DOCSLIB.ORG

Gp 3.Qxt 8/5/14 11:19 AM Page 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gp 3.Qxt 8/5/14 11:19 AM Page 1 08-17 Teseo_Gp 3.qxt 8/5/14 11:19 AM Page 1 July 25–August 23, 2014 Sponsored by Bloomberg Sunday Afternoon, August 17, 2014, at 3:00 Pre-concert lecture by Ellen Rosand at 1:45 in the Stanley H. Kaplan Penthouse Philharmonia Baroque Orchestra Nicholas McGegan , Conductor Amanda Forsythe , Teseo M|M Amy Freston , Agilea M|M Dominique Labelle , Medea Céline Ricci , Clizia M|M Robin Blaze , Arcane M|M Drew Minter , Egeo Jeffrey Fields , Minerva’s priest M|M Jonathan Smucker , Tenor M|M HANDEL Teseo (1712) Teseo is an opera in five acts. It is approximately three hours long, with an intermission between Acts III and IV. M|M Mostly Mozart debut This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Alice Tully Hall, Starr Theater Please make certain your cellular phone, Adrienne Arsht Stage pager, or watch alarm is switched off. 08-17 Teseo_Gp 3.qxt 8/5/14 11:19 AM Page 2 Mostly Mozart Festival The Mostly Mozart Festival is sponsored by Upcoming Mostly Mozart Festival Events: Bloomberg. Tuesday Evening, August 19, at 7:30 The Mostly Mozart Festival is made possible by at Park Avenue Armory Rita E. and Gustave M. Hauser, The Fan Fox and International Contemporary Ensemble Leslie R. Samuels Foundation, Inc., Ann and ALL–ANNA THORVALDSDOTTIR PROGRAM Gordon Getty Foundation, Charles E. Culpeper Shades of Silence (New York premiere) Foundation, S.H. and Helen R. Scheuer Family Into—Second Self Foundation, and Friends of Mostly Mozart. In the Light of Air (New York premiere) Co-presented with Park Avenue Armory Public support is provided by the New York State Council on the Arts. Tuesday and Wednesday Evenings, August 19–20, at 8:00 in Avery Fisher Hall Artist Catering is provided by Zabar’s and Zabars.com. Mostly Mozart Festival Orchestra David Zinman, Conductor MetLife is the National Sponsor of Lincoln Center. Joshua Bell, Violin Lawrence Power, Viola M|M Bloomberg is the Official Sponsor of Lincoln Center BOYCE : Symphony No. 1 Summer Programs. MOZART : Sinfonia concertante, K.364 BEETHOVEN : Symphony No. 3 (“Eroica”) Movado is an Official Sponsor of Lincoln Center. Pre-concert recitals at 7:00 by Igor Kamenz, piano United Airlines is the Official Airline of Lincoln Center. Wednesday Evening, August 20, at 7:30 at the Clark Studio Theater WABC-TV is the Official Broadcast Partner of Steven Schick, Percussion Lincoln Center. JOHN LUTHER ADAMS : The Mathematics of Resonant Bodies William Hill Estate Winery is the Official Wine of Lincoln Center. Thursday Evening, August 21, at 7:30 at Park Avenue Armory “Summer at Lincoln Center” is sponsored by Diet International Contemporary Ensemble Pepsi. Ellie Dehn, Soprano M|M DAI FUJIKURA : Minina (New York premiere) Time Out New York is Media Partner of Summer at JOHN ZORN : Baudelaires (New York premiere) Lincoln Center. ALVIN LUCIER : Chambers MESSIAEN (arr. Cliff Colnot): Chants de terre et de ciel (New York premiere) Philharmonia Baroque Orchestra’s appearance is Co-presented with Park Avenue Armory made possible in part by Ross Armstrong, David Low & Dominique Lahaussois, Martin & Kathy M|M Mostly Mozart debut Cohn, David & Mary Phillips, Doug & Carol Tanner and Donna Williams. For tickets, call (212) 721-6500 or visit MostlyMozart.org. Call the Lincoln Center Info Request Line at (212) 875-5766 to learn about program cancellations or request a Mostly Mozart brochure. Visit MostlyMozart.org for full festival listings. Join the conversation: #LCMozart We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. The taking of photographs and the use of recording equipment are not allowed in the building. 08-17 Teseo_Gp 3.qxt 8/5/14 11:19 AM Page 3 Mostly Mozart Festival Welcome to Mostly Mozart I am delighted to welcome you to the 2014 Mostly Mozart Festival, where we explore the many facets of our namesake composer’s brilliance and invention. What better way to usher in that spirit than with an outdoor world premiere work by American composer John Luther Adams. Sila: The Breath of the World transforms Lincoln Center’s Hearst Plaza into a sonic stage before we rejoin Mozart in Avery Fisher Hall with the acclaimed Mostly Mozart Festival Orchestra. This summer, our Festival Orchestra reaches beyond many Mozart masterpieces to the signature works of some of his great successors: Beethoven’s Ninth Symphony, Berlioz’s Symphonie fantastique , Martin’s Polyptyque . We join with favorite soloists—Joshua Bell, Richard Goode, Christian Tetzlaff—and also introduce luminaries making their festival debuts, including pianists Yuja Wang and Steven Osborne, and bass Ildar Abdrazakov. We are always pleased to welcome the Mark Morris Dance Group to Mostly Mozart. This August, Mark Morris brings his unparalleled affinity for Handel to his newest creation, Acis and Galatea . The Philharmonia Baroque Orchestra and the Emerson String Quartet delight us in Alice Tully Hall, while the International Contemporary Ensemble celebrates new music at Park Avenue Armory. And don’t forget to join us for music and wine in casual, intimate Little Night Music recitals at the Kaplan Penthouse. We all embrace the joy that celebrating Mozart’s music brings to New York in the summer. I hope to see you often here at Lincoln Center. Jane Moss Ehrenkranz Artistic Director 08-17 Teseo_Gp 3.qxt 8/5/14 11:19 AM Page 4 Mostly Mozart Festival Signature Works by Peter A. Hoyt The musicologists who first investigated Johann Sebastian Bach (1685 –1750) discovered that some pieces, written in his handwriting and long attributed to him, were actually composed by other musicians. Bach had omitted their names during the copying process, and the scholars—disturbed by this hint of plagiarism—were relieved to learn that the early 18th century was often indifferent to niceties of attribution. Indeed, Bach himself frequently neglected to sign his own manuscripts. In the decades following, however, authorial identity took on greater importance. The col - lapse of the French aristocracy led Europe to emphasize individual merit, endowing artists with new dignity. Music publishers, capitalizing upon an emerging middle class, promoted composers by name. Unprecedented ideas of individuality informed 19th-century Romanticism, which asserted that all great art embodies the self-expression of a great soul. Contributing to this entanglement of artwork and artist were a number of innovative com - posers, each with a distinctive style that represented their identity as decisively as their name. The 2014 Mostly Mozart Festival celebrates some of these composers’ signature pieces, from emblematic concertos and symphonies—including Haydn’s “London,” Mozart’s “Jupiter,” and Beethoven’s “Eroica”—to concise works like the overtures to Haydn’s L’isola disabitata and Beethoven’s Consecration of the House . This season also explores the role of models in shaping artistic personalities. Gluck’s depic - tions of demonic Furies, for example, influenced Mozart’s music for Don Giovanni , and Gluck’s Dance of the Blessed Spirits permeates portions of Mozart’s Flute and Harp Concerto. Moreover, prominent stylistic elements can be parodied or dismantled, as in works by Prokofiev, Schnittke, and Shostakovich, whose Concerto for Piano and Trumpet recalls the brash music he once played for silent movies in Petrograd. Berlioz’s Symphonie fantastique of 1830 stands as a landmark in the fusion of art and per - sona; the work is often regarded as autobiographical. Nevertheless, elements of the purely fictional prevail, as when the hero murders his beloved, is executed, and posthu - mously witnesses a witches’ sabbath. Berlioz treats his scenario with ironic detachment, perhaps best illustrated by the carnivalesque fugue that ends the piece. Whereas Mozart and Beethoven had employed culminating fugal procedures to suggest a kind of luminous unification, Berlioz here casts off the shackles of seriousness. The conflation of composition and composer continued until the 20th century, when attempts to use the former to psychoanalyze the latter demonstrated their incompatibility. Indeed, human creators tend to be overshadowed by the impact of their creations, perhaps explaining Bach’s negligence in labeling works—including his own—with the names of mere mortals. Music in performance, like a religious service or civic commemoration, can transform a group’s isolated members into a collective body. The Mostly Mozart Festival ends with Mozart’s Requiem and Passion music by Bach and Frank Martin—art that cele - brates the moment when the individual dissolves into the universal. —Copyright © 2014 by Lincoln Center for the Performing Arts, Inc. 08-17 Teseo_Gp 3.qxt 8/5/14 11:19 AM Page 5 Mostly Mozart Festival Synopsis Theseus’s safety, is a musical marvel. The solo oboe, silent during the instrumental by Ellen T. Harris introduction, only enters in response to The heroic exploits of the great mythologi - Agilea, like a second voice, so that the aria cal figure of Theseus (Teseo) are detailed in becomes a duet in which one of the Plutarch’s Life of Theseus and many other “singers” is absent in body, but whose classical sources. Handel’s opera depicts an presence is clear. In fact, Handel gives early part of Theseus’s life, when after his lovely orchestrations to Agilea’s arias upbringing in the small city of Troezen, he throughout the opera. Listen to the plain - arrives in Athens to identify himself as the tive bassoons in her Act III aria, “Vieni, son of Aegeus (Egeo) and claim his heritage. torna, idolo mio” as she longs for Theseus The libretto uses bits of the classical story to return, and the gentle, paired flutes in filled out with supplementary characters “Deh! v’aprite, oh luci belle” of Act IV and a good deal of romantic complication.
Load more

Recommended publications
  • Boston Early Music Festival Announces 2013 Festival
    FOR IMMEDIATE RELEASE: April 1, 2012 CONTACT: Kathleen Fay, Executive Director | Boston Early Music Festival 161 First Street, Suite 202 | Cambridge, MA 02142 617-661-1812 | [email protected] | www.bemf.org BOSTON EARLY MUSIC FESTIVAL ANNOUNCES 2013 FESTIVAL OPERATIC CENTERPIECE , HANDEL ’S ALMIRA Cambridge, MA – April 1, 2012 – The Boston Early Music Festival has announced plans for the 2013 Festival fully-staged Operatic Centerpiece Almira, the first opera by the celebrated and beloved Baroque composer, George Frideric Handel (1685–1759), in its first modern-day historically-conceived production. Written when he was only 19, Almira tells a story of intrigue and romance in the court of the Queen of Castile, in a dazzling parade of entertainment and delight which Handel would often borrow from during his later career. One of the world’s leading Handel scholars, Professor Ellen T. Harris of MIT (Massachusetts Institute of Technology), has said that BEMF is the “perfect and only” organization to take on Handel’s earliest operatic masterpiece, as it requires BEMF’s unique collection of artistic talents: the musical leadership, precision, and expertise of BEMF Artistic Directors Paul O’Dette and Stephen Stubbs; the stimulating and informed stage direction and magnificent production designs of BEMF Stage Director in Residence Gilbert Blin; “the world’s finest continuo team, which you have”; the highly skilled BEMF Baroque Dance Ensemble to bring to life Almira ’s substantial dance sequences; the all-star BEMF Orchestra; and a wide range of superb voices. BEMF will offer five fully-staged performances of Handel’s Almira from June 9 to 16, 2013 at the Cutler Majestic Theatre at Emerson College (219 Tremont Street, Boston, MA, USA), followed by three performances at the Mahaiwe Performing Arts Center (14 Castle Street, Great Barrington, MA, USA) on June 21, 22, and 23, 2013 ; all performances will be sung in German with English subtitles.
    [Show full text]
  • Handel's Sacred Music
    The Cambridge Companion to HANDEL Edited byD oNAtD BURROWS Professor of Music, The Open University, Milton Keynes CATvTNnIDGE UNTVERSITY PRESS 165 Ha; strings, a 1708 fbr 1l Handel's sacred music extended written to Graydon Beeks quake on sary of th; The m< Jesus rath Handel was involved in the composition of sacred music throughout his strings. Tl career, although it was rarely the focal point of his activities. Only during compositi the brief period in 1702-3 when he was organist for the Cathedral in Cardinal ( Halle did he hold a church job which required regular weekly duties and, one of FIi since the cathedral congregation was Calvinist, these duties did not Several m include composing much (if any) concerted music. Virtually all of his Esther (H\ sacred music was written for specific events and liturgies, and the choice moYemenr of Handel to compose these works was dictated by his connections with The Ror specific patrons. Handel's sacred music falls into groups of works which of Vespers were written for similar forces and occasions, and will be discussed in followed b terms of those groups in this chapter. or feast, ar During his period of study with Zachow in Halle Handel must have followed b written some music for services at the Marktkirche or the Cathedral, but porarl, Ro no examples survive.l His earliest extant work is the F major setting of chanted, br Psalm 113, Laudate pueri (H\41/ 236),2 for solo soprano and strings. The tradition o autograph is on a type of paper that was available in Hamburg, and he up-to-date may have
    [Show full text]
  • Senior Recital Rebecca Robles Chapman University
    Chapman University Chapman University Digital Commons Printed Performance Programs (PDF Format) Music Performances 3-22-2009 Senior Recital Rebecca Robles Chapman University Cheryl Lin Fielding Chapman University Follow this and additional works at: http://digitalcommons.chapman.edu/music_programs Recommended Citation Robles, Rebecca and Fielding, Cheryl Lin, "Senior Recital" (2009). Printed Performance Programs (PDF Format). Paper 548. http://digitalcommons.chapman.edu/music_programs/548 This Senior Recital is brought to you for free and open access by the Music Performances at Chapman University Digital Commons. It has been accepted for inclusion in Printed Performance Programs (PDF Format) by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. Chapman University Conservatory ofMusic presents a Senior Recital Rebecca Robles, soprano Dr. Cheryl Lin Fielding, pianist March 22, 2009 • 8:00 P.M. Salmon Recital Hall Program Cantata Georg Frideric Handel Aria: Crudel tiranno amor {1685-1759) Recitativo: Ma tu mandi al mio core Aria: 0 dolce mia speranza Recitativo: Senza te, dolce speme Aria: 0 cara speme Maria Myrick, Violin • Jarrett Threadgill, Viola Daphne Medina, Violin • Scott Kawai, Cello II Four Folk Songs Maurice Ravel Spanish (1875-1937) French Italian Hebrew III Steal Me Gian Carlo Menotti from The Old Maid and the Thief (1911-2007) Dan St.Marseille, Clarinet Intermission IV The Daisies Samuel Barber Nuvoletta {1910-1981) My Lizard v Standchen Richard Strauss Du meines Herzens Kronelein {1864-1949) Cacilie This recital is. in partial fulfillment of the requirement for a Bachelor of Music in Vocal Performance. Ms. Robles is a student of Dr. Peter Atherton.
    [Show full text]
  • Navigating, Coping & Cashing In
    The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings.
    [Show full text]
  • HANDEL: Coronation Anthems Winner of the Gramophone Award for Cor16066 Best Baroque Vocal Album 2009
    CORO CORO HANDEL: Coronation Anthems Winner of the Gramophone Award for cor16066 Best Baroque Vocal Album 2009 “Overall, this disc ranks as The Sixteen’s most exciting achievement in its impressive Handel discography.” HANDEL gramophone Choruses HANDEL: Dixit Dominus cor16076 STEFFANI: Stabat Mater The Sixteen adds to its stunning Handel collection with a new recording of Dixit Dominus set alongside a little-known treasure – Agostino Steffani’s Stabat Mater. THE HANDEL COLLECTION cor16080 Eight of The Sixteen’s celebrated Handel recordings in one stylish boxed set. The Sixteen To find out more about CORO and to buy CDs visit HARRY CHRISTOPHERS www.thesixteen.com cor16180 He is quite simply the master of chorus and on this compilation there is much rejoicing. Right from the outset, a chorus of Philistines revel in Awake the trumpet’s lofty sound to celebrate Dagon’s festival in Samson; the Israelites triumph in their victory over Goliath with great pageantry in How excellent Thy name from Saul and we can all feel the exuberance of I will sing unto the Lord from Israel in Egypt. There are, of course, two Handel oratorios where the choruses dominate – Messiah and Israel in Egypt – and we have given you a taster of pure majesty in the Amen chorus from Messiah as well as the Photograph: Marco Borggreve Marco Photograph: dramatic ferocity of He smote all the first-born of Egypt from Israel in Egypt. Handel is all about drama; even though he forsook opera for oratorio, his innate sense of the theatrical did not leave him. Just listen to the poignancy of the opening of Act 2 from Acis and Galatea where the chorus pronounce the gloomy prospect of the lovers and the impending appearance of the monster Polyphemus; and the torment which the Israelites create in O God, behold our sore distress when Jephtha commands them to “invoke the holy name of Israel’s God”– it’s surely one of his greatest fugal choruses.
    [Show full text]
  • George Frideric Handel Cc 9127 George Frideric Handel
    GEORGE FRIDERIC HANDEL CC 9127 GEORGE FRIDERIC HANDEL male lead in The Bear for Hemsley, who played it under the composer on BBC Television in George Frideric Handel (1685-1759) 1970. His book Singing and Imagination is a lucid guide to his finely-honed art. = `çåÅÉêíç=áå=_JÑä~í=ets=OVQ=léK=Q=kçK=S=ENTPSF= NNKNN Geraint Jones (1917-98). The son of a Glamorgan minister, Jones studied at the Royal 1-3 I Andante allegro 3.53 2 II Larghetto 4.31 3 III Allegro moderato 2.53 Academy of Music before being rejected for World War II service on grounds of poor health. Osian Ellis, harp. The Boyd Neel Orchestra directed by Thurston Dart Determined to ‘do his bit’, he made his debut as a harpsichordist in 1940 at one of Myra Hess’s A BBC studio broadcast, 26 February 1957 National Gallery concerts, later touring widely with his wife, the violinist Winifred Roberts. After the war he became highly influential in the ‘authentic’ baroque movement, forming his own = ^éçääç=É=a~ÑåÉ=ets=NOO=ENTNMF= QPKMR orchestra for the acclaimed performances at London’s Mermaid Theatre in 1951 of Dido and Aeneas, with Kirsten Flagstad and Thomas Hemsley. Jones’s many recordings included Dido 4 Recitative and Aria Apollo ‘La terra è liberata … Pende il ben dell’universo’ 5.18 (The earth is set free … The good of the universe) with those singers (plus Elisabeth Schwarzkopf as Belinda and Arda Mandikian as the 5 Recitative and Aria Apollo 3.54 Sorceress) as well as music by Bach, Handel and Mozart.
    [Show full text]
  • Extract from Text
    DISCOVER CHORAL MUSIC Contents page Track List 4 A Brief History of Choral Music , by David Hansell 13 I. Origins 14 II. Early Polyphony 20 III. The Baroque Period 39 IV. The Classical Period 68 V. The Nineteenth Century 76 VI. The Twentieth Century and Beyond 99 Five Centuries of Choral Music: A Timeline (choral music, history, art and architecture, literature) 124 Glossary 170 Credits 176 3 DISCOVER CHORAL MUSIC Track List CD 1 Anon (Gregorian Chant) 1 Crux fidelis 0.50 Nova Schola Gregoriana / Alberto Turco 8.550952 Josquin des Prez (c. 1440/55–c. 1521) 2 Ave Maria gratia plena 5.31 Oxford Camerata / Jeremy Summerly 8.553428 John Taverner (c. 1490–1545) Missa ‘Gloria Tibi Trinitas’ 3 Sanctus (extract) 5.28 The Sixteen / Harry Christophers CDH55052 John Taverner 4 Christe Jesu, pastor bone 3.35 Cambridge Singers / John Rutter COLCD113 4 DISCOVER CHORAL MUSIC Thomas Tallis (c. 1505–1585) 5 In manus tuas, Domine 2.36 Oxford Camerata / Jeremy Summerly 8.550576 William Byrd (c. 1540–1623) 6 Laudibus in sanctis 5.47 Oxford Camerata / Jeremy Summerly 8.550843 Giovanni Pierluigi da Palestrina (c. 1525/6–1594) Missa ‘Aeterna Christi Munera’ 7 Agnus Dei 4.58 Oxford Camerata / Jeremy Summerly 8.550573 Tomás Luis de Victoria (1548–1611) 8 O magnum mysterium 4.17 Oxford Camerata / Jeremy Summerly 8.550575 Claudio Monteverdi (1567–1643) Vespers of the Blessed Virgin 9 Laudate pueri Dominum 6.05 The Scholars Baroque Ensemble 8.550662–63 Giacomo Carissimi (1605–1674) Jonas 10 Recitative: ‘Et crediderunt Ninevitae…’ 0.25 11 Chorus of Ninevites: ‘Peccavimus,
    [Show full text]
  • Bach Festival the First Collegiate Bach Festival in the Nation
    Bach Festival The First Collegiate Bach Festival in the Nation ANNOTATED PROGRAM APRIL 1921, 2013 THE 2013 BACH FESTIVAL IS MADE POSSIBLE BY: e Adrianne and Robert Andrews Bach Festival Fund in honor of Amelia & Elias Fadil DEDICATION ELINORE LOUISE BARBER 1919-2013 e Eighty-rst Annual Bach Festival is respectfully dedicated to Elinore Barber, Director of the Riemenschneider Bach Institute from 1969-1998 and Editor of the journal BACH—both of which she helped to found. She served from 1969-1984 as Professor of Music History and Literature at what was then called Baldwin-Wallace College and as head of that department from 1980-1984. Before coming to Baldwin Wallace she was from 1944-1969 a Professor of Music at Hastings College, Coordinator of the Hastings College-wide Honors Program, and Curator of the Rinderspacher Rare Score and Instrument Collection located at that institution. Dr. Barber held a Ph.D. degree in Musicology from the University of Michigan. She also completed a Master’s degree at the Eastman School of Music and received a Bachelor’s degree with High Honors in Music and English Literature from Kansas Wesleyan University in 1941. In the fall of 1951 and again during the summer of 1954, she studied Bach’s works as a guest in the home of Dr. Albert Schweitzer. Since 1978, her Schweitzer research brought Dr. Barber to the Schweitzer House archives (Gunsbach, France) many times. In 1953 the collection of Dr. Albert Riemenschneider was donated to the University by his wife, Selma. Sixteen years later, Dr. Warren Scharf, then director of the Conservatory, and Dr.
    [Show full text]
  • Connection/Separation
    Friday, February 12, 2021 | 4 PM MANHATTAN SCHOOL OF MUSIC OPERA THEATRE Tazewell Thompson, Director of Opera Studies presents Connection/Separation Featuring arias and scenes from Carmen, Così fan tutte, Die Zauberflöte, La clemenza di Tito, L’elisir d’amore, Le nozze di Figaro, Les pêcheurs de perles, and Lucio Silla A. Scott Parry, Director MSM Opera Theatre productions are made possible by the Fan Fox and Leslie R. Samuels Foundation and the Joseph F. McCrindle Endowment for Opera Productions at Manhattan School of Music. Friday, February 12, 2021 | 4 PM MANHATTAN SCHOOL OF MUSIC OPERA THEATRE Tazewell Thompson, Director of Opera Studies presents Connection/Separation Featuring arias and scenes from Carmen, Così fan tutte, Die Zauberflöte, La clemenza di Tito, L’elisir d’amore, Le nozze di Figaro, Les pêcheurs de perles, and Lucio Silla A. Scott Parry, Director Myra Huang, Vocal Coach & Pianist Kristen Kemp, Vocal Coach & Pianist Megan P. G. Kolpin, Props Coordinator DIRECTOR’S NOTE In each of our lives—during this last year especially—we may have discovered ourselves in moments of wanting, even needing some sort of human connection, but instead finding separation by any number of barriers. In the arias and scenes that follow, we witness characters in just this kind of moment; searching for meaningful contact yet being somehow barred from achieving it. Through circumstance, distance, convention, misunderstanding, pride, fear, ego, or what have you, we may find ourselves in situations similar to the characters in this program, while looking forward to the days when connection can be more easily achieved and separation the exception to the rule.
    [Show full text]
  • Purcell Celebration
    Performers Ellen McAteer, soprano* Bronwyn Thies-Thompson, soprano* Janelle Lucyk, soprano* Tilford Bach Festival Daniel Taylor, countertenor* (CIO) Robin Blaze, countertenor Ryan McDonald, countertenor* Welcome to all the Pleasures Charles Daniels, tenor Ben Smith, tenor Celebrating William Purcell Alex Dobson, bass* Joel Allison, bass* London Handel Orchestra Adrian Butterfield, violin/director Oliver Webber, violin Darren Moore, trumpet 1 Rachel Byrt, viola Stephen Keavy, trumpet 2 Katherine Sharman, bass violin Sarah Humphreys, oboe 1/recorder 2 Dai Miller, theorbo Catherine Latham, oboe 2/recorder 1 Silas Wollston, organ Theatre of Early Music The singers marked with a * are from the Theatre of Early Music Founded by Artistic Director and Conductor Daniel Taylor, the Theatre of Early Music (TEM) are sought-after interpreters of magnificent yet neglected choral repertoire from four centuries. The core of the TEM consists of an ensemble based in Canada that is primarily made up of young musicians. Their appearances include stunning a cappella programs, with practices and aesthetics of former ages informing thought- provoking, passionate and committed reconstructions of music for historical events and major works from the oratorio tradition. Through their concert performances and recordings, the 10 - 18 solo singers offer a purity and clarity in their sound which has resulted in invitations from an ever-widening circle of the world’s leading stages. Directed by Adrian Butterfield The Theatre of Early Music (TEM) records exclusively for Sony Classical Masterworks London Handel Players and they have been working on new recordings during this visit to England. 17 June 2017 www.tilbach.org.uk Henry Purcell Programme Henry Purcell was one of the greatest English composers, flourishing in the period that followed the Restoration of the monarchy after the Puritan Commonwealth period.
    [Show full text]
  • Emile Jaques-D Alcroze' S Influence on Frank Martin
    EMILE JAQUES-DALCROZE' S INFLUENCE ON FRANK MARTIN: 1924-1937 DANIEL I. RUBINOFF A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO DECEMBER, 2011 Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-90332-2 Our file Notre reference ISBN: 978-0-494-90332-2 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]
  • 1 Press Release ORCHESTRA of ST. LUKE's ANNOUNCES ITS
    Press Release ORCHESTRA OF ST. LUKE’S ANNOUNCES ITS 2020–2021 SERIES PRESENTED BY CARNEGIE HALL AND LED BY PRINCIPAL CONDUCTOR BERNARD LABADIE December 2020 Program Begins Multi-Year Exploration of Mendelssohn’s Masterpieces with Violinist Isabelle Faust, Soprano Lauren Snouffer, Mezzo-Soprano Cecelia Hall, Women of the Westminster Symphonic Choir, and Actor David Hyde Pierce Pianist Emanuel Ax Joins OSL in January 2021 for a Concert Celebrating Mozart and Schubert La Chapelle Québec Joins OSL for Festive Music for Royals in March 2021, with Soprano Amanda Forsythe, Tenor Samuel Boden, and Bass-Baritone Matthew Brook New York, NY, January 28, 2020 — Orchestra of St. Luke’s (OSL) announced details of its 2020–21 subscription series presented by Carnegie Hall. Principal Conductor Bernard Labadie, a specialist in music of the Baroque and Classical era, will lead the three programs. Joining OSL will be an array of soloists, some of them making their Carnegie Hall or OSL debuts, as well as such returning favorites as the chamber choir founded by Labadie, La Chapelle de Québec, and internationally celebrated pianist Emanuel Ax. In the Carnegie Hall programs, Maestro Labadie will bring his singular artistic vision and historically informed performance practice to New York audiences with works by Mendelssohn, Mozart, Schubert, Handel and Bach. Maestro Labadie opens the series with two works by Felix Mendelssohn on December 3, 2020. The concert serves as a point of departure for the ensemble to embark on a multi-year exploration of the composer's works. Celebrated violinist Isabelle Faust, praised for her “passion, grit and electricity” by The New York Times, makes her OSL debut with Mendelssohn’s beloved Violin Concerto.
    [Show full text]