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A CONCERT OF SONGS AND ARIAS in celebration of Austrian-American Day featuring graduate voice students of The Shepherd School of Music Thomas Jaber, Piano Debra Dickinson, Narrator Saturday, September 26, 1998 8:00 p.m. Stude Concert Hall ~~ RICE UNIVERSITY School Of Music PROGRAM FRANZ SCHUBERT (1797-1827) Im Fruhling Susan Hurley, soprano WOLFGANG AMADEUS MOZART (1756-1791) From Cosi fan Tutte Un aura amorosa David Ray, tenor Ah, scostati! ... Kristina Driskill, mezzo-soprano Smanie implaccabili From Die Zauberflote Dies Bildnis ist bezaubernd schon Zachary Bruton, tenor Ach ichjuhl's Juliana Jerome, soprano From Le Nozze di Figaro Porgi amor Kara Kane, soprano Hai gia vinta la causa Brady Knapp, baritone From Die Entfiihrung aus dem Serail Durch Ziirtlichkeit Sibel Demirmen, soprano Frisch zum Kampfe Daniel Wampler, tenor From Don Giovanni Madam in a Clifford Derix, bass-baritone Concert Aria Ana Trevino, soprano Schon lacht der holde Fruhling Jonathan Godfrey, violin -1 . FRANZ LEHAR (1870-1948) From Das Land des Lachelns Dein ist mein ganzes Herz Keith Hudspeth, tenor From Die Lustige Witwe Vilia Elizabeth Holloway, soprano INTERMISSION ERICH KORNGOLD (1897-1957) From Die Tote Stadt Pierrot's Tanzlied Alok Kumar, baritone Marietta's Lied Adrienne Starr, soprano GUSTAV MAHLER (1860-1911) Die irdische Leben Aidan Soder, mezzo-soprano Liebst du um Schonheit Jennifer Ansell, mezzo-soprano Hans und Grethe Stephanie Bradow, mezzo-soprano JOHANN STRAUSS, JR. (1825-1899) From Die Fledermaus Csardas Suzanne Hatcher, soprano RICHARD STRAUSS (1864-1949) Seitdem deinAug Laural Klein, soprano JOHANN STRAUSS, JR. From Die Fledermaus Mein Herr Marquis Alissa Rose, soprano RICHARD STRAUSS From Ariadne au/Naxos The Composer's Aria Joan Allouache, mezzo-soprano JOHANN STRAUSS, JR. Voices ofSpring Leslie Heal, soprano (transcribed by Estelle Liebling) RICHARD STRAUSS From Der Rosenkavalier Erin Wall, soprano Final Trio and Duet Tracy Rhodus, soprano Andrea Jaber, mezzo-soprano SHEPHERD SCHOOL VOICE DEPARTMENT AND OPERA STUDIES FACULTY Joyce Farwell, Professor of Voice and Chair of the Voice Department Janet de Chambrier, Vocal Coach Debra Dickinson, Artist Teacher of Opera Studies for Acting and Movement Michael Franciosi, Vocal Coach Thomas Jaber, Associate Professor of Music, Director of Choral Activities, and Vocal Coach Kathleen Kaun, Professor of Voice William Murray, Associate Professor of Voice Jo Anne Ritacca, Vocal Coach RICE .

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The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice.
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Rehearing Beethoven Festival Program, Complete, November-December 2020
CONCERTS FROM THE LIBRARY OF CONGRESS 2020-2021 Friends of Music The Da Capo Fund in the Library of Congress The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress (RE)HEARING BEETHOVEN FESTIVAL November 20 - December 17, 2020 The Library of Congress Virtual Events We are grateful to the thoughtful FRIENDS OF MUSIC donors who have made the (Re)Hearing Beethoven festival possible. Our warm thanks go to Allan Reiter and to two anonymous benefactors for their generous gifts supporting this project. The DA CAPO FUND, established by an anonymous donor in 1978, supports concerts, lectures, publications, seminars and other activities which enrich scholarly research in music using items from the collections of the Music Division. The Anne Adlum Hull and William Remsen Strickland Fund in the Library of Congress was created in 1992 by William Remsen Strickland, noted American conductor, for the promotion and advancement of American music through lectures, publications, commissions, concerts of chamber music, radio broadcasts, and recordings, Mr. Strickland taught at the Juilliard School of Music and served as music director of the Oratorio Society of New York, which he conducted at the inaugural concert to raise funds for saving Carnegie Hall. A friend of Mr. Strickland and a piano teacher, Ms. Hull studied at the Peabody Conservatory and was best known for her duets with Mary Howe. Interviews, Curator Talks, Lectures and More Resources Dig deeper into Beethoven's music by exploring our series of interviews, lectures, curator talks, finding guides and extra resources by visiting https://loc.gov/concerts/beethoven.html How to Watch Concerts from the Library of Congress Virtual Events 1) See each individual event page at loc.gov/concerts 2) Watch on the Library's YouTube channel: youtube.com/loc Some videos will only be accessible for a limited period of time.
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Lunchtime Concert in Europe, Scandinavia, China, the U.S
Rob Nairn worked as Associate Professor of Double Bass at Melbourne Conservatorium and Head of the Early Music Department for the past three years. He previous taught on the faculty of the Juilliard School for 11 years and Penn State University for 18 years where he was a Distinguished Professor. A Past-president of the International Society of Bassists he hosted the Society’s 2009 Convention at Penn State. Rob received his Bachelor of Music with distinction from the Canberra School of Music and a post-graduate diploma from the Berlin Musikhochschule by courtesy of a two-year DAAD German Government Scholarship. His teachers have included Klaus Stoll, Tom Martin, and Max McBride. In 2008 he was awarded a Howard Foundation Fellowship from Brown University. Rob has performed with the Pittsburgh Symphony Orchestra, the London Philharmonic, the English, Scottish and Australian Chamber Orchestras, the Bavarian Radio Symphony Orchestra, The Oslo Philharmonic, The Gothenburg Symphony, The Baltimore Symphony, The Halle Orchestra, the London Sinfonietta, and the Sydney, Adelaide, Queensland and Melbourne Symphony Orchestras, the Australia Ensemble, The Australian World Orchestra and the Australian String Quartet. Rob has recorded for Deutsche Grammaphon, Sony Classical , EMI, Naxos, Tall Poppies, RCA and ABC Classics. In Historical Performance he is currently principal bass with the Australian Brandenburg Orchestra and the Handel Haydn Society of Boston and has worked with the Boston Early Music Festival, Juilliard Baroque, Orchestre Revolutionnaire et Romantique, English Baroque Soloists, Smithsonian Chamber Players, Concerto Caledonia, Ironwood, Washington Bach Consort, the Aulos Ensemble, Rebel, Florilegium and the Orchestra of the Age of Enlightenment.
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2011 Next Wave Festival NOV 2011
2011 Next Wave Festival NOV 2011 Donald Baechler, Red + Blue Rose (detail), 2011 BAM 2011 Next Wave Festival sponsor Published by: BAM 2011 Next Wave Festival Brooklyn Academy of Music presents Alan H. Fishman, Chairman of the Board William I. Campbell, The Infernal Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board Comedy: Karen Brooks Hopkins, President Joseph V. Melillo, Confessions of Executive Producer a serial killer BAM Howard Gilman Opera House Nov 17—19, 2011 at 7:30pm; Nov 19 at 2pm Approximate running time: one hour and 45 minutes, no intermission A Musikkonzept production Written and directed by Michael Sturminger Music direction and concept by Martin Haselböck Based on idea by Birgit Hutter and Martin Haselböck BAM 2011 Next Wave Festival sponsor Featuring Orchester Wiener Akademie John Malkovich actor Marie Arnet soprano Kirsten Blaise soprano Louise Fribo soprano Leadership support for the Next Wave Festival provided by the Ford Foundation. Martene Grimson soprano Costume design by Birgit Hutter DeWitt Stern is the leadership sponsor for The Infernal Comedy: Confessions of a serial killer. Endowment funding has been provided by The Andrew W. Mellon Foundation Fund for Opera and Music-Theater. Major support for theater at BAM provided by The Shubert Foundation, Inc. and The SHS Foundation. The Infernal Comedy MUSIC Christoph Willibald Gluck (1714–87) Don Juan (1761) “L’enfer”—Chaconne Luigi Boccherini (1743–1805) Symphony in D minor, G506 “La casa del diavolo” (pub. 1771) —Chaconne Antonio Vivaldi (1678–1741) Ottone in Villa (1713) “Sposa son disprezzata” Wolfgang Amadeus Mozart (1756–91) “Vorrei spiegarvi, oh Dio” K418 (1783) Christoph Willibald Gluck Orfeo ed Euridice (1762) “Ballo grazioso” Ludwig van Beethoven (1770–1827) “Ah! perfido” Op.
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Adaptation of Handel's Castrato Airs for Bass: a Lecture Recital, Together with Three Recitals of Selected Works of J
57? NS/d Ho, ADAPTATION OF HANDEL'S CASTRATO AIRS FOR BASS: A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS OF J. S. BACH, W. MOZART, M. RAVEL, G. FINZI, R. SCHUMANN, A. CALDARA, G. HANDEL, H. WOLF, H. DUPARC, C. IVES AND S. BARBER AND AN OPERATIC ROLE BY VERDI DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Terry L. Fern, B. M., M. M. Denton, Texas May, 1986 Fern, Terry Lee, Adaptation of Handel's Castrato Airs for Bass, A Lecture Recital Together With Three Recitals of Selected Works of J. S. Bach, W. Mozart, M. Ravel, G. Finzi, R. Schumann, A. Caldara, G. Handel, H. Wolf, H. Duparc, C- Ives and S. Barber and an Operatic Role by Verdi. Doctor of Musical Arts (Vocal Performance), May, 1986, 31 pp., 5 illustrations, bibliography, 52 titles. The lecture recital was given on April 18, 1977. The subject was Adaptation of Handel's Castrato Airs for Bass, and it included a discussion of conventions peculiar to Handelian opera seria, concerns regarding adaptation of Handel's castrato airs and a comparison of adaptation practices in eighteenth- and twentieth-century presentations of Handel's operas. Three coloratura castrato airs and two virtuoso bass airs were performed at the conclusion of the lecture. In addition to the lecture recital, one operatic role and three recitals of solo literature for voice, piano and chamber ensemble were publicly performed. These included the role of "Samuele" in A Masked Ball, by Verdi, performed in English on March 19, 1975 with the Opera Theatre of North Texas State University, a program presented on November 24, 1975,of solo literature for voice, piano, and chamber ensemble, including works by J.
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Dennis Brain Discography
DENNIS BRAIN ON RECORD A Comprehensive Discography Compiled by Robert L. Marshall Fourth Edition, 2011 FOREWORD This is the fourth, and no doubt final, revision of the “Comprehensive Inventory by Composer” section from my book, Dennis Brain on Record: A Comprehensive Discography of his Solo, Chamber and Orchestral Recordings, originally published in 1996, with a foreword by Gunther Schuller (Newton, Mass: Margun Music, Inc.). Most of the additions and corrections contained in the present list were brought to my attention by Dr. Stephen J. Gamble who, over the course of the past fifteen years, has generously shared his discographical findings with me. Although many of these newly listed items also appear in the discography section of the recently published volume Dennis Brain: A Life in Music, co-authored by Dr. Gamble and William C. Lynch (University of North Texas Press), it seemed useful nonetheless to make an updated, integral version of the “comprehensive” inventory available as well. There is one significant exception to the claim of “comprehensiveness” in the present compilation; namely, no attempt has been made here to update the information relating to Dennis Brain’s film studio activities. All the entries in that regard included here were already listed in the original publication of this discography. The total number of entries itemized here stands at 1,791. In the original volume it was 1,632. All the newly added items are marked in the first column with an asterisk after the composer’s name. (It will be interesting to see whether any further releases are still forthcoming.) The entries themselves have been updated in other respects as well.
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Ornamentation in Mozart's Concert Arias for Aloysia Weber: the Traditions of Singing and Embellishment
ORNAMENTATION IN MOZART'S CONCERT ARIAS FOR ALOYSIA WEBER: THE TRADITIONS OF SINGING AND EMBELLISHMENT by Joanne Williamson Dorenfeld B.Mus., Oberlin Conservatory, 1967 M.Mus., The University of Michigan, 1968 A Thesis Submitted in Partial Fulfillment of The Requirements for the Degree of Doctor of Musical Arts in The Faculty of Arts (Department of Music) We accept this thesis as conforming to the required standard The University of British Columbia April, 1976 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my writ ten pe rm i ss i on . Department of Music The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 April 28. 1976 ii ABSTRACT The concert arias of Mozart actually include not only arias written specifically for concert but also interpolations which subsequently assumed the character of concert arias. Those in the following study were written for Aloysia Weber, Mozart's first love and, later, his sister-in-law. These arias are interesting for a.number of reasons: First, the fact that they are seldom performed today raises questions about singing technique in the late eighteenth century. Second, the musical requirements which fostered this technique must have been grounded in a tradition of embellishment--a subject worthy of investigation.
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Boston Symphony Orchestra Concert Programs, Season 109, 1989-1990
BOSTON SYMPHONY ORCHESTRA sen ozawa MUSIC DIRECTOR m^^^ ^ ife §^1 Pi^ #J 7 1 109TH SEASON 1989-90 X^ Zm&_ IMPORTED 750 ml 94.6 PROOF ---? -• *m ® *>* SPECIAL DRY ft * T 5f * m ^**f.& T CHARLES TANQUERAY & C° L LONDON. ENGLAND. « : ' »50UC6 OF ENGLAND • IOO % GR AIN NEUTR4- I liTtft RnflR^ ITiui iiwiiffi Tanqueray. A singular experience. Imported English Gin. 47.3% Alc/Vol (94.6°). 100% Grain Neutral Spirits. © 1988 Schieffelin & Somerset Co., New York. N.Y. Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Ninth Season, 1989-90 Trustees of the Boston Symphony Orchestra, Inc. Nelson J. Darling, Jr., Chairman Emeritus J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Mrs. Eugene B. Doggett Mrs. August R. Meyer Peter A. Brooke Avram J. Goldberg Mrs. Robert B. Newman James F. Cleary Mrs. John L. Grandin Peter C. Read John F. Cogan, Jr. Francis W. Hatch, Jr. Richard A. Smith Julian Cohen Mrs. Bela T. Kalman Ray Stata William M. Crozier, Jr. Mrs. George I. Kaplan William F. Thompson Mrs. Michael H. Davis Harvey Chet Krentzman Nicholas T. Zervas Trustees Emeriti Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen E. Morton Jennings, Jr. Mrs. George Lee Sargent Allen G. Barry Edward M. Kennedy Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs. John M. Bradley Thomas D.
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Fryderyk Chopin's Music on Double Bass
FRYDERYK CHOPIN’S MUSIC ON DOUBLE BASS: FOUR ETUDES TRANSCRIBED FOR DOUBLE BASS AND PIANO by FRANCISCO GONÇALVES DE AZEVEDO (Under the Direction of Milton Masciadri) ABSTRACT A significant part of the available double bass repertoire is composed of transcriptions from other instruments. Only a handful of those consist of works composed by the Polish pianist and composer Fryderyk Chopin (1810-1849). The purpose of this project is to add to the double bass repertoire through the transcriptions of the Etudes Op. 10 No. 3, Op. 10 No. 6, Op. 10 No. 9, and Op. 25 No. 7, for double bass and piano. The document provides a brief historical background of the practice of transcriptions, and of transcribing pieces for the double bass, pointing out pieces transcribed by important double bassists. It also presents a connection between the music of Chopin and Giovanni Bottesini (1821-1889), who shared influence from the bel canto style. The technical and stylistic choices made in the transcription of the etudes are explored. Performance versions of the etudes, with piano parts for the use with double bass in orchestra and solo tunings, are presented in the appendices. INDEX WORDS: double bass, Fryderyk Chopin, Etude Op.10 No.3, Etude Op.10 No.6, Etude Op.10 No.9, Etude Op.25 No.7, transcription for double bass, double bass repertoire, performance edition. FRYDERYK CHOPIN’S MUSIC ON DOUBLE BASS: FOUR ETUDES TRANSCRIBED FOR DOUBLE BASS AND PIANO by FRANCISCO GONÇALVES DE AZEVEDO B.M.Ed., Universidade Federal de Santa Maria, Brazil, 2004 M.M. University
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A Study of the Concert Arias for Bass by Wolfgang Amadeus Mozart Jerry Wayne Thompson Ouachita Baptist University
Ouachita Baptist University Scholarly Commons @ Ouachita Graduate Theses Archives and Special Collections 1968 A Study of the Concert Arias for Bass by Wolfgang Amadeus Mozart Jerry Wayne Thompson Ouachita Baptist University Follow this and additional works at: http://scholarlycommons.obu.edu/grad_theses Part of the Composition Commons Recommended Citation Thompson, Jerry Wayne, "A Study of the Concert Arias for Bass by Wolfgang Amadeus Mozart" (1968). Graduate Theses. 35. http://scholarlycommons.obu.edu/grad_theses/35 This Thesis is brought to you for free and open access by the Archives and Special Collections at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Graduate Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. A STUDY OF THE CONCERT ARIAS FOR BASS BY HOLFGA.NG AMADEUS MQ7uART A Thesis Presented to The Graduate School Ouac:ita Baptist University In Partial Fulfillment of the :E{equirements for the Degree Easter of Arts in 1-~usic by Jerr.J Hayne T'r10m:pson May 1968 RILEY LIP~~.c?Y OUACHITA BAPTISI Ul\ 1 vt.R.)ITY 3s A STUDY OF THE COHCERT ARIAS FOR BASS BY UOLFGA'NG AWillEUS l107~ Major Pro:"essor /Y r trrt:J-6~- _ !:10697 ACKJTCJ.lLEDGMENTS The 1·rriter gratefully acknouleC~ees his indebted..r1ess to all v1ho contributed to t his study in any way. Special gratitude is expressed to Mr . David Eduard Scott >·Ji th out ~·Those guidance this study could not have been J1'1.ade . Appreciation is also extended to Dr . Hilliam Eugene Trantham ancl .Miss Fay Holiman for their valuable assistance in the development of this s"i:;ud.y .
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Mozarthaus Vienna Special Exhibition
Mozarthaus Vienna Special Exhibition Antonio Salieri. The Facts An exhibition from the archives of the Gesellschaft der Musikfreunde in Vienna in Mozarthaus Vienna 31.01.2014 – 11.01.2015 Peter Shaffer’s play and Miloš Forman’s fi lm “Amadeus” brought the world-famous composer Antonio Salieri to public attention again. Although neither Shaffer nor Forman intended to write a biography of Mozart or Salieri, their version of Salieri became the accepted one. The exhibition compares this with the real Salieri – in all the facets of his life and work. Naturally, his relationship with Mozart is dealt with, but it also looks at Salieri as the teacher of an entire generation of composers, notably Beethoven and Schubert, but also Mozart’s own son. He was seen as an authority and father figure, two characteristics that were instrumental in his founding of the Gesellschaft der Musikfreunde in Vienna and its conservatory. He was a sociable person with a wide circle of friends – something that might surprise visitors, along with the fact that his position as court kapellmeister was more of an administrative than an artistic one. His arrival in Vienna, his rise, his position, and his compositions and contribution to the Vienna music scene are documented in detail. These are the subjects of an exhibition that will offer interested visitors a wealth of new material. It also features beautiful, valuable and informative objects that will leave an unforgettable impression. Antonio Salieri: The Composer Salieri was always a faithful servant of his master, the Viennese imperial court. This can also be seen in the scope of his work.
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Mozart's "Mezzos": a Comparative Study Between Castrato and Female Roles in Mozart's Operas
UNLV Theses, Dissertations, Professional Papers, and Capstones May 2019 Mozart's "Mezzos": A Comparative Study Between Castrato and Female Roles in Mozart's Operas Erin Gonzalez Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Music Commons Repository Citation Gonzalez, Erin, "Mozart's "Mezzos": A Comparative Study Between Castrato and Female Roles in Mozart's Operas" (2019). UNLV Theses, Dissertations, Professional Papers, and Capstones. 3604. http://dx.doi.org/10.34917/15778439 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. MOZART’S “MEZZOS”: A COMPARATIVE STUDY OF CASTRATO AND FEMALE ROLES IN MOZART’S OPERAS By Erin Gonzalez Bachelor of Music Chapman University 2008 Master of Music Eastman School of Music 2011 A doctoral project submitted in partial fulfillment of the requirements for the Doctor of
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