DOCSLIB.ORG

La Renaixença a L'òpera Temporada 1999-2000

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
La Renaixença a L'òpera Temporada 1999-2000 Els hereus de la Renaixença a l'òpera Temporada 1999-2000 0 Fundació Gran Teatre del Licen Generalitat de Catalunya Ministerio de Educación y Cultura Ajuntament de Barcelona són molt poques les ocasions en què la Natura conjuga els seus Diputació de Barcelona elements per crear alguna cosa realment sublim. e1 delicat contacte Societat del Gran Teatre del Liceu del cristall finíssim d'una copa Rosenthal amb l'eKcepcional Consell de Mecenatge caua "millésimé" Brut Nature, premiat amb la Medalla d'ardent a vinitaly i el "zarcillo" d'ardent a Valladolid, n'és potser una. un priuileçi, fins i tot, per als paladars més eaquisits. Mecenes de la Fundació Copa Rosenthal del segle XX. Col·lecció Glòria Ferrer. del Gran Teatre del Liceu Xs Fundació Gran Teatre del Liceu Generalitat de Catalunya, Ministerio de Educación y Cultura, Ajuntament de Barcelona, Diputació de Barcelona, Societat del Gran Teatre del Liceu i Consell de Mecenatge LA CAIXA' AIGÜES DE BARCELONA . AUTOPISTAS . BANCO BILBAO VIZCAYA / BANCA CATALANA . BANCO ESPAÑOL DE CREDITO • BANCO SANTANDER CENTRAL HISPANO . BASF . CAIXA CATALUNYA . CANAL + • CIRCULO DEL LICEO . COBEGA / FUNDACION COCA-COLA ESPAÑA . CORPORACIO CATALANA DE RADIO I TELEVISIÓ . EL CORTE INGLES . EMTE / SULZER / AGELECTRIC • ERICSSON ■ FECSA / ENHER . FREIXENET . FUNDACIÓ BANC SABADELL FUNDACIÓ GRUP SET . GAS NATURAL SDG • GRUP WINTERTHUR • GRUPO DRAGADOS • GRUPO VINSA • GUINOVART & OSHSA . HEWLETT PACKARD / AGILENT TECHNOLOGIES . HOTEL REY JUAN CARLOS I . IBERIA . LA VANGUARDIA RADIOTELEVISION ESPAÑOLA . SEUR ESPAÑA • SIEMENS ■ THYSSEN BOETTICHER / WAAGNER BIRO ■ UBS AGFA-GEVAERT - AGROLIMEN - AGRUPACIÓ DE CIMENTS - ALMIRALL PRODESFARMA - ÁREAS - ARGENTARIA - ARMAND BASI - ASEPEYO - ASSOCIACIÓ AMICS DEL LICEU - AUCAT, AUTOPISTES DE CATALUNYA - BAGUÉS-MASRIERA JOIERS - BASSAT, OGILVY & MATHER - BOSE-SONIDO PROFESIONAL - BURBERRYS SPAIN - CAIXA DE TERRASSA - CAIXA LAIETANA - CAMBRA DE COMERÇ DE BARCELONA - CASAS - CONSORCI DE PROMOCIÓ TURÍSTICA DE CATALUNYA - COPCISA - CORPORACIÓN J. URIACH - CRISTALERIA ESPAÑOLA - DAMM - DANONE - DEUTSCHE BANK - DOM PÉRIGNON - EL PERIÓDICO - EPSON IBÉRICA - ERCROS - EUROPROJECT - PERRERO IBÉRICA - FIATC ASSEGURANCES - FORD - FRANCESC RUBIRALTA - FUJIFILM ESPAÑA - FUNDACIÓ DE L'AGRUPACIÓ MÚTUA - FUNDACIÓ PUIG - FUNDACIÓN EPSON IBÉRICA - FUNDACIÓN MARÍA FCA. DE ROVIRALTA - GEC-ALSTHOM - GRAN CASINO DE BARCELONA, GRUP PERALADA - GRUP AUTOCARS JULIÀ - GRUP SABA HENKEL IBÉRICA - HYMSA, GRUPO EDITORIAL EDIPRESSE - INDO INTERNACIONAL - INDUSTRIAS MARCA - LA SEDA DE BARCELONA - LABORATORIOS INIBSA - MEROIL MICROSOFT IBÉRICA - MIELE - ÓPTICA HISPANO - PANRICO - PETROCAT, SOCIETAT CATALANA DE PETROLIS - PORT DE BARCELONA - PRICEWATERHOUSECOOPERS ROCA RADIADORES - ROYAL BRANDS-ARTIACH - SGAE - TFA ASSOCIATS - TURISME DE BARCELONA - VIVES VIDAL VIVESA - VOLVO CAR ESPAÑA Concert «Els hereus de la Renaixença a l'òpera» Programa I Solistes Joan Lamote de Grignon Hesperia (1906) (1872-1949) «De nit i dia» (introducció i duo d'Hespèria i Ausos) Christine Weidinger, soprano [Christine Weidinger / Lluís Sintes] «Com vola el papalló foll d'alegria» soprano Begoña Alberdi, (duo d'Hespèria i Indíbil) Rosa Mateu, soprano [Christine Weidinger / Vicenç Esteve Madrid] «La llum de l'alba» (escena final) Raquel Pierotti, mezzosoprano [Christine Weidinger / Vicenç Esteve Madrid] Carlos Cosías, tenor Enric Morera Emporium (1906) Vicenç Esteve Madrid, tenor (1865-1942) «Amor meu, què tens?» (duo de Ròdia i Nethú de Tacte 1) Lluís Siutes, baríton [Rosa Mateu / Carlos Cosías] «Omplim els camins cantant d'alegria» (ball de Tacte 1) «Seguiu! La nit és clara com el dia» (cor de guerrers i caçadors de Tacte II) ORQUESTRA SIMFÒNICA I COR DEL GRAN TEATRE DEL LICEU Director d'orquestra II Josep Pous Joan Manén Neró i Acte (1928) (1883-1971) «Clitemnestra dormitava» (introducció i escena d'Agripina de Tacte I) Concertino [Raquel Pierotti] «Salve Neró, Cèsar August! » Ondrej Lewit (interludi nocturn i cor de Tacte II) «Al fi retrobar-te he pogut!» (duo de Neró i Acte de Tacte 111) [Rosa Mateu / Vicenç Esteve Madrid] Assessorament i recerca musical «Volia de llur aclaparament veure'n la traça: Benet Casablancas (escena de Tigel lí de Tacte IV) [Lluís Sintes] Els Pirineus Recerca documental programa Felip Pedrell (1902) «Cort d'amor» Jaume Tribó (1841-1922) (ària de la comtessa) [Begoña Alberdi] «Mon pensament, mon cor» (duo de Miraval i Brunissenda) [Begoña Alberdi / Carlos Cosías] Gran Teatre del Liceu «Els jocs» (interludi orquestral) «Estic enamorada» (cançó de l'estel) Dijous, 15 de juny, 20.30 h, funció núm. 92, torn D [Christine Weidinger] «Victòria!» (cor final) 6 LOS INTERPRETES DE l/OPERA "EMPORIU.M" AL GRAN TEATRE DEL LICEU A baix: (À)l)('rta del llibrei de I òpera lle.-ipèria de 1907. Pàgina següent: Plana dedieada als intèrprets de l òpera Tinpòríiim estrenada al (bctn Teatre del l>iceu. «iliistraeió daialana». Niiin. 139 (28 de gener de 19()í)], n'hi molts d'altres cpie van a))ortar punts de vista diferents, com ara Ar¬ La tur Baratta, de recuperació qui es va estrenar, el 12 de juny de 1885, la primera òpera escrita en català. Eigures com .lauine del Pallissa. Marià Obiols, Erancesc Sán¬ passat chez Gavagnach, .Manuel Giró o .losé .María Lisandizaga, per esmentar-ne en La crònica del Gran Teatre del Liceu recull només algtms, van ser presents diver¬ ses diverses ocasions estrenes absolutes i vegades a la llotja d'honor del Liceu. Què se n'ha fet, d'aquest ric representacions d^òperes de compositors del llegat? La resjiosta és inquietant, ja que la pràctica totalitat de la cin¬ país. Al llarg de la seva història, el coliseu sha quantena d'obres catalanes i esjianyo- convertit en repetides ocasions en una les estrenades al Liceu abans de la Guerra Civil dorm en el més |)rofund plataforma per a la creació, fins al punt cpie en somni de l'oblit. algunes temporades sha arribat a acumular un catàleg dhbres pihpies de considerables La veu de la Renaixença dimensions, un patrimoni que avui constitueix A mitjan segle .XIX, el moviment poli- un llegat ric, però també oblidat. tícocnltural conegut amb el nom de Renaixença havia arrelat a jiràctica- nient tots els estaments intel·lectuals Els somnis i les ambicions artístiques catalans, i aquesta influència va atè- d'un gra¡)at de creadors són els j)ilars nver de ple l'art. L'estètica musical d'aqnesi catàleg d'obres locals que també es va deixar influir per aquella 110 tots els teatres d'ò|)era són capaços mirada cap a les arrels històriques d'oferir. Noms àmpliament reco¬ que mitificava els forjatlors del poble català. neguts en l'aclualitat, com Tomás L'òpera, un espectacle cosmo¬ Bretón (1850-1923), Isaac Albéniz polita arribat d'Itàlia, d'Alemanya o (1860-1909), Enric Granados (1867- de Lrança, es va distanciar d'a(]uesta 1916), Manuel de Ealla (1876- realitat cidtural, fins <|ne figures com 1946), Amadeu Vives (1871-1932) Felip Pedrell (1841-1922) van pre¬ o Elduard Toldrà (1895-1962), són tendre d'anar més enllà de la mera alguns dels seus protagonistes, si bé composició operística plantejant pro- DIMECRES, 15 FEBRER 1933 - A LES 9'15 VESPRE 8 I L A H K C i; P I-: R A C I ó D !•: L PASSA T IS.^. de propiciat i abonament Estrena de la tragèdia per a música, en 4 actes, lletra i música de Joan Manen Los Hovedodes NERÓ I ACTE Almacenes de varios artículos i [Acció a Roma) RGiiiblo de Estudios, 14, y Canudo. 2 ! 20t3 Estrenada al 7ilifoao «Teatre de l'Opera», de Karlsruhe (Alemanya), l'any 1928 i representa¬ da, a més, en els grans teatres de Leipzig, üresden, Colònia, "Wiesbaden, etc. Sastrería Dirigirà l'orquestra l'autor Joan Manen á medida GÉMEPOS INGLESES ntro. Lamotttve de Qrignon REPARTI M E N T Traies hechos Gabanes novedad Ulstec «(Auto-CBP», espeeialidad, pesetas^70 Chalecos fantasía N A U M A NN Neró Acté Fotografia de Lainote de Grigiion Camisas para Prach — Tlck,s MAOiaNAS P.VUV COHKJl Mitijulnes lifclllineiis ]iaru liHi-t<r niMias apareguda al programa de Amador FAAIADAS Pilar NOGUERO Secciones de: la temporada 1905-1906 BICICLETAS Guanieria, Camisería, Corbatería y desilc los iiKHti·lits sencillos linsüi las mus lujosas del Gran Teatre del Liceu. ApUeacli'iu (lu lodo.s los iKliflaiitos in<Kl(>r(iiis Géneros de Punto Venios al conlnrtit y u plazos á iir(H-l'«( -educidos y Aqripina Tiqeli cuiiillciuues de Sombrerería , Zaisalcría , Arlíciiio.s inoicse.s Pàgina següent: I>eiK'>silo Central para Rspalta; para vki'c Ricard FUSTE Barcelona - Cuije Escudlliers, 5. 2 y 9 Angela ROSSINI Programa de mà de Neró i Acte, Bastones v Paraguas, Objetos ixira rctjtiios de Festrena al Gran Teatre del Liceu Marc Parthos el 15 de febrer de 1933. Joaquim ALSINA Baltasar LARA CAFE BAR LA IVL A N T A BAIXA jectes estètics que vinculessin la músi¬ nat encara, va provar de realitzar ca i la mitologia popular amb el gran la seva pròpia versió de l'obra d'art espectacle líric. Els ferris planteja¬ total amb Els Pirineus (1902). Va co¬ ments teoricoestètics de Pedrell ambi¬ mençar a escriure-la l'any 1890 in¬ cionaven establir les bases d'una escola tentant utilitzar directrius netament catalana d'òpera amb característiques wagnerianes, des del «Leitmotiv» fins lEIllÀ ben definides. Fascinat per Richard a l'estructura formal, que desenvo¬ Wagner i per la seva obra, tant la mu¬ lupà en un pròleg i tres actes: «Anima EXCLOSIVA sical com la teòrica, intenta de seguir- Mare», «Lo comte de Foix», «Raig de ne les passes i esdevingué a nivell lo¬ lluna» i «La jornada de Panissars». , cal un ideòleg important i influent. L'èpic llibret era de Víctor Balaguer. (oDipil Compositor de sis sarsueles i de dotze L'acció se centra a Aragó i Catalunya òperes, sis de les quais no s'han estre¬ entre els anys 1218 i 1285, i descriu (jinrnl mm\ H df (arbiící 5.Â. Vava CcAdatcvów VIA LAYETANA 1? Pral Cocmat txcmòmkas TELEFONO 0484 10 I, A l< F. C I I' F H A C I 6 I) F F PA SS A T LA ESQUELLA DE LA TORRATXA 25 e|)iso(lis psendohistòrics sol)re I'alli- Penijiremta de \X agner.
Load more

Recommended publications
  • FY19 Annual Report View Report
    Annual Report 2018–19 3 Introduction 5 Metropolitan Opera Board of Directors 6 Season Repertory and Events 14 Artist Roster 16 The Financial Results 20 Our Patrons On the cover: Yannick Nézet-Séguin takes a bow after his first official performance as Jeanette Lerman-Neubauer Music Director PHOTO: JONATHAN TICHLER / MET OPERA 2 Introduction The 2018–19 season was a historic one for the Metropolitan Opera. Not only did the company present more than 200 exiting performances, but we also welcomed Yannick Nézet-Séguin as the Met’s new Jeanette Lerman- Neubauer Music Director. Maestro Nézet-Séguin is only the third conductor to hold the title of Music Director since the company’s founding in 1883. I am also happy to report that the 2018–19 season marked the fifth year running in which the company’s finances were balanced or very nearly so, as we recorded a very small deficit of less than 1% of expenses. The season opened with the premiere of a new staging of Saint-Saëns’s epic Samson et Dalila and also included three other new productions, as well as three exhilarating full cycles of Wagner’s Ring and a full slate of 18 revivals. The Live in HD series of cinema transmissions brought opera to audiences around the world for the 13th season, with ten broadcasts reaching more than two million people. Combined earned revenue for the Met (box office, media, and presentations) totaled $121 million. As in past seasons, total paid attendance for the season in the opera house was 75%. The new productions in the 2018–19 season were the work of three distinguished directors, two having had previous successes at the Met and one making his company debut.
    [Show full text]
  • Staged Treasures
    Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio
    [Show full text]
  • The Educators' Handbook to Interactive Videodisc. INSTITUTION Association for Educational Communications and Technology, Washingtem, D.C
    ED 273 253 IR 012 253 AUTHOR Schwartz, Ed TITLE The Educators' Handbook to Interactive Videodisc. INSTITUTION Association for Educational Communications and Technology, Washingtem, D.C. REPORT NO ISBN-0-89240-049-8 PUB DATE 85 NOTE 101p. AVAILABLE FROM Association for Educational Communications and Technology, 1126 16th Street NW, Washington, DC 20036. PUB TYPE Guides - Non-Classroom Use (055) -- Reference Materials - Directories/Catalogs (132) EDRS PRICE MF01 Plus Postage. PC Not Available from ED2S. DESCRIPTORS Computer Software; *Educational Television; Equipment Maintenance; *Interactive Video; *Videodisks; *Video Equipment ABSTRACT This overview of interactive videodisc techaology is designed to assist educators in finding the appropriate equipment and software for any specific application. The handbook may also serve as a starting point for many educators who know nothing of the technology and assist them in deciding whether this technology is worth pursuing as an educational tool in specific situations. Although not comprehensive, the listings reflect a good portion of the videodisc-related products available today and the prices provide a good indication of the general price range of specific items. The handbook contains 10 chapters: (1) Introduction to Videodiscs; (2) Overview of Laser Disc Systems; (3) Selecting a Laser Videodisc Player; (4) Video Playback Units; (5) Videodisc Interface Units; (6) Disc Player Peripherals; (7) Videodisc System Packages; (8) Educational Videodisc Software; (9) Interactive Videodisc Authoring Languages; and (10) Videodisc Care and Maintenance. Appendices include directories of laser disc players; television monitors and projects; laser disc interfaces; laser disc peripherals; laser disc system packages; videodisc software (listed by subject area); videodisc mastering options; interactive authoring languages; service information; and videodisc resources, which includes a manufacturer's index.
    [Show full text]
  • Lift Every Voice: Celebrating the African American Spirit
    Lift Every Voice: Hear My Prayer Moses Hogan Celebrating the African American Spirit Set Me as a Seal Julius Miller Saturday, February 22. , 2014 7:30 pm Lord We Give Thanks to Thee Undine Smith Moore Campus Auditorium Lift Every Voice and Sing arr. Roland Carter South Bend Symphonic Choir How Great is Our God Chris Tomlin Naomi Penate, alto Jake Hughes, tenor CONDUCTOR BIOGRAPHIES For Every Mountain Kurt Carr Gwen Norwood, alto David Brock was born and raised in Benton Harbor, Mich. to the union of Walter and the late Doris Brock. He started playing I’m Determined Oscar Hayes the piano at the age of six and began taking lessons at age 11. He also began playing piano at churches when he was 11. Mr. Brock Hallelujah Elbernita “Twinkie” Clark performed in bands and orchestras throughout his education. He IU South Bend Gospel Choir attended Olivet College where he studied music. Mr. Brock is Formatted: Font: Not Bold currently employed at Benton Harbor High School as a pianist and Dich Teure Halley Richard Wagner assistant music teacher. He teaches keyboard theory and voice. He has been playing the keyboard for 44 years. Witness Hall Johnson Marvin Curtis, dean of the Ernestine M. Raclin School of You Can Tell the World Margaret Bonds the Arts at Indiana University South Bend is director of the South Denise Payton, soprano Bend Symphonic Choir. Dean Curtis has held positions at Intermezzo, Op. 118, No. #2 Johannes Fayetteville State University, California State University, Brahms Stanislaus, Virginia Union University, and Lane College. He earned degrees from North Park Troubled Water Margaret Bonds College, The Presbyterian School of Christian Education, Formatted: Indent: First line: 0.5" Maria Corley, piano and The University of the Pacific, and took additional studies at Westminster Choir College and The Julliard School of Music.
    [Show full text]
  • FY17 Annual Report View Report
    Annual Report 2016–17 1 2 4 Introduction 6 Metropolitan Opera Board of Directors 7 Season Repertory and Events 14 Artist Roster 16 The Financial Results 48 Our Patrons 3 Introduction In the 2016–17 season, the Metropolitan Opera continued to present outstanding grand opera, featuring the world’s finest artists, while maintaining balanced financial results—the third year running in which the company’s finances were balanced or very nearly so. The season opened with the premiere of a new production of Wagner’s Tristan und Isolde and also included five other new stagings, as well as 20 revivals. The Live in HD series of cinema transmissions brought opera to audiences around the world for the 11th year, with ten broadcasts reaching approximately 2.3 million people. Combined earned revenue for the Met (Live in HD and box office) totaled $111 million. Total paid attendance for the season in the opera house was 75%. All six new productions in the 2016–17 season were the work of distinguished directors who had previous success at the Met. The compelling Opening Night new production of Tristan und Isolde was directed by Mariusz Treliński, who made his Met debut in 2015 with the double bill of Tchaikovsky’s Iolanta and Bartók’s Bluebeard’s Castle. French-Lebanese director Pierre Audi brought his distinctive vision to Rossini’s final operatic masterpiece Guillaume Tell, following his earlier staging of Verdi’s Attila in 2010. Robert Carsen, who first worked at the Met in 1997 on his popular production of Tchaikovsky’s Eugene Onegin, directed a riveting new Der Rosenkavalier, the company’s first new staging of Strauss’s grand comedy since 1969.
    [Show full text]
  • Annual Report 2017–18
    Annual Report 2017–18 1 3 Introduction 5 Metropolitan Opera Board of Directors 7 Season Repertory and Events 13 Artist Roster 15 The Financial Results 48 Our Patrons 2 Introduction During the 2017–18 season, the Metropolitan Opera presented more than 200 exiting performances of some of the world’s greatest musical masterpieces, with financial results resulting in a very small deficit of less than 1% of expenses—the fourth year running in which the company’s finances were balanced or very nearly so. The season opened with the premiere of a new staging of Bellini’s Norma and also included four other new productions, as well as 19 revivals and a special series of concert presentations of Verdi’s Requiem. The Live in HD series of cinema transmissions brought opera to audiences around the world for the 12th year, with ten broadcasts reaching more than two million people. Combined earned revenue for the Met (box office and media) totaled $114.9 million. Total paid attendance for the season in the opera house was 75%. All five new productions in the 2017–18 season were the work of distinguished directors, three having had previous successes at the Met and one making an auspicious company debut. A veteran director with six prior Met productions to his credit, Sir David McVicar unveiled the season-opening new staging of Norma as well as a new production of Puccini’s Tosca, which premiered on New Year’s Eve. The second new staging of the season was also a North American premiere, with Tom Cairns making his Met debut directing Thomas Adès’s groundbreaking 2016 opera The Exterminating Angel.
    [Show full text]
  • THE RECORD COLLECTOR MAGAZINE Given Below Is the Featured Artist(S) of Each Issue (D=Discography, B=Biographical Information)
    PRINTED MATERIAL DISCOGRAPHICAL & REFERENCE BOOKS, BIOGRAPHIES; RECORD CATALOGUES & SUPPLEMENTS Books are all in good, used condition (no damage unless described). DJ = includes Paper Dust Jacket This year’s book list includes a number of important and desirable items. The minimum bids have been kept very low, considering the scarcity of some items and the cost of others which still might be in print. While bargains are indeed possible, I’d suggest, as usual, to bid realistically for those items of particular interest. Bids of any amount are, of course, welcomed. MUSICIAN BIOGRAPHIES/AUTOBIOGRAPHIES 3574. [FRANCES ALDA]. MEN, WOMEN AND TENORS. Autobiography. Riverside Press, Cambridge, MA. 1937. 307 pp. Illustrated. Quite candid jottings for the period. Fun and informative reading. Blank front page removed. Cons. 2. $7.00. 3622. MARIAN ANDERSON – A PORTRAIT (Kosti Vehanen). Whittlesey House, NY. 1941. 270 pp. Blank book plate on inside cover. Just about 1-2. $10.00. 3535. [MARIAN ANDERSON]. MY LORD, WHAT A MORNING. Autobiography. Viking Press, NY. 1956. DJ. Illustrated. 312 pp. Light DJ wear. Book gen. 1-2. $7.00. 3581. MARIAN ANDERSON – A SINGER’S JOURNEY (Allan Keiler). Scribner, NY. 2000. 447 pp. DJ. Just about 1-2. $10.00. 3542. [Sir THOMAS] BEECHAM – A CENTENARY DISCOGRAPHY (Michael Gray). Duckworth, Norwich. 1979. DJ. 129 pp. Light signs of use on DJ. Book is just about 1-2 except for numerous pencil check marks. $6.00. 3550. THE ACCOMPANIST – AN AUTOBIOGRAPHY OF ANDRÉ BENOIST (ed. John Anthony Maltese). Paganiniana Pub., Neptune City, NJ. 1978. 383 pp. Profusely illustrated. A fascinating and extremely candid look at dozens of the vocal and instrumental celebrities with whom Benoist was associated.
    [Show full text]
  • Annual Report 2011–12 3 Introduction
    ANNUAL REPORT 2011–12 3 Introduction 5 Metropolitan Opera Board of Directors 7 2011–12 Season Repertory & Events 14 2011–12 Artist Roster 15 The Financial Results 38 Patrons Introduction The Metropolitan Opera’s 2011–12 season was marked by an impressive string of artistic successes, while the company continued to address a challenging financial situation in ways that wouldn’t affect the high quality of productions. The company presented seven new stagings during the 2011–12 season, including the final two installments of a new Ring cycle, the Metropolitan Opera premiere of Donizetti’s Anna Bolena, and the world premiere of a new Baroque pastiche, The Enchanted Island, conceived by the Met. All seven new produc- tions, along with four revivals, were presented in movie theaters around the world as part of the Met’s Live in HD series, which has enabled the Met to assume a global leadership position as a provider of special cinema content. The Live in HD series continued to be a money-maker for the Met, earning $27.1 million. Combined earned revenue for the Met (Live in HD and box office) totaled $121.5 million. The 2011–12 season once again brought together the finest singers, conductors, directors, designers, choreog- raphers, and video artists in the world. Such extraordinary directors as Robert Lepage, Phelim McDermott, David McVicar, and Laurent Pelly returned to create new productions, with Michael Grandage and Des McAnuff making directorial debuts with the company. The culmination of Lepage’s new Met Ring cycle was the talk of the opera world, and the new Baroque pastiche The Enchanted Island, devised and written by Jeremy Sams, represented a remarkable new creative endeavor.
    [Show full text]
  • Authorization to Copy
    AUTHORIZATION TO COPY I authorize Kenneth S. Schmidt to scan the book I coauthored entitled, TULSA OPERA CHRONICLES, for the purpose of making a digital copy for use on the internet in the interest of preserving the history of the Tulsa Opera. Further copies may be made from this digital copy provided they are for educational, historical, personal enjoyment, or the promotion of fine art, and for non-profit use. For any other intentions, the copyright statement below applies. Laven Sowell Jack Williams June 15, 2007 Copyright © 1992 by Jack A. Williams and Laven Sowell All rights reserved under International Copyright Law. Contents May not be reproduced in whole or in part in any form without The express written consent of the authors. Library of Congress Catalog Number 92-96949 1 2 Website produced in appreciation of Mr. Laven Sowell by Ken Schmidt, student of Mr. Sowell since September 1964, Edison Jr. High School Boys Glee Club, Edison High School Mixed Chorus, and proud alumnus of the Edison High School Concert Chorus during the 1969 / 1970 school year in Tulsa, Oklahoma. Thank you for teaching me about great music. 3 To compensate for the page numbering difference between the original book and this PDF file, please add 10 to the page number when referencing the Table of Contents and the Index, and then search or scroll in your PDF viewer. 4 5 This book is dedicated to the loyal and talented chorus members, who have for many years given unselfishly of their time and talent to help make opera possible in the city of Tulsa.
    [Show full text]
  • Newsletter • Bulletin Fall 1998 L'automne
    NATIONAL CAPITAL OPERA SOCIETY • SOCIETE D'OPERA DE LA CAPITALE NATIONALE Newsletter • Bulletin Fall 1998 L'Automne P.O. Box 8347, Main Terminal, Ottawa, Ontario K1G 3H8 C.P. 8347, Succursale principale, Ottawa, (Ontario) K1G 3H8 THE BRIAN LAW OPERA SCHOLARSHIP The Fourth Biennial Competition by Bobby Cain Last spring saw the first meeting of the Brian Law neur, Nicholas Goldschmidt, C.C. and soprano Opera Scholarship Committee Norma Mellon, Roxolana Roslak, of the University cf Toronto, Faculty of Peggy Pflug, Norma Torontow, and Bobbi Cain. Voice, both from Toronto, and Michael McMahon, from Since that time, notices of the upcoming competi- the McGill Faculy of Music, Montreal, accompanist to tion, culminating in January 1999, and application several vocal stars, and coach. Each singer sings a forms, have been sent out to former competitors, selection of three operatic arias, one with recitative, and most music educational organizations across accompanied by their own accompanist. It is a thrill- the country. The scholarship is designed for students ing evening of up to 18 arias, and what suspense! The aged 22 to 32, focussing on an opera career, and jury adjourns to decide the winner and at approximately either a native of, or a resident in, the National Capi- 8:30 P.M. the winner is announced and presented with tal Region as defined by the NCC. The Scholarship the $2,000 award. The other finalists receive a nomi- is under the patronage of Maureen Forrester, C.C. nal stipend to help defray expenses. The charge for Applications, a package consisting of a these proceedings is $10, the best deal in town! tape of three operatic arias, one with recitative, plus Since we must feed the jurors and the singers, a musical CV and a 200 word statement of why a dinner is held afterwards, this year catered by our opera is so desirable, must be received postmarked friend Dave Smith, C.M.
    [Show full text]
  • Spoleto Festival Usa Program History 2013–1977
    SPOLETO FESTIVAL USA PROGRAM HISTORY 2013–1977 Spoleto Festival USA Program History Page 2 2013 Opera *Matsukaze, music by Toshio Hosokawa; libretto by Hannah Dübgen; conductor, John Kennedy; director, Chen Shi-Zheng; set designer, Chris Barreca; costume designer, Elizabeth Caitlin Ward; lighting designer, Scott Zielinski; video designer, Olivier Roset; Cast: Gary Simpson, Thomas Meglioranza, Pureum Jo, Jihee Kim; Dock Street Theatre Mese Mariano/Le Villi; Mese Mariano, music by Umberto Giordano; libretto by Salvatore Giacomo; Le Villi, music by Giacomo Puccini, libretto by Ferdinando Fontana; conductor, Maurizio Barbacini; director, Stefano Vizioli; set designer, Neil Patel; costume designer, Roberta Guidi di Bagno; lighting designer, Matt Frey; choreographer, Pierluigi Vanelli; Cast Mese Mariano: Linda Roark-Strummer, Ann McMahon Quintero, Jennifer Rowley, Yanzelmalee Rivera, Allison Faulkner, Nicole Fregala, Shari Perman, Anne Marie Stanley, Justin Su’esu’e; Cast Le Villi: Levi Hernandez, Jennifer Rowley, Dinyar Vania; Sottile Theatre Dance Jared Grimes; dancers, Jared Grimes, Robyn Baltzer, Dewitt Fleming Jr, Karida Griffith, Tony Mayes; Emmett Robinson Theatre Compagnie Käfig; artistic director and main choreographer, Mourad Merzouki; programs, Correria and Agwa; TD Arena Ballet Flamenco de Andalucía; artistic director and choreographer, Rubén Olmo; guest soloist, Pastora Galván; program, Noche Andaluza; TD Arena Lucky Plush Productions, creators/directors, Leslie Buxbaum Danzig and Julia Rhoads; original script, Leslie Buxbaum Danzig,
    [Show full text]
  • FY16 Annual Report View Report
    Annual Report 2015–16 1 2 4 Introduction 6 Metropolitan Opera Board of Directors 7 Season Repertory and Events 14 Artist Roster 16 The Financial Results 48 Our Patrons 3 Introduction The Metropolitan Opera’s 2015–16 season featured numerous memorable artistic successes and represented a second consecutive year of nearly-balanced financial results, despite the ongoing economic challenges of presenting grand opera. Six new productions arrived throughout the season, beginning with the Opening Night premiere of the Met’s new production of Verdi’s Otello, alongside 18 revivals. The Live in HD series of transmissions to cinemas worldwide continued, with ten live broadcasts earning a total of $25 million. Combined earned revenue for the Met (Live in HD and box office) totaled $112 million. Total paid attendance for the season in the opera house was 70.6%. Of the 2015–16 season’s six new productions, three marked the sophomore efforts of directors who had made outstanding Met debuts in recent years. Renowned visual artist William Kentridge followed his 2010 success in Shostakovich’s The Nose with a gripping new production of Berg’s Lulu, Penny Woolcock delivered a sumptuous realization of Bizet’s Les Pêcheurs des Perles following her direction of the 2008 Met premiere of John Adams’s Doctor Atomic, and the Met welcomed the first return of Patrice Chéreau’s brilliant vision since Janáček’s From the House of the Dead in 2009 with a new production of Strauss’s Elektra, overseen in New York by Chéreau’s longtime assistant Vincent Huguet following the legendary director’s death in 2013.
    [Show full text]