Boston Symphony Orchestra Concert Programs, Season 91, 1971-1972
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American Masters 200 List Finaljan2014
Premiere Date # American Masters Program Title (Month-YY) Subject Name 1 ARTHUR MILLER: PRIVATE CONVERSATIONS On the Set of "Death of a Salesman" June-86 Arthur Miller 2 PHILIP JOHNSON: A SELF PORTRAIT June-86 Philip Johnson 3 KATHERINE ANNE PORTER: THE EYE OF MEMORY July-86 Katherine Anne Porter 4 UNKNOWN CHAPLIN (Part 1) July-86 Charlie Chaplin 5 UNKNOWN CHAPLIN (Part 2) July-86 Charlie Chaplin 6 UNKNOWN CHAPLIN (Part 3) July-86 Charlie Chaplin 7 BILLIE HOLIDAY: THE LONG NIGHT OF LADY DAY August-86 Billie Holiday 8 JAMES LEVINE: THE LIFE IN MUSIC August-86 James Levine 9 AARON COPLAND: A SELF PORTRAIT August-86 Aaron Copland 10 THOMAS EAKINS: A MOTION PORTRAIT August-86 Thomas Eakins 11 GEORGIA O'KEEFFE September-86 Georgia O'Keeffe 12 EUGENE O'NEILL: A GLORY OF GHOSTS September-86 Eugene O'Neill 13 ISAAC IN AMERICA: A JOURNEY WITH ISAAC BASHEVIS SINGER July-87 Isaac Bashevis Singer 14 DIRECTED BY WILLIAM WYLER July-87 William Wyler 15 ARTHUR RUBENSTEIN: RUBENSTEIN REMEMBERED July-87 Arthur Rubinstein 16 ALWIN NIKOLAIS AND MURRAY LOUIS: NIK AND MURRAY July-87 Alwin Nikolais/Murray Louis 17 GEORGE GERSHWIN REMEMBERED August-87 George Gershwin 18 MAURICE SENDAK: MON CHER PAPA August-87 Maurice Sendak 19 THE NEGRO ENSEMBLE COMPANY September-87 Negro Ensemble Co. 20 UNANSWERED PRAYERS: THE LIFE AND TIMES OF TRUMAN CAPOTE September-87 Truman Capote 21 THE TEN YEAR LUNCH: THE WIT AND LEGEND OF THE ALGONQUIN ROUND TABLE September-87 Algonquin Round Table 22 BUSTER KEATON: A HARD ACT TO FOLLOW (Part 1) November-87 Buster Keaton 23 BUSTER KEATON: -
31 Days of Oscar® 2010 Schedule
31 DAYS OF OSCAR® 2010 SCHEDULE Monday, February 1 6:00 AM Only When I Laugh (’81) (Kevin Bacon, James Coco) 8:15 AM Man of La Mancha (’72) (James Coco, Harry Andrews) 10:30 AM 55 Days at Peking (’63) (Harry Andrews, Flora Robson) 1:30 PM Saratoga Trunk (’45) (Flora Robson, Jerry Austin) 4:00 PM The Adventures of Don Juan (’48) (Jerry Austin, Viveca Lindfors) 6:00 PM The Way We Were (’73) (Viveca Lindfors, Barbra Streisand) 8:00 PM Funny Girl (’68) (Barbra Streisand, Omar Sharif) 11:00 PM Lawrence of Arabia (’62) (Omar Sharif, Peter O’Toole) 3:00 AM Becket (’64) (Peter O’Toole, Martita Hunt) 5:30 AM Great Expectations (’46) (Martita Hunt, John Mills) Tuesday, February 2 7:30 AM Tunes of Glory (’60) (John Mills, John Fraser) 9:30 AM The Dam Busters (’55) (John Fraser, Laurence Naismith) 11:30 AM Mogambo (’53) (Laurence Naismith, Clark Gable) 1:30 PM Test Pilot (’38) (Clark Gable, Mary Howard) 3:30 PM Billy the Kid (’41) (Mary Howard, Henry O’Neill) 5:15 PM Mr. Dodd Takes the Air (’37) (Henry O’Neill, Frank McHugh) 6:45 PM One Way Passage (’32) (Frank McHugh, William Powell) 8:00 PM The Thin Man (’34) (William Powell, Myrna Loy) 10:00 PM The Best Years of Our Lives (’46) (Myrna Loy, Fredric March) 1:00 AM Inherit the Wind (’60) (Fredric March, Noah Beery, Jr.) 3:15 AM Sergeant York (’41) (Noah Beery, Jr., Walter Brennan) 5:30 AM These Three (’36) (Walter Brennan, Marcia Mae Jones) Wednesday, February 3 7:15 AM The Champ (’31) (Marcia Mae Jones, Walter Beery) 8:45 AM Viva Villa! (’34) (Walter Beery, Donald Cook) 10:45 AM The Pubic Enemy -
Leonard Bernstein
TuneUp! TuneUSaturday, October 18th, 2008 p! New York Philharmonic Young People’s Concert® elcome to a new season of Young People’s Concerts! Throughout history, there have been special times when music flowered in specific cities—Capitals of Music—that for a while W became the center of the musical world. Much of the music we know today comes from these times and places. But how did these great flowerings of music happen? That’s what we’ll find out this year as we discover the distinctive sounds of four of these Capitals. And where better to start than right here in New York? After the Second World War, our city became a cultural capital of the world. Leonard Bernstein—who became Music Director of the New York Philharmonic 50 years ago this fall—defined music in New York in his roles as composer, conductor, and teacher. So what was it like in New York back then? Let’s find out from a child of that time—Leonard Bernstein’s BERNSTEIN’S NEW YORK daughter Jamie! THE PROGRAM: BERNSTEIN “The Great Lover” from On the Town COPLAND “Skyline” from Music for a Great City (excerpt) GERSHWIN “I Got Rhythm” from Girl Crazy BERNSTEIN “America” from West Side Story Suite No. 2 COPLAND Fanfare for the Common Man Jamie Bernstein, host BERNSTEIN On the Waterfront Symphonic Suite (excerpt) Delta David Gier, conductor SEBASTIAN CURRIER “quickchange” from Microsymph Tom Dulack, scriptwriter and director BERNSTEIN Overture to Candide 1 2 3 5 4 CAN YOU IDENTIFY EVERYTHING IN AND AROUND LEONARD BERNSTEIN’S NEW YORK STUDIO? LOOK ON THE BACK PAGE TO SEE WHETHER YOU’RE RIGHT. -
Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr. -
Our History 1971-2018 20 100 Contents
OUR HISTORY 1971-2018 20 100 CONTENTS 1 From the Founder 4 A Poem by Aaron Stern 6 Our Mission 6 Academy Timeline 8 Academy Programs 22 20 Years in Pictures 26 20 Years in Numbers 26 Where We’ve Worked 27 20th Anniversary Events 28 20th Anniversary Images Send correspondence to: Laura Pancoast, Development Coordinator 133 Seton Village Road Santa Fe, NM 87508 [email protected] ON THE COVER & LEFT: Academy for the Love of Learning photo © Kate Russell 20 YEARS of the Academy for the Love of Learning Copyright © 2018 Academy for the Love of Learning, Inc. 2018 has been a very special year, as it marks the 20th anniversary of FROM THE FOUNDER the Academy’s official founding in 1998. 2018 is also, poignantly and coincidentally, the 100th anniversary of Leonard Bernstein’s birth. Lenny, as I knew him, the great musician, the 20th century giant with whom, in 1986, I conceived the Academy, was one of the first people with whom I engaged in dialogue about “this thing,” as he called it, just before proposing that we call our “thing” the Academy for the Love of Learning. “Why that name?”, I asked – and he said: “because you believe that if we truly open ourselves to learning, it will liberate us and bring us home, individually and collectively. So, the name is perfect, because the acronym is ALL!” I resisted it at first, but soon came to realize that the name indeed was perfect. This and other prescient dialogues have helped us get to where we are today – a thriving, innovative organization. -
Flower Drum Song Little Theatre on the Square
Eastern Illinois University The Keep 1961 Shows Programs 1961 Summer 8-22-1961 Flower Drum Song Little Theatre on the Square Follow this and additional works at: http://thekeep.eiu.edu/little_theatre_1961_programs Part of the Theatre History Commons Recommended Citation Little Theatre on the Square, "Flower Drum Song" (1961). 1961 Shows Programs. 1. http://thekeep.eiu.edu/little_theatre_1961_programs/1 This Book is brought to you for free and open access by the 1961 at The Keep. It has been accepted for inclusion in 1961 Shows Programs by an authorized administrator of The Keep. For more information, please contact [email protected]. "Central Illinois' Only Professional Equity Music Theatre" Fifth Season .h July 7th Through August 27th, 1961 Air-conditioned Grand Theatre * On the Square * Sullivan ? Guy S. Llttle, Jt. Ptassnts ! '4 RODGERS & HAMMERSTEIN'S 1 "FLOWER DRUM SONG' I August 22nd through August 27th, 1961 Who's Who in the Cast . SYLVIA COPELAND (Linda Low) re- RUSTY DORE (Sammy Fong) has been a creates the vital fun-loving Linda for the third popular performer on Broadway, TV, records, time, havinf peiformed this role previous1 at sup er clobs and summer stock. Rusty appeared the South hore Music Theatre and the dan- on sroadway with Mae West in her production nis Melody Tent in Massachusetts. Miss Cope- of DIAMOND LIL and toured the country aa land is. a versatile performer displaying talent the bookie in BELLS ARE RINGING.. We was . as a slnger. actress and pianist. Her many recently seen off-Broadway as Jake in THE cabaret and hotel singing- en agements have THREEPENNY OPERA at the Theatre DeLys taken her from Boston to ~razi?,with stops at and as the student in the Yiddish Art Theatre's Miami Beach. -
The Marriage of Figaro
UNIVERSITY MUSICAL SOCIETY Charles A. Sink, President Lester McCoy, Conductor Gail W. Rector, Executive Director First Concert 1957-1958 Complete Series 3216 Twelfth Annual Extra Concert Series THE NBC OPERA COMPANY m THE MARRIAGE OF FIGARO MOZART SUNDAY EVENING, OCTOBER 6, 1957, AT 8:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN THE CAST Count Almaviva WALTER CASSEL Countess Almaviva MARGUERITE WILLAUER Susanna, the Countess' maid JUDITH RASKIN Figaro, the Count's valet . MAC MORGAN Cherubino, the Count's page REGINA SARFATY Marcellina, an aged dame . RUTH KOBART Basilio, a music master LUIGI VELUCCI Don Curzio, a judge FRED CUSHMAN Bartolo, a doctor . EMILE RENAN Antonio, a gardener-Susanna's uncle EUGENE GREEN Barbarina, his daughter . BERTE GOAPERE Crier . RICHARD KRAUSE Country men and women, court attendants, hunters, and servants. (Cast subject to change) Conductor and Stage Director: PETER HERMAN ADLER Baldwin piano courtesy 0/ Maddy Music Company, Ann Arbor. A R S LON G A V I T A BREVIS THE MARRIAGE OF FIGARO By WOLFGANG AMADEUS MOZART Libretto by DAPONTE Based on a comedy by BEAUMARCHAIS English version: EDWARD EAGER Producer: SAMUEL CHOTZINOFF Music and Artistic Director: PETER HERMAN ADLER General Manager: CHANDLER COWLES Costumes: ALVIN COLT The action takes place in the castle and grounds of the Count and Countess Almaviva, near Seville. ACT I Count Almaviva, grown faithless to his Rosina after some years of marriage, has cast a roving eye upon her maid, Susanna, the bride-to-be of his valet, Figaro; while the Count's page, young Cherubino, has fallen in love, if you please, with the Countess herself. -
MUNI 20101013 Piano 02 – Scott Joplin, King of Ragtime – Piano Rolls
MUNI 20101013 Piano 02 – Scott Joplin, King of Ragtime – piano rolls An der schönen, blauen Donau – Walzer, op. 314 (Johann Strauss, Jr., 1825-1899) Wiener Philharmoniker, Carlos Kleiber. Musikverein Wien, 1. 1. 1989 1 intro A 1:38 2 A 32 D 0:40 3 B 16 A 0:15 4 B 16 0:15 5 C 16 D 0:15 6 C 16 0:15 7 D 16 Bb 0:17 8 C 16 D 0:15 9 E 16 G 0:15 10 E 16 0:15 11 F 16 0:14 12 F 16 0:13 13 modul. 4 ►F 0:05 14 G 16 0:20 15 G 16 0:18 16 H 16 0:14 17 H 16 0:15 18 10+1 ►A 0:10 19 I 16 0:17 20 I 16 0:16 21 J 16 0:13 22 J 16 0:13 23 16+2 ►D 0:16 24 C 16 0:15 25 16 ►F 0:15 26 G 14 0:17 27 11 ►D 0:10 28 A 0:39 29 A1 16 0:16 30 A2 0:12 31 stretta 0:10 The Entertainer (Scott Joplin) (copyright John Stark & Son, Sedalia, 29. 12. 1902) piano roll Classics of Ragtime 0108 32 intro 4 C 0:06 33 A 16 0:23 34 A 16 0:23 35 B 16 0:23 36 B 16 0:23 37 A 16 0:23 38 C 16 F 0:22 39 C 16 0:22 40 modul. 4 ►C 0:05 41 D 16 0:22 42 D 16 0:23 43 The Crush Collision March (Scott Joplin, 1867/68-1917) 4:09 (J. -
PRELUDE, FUGUE News for Friends of Leonard Bernstein RIFFS Spring/Summer 2004 the Leonard Bernstein School Improvement Model: More Findings Along the Way by Dr
PRELUDE, FUGUE News for Friends of Leonard Bernstein RIFFS Spring/Summer 2004 The Leonard Bernstein School Improvement Model: More Findings Along the Way by Dr. Richard Benjamin THE GRAMMY® FOUNDATION eonard Bernstein is cele brated as an artist, a CENTER FOP LEAR ll I IJ G teacher, and a scholar. His Lbook Findings expresses the joy he found in lifelong learning, and expounds his belief that the use of the arts in all aspects of education would instill that same joy in others. The Young People's Concerts were but one example of his teaching and scholarship. One of those concerts was devoted to celebrating teachers and the teaching profession. He said: "Teaching is probably the noblest profession in the world - the most unselfish, difficult, and hon orable profession. But it is also the most unappreciated, underrat Los Angeles. Devoted to improv There was an entrepreneurial ed, underpaid, and under-praised ing schools through the use of dimension from the start, with profession in the world." the arts, and driven by teacher each school using a few core leadership, the Center seeks to principles and local teachers Just before his death, Bernstein build the capacity in teachers and designing and customizing their established the Leonard Bernstein students to be a combination of local applications. That spirit Center for Learning Through the artist, teacher, and scholar. remains today. School teams went Arts, then in Nashville Tennessee. The early days in Nashville, their own way, collaborating That Center, and its incarnations were, from an educator's point of internally as well as with their along the way, has led to what is view, a splendid blend of rigorous own communities, to create better now a major educational reform research and talented expertise, schools using the "best practices" model, located within the with a solid reliance on teacher from within and from elsewhere. -
75Thary 1935 - 2010
ANNIVERS75thARY 1935 - 2010 The Music & the Artists of the Bach Festival Society The Mission of the Bach Festival Society of Winter Park, Inc. is to enrich the Central Florida community through presentation of exceptionally high-quality performances of the finest classical music in the repertoire, with special emphasis on oratorio and large choral works, world-class visiting artists, and the sacred and secular music of Johann Sebastian Bach and his contemporaries in the High Baroque and Early Classical periods. This Mission shall be achieved through presentation of: • the Annual Bach Festival, • the Visiting Artists Series, and • the Choral Masterworks Series. In addition, the Bach Festival Society of Winter Park, Inc. shall present a variety of educational and community outreach programs to encourage youth participation in music at all levels, to provide access to constituencies with special needs, and to participate with the community in celebrations or memorials at times of significant special occasions. Adopted by a Resolution of the Bach Festival Society Board of Trustees The Bach Festival Society of Winter Park, Inc. is a private non-profit foundation as defined under Section 509(a)(2) of the Internal Revenue Code and is exempt from federal income taxes under IRC Section 501(c)(3). Gifts and contributions are deductible for federal income tax purposes as provided by law. A copy of the Bach Festival Society official registration (CH 1655) and financial information may be obtained from the Florida Division of Consumer Services by calling toll-free 1-800-435-7352 within the State. Registration does not imply endorsement, approval, or recommendation by the State. -
Boston Symphony Orchestra Concert Programs, Summer, 1976
I M' n, v ~# ^ »>'* •«*^ ^T* > ^'^.._, KlLBu**%m*lJcML^teff-'il Btf^^flB IS^.'^I For 104 years we've been serious about people who make music. In 1872 Boston University established the first professional music program within an American university to train creative and talented students for careers in music. 104 years later the Boston University School of Music is still doing what it does best. • Performance • Music Education • History and Literature • Theory and Composition strings music history and literature Walter Eisenberg, violin Charles Kavaloski, French horn Karol Berger ' Gerald Gelbloom, violin Charles A. Lewis, Jr., trumpet Murray Lefkowitz Bernard Kadinoff, viola David Ohanian, French horn Joel Sheveloff Endel Kalam, chamber music Samuel Pilafian, tuba theory and composition ' Robert Karol, viola Rolf Smedvig, trumpet David Carney ' Alfred Krips, violin ' Harry Shapiro, French horn David Del Tredici 'Eugene Lehner, chamber music ' Roger Voisin, trumpet John Goodman 'Leslie Martin, string bass ' Charles Yancich, French horn Alan MacMillan George Neikrug, cello percussion Joyce Mekeel ' Mischa Nieland, cello * Thomas Ganger Malloy Miller Leslie Parnas, cello ' Charles Smith Gardner Read 'Henry Portnoi, string bass Allen Schindler 'Jerome Rosen, violin harp Tison Street Kenneth Sarch, violin Lucile Lawrence " Alfred Schneider, violin music education * Roger Shermont, violin piano Lee Chrisman 'Joseph Silverstein, violin Maria Clodes Allen Lannom Roman Totenberg, violin Anthony di Bonaventura Jack O. Lemons Walter Trampler, viola -
Central Opera Service Bulletin
CENTRAL OPERA SERVICE BULLETIN WINTER, 1972 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center Plaza • Metropolitan Opera • New York, N.Y. 10023 • 799-3467 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Canter Plaza • Metropolitan Opera • New York, NX 10023 • 799.3467 CENTRAL OPERA SERVICE COMMITTEE ROBERT L. B. TOBIN, National Chairman GEORGE HOWERTON, National Co-Chairman National Council Directors MRS. AUGUST BELMONT MRS. FRANK W. BOWMAN MRS. TIMOTHY FISKE E. H. CORRIGAN, JR. CARROLL G. HARPER MRS. NORRIS DARRELL ELIHU M. HYNDMAN Professional Committee JULIUS RUDEL, Chairman New York City Opera KURT HERBERT ADLER MRS. LOUDON MEI.LEN San Francisco Opera Opera Soc. of Wash., D.C. VICTOR ALESSANDRO ELEMER NAGY San Antonio Symphony Ham College of Music ROBERT G. ANDERSON MME. ROSE PALMAI-TENSER Tulsa Opera Mobile Opera Guild WILFRED C. BAIN RUSSELL D. PATTERSON Indiana University Kansas City Lyric Theater ROBERT BAUSTIAN MRS. JOHN DEWITT PELTZ Santa Fe Opera Metropolitan Opera MORITZ BOMHARD JAN POPPER Kentucky Opera University of California, L.A. STANLEY CHAPPLE GLYNN ROSS University of Washington Seattle Opera EUGENE CONLEY GEORGE SCHICK No. Texas State Univ. Manhattan School of Music WALTER DUCLOUX MARK SCHUBART University of Texas Lincoln Center PETER PAUL FUCHS MRS. L. S. STEMMONS Louisiana State University Dallas Civic Opera ROBERT GAY LEONARD TREASH Northwestern University Eastman School of Music BORIS GOLDOVSKY LUCAS UNDERWOOD Goldovsky Opera Theatre University of the Pacific WALTER HERBERT GIDEON WALDKOh Houston & San Diego Opera Juilliard School of Music RICHARD KARP MRS. J. P. WALLACE Pittsburgh Opera Shreveport Civic Opera GLADYS MATHEW LUDWIG ZIRNER Community Opera University of Illinois See COS INSIDE INFORMATION on page seventeen for new officers and members of the Professional Committee.