Messiah Libretto by Charles Jennens
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
12-04-2018 Traviata Eve.Indd
GIUSEPPE VERDI la traviata conductor Opera in three acts Yannick Nézet-Séguin Libretto by Francesco Maria Piave, production Michael Mayer based on the play La Dame aux Camélias by Alexandre Dumas fils set designer Christine Jones Tuesday, December 4, 2018 costume designer 8:00–11:00 PM Susan Hilferty lighting designer New Production Premiere Kevin Adams choreographer Lorin Latarro DEBUT The production of La Traviata was made possible by a generous gift from The Paiko Foundation Major additional funding for this production was received from Mercedes T. Bass, Mr. and Mrs. Paul M. Montrone, and Rolex general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON The 1,012th Metropolitan Opera performance of GIUSEPPE VERDI’S la traviata conductor Yannick Nézet-Séguin in order of vocal appearance violet ta valéry annina Diana Damrau Maria Zifchak flor a bervoix giuseppe Kirstin Chávez Marco Antonio Jordão the marquis d’obigny giorgio germont Jeongcheol Cha Quinn Kelsey baron douphol a messenger Dwayne Croft* Ross Benoliel dr. grenvil Kevin Short germont’s daughter Selin Sahbazoglu gastone solo dancers Scott Scully Garen Scribner This performance Martha Nichols is being broadcast live on Metropolitan alfredo germont Opera Radio on Juan Diego Flórez SiriusXM channel 75 and streamed at metopera.org. Tuesday, December 4, 2018, 8:00–11:00PM MARTY SOHL / MET OPERA Diana Damrau Chorus Master Donald Palumbo as Violetta and Musical Preparation John Keenan, Yelena Kurdina, Juan Diego Flórez Liora Maurer, and Jonathan -
ELIJAH, Op. 70 (1846) Libretto: Julius Schubring English Translation
ELIJAH, Op. 70 (1846) Libretto: Julius Schubring Felix Mendelssohn-Bartholdy (1809-1847) English Translation: William Bartholomew PART ONE The Biblical tale of Elijah dates from c. 800 BCE. "In fact I imagined Elijah as a real prophet The core narrative is found in the Book of Kings through and through, of the kind we could (I and II), with minor references elsewhere in really do with today: Strong, zealous and, yes, the Hebrew Bible. The Haggadah supplements even bad-tempered, angry and brooding — in the scriptural account with a number of colorful contrast to the riff-raff, whether of the court or legends about the prophet’s life and works. the people, and indeed in contrast to almost the After Moses, Abraham and David, Elijah is the whole world — and yet borne aloft as if on Old Testament character mentioned most in the angels' wings." – Felix Mendelssohn, 1838 (letter New Testament. The Qu’uran also numbers to Julius Schubring, Elijah’s librettist) Elijah (Ilyas) among the major prophets of Islam. Elijah’s name is commonly translated to mean “Yahweh is my God.” PROLOGUE: Elijah’s Curse Introduction: Recitative — Elijah Elijah materializes before Ahab, king of the Four dark-hued chords spring out of nowhere, As God the Lord of Israel liveth, before Israelites, to deliver a bitter curse: Three years of grippingly setting the stage for confrontation.1 whom I stand: There shall not be dew drought as punishment for the apostasy of Ahab With the opening sentence, Mendelssohn nor rain these years, but according to and his court. The prophet’s appearance is a introduces two major musical motives that will my word. -
The Magic Flute
The Magic Flute PRODUCTION INFORMATION Music: Wolfgang Amadeus Mozart Text (English): Emanuel Schikaneder English Translation: J.D. McClatchy World Premiere: Vienna, Theater auf der Wieden Austria, September 30, 1791 Final Dress Rehearsal Date: Friday, December 13, 2013 Note: the following times are approximate 10:30am – 12:30pm Cast: Pamina Heidi Stober Queen of the Night Albina Shagimuratova Tamino Alek Shrader Papageno Nathan Gunn Speaker Shenyang Sarastro Eric Owens Production Team: Conductor Jane Glover Production Julie Taymor Set Designer George Tsypin Costume Designer Julie Taymor Lighting Designer Donald Holder Puppet Designers Julie Taymor and Michael Curry Choreographer Mark Dendy 2 Table of Contents Production Information 2 An Introduction to Pathways for Understanding Study Materials 4 Meet the Characters 5 The Story of The Magic Flute Synopsis 6 Guiding Questions 8 The History of Mozart’s The Magic Flute 10 Guided Listening Overture 12 I’m sure that there could never be 13 Such loveliness beyond compare 14 Don’t be afraid, now hear my song 15 The wrath of hell is burning in my bosom 16 Now I know that love can vanish 17 If only I could meet her 18 Pa-pa-ge-na! – Pa-pa-ge-no! 19 The Magic Flute Resources About the Composer 20 The Enlightenment & Singspiel 22 Online Resources 25 Additional Resources The Emergence of Opera 26 Metropolitan Opera Facts 30 Reflections after the Opera 32 A Guide to Voice Parts and Families of the Orchestra 33 Glossary 34 References Works Consulted 38 3 An Introduction to Pathways for Understanding Study Materials The goal of Pathways for Understanding materials is to provide multiple “pathways” for learning about a specific opera as well as the operatic art form, and to allow teachers to create lessons that work best for their particular teaching style, subject area, and class of students. -
Western Culture Has Roots in Ancient
24 11. Statement: These musical/theatrical genres needed an interest in ancient Greek drama in order for opera to Chapter 14 come to life. The Invention of Opera 12. What were the two views of music in ancient Greek tragedy? 1. [307] What is the etymology of the word opera? Give a Only the choruses were sung (Andrea Gabrieli, 1585, Oedipus definition. Rex); the play was sung throughout (Girolamo Mei) Italian for work; a drama with continuous, or nearly continuous, music that is staged with scenery, costumes, 13. (310) What were Mei's conclusions? and action Single melody sung by a soloist or chorus with or without accompaniment. The melody (register, rhythms, tempo) 2. Do the same for libretto. could have a powerful effect on the listener Italian for little book; usually a play in rhymed or unrhymed verse 14. What was the Florentine camerata? Who were its members? 3. What are the two viewpoints of opera's origin? Circle or association (an academy); Bardi, Galilei, Caccini, 1. Recreate ancient Greek tragedy (a drama, sung throughout, (Peri) in which music conveys the emotional effects) 2. Blend of existing genres (plays, theatrical spectacles, dance, 15. What was Galilei's published work? madrigals, and solo song) Dialogo della musica antica et della moderna, 1581. Polyphony can't accurately represent the emotional 4. List briefly the distant precedents. meaning of text; word painting and such were childish Choruses and principal lyric speeches in the plays of Euripides and Sophocles were sung; liturgical plays; Renaissance 16. What genre resulted? Definition, please. plays often had songs or offstage music Monody; accompanied solo singing 5. -
Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue. -
A Comparative Analysis of Three Works by Michael Colgrass, Joseph Schwantner and Ross Lee Finney
University of Dayton eCommons Honors Theses University Honors Program Spring 4-2014 Story Telling: A Comparative Analysis of Three Works by Michael Colgrass, Joseph Schwantner and Ross Lee Finney Erick C. Von Sas University of Dayton Follow this and additional works at: https://ecommons.udayton.edu/uhp_theses Part of the Music Commons eCommons Citation Von Sas, Erick C., "Story Telling: A Comparative Analysis of Three Works by Michael Colgrass, Joseph Schwantner and Ross Lee Finney" (2014). Honors Theses. 5. https://ecommons.udayton.edu/uhp_theses/5 This Honors Thesis is brought to you for free and open access by the University Honors Program at eCommons. It has been accepted for inclusion in Honors Theses by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Story Telling: A Comparative Analysis of Three Works by Michael Colgrass, Joseph Schwantner and Ross Lee Finney Honors Thesis Erick C. Von Sas Department: Music Advisor: Patrick Reynolds, Ph.D., Associate Professor of Music April, 2014 Story Telling: A Comparative Analysis of Three Works by Michael Colgrass, Joseph Schwantner and Ross Lee Finney Honors Thesis Erick C. Von Sas Department: Music Advisor: Dr. Patrick Reynolds, Associate Professor of Music April, 2014 Abstract This research project examines music by twentieth-century American composers Michael Colgrass, Joseph Schwantner, and Ross Lee Finney in order to compare how different composers present an aural conception to their audience through the wind ensemble medium. An aural conception is the subject upon which the music is commenting; sight (subject) through sound. The study includes an analysis of soundscapes- collections of sounds that form an acoustic representation of an action or object- in works created by Colgrass, Schwantner, and Finney. -
COURSE DESCRIPTION (C Group) Course Volume Course Course Valid Course Group in ECTS Course Valid to Reg
COURSE DESCRIPTION (C group) Course volume Course Course valid Course group in ECTS Course valid to Reg. No. code since credits DAI5034 C 6 ECTS 2015 03 26 Course type (compulsory or optional) Compulsory Course level (study cycle) Graduate (MA program) Semester the course is delivered 2 (of 4) Study form (face-to-face or distant) Face-to-face Course title in Lithuanian MUZIKINIŲ SPEKTAKLIŲ PRAKTIKA II Course title in English PERFORMANCE OF MUSICAL THEATRE GENRES II Short course annotation in Lithuanian Muzikinių spektaklių praktika – studijų krypties dalykas, skirtas operos dainininko gebėjimų ugdymui. Jo studijos trunka keturis semestrus, kurių metu plečiamos ir gilinamos žinios apie operos, operetės ar miuziklo žanro muziką, analizuojamas muzikinis tekstas, lavinami meniniai įgūdžiai, atliekamas įvairių muzikos stilių bei sceninių žanrų repertuaras. Studijų metu įgyjama sceninė patirtis, ugdoma menininko – kūrėjo asmenybė. Tai yra 2 lygis iš 4 Short course annotation in English Performance of musical theatre genres is a study subject, designed for the development of the abilities of an opera singer. The course takes up four semesters, during which opera, operetta and musical genre‘ knowledge is expanded and deepened, musical text is analyzed, artistic skills are developed, repertoire of various musical styles is formed and performed. During the studies, stage experience is gained, artistic personality is developed. This is level 2 of 4. Prerequisites for entering the course The student must pass Performance of musical theatre genres I course and pass its exam Aim of the course The aim of the course is to perform opera’ vocal numbers, parts (aria, arioso, cavatina, rondo, monologue, recitative and so on), analyze stage circumstances, stage atmosphere, stage act, interpret characters in musical and stage aspects. -
1 1. the First Generation of the Second Bel Canto School of Italian Opera
1. The first generation of the second Bel Canto School of Italian opera lasted from 1811-1829 and was established by Gioacchino Rossini (1792-1868). Following the operatically stagnant period between 1790-1810, Rossini, like his predecessors, continued to use “secco” recitative to carry out the action in Opera Seria and Opera Buffa. Rossini’s old yet new again style involving secco recitative and other innovative internal operatic forms, led to the adoption of the label “Code Rossini”, most palpable in two of his first masterpieces: 1813’s Tancredi and L’Italiana in Algeri, the former opera seria and the latter opera buffa. Though Rossini’s style and methods, like any great composer, evolved and changed over time, common forms in his opera, especially the earlier ones, exist in a unified manner. A primary Rossinian development is the drama placed into the kinetic sections between roles in a duet. Unlike some of his predecessors’ operas, Rossini’s opera’s duets do not involve a plot change or even much emotional transformation. Rather, characters unleash their feelings at each other in an explosive, emotional manner, leading to no resolution or change in mindset; stagnant as far as plot development, but rich in unbridled passion via their interaction. Thus, Rossini elevated the role of a duet to a more dramatic highlight and de rigeur operatic tool, albeit relinquishing the dryer job of simply transmitting information to further carry out the changing synopsis. Known as “The Grand Duet,” it generally has a Scena for an introduction, in which a range of moods and tempi occur in recitative (unrhymed verse alternating between 7 and 11 syllable lines) and harmony is unstable. -
The Increasing Expressivities in Slow Movements of Beethoven's Piano
The Increasing Expressivities in Slow Movements of Beethoven’s Piano Sonatas: Op. 2 No. 2, Op. 13, Op. 53, Op. 57, Op. 101 and Op. 110 Li-Cheng Hung A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2019 Reading Committee: Robin McCabe, Chair Craig Sheppard Carole Terry Program Authorized to Offer Degree: School of Music ©Copyright 2019 Li-Cheng Hung University of Washington Abstract The Increasing Expressivities in Slow Movements of Beethoven’s Piano Sonatas: Op. 2 No. 2, Op. 13, Op. 53, Op. 57, Op. 101 and Op. 110 Li-Cheng Hung Chair of the Supervisory Committee: Dr. Robin McCabe School of Music Ludwig van Beethoven’s influential status is not only seen in the keyboard literature but also in the entire music world. The thirty-two piano sonatas are especially representative of his unique and creative compositional style. Instead of analyzing the structure and the format of each piece, this thesis aims to show the evolution of the increasing expressivity of Beethoven’s music vocabulary in the selected slow movements, including character markings, the arrangements of movements, and the characters of each piece. It will focus mainly on these selected slow movements and relate this evolution to changes in his life to provide an insight into Beethoven himself. The six selected slow movements, Op. 2 No. 2, Op.13 Pathétique, Op. 53 Waldstein, Op. 57 Appassionata, Op. 101 and Op. 110 display Beethoven’s compositional style, ranging from the early period, middle period and late period. -
6. Vocal Forms
! ! ! ! ! ! VOCAL FORMS VOCAL FORMS CANTATA (“ Sung Piece”) MOTET Concerto (“To Work Together”) Concertato (“To Get/Dispute Together”) ORATORIO (“Oratory”) VOCAL FORMS CANTATA (“ Sung Piece”) VOCAL FORMS CANTATA (“ Sung Piece”) Sections of: Recitative Aria Arioso VOCAL FORMS CANTATA = MINI OPERA Sections of: Recitative Aria Arioso VOCAL FORMS Barbara STROZZI (1619-1677) VOCAL FORMS Barbara Strozzi VOCAL FORMS Barbara STROZZI (1619-1677) Born in Florence Lived in Venice Studied with Cavalli Supported by father, Giulio Strozzi Published over 100 works VOCAL FORMS Barbara STROZZI “Lagrime mie” Diporti di Euterpe (1659) [The Pleasures of Euterpe] EUTERPE is the Muse of Music and Lyric Poetry VOCAL FORMS “Lagrime mie ” Solo Voice and Basso Continuo Recitative I Arioso Bel Canto Aria Ia Recitative Ia Strophic Aria (2 strophes) Recitative Bel Canto Aria Ib VOCAL FORMS MOTET A Sacred Non-liturgical Piece VOCAL FORMS MOTET Prima pratica polyphony continued to be used throughout the seventeenth century. Pure stile antico, exemplified by Palestrina’s style, carried associations of tradition and sanctity. VOCAL FORMS MOTET Over time, basso continuo was added to these motets and the style was updated. VOCAL FORMS MOTET Concerto = Motet with B.C. Concertato = Voices and Instruments VOCAL FORMS MOTET Concertare = “To Work or Dispute Together” VOCAL FORMS LARGE-SCALE CONCERTO VOCAL FORMS LARGE-SCALE CONCERTO For major feast days at large churches Many voices and instruments, sometimes in cori spezzati (divided choirs) Used for settings of Vespers, psalms, and movements of the mass VOCAL FORMS Giovanni Gabrieli VOCAL FORMS LARGE-SCALE CONCERTO Giovanni GABRIELI Nephew of Andrea Gabrieli VOCAL FORMS LARGE-SCALE CONCERTO Giovanni GABRIELI “In ecclesiis” (pub. -
"Mad Scenes" in Nineteenth Century Opera. Charlotte Fakier Pipes Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1990 A Study of Six Selected Coloratura Soprano "Mad Scenes" in Nineteenth Century Opera. Charlotte Fakier Pipes Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Pipes, Charlotte Fakier, "A Study of Six Selected Coloratura Soprano "Mad Scenes" in Nineteenth Century Opera." (1990). LSU Historical Dissertations and Theses. 5087. https://digitalcommons.lsu.edu/gradschool_disstheses/5087 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. -
Program Notes © 2020
23 Season 2019-2020 Friday, February 7, at 2:00 The Philadelphia Orchestra Karina Canellakis Conductor Emanuel Ax Piano Di Castri Lineage Beethoven Piano Concerto No. 3 in C minor, Op. 37 I. Allegro con brio II. Largo III. Rondo: Allegro—Presto Intermission Lutosławski Concerto for Orchestra I. Intrada II. Capriccio, notturno, ed arioso III. Passacaglia, toccata, e corale This program runs approximately 1 hour, 50 minutes. This concert is part of The Philadelphia Orchestra’s WomenNOW and BeethovenNOW celebrations. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. 24 Please join us following tonight’s concert for a free Chamber Postlude featuring members of The Philadelphia Orchestra and special guests. Beethoven Quintet in E-flat major, Op. 16, for piano and winds I. Grave—Allegro ma non troppo II. Andante cantabile III. Rondo: Allegro ma non troppo Emanuel Ax Piano Richard Woodhams Oboe Ricardo Morales Clarinet Daniel Matsukawa Bassoon Jennifer Montone Horn 25 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra community centers, the Mann Through concerts, tours, is one of the world’s Center to Penn’s Landing, residencies, and recordings, preeminent orchestras. classrooms to hospitals, and the Orchestra is a global It strives to share the over the airwaves and online. ambassador. It performs transformative power of The Orchestra continues annually at Carnegie Hall, music with the widest to discover new and the Saratoga Performing possible audience, and to inventive ways to nurture its Arts Center, and the Bravo! create joy, connection, and relationship with loyal patrons.