criticisms risked reprisals.[1] Keywords: Musicals | Leonard Bernstein | Trouble in Tahiti | Gender | Feminism | Post World War II era Article: Leonard Bernstein's short opera Trouble in Tahiti (1951-52) is a humorous but scathing satire on postwar consumerism and bourgeois marriage. Such critiques are now so commonplace that it may be difficult to appreciate the opera's political edge unless it is seen against -
Ayres and Graces Concert Program
Ayres & Graces CONTENTS PAGE Program 5 Messages 7 Biographies 11 the Australian Program notes success story that’s 22 built on energy. Get to know the future of connected energy. We’re Australia’s largest natural gas infrastructure business. With thanks We’ve been connecting Australian energy since 2000. From small beginnings we’ve become a top 50 ASX-listed company, 33 employing 1,900 people, and owning and operating one of the largest interconnected gas networks across Australia. We deliver smart, reliable and safe energy solutions through our deep industry knowledge and interconnected infrastructure.. www.apa.com.au SPECIAL EVENT Ayres & Graces DATES Sydney City Recital Hall Tuesday 27 October 7:00PM Wednesday 28 October 7:00PM Friday 30 October 7:00PM Saturday 31 October 2:00PM Saturday 31 October 7:00PM Online Digital Première Sunday 1 November 5:00PM Concert duration approximately 60 minutes with no interval. Please note concert duration is approximate only and is subject to change. We kindly request that you switch off all electronic devices prior to the performance. 2 AUSTRALIAN BRANDENBURG ORCHESTRA PHOTO CREDIT: KEITH SAUNDERS SPECIAL EVENT SPECIAL EVENT Ayres & Graces Ayres & Graces ARTISTS PROGRAM Melissa Farrow* Baroque flute & recorder Jean-Baptiste Lully Prologue: Ouverture to Cadmus et Hermione, LWV 49 Mikaela Oberg Baroque flute & recorder Marin Marais Musettes 28 and 29 from Pièces de Viole, Livre IV, Suite No. 4 Rafael Font Baroque violin in A minor Marianne Yeomans Baroque viola Anton Baba Baroque cello & viola da -
This Year Marks Leonard Bernstein's 100Th Birthday, and Some Philly Arts
This year marks Leonard Bernstein’s 100th birthday, and some Philly arts and culture institutions are teaming up to celebrate his centenary with eye- and ear-opening firsts. We know Bernstein best for works such as West Side Story, but his 1951 opera, Trouble in Tahiti, also became an important cultural touchstone. It satirized the outwardly perfect and inwardly tumultuous family life of a suburban couple in 1950s America. But things got darker in the mid-1980s, when Bernstein revisited the same fictional family 30 years later, as a death calls them home, with 1983’s A Quiet Place. Bernstein’s last stage work In 1980, Bernstein teamed with 30-year-old writer Stephen Wadsworth in their joint inspiration for a sequel to Trouble in Tahiti, while they were both grappling with tragic losses in their own lives. The work would combine vernacular speech and music with relatable middle-class woes, performed through a mix of American musical theater and contemporary opera styles that was unusual and polarizing at the time. A Quiet Place premiered in Houston in 1983 as a one-act opera on a double bill with Trouble in Tahiti. Original conductor John Mauceri thought Bernstein and Wadsworth could revisit the two works again. They developed a new version of A Quiet Place that incorporated Trouble in Tahiti, creating one opera with the family’s complete arc, alternating between past and present and becoming a map of a changing U.S. culture from the 1950s to the ’80s. The revised A Quiet Place debuted successfully at La Scala in 1984 and went on to the Kennedy Center before returning to Europe. -
The Baroque. 3.3: Vocal Music: the Da Capo Aria and Other Types of Arias
UNIT 3: THE BAROQUE. 3.3: VOCAL MUSIC: THE DA CAPO ARIA AND OTHER TYPES OF ARIAS EXPLANATION 3.3: THE DA CAPO ARIA AND OTHER TYPES OF ARIAS. THE ARIA The aria in the operas is the part sung by the soloist. It is opposed to the recitative, which uses the recitative style. In the arias the composer shows and exploits the dramatic and emotional situations, it becomes the equivalent of a soliloquy (one person speach) in the spoken plays. In the arias, the interpreters showed their technique, they showed off, even in excess, which provoked a lot of criticism from poets and musicians. They were often sung by castrati: soprano men undergoing a surgical operation so as not to change their voice when they grew up. One of them, the most famous, Farinelli, acquired international fame for his great technique and vocal expression. He lived twenty-five years in Spain. THE DA CAPO ARIA The Da Capo aria is a vocal work in three parts or sections (tripartite form). It began to be used in the Baroque in operas, oratorios and cantatas. The form is A - B - A, the last part being a repetition of the first. 1. The first section is a complete musical entity, that is to say, it could be sung alone and musically it would have complete meaning since it ends in the tonic. The tonic is the first grade or note of a scale. 2. The second section contrasts with the first section in tonality, texture, mood and sometimes in tempo (speed). 3. -
A Countertenor's Reference Guide to Operatic Repertoire
A COUNTERTENOR’S REFERENCE GUIDE TO OPERATIC REPERTOIRE Brad Morris A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2019 Committee: Christopher Scholl, Advisor Kevin Bylsma Eftychia Papanikolaou © 2019 Brad Morris All Rights Reserved iii ABSTRACT Christopher Scholl, Advisor There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide. iv I dedicate this thesis to all of the music educators who encouraged me on my countertenor journey and who pushed me to find my own path in this field. v PREFACE One of the hardships while working on my Master of Music degree was determining the lack of resources available to countertenors. While there are opera repertoire books for sopranos, mezzo-sopranos, tenors, baritones, and basses, none is readily available for countertenors. Although there are online resources, it requires a great deal of research to verify the validity of those sources. -
Featuring the Brandenburg Choir Noël! Noël! Featuring the Brandenburg Choir
Noël! Noël! Featuring the Brandenburg Choir Noël! Noël! Featuring the Brandenburg Choir Morgan Balfour (San Francisco) soprano 2019 Australian Brandenburg Orchestra Brandenburg Choir SYDNEY Matthew Manchester Conductor City Recital Hall Paul Dyer AO Artistic Director, Conductor Saturday 14 December 5:00PM Saturday 14 December 7:30PM PROGRAM Wednesday 18 December 5:00PM Mendelssohn Hark! The Herald Angels Sing Wednesday 18 December 7:30PM Anonymous Sonata à 9 Gjeilo Prelude MELBOURNE Eccard Ich steh an deiner Krippen hier Melbourne Recital Centre Crüger Im finstern Stall, o Wunder groβ Saturday 7 December 5:00PM Palestrina ‘Kyrie’ from Missa Gabriel Archangelus Saturday 7 December 7:30PM Arbeau Ding Dong! Merrily on High Handel ‘Rejoice greatly, O daughter of Zion’ NEWTOWN from Messiah, HWV 56 Friday 6 December 7:00PM Head The Little Road to Bethlehem Gjeilo The Ground PARRAMATTA Tuesday 10 December 7:30PM Vivaldi La Folia, RV 63 Handel Eternal source of light divine, HWV 74 MOSMAN Traditional Deck the Hall Wednesday 11 December 7:00PM Traditional The Coventry Carol WAHROONGA Traditional O Little Town of Bethlehem Thursday 12 December 7:00PM Traditional God Rest Ye Merry, Gentlemen Palmer A Sparkling Christmas WOOLLAHRA Adam O Holy Night Monday 16 December 7:00PM Gruber Stille Nacht Anonymous O Come, All Ye Faithful CHAIRMAN’S 11 Proudly supporting our guest artists. Concert duration is approximately 75 minutes without an interval. Please note concert duration is approximate only and subject to change. We kindly request that you switch off all electronic devices prior to the performance. This concert will be broadcast on ABC Classic on 21 December at 8:00PM NOËL! NOËL! 1 Biography From our Principal Partner: Macquarie Group Paul Dyer Imagination & Connection Paul Dyer is one of Australia’s leading specialists On behalf of Macquarie Group, it is my great pleasure to in period performance. -
To See the 2018 Tanglewood Schedule
summer 2018 BERNSTEIN CENTENNIAL SUMMER TANGLEWOOD.ORG 1 BOSTON SYMPHONY ORCHESTRA ANDRIS NELSONS MUSIC DIRECTOR “That place [Tanglewood] is very dear to my heart, that is where I grew up and learned so much...in 1940 when I first played and studied there.” —Leonard Bernstein (November 1989) SEASONHIGHLIGHTS Throughoutthesummerof2018,Tanglewoodcelebratesthecentennialof AlsoleadingBSOconcertswillbeBSOArtisticPartnerThomas Adès(7/22), Lawrence-born,Boston-bredconductor-composerLeonardBernstein’sbirth. BSOAssistantConductorMoritz Gnann(7/13),andguestconductorsHerbert Bernstein’scloserelationshipwiththeBostonSymphonyOrchestraspanned Blomstedt(7/20&21),Charles Dutoit(8/3&8/5),Christoph Eschenbach ahalf-century,fromthetimehebecameaprotégéoflegendaryBSO (8/26),Juanjo Mena(7/27&29),David Newman(7/28),Michael Tilson conductorSergeKoussevitzkyasamemberofthefirstTanglewoodMusic Thomas(8/12),andBramwell Tovey(8/4).SoloistswiththeBSOalsoinclude Centerclassin1940untilthefinalconcertsheeverconducted,withtheBSO pianistsEmanuel Ax(7/20),2018KoussevitzkyArtistKirill Gerstein(8/3),Igor andTanglewoodMusicCenterOrchestraatTanglewoodin1990.Besides Levit(8/12),Paul Lewis(7/13),andGarrick Ohlsson(7/27);BSOprincipalflute concertworksincludinghisChichester Psalms(7/15), alilforfluteand Elizabeth Rowe(7/21);andviolinistsJoshua Bell(8/5),Gil Shaham(7/29),and orchestra(7/21),Songfest(8/4),theSerenade (after Plato’s “Symposium”) Christian Tetzlaff(7/22). (8/18),andtheBSO-commissionedDivertimentoforOrchestra(also8/18), ThomasAdèswillalsodirectTanglewood’s2018FestivalofContemporary -
The Voice and Histories of Emotion: 1500-1800 Performance Collaboratory
program THE VOICE AND HISTORIES OF EMOTION: 1500-1800 Performance Collaboratory Presented by ARC Centre of Excellence for the History of Emotions Hosted by Department of Performance Studies The University of Sydney 29 September – 1 October 2014 program THE VOICE AND HISTORIES OF EMOTION: 1500-1800 Performance Collaboratory Presented by ARC Centre of Excellence for the History of Emotions (CHE) Hosted by Department of Performance Studies The University of Sydney 29 September – 1 October 2014 Venues Collaboratory Organising Committee Main Venue Jane Davidson & Penelope Woods, CHE The Rex Cramphorn Studio Alan Maddox, Ian Maxwell & Glen McGillivray, Department of Performance Studies The University of Sydney The University of Sydney The studio is on Level 1 of the John Woolley Building, A20, and is accessed from Manning Rd, down the concrete steps opposite the Old Teachers’ College. sydney.edu.au/arts/about/maps.shtml?locationID=A20 Monday Afternoon Venue The Old School, Building G15 Important Notice Maze Crescent, University of Sydney. Participants can access wifi internet through the The Old School building backs onto Cadigal Green ‘UniSydney’ network, not ‘Uni-Sydney Guest’ network. in the Darlington section of campus, a 5-10 minute account name: historyofemotions walk from Performance Studies. password: 58316659 sydney.edu.au/arts/about/maps.shtml?locationID=G15 program Day 1: Monday 29 September, Rex Cramphorn Studio 8.30am Registration at The Rex Cramphorn Studio 9.15am Welcome 9.30–10.30am Session 1: KeynoTe Chaired by Jane davidson -
Cpo 555 156 2 Booklet.Indd 1 12.06.2020 09:36:39 Jean-Philippe Rameau
Jean-Philippe Rameau Pigmalion · Dardanus Suites & Arias Anders J. Dahlin L’Orfeo Barockorchester Michi Gaigg cpo 555 156_2 Booklet.indd 1 12.06.2020 09:36:39 Jean-Philippe Rameau cpo 555 156_2 Booklet.indd 2 12.06.2020 09:36:39 Jean-Philippe Rameau (1683–1764) Pigmalion Acte-de-ballet, 1748 Livret by Sylvain Ballot de Sauvot (1703–60), after ‘La Sculpture’ from Le Triomphe des arts (1700) by Houdar de la Motte (1672–1731) (selected movements: Suite & Arias) 1 Ouverture 4'41 2 [Air,] ‘Fatal Amour’ (Pigmalion) 3'22 3 Air. Très lent – Gavotte gracieuse – Menuet – Gavotte gai – Chaconne vive – 5'44 Loure – Passepied vif – Rigaudon vif – Sarabande pour la Statue – Tambourin 4 Air gai 2'19 5 Pantomime niaise 0'44 6 2e Pantomime très vive 2'07 7 Ariette, ‘Règne Amour’ (Pigmalion) 4'35 8 Air pour les Graces, Jeux et Ris 0'50 9 Rondeau Contredanse 1'37 cpo 555 156_2 Booklet.indd 3 12.06.2020 09:36:39 Dardanus Tragedie en musique, 1739 (rev. 1744, 1760) Livret by Charles-Antoine Leclerc de La Bruère (1716–54) (selected movements: Suite & Arias) 10 Ouverture 4'13 11 Prologue, sc. 1: Air pour les [Jeux et les] Plaisirs [et la Jalousie et sa Suite] 1'06 12 Air pour les [Jeux et les] Plaisirs 1'05 13 Prologue, sc. 2: Air gracieux [pour les Peuples de différentes nations] 1'30 14 Rigaudon 1'41 15 Act 1, sc. 3: Air vif 2'46 16 Rigaudons 1 et 2 3'36 17 Act 2, sc. 1: Ritournelle vive 1'08 18 Act 4, sc. -
Vocal Music 1650-1750
Chapter 9 Vocal Music 1650-1750 Sunday, October 21, 12 Opera • beyond Italy, opera was slow to develop • France, Spain, and England enjoyed their own forms of dramatic entertainment with music Sunday, October 21, 12 Opera France: Comédie-ballet and Tragédie en musique • Jean-Baptiste Lully (1632-1687), established sung drama that was part opera and part ballet • wrote a series of comédie-ballet for dancing talents of his master, Loius XIV • mixed spoken drama and dance Sunday, October 21, 12 Opera France: Comédie-ballet and Tragédie en musique • in 1672, Lully created new operatic genre: tragédie en musique (also know as tragédie lyrique) • drew on classical mythology and chivalric romances with plots being veiled favorable commentaries on recent court events Sunday, October 21, 12 Opera France: Comédie-ballet and Tragédie en musique • Tragédie en musique consisted of: • an overture • an allegorical prologue • five acts of entirely sung drama, each divided into several scenes • many divertissements (interludes) Sunday, October 21, 12 Opera France: Comédie-ballet and Tragédie en musique • Lully Armide - tragédie en musique (also called tragédie lyrique) - French Overture (section with slow dotted rhythms followed by faster imitative section) - the aria uses figured bass and moves freely between meters to accommodate the French language Sunday, October 21, 12 Opera Italy: Opera seria • Opera seria (serious opera) • usually tragic content • the most important type of opera cultivated from 1670-1770 • developed in Italy and sung almost exclusively -
Florida State University Libraries
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Gustav Mahler, Alfred Roller, and the Wagnerian Gesamtkunstwerk: Tristan and Affinities Between the Arts at the Vienna Court Opera Stephen Carlton Thursby Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC GUSTAV MAHLER, ALFRED ROLLER, AND THE WAGNERIAN GESAMTKUNSTWERK: TRISTAN AND AFFINITIES BETWEEN THE ARTS AT THE VIENNA COURT OPERA By STEPHEN CARLTON THURSBY A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2009 The members of the Committee approve the Dissertation of Stephen Carlton Thursby defended on April 3, 2009. _______________________________ Denise Von Glahn Professor Directing Dissertation _______________________________ Lauren Weingarden Outside Committee Member _______________________________ Douglass Seaton Committee Member Approved: ___________________________________ Douglass Seaton, Chair, Musicology ___________________________________ Don Gibson, Dean, College of Music The Graduate School has verified and approved the above named committee members. ii To my wonderful wife Joanna, for whose patience and love I am eternally grateful. In memory of my grandfather, James C. Thursby (1926-2008). iii ACKNOWLEDGEMENTS The completion of this dissertation would not have been possible without the generous assistance and support of numerous people. My thanks go to the staff of the Austrian Theater Museum and Austrian National Library-Music Division, especially to Dr. Vana Greisenegger, curator of the visual materials in the Alfred Roller Archive of the Austrian Theater Museum. I would also like to thank the musicology faculty of the Florida State University College of Music for awarding me the Curtis Mayes Scholar Award, which funded my dissertation research in Vienna over two consecutive summers (2007- 2008). -
Mahler's Symphony No. 3
Sponsored by Pat Zimmerman & Paul Dinu Saturday, May 21, 2016, 7:30 pm Monday, May 23, 2016, 8 pm Mahler’s Symphony Arlene Schnitzer Concert Hal No. 3 Carlos Kalmar, conductor Susan Platts, mezzo-soprano Susan Platts Women of the Portland State Chamber Choir and Vox Femina Ethan Sperry, music director Pacific Youth Choir Mia Hall Miller, music director GUSTAV MAHLER Symphony No. 3 in D minor Part I Introduction—Forcefully and decisively Part II Tempo di menuetto—Moderately—Commodo— Scherzando—Unhurriedly—Very slow— Mysteriously—Joyous in tempo and jaunty in expression—Slow—Calm—Deeply felt Susan Platts Women of the Portland State Chamber Choir and Vox Femina Pacific Youth Choir THE CONCERT CONVERSATION, conducted one hour before each performance, will feature Music Director Carlos Kalmar and Robert McBride, host for the stations of All Classical Portland. You can also enjoy the Concert Conversation in the comfort of your own home. Visit the website allclassical.org to watch the video on demand. Oregon Symphony | 23 Biographies SUSAN PLATTS choir competitions, including the Tolosa ritish-born Canadian mezzo-sopra- International Choral Contest in Spain in no Susan Platts brings a uniquely November 2014; the International Choral Brich and wide-ranging voice to con- Kathaumixw in Powell River, Canada, in cert and recital repertoire for alto and mez- June 2014; and the Seghizzi International zo-soprano. She is particularly esteemed Competition for Choral Singing in Gorizia, for her performances of Gustav Mahler’s Italy, where they became the first Ameri- works. can choir ever to win the Grand Prize in In May of 2004, as part of the Rolex the competition’s 52-year history.