7269E3485e66cac1310dc23b8f

Total Page:16

File Type:pdf, Size:1020Kb

7269E3485e66cac1310dc23b8f пермский академический театр оперы и балета им. п. и. чайковского правительство пермского края; министерство культуры, молодежной политики и массовых коммуникаций пермского края; департамент культуры и молодежной политики администрации г. перми генеральный партнер партнеры: медиа-партнеры: партнеры фестивального клуба: пермь — город дягилева о фестивале about the festival Международный Дягилевский фести- The International Diaghilev Festival валь нацелен на поддержание и раз- aims to maintain and develop витие традиций выдающегося импре- the traditions of the prominent сарио и пропагандиста русской куль- impresario and promoter of Russian туры Сергея Павловича Дягилева. culture Sergei Diaghilev. Далеко не случайно, что именно Перм- It is no coincidence that the Perm ский академический театр оперы и Opera and Ballet Theatre initiated балета им. П. И. Чайковского высту- the first Diaghilev Festival in Russia. пил инициатором первого Дягилев- Sergei Diaghilev spent his childhood ского фестиваля в России. Пермь — in Perm, and the city is home to the город, в котором прошло детство Сер- world's only house-museum of this гея Дягилева и в котором находится legendary impresario. The building of единственный в мире Дом-музей the Perm Opera and Ballet Theatre was легендарного импресарио. Здание erected thanks to significant financial Пермского оперного театра было воз- support from Diaghilev himself. двигнуто благодаря значительной финансовой поддержке Дягилевых. A distinctive feature of the Perm Festival is not only its venue, but also Отличительная особенность перм- the broad variety of genres that the ского фестиваля заключается не programme covers. Sergei Diaghilev’s только в месте проведения, но и в involvement in such a diverse range его мультижанровом характере. Раз- of activities associated with opera and нообразная деятельность Сергея ballet, music, visual arts, publishing, Дягилева, связанная с оперно-балет- is the basis for the Festival’s structure [1] ным театром, музыкой, изобрази- which takes the form of a series of Опера Мedeamaterial тельным искусством, издательским artistic events and research projects. Паскаля Дюсапена. делом, является структурной моде- Дирижер Теодор Курентзис, режиссер лью фестиваля и реализуется как Keeping in line with the Festival’s initial Филипп Григорьян. комплекс художественных событий concept — “a reflection of Sergei Международный и научно-исследовательских проектов. Diaghilev’s Ballets Russes in the mirror Дягилевский of time” (‘Vedomosti’ newspaper), the фестиваль — 2012 В соответствии с концепцией фести- festival uses unique modern projects валя — «своеобразным отражением in a variety of art forms alongside art Medeamaterial, opera «Русских сезонов» Сергея Дягилева from the first part of the 20th century, by Pasсal Dusapin. в зеркале времени» (газета «Ведо- the era to which Diaghilev's creative Teodor Currentzis, мости») — современные уникальные accomplishments also belong. conductor, проекты в самых различных видах Philipp Grigorian, director. International искусств встречаются в едином про- The Festival programme includes Diaghilev Festival 2012 странстве с искусством первой трети world premieres of opera and ballet XX века, эпохи, которой принадлежат performances, contemporary dance [2] и творческие свершения Дягилева. groups, art exhibitions, symphonic Ресторан concerts, chamber, organ, and jazz «Времена года», Программа фестиваля включает в себя music, retrospective showings of постановка Ромео мировые премьеры оперных и балет- feature films, photo exhibitions and Кастеллуччи. ных спектаклей, выступления коллекти- so on. An important component is Дягилевский вов современного танца, художествен- the Diaghilev Readings International фестиваль — 2013 ные выставки, концерты симфониче- Symposium and the first contest for The Four Seasons ской, камерной, органной, джазовой the best producer's project in the Restaurant, production музыки, ретроспективы художествен- cultural history of Russia, the Diaghilev by Romeo Castellucci. ных фильмов, фотовыставки и про- Award. Since 2014 the Festival has The International чее. Важной составляющей является also been a co-organizer of the Diaghilev Festival 2013 международный симпозиум «Дяги- ‘Resonance’ Award for young critics. [1] [2] [3] левские чтения», а также первый в The Festival itself has been held ENTITY на музыку Джоби Тэлбота и культурной истории России конкурс since 2003. Originally under the name Джона Хопкинса, на лучший продюсерский проект — ‘The Diaghilev Seasons: Perm — хореограф Уэйн Премия Дягилева. С 2014 года фести- Saint Petersburg — Paris’, in 2012 МакГрегор. валь выступает соорганизатором пре- it took on its new snappy name. «Дягилевские мии для молодых критиков, пишущих сезоны плюс», 2011 о музыкальном театре, «Резонанс». The Festival’s founder is the Perm Region Ministry of Culture, Youth ENTITY, music by Joby Дягилевский фестиваль проводится Policy and Mass Communication. The Talbot & Jon Hopkins, с 2003 года: первоначально он носил main organizer is the Perm Opera and choreographed by название «Дягилевские сезоны: Ballet Theatre. Regular partners of the Wayne McGregor. “The Diaghilev Пермь — Петербург — Париж», Festival include the Perm State Art Seasons plus”, 2011 а с 2012 года обрел новое лаконич- Gallery, Perm Regional Philharmonic ное и свободно конвертируемое имя. Society, The Diaghilev House Museum, [4] and the Soviet Naive Art Museum. Балерина Учредителем фестиваля являются Майя Плисецкая Министерство культуры, молодеж- In his speech at the opening of the well- и композитор ной политики и массовых коммуни- established conference in Monte Carlo Родион Щедрин каций Пермского края. Основным in 2005, Nicholas Payne, President в Перми на премьере организатором выступает Перм- of the Opera Europa association, of оперы «Лолита» ский академический театр оперы which the Perm Opera and Ballet (мировая премьера на русском языке). и балета им. П. И. Чайковского. Theatre is a member, mentioned the «Дягилевские Постоянные партнеры фестиваля: International Diaghilev Festival amongst сезоны: Пермь — Пермская государственная художе- the iconic cultural events in Europe. Петербург — Париж», ственная галерея, Пермская крае- 2003 вая филармония, Дом-музей Дяги- . лева, Музей советского наива. Maya Plisetskaya, ballerina, and Rodion Николас Пейн — президент ассоци- Shchedrin, composer, ации Opera Europa, членом которой in Perm at the является Пермский театр оперы и premiere of the opera Lolita (world premiere балета, — в своей речи на открытии in Russian). традиционной конференции в Монте- International Festival Карло в 2005 году назвал Международ- “The Diaghilev ный Дягилевский фестиваль в числе Seasons: Perm — знаковых культурных событий Европы. Petersburg — Paris”, 2003 [3] [4] 10 приветствия WELCOME MESSAGES ергей Дягилев — это человек, кото- ergei Diaghilev is the man who рый нашел правильный рецепт found the right way of saving and Схранения и развития культурного Sdeveloping cultural heritage. The наследия. Суть в том, что культура Рос- point is that Russian culture is space сии есть пространство взаимоотноше- where different nations and continents ний разных народов и континентов. meet, and because of such fusion we get В результате этого синтеза мы получаем the special “chemistry” of environment. особую «химию» среды. Один из спо- One of the ways to preserve and consol- собов сохранения и укрепления куль- idate cultural traditions is to broadcast теодор курентзис турных традиций — их трансляция на them to the West, and this is what great Запад, и в этом как раз в невероятной Diaghilev was extremely good at. On the художественный степени преуспел великий Дягилев. С one hand, his private theatre company руководитель одной стороны, силами его антрепризы performed classical music pieces, and международного исполнялись классические музыкаль- it gave them new life on the new level дягилевского ные произведения, и это придало им of historical development. On the other фестиваля свежесть на новом витке исторического hand, he ordered new pieces, works of развития. С другой — по его заказу соз- tomorrow, which dragged world art to its teodor currentzis давались новые сочинения, произведе- future. These were benefits of common ния будущего, влекущие мировое искус- work of Russian and Western artists, artistic director ство в завтрашний день. Это были плоды and this initiative created public image of of the international совместного творчества российских и Russia as the leading power in forming diaghilev festival западных художников. И так Россия cultural agenda of XX century. It is true, в глазах мировой общественности пре- history knows no ‘if’, and still, if it had not вратилась в ведущую державу по форми- been up to Diaghilev, there would have рованию культурной повестки ХХ века. never been such a breakthrough in art, Пусть история не знает сослагательного not only in music, theatre and painting, наклонения, но если бы не Дягилев, не but also in literature and criticism. было бы такого прорыва в искусстве — Sergei Pavlovich Diaghilev is image of a не только в музыке, в театре и живописи, perfect minister of culture. но и в литературе и критической мысли. Nowadays we should create not only for Сергей Павлович Дягилев — это образ ourselves, but also for the future gener- идеального министра культуры. ations. We have to preserve classics, Мы обязаны сегодня творить не только emphasizing works, which are of current для себя, но и для будущих поколений. interest here and now, and we have to Мы обязаны сохранять классику, акцен- help
Recommended publications
  • Season 2014-2015
    23 Season 2014-2015 Wednesday, January 28, at 8:00 The Philadelphia Orchestra Friday, January 30, at 2:00 Saturday, January 31, Yannick Nézet-Séguin Conductor at 8:00 Kirill Gerstein Piano Beethoven Symphony No. 5 in C minor, Op. 67 I. Allegro con brio II. Andante con moto III. Allegro— IV. Allegro Intermission Shostakovich Piano Concerto No. 2 in F major, Op. 102 I. Allegro II. Andante III. Allegro Shostakovich/from Suite from The Gadfly, Op. 97a: arr. Atovmyan I. Overture: Moderato con moto III. People’s Holiday: [Allegro vivace] VII. Prelude: Andantino XI. Scene: Moderato This program runs approximately 1 hour, 40 minutes. The January 28 concert is sponsored by MEDCOMP. designates a work that is part of the 40/40 Project, which features pieces not performed on subscription concerts in at least 40 years. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details. 24 Please join us immediately following the January 30 concert for a Chamber Postlude, featuring members of The Philadelphia Orchestra. Brahms Piano Quartet No. 3 in C minor, Op. 60 I. Allegro non troppo II. Scherzo: Allegro III. Andante IV. Finale: Allegro lomodo Mark Livshits Piano Kimberly Fisher Violin Kirsten Johnson Viola John Koen Cello 3 Story Title 25 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra is one of the preeminent orchestras in the world, renowned for its distinctive sound, desired for its keen ability to capture the hearts and imaginations of audiences, and admired for a legacy of imagination and innovation on and off the concert stage.
    [Show full text]
  • C M Y M Y Y My K
    HKAF2015-HP22_Tsar Bride_cover09 OP.pdf 1 13/3/15 下午5:16 C M Y CM MY CY CMY K 香港藝術節於1973年首次舉辦,自此成 Since 1973, the Hong Kong Arts Festival has been a 為本港一年一度的文化盛事,整個亞太 highlight of the city’s annual cultural calendar and a highly 地區的藝術愛好者都翹首以待。 anticipated event throughout the region. 香港藝術節每年都邀請到國際頂尖藝術 Each year, leading international artists and outstanding 家蒞臨香港,與本地藝壇精英共同獻 local talent come together over the course of a full month, 藝。整整一個月的精彩節目,為本地居 enhancing the vitality and the quality of life of residents 民和遊客提供精神養分,令他們的生活 and visitors alike. 更豐富多姿。 This year, some 50 ensembles and solo artists from Hong 今年藝術節約有50個本地及來自世界各 Kong and from all over the world will showcase nearly 地的表演團體和獨立藝術家參與,為觀 140 performances in Chinese and Western opera, music, 眾呈獻近140場表演,包羅中國戲曲、 theatre and dance. And, thanks to Festival PLUS, there is 西洋歌劇、音樂、戲劇和舞蹈;此外, more, including film screenings, workshops and backstage 還特備「加料節目」,包括電影放映、 tours. As always, I can’t wait for the shows to begin. 工作坊及後台參觀。一如以往,我熱切 期待各項節目上演,希望一睹為快。 My congratulations to the Festival team for putting together yet another outstanding line-up. 藝術節團隊再次順利籌辦一連串陣容鼎 盛的節目,謹此衷心致賀。 I know you will find this year’s Hong Kong Arts Festival 我相信今年香港藝術節定會令大家賞心 entertaining, stimulating and entirely unforgettable. 悅目,興奮難忘。 C Y Leung 梁振英 Chief Executive, 香港特別行政區行政長官 Hong Kong Special Administrative Region 歡迎蒞臨第43 屆香港藝術節。 It gives me great pleasure to welcome you to this 歡迎閣下蒞臨第43屆香港藝術節。 It is a pleasure and privilege to welcome you to the 43rd performance in the 43rd Hong Kong Arts Festival. Hong Kong Arts Festival. 康樂及文化事務署每年提供的撥款, 國際婦女年40週年之際,為頌揚撐起 是藝術節財政收入的一大支柱,在此 I wish to thank the Government of Hong Kong SAR, acting 半邊天的女性,本屆香港藝術節為您呈 This Festival is resplendent with brilliant Divas, marking 我衷心感謝香港特區政府;同時亦感 through the Leisure and Cultural Services Department, for 獻多位熠熠生輝的演藝天后;同時在歌 the 40th anniversary of International Women’s Year and 謝香港賽馬會慈善信託基金一直以來 the annual subvention which is a mainstay of the Festival’s 劇、音樂、戲劇和舞蹈作品中,亦涵蓋 celebrating the half of humanity that holds up half the sky.
    [Show full text]
  • 20Th-Century Repertory
    Mikrokosmos List 650. - 2 - October 2019 ....20TH-CENTURY REPERTORY 1 Absil: Clarinet Quartet/Pelemans, Willem: Clar Quartet/Cabus, Peter: Clar ZEPHYR Z 18 A 10 Quartet/Moscheles: Prelude et fugue - Belgian Clarinet Quartet (p.1982) S 2 Albrecht, Georg von: 2 Piano Sonatas; Prelude & Fugue; 3 Hymns; 5 Ostliche DA CAMERA SM 93141 A 8 Volkslieder - K.Lautner pno 1975 S 3 Alpaerts, Flor: James Ensor Suite/Mortelmans: In Memoriam/E.van der Eycken: DECCA 173019 A 8 Poeme, Refereynen - cond.Weemaels, Gras, Eycken S 4 Amelsvoort: 2 Elegies/Reger: Serenade/Krommer-Kramar: Partita EUROSOUND ES 46442 A 15 Op.71/Triebensee: Haydn Vars - Brabant Wind Ensemble 1979 S 5 Antoine, Georges: Pno Quartet Op.6; Vln Sonata Op.3 - French String Trio, MUSIQUE EN MW 19 A 8 Pludermacher pno (p.1975) S 6 Badings: Capriccio for Vln & 2 Sound Tracks; Genese; Evolutions/ Raaijmakers: EPIC LC. 3759 A 15 Contrasts (all electronic music) (gold label, US) 7 Baervoets: Vla Con/P.-B.Michel: Oscillonance (2 vlns, pno)/C.Schmit: Preludes for EMI A063 23989 A 8 Orch - Patigny vla, Pingen, Quatacker vln, cond.Defossez (p.1980) S 8 Baily, Jean: 3 Movements (hn, tpt, pf, string orch)/F.M.Fontaine: Concertino, DGG 100131 A 8 Fantasie symphonique (orch) - cond.Baily S 9 Balanchivadze: Pno Con 4 - Tcherkasov, USSR RTVSO, cond.Provatorov , (plain MELODIYA C10. 9671 A 25 Melodiya jacket) S 10 Banks, Don: Vln Con (Dommett, cond.P.Thomas)/ M.Williamson: The Display WORLD RECO S 5264 A 8 (cond.Hopkins) S 11 Bantock: Pierrot Ov/ Bridge: Summer, Hamlet, Suite for String Orch/ Butterworth:
    [Show full text]
  • Thesis October 11,2012
    Demystifying Galina Ustvolskaya: Critical Examination and Performance Interpretation. Elena Nalimova 10 October 2012 Submitted in partial requirement for the Degree of PhD in Performance Practice at the Goldsmiths College, University of London 1 Declaration The work presented in this thesis is my own and has not been presented for any other degree. Where the work of others has been utilised this has been indicated and the sources acknowledged. All the translations from Russian are my own, unless indicated otherwise. Elena Nalimova 10 October 2012 2 Note on transliteration and translation The transliteration used in the thesis and bibliography follow the Library of Congress system with a few exceptions such as: endings й, ий, ый are simplified to y; я and ю transliterated as ya/yu; е is е and ё is e; soft sign is '. All quotations from the interviews and Russian publications were translated by the author of the thesis. 3 Abstract This thesis presents a performer’s view of Galina Ustvolskaya and her music with the aim of demystifying her artistic persona. The author examines the creation of ‘Ustvolskaya Myth’ by critically analysing Soviet, Russian and Western literature sources, oral history on the subject and the composer’s personal recollections, and reveals paradoxes and parochial misunderstandings of Ustvolskaya’s personality and the origins of her music. Having examined all the available sources, the author argues that the ‘Ustvolskaya Myth’ was a self-made phenomenon that persisted due to insufficient knowledge on the subject. In support of the argument, the thesis offers a performer’s interpretation of Ustvolskaya as she is revealed in her music.
    [Show full text]
  • Olympic Rowing Regatta Beijing, China 9-17 August
    2008 Olympic Rowing Regatta Beijing, China 9-17 August MEDIA GUIDE TABLE OF CONTEnts 1. Introduction 3 2. FISA 5 2.1. What is FISA? 5 2.2. FISA contacts 6 3. Rowing at the Olympics 7 3.1. History 7 3.2. Olympic boat classes 7 3.3. How to Row 9 3.4. A Short Glossary of Rowing Terms 10 3.5. Key Rowing References 11 4. Olympic Rowing Regatta 2008 13 4.1. Olympic Qualified Boats 13 4.2. Olympic Competition Description 14 5. Athletes 16 5.1. Top 10 16 5.2. Olympic Profiles 18 6. Historical Results: Olympic Games 27 6.1. Olympic Games 1900-2004 27 7. Historical Results: World Rowing Championships 38 7.1. World Rowing Championships 2001-2003, 2005-2007 (current Olympic boat classes) 38 8. Historical Results: Rowing World Cup Results 2005-2008 44 8.1. Current Olympic boat classes 44 9. Statistics 54 9.1. Olympic Games 54 9.1.1. All Time NOC Medal Table 54 9.1.2. All Time Olympic Multi Medallists 55 9.1.3. All Time NOC Medal Table per event (current Olympic boat classes only) 58 9.2. World Rowing Championships 63 9.2.1. All Time NF Medal Table 63 9.2.2. All Time NF Medal Table per event 64 9.3. Rowing World Cup 2005-2008 70 9.3.1. Rowing World Cup Medal Tables per year 2005-2008 70 9.3.2. All Time Rowing World Cup Medal Tables per event 2005-2008 (current Olympic boat classes) 72 9.4.
    [Show full text]
  • The Mariinsky Ballet & Orchestra
    Thursday, October 1, 2015, 8pm Friday, October 2, 2015, 8pm Saturday, October 3, 2015, 2pm & 8pm Sunday, October 4, 2015, 3pm Zellerbach Hall The Mariinsky Ballet & Orchestra Gavriel Heine, Conductor The Company Diana Vishneva, Nadezhda Batoeva, Anastasia Matvienko, Sofia Gumerova, Ekaterina Chebykina, Kristina Shapran, Elena Bazhenova Vladimir Shklyarov, Konstantin Zverev, Yury Smekalov, Filipp Stepin, Islom Baimuradov, Andrey Yakovlev, Soslan Kulaev, Dmitry Pukhachov Alexandra Somova, Ekaterina Ivannikova, Tamara Gimadieva, Sofia Ivanova-Soblikova, Irina Prokofieva, Anastasia Zaklinskaya, Yuliana Chereshkevich, Lubov Kozharskaya, Yulia Kobzar, Viktoria Brileva, Alisa Krasovskaya, Marina Teterina, Darina Zarubskaya, Olga Gromova, Margarita Frolova, Anna Tolmacheva, Anastasiya Sogrina, Yana Yaschenko, Maria Lebedeva, Alisa Petrenko, Elizaveta Antonova, Alisa Boyarko, Daria Ustyuzhanina, Alexandra Dementieva, Olga Belik, Anastasia Petushkova, Anastasia Mikheikina, Olga Minina, Ksenia Tagunova, Yana Tikhonova, Elena Androsova, Svetlana Ivanova, Ksenia Dubrovina, Ksenia Ostreikovskaya, Diana Smirnova, Renata Shakirova, Alisa Rusina, Ekaterina Krasyuk, Svetlana Russkikh, Irina Tolchilschikova Alexey Popov, Maxim Petrov, Roman Belyakov, Vasily Tkachenko, Andrey Soloviev, Konstantin Ivkin, Alexander Beloborodov, Viktor Litvinenko, Andrey Arseniev, Alexey Atamanov, Nail Enikeev, Vitaly Amelishko, Nikita Lyaschenko, Daniil Lopatin, Yaroslav Baibordin, Evgeny Konovalov, Dmitry Sharapov, Vadim Belyaev, Oleg Demchenko, Alexey Kuzmin, Anatoly Marchenko,
    [Show full text]
  • Scarica Programma
    Nel moltiplicarsi dei mondi e delle nuove genti risuona dalle antiche profondità di un tempo pur sempre giovane il richiamo del Bello, dell’Intelligenza e dell’Arte. Che è anche comandamento a non vacillare nella loro difesa. Giorgio Ferrara con il patrocinio di Presidenza del Consiglio dei Ministri Ministero degli Affari Esteri e della Cooperazione Internazionale Camera di Commercio di Perugia promosso da official sponsor main supporter official car main partner project sponsor sponsor & supplier premium partner sponsor project partner partner sponsor tecnici main media supporter HOTEL DEI DUCHI SPOLETO Viale G. Matteotti, 4 - 06049 - Spoleto (PG) - Italy Tel. +39 0743 44541 - Fax +39 0743 44543 www.hoteldeiduchi.com - [email protected] DEL GALLO EDITORI D.G.E. srl Z.I. Loc. S. Chiodo | Via dei Tornitori, 7 | 06049 Spoleto-Umbria main media partner Tel. 0743 778383 Fax 0743 778384 | [email protected] con la partecipazione di Ucio culturale Ambasciata di Israele - Roma si ringrazia media partner I MECENATI DEL FESTIVAL DEI 2MONDI ACCADEMIA NAZIONALE DI SANTA CECILIA | CON SPOLETO | CONFCOMMERCIO SPOLETO CONFINDUSTRIA UMBRIA | TRENITALIA SPA | NPS-CONVITTO SPOLETO SISTEMA MUSEO | INTERNATIONAL INNER WHEEL | ROTARY DI SPOLETO PIANOFORTI ANGELO FABBRINI | E.T.C. ITALIA | S.I.C.A.F. SPOLETO PROGRAMMA GIORNALIERO GIUGNO GIUGNO GIUGNO 24 VENERDÌ 25 SABATO 26 DOMENICA 10.00 Palazzo Tordelli 9.30-19.30 Rocca Albornoziana 12.00 / 16.00 9.30-19.30 Rocca Albornoziana p. 259 AMEDEO MODIGLIANI, p. 263 IN-VISIBILE Museo Diocesano Salone dei Vescovi p. 263 IN-VISIBILE LES FEMMES p. 224 GLI INCONTRI inaugurazione 10.00 Cantiere Oberdan DI PAOLO MIELI 10.00-13.00/16.00-20.00 p.
    [Show full text]
  • LA TRAVIATA OPERA in THREE ACTS Tweet Your Thoughts About Tonight’S Performance Before It Starts, During the Interval Or Afterwards with #Rohtraviata
    Approximate timings THE ROYAL OPERA Live cinema relay begins at 6.45pm MUSIC DIRECTOR SIR ANTONIO PAPPANO DIRECTOR OF OPERA KASPER HOLTEN Act I 35 minutes Interval Act II scene 1 44 minutes Pause Act II scene 2 22 minutes Interval Act III 35 minutes The live relay will end at approximately 10.30pm LA TRAVIATA OPERA IN THREE ACTS Tweet your thoughts about tonight’s performance before it starts, during the interval or afterwards with #ROHtraviata MUSIC GIUSEPPE VERDI 2015/16 Live Cinema Season LIBRETTO FRANCESCO MARIA PIAVE AFTER ALEXANDRE DUMAS FILS’S PLAY LA DAME AUX CAMÉLIAS BORIS GODUNOV MONDAY 21 MARCH 2016 GISELLE WEDNESDAY 6 APRIL 2016 CONDUCTOR YVES ABEL LUCIA DI LAMMERMOOR MONDAY 25 APRIL 2016 DIRECTOR RICHARD EYRE FRANKENSTEIN WEDNESDAY 18 MAY 2016 REVIVAL DIRECTOR DANIEL DOONER MONDAY 27 JUNE 2016 WERTHER DESIGNER BOB CROWLEY LIGHTING DESIGNER JEAN KALMAN DIRECTOR OF MOVEMENT JANE GIBSON Saimir Pirgu’s Il Mio Canto is released to coincide ROYAL OPERA CHORUS with his appearance at the Royal Opera House. This CD CHORUS DIRECTOR RENATO BALSADONNA features a selection of arias from operas including La traviata, Werther, Rigoletto and La bohème. ORCHESTRA OF THE ROYAL OPERA HOUSE CONCERT MASTER VASKO VASSILEV Digital Programme DIRECTED FOR THE SCREEN BY MATT WOODWARD Royal Opera House Digital Programmes bring together a range of specially LIVE FROM THE selected films, articles, pictures and features to bring you closer to the ROYAL OPERA HOUSE production. Use promo code ‘FREETRAV’ to claim yours for free. THURSDAY 4 FEBRUARY 2016, 6.45PM Visit www.roh.org.uk/publications For more information about the Royal Opera House, to watch the extra features from this performance again and to explore our work further, visit www.roh.org.uk/cinema Synopsis Cast Act I A salon in Violetta’s house; August Violetta is a well-known Parisian courtesan.
    [Show full text]
  • Abstracts Euromac2014 Eighth European Music Analysis Conference Leuven, 17-20 September 2014
    Edited by Pieter Bergé, Klaas Coulembier Kristof Boucquet, Jan Christiaens 2014 Euro Leuven MAC Eighth European Music Analysis Conference 17-20 September 2014 Abstracts EuroMAC2014 Eighth European Music Analysis Conference Leuven, 17-20 September 2014 www.euromac2014.eu EuroMAC2014 Abstracts Edited by Pieter Bergé, Klaas Coulembier, Kristof Boucquet, Jan Christiaens Graphic Design & Layout: Klaas Coulembier Photo front cover: © KU Leuven - Rob Stevens ISBN 978-90-822-61501-6 A Stefanie Acevedo Session 2A A Yale University [email protected] Stefanie Acevedo is PhD student in music theory at Yale University. She received a BM in music composition from the University of Florida, an MM in music theory from Bowling Green State University, and an MA in psychology from the University at Buffalo. Her music theory thesis focused on atonal segmentation. At Buffalo, she worked in the Auditory Perception and Action Lab under Peter Pfordresher, and completed a thesis investigating metrical and motivic interaction in the perception of tonal patterns. Her research interests include musical segmentation and categorization, form, schema theory, and pedagogical applications of cognitive models. A Romantic Turn of Phrase: Listening Beyond 18th-Century Schemata (with Andrew Aziz) The analytical application of schemata to 18th-century music has been widely codified (Meyer, Gjerdingen, Byros), and it has recently been argued by Byros (2009) that a schema-based listening approach is actually a top-down one, as the listener is armed with a script-based toolbox of listening strategies prior to experiencing a composition (gained through previous style exposure). This is in contrast to a plan-based strategy, a bottom-up approach which assumes no a priori schemata toolbox.
    [Show full text]
  • University of Oklahoma Graduate College A
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE A PEDAGOGICAL AND PERFORMANCE GUIDE TO PROKOFIEV’S FOUR PIECES, OP. 32 A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By IVAN D. HURD III Norman, Oklahoma 2017 A PEDAGOGICAL AND PERFORMANCE GUIDE TO PROKOFIEV’S FOUR PIECES, OP. 32 A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Jane Magrath, Chair ______________________________ Dr. Barbara Fast ______________________________ Dr. Jeongwon Ham ______________________________ Dr. Paula Conlon ______________________________ Dr. Caleb Fulton Dr. Click here to enter text. © Copyright by IVAN D. HURD III 2017 All Rights Reserved. ACKNOWLEDGMENTS The number of people that deserve recognition for their role in completing not only this document, but all of my formal music training and education, are innumerable. Thank you to the faculty members, past and present, who have served on my doctoral committee: Dr. Jane Magrath (chair), Dr. Barbara Fast, Dr. Jeongwon Ham, Dr. Paula Conlon, Dr. Rachel Lumsden, and Dr. Caleb Fulton. Dr. Magrath, thank you for inspiring me, by your example, to find the absolute best possible version of myself as a pianist, educator, collaborator, writer, and scholar. I am incredibly grateful to have had the opportunity to study with you on a weekly basis in lessons, to develop and hone my teaching skills through your guidance in pedagogy classes and observed lessons, and for your encouragement throughout every aspect of the degree. Dr. Fast, I especially appreciate long conversations about group teaching, your inspiration to try new things and be creative in the classroom, and for your practical career advice.
    [Show full text]
  • Lyubov Orlova: Stalinism’S Shining Star,’ Senses of Cinema, Issue 23: the Female Actor, December 2002
    Dina Iordanova, ‘Lyubov Orlova: Stalinism’s Shining Star,’ Senses of Cinema, Issue 23: The Female Actor, December 2002. Available: https://www.sensesofcinema.com/2002/the-female-actor/orlova/ Lyubov Orlova: Stalinism’s Shining Star Dina Iordanova Issue 23 A Lyubov Orlova filmography appears at the bottom of this article. A misguided assumption about Soviet cinema, which still persists, is that it’s a national cinema mostly comprised of depressing war dramas in which popular genres were neglected and even suppressed. This is certainly not the picture of Soviet cinema I remember when, 1 growing up in 1960s Bulgaria, I could enjoy a fair share of popular films, like the Soviet action-adventure Neulovimyye mstiteli/The Elusive Avengers (1966) or Yuri Nikulin’s superb comedies, all playing in theatres alongside the comedies of Louis de Funès or Raj Kapoor’s ever-popular weepy Awara/The Vagabond (1951). A highlight was Eldar Ryazanov’s musical, Karnavalnaya noch/Carnival Night (1956), with Lyudmila Gurchenko’s unforgettable dancing and singing. Made several years before I was even born, Carnival Night was so popular that by the time I started watching movies it was still regularly playing in theatres as well as being shown on television. Here, a buoyant and beautiful Lydmila Gurchenko leads a group of amateur actors to undermine the plans of the Culture Ministry and its boring leadership in order to turn a New Year’s Eve celebration into an exciting vibrant extravaganza, with confetti, sparklers and crackers. It was only later, in my teenage years when I started visiting the Sofia Cinémathèque, that I realized how Carnival Night in many aspects replicated Grigoriy Aleksandrov’s musical extravaganzas of the 1930s.
    [Show full text]
  • Women and Martyrdom in Soviet War Cinema of the Stalin Era
    Women and Martyrdom in Soviet War Cinema of the Stalin Era A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2019 Mozhgan Samadi School of Arts, Languages and Cultures CONTENTS LIST OF FIGURES 5 ABSTRACT 6 DECLARATION 7 COPYRIGHT STATEMENT 7 A NOTE ON TRANSLITERATION 8 ACKNOWLEGEMENTS 9 THE AUTHOR 10 Introduction: Background and Aims 12 Thesis Rationale: Female Role Models and Soviet Identity-Building 15 Literature Review: Existing Scholarship on Women and Martyrdom in Stalinist War Cinema 20 Aims, Objectives and Research Questions of the Thesis 26 Original Contribution to Knowledge 28 Structure of the Thesis 29 Chapter One: Historical and Ideological Context 1.1 Introduction 32 1.2 Russian Orthodox Political Culture 33 1.2.1 Russian Orthodoxy and the Values of Suffering and Martyrdom 33 1.2.2 Orthodox Princes: The Role Models of Sacrificing the Self for Faith and the ‘Holy’ Lands of Rus’ 35 1.3 The Ideas of ‘Holy’ Rus’ and Russian Messianism and the Adoption of the Russian Orthodox Traditions of Suffering and Martyrdom in the 19th Century 38 1.4 Soviet Reinterpretation of Russian Orthodox Values of Suffering and Martyrdom 44 1.4.1 Resurrection of the Idea of Russian Messianism under the Name of 2 Soviet Messianism 44 1.4.2 The Myth of the Great Soviet Family 51 1.5 Conclusion 54 Chapter Two: Theory and Methodology 2.1 Introduction 57 2.2 Women and Martyrdom in Russia and the Soviet Union 57 2.2.1 The Russian Orthodox Valorisation of Suffering and Female Believers 57
    [Show full text]