DOCSLIB.ORG

Snapshots 2019 Program

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Snapshots 2019 Program presents November 3rd, 2019, 3:00pm PROGRAM Achilles Leonidas Bezanis, tenor Christina Giuca, piano Selections from A Young Man’s Exhortation Gerald Finzi 1. A Young Man’s Exhortation Thomas Hardy 2. Ditty 4. Her Temple 7. The Sigh 10. The dance continued ~~~ Anna Laurenzo, mezzo soprano Christina Giuca, piano I'm a Stranger Here Myself from One Touch of Venus Kurt Weill Ogden Nash Soir d'hiver Nadia Boulanger Nadia Boulanger Soleils couchants Nadia Boulanger Paul Verlaine La maja dolorosa, No. 1 Enrique Granados Fernando Periquet El mirar de la Maja Enrique Granados Fernando Periquet Callejeo Enrique Granados Fernando Periquet ARTIST BIOS ACHILLES LEONIDAS BEZANIS: Achilles Leonidas Bezanis, Tenor, is currently based in Chicago, IL, while singing, working, and pursuing a career in the arts. He was recently a Resident Artist with Opera Naples for their 2018/19 Season. He completed his Master’s in Voice and Literature at the Eastman School of Music, studying under Professor Robert Swensen. He also holds a Bachelor of Music in Vocal Performance from the University of Michigan School of Music, Theatre, and Dance, where he studied with Dr. Scott Piper. Achilles has performed the role of Fabrizio Naccarelli (The Light in the Piazza) at the Eastman School of Music, Gonzalve (L’Heure Espagnole) at the University of Michigan, Lucano (L’incoronazione di Poppea) at the Eastman School of Music, Beppe (I Pagliacci) at the Fresno Opera and Orchestra Summer Academy and El Remendado (Carmen) at the Bay View Music Festival. Most recently, Achilles was a Young Artist at the Brevard Music Festival where he performed the roles of Tybalt (Roméo et Juliette) and Sam (Cover - Susannah) in the Summer 2019 Season. He has also recently made some exciting debuts in Naples, FL as Gernando (L’Isola Disabitata) with Opera Naples and in Chicago as Charles / Roderick II (Cover – The Long Christmas Dinner) with Chicago Fringe Opera and an Ensemble member (Jake Heggie’s Moby Dick) with Chicago Opera Theater. Scene highlights include performances as Ferrando (Cosi Fan Tutte) at the Castleton Festval and Pang (Turandot), Candide (Candide), and Orombello (Beatrice di Tenda) at “Si parla, si canta” in Urbania, Italy. Upcoming Performances include a double bill of Joby Talbot‘s Everest and Rachmaninoff’s Aleko (Ensemble) with Chicago Opera Theater. ANNA LAURENZO: Noted for her “deeply moving” performances and “lovely tone,” mezzo-soprano Anna Laurenzo has gained experience in a wide range of repertoire over her young career. Her 2019/20 season sees debuts with Lincoln Center Theater, Glacier Symphony, and return engagements with Chicago Opera Theater and the Metropolitan Opera Guild. Particularly recognized for her performance of new American operas, Ms. Laurenzo is a veteran of multiple world premiere productions including JFK and Voir Dire with Fort Worth Opera. Her recent performance credits include a Carnegie Hall debut, as well as appearances with Center for Contemporary Opera, LOFTrecital, Chicago Opera Theater, New York Theatre Ballet, American Lyric Theater, the Metropolitan Opera Guild, and the American Opera Society. CHRISTINA GIUCA: Romanian-American pianist Christina Giuca enjoys a dynamic career as a collaborator, performer, vocal coach, and educator. She was the pianist winner of the 2017 Marilyn Horne Song Competition and played in Carnegie Hall’s 2018 “The Song Continues” series in master classes with Renée Fleming, Graham Johnson, and Marilyn Horne. Christina works as a pianist and coach with Opera Theatre of St. Louis, Chicago Opera Theater, Lyric Opera of Chicago’s Ryan Opera Center, Music of the Baroque, North Park University, and Northwestern University and is on faculty at Lutheran Summer Music Festival. Christina has premiered numerous works by living composers and prepared new operas, including Terence Blanchard’s Fire Shut Up in My Bones. She is a founding member of contemporary piano duo 4x5 with her husband, composer Benjamin Krause. Christina holds degrees from the Oberlin Conservatory and Rice University's Shepherd School of Music and received a Postgraduate Collaborative Piano Fellowship from the Bard College Conservatory. SPONSORS Please see our website for a complete list of our incredible supporters! We could not do this without you. UPCOMING EVENTS Autism Advocacy Series: Community Event Nov. 16th Cincinnati Public Libraries: Blue Ash Cincinnati, OH Snapshots of Every Voice : Salon Series Dec. 6th Narloch Piano Studio Chicago, IL Autism Advocacy Series: Community Event Feb. 1st Cincinnati Public Libraries: Liberty Center Cincinnati, OH Snapshots of Every Voice : Salon Series Feb. 16th TBA Chicago, IL Autism Advocacy Series: World Premiere Feb. 29th Sycamore High School Auditorium Cincinnati, OH Autism Advocacy Series: Chicago Premiere TBA TBA Chicago, IL Autism Advocacy Series: Concert April 25th Cincinnati Art Museum Cincinnati, OH www.lynxproject.org .
Load more

Recommended publications
  • NEW YORK CRITICS REVIEW MARIA CALLAS and RENATA TEBALDI: a Study in Critical Approaches to the Inter-Relationship of Singing
    NEW YORK CRITICS REVIEW MARIA CALLAS AND RENATA TEBALDI: A Study in Critical Approaches to the Inter-relationship of Singing and Acting in Opera by MarikolVan Campen B. A., University orBritish Columbia, 1968 A Thesis Submitted in Partial Fulfillment of The Requirements for the Degree of Master of Arts in The Faculty of Graduate Studies Department of Theatre, Faculty of Arts, University of British Columbia We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October, 1977 1977 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 written permission. Department of THEATRE The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 Date Oct. 5, 1977 i ABSTRACT The following study is an analysis of New York reviews of performances of Maria Callas and Renata Tebaldi which attempts to discover what opera critics feel to be the most effective artistic balance between singing and acting in opera. Callas and Tebaldi have been chosen as the subjects of the reviews because of their renown as singers, the closely coinciding cir• cumstances of their careers and the polarities which they represented in the issue of acting versus singing in operatic performance.
    [Show full text]
  • Music of the Baroque Chorus and Orchestra War and Peace
    Music of the Baroque Chorus and Orchestra War and Peace Jane Glover, Music Director Jane Glover, conductor William Jon Gray, chorus director Soprano Violin 1 Flute Laura Amend Robert Waters, Mary Stolper Sunday, May 17, 2015, 7:30 PM Alyssa Bennett concertmaster Pick-Staiger Concert Hall, Evanston Bethany Clearfield Kevin Case Oboe Sarah Gartshore* Teresa Fream Robert Morgan, principal Monday, May 18, 2015, 7:30 PM Katelyn Lee Kathleen Brauer Peggy Michel Harris Theater, Chicago (Millennium Park) Hannah Dixon Michael Shelton McConnell Ann Palen Clarinet Sarah Gartshore, soprano Susan Nelson Steve Cohen, principal Kathryn Leemhuis, mezzo-soprano Anne Slovin Violin 2 Daniel Won Ryan Belongie, countertenor Alison Wahl Sharon Polifrone, Zach Finkelstein, tenor Emily Yiannias principal Bassoon Roderick Williams, baritone Fox Fehling William Buchman, Alto Ronald Satkiewicz principal Te Deum for the Victory of Dettingen, HWV 283 George Frideric Handel Ryan Belongie* Rika Seko Lewis Kirk (1685–1759) Julie DeBoer Paul Vanderwerf 1. Chorus: We praise Thee, o God Julia Elise Hardin Horn 2. Soli (alto, tenor) and Chorus: All the earth doth worship Thee Amanda Koopman Viola Jon Boen, principal 3. Chorus: To Thee all angels cry aloud Kathryn Leemhuis* Elizabeth Hagen, Neil Kimel 4. Chorus: To Thee Cherubim and Seraphim Maggie Mascal principal 5. Chorus: The glorious company of the apostles Emily Price Terri Van Valkinburgh Trumpet 6. Aria (baritone) and Chorus: Thou art the King of Glory Claudia Lasareff-Mironoff Barbara Butler, 7. Aria (baritone): When Thou tookest upon Thee Tenor Benton Wedge co-principal 8. Chorus: When Thou hadst overcome Madison Bolt Charles Geyer, 9. Trio (alto, tenor, baritone): Thou sittest at the right hand of God Zach Finkelstein* Cello co-principal 10.
    [Show full text]
  • Maria Callas Gratis Epub, Ebook
    MARIA CALLAS GRATIS Auteur: Ariana Huffington Aantal pagina's: 432 pagina's Verschijningsdatum: 2017-08-15 Uitgever: Xander Uitgevers B.V. EAN: 9789401607377 Taal: nl Link: Download hier Maria Callas, de vocale ijzervreter Ze heeft een contract voor vier voorstellingen, maar de belangstelling is zo groot dat La Scala een vijfde voorstelling wil. Callas weigert, ze is te moe. En bovendien heeft ze lang van tevoren toegezegd naar een feestje in Venetië te gaan dat haar vriendin Elsa Maxwell speciaal voor haar organiseert. Toch kondigt La Scala op affiches een vijfde voorstelling met Callas aan, ook al heeft die geen enkel document ondertekend. Callas vertrekt, en wordt afgeschilderd als de Griekse furie die La Scala én het festival zomaar in de steek laat. Nergens vermeldt de directie dat Callas nooit heeft toegezegd voor een vijfde voorstelling, en dus eigenlijk haar contract netjes heeft uitgediend. Tot overmaat van ramp komt er nog een aanvaring met een derde gerenommeerd operahuis: de Metropolitan Opera van New York. Callas steigert: dat zijn wel erg veel rollen, met uiteenlopende stemvereisten, en bovendien zijn er binnen elke productie voortdurend wisselende tegenspelers voorzien. Ze wil ook uit haar routine breken en nieuwe rollen zingen. Bing is de aanslepende onderhandelingen beu, en wil ook duidelijk maken wie nu eigenlijk de dienst uitmaakt bij de Met. Callas is op dat moment in Dallas voor een opvoering van "Medea" van Cherubini. Kort voor de opvoering ontvangt ze een telegram van Bing die haar contract met de Met opzegt. Dat ontslag is prompt wereldnieuws. Callas antwoordt in stijl. Ze verschijnt die avond op het podium als een keizerin, gehuld in een imposant gewaad afgezet met hermelijn, en ze draagt zowat alle juwelen die ze bezit.
    [Show full text]
  • The Little Orchestra Society THOMAS SCHERMAN, Music Director HERBERT BARRETT, Manager
    BROOKLYN ACADEMY OF MUSIC The Little Orchestra Society THOMAS SCHERMAN, Music Director HERBERT BARRETT, Manager SUBSCRIPTIO SERIES-SEASON 1969-70 Third Concert- Sunday January 25, 1970 at 2:30P.M. THOMAS SCHERMAN, Conductor EDWIN LEVY, Stage Director Ralph Vaughan Williams RIDERS TO THE SEA (From the play by John M. Synge) Maurya ....................................... Jean Sanders Nora . ....................... Kate Hurney Cathleen ....................................... Molly Stark Bartley . ....... ... .................. Thomas Jamerson A Woman ........................................ Ruth Ray Villagers and off-stage voices: Betty Baisch, Dori Barne , Suzanne Cogan, Paula Gladwell, DeNice Jen en, Corinne Jensen, Ruth Ray and Carole Walters Intermission Gustav Holst AT THE BOAR'S HEAD (From Henry IV by Shakespeare) Falstaff ..................................... Guus Hockman Doll Tearsheet . ............................ Jean Sanders Prince Hal ..................... ............. William Lewis Pistol . ...... ............ Emile Renan Hostess ............ .. ........................ Molly Stark Bardolph ................................ Raymond Murcell Poins ...... .................................... J. B. Davis Peto . ....................... Jonathan Rigg Gadshill .................................. Thomas Jamerson Pi tors Companions ............. John Ostendorf. Peter Schlosser Co tume Supervi ion: Betty Williams Costume Designs: by Fred Voelpel The alternate for Mr. Hocl-.man. Mi Sanders and Mr. Lewi are: J. B. Davis, Ruth Ray and Donald
    [Show full text]
  • Australian Ephemera Collection Finding Aid (PROMPT): Joan Sutherland and Richard Bonynge 2
    AUSTRALIAN EPHEMERA COLLECTION FINDING AID DAME JOAN SUTHERLAND, OM, AC, DBE AND RICHARD BONYNGE, AC, CBE PERFORMING ARTS PROGRAMS AND EPHEMERA (PROMPT) PRINTED AUSTRALIANA APRIL 2018 The Sutherland/Bonynge file in the Library’s PROMPT collection documents the extensive and intertwined Australian and overseas careers of opera singer Joan Sutherland, and orchestral conductor Richard Bonynge. This husband and wife team of musicians helped the career of the other by frequently performing together, her usually as principal singer under his baton. It was Bonynge who discovered Sutherland’s ability to sing the great bel canto roles and to this end he researched and conducted the operatic repertoire which most suited his wife’s unique coloratura voice. CONTENT Printed materials in the PROMPT collection include programs and printed ephemera such as brochures, leaflets, tickets, etc. Theatre programs are taken as the prime documentary evidence of a performance by Sutherland/Bonynge. In a few cases however, the only evidence of a performance is a piece of printed ephemera. In these cases the type of piece is identified, eg, brochure. The list is based on imperfect holdings and is updated as gaps in the Library’s holdings for these artists are filled. Unless otherwise stated, all entries are based on published programs in the PROMPT collection. For a list of Joan Sutherland’s performances to 31 December 1990, please refer to Richard Bonynge’s A prima donna's progress : the autobiography of Joan Sutherland. ACCESS The Sutherland/Bonynge PROMPT files may be accessed through the Library’s Special Collections Reading Room by eCallslip request: http://nla.gov.au/nla.cat-vn2657303.
    [Show full text]
  • CENTRAL OPERA SERVICE BULLETIN Sponsored by the Metropolitan Opera National Council • 147 West 39Th Street • New York, N.Y
    CENTRAL OPERA SERVICE BULLETIN Sponsored by the Metropolitan Opera National Council • 147 West 39th Street • New York, N.Y. 10018 • PE 6-1200 May, 1965 NEW OPERAS AND PREMIERES Ludwig Lenel, in-residence composer at Muhlenberg College, Pa., will have his second opera, THE BOSS , premiered by Muhlenbergfs opera work- shop. The one-act work will be presented on May 13, 14, and 15 together with Wolf-Ferrari's "Secret of Suzanna". The Opera Workshop, started in 1960, became a joint college-community venture in 1962 and, in addi- tion to its annual Spring performances at the college, has performed for local clubs and organizations in the community and in surrounding areas. In 1963 the group premiered Lenel's "Young Goodman Brown". ******* Henry Papale, 28-year old composer from Pittsburgh, based his most re- cent opera on Gogol's THE NOSE, choosing the same subject matter as did Shostakovich. Other works by Mr. Papale include THE BALLOON, a one-act "abstract tragedy" with a cast of four, scored for chamber orchestra or piano accompaniment, and two children's operas, THE ONLY GREEN PLANET, a two-act space musical for seventh and eighth graders, and THE PRINCE AND THE SHOVEL-TOOTHED WITCH to be performed by an adult cast. This 35-minute opera recently won first prize at the Penn State Children's Dramatic Radio Show competition. Por further informa- tion contact Mr. Papale at 521 Collins Ave., Pittsburgh, Pa. ******* After the copyrights expired on Gilbert and Sullivan works in 1961, George Rowell and Kenneth Mobbs, two British Savoyard specialists, combined Gilbert's play "Engaged" with various unknown musical numbers by Sullivan.
    [Show full text]
  • CARNEGIE HALL Those Were the Days
    CARNEGIE HALL Those Were the Days... CAP) is organized. It is "expected by its founders to become the most powerful 50 YEARS AGO organization in the world for the control of the music business." Feb. 16: Eugene Ysaye forfeits a $2,000 During February 1914 Germany's Ad­ contract to play a concert during a miral von Tirpitz rejected a proposal for Beethoven festival with the New York a year's moratorium on naval shipbuild­ Symphony Society because he insists on ing suggested by England’s First Lord of including a Vivaldi concerto as well as the the Admiralty, Winston Churchill. Else­ Beethoven. Sayi conductor Walter Dam- where on the Continent, a dentist (in rosch: "It would be ridiculous to play Montmartre) advertised his new rates: anything except Beethoven's music at a regular tooth extraction, 60^; painless, Beethoven festival.” §1.00; with music, $4.00, for which the patient could choose "Beethoven, Wagner, Feb. 18: Ysaÿe and his son Gabriel play or Irving of Berlin.” In the United States, the Bach Double Concerto at a Society of Koussevitzky as Haydn. the Aero Club laid plans for a one-day the Friends of Music concert at the Ritz. flight across the Atlantic to be undertaken Feb. 20: Mr. and Mrs. David Mannes, cians wearing wigs and frock coats play by a plane capable of cruising at 65 mph, violinist and pianist, are among those per­ the Farewell Symphony by candlelight at while a special state commission investi­ forming at a White House musicale given a benefit concert in Carnegie Hall.
    [Show full text]
  • Berlioz's Les Troyens
    Berlioz’s Les Troyens - A Survey of the Discography by Ralph Moore In over a hundred years of recording history, there have been no more than forty recordings of Berlioz’ epic masterpiece in any form – excerpts, complete, in French, English and several other languages – and there are reasons for that comparative paucity of output. Of those, only two are complete studio recordings in French, as Scherchen’s 1952 set is just Part 2, Les Troyens à Carthage. There are, however, also a couple of complete, live, modern recordings in French, whose digital sound is virtually as good as the studio versions; otherwise, despite individual gems, the catalogue offers a limited choice if you apply the reasonable criteria of wanting a complete performance in good sound performed in French by first-rate singers. Fortunately, we are not bereft of worthy accounts: those remaining options are generally attractive and there is also a range of excellent supplementary recordings. Les Troyens is challenging to stage as well as sing; it essentially combines two operas running for a total of four hours and as such a stage production is at least the equivalent of mounting Götterdämmerung - and you need two prima donnas, not just one. I am of the not especially controversial opinion that the best music is in the second half of an opera, which is why that was first performed. The Trojan first part is necessarily more jagged and violent apart from interludes such as the lovely duet between Cassandre and Chorèbe, whereas the Carthage action contains more which is lyrical or reflective.
    [Show full text]
  • Maria Callas
    IN SEARCH OF THE “TRUE” SOUND OF AN ARTIST: A STUDY OF RECORDINGS BY MARIA CALLAS Adriaan Fuchs Thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy (Music Technology) in the Faculty of Arts, Stellenbosch University. APRIL 2006 Supervisor: Mr. T Herbst Co-supervisor: Prof. HJ Vermeulen DECLARATION I, the undersigned, hereby declare that the work contained in this thesis is my own original work and that I have not previously, in its entirety or in part, submitted it at any university for a degree. …………………… …………………… Adriaan Fuchs Date ii ABSTRACT Modern digital signal processing, allowing a much greater degree of flexibility in audio processing and therefore greater potential for noise removal, pitch correction, filtering and editing, has allowed transfer and audio restoration engineers a diversity of ways in which to “improve” or “reinterpret” (in some cases even drastically altering) the original sound of recordings. This has lead to contrasting views regarding the role of the remastering engineer, the nature and purpose of audio restoration and the ethical implications of the restoration process. The influence of audio restoration on the recorded legacy of a performing artist is clearly illustrated in the case of Maria Callas (1923 - 1977), widely regarded not only as one of the most influential and prolific of opera singers, but also one of the greatest classical musicians of all time. EMI, for whom Callas recorded almost exclusively from 1953 - 1969, has reissued her recordings repeatedly,
    [Show full text]
  • ARC : Une Expertise Dévoile L'ampleur De L'escroquerie À La Charité Publique
    LeMonde Job: WMQ1409--0001-0 WAS LMQ1409-1 Op.: XX Rev.: 13-09-97 T.: 11:29 S.: 111,06-Cmp.:13,11, Base : LMQPAG 56Fap:99 No:0369 Lcp: 196 CMYK b TELEVISION a RADIO H MULTIMEDIA TÉLÉVISION RADIO FILM RENTRÉE « Les Amants du Pont-Neuf », La nouvelle grille Les Shadoks un coûteux rêve de France-Musique. sont de retour, signé Carax. Page 22 Page 26 et ils pompent MULTIMÉDIA toujours. Page 36 Un entretien avec Daniel Karlin Le guide 97-98 Le documentariste brosse le portrait des CD-ROM de la France a au chômage. Moins d’argent scolaires Pages 32 à 34 Pages 6 et 7 Football : L’époque n’est plus où une finale pour le football de Coupe d’Europe pouvait rassembler 17 millions de téléspectateurs. Aujourd’hui, les chaînes ne s’arrachent plus les droits de retransmission des matches à coups de millions de francs. A quelques jours du début de la Coupe de l’UEFA et alors que les clubs français a qualifiés n’ont jamais été aussi nombreux, Canal Plus , TF 1 Le guide des et France-Télévision se redistribuent les cartes. Pages 2 à 4 la fin des années folles CD-ROM scolaires SEMAINE DU 15 AU 21 SEPTEMBRE 1997 CINQUANTE-TROISIÈME ANNÉE – No 16370 – 7,50 F DIMANCHE 14 - LUNDI 15 SEPTEMBRE 1997 FONDATEUR : HUBERT BEUVE-MÉRY – DIRECTEUR : JEAN-MARIE COLOMBANI a La Chine accélère ARC : une expertise dévoile l’ampleur ses réformes L’ouverture au capital privé des entre- de l’escroquerie à la charité publique prises publiques marque un tournant dans la politique de décollectivisation.
    [Show full text]
  • Fred Calland Audiovisual Collection Finding Aid (PDF)
    TITLE: Fred Calland Audio Collection DATE RANGE: 1954-1988 SIZE: 41 Boxes ACQUISITION: The Fred Calland Collection was donated to the Miller Nichols Library at the University of Missouri-Kansas City by Calland’s sister, Ann Calland, in 2000. ACCESS: This is a non-circulating collection. Listening stations are available in the archives. COPYRIGHT: Requests for permission to publish material from this collection should be discussed with the Special Collections discussed with the PROCESSED BY: Cody Kauhl and Garrett Torbet SUPERVISING ARCHIVIST: Kelley Martin BIOGRAPHICAL SKETCH: Fred Calland was a record collector, teacher and broadcaster with a long professional background in radio music programming, and a national reputation as an opera expert. He entertained National Public Radio listeners from the inception of NPR with many of the most popular music shows broadcast by the system. Born October 25, 1923, in Columbus, Ohio, Calland began collecting records as a teenager. He served in Germany during World War II. After graduating from Ohio State University in 1949, he taught German and worked as the music director for radio stations WSCU-FM in Columbus and WFCR-FM in Amherst, Mass. At WFCR he inaugurated a daily three-hour program called "Fred Calland Presents," which included everything from classical to bluegrass. In 1970, Calland joined National Public Radio as its only music producer. His personal collection often served as the principal resource for recorded music broadcasts. He hosted many live events including the first performances of new musical works. In1989, he retired from NPR as a senior producer. He then served as an occasional commentator on NPR and continued to host his "World of Opera" program on WETA-FM for several years.
    [Show full text]
  • Maria Callas · Performance Annals 1934
    MARIA CALLAS PERFORMANCE ANNALS AND DISCOGRAPHY INTRODUCTION These annals began in 1988 as a few notes scribbled to a computer in Boulder Colorado when the first pirates of the live performances appeared on compact disc. The inconsistency of performance dates and other details on those early CDs prompted me to do further research that began with John Ardoin’s The Callas Legacy. Later, yearning to know what had been performed between all those recorded performances, I borrowed the book containing Arthur Germond’s performance annals from the University of Colorado Music School Library, and have continued to work on the project to this day. Performance annals allow us to comprehend the scope of an artist’s career, and knowing the programme of all participants in a recital is important. I realize that presenting entire programmes from the student years in Athens seems excessive, but I feel it enhances our understanding of the environment where Maria Callas lived and studied in her youth. This chronology is a compilation of the research of many people. The work of a few has been almost heroic in scope: Arthur Germond was the first to publish detailed annals representing all cast changes; John Ardoin was perhaps the first to compile annals and to comprehensively analyze the recorded performances, indeed these annals began their life as a tabular version of Legacy; Poly´vios Marsán was the first to present programme information from the Greek school days and early career in Athens; Níkos Petsális-Diomídis has published the most comprehensive analysis of any singer’s formative years ever undertaken, indeed one-thousand pages covering a seven year period 1938-1945 with emphasis on early musical experience and training, as well as the politics and the climate of the times.
    [Show full text]