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UNITEL PROUDLY REPRESENTS the INTERNATIONAL TV DISTRIBUTION of Browse Through the Complete Unitel Catalogue of More Than 2,000 Titles At
UNITEL PROUDLY REPRESENTS THE INTERNATIONAL TV DISTRIBUTION OF Browse through the complete Unitel catalogue of more than 2,000 titles at www.unitel.de Date: March 2018 FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CONTENT BRITTEN: GLORIANA Susan Bullock/Toby Spence/Kate Royal/Peter Coleman-Wright Conducted by: Paul Daniel OPERAS 3 Staged by: Richard Jones BALLETS 8 Cat. No. A02050015 | Length: 164' | Year: 2016 DONIZETTI: LA FILLE DU RÉGIMENT Natalie Dessay/Juan Diego Flórez/Felicity Palmer Conducted by: Bruno Campanella Staged by: Laurent Pelly Cat. No. A02050065 | Length: 131' | Year: 2016 OPERAS BELLINI: NORMA Sonya Yoncheva/Joseph Calleja/Sonia Ganassi/ Brindley Sherratt/La Fura dels Baus Conducted by: Antonio Pappano Staged by: Àlex Ollé Cat. -
POWDER-HER-FACE.Pdf
3 La Fenice prima dell’Opera 2012 3 2012 Fondazione Stagione 2012 Teatro La Fenice di Venezia Lirica e Balletto Thomas Adès Powder ace her f ace er InciprialeF h il viso owder owder p dès a homas t FONDAZIONE TEATRO LA FENICE DI VENEZIA TEATRO LA FENICE - pagina ufficiale seguici su facebook e twitter follow us on facebook and twitter FONDAZIONE TEATRO LA FENICE DI VENEZIA Destinare il cinque per mille alla cultura è facile e non costa nulla. Quando compili la tua dichiarazione dei redditi, indica il codice fiscale della Fondazione Teatro La Fenice di Venezia: 00187480272 Aiuti la cultura, aiuti la musica. Incontro con l’opera FONDAZIONE lunedì 16 gennaio 2012 ore 18.00 AMICI DELLA FENICE SANDRO CAPPELLETTO, MARIO MESSINIS, DINO VILLATICO STAGIONE 2012 Lou Salomé sabato 4 febbraio 2012 ore 18.00 MICHELE DALL’ONGARO L’inganno felice mercoledì 8 febbraio 2012 ore 18.00 LUCA MOSCA Così fan tutte martedì 6 marzo 2012 ore 18.00 LUCA DE FUSCO, GIANNI GARRERA L’opera da tre soldi martedì 17 aprile 2012 ore 18.00 LORENZO ARRUGA La sonnambula lunedì 23 aprile 2012 ore 18.00 PIER LUIGI PIZZI, PHILIP WALSH Powder Her Face giovedì 10 maggio 2012 ore 18.00 RICCARDO RISALITI La bohème lunedì 18 giugno 2012 ore 18.00 GUIDO ZACCAGNINI Carmen giovedì 5 luglio 2012 ore 18.00 MICHELE SUOZZO L’elisir d’amore giovedì 13 settembre 2012 ore 18.00 MASSIMO CONTIERO Clavicembalo francese a due manuali copia dello Rigoletto strumento di Goermans-Taskin, costruito attorno sabato 6 ottobre 2012 ore 18.00 alla metà del XVIII secolo (originale presso la Russell PHILIP GOSSETT Collection di Edimburgo). -
Lafenice Loc.Maometto Secondo
Fondazione Teatro La Fenice di Venezia Stagione 2004-2005 Teatro La Fenice venerdì 28 gennaio ore 19.00 turno A • domenica 30 gennaio ore 15.30 turno B mercoledì 2 febbraio ore 19.00 turno D • venerdì 4 febbraio ore 19.00 turno E • domenica 6 febbraio ore 15.30 turno C Prezzi Platea Palco centrale Palco laterale Galleria e Loggione prime € 150,00 quattro posti quattro posti centrale € 45,00 I e II ordine € 460,00 I e II ordine € 352,00 laterale € 30,00 posto di parapetto € 150,00 posto di parapetto € 115,00 posto non di parapetto € 115,00 posto non di parapetto € 88,00 III ordine € 420,00 III ordine € 288,00 posto di parapetto € 135,00 posto di parapetto € 90,00 posto non di parapetto € 100,00 posto non di parapetto € 72,00 recite pomeridiane € 115,00 I e II ordine € 352,00 I e II ordine € 265,00 centrale € 35,00 e week-end posto di parapetto € 115,00 posto di parapetto € 85,00 laterale € 25,00 posto non di parapetto € 88,00 posto non di parapetto € 65,00 III ordine € 320,00 III ordine € 220,00 posto di parapetto € 100,00 posto di parapetto € 70,00 posto non di parapetto € 80,00 posto non di parapetto € 55,00 recite € 100,00 I e II ordine € 312,00 I e II ordine € 240,00 centrale € 30,00 infrasettimanali posto di parapetto € 100,00 posto di parapetto € 75,00 laterale € 20,00 posto non di parapetto € 78,00 posto non di parapetto € 60,00 III ordine € 280,00 III ordine € 180,00 posto di parapetto € 90,00 posto di parapetto € 60,00 posto non di parapetto € 70,00 posto non di parapetto € 45,00 Lirica e Balletto Stagione 2004_2005 MAOMETTO SECONDO -
Network Notebook
Network Notebook Fall Quarter 2018 (October - December) 1 A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more. -
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. -
Ottobre Verdiano a Parma E Provincia
FILARMONICA il pro gramm ARTURO TOSCANINI a Teatro Regio di Parma 1, 5, 9, 15, 18, 23, 26, 28 ottobre IL TROvaTORE Sabato 16 ottobre 2010 Auditorium Paganini, Parma Venerdì 18 febbraio 2011 Auditorium Paganini, Parma Musica di GIUSEPPE VERDI (Verdi Festival) Sabato 19 febbraio 2011 Teatro Alighieri, Ravenna Il Conte di Luna CLAUDIO Concerto Finale del Concorso Internazionale Domenica 20 febbraio 2011 Teatro Municipale, Piacenza SGURA / Leonora NORMA di Direzione d’Orchestra “A. Toscanini” FANTINI / TERESA ROMANO WAYNE MARSHALL (18, 23, 26, 28) / Azucena Musiche di Johannes Brahms Direttore MARIANNA TARASOVA / Manrico MARCELO ÁLVAREZ ALESSANDRO CARBONARE ANTONIO CORIANO (15, 18, Clarinetto 23, 26, 28) / Ferrando DEYAN Sabato 27 novembre 2010 Auditorium Paganini, Parma VATCHKOV / Ines MARIA Musiche di Aaron Copland, Duke Ellington, Pëtr Il’ič Čajkovskij Domenica 28 novembre Teatro Rossini, Lugo AGRESTA / Ruiz ROBERTO JACHINI VIRGILI / Un vecchio Lunedì 29 novembre 2010 Teatro Municipale, Piacenza zingaro ENRICO RINALDO / Un Giovedì 14 aprile 2011 Teatro Olimpico, Roma messo SEUNG HWA PAEK PIETARI INKINEN Maestro concertatore e direttore Direttore (Accademia Filarmonica Romana) YURI TEMIRKANOV/Maestro del ANDREA LUCCHESINI Domenica 17 aprile 2011 Auditorium Paganini, Parma coro MARTINO FAGGIANI Pianoforte Lunedì 18 aprile 2011 Teatro Manzoni, Bologna ORCHESTRA E CORO DEL TEATRO REGIO DI PARMA Musiche di Ludwig van Beethoven (MusicaInsieme) Vincitore del Concorso Internazionale Teatro Regio di Parma 10, 13, 17, 20, 24 ottobre di Direzione -
The Tenor and Pianist Miloš Bulajić Was Born 1989 in Bonn, Germany to a Musical Family
The tenor and pianist Miloš Bulajić was born 1989 in Bonn, Germany to a musical family. As a Belcanto-tenor (tenore di grazia) especially singing the works of Rossini, Donizetti, Bellini and Mozart he is one of the most promising young singers of his generation, so he allready sung lots of the leading roles from this repertoire in numerous operahouses and festivals across europe. Recently he was awarded with the prestigious Italian prize “Premio Arca d´oro Giovani Talenti” which is sponsored by the region of Piemonte and the City of Turin to outstanding young talents. At age seven Miloš Bulajić received piano lessons with Srboljub Dinić, then going on to study Piano at the Hans Eisler University of Music in Berlin and the Julius-Stern Institut in Berlin, graduating with his Concert-Diploma at the University of Music in Würzburg in 2014. He was particularly inspired by Professor Georg Sava (HfM Berlin). Between 1999 and 2002 he was a member of the Domchoir Berlin as well as a member of the children’s choir at the Staatsoper Unter den Linden, Berlin. During his time at the Staatsoper-childrenchoir he had performed as a soloist in numerous productions including TOSCA and LA BOHEME, working with conductors such as Philippe Jordan and Daniel Barenboim. Miloš Bulajić has studied singing with the late Professor Leandra Overmann at the University of Music in Würzburg. His roles there included Ferrando COSI FAN TUTTE, Fenton FALSTAFF and the dancing master ARIADNE AUF NAXOS (directed by Cheryl Studer). He has also taken part in masterclasses at “Accademia della Voce di Torino” with Mariella Devia and Luciana d´Intino. -
Università Degli Studi Di Milano Corso Di
UNIVERSITÀ DEGLI STUDI DI MILANO CORSO DI DOTTORATO DI RICERCA IN SCIENZE DEL PATRIMONIO LETTERARIO ARTISTICO E AMBIENTALE XXIX CICLO TESI DI DOTTORATO DI RICERCA IMAGO MUSICAE: FEDERICO TIEZZI DAL TEATRO ALL’OPERA L-ART/07 Biagio SCUDERI TUTOR Chiar.mo Prof. Emilio SALA COORDINATORE DEL DOTTORATO Chiar.mo Prof. Alberto CADIOLI Anno Accademico 2016/2017 ! INDICE Introduzione………………………………………………………………….....3 PARTE PRIMA Cap. 1 Appunti per una teatrografia: 1968-2017……………………..11 Cap. 1.1 Gli anni Settanta, l’adolescenza teatrale………………11 Cap. 1.2 Gli anni Ottanta, verso un teatro di poesia…………….20 Cap. 1.3 Gli anni Novanta, l’opera lirica……………………….26 Cap. 1.4 Gli anni 2000, l’impegno istituzionale………………...33 Cap. 1.5 Lavori in corso…………………...……………………42 Cap. 1.6 La musica filigrana della drammaturgia………………45 PARTE SECONDA Cap. 2 Le regie operistiche: 1991-2009………………………………51 Cap. 2.1 Norma, 1991…………………………………………..51 Cap. 2.1.1 Un dramma, due tempi e tre spazi…………….53 Cap. 2.1.2 Dalla carta alle tavole………………………....64 Cap. 2.1.3 Ut pictura theatrum……………………………65 Cap. 2.2 Il barbiere di Siviglia, 1994-1995……………………..79 Cap. 2.3 Madama Butterfly, 1997………………………………86 Cap. 2.4 La sonnambula, 2000………………………………….93 Cap. 2.5 Nox erat-Dido and Æneas, 2000………………….....101 Cap. 2.6 Il trovatore, 2001…………………...………………..105 Cap. 2.7 I cavalieri di Ekebù, 2004……………………………109 Cap. 2.8 Die Walküre e Parsifal, 2005-2007……...…………..121 Cap. 2.9 Don Quichotte, 2006…………………………………133 Cap. 2.10 Iris, 2006……………………………………………..143 ! 1 Cap. 2.11 Carmen, 2006………………………………………...155 Cap. 2.12 Simon Boccanegra, 2009-2010………………………163 Cap. -
Living with Death: the Humanity in Leo Tolstoy's Prose Dr. Patricia A. Burak Yuri Pavlov
Living with Death: The Humanity in Leo Tolstoy’s Prose A Thesis Submitted in Partial Fulfillment of the Requirements of the Renée Crown University Honors Program at Syracuse University Liam Owens Candidate for Bachelor of Science in Biology and Renée Crown University Honors Spring 2020 Honors Thesis in Your Major Thesis Advisor: _______________________ Dr. Patricia A. Burak Thesis Reader: _______________________ Yuri Pavlov Honors Director: _______________________ Dr. Danielle Smith, Director Abstract What do we fear so uniquely as our own death? Of what do we know less than the afterlife? Leo Tolstoy was quoted saying: “We can only know that we know nothing. And that is the highest degree of human wisdom.” Knowing nothing completely contradicts the essence of human nature. Although having noted the importance of this unknowing, using the venture of creative fiction, Tolstoy pined ceaselessly for an understanding of the experience of dying. Tolstoy was afraid of death; to him it was an entity which loomed. I believe his early involvements in war, as well as the death of his brother Dmitry, and the demise of his self-imaged major character Prince Andrei Bolkonsky, whom he tirelessly wrote and rewrote—where he dove into the supposed psyche of a dying man—took a toll on the author. Tolstoy took the plight of ending his character’s life seriously, and attempted to do so by upholding his chief concern: the truth. But how can we, as living, breathing human beings, know the truth of death? There is no truth we know of it other than its existence, and this alone is cause enough to scare us into debilitating fits and ungrounded speculation. -
A Cold, White Light: the Defamiliarizing Power of Death in Tolstoy‟S War and Peace Jessica Ginocchio a Thesis Submitted To
A Cold, White Light: The Defamiliarizing Power of Death in Tolstoy‟s War and Peace Jessica Ginocchio A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of the Arts in the Department of Germanic and Slavic Languages and Literatures (Russian). Chapel Hill 2013 Approved by: Christopher Putney Radislav Lapushin Hana Pichova Abstract JESSICA GINOCCHIO: A Cold, White Light: The Defamiliarizing Power of Death in Lev Tolstoy‟s War and Peace (Under the direction of Christopher Putney) In this thesis, I examine the theme of death in War and Peace by Lev Tolstoy. Death in War and Peace causes changes in characters‟ perception of their own lives, spurring them to live “better.” Tolstoy is widely understood to embed moral lessons in his novels, and, even in his early work, Tolstoy presents an ideal of the right way to live one‟s life. I posit several components of this Tolstoyan ideal from War and Peace and demonstrate that death leads characters toward this “right way” through an analysis of the role of death in the transformations of four major characters—Nikolai, Marya, Andrei, and Pierre. ii Table of Contents Chapter: I. Introduction…………………………………………………………………..1 II. Death in Tolstoy……………………………………………………………....5 III. The Right Way……………………………………………………………….14 IV. War and Peace………………………………………………………………..20 a. Nikolai Rostov ……………………………………………...…………...23 b. Marya Bolkonskaya……………………………………………...………27 c. Andrei Bolkonsky…………………………………………………….….30 d. Pierre Bezukhov………………………………………………………….41 V. Conclusion…………………………………………………………………...53 REFERENCES………………………………………………………………………56 iii Chapter I Introduction American philosopher William James identified Tolstoy as a “sick soul,” a designation he based on Tolstoy‟s obsession with death (James, 120-149). -
Teatro San Carlo
Naples – Teatro San Carlo History: On the night of February 13th 1816, a fire destroyed a large part San Carlo theatre in less than an hour. The only parts of the building to survive the fire were the external masonry walls. The restoration was carried on in only nine months, was directed by Antonio Niccolini who re-made, in its main features, the 1812 Hall. The Tuscan architect, in fact, still keeps the horseshoe shape of the boxes and the proscenium configuration, just adding the wonderful clock with the low-relief of the "Time and the Hours" that we can still admire. The centre of the ceiling was decorated with a painting by Antonio, Giuseppe and Giovanni Cammarano, Apollo introducing the greatest poets in the world to Minerva. The artists were also responsible for the stage curtain, which was later replaced by the painting Parnassus by Giuseppe Mancinelli and Salvatore Fergola (1854). The restoration of San Carlo Theatre was completed by the side facade made on drawings by the architects Francesco Gavaudan and Pietro Gesuè after the demolition of Palazzo Vecchio between (1838 -1842). As official architect of the royal theatres, Niccolini will also coordinate the next works of maintenance and restoration. Among these activities we remember the modernization of 1844 made with his son Fausto and Francesco Maria Del Giudice. The foyer we can see nowadays, in the eastern wing of the Royal Palace, was buildt in 1937 upon a design of Michele Platanìa. It was completely destroyed in 1943 by a bomb and rebuilt immediately after the war. -
A Happy Musical New Year for Dilijan Students
JANUARY 5, 2019 Mirror-SpeTHE ARMENIAN ctator Volume LXXXIX, NO. 24, Issue 4568 $ 2.00 NEWS The First English Language Armenian Weekly in the United States Since 1932 INBRIEF Forbes: Armenia A Happy Among Top Budget Musical Travel Destinations YEREVAN — An article in Forbes magazine named Armenia among the best budget travel des- tinations for 2019. New Year “Set in the Caucasus Mountains, Armenia is a hidden gem that’s still untouched by mass tourism, and yet has so much to offer: rich history, wineries, For Dilijan impressive landscapes, ancient monasteries and breathtaking mountains as far as your eyes can see. The capital, Yerevan, is a lively city with wide Students avenues, delicious restaurants, museums and street markets selling local handicrafts,” the article by Alexandra Talty notes. “For wine lovers, Armenia is the perfect place to By Muriel Mirak-Weissbach try wines made from different fruits such as pome- Special to the Mirror-Spectator granate (Armenia’s national symbol), blackberries and cherries. Outside of the capital is picturesque nature. You can pay a visit to the oldest winery in DILIJAN, Armenia — Students at the the world in Areni, stop by stunning monasteries, State Art College of Dilijan are ringing in or check out the oldest cathedral in the world in the New Year with music, and with brand Echmiadzin.” new instruments, thanks to the initiative of Staff applauds the arrival of new Instruments the Foundation for Armenian Relief (FAR). FAR, established in 1988 as a relief effort President Sarkissian after the earthquake, has continued to part of Armenia) and coordinates 15 music and national instruments.