DOCSLIB.ORG

Bestlight Limited 07778 271 058

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bestlight Limited 07778 271 058 BESTLIGHT LIMITED 07778 271 058 Steve Eveleigh – Editor Specialises in Music and Dance, Drama & Documentary programming Off-Line and On-Line editing Steve, a former TVi, BBC and Martyr editor. Has worked on a cross-section of programme material from A Very Peculiar Practice – for which he received a BAFTA nomination – Wycliffe , Bad Girls , Eastenders , Casualty , Last Night of the Proms and many High Definition programmes for the BBC and The Royal Opera House . As an editor he has strong artistic flair along with substantial technical knowledge and in addition is able to act as project manager, overseeing your full post production process through his new Company Bestlight. Acis and Galatea (Handel - Dance/Opera) Director Jonathan Haswell Royal Opera House DVD , BBC Tx Dido and Aeneas (Purcell - Dance/Opera) Director / Producer Jonathan Haswell Royal Opera House DVD , BBC Tx Swan Lake (Ballet) Director Ross MacGibbon Royal Opera House Cinema, DVD Bayadere (Ballet) Director Ross MacGibbon Royal Opera House Cinema, DVD Noyes Fludde (Opera) Director Barrie Gavin Britten Pears Foundation DVD Hansel and Gretel (Opera) Director Sue Judd ROH / BBC Classical Music BBC Tx, DVD Manon (Ballet) Director Ross MacGibbon Royal Opera House Cinema, DVD, BBC Tx Qatar Philiharmonic Orchestra Director Brian Large Qatar Foundation DVD Belfast Prom 2008 Director Derek Bailey Landseer Productions BBC Belfast Tx Don Giovanni (Opera) Director Robin Lough Royal Opera House Cinema,DVD Last Night of the Proms (Concert) Director Matthew Woodward BBC Classical Music 2008 Dr Hoo (Drama Series) Director Stephen Lord Lord UK Nokia Phones Don Carlo (Opera) Director Robin Lough Royal Opera House Cinema,DVD Minotaur (Opera) Director Jonathan Haswell BBC Classical Music BBC Tx Bartok and van Gogh Director Simon Broughton BBC Classical Music BBC Tx Bestlight Limited Tel: 020 7659 2082 Mobile 07778 271 058 Registered Office: 89 Henley Drive, Frimley Green, Surrey GU16 6JU Company No. 4977496 VAT 916 8962 78 [email protected] www.bestlightpictures.co.uk Debussey and Monet Director Simon Broughton BBC Classical Music BBC Tx Jerusalem Quartet and Pierre-Laurent Aimard Director Robin Lough Robin Lough Associates NHK Tx Bradley Walsh Show Reel Director Bradley Walsh DVD Sacred Music (Concert) Director Rhodri Huw BBC Classical Music BBC Tx Beatrix Potter (Ballet) Director Jonathan Haswell BBC BBC Tx,Cinema,DVD European Youth Orchestra Director Bo van d’Meulen Kazakhstan Concert Eurovision Jurowski Director Rhodri Huw Illuminations Television Rocky Horror Tribute Show Director Simon Flind Screenstage Carmen Director / Producer Jonathan Haswell BBC Classical Music La Fille Du Regiment Director Robin Lough Royal Opera House Jazz – Paquito de Rivera Director Robin Lough Opus Arte Wagner’s Ring Siegfried Director Jonathan Haswell BBC Classical Music Last Night of the Proms Director Helen Mansfield BBC Classical Music Joyce Grenfell Documentary Director Robin Lough BBC Wales Tsunami Gala Concert Director Bob Coles BBC Classical Music 1984 The Opera Director Brian Large Screenstage Wagner’s Ring Valkyrie Director Jonathan Haswell BBC Classical Music The Cy Coleman Story Documentary Director Robin Lough BBC Wales Highland Fling Director Steve Eveleigh Screenstage Bestlight Limited Tel: 020 7659 2082 Mobile 07778 271 058 Registered Office: 89 Henley Drive, Frimley Green, Surrey GU16 6JU Company No. 4977496 VAT 916 8962 78 [email protected] www.bestlightpictures.co.uk Beautiful and Damned Director Jonathan Haswell Brio & Panache Ltd Glyndebourne Double Bill Director Francesca Kemp Glyndebourne Opera Die Fledermaus (HIGH DEFINITION) Director Francesca Kemp BBC Classical Music Three Sisters Director Michael Samuels ScreenStage for BBC Four Legends – Julian Bream Director David Stevens BBC Classical Music Madama Butterfly Director Jonathan Haswell BBC Classical Music The Magic Flute (HIGH DEFINITION) Director / Producer Sue Judd BBC Classical Music Vincent in Brixton Directors Richard Eyre Screenstage for BBC Humphrey Burton Producer Simon Flind On an Average Day Director Julian Jarrold Screenstage for BBC Producer Simon Flind Carmen (HIGH DEFINITION) Director / Producer Sue Judd BBC Classical Music A Day In The Death of Joe Egg Director Robin Lough Screenstage for BBC4 Producer Simon Flind The Complete Works of Shakespeare Abridged Director Paul Kafno HD Thames for CBC Canada Producer Ian Martin La Boheme Director Robin Lough Oxford Film and TV for Channel 4 Producer Simon Flind The Cops Post Production Supervisor World Productions 10 x 50 min drama Associate Producer Louise Mutter Producer Eric Coulter Hey Mr Producer! Director Gavin Taylor Variety show 2hrs Producer Paul Kafno Bad Girls Post Production Supervisor Shed Productions 10 x 50 min drama Associate Producer Carolyn Parry-Jones Producer Brian Park Wycliffe Series V 2 x 60’ Film Drama Director Alan Wareing HTV Drama Producer Michael Bartley The Nutcracker Director: Derek Bailey Tchaikovsky’s Ballet, from Birmingham Producer: Peter Maniura Covent Garden Pioneer for BBC 2 Bestlight Limited Tel: 020 7659 2082 Mobile 07778 271 058 Registered Office: 89 Henley Drive, Frimley Green, Surrey GU16 6JU Company No. 4977496 VAT 916 8962 78 [email protected] www.bestlightpictures.co.uk Dame Kiri – 50 th Birthday Producer: Ron Ferris Kiri Te Kanawa concert from The Royal Albert Hall Decca for Laserdisk / Videogram Handel’s Messiah Director: Barrie Gavin 250 th Anniversary Performance from Dublin Planet 24 for Channel 4 Eastenders 6 x 30’ Drama Series Director: Julia Smith for BBC 1 Producer: Julia Smith A Very Peculiar Practice 6 x 50’ Drama Series for BBC 1 Director: David Tucker 1988 BAFTA NOMINATION Producer: Ken Riddington Casualty 9 x 50’ Location Drama Series Directors: Sue Butterworth, for BBC 1 Alan Wareing Keith Washington Michael Brayshaw Producers: Geraint Morris, Peter Norris Miss Julie Director: Alan Bennett Alan Bennett & Julie Walters play for BBC 2 The Importance of Being Earnest Director: Ken Hanham Studio production of Oscar Wilde play for BBC 2 Murder in Mind Director: Michael Simpson 2 x 50’ Drama for BBC 1 Bestlight Limited Tel: 020 7659 2082 Mobile 07778 271 058 Registered Office: 89 Henley Drive, Frimley Green, Surrey GU16 6JU Company No. 4977496 VAT 916 8962 78 [email protected] www.bestlightpictures.co.uk .
Load more

Recommended publications
  • Broadcasting the Arts: Opera on TV
    Broadcasting the Arts: Opera on TV With onstage guests directors Brian Large and Jonathan Miller & former BBC Head of Music & Arts Humphrey Burton on Wednesday 30 April BFI Southbank’s annual Broadcasting the Arts strand will this year examine Opera on TV; featuring the talents of Maria Callas and Lesley Garrett, and titles such as Don Carlo at Covent Garden (BBC, 1985) and The Mikado (Thames/ENO, 1987), this season will show how television helped to democratise this art form, bringing Opera into homes across the UK and in the process increasing the public’s understanding and appreciation. In the past, television has covered opera in essentially four ways: the live and recorded outside broadcast of a pre-existing operatic production; the adaptation of well-known classical opera for remounting in the TV studio or on location; the very rare commission of operas specifically for television; and the immense contribution from a host of arts documentaries about the world of opera production and the operatic stars that are the motor of the industry. Examples of these different approaches which will be screened in the season range from the David Hockney-designed The Magic Flute (Southern TV/Glyndebourne, 1978) and Luchino Visconti’s stage direction of Don Carlo at Covent Garden (BBC, 1985) to Peter Brook’s critically acclaimed filmed version of The Tragedy of Carmen (Alby Films/CH4, 1983), Jonathan Miller’s The Mikado (Thames/ENO, 1987), starring Lesley Garret and Eric Idle, and ENO’s TV studio remounting of Handel’s Julius Caesar with Dame Janet Baker. Documentaries will round out the experience with a focus on the legendary Maria Callas, featuring rare archive material, and an episode of Monitor with John Schlesinger’s look at an Italian Opera Company (BBC, 1958).
    [Show full text]
  • Avant Première Catalogue 2018 Lists UNITEL’S New Productions of 2017 Plus New Additions to the Catalogue
    CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CATALOGUE 2018 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany CEO: Jan Mojto Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: February 2018 © UNITEL 2018 All rights reserved Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES LEONARD BERNSTEIN 1918 – 1990 Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music.
    [Show full text]
  • A MOZART GALA from Salzburg
    UNITEL and CLASSICA present A MOZART GALA from Salzburg PATRICIA PETIBON MAGDALENA KOŽENÁ EKATERINA SIURINA MICHAEL SCHADE THOMAS HAMPSON ANNA NETREBKO RENÉ PAPE DANIEL HARDING A MOZART GALA from Salzburg Patricia Petibon René Pape Daniel Harding Magdalena Kožená Thomas Hampson Ekaterina Siurina Anna Netrebko Michael Schade Music by Wolfgang Amadeus Mozart he most spectacular homage to Wolfgang Amadeus Mozart on his 250th birthday in 2006 was incontestably Conductor Daniel Harding the presentation of all of his operas and operatic Orchestra Wiener Philharmoniker T fragments at the Salzburg Festival, “Mozart22”. Recorded on Soloists Anna Netrebko film (available from Unitel Classica), this monumental project Magdalena Kožená has been preserved for posterity as a benchmark of Mozart Ekaterina Siurina interpretation in the early 21st century. Patricia Petibon Thomas Hampson The “Mozart Gala“ held at the Felsenreitschule on 30 René Pape July 2006, in the first days of the 2006 Salzburg Festival, Michael Schade presents a kind of microcosm of the Mozart festivities, with Directed by Brian Large a selection of arias and orchestral music performed by the Vienna Philharmonic under Daniel Harding and featuring Don Giovanni Overture some of the top vocalists of the 2006 Salzburg Festival. A “Madamina, il catalogo è questo“ (René Pape) sampling of exquisite hors d‘œuvres prepared by the most “Dalla sua pace“ (Michael Schade) outstanding musical chefs! Mitridate, Re di Ponto Internationally celebrated soprano Anna Netrebko lives “Nel grave tormento“ (Patricia Petibon) up to her reputation as a fiery, dramatic diva in her passionate La clemenza di Tito rendition of Elettra‘s aria “D‘Oreste, d‘Aiace” from Idomeneo.
    [Show full text]
  • CHAPTER 5 EPILOGUE It Has Been My Aim in This Thesis to Address a Two-Fold Proposition. Informed by My Reading of the Work of Gi
    CHAPTER 5 EPILOGUE It has been my aim in this thesis to address a two-fold proposition. Informed by my reading of the work of Gilles de Van, I have discovered that Verdi wished to realize a concept which he called posizione. He provided musical strategies which would delineate characters in their subjective and objective ‘position’ with regard to circumstance and to their relationship with other characters at any given moment of the operatic narrative. The term posizione was intended to denote a musico-dramatic mapping of the co-ordinates which could pinpoint this relationship. With Verdi’s concept in view I have investigated the posizione of Violetta Valéry’s character as it has evolved throughout the course of the operatic narrative of La traviata. In addressing the second facet of my proposition I have taken the term posizione into the broader context of its social implications for the character of Violetta and for women of suspect moral status. In order to do this I have investigated the literary and factual provenance of the narrative and the contemporary response of Despite Budden’s own speculative objection to the notion that Verdi compared Violetta with Giuseppina Strepponi, the possibility remains that the courtesan character elicited a special sympathy from Verdi. The life of Alexandre Dumas fils is the origin from which the narrative of La traviata is drawn. Dumas fils turned the experience of his own liaison with the courtesan Marie Duplessis into the novel La Dame aux Camélias which he later adapted for the stage. As characterized by Dumas, Duplessis, transformed into the more noble Marguerite Gautier, renounced her own happiness in order to save the reputation of the family to whom her lover Armand 192 Duval belonged.
    [Show full text]
  • Mercoledì Opera Luglio 2013
    Mercoledì Opera luglio 2013 VIVA VERDI! Nel corso del 1800, l’Italia si trasforma da paese soggiogato al dominio straniero in uno stato unificato indipendente, desideroso di far parte delle grandi potenze europee. ll Risorgimento, le lotte per l’unificazione d’Italia, non potevano lasciare indifferente l’animo del compositore che, dell’Italia e della sua vocazione alla musica e al canto, sarebbe diventato l’icona: Giuseppe Verdi. Nabucco, I Lombardi, Attila e Macbeth esprimono il sincero amore patriottico di Verdi e il suo dolore per un popolo oppresso. Il nome del Maestro rimarrà per sempre legato agli ideali del Risorgimento, trasformandosi in un acrostico rivoluzionario, “Viva V.e.r.d.i!”, da leggersi „Viva Vittorio Emanuele re d’Italia!”. Lo stesso Verdi finisce per credere in questo progetto quando capisce che l’unità del paese si può concretizza- re non tanto attraverso l’insurrezione popolare e l’utopia repubblicana di Mazzini, ma esclusivamente con un paziente lavoro diplomatico e culturale. Per questo, parlare oggi di musica, d’ Italia e di cultura significa, a duecen- to anni dalla nascita del musicista, parlare ancora di Giuseppe Verdi. Giuseppe Verdi Regia: non specificata 3 Direttore d’orchestra: James Levine ore 12:00 Interpreti: Maria Nabucco Guleghina, Juan Pons Durata: 142 minuti Giuseppe Verdi Regia: Brian Large 10 Direttore d’orchestra: Carlo Rizzo ore 12:00 Interpreti: Anna Netreb- Traviata ko, Rolando Villazon Durata: 132 minuti Giuseppe Verdi Regia: Brian Large 17 Direttore d’orchestra: ore 12:00 James Levine Interpreti: Luciano Il Trovatore Pavarotti, Eva Marton Durata: 133 minuti Giuseppe Verdi Regia: Jean-Pierre 24 Ponnelle Direttore d’orchestra: ore 12:00 Riccardo Chailly Rigoletto Interpreti: Luciano Pa- varotti, Edita Gruberova Giuseppe Verdi e Richard Wagner 31 Balletto - Compagnia Artemis Danza ore 12:00 Monica Casadei Aida e Tristan.
    [Show full text]
  • Opera Enormous: Arias in the Cinema Benjamin Speed
    The University of Maine DigitalCommons@UMaine Electronic Theses and Dissertations Fogler Library 5-2012 Opera Enormous: Arias in the Cinema Benjamin Speed Follow this and additional works at: http://digitalcommons.library.umaine.edu/etd Part of the Film and Media Studies Commons, Music Performance Commons, and the Theatre and Performance Studies Commons Recommended Citation Speed, Benjamin, "Opera Enormous: Arias in the Cinema" (2012). Electronic Theses and Dissertations. 1749. http://digitalcommons.library.umaine.edu/etd/1749 This Open-Access Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of DigitalCommons@UMaine. OPERA ENORMOUS: ARIAS IN THE CINEMA By Benjamin Speed B. A. , The Evergreen State College, 2002 A THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts (in Communication) The Graduate School The University of Maine May, 2012 Advisory Committee: Nathan Stormer, Associate Professor of Communication and Journalism, Advisor Laura Lindenfeld, Associate Professor of Communication and Journalism and the Margaret Chase Smith Policy Center Michael Socolow, Associate Professor of Communication and Journalism THESIS ACCEPTANCE STATEMENT On behalf of the Graduate Committee for Benjamin Jon Speed I affirm that this manuscript is the final and accepted thesis. Signatures of all committee members are on file with the Graduate School at the University of Maine, 42 Stodder
    [Show full text]
  • Don Giovanni's Case
    RLCS, Revista Latina de Comunicación Social, 72 – Pages 1.238 to 1.260 [Research] [Funded] | DOI:10.4185/RLCS-2017-1217en| ISSN 1138-5820 | Year 2017 How to cite this article in bibliographies / References I Villanueva-Benito, I Lacasa-Mas (2017): “The use of audiovisual language in the expansion of performing arts outside theater: Don Giovanni’s case, by Mozart”. Revista Latina de Comunicación Social, 72, pp. 1.238 to 1.260. http://www.revistalatinacs.org/072paper/1217/67en.html DOI: 10.4185/RLCS-2017-1217en The use of audiovisual language in the expansion of performing arts outside theater: Don Giovanni’s case, by Mozart Isabel Villanueva-Benito [CV] [ ORCID] [ GS] Associate professor. Universitat Internacional de Catalunya (Spain). Visiting Researcher. University of Los Angeles, California (United States). [email protected] Iván Lacasa-Mas [CV] [ ORCID] [ GS] Full Professor. Universitat Internacional de Catalunya. Visiting Scholar, University of Texas at Austin, Texas (United States). [email protected] Abstract Introduction: This paper studies opera films of centuries XX and XXI, in order to identify whether the language used is closer to the theater standards of the performing arts typical of live or those of audiovisual media. Methodology: We have performed an exhaustive contents analysis of the end of the first act from 29 filmed versions of Mozart’s Don Giovanni, according to three categories: type of film, type of camera shots used and type of editing. From these, we evaluated 41 variables. Results: We conclude that, with the purpose to expand a performance such as the operatic outside theaters, even in the XXI century, live still limits the form of films.
    [Show full text]
  • Così Fan Tutte Music by Wolfgang Amadeus Mozart Libretto by Lorenzo Da Ponte
    Manitoba Opera Così fan tutte Music by Wolfgang Amadeus Mozart Libretto by Lorenzo da Ponte Study Guide February 2003 Written & Compiled by: Joanna Slobodian Kris Diaz Welcome to Manitoba Opera This Study Guide has been created to assist you in preparing your students for their visit to the opera. It is our hope that you will be able to add this to your existing curriculum in order to expand your students’ understanding of opera, literature, history, and the fine arts. Materials in the Study Guide may be copied and distributed to students. Some students may wish to go over the information at home if there is insufficient time to discuss in class. Make the opera experience more meaningful and enjoyable by sharing with them knowledge and background on opera and Così fan tutte before they attend. Please Note: The Dress Rehearsal is the last opportunity the singers will have on stage to work with the orchestra before Opening Night. Since vocal demands are so great on opera singers, some singers choose not to sing in full voice during the Dress Rehearsal in order to preserve their vocal chords and avoid unnecessary strain. Table of Contents A Short Introduction to Opera ..............................................................................3 Audience Etiquette .................................................................................................4 Cast List...................................................................................................................5 Pronunciation Guide...............................................................................................6
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 101, 1981-1982, Subscription
    BOSTON SOYMPHONY OORCHESTRA Hundredth Birthday Season 1881 -OCTOBER 22 -1981 ( tAa»n %U fL .j jBHIIBP w//to 3Sf V.SOP, ''ve CH*M»I** REMY MARTIN »p«00f ! ???/& COGNAC ^QP FRANCE r*^ WK CHAMPAGNE COGN» THE FIRST NAME IN COGNAC SINCE 1724 EXCLUSIVELY FINE CHAMPAGNE COGNAC: FROM THE TWO PREMIERS CRUS" OF THE COGNAC REGION Sei ji Ozawa, Music Director Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Hundredth Birthday Season, 1981-82 Trustees of the Boston Symphony Orchestra, Inc. Abram T. Collier, Chakman Nelson J. Darling, Jr., President Leo L. Beranek, Vice-President George H. Kidder, Vice-President Mrs. Harris Fahnestock, Vice-President Sidney Stoneman, Vice-President Roderick M. MacDougall, Treasurer John Ex Rodgers, Assistant Treasurer Vernon R. Alden Archie C. Epps III Thomas D. Perry, Jr. J.P Barger Mrs. John L. Grandin Irving W Rabb Mrs. John M. Bradley Edward M. Kennedy Mrs. George Lee Sargent Mrs. Norman L. Cahners David G. Mugar William A. Selke George H.A. Clowes, Jr. Albert L. Nickerson John Hoyt Stookey Trustees Emeriti Talcott M. Banks, Chairman of the Board Emeritus Philip K. Allen E. Morton Jennings, Jr. Mrs. James H. Perkins Allen G. Barry Edward G. Murray Paul C. Reardon Richard P Chapman John T. Noonan John L. Thorndike Administration of the Boston Symphony Orchestra Thomas W. Morris General Manager William Bernell Edward R. Birdwell Daniel R. Gustin Artistic Administrator Orchestra Manager Assistant Manager Caroline Smedvig Walter D.Hill Joseph M. Hobbs Director of Director of Director of Promotion Business Affairs Development Judith Gordon Joyce M. Snyder Theodore A.
    [Show full text]
  • Parola Scenica: Towards Realism in Italian Opera Etdhendrik Johannes Paulus Du Plessis
    Parola Scenica: Towards Realism in Italian Opera ETDHendrik Johannes Paulus du Plessis A thesis submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of PhD by Thesis Abstract This thesis attempts to describe the emergence of a realistic writing style in nine- teenth-century Italian opera of which Giuseppe Verdi was the primary architect. Frequently reinforced by a realistic musico-linguistic device that Verdi would call parola scenica, the object of this realism is a musical syntax in which nei- ther the dramatic intent of the text nor the purely musical intent overwhelms the other. For Verdi the dramatically effective depiction of a ‘slice of a particular life’—a realist theatrical notion—is more important than the mere mimetic description of the words in musical terms—a romantic theatrical notion in line with opera seria. Besides studying the device of parola scenica in Verdi’s work, I also attempt to cast light on its impact on the output of his peers and successors. Likewise, this study investigates how the device, by definition texted, impacts on the orchestra as a means of realist narrative. My work is directed at explaining how these changes in mood of thought were instrumental in effecting the gradual replacement of the bel canto singing style typical of the opera seria of Rossini, Donizetti, and Bellini, by the school of thought of verismo, as exemplified by Verdi’s experiments. Besides the work of Verdi and the early nineteenth-cen- tury Italian operatic Romanticists, I touch also briefly on the œuvres of Puccini, ETDGiordano and the other veristi.
    [Show full text]
  • September—December 2017 / Vol.XVII / No.3
    THE BOHUSLAVMARTINŮ FOUNDATION THE BOHUSLAVMARTINŮ INSTITUTE THE INTERNATIONALMARTINŮCIRCLE MR the first production of september—december 2017 / vol.XVII / no.3 the greek passion, H 372/I in russia martinů & hrůša at bbc proms 2017 string quartets nos 4–7: new publication of bmce obituary: zuzana růžičková nts ---- new CDs cont Small storms. A Collection of Short Pieces by Bohuslav Martinů 3 highlights Meredith Blecha-Wells (Cello), Sun Min Kim (Piano) obituary Variations on Theme of Rossini, H 290 Ariette for Cello and Piano, H 188 B prof. václav riedlbauch Seven Arabesques for Cello and Piano, H 201 Suite Miniature for Cello and Piano, H 192 4 news Nocturnes for Cello and Piano, H 189 Variations on a Slovakian Theme, H 378 the first production of bohuslav Navona Records, 2017 martinů’s opera the greek passion, H 372/I in russia Martinů/Řezníček/Fiala Martinů: Mount of three Lights, H 349 5 imc news Hymn to St.James, H 347 Czech Philharmonic Choir Brno, Petr Fiala (Conductor) and soloists 6 imc reviews ArcoDiva, 217, TT:67:41 jakub hrůša’s debut with martinů Milhaud/Martinů: at bbc proms 2017 Complete Works for String Trio Martinů: String Trio No.1, H 136 8 imc meeting in london String Trio No.2, H 238 Jacques Thibaud String Trio: Burkhard Maiss (Violin), Hannah Strijbos (Viola), 10 obituary Bogdan Jianu (Cello) zuzana růžičková Audite 97.727, 2017, TT: 58:16 Bohuslav Martinů: Complete Works 12 interview for Cello and Orchestra …with jan edlman, anthony Concerto for Cello and Orchestra No.1, H 196 wilkinson & brian large on Concerto for
    [Show full text]
  • Elgar's the Dream of Gerontius
    Elgar’s The Dream of Gerontius - Some personal observations on recordings of the work by John Quinn Updated 2020 This article originally appeared on MusicWeb in 2007 in connection with the 150th anniversary of the birth of Elgar and I updated it in 2014 when we marked the 80th anniversary of the death of the composer in 1934. The release in 2018 of a newly-issued 1961 live recording conducted by Sir Malcolm Sargent caused me to refer to our Masterworks Index for Gerontius whereupon I discovered, slightly to my surprise, that since my 2014 update this was the fifth recording of the work to be issued – although only two of them were brand new. In addition, I’d caught up with two earlier recordings – conducted by Sir Alexander Gibson and by Yevgeny Svetlanov – to which I’d referred in the survey though I’d not heard them. Time, then, to refresh the survey in order to include these seven recordings. For this latest 2020 revision I toyed with the idea of a fundamental re-write, considering all the recordings in chronological order. However, on reflection it seems to make more sense to retain the layout of the 2014 text and to add comments about the seven recordings not previously covered by the survey in a new section just before the summary. I have made as few changes as possible to my original 2007 text because that included detailed comments on several versions that hadn’t, at least then, been reviewed on MusicWeb International whereas the more recently released recordings have generally received full reviews at the time of issue.
    [Show full text]