DOCSLIB.ORG

Operas, Ethics, and Elektra: a Return to the Recordings of John Culshaw

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Operas, Ethics, and Elektra: a Return to the Recordings of John Culshaw forty-five.com / papers /176 Ryan M. Prendergast Reviewed by Nicholas Clark and Michele Spanghero Operas, Ethics, and Elektra: A Return to the Recordings of John Culshaw If there is any secret about the sort of work we have been doing i n V i e n n a o v e r t h e p a s t f e w y e a r s , i t h a s fi n a l l y n o t h i n g t o d o w i t h b i g g e r a n d b e t t e r m a c h i n e s , a l t h o u g h t h e y c e r t a i n l y i n c r e a s e e f fi c i e n c y : i t h a s t o d o w i t h t r y i n g t o g e t t o thear of a score before you record a note of it, so that before you b e g i n y o u h a v e a c o n c e p t o f w h a t t h e fi n a l r e c o r d i s g o i n g to s o u n d l i k e . T h i s c o n c e p t m a y , o f c o u r s e , b e r i g h t o r w r o n g ; i t m a y b e s u s t a i n e d o r m o d i fi e d a s t h i n g s p r o g r e s s ; b u the i m p o r t a n t t h i n g i s t h a t i t s h o u l d b e t h e r e t o s t a r t w i t h , f o r t h e c a t a l o g u e s a r e f u l l o f e x a m p l e s t o s h o w w h a t h a p p e n s w h e n i t isn’t. J o h n C u l s h a w , “ T h r e e f o r t h e R o a d , ” G r a m o p h o n e ( M a r c h 1968): 474. A m i d t h e w e a l t h o f o p e r a r e c o r d i n g s p r o d u c e d i n t h e m i d - t w e n t i e t h c e n t u r y , t h e s e t s r e l e a s e d b y t h e D e c c a R e c o r d C o m p a n y c o n t i n u e t o r e s o u n d w i t h c r i t i c s a n d l i s t e n e r s a l i k e . 1 C r u c i a l t o t h e i r p r o d u c t i o n a n d s u c c e s s w a s J o h n C u l s h a w , C l a s s i c a l A r t i s t s a n d R e p e r t o i r e M a n a g e r f o r D e c c a f r o m 1 9 5 6 t o 1 9 6 7. C u l s h a w ’ s w o r k i n o p e r a — w h i c h i n c l u d e s t h e fi r s t c o m p l e t e s t e r e o r e l e a s e o f W a g n e r ’ s m a m m o t h D erRing d e s N i b e l u n g e n ( 1 9 5 9 - 1 9 6 6 ) — b l a z e d a p r o g r e s s i v e t r a i l . His aesthetic as a producer envisioned opera on record not a s a s i m u l a c r u m o f a l i v e o p e r a h o u s e p e r f o r m a n c e b u t a s a n i n d e p e n d e n t r e a l i z a t i o n s u b j e c t t o i t s o w n c o n v e n t i o n s . S u c h a n a p p r o a c h b o l d l y s e i z e d t h e o p p o r t u n i t i e s o f f e r e d b y stereophonic sound and the recording studio: “the ideal stereo version of any opera must be a production in its own right w i t h i n i t s o w n m e d i u m [ C u l s h a w ’ s i t a l i c s ] . I t i s n o t m e a n t t o p u t t h e l i s t e n e r i n h i s f a v o r i t e s e a t a t t h e o p e r a h o u s e : i t s h o u l d n o t e v e n t r y . W i t h i n i t s o w n t e r m s , i t c a n d o m u c h better.”2 I n a t t e m p t i n g t o d o “ b e t t e r , ” h o w e v e r , C u l s h a w s p a r k e d a c o m p l e x d i s c o u r s e c o n c e r n i n g t h e r e l a t i o n s h i p o f r e c o r d e d o p e r a w i t h “ l i v e n e s s ” a n d a u d i o - v i s u a l m e d i a . T h o u g h t h e s t u d i o r e c o r d i n g p r a c t i c e s o f C u l s h a w ’ s h e y d a y a r e now a distant memory, their legacy still reverberates in the present. W h i l e t h e D e c c a R i n g c o n t i n u e s t o a t t r a c t d i s c u r s i v e a t t e n t i o n in this regard, several Culshaw-produced operas in the D e c c a c a t a l o g u e r e m a i n u n d e r e x p l o r e d — f o r e x a m p l e , t h e 1 9 6 7 r e c o r d i n g o f R i c h a r d S t r a u s s ’ s 1 9 0 9 o p e r a E l e k t r a , o n e o f C u l s h a w ’ s l a s t p r o j e c t s f o r t h e c o m p a n y . 3 F o r c a s u a l l i s t e n e r s a n d c o n n o i s s e u r s a l i k e , t h e D e c c a E l e k t r a r e m a i n s a n i m p r e s s i v e i n t e r p r e t a t i o n f e a t u r i n g a f o r m i d a b l e g r o u p o f p e r f o r m e r s : s o p r a n o B i r g i t N i l s s o n a s E l e k t r a , t h e e v e r - v e r s a t i l e m e z z o - s o p r a n o R e g i n a R e s n i k a s E l e k t r a ’ s m o t h e r K l y t ä m n e s t r a , s o p r a n o M a r i e C o l l i e r a s E l e k t r a ’ s s i s t e r C h r y s o t h e m i s , a n d a t r e m e n d o u s s u p p o r t i n g c a s t l e d b y c o n d u c t o r G e o r g S o l t i ( n o t y e t t h e n “ S i r ” ) w i t h t h e V i e n n a 3 Philharmonic Orchestra.4 N o l e s s r e m a r k a b l e w a s D e c c a ’ s v e t e r a n r e c o r d i n g t e a m a s s e m b l e d f o r t h e p r o j e c t : p r o d u c e r C h r i s t o p h e r R a e b u r n , w h o a s s i s t e d C u l s h a w w i t h t h e s i n g e r s ; e n g i n e e r s G o r d o n P a r r y a n d J a m e s B r o w n ; a n d t a p e e d i t o r J a c k Law.5 Despite such distinguished participants on the Decca Elektra, c r i t i c a l r e s p o n s e t o t h e fi n a l r e c o r d i n g w a s d i v i d e d .
Load more

Recommended publications
  • “Music-Making in a Joyous Sense”: Democratization, Modernity, and Community at Benjamin Britten's Aldeburgh Festival of Music and the Arts
    “Music-making in a Joyous Sense”: Democratization, Modernity, and Community at Benjamin Britten's Aldeburgh Festival of Music and the Arts Daniel Hautzinger Candidate for Senior Honors in History Oberlin College Thesis Advisor: Annemarie Sammartino Spring 2016 Hautzinger ii Table of Contents 1. Introduction 1 2. Historiography and the Origin of the Festival 9 a. Historiography 9 b. The Origin of the Festival 14 3. The Democratization of Music 19 4. Technology, Modernity, and Their Dangers 31 5. The Festival as Community 39 6. Conclusion 53 7. Bibliography 57 a. Primary Sources 57 b. Secondary Sources 58 Hautzinger iii Acknowledgements This thesis would never have come together without the help and support of several people. First, endless gratitude to Annemarie Sammartino. Her incredible intellect, voracious curiosity, outstanding ability for drawing together disparate strands, and unceasing drive to learn more and know more have been an inspiring example over the past four years. This thesis owes much of its existence to her and her comments, recommendations, edits, and support. Thank you also to Ellen Wurtzel for guiding me through my first large-scale research paper in my third year at Oberlin, and for encouraging me to pursue honors. Shelley Lee has been an invaluable resource and advisor in the daunting process of putting together a fifty-some page research paper, while my fellow History honors candidates have been supportive, helpful in their advice, and great to commiserate with. Thank you to Steven Plank and everyone else who has listened to me discuss Britten and the Aldeburgh Festival and kindly offered suggestions.
    [Show full text]
  • English Translation of the German by Tom Hammond
    Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p.
    [Show full text]
  • Spring/Summer 2016
    News for Friends of Leonard Bernstein Spring/Summer 2016 High-brow, Low-brow, All-brow Bernstein, Gershwin, Ellington, and the Richness of American Music © VICTOR © VICTOR KRAFT by Michael Barrett uch of my professional life has been spent on convincing music lovers Mthat categorizing music as “classical” or “popular” is a fool’s errand. I’m not surprised that people s t i l l c l i n g t o t h e s e d i v i s i o n s . S o m e w h o love classical masterpieces may need to feel reassured by their sophistication, looking down on popular culture as dis- posable and inferior. Meanwhile, pop music fans can dismiss classical music lovers as elitist snobs, out of touch with reality and hopelessly “square.” Fortunately, music isn’t so black and white, and such classifications, especially of new music, are becoming ever more anachronistic. With the benefit of time, much of our country’s greatest music, once thought to be merely “popular,” is now taking its rightful place in the category of “American Classics.” I was educated in an environment that was dismissive of much of our great American music. Wanting to be regarded as a “serious” musician, I found myself going along with the thinking of the times, propagated by our most rigid conservatory student in the 1970’s, I grew work that studiously avoided melody or key academic composers and scholars of up convinced that Aaron Copland was a signature. the 1950’s -1970’s. These wise men (and “Pops” composer, useful for light story This was the environment in American yes, they were all men) had constructed ballets, but not much else.
    [Show full text]
  • Recordings of Mahler Symphony No. 4
    Recordings of Mahler Symphony No. 4 by Stan Ruttenberg, President, Colorado MahlerFest SUMMARY After listening to each recording once or twice to get the general feel, on bike rides, car trips, while on the Internet etc, I then listened more carefully, with good headphones, following the score. They are listed in the survey in about the order in which I listened, and found to my delight, and disgust, that as I went on I noticed more and more details to which attention should be paid. Lack of time and adequate gray matter prevented me from going back and re-listening all over again, except for the Mengelberg and Horenstein recordings, and I did find a few points to change or add. I found that JH is the ONLY conductor to have the piccolos play out adequately in the second movement, and Claudio Abbado with the Vienna PO is the only conductor who insisted on the two horn portamenti in the third movement.. Stan's prime picks: Horenstein, Levine, Reiner, Szell, Skrowaczewski, von Karajan, Abravanel, in that order, but the rankings are very close. Also very good are Welser- Most, and Klemperer with Radio Orchestra Berlin, and Berttini at Cologne. Not one conductor met all my tests of faithfulness to the score in all the too many felicities therein, but these did the best and at the same time produced a fine overall performance. Mengelberg, in a class by himself, should be heard for reference. Stan's soloist picks: Max Cencic (boy soprano with Nanut), in a class by himself. Then come, not in order, Davrath (Abravanel), Mathes (von Karajan), Trötschel (Klemperer BRSO), Raskin (Szell), Blegen (Levine), Della Casa (Reiner), Irmgard Seefried (Walter), Jo Vincent (Mengelberg), Ameling (Haitink RCOA), Ruth Zeisek (Gatti), Margaret Price with Horenstein, and Kiri Te Kanawa (Solti), Szell (Rattle broadcast), and Battle (Maazel).
    [Show full text]
  • Verdi Week on Operavore Program Details
    Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
    [Show full text]
  • Strauss Elektra Solti SC
    Richard Strauss Elektra Elektra: Birgit Nilsson; Klytemnestra: Regina Resnik; Chrysothemis: Marie Collier; Oreste: Tom Krause; Aegistheus: Gerhard Stolze Vienna State Opera Chorus and Vienna Philharmonic Orchestra Georg Solti Recorded June, September and November 1966 at the Sofiensaal, Vienna Recording Engineers: Gordon Parry and James Brown Producers: John Culshaw and Christopher Raeburn Remastered at Air Studios London by Tony Hawkins and Ray Staff Speakers Corner 2LPs Decca SET 354/5 Performance: 5 Strauss's Elektra was premièred in 1909 and marks the highpoint of the composers operatic career. Never again would he compose such searingly dramatic, concise music, replete with startlingly vivid orchestration, and a wealth of highly chromatic (and often atonal) thematic material, centred around decidedly Wagnerian sounding leitmotifs. It is isn't easy to cast. The title role needs a true dramatic soprano who is happy above the stave, and that of Klytemnestra a big-voiced mezzo- soprano. Chrysothemis is written for a lyric soprano, and Oreste for an heroic baritone. Elektra's don't come any better than Birgit Nilsson. She was 48 when the recording was made, and even the most exposed leaps and murderously high tessitura don't bother her. As the greatest Wagnerian soprano since Frieda Leider, she can effortlessly ride the orchestra, while still using a wide dynamic range in quieter passages. There are occasions when her intonation falters in the Recognition Scene, but this is a classic, thrillingly savage performance. Regina Resnik scales the same dramatic heights as Nilsson in her confrontation with Elektra, and her laughter at the end of the scene is gloriously OTT.
    [Show full text]
  • A Culture of Recording: Christopher Raeburn and the Decca Record Company
    A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon.
    [Show full text]
  • Marie Collier: a Life
    Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family.
    [Show full text]
  • 07 – Spinning the Record
    VI. THE STEREO ERA In 1954, a timid and uncertain record industry took the plunge to begin investing heav- ily in stereophonic sound. They were not timid and uncertain because they didn’t know if their system would work – as we have seen, they had already been experimenting with and working the kinks out of stereo sound since 1932 – but because they still weren’t sure how to make a home entertainment system that could play a stereo record. Nevertheless, they all had their various equipment in place, and so that year they began tentatively to make recordings using the new medium. RCA started, gingerly, with “alternate” stereo tapes of monophonic recording sessions. Unfortunately, since they were still uncertain how the results would sound on home audio, they often didn’t mark and/or didn’t file the alternate stereo takes properly. As a result, the stereo versions of Charles Munch’s first stereo recordings – Berlioz’ “Roméo et Juliette” and “Symphonie Fanastique” – disappeared while others, such as Fritz Reiner’s first stereo re- cordings (Strauss’ “Also Sprach Zarathustra” and the Brahms Piano Concerto No. 1 with Ar- thur Rubinstein) disappeared for 20 years. Oddly enough, their prize possession, Toscanini, was not recorded in stereo until his very last NBC Symphony performance, at which he suf- fered a mental lapse while conducting. None of the performances captured on that date were even worth preserving, let alone issuing, and so posterity lost an opportunity to hear his last half-season with NBC in the excellent sound his artistry deserved. Columbia was even less willing to pursue stereo.
    [Show full text]
  • May, 2020 No. 1941 Subscription (Program B) Richard Strauss
    May, 2020 ◎No. 1941 Subscription (Program B) ◎ ■Richard Strauss (1864–1949) ■Symphonic Fragment from “Josephs Legende,” ballet (20') Richard Strauss’s Josephs Legende (The Legend of Joseph), Op. 63 is a ballet in a single act, composed between 1912 and 1914 for the Ballets Russes, a well-known ballet company in Paris. Its director Sergei Diaghilev was a charismatic figure who commissioned famous composers such as Igor Stravinsky, Claude Debussy, and Sergei Prokofiev to write pieces for the company. The company’s principal dancer and choreographer was Vaslav Nijinsky, one of the best known male dancers of the time. Strauss’s ballet is about Joseph in the Book of Genesis of the Old Testament, in particular about Potiphar’s wife Zuleika tries to seduce Joseph. The libretto was written mostly by Hugo von Hofmannsthal (the poet also provided Strauss with a number of libretti, including Elektra, Der Rosenkavalier, Ariadne auf Naxos, Die Frau ohne Schatten, Die ägyptische Helena, and Arabella). Strauss struggled with the ballet. He found the Biblical story uninspiring. Nevertheless, the project was for the renowned ballet company and great dancer/choreographer, an opportunity that could propel Strauss’s career to a higher level. The ballet premiered in Paris on May 14, 1914 where it was performed for seven times, then seven more in London. The outbreak of the First World War, however, eliminated all the chances for the ballet to be staged elsewhere. In 1947, Strauss returned to the piece to make a concert version and published it as Symphonic Fragment from Josephs Legende. This newly arranged piece retains the essence of the original and is filled with beautiful melodies typical of the composer.
    [Show full text]
  • Grand Finals Concert
    NATIONAL COUNCIL AUDITIONS grand finals concert conductor Metropolitan Opera Carlo Rizzi National Council Auditions host Grand Finals Concert Anthony Roth Costanzo Sunday, March 31, 2019 3:00 PM guest artist Christian Van Horn Metropolitan Opera Orchestra The Metropolitan Opera National Council is grateful to the Charles H. Dyson Endowment Fund for underwriting the Council’s Auditions Program. general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON NATIONAL COUNCIL AUDITIONS grand finals concert conductor Carlo Rizzi host Anthony Roth Costanzo guest artist Christian Van Horn “Dich, teure Halle” from Tannhäuser (Wagner) Meghan Kasanders, Soprano “Fra poco a me ricovero … Tu che a Dio spiegasti l’ali” from Lucia di Lammermoor (Donizetti) Dashuai Chen, Tenor “Oh! quante volte, oh! quante” from I Capuleti e i Montecchi (Bellini) Elena Villalón, Soprano “Kuda, kuda, kuda vy udalilis” (Lenski’s Aria) from Today’s concert is Eugene Onegin (Tchaikovsky) being recorded for Miles Mykkanen, Tenor future broadcast “Addio, addio, o miei sospiri” from Orfeo ed Euridice (Gluck) over many public Michaela Wolz, Mezzo-Soprano radio stations. Please check “Seul sur la terre” from Dom Sébastien (Donizetti) local listings. Piotr Buszewski, Tenor Sunday, March 31, 2019, 3:00PM “Captain Ahab? I must speak with you” from Moby Dick (Jake Heggie) Thomas Glass, Baritone “Don Ottavio, son morta! ... Or sai chi l’onore” from Don Giovanni (Mozart) Alaysha Fox, Soprano “Sorge infausta una procella” from Orlando (Handel)
    [Show full text]
  • Iuru!It Nrws Issued by the Australian Elizabethan Theatre Trust to Members of the Trust
    iUru!it Nrws Issued by The Australian Elizabethan Theatre Trust to Members of the Trust. Winter Edition, 1967 Price 10c. LINE-UP? ERDI'S "Don Carlos" and V Wagner's "Tannhauser" are among the operas being discussed for presentation at the 1968 Ade­ laide Festival of Arts along with the "Tosca" which, as already announced, will feature two of Europe's supreme dramatic singers, soprano Marie Collier and baritone Tito Gobbi. F "Don Carlos" and 'Tann­ I hauser" are, in fact, brought into the Elizabethan Trust Opera Com­ pany's repertoire for the Festival, they will subsequently be toured through other capitals as part of the company's main tour for 1968. The main tour is expected to fol­ Tita Gobbi Marie Collier as Tosca low on immediately from the Ade­ as Scarpia laide season. without a peer in his own generation, will ennially timely taunts at officialdom, Finn and final announcement cannot be making his first visit to Australia at "The Inspector-General", and a new play yet be made regarding the company's full Festival time. commissioned from Australian writer operatic bill for 1968, but it is known The electrifying excitement which Patricia Hooker will also feature in the that operas such as Puccini's "Girl of the 1968 Festival's drama activity. Golden West" and Menotti's "The Saint these two singers are able to generate of Bleecker Street" are receiving ardent in an audience at every performance is A LTHOUH a tour of Asia during 1968 advocacy in influential quarters. expected to make their joint appearance will preclude appearances by the The last operatic appearances in Aus­ in "Tosca" at Adelaide "a milestone in Australian Ballet at Adelaide Festival tralia of Victoria-born Marie Collier, the history of operd in Australia", as time, executives of the Festival are con­ now acclaimed throughout the world as a the Trust's Executive Director, Stefan tinuing negotiations for the presentation dramatic singer of resource not excelled Haag described it in announcing the of another notable ballet company.
    [Show full text]