DOCSLIB.ORG

Gilbert & Sullivan / D'oyly Carte Opera Company

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gilbert & Sullivan / D'oyly Carte Opera Company Gilbert & Sullivan Gilbert & Sullivan Weekend mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Gilbert & Sullivan Weekend Country: US Released: 1990 Style: Opera, Contemporary MP3 version RAR size: 1138 mb FLAC version RAR size: 1966 mb WMA version RAR size: 1283 mb Rating: 4.8 Votes: 305 Other Formats: ASF ADX DTS XM VOX MPC WAV Tracklist Hide Credits HMS Pinafore (Recorded In 1959) Now Give Three Cheers / I Am A Monarch Of The Sea / When I 1 Was A Lad 4:51 Vocals – Joyce Wright 2 I'm Called Little Buttercup 1:44 Never Mind The Why And Wherefore 3 2:39 Vocals – Jean Hindmarsh The Mikado (Recorded In 1973) A Wand'ring Minstrel I 4 4:33 Vocals – Colin Wright Three Little Maids From School Are We 5 1:27 Vocals – Pauline Wales, Peggy Ann Jones 6 As Someday It May Happen 2:21 The Flowers That Bloom In The Spring 7 1:38 Vocals – Colin Wright 8 On A Tree By A River A Little Tom-Tit 2:24 The Yeomen Of The Guard (Recorded In 1964) When Our Gallant Norman Foes 9 4:53 Conductor – Malcolm Sargent* I Have A Song To Sing, O! 10 3:21 Conductor – Malcolm Sargent*Vocals – Elizabeth Harwood The Pirates Of Penzance (Recorded In 1967) 11 I Am The Very Model Of A Modern Major-General 2:59 When The Foeman Bares His Steel 12 4:52 Vocals – Jean Allister, Owen Brannigan 13 Poor Wand'Ring One 2:58 When A Felon's Not Engaged In His Employment 14 2:32 Vocals – Owen Brannigan Iolanthe (Recorded In 1961) 15 Loudly Let The Trumpet Bray 5:52 If You Go In You're Sure To Win 16 2:20 Vocals – Donald Adams The Gondoliers (Recorded In 1964) We're Called Condolieri 17 2:11 Vocals – Alan Styler In Enterprise Of Martial Kind 18 1:34 Vocals – Jennifer Toye 19 Take A Pair Of Sparkling Eyes 3:13 20 Dance A Cachucha, Fandango, Bolero 2:02 Credits Art Direction – Jeremy Tilston Conductor – Isidore Godfrey (tracks: 1 to 3, 11 to 20), Royston Nash (tracks: 4 to 8) Orchestra – The New Symphony Orchestra Of London (tracks: 1 to 3, 15 to 20), The Royal Philharmonic Orchestra (tracks: 4 to 14) Photography By [Cover] – Reg Wilson Vocals – Gillian Knight (tracks: 2, 9, 18), Jeffrey Skitch (tracks: 1, 3, 18), John Reed (tracks: 1, 3, 6 to 8, 10 to 12, 16, 18), Thomas Round (tracks: 16, 17, 19), Valerie Masterson* (tracks: 5, 12, 13) Notes Made and Printed in the USA Barcode and Other Identifiers Barcode: 0 28943 01442 7 Other versions Category Artist Title (Format) Label Category Country Year Gilbert & Sullivan / D'Oyly Gilbert & Sullivan / Carte Opera Company, The* - London 430 095-2 D'Oyly Carte Opera 430 095-2 Canada 1990 The World Of Gilbert & Records Company, The* Sullivan (CD, Comp, RM) Gilbert & Sullivan / D'Oyly Gilbert & Sullivan / Carte Opera Company, The* - 430 095-4 D'Oyly Carte Opera Decca 430 095-4 UK 1990 The World Of Gilbert & Company, The* Sullivan (Cass) Related Music albums to Gilbert & Sullivan Weekend by Gilbert & Sullivan 1. Gilbert & Sullivan, D'Oyly Carte Opera Company - The Mikado 2. Gilbert & Sullivan, D'Oyly Carte Opera Company - H.M.S. Pinafore 3. Gilbert & Sullivan, D'Oyly Carte Opera Company, Royal Philharmonic Orchestra, Sir Malcolm Sargent - Princess Ida 4. Gilbert & Sullivan - D'Oyly Carte Opera Company - HMS Pinafore 5. Various - The Ultimate Gilbert & Sullivan Collection 6. Gilbert & Sullivan - Glyndebourne Festival Chorus And Soloists, Pro Arte Orchestra, Sir Malcolm Sargent - Gilbert & Sullivan Highlights No. 1 7. Gilbert & Sullivan - The Best Loved Melodies Of Gilbert & Sullivan 8. Gilbert & Sullivan - Highlights From "Patience" & "The Mikado" 9. Gilbert & Sullivan, D'Oyly Carte Opera Company, The New Symphony Orchestra Of London - The Mikado 10. Gilbert & Sullivan, Glyndebourne Festival Chorus And Soloists, Pro Arte Orchestra, Sir Malcolm Sargent - Gilbert & Sullivan Highlights No. 2.
Load more

Recommended publications
  • Tippett Stereo Add Set
    SRCD.2217 2 CD TIPPETT STEREO ADD SET SIR MICHAEL TIPPETT (1905 - 1998) THE MIDSUMMER MARRIAGE Opera in Three Acts CD1 1 - 15 Act I 61’50” CD 2 1 - 5 Act II (completion) 19’13” 16 - 19 Act II (start) 14’15” (76’07”) 6 - 21 Act III 58’13” (77’27”) (153’34”) Mark, a young man of unknown parentage (tenor) . Alberto Remedios Jenifer, his betrothed, a young girl (soprano) . Joan Carlyle King Fisher, Jenifer's father, a businessman (baritone) . Raimund Herincx Bella, King Fisher's secretary (soprano) . Elizabeth Harwood Jack, Bella's boyfriend, a mechanic (tenor) . .. Stuart Burrows Sosostris, a clairvoyante (contralto) . Helen Watts The Ancients: Priest (He-Ancient) (bass) . Stafford Dean The Ancients: Priestess (She-Ancient) (mezzo) . Elizabeth Bainbridge Half-Tipsy Man (baritone): David Whelan. A Dancing Man (tenor): Andrew Daniels Mark's and Jenifer's friends: Chorus. Strephon, dancer attendant on the Ancients (silent) Chorus & Orchestra of the Royal Opera House, Covent Garden (Chorus Master: Douglas Robinson, Conductor's Assistant: David Shaw) Chorus & Orchestra of the The above individual timings will normally include two pauses, one before the beginning and one after the end of each Act. Royal Opera House, Covent Garden P 1971 The copyright in this sound recording is owned by Lyrita Recorded Edition, England. Digital remastering P 1995 Lyrita Recorded Edition, England. Sir Colin Davis ©1995 Lyrita Recorded Edition, England. Lyrita is a registered trade mark. Made in the U.K. Alberto Remedios • Joan Carlyle • Raimund Herincx • Elizabeth Harwood LYRITA RECORDED EDITION. Produced under an exclusive license from Lyrita by Wyastone Estate Limited, PO Box 87, Monmouth, NP25 3WX, UK 48 Stuart Burrows • Helen Watts • Stafford1 Dean • Elizabeth Bainbridge CD 1 (76’07”) Act I (61’50”) Act II (start) (14’15”) Make haste, ALL “All things fall and are built again 1 Scene 1 This way! This way! 3’45” Make haste And those that build them again are gay!” To find the way 2 What’s that? Surely music? 1’07” In the dark 3 Scene 2 (leading to:) 0’51” To another day.
    [Show full text]
  • A Listening Guide for the Indispensable Composers by Anthony Tommasini
    A Listening Guide for The Indispensable Composers by Anthony Tommasini 1 The Indispensable Composers: A Personal Guide Anthony Tommasini A listening guide INTRODUCTION: The Greatness Complex Bach, Mass in B Minor I: Kyrie I begin the book with my recollection of being about thirteen and putting on a recording of Bach’s Mass in B Minor for the first time. I remember being immediately struck by the austere intensity of the opening choral singing of the word “Kyrie.” But I also remember feeling surprised by a melodic/harmonic shift in the opening moments that didn’t do what I thought it would. I guess I was already a musician wanting to know more, to know why the music was the way it was. Here’s the grave, stirring performance of the Kyrie from the 1952 recording I listened to, with Herbert von Karajan conducting the Vienna Philharmonic. Though, as I grew to realize, it’s a very old-school approach to Bach. Herbert von Karajan, conductor; Vienna Philharmonic (12:17) Today I much prefer more vibrant and transparent accounts, like this great performance from Philippe Herreweghe’s 1996 recording with the chorus and orchestra of the Collegium Vocale, which is almost three minutes shorter. Philippe Herreweghe, conductor; Collegium Vocale Gent (9:29) Grieg, “Shepherd Boy” Arthur Rubinstein, piano Album: “Rubinstein Plays Grieg” (3:26) As a child I loved “Rubinstein Plays Grieg,” an album featuring the great pianist Arthur Rubinstein playing piano works by Grieg, including several selections from the composer’s volumes of short, imaginative “Lyrical Pieces.” My favorite was “The Shepherd Boy,” a wistful piece with an intense middle section.
    [Show full text]
  • To Download the Full Archive
    Complete Concerts and Recording Sessions Brighton Festival Chorus 27 Apr 1968 Concert Dome Concert Hall, Brighton Brighton Festival Belshazzar's Feast Walton William Walton Royal Philharmonic Orchestra Baritone Thomas Hemsley 11 May 1968 Concert Dome Concert Hall, Brighton Brighton Festival Kyrie in D minor, K 341 Mozart Colin Davis BBC Symphony Orchestra 27 Oct 1968 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Budavari Te Deum Kodály Laszlo Heltay Brighton Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Sarah Walker Tenor Paul Taylor Bass Brian Kay 23 Feb 1969 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Symphony No. 9 in D minor, op.125 Beethoven Herbert Menges Brighton Philharmonic Orchestra Soprano Elizabeth Harwood Mezzo-Soprano Barbara Robotham Tenor Kenneth MacDonald Bass Raimund Herincx 09 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Mass in D Dvorák Václav Smetáček Czech Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Valerie Baulard Tenor Paul Taylor Bass Michael Rippon Sussex University Choir 11 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Liebeslieder-Walzer Brahms Laszlo Heltay Piano Courtney Kenny Piano Roy Langridge 25 Jan 1970 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Requiem Fauré Laszlo Heltay Brighton Philharmonic Orchestra Soprano Maureen Keetch Baritone Robert Bateman Organ Roy Langridge 09 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Mass in B Minor Bach Karl Richter English Chamber Orchestra Soprano Ann Pashley Mezzo-Soprano Meriel Dickinson Tenor Paul Taylor Bass Stafford Dean Bass Michael Rippon Sussex University Choir 1 Brighton Festival Chorus 17 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Fantasia for Piano, Chorus and Orchestra in C minor Beethoven Symphony No.
    [Show full text]
  • JC Williamson (Opera, Comic Opera, Operetta)
    AUSTRALIAN EPHEMERA COLLECTION FINDING AID J.C. WILLIAMSON OPERA, COMIC OPERA, OPERETTA PROGRAMS PERFORMING ARTS PROGRAMS AND EPHEMERA (PROMPT) PRINTED AUSTRALIANA AUGUST 2017 James Cassius Williamson was an American actor who immigrated to Australia in the 1870s. Along with business partners, such as William Musgrove, his theatre company became one of the most dominant in colonial Australia. After his death in 1913 the company, now named J.C. Williamson Ltd. continued under the direction of George Tallis and the Tait brothers (who remained involved in the company until the 1970s). J.C. Williamson continued to be one of the biggest theatre companies in Australia throughout the first three quarters of the 20th century. J.C. Williamson held the license for theatres in Melbourne, Sydney, Brisbane, Adelaide and New Zealand (at times more than one theatre in each city). In 1976 the company closed, but the name was licensed until the mid 1980s. This list includes productions of Gilbert and Sullivan operettas held in J.C. Williamson theatres, as well as those produced by J.C. Williamson and performed in other theatres under venue hire arrangements. 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 staged by the J.C. Williamson company. 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.
    [Show full text]
  • Delius-Liner-Notes-Koanga.Pdf
    SBLX-3808 14 1-.Angel Koanga in America response: Keary's libretto was denigrated through an optical machine, in order to phere. Only the principals and a few first recording by Frank Corsaro and Delius' music highly praised. Yet get opaque darknesses and multiple color supernumeraries, representing the priest of the composer's "American" opera alack, alas, and sad to say, Miss Kemble's schemes. This process enabled us to create and his retinue, were visible during the On March 2, 1884, the ocean liner "fortune of an opera" was not to be, In the surreal, even occultish landscape sur­ wedding ceremony. Koanga and Palmyra "Gallia" departed Liverpool bound for fact, "Koanga" was not co be again until rounding Koanga's flight from his white scrolled hand in hand between the three America. Two weeks and a stormy crossing its American premiere in 1970, where masters, and the ensuing Voodoo rites. scrimmed areas on stage, their wander­ DELIUS later, she docked in New York harbor. Keary's gaucheries (revised from a revi­ As in the later "Village Romeo;· three ings sharply outlined by the imaginative With not a single celebrity aboard, the sion) still proliferated, while Delius, scrims served as projection surfaces - a Miss Porcher's use of side lighting. A few arrival passed unnoticed by the press but Wagner cum spiritual, utterly captivated. front, rear, and middle distance scrim - steps taken by the lovers, and the skies, for a brief item concerning George Payn­ More than a decade after "Koanga's" ini­ which could be flown in and out as the waters, the land itself c'.1anged magi­ KOANGA ter, the "Gallia's" bar-keep.
    [Show full text]
  • The Best of Gilbert & Sullivan
    The Best of Gilbert & Sullivan Beecham Choral Society and Royal Philharmonic Orchestra conducted by James Walker The Mikado If You Want To Know Who We Are A Wand'ring Minstrel I [Nanki-poo] – Edgar Fleet Behold the Lord High Executioner [Ko-ko] – Donald Adams I've Got a Little List [Ko-ko] – Donald Adams Comes a Train of Little Ladies Three Little Maids from School are we [Peep-bo] – Cynthia Glover [Pitti-sing] – Jean Allister [Yum-yum] – Patricia Clarke The Moon and I [Yum-yum] – Patricia Clarke Mi-ya Sa-ma, Mi-ya Sa-ma [Katisha] – Jean Allister [Mikado] – Anthony Raffell My Object All Sublime [Mikado] – Anthony Raffell For He's Gone and Married Yum-Yum The Pirates of Penzance Pour, Oh Pour the Pirate Sherry [Samuel] – Neil Howlett Oh Better Far to Live And Die [Pirate King] – Kenneth Sandford Climbing Over Rocky Mountain Oh, Is There Not One Maiden Breast [Frederic] – Edgar Fleet [Mabel] – Cynthia Glover Poor Wand'ring One [Mabel] – Cynthia Glover I Am the Very Model of a Modern Major-General [Major-general] – John Cartier When the Foeman Bares His Steel [Mabel] – Cynthia Glover [Samuel] – Neil Howlett [Sergeant] – Donald Adams A Policeman's Lot Is not a Happy One [Sergeant] – Donald Adams With Cat-Like Tread [Samuel] – Neil Howlett H. M. S. Pinafore We Sail the Ocean Blue I'm Called Little Buttercup [Mrs. Cripps (Buttercup)] – Jean Allister The Nightingale [Ralph] – Edgar Fleet A Maiden Fair to See [Ralph] – Edgar Fleet I am the Captain of the Pinafore [Captain Corcoran] – Neil Howlett Over the Bright Blue Sea Sir Joseph's Barge is Seen I Am the Monarch of the Sea [Captain Corcoran] – Neil Howlett [Cousin Hebe] – Jean Allister [Sir Joseph Porter] – Stanley Riley When I Was a Lad [Sir Joseph Porter] – Stanley Riley Things Are Seldom What They Seem [Captain Corcoran] – Neil Howlett [Mrs.
    [Show full text]
  • Concerts with the London Philharmonic Orchestra for Seasons 1946-47 to 2006-07 Last Updated April 2007
    Artistic Director NEVILLE CREED President SIR ROGER NORRINGTON Patron HRH PRINCESS ALEXANDRA Concerts with the London Philharmonic Orchestra For Seasons 1946-47 To 2006-07 Last updated April 2007 From 1946-47 until April 1951, unless stated otherwise, all concerts were given in the Royal Albert Hall. From May 1951 onwards, unless stated otherwise, all concerts were given in The Royal Festival Hall. 1946-47 May 15 Victor De Sabata, The London Philharmonic Orchestra (First Appearance), Isobel Baillie, Eugenia Zareska, Parry Jones, Harold Williams, Beethoven: Symphony 8 ; Symphony 9 (Choral) May 29 Karl Rankl, Members Of The London Philharmonic Orchestra, Kirsten Flagstad, Joan Cross, Norman Walker Wagner: The Valkyrie Act 3 - Complete; Funeral March And Closing Scene - Gotterdammerung 1947-48 October 12 (Royal Opera House) Ernest Ansermet, The London Philharmonic Orchestra, Clara Haskil Haydn: Symphony 92 (Oxford); Mozart: Piano Concerto 9; Vaughan Williams: Fantasia On A Theme Of Thomas Tallis; Stravinsky: Symphony Of Psalms November 13 Bruno Walter, The London Philharmonic Orchestra, Isobel Baillie, Kathleen Ferrier, Heddle Nash, William Parsons Bruckner: Te Deum; Beethoven: Symphony 9 (Choral) December 11 Frederic Jackson, The London Philharmonic Orchestra, Ceinwen Rowlands, Mary Jarred, Henry Wendon, William Parsons, Handel: Messiah Jackson Conducted Messiah Annually From 1947 To 1964. His Other Performances Have Been Omitted. February 5 Sir Adrian Boult, The London Philharmonic Orchestra, Joan Hammond, Mary Chafer, Eugenia Zareska,
    [Show full text]
  • Orchestral Concerts' Database
    Ulster Orchestra Season No.6 1971-1972 f r o m t h e Orchestral Concerts’ Database compiled by David Byers 1 Cover of the 1971-1972 season brochure Original size: 21cm x 30cm The Contents, Players’ List, Malcolm Ruthven’s Foreword and a charmingly written biography of Edgar Cosma have been transcribed on the next four pages. The Database begins on Page 7. 2 CONTENTS Ulster Orchestra Year Book [Season Brochure] 1971-1972 6 Foreword by Malcolm Ruthven Programmes 9 Index to programme listing 10 Repertoire 13 Conductors and Artists 14 Concert Diary 1971-72 17 Ulster Hall Series 19 Belfast Philharmonic Society 20 Country Concerts 23 The Cathedral Consort 24 St. Anne’s Cathedral 25 Northern Bank Sunday Seminars 26 Gala Film Nights 27 Non-Series Concerts 28 Booking Arrangements Profiles 29 Edgar Cosma, Artistic Director and Principal Conductor 30 Alun Francis, Associate Conductor 30 Roland Stanbridge, Leader 31 The Orchestra Staff by Kevin Gannon Articles 32 From the First Bar by Dorothea Kerr 33 1972 Awards 34 Maximisation of Musical Resources by John Murphy 36 Gladiator on the Box by Alun Francis 37 Queen’s University Festival 1972 by David Laing 38 Forty Years Back by Donald Cairns 40 St. Anne’s Cathedral by Dean Crooks 41 Tomorrow’s Musicians by Leonard Pugh 43 Ulster Soloists Ensemble 44 Orchestra Members 46 Ulster Orchestra Association 3 ULSTER ORCHESTRA As at 1 September 1971 (and printed on Page 44 of the Year Book [season brochure] First Violins Flutes Roland Stanbridge Lynda Coffin Mark Butler Anne Bryant Yvonne McGuinness Gerald Adamson
    [Show full text]
  • Oral History Center University of California the Bancroft Library Berkeley, California Frederica Von Stade Frederica Von Stade
    Oral History Center University of California The Bancroft Library Berkeley, California Frederica von Stade Frederica von Stade: American Star Mezzo-Soprano Interviews conducted by Caroline Crawford in 2011, 2012, 2014, 2015 Copyright © 2020 by The Regents of the University of California Oral History Center, The Bancroft Library, University of California, Berkeley ii Since 1954 the Oral History Center of The Bancroft Library, formerly the Regional Oral History Office, has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Frederica von Stade dated February 2, 2012. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley.
    [Show full text]
  • SYMM Eso Music Aug10 PP V1.Indd
    Suite 5, 17 Holywell Hill, St Albans, Hertfordshire AL1 1DT t: 01727 865488 e: [email protected] w: www.symmetry-systems.co.uk Esoteric August 2010 / From Deutsche Grammophon (DG) Lehár, Die lustige Witwe (The Merry Widow) J. Strauss II, Die Fledermaus A milestone of Super Audio CD/CD re-mastering, bringing a new experience to all listeners - brought to you by the experience and technology of ESOTERIC. A note from producer… The reissuing of the Decca masterpiece series has attracted a lot of attention both for its uncompromising commitment to recreating the original master recording and for using our hybrid Super Audio CD/CD re-mastering technology to improve sound quality. Now the time has come for the release of Deutsche Grammophon’s fi nest. This series marks the fi rst hybrid SA-CD/CD release of two selections that have been mainstays of the Deutsche Grammophon catalogue since the initial release on LP, later making their way on to CD. These new audio versions feature DSD mastering of the original recordings. ESOTERIC equipment used for re-mastering The criterion of re-mastering is to faithfully capture the quality of the original master tapes. ESOTERIC’s fl ag ship D/A converters, model D-01VU, Rubidium master clock generator model G-0Rb and ESOTERIC MEXCEL cables, were all used for this re-mastering session. This combination of highly advanced technology greatly contributed to capturing the high quality sound of the original master tapes with the performer. Please contact Nigel Crump at Symmetry for further information. 1 pioneering conductor who was dedicated sophisticated splendor.
    [Show full text]
  • Concert Report for Website Feb 2021
    Birmingham Choral Union Concert Record Date Concert Composer Venue Conductor Soloists Accompaniment 16 March, 1891 Fair Rosamunde John Barnett Orchestra - 57 players Dr.Swinnerson Heap Chorus - 450 singers plus organ Programme cost 6d 25 March, 1892 Maritana W V Wallace Programme cost 1d 2 April, 1892 Messiah Handel 10 December, 1892 Maritana (excerpts) W V Wallace Noel Tide Thomas Facer 25 March, 1893 Maritana W V Wallace 10 March, 1894 Loreley (excerpts) Mendelssohn The Crusader Thomas Facer Chorus of 227 singers,35 orchestra members - no other details recorded 1 January, 1895 8th Series of Concerts. No further details available 12 October, 1895 Samson Handel Programme cost 1d 14 December, 1895 Noel Tide Thomas Facer Loreley Mendelssohn 22 February, 1896 Messiah Handel 1897 to 1898 - 10th, 11th & 12th 1 January, 1897 Series of Concerts. No further details available 21 October, 1899 Samson Handel 9 December, 1899 Messiah Handel 1900 to1903 - 14th, 15th & 16th Series of Concerts. No further 1 January, 1900 details available 23 January, 1904 Messiah Handel 18th Series of Concerts - no 1 January, 1905 details available 11 November, 1905 Gounod Night (excerpts) Gounod Advert in back of programme for Birmingham Choral & Orchestral Association (conductor J H Adams) to perform 'Faust' 6 December, 1905 Maritana W V Wallace 27 January, 1906 Messiah Handel 10 March, 1906 Eli Sir Michael Costa 1 1907 to 1913 - 20th to 26th Seris 1 January, 1907 of Concerts - No details available 24 January, 1914 Merrie England E German Birmingham Town Hall Richard
    [Show full text]
  • Download Biography
    Elizabeth Karani soprano English soprano Elizabeth Karani began her studies with Susan Roper at the Royal Northern College of Music and where she won the Elizabeth Harwood prize, the Dame Eva Turner Award and the Elsie Thurston Award. Elizabeth moved to London to study at the Guildhall School of Music and Drama’s Opera Course with Susan McCulloch, finishing in July 2016. She was a member of the National Opera Studio and a Park Lane Young Artist during the 2016/17 season. Elizabeth’s recent operatic projects include her Royal Opera House debut as Nanna/Embla in the world premiere of The Monstrous Child, Rosalinde Die Fledermaus for Diva Opera in both the UK and France, Tatyana Eugene Onegin for Mid Wales Opera, Cino in Vivaldi's Teuzzone for La Serenissma (in Venice), Musetta La Boheme with Opera Holland Park (Christine Collins Young Artist Programme), Jano Jenufa for Longborough Festival Opera, Jay The Cunning Little Vixen for Garsington Opera (where she has also covered the role of Marzelline Fidelio), Berta Il Barbiere di Siviglia on tour across Europe with Diva Opera, Tartagliona in Jonathan Dove’s The Little Green Swallow for British Youth Opera, and Angel Jephtha (cond. Harry Christophers), Maiden in Sibelius’ The Maiden in the Tower and Resi Intermezzo, all for the Buxton Opera Festival. She has also recently covered roles in Harrison Birtwistle’s The Mask of Orpheus at English National Opera. Whilst at the Guildhall, Elizabeth sang Female Chorus The Rape of Lucretia, Eleanora Le Donne Curiose and Armande in Martinu’s Alexandre Bis while, at the RNCM, Atalanta Xerses, Frasquita Carmen, Orestes La Belle Helene, and La Chauve-Souris L’enfant et les Sortileges.
    [Show full text]