Messa Da Requiem
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Precious Nonsense
Precious Nonsense NEWSLETTER OF THE MIDWESTERN GILBERT AND SULLIVAN SOCIETY May 2001 -- Issue 62 On your allegiance, we've a stronger claim! We charge you yield in Queen Victoria's Name! (It was either that, or "Say, why is everything either at Sixes or at Sevens?" because things in the Cole Household have been at multiples of 13 all over the place. But be that as it may.) Recently, during a discussion of drama with someone marginally familiar with the Gilbert and Sullivan operas, he remarked that they were too smart for their own good; that, from what he had read, the Jesse Helms-types would never have let them be performed. I responded that, I don't know about the ultra-conservatives, but these days, when a parody of Gone With the Wind is legally mistaken for a sequel, two (and possibly three or four) of the Gilbert and Sullivan operas would never have made it to the stage at all. There's Princess Ida ("A respectful per-version of Tennyson's The Princess"), Yeomen of the Guard (which had a lot of similarity with an earlier opera Maritana), possibly Sorcerer (with themes similar to those in L'Elisir D'Amore). And then there are the "digs" at well-known personalities in Pinafore and Patience. And, of course, there's the well-documented fears of "political incorrectness" at various times with Mikado. So isn't it great that Gilbert and Sullivan produced their work when they did: just think of all the joy that work wouldn't have been able to provide if they had tried to present it before or after Queen Victoria's Glorious (and what appear to be artistically generous) Days. -
Contents EDITORIAL: REFORM and RENEWAL Page 3
Contents EDITORIAL: REFORM AND RENEWAL page 3 THE PENITENTIAL THEOLOGY OF THE BOOK OF COMMON PRAYER UNTO THE THRONE OF THE HEAVENLY GRACE: THE JOURNEY OF PENITENCE IN THE BOOK OF COMMON PRAYER 6 Bridget Nichols ‘MANIFOLD SINS AND WICKEDNESS’: PENITENTIAL REPETITIONS IN THE PRAYER BOOK 18 Margaret Widdess FROM THE SAVOY CONFERENCE TO THE SAVOY OPERAS 26 Michael Brydon AN APOLOGY FOR LITURGY 44 Jeremy Taylor LETTER 61 BRANCHES AND BRANCH CONTACTS 63 1 Editorial: Reform and Renewal his is a time of change in the Church of England. The ‘Reform and Renewal’ project, driven by the Archbishop’s Council and Tunderwritten by the Church Commissioners, will have effects (not only organisational) which are difficult as yet to estimate, but even in its earlier days some were complaining that too narrow a range of voices was being listened to: [Scholars and academics are] not wanted because they would slow the work down and cause lots of questions to be asked. If you can’t value the past, you may then decide it needs to go, or needs modification. If you’ve never taken the time to understand it in the first place, there are risks.1 There have been complaints that the project is too closely associated with a particular style of churchmanship and worship, and that the statistics which are relied on to indicate the ‘levers’ of church growth have been misrepresented.2 One of the documents associated with ‘Reform and Renewal’ (Setting God’s People Free) calls for a ‘change in the culture’ of the laity to make them more ‘missional’. -
L DTNT Records Relating to the Hull New Theatre 1939- 2008
Hull History Centre: Records relating to the Hull New Theatre L DTNT Records relating to the Hull New Theatre 1939- 2008 Historical Background: The New Theatre which stands on Kingston Square, Hull, opened on the 16th of October 1939 with the Hull Repertory Company production of 'Me and My Girl'. Peppino Santangelo came to the city in 1924 to join the Hull Repertory Company based at the Little Theatre in Kingston Square. After turning the struggling company around, Peppino, organised the reconstruction of the former Assembly Rooms which had first been built by R. H. Sharp over 100 years earlier in 1834 into the New Theatre. Not even the outbreak of the Second World War could halt Peppino’s dream and as the theatre’s first manager, he told crowds of 1939: ‘I have made plans for your future entertainment, always bearing in mind that we are at war and that laughter and not tears should be the dominant feature.’ Performances continued throughout the war when West End productions arrived to escape the bombing in London. The theatre bar was reinforced as a bomb shelter and the building received only one direct hit, in May 1941, which destroyed the front row of stalls and all the props and costumes of the visiting Sadler’s Wells Opera Company. In the late 1960s the Theatre's stage was deepened and the orchestra pit enlarged, whilst at the same time the auditorium was improved with new seating. The theatre closed in January 2016 to undergo a huge £15.9m revamp of the venue, which would see improvements to backstage areas including a new fly tower, used for scenery, lighting and stage effects, a larger stage, and more seating. -
Decca Discography
DECCA DISCOGRAPHY >>3 GREAT BRITAIN: ffss, 1954-81 Work for American record companies (notably Mercury and Everest) helped the LSO to raise its standards and convince Decca, by around 1962, that the finest symphony orchestra available (with the arguable exception of the VPO) could be regularly heard at the Royal Festival Hall, a few minutes walk away from 9, Albert Embankment, where the company had opened Decca House as its new headquarters in 1958. Then in 1964 the New Philharmonia, disowned by Walter Legge, began to record for Decca, as did the Academy of St.Martin in the Fields, having moved from L’Oiseau-Lyre to Argo. With the English Chamber Orchestra and RPO also available, London had a short spell of orchestral pre- eminence before Decca started shifting sessions to North America. It had also added Joan Sutherland’s sessions to its traditional operatic repertoire of Sullivan and Britten and maintained its importance in chamber music and instrumental recordings, particularly with Ashkenazy from 1963 and the Philip Jones Brass Ensemble on Argo from 1968. In the early 1970s the advent of Anthony Rooley, the Consort of Musicke, Emma Kirkby, Christopher Hogwood and the Academy of Ancient Music brought a fresh look at repertoire from Dowland to Purcell, Handel, Mozart and eventually Beethoven. Solti recorded with the LPO from 1972 and the National Philharmonic was booked regularly from 1974-84. Also during the 1970s the London Sinfonietta’s surveys of Schönberg and Janá ček were recorded. Ashkenazy’s second career as a conductor centred initially on London, with the Philharmonia from 1977 and the RPO from 1987.