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Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr. -
New and Bestselling Titles Sociology 2016-2017
New and Bestselling titles Sociology 2016-2017 www.sagepub.in Sociology | 2016-17 Seconds with Alice W Clark How is this book helpful for young women of Any memorable experience that you hadhadw whilehile rural areas with career aspirations? writing this book? Many rural families are now keeping their girls Becoming part of the Women’s Studies program in school longer, and this book encourages at Allahabad University; sharing in the colourful page 27A these families to see real benefit for themselves student and faculty life of SNDT University in supporting career development for their in Mumbai; living in Vadodara again after daughters. It contributes in this way by many years, enjoying friends and colleagues; identifying the individual roles that can be played reconnecting with friendships made in by supportive fathers and mothers, even those Bangalore. Being given entrée to lively students with very little education themselves. by professors who cared greatly about them. Being treated wonderfully by my interviewees. What facets of this book bring-in international Any particular advice that you would like to readership? share with young women aiming for a successful Views of women’s striving for self-identity career? through professionalism; the factors motivating For women not yet in college: Find supporters and encouraging them or setting barriers to their in your family to help argue your case to those accomplishments. who aren’t so supportive. Often it’s submissive Upward trends in women’s education, the and dutiful mothers who need a prompt from narrowing of the gender gap, and the effects a relative with a broader viewpoint. -
Rossini Propició El Futuro De La Ópera
www.proopera.org.mx • año XXVI • número 1 • enero – febrero 2018 • sesenta pesos ENTREVISTAS Andeka Gorrotxategi Óscar Martínez ENTREVISTAS EN LÍNEA Mojca Erdmann Nancy Fabiola Herrera Willy Anthony Waters FESTIVALES Cervantino XLV OBITUARIO Dmitri Hvorostovsky JohnJohn OsbornOsborn “Rossini“Rossini propiciópropició el futuro de la ópera”pro opera¾ DIRECTORIO REVISTA COMITÉ EDITORIAL Adriana Alatriste índice Luis Gutiérrez Ruvalcaba Andrea Labastida Charles H. Oppenheim 3 Carta del Presidente FUNDADOR Y DIRECTOR EMÉRITO CONCIERTOS Xavier Torres Arpi 4 Juan Diego Flórez: Canto a México EDITOR Charles H. Oppenheim 6 En breve 6 [email protected] CORRECCIÓN DE ESTILO CRÍTICA Darío Moreno 8 Otello en Bellas Artes COLABORAN EN ESTE NÚMERO 10 Ópera en México Othón Canales Treviño Carlos Fuentes y Espinosa Luis Gutiérrez Ruvalcaba PROTAGONISTAS Ingrid Haas 12 Andeka Gorrotxategi: Ramón Jacques “Me encantaría tener puestas José Noé Mercado todas las óperas de Puccini” David Rimoch Vladimiro Rivas Iturralde RESEÑA Gamaliel Ruiz 15 Arreglo de bodas en el Cenart José Andrés Tapia Osorio David Josué Zambrano de León 16 Ópera en los estados 15 www.proopera.org.mx. FESTIVALES CORRESPONSALES EN ESTE NÚMERO 20 Cervantino XLV Eduardo Benarroch Francesco Bertini Abigaíl Brambila ENTREVISTA Jorge Binaghi 22 Óscar Martínez: John Koopman Un cantante versátil Daniel Lara y un maestro ecléctico Gregory Moomjy Maria Nockin OBITUARIO Gustavo Gabriel Otero 25 Dmitri Hvorostovsky (1962-2017) Joel Poblete Roberto San Juan Ximena Sepúlveda PORTADA Massimo Viazzo 26 John Osborn: “Rossini propició el futuro de la ópera” FOTOGRAFIA Ana Lourdes Herrera ESTRENO 25 DISEÑO GRAFICO 32 La degradación de la burguesía: Ida Noemí Arellano Bolio The Exterminating Angel, desde Nueva York DISEÑO PÁGINA WEB TESTIMONIAL Christiane Kuri – Espacio Azul 34 Pro Ópera en Los Ángeles DISEÑO LOGO 36 México en el mundo Ricardo Gil Rizo IMPRESION ÓPERA EN EL MUNDO Grupo Gama. -
Koel Chatterjee Phd Thesis
Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar. -
Program Features Don Byron's Spin for Violin and Piano Commissioned by the Mckim Fund in the Library of Congress
Concert on LOCation The Elizabeth Sprague Coolidge Foundation The McKim Fund in the Library of Congress "" .f~~°<\f /f"^ TI—IT A TT^v rir^'irnr "ir i I O M QUARTET URI CAINE TRIO Saturday, April 24, 2010 Saturday, May 8, 2010 Saturday, May 22, 2010 8 o'clock in the evening Atlas Performing Arts Center 1333 H Street, NE In 1925 ELIZABETH SPRAGUE COOLIDGE established the foundation bearing her name in the Library of Congress for the promotion and advancement of chamber music through commissions, public concerts, and festivals; to purchase music manuscripts; and to support musical scholarship. With an additional gift, Mrs. Coolidge financed the construction of the Coolidge Auditorium which has become world famous for its magnificent acoustics and for the caliber of artists and ensembles who have played there. The McKiM FUND in the Library of Congress was created in 1970 through a bequest of Mrs. W. Duncan McKim, concert violinist, who won international prominence under her maiden name, Leonora Jackson, to support the commissioning and performance of chamber music for violin and piano. The audiovisual recording equipment in the Coolidge Auditorium was endowed in part by the Ira and Leonore Gershwin Fund in the Library of Congress. Request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 [email protected]. Due to the Library's security procedures, patrons are strongly urged to arrive thirty min- utes before the start of the concert. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the chamber music con- certs. -
Wagner March 06.Indd
Wagner Society in NSW Inc. Newsletter No. 103, March 2006 IN NEW SOUTH WALES INC. President’s Report In Memoriam While on the subject of recordings, we are still waiting for the first opera of the promised set from the Neidhardt Birgit Nilsson, the Wagner Soprano Legend, Ring in Adelaide in 2004, and regretting that last year’s Dies at 87 and Tenor James King at 80 triumphal Tristan in Brisbane with Lisa Gasteen and John Birgit Nilsson, the Swedish soprano, died on 25 December Treleaven went unrecorded. 2005 at the age of 87 in Vastra Karup, the village where Functions she was born. Max Grubb has specially written for the Newsletter an extensive appraisal and appreciation of the On 19 February, we held our first function of 2006, at which voice, career and character of Nilsson (page 10). Nilsson’s Professor Kim Walker, Dean of the Sydney Conservatorium regular co-singer, Tenor James King has also died at eighty: of Music, spoke about the role of the Conservatorium, Florida, 20 November 2005 (see report page 14). the work of the Opera Studies Unit in particular, and the need to find private funding to replace government grants A LETTER TO MEMBERS which have been severely cut. Sharolyn Kimmorley then Dear Members conducted a voice coaching class with Catherine Bouchier, a voice student at the Con. From feedback received at and Welcome to this, our first Newsletter for 2006, in which since the function, members attending found this “master we mourn the passing of arguably the greatest Wagnerian class” a fascinating and rewarding window onto the work soprano of the second half of the 20th century, Birgit of the Conservatorium, and I’d like on your behalf to once Nilsson. -
The Mid-Twentieth-Century American Poetic Speaker in the Works of Robert Lowell, Frank O’Hara, and George Oppen
“THE OCCASION OF THESE RUSES”: THE MID-TWENTIETH-CENTURY AMERICAN POETIC SPEAKER IN THE WORKS OF ROBERT LOWELL, FRANK O’HARA, AND GEORGE OPPEN A dissertation submitted by Matthew C. Nelson In partial fulfillment for the requirements for the degree of Doctor of Philosophy In English TUFTS UNIVERSITY May 2016 ADVISER: VIRGINIA JACKSON Abstract This dissertation argues for a new history of mid-twentieth-century American poetry shaped by the emergence of the figure of the poetic speaker as a default mode of reading. Now a central fiction of lyric reading, the figure of the poetic speaker developed gradually and unevenly over the course of the twentieth century. While the field of historical poetics draws attention to alternative, non-lyric modes of address, this dissertation examines how three poets writing in this period adapted the normative fiction of the poetic speaker in order to explore new modes of address. By choosing three mid-century poets who are rarely studied beside one another, this dissertation resists the aesthetic factionalism that structures most historical models of this period. My first chapter, “Robert Lowell’s Crisis of Reading: The Confessional Subject as the Culmination of the Romantic Tradition of Poetry,” examines the origins of M.L. Rosenthal’s phrase “confessional poetry” and analyzes how that the autobiographical effect of Robert Lowell’s poetry emerges from a strange, collage-like construction of multiple texts and non- autobiographical subjects. My second chapter reads Frank O’Hara’s poetry as a form of intentionally averted communication that treats the act of writing as a surrogate for the poet’s true object of desire. -
Roger Parker: Curriculum Vitae
1 Roger Parker Publications I Books 1. Giacomo Puccini: La bohème (Cambridge, 1986). With Arthur Groos 2. Studies in Early Verdi (1832-1844) (New York, 1989) 3. Leonora’s Last Act: Essays in Verdian Discourse (Princeton, 1997) 4. “Arpa d’or”: The Verdian Patriotic Chorus (Parma, 1997) 5. Remaking the Song: Operatic Visions and Revisions from Handel to Berio (Berkeley, 2006) 6. New Grove Guide to Verdi and his Operas (Oxford, 2007); revised entries from The New Grove Dictionaries (see VIII/2 and VIII/5 below) 7. Opera’s Last Four Hundred Years (in preparation, to be published by Penguin Books/Norton). With Carolyn Abbate II Books (edited/translated) 1. Gabriele Baldini, The Story of Giuseppe Verdi (Cambridge, 1980); trans. and ed. 2. Reading Opera (Princeton, 1988); ed. with Arthur Groos 3. Analyzing Opera: Verdi and Wagner (Berkeley, 1989); ed. with Carolyn Abbate 4. Pierluigi Petrobelli, Music in the Theater: Essays on Verdi and Other Composers (Princeton, 1994); trans. 5. The Oxford Illustrated History of Opera (Oxford, 1994); translated into German (Stuttgart. 1998), Italian (Milan, 1998), Spanish (Barcelona, 1998), Japanese (Tokyo, 1999); repr. (slightly revised) as The Oxford History of Opera (1996); repr. paperback (2001); ed. 6. Reading Critics Reading: Opera and Ballet Criticism in France from the Revolution to 1848 (Oxford, 2001); ed. with Mary Ann Smart 7. Verdi in Performance (Oxford, 2001); ed. with Alison Latham 8. Pensieri per un maestro: Studi in onore di Pierluigi Petrobelli (Turin, 2002); ed. with Stefano La Via 9. Puccini: Manon Lescaut, special issue of The Opera Quarterly, 24/1-2 (2008); ed. -
Staged Treasures
Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio -
Catalogo Per Autori Ed Esecutori
Abel, Carl Friedrich Quartetti, archi, Op. 8, No. 5, la maggiore The Salomon Quartet The Schein String Quartet Addy, Obo Wawshishijay Kronos Quartet Adorno, Theodor Wiesengrund Zwei Stucke fur Strechquartett op. 2 Buchberger Quartett Albert, Eugene : de Quartetti, archi, Op. 7, la minore Sarastro Quartett Quartetti, archi, Op. 11, mi bemolle maggiore Sarastro Quartett Alvarez, Javier Metro Chabacano Cuarteto Latinoamericano 1 Alwyn, William Quartetti, archi, n. 3 Quartet of London Rhapsody for String Quartet Arditti string quartet Andersson, Per Polska fran Hammarsvall, Delsbo The Follinger-Hedberg Quartet The Galli Quintet The Goteborg Quartet The Halsingborg Quartet The Kjellstrom Quartet The Skane Quartet Andriessen, Hendrik Il pensiero Raphael Quartet Aperghis, Georges Triangle Carre Trio Le Cercle Apostel, Hans Erich Quartetti, archi, Op. 7 LaSalle Quartet Arenskij, Anton Stepanovic Quartetti, archi, op. 35 Paul Rosenthal, Vl Matthias Maurer, Vla Godfried Hoogeveen, Vlc Nathaniel Rosen, Vlc Arriaga y Balzola, Juan Crisostomo Jacobo Antonio : de Quartetti, archi, No. 1, re minore Voces Streichquartette Quartet sine nomine Rasoumovsky Quartet Quartetti, archi, No. 2, la maggiore Voces Streichquartette Quartet sine nomine Rasoumovsky Quartet 2 Quartetti, archi, Nr. 3, mi bemolle maggiore Voces Streichquartette Quartet sine nomine Rasoumovsky Quartet Atterberg, Kurt Quartetti, archi, Op. 11 The Garaguly Quartet Aulin, Tor Vaggvisa The Follinger-Hedberg Quartet The Galli Quintet The Goteborg Quartet The Halsingborg Quartet The Kjellstrom -
In Selected Works by Herman Melville and Joseph Conrad
The People’s Democratic Republic of Algeria Ministry of Higher Education and Scientific Research Mouloud MAMMERI University of Tizi-Ouzou Faculty of Letters and Languages Department of English A Thesis Submitted in Fulfillment of The Requirements For the Degree of Doctorate in English Option: Literature Title Cross-Cultural and Ideological Representations of The “Other” in Selected Works By Herman Melville and Joseph Conrad Submitted by:Fadhila Sidi-Said Supervised by: Professor Bouteldja RICHE Panel of Examiners Déramchia Yamina, Professor, University of Algiers II, Chair, Riche Bouteldja, Professor, Mouloud Mammeri University, Supervisor, Guendouzi Amar, MCA, University of Tizi-Ouzou, Examiner, Maoui Hocine, Professor University of Annaba Examiner, Bouregbi Salah, MCA, University of Annaba, Examiner. December 2012 ACKNOWLEDGMENTS My greatest intellectual debt is to my advisor Professor RICHE Bouteldja, a remarkable scholar who accompanied both my Magister dissertation and my doctorate thesis. Through his irrepressible curiosity, his tireless enthusiasm, and his resolute devotion to the continuous intellectual development of both his students and himself, he has shown me how to be a professional. I learned so much from him and I am both proud and thankful to have worked with him. I address my thanks to the English Department at Mouloud Mammeri University, which has contributed to this project with various grants supporting my travel to libraries and conferences; and to the staff of the Department Library, for their cooperation and patience. I am also grateful to my family, my friends and my colleagues who have encouraged me to complete this work. I thank them all with all my love. i Abstract This thesis discusses the representation of the “Other” in selected works of Herman Melville and Joseph Conrad. -
DE 3415 Mendelssohn: Complete Music for Cello and Piano Emanuel Gruber, Cello • Arnon Erez, Piano
DE 3415 Mendelssohn: Complete Music for Cello and Piano Emanuel Gruber, cello • Arnon Erez, piano Variations Concertantes, Op. 17 Dear Listener, 1. Theme (Andante con moto) (1:04) The idea of a complete recording of Mendelssohn’s works for 2. Variation 1 (:30) cello and piano came to me two years ago, in 2009, when the 3. Variation 2 (:29) musical world celebrated the composer’s 200th birthday anniver- 4. Variation 3 (Più vivace) (:32) sary. I had already recorded Beethoven’s music for these instru- 5. Variation 4 (Allegro con fuoco) (:40) ments, and this new project seemed a logical continuation. 6. Variation 5 (L’istesso tempo) (:46) 7. Variation 6 (L’istesso tempo) (:31) Mendelssohn had a great gift for melody, and knew how to de- velop his musical themes with clarity and impact. The cello is an 8. Variation 7 (Presto ed agitato) (:1:37) ideal medium for rendering the warm, singing quality of his 9. Variation 8 (Tempo 1) - Coda (3:03) music, as well as its playfulness and exuberance. His creations are noble, generous, optimistic and full of joyful enthusiasm. There Sonata No.1 in B-flat Major, Op. 45 may be moments of doubt, melancholy and pain – but they dis- 10. Allegro vivace (11:58) appear quickly as his impetuous, ever-youthful drive and positive 11. Andante (5:16) energy take over, lifting us up into an ideal world filled with goodness and hope. 12. Allegro assai (6:33) 13. Song Without Words, Op. 109 (4:45) Arnon and I hope that you’ll enjoy our interpretations and share our joy in bringing you this beautiful music.