DOCSLIB.ORG

University Philharmonic Orchestra

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
University Philharmonic Orchestra THE UNIVERSITY OF MISSOURJ-COLUMl3I A SCHOOL OF FINE ARTS DEPARTMENT OF MUSIC Event No. 16 in the 1996-97 Series UNIVERSITY PHILHARMONIC ORCHESTRA EbwaRb Dolbash1an. Music D1RectoR Wednesday, October 9, 1996 8:00p.m. Missouri Theatre 203 S. Ninth St. Columbia, MO The Conductor Edward Dolbashian, Director of Orchestral Activities at the Universit>7 of Missouri-Columbia, began his musical training as a student at New Yorks famed High School of the Performing Arts. Upon graduation, Mr. Dolbashian entered the Hartt College of Music, where he earned his bachelor of music and master of music degrees in oboe performance. Mr. Dolbashian's conducting career began when, during his tenure as oboist of the Hartford Symphony Orchestra, he accepted the directorship of the Holyoke (Massachusetts) Civic Orchestra. A desire to excel in the field of orchestral conducting took Mr. Dolbashian to the prestigious Pierre Monteux School of Orchestral Conducting in Mame, studying under Charles Bruck, and to Yale University, where he served as student conducting assistant to Otto-Werner Mueller en route to earning a master of music degree in orchestral conducting. Further studies took place at the Tanglewood Institute with Seiji Ozawa, Leonard Bernstein, Andre Previn, ancfGustav Meier, and at the Boris Goldovsky Opera Conducting Seminar. In addition to his duties as Director of Orchestral Activities, Mr. Dolbashian teaches a wide range of topics, including private instrumental and conducting study, performance practice, and music theory. He has recently instituted a master of music degree f)rogram in orchestral conducting, the curriculum of which centers around the Conducting Lab Orchestra. The Lab Orchestra allows conducting students to regularly experience actual• rehearsal situations-an unusual opportunity in conducting programs across the country-and also presents a large repertoire of standard literature to the members of the orchestra. Recently Mr. Dolbashian has taken on extra duties as Music Director and Conductor of the Alton Symphony in Alton, Illinois. ♦ Program Octet for Strings in E-flat major, Op. 20 Felix Mendelssohn I. Allegro moderato ma con fuoco ♦ Divinum Mysterium Thomas McKenney INTERMISSION Symphonic Dances from West Side Story Leonard Bernstein Prologue (Allegro moderato) "Somewhere" (Adagio) Scherzo (Vivace e leggiero) Mambo (Presto) Cha-Cha (Andantino con grazia) Meeting Scene (Meno mosso) "Cool-" Fugue (Allegretto) Rumble (Molto allegro) Finale (Adagio) ♦ Requests for accommodations related to disability need to be made to Dr. Alex Pickard, 213 Fine Arts Building, 882-7361, at least seven days in advance of the event. Host for this event is the Missouri Symphony Society, a private, community­ based non profit organization and owner of the Missouri Theatre Program Notes The Octet for Strings in E-flat major, Op. 20 was written in October of 1825, right before the composition of the acclaimed overture to A Midsummer Night's Dream, of 1826. Both compositions reveal a spontaneity of invention and a visionary sense of form which the composer only was able to recapture to a limited extent in some of his subsequent works. Most impressive is the fact that the Octet was finished when Mendelssohn was still four months short of his seventeenth birthday. The medium had been formerly explored by Louis Spohr in his double quartets, in which the two groups of strings were treated, for the most part, antiphonally. Although such procedure is used occasionally in the Octet, the writing is predominantly orchestral in texture, making it suitable to be performed by a full string orchestra. The composer himself originally prefaced the work with the following instructions: "This Octet must be played by all instruments in symphonic orchestral style. Pianos and fortes must be strictly observed and more strongly emphasized than usual in pieces of this character." The University Philharmonic performs tonight the first movement of Mendelssohn's Octet, Op. 20. Mendelssohn's double presentation of the first theme establishes a formal foundation for the expansive scope of the movement, which enables it to stand in its own right. ♦ Divinum Mysterium was commissioned by the Missouri Chapter of the American String Teachers Association for the 1996 Missouri All-State Orchestra. The premiere performance was given in January 1996, at the Missouri Music Educators Association All-State Festival Concert at Tan Tar-A. The title is from an 11th-century Sanctus trope. The music of this trope is used in various places in the orchestral work. W. Thomas Mckenney is professor of composition and theory at the University of Missouri-Columbia. He received his Ph.D. in composition from the Eastman School of Music, and his Bachelors and Masters degrees from the College-Conservatory of Music of the University of Cincinnati. His compositions have been performed in Europe, South America, China, and throughout the United States. In 1987, he was invited by the Ministry of Culture of the Peoples Republic of China to present a series of lectures on his use of lasers and electronic music. In addition to his work at the electronic music studio at MU, he has worked at Robert Moog's studio, the Stiftelson Elektronikmusik­ studion in Stockholm, Sweden, the Center for Experimental Music and Intermedia, at the University of North Texas, and the Center for Electroacoustic Music at the University of Missouri-Kansas City. ♦ The idea of a modern musical version of Shakespeare's Romeo and Juliet had always stirred Bernstein's imagination since it was first suggested to him by a friend in January of 1949. Because of his pressing commitments as a conductor, he had to postpone the project for seven years. Social circumstances changed during this period, and the original plot depicting a conflict between Jews and Catholics was replaced by a more updated dramatic setting which explored the ethnic tensions between two gangs on the West Side of New York City. The new musical possibilities deriving from such a change inspired Bernstein even more, as he recalls in his diary:· "Suddenly it all springs to life. I hear rhythms and pulses, and - most of all - I can sort of feel the form." And now these rhythms, and pulses, and forms are available to us. The numbers included in the Symphonic Dances were extracted from the original musical score with a few slight alterations, including a change in the order of presentation of some excerpts. Not even special transitions between movements have been worked out, making for some abrupt shifts. The designation "symphonic" refers not exactly to the instrumental texture, but rather to specific features of formal organization commonly found in symphonic music, such as thematic unity among movements, the employment of fugal procedures, and even the inclusion of a solo cadenza. The skillful mixture of Latin American rhythms, big-band jazz, 'cool' jive and ingenious melodies represent an impressive achievement which not only reveal the eclectic musical inclinations of the conductor/ composer, but also his energetic personality. Notes by Edson Carvalho and Thomas McKenney FRIENDS OF MUSIC The Friends of Music was formed in 1978 by a dedicated group of music lovers to increase scholarship funding for the department of Music. Since then, more than $667,000 has been contributed for music scholarships. In Spring 1996, Friends of Music provided over $35,000 for music scholarships during the 1996-97 academic year. The Friends of Music Scholarship Campaign has a goal of raising $46,000 to be used in attracting the most qualified performers to MU. Through the generous contributions of Friends of Music, contributors state tneir recognition of the importance of music and the programs of the Department of Music to the University. Their contributions make possible scholarships for talented young musicians and enrich the environment for the musical arts on campus and in Mid-Missouri. As a contributor to the Friends of Music you will receive: • The satisfaction of helping talented students receive a musical education at·MU while improving the quality of performing ensembles and the environment for music in Mia-Missouri • Advanced notice of ticket sales for the Department of Music opera productions • Announcements of music performances presented each term on campus by the Department of Music • Invitations to receptions held in conjunction with special events or performances given by the Department of Music • The Department of Music newsletter Music at Mizzou. • All donations are tax deductible to the extent allowed by law. If you are interested in becoming a member of Friends of Music, please call (573) 882-2605, or write to: Friends of Music Department of Music 140 Fine Arts Building University of Missouri Columbia, MO 65211 University Philharmonic Orchestra Edward Dolbashian, Music Director FIRST VIOLINS VIOLONCELLOS BASSOONS Dean Anderson Andrea Brown Anna Christ Tania Bargfrede Aimee Fine Toby Jewell Yoon Cho Sarah Sherman Keith Koster Lisa Collins Sandy Stansbury Trina Flint Alison Swartz HORNS Mandy Hapner Erin Tucker Heather Holland Lindsey Miller* Jamie Mires Robert Myers OOUBLE BASSES Edmond Thomas Sharyn Parks Tiffany Freeman Consuelo Valerio Adrienne St. Clair David Hall Michael Wunsch Yung-Yi Hsieh TRUMPETS Aaron Kerkhoff Geoffrey Leigh SECOND VIOLINS Jeremy Stanek Marilyn Beissenherz FLUTES Joshua Morrison Rebecca Berlin Elizabeth Ellsworth Amanda Chambers Jennifer Lloyd TROMBONES Marla Cichowski Laura Mertens ·. Tim Baker Bryan Elder Kathleen Sander Seth Merenbloom
Load more

Recommended publications
  • Daily Iowan (Iowa City, Iowa), 1969-12-06
    oil Seroirt~ the Uni"efsily of luwo Q/I{i the PeoplB of IOIJ)(J CiLl} Eslablishecf in JUGa 10 cenls 8 copy Associaled Press ),eased Wire and Wirepll(lto Jowa City. Iowa 5~turda)', December e, III6t Civili'ans Join My Lai Probe WASHINGTON IA'I - Two Ne\~ York Maj . Kenneth A. Raby, the young lieute· that there was no basis for disciplining ent Americal Division but went DO hi_ lawyers were assigned Friday to an nant was hustled into the Pentagon and any U.S. soldiers. in the chain of command. Army probe of investigative aspects of down to the Army's secret operatlons That conclusion, according to the Pen· Resor said MacCrate, 48, will be spIO I the alleged My Lai massacre, while the tagon, was reviewed by the unit's par- ial counsel to the Peers Inquiry. only man charged in the case underwent center shortly after noon. Pmtag<ln questioning. Newsmen tried to <l sk Calley questions, ~'irst Lt. William L. Calley Jr ., ac- bllt he lookpd straight ahead and said I cuoed of murdering 109 Vietnamese civ­ nothing. ilians, arrived tight·· lipped at the Penta­ Calley WilS luder of • plaloon Ihll Black Committee gon , where the Army hearing is being went into My Lai as part of I com piny 'st . a held . commanded by Capt. Ernelt Medinl. 1 The Army panel Is seoki ng to learn Medina told reporters Thursday he ne­ sl1 i,. t/ whether field oftic;ers tried to cover up Iny mass killings in their inilial invesli . ither ordered a massacre nor saw or To Be Appoi nted heard of one.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1961-1962
    BOSTON SYMPHONY ORCHESTRA. CHARLES MUNCH _* C^ivtk Dirtcier ttr THEATRE-CONCERT HALL — TANGLEWOOD Monday and Tuesday Evenings, August 7 and 8, 1961 The Opera Department and the Orchestra of the BERKSHIRE MUSIC CENTER PRESENT KING THEODORE IN VENICE (II Re Teodoro in Venezia) Opera in two acts and seven scenes Music by Giovanni Paisiello Libretto by Giambattista Casti English version by Arthur Schoep and Boris Goldovsky Conducted by Maurits Sillem Staged by . Boris Goldovsky and Arthur Schoep Settings & Lighting by ... Aristides Gazetas Costumes by Leo Van Witsen lillllllllllllllllllllllllllillllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllillllllllllllllllllllllllllllllllllllllll NOTE ON THE TANGLEWOOD PRODUCTION In the present production (which is very likely the first in the western hemisphere) all the orchestrally accompanied numbers will be heard in the original form and in the order given in Paisiello's original manuscript, a microfilm of which could fortunately be obtained from the composer's native city of Naples. The only major change is the substitution of spoken dialogue for the secco recitatives of the original version. The uninspired sequence of harmonies in these recitatives creates a strong suspicion that these sections of the score had been entrusted to one of Paisiello's pupils, a common practice in the eighteenth century when composers were expected to fashion full-length works on extremely short notice. Paisiello's score has many features of extraordinary interest. Especially remarkable are the two extended finales, the one to the first act being a worthy precursor of the great second-act finale of Mozart's The Marriage of Figaro. In this connection it is worth mentioning that Mozart was present at the first performance of King Theodore in Venice in Vienna and was obviously greatly impressed by the work.
    [Show full text]
  • TONI PASSMORE ANDERSON 209 Lincoln Lane Lagrange, GA 30240 (706) 880-8264 [email protected]
    TONI PASSMORE ANDERSON 209 Lincoln Lane LaGrange, GA 30240 (706) 880-8264 [email protected] EDUCATION: Georgia State University, Atlanta, Georgia Ph.D. in Higher Education, 1997 Dissertation Title: “The Fisk Jubilee Singers: Performing Ambassadors for the Survival of an American Treasure, 1871-1878" Courses in Music: Aesthetics of Music, Music Technology, Multicultural Music Education, Reference Materials and Research Methodology in Music New England Conservatory of Music, Boston, Massachusetts M.M. in Vocal Performance, May 1982 Voice with Susan Fisher Clickner; Opera with John Moriarty Lamar University, Beaumont, Texas B.M. in Music Education, May 1979 K-12 Certificate in State of Texas Other: Voice study with Susan Fisher Clickner, Irene Harrower, and Herald Stark; Coaching with Terry Decima, Maestro Rudolf Fellner, John Moriarty, James Gardner, Boris Goldovsky, Douglas Hines, John Douglas, Walter Huff. Vocal Master Classes with Eleanor Steber, Janice Harsanyi, Beverly Wolff. Four years of dance training (ballet, folk, movement for singers, jazz); eight years of private piano study. TEACHING AND ADMINISTRATIVE EXPERIENCE: LaGrange College, LaGrange, Georgia Fall 1999 - Present, Tenured Professor Chair, Music Program Co-Chair, Musical Theatre Program Musical Director/Conductor Courses Taught: Applied Voice; Diction for Singers; Opera Experience; Opera Survey; Music Survey; Interim Term travel experiences Morris Brown College, Atlanta, Georgia 1985-1999, Assistant Professor of Music Program Coordinator/Chair 1991; 1993-96 Tenured
    [Show full text]
  • BOMEME I Explain the Rave Reviews W\B.Iclb Top Male Soloists in the World To­ •.•
    ,".'. , . , , ' ,:..-,..'.--,--:" .--"~-":~, .. '.'" ," _. ..... .... p~eE~i~gh~t~ ____________________________________________~T~H~E~J~E~,W~IS~H~P~O~S~T~ ___________________________________Th~~==d=a=y~,~o~c_00_be_r __ 8~,_1~ __ Th~y, October 8, 1964 THB IBWISH POST Page Nine would be ludicrous to rank a de­ and the ~volutionary intricacies of tural Foundation. the GADNA pr0- PERETZ SCHOOL SLATES JUBILEE WINDUP Delegates NDmed to Convention veloping talent such as Rutherford's a Martha Graham, or a deliberate gram for Winnipeg is as follows: . Morantz, M. MoscovitC!h" s. B; Nitik- among them. attempt has been made to make Overture, "The Hebrides" man, W. H. Pitch, L S. Portnoy, As for the crown jewel label at­ the most rudimentary steps fiIt 1:he (Fingal's Cave), Opus 26 M. J. Rosenberg, D. Rothstein, S. tached to the Royal Winnipeg by a calibre of the weekest. It's not too __........ _._ ... _ Mendelssohn Sair, Abe Scllwartz, Andrew O. world authority, I simply cannot late for the Royal Ballet to benefit Symphony No.5 in C. minor, Scllwartz, Joseph Seeter, P. Sheps, understand it. As the evening wore by <llhe nightmarish experience of its Opus 67 ................'- .. __ Beethoven former manager George Coroneos, Rabbi P. Slinairson, Max Shore, on, I found myself ooncentrating Concerto for Violin and nOw with the Blue Bombers. The B. A. Shuckett, D. Slater, Dr. R. on the orcllestra to save myself the Orchestra _........ Joseph Kaminski Shrlar, H. Silverberg, M. J. Silver­ distress of observing a Coppelia pas most ocomplicated sequence of plays Modera1>o ' berg, A.
    [Show full text]
  • Central Opera Service Bulletin
    CENTRAL OPERA SERVICE BULLETIN WINTER, 1972 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center Plaza • Metropolitan Opera • New York, N.Y. 10023 • 799-3467 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Canter Plaza • Metropolitan Opera • New York, NX 10023 • 799.3467 CENTRAL OPERA SERVICE COMMITTEE ROBERT L. B. TOBIN, National Chairman GEORGE HOWERTON, National Co-Chairman National Council Directors MRS. AUGUST BELMONT MRS. FRANK W. BOWMAN MRS. TIMOTHY FISKE E. H. CORRIGAN, JR. CARROLL G. HARPER MRS. NORRIS DARRELL ELIHU M. HYNDMAN Professional Committee JULIUS RUDEL, Chairman New York City Opera KURT HERBERT ADLER MRS. LOUDON MEI.LEN San Francisco Opera Opera Soc. of Wash., D.C. VICTOR ALESSANDRO ELEMER NAGY San Antonio Symphony Ham College of Music ROBERT G. ANDERSON MME. ROSE PALMAI-TENSER Tulsa Opera Mobile Opera Guild WILFRED C. BAIN RUSSELL D. PATTERSON Indiana University Kansas City Lyric Theater ROBERT BAUSTIAN MRS. JOHN DEWITT PELTZ Santa Fe Opera Metropolitan Opera MORITZ BOMHARD JAN POPPER Kentucky Opera University of California, L.A. STANLEY CHAPPLE GLYNN ROSS University of Washington Seattle Opera EUGENE CONLEY GEORGE SCHICK No. Texas State Univ. Manhattan School of Music WALTER DUCLOUX MARK SCHUBART University of Texas Lincoln Center PETER PAUL FUCHS MRS. L. S. STEMMONS Louisiana State University Dallas Civic Opera ROBERT GAY LEONARD TREASH Northwestern University Eastman School of Music BORIS GOLDOVSKY LUCAS UNDERWOOD Goldovsky Opera Theatre University of the Pacific WALTER HERBERT GIDEON WALDKOh Houston & San Diego Opera Juilliard School of Music RICHARD KARP MRS. J. P. WALLACE Pittsburgh Opera Shreveport Civic Opera GLADYS MATHEW LUDWIG ZIRNER Community Opera University of Illinois See COS INSIDE INFORMATION on page seventeen for new officers and members of the Professional Committee.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1946
    TANGLEWOOD— LENOX, MASSACHUSETTS THE Berkshire Music Center SERGE KOUSSEVITZKY, Director presents " ! cc PETER GRIMES" 11 by BENJAMIN BRITTEN Tuesday Evening, August 6 Wednesday Evening, August 7 Friday Evening, August 9 IP •*• 1946 W' !.«.w,a'i STEINWiV Since the time of Liszt, the Steinway has consistently been, year after year, the medium chosen by an overwhelming number of concert artists to express their art. Eugene List, Mischa El man and William Kroll, soloists of this Berk- shire Festival, use the Steinway. Significantly enough, the younger artists, the Masters of tomorrow, entrust their future to this world-famous piano — they cannot afford otherwise to en- danger their artistic careers. The Stein- way is, and ever has been, the Glory Road of the Immortals. M. STEINERT & SONS CO. : 162 BOYLSTON ST., BOSTON Jerome F. Murphy, President • Also Worcester and Springfield THEATRE-CONCERT HALL TANGLEWOOD (Between Stockbridge and Lenox, Massachusetts) Berkshire Music Center . SERGE KOUSSEVITZKY, Director Season 1946 Program Bulletin with historical and descriptive notes by John N. Burk COPYRIGHT, 1946, BY BOSTON SYMPHONY ORCHESTRA, InC. The trustees of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Henry B. Sawyer Vice-President Richard C. Paine Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Jacob J. Kaplan Alvan T. Fuller Roger I. Lee Jerome D. Greene Bentley W. Warren N, Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott TANGLEWOOD ADVISORY COMMITTEE Allan J. Blau G. Churchill Francis George P. Clayson Lawrence K. Miller Bruce Crane James T. Owens Henry W. Dwight Lester Roberts George W. Edman Whitney S.
    [Show full text]
  • The Challenges of Opera Direction
    UNLV Retrospective Theses & Dissertations 1-1-2000 The challenges of opera direction Dean Frederick Lundquist University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Lundquist, Dean Frederick, "The challenges of opera direction" (2000). UNLV Retrospective Theses & Dissertations. 1167. http://dx.doi.org/10.25669/wzqe-ihk0 This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. 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, substarxfard 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.
    [Show full text]
  • Central Opera Service Bulletin
    CENTRAL OPERA SERVICE BULLETIN VOLUME 18, NUMBER 4 INDEX NEW OPERAS AND PREMIERES 1 MORE BICENTENNIAL OPERAS 1 POSTPONEMENTS AND CANCELLATIONS 3 AMERICAN PREMIERES 3 FOREIGN PREMIERES 4 NEW COMPANIES 6 OPERA ECONOMICS 7 OPERA COMPANIES: DEVELOPMENTS 9 NEW ARTS CENTERS 10 COS INSIDE INFORMATION 11 TRANSLATIONS 11 SETS AND COSTUMES FOR RENT 12 PERFORMANCE LISTING, 1975-76 conk 14 PERFORMANCE LISTING, Summer 1976 25 FIRST PERFORMANCE LISTING, 1976-77 33 ADDENDA TO 1976 DIRECTORY 45 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center • Metropolitan Opera • New York, N.Y. 10023 • (212) 799-3467 Sponsored by the Metropolitan Opera National Council Central Opera .Service • Lincoln Center • Metropolitan Opera • New York, N.Y, 10023 • (212) 799-3467 CENTRAL OPERA SERVICE COMMITTEE Founder MRS. AUGUST BELMONT Honorary National Chairman ROBERT L. B. TOBIN National Chairman EUHU M. HYNDMAN National Co-Chairmen MRS. NORRIS DARRELL GEORGE HOWERTON Professional Committee KURT HERBERT ADLER DAVID GOCKLEY San Francisco Opera Houston Grand Opera PETER HERMAN ADLER BORIS GOLDOVSKY American Opera Center Goldovsky Opera Theatre VICTOR ALESSANDRO RICHARD KARP San Antonio Symphony Pittsburgh Opera ROBERT G. ANDERSON JOHN M. LUDWIG Tulsa Opera Spring Opera, San Francisco WILFRED C. BAIN GLADYS MATHEW Community Opera Indiana University RUSSELL D. PATTERSON GRANT BEGLARIAN Kansas City Lyric Theater University of So. California MRS. JOHN DEWITT PELTZ MORITZ BOMHARD Metropolitan Opera Kentucky Opera Association JAN POPPER SARAH CALDWELL University of California, L. A. Opera Company of Boston GLYNN ROSS TITO CAPOBIANCO Seattle Opera Association San Diego Opera JULIUS RUDEL ROBERT J. COLLINGE New York City Opera Baltimore Opera Company GEORGE SCHICK JOHN CROSBY Manhattan School of Music Santa Fe Opera MARK SCHUBART WALTER DUCLOUX Lincoln Center University of Texas ROGER L.
    [Show full text]
  • A Contemporary Application of Boris Goldovsky's Method for Training the Operatic Singer-Actor
    A CONTEMPORARY APPLICATION OF BORIS GOLDOVSKY’S METHOD FOR TRAINING THE OPERATIC SINGER-ACTOR: A MODEL FOR TODAY’S UNIVERSITY OPERA WORKSHOP INSTRUCTOR Jennifer Glidden, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2014 APPROVED: Stephen Austin, Major Professor and chair of the Department of Vocal Studies Paula Homer, Committee Member Jeffery Snider, Committee Member Benjamin Brand, Director of Graduate Studies James Scott, Dean of the School of Music Mark Wardell, Dean of the Toulouse Graduate School Glidden, Jennifer. A Contemporary Application of Boris Goldovsky’s Method for Training the Operatic Singer-Actor: A Model for Today’s University Opera Workshop Instructor. Doctor of Musical Arts (Performance), December 2014, 142 pp., 9 tables, 20 musical examples, references, 75 titles. Throughout the twentieth century, Boris Goldovsky (1908-2001) played a significant role in training the operatic singer-actor. One of his most significant contributions was integrating music and drama. He taught his students how to develop a character, how to find dramatic clues in the music, and to become expressive artists free from monotonous operatic gestures and posturing. As author of the first textbook for training the operatic singer-actor, his curriculum was developed from experience, acting traditions, and mentor-student relationships. A new forum, Opera Workshop, allowed him to experiment and test his methods. Although Goldovsky is known to some scholars as the “Father of Training the Operatic Singer-Actor,” his presence in modern day training material is almost non-existent. How can we understand the needs of educating today’s operatic singer-actor without knowing the very foundation upon which it was built? This paper applies Goldovsky’s method of training to a staging and performance of Act II scene I from Humperdinck’s Hansel and Gretel.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 67, 1947-1948
    flft. S BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON 24 iQ ,^ ^ miiim H #i SIXTY-SEVENTH SEASON 1947-1948 Boston Symphony Orchestra [Sixty-seventh Season, 1947-1948] SERGE KOUSSEVITZKY, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL Violins Violas Bassoons Richard Burgin, Joseph de Pasquale Raymond Allard Concert-master Jean Cauhap6 Ernst Panenka Alfred Krips Georges Fourel Ralph Masters Gaston Elcus Eugen Lehner Rolland Contra -Bassoon Tapley Albert Bernard Norbert Lauga Emil Kornsand Boaz Piller George Zazofsky George Humphrey Horns Paul Cherkassky Louis Artieres Harry Dubbs Willem Valkenier Charles Van Wynbergen James Stagliano Vladimir Resnikoff Hans Werner Principals Joseph Leibovici Lipson Jerome Walter Macdonald Einar Hansen Siegfried Gerhard t Harold Meek Daniel Eisler Paul Keaney Norman Carol Violoncellos Osbourne McConathy Carlos Pinfield Jean Bedetti Harry Shapiro Paul Fedorovsky Mfred Zighera William Gebhaidt Harry Dickson Jacobus Langendoen Trumpets Minot Beale Mischa Nieland Frank Zecchino Hippolyte Droeghmanj Georges Mager Roger Voisin Karl Zeise Clarence KnudfOD Principals Josef Zimbler Pierre Mayer Bernard Parronchi Marcel Lafosse Manuel Zung Enrico Fabrizio Harry Herforth Samuel Diamond Leon Marjollet Ren6 Voisin Victor Manusevitch fames Nagy Trombones Jacob Raichman Leon Gorodetzky Flutes Lucien Hansotte Raphael Del Sortie Georges Laurent John Coffey James Pappoutsakii Melvin Bryant Josef Orosz John Murray Phillip Kaplan Tuba Lloyd Stonestreet Piccolo Vinal Smith Henri Erkelens George
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1961-1962
    TANGLEWOOD, LENOX, MASSACHUSETTS A GALA EVENING OF THE BERKSHIRE MUSIC CENTER Charles Munch, Director Thursdayj August IJj IQ6l For the Benefit of The Berkshire Music Center BALDWIN PIANO R.C.A. VICTOR RECORDS A GALA EVENING AT TANGLEWOOD Performances by the Berkshire Music Center PROGRAMS 4:00 OPERA THEATRE-CONCERT HALL The Opera Department : Boris Goldovsky, assisted by Robert K. Evans, Thomas Philips, Frederic Popper, Arthur Schoep, Felix Wolfes. IL CAMPANELLO (The Night Bell) Opera in One Act Text and Music by Gaetano Donizetti English Version by R. and A. Hilfreich Staged by Arthur Schoep Piano Accompaniment by Robert K. Evans Setting and Lighting by Paul Marantz CAST Don Annibale Pistacchio, an elderly druggist . David Clatworthy Serafina, his bride Jan Saxon Madame Rosa, her mother Joan Caplan Enrico, a rake Jerold Sien Spiridione, Don Annibale's servant ...... James Flannery Wedding Guests ......... Members of the Opera Department The opera takes place in Naples in the eighteenth century. Musical Preparation : Peggy Donovan, Robert Larsen Properties : Robert Larsen, James Flannery INTERMISSION ARLECCHINO Text and Music by Ferruccio Busoni English Version by M. and B. Hilfreich Staged by Boris Goldovsky Piano Accompaniment by Felix Wolfes CAST Matteo, a tailor Richard Golden Cospicuo, a lay brother Eugene Green Bombasto, a doctor Thomas Paul Arlecchino, a rake Anthony Addison Leandro, a singer Emary Mclver Annunziata, Matteo's wife Betty Heidema Colombina, Arlecchino's wife ....... Judi Turano Two warriors, a carter, a donkey Members of the Opera Department The opera takes place in Bergamo in the eighteenth century. Musical Preparation: Maurits Sillem Stage Management and Costume Supervision : Norman Womack Stage Crew : Nick Bellini, Kim Brandt — — 7:00 TANGLEWOOD CHOIR MAIN HOUSE PORCH Choral Department: Hugh Ross; Willis W.
    [Show full text]
  • [email protected] JEFFREY KAHANE to RETURN
    FOR IMMEDIATE RELEASE April 21, 2015 Contact: Katherine E. Johnson (212) 875-5718; [email protected] JEFFREY KAHANE TO RETURN TO THE PHILHARMONIC TO CONDUCT AND PERFORM ALL-MOZART PROGRAM Piano Concertos Nos. 20 and 21 and Symphony No. 38, Prague June 3–6, 2015 Jeffrey Kahane will return to the New York Philharmonic to conduct and perform an all-Mozart program featuring Mozart’s Piano Concertos Nos. 20 and 21 and Symphony No. 38, Prague, Wednesday, June 3, 2015, at 7:30 p.m.; Thursday, June 4 at 7:30 p.m.; Friday, June 5 at 11:00 a.m.; and Saturday, June 6 at 8:00 p.m. Jeffrey Kahane most recently led and performed with the Philharmonic in March 2014 in a program of Ravel, Weill, and Gershwin. The New York Times wrote that “He conducted the ensemble with confident energy from the piano. ... Mr. Kahane’s conducting and his pianism were clear, straightforward and unassuming, even in virtuosic passages, letting the connections between the works speak, as it were, for themselves. The result was that happy rarity: a symphonic concert with a sustained mood.” Conductor-pianists who have led the Philharmonic from the piano in performances of Mozart piano concertos include: Leonard Bernstein, Erich Leinsdorf, Bruno Walter, Daniel Barenboim, Lukas Foss, and Boris Goldovsky, in addition to Jeffrey Kahane. Related Events Pre-Concert Insights Composer Joelle Wallach will introduce the program. Pre-Concert Insights are $7; discounts available for multiple talks, students, and groups. They take place one hour before these performances in the Helen Hull Room, unless otherwise noted.
    [Show full text]