Th E N a Tion a L O Pe R a C En Ter Am Er Ic A
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Seize the Day! March 23 & 24, 2013 Jordan Hall at New England Conservatory
Seize the Day! March 23 & 24, 2013 Jordan Hall at New England Conservatory Reuben M. Reynolds III, Music Director Craig Coogan, Executive Director Chad Weirick, Principal Accompanist and Assistant Music Director LeWana Clark, American Sign Language Interpreter Jared West, General Manager Brian C. Griffin, Operations Manager Daniel John Carroll, Communications Intern Leadership Sponsor OFFICIAL AIRLINE Corporate Sponsors with support from This program is supported in part by a grant from the Boston Cultural Council, a local agency which is funded by the Massachusetts Cultural Council, administered by the Mayor’s Office of Arts, Tourism and Special Events. At Ipswitch, community involvement is an integral part of our culture and values. At the heart of our commitment is the recognition that the vitality of our company is linked to the health of our communities. And we know that our communities cannot flourish unless we invest in their future. We make more than software. We make a difference. Visit www.ipswitch.com to learn more about our company, our products and our commitment to our communities. 2 From the Maestro One of the greatest things about singing in BGMC is the adventures we get to have together. One of those started several years ago when I stumbled across a recording of Only Heaven, a set of songs for soprano by Ricky Ian Gordon to text of Langston Hughes. Intrigued – we sang Ricky’s Love, My Sweet Rain a few years ago. I adore the poetry of Langston Hughes and I fell madly in love with the music. It sang to me of optimism, of people living their lives unfettered by the restrictions of society. -
For All the Attention Paid to the Striking Passage of Thirty-Four
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Humanities Commons for Jane, on our thirty-fourth Accents of Remorse The good has never been perfect. There is always some flaw in it, some defect. First Sightings For all the attention paid to the “interview” scene in Benjamin Britten’s opera Billy Budd, its musical depths have proved remarkably resistant to analysis and have remained unplumbed. This striking passage of thirty-four whole-note chords has probably attracted more comment than any other in the opera since Andrew Porter first spotted shortly after the 1951 premiere that all the chords harmonize members of the F major triad, leading to much discussion over whether or not the passage is “in F major.” 1 Beyond Porter’s perception, the structure was far from obvious, perhaps in some way unprecedented, and has remained mysterious. Indeed, it is the undisputed gnomic power of its strangeness that attracted (and still attracts) most comment. Arnold Whittall has shown that no functional harmonic or contrapuntal explanation of the passage is satisfactory, and proceeded from there to make the interesting assertion that that was the point: The “creative indecision”2 that characterizes the music of the opera was meant to confront the listener with the same sort of difficulty as the layers of irony in Herman Melville’s “inside narrative,” on which the opera is based. To quote a single sentence of the original story that itself contains several layers of ironic ambiguity, a sentence thought by some—I believe mistakenly—to say that Vere felt no remorse: 1. -
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. -
Hilde Zadek (1917-2019) Den Sista Stora Sopranen I Den Österrikiska Efterkrigsgenerationen, Hilde Zadek, Har Gått Ur Tiden, 101 År Gammal
In memoriam: Hilde Zadek (1917-2019) Den sista stora sopranen i den österrikiska efterkrigsgenerationen, Hilde Zadek, har gått ur tiden, 101 år gammal. Zadek föddes i polska Bydgoszcz 1917 och växte upp i Stettin och Wien. 1934 tvingades hon på grund av sin judiska härkomst lämna Tyskland och utvandrade till Palestina där hon arbetade som sjuksköterska på en barnklinik i Jerusalem. Hon studerade för Rose Pauly där och för Ria Ginster i Zürich där hon även deltog i uruppförandet av Max Ettingers ortatorium Die Königin Esther. 1947 gjorde Zadek sensationell debut som Aida på Wiener Staatsoper. Zadek kom att tillhöra ensemblen på Staatsoper i över tjugo år. Gästspel över hela världen gav henne stora framgångar. Hon sjöng på festivalerna i Salzburg och Edinburgh, 1948 som Brangäne i Frank Martins Le Vin herbé och året därpå i sopransolot i Verdis Requiem under Herbert von Karajan. 1950 sjöng hon titelrollen i Ariadne på Naxos och Vitellia i Mozarts La clemenza di Tito. Hon sjöng i uruppförandet av Carl Orffs Antigonae 1949 och gestaltade Magda Sorel i Wien-premiären på Gian Carlo Menottis Konsuln. Hon sjöng Donna Anna och Ariadne i Edinburgh och Glyndebourne, Aida i Florens, Lisa iSpader dam och Tosca på Covent Garden. Zadek sjöng även i bl.a. Buenos Aires, Lissabon, Paris, Bryssel, Amsterdam, Rom, San Francisco och München. Säsongen 1952-53 uppträdde hon på Metropolitan som Donna Anna, Aida, Eva i Mästersångarna, Elsa i Lohengrin och Salome. 1957 gästspelade hon i titelrollen i Glucks Ifigenia på Tauris på Staatsoper i Berlin. Hon hade också stora framgångar på Bolsjoj i Moskva och i Rio de Janeiro. -
ARTDESK 13 Book.Indb
DAILY TOUS LES JOURS / STOICISM / YEARS OF GREEN BOX / NOLA / AT WORK: WAYNE COYNE SUMMER CONTEMPORARY ARTS, PERFORMANCE, AND THOUGHT DAILY TOUS LES JOURS Museum of Possibilities AL VAR THE FRENCH 75 from Arnaud’s in New Orleans In a shaker filled with ice, briefly shake 1½ ounces of cognac, 1 teaspoon lemon juice, and a ¼ teaspoon of simple syrup. Gently pour this into a chilled tulip glass, top with champagne and a lemon twist. SUMMER O N T HE DA ILY FRENCH IMMERSION ON THE FRONT RANGE IT SEEMS UNLIKELY that a Quebecois design group and a small-town American art festival would want much to do with each other. But the artists known as Daily tous les jours and the Green Box Arts Festival in Green Mountain Falls, Colorado, found out four years ago that they were exactly what the other needed. BY RYAN STEADMAN DAILY TOUS LES JOURS The Swings (2014) ARTDESK 01 n 2010, artists Mouna An- spaces, and I wanted to see how technol- draos and Melissa Mongiat ogy could be used in a way to connect co-founded the Montre- people.” al–based studio group with The Swings, an interactive artwork CONSIDERING TECHNOLOGY Ian odd French and English name comprised of ten light-and-sound pro- which translates to “daily everyday.” ducing swings—which premiered at AS A vehicle FOR SOCIAL Just a year before, Green Box Arts the Green Box Arts Festival in 2014— Festival began in the Rocky Moun- achieves exactly that. The swings are a change IS AN IMPORTANT The Swings (2014) tains with an eye toward interna- joyful experience out of synchronicity, Photograph by Cushy Creative tionally relevant installation art. -
Britten Connections a Guide for Performers and Programmers
Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman. -
Der . Fliegende Hollander
_ Der . Fliegende Hollander. Digitised by the Open Scholarship & Digitisation Programme, University of Pretoria, 2016 Courtle[glz GOLD BAND FILTER TIPPED ·HAND BLENDED ·LIGHT AND MILD Digitised by the Open Scholarship & Digitisation Programme, University of Pretoria, 2016 &caPAB ~ '' I I CAPAB OPERA/KHUIK-OPERA Artistic Director/ Artistieke Direkteur PROF. MURRAY DICKIE Der Fliegende Hollander OPERA IN THREE ACTS/OPERA IN DRIE BEDRYWE (Sung in German/Geslng in Duits) Music/Musiek & Libretto RICHARD WAGNER Producer/Regisseur, Set Designs/Dekorontwerpe, Lighting/Beligting GUNTHER SCHNEIDER-SIEMSSEN Conductor/Dirigent CHRISTOPHER DOWDESWELL Costume Designs/ Kostuumontwerpe JENNY DE SWARDT Lighting Director/ Beligtingsdirekteur PIETER DE SWARDT Design Assistants/ DIETMAR SOLT Ontwerpassistente AMELIA MULLER Scenic Painter/T oneeiskilder CHRISTOPHER LORENTZ Assistant Producer/ Assistent-Regisseur CHRISTINE CROUSE Choreography Adviser/ Choreografie-Adviseur PAMELA CHRIMES CAPAB CHORUS/ KRUIK-KOOR Chorus Master/Koormeester RAYMOND HUGHES CAPAB ORCHESTRA/ KRUIK-ORKES Leader/ Konsertmeester THOMAS MOORE Der Fliegende Hollander Der Riegende Hollander was first performed in Dresden is di€ eerste maal op 2 Januarie 1843 on 2nd January, 1843 in Dresden opgevoer. hrst production in the Nico Malan Opera House. Eerste produksie in die Nico Malan-Operahuis. Aprill976 Aprill976 Season: 29th March until 12th April, 1986. Speelvak: 29 Maart tot 12 Aprtll986. Digitised by the Open Scholarship & Digitisation Programme, University of Pretoria, 2016 THE VISUAL AND DRAMATIC CONCEPTION OF WAGNER'S DER FLIEGENDE HOLlANDER By Professor Giinther Schneider-Siemssen While Wagner's music for Tristan und Isolde belongs to the later period of his work and has an erotic and cosmic nature, Der Fliegende Hollander is an earlier work in which the influence of Verdi is sometimes felt. -
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. -
Cynthia Shaw, the Kresge Foundation 248.643.9630 Phone [email protected]
CONTACTS: Cynthia Shaw, The Kresge Foundation 248.643.9630 Phone [email protected] Mira Burack, College for Creative Studies 313.664.7939 Phone [email protected] FOR IMMEDIATE RELEASE MICHIGAN OPERA THEATRE’S DAVID DICHIERA NAMED 2013 KRESGE EMINENT ARTIST DETROIT, MICHIGAN – JANUARY 9, 2013 - Composer and operatic impresario David DiChiera – a champion of Detroit’s renaissance – has been named the 2013 Kresge Eminent Artist. The Kresge Eminent Artist award and $50,000 prize recognize DiChiera’s contributions as founder, music director, and general director of the Michigan Opera Theatre; his creativity and commitment to the community; and his efforts to build cultural bridges through the arts. A composer whose works include “Four Sonnets” (1965), “Cyrano” (2007) and the children’s opera “Rumpelstiltskin” (1973), DiChiera has presented opera, dance, and musical theater productions in Detroit and throughout Michigan for more than four decades. He has encouraged an appreciation for music and libretto in young people and adults, enriched the operatic repertoire by commissioning and premiering new productions and advanced the proposition that opera should reflect the community in which it is performed. DiChiera has opened the doors to new audiences and been a tirelessly effective force for community vitality, says Rip Rapson, president and CEO of The Kresge Foundation. “David is one of our community's most visionary leaders. He has nurtured an art form that combines music, dance, visual arts, and literature to tell stories of inspiration, power, and relevance – stories that bridge across eras and generations. He has contributed to the physical revitalization of our downtown cultural and entertainment district, re-energizing the landmark Music Hall theater and marshaling support for the opera house. -
Msm Women's Chorus
MSM WOMEN’S CHORUS Kent Tritle, Ronnie Oliver, Jr., Hannah Nacheman, and Alejandro Zuleta, Conductors Vanessa May-lok Lee, piano Francesca Leo, flute Liana Hoffman and Shengmu Wang, horn Minyoung Kwon and Frances Konomi, harp Tamika Gorski (MM ’17), marimba Elliot Roman and Alexandros Darna, percussion WEDNESDAY, FEBRUARY 27, 2019 | 7:30 PM NEIDORFF-KARPATI HALL WEDNESDAY, FEBRUARY 27, 2019 | 7:30 PM NEIDORFF-KARPATI HALL MSM WOMEN’S CHORUS Kent Tritle, Ronnie Oliver, Jr., Hannah Nacheman, and Alejandro Zuleta, Conductors Vanessa May-lok Lee, piano Francesca Leo, flute Liana Hoffman and Shengmu Wang, horn Minyoung Kwon and Frances Konomi, harp Tamika Gorski (MM ’17), marimba Elliot Roman and Alexandros Darna, percussion PROGRAM STEPHEN PAULUS The Earth Sings (1949–2014) I. Day Break II. Sea and Sky III. Wind and Sun Alejandro Zuleta, Conductor Vanessa May-lok Lee, piano Elliot Roman and Alexandros Darna, percussion GUSTAV HOLST Choral Hymns from the Rig Veda, Group 3, H. 99, (1874–1934) Op. 26 Hymn to the Dawn Hymn to the Waters Hymn to Vena (Sun rising through the mist) Hymn of the Travellers Hannah Nacheman, Conductor Minyoung Kwon, harp VINCENT Winter Cantata, Op. 97 PERSICHETTI I. A Copper Pheasant (1915–1987) II. Winter’s First Drizzle III. Winter Seclusion I V. The Woodcutter V. Gentlest Fall of Snow VI. One Umbrella VII. Of Crimson Ice VIII. The Branch Is Black IX. Fallen Leaves X. So Deep XI. The Wind’s Whetstone XII. Epilogue Ronnie Oliver, Jr., Conductor Francesca Leo, flute Tamika Gorski (MM ’17), marimba JOHANNES BRAHMS Vier Gesänge (Four Songs), Op. -
Così Fan Tutte Cast Biography
Così fan tutte Cast Biography (Cahir, Ireland) Jennifer Davis is an alumna of the Jette Parker Young Artist Programme and has appeared at the Royal Opera, Covent Garden as Adina in L’Elisir d’Amore; Erste Dame in Die Zauberflöte; Ifigenia in Oreste; Arbate in Mitridate, re di Ponto; and Ines in Il Trovatore, among other roles. Following her sensational 2018 role debut as Elsa von Brabant in a new production of Lohengrin conducted by Andris Nelsons at the Royal Opera House, Davis has been propelled to international attention, winning praise for her gleaming, silvery tone, and dramatic characterisation of remarkable immediacy. (Sacramento, California) American Mezzo-soprano Irene Roberts continues to enjoy international acclaim as a singer of exceptional versatility and vocal suppleness. Following her “stunning and dramatically compelling” (SF Classical Voice) performances as Carmen at the San Francisco Opera in June, Roberts begins the 2016/2017 season in San Francisco as Bao Chai in the world premiere of Bright Sheng’s Dream of the Red Chamber. Currently in her second season with the Deutsche Oper Berlin, her upcoming assignments include four role debuts, beginning in November with her debut as Urbain in David Alden’s new production of Les Huguenots led by Michele Mariotti. She performs in her first Ring cycle in 2017 singing Waltraute in Die Walküre and the Second Norn in Götterdämmerung under the baton of Music Director Donald Runnicles, who also conducts her role debut as Hänsel in Hänsel und Gretel. Additional roles for Roberts this season include Rosina in Il barbiere di Siviglia, Fenena in Nabucco, Siebel in Faust, and the title role of Carmen at Deutsche Oper Berlin. -
Open the Door
Pittsburgh OPERA NEWS RELEASE CONTACT: LAURA WILLUMSEN (412) 281-0912 X 215 [email protected] PHOTOS: MAGGIE JOHNSON (412) 281-0912 X262 [email protected] Pittsburgh Opera opens 2007-2008 season: MADAMA BUTTERFLY by Puccini WHAT Puccini’s Madama Butterfly WHERE Benedum Center for the Performing Arts WHEN Saturday, October 13, 7:00 p.m.* Tuesday, October 16, 7:00 p.m. Friday, October 19, 8:00 p.m. Sunday, October 21, 2:00 p.m. * Note: The Sat, Oct 13 early start time is due to the Diamond Horseshoe Celebration. RUN TIME 2:45 with one intermission LANGUAGE Sung in Italian with English texts projected above the stage E TICKETS Start at $16. Call (412) 456-6666, visit www.pittsburghopera.org or purchase in person at the Theater Square box office at 665 Penn Avenue. Pittsburgh, PA (9/24/2007) . General director Mark Weinstein and artistic director Christopher Hahn announce the first opera of the 2007-2008 season, Puccini’s Madama Butterfly, in a shimmering production—it literally floats on water—from Opera Australia at the Sydney Opera House. While the production and conductor, music director Antony Walker, both hail from Down Under, Madama Butterfly’s dream cast blends American and international stars of the first magnitude: Chilean diva Verónica Villarroel, who has made Butterfly her signature role across the globe; and Chinese mezzo Zheng Cao, Suzuki in the 2002 Butterfly and Sesto in Giulio Cesare in 2004. A pair of Americans portray Pinkerton and Sharpless: Americans Frank Lopardo, who sang another bad- boy tenor as the Duke in Pittsburgh Opera’s Rigoletto in 2005 and makes his role debut as Pinkerton; and Earle Patriarco, a sensational Figaro here in The Barber of Seville in 2003.