Three Decembers | New York Stories Trouble in Tahiti & Signor Deluso
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Bernstein's Trouble in Tahiti By
Postwar Modernity and the Wife's Subjectivity: Bernstein's Trouble in Tahiti By: Elizabeth L. Keathley Keathley, Elizabeth. “Postwar Modernity and the Wife's Subjectivity: Bernstein's Trouble in Tahiti,” American Music, Vol. 23 No. 2 (Summer 2005): 220-257. Made available courtesy of University of Illinois Press: http://www.jstor.org/stable/4153033 ***© University of Illinois Press. Reprinted with permission. No further reproduction is authorized without written permission from University of Illinois Press. This version of the document is not the version of record. Figures and/or pictures may be missing from this format of the document. *** Abstract: Leonard Bernstein's short opera Trouble in Tahiti (1951-52) is a humorous but scathing satire on postwar consumerism and bourgeois marriage. Such critiques are now so commonplace that it may be difficult to appreciate the opera's political edge unless it is seen against the backdrop of repression that marked the years following World War II: in an era in which a group as mainstream as the League of Women Voters was denounced as a "communist front organization," Trouble in Tahiti's criticisms risked reprisals.[1] Keywords: Musicals | Leonard Bernstein | Trouble in Tahiti | Gender | Feminism | Post World War II era Article: Leonard Bernstein's short opera Trouble in Tahiti (1951-52) is a humorous but scathing satire on postwar consumerism and bourgeois marriage. Such critiques are now so commonplace that it may be difficult to appreciate the opera's political edge unless it is seen against -
This Year Marks Leonard Bernstein's 100Th Birthday, and Some Philly Arts
This year marks Leonard Bernstein’s 100th birthday, and some Philly arts and culture institutions are teaming up to celebrate his centenary with eye- and ear-opening firsts. We know Bernstein best for works such as West Side Story, but his 1951 opera, Trouble in Tahiti, also became an important cultural touchstone. It satirized the outwardly perfect and inwardly tumultuous family life of a suburban couple in 1950s America. But things got darker in the mid-1980s, when Bernstein revisited the same fictional family 30 years later, as a death calls them home, with 1983’s A Quiet Place. Bernstein’s last stage work In 1980, Bernstein teamed with 30-year-old writer Stephen Wadsworth in their joint inspiration for a sequel to Trouble in Tahiti, while they were both grappling with tragic losses in their own lives. The work would combine vernacular speech and music with relatable middle-class woes, performed through a mix of American musical theater and contemporary opera styles that was unusual and polarizing at the time. A Quiet Place premiered in Houston in 1983 as a one-act opera on a double bill with Trouble in Tahiti. Original conductor John Mauceri thought Bernstein and Wadsworth could revisit the two works again. They developed a new version of A Quiet Place that incorporated Trouble in Tahiti, creating one opera with the family’s complete arc, alternating between past and present and becoming a map of a changing U.S. culture from the 1950s to the ’80s. The revised A Quiet Place debuted successfully at La Scala in 1984 and went on to the Kennedy Center before returning to Europe. -
Composition Catalog
1 LEONARD BERNSTEIN AT 100 New York Content & Review Boosey & Hawkes, Inc. Marie Carter Table of Contents 229 West 28th St, 11th Floor Trudy Chan New York, NY 10001 Patrick Gullo 2 A Welcoming USA Steven Lankenau +1 (212) 358-5300 4 Introduction (English) [email protected] Introduction 8 Introduction (Español) www.boosey.com Carol J. Oja 11 Introduction (Deutsch) The Leonard Bernstein Office, Inc. Translations 14 A Leonard Bernstein Timeline 121 West 27th St, Suite 1104 Straker Translations New York, NY 10001 Jens Luckwaldt 16 Orchestras Conducted by Bernstein USA Dr. Kerstin Schüssler-Bach 18 Abbreviations +1 (212) 315-0640 Sebastián Zubieta [email protected] 21 Works www.leonardbernstein.com Art Direction & Design 22 Stage Kristin Spix Design 36 Ballet London Iris A. Brown Design Boosey & Hawkes Music Publishers Limited 36 Full Orchestra Aldwych House Printing & Packaging 38 Solo Instrument(s) & Orchestra 71-91 Aldwych UNIMAC Graphics London, WC2B 4HN 40 Voice(s) & Orchestra UK Cover Photograph 42 Ensemble & Chamber without Voice(s) +44 (20) 7054 7200 Alfred Eisenstaedt [email protected] 43 Ensemble & Chamber with Voice(s) www.boosey.com Special thanks to The Leonard Bernstein 45 Chorus & Orchestra Office, The Craig Urquhart Office, and the Berlin Library of Congress 46 Piano(s) Boosey & Hawkes • Bote & Bock GmbH 46 Band Lützowufer 26 The “g-clef in letter B” logo is a trademark of 47 Songs in a Theatrical Style 10787 Berlin Amberson Holdings LLC. Deutschland 47 Songs Written for Shows +49 (30) 2500 13-0 2015 & © Boosey & Hawkes, Inc. 48 Vocal [email protected] www.boosey.de 48 Choral 49 Instrumental 50 Chronological List of Compositions 52 CD Track Listing LEONARD BERNSTEIN AT 100 2 3 LEONARD BERNSTEIN AT 100 A Welcoming Leonard Bernstein’s essential approach to music was one of celebration; it was about making the most of all that was beautiful in sound. -
Trouble in Tahiti Programming Bernstein
PROgraMMIng BErnstEIN: NOW ON FacEBOOK! WORK DETAILS Trouble in Tahiti (1951) 40’ We are pleased to introduce the new online companion to Bernstein Bound — the One-act opera in seven scenes Programming Bernstein discussion board! Located on Leonard Bernstein’s fan page Libretto by the composer; German version on Facebook, the discussion board will be an online gathering space for exchanging by Paul Esterházy (E,G) information about Bernstein and his music. There you can read about the experiences Scoring (original orchestral version) of musicians and programmers worldwide, and share your own with them. M,BBar,Jazz trio (S or M,hT,hBar) 2(II=picc).2.corA.2.bcl.2(II=dbn)-2.2.2.1-timp. Come join in the conversation — you may be surprised who’s there already. perc:cym/BD/high & low TD/snare dr/tgl/ wdbls/tpl.bls/gong/tom-t/vib/xyl-harp- strings(1.1.1.1.1) TROUBLE IN TAHITI Scoring (reduced orchestration by G. Sunderland) Mornin’ sun kisses the windows, 1.1.1.1--1.1.1.0--perc(1, opt. 2)--pft-strings(1/1/1/1/1) Kisses the walls of the little white RECOMMENDED RECORDINGS house; Kisses the the doorknob, Audio and pretty red roof of the little white Bernstein / New York Philharmonic house in Scarsdale. Williams / Patrick / Butler / Clarke / Brown Sony Classical So begins Leonard Bernstein’s 1952 operetta Sony KM 32597; KMQ 32597; CD: SM3K Trouble in Tahiti, a tragicomic tale of the eroding 47154; SMK 60969 marriage of Sam and Dinah (characters loosely Click here to purchase this CD from Amazon Listen to an excerpt now based on Bernstein’s own parents) and the failure of the white-washed American Dream. -
Leonard Bernstein
chamber music with a modernist edge. His Piano Sonata (1938) reflected his Leonard Bernstein ties to Copland, with links also to the music of Hindemith and Stravinsky, and his Sonata for Clarinet and Piano (1942) was similarly grounded in a neoclassical aesthetic. The composer Paul Bowles praised the clarinet sonata as having a "tender, sharp, singing quality," as being "alive, tough, integrated." It was a prescient assessment, which ultimately applied to Bernstein’s music in all genres. Bernstein’s professional breakthrough came with exceptional force and visibility, establishing him as a stunning new talent. In 1943, at age twenty-five, he made his debut with the New York Philharmonic, replacing Bruno Walter at the last minute and inspiring a front-page story in the New York Times. In rapid succession, Bernstein Leonard Bernstein photo © Susech Batah, Berlin (DG) produced a major series of compositions, some drawing on his own Jewish heritage, as in his Symphony No. 1, "Jeremiah," which had its first Leonard Bernstein—celebrated as one of the most influential musicians of the performance with the composer conducting the Pittsburgh Symphony in 20th century—ushered in an era of major cultural and technological transition. January 1944. "Lamentation," its final movement, features a mezzo-soprano He led the way in advocating an open attitude about what constituted "good" delivering Hebrew texts from the Book of Lamentations. In April of that year, music, actively bridging the gap between classical music, Broadway musicals, Bernstein’s Fancy Free was unveiled by Ballet Theatre, with choreography by jazz, and rock, and he seized new media for its potential to reach diverse the young Jerome Robbins. -
Three Decembers” STARRING WORLD-RENOWNED MEZZO SOPRANO SUSAN GRAHAM and CELEBRATED ARTISTS MAYA KHERANI and EFRAÍN SOLÍS Available Via Online Streaming Anytime
OPERA SAN JOSÉ EXTENDS ACCESS TO VIRTUAL PERFORMANCE OF Jake Heggie’s “Three Decembers” STARRING WORLD-RENOWNED MEZZO SOPRANO SUSAN GRAHAM AND CELEBRATED ARTISTS MAYA KHERANI AND EFRAÍN SOLÍS Available via online streaming anytime SAN JOSE, CA (3 February 2021) – In keeping with Opera San José’s mission to expand accessibility to its work, the company has announced that through the support of generous donors it is able to extend access to its hit virtual production of Jake Heggie’s chamber opera, Three Decembers, now making it available on a pay-what-you-can basis for streaming on demand. The production is being offered with subtitles in Spanish and Vietnamese, as well as English, furthering its accessibility to the Spanish and Vietnamese speaking members of the San Jose community, two of the largest populations in its home region. Featuring world-renowned mezzo-soprano Susan Graham in the central role, alongside celebrated Opera San José Resident Artists soprano Maya Kherani and baritone Efraín Solís, this world-class digital production has been met with widespread critical acclaim. Based on an unpublished play by Tony Award winning playwright Terrence McNally, Three Decembers follows the riveting story of a famous stage actress and her two adult children, struggling to connect over three decades, as long-held secrets come to light. With a brilliant, witty libretto by Gene Scheer and a soaring musical score by Jake Heggie, Three Decembers offers a 90-minute fullhearted American opera about family – the ones we are born into and those we create. Tickets for the modern work, which was recorded last Fall in the company’s Heiman Digital Media Studio, are pay-what-you-can beginning at $15 per household, which includes on-demand streaming for 30 days after date of purchase. -
An Interview with Jake Heggie
35 Mediterranean Opera and Ballet Club Culture and Art Magazine A Chat with Composer Jake Heggie Besteci Jake Heggie İle Bir Sohbet Othello in the Dansa Âşık Bir Kuğu: Seraglio Meriç Sümen Othello Sarayda FLÜTİST HALİT TURGAY Fotoğraf: Mehmet Çağlarer A Chat with Jake Heggie Composer Jake Heggie (Photo by Art & Clarity). (Photo by Heggie Composer Jake Besteci Jake Heggie İle Bir Sohbet Ömer Eğecioğlu Santa Barbara, CA, ABD [email protected] 6 AKOB | NİSAN 2016 San Francisco-based American composer Jake Heggie is the author of upwards of 250 Genç Amerikalı besteci Jake Heggie şimdiye art songs. Some of his work in this genre were recorded by most notable artists of kadar 250’den fazla şarkıya imzasını atmış our time: Renée Fleming, Frederica von Stade, Carol Vaness, Joyce DiDonato, Sylvia bir müzisyen. Üstelik bu şarkılar günümüzün McNair and others. He has also written choral, orchestral and chamber works. But en ünlü ses sanatçıları tarafından yorumlanıp most importantly, Heggie is an opera composer. He is one of the most notable of the kaydedilmiş: Renée Fleming, Frederica von younger generation of American opera composers alongside perhaps Tobias Picker Stade, Carol Vaness, Joyce DiDonato, Sylvia and Ricky Ian Gordon. In fact, Heggie is considered by many to be simply the most McNair bu sanatçıların arasında yer alıyor. Heggie’nin diğer eserleri arasında koro ve successful living American composer. orkestra için çalışmalar ve ayrıca oda müziği parçaları var. Ama kendisi en başta bir opera Heggie’s recognition as an opera composer came in 2000 with Dead Man Walking, bestecisi olarak tanınıyor. Jake Heggie’nin with libretto by Terrence McNally, based on the popular book by Sister Helen Préjean. -
SF Opera Guild Virtual Event April 28.Pdf
SAN FRANCISCO OPERA GUILD PRESENTS “LIFE. CHANGING. AN EVENING WITH FREDERICA VON STADE & JAKE HEGGIE,” APRIL 28 Frederica von Stade; Jake Heggie (photo: Karen Almond); Gasia Mikaelian SAN FRANCISCO, CA (April 21, 2021) — San Francisco Opera Guild will present a complimentary virtual livestream event Life. Changing. An Evening with Frederica von Stade & Jake Heggie on Wednesday, April 28 at 6 pm Pacific. Mezzo-soprano Frederica von Stade (“Flicka”), American composer Jake Heggie and San Francisco Opera Guild students, alumni and teachers will share inspiring stories and uplifting songs, while celebrating music’s power to change lives. The event includes an intimate Q&A that will give attendees the chance to ask Flicka and Jake questions. KTVU Mornings on 2 news anchor and longtime opera enthusiast Gasia Mikaelian will serve as emcee. Life. Changing. is open to the public; complimentary advance registration required: give.sfoperaguild.com/LifeChanging. 1 Frederica von Stade said: “I love being with my pal, the wonderful Jake Heggie, to celebrate the great efforts of San Francisco Opera Guild in reaching out to the young people of the Bay Area. It means so much to me because I know firsthand of these efforts and have seen the amazing results. I applaud the Guild’s Director of Education Caroline Altman and her work with the Opera Scouts and the amazing team at the Guild. Music changed my life, and I’m excited to celebrate how it changes the lives of our precious young people.” Jake Heggie said: “I'm delighted to join with my great friend Frederica von Stade to spotlight the important, ongoing work in music education made possible by San Francisco Opera Guild. -
Plácido Domingo Del Gran Teatre Del Liceu
ORQUESTRA SIMFÒNICA CONCERT PLÁCIDO DOMINGO DEL GRAN TEATRE DEL LICEU Plácido Domingo Primera part: 50 min. · Pausa: 25 min. Airam Hernández Segona part: 30 min. Ana María Martínez Violí I Violoncel Trompeta Durada total aproximada: 1 hora 45 min Liviu Morna Concertino Peter Thiemann * Francesc Colomina * Olga Aleshinsky * Mathias Weinmann Danel Morales Orquestra Simfònica del Eva Pyrek * Esther Clara Braun Gran Teatre del Liceu Diumenge 20 de maig de 2018, 18.00h Oksana Solovieva Carme Comeche Trombó Renata Tanollari Òscar Alabau Jordi Berbegal * Ramón Tebar Director Oleg Shport Juan Manuel Stacey Alejandro Cantos Yana Tsanova Irma Bau Luis Bellver * Sergey Maiboroda Nico Cobo Raúl Suárez Tuba Paola Caballero Contrabaix Jose Miguel Bernabeu * PRIMERA PART SEGONA PART Ariadna Torner Cristian Sandu * Helena Muñoz Francesc Lozano Timpani Gerónimo Giménez (1854 – 1923) Manuel de Falla (1876 – 1946) Paula Banciu Alfredo Fajardo Artur Sala * Intermedio (La boda de Luis Alonso) “Farruca” (El sombrero de tres picos) Natalia Brzewska Joan Cantallops Felipe Contreras Percussió Reveriano Soutullo (1880 – 1932) i Joan Vert Federico Moreno Torroba (1891 – 1982) Jordi Mestres (1890 – 1931) “En mi tierra extremeña” (Luisa Fernanda) Violí II Flauta Salva Soler “Quiero desterrar” (La del soto del Parral) Plácido Domingo Christo Kasmetski * Albert Mora * Mario García Plácido Domingo Ana María Martínez Rodica Monica Harda Joan J. Renart Liu Jing Sandra Luisa Batista (picc) * Arpa Ernesto Lecuona (1895 – 1963) “De este apacible rincón de Madrid” (Luisa Fernanda) -
And Return of Cruzar La Cara De La Luna (May 17, 19, 20) at HGO Resilience Theater
Houston Grand Opera presents Bernstein’s West Side Story (April 20–May 6), Bellini’sNorma (April 27–May 11), and return of Cruzar la Cara de la Luna (May 17, 19, 20) at HGO Resilience Theater World’s first mariachi opera returns after New York triumph Houston, January 29, 2018— Houston Grand Opera (HGO) will present the first major American opera house production of Leonard Bernstein’s landmark musical West Side Story, April 20–May 6, and Bellini’s vocal powerhouse Norma, April 27–May 11, in the HGO Resilence Theater at the George R. Brown Convention Center. HGO will also bring back its popular groundbreaking production of the world’s first mariachi opera, Cruzar la Cara de la Luna/To Cross the Face of the Moon, for three special performances on May 17, 19, and 20, also in Resilience Theater. Composed by José “Pepe” Martínez with libretto by Leonard Foglia, the powerful story chronicling three generations of a family divided by countries and cultures has been performed to audience and critical acclaim all over the United States, in Paris, and in Mexico. It received rave reviews at its New York premiere at New York City Opera. Tickets for these productions at the HGO Resilience Theater in the George R. Brown Convention Center are available at HGO.org. Parking is available at the Avenida North Garage located at 1815 Rusk 1 Street, across from Resilience Theater. A sky bridge connects the parking garage to the GRB, and there is clear signage directing patrons to the theater. More information about parking can be found here. -
Oral History Center University of California the Bancroft Library Berkeley, California Frederica Von Stade Frederica Von Stade
Oral History Center University of California The Bancroft Library Berkeley, California Frederica von Stade Frederica von Stade: American Star Mezzo-Soprano Interviews conducted by Caroline Crawford in 2011, 2012, 2014, 2015 Copyright © 2020 by The Regents of the University of California Oral History Center, The Bancroft Library, University of California, Berkeley ii Since 1954 the Oral History Center of The Bancroft Library, formerly the Regional Oral History Office, has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Frederica von Stade dated February 2, 2012. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. -
Opera SAN JOSÉ
2018 | 2019 SEASON Opera SAN JOSÉ Celebrating 35 YEARS of Excellence Message from General Director Larry Hancock I suspect that it is impossible to say in few words what Melville’s Moby- Dick is about. It seems to be about everything. It may be doubtful that anyone can say precisely what any great work of literature is about. In Search of Lost Time, War and Peace, Middlemarch, Great Expectations, Moby-Dick…The words string along, leading into deeper knowledge page after page, clearer understanding character by character, so that after 800 pages of, say, Middlemarch, you put the book down and know…what? That humanity is…what? That life is lived… how? By whom? But you know you’ve learned something. The search for a more concise meaning is a bit easier after epic literature has been put in the crucible of opera and rendered. Opera, using music, with its layered emotions, penetrates instantaneously on many levels and at once. The sounding of a single chord can convey a whole page of description. Composer Jake Heggie and librettist Gene Scheer have distilled Melville’s epic from 24 hours and 38 minutes (the duration of the audiobook) to three hours of music. Anything that is not essential to the narrative, and a great portion of Melville’s revolutionary novel is not narrative, has been set aside, and as a stage doesn’t provide scene changes by beginning new paragraphs, some words that were spoken in different times and other places have been moved into the here and now, and realizations in the novel that emerge only after long introspective monologues are expressed in a flash, expanded in meaning by an entire orchestra.