DOCSLIB.ORG

695,Stanislaw-Jopek.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
695,Stanislaw-Jopek.Pdf National Folk Song and Dance Ensemble Mazowsze https://www.mazowsze.waw.pl/en/stanislaw-jopek-vocal-c/stanislaw-jopek/695,Stanislaw-Jopek.html 2021-09-28, 03:33 Stanisław Jopek Stanisław Jopek was born in 1935, in Lviv. Legend has it that he StanisławStanisław JopekJopek was born on stage. In fact, there is a grain of truth in this story... Stanisław Jopek was born in 1935, in Lviv. Legend has it that he was born on stage. In fact, there is a grain of truth in this story. In the years before World War II, the people of Lviv were famous for their passion for singing and performing. They were known as people of generous hearts, gifted with numerous talents, a sense of humor, and cheerfulness. The Jopek family members sang, too, both when they still lived in Lviv, and after the post-war repatriation, when the family moved to Kościerzyce in Lower Silesia. “I think smiling has been ingrained in my DNA. I was born and raised in our joyful Lviv. I was a cheerful Lviv batiar [a spontaneous Lviv street singer]. Then, when I was with Mazowsze, I was constantly reminded to keep a smile on my face. Folklore is pure joy, and you just can't dance and sing if you don't have that joy inside your heart. I think I do have it, and that it defines my whole life,” he said in an interview for Dziennik Zachodni on February 21, 2003. Stanisław Jopek was famous for his unique voice – a tenor with a touch of baritone. He was gifted with a great talent and stage charisma. However, the audiences admired not only the timbre of his voice – they were also delighted with the mastery of his performance. Singing in 36 languages With Mazowsze, Stanisław Jopek traveled all over the world. He visited over 100 countries, for example China, Japan, Argentina, Egypt, France, and Great Britain. Wherever he appeared, he inspired admiration and love. In New York City, he met Artur Rubinstein, Jan Kiepura, and Marta Eggerth. He was invited to an audition by the Metropolitan Opera’s director. In Paris, as he confided in an interview, he was approached and offered a job by the director of the Moulin Rouge. During his foreign trips, he made friends with the popular French actor, Robert Hossein, and he met generals Władysław Anders and Tadeusz Bór- Komorowski in London. As Super Express reports on October 27, 2000, “The most unusual meeting, according to Stanisław Jopek, was the one with North Korean leader Kim Il Sung. Why? 'As souvenirs, he gave us . Omega watches with personalized inscriptions,' explained Jopek.” The song that changed his life After the post-war expulsion from Lviv, Stanisław Jopek attended two schools at the same time – a school of commerce and a music school in Brzeg Dolny. His talent and skills were quickly noticed by the headmistress of the music school, Eugenia Kryńska, who encouraged him to join the folk ensemble Skolimów. During auditions in 1952, Jopek delighted the jury and was accepted into the ensemble. As its member, he gained the basics of musical education and began dreaming about a career as an opera singer. He studied under the supervision of professionals - Professor Jerzy Sergiusz Adamczewski, Prof. Feliks Rudomski, Prof. Jan Trybus, and Prof. Zofia Brégy. During one of the concerts, he was spotted by one of the creators of Mazowsze - Mira Zimińska- Sygietyńska. She invited him to join the ensemble, but Jopek was not convinced. At the time, he preferred classical music to folklore. “The decision came with the song (it was probably 'Cyt, cyt' ['Shh, Shh']), sung by Mazowsze choir during a rehearsal. I was delighted not only with the sound, but also how each of the words was distinct and clear. I thought that no opera choir would sing like that,” he said later. However, the decision might have never been taken but for Mira's persistence and shrewdness, as well as a simple coincidence – Stanisław Jopek was going to be incorporated into the army. “Mira Zimińska- Sygietyńska, who had previously seen me on stage, asked if I wanted to serve on the Polish border, or go with Mazowsze to London. I chose London [...]” he said in an interview for Lublin's Gazeta Wyborcza on January 6, 2003. In 1956, Stanisław Jopek started to perform as Mazowsze's soloist, and since then he sang with the ensemble at every concert, until his retirement. He sang in 36 languages, including Chinese, Japanese, Finnish, and Arabic, mostly the most popular folk songs of a given country. His repertoire also included arias from operas, as well as songs by Chopin and Moniuszko and Polish Christmas carols. “No other country has such beautiful carols as Poland,” he said in an interview given to Trybuna on November 22, 2005. Although he could, he did not emigrate when martial law in Poland was declared in 1981. He did not take the opportunity to settle in Canada, where his parents lived. Stanisław Jopek: "The First Carter of Poland" Jopek sang his signature song, 'Furman' ['The Carter'], from the first days of his time with Mazowsze. The song was presented in London for the first time, a few weeks after he joined the group. “I thought I'd sing it for a year, maybe two, and it turned out that I've been doing it all my life. Wherever I go, the audience demands 'Furman' and this is amazing, because I have a lot of other songs in the repertoire, over fifty, some of them are really fantastic, and yet I always have to to sing ’Furman’,” emphasized the artist. 'Furman' brought Jopek fame in Poland and abroad. Its melody was taken by Sygietyński from the collection of Polish folk songs compiled by the 19th century etnographer and folklorist Oskar Kolberg. The lyrics are eleven stanzas of strident satire on Poles, the authories, the economy, etc. Stanisław Jopek sometimes wondered if the censorship would accept the lyrics of 'Furman' and he usually sang only three stanzas. But when the audience demanded more, he didn’t refrain. As he was singing, with more spirit, he was reminded of his childhood, when he used to run a team of horses. He would imagine he was that boy again, urging the horses to go faster, so that they wouldn't be caught by his father, who didn't allow him to drive. The horse does not ask or demand, but its hooves are really hard, And when it bucks, at times the hooves might reach the farmer. Hey ho, let's go! 'Furman' always caused thunderous applause. The song accompanied Polish history in difficult moments, for instance in 1956, 1968, 1970, 1981, and 1989. The authorities came and went, but Stanisław Jopek was irreplaceable. Nobody ever took the song away from him, no one even tried to sing as a substitute. Music above all And what about his private life? He met his future wife Mariola Stankiewicz in Mazowsze. Stanisław Jopek is the father of the well known singer Anna Maria Jopek. He sang Christmas carols in a duet with her, including 'Jezus malusieńki' ['Little Baby Jesus'] and 'Witaj gwiazdo złota' ['Welcome Golden Star']. As Anna Maria Jopek says, their family home recognized a very specific hierarchy of values. It is accurately illustrated in the anecdote told by the artist's daughter in one of the interviews. One day, she was studying for a biology test. “My father entered and said 'Let's go and see Carmen at the opera house.' I replied that I had a test the next day and I needed to study biology. 'I am sure Carmen will delight you, and you will always remember it, unlike tomorrow's test,' dad said. Indeed, the singer didn't remember what the test was about, but she remembered Carmen for life. As a father, Jopek wanted to be sure that his children would receive a thorough musical education. He wanted Anna Maria to be a pianist. She graduated from the Fryderyk Chopin University of Music in the Piano Departament, but she decided to follow the footsteps of her father and became a singer. Stanisław Jopek's other daughter, Patrycja, is an outstanding violinist. Stanisław Jopek used to say he was a lucky man, and Mazowsze was the best university of music and the best school of his life. Here he met the two women who had the greatest impact on his life - Mariola Stankiewicz, who became his wife, and Mira Zimińska-Sygietyńska, who, as he emphasized, had taught him humbleness towards music and art. 'In my youth, I dreamed of performing for the opera, at least once. But although I was trained for the opera, if I were to choose today, I would choose folklore again,' he said on the occasion of his 50th artistic anniversary. Mira Zimińska-Sygietyńska also taught Jopek respect for the audience. What advice did she give him? “ 'No matter if it's New York City or Radom, sing as if you were to sing for the last time, and God gave you the opportunity to do it.' It was my credo,” he admitted in an interview. An abundance of awards Stanisław Jopek received numerous awards. Among them, he received the Arion statuette, awarded by ZASP [Polish Stage Artists Association] to the best singers, and the title of “Outstanding Folklore Singer”, also from ZASP. For outstanding merit and spreading of national culture in Poland and abroad, he was also awarded several state orders, for example the Gold Cross of Merit, the Order of Polonia Restituta Fifth Class – the Knight's Cross, the Order of Polonia Restituta Fourth Class – the Officer's Cross, and the Order of Polonia Restituta Third Class – the Commander's Cross.
Load more

Recommended publications
  • VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item
    VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just the slightest marks. For collectors searching top copies, you’ve come to the right place! The further we get from the time of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually with a translation of the text or similarly related comments. BESSIE ABOTT [s]. Riverdale, NY, 1878-New York, 1919. Following the death of her father which left her family penniless, Bessie and her sister Jessie (born Pickens) formed a vaudeville sister vocal act, accompanying themselves on banjo and guitar. Upon the recommendation of Jean de Reszke, who heard them by chance, Bessie began operatic training with Frida Ashforth. She subsequently studied with de Reszke him- self and appeared with him at the Paris Opéra, making her debut as Gounod’s Juliette.
    [Show full text]
  • German Operetta on Broadway and in the West End, 1900–1940
    Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds.
    [Show full text]
  • Harvard Historical Studies • 173
    HARVARD HISTORICAL STUDIES • 173 Published under the auspices of the Department of History from the income of the Paul Revere Frothingham Bequest Robert Louis Stroock Fund Henry Warren Torrey Fund Brought to you by | provisional account Unauthenticated Download Date | 4/11/15 12:32 PM Brought to you by | provisional account Unauthenticated Download Date | 4/11/15 12:32 PM WILLIAM JAY RISCH The Ukrainian West Culture and the Fate of Empire in Soviet Lviv HARVARD UNIVERSITY PRESS Cambridge, Massachusetts London, En gland 2011 Brought to you by | provisional account Unauthenticated Download Date | 4/11/15 12:32 PM Copyright © 2011 by the President and Fellows of Harvard College All rights reserved Printed in the United States of America Library of Congress Cataloging- in- Publication Data Risch, William Jay. The Ukrainian West : culture and the fate of empire in Soviet Lviv / William Jay Risch. p. cm.—(Harvard historical studies ; 173) Includes bibliographical references and index. I S B N 9 7 8 - 0 - 6 7 4 - 0 5 0 0 1 - 3 ( a l k . p a p e r ) 1 . L ’ v i v ( U k r a i n e ) — H i s t o r y — 2 0 t h c e n t u r y . 2 . L ’ v i v ( U k r a i n e ) — P o l i t i c s a n d government— 20th century. 3. L’viv (Ukraine)— Social conditions— 20th century 4. Nationalism— Ukraine—L’viv—History—20th century. 5. Ethnicity— Ukraine—L’viv— History—20th century.
    [Show full text]
  • Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
    (De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification.
    [Show full text]
  • ARSC Journal
    HISTORICAL VOCAL RECORDINGS ROSSINI: Le Comte Ory. Michel Roux, basso (Robert); Jeannette Sinclair, soprano (Alice); Juan Oncina, tenor (Count Ory); Monica Sinclair, con­ tralto (Ragonde); Ian Wallace, baritone (The Governor); Cora Canne­ Meijer, mezzo-soprano (Isolier); Sari Barabas, soprano (Countess Adele); Dermot Troy, tenor (A Young Nobleman); The Glyndebourne Festival Or­ chestra and Chorus; Vittorio Gui, conductor. EMI RLS 744. "The delicious Comte Ory," wrote Chorley in 1854, "has, with all the beauty of its music, never been a favorite anywhere. Even in the theater for which it was written, the Grand Oplra of Paris, where it still keeps its place - when Cinti-Damoreau was the heroine - giving to the music all the playfulness, finish, and sweetness which could possibly be given - the work was heard with but a tranquil pleasure ••• " He goes on to blame the libretto (by Scribe and Delaistre-Poirson) which in its day was indeed rather shocking, with Count Ory's "gang" gaining admission, disguised as nuns, to the castle of the Countess he is pursuing - male voices and all! The opera was rediscovered in the 1950's and enjoyed a real success at Glyndebourne in 1954. The recording was made two years later. The New York City Opera finally got around to Le Comte Ory a year or so ago. There are several obvious reasons for the neglect of this gem of an opera. Though the score is full of delights there is no Largo al facto­ tum or Una voce poco fa. The arias are brilliant but not sure fire. It is not a vehicle; the soprano and tenor roles call for virtuosity of a high order, but this is an ensemble opera and no one can take over the spotlight.
    [Show full text]
  • Ukrainian Literature
    UKRAINIAN LITERATURE A Journal of Translations Volume 3 2011 Ukrainian Literature A Journal of Translations Editor Maxim Tarnawsky Manuscript Editor Uliana Pasicznyk Editorial Board Taras Koznarsky, Askold Melnyczuk, Michael M. Naydan, Marko Pavlyshyn www.UkrainianLiterature.org Ukrainian Literature is published by the Shevchenko Scientific Society, Inc., 63 Fourth Avenue, New York, NY 10003, U.S.A. (tel.) 212–254–5130; (fax) 212–254–5239. Ukrainian Literature publishes translations into English of works of Ukrainian literature. The journal appears triennially both on the internet (www.UkrainianLiterature.org) and in a print edition. A mirror of the internet edition appears at www.shevchenko.org/Ukr_Lit. Ukrainian Literature welcomes submissions from translators. Translators who wish to submit translations for consideration should contact the editor by e-mail at [email protected]. Correspondence relating to subscriptions and the distribution of the printed journal should be addressed to the publisher (Shevchenko Scientific Society, Inc., 63 Fourth Avenue, New York, NY 10003, U.S.A.; tel.: 212–254–5130; fax: 212–254–5239). In matters relating to the content of the journal, its editorial policies, or to the internet version, please contact the editor by e- mail at [email protected]. ISSN 1552-5880 (online edition) ISSN 1552-5872 (print edition) Publication of this volume was made possible by a grant from the Ivan and Elizabeth Chlopecky Fund of the Shevchenko Scientific Society (USA). Copyright © Shevchenko Scientific Society,
    [Show full text]
  • New Look Bukovel
    Maps Events Restaurants Cafés Nightlife Sightseeing Shopping Hotels Lviv February - March 2014 New Look In Your Pocket gets a makeover Bukovel The best Ukrainian Ski inyourpocket.com resort N°19 Contents ESSENTIAL CIT Y GUIDES Arrival & Getting around 6 Getting to the city, car rentals and transport Eternal symbol of the city of lions The Basics 8 What to see 33 All you’d better know while in Lviv Essential sights, museums, and famous churches Bukovel 10 Where to stay 40 The best Ukrainian ski resort Lviv accommodation options Culture & Events 12 Shopping 44 Ukraine’s cultural capital Where to spend some money Eat 16 Directory 45 The selection of the best restaurants in the city Medical tourism, lifestyle and business connections Cafes 26 Maps & Index Our choice from dozens of cafes around Lviv City centre map 47 Drink & Party 28 City map 48 City’s best bars, pubs & clubs Street index 50 Country map 51 facebook.com/LvivInYourPocket February - March 2014 3 Foreword Foreword Lviv is probably the most tourist friendly city in Ukraine! Here hospitality is not only a local tradition, but it is the COVER STORY IN YOUR POCKET MOBILE main business of the whole city. The local authorities and inhabitants seem to go out of their way to make Lviv In Your Pocket is proud to In Your Pocket is now available on all smartphones your stay in Lviv unforgettable. give its readers a brand new de- via our responsive mobile platform, found at Publisher Lviv is a city with much to offer, a city of unique old- ESSENTIAL sign.
    [Show full text]
  • Sacred Places in Lviv – Their Changing Significance and Functions
    PrACE GEOGrAFICznE, zeszyt 137 Instytut Geografii i Gospodarki Przestrzennej UJ Kraków 2014, 91 – 114 doi : 10.4467/20833113PG.14.011.2156 Sacred placeS in lviv – their changing Significance and functionS Małgorzata Flaga Abstract : In the paper, issues of a multitude of functions of sacred places in Lviv are considered. The problem is presented on the example of selected religious sites that were established in distinct periods of the development of the city and refers to different religious denomina- tions. At present, various functions are mixing in the sacred complexes of Lviv. The author tries to formulate some general conclusions concerning their contemporary role and leading types of activity. These findings are based, most of all, on analyses of the facts related to the history of Lviv, circumstances of its foundation, various transformations, and modern func- tions of the selected sites. Keywords : Lviv, Western Ukraine, religious diversity, functions of religious sites introduction Lviv, located in the western part of Ukraine, is a city with an incredibly rich his- tory and tradition. It was founded in an area considered to be a kind of political, ethnic and religious borderland. For centuries the influence of different cultures, ethnic and religious groups met there and the city often witnessed momentous historical events affecting the political situation in this part of Europe. The com- munity of the thriving city was a remarkable mosaic of nationalities and religious denominations from the very beginning. On the one hand, these were representa- tives of the Latin West ( first – Catholics, later on – Protestants ), on the other hand – the Byzantine East.
    [Show full text]
  • Seredacv2017.Pdf
    Ostap SEREDA Date of birth: 4 October 1970 Permanent address: Place of birth: L’viv, Ukraine vul. S.Bandery, 35/3a, L’viv, 79013 Ukraine e-mail [email protected] [email protected] Citizen of Ukraine Married to Viktoriya Sereda EDUCATION: Degree programs: Central European University, Department of History (Budapest, Hungary). Ph.D. Summa Cum Laude, 2003; M.A., 1995. Ivan Franko State University of L’viv, Specialist in History. Diploma with honors, 1993. Non-degree/exchange programs: York University (Canada), 1991-1992. PROFESSIONAL EXPERIENCE: Associate Professor (2016-present), Head of Department (2015-2016), Department of Modern and Contemporary Ukrainian History, Ukrainian Catholic University (L’viv); 2015- present. Recurrent Visiting Professor, Department of History, Central European University, September-December 2012; September-December 2013; January-March 2016; January- March 2017. Acting Head (2013-2015), Senior Research Fellow (2011-2013), Research Fellow (2004- 2010), Junior Research Fellow (1994-2004), Department of Modern History, Ivan Krypiakevych Institute of Ukrainian Studies (L’viv) of the National Academy of Sciences of Ukraine; 1994-2015. Visiting Lecturer, Division of Humanities, Macquarie University (Sydney, Australia), August-September 2003. Assistant Professor, Department of Modern Ukrainian History, Ivan Franko State/National University of L’viv, 1996–2002. Courses taught at the University level (selected): “Society, Culture and Identities in Eastern European Borderlands in the Long Nineteenth Century” “Intelligentsia and Peasantry in Modern East European History: Social Processes and Cultural Constructions (19th-20th Centuries)” “City and Nationalism in Eastern and Central Europe (1848-1939)” “History of the Habsburg Empire” “Modern History of Ukraine” “Theories of Nationalism” PROJECTS' DIRECTOR: “Towards a New Cultural History of Eastern and Central Europe.
    [Show full text]
  • The Merry Widow
    the Merry widow SPARKLE AND SEDUCTION Renée Fleming stars in Susan Stroman’s sumptuous new production of Lehár’s The Merry Widow, a romance for grown-ups set against a glittering Belle Époque backdrop. By eric myers hen Franz Lehár’s The Merry Widow had its world premiere at Vienna’s Theater an der Wien on December 30, 1905, no one knew that it was ushering in the remarkable so-called “Silver Era” of Viennese oper- Wetta. Since the “Golden Era” of such 19th-century hits as Strauss’s The Gypsy Baron and Millöcker’s The Beggar Student, Sigmund Freud and Carl Jung had come to the fore, shaking up Europe’s attitudes toward sanity and sex. Vienna, newly clothed in the vines, tendrils, and flowing-haired maidens of Art Nouveau, had become a center of ideas and new artistic movements. There was no way that the popular young operetta composers of the day were going to remain unaffected. 46Renée | New Fleming Productio sings Nthes title role opposite Nathan Gunn. Photograph by Brigitte Lacombe New ProductioNs | 47 by enlisting him in the army, where, not surpris- power plays drive the story—but of course true ingly, Franz wound up playing in his father’s band. love conquers all.” At 20, he moved on to lead the Infantry Regiment Stroman too cites the operetta’s “sly romance Band in Hungary, becoming the youngest bandmas- and mistaken identity—the fun of it” as essential to ter in the Austro-Hungarian Empire. its ongoing allure, and she’s put together a remark- Before The Merry Widow, Lehár composed able creative team to bring out all the charm.
    [Show full text]
  • 10Intvocalc.Pdf
    JOHN ALLISON EDITOR OF “OPERA MAGAZINE” PIOTR BECZAŁA TENOR MICHAEL FICHTENHOLZ DIRECTOR OF OPERA, OPERNHAUS ZÜRICH JONATHAN FRIEND ARTISTIC ADMINISTRATOR, METROPOLITAN OPERA TOBIAS HASAN COORDINATING OPERA DIRECTOR, STAATSOPER UNTER DEN LINDEN BERLIN BORIS IGNATOV CASTING DIRECTOR, STAATSOPER STUTTGART PETER MARIO KATONA DIRECTOR OF CASTING, ROYAL OPERA HOUSE – COVENT GARDEN TEATR WIELKI - POLISH NATIONAL OPERA IZABELLA KŁOSIŃSKA CASTING DIRECTOR, WARSAW, POLAND TEATR WIELKI - POLISH NATIONAL OPERA GIANLUCA MACHEDA DIRECTOR OF GM ART&MUSIC PÅL CHRISTIAN MOE CASTING CONSULTANT, BAYERISCHE STAATSOPER AND GLYNDEBOURNE FESTIVAL OPERA NICHOLAS PAYNE DIRECTOR, OPERA EUROPA INTERNATIONAL JURY CONSISTING ALAIN PERROUX OF OUTSTANDING ARTISTS, ARTISTIC ADVISOR, FESTIVAL D’AIX-EN-PROVENCE DIRECTORS OF LEADING EWA PODLEŚ OPERA HOUSES AND AGENTS CONTRALTO EVAMARIA WIESER ARTISTIC ADMINISTRATOR, SALZBURGER FESTSPIELE AND EUROPEAN CASTING CONSULTANT, LYRIC OPERA OF CHICAGO PRIZES APPLICATIONS Attractive money prizes and professional Applications open from 1 September 2018 engagements. to 15 January 2019 Application form available at MAIN PRIZES: moniuszkocompetition.pl First Prize – 15 000 € Second Prize – 11 000 € NO APPLICATION FEE Third Prize – 9 000 € Registration fee: 100 EUR or 400 PLN Fourth Prize – 7 000 € – only for candidates admitted to the Fifth Prize – 5 000 € Competition, to be paid by 6 March 2019. Sixth Prize – 4 000 € AGE LIMIT Remaining Finalists – 2 000 € each Singers born between 6 May 1986 and 6 May 2001 The Maria Fołtyn Prize
    [Show full text]
  • The Making of Russian History: Society, Culture, and the Politics of Modern Russia
    7KH0DNLQJRI5XVVLDQ+LVWRU\ 6WHLQEHUJ-RKQ::DGH5H[$ 3XEOLVKHGE\6ODYLFD3XEOLVKHUV 6WHLQEHUJ-RKQ:DQG:DGH5H[$ 7KH0DNLQJRI5XVVLDQ+LVWRU\6RFLHW\&XOWXUH WKH3ROLWLFVRI0RGHUQ5XVVLD(VVD\VLQ +RQRURI$OODQ.:LOGPDQ %ORRPLQJWRQ6ODYLFD3XEOLVKHUV 3URMHFW086( :HE$SUKWWSPXVHMKXHGX For additional information about this book http://muse.jhu.edu/books/9780893578671 Access provided by New York University (20 Jul 2015 15:43 GMT) Lviv and the Collapse of the Soviet Union: Establishment Writers and Literary Politics on the Soviet Western Borderlands William Jay Risch The Soviet Union's collapse in 1991 led to a plethora of studies on the Soviet state's role in promoting an empire of nations, ones that employed the rhet­ oric and practices of the state to call for its dissolution. This article considers the Soviet western borderlands' contribution to its demise. Turning to the western Ukrainian city of Lviv, it suggests that late Soviet politics of empire integrated Western Ukrainians into one Soviet polity. In the late phases of Khrushchev's "Thaw," the literary journal of Lviv's Writers' Union, Zhovten (October), from 1964 to 1966 became a forum that accommodated local and national interests while adhering to an all-Soviet imperial canon. The dismiss­ al of its editor, poet Rostyslav Bratun', did not completely end the journal's approach to literary expression. Writers like Bratun' remained very active in the public sphere. Drawing on studies of the Soviet Union and other empires, this article rejects binary oppositions between state and society and between imperial centers and colonial peripheries. It sees the power of imperial imagi­ nations affecting regional and national identities1 It suggests instead that un­ resolved debates over issues like literature, language, and historical memory made these borderlands' integration very problematic.
    [Show full text]