Der Rosenkavalier”
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All Strings Considered a Subjective List of Classical Works
All Strings Considered A Subjective List of Classical Works & Recordings All Recordings are available from the Lake Oswego Public Library These are my faves, your mileage may vary. Bill Baars, Director Composer / Title Performer(s) Comments Middle Ages and Renaissance Sequentia We carry a lot of plainsong and chant; HILDEGARD OF BINGEN recordings by the Anonymous 4 are also Antiphons highly recommended. Various, Renaissance vocal and King’s Consort, Folger Consort instrumental collections. or Baltimore Consort Baroque Era Biondi/Europa Galante or Vivaldi wrote several hundred concerti; try VIVALDI Loveday/Marriner. the concerti for multiple instruments, and The Four Seasons the Mandolin concerti. Also, Corelli's op. 6 and Tartini (my fave is his op.96). HANDEL Asch/Scholars Baroque For more Baroque vocal, Bach’s cantatas - Messiah Ensemble, Shaw/Atlanta start with 80 & 140, and his Bach B Minor Symphony Orch. or Mass with John Gardiner conducting. And for Jacobs/Freiberg Baroque fun, Bach's “Coffee” cantata. orch. HANDEL Lamon/Tafelmusik For an encore, Handel's “Music for the Royal Water Music Suites Fireworks.” J.S. BACH Akademie für Alte Musik Also, the Suites for Orchestra; the Violin and Brandenburg Concertos Berlin or Koopman, Pinnock, Harpsicord Concerti are delightful, too. or Tafelmusik J.S. BACH Walter Gerwig More lute - anything by Paul O'Dette, Ronn Works for Lute McFarlane & Jakob Lindberg. Also interesting, the Lute-Harpsichord. J.S. BACH Bylsma on period cellos, Cello Suites Fournier on a modern instrument; Casals' recording was the standard Classical Era DuPre/Barenboim/ECO & HAYDN Barbirolli/LSO Cello Concerti HAYDN Fischer, Davis or Kuijiken "London" Symphonies (93-101) HAYDN Mosaiques or Kodaly quartets Or start with opus 9, and take it from there. -
Download Booklet
570895bk RStrauss US:557541bk Kelemen 3+3 3/8/09 8:42 PM Page 1 Antoni Wit Staatskapelle Weimar Antoni Wit, one of the most highly regarded Polish conductors, studied conducting with Founded in 1491, the Staatskapelle Weimar is one of the oldest orchestras in the world, its reputation inextricably linked Richard Henryk Czyz˙ and composition with Krzysztof Penderecki at the Academy of Music in to some of the greatest works and musicians of all time. Franz Liszt, court music director in the mid-nineteenth Kraków, subsequently continuing his studies with Nadia Boulanger in Paris. He also century, helped the orchestra gain international recognition with premières that included Wagner’s Lohengrin in graduated in law at the Jagellonian University in Kraków. Immediately after completing 1850. As Weimar’s second music director, Richard Strauss conducted first performances of Guntram and STRAUSS his studies he was engaged as an assistant at the Warsaw Philharmonic Orchestra by Humperdinck’s Hänsel und Gretel. The orchestra was also the first to perform Strauss’s Don Juan, Macbeth and Death Witold Rowicki and was later appointed conductor of the Poznan´ Philharmonic. He and Transfiguration. After World War II Hermann Abendroth did much to restore the orchestra’s former status and Symphonia domestica collaborated with the Warsaw Grand Theatre, and from 1974 to 1977 was artistic director quality, ultimately establishing it as one of Germany’s leading orchestras. The Staatskapelle Weimar cultivates its of the Pomeranian Philharmonic, before his appointment as director of the Polish Radio historic tradition today, while exploring innovative techniques and wider repertoire, as reflected in its many recordings. -
CHAN 3036 BOOK COVER.Qxd 22/8/07 2:50 Pm Page 1
CHAN 3036 BOOK COVER.qxd 22/8/07 2:50 pm Page 1 CHAN 3036(2) CHANDOS O PERA I N ENGLISH Il Trovatore David Parry PETE MOOES FOUNDATION CHAN 3036 BOOK.qxd 22/8/07 3:15 pm Page 2 Giuseppe Verdi (1813–1901) Il trovatore (The Troubadour) Opera in four parts AKG Text by Salvatore Cammarano, from the drama El trovador by Antonio Garcia Gutiérrez English translation by Tom Hammond Count di Luna, a young nobleman of Aragon ....................................................................Alan Opie baritone Ferrando, captain of the Count’s guard ..................................................................................Clive Bayley bass Doña Leonora, lady-in-waiting to the Princess of Aragon ..............................................Sharon Sweet soprano Inez, confidante of Leonora ........................................................................................Helen Williams soprano Azucena, a gipsy woman from Biscay ....................................................................Anne Mason mezzo-soprano Manrico (The Troubadour), supposed son of Azucena, a rebel under Prince Urgel ........Dennis O’Neill tenor Ruiz, a soldier in Manrico’s service ..................................................................................Marc Le Brocq tenor A Gipsy, a Messenger, Servants and Retainers of the Count, Followers of Manrico, Soldiers, Gipsies, Nuns, Guards Geoffrey Mitchell Choir London Philharmonic Orchestra Nicholas Kok and Gareth Hancock assistant conductors David Parry Further appearances in Opera in English Dennis O’Neill: -
Eberhard Waechter“
DIPLOMARBEIT Titel der Diplomarbeit „Eberhard Waechter“ Verfasserin Mayr Nicoletta angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2011 Studienkennzahl: A 317 Studienrichtung: Theater-, Film- und Medienwissenschaft Betreuerin: Univ.-Prof.Dr. Hilde Haider-Pregler Dank Ich danke vor allem meiner Betreuerin Frau Professor Haider, dass Sie mir mein Thema bewilligt hat und mir mit Rat und Tat zur Seite stand. Ich danke der Familie Waechter und Frau Anneliese Sch. für die Bereitstellung des Materials. Ich danke meiner Schwester Romy und meiner „Seelenverwandten“ Sheila und all meinen Freunden für ihre emotionale Unterstützung und die zahlreichen motivierenden Gespräche. Ich danke meinem Bruder Florian für die Hilfe im Bereich der Computertechnik. Ein großer Dank gilt meiner Tante Edith, einfach dafür, dass es dich gibt. Außerdem danke ich meinen Großeltern, dass sie meine Liebe zur Musik und zur Oper stets enthusiastisch aufgenommen haben und mit mir Jahr für Jahr die Operettenfestspiele in Bad Ischl besucht haben. Ich widme meine Diplomarbeit meinen lieben Eltern. Sie haben mich in den letzten Jahren immer wieder finanziell unterstützt und mir daher eine schöne Studienzeit ermöglicht haben. Außerdem haben sie meine Liebe und Leidenschaft für die Oper stets unterstützt, mich mit Büchern, Videos und CD-Aufnahmen belohnt. Ich danke euch für eure Geduld und euer Verständnis für eure oft komplizierte und theaterbessene Tochter. Ich bin glücklich und froh, so tolle Eltern zu haben. Inhalt 1 Einleitung .......................................................................................... -
CURRICULUM DE Placldo DOMINGO EMBIL Plácido Domingo
CURRICULUM DE PLAClDO DOMINGO EMBIL Plácido Domingo nació en 1941 en Madrid, hijo de los cantantes de zarzuela Plácido Domingo y Josefa Embil Echániz. En 1949 su familia se trasladó a la Ciudad de México para trabajar en teatro musical y pronto destaCÓ en las lecciones de piano. para luego esrudiar en la Escuela Nacional de Artes y en el Conservatorio Nacional de Música de la capital mexicana. estudiando piano y dirección de orquesta. Se casó en 1957 con la pianista Ana María Guerra Cué, con quien tuvo a su primogénito. José Plácido Domingo Guerra. En el 1%2 contrajo segundas nupcias con la soprano veracruzana Mana Omelas. En el mes de marm de 2008, un jurado de 16 críticos de especial reconocimiento y valía. convocado por la revista BBC Music Magazine, eligió a 1}lácido Domingo como el más grande tenor de todos los tiempos. Michael Tanner. crítico de la revista británica "TIte Spectator", ha dicho "Desde los sesenta, el mundo de la ópera parece inconcebible sin Domingo. y el enorme tesoro de sus grabaciones dará testimonio de su grandeza a futuras generaciones y en una época en el que la ''fama'' se ha convertido en una palabra casi despreciable. la obtenida por Domingo es un ejemplo de una gran reputación construida sobre cimientos sólidos". CARRERA PROFESIONAL Comenzó como barítono debutando en escena el 12 de mayo de 1959 en el teatro Degollado, de Guadalajara, México, como Pascual, en Marina. Le siguió el papel de Borsa en Rigolello, Padre Confesor en Diálogos de carmelitas, etc. Más tarde ya como tenOr interpretó a Alfredo en la Traviata en la Ciudad de Monterrey en el Teatro María Teresa Montoya en 1959. -
Richard Strauss's Ariadne Auf Naxos
Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails. -
Metropolitan Opera 19-20 Season Press Release
Updated: November 12, 2019 New Productions of Porgy and Bess, Der Fliegende Holländer, and Wozzeck, and Met Premieres of Agrippina and Akhnaten Headline the Metropolitan Opera’s 2019–20 Season Yannick Nézet-Séguin, in his second season as Music Director, conducts the new William Kentridge production of Wozzeck, as well as two revivals, Met Orchestra concerts at Carnegie Hall, and a New Year’s Eve Puccini Gala starring Anna Netrebko Sunday matinee performances are offered for the first time From Roberto Alagna to Sonya Yoncheva, favorite Met singers return Debuting conductors are Karen Kamensek, Antonello Manacorda, and Vasily Petrenko; returning maestros include Valery Gergiev and Sir Simon Rattle New York, NY (February 20, 2019)—The Metropolitan Opera today announced its 2019–20 season, which opens on September 23 with a new production of the Gershwins’ classic American opera Porgy and Bess, last performed at the Met in 1990, starring Eric Owens and Angel Blue, directed by James Robinson and conducted by David Robertson. Philip Glass’s Akhnaten receives its Met premiere with Anthony Roth Costanzo as the title pharaoh and J’Nai Bridges as Nefertiti, in a celebrated staging by Phelim McDermott and conducted by Karen Kamensek in her Met debut. Acclaimed visual artist and stage director William Kentridge directs a new production of Berg’s Wozzeck, starring Peter Mattei and Elza van den Heever, and led by the Met’s Jeanette Lerman-Neubauer Music Director Yannick Nézet-Séguin. In another Met premiere, Sir David McVicar stages the black comedy of Handel’s Agrippina, starring Joyce DiDonato as the conniving empress with Harry Bicket on the podium. -
Programm-Deutsches-Requiem.Pdf
CAMILLA TILLING SOPRAN MARKUS BUTTER BARITON NDR CHOR WERNER HANS HAGEN EINSTUDIERUNG WDR RUNDFUNKCHOR KÖLN PHILIPP AHMANN EINSTUDIERUNG WDR SINFONIEORCHESTER KÖLN SEMYON BYCHKOV DIRIGENT Abo: Chorklang In unserem Haus hören Sie auf allen Plätzen gleich gut – leider auch Husten, Niesen und Handy- klingeln. Ebenfalls aus Rücksicht auf die Künstler bitten wir Sie, von Bild- und Tonaufnahmen während der Vorstellung abzusehen. Wir danken für Ihr Verständnis! 2,50 E »Denn sie sollen getröstet werden.« (2009) 4I5 JOHANNES BRAHMS (1833 – 1897) Ein Deutsches Requiem für Soli, Chor und Orchester op. 45 (1868) Selig sind, die da Leid tragen Denn alles Fleisch, es ist wie Gras Herr, lehre doch mich Wie lieblich sind deine Wohnungen Ihr habt nun Traurigkeit Denn wir haben hie keine bleibende Statt Selig sind die Toten – Ende ca. 21.20 Uhr – 6I7 PROGRAMM »Die Erlöseten des Herrn werden wiederkommen.« (2009) 8I9 TRADITION, TRAUER, TROST Eindruck gemacht«. Für Brahms war der Tod eben nicht der Anfang eines neuen Lebens, sondern JOHANNES BRAHMS EIN DEUTSCHES REQUIEM FÜR SOLI, CHOR UND ORCHESTER OP. 45 ein Ende, ein ewiger Schlaf nach vollbrachter Erdenarbeit. Seine Hoffnung und Überzeugung war es, nach dem Tod »in Gottes Hand« zu sein und nicht mehr zu leiden. Deshalb gibt es bei ihm auch War Brahms ein verstockter Konservativer, wie seine Gegner behaupteten? Oder ganz im Gegen- kein Flehen um Gnade, keine Furcht vor göttlicher Rache, wie sie das ›Dies irae‹ des katholischen teil, wie Arnold Schönberg in seinem Aufsatz »Brahms the Progressive« schrieb, ein Neuerer, der Requiems bestimmt. Die Toten brauchen unsere Fürbitte also nicht, denn sie sind ja selig. -
Aeneid 7 Page 1 the BIRTH of WAR -- a Reading of Aeneid 7 Sara Mack
Birth of War – Aeneid 7 page 1 THE BIRTH OF WAR -- A Reading of Aeneid 7 Sara Mack In this essay I will touch on aspects of Book 7 that readers are likely either to have trouble with (the Muse Erato, for one) or not to notice at all (the founding of Ardea is a prime example), rather than on major elements of plot. I will also look at some of the intertexts suggested by Virgil's allusions to other poets and to his own poetry. We know that Virgil wrote with immense care, finishing fewer than three verses a day over a ten-year period, and we know that he is one of the most allusive (and elusive) of Roman poets, all of whom wrote with an eye and an ear on their Greek and Roman predecessors. We twentieth-century readers do not have in our heads what Virgil seems to have expected his Augustan readers to have in theirs (Homer, Aeschylus, Euripides, Apollonius, Lucretius, and Catullus, to name just a few); reading the Aeneid with an eye to what Virgil has "stolen" from others can enhance our enjoyment of the poem. Book 7 is a new beginning. So the Erato invocation, parallel to the invocation of the Muse in Book 1, seems to indicate. I shall begin my discussion of the book with an extended look at some of the implications of the Erato passage. These difficult lines make a good introduction to the themes of the book as a whole (to the themes of the whole second half of the poem, in fact). -
Descargar Programa De Mano
18.Ibermúsica.19 SERIE BARBIERI B.2 ORCHESTRE PHILHARMONIQUE DU LUXEMBOURG Director Titular: GUSTAVO GIMENO Solista: VILDE FRANG Medio oficial Auditorio Nacional de Música B.2 ORCHESTRE PHILHARMONIQUE DU LUXEMBOURG Encarna la activa vida cultural del Gran Ducado. Desde su brillante comienzo en Radio Luxemburgo, en 1933 y, convertida en estatal, en 1996, está ampliamente presente en el escenario musical europeo. Su sede, la Philharmonie, inaugurada en 2005, es una de las más excepcionales de Europa y su acústica ha sido elogiada por las grandes orquestas, directores y solistas que la han visitado. Una larga colaboración con las más renombradas salas y festivales, así como la intensa labor con célebres personalidades musicales, han consolidado su reputación, a la que se añaden las excelentes críticas a sus recientes trabajos discográficos, galardonados con premios Grammy, BBC Music Choice, Grand Prix Charles Cros, Diapason d’Or y Preis der deutschen Schallplattenkritik. En el cuarto período de liderazgo de Gustavo Gimeno –tras Henri Pensis, Carl Melles, Louis de Froment, Leopold Hager, David Shallon, Bramwell Tovey y Emmanuel Krivine– se extiende considerablemente su repertorio de Bach, Haydn, Verdi, Chaikovski y Sibelius a Schoenberg, Dutilleux y Verunelli. La colaboración con el sello Pentatone, que comenzó con el lanzamiento de cuatro volúmenes dedicados a Bruckner, Shostakóvich, Ravel y Mahler continuará a lo largo de 2018 con obras de Stravinski y Debussy. En la temporada 2018/19, son artistas residentes Philippe Herreweghe, Brad Mehldau y Yuja Wang; directores invitados, Marc Minkowski, Dmitry Liss, Eliahu Inbal, Baldur Brönnimann, Andrew Manze, Hans-Christoph Rademann y Nikolaj Szeps-Znaider; y solistas, Leonidas Kavakos, Camilla Tilling, Vilde Frang, Katia y Marielle Labèque, Simon Keenlyside, Martin Helmchen, Martin Grubinger, Anja Harteros y Jean-Guihen Queyras. -
May, 2020 No. 1941 Subscription (Program B) Richard Strauss
May, 2020 ◎No. 1941 Subscription (Program B) ◎ ■Richard Strauss (1864–1949) ■Symphonic Fragment from “Josephs Legende,” ballet (20') Richard Strauss’s Josephs Legende (The Legend of Joseph), Op. 63 is a ballet in a single act, composed between 1912 and 1914 for the Ballets Russes, a well-known ballet company in Paris. Its director Sergei Diaghilev was a charismatic figure who commissioned famous composers such as Igor Stravinsky, Claude Debussy, and Sergei Prokofiev to write pieces for the company. The company’s principal dancer and choreographer was Vaslav Nijinsky, one of the best known male dancers of the time. Strauss’s ballet is about Joseph in the Book of Genesis of the Old Testament, in particular about Potiphar’s wife Zuleika tries to seduce Joseph. The libretto was written mostly by Hugo von Hofmannsthal (the poet also provided Strauss with a number of libretti, including Elektra, Der Rosenkavalier, Ariadne auf Naxos, Die Frau ohne Schatten, Die ägyptische Helena, and Arabella). Strauss struggled with the ballet. He found the Biblical story uninspiring. Nevertheless, the project was for the renowned ballet company and great dancer/choreographer, an opportunity that could propel Strauss’s career to a higher level. The ballet premiered in Paris on May 14, 1914 where it was performed for seven times, then seven more in London. The outbreak of the First World War, however, eliminated all the chances for the ballet to be staged elsewhere. In 1947, Strauss returned to the piece to make a concert version and published it as Symphonic Fragment from Josephs Legende. This newly arranged piece retains the essence of the original and is filled with beautiful melodies typical of the composer. -
Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
(De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification.