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A Comparison of the Alto Voice in Early and Modern Opera
View metadata, citation and similar papers at core.ac.uk • w #*>* brought to you by CORE provided.'V by Illinois Digital Environment for Access to Learning and Scholarship... J HUTCHINS A Comparison of the Alio Voice in Early mii Modern Opera j A ' Tw V ill, .^ i%V** i i • i ! 1 i i 4 Music j • 19 15 i • * THE UNIVERSITY OF ILLINOIS LIBRARY Digitized by the Internet Archive in 2013 http://archive.org/details/comparisonofaltoOOhutc COMPARISON OF THE ALTO VOICE IN EARLY AND MODERN OPERA BY MARJORIE HUTCHINS THESIS FOR THE DEGREE OF BACHELOR OF MUSIC SCHOOL OF MUSIC UNIVERSITY OF ILLINOIS 1915 , ftfy UNIVERSITY OF ILLINOIS June I 19235. SUPERVISION BY THIS IS TO CERTIFY THAT THE THESIS PREPARED UNDER MY MARJORIS HUTCHIUS, - MODERN ENTITLED A COMPARISON OF THE ALTO VOICE IN EARLY JJffl OPERA, - - FOR THE IS APPROVED BY ME AS FULFILLING THIS PART OF THE REQUIREMENTS DEGREE QF BACHELOR OF MUSIC. , Instructor in Charge 1 IG HEAD OF DEPARTMENT OF .S • u»uc H^T A COMPARISON OP THE ALTO VOICE IN EARLY AND MODERN OPERA. The alto voice is, in culture and use, as an important solo instrument, comparatively modern. It must be well understood that the alto voice, due to its harmonic relation to the soprano, has always been the secondary voice. The early opera writers, such as Monteverde, Cavalli, Lully, and Scarlatti, although they wrote for this voice when it was sung only by the male artificial con- tralli or counter-tenor, have done much toward putting it where it is today. -
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. -
Garland of Flowers by Abraham Mignon
Garland of Flowers by Abraham Mignon Magdalena Kraemer-Noble This text is published under an international Attribution-NonCommercial-NoDerivs Creative Commons licence (BY-NC-ND), version 4.0. It may therefore be circulated, copied and reproduced (with no alteration to the contents), but for educational and research purposes only and always citing its author and provenance. It may not be used commercially. View the terms and conditions of this licence at http://creativecommons.org/licenses/by-ncnd/4.0/legalcode Using and copying images are prohibited unless expressly authorised by the owners of the photographs and/or copyright of the works. © of the texts: Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao Photography credits © Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao: figs. 1, 14 and 15 By courtesy of Richard Green, London: fig. 9 By courtesy of Magdalena Kraemer-Noble: figs. 4, 10 and 12 By courtesy of Johnny Van Haeften, London: fig. 8 © Gemäldegalerie Alte Meister, Staatliche Kunstsammlungen Dresden / Elke Estel, Hans-Peter Klut: figs. 5 and 6 © Horta Auctioneers, Brussels: fig. 11 © MBA Lyon / Alain Basset: fig. 3 © Museo Nacional del Prado, Madrid: fig. 7 © Royal Cabinet of Paintings Mauritshuis, The Hague: figs. 2 and 13 © Staatliche Kunsthalle Karlsruhe: fig. 16 © Tim Koster, ICN, Rijswijk/Amsterdam: fig. 17 Text published in: B’08 : Buletina = Boletín = Bulletin. Bilbao : Bilboko Arte Eder Museoa = Museo de Bellas Artes de Bilbao = Bilbao Fine Arts Museum, no. 4, 2009, pp. 195-237. efore studying the opulent Garland of Flowers [fig. 1] in the Museum’s collection, it would be of prior in- terest to explore the challenging life of the Baroque painter Abraham Mignon who is unknown in Spain Bexcept this still-life in Bilbao. -
LIEDER ALIVE! 2012 Overview
LIEDER ALIVE! MASTER WORKSHOP AND CONCERT SERIES MAXINE BERNSTEIN director MASTER ARTISTS A ground-breaking program in the teaching of German Lieder Thomas Hampson 2008 Marilyn Horne 2009 June Anderson 2011 Håkan Hagegård 2012 Program Overview AFFILIATED MASTER ARTIST LIEDER ALIVE! was founded in 2007 by Maxine Bernstein to re-invigorate the teaching and Christa Ludwig performance of German Lieder, songs mainly from the Romantic Era of music composed for a solo singer and piano, and frequently set to great poetry. Our “graduate level” program brings CONTRIBUTING ARTISTS outstanding master artists together with highly accomplished emerging and established Heidi Melton, soprano Eleazar Rodriquez, tenor professionals. Such a program, devoted exclusively to this important artistic genre, is unique in Kindra Scharich, mezzo-soprano America. All of our extraordinary master artists, and our supremely gifted workshop participants, Katherine Tier, mezzo-soprano are aiding in our purpose of keeping Lieder where it belongs—alive! Ji Young Yang, soprano ADVISORY BOARD Håkan Hagegård has graciously consented to bring his innovative Singers' Studio to us for an David Bernstein, Honorary Chair intensive five-day program that will be held in the Music Salon at Salle Pianos, and concluding Alison Pybus, Executive Chair with a public Master Class in the grand Concert Hall at the San Francisco Conservatory of Music, Vice President, IMG Artists on September 8, 2012. John Parr Collaborative Pianist, Master Coach We were honored to welcome June Anderson who sang a Benefit Concert on Friday, October 14, San Francisco Opera Center then taught The Art of Singing, opening with a public Master Class on Saturday, October 15, 2011, Assistant to Music Director and Casting Director and continuing with a three-day private teaching intensive. -
Sehnsucht and Alienation in Schubert's Mignon Settings Acacia M. Doktorchik
SEHNSUCHT AND ALIENATION IN SCHUBERT’S MIGNON SETTINGS ACACIA M. DOKTORCHIK BMus, University of Lethbridge, 2009 A Thesis Submitted to the School of Graduate Studies of the University of Lethbridge in Partial Fulfilment of the Requirements for the Degree [MASTER OF MUSIC] Department Of Music University of Lethbridge LETHBRIDGE, ALBERTA, CANADA © Acacia M. Doktorchik, 2011 ABSTRACT Sehnsucht (longing) and alienation were two central themes of 19th century German Romanticism in literature, music and art. Franz Schubert was one of the great masters of the Romantic era to understand and express these intense emotions through his compositions. This paper discusses Sehnsucht and alienation in Schubert’s settings of the Mignon songs from Johann Wolfgang von Goethe’s novel Wilhelm Meisters Lehjahre (Master William’s Apprenticeship). Mignon, a secondary character in this novel, is a prime example of one who experiences these emotions and whose principal medium of expressing herself is through her five songs. My thesis focuses on how Schubert portrays Mignon’s longing through use of dissonance, harmonic progressions, melodic contour and shifts in vocal register. iii TABLE OF CONTENTS Abstract...............................................................................................................................iii Table of Contents................................................................................................................iv Introduction..........................................................................................................................1 -
Mignon Faget: a Life in Art and Design and Art in a Life Faget: Mignon All Illustrated Items Are Courtesy of Mignon Faget
MIGNON FAGET A Life in Art and Design [AN EXHIBITION] September 22, 2010 – January 2, 2011 [THE HISTORIC NEW ORLEANS COLLECTION] THE HISTORIC NEW ORLEANS COLLECTION The Williams Williams Gallery (504) 523-4662 Research Center 533 Royal Street www.hnoc.org MIGNON FAGET A Life in Art and Design [AN EXHIBITION] September 22, 2010 – Januar y 2, 2011 [THE HISTORIC NEW ORLEANS COLLECTION] “MIGNONESQUE”:The Art of Mignon Faget 2 Unless otherwise noted, am honored indeed for the opportunity to introduce this exhibition of the work and achieve- The Historic New Orleans Collection Mignon Faget: A Life in Art and Design all illustrated items are courtesy of Mignon Faget. [I]ments of Mignon Faget, a unique artist and designer in our midst. Over the course of four decades, through continually evolving creativity and her sensitivity to the innate qualities of a diverse INSIDE FRONT COVER: array of media, she has established herself as a New Orleans institution. The fruits of this ongoing Inside Mignon Faget’s studio process of creative evolution have delighted and enriched us all. 2010; photo by Faget graduated from Newcomb College of Tulane University in 1955 and her art is emblematic Keely Merritt The Historic New of the distinctive aesthetic of that institution and the Newcomb Art Department. Whether working Orleans Collection in fabric, metal, leather, stone, bone, or glass, Faget’s oeuvre is firmly rooted in the tradition of the artisan. This dedication to hand-crafted quality wedded with an abiding love for nature and the TITLE PAGE: distinctive culture of her native city has made Mignon Faget a true icon. -
Boston Symphony Orchestra Concert Programs, Season 110, 1990-1991
June Anderson, soprano and Alfredo Kraus, tenor Julius Rudel, conductor Members of the Boston Symphony Orchestra Sn Presented by the BOSTON OPERA ASSOCIATION Monday, March 11, 1991, at 8:15 p.m. Symphony Hall, Boston t f Benefactors, Patrons, and Sponsors for the Boston Opera Association Opera Gala at Symphony Mrs. Weston W. Adams Mr. and Mrs. Richard I. Johnson Mr. A. Samuel Adler Mr. and Mrs. Bela T. Kalman Mrs. Frank G. Allen* Mr. and Mrs. John M. Kucharski Mr. Frank G. Allen, Jr.* Mr. and Mrs. R. Willis Leith, Jr. Prof, and Mrs. Rae D. Anderson Mr. and Mrs. J. Peter Lyons Mr. and Mrs. David B. Arnold, Jr.| Hon. Charles Francis Mahoneyt Bierly-Drake Associates, Inc. Mr. Donald M. Manzelli 1 Mrs. Mary Louise Cabot Mrs. Barbara M. Marshall Mrs. Angelica Lloyd Clagett Merrill Lynch, Pierce, Fenner & Smith Inc. Mr. David C. Crockett* Miss Les J. Miller* Mr. and Mrs. William R. Cuming Mr. and Mrs. Wells Morss Selectman and Mrs. Luster Delany Mr. and Mrs. Albert L. Nickerson Dr. and Mrs. Charles C. Dickinsonf Miss Mary-Catherine O'Neill* Miss Catherine-Mary Donovan Hon. and Mrs. Lawrence T. Perera Dr. Richard W. Dwight Mr. and Mrs. William J. Poorvu Dynatech Corporation* Ms. Mattina R. Proctor Dr. and Mrs. Dean S. Edmonds, Jr.* Mr. and Mrs. Jerome Rosenfeld Mr. and Mrs. George Ellison Dr. and Mrs. Russell J. Rowell* Mrs. Harris Fahnestockt Mr. and Mrs. James D. St. Clair Ms. Anna E. Finnertyt Mrs. George Lee Sargent Mr. Raymond C. Foster Dr. and Mrs. Lawrence T. Shields Mr. -
Portamento in Romantic Opera Deborah Kauffman
Performance Practice Review Volume 5 Article 3 Number 2 Fall Portamento in Romantic Opera Deborah Kauffman Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Kauffman, Deborah (1992) "Portamento in Romantic Opera," Performance Practice Review: Vol. 5: No. 2, Article 3. DOI: 10.5642/ perfpr.199205.02.03 Available at: http://scholarship.claremont.edu/ppr/vol5/iss2/3 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Romantic Ornamentation Portamento in Romantic Opera Deborah Kauffman Present day singing differs from that of the nineteenth century in a num- ber of ways. One of the most apparent is in the use of portamento, the "carrying" of the tone from one note to another. In our own century portamento has been viewed with suspicion; as one author wrote in 1938, it is "capable of much expression when judiciously employed, but when it becomes a habit it is deplorable, because then it leads to scooping."1 The attitude of more recent authors is difficult to ascertain, since porta- mento has all but disappeared as a topic for discussion in more recent texts on singing. Authors seem to prefer providing detailed technical and physiological descriptions of vocal production than offering discussions of style. But even a cursory listening of recordings from the turn of the century reveals an entirely different attitude toward portamento. -
D'una Féirfeiabionda Gastronomia • Ballo -Paninoteca Pesca Egiochi Vari Sorpresa Tedesca Al 41* Festival Di Locamo
CULTURA E SPETTACOLI Si inaugura martedì con l'edizione critica Il festival A Torre del Lago dell'opera di Rossini il festival di Pesaro. Sul podio John Pritchard, regia di Pizzi, Com'è lunare con June Anderson i tenori Merritt e Blake questo Puccini ALBERTO PALOSCIA •• TORRE DEL UGO. Pucci dedicato alle liriche da came ni e dintorni: questa potrebbe ra di Catalani, Mascagni e essere la sigla delle ultime edi Puccini: i tre esponenti tosca » zioni del Festival pucclniano, ni della Giovane Scuota - due che da qualche anno sta pro lucchesi contro un livornese - gressivamente ampliando l saranno uniti per la prima vol propri orizzonti ad altri musi ta in un unico programma. cisti, quasi tutti contempora C'è state anche una serate bielle* inaugura martedì 16 il Rossini Opera Festi re tutto più agevole. I cantanti rebbe da presuntuosi e da le variazioni integralmente nei o in qualche modo debito di teatro musicale da camera, val, ormai tradotto ih Ror. mentre il 20 agosto ci sono ormai degli habitué, Pier sciocchi. Però vorremmo of sulla partitura. Secondo altri ri di Puccini. Nell'85 toccò al intitolata Al Pierrot Lunoire, sarà la ripresa de // signor Bruschino. Un altro Luigi Pizzi non ha saltato un frire, come abbiamo fatto per le note che si possono leggere Britten del Ciro di vite, l'anno con cui il festiva! ha concimo debutto il 2 settembre con l'edizione critica de La anno, o quasi; solo II maestro il passato, criteri interpretativi sui suoi manoscritti non sono scorso il Ravel di Heurt espa felicemente la serie degli spet John Pritchard che dirigerà che possono anche essere in tutte quelle che poi i fortunati gnole lece compagnia al Puc tacoli. -
Autour De Mignon : Un Éditeur De Musique, Jacques-Léopold Heugel1
Les colloques de l’Opéra Comique L’art officiel dans la France musicale au XIXe siècle. Avril 2010 sous la direction d’Alexandre DRATWICKI et Agnès TERRIER Autour de Mignon : un éditeur de musique, Jacques-Léopold Heugel1 Anik DEVRIÈS-LESURE In Memoriam François Heugel2 La notion de « musique officielle », si fluctuante, qui évolue avec le temps en fonction du moment précis où l’on porte un regard sur elle, peut-elle être attribuée au répertoire publié par un éditeur, sous prétexte, qu’aujourd’hui, plusieurs des compositeurs inscrits sous les colonnes de ses catalogues sont considérés comme représentatifs de « l’art officiel » d’une époque ? Axé essentiellement sur la musique française, le fonds constitué à partir de 1839 par Jacques-Léopold Heugel, fondateur de la maison, puis par son fils Henri, réunissait en son temps, il est vrai, une pléiade de jeunes compositeurs formés par l’art académique du Conservatoire, mais à l’époque où ceux-ci furent publiés par les Heugel, beaucoup d’entre eux avaient su bousculer les notions qui leur avaient été inculquées par leurs professeurs, apporter renouvellement et invention dans leur écriture et leur instrumentation, et se montrer novateurs par rapport à leurs prédécesseurs. 1 J.-L. Heugel est né à La Rochelle le 1er mars 1815 et mort à Paris le 12 novembre 1883. 2 Qu’il me soit permis de dédier cet article à la mémoire de François Heugel, arrière petit-fils de Jacques-Léopold Heugel, décédé cette année au printemps et d’avoir une pensée émue pour sa femme, Margot. Quelques semaines avant son décès, il avait eu la gentillesse de me recevoir pour m’ouvrir ses archives (tout comme il l’avait fait en 1986) et me montrer la cinquantaine de lettres d’Ambroise Thomas adressées à la famille entre 1877 et 1891. -
Johannes Brahms and the Vier Ernste Gesänge (Op
LIEDER ALIVE! SPRING LIEDERABEND SERIES 2012 Kirk Eichelberger, bass John Boyajy, piano The Music Salon at Salle Pianos Saturday, April 14, 2012 at 7:30 p.m. ! LIEDER! ALIVE! MASTER WORKSHOP AND CONCERT SERIES ! MASTER ARTISTS Bass KIRK EICHELBERGER was recently seen as Thomas Hampson 2008 The Emperor in Tan Dun’s Tea with the Opera Company Marilyn Horne 2009 of Philadelphia, Mephistopheles in Faust with Opera June Anderson 2011 Grand Rapids, Sparafucile in Rigoletto with the Vancouver Håkan Hagegård 2012 Opera and Ferrando in Il Trovatore with Opera Manitoba. In recent years he has sung Timur in Turandot, Bottom in AFFILIATED MASTER ARTIST A Midsummer Night’s Dream and Ferrando in Il Trovatore Christa Ludwig with the Festival Opera of Walnut Creek. CONTRIBUTING ARTISTS Other opera highlights have included Don Fernando in Heidi Melton, soprano Ji Young Yang, soprano Fidelio with the Opera Company of Philadelphia, The Four Kindra Scharich, mezzo-soprano Villains in The Tales of Hoffman with the Opera Theatre Katherine Tier, mezzo-soprano of Saint Louis, the title role in Le Nozze di Figaro for Eleazar Rodriquez, tenor Opera Memphis, Alidoro in La Cenerentola for Kirk Eichelberger, bass Sacramento Opera and the title role in West Bay Opera’s Don Giovanni. ADVISORY BOARD David Bernstein, Honorary Chair On the concert stage, Mr. Eichelberger has performed the title role in Mendelssohn’s Elijah with Alison Pybus, Executive Chair Oakland East Bay Symphony and San Francisco Choral Society and has performed as a principal Vice President, IMG Artists soloist in presentations of Mozart’s Requiem, Beethoven's 9th Symphony, Handel’s Messiah, John Parr Brahms' Ein Deutsches Requiem, Bach’s B-minor Mass, Haydn’s Creation, Pärt’s Litany, Collaborative Pianist, Master Coach Rossini’s Stabat Mater, Kodály’s Budavári Te Deum and Einhorn’s Voices of Light. -
Download Program Notes
LOVE, LONGING, AND LAMENT A GRADUATE RECITAL ON COVID-19 EMOTION MARCH 13, 2021 JULIANNA SHAMEL, SOPRANO Program Notes Ball State University, MM Recital “Ah, non credea mirarti…Ah, non giunge” Vincenzo Bellini From La Sonnambula (1801-1835) La Sonnambula (The Sleepwalker) is an opera semiseria in two acts and premiered to the public in 1831. This aria appears at the end of Act II as Amina is sleep-walking high across an unstable mill bridge after her lover, Elvino, called off their engagement. The melody at the very beginning is a typical Bellini cantilena: elongated and with small intervals without doubling by the instruments. When Amina wakes, and Elvino puts the ring back on her finger after realizing his mistake, the cabaletta (fast second section) begins with a sparse accompaniment, fast leaps, trills, and coloratura. If we relate this piece to our time in quarantine, the slow section may remind you of the drab days inside longing for the life we had. The fast section could be the feelings of reuniting with close family, entering the grocery store, or perhaps just going to Target. Ah,non credea mirarti Ah, I didn't believe I'd see you s ì presto estinto, o fiore; Wither so quickly, oh blossom! passasti al par d'amore, You have faded away just like love, che un giorno solo duro. Which only lasted a day. Potria novel vigore Maybe my tears could il pianto mio recarti Lend you new life, ma ravvivar l'amore But to revive love il pianto mio, ah no, non puo.