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ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
01-25-2020 Boheme Eve.Indd
GIACOMO PUCCINI la bohème conductor Opera in four acts Marco Armiliato Libretto by Giuseppe Giacosa and production Franco Zeffirelli Luigi Illica, based on the novel Scènes de la Vie de Bohème by Henri Murger set designer Franco Zeffirelli Saturday, January 25, 2020 costume designer 8:00–11:05 PM Peter J. Hall lighting designer Gil Wechsler revival stage director Gregory Keller The production of La Bohème was made possible by a generous gift from Mrs. Donald D. Harrington Revival a gift of Rolex general manager Peter Gelb This season’s performances of La Bohème jeanette lerman-neubauer and Turandot are dedicated to the memory music director Yannick Nézet-Séguin of Franco Zeffirelli. 2019–20 SEASON The 1,344th Metropolitan Opera performance of GIACOMO PUCCINI’S la bohème conductor Marco Armiliato in order of vocal appearance marcello muset ta Artur Ruciński Susanna Phillips rodolfo a customhouse serge ant Roberto Alagna Joseph Turi colline a customhouse officer Christian Van Horn Edward Hanlon schaunard Elliot Madore* benoit Donald Maxwell mimì Maria Agresta Tonight’s performances of parpignol the roles of Mimì Gregory Warren and Rodolfo are underwritten by the alcindoro Jan Shrem and Donald Maxwell Maria Manetti Shrem Great Singers Fund. Saturday, January 25, 2020, 8:00–11:05PM MARTY SOHL / MET OPERA Roberto Alagna as Chorus Master Donald Palumbo Rodolfo and Maria Musical Preparation Caren Levine*, Joshua Greene, Agresta as Mimì in Jonathan C. Kelly, and Patrick Furrer Puccini’s La Bohème Assistant Stage Directors Mirabelle Ordinaire and J. Knighten Smit Met Titles Sonya Friedman Stage Band Conductor Joseph Lawson Children’s Chorus Director Anthony Piccolo Italian Coach Loretta Di Franco Prompter Joshua Greene Associate Designer David Reppa Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes executed by Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department Ladies millinery by Reggie G. -
PACO158 Front.Std
[ill □§@ Pristine □ □ Pristine DIGITAL AUDIO PACO 158 Puccini XR XR Manon Lescaut PACO 158 Giacomo Puccini's third opera, Manon Lescaut, premiered at the Teatro Regio, Turin in 1893 and was the first of his operas to garner I I international acclaim. Musically the opera showed clear evidence of Puccini's growing mastery of tuneful lyricism and his ability to Rn~~t~u~ n evoke a sense of place. The story of a doomed heroine was one that Puccini would return to with even greater success in La Bohf?me (1896), Tosca (1900) and Madama Butterfly (1904). The New York premiere in 1907 featured Lina Cavalieri, Enrico Caruso and Antonio Scotti in the cast, and Puccini himself in the audience, but fell out of the repertoire in between 1929 and 1949. When a new Met production of Manon Lescaut was mounted in 1949 it featured Swedish t enor Jussi Bjbrllng as Des Grieux. Bjbrling learned only two new roles after branching out from his operatic home at the Royal Swedish Opera in the lat e 1930s. One was Don manon licia albanese Carlo, which opened Rudolf Bing's tenure as general manager of the Metropolitan Opera in November 1950, the other was Des Grieux in Manon Lescaut. Over ten years, between 1949 and 1959, Bjbrling sang the role just 25 times, but we have no less than four des grieux Jussi bjbrling complete recordings of him in this opera: the Met's first ever broadcast of the opera in 1949, a studio recording in 1954, this Met broadcast from 1956, and a bi-lingual broadcast from Stockholm in 1959. -
CANTA EL PIANO Char Ese Registro Neoyorkino De 1946 Dirigido Por El Propio Milhaud
AÑO XXI - Nº 203 - Diciembre 2005 - 6,30 € 2 OPINIÓN DOSIER CON NOMBRE Veinte años de música en PROPIO España 113 6 Introducción Elisabeth Schwarzkopf Javier Alfaya 114 Arturo Reverter Gestión Santiago Martín Bermúdez 116 8 AGENDA Auditorios José Luis Carles y Cristina Palmese 122 16 ACTUALIDAD Musicología Paulino Capdepón Verdú 126 NACIONAL Educación Pedro Sarmiento 130 42 ACTUALIDAD Composición INTERNACIONAL José Luis García del Busto 134 Ópera 58 ENTREVISTA Arturo Reverter 136 Interpretación Rinaldo Alessandrini Enrique Martínez Miura 140 “La música de Bach es absolutamente Discos perfecta” Juan Manuel Viana 144 María Sánchez-Archidona Jazz Pablo Sanz 148 64 Discos del mes ENCUENTROS SCHERZO DISCOS Ian Bostridge 65 Sumario Juan Antonio Llorente 152 LA GUÍA 156 CONTRAPUNTO Norman Lebrecht 160 Colaboran en este número Javier Alfaya, Daniel Álvarez Vázquez, Julio Andrade Malde, Roberto Andrade Malde, Íñigo Arbiza, Rafael Banús Irusta, Alfredo Brotons Muñoz, José Antonio Cantón, Paulino Capdepón Verdú, José Luis Carles, Jacobo Cortines, Rafael Díaz Gómez, Patrick Dillon, Pedro Elías Mamou, Matthias Exner, José Luis Fernández García, Jorge Fernández Guerra, Fernando Fraga, Joaquín García, José Antonio García García. José Luis García del Busto, Mario Gerteis, José Guerrero Martín, Federico Hernández, Fernando Herrero, Bernd Hoppe, Paul Korenhof, Norman Lebrecht, Juan Antonio Llorente, Fiona Maddocks, Nadir Madriles, Bernardo Mariano, Santiago Martín Bermúdez, Joaquín Martín de Sagarmínaga, Enrique Martínez Miura, Aurelio Martínez Seco, Blas Matamoro, Antonio Muñoz Molina, Miguel Ángel Nepomuceno, Rafael Ortega Basagoiti, Cristina Palmese, Josep Pascual, Enrique Pérez Adrián, Javier Pérez Senz, Paolo Petazzi, Francisco Ramos, Arturo Reverter, Barbara Röder, Justo Romero, Stefano Russomanno, María Sánchez-Archidona, Ignacio Sánchez Quirós, Pablo Sanz, Pedro Sarmiento, Bruno Serrou, Franco Soda, José Luis Téllez, Asier Vallejo Ugarte, Claire Vaquero Williams, Pablo J. -
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. -
Verdi, Moffo, Bergonzi, Verrett, Macneil, Tozzi
Verdi Luisa Miller mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Luisa Miller Country: Italy Released: 1965 Style: Opera MP3 version RAR size: 1127 mb FLAC version RAR size: 1383 mb WMA version RAR size: 1667 mb Rating: 4.8 Votes: 183 Other Formats: WMA DXD DTS MP2 MMF ASF AU Tracklist A1 Overture A2 Act I (Part I) B Act I (Concluded) C Act II (Part I) D Act II (Concluded) E Act III (Part I) F Act III (Concluded) Credits Baritone Vocals [Miller] – Cornell MacNeil Bass Vocals [Count Walter] – Giorgio Tozzi Bass Vocals [Wurm] – Ezio Flagello Chorus – RCA Italiana Opera Chorus Chorus Master – Nino Antonellini Chorus Master [Assistant] – Giuseppe Piccillo Composed By – Verdi* Conductor – Fausto Cleva Conductor [Assistant] – Fernando Cavaniglia, Luigi Ricci Engineer – Anthony Salvatore Libretto By – Salvatore Cammarano Libretto By [Translation] – William Weaver* Liner Notes – Francis Robinson Mezzo-soprano Vocals [Federica] – Shirley Verrett Mezzo-soprano Vocals [Laura] – Gabriella Carturan Orchestra – RCA Italiana Opera Orchestra Producer – Richard Mohr Soprano Vocals [Luisa] – Anna Moffo Sound Designer [Stereophonic Stage Manager] – Peter F. Bonelli Tenor Vocals [A Peasant] – Piero De Palma Tenor Vocals [Rodolfo] – Carlo Bergonzi Notes Issued with 40-page booklet containing credits, liner notes, photographs and libretto in Italian with English translation Other versions Category Artist Title (Format) Label Category Country Year Verdi*, Moffo*, Verdi*, Moffo*, Bergonzi*, Verrett*, Bergonzi*, MacNeil*, Tozzi*, Verrett*, -
Sounding Nostalgia in Post-World War I Paris
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Sounding Nostalgia In Post-World War I Paris Tristan Paré-Morin University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Paré-Morin, Tristan, "Sounding Nostalgia In Post-World War I Paris" (2019). Publicly Accessible Penn Dissertations. 3399. https://repository.upenn.edu/edissertations/3399 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3399 For more information, please contact [email protected]. Sounding Nostalgia In Post-World War I Paris Abstract In the years that immediately followed the Armistice of November 11, 1918, Paris was at a turning point in its history: the aftermath of the Great War overlapped with the early stages of what is commonly perceived as a decade of rejuvenation. This transitional period was marked by tension between the preservation (and reconstruction) of a certain prewar heritage and the negation of that heritage through a series of social and cultural innovations. In this dissertation, I examine the intricate role that nostalgia played across various conflicting experiences of sound and music in the cultural institutions and popular media of the city of Paris during that transition to peace, around 1919-1920. I show how artists understood nostalgia as an affective concept and how they employed it as a creative resource that served multiple personal, social, cultural, and national functions. Rather than using the term “nostalgia” as a mere diagnosis of temporal longing, I revert to the capricious definitions of the early twentieth century in order to propose a notion of nostalgia as a set of interconnected forms of longing. -
Department Historyrevised Copy
The Music Department of Wayne State University A History: 1994-2019 By Mary A. Wischusen, PhD To Wayne State University on its Sesquicentennial Year, To the Music Department on its Centennial Year, and To all WSU music faculty and students, past, present, and future. ii Contents Preface and Acknowledgements ……………………………………………………………………...........v Abbreviations ……………………………………………………………………………............................ix Dennis Tini, Chair: 1993-2005 …………………………………………………………………………….1 Faculty .…………………………………………………………………………..............................2 Staff ………………………………………………………………………………………………...7 Fundraising and Scholarships …………………………………………………................................7 Societies and Organizations ……………………………………………..........................................8 New Music Department Programs and Initiatives …………………………………………………9 Outreach and Recruitment Programs …………………………………………….……………….15 Collaborative Programs …………………………………………………………………………...18 Awards and Honors ……………………………………………………………………………….21 Other Noteworthy Concerts and Events …………………………………………………………..24 John Vander Weg, Chair: 2005-2013 ………………………………………………................................37 Faculty………………………………………………………………..............................................37 Staff …………………………………………………………………………………………….....39 Fundraising and Scholarships …………………………………………………..............................40 New Music Department Programs and Initiatives ……………………………………………..…41 Outreach and Recruitment Programs ……………………………………………………………..45 Collaborative Programs …………………………………………………………………………...47 Awards -
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. -
Verdi's Rigoletto
Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered. -
El Camino De Verdi Al Verismo: La Gioconda De Ponchielli the Road of Verdi to Verism: La Gioconda De Ponchielli
Revista AV Notas, Nº8 ISSN: 2529-8577 Diciembre, 2019 EL CAMINO DE VERDI AL VERISMO: LA GIOCONDA DE PONCHIELLI THE ROAD OF VERDI TO VERISM: LA GIOCONDA DE PONCHIELLI Joaquín Piñeiro Blanca Universidad de Cádiz RESUMEN Con Giuseppe Verdi se amplificaron y superaron los límites del Bel Canto representado, fundamentalmente, por Rossini, Bellini y Donizetti. Se abrieron nuevos caminos para la lírica italiana y en la evolución que terminaría derivando en la eclosión del Verismo que se articuló en torno a una nutrida generación de autores como Leoncavallo, Mascagni o Puccini. Entre Verdi y la Giovane Scuola se situaron algunos compositores que constituyeron un puente entre ambos momentos creativos. Entre ellos destacó Amilcare Ponchielli (1834-1886), profesor de algunos de los músicos más destacados del Verismo y autor de una de las óperas más influyentes del momento: La Gioconda (1876-1880), estudiada en este artículo en sus singularidades formales y de contenido que, en varios aspectos, hacen que se adelante al modelo teórico verista. Por otra parte, se estudian también cuáles son los elementos que conserva de los compositores italianos precedentes y las influencias del modelo estético francés, lo que determina que la obra y su compositor sean de complicada clasificación, aunque habitualmente se le identifique incorrectamente con el Verismo. Palabras clave: Ponchielli; Verismo; Giovane Scuola; ópera; La Gioconda; Italia ABSTRACT With Giuseppe Verdi, the boundaries of Bel Canto were amplified and exceeded, mainly represented by Rossini, Bellini and Donizetti. New paths were opened for the Italian lyric and in the evolution that would end up leading to the emergence of Verismo that was articulated around a large generation of authors such as Leoncavallo, Mascagni or Puccini. -
Don Pasquale
Gaetano Donizetti Don Pasquale CONDUCTOR Dramma buffo in three acts James Levine Libretto by Giovanni Ruffini and the composer PRODUCTION Otto Schenk Saturday, November 13, 2010, 1:00–3:45 pm SET & COSTUME DESIGNER Rolf Langenfass LIGHTING DESIGNER Duane Schuler This production of Don Pasquale was made possible by a generous gift from The Sybil B. Harrington Endowment Fund. The revival of this production was made possible by a gift from The Dr. M. Lee Pearce Foundation. GENERAL MANAGER Peter Gelb MUSIC DIRECTOR James Levine 2010–11 Season The 129th Metropolitan Opera performance of Gaetano Donizetti’s Don Pasquale Conductor James Levine in o r d e r o f v o c a l a p p e a r a n c e Don Pasquale, an elderly bachelor John Del Carlo Dr. Malatesta, his physician Mariusz Kwiecien* Ernesto, Pasquale’s nephew Matthew Polenzani Norina, a youthful widow, beloved of Ernesto Anna Netrebko A Notary, Malatesta’s cousin Carlino Bernard Fitch Saturday, November 13, 2010, 1:00–3:45 pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, the Neubauer Family Foundation. Bloomberg is the global corporate sponsor of The Met: Live in HD. Marty Sohl/Metropolitan Opera Mariusz Kwiecien as Chorus Master Donald Palumbo Dr. Malatesta and Musical Preparation Denise Massé, Joseph Colaneri, Anna Netrebko as Carrie-Ann Matheson, Carol Isaac, and Hemdi Kfir Norina in a scene Assistant Stage Directors J. Knighten Smit and from Donizetti’s Don Pasquale Kathleen Smith Belcher Prompter Carrie-Ann Matheson Met Titles Sonya Friedman Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes executed by Metropolitan Opera Costume Department Wigs by Metropolitan Opera Wig Department Assistant to the costume designer Philip Heckman This performance is made possible in part by public funds from the New York State Council on the Arts.