DOCSLIB.ORG

The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat Sun, Jul 08, 2018 - 00 The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 18:54 Grainger Danish Folk Music Suite Melbourne 04254 Koch 7003 09923700326 Symphony/Simon 00:21:3903:53 Elgar Soliloquy for Oboe Goosens/Bournemouth 09456 Chandos 8371 Sinfonietta/del Mar 00:27:02 31:15 Handel Suite in F ~ Water Music Prague Chamber 02006 EMI 62509 077776250922 Orch/Mackerras 00:59:4711:38 Rossini Overture ~ William Tell London Classical 02201 EMI 54091 077775 40912 Players/Norrington 01:12:40 00:59 Beach A Humming-Bird Virginia Eskin 01568 Northeaste 9004 n/a rn 01:15:0943:01 Tchaikovsky Symphony No. 6 in B minor, Los Angeles 04218 Seraphim 69034 724356903425 Op. 74 "Pathetique" Philharmonic/Leinsdorf 01:59:40 11:09 Liszt Hungarian Rhapsody No. 1 in F Israel 01935 Sony 44926 07464449262 minor Philharmonic/Mehta 02:12:0435:36 Schumann Symphony No. 3 in E flat, Op. Seattle 07034 Delos MS205 n/a 97 "Rhenish" Symphony/Schwarz 02:49:10 09:24 Vivaldi Trio in A minor for Winds, RV Camerata of Cologne 00195 Harmonia 77018 054727701825 86 Mundi 03:00:0426:28 Borodin Symphony No. 2 in B minor Toronto 03733 Sony 62406 074646240625 Symphony/Davis 03:28:02 10:14 Wagner Prelude to Act 1 ~ Lohengrin Berlin 00426 EMI 47030 n/a Philharmonic/Tennsted t 03:39:3119:03 Massenet Manon Ballet: Act 2, Scene 1 Orchestra of the Royal 02051 London 414 585 028941458520 Opera House, Covent Garden/Bonynge 04:00:0413:20 Mozart Fantasia in C minor, K. 475 Alicia de Larrocha 02444 RCA Red 60453 090266045327 Seal 04:14:39 30:11 Schubert Symphony No. 6 in C, D. 589 Vienna 00152 EMI 49724 077774972420 Philharmonic/Muti 04:46:2012:13 Gervaise Dances of the French Philip Jones Brass 06230 Decca B000080 028947515227 Renaissance Ensemble 7 05:00:03 06:13 Rossini Overture ~ The Silken Ladder Israel 08947 Helicon 9625 729362796252 Philharmonic/Mehta 0 05:07:3119:21 Saint-Saëns Cello Concerto No. 1 in A du Pre/Philadelphia 07040 Teldec 85340 685738534029 minor, Op. 33 Orchestra/Barenboim 05:28:22 10:37 Brahms Rhapsody in B minor, Op. 79 Van Cliburn 02266 RCA 60419 090266041923 No. 1 05:40:1409:45 Buxtehude Trio Sonata No. 3 in A minor, Boston Museum Trio 05765 Centaur 2391 044747239125 BuxWV 254 05:51:14 10:56 Fill Music: anncr selects 06:04:0006:02 Traditional Blessed is the Man Alumni of the Yale 08001 YRC n/a n/a Russian Alumni Chorus/Mickiewicz Associatio n 06:11:1709:34 Field Nocturne No. 14 in C John O’Conor 02711 Telarc 80199 089408019920 06:22:4112:55 Mozart Symphony in F, K. 75 Academy of Ancient 00622 L'oiseau 417 518 028941751829 Music/Hogwood Lyre 06:36:51 26:17 Spohr Clarinet Concerto No. 3 in F Ottensamer/Slovak 04902 Naxos 8.550688 730099568821 minor State Philharmonic/Wildner 07:04:5803:29 Traditional Deep River Thomas/Clare College 05119 Collegium 127 040888012726 Choir/Brown 07:09:4219:26 Korngold Sursum Corda, Op. 13 BBC 07976 Chandos 9317 095115931721 Philharmonic/Bamert 07:30:2302:53 Campra Rigaudon ~ Idomenee Murray/Empire Brass 10191 Telarc 80218 089408021824 Sun, Jul 08, 2018 - 08 The Classical Station, WCPE 2 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 07:33:46 28:30 SING FOR JOY 08:05:1603:09 Guerrero Duo Seraphim Cambridge 03572 Collegium 123 040888012320 Singers/Rutter 08:08:2503:53 Gregorian chant Parce, Domine Monks of the Desert 10743 Sony 90204 886979020429 Classical 08:12:1802:15 Handel He gave them hailstones ~ Howard University 01403 Arabesque Z6538 02363506538 Israel in Egypt Choir/Handel Festival Orchestra of Washington/Simon 08:17:0305:21 Vaughan Valiant-for-Truth Saint Thomas Choir of 10036 Saint n/a 884501651882 Williams Men and Boys/Scott Thomas Recordings 08:22:2405:51 Villette Attende, Domine Rodolfus 03400 Herald 176 794638017621 Choir/Allwood 08:28:15 05:12 Rachmaninoff Cherubic Hymn Moscow Chamber 08402 Melodiya 25187 743212518726 Choir/Minin 08:33:57 11:15 GSM Commentary: Richard Trinity Church GSMC2 Webster Choirs/Webster 08:47:42 13:06 Paulus A Dream of Time Bach Choir of 10020 Analekta 29983 774204998325 Bethlehem/Funfgeld 09:03:4822:42 Bach Cantata 170, "Vergnugte Ruh, Taylor/Tafelmusik/Lam 10021 Analekta 29878 774204987824 beliebte Seelenlust" on 09:29:00 21:15 Isaac Missa Paschale Dickey/Toet/Lister/Hilli PV0947 Erato 01902958 019029582507 ard Ensemble 25072 2 09:52:4512:08 Stanford Fantasia and Toccata in D Owain Park PV0921 Hyperion 68174 034571281742 minor, Op. 57 10:07:53 35:13 Fauré Requiem, Op. 48 Saint Thomas 10593 Saint n/a 884501806565 Choir/Orchestra of St. Thomas Luke's/Scott Recordings 10:45:3619:44 Monteverdi Magnificat ~ Vespers of the Apollo's Fire/Sorrell 11480 Avie 2206 822252220629 Blessed Virgin 11:07:1007:03 Grainger Children's March (Over the Dallas Wind 07716 Reference 117 3091111172 Hills and Far Away) Symphony/Junkin Recordings 11:15:2819:13 Mozart Symphony No. 25 in G minor, Philharmonia/Klemper 05777 EMI 67331 724356733121 K. 183 er Classics 11:36:3128:47 Beethoven Quintet in E flat for Piano & Serkin/Marlboro Music 02183 Sony 47296 07464472962 Winds, Op. 16 Festival 12:07:0811:26 Albinoni Adagio in G minor Capella 05102 Naxos 8.550035- 730099503525 Istropolitana/Edlinger 6 12:19:4910:25 Arnold Four Scottish Dances, Op. 59 London 10497 Lyrita 201 502092602012 Philharmonic/Arnold 3 12:32:0433:10 Rachmaninoff Piano Concerto No. 2 in C Ortiz/Royal 00497 London 414 348 028941434821 minor, Op. 18 Philharmonic/Atzmon 13:07:0412:52 Mozart Horn Concerto No. 2 in E flat, Tuckwell/English 00917 London 410 284 028941028426 K. 417 Chamber Orchestra 13:21:4629:45 Rameau The Birth of Osiris (Suite for Ensemble 06541 Naxos 8.553388 730099438827 Orchestra) Savaria/Terey-Smith 13:52:4612:24 Mendelssohn String Symphony No. 06 in E London Festival 02460 Hyperion 66561 034571165615 flat Orchestra/Pople 14:07:0022:13 Bizet Carmen Suite No. 2 Mexico City 01479 MHS 512232M N/A Philharmonic/Batiz 14:31:0319:23 Stamitz, K. Cello Concerto No. 1 in G Starck/Southwest 01885 Claves 8105 N/A German Chamber Orchestra/Angerer 14:51:41 09:36 Bridge Summer Royal Liverpool 08139 EMI 66855 724356685529 Philharmonic/Groves Classics Sun, Jul 08, 2018 - 15 The Classical Station, WCPE 3 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 15:03:07 11:50 Dvorak Romance in F minor, Op. 11 Shaham/Orpheus 04248 DG 449 923 028944992328 Chamber Orch. 15:16:1209:20 Heinichen Concerto in E minor for Flute Dean/Albert/Fiori 05694 CPO 999 637 n/a and Violin Musicali 15:27:22 33:57 Beethoven Piano Concerto No. 4 in G, Op. Ax/San Francisco 10924 San 0037 821936003825 58 Symphony/Tilson Francisco Thomas Symphony 16:03:0914:32 Grainger A Lincolnshire Posy United States Marine 11501 Naxos 8.573121 747313312177 Band/Schwarz 16:18:5609:28 Purcell Sonata in D minor King's Consort 12204 Vivat 106 079943911468 5 16:30:1430:18 Tchaikovsky Serenade for Strings in C, Op. St. Petersburg 03337 Sony 58976 074645897622 48 Camerata/Sondeckis Classical 17:01:32 61:40 My Life in Music 18:05:02 16:34 Haydn Piano Sonata in No. 52 in G Anne-Marie McDermott PV1076 Bridge 9497 090404949722 18:23:0610:13 Weber Invitation to the Dance, Op. 65 Bergen PV1085 Hyperion 68193 034571281933 Philharmonic/Manze 18:35:0909:33 Mendelssohn Variations concertantes, Op. 17 Rosen/Artymiw PV1084 Bridge 9501 090404950124 18:46:12 14:19 Debussy Estampes Stephen Hough PV1011 Hyperion 68139 034571281391 19:02:21 09:50 The Classical Station's Jonny Pierce speaks with Matthew Brown of the Royal School of Church music 19:13:4108:44 Elgar Give unto the Lord (Psalm 29) Choir of St. Paul's 03421 Hyperion 66618 034571166186 Cathedral/Scott 19:23:5518:25 Haydn Violin Concerto No. 2 in G Hope/Zurich Chamber PV1034 DG n/a n/a Orchestra 19:44:1015:50 Bach Brandenburg Concerto No. 6 in Berlin Baroque PV1067 Sony 88985361 889853611126 B flat, BWV 1051 Soloists/Goebel Classical 112 20:01:5022:00 Boccherini Cello Concerto No. 10 in D Gabetta/Cappella PV1039 Decca 483 2473 028948324736 Gabetta 20:25:2008:46 Debussy Dialogue of the Wind and the Berlin PV1044 Warner 01902957 019029572090 Sea ~ La Mer Phihamonic/Karajan Classics 20902 2 20:35:5625:00 Bruch Violin Concerto No. 1 in G Bell/Academy of St. PV1099 Sony 584200 190758420028 minor, Op. 26 Martin-in-the-Fields 21:02:4618:03 Higdon Oboe Concerto Button/Nashville PV1032 Naxos 8.559823 636943982327 Symphony/Guerrero 21:22:0414:37 Reich Electric Counterpoint Valerie Milot PV0744 Analekta 9880 774204988029 21:38:11 23:31 Ruehr String Quartet No. 3 Cypress String Quartet 08396 Cypress n/a 666449655128 Performing Arts 22:03:3203:17 Bach Jesu, Joy of Man's Desiring Philadelphia 04566 Sony 62640 074646264027 Orchestra/Ormandy 22:08:0437:07 Rutter Magnificat King's College 10124 EMI 87387 509990873872 Cambridge/Birmingha 1 m Symphony/Cleobury 22:46:41 16:10 Giuliani Rossiniana No. 1, Op. 119 David Russell 08180 Telarc 80525 089408052521 23:04:4141:17 Schubert Mass No. 1 in F, D. 105 Vienna Boys 03951 Sony 68247 074646824726 Choir/Weil 23:47:2802:07 Banchieri Canzon francese "La Sachetti/Van de Pol 01045 ECO 860.001 n/a carissima" 23:50:5011:52 Chopin Nocturnes, Op. 27 Rubinstein 00583 RCA 5613 07863556132.
Load more

Recommended publications
  • L Ethics Update 2010 L
    COLUMBIAN LAWYERS ASSOCIATION First Judicial Department An Association Of Attorneys Of Italian American Descent 8 East 69th Street, New York, NY 10021 • Tel: (212) 661-1661 • Fax: 212) 557-9610 • www.columbianlawyers.com L L ETHICS UPDATE 2010 2010 THE NEW RULES OF CONDUCT OUR 55th YEAR Presented by Sarah Jo Hamilton, Esq., Scalise & Hamilton, LLP. Special Guest Speaker: Officers Hon. Angela Mazzarelli, Appellate Division, First Department Joseph DeMatteo President Wednesday, February 3, 2010 at 6:00 p.m. Sigismondo Renda First Vice President The Columbus Club – 8 East 69th Street, NY, NY Steven Savva Attendees receive 2 CLE Credits in Ethics (transitional) Second Vice President Maria Guccione RSVP (212) 661-1661, ext. 106 Treasurer Victoria Lombardi Members/Friends*: Dinner & Credits: $100.00 Executive Secretary Hon. Patricia LaFreniere Dinner Only: $100.00 Recording Secretary Marianne E. Bertuna Non-Members: Dinner & Credits: $150.00 Financial Secretary Dinner Only: $125.00; Credits Only: $50.00 Joseph Longo Parliamentarian * If your dues are not current, you will be charged the Non-Member Board Of Directors rate for attendance at the CLE Dinner Programs. Andrew Maggio - Chairman Gerry Bilotto - 2012 L Don’t Miss This Outstanding CLE Program! L Michael Scotto 2012 Paolo Strino 2012 *RSVP IS REQUIRED FOR THIS EXCEPTIONAL PROGRAM* John DeChiaro - 2011 Matthew Grieco - 2011 Effective April 2009, each branch of the Appellate Division adopted the American Bar Association’s Model Leonardo DeAngelica - 2011 Donna D. Marinacci - 2010 Rules of Professional Conduct, introducing a variety of significant changes to the ethics rules under which Thomas Laquercia - 2010 + attorneys have been practicing for years.
    [Show full text]
  • Activity #1, Overture to William Tell
    STUDENT ACTIVITIES Student Activities – Activity #1, Overture to William Tell William Tell is an opera written by the composer Gioachino Rossini. This famous piece is based upon the legend of William Tell and has been used in cartoons, movies, and even commercials! Listen to the Overture to William Tell and see if you recognize it! https://www.youtube.com/watch?v=YIbYCOiETx0 Read the Legend of William Tell. This was Rossini’s inspiration for writing the opera! THE LEGEND OF WILLIAM TELL William Tell is a Swiss folk hero. As the legend goes, William Tell was known as a mighty man who was an expert with the crossbow. After refusing to pay homage to the Austrian emperor, Tell was arrested and the emperor deemed that William and his son Walter be executed. However, the emperor would let them go free if William was able to shoot an apple off the head of his son! Walter nervously stood against a tree and an apple was placed upon his head. William successfully shot the apple from 50 steps away in front of a crowd of onlookers! William Tell and his never ending fight for liberty helped start the rebellion against the emperor and other tyrants as well. FWPHIL.ORG 1 STUDENT ACTIVITIES Activity #1, Overture to William Tell Listen to the musical excerpt again and answer the 5. Although there are no horses in the following questions. Rossini opera, this music was used as the theme song for “The Lone Ranger” 1. Do you recognize the overture to William Tell? as he rode his galloping horse! It has however, been used in commercials and even cartoons! Where else have you heard this piece? Explain.
    [Show full text]
  • The Italian Girl in Algiers
    Opera Box Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Gioachino Rossini – a biography .............................45 Catalogue of Rossini’s Operas . .47 2 0 0 7 – 2 0 0 8 S E A S O N Background Notes . .50 World Events in 1813 ....................................55 History of Opera ........................................56 History of Minnesota Opera, Repertoire . .67 GIUSEPPE VERDI SEPTEMBER 22 – 30, 2007 The Standard Repertory ...................................71 Elements of Opera .......................................72 Glossary of Opera Terms ..................................76 GIOACHINO ROSSINI Glossary of Musical Terms .................................82 NOVEMBER 10 – 18, 2007 Bibliography, Discography, Videography . .85 Word Search, Crossword Puzzle . .88 Evaluation . .91 Acknowledgements . .92 CHARLES GOUNOD JANUARY 26 –FEBRUARY 2, 2008 REINHARD KEISER MARCH 1 – 9, 2008 mnopera.org ANTONÍN DVOˇRÁK APRIL 12 – 20, 2008 FOR SEASON TICKETS, CALL 612.333.6669 The Italian Girl in Algiers Opera Box Lesson Plan Title Page with Related Academic Standards lesson title minnesota academic national standards standards: arts k–12 for music education 1 – Rossini – “I was born for opera buffa.” Music 9.1.1.3.1 8, 9 Music 9.1.1.3.2 Theater 9.1.1.4.2 Music 9.4.1.3.1 Music 9.4.1.3.2 Theater 9.4.1.4.1 Theater 9.4.1.4.2 2 – Rossini Opera Terms Music
    [Show full text]
  • LEGNANI Rossini Variations
    Luigi LEGNANI Rossini Variations L’Italiana in Algeri Guillaume Tell Armida • Zelmira La Cenerentola La donna del lago Marcello Fantoni, Guitar Luigi Legnani (1790–1877): Rossini Variations Luigi Legnani, guitarist and composer, born in Ferrara, Italy, 1813. Stendhal commented ‘When Rossini wrote studied in his early years to be an orchestral string player. ‘L’Italiana his youthful genius was bursting into flower’. The Rossini – L’Italiana in Algeri (The Italian Girl in ™ Variation 1: Più mosso 1:06 But he branched off into singing and appeared in operas Overture begins with a dramatic Largo section. This is £ Algiers): “Gran Sinfonia”, Op. 2 8:33 Variation 2: Più lento 0:51 by Rossini, Pacini and Donizetti as a tenor following his followed by a lively Allegro spiritoso. 1 Largo 1:42 ¢ Variation 3: Tempo primo 0:53 debut in Ravenna in 1807. He began his concert career as The setting for the opera is the palace of the Bey of 2 Allegro spiritoso 6:51 ∞ Variation 4 1:01 a guitarist in Milan in 1819, and performed in Vienna in Algiers. The first scene introduces a chorus of the eunuchs § Variation 5: Minore, Un poco più moderato 2:27 Rossini – Guillaume Tell: Overture, Op. 202 1822, later touring Italy, Germany, and Switzerland, of the harem. Elvira, the Bey’s wife, complains that her (excerpts) 7:40 ¶ Variation 6: Allegro brillante 1:22 His friendship with Paganini who described him as ‘the husband no longer loves her. Haly, the captain of the Bey’s 3 Andante 3:15 • Coda 1:24 leading player of the guitar’ has often been written about corsairs, is told to go and find an Italian wife for the Bey.
    [Show full text]
  • Romeo Juliet
    ROMEO AND JULIET TRAGEDY NEVER SOUNDED SO BEAUTIFUL 15 + 16 MAR 2019 CONCERT HALL, QPAC WELCOME Welcome to Romeo and Juliet! We are thrilled you could join us. These concerts are particularly special to me because Romeo and Juliet was one of the first pieces I played with the Berlin Philharmonic. In Queensland Symphony Orchestra we regularly perform this work with the ballet. It’s some of the most beautiful music in the ballet repertoire and this time we’re really excited to be centre stage and make the music the focal point. Prokofiev is a master artist and paints glorious musical pictures. It’s a lot of fun for the bass section – we really enjoy a good sword fight and will put on a show for you! I think you’ll certainly recognise the Montagues and Capulets movement. These concerts also showcase virtuoso harpist Marie-Pierre Langlamet, who I’ve had the pleasure of performing with in Berlin many times. She’s an inspiring musician and a really unique performer. I’m sure you’ll marvel at her incredible artistic ability performing Ginastera’s blistering Harp Concerto. It’s a huge honour for us to share the stage with a musical icon like her. It is always a pleasure to perform on the QPAC stage for our beloved Brisbane audience. We hope you enjoy the concert as much as we will and look forward to seeing you at many more concerts in the future! Phoebe Russell Section Principal Double Bass Queensland Symphony Orchestra PROGRAM CONTENTS Rossini William Tell Overture* IN THIS CONCERT Ginastera Concerto for Harp and Orchestra Prokofiev Romeo and Juliet Suite WELCOME 1 Conductor Diego Matheuz FRI 15 MAR 11AM Harp Marie-Pierre Langlamet Approx.
    [Show full text]
  • Beach Party Ci Nd Erella Study Guide
    BEACH PARTY CI ND ERELLA STUDY GUIDE NASHVILLE OPERA CINDERELLA by Gioachino Rossini JUNE 12, 2021 The Ann & Frank Bumstead Production Special 90-minute Adaptation Ascend Amphitheater Directed by John Hoomes Conducted by Dean Williamson Featuring the Nashville Opera Orchestra CAST & CHARACTERS Cinderella (Angelina) Emily Fons* The Prince Matthew Grills* Dandini Jonathan Beyer* Don Magnifico Stefano de Peppo* Alidoro Christopher Curcuruto*† Tisbe Emilyl Cottam*† Clorinda Bryn Holdsworth* Brian Russell Jonas Grumby * Nashville Opera debut † 2021 Mary Ragland Emerging Artist TICKETS & INFORMATION Contact Nashville Opera at 615.832.5242 or visit nashvilleopera.org/cinderella SPONSORED BY ANN MARIE AND MARTIN M cNAMARA III NASHVILLE WITH SUPPORT FROM THE JUDY & NOAH SUE & EARL OPERA LIFF FOUNDATION SWENSSON THE STORY Rossini composed his version of the CINDERELLA folk tale in a staggering three weeks during 1817. He was only twenty-four years old at the time. Based on Charles Perrault’s CENDRILLON of 1697, La Cenerentola follows a common girl who dreams of a happier life and a prince who seeks to marry the most beautiful girl he can find. Rossini’s plot diverges from the fairy-tale tradition and takes a more realistic approach, with an endearing and sensible central character. Director John Hoomes brings some of the magic spirit back by setting the farcical tale by the sea in his BEACH BLANKET BINGO -inspired staging. THIS SYNOPSIS HAS BEEN UPDATED TO REFLECT JOHN HOOMES’S BEACH-PARTY STAGING It’s morning in the broken-down surf shop owned by Don and tells him to search for the young woman wearing the Magnifico.
    [Show full text]
  • Colorful Characters
    Livermore-Amador Symphony Lara Webber, Music Director & Conductor Arthur P. Barnes, Music Director Emeritus Saturday, February 23, 2019, 8 p.m. Bankhead Theater, Livermore Colorful Characters William Tell Overture Gioachino Rossini (1792–1868) Cello Concerto No. 1 Joseph Haydn in C major, Hob. VIIb/1—1st movement (1732–1809) Alexander Canicosa-Miles, soloist Soirées Musicales Benjamin Britten Suite of Movements from Rossini (1913–1978) I. March II. Canzonetta III. Tirolese IV. Bolero V. Tarantella INTERMISSION with entertainment in the lobby by Element 116 Piano Concerto No. 1 Franz Liszt in E-flat major (1811–1886) Daniel Mah, soloist Billy the Kid Suite Aaron Copland (1900–1990) Introduction: The Open Prairie Street in a Frontier Town Mexican Dance and Finale Prairie Night (Card Game) Gun Battle Celebration (after Billy’s Capture) Billy’s Death The Open Prairie Again The audience and performers are invited to enjoy cookies, cider, coffee, and sparkling wine in the lobby after the concert at a reception hosted by the Livermore-Amador Symphony Guild. Music Director position underwritten by the Chet and Henrietta Fankhauser Trust Orchestra Conductor Cello Horn Lara Webber Peter Bedrossian Christine-Ann Immesoete Principal Principal First Violin Alan Copeland James Hartman Sara Usher Aidan Epstein Bryan Waugh Concertmaster Nathan Hunsuck H. Robert Williams Juliana Zolynas Hildi Kang Assistant Trumpet Concertmaster Joanne Lenigan Paul Pappas Michael Portnoff Norman Back Principal Feliza Bourguet String Bass Bob Bryant Judy Eckart Markus Salasoo
    [Show full text]
  • Chapter 27 40; Dozens Romantic Opera and Musical Theater to Midcentury 12
    18 11. How many new operas were produced each year in Italy early in the 19th century. How many composers? Chapter 27 40; dozens Romantic Opera and Musical Theater to Midcentury 12. (657) What composers dominated Italian opera to 1850? 1. [653] Most opera theatres were operated by _________, Rossini, Donizetti, Bellini backed by ________ or ________. Impresarios; government subsidies; private support 13. Make a list of Rossini operas here. Separate comic from serious. 2. (664) Figure 27.1. How good is your French? When was Comic the premiere? Is Prevot a man or a woman? Can I use a L'Italiana in Algeri (Italian Woman in Algiers, Venice, 1813) "movie pass"? What time does it start? When and where Il Barbiere di Siviglia (Barber of Seville, Rome, 1816) can I get a ticket for a friend? Serious Today, Monday, February 29, 1836 (leap year!); a man; no, [Tancredi, Venice, 1813]; Otello, Naples, 1816; because it says so; 7 p.m.; at the box office, everyday, 11 Mosè in Egitto, Naples, 1818 am until 4 pm. Guillaume Tell, Paris, 1829 [Semiramide, 1823; La Cenerentola] 3. Opera was a form of ____________ status. Social 14. How did he achieve variety in his operas (and, thus, everlasting glory)? 4. How popular was opera outside the theatre? Blended serious and comic in his seria and buffa operas TQ: Published scores? When did that begin? Why? Very; arranged in various combinations; the first part of the 15. (666) What is bel canto and it's characteristics? century; operas were popular Beautiful singing; elegant style, effortless technique, beautiful tone, agility, flexibility, florid embellishment 5.
    [Show full text]
  • La Cenerentola – Where Music Meets Drama
    Fairy Tales in Performance: La Cenerentola – Where Music Meets Drama Cecilia Hann Introduction As a chorus teacher for 20 years, I see the importance of singing as a group to facilitate happiness, consolation, entertainment and a sense of community. When the seminar of “Stories in Performance: Drama, Fable, Story and the Oral Tradition” was offered by the Delaware Teacher Institute, I immediately wondered if I could incorporate the oral tradition into my singing groups. How could I teach my students stories while I am teaching them to sing? Remembering from my years of Music History at College Misericordia, opera is the foremost expression of music and drama. As I researched various operas such as “The Magic Flute” by Wolfgang Amadeus Mozart, “Hansel and Gretel” by Engelbert Humperdinck and “The Flying Dutchman” by Richard Wagner, I discovered a quote from the libretto in the opera “La Cenerentola” by Rossini that sums up why drama can be so important to my students: “All of the world is a theatre, where all of us are actors.”1 Now that I know music and drama are necessary for my music program, I had to decide which opera would have significant role for my students. Not only should this opera be meaningful but my students should be able to connect and build background. I chose “La Cenerentola” because it is similar to “Cinderella.” which most of my students know from the Disney or television version. By building on their knowledge of “Cinderella,” we can investigate the similarities and differences to Rossini’s “La Cenerentola. They can explore music in addition to tapping into the human emotions through acting out the story.
    [Show full text]
  • The Barber of Seville
    Education Study Guide The Barber of Seville Music by Gioachino Rossini Libretto by Cesare Sterbini First Performance February 5, 1816, Teatro Argentina, Rome Opera 101, Wednesday February 19, 2014 Children’s Performance February 22 at 1pm Performances February 21 & 22 at 7:30 pm. Matinée February 23 at 2:00 pm At the Kravis Center for the Performing Arts In Italian with English Surtitles PALM BEACH OPERA Education Materials THE BARBER OF SEVILLE STUDY GUIDE & ACTIVITES 2013/2014 CAST & CREATIVE TEAM Conductor: Patrick Fournillier* Director: Christopher Mattaliano* Figaro: Rodion Pogossov* Rosina: Silvia Tro Santafe* Count Almaviva: David Portillo* Dr. Bartolo: Bruno Pratico Don Basilio: Wayne Tigges* *Palm Beach Opera Debut GIAOCHINO ROSSINI, Composer PALM BEACH OPERA Education Materials THE BARBER OF SEVILLE STUDY GUIDE & ACTIVITES 2013/2014 THE BARBER OF SEVILLE COMPOSER BIOGRAPHY GIAOCHINO ROSSINI Gioachino Antonio Rossini (February 29, 1792 – November 13, 1868) is one of the most prolific, enduring and popular composers in the history of opera. He wrote 39 operas, including the famous Il Barbiere di Siviglia (The Barber of Seville), La Cenerentola (Cinderella), and Guillaume Tell (William Tell). His musical style is characterized by distinctive, song-like melodies that, combined with his operasʼ lighthearted stories, have captivated audiences to the present day. Rossini was born in Pesaro, Italy on February 29, 1792 to musical parents. As a boy he learned to sing and play the horn, and sang in at least one opera in Bologna. Though he wrote an opera that went unperformed for several years at the age of 13 or 14, the official beginning of his operatic career occurred at the age of 18, with a one-act comedy for the opera in Venice, and furthercommissions followed from Bologna, Ferrara, Venice, and Milan, where La Pietra del Paragone was a success at La Scala in 1812.
    [Show full text]
  • WILLIAM TELL Armando Noguera (William Tell) VICTORIAN OPERA PRESENTS WILLIAM TELL
    GIOACHINO ROSSINI WILLIAM TELL Armando Noguera (William Tell) VICTORIAN OPERA PRESENTS WILLIAM TELL Composer Gioachino Rossini Librettists V.J Etienne de Jouy and H.L.F. Bis Conductor Richard Mills AM Director Rodula Gaitanou Set and Lighting Designer Simon Corder Costume Designer Esther Marie Hayes Assistant Director Meg Deyell CAST Guillaume Tell Armando Noguera Rodolphe Paul Biencourt Arnold Melcthal Carlos E. Bárcenas Ruodi Timothy Reynolds Walter Furst Jeremy Kleeman Leuthold Jerzy Kozlowski Melcthal Teddy Tahu Rhodes Mathilde Gisela Stille Jemmy Alexandra Flood Hedwige Liane Keegan Gesler Paolo Pecchioli* Orchestra Victoria 14, 17 and 19 JULY 2018 Palais Theatre, St Kilda Original premiere 3 August 1829, Paris Opera Running Time is 3 hours and 15 minutes, including interval Sung in French with English surtitles *Paolo Pecchioli appears with the support of the Faculty of Fine Arts and Music, University of Melbourne. 3 PRODUCTION PRODUCTION TEAM Production Manager Eduard Inglés Stage Manager Marina Milankovic Deputy Stage Manager Meg Deyell Assistant Stage Manager Jessica Frost Assistant Stage Manager Luke Hales Wardrobe Supervisor Kate Glenn-Smith MUSIC STAFF Principal Repetiteur Phoebe Briggs Chorus Preparation Richard Mills, Phoebe Briggs Repetiteur Phillipa Safey CHORUS Soprano Jordan Auld*, Kirilie Blythman, Jesika Clark*, Rosie Cocklin*, Alexandra Ioan, Millie Leaver*, Rebecca Rashleigh, Diana Simpson, Emily Uhlrich, Nicole Wallace Mezzo Soprano Kerrie Bolton, Shakira Dugan, Jessie Eastwood*, Kristina Fekonja*, Hannah Kostros*,
    [Show full text]
  • A Night at the Opera Arrangements for Winds 1791–1821
    Melbourne Windpower A Night at the Opera arrangements for winds 1791–1821 MOZART The Marriage of Figaro • The Magic Flute ROSSINI The Barber of Seville BEETHOVEN Fidelio directed by Richard Runnels directed by RICHARD RUNNELS Oboes — Stephen Robinson and Kazimierz Gorzadek Clarinets — Kate Stockwin (first in Barber and Figaro) and Judy Neutze (first in Fidelio and Magic Flute) Bassoons — Lucinda Cran, Wendy Cooper and Stephen Black Contra Bassoon — Stephen Black Horns — Philip Hall and Linda Hewett THE BARBER OF SEVILLE – Gioacchino Rossini, 1816 / Wenzel Sedlak, THE MAGIC FLUTE – Wolfgang Amadeus Mozart, 1791/ Joseph 1821 Heidenreich, 1792 1 Overture 6’44” 16 Overture 4’28” 2 Largo al factotum 2’04” 17 Der Vogelfänger bin ich ja 2’03” 3 La Calunnia e’un Venticello 4’10” 18 Bei Männern, welche Liebe fühlen 2’54” 4 Di si felice innesto 2’43” 19 Das klinget so herrlich 1’20” 20 Alles fühlt der Liebe Freuden 0’44” THE MARRIAGE OF FIGARO – Wolfgang Amadeus Mozart, 1786 / Johann 21 Ein Mädchen oder Weibchen 3’35” Nepomuk Wendt, 1791 22 Papageno! Bist du mir nun ganz gegeben? 1’49” 5 Overture 3’43” 6 Se a caso madama 2’24” Produced by: Martin Wright and Richard Runnels 7 Voi che sapete 2’08” Digital recording and editing: Martin Wright 8 Dove sono i bei momenti 4’26” Production Assistant: Richard Kerr 9 Ecco la marcia 2’36” Recorded: May/June 1991 in the Melbourne Concert Hall Program notes: © 1991 Richard Runnels FIDELIO – Ludwig van Beethoven, 1804 and 1814 / Wenzel Sedlak, 1815 Costumes: Victoria State Opera 10 Overture 6’05” Photography:
    [Show full text]