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10-26-2019 Manon Mat.Indd
JULES MASSENET manon conductor Opera in five acts Maurizio Benini Libretto by Henri Meilhac and Philippe production Laurent Pelly Gille, based on the novel L’Histoire du Chevalier des Grieux et de Manon Lescaut set designer Chantal Thomas by Abbé Antoine-François Prévost costume designer Saturday, October 26, 2019 Laurent Pelly 1:00–5:05PM lighting designer Joël Adam Last time this season choreographer Lionel Hoche revival stage director The production of Manon was Christian Räth made possible by a generous gift from The Sybil B. Harrington Endowment Fund general manager Peter Gelb Manon is a co-production of the Metropolitan Opera; jeanette lerman-neubauer Royal Opera House, Covent Garden, London; Teatro music director Yannick Nézet-Séguin alla Scala, Milan; and Théâtre du Capitole de Toulouse 2019–20 SEASON The 279th Metropolitan Opera performance of JULES MASSENET’S manon conductor Maurizio Benini in order of vocal appearance guillot de morfontaine manon lescaut Carlo Bosi Lisette Oropesa* de brétigny chevalier des grieux Brett Polegato Michael Fabiano pousset te a maid Jacqueline Echols Edyta Kulczak javot te comte des grieux Laura Krumm Kwangchul Youn roset te Maya Lahyani an innkeeper Paul Corona lescaut Artur Ruciński guards Mario Bahg** Jeongcheol Cha Saturday, October 26, 2019, 1:00–5:05PM 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. Digital support of The Met: Live in HD is provided by Bloomberg Philanthropies. The Met: Live in HD series is supported by Rolex. -
GIRL with a CAMERA a Novel of Margaret Bourke-White
GIRL WITH A CAMERA A Novel of Margaret Bourke-White, Photographer Commented [CY1]: Add Photographer? By Carolyn Meyer Carolyn Meyer 100 Gold Avenue SW #602 Albuquerque, NM 87102 505-362-6201 [email protected] 2 GIRL WITH A CAMERA Sometime after midnight, a thump—loud and jarring. A torpedo slams into the side of our ship, flinging me out of my bunk. The ship is transporting thousands of troops and hundreds of nurses. It is December 1942, and our country is at war. I am Margaret Bourke-White, the only woman photographer covering this war. The U.S. Army Air Forces has handed me a plum assignment: photographing an Allied attack on the Germans. I wanted to fly in one of our B-17 bombers, but the top brass ordered me to travel instead in the flagship of a huge convoy, headed from England through the Straits of Gibraltar towards the coast of North Africa. It would be safer than flying, the officers argued. As it turns out, they were dead wrong. Beneath the surface of the Mediterranean, German submarines glide, silent and lethal, stalking their prey. One of their torpedoes has found its mark. I grab my camera bag and one camera, leaving everything else behind, and race to the bridge. I hear the order blare: Abandon ship! Abandon ship! There is not enough light and not enough time to take photographs. I head for Lifeboat No. 12 and board with the others assigned to it, mostly nurses. We’ve drilled for it over and over, but this is not a drill. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas GEORGES BIZET EMI 63633 Carmen Maria Stuarda Paris Opera National Theatre Orchestra; René Bologna Community Theater Orchestra and Duclos Chorus; Jean Pesneaud Childrens Chorus Chorus Georges Prêtre, conductor Richard Bonynge, conductor Maria Callas as Carmen (soprano) Joan Sutherland as Maria Stuarda (soprano) Nicolai Gedda as Don José (tenor) Luciano Pavarotti as Roberto the Earl of Andréa Guiot as Micaëla (soprano) Leicester (tenor) Robert Massard as Escamillo (baritone) Roger Soyer as Giorgio Tolbot (bass) James Morris as Guglielmo Cecil (baritone) EMI 54368 Margreta Elkins as Anna Kennedy (mezzo- GAETANO DONIZETTI soprano) Huguette Tourangeau as Queen Elizabeth Anna Bolena (soprano) London Symphony Orchestra; John Alldis Choir Julius Rudel, conductor DECCA 425 410 Beverly Sills as Anne Boleyn (soprano) Roberto Devereux Paul Plishka as Henry VIII (bass) Royal Philharmonic Orchestra and Ambrosian Shirley Verrett as Jane Seymour (mezzo- Opera Chorus soprano) Charles Mackerras, conductor Robert Lloyd as Lord Rochefort (bass) Beverly Sills as Queen Elizabeth (soprano) Stuart Burrows as Lord Percy (tenor) Robert Ilosfalvy as roberto Devereux, the Earl of Patricia Kern as Smeaton (contralto) Essex (tenor) Robert Tear as Harvey (tenor) Peter Glossop as the Duke of Nottingham BRILLIANT 93924 (baritone) Beverly Wolff as Sara, the Duchess of Lucia di Lammermoor Nottingham (mezzo-soprano) RIAS Symphony Orchestra and Chorus of La Scala Theater Milan DEUTSCHE GRAMMOPHON 465 964 Herbert von -
Hérodiade Herodiade Page 1 of 3 Opera Assn
San Francisco War Memorial 1994Hérodiade Herodiade Page 1 of 3 Opera Assn. Opera House This production is made possible by generous gifts from Mr. and Mrs. Gorham B. Knowles and Mr. and Mrs. Alfred S. Wilsey Hérodiade (in French) Opera in four acts by Jules Massenet Libretto by Paul Milliet and Henry Grémont Based on a story by Gustave Flaubert Supertitles provided by a generous gift from the Langendorf Foundation Conductor CAST Valery Gergiev Phanuel, a Chaldean Kenneth Cox Paul Ethuin (11/23.25)† Salomé Renée Fleming Production Hérode ((Herod), King of Galilee Juan Pons Lotfi Mansouri Hérodiade (Herodias), wife of Hérode Dolora Zajick* Designer Jean (John the Baptist) Plácido Domingo* Gerard Howland John Keyes (11/23,25) Costume Designer A Young Babylonian Kristin Clayton Maria-Luise Walek Vitellius, Roman Proconsul Hector Vásquez Lighting Designer A Voice in the Temple Alfredo Portilla Thomas J. Munn High Priest Eduardo del Campo Assistant to Lotfi Mansouri Charles Roubaud Chorus Director *Role debut †U.S. opera debut Ian Robertson PLACE AND TIME: Jerusalem, 30 A.D. Choreographer Victoria Morgan Assistant to Maestro Gergiev Peter Grunberg Musical Preparation Robert Morrison Bryndon Hassman Kathleen Kelly Svetlana Gorzhevskaya Philip Eisenberg Prompter Philip Eisenberg Assistant Stage Director Paula Williams Paula Suozzi Stage Manager Theresa Ganley Fight Coordinator Larry Henderson Supertitles Clifford Cranna Tuesday, November 8 1994, at 8:00 PM Act I -- Hérode's palace Saturday, November 12 1994, at 8:00 PM INTERMISSION Tuesday, November 15 1994, at 7:30 PM Act II, Scene 1 -- Hérode's chambers Friday, November 18 1994, at 8:00 PM Act II, Scene 2 -- The grand square in Jerusalem Sunday, November 20 1994, at 2:00 PM INTERMISSION Wednesday, November 23 1994, at 7:30 PM Act III, Scene 1 -- Phanuel's rooms Friday, November 25 1994, at 8:00 PM Act III, Scene 2 -- Palace courtyard Act III, Scene 3 -- The temple Act IV, Scene 1 -- Prison Act IV, Scene 2 -- Great hall of the palace San Francisco War Memorial 1994Hérodiade Herodiade Page 2 of 3 Opera Assn. -
Newsletter • Bulletin
NATIONAL CAPITAL OPERA SOCIETY • SOCIETE D'OPERA DE LA CAPITALE NATIONALE Newsletter • Bulletin Summer 2000 L’Été A WINTER OPERA BREAK IN NEW YORK by Shelagh Williams The Sunday afternoon programme at Alice Tully Having seen their ads and talked to Helen Glover, their Hall was a remarkable collaboration of poetry and words new Ottawa representative, we were eager participants and music combining the poetry of Emily Dickinson in the February “Musical Treasures of New York” ar- recited by Julie Harris and seventeen songs by ten dif- ranged by Pro Musica Tours. ferent composers, sung by Renee Fleming. A lecture We left Ottawa early Saturday morning in our bright preceded the concert and it was followed by having most pink (and easily spotted!) 417 Line Bus and had a safe of the composers, including Andre Previn, join the per- and swift trip to the Belvedere Hotel on 48th St. Greeted formers on stage for the applause. An unusual and en- by Larry Edelson, owner/director and tour leader, we joyable afternoon. met our fellow opera-lovers (six from Ottawa, one from Monday evening was the Met’s block-buster pre- Toronto, five Americans and three ladies from Japan) at miere production of Lehar’s The Merry Widow, with a welcoming wine and cheese party. Frederica von Stade and Placido Domingo, under Sir Saturday evening the opera was Offenbach’s Tales Andrew Davis, in a new English translation. The oper- of Hoffmann. This was a lavish (though not new) pro- etta was, understandably, sold out, and so the only tick- duction with sumptuous costumes, sets descending to ets available were seats in the Family Circle (at the very reappear later, and magical special effects. -
ESCLARMONDE Opera in 4 Acts (With Prologue & Epilogue) Music
ESCLARMONDE Opera in 4 acts (with prologue & Epilogue) Music by Jules Massenet Libretto by Alfred Blau & Louis de Gramont First Performance: Opéra, Paris, May 14, 1889 Prologue. There is no overture or prelude. the curtain rises abruptly on the Basilica in Byzantium, before the closed doors of the sanctuary. The court of the Emperor Phorcas, who is both ruler and magician, is gathered to witness his abdication in favor of his daughter Esclarmonde. Phorcas reveals that he has instructed Esclarmonde in the mysteries of his magical powers, but he imposes the condition that if she is to retain these powers and her throne, she must remain veiled to all men until she reaches the age of twenty. Then a tournament will be held, and the winner will be awarded her hand in marriage and will share her power as ruler of Byzantium. The doors of the sanctuary open. the veiled, richly garbed and bejewelled. Esclarmonde appears, accompanied by her sister Parséis to act as the guardian of her sister, and then, bidding farewell to all, he hands over his crown and scepter to Esclarmonde amid the acclamations of the assembled court. Act I. A terrace of the palace, Esclarmonde is musing on her feelings for Roland, a French knight when she once saw and fell in love with, unbeknown to him. When Parséis joins her and remarks on her tears, she confesses that she feels her father's conditions have condemned her to a life of loneliness. Parséis suggests that with her magic powers she can choose her eventual husband; then, learning that she is in love with Roland, suggests that she uses her powers to bring him to her. -
Atheneum Nantucket Dance Festival
NANTUCKET ATHENEUM DANCE FESTIVAL 2011 Featuring stars of New York City Ballet & Paris Opera Ballet Benjamin Millepied Artistic Director Dorothée Gilbert Teresa Reichlen Amar Ramasar Sterling Hyltin Tyler Angle Daniel Ulbricht Maria Kowroski Alessio Carbone Ana Sofia Scheller Sean Suozzi Chase Finlay Georgina Pazcoguin Ashley Laracey Justin Peck Troy Schumacher Musicians Cenovia Cummins Katy Luo Gillian Gallagher Naho Tsutsui Parrini Maria Bella Jeffers Brooke Quiggins Saulnier Cover: Photo of Benjamin Millepied by Paul Kolnik 1 Welcometo the Nantucket Atheneum Dance Festival! For 177 years the Nantucket Atheneum has enriched our island community through top quality library services and programs. This year the library served more than 200,000 adults, teens and children year round with free access to over 1.4 million books, CDs, and DVDs, reference and information services and a wide range of cultural and educational programs. In keeping with its long-standing tradition of educational and cultural programming, the Nantucket Atheneum is very excited to present a multifaceted dance experience on Nantucket for the fourth straight summer. This year’s performances feature the world’s best dancers from New York City Ballet and Paris Opera Ballet under the brilliant artistic direction of Benjamin Millepied. In addition to live music for two of the pieces in the program, this year’s program includes an exciting world premier by Justin Peck of the New York City Ballet. The festival this week has offered a sparkling array of free community events including two dance-related book author/illustrator talks, Frederick Wiseman’s film La Danse, Children’s Workshop, Lecture Demonstration and two youth master dance classes. -
Coppelia-Teacher-Resource-Guide.Pdf
Teacher’s Handbook 1 Edited by: Carol Meeder – Director of Arts Education February 2006 Cover Photo: Jennifer Langenstein – Pittsburgh Ballet Theatre Principal Dancer Aaron Ingley – Pittsburgh Ballet Theatre Corps de Ballet Dancer Ric Evans – Photographer 2 Introduction Dear Educator, We have often thanked you, the academic community and educators of our children, for being partners with us in Arts Education. We have confirmed how the arts bring beauty, excitement, and insight into the experience of everyday living. Those of us who pursue the arts as the work of our lives would find the world a dark place without them. We have also seen, in a mirror image from the stage, how the arts bring light, joy, and sparkle into the eyes and the lives of children and adults in all walks of life. Pittsburgh Ballet Theatre strives not only to entertain but to demonstrate the significance and importance of presenting our art in the context of past history, present living, and vision for the future. In this quest we present traditional ballets based on classic stories revered for centuries, such as Coppelia and Cinderella; and contemporary ballets by artists who are living, working, and creating everyday, such as our jazz program Indigo In Motion and the premiers we have done to the music of Sting, Bruce Springsteen, and Paul Simon. In this way we propel our art into the future, creating new classics that subsequent generations will call traditional. It is necessary to see and experience both, past and present. It enhances our life and stirs new ideas. We have to experience where we came from in order to develop a clear vision of where we want to go. -
Official Bio : Roger Salloom
roger salloom Official Bio :Roger Salloom Roger Salloom started his life and career Intrigued with Nashville, Roger spent sev- in Worcester where he first studied banjo eral years with artists including Guy at 13 years old. He was influenced then Clark, Rodney Crowell and Richard Dob- by Pete Seeger, Bob Dylan, Geoff Muldaur, bins all of whom were a support team for Woody Guthrie, Sonny Boy Williamson, each other all the time honing their writ- Jimmy Reed, and the singing brakeman, ing skills. Jimmy Rodgers and the Kingston Trio. Roger returned to San Francisco where At 19 he was opening for Jose Feliciano. he was sponsored as a songwriter by the In 1975, he immortalized the town in what former manager of Creedence Clearwater the New York Times called, “his own ver- Revival, Jake Rohrer, and CCR’s former sion of Springsteen’s ‘Born to Run,’ called bass player, Stu Cook. ‘Gotta Get Out of Worcester.’ “ Roger left California and settled into Roger went to Indiana University in Northampton, Massachusetts in 1980 to Bloomington in 1966. He chose his major raise his children as a single father. In by walking around the campus trying to 1983 he released a recording on the local feel the “vibes” of the various buildings. label, Yellow Plum Records, a recording There and in San Francisco he found his which became a Billboard Top Album Pick poetic self and started to truly take his and garnered heavy airplay on some of the song writing seriously. most influential stations in the northeast, the exclusive area of its release. -
Appropriations of Gregorian Chant in Fin-De-Siècle French Opera: Couleur Locale – Message-Opera – Allusion?
Journal of the Royal Musical Association, 145/1, 37–74 doi:10.1017/rma.2020.7 Appropriations of Gregorian Chant in Fin-de-siècle French Opera: Couleur locale – Message-Opera – Allusion? BENEDIKT LESSMANN Abstract This article compares three French operas from the fin de siècle with regard to their appropriation of Gregorian chant, examining their different ideological and dramaturgical impli- cations. In Alfred Bruneau’s Le rêve (1891), the use of plainchant, more or less in literal quotation and an accurate context, has often been interpreted as naturalistic. By treating sacred music as a world of its own, Bruneau refers to the French idea of Gregorian chant as ‘other’ music. In Vincent d’Indy’s L’étranger (1903), a quotation of Ubi caritas does not serve as an occasional illustration, but becomes essential as part of the leitmotif structure, thus functioning as the focal point of a religious message. Jules Massenet’s Le jongleur de Notre-Dame (1902) provides a third way of using music associated with history and Catholicism. In this collage of styles, plainchant is not quoted literally, but rather alluded to, offering in this ambiguity a mildly anti-clerical satire. Thus, through an exchange, or rather through a bizarre and unfortunate reversal, church music in the theatre is more ecclesiastical than in the church itself. Camille Bellaigue1 In an article in the Revue des deux mondes of 1904, the French critic Camille Bellaigue described the incorporation of church music into contemporary opera, referring to anticipated examples by Meyerbeer and Gounod; to works less well known today, such as Lalo’s Le roi d’Ys (which quotes the Te Deum); and also (quite extensively) to Wagner’s Parsifal, the ‘masterpiece […] or the miracle of theatrical art that is not only Email: [email protected] I am grateful to Stefan Keym for his support and advice with my doctoral studies and beyond. -
(“You Love Opera: We'll Go Twice a Week”), Des Grieux Promise
MANON AT THE OPERA: FROM PRÉVOST’S MANON LESCAUT TO AUBER’S MANON LESCAUT AND MASSENET’S MANON VINCENT GIROUD “Vous aimez l’Opéra: nous irons deux fois la semaine” (“You love opera: we’ll go twice a week”), Des Grieux promises Manon in Histoire du Chevalier des Grieux et de Manon Lescaut, as the lovers make plans for their life at Chaillot following their first reconciliation.1 Opera, in turn, has loved Manon, since there exist at least eight operatic versions of the Abbé Prévost’s masterpiece – a record for a modern classic.2 Quickly written in late 1730 and early 1731, the Histoire du Chevalier des Grieux et de Manon Lescaut first appeared in Amsterdam as Volume VII of Prévost’s long novel Mémoires d’un homme de qualité.3 An instantaneous success, it went 1 Abbé Prévost, Histoire du Chevalier des Grieux et de Manon Lescaut, ed. Frédéric Deloffre and Raymond Picard, Paris: Garnier frères, 1965, 49-50. 2 They are, in chronological order: La courtisane vertueuse, comédie mȇlée d’ariettes four Acts (1772), libretto attributed to César Ribié (1755?-1830?), music from various sources; William Michael Balfe, The Maid of Artois, grand opera in three Acts (1836), libretto by Alfred Bunn; Daniel-François-Esprit Auber, Manon Lescaut, opéra comique in three Acts (1856), libretto by Eugène Scribe; Richard Kleinmichel, Manon, oder das Schloss de l’Orme, romantic-comic opera in four Acts (1887), libretto by Elise Levi; Jules Massenet, Manon, opéra comique in five Acts and six tableaux (1884), libretto by Henri Meilhac and Philippe Gille; Giacomo Puccini, Manon Lescaut, lyrical drama in four Acts (1893), libretto by Domenico Oliva, Giulio Ricordi, Luigi Illica, Giuseppe Giacosa, and Marco Praga; and Hans Werner Henze, Boulevard Solitude, lyric drama in seven Scenes (1951), libretto by Grete Weil on a scenario by Walter Jockisch.