Műsorfüzet Letöltés 2009
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Women Pioneers of American Music Program
Mimi Stillman, Artistic Director Women Pioneers of American Music The Americas Project Top l to r: Marion Bauer, Amy Beach, Ruth Crawford Seeger / Bottom l to r: Jennifer Higdon, Andrea Clearfield Sunday, January 24, 2016 at 3:00pm Field Concert Hall Curtis Institute of Music 1726 Locust Street, Philadelphia Charles Abramovic Mimi Stillman Nathan Vickery Sarah Shafer We are grateful to the William Penn Foundation and the Musical Fund Society of Philadelphia for their support of The Americas Project. ProgramProgram:: WoWoWomenWo men Pioneers of American Music Dolce Suono Ensemble: Sarah Shafer, soprano – Mimi Stillman, flute Nathan Vickery, cello – Charles Abramovic, piano Prelude and Fugue, Op. 43, for Flute and Piano Marion Bauer (1882-1955) Stillman, Abramovic Prelude for Piano in B Minor, Op. 15, No. 5 Marion Bauer Abramovic Two Pieces for Flute, Cello, and Piano, Op. 90 Amy Beach (1867-1944) Pastorale Caprice Stillman, Vickery, Abramovic Songs Jennifer Higdon (1962) Morning opens Breaking Threaded To Home Falling Deeper Shafer, Abramovic Spirit Island: Variations on a Dream for Flute, Cello, and Piano Andrea Clearfield (1960) I – II Stillman, Vickery, Abramovic INTERMISSION Prelude for Piano #6 Ruth Crawford Seeger (1901-1953) Study in Mixed Accents Abramovic Animal Folk Songs for Children Ruth Crawford Seeger Little Bird – Frog He Went A-Courtin' – My Horses Ain't Hungry – I Bought Me a Cat Shafer, Abramovic Romance for Violin and Piano, Op. 23 (arr. Stillman) Amy Beach June, from Four Songs, Op. 53, No. 3, for Voice, Violin, and -
Grand Finals Concert
NATIONAL COUNCIL AUDITIONS grand finals concert conductor Metropolitan Opera Carlo Rizzi National Council Auditions host Grand Finals Concert Anthony Roth Costanzo Sunday, March 31, 2019 3:00 PM guest artist Christian Van Horn Metropolitan Opera Orchestra The Metropolitan Opera National Council is grateful to the Charles H. Dyson Endowment Fund for underwriting the Council’s Auditions Program. general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON NATIONAL COUNCIL AUDITIONS grand finals concert conductor Carlo Rizzi host Anthony Roth Costanzo guest artist Christian Van Horn “Dich, teure Halle” from Tannhäuser (Wagner) Meghan Kasanders, Soprano “Fra poco a me ricovero … Tu che a Dio spiegasti l’ali” from Lucia di Lammermoor (Donizetti) Dashuai Chen, Tenor “Oh! quante volte, oh! quante” from I Capuleti e i Montecchi (Bellini) Elena Villalón, Soprano “Kuda, kuda, kuda vy udalilis” (Lenski’s Aria) from Today’s concert is Eugene Onegin (Tchaikovsky) being recorded for Miles Mykkanen, Tenor future broadcast “Addio, addio, o miei sospiri” from Orfeo ed Euridice (Gluck) over many public Michaela Wolz, Mezzo-Soprano radio stations. Please check “Seul sur la terre” from Dom Sébastien (Donizetti) local listings. Piotr Buszewski, Tenor Sunday, March 31, 2019, 3:00PM “Captain Ahab? I must speak with you” from Moby Dick (Jake Heggie) Thomas Glass, Baritone “Don Ottavio, son morta! ... Or sai chi l’onore” from Don Giovanni (Mozart) Alaysha Fox, Soprano “Sorge infausta una procella” from Orlando (Handel) -
The American Opera Series May 16 – November 28, 2015
The American Opera Series May 16 – November 28, 2015 The WFMT Radio Network is proud to make the American Opera Series available to our affiliates. The American Opera Series is designed to complement the Metropolitan Opera Broadcasts, filling in the schedule to complete the year. This year the American Opera Series features great performances by the Lyric Opera of Chicago, LA Opera, San Francisco Opera, Glimmerglass Festival and Opera Southwest. The American Opera Series for 2015 will bring distinction to your station’s schedule, and unmatched enjoyment to your listeners. Highlights of the American Opera Series include: • The American Opera Series celebrates the Fourth of July (which falls on a Saturday) with Lyric Opera of Chicago’s stellar production of George Gershwin’s Porgy and Bess. • LA Opera brings us The Figaro Trilogy, including Mozart’s The Marriage of Figaro, Rossini’s The Barber of Seville, and John Corigliano’s The Ghosts of Versailles. • The world premiere of Marco Tutino’s Two Women (La Ciociara) starring Anna Caterina Antonacci, based on the novel by Alberto Moravia that became a classic film, staged by San Francisco Opera. • Opera Southwest’s notable reconstruction of Franco Faccio’s 1865 opera Amleto (Hamlet), believed lost for over 135 years, in its American premiere. In addition, this season we’re pleased to announce that we are now including multimedia assets for use on your station’s website and publications! You can find the supplemental materials at the following link: American Opera Series Supplemental Materials Please note: If you have trouble accessing the supplemental materials, please send me an email at [email protected] Program Hours* Weeks Code Start Date Lyric Opera of Chicago 3 - 5 9 LOC 5/16/15 LA Opera 2 ½ - 3 ¼ 6 LAO 7/18/15 San Francisco Opera 1 ¾ - 4 ¾ 10 SFO 8/29/15 Glimmerglass Festival 3 - 3 ½ 3 GLI 11/7/15 Opera Southwest Presents: Amleto 3 1 OSW 11/28/15 Los Angeles Opera’s Production of The Ghosts of Versailles Credit: Craig Henry *Please note: all timings are approximate, and actual times will vary. -
LES BRAISES De MARCO TUTINO
présente LES BRAISES de MARCO TUTINO MARCO TUTINO: LES BRAISES (LE BRACI) La production du THÉÂTRE NATIONAL DE SZEGED (Hongrie), d’après le roman de Sándor MÁRAI RÉSUMÉ À l’aube de la deuxième guerre mondiale, dans un château de la campagne hongroise, Henri, un général de l'armée impériale à la retraite, attend la venue de Conrad, son ami de jeunesse et condisciple de l'école militaire. Cela fait 41 ans exactement qu'ils se sont perdus de vue, depuis cette partie de chasse au cours de laquelle Conrad a pointé son fusil vers Henri, avant de disparaître le lendemain, sans aucune explication. À la suite de la chasse, Henri a découvert que sa femme, Christine et Conrad avaient une affaire. Il a tout de suite décidé de se séparer de Christine, et de ne plus jamais lui parler – même quand elle était gravement malade ou avant sa mort. Dès lors, il a vécu comme un ermite, d’une façon totalement solitaire, n’attendant que le retour incertain de Conrad pour qu’il puisse de lui poser les questions les plus brûlantes de sa vie. À travers la dramatique confrontation de deux hommes devant le tableau d’une empire austro- hongorise agonisante, Les Braises évoque une amitié perdue dans un monde finissant, l’inéluctable avancée du temps où les sentiments les plus violents couvent sous les cendres du passé. Sándor Márai – sur le roman de qui l’opéra de Tutino est basé – est l’un des auteurs hongrois les plus connus au monde. SÁNDOR MÁRAI: LES BRAISES – LE ROMAN « Elegiac, sombre, musical, and gripping, Embers is a brilliant disquisition on friendship, one of the most ambitious in literature… It’s about a milieu and values that were already dying before the outbreak of World War II. -
Rosetta Cucchi
1 ARTISTIC BIO ROSETTA CUCCHI STAGE DIRECTOR and PIANIST Address: Viale Vittoria 161 – 61121 pesaro - ITALY Mail [email protected] [email protected] Website: www.rosettacucchi.com Mob: +39 3357079196 Rosetta Cucchi studied at the ‘G. Rossini’ Conservatoire in Pesaro and DAMS (Disciplina Arte Musica e Spettacolo) University in Bologna. She graduated in Piano and Music History. Master degree at Scuola di Alto Perfezionamento pianistico di Imola. The winner of numerous piano competitions in Italy and abroad, she worked with the RAI Symphony Orchestra in Rome as a pianist and became involved in several RAI opera productions. Her career as pianist of singers like Mariella Devia or Sonia Ganassi or Juan Diego Florez has taken her for recitals to major venues such as La Scala in Milan, Santa Cecilia in Rome, Teatro Real in Madrid and the Japan Opera Foundation in Tokyo and others. Early on she took up a parallel career as director, debuting with Gardel’s IL PASSO DELL’ANIMA at Teatro Bellini in Catania and a successful production of LA SCALA DI SETA by Rossini in Teatro La Maestranza of Siviglia. Known both as inventive producer and as piano player, Rosetta Cucchi has established herself as one of the most innovative Italian opera directors of his generation. Reviewing her staging in 2004 of a unknown Opera by Walter Braunfels PRINZESSIN BRAMBILLA in Wexford Opera Festival Ireland, George Hall from Opera News has written “…The most successful of the three Wexford stagings this year was the work of Rosetta Cucchi, best known hitherto as a pianist and coach but beginning to make her way as a director. -
Bando ENG 6.1.21 Concorso Soi Seconda Edizione 2021
“1° Concorso di Canto Lirico Virtuale SOI Scuola dell’Opera Italiana Fiorenza Cedolins” Edition 2021 Categories Opera, Operetta, Zarzuela, Classical Musical, Lied-Song even new, unpublished compositions. Competition rules Foreword The competition, in its first edition, was conceived under exceptional circumstances and had, as its main purpose, to keep the interest of students, artists, professionals and fans in the world of singing and Opera alive. Overcoming the hardships of this period, the use of technological tools and the intelligent use of new social communication strategies offered artists the opportunity to invent novel expressive languages, which they can treasure for the continuation of their careers, without neglecting their technical, artistic and professional content. These artistic and professional qualities will therefore be evaluated globally, in terms of vocal, musical, interpretative, stylistic, acting, stage, directorial performance, in the context of an expressive language dedicated to the multimedia artistic universe, with particular attention to creative originality. The aim of the competition is not only the discovery and promotion of new talents, but also the dissemination of opera singing, in its main musical forms, to new audiences, through technological tools and popular and democratic communications, which are widely used especially among the younger generations. Requirements and application for admission Art. 1 – General The competition is open to classical singers of all nationalities who, at the closing date of registration, have reached the age of 18. Art. 2 - Application for admission The Competitor must send the registration form attached to this document, biography, copy of passport or other identity document, audio- video recording, receipt of payment of the registration fee and consent for publication from all contributors of their video, to [email protected] Art. -
The Female Gothic Connoisseur: Reading, Subjectivity, and the Feminist Uses of Gothic Fiction
The Female Gothic Connoisseur: Reading, Subjectivity, and the Feminist Uses of Gothic Fiction By Monica Cristina Soare A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Ian Duncan, Chair Professor Julia Bader Professor Michael Iarocci Spring 2013 1 Abstract The Female Gothic Connoisseur: Reading, Subjectivity, and the Feminist Uses of Gothic Fiction by Monica Cristina Soare Doctor or Philosophy in English University of California, Berkeley Professor Ian Duncan, Chair In my dissertation I argue for a new history of female Romanticism in which the romance – and particularly the Gothic romance – comes to represent the transformative power of the aesthetic for the female reader. The literary figure in which this formulation inheres is the Female Quixote – an eighteenth-century amalgamation of Cervantes's reading idealist and the satirized figure of the learned woman – who embodies both aesthetic enthusiasm and a feminist claim on the world of knowledge. While the Female Quixote has generally been understood as a satirical figure, I show that she is actually at the forefront of a development in British aesthetics in which art comes to be newly valued as a bulwark against worldliness. Such a development arises as part of mid-eighteenth-century sensibility culture and changes the meaning of an aesthetic practice that had been to that point criticized and satirized – that of over-investment in the arts, associated, as I show, with both the figure of the connoisseur and of the Female Quixote. -
11-08-2018 Mefistofele Eve.Indd
ARRIGO BOITO mefistofele conductor Opera in prologue, four acts, Carlo Rizzi and epilogue production Robert Carsen Libretto by the composer, based on the play Faust by set and costume designer Michael Levine Johann Wolfgang von Goethe lighting designer Thursday, November 8, 2018 Duane Schuler 7:30–11:00 PM choreographer Alphonse Poulin First time this season revival stage director Paula Suozzi The production of Mefistofelewas made possible by a generous gift from Mr. and Mrs. Julian H. Robertson, Jr., and Mrs. and Mrs. Wilmer J. Thomas, Jr. Additional funding by The Rose and Robert Edelman Foundation, Inc. general manager Peter Gelb jeanette lerman-neubauer Production co-owned by the music director Yannick Nézet-Séguin Metropolitan Opera and San Francisco Opera 2018–19 SEASON The 68th Metropolitan Opera performance of ARRIGO BOITO’S mefistofele conductor Carlo Rizzi in order of vocal appearance mefistofele Christian Van Horn faust Michael Fabiano wagner Raúl Melo margherita Angela Meade marta Theodora Hanslowe elena Jennifer Check* This performance pantalis is being broadcast Samantha Hankey DEBUT live on Metropolitan Opera Radio on nereo SiriusXM channel 75 Eduardo Valdes and streamed at metopera.org. Thursday, November 8, 2018, 7:30–11:00PM KAREN ALMOND / MET OPERA A scene from Chorus Master Donald Palumbo Boito’s Mefistofele Musical Preparation Dan Saunders, Joshua Greene, Joel Revzen, and Natalia Katyukova* Assistant Stage Directors Eric Einhorn and Shawna Lucey Projection Image Developer S. Katy Tucker Stage Band Conductors Gregory Buchalter and Jeffrey Goldberg Italian Coach Hemdi Kfir Prompter Joshua Greene Met Titles Sonya Friedman Children’s Chorus Director Anthony Piccolo Scenery, properties, and electrical props constructed in Grand Théâtre de Genève, San Francisco Opera Scenic Studio, and Metropolitan Opera Shops Costumes constructed by Grand Théâtre de Genève, San Francisco Opera Costume Shop, and Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department This performance uses pyrotechnic effects. -
Marco Tutino
STAGIONE LIRICA E DI BALLETTO 2017 LA CIOCIARA musica Marco Tutino Marco Tutino cronologia della vita e delle opere Nasce a Milano nel 1954. Parallelamente agli studi classici, consegue due diplomi, flauto e compo- sizione, al Conservatorio di Musica “Giuseppe Verdi” della sua città. Esordisce come compositore nel 1976 partecipando al Festival “Gaudeamus” in Olanda. Da allora la sua musica viene programmata ed eseguita, con grande successo di pubblico e critica, nei princi- pali teatri d’opera e nelle più prestigiose istituzioni concertistiche e sinfoniche di tutto il mondo. Negli anni la sua attività si sviluppa soprattutto in campo teatrale: alla prima opera, Pinocchio (1985, commissione della I.C.O.S.S. di Vienna e del Teatro Carlo Felice di Genova), fanno seguito Cirano (1987, Laboratorio Lirico di Alessandria, regia di Gabriele Salvatores, riallestito nel 1990 dall’Arena di Verona), La Lupa (1990, Centenario Mascagnano di Livorno), il dramma concertante Vite immaginarie (1990, Teatro Comunale di Bologna), Federico II (1992, commissione del Teatro dell’Opera di Bonn), Il gatto con gli stivali (1994), Dylan Dog (1999) e Peter Uncino (2001) tutte commissionate dall’Arena di Verona, Vita (2003, commissione del Teatro alla Scala di Milano), Le Bel indifférent (2004, commissione del Macerata Opera Festival), La bella e la bestia (2005, com- missione del Teatro Comunale di Modena), The Servant (2008, commissione del MacerataOpera Festival), Senso (2010, commissione del Teatro Massimo di Palermo ed inaugurazione della Stagio- ne 2011). In seguito Marco Tutino compone Le Braci (commissione del Teatro dell’Opera di Firen- ze e del Festival della Valle d’Itria di Martina Franca, 2013), La Ciociara (commissione della San Francisco Opera House, 2015), Miseria e Nobiltà (commissione del Teatro Carlo Felice di Genova, 2017) e infine Falscher Verrat (commissione del Teatro dell’Opera di Kiel, 2017). -
Seminar. Spotlights' Unique Fields
Page 4 Retrlever:. ·October 31, 1977 News A'merican Studies CSATo Seminar.Spotlights 'Unique Fields Publish By Barry HotTmlUl ment's purposes and fields of in periences as director, and noted pointed to the success of such Industrial museums, urban terest. Opening remarks by that the multi-discipline ap efforts in bringing middle and Newsletter homesteading, street. "A-rabs," faculty members were followed proach Arperican Studies takes upper middle . income people and job opporturiities for by a panel discussion featuring proved valuable in this work. He back to the city. The presenta The Commuting Students As graduates were among the many five UMBC American Studies also noted that the depart tion also cautioned that the sociation (CSA) will publish a areas covered at "Introduction graduates, who described how ment's emphasis on the sutdy of " ,new urban pioneers" newsletter before the end of the to American Studies," held last their academic experiences society through cultural ar sometimes displace the poorer semester, according to Damian Wednesday in the Fine Arts helped them in finding and per tifacts was excellent prepara inhabitants who can't afford the "Danny" Blum, CSA President. Building. forming work of various kinds. tion for the work of assembling a expenditure for home renova When published, Blum ex The program, sponsored by Roger White. a 1975 graduate, museum built around tion required by the city's pects the newsletter to inform American Studies, indicated to was recently placed in charge of "business, trade, and industrial homesteading programs. students about the CSA's UMBC students and prospec creating the Baltimore Indutrial history; urban technologies; "Arabbfn'," a film made by presence and purpose. -
ITALIAN, PORTUGUESE, SPANISH and LATIN AMERICAN SYMPHONIES from the 19Th Century to the Present
ITALIAN, PORTUGUESE, SPANISH AND LATIN AMERICAN SYMPHONIES From the 19th Century to the Present A Discography of CDs and LPs Prepared by Michael Herman FRANCO ALFANO (1876-1960, ITALY) Born in Posillipo, Naples. After studying the piano privately with Alessandro Longo, and harmony and composition with Camillo de Nardis and Paolo Serrao at the Conservatorio di San Pietro a Majella, Naples, he attended the Leipzig Conservatory where he completed his composition studies with Salomon Jadassohn. He worked all over Europe as a touring pianist before returning to Italy where he eventually settled in San Remo. He held several academic positions: first as a teacher of composition and then director at the Liceo Musicale, Bologna, then as director of the Liceo Musicale (later Conservatory) of Turin and professor of operatic studies at the Conservatorio di San Cecilia, Rome. As a composer, he speacialized in opera but also produced ballets, orchestral, chamber, instrumental and vocal works. He is best known for having completed Puccini’s "Turandot." Symphony No. 1 in E major "Classica" (1908-10) Israel Yinon/Brandenburg State Orchestra, Frankfurt ( + Symphony No. 2) CPO 777080 (2005) Symphony No. 2 in C major (1931-2) Israel Yinon/Brandenburg State Orchestra, Frankfurt ( + Symphony No. 1) CPO 777080 (2005) ANTONIÓ VICTORINO D'ALMEIDA (b.1940, PORTUGAL) Born in Lisbon.. He was a student of Campos Coelho and graduated from the Superior Piano Course of the National Conservatory of Lisbon. He then studied composition with Karl Schiske at the Vienna Academy of Music. He had a successful international career as a concert pianist and has composed prolifically in various genres including: instrumental piano solos, chamber music, symphonic pieces and choral-symphonic music, songs, opera, cinematic and theater scores. -
Erina Yashima Direttore D'orchestra
Erina Yashima direttore d’orchestra Tedesca di nascita, ha ricevuto dalla Chicago Symphony Orchestra Association la borsa internazionale di apprendistato Sir Georg Solti in direzione d’orchestra. Come parte dell’apprendistato biennale, Yashima sta assistendo il maestro Riccardo Muti, direttore musicale della CSO, e sta lavorando con la Civic Orchestra of Chicago. In precedenza, Yashima ha ricevuto l’incarico di maestro collaboratore con impegno di direzione al Pfalztheater Kaiserslautern, dove ha debuttato come direttore d’orchestra nel Dicembre 2015. Dal 2013 al 2015 è stata direttore musicale della Freies Studentenorchester Rostock. Nel 2013 ha ricevuto un premio di alta eccellenza dalla Musikakademie Rheinsberg per la produzione operistica da lei lì diretta. Le sue esperienze come direttore d’orchestra ospite includono una collaborazione con El Sistema in Venezuela, dove ha lavorato con due orchestre giovanili nel 2015. Yashima è stata attiva partecipante nell’Accademia dell’Opera Italiana di Riccardo Muti durante il Ravenna Festival 2015. Nello stesso anno è stata selezionata nel gruppo dei sette allievi ammessi da Bernard Haitink alla sua masterclass di direzione d’orchestra al Festival di Lucerna. Ancora nel 2015 è stata tra le tre migliori finaliste al workshop “INTERAKTION” della “Critical Orchestra”, collaborazione di componenti delle maggiori orchestre quali Berlin Philharmonic, Staatskapelle Berlin e Sächsische Staatskapelle Dresden. Mentre frequentava l’Accademia Musicale Chigiana a Siena, Gianluigi Gelmetti l’ha premiata con