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An Index to Alan Ansen's the Table Talk of W. H. Auden Edited By
An Index to Alan Ansen’s The Table Talk of W. H. Auden Edited by Nicholas Jenkins Index Compiled by Jacek Niecko A Supplement to The W. H. Auden Society Newsletter Number 20 • June 2000 Jacek Niecko is at work on a volume of conversations and interviews with W. H. Auden. Adams, Donald James 68, 115 Christmas Day 1941 letter to Aeschylus Chester Kallman 105 Oresteia 74 Collected Poems (1976) 103, 105, Akenside, Mark 53 106, 108, 109, 110, 111, 112, Amiel, Henri-Frédéric 25 114, 116, 118 Andrewes, Lancelot 75 Collected Poetry 108 Meditations 75 Dark Valley, The 104 Sermons 75 Dog Beneath the Skin, The 51, 112 Aneirin Dyer’s Hand, The xiii, 100, 109, 111 Y Gododdin 108 “Easily, my dear, you move, easily Ann Arbor, Michigan 20, 107 your head” 106 Ansen, Alan ix-xiv, 103, 105, 112, 115, Enemies of a Bishop, The 22, 107 117 English Auden, The 103, 106, 108, Aquinas, Saint Thomas 33, 36 110, 112, 115, 118 Argo 54 Forewords and Afterwords 116 Aristophanes For the Time Being 3, 104 Birds, The 74 Fronny, The 51, 112 Clouds, The 74 “Greeks and Us, The” 116 Frogs, The 74 “Guilty Vicarage, The” 111 Aristotle 33, 75, 84 “Hammerfest” 106 Metaphysics 74 “Happy New Year, A” 118 Physics 74 “I Like It Cold” 115 Arnason Jon “In Memory of W.B. Yeats” xv, 70 Icelandic Legends 1 “In Search of Dracula” 106 Arnold, Matthew xv, 20, 107 “In Sickness and In Health” 106 Asquith, Herbert Henry 108 “In the Year of My Youth” 112 Athens, Greece 100 “Ironic Hero, The” 118 Atlantic 95 Journey to a War 105 Auden, Constance Rosalie Bicknell “Law Like Love” 70, 115 (Auden’s mother) 3, 104 Letter to Lord Byron 55, 103, 106, Auden, Wystan Hugh ix-xv, 19, 51, 99, 112 100, 103-119 “Malverns, The” 52, 112 “A.E. -
Copyright by Jonathon N. Anderson 2019
Copyright by Jonathon N. Anderson 2019 GENRE AND AUDIENCE RECEPTION IN THE RAKE’S PROGRESS by Jonathon N. Anderson, BM THESIS Presented to the Faculty of The University of Houston-Clear Lake In Partial Fulfillment Of the Requirements For the Degree MASTER OF ARTS in Literature THE UNIVERSITY OF HOUSTON-CLEAR LAKE MAY, 2019 GENRE AND AUDIENCE RECEPTION IN THE RAKE’S PROGRESS by Jonathon N. Anderson APPROVED BY __________________________________________ David D. Day, J.D., Ph.D., Chair __________________________________________ Craig H. White, Ph.D., Committee Member RECEIVED/APPROVED BY THE COLLEGE OF HUMAN SCIENCES AND HUMANITIES: Samuel Gladden, Ph.D., Associate Dean __________________________________________ Rick J. Short, Ph.D., Dean Acknowledgements To Drs. White and Day, I offer my gratitude for your willingness to let me follow tangents and guesses throughout my graduate career. Dr. White, your generous indulgence, encouragement, and patient guidance helped me refine my fuzzy hunches to clearly articulated ideas. Dr. Day, your depth of knowledge on, enthusiasm for, and sense of humor with medieval works brings them to life and illuminates their continued relevance. I appreciate the priority both of you place on the excitement conjured by texts ancient and modern. To my parents, I offer my gratitude for maintaining a house strewn with interesting books waiting to be discovered. Mom, I appreciate all our late-night conversations about whatever random volume I happened to be curious about at the time. Dad, I hope I’m making good on the lifetime of blind confidence in my abilities you’ve given me. To Peg and Ed, the best in-laws anybody could ask for, thank you for your inspiration and advice. -
FY19 Annual Report View Report
Annual Report 2018–19 3 Introduction 5 Metropolitan Opera Board of Directors 6 Season Repertory and Events 14 Artist Roster 16 The Financial Results 20 Our Patrons On the cover: Yannick Nézet-Séguin takes a bow after his first official performance as Jeanette Lerman-Neubauer Music Director PHOTO: JONATHAN TICHLER / MET OPERA 2 Introduction The 2018–19 season was a historic one for the Metropolitan Opera. Not only did the company present more than 200 exiting performances, but we also welcomed Yannick Nézet-Séguin as the Met’s new Jeanette Lerman- Neubauer Music Director. Maestro Nézet-Séguin is only the third conductor to hold the title of Music Director since the company’s founding in 1883. I am also happy to report that the 2018–19 season marked the fifth year running in which the company’s finances were balanced or very nearly so, as we recorded a very small deficit of less than 1% of expenses. The season opened with the premiere of a new staging of Saint-Saëns’s epic Samson et Dalila and also included three other new productions, as well as three exhilarating full cycles of Wagner’s Ring and a full slate of 18 revivals. The Live in HD series of cinema transmissions brought opera to audiences around the world for the 13th season, with ten broadcasts reaching more than two million people. Combined earned revenue for the Met (box office, media, and presentations) totaled $121 million. As in past seasons, total paid attendance for the season in the opera house was 75%. The new productions in the 2018–19 season were the work of three distinguished directors, two having had previous successes at the Met and one making his company debut. -
First Name Initial Last Name
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository Sarah E. Fass. An Analysis of the Holdings of W.H. Auden Monographs at the University of North Carolina at Chapel Hill’s Rare Book Collection. A Master’s Paper for the M.S. in L.S. degree. April, 2006. 56 pages. Advisor: Charles B. McNamara This paper is an analysis of the monographic works by noted twentieth-century poet W.H. Auden held by the Rare Book Collection (RBC) at the University of North Carolina at Chapel Hill. It includes a biographical sketch as well as information about a substantial gift of Auden materials made to the RBC by Robert P. Rushmore in 1998. The bulk of the paper is a bibliographical list that has been annotated with in-depth condition reports for all Auden monographs held by the RBC. The paper concludes with a detailed desiderata list and recommendations for the future development of the RBC’s Auden collection. Headings: Auden, W. H. (Wystan Hugh), 1907-1973 – Bibliography Special collections – Collection development University of North Carolina at Chapel Hill. Rare Book Collection. AN ANALYSIS OF THE HOLDINGS OF W.H. AUDEN MONOGRAPHS AT THE UNIVERSITY OF NORTH CAROLINA AT CHAPEL HILL’S RARE BOOK COLLECTION by Sarah E. Fass A Master’s paper submitted to the faculty of the School of Information and Library Science of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Science in Library Science. -
Press Release Central City Opera Announces Casting
PRESS RELEASE FOR IMMEDIATE RELEASE: CONTACT: Valerie Hamlin, PR/Communications Director Dec. 11, 2006 303-292-6500, ext. 108; [email protected] CENTRAL CITY OPERA ANNOUNCES CASTING FOR 75TH ANNIVERSARY 2007 FESTIVAL LA TRAVIATA /POET LI BAI-World Premiere/ CINDERELLA/THE SAINT OF BLEECKER STREET 2007 Festival Features Four Operas with World Renowned Artists *=Central City Opera Debut Denver, Colo.— The artists have been selected for Central City Opera’s (CCO) historic 2007 75th Anniversary Festival. This monumental year is celebrated with the world premiere of Chinese opera, Poet Li Bai, presented in partnership with the Asian Performing Arts of Colorado as a special offering with only six performances. The company’s regular 2007 festival season features three new productions, including Verdi’s La Traviata, Massenet’s Cinderella and Menotti’s The Saint of Bleecker Street. Four operas will be presented in one festival for the first time in the history of Central City Opera during the 2007 Festival, which runs June 30 through Aug. 19 at the Central City Opera House in Central City, CO. “As we celebrate a landmark anniversary for Central City Opera, we are proud to showcase some of the best artists from around the globe,” states General/Artistic Director Pelham G. Pearce. “The high caliber of singers, designers and directors we have contracted for 2007 is a testament to how far this company has come in its 75 years and to the direction we are going in the future.” La Traviata (June 30 – Aug. 12) – The 2007 Festival opens with Verdi’s popular Italian opera about a young courtesan stricken with consumption and her tumultuous love affair with a nobleman in Paris. -
Otello Synopsis
ConduCtor giuseppe verdi Yannick Nézet-Séguin PRODUCtIon Bartlett Sher otello SEt dESIGnEr october 17, 2015 Es Devlin CoStuME dESIGnEr Catherine Zuber ACT 1 Cyprus, late 19th century. During a storm, the people of Cassio mentions an unknown admirer’s gift and produces the CominG soon LIGHtInG dESIGnEr Cyprus await the return of their governor and general of the telltale handkerchief—in fact planted by Iago in his room. Otello Donald Holder Venetian fleet, the Moor Otello. He has been fighting the Mus- is shattered and vows that he will kill his wife. Iago promises to Wagner lim Turks and guides his victorious navy to safe harbor. In his deal with Cassio. Tannhäuser PROJECtIon dESIGnEr absence, the young Venetian Roderigo has arrived in Cyprus and oCt 31 Luke Halls fallen in love with Otello’s new wife, Desdemona. Otello’s ensign A delegation from Venice arrives to recall Otello home and to appoint Cassio as the new governor of Cyprus. At this news, Berg LIVE IN HD HoSt Iago, who secretly hates the governor for promoting the officer Otello loses control, hurling insults at Desdemona in front of Lulu Eric Owens Cassio over him, promises Roderigo to help win her. While the citizens celebrate their governor’s return, Iago launches his plan the crowd. He orders everyone away and finally collapses in a NOV 21 LIVE IN HD Director to ruin Otello. Knowing that Cassio gets drunk easily, Iago pro- seizure. As the Cypriots are heard from outside praising Otello Gary Halvarson as the “Lion of Venice,” Iago gloats over him, “Behold the Lion!” Mozart poses a toast. -
Houston Grand Opera's 2017–18 Season Features Long-Awaited Return of Strauss's Elektra
Season Update: Houston Grand Opera’s 2017–18 Season Features Long-Awaited Return of Strauss’s Elektra and Bellini’s Norma, World Premiere of Ricky Ian Gordon/Royce Vavrek’s The House without a Christmas Tree, First Major American Opera House Presentation of Bernstein’sWest Side Story Company’s six-year multidisciplinary Seeking the Human Spirit initiative begins with opening production of La traviata Updated July 2017. Please discard previous 2017–18 season information. Houston, July 28, 2017— Houston Grand Opera expands its commitment to broadening the audience for opera with a 2017–18 season that includes the first presentations of Leonard Bernstein’s classic musical West Side Story by a major American opera house and the world premiere of composer Ricky Ian Gordon and librettist Royce Vavrek’s holiday opera The House without a Christmas Tree. HGO will present its first performances in a quarter century of two iconic works: Richard Strauss’s revenge-filled Elektra with virtuoso soprano Christine Goerke in the tempestuous title role and 2016 Richard Tucker Award–winner and HGO Studio alumna Tamara Wilson in her role debut as Chrysothemis, under the baton of HGO Artistic and Music Director Patrick Summers; and Bellini’s grand-scale tragedy Norma showcasing the role debut of stellar dramatic soprano Liudmyla Monastyrska in the notoriously difficult title role, with 2015 Tucker winner and HGO Studio alumna Jamie Barton as Adalgisa. The company will revive its production of Handel’s Julius Caesar set in 1930s Hollywood, featuring the role debuts of star countertenor Anthony Roth Costanzo (HGO’s 2017–18 Lynn Wyatt Great Artist) and Houston favorite and HGO Studio alumna soprano Heidi Stober as Caesar and Cleopatra, respectively, also conducted by Maestro Summers; and Rossini’s ever-popular comedy, The Barber of Seville, with a cast that includes the eagerly anticipated return of HGO Studio alumnus Eric Owens, Musical America’s 2017 Vocalist of the Year, as Don Basilio. -
Houston Grand Opera's Tosca Returns This May in Free Outdoor
Houston Grand Opera’s Tosca Returns this May in Free Outdoor Performances HGO to revive 2015–16 production at Miller Outdoor Theatre and The Cynthia Woods Mitchell Pavilion Houston, April 20, 2016— Houston Grand Opera (HGO) will present performances of Puccini’s beloved opera Tosca at Miller Outdoor Theatre on Friday, May 20, and Saturday, May 21, at 8 p.m., and at The Cynthia Woods Mitchell Pavilion in The Woodlands on Friday, May 27, at 8 p.m. Tosca, a co-production of HGO and Lyric Opera of Chicago, tells a dramatic tale of devotion and deceit set in Rome during one of history’s most turbulent times. HGO’s performances on the two stages offer free admission and access for new and returning audiences to experience the acclaimed production, which the company presented in its downtown home to full houses earlier this season. In HGO’s May presentations of the classic opera, soprano Kelly Kaduce will sing the role of the tragic heroine Floria Tosca, alongside HGO Studio alumnus Chad Shelton in the tenor role of Mario Cavaradossi. Baritone and Houston native Weston Hurt portrays the ruthless Baron Scarpia. This fully staged production was directed during HGO’s 2015–16 season by John Caird and will be revived by director Omer Ben Seadia. The opera will feature sets and costumes designed by Bunny Christie, and musical direction by HGO Head of Music Staff Bradley Moore, with the Houston Grand Opera Orchestra, Chorus, and Children’s Chorus. “HGO’s annual performances at Miller Outdoor Theatre and The Cynthia Woods Mitchell Pavilion are always high points in our season,” notes HGO Managing Director Perryn Leech. -
And Return of Cruzar La Cara De La Luna (May 17, 19, 20) at HGO Resilience Theater
Houston Grand Opera presents Bernstein’s West Side Story (April 20–May 6), Bellini’sNorma (April 27–May 11), and return of Cruzar la Cara de la Luna (May 17, 19, 20) at HGO Resilience Theater World’s first mariachi opera returns after New York triumph Houston, January 29, 2018— Houston Grand Opera (HGO) will present the first major American opera house production of Leonard Bernstein’s landmark musical West Side Story, April 20–May 6, and Bellini’s vocal powerhouse Norma, April 27–May 11, in the HGO Resilence Theater at the George R. Brown Convention Center. HGO will also bring back its popular groundbreaking production of the world’s first mariachi opera, Cruzar la Cara de la Luna/To Cross the Face of the Moon, for three special performances on May 17, 19, and 20, also in Resilience Theater. Composed by José “Pepe” Martínez with libretto by Leonard Foglia, the powerful story chronicling three generations of a family divided by countries and cultures has been performed to audience and critical acclaim all over the United States, in Paris, and in Mexico. It received rave reviews at its New York premiere at New York City Opera. Tickets for these productions at the HGO Resilience Theater in the George R. Brown Convention Center are available at HGO.org. Parking is available at the Avenida North Garage located at 1815 Rusk 1 Street, across from Resilience Theater. A sky bridge connects the parking garage to the GRB, and there is clear signage directing patrons to the theater. More information about parking can be found here. -
CHAD SHELTON, Tenor
CHAD SHELTON, tenor Opera News praises tenor Chad Shelton for one of his trademark roles, claiming that his “Don José was the dramatic heart of this production; this was a performance that grew in complexity as he struggled to recon- cile the forces of loyalty, lust and fate. Shelton owned the final scene, as his character descended into despair fueled by psychotic obsession. His bright tone amplified the intensity of the last gripping moments.” In the 2016-17 season, he makes returns to the Grand Théâtre de Genève for his first performances of Sir Edgar Aubry in Der Vampyr and Houston Grand Opera to reprise Chairman Mao in Adams’ Nixon in China and sings Don Jose in Carmen on tour in Japan as a guest artist of the Seiji Ozawa Music Academy Opera Project. He also sings his first perfor- mances of Mahler’s Das Lied von der Erde with the Phoenix Symphony and returns to the roster of the Metropolitan Opera for its production of Cyrano de Bergerac. Last season, he retured to Houston Grand Opera for Cavardossi in Tosca and to create the role of Charles II in the world premiere of Carlisle Floyd’s Prince of Players. He made his Metropolitan Opera debut as Rodrigo in a new production of Otello and also joined the company for Elektra in addition to returning to one of his most fre- quently performed roles, Alfredo in La traviata, with Pensacola Opera. He has joined the Opéra National de Lorraine numerous times, including for the title role of Idomeneo, Giasone in Cherubini’s Medea, Don Jose in Carmen, Jack in Gerald Barry’s The Importance of Being Earnest, Lysander in A Midsummer Night’s Dream, Guido Bardi in Eine floren- tinische Tragödie, Lechmere in Owen Wingrave, Tamino in Die Zauber- flöte, and the title role of Candide. -
Notes Toward Three Recitals by Daniel R. Mcgrew a Dissertation
Notes Toward Three Recitals by Daniel R. McGrew A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts (Music: Performance) in the University of Michigan 2020 Doctoral Committee: Professor Freda Herseth, Chair Professor Colleen Conway Professor Martin Katz Associate Professor Scott Piper Associate Professor Gregory Wakefield Daniel R. McGrew [email protected] ORCID iD: 0000-0002-6985-8027 © Daniel R. McGrew 2020 DEDICATION For my grandmother, Marie Trenschel, who taught me how to listen. And how not to. ii ACKNOWLEDGMENTS I am hugely indebted to the members of my doctoral committee for their support and inexhaustible patience throughout this extended process. My committee chair and voice teacher, Professor Freda Herseth, has been an important source of encouragement and guidance; the earnest curiosity she brings to her teaching is, unmistakably, an extension of her own imaginative musicianship and artistic integrity—hers is an example to which I have and will continue to aspire. My dear mentor, Professor Martin Katz, has been a singular source of advocacy and inspiration—I am grateful to consider him partner, teacher, and friend. Each of my collaborators has given so generously (even bravely) of their time and talent. Unending thanks to: John Etsell, in whom intelligence and creativity are uncommonly matched; Evan Hines, who wields more musical warmth and purity than I could ever properly complement; Professor Katz, a poet at the keyboard, whose collaboration makes me more the musician I hope to be; and Eric Sedgwick whose musical depth and poise have set for me an important precedent. -
The Cambridge Companion to W. H. Auden Edited by Stan Smith Frontmatter More Information
Cambridge University Press 0521829623 - The Cambridge Companion to W. H. Auden Edited by Stan Smith Frontmatter More information The Cambridge Companion to W. H. Auden This volume brings together specially commissioned essays by some of the world’s leading experts on the life and work of W. H. Auden, one of the major English-speaking poets of the twentieth century. The volume’s contributors include a prize-winning poet, Auden’s literary executor and editor, and his most recent, widely acclaimed biographer. It offers fresh perspectives on his work from new and established Auden critics, alongside the views of specialists from such diverse fields as drama, ecological and travel studies. It provides scholars, students and general readers with a comprehensive and authoritative account of Auden’s life and works in clear and accessible English. Besides providing authoritative accounts of the key moments and dominant themes of his poetic development, the Companion examines his language, style and formal innovation, his prose and critical writing and his ideas about sexuality, religion, psychoanalysis, politics, landscape, ecology and globalisation. It also contains a comprehensive bibliography of writings about Auden. © Cambridge University Press www.cambridge.org Cambridge University Press 0521829623 - The Cambridge Companion to W. H. Auden Edited by Stan Smith Frontmatter More information THE CAMBRIDGE COMPANION TO W. H. AUDEN EDITED BY STAN SMITH © Cambridge University Press www.cambridge.org Cambridge University Press 0521829623 - The Cambridge