DOCSLIB.ORG

Maria Freeman, Soprano

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Maria Freeman, Soprano www.MariaFreeman.net Agent: Liz Galagarza 718.877.4211 "….a Countess of dignified bearing..." [email protected] Steve Smith, New York Times www.ramonalsina.org www.mariafreeman.net Maria Freeman continues to enjoy an active career as an opera singer, a concert recitalist, and as a soloist of sacred repertoire and oratorio works. Recent highlights include her debut as Mimi in Puccini’s La Boheme in Amore Opera's inaugural season conducted by Maestro Richard Owen; First Lady in The Magic Flute with Amore Opera conducted by Maestro Wei-En Hsu; appearances on the popular TV show "The Manhattan Classical Opera Hour" hosted by Maestro Marcello Garofalo of the Bel Canto Opera Institute; and the review of her performance as the Countess in The Marriage of Firgaro from The New York Times opera critic Steve Smith. Miss Freeman’s performing credits include The Countess (Marriage of Figaro), Leonora (ILTrovatore), Mimi (La Boheme), Donna Elvira (Don Giovanni), the title role in Tosca, Echo (Ariadne auf Naxos), Frasquita (Carmen), Violetta (La Traviata), the First Lady (The Magic Flute), the High Priestess (Aida), Giannetta (L'Elisir d'Amore), Lauretta (Gianni Schicci), Marzelline (Fidelio), The Mother (The Tales of Hoffmann), Maritza (The Merry Widow), Desdemona (Otello), Sally (Die Fledermaus), Alisa (Lucia di Lammermoor) and Ninfa III in (Monteverdi's Orfeo). Miss Freeman has additionally appeared in Ahmal and the Night Visitors, HMS Pinafore, Cavalliera Rusticana, Pagliacci, Madama Butterfly, La Forza del Destino, Rigoletto, and Un Ballo in Maschera. Miss Freeman received her Masters of Music Degree at Manhattan School of Music, where she completed voice and opera studies with Charles Bressler, Lou Galterio, Carolyn Lockwood, Gary Wedow, Nico Castel, Dennis Helmrich, and Nancy Rhodes. She performed opera scenes with Manhattan School of Music Opera Workshop, and with Manhattan School of Music Opera Theater in the premier performance of Haydn’s La Primiata Fidelta. Miss Freeman received her Bachelors of Music Degree at the New England Conservatory of Music in Boston, where she completed her voice studies with Geraldine Martin. She was soloist and recording artist with the Conservatory Chorus, Concert Choir, Tour Chorus, and the Chamber Singers under the baton of Lorna Cooke DeVaron and performed the Bach Magnificat and The Seven Last Words of Christ with the Boston Symphony Orchestra under the Baton of Maestro Seiji Ozawa. Miss Freeman has trained at such recognized vocal programs as the Blossom Music Festival and at Tanglewood Music Festival. She made her Carnegie Hall debut as soprano soloist in Verdi's Requiem with Voices Saint Paulia and Symphony Saint Paulia. Miss Freeman has worked with Eleanor Steber, Gerald Souzay, Hans Hotter, Martin Katz, Stephen Lord, Phyllis Curtain, Philip Highfill, Margo Garrett, Marlena Malas, Jay Lesenger, Janet Bookspan, Tal Fountleroy, Joanna Levy, Zehava Gal, Andrew Frierson, Terri Decima, Earl Buys, Glenn Morton, Jonathan Faiman, Tamara Cashour, Sidney Wright, David Rebhun, Maestro Anthony Amato, Maestro Marcello Garofalo, Maestro Kurt Masur, Maestro Julius Williams and Maestro Noel DaCosta. A graduate of the Duke Ellington School of the Performing Arts in Washington, DC, Miss Freeman was soprano soloist with the Concert Choir, Chamber Singers, and the DC Youth Chorale, under the direction of Mr. Edward Jackson. She began her initial voice training under the guidance of Miss Monica Otal and Miss Dorothy Dash of Duke Ellington School of the Arts. Agent: Liz Galagarza 718.877.4211 [email protected] www.ramonalsina.org www.mariafreeman.net REPERTOIRE OPERA PRODUCTIONS ROLE COMPOSER COMPANY Ariadne auf Naxos Echo Strauss Liederkranz Opera Theatre, New York, NY Ariadne auf Naxos Echo Strauss Brandenberg Opera Theatre New York, NY Aïda High Priestess Verdi Amato Opera Theatre New York, NY Aïda Aïda (Cover) Verdi Amato Opera Theatre Carmen Frasquita Bizet Amato Opera Theatre Carmen Michaela (Cover) Bizet Amato Opera Theatre Don Giovanni Donna Elvira Mozart Amato Opera Theatre Don Giovanni Donna Anna Mozart Amato Opera Theatre (Cover) La Boheme Mimi Puccini Amore Opera Theatre La Boheme Musetta (Cover) Puccini Amato Opera Theatre L’Eisir d’Amore Giannetta Donizetti Amato Opera Theatre Madama Butterfly Cio-Cio San Puccini Amato Opera Theatre (Cover) The Magic Flute First Lady Mozart Amore Opera Theatre The Magic Flute Pamina (Cover) Mozart Amore Opera Theatre The Marriage of Figaro The Countess Mozart Amato Opera Theatre The Marriage of Figaro Marcellina Mozart Amato Opera Theatre ILTrovatore Leonora Verdi Amato Opera Theatre Tosca Tosca Puccini Harlem Opera Theatre New York, NY OPERA SCENES La Boheme Musetta Puccini Harlem Opera Theatre Otello Desdemona Verdi Harlem Opera Theatre ENGAGEMENTS New Balance Track & Soloist - National 7 Sports Events New York, NY Field Hall of Fame Anthem TELEVISION Manhattan Classical Televised Opera Channels 57 & New York, NY Opera Hour Gala 34 CONCERTS Bleecker Street Opera Opera Arias Bleecker Street Theatre Concert New York, NY Riverside Church Knoxville Summer Barber New York, NY Concert of 1915 Shepherd on the Schubert Rock Op. 129 Mount Moriah Church African American Washington, DC Concert Spirituals SOPRANO SECTION LEADER New Rochelle New Rochelle, NY Presbyterian Church Church of the Master New York, NY ORATORIO WORKS The Creation Haydn Symphony Hall Boston, MA Mass in B Minor Bach Symphony Hall Magnificat Bach Symphony Hall The Messiah Handel Symphony Hall 7 Last Words of Christ Haydn Symphony Hall Lord Nelson Mass Haydn Symphony Hall Agent: Liz Galagarza 718.877.4211 [email protected] www.ramonalsina.org www.mariafreeman.net PRODUCTION PHOTOS The Countess, Marriage of Figaro, Amato Opera NYC, New York Times Leonora, Il Trovatore Amato Opera NYC .
Load more

Recommended publications
  • Youth Theater
    15_144398 bindex.qxp 7/25/07 7:39 PM Page 390 Index See also Accommodations and Restaurant indexes, below. GENERAL INDEX African Paradise, 314 Anthropologie, 325 A Hospitality Company, 112 Antiques and collectibles, AIDSinfo, 29 318–319 AARP, 52 AirAmbulanceCard.com, 51 Triple Pier Antiques Show, ABC Carpet & Home, 309–310, Airfares, 38–39 31, 36 313–314 Airlines, 37–38 Apartment rentals, 112–113 Above and Beyond Tours, 52 Airports, 37 Apollo Theater, 355–356 Abyssinian Baptist Church, getting into town from, 39 Apple Core Hotels, 111 265–266 security measures, 41 The Apple Store, 330 Academy Records & CDs, 338 Air-Ride, 39 Architecture, 15–26 Access-Able Travel Source, 51 Air Tickets Direct, 38 Art Deco, 24–25 Access America, 48 Air tours, 280 Art Moderne, 25 Accessible Journeys, 51 AirTrain, 42–43 Beaux Arts, 23 Accommodations, 109–154. AirTran, 37 best structures, 7 See also Accommodations Alexander and Bonin, 255 early skyscraper, 21–22 Index Alice in Wonderland (Central Federal, 16, 18 bedbugs, 116 Park), 270 Georgian, 15–16 best, 9–11 Allan & Suzi, 327 Gothic Revival, 19–20 chains, 111 Allen Room, 358 Greek Revival, 18 Chelsea, 122–123 All State Cafe, 384 highlights, 260–265 family-friendly, 139 Allstate limousines, 41 International Style, 23–24 Greenwich Village and the Alphabet City, 82 Italianate, 20–21 Meat-Packing District, Alphaville, 318 late 19th century, 20 119–122 Amato Opera Theatre, 352 Postmodern, 26 Midtown East and Murray American Airlines, 37 Second Renaissance Revival, Hill, 140–148 American Airlines Vacations, 57
    [Show full text]
  • Connection/Separation
    Friday, February 12, 2021 | 4 PM MANHATTAN SCHOOL OF MUSIC OPERA THEATRE Tazewell Thompson, Director of Opera Studies presents Connection/Separation Featuring arias and scenes from Carmen, Così fan tutte, Die Zauberflöte, La clemenza di Tito, L’elisir d’amore, Le nozze di Figaro, Les pêcheurs de perles, and Lucio Silla A. Scott Parry, Director MSM Opera Theatre productions are made possible by the Fan Fox and Leslie R. Samuels Foundation and the Joseph F. McCrindle Endowment for Opera Productions at Manhattan School of Music. Friday, February 12, 2021 | 4 PM MANHATTAN SCHOOL OF MUSIC OPERA THEATRE Tazewell Thompson, Director of Opera Studies presents Connection/Separation Featuring arias and scenes from Carmen, Così fan tutte, Die Zauberflöte, La clemenza di Tito, L’elisir d’amore, Le nozze di Figaro, Les pêcheurs de perles, and Lucio Silla A. Scott Parry, Director Myra Huang, Vocal Coach & Pianist Kristen Kemp, Vocal Coach & Pianist Megan P. G. Kolpin, Props Coordinator DIRECTOR’S NOTE In each of our lives—during this last year especially—we may have discovered ourselves in moments of wanting, even needing some sort of human connection, but instead finding separation by any number of barriers. In the arias and scenes that follow, we witness characters in just this kind of moment; searching for meaningful contact yet being somehow barred from achieving it. Through circumstance, distance, convention, misunderstanding, pride, fear, ego, or what have you, we may find ourselves in situations similar to the characters in this program, while looking forward to the days when connection can be more easily achieved and separation the exception to the rule.
    [Show full text]
  • THE ITALIAN AMERICAN TV MAGAZINE William Schempp This Spring Italics Begins Its Twenty-Fifth Year of Accomplished Extraordinary Things
    CALANDRA ITALIAN AMERICAN INSTITUTE dedicatedil to the historyBollettino and culture of Italians in America VOLUME 5 • ISSUE 1 • SPRING 2012 CONTENTS 2 Dean’s Letter • Personaggi: Ralph Fasanella 3 Updated website • Friends of the Institute 4 Italics • Staff News 5 Miracle Art • Calandra Publications 6 Eyes and Ears on the Campuses: IAFSAC 7 2012 Conference: Reimagining White Ethnicity 8 Student Club Activities 9 Italian American Mental Health Symposium • Audience Profile 10 Ad Memorium 11 American Italian Historical Association 2011 Conference • From the Archives 12 Calendar of Events The John D. Calandra Italian American Institute is a University Institute under the Aegis of Queens College, City University of New York LETER FROM THE DEAN ____________________________________________________________________________________________________________________________________________________________________________________ Welcome to volume 5.1 of the Calandra Institute’s il years. Their generosity has allowed us to do things our basic Bollettino! This issue marks the beginning of our fifth year budget would not have. Friends of the Calandra Institute, in publishing this newsletter and nearly six years of my tenure at fact, is the abbreviated name of our nascent foundation. the Institute. As I look through this issue, I am reminded of There is much more in il Bollettino: updates on our so much we have accomplished. Our staff has responded to advisory council, counseling services, Italics, publications, many new challenges with adroitness and aplomb. As dean, new website, and more. You will also find the 2012 annual I look back on this period with a great deal of satisfaction conference program, as well as coverage of our recent Italian- and pride, as we all bring along this Institute to the level American mental health symposium.
    [Show full text]
  • 1 Eugenio Maria De Hostos Community College / CUNY
    Eugenio Maria de Hostos Community College / CUNY Humanities Department Visual & Performing Arts Unit Academic Program Review Fall 2016 Second Draft Academic Program Mission Statement The Visual & Performing Arts Unit fosters and maintains the history and practice of all aspects of artistic endeavor in the College and the community. Through its curriculum, members of the College community and other members of the urban community explore, interpret, and apply the artistic practices that lead to a better understanding of themselves, their environment, and their roles in society. Description of the Unit The VPA Unit is the largest unit of the Humanities Department. It serves approximately 1,125 students from all majors at Hostos every semester. With courses as far ranging as painting and drawing, art history, public speaking, acting, music, and photography, students can pursue many possible creative paths. Those who elect to earn credits in the visual and performing arts will find a variety of approaches to learning that include lecture and studio based classes as well as workshops that allow for the exploration of extracurricular interests or even for the development of career centered skill sets vital to the pursuit of employment opportunities. The successful completion of courses in the arts are a useful and, in many cases, essential basis for study in other disciplines. They are also a valuable source for personal development. Students interested in planning a concentration in the visual and performing arts are advised to consult with the Visual and Performing Arts Coordinator. The Media Design Programs were originally housed in the VPA Unit, but operate as a separate unit due to the considerable growth of students and courses.
    [Show full text]
  • Knoxville: Summer of 1915” Danielle E
    Undergraduate Research Journal Volume 19 Article 12 2015 Musical and Cultural Significance in Samuel Barber’s “Knoxville: Summer of 1915” Danielle E. Kluver University of Nebraska at Kearney Follow this and additional works at: https://openspaces.unk.edu/undergraduate-research-journal Part of the Music Commons Recommended Citation Kluver, Danielle E. (2015) "Musical and Cultural Significance in Samuel Barber’s “Knoxville: Summer of 1915”," Undergraduate Research Journal: Vol. 19 , Article 12. Available at: https://openspaces.unk.edu/undergraduate-research-journal/vol19/iss1/12 This Article is brought to you for free and open access by the Office of Undergraduate Research & Creative Activity at OpenSPACES@UNK: Scholarship, Preservation, and Creative Endeavors. It has been accepted for inclusion in Undergraduate Research Journal by an authorized editor of OpenSPACES@UNK: Scholarship, Preservation, and Creative Endeavors. For more information, please contact [email protected]. Musical and Cultural Significance in Samuel Barber’s “Knoxville: Summer of 1915” Danielle E. Kluver INTRODUCTION “We are talking now of summer evenings in Knoxville, Tennessee in the time that I lived there so successfully disguised to myself as a child” (Agee 3). These first words of James Agee’s prose poem “Knoxville: Summer of 1915,” introduce the reader to a world of his youth – rural Tennessee in the early part of the century. Agee’s highly descriptive and lyrical language in phrases such as “these sweet pale streamings in the light out their pallors,” (Agee 5) invites the reader to use all his senses and become enveloped in the inherent music of the language. Is it any wonder that upon reading Agee’s words, composer Samuel Barber should be drawn into this narrative that enlivens the senses and touches the heart with its complexity of human emotions told through the recollections of childhood from a time of youth and innocence.
    [Show full text]
  • 110308-10 Bk Lohengrineu 13/01/2005 03:29Pm Page 12
    110308-10 bk LohengrinEU 13/01/2005 03:29pm Page 12 her in his arms, reproaching her for bringing their @ Ortrud comes forward, declaring the swan to be happiness to an end. She begs him to stay, to witness her Elsa’s brother, the heir to Brabant, whom she had repentance, but he is adamant. The men urge him to bewitched with the help of her own pagan gods. WAGNER stay, to lead them into battle, but in vain. He promises, Lohengrin kneels in prayer, and when the white dove of however, that Germany will be victorious, never to be the Holy Grail appears, he unties the swan. As it sinks defeated by the hordes from the East. Shouts announce down, Gottfried emerges. Ortrud sinks down, with a the appearance of the swan. cry, while Gottfried bows to the king and greets Elsa. Lohengrin Lohengrin leaps quickly into the boat, which is drawn ! Lohengrin greets the swan. Sorrowfully he turns away by the white dove. Elsa sees him, as he makes his towards it, telling Elsa that her brother is still alive, and sad departure. She faints into her brother’s arms, as the G WIN would have returned to her a year later. He leaves his knight disappears, sailing away into the distance. AN DG horn, sword, and ring for Gottfried, kisses Elsa, and G A F SS moves towards the boat. L E Keith Anderson O N W Mark Obert-Thorn Mark Obert-Thorn is one of the world’s most respected transfer artist/engineers. He has worked for a number of specialist labels, including Pearl, Biddulph, Romophone and Music & Arts.
    [Show full text]
  • Der Rosenkavalier
    110277-79 bk Rosenkav 21/10/2003 3:10 pm Page 1 ADD Great Opera Performances 8.110277-79 Richard 3 CDs STRAUSS Der Rosenkavalier Risë Stevens • Eleanor Steber • Erna Berger • Emanuel List Chorus and Orchestra of the Metropolitan Opera, New York • Fritz Reiner American Broadcasting Corporation Telecast 21st November 1949 110277-79 bk Rosenkav 21/10/2003 3:10 pm Page 2 Great Opera Performance Richard STRAUSS (1864-1949) Der Rosenkavalier Telecast 21st November 1949 opening night of the 1949/1950 Metropolitan Opera season Octavian . Risë Stevens Die Feldmarschallin . Eleanor Steber Baron Ochs . Emanuel List Sophie . Erna Berger Faninal . Hugh Thompson Annina . Martha Lipton Valzacchi . Peter Klein Italian Singer . Giuseppe Di Stefano Marianne Leitmetzerin . Thelma Votipka Mahomet . Peggy Smithers Marschallin’s Major-domo . Emery Darcy Orphans . Paula Lenchner, Maxine Stellman, Thelma Altman Milliner . Lois Hunt Animal Vendor . Leslie Chabay Hairdresser . Matthew Vittucci Notary . Gerhard Pechner Leopold . Ludwig Burgstaller Faninal’s Major-domo . Paul Franke Innkeeper . Leslie Chabay Police Commissioner . Lorenzo Alvary Chorus and Orchestra of the Metropolitan Opera House Fritz Reiner conducting 8.110277-79 2 110277-79 bk Rosenkav 21/10/2003 3:10 pm Page 15 Producer’s note During the late 1940s, commercial television became a viable reality and the possibilities for this new medium were almost limitless. On 29th November 1948, The Metropolitan Opera Company’s first live telecast took place. The occasion was the opening night of the 1948-49 season, and the opera was Verdi’s Otello. Incidentally, this performance was only available to television viewers and was not broadcast via radio. The following year, the Metropolitan’s opening night performance of Richard Strauss’s Der Rosenkavalier was similarly telecast.
    [Show full text]
  • Fidelio Again, Or, a Tale of Two Cantatas
    RECORDS by a No. 32 whose arietta is just that and fervent in phrase, Op. t to as Dame accepts a lackey's rôle and the recordists trifle too fast to hurt it beyond repair. Myra gives it and HMV -Victor has regis- have minimized his bass if any. The line The sonatas previously issued have all tered it melts this critic to a sentimental of beauty in the adagio is worth hearing. been noticed here. Like the components enthusiasm. Op. tog is played in the same The last two movements are awkward. of any complete edition, they vary in general manner - soft, intense but sym- C. G. B. value. They are in great part much better metrical - and may be as magisterial a in sound than the Kempff edition, but presentation; but the critic has always BEETHOVEN few will think that the Backhaus strength been puzzled by its simpler music, and Sonatas for Piano and Violin; No. 7, countervails the vivacious symmetry of cannot declare how he thinks it stands in C Minor, Op. 30, No. 3; No. to, Prof. Kempff. There are 190 recordings in relation to other interpretations. He in G, Op. 96 of Beethoven piano sonatas, and among prefers this Op. 110 to all, and the sound Friedrich Gulda, Ruggiero Ricci. them five or six of the Backhaus versions of both to all. The high octaves here are LONDON LL 1004. 12 -in. 26, 26 are outstanding, an impressive accomplish- real as real, and nowhere is reproduction min. $5.95 - ment. C. G. B. troublesome. C.
    [Show full text]
  • Amato Opera Company Building, Located at 319 Bowery in Manhattan, As a New York City Landmark
    January 28, 2009 Hon. Robert Tierney, Chair NYC Landmarks Preservation Commission 1 Centre Street, 9th Floor New York, NY 10007 Dear Chairman Tierney, We write to request that the New York City Landmarks Preservation Commission consider the designation of the Amato Opera Company building, located at 319 Bowery in Manhattan, as a New York City Landmark. The building’s history is notable for its connection to the theatrical history both of the Bowery and of the surrounding neighborhoods. Though the Amato Opera Company has remained small and intimate since its founding 61 years ago, it has played a significant role in the both the Village theatre and world opera scenes. The Bowery has a long and rich theatre history, which began with the opening of the Bowery Theatre in 1826. By the late 19th Century, the Bowery was considered to be the center of New York theatre life. Today, the presence of The Amato Opera Company is an important reminder of this history, yet it also links the Bowery to the avant‐garde theatre scene that flourished later in the 1940s and 50s all over the South Village, East Village, Greenwich Village and NoHo. The Amato Opera Company was founded with the same populist spirit that drove Joseph Papp to showcase low‐cost Shakespeare productions at the Public Theatre just a few blocks uptown, and which encouraged the opening of dozens of others such as the Circle in the Square Theatre, the Provincetown Playhouse, and the Sullivan Street Theatre, all of which have been lost. As more of these theatres are demolished, a crucial part of the history of Lower Manhattan is being erased.
    [Show full text]
  • Concert Program
    “Beauty is Truth, Truth Beauty—that is all ye know on earth, and all ye need to know.” The English poet John Keats had written those lines in his “Ode To a Grecian Urn.” The invention of the Beautiful, whether in the visual arts of painting and sculpture, the spoken art of poetry and drama, or the field of music, is profoundly affected by the burning question: what is human freedom, and do all human beings not only have a right to it, but also a natural, “unalienable” pre- disposition to be free? If so, the capacity for human freedom were embedded in the fabric of the universe itself. Freedom would be not only a natural, but also necessary power for the evolution of the uni- verse itself. Poet Friedrich Schiller contended that “man is born for that which is better.” Schiller also warned that it is only “through Beauty, that one proceeds to Freedom.” If he is correct, would a corol- lary be properly inferred, that “it is through ugliness, that one descends into Slavery?” And is that to be the epitaph of our time? Violence is ugly. Violence solves nothing. Violence is the enemy of all mankind. “Precisely for this reason is nothing so unworthy of man as to suffer violence, for violence annuls him. Who does it to us, dis- putes nothing less than our humanity; who suffers it in a cowardly manner, throws away his humanity,” says the poet Friedrich Schiller in his essay “On the Sublime.” Can the response to violence, be the strength to love in the face of hate? Can music overcome the madness of violence? The struggle of the human being to become better, to discover his/her purpose in the uni- verse, the struggle to make life matter, does not require violence; it requires the abolition of violence.
    [Show full text]
  • CENTRAL OPERA SERVICE BULLETIN Sponsored by the Metropolitan Opera National Council • 147 West 39Th Street • New York, N.Y
    CENTRAL OPERA SERVICE BULLETIN Sponsored by the Metropolitan Opera National Council • 147 West 39th Street • New York, N.Y. 10018 • PE 6-1200 January t 1965 NEW OPERAS AND PREMIERES Two more books by famous American authors are being set to music. Hawthorne's GENTLE BOY has been chosen by Harold Blutnenfeld, artistic director of the St. Louis Opera Theatre, for the story of his opera by the same name. Gale Hoffman is responsible for .the libretto.. Commissioned by the St. Louis New Music Circle, the work will be premiered at the Bicentennial Celebration of the City of St. Louis in 1966. Former compositions of Mr. Blumenfeld in- clude "Elegy for a Nightingale", prize-winning work for chorus and orchestra, "Expansion" for woodwind quintet, "Miniature Overture" (both performed in St. Louis), and a full-length opera "Amphitryon 4". The librettist has written "Blood Moon" with dello Joio and "Medusa" with von Einem. WUTHERING HEIGHTS, the haunting story by Emily Bronte, has inspired yet another composer . (Carlisle Floyd fs version was premiered in Santa Fe in 1958). Richard Barri of New York City informs us that his version of WUTHERING HEIGHTS is conceived in three acts, four scenes, with arias, duets, concerted numbers and accompanied reci- tatives "bolstered with modern harmonization". ******** Denison University will give the first performance of Martin Kalmanoff's VIDEOMANIA, the newest satire on American TV. (One. of the best known operasin this field is Douglas Moore's "Gallantry", a take-off on TV soap-opera and commercials). ******* European premieres of interest include: -Ildebrando Pizetti's CLITENNESTRA at La Scala, Milan, with Floriana Cavalli in the title role.
    [Show full text]
  • July 1946) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 7-1-1946 Volume 64, Number 07 (July 1946) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 64, Number 07 (July 1946)." , (1946). https://digitalcommons.gardner-webb.edu/etude/193 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. PHOTO BY PHILIP ^ENDREAU, N. Y. mm . ! i-AYVRENCE TIBBETT, recently appeared for the first time on STUDY? Metropolitan Opera any operatic stage when she sang the TO Bass, and Robert Law- title role in “Carmen” with the New York SHALL I GO WHERE rence, former music City Opera Company. According to news- critic turned, conductor, paper accounts, she “made an instant and making joint con- are pronounced success . giving an im- York City) operatic^ ap- Private Teachers (New cert and personation of uncommon interest and pearances in Italy, fea- appeal.” (^JniroJucing a post war marvel of concerts HELEN ANDERSON turing in their DAVIS American com- Walt music world, completely revolutionizing HAROLD FREDERICK Concert Pianist Lawrence music by whitman’s elegy, “When Lilacs the piano, harmony Tibbett Tibbett is Last in the VOICE Interesting course— posers.
    [Show full text]