Gian Carlo Menotti and the Spoleto Festival—Honoring
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8.112023-24 Bk Menotti Amelia EU 26-03-2010 9:41 Pagina 16
8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 16 Gian Carlo MENOTTI Also available The Consul • Amelia al ballo LO M CAR EN N OT IA T G I 8.669019 19 gs 50 din - 1954 Recor Patricia Neway • Marie Powers • Cornell MacNeil 8.669140-41 Orchestra • Lehman Engel Margherita Carosio • Rolando Panerai • Giacinto Prandelli Chorus and Orchestra of La Scala, Milan • Nino Sanzogno 8.112023-24 16 8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 2 MENOTTI CENTENARY EDITION Producer’s Note This CD set is the first in a series devoted to the compositions, operatic and otherwise, of Gian Carlo Menotti on Gian Carlo the occasion of his centenary in 2011. The recordings in this series date from the mid-1940s through the late 1950s, and will feature several which have never before appeared on CD, as well as some that have not been available in MENOTTI any form in nearly half a century. The present recording of The Consul, which makes its CD début here, was made a month after the work’s (1911– 2007) Philadelphia première. American Decca was at the time primarily a “pop” label, the home of Bing Crosby and Judy Garland, and did not yet have much experience in the area of Classical music. Indeed, this recording seems to have been done more because of the work’s critical acclaim on the Broadway stage than as an opera, since Decca had The Consul also recorded Arthur Miller’s Death of a Salesman with members of the original cast around the same time. -
Jacob Lassetter, Baritone
JACOB LASSETTER, BARITONE With his powerful voice and commanding stage presence, baritone Jacob Lassetter enjoys an exciting and vibrant career on both the operatic and concert stage. Critics have praised his dignified characterizations, his soaring high range, and his deep, rich tone quality. In June 2021 Mr. Lassetter is excited to make his role and company debut as Scarpia in Tosca with Marble City Opera. Earlier in the 2020–2021 season he sings a solo recital of British composers and benefit concerts for both Winter Opera Saint Louis and Union Avenue Opera. Mr. Lassetter was scheduled to make his role and company debut as the title role in Der fliegende Holländer with Mid Ohio Opera, as well as a return to Italy for performances of the title role in Elijah, as soloist for Mozart’s Mass in C Minor, and various other concerts. These engagements were all unfortunately cancelled due to COVID-19. In the 2019–2020 season Mr. Lassetter sang Sonora in La fanciulla del West with Winter Opera Saint Louis, and both Schubert’s Winterreise and Argento’s The Andrée Expedition in recital. In the 2018–2019 season he sang Dr. Falke in Die Fledermaus with Winter Opera Saint Louis, Carmina Burana with the Washington University Symphony Orchestra, Verdi’s Requiem and A Symphony of Toys with The Missouri Symphony, Dick Deadeye in H.M.S. Pinafore and Il Gran Sacerdote in Nabucco with Union Avenue Opera, and a series of three recitals with St. Louis Art Song. Opera audiences have recently seen Mr. Lassetter as Sharpless in Madama Butterfly with Annapolis Opera, Wolfram in Tannhäuser with Apotheosis Opera (New York City), Peter in Hänsel und Gretel with Union Avenue Opera, and Rodrigo in the world premiere of Borgia Infami with Winter Opera Saint Louis. -
15, Mezzo-Soprano Denes Van Parys, Piano
SCHOOL OF MUSIC SENIOR RECITAL JENNIFER ANN MAYER ’15, MEZZO-SOPRANO DENES VAN PARYS, PIANO SUNDAY, MARCH 8, 2015 SCHNEEBECK CONCERT HALL 5 P.M. “Esurientes implevit bonis” ...................................................... Johann Sebastian Bach from Magnificat (1685–1750) “Lobe, Zion, deinen Gott” from Cantata No. 190 From Zwei Gesänge, Opus 91 ............................................................Johannes Brahms Geistliches Wiegenlied (1833–1897) with Forrest D. Walker, viola Nuit d’étoiles ........................................................................................ Claude Debussy (1862–1918) Le Spectre de la Rose ..............................................................................Hector Berlioz from Les Nuits d’Été (1803–1869) “Faites-lui mes aveux” ..........................................................................Charles Gounod from Faust (1818–1893) INTERMISSION From Sea Pictures, Opus 37 ...................................................................... Edward Elgar Where Corals Lie (1857–1934) Sabbath Morning at Sea “Lullaby” .......................................................................................... Gian Carlo Menotti from The Consul (1911–2007) “Il segreto per esser felici” ................................................................Gaetano Donizetti from Lucrezia Borgia (1797–1848) A reception will follow the recital in School of Music, Room 106. VOCALIST JENNIFER ANN MAYER ’15, mezzo-soprano, is double-majoring in music and communication studies. She studies voice -
Scarica Programma
Nel moltiplicarsi dei mondi e delle nuove genti risuona dalle antiche profondità di un tempo pur sempre giovane il richiamo del Bello, dell’Intelligenza e dell’Arte. Che è anche comandamento a non vacillare nella loro difesa. Giorgio Ferrara con il patrocinio di Presidenza del Consiglio dei Ministri Ministero degli Affari Esteri e della Cooperazione Internazionale Camera di Commercio di Perugia promosso da official sponsor main supporter official car main partner project sponsor sponsor & supplier premium partner sponsor project partner partner sponsor tecnici main media supporter HOTEL DEI DUCHI SPOLETO Viale G. Matteotti, 4 - 06049 - Spoleto (PG) - Italy Tel. +39 0743 44541 - Fax +39 0743 44543 www.hoteldeiduchi.com - [email protected] DEL GALLO EDITORI D.G.E. srl Z.I. Loc. S. Chiodo | Via dei Tornitori, 7 | 06049 Spoleto-Umbria main media partner Tel. 0743 778383 Fax 0743 778384 | [email protected] con la partecipazione di Ucio culturale Ambasciata di Israele - Roma si ringrazia media partner I MECENATI DEL FESTIVAL DEI 2MONDI ACCADEMIA NAZIONALE DI SANTA CECILIA | CON SPOLETO | CONFCOMMERCIO SPOLETO CONFINDUSTRIA UMBRIA | TRENITALIA SPA | NPS-CONVITTO SPOLETO SISTEMA MUSEO | INTERNATIONAL INNER WHEEL | ROTARY DI SPOLETO PIANOFORTI ANGELO FABBRINI | E.T.C. ITALIA | S.I.C.A.F. SPOLETO PROGRAMMA GIORNALIERO GIUGNO GIUGNO GIUGNO 24 VENERDÌ 25 SABATO 26 DOMENICA 10.00 Palazzo Tordelli 9.30-19.30 Rocca Albornoziana 12.00 / 16.00 9.30-19.30 Rocca Albornoziana p. 259 AMEDEO MODIGLIANI, p. 263 IN-VISIBILE Museo Diocesano Salone dei Vescovi p. 263 IN-VISIBILE LES FEMMES p. 224 GLI INCONTRI inaugurazione 10.00 Cantiere Oberdan DI PAOLO MIELI 10.00-13.00/16.00-20.00 p. -
Developing the Young Dramatic Soprano Voice Ages 15-22 Is Approved in Partial Fulfillment of the Requirements for the Degree Of
DEVELOPING THE YOUNG DRAMATIC SOPRANO VOICE AGES 15-22 By Monica Ariane Williams Bachelor of Arts – Vocal Arts University of Southern California 1993 Master of Music – Vocal Arts University of Southern California 1995 A dissertation submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas December 2020 Copyright 2021 Monica Ariane Williams All Rights Reserved Dissertation Approval The Graduate College The University of Nevada, Las Vegas November 30, 2020 This dissertation prepared by Monica Ariane Williams entitled Developing the Young Dramatic Soprano Voice Ages 15-22 is approved in partial fulfillment of the requirements for the degree of Doctor of Musical Arts School of Music Alfonse Anderson, DMA. Kathryn Hausbeck Korgan, Ph.D. Examination Committee Chair Graduate College Dean Linda Lister, DMA. Examination Committee Member David Weiller, MM. Examination Committee Member Dean Gronemeier, DMA, JD. Examination Committee Member Joe Bynum, MFA. Graduate College Faculty Representative ii ABSTRACT This doctoral dissertation provides information on how to develop the young dramatic soprano, specifically through more concentrated focus on the breath. Proper breathing is considered the single most important skill a singer will learn, but its methodology continues to mystify multitudes of singers and voice teachers. Voice professionals often write treatises with a chapter or two devoted to breathing, whose explanations are extremely varied, complex or vague. Young dramatic sopranos, whose voices are unwieldy and take longer to develop are at a particular disadvantage for absorbing a solid vocal technique. First, a description, classification and brief history of the young dramatic soprano is discussed along with a retracing of breath methodologies relevant to the young dramatic soprano’s development. -
BEYOND the BASICS Supplemental Programming for Leonard Bernstein at 100
BEYOND THE BASICS Supplemental Programming for Leonard Bernstein at 100 BEYOND THE BASICS – Contents Page 1 of 37 CONTENTS FOREWORD ................................................................................. 4 FOR FULL ORCHESTRA ................................................................. 5 Bernstein on Broadway ........................................................... 5 Bernstein and The Ballet ......................................................... 5 Bernstein and The American Opera ........................................ 5 Bernstein’s Jazz ....................................................................... 6 Borrow or Steal? ...................................................................... 6 Coolness in the Concert Hall ................................................... 7 First Symphonies ..................................................................... 7 Romeos & Juliets ..................................................................... 7 The Bernstein Beat .................................................................. 8 “Young Bernstein” (working title) ........................................... 9 The Choral Bernstein ............................................................... 9 Trouble in Tahiti, Paradise in New York .................................. 9 Young People’s Concerts ....................................................... 10 CABARET.................................................................................... 14 A’s and B’s and Broadway .................................................... -
DISTRICT AUDITIONS THURSDAY, JANUARY 21, 2021 the 2020 National Council Finalists Photo: Fay Fox / Met Opera
NATIONAL COUNCIL 2020–21 SEASON ARKANSAS DISTRICT AUDITIONS THURSDAY, JANUARY 21, 2021 The 2020 National Council Finalists photo: fay fox / met opera CAMILLE LABARRE NATIONAL COUNCIL AUDITIONS chairman The Metropolitan Opera National Council Auditions program cultivates young opera CAROL E. DOMINA singers and assists in the development of their careers. The Auditions are held annually president in 39 districts and 12 regions of the United States, Canada, and Mexico—all administered MELISSA WEGNER by dedicated National Council members and volunteers. Winners of the region auditions executive director advance to compete in the national semifinals. National finalists are then selected and BRADY WALSH compete in the Grand Finals Concert. During the 2020–21 season, the auditions are being administrator held virtually via livestream. Singers compete for prize money and receive feedback from LISETTE OROPESA judges at all levels of the competition. national advisor Many of the world’s greatest singers, among them Lawrence Brownlee, Anthony Roth Costanzo, Renée Fleming, Lisette Oropesa, Eric Owens, and Frederica von Stade, have won National Semifinals the Auditions. More than 100 former auditioners appear appear on the Met roster each season. Sunday, May 9, 2021 The National Council is grateful to its donors for prizes at the national level and to the Tobin Grand Finals Concert Endowment for the Mrs. Edgar Tobin Award, given to each first-place region winner. Sunday, May 16, 2021 Support for this program is generously provided by the Charles H. Dyson National Council The Semifinals and Grand Finals are Audition Program Endowment Fund at the Metropolitan Opera. currently scheduled to take place at the Met. -
Westchester Music Man Harold Rosenbaum Shares His Alphabetical Favorites
Subscribe Digital Edition Give a Gift Customer Service WestchesterBest Places To Live Today's Music News What To Do ManLocal Business Harold Guide Blogs Real Estate Top Doctors Top Dentists High School Chart Take Our Reader Survey Rosenbaum Shares His Alphabetical Favorites ® County people and places that strike a chord with renowned choral conductor Harold Rosenbaum. BY HAROLD ROSENBAUM; LLUSTRATION BY CAITLIN KUHWALD EAT & DRINK LIFE & STYLE ARTS & CULTURE INSIDER GUIDES BEST OF WESTCHESTER® Facebook Twitter Google+ Pinterest Ancient houses. Not by European RELATED STORIES standards, but who cares? Barber in Cross River, who also replaces watchbands. It reminds me of the Wild West, where barbers also extracted teeth! Copland House in Cortlandt Manor. Yes, Aaron actually lived there. I conducted his choral Urban Planning Pioneer Seeks To Upgrade masterpiece In the Beginning at his 80th birthday Playland celebration at Symphony Space in NYC. Dirt roads. Sure, they can be a muddy mess when it rains, but they are a nice reminder of our past. Edie, my amazing, talented, beautiful, kind wife, who, among many other things, runs our youth choir, The Canticum Novum Singers. How Baseball Sparked Doris Kearns Goodwin's Love Of History Farms. Real ones. One can join some of them to obtain organic produce weekly. Grandsons. My three—who force me to be normal at times (well, at least goofy and regressive). Horse & Hound Inn, which accommodates my diet every time (I haven’t had meat, fish, dairy, or grains for decades). Idealists. There are plenty of them here, with solar panels, food-producing farm animals, and world-class gardens. -
Distribution Agreement in Presenting This Thesis As A
Distribution Agreement In presenting this thesis as a partial fulfillment of the requirements for a degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis in whole or in part in all forms of media, now or hereafter now, including display on the World Wide Web. I understand that I may select some access restrictions as part of the online submission of this thesis. I retain all ownership rights to the copyright of the thesis. I also retain the right to use in future works (such as articles or books) all or part of this thesis. Naomi P. Newton April 12, 2016 Storytelling In Opera, Operetta, and American Musical Theater A Research-Performance Honors Thesis by Naomi P. Newton Kristin Wendland, PhD Adviser Bradley Howard, MM Adviser Department of Music Kristin Wendland, PhD Adviser Bradley Howard, MM Adviser Stephen Crist, PhD Committee Member Arri Eisen, PhD Committee Member 2016 Storytelling In Opera, Operetta, and American Musical Theater A Research-Performance Honors Thesis By Naomi P. Newton Kristin Wendland, PhD Adviser Bradley Howard, MM Adviser Department of Music An abstract of a thesis submitted to the Faculty of Emory College of Arts and Sciences of Emory University in partial fulfillment of the requirements of the degree of Bachelor of Arts with Honors. Department of Music 2016 Abstract Storytelling In Opera, Operetta, and American Musical Theater A Research-Performance Honors Thesis By Naomi P. Newton This thesis represents one aspect of my dual research-performance honors project. -
SOME AMERICAN OPERAS/COMPOSERS October 2014
SOME AMERICAN OPERAS/COMPOSERS October 2014 Mark Adamo-- Little Women, Lysistrata John Adams—Nixon in China, Death of Klinghoffer, Doctor Atomic Dominick Argento—Postcard From Morocco, The Aspern Papers William Balcom—A View From the Bridge, McTeague Samuel Barber—Antony and Cleopatra, Vanessa Leonard Bernstein— A Quiet Place, Trouble in Tahiti Mark Blitzstein—Regina, Sacco and Venzetti, The Cradle Will Rock David Carlson—Anna Karenina Aaron Copland—The Tender Land John Corigliano—The Ghosts of Versailles Walter Damrosch—Cyrano, The Scarlet Letter Carlisle Floyd—Susannah, Of Mice and Men, Willie Stark, Cold Sassy Tree Lukas Foss—Introductions and Goodbyes George Gershwin—Porgy and Bess Philip Glass—Satyagraha, The Voyage, Einstein on the Beach, Akhnaten Ricky Ian Gordon—Grapes of Wrath Louis Gruenberg—The Emperor Jones Howard Hanson—Merry Mount John Harbison—The Great Gatsby, Winter’s Tale Jake Heggie—Moby Dick, Dead Man Walking Bernard Hermann—Wuthering Heights Jennifer Higdon—Cold Mountain (World Premiere, Santa Fe Opera, 2015) Scott Joplin—Treemonisha Gian Carlo Menotti—The Consul, The Telephone, Amahl and the Night Visitors Douglas Moore—Ballad of Baby Doe, The Devil and Daniel Webster, Carrie Nation Stephen Paulus—The Postman Always Rings Twice, The Woodlanders Tobias Picker—An American Tragedy, Emmeline, Therese Racquin Andre Previn—A Streetcar Named Desire Ned Rorem—Our Town Deems Taylor—Peter Ibbetson Terry Teachout—The Letter Virgil Thompson—Four Saints in Three Acts, The Mother of Us All Stewart Wallace—Harvey Milk Kurt Weill—Street Scene, Rise and Fall of the City of Mahagonny . -
Program Notes | Amahl and the Night Visitors
23 Season 2018-2019 Thursday, December 13, at 7:30 The Philadelphia Orchestra Saturday, December 15, at 8:00 Bramwell Tovey Conductor and Narrator Dante Michael DiMaio Boy Soprano (Amahl) Renée Tatum Mezzo-soprano (His Mother) Andrew Stenson Tenor (King Kaspar) Brandon Cedel Bass-baritone (King Melchior) David Leigh Bass (King Balthazar) Kirby Traylor Bass (The Page) Philadelphia Symphonic Choir (Shepherds and Villagers) Amanda Quist Director Omer Ben Seadia Stage Director Walton Crown Imperial (Coronation March) Britten The Young Person’s Guide to the Orchestra, Op. 34 Intermission Menotti Amahl and the Night Visitors First complete Philadelphia Orchestra performances Ryan Howell, designer Chris Frey, lighting desig This program runs approximately 1 hour, 45 minutes. These concerts are part of the Fred J. Cooper Memorial Organ Experience, supported through a generous grant from the Wyncote Foundation. The December 15 concert is sponsored by Medcomp. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. PO Book 16_Home.indd 23 12/7/18 10:35 AM 24 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra Philadelphia is home and orchestra, and maximizes is one of the preeminent the Orchestra continues impact through Research. orchestras in the world, to discover new and The Orchestra’s award- renowned for its distinctive inventive ways to nurture winning Collaborative sound, desired for its its relationship with its Learning programs engage keen ability to capture the loyal patrons at its home over 50,000 students, hearts and imaginations of in the Kimmel Center, families, and community audiences, and admired for and also with those who members through programs a legacy of imagination and enjoy the Orchestra’s area such as PlayINs, side-by- innovation on and off the performances at the Mann sides, PopUP concerts, concert stage. -
Il Mio Canzoniere in Inglese
MY CANZONIERE By Carlo Siliotto I can't remember how it all started... The first image I have in mind is the Parioli's branch of the Italian Communist Party, where Stefano Lepri, Teresa Marchesi, Maurizio Gnerre, and maybe Clara Sereni, are singing folk songs. Songs like "Gli Scariolanti". Songs easy to sing, just a few chords, simple and yet filled with something absolute, something fierce as you find in classic music. They are songs, yet they're not light, easy-listening stuff; they are songs you want to sing together, they talk about people and real feelings, they are inventions and yet they are not, they are the legacy you want to pass on, a gift you hand to somebody, something deeply physical inviting you to participate, calling you to clap your hands on the same beat, and join the chorus. Those songs are different, a good vehicle for those of us in search for another dimension, an alternative project to what society and schools in the '60s tried to transmit. I don't know why, but I feel my Latin and Greek teacher won't like those songs, not to talk about my math teacher! But they are fine to me: I feel like I suddenly found a dress fitting on me like a glove. I go back in time when I was 10 years old, and to my mind runs to those long white shirts of the Gospel Choir of the Black Nativity which opened my eyes, ears and heart in Spoleto, where my mother brought me, on occasion of the Two Worlds Festival [Il Festival dei due mondi], in 1960, the moment I felt music anointed me.