Il Barbiere Di Siviglia Resource Guide
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
THE BARBER of SEVILLE” Opened with a Standing Ovation by Iride Aparicio
OSJ’s “THE BARBER OF SEVILLE” Opened with a Standing Ovation By Iride Aparicio Photos by: Pat Kirk BRIAN JAMES MYER as Figaro SAN JOSÉ, CA -- “Figaro, Figaro, Figaro” According to CESARE STERBINI’s Libretto, written for GIACHINO ROSSINI’s opera “IL BARBIERI DI SIVIGLIA,” everybody calls Figaro in Seville, Spain during the seventeenth Century. Figaro was the town’s witty barber, who aside from shaving men’s beards, and fixing ladies’ hair, fixed everything else, if paid for his help. So, (in the libretto) when Count Almaviva (KIRK DOUGHERTY) disguised as Lindoro, a poor student, asks Figaro (BRIAN JAMES MYER) to help him enter the house of Don Bartolo ( VALERIAN RUMINSKI) the guardian of Rosina (RENÉE RAPIER) the woman he loves, Figaro plans a way that when putting it into effect, keep the audience laughing, the singers acting different comic roles and composer Rossini the opportunity to display his marvelous Bel Canto arias interpreted by the singers. KIRK DOUGHERTY as Lindoro and RENÉE RAPIER as Rosina And here we can add that on the opera's opening night, on November 12 at the California Theatre, the Opera San José’s singers voices were top class. On that night, the whole two acts of the work, moved smoothly. It was one of those rare nights in which all the elements go perfectly on the stage. The orchestra under the baton of ANDREW WHITFIELD, sounded rhythmically, and all the solos of the instruments were played in tune. Stage Director, LAYNA CHIANAKAS, managed natural acting from the singers playing the comic roles. -
The Barber of Seville
The Barber of Seville Education Kit Opera Australia The Barber of Seville 2019 Education Kit WELCOME In 2019, we are delighted to present The Barber of Seville as Opera Australia’s Schools Tour in Victoria. Singing and drama play an inspiring role in the education of children. We aim to foster a love of the performing arts in people of all ages, engaging them in a combination of music, singing, drama and design. Opera involves its audience visually, aurally and emotionally. For over 20 years, Opera Australia has maintained a strong commitment to bringing high calibre opera into schools; and our Schools Tours have developed a reputation for being some of the finest incursion performances in Australia. This year, 70,000 children will experience the excitement of opera in their own school. We trust that The Barber of Seville inspires your students, and that their engagement with the performing arts encourages their creativity, imagination and learning. Rory Jeffes Chief Executive Officer Opera Australia 1 The Barber of Seville 2019 Education Kit Contents ABOUT OPERA AUSTRALIA ...................................................................................................................... 3 ABOUT OPERA ......................................................................................................................................... 4 OPERA: A HISTORY ............................................................................................................................. 4 THE OPERATIC VOICE ............................................................................................................................ -
Press Kit: the Barber of Seville
Press Kit: The Barber of Seville Press Release José Maria Condemi Bio Bryan Nies Bio Synopsis Images: Krassen Karagiozov (as Figaro in The Barber of Seville) José Maria Condemi (stage director) Bryan Nies (conductor) News Release Press contacts: Virginia Perry, 408.437.4463 or 650.799.1341 [email protected] Elizabeth Santana, 408.437.2229 [email protected] FOR IMMEDIATE RELEASE: December 13, 2010 “Give Us More Barbers!” – Beethoven The Barber of Seville Opera San José presents Rossini’s comic masterpiece SAN JOSÉ, CA— Opera San José continues its 27th Season with Rossini’s delightful comic opera, The Barber of Seville. The charming tale of a clever young woman, her eager lover, and their resourceful accomplice, Figaro, The Barber of Seville is a tuneful testament to all that’s wonderful about fun and romance. Eight performances are scheduled from February 12 through 27 at the California Theatre, 345 South First Street in downtown San José. Tickets are on sale at the Opera San José Box Office, by phone at (408) 437-4450 or online at www.operasj.org. This production of The Barber of Seville is made possible, in part, by a Cultural Affairs Grant from the City of San José. The madcap story unfolds fast and furious in 18th-century Seville, Spain. Young Rosina is a wealthy orphan and the ward of a grasping old codger, Dr. Bartolo, who is plotting to marry her not only for her beauty, but for her substantial dowry. However, Rosina has two things on her side: the handsome Count Almaviva, who has fallen in love with her, and the town barber, Figaro, her conniving accomplice, who through clever disguises and quick wit succeeds in securing victory for the young couple. -
The American Opera Series May 16 – November 28, 2015
The American Opera Series May 16 – November 28, 2015 The WFMT Radio Network is proud to make the American Opera Series available to our affiliates. The American Opera Series is designed to complement the Metropolitan Opera Broadcasts, filling in the schedule to complete the year. This year the American Opera Series features great performances by the Lyric Opera of Chicago, LA Opera, San Francisco Opera, Glimmerglass Festival and Opera Southwest. The American Opera Series for 2015 will bring distinction to your station’s schedule, and unmatched enjoyment to your listeners. Highlights of the American Opera Series include: • The American Opera Series celebrates the Fourth of July (which falls on a Saturday) with Lyric Opera of Chicago’s stellar production of George Gershwin’s Porgy and Bess. • LA Opera brings us The Figaro Trilogy, including Mozart’s The Marriage of Figaro, Rossini’s The Barber of Seville, and John Corigliano’s The Ghosts of Versailles. • The world premiere of Marco Tutino’s Two Women (La Ciociara) starring Anna Caterina Antonacci, based on the novel by Alberto Moravia that became a classic film, staged by San Francisco Opera. • Opera Southwest’s notable reconstruction of Franco Faccio’s 1865 opera Amleto (Hamlet), believed lost for over 135 years, in its American premiere. In addition, this season we’re pleased to announce that we are now including multimedia assets for use on your station’s website and publications! You can find the supplemental materials at the following link: American Opera Series Supplemental Materials Please note: If you have trouble accessing the supplemental materials, please send me an email at [email protected] Program Hours* Weeks Code Start Date Lyric Opera of Chicago 3 - 5 9 LOC 5/16/15 LA Opera 2 ½ - 3 ¼ 6 LAO 7/18/15 San Francisco Opera 1 ¾ - 4 ¾ 10 SFO 8/29/15 Glimmerglass Festival 3 - 3 ½ 3 GLI 11/7/15 Opera Southwest Presents: Amleto 3 1 OSW 11/28/15 Los Angeles Opera’s Production of The Ghosts of Versailles Credit: Craig Henry *Please note: all timings are approximate, and actual times will vary. -
Shaping Nationalism 2
TO WHAT EXTENT SHOULD WE EMBRACE NATIONALISM? CHAPTER Shaping Nationalism 2 Figure 2-1 In July 1789, many people in Paris, France, rebelled against the government. They said they wanted liberty and equality for all citizens. In November 2005, young people in some Paris suburbs rioted and burned thousands of cars. They said they wanted equality with other French citizens. The photograph of a firefighter trying to put out a car fire was taken in Paris in November 2005. That same month, Ares, a Cuban artist, created the cartoon on this page to show his thoughts on what was happening in France. CHAPTER ISSUE How do external and internal factors shape nationalism? KEY TERMS ON OCTOBER 27, 2005, two teenagers — 15-year-old Bouna Traore and 17-year-old Zyed Benna — died in an electrical relay station in a suburb revolution of Paris, France. They were electrocuted when they tried to hide from republic French police, who were chasing them. Their families had immigrated collective to France from former French colonies. consciousness After Traore and Benna died, some young French citizens of bourgeoisie immigrant parents in the suburbs of Paris rioted and burned cars. They wanted the same rights and opportunities that other French push factors citizens enjoyed. pull factors Some people agreed that French society discriminated against non- white citizens and immigrants. Non-white citizens and immigrants often have trouble finding jobs. As a result, many end up living in suburban slums and find it difficult to improve their lives. Examine the photograph and cartoon on the previous page, then respond to the following questions. -
Lecture 1: a Short History of Thinking on Poverty
WIDER Conference, Helsinki 2013 The Idea of Antipoverty Policy Martin Ravallion Georgetown University and NBER “Is there anyone today who would not commit to eliminating poverty?” (Jim Yong Kim, 2013) 1 How did we come to think that eliminating poverty is a legitimate goal for public policy? What types of policies emerged over time in the hope of attaining that goal? 2 Three premises are now widely accepted: Premise 1: Poverty is a social bad Premise 2: Poverty can be eliminated Premise 3: Public policies can help do that • But these premises did not have broad scholarly support 200 years ago. • There has been a dramatic change in economic thinking about poverty—a new model of poverty. 3 The evolution in thinking, in four quotes • “The poor … are like the shadows in a painting: they provide the necessary contrast.” (Philippe Hecquet, 1740). • “Everyone but an idiot knows that the lower classes must be kept poor or they will never be industrious.” (Arthur Young, 1771). • “May we not outgrow the belief that poverty is necessary?” (Alfred Marshall, 1890). • “Our dream is a world free of poverty.” (Motto of the World Bank since 1990). This presentation aims to document and understand this huge change in how we think about poverty in the last 200+ years 4 A simple expository model and some definitions 5 Model of personal wealth dynamics • The credit market is imperfect, such that individuals can only borrow up to λ times their wealth. • Each person has a strictly concave production function yielding output h(k) from a capital stock k. -
Black Cosmopolitans
BLACK COSMOPOLITANS BLACK COSMOPOLITANS Race, Religion, and Republicanism in an Age of Revolution Christine Levecq university of virginia press Charlottesville and London University of Virginia Press © 2019 by the Rector and Visitors of the University of Virginia All rights reserved Printed in the United States of America on acid- free paper First published 2019 ISBN 978-0-8139-4218-6 (cloth) ISBN 978-0-8139-4219-3 (e-book) 1 3 5 7 9 8 6 4 2 Library of Congress Cataloging- in- Publication Data is available for this title. Cover art: Jean-Baptiste Belley. Portrait by Anne Louis Girodet de Roussy- Trioson, 1797, oil on canvas. (Château de Versailles, France) To Steve and Angie CONTENTS Acknowledgments ix Introduction 1 1. Jacobus Capitein and the Radical Possibilities of Calvinism 19 2. Jean- Baptiste Belley and French Republicanism 75 3. John Marrant: From Methodism to Freemasonry 160 Notes 237 Works Cited 263 Index 281 ACKNOWLEDGMENTS This book has been ten years in the making. One reason is that I wanted to explore the African diaspora more broadly than I had before, and my knowledge of English, French, and Dutch naturally led me to expand my research to several national contexts. Another is that I wanted this project to be interdisciplinary, combining history and biography with textual criticism. It has been an amazing journey, which was made pos- sible by the many excellent scholars this book relies on. Part of the pleasure in writing this book came from the people and institutions that provided access to both the primary and the second- ary material. -
E.T.A. Hoffmann and the Hairdresser Around 1800
Publications of the English Goethe Society ISSN: 0959-3683 (Print) 1749-6284 (Online) Journal homepage: http://www.tandfonline.com/loi/ypeg20 E.T.A. Hoffmann and the Hairdresser around 1800 Seán M. Williams To cite this article: Seán M. Williams (2016) E.T.A. Hoffmann and the Hairdresser around 1800, Publications of the English Goethe Society, 85:1, 54-66, DOI: 10.1080/09593683.2016.1162582 To link to this article: http://dx.doi.org/10.1080/09593683.2016.1162582 © 2016 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group Published online: 13 May 2016. Submit your article to this journal Article views: 69 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=ypeg20 Download by: [Royal Hallamshire Hospital] Date: 17 May 2016, At: 08:22 PUBLICATIONS OF THE ENGLISH GOETHE SOCIETY, Vol. LXXXV No. 1, 2016, 54–66 E.T.A. Hoffmann and the Hairdresser around 1800 Seán M. Williams University of Sheffield, Sheffield, UK The following historicizes the figure of the hairdresser in Die Elixiere des Teufels, and especially its relation to a pair of popular, recurrent representations in European culture around 1800. The hairdresser is here read as a self-made man, and as a second maker—a genius. Hoffmann made creative use of these two commonplaces. The character as an artisan working without attachment to a family lineage, fixed location or any other regulative structure, such as a guild, and the connection of hairdressing to literature as well as to other arts becomes productive for both Hoffmann’s novel and for his poetics more generally. -
The Magic Flute
OCTOBER 09, 2015 THE FRIDAY | 8:00 PM OCTOBER 11, 2015 MAGIC SUNDAY | 4:00 PM OCTOBER 13, 2015 FLUTE TUESDAY | 7:00 PM FLÂNEUR FOREVER Honolulu Ala Moana Center (808) 947-3789 Royal Hawaiian Center (808) 922-5780 Hermes.com AND WELCOME TO AN EXCITING NEW SEASON OF OPERAS FROM HAWAII OPERA THEATRE. We are thrilled to be opening our 2014) conducts, and Allison Grant As always we are grateful to you, season with one of Mozart’s best- (The Merry Widow, 2004) directs this our audience, for attending our loved operas: The Magic Flute. This new translation of The Magic Flute by performances and for the support colorful production comes to us Jeremy Sams. you give us in so many ways from Arizona Opera, where it was throughout the year. Without your created by Metropolitan Opera This will be another unforgettable help we simply could not continue stage director, Daniel Rigazzi. season for HOT with three to bring the world’s best opera to Inspired by the work of the French sensational operas, including Hawaii each year. surrealist painter, René Magritte, a stunning new production of the production is fi lled with portals– Benjamin Britten’s A Midsummer But now sit back and enjoy Mozart’s doorways and picture frames–that Night’s Dream, directed by Henry The Magic Flute. lead the viewer from reality to Akina, with videography by Adam dreams. With a cast that includes Larsen (Siren Song, 2015) and a MAHALO Antonio Figueroa as Tamino and So spectacular production of Verdi’s Il Young Park as the formidable Queen Trovatore designed by Peter Dean Henry G. -
Media Release
Media Release FOR IMMEDIATE RELEASE: December 14, 2017 Contact: Edward Wilensky (619) 232-7636 [email protected] San Diego Opera’s Main Stage Season Closes on March 17, 2018 with Daniel Catán’s Florencia en el Amazonas All Spanish speaking cast led by soprano Elaine Alvarez as Florencia Most famous work by Mexican composer Daniel Catán inspired by the Magical Realism of author Gabriel García Márquez San Diego, CA – San Diego Opera’s 2017-2018 mainstage season comes to close with Daniel Catán’s ode to magic realism, Florencia en el Amazonas, which opens on Saturday, March 17, 2018 at 7 PM at the San Diego Civic Theatre. Additional performances are March 20, 23, and 25 (matinee), 2018. Daniel Catán’s history with the Company goes back quite some time as San Diego Opera gave Catán’s opera, Rappacini’s Daughter, its American premiere, making him the first Mexican composer to have his work presented professionally in the United States. The success of Rapaccini’s Daughter led to international acclaim that resulted in the commissioning for Florencia en el Amazonas by Houston Grand Opera. Loosely inspired by Gabriel García Márquez’s novel, Love in the Time of Cholera, the opera follows the fictional opera singer Florencia Grimaldi as she returns to perform in her home town with the hopes of attracting the attention of her long lost love who has vanished in the Amazon forest collecting butterflies. As she journeys down the Amazon on a riverboat, Florencia becomes entwined in the lives of the other passengers whose conversations and passions lead her to self-realization and a metamorphosis. -
John Corigliano Was Born Into a Musical
Symphony No. 1 John Corigliano ohn Corigliano was born into a musical represented the first time in two decades Jfamily; his father (John Corigliano, Sr.) that the company presented a new work it served for more than two decades as con- had commissioned. In March 2000 Corigli- certmaster of the New York Philharmonic. ano won another notable honor: an Acade- As a young composer, he studied with Otto my Award for The Red Violin, his third film Luening at Columbia University and Vit- score, music that has gone on to become torio Giannini at the Manhattan School of popular as a concert work quite apart from Music and worked for nearly a decade with its original cinematic context. This was not Leonard Bernstein on the CBS broadcasts of the only distinction accorded to his music the New York Philharmonic Young People’s for The Red Violin; it also won the Canadian Concerts. Following an early period during Genie Award for best film score, the Quebec which his music — as he has described it Jeutra Award, and the German Critics’ Prize. — was a “tense, histrionic outgrowth of the With his Symphony No. 2 (an expanded ‘clean’ American sound of Barber, Copland, re-composition of his 1995 String Quartet) Harris, and Schuman,” he embraced a pos- he was awarded the Pulitzer Prize for Mu- ture in which Romantic grandeur can rub sic in 2001. Since 1991 Corigliano has been elbows with a modernist musical vocabu- a member of the American Academy of Arts lary. The New York Philharmonic has a long and Letters; in 1992 Musical America named and deep history with his work, having per- him its first Composer of the Year; and in formed 15 of his symphonic compositions 2002 he was honored with the Gold Medal since 1980. -
Nber Working Paper Series the Idea of Antipoverty
NBER WORKING PAPER SERIES THE IDEA OF ANTIPOVERTY POLICY Martin Ravallion Working Paper 19210 http://www.nber.org/papers/w19210 NATIONAL BUREAU OF ECONOMIC RESEARCH 1050 Massachusetts Avenue Cambridge, MA 02138 July 2013 For comments the author thanks Robert Allen, Tony Atkinson, Pranab Bardhan, Francois Bourguignon, Denis Cogneau, Sam Fleischacker, Pedro Gete, Karla Hoff, Ravi Kanbur, Charles Kenny, Sylvie Lambert, Peter Lindert, Will Martin, Alice Mesnard, Branko Milanovic, Johan Mistiaen, Thomas Pogge, Gilles Postel-Vinay, John Rust, Agnar Sandmo, Amartya Sen, Dominique van de Walle and participants at presentations at the World Bank, the Midwest International Economic Development Conference at the University of Wisconsin Madison, the Paris School of Economics, the Canadian Economics Association and the 12th Nordic Conference on Development Economics. The paper’s title owes a debt to Gertrude Himmelfarb’s (1984), The Idea of Poverty: England in the Early Industrial Age. The views expressed herein are those of the author and do not necessarily reflect the views of the National Bureau of Economic Research. NBER working papers are circulated for discussion and comment purposes. They have not been peer- reviewed or been subject to the review by the NBER Board of Directors that accompanies official NBER publications. © 2013 by Martin Ravallion. All rights reserved. Short sections of text, not to exceed two paragraphs, may be quoted without explicit permission provided that full credit, including © notice, is given to the source. The Idea of Antipoverty Policy Martin Ravallion NBER Working Paper No. 19210 July 2013 JEL No. B1,B2,I38 ABSTRACT How did we come to think that eliminating poverty is a legitimate goal for public policy? What types of policies have emerged in the hope of attaining that goal? The last 200 years have witnessed a dramatic change in thinking about poverty.