Lessons in Love and Violence - George Benjamin / Martin Crimp
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Lessons in Love and Violence - George Benjamin / Martin Crimp
Lessons in Love and Violence GEORGE BENJAMIN MARTIN CRIMP Temporada 2020-2021 Temporada Con el apoyo exclusivo de: Lessons in Love and Violence - George Benjamin / Martin Crimp Volver al índice Patronato de la Fundación del Gran Teatre del Liceu Comisión ejecutiva de la Fundación del Gran Teatre del Liceu Presidente de honor Presidente President de la Generalitat de Catalunya Salvador Alemany Mas Presidente del patronato Vocales representantes de la Generalitat de Catalunya Salvador Alemany Mas Àngels Ponsa Roca, Lluís Baulenas Cases Vicepresidenta primera Vocales representantes del Ministerio de Cultura y Deporte Àngels Ponsa Roca Amaya de Miguel Toral, Antonio Garde Herce Vicepresidente segundo Vocales representantes del Ayuntamiento de Barcelona Andrea Gavela Llopis Joan Subirats Humet, Marta Clarí Padrós Vicepresidente tercero Vocal representant de la Diputació de Barcelona Joan Subirats Humet Joan Carles Garcia Cañizares Vicepresidenta cuarta Vocales representantes de la Societat del Gran Teatre del Liceu Núria Marín Martínez Javier Coll Olalla, Manuel Busquet Arrufat Vocales representantes de la Generalitat de Catalunya Vocales representantes del Consejo de Mecenazgo Lluis Baulenas Cases, Irene Rigau Oliver, Rosa Tubau LLorià, Luis Herrero Borque, Elisa Durán Montolío Angels Barbara Fondevila Secretario Vocales representantes del Ministerio de Cultura y Deporte Joaquim Badia Armengol Javier García Fernández, Amaya de Miguel Toral, Joan Francesc Director General Marco Conchillo, Santiago de Torres Sanahuja Valentí Oviedo Cornejo Vocales -
Mario Ferraro 00
City Research Online City, University of London Institutional Repository Citation: Ferraro Jr., Mario (2011). Contemporary opera in Britain, 1970-2010. (Unpublished Doctoral thesis, City University London) This is the unspecified version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/1279/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] CONTEMPORARY OPERA IN BRITAIN, 1970-2010 MARIO JACINTO FERRARO JR PHD in Music – Composition City University, London School of Arts Department of Creative Practice and Enterprise Centre for Music Studies October 2011 CONTEMPORARY OPERA IN BRITAIN, 1970-2010 Contents Page Acknowledgements Declaration Abstract Preface i Introduction ii Chapter 1. Creating an Opera 1 1. Theatre/Opera: Historical Background 1 2. New Approaches to Narrative 5 2. The Libretto 13 3. The Music 29 4. Stage Direction 39 Chapter 2. Operas written after 1970, their composers and premieres by 45 opera companies in Britain 1. -
Central Opera Service Bulletin
CENTRAL OPERA SERVICE BULLETIN WINTER, 1972 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center Plaza • Metropolitan Opera • New York, N.Y. 10023 • 799-3467 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Canter Plaza • Metropolitan Opera • New York, NX 10023 • 799.3467 CENTRAL OPERA SERVICE COMMITTEE ROBERT L. B. TOBIN, National Chairman GEORGE HOWERTON, National Co-Chairman National Council Directors MRS. AUGUST BELMONT MRS. FRANK W. BOWMAN MRS. TIMOTHY FISKE E. H. CORRIGAN, JR. CARROLL G. HARPER MRS. NORRIS DARRELL ELIHU M. HYNDMAN Professional Committee JULIUS RUDEL, Chairman New York City Opera KURT HERBERT ADLER MRS. LOUDON MEI.LEN San Francisco Opera Opera Soc. of Wash., D.C. VICTOR ALESSANDRO ELEMER NAGY San Antonio Symphony Ham College of Music ROBERT G. ANDERSON MME. ROSE PALMAI-TENSER Tulsa Opera Mobile Opera Guild WILFRED C. BAIN RUSSELL D. PATTERSON Indiana University Kansas City Lyric Theater ROBERT BAUSTIAN MRS. JOHN DEWITT PELTZ Santa Fe Opera Metropolitan Opera MORITZ BOMHARD JAN POPPER Kentucky Opera University of California, L.A. STANLEY CHAPPLE GLYNN ROSS University of Washington Seattle Opera EUGENE CONLEY GEORGE SCHICK No. Texas State Univ. Manhattan School of Music WALTER DUCLOUX MARK SCHUBART University of Texas Lincoln Center PETER PAUL FUCHS MRS. L. S. STEMMONS Louisiana State University Dallas Civic Opera ROBERT GAY LEONARD TREASH Northwestern University Eastman School of Music BORIS GOLDOVSKY LUCAS UNDERWOOD Goldovsky Opera Theatre University of the Pacific WALTER HERBERT GIDEON WALDKOh Houston & San Diego Opera Juilliard School of Music RICHARD KARP MRS. J. P. WALLACE Pittsburgh Opera Shreveport Civic Opera GLADYS MATHEW LUDWIG ZIRNER Community Opera University of Illinois See COS INSIDE INFORMATION on page seventeen for new officers and members of the Professional Committee. -
Developing the Young Dramatic Soprano Voice Ages 15-22 Is Approved in Partial Fulfillment of the Requirements for the Degree Of
DEVELOPING THE YOUNG DRAMATIC SOPRANO VOICE AGES 15-22 By Monica Ariane Williams Bachelor of Arts – Vocal Arts University of Southern California 1993 Master of Music – Vocal Arts University of Southern California 1995 A dissertation submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas December 2020 Copyright 2021 Monica Ariane Williams All Rights Reserved Dissertation Approval The Graduate College The University of Nevada, Las Vegas November 30, 2020 This dissertation prepared by Monica Ariane Williams entitled Developing the Young Dramatic Soprano Voice Ages 15-22 is approved in partial fulfillment of the requirements for the degree of Doctor of Musical Arts School of Music Alfonse Anderson, DMA. Kathryn Hausbeck Korgan, Ph.D. Examination Committee Chair Graduate College Dean Linda Lister, DMA. Examination Committee Member David Weiller, MM. Examination Committee Member Dean Gronemeier, DMA, JD. Examination Committee Member Joe Bynum, MFA. Graduate College Faculty Representative ii ABSTRACT This doctoral dissertation provides information on how to develop the young dramatic soprano, specifically through more concentrated focus on the breath. Proper breathing is considered the single most important skill a singer will learn, but its methodology continues to mystify multitudes of singers and voice teachers. Voice professionals often write treatises with a chapter or two devoted to breathing, whose explanations are extremely varied, complex or vague. Young dramatic sopranos, whose voices are unwieldy and take longer to develop are at a particular disadvantage for absorbing a solid vocal technique. First, a description, classification and brief history of the young dramatic soprano is discussed along with a retracing of breath methodologies relevant to the young dramatic soprano’s development. -
Committee to Propose Tntercultural Studies'
VOL. LXIX, ISSUE NO. 42 TRINITY COLLEGE, HARTFORD Tuesday, April 20, 1971 Committee to Propose Tntercultural Studies' by Susami;ah Heschel The Joint Educational Polich Committee Black Studies program by September, 1971, will present a proposal for an "Intercultural and recommended that Black students play Studies" program at the Faculty meeting a significant role in the preparation of the this afternoon. budget and selection of the Faculty for the The proposed will include in- program. terdisciplinary programs such as Non- The TCC refused to endorse the specific Western Studies, Black Studies and Latin proposals, of Gaston and White that called American Studies. The "initial emphasis" for a Black Studies director and additional of a program will be to establish "an Faculty for the program, and for a series of adequate set of courses dealing with the "core" Black Studies courses. The Council history and culture of Blacks, especially in felt that such specific aspects should be Africa and the Americas," according to the worked out by the Curriculum Committee. report of the faculty-trustee committee. Barthwell said in an interview Sunday, The proposal will be presented to the "We hope that part of their (the Faculty's) Faculty for discussion at the'meeting this discussion will be addressed to us. Other- afternoon. The Faculty will vote on the wise, we will deal with them at their level." proposal at its meeting in May. Barthwell said that no members of TCB had The committee, which consists of 5 been invited by the Educational Policy faculty, (i trustees, President Lockwood, and committee to work on the report. -
Luisa Miller
GIUSEPPE VERDI LUISA MILLER FUNCIÓN HISTÓRICA - 1979 RENATA SCOTTO STREAMING METROPOLITAN OPERA HOUSE Presenta GIUSEPPE VERDI LUISA MILLER Ópera en tres actos Libreto de Salvatore Cammarano basado en la tragedia “Kabale und Liebe” (Intriga y amor) de Friedrich von Schiller. Reparto Luisa Renata Scotto Rodolfo Plácido Domingo Miller Sherrill Milnes Conde Walter Bonaldo Giaiotti Federica Jean Kraft Wurm James Morris Coro y Orquesta del Metropolitan Opera House Dirección: James Levine Producción escénica Dirección teatral Nathaniel Merrill Escenografía Attilio Colonnello Vestuario Charles Caine Coreografía Thomas Andrew Dirección de TV Kirk Browning Domingo 16 de agosto de 2020 Transmisión vía streaming desde Metropolitan Opera House – New York, USA TEATRO NESCAFÉ DE LAS ARTES Temporada 2020 LUISA MILLER ANTECEDENTES Cuando en 1842 Giuseppe Verdi estrenó “Nabucco”, su tercera opera, el enorme éxito que lo acompañó marcó el gran des- pegue de su carrera y el comienzo de una vertiginosa etapa creativa inicial que sólo en esa década vio el surgimiento de otras once óperas. Entre ellas hubo triunfos resonantes, como el propio “Nabucco”, “Ernani” y “Macbeth”, pero también de aquel perío- do datan las óperas verdianas menos exi- tosas y de menor trascendencia, entre ellas “Juana de Arco”, “Alzira”, “El corsario” y “La batalla de Legnano”. Para contextualizar “Luisa Miller” en el tiempo señálese que con su estreno en di- ciembre de 1849 esta ópera cerró esa hipe- ractiva década. Muy pocos años después, entre 1851 y 1853, vería la luz la célebre trilogía de “Rigoletto”, “El trovador” y “La Giuseppe Verdi traviata”. En agosto de 1848, antes de estrenar “El Ante la inesperada mala noticia el empre- corsario”, Verdi comunicó por escrito desde sario napolitano se disgustó y, no estando París al Teatro San Carlos de Nápoles su de- Verdi a mano, arremetió contra Cammara- cisión de cancelar un contrato firmado ha- no, amenazándolo judicialmente, porque cía tres años para proveer una nueva ópera también él no estaría cumpliendo con lo con libreto de Salvatore Cammarano. -
A CELEBRATION of Genius the CBC Marks the Tercentenaries of George Frideric Handel and Johann Sebastian Bach
FEBRUARY 1985 $1.75 A CELEBRATION of GENIus The CBC marks the tercentenaries of George Frideric Handel and Johann Sebastian Bach David Hayes on David Essig = Disaster strikes! _ .- John Julianu's'nerrseries begins . :04(0)," -t Wi'.-- f ¡ - { ' d To Nakamichi, Convenience without performance is unthinkable. - "\, 11~ \ / 7e °h LL-C-)-- Now you have a choice of sides of the cassette auto- I- F I three Nakamichi Auto - w matically. Auto Rec Standby Reverse Cassette simplifies recording decks -each with ----- setup on each side UDAR, Nakamichi's while a Dual -Speed revolutionary Unidirec- Master Fader helps you tional Auto Reverse make truly professional mechanism that elimi- tapes. Direct Operation nates bidirectional azimuth loads and initiates the de- error and assures you of 20- sired function at a touch, and 20,000 Hz response on both - Auto Skip provides virtually con- sides of the cassette. tinuous playback! UDAR is simple, fast, and reliable. It automates UDAR-the revolutionary auto -reverse record- the steps you perform on a conventional one-way ing and alayback system -only from Nakamichi. deck. At the end of each side, UDAR disengages Check out the RX Series now at your local Naka- the cassette, flips it, reloads, and resumes oper- michi deale-. One audition will convince you ation in under 2 seconds. Tape plays in the same there's np longer a reason to sacrifice unidirec- direction on Side A and on Side B so perfor- tional performance for auto -reverse convenience! mance is everything you've come to expect from W. CARSEN CO. LTD. 25 SCARSDALE ROAD, DON MILLS. -
Schallplatten
1 Deutsche Musicalarchiv, Sammlung Baberg Schallplatten Titel: Zusatz zum Titel, (Interpr.:). - Signatur: Anzahl Materialart Bemerkung Ersch.-Jahr, Verlag Schallplatte Deutsches Musicalarchiv, Sammlung Hair: From the London Musical Production (Komp.: Galt Baberg MacDermot, Text: James Rado, Gerome Ragni, Interpret.: Vince PL 6052 1 Edward, Oliver tobias, Michael Fest, Peter Straker, Joanne White, etc.) - 1968, Hamburg, Polydor International GmbH Hair: Original Soundtrack Recording of Milos Forman´s Film Schallplatte Deutsches Musicalarchiv, Sammlung (Komp.: Galt MacDermot, Text: James Rado, Gerome Ragni, Baberg PL 6053/1-2 Interpret.: John Savage, Treat Williams, Beverly d´Angelo, Annie 1 Golden, Dorsey Wright, Don Dacus, Cheryl Barnes, Melba Moore). - 1979, Hamburg, RCA Schallplatten GmbH Hallelujah, Baby!: (Komp.: Jule Styne, Text: Betty Comden, Adolph Schallplatte Deutsches Musicalarchiv, Sammlung PL 6054 Green, Interpret.: Leslie Uggams, Robert Hook, Allen Case, etc.) - 1 Baberg 1967, USA, Columbia Records Schallplatte Deutsches Musicalarchiv, Sammlung Hello Dolly: Original motion picture sountrack album of Ernest Baberg Lehman´s production (Komp., Text: Jerry Herman, Interpret.: PL 6055 1 Barbara Streisand, Walter Matthau, Michael Crawford, Louis Armstrong, etc.) - 1969, Hamburg, PHONOGRAM GmbH Schallplatte Deutsches Musicalarchiv, Sammlung Camelot: How to Handle a Woman. If I Would Ever Leave You: Baberg PL 6056 (Komp.: Frederick Loewe, Text: Alan Jay Lerner, Interpret.: Paul 1 Danneman, Pat Michael) - 1967, EMI Records Ltd. High -
La Traviata Stagione D’Opera 2013 / 2014 Giuseppe Verdi La Traviata
G L a i 1 u t r s a e v p i p a e t a V e r d i S t a g i o n e d ’ O p e r a LaGiutsrepapevVeiradi ta 2 0 1 3 / 2 0 1 4 Stagione d’Opera 2013 / 2014 La traviata Melodramma in tre atti Libretto di Francesco Maria Piave Musica di Giuseppe Verdi Nuova produzione Teatro alla Scala EDIZIONI DEL TEATRO ALLA SCALA TEATRO ALLA SCALA PRIMA RAPPRESENTAZIONE Sabato 7 dicembre 2013, ore 18 REPLICHE dicembre Giovedì 12 Ore 20 - Turno D Domenica 15 Ore 20 - Turno B Mercoledì 18 Ore 20 - Turno A Domenica 22 Ore 15 - Turno C Sabato 28 Ore 20 - Turno E Martedì 31 Ore 18 - Fuori abbonamento gennaio Venerdì 3 Ore 20 - Turno N Anteprima dedicata ai Giovani LaScalaUNDER30 Mercoledì 4 dicembre 2013, ore 18 In copertina: La traviata di Giuseppe Verdi. Regia e scene di Dmitri Tcherniakov, costumi di Yelena Zaytseva, luci di Gleb Filshtinsky. Allestimento realizzato per l'inaugurazione della stagione scaligera 2013-14, rendering di una delle scene ideate da Dmitri Tcherniakov. SOMMARIO 5 La traviata. Il libretto 34 Il soggetto Emilio Sala Argument – Synopsis – Die Handlung ––࠶ࡽࡍࡌ Сюжет 46 L’opera in breve Emilio Sala 48 ...la musica Claudio Toscani 53 Splendeurs et misères des courtisanes in terra italina Antonio Rostagno 71 Fisiologia della Traviata Emilio Sala 93 Eros e charitas nella Traviata Paolo Gallarati 131 Un mondo a parte Benedetta Craveri 147 Nota sull’edizione della Traviata Daniele Gatti 149 “Di quell’amor...” (Note di regia) Dmitri Tcherniakov 154 La traviata alla Scala dal 1859 al 2008 Andrea Vitalini 203 Daniele Gatti 205 Dmitri Tcherniakov 206 Gleb Filshtinsky 207 Yelena Zaytseva 208 La traviata. -
Spoleto Festival Usa Program History 2016 – 1977
SPOLETO FESTIVAL USA PROGRAM HISTORY 2016 – 1977 Spoleto Festival USA Program History Page 2 2016 Opera Porgy and Bess; created by George Gershwin, DuBose and Dorothy Heyward, and Ira Gershwin; conductor, Stefan Asbury; director, David Herskovits; visual designer, Jonathan Green; lighting designer, Lenore Doxsee; wig and makeup designer, Ruth Mitchell; set designer, Carolyn Mraz; costume designer, Annie Simon; fight director, Brad Lemons; Cast: Alyson Cambridge, Lisa Daltirus, Eric Greene, Courtney Johnson, Lester Lynch, Sidney Outlaw, Victor Ryan Robertson, Indra Thomas; Spoleto Festival USA Orchestra, Johnson C. Smith University Concert Choir; Charleston Gaillard Center *La Double Coquette; music by Antoine Dauvergne with additions by Gérard Pesson; libretto by Charles-Simon Favart with additions by Pierre Alferi; director, Fanny de Chaillé; costume designer, Annette Messager; costume realization, Sonia de Sousa; lighting designer, Gilles Gentner; lighting realization, Cyrille Siffer; technical stage coordination, Francois Couderd; Cast: Robert Getchell, Isabelle Poulenard, Mailys de Villoutreys; Dock Street Theatre *The Little Match Girl; music and libretto by Helmut Lachenmann; conductor, John Kennedy; co-directors, Mark Down and Phelim McDermott; costume designer, Kate Fry; lighting designer, James F. Ingalls; set designer, Matt Saunders; puppet co-designers, Fiona Clift, Mark Down, Ruth Patton; Cast: Heather Buck, Yuko Kakuta, Adam Klein; Soloists: Chen Bo, Stephen Drury, Renate Rohlfing, Memminger Auditorium Dance Bill T. Jones/Arnie -
T H E P Ro G
08-11 Skin_GP2 copy 7/30/15 2:46 PM Page 1 Tuesday Evening, August 11, 2015 at 7:30 Thursday Evening, August 13, 2015 at 7:30 m Saturday Afternoon, August 15, 2015 at 3:00 a r g o Written on Skin (U.S. stage premiere) r P Opera in Three Parts e Music by George Benjamin h Text by Martin Crimp T This performance is approximately one hour and 40 minutes long and will be performed without intermission. Presented in collaboration with the New York Philharmonic as part of the Lincoln Center–New York Philharmonic Opera Initiative (Program continued) Please make certain all your electronic devices are switched off. The Mostly Mozart Festival presentation of Written on Skin is made possible in part by major support from Sarah Billinghurst Solomon and Howard Solomon. These performances are made possible in part by the Josie Robertson Fund for Lincoln Cen ter. David H. Koch Theater 08-11 Skin_GP2 copy 7/30/15 2:46 PM Page 2 Mostly Mozart Festival The Mostly Mozart Festival is made possible by Sarah Billinghurst Solomon and Howard Solomon, Rita E. and Gustave M. Hauser, Chris and Bruce Crawford, The Fan Fox and Leslie R. Samuels Foundation, Inc., Charles E. Culpeper Foundation, S.H. and Helen R. Scheuer Family Foundation, and Friends of Mostly Mozart. Public support is provided by the New York State Council on the Arts. Artist Catering provided by Zabar’s and zabars.com MetLife is the National Sponsor of Lincoln Center United Airlines is a Supporter of Lincoln Center WABC-TV is a Supporter of Lincoln Center “Summer at Lincoln Center” is supported by Diet Pepsi Time Out New York is a Media Partner of Summer at Lincoln Center Used by arrangement with European American Music Distributors Company, U.S. -
NI5976 Book 1 Note
George Benjamin Born in 1960, George Benjamin began composing at the age of seven. In 1976 he entered the Paris Conservatoire to study with Messiaen, after which he worked with Alexander Goehr at George Benjamin King's College, Cambridge. When he was only 20 years old, Ringed by the Flat Horizon was played at the BBC Proms by the BBC Symphony Orchestra under Mark Elder. The London & Sinfonietta and Simon Rattle premiered At First Light two years later. Antara was commissioned Martin Crimp for the 10th anniversary of the Pompidou Centre in 1987 and Three Inventions was written for the 75th Salzburg Festival in 1995. The London Symphony Orchestra under Pierre Boulez premiered Palimpsests in 2002 to mark the opening of ‘By George’, a season-long portrait which included the first performance of Shadowlines by Pierre-Laurent Aimard. More recent celebrations of Benjamin’s work have taken place at the Southbank Centre in 2012 (as part of the UK’s Cultural Olympiad), at the Barbican in 2016 and at the Wigmore Hall in 2019. The last decade has also seen multi-concert retrospectives in San Francisco, Frankfurt, Turin, Milan, Aldeburgh, Toronto, Dortmund, New York and at the 2018 Holland Festival. Benjamin’s first operatic work Into the Little Hill, written with playwright Martin Crimp, was commissioned in 2006 by the Festival d'Automne in Paris. Their second collaboration, Written on Skin, premiered at the Aix-en-Provence festival in July 2012, has since been scheduled by over 20 international opera houses, winning as many international awards. Lessons in Love and Violence, a third collaboration with Martin Crimp, premiered at the Royal Opera House in 2018; both works were filmed by BBC television, and a related ’Imagine’ profile on Benjamin was broadcast on BBC1 in October 2018.