Baton Music Overview Catalogue 2010
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Guitar Syllabus
TheThe LLeinsteinsteerr SScchoolhool ooff MusMusiicc && DDrramama Established 1904 Singing Grade Examinations Syllabus The Leinster School of Music & Drama Singing Grade Examinations Syllabus Contents The Leinster School of Music & Drama ____________________________ 2 General Information & Examination Regulations ____________________ 4 Grade 1 ____________________________________________________ 6 Grade 2 ____________________________________________________ 9 Grade 3 ____________________________________________________ 12 Grade 4 ____________________________________________________ 15 Grade 5 ____________________________________________________ 19 Grade 6 ____________________________________________________ 23 Grade 7 ____________________________________________________ 27 Grade 8 ____________________________________________________ 33 Junior & Senior Repertoire Recital Programmes ________________________ 35 Performance Certificate __________________________________________ 36 1 The Leinster School of Music & Drama Singing Grade Examinations Syllabus TheThe LeinsterLeinster SchoolSchool ofof MusicMusic && DraDrammaa Established 1904 "She beckoned to him with her finger like one preparing a certificate in pianoforte... at the Leinster School of Music." Samuel Beckett Established in 1904 The Leinster School of Music & Drama is now celebrating its centenary year. Its long-standing tradition both as a centre for learning and examining is stronger than ever. TUITION Expert individual tuition is offered in a variety of subjects: • Singing and -
CHAN 3036 BOOK COVER.Qxd 22/8/07 2:50 Pm Page 1
CHAN 3036 BOOK COVER.qxd 22/8/07 2:50 pm Page 1 CHAN 3036(2) CHANDOS O PERA I N ENGLISH Il Trovatore David Parry PETE MOOES FOUNDATION CHAN 3036 BOOK.qxd 22/8/07 3:15 pm Page 2 Giuseppe Verdi (1813–1901) Il trovatore (The Troubadour) Opera in four parts AKG Text by Salvatore Cammarano, from the drama El trovador by Antonio Garcia Gutiérrez English translation by Tom Hammond Count di Luna, a young nobleman of Aragon ....................................................................Alan Opie baritone Ferrando, captain of the Count’s guard ..................................................................................Clive Bayley bass Doña Leonora, lady-in-waiting to the Princess of Aragon ..............................................Sharon Sweet soprano Inez, confidante of Leonora ........................................................................................Helen Williams soprano Azucena, a gipsy woman from Biscay ....................................................................Anne Mason mezzo-soprano Manrico (The Troubadour), supposed son of Azucena, a rebel under Prince Urgel ........Dennis O’Neill tenor Ruiz, a soldier in Manrico’s service ..................................................................................Marc Le Brocq tenor A Gipsy, a Messenger, Servants and Retainers of the Count, Followers of Manrico, Soldiers, Gipsies, Nuns, Guards Geoffrey Mitchell Choir London Philharmonic Orchestra Nicholas Kok and Gareth Hancock assistant conductors David Parry Further appearances in Opera in English Dennis O’Neill: -
Vesti La Giubba from Pagliacci
Vesti la Giubba from Pagliacci Ruggero Leoncavallo 1857-1919 Arranged by William V. Johnson INSTRUMENTATION Solo Tenor Trumpet 1 Solo Trombone (Optional) Trumpet 2 Piccolo Trumpet 3 Flute 1 Horn 1 Flute 2 Horn 2 Oboe 1 Horn 3 Oboe 2 Horn 4 English Horn Trombone 1 Bassoon 1 Trombone 2 Bassoon 2 Bass Trombone Contra Bassoon Euphonium Clarinet in Eb Tuba Clarinet 1 Double Bass Clarinet 2 Piano Clarinet 3 Timpani Alto Clarinet Cymbals Bass Clarinet Contra Bass Clarinet Soprano Saxophone Alto Saxophone I Alto Saxophone II Tenor Saxophone Baritone Saxophone Duration: About 3 minutes PROGRAM NOTES The Opera Around 1890, when Pietro Mascagni’s Cavalleria rusticana premiered, Ruggero Leoncavallo was a little-known composer. After seeing Mascagni’s success, he decided to write an opera in response: one act composed in the verismo style. Leoncavallo claimed that he based the story of Pagliacci on an incident from his childhood, a murder in 1865, the victim of which was a Leoncavallo family servant, Gaetano Scavello. The murderer was Gaetano D’Alessandro, with his brother Luigi an accomplice to the crime. The incident resulted from a series of perceived romantic entanglements involving Scavello, Luigi D’Alessandro, and a village girl with whom both men were infatuated. Leoncavallo’s father, a judge, was the presiding magistrate over the criminal investigation. Pagliacci was performed in Milan in 1892 with immediate success; today it is the only work by Leoncavallo in the standard operatic repertory. Its most famous aria “Vesti la giubba” (“Put on the costume” or, in the better-known older translation, “On with the motley”) was recorded by Enrico Caruso and laid claim to being the world’s frst record to sell a million copies, although this is probably a total of Caruso’s various versions of it made in 1902, 1904 and 1907. -
German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
Cavalleria Rusticana I Pagliacci Usporedno Sa Sve Brojnijim Izvedbama Prvi Su Put Zajedno Izvedeni 22
P. Mascagni CAVALLERIA RUSTICANA R. Leoncavallo: I PAGLIAccI Nedjelja, 3. svibnja 2015., 18:30 sati. Foto: Metropolitan opera P. Mascagni CAVALLERIA RUSTICANA R. Leoncavallo: I PAGLIAccI Nedjelja, 3. svibnja 2015., 18:30 sati. THE MET: LIVE IN HD SERIES IS MADE POSSIBLE BY A GENEROUS GRANT FROM ITS FOUNDING SPONZOR Neubauer Family Foundation GLOBAL CORPORATE SPONSORSHIP OF THE MET LIVE IN HD IS PROVIDED BY THE HD BRODCASTS ARE SUPPORTED BY Pietro Mascagni CAVALLERIA RUSTICANA Opera u jednom činu Libreto: Giovanni Targioni-Tozzetti i Guido Menasci prema istoimenoj noveli Giovannija Verge NEDJELJA, 3. SVIBNJA 2015. POčETAK U 18 SATI I 30 MINUTA. Praizvedba: Teatro Costanzi, Rim, 17. svibnja 1890. Prva hrvatska izvedba: Druga operna stagiona, Zagreb, 29. svibnja 1893. Prva izvedba ansambla Metropolitana 4. prosinca 1891. u Chicagu Premijera ove izvedbe u Metropolitanu: 14. travnja 2015. ZBOR I ORKESTAR METROPOLITANA SANTUZZA Eva-Maria Westbroek ZBORovođa Donald Palumbo TURIDDU Marcelo Álvarez DIRIGENT Fabio Luisi ALFIO George Gagnidze REDATELJ David McVicar LUCIA Jane Bunnell SCENOGRAF Rae Smith LOLA Ginger Costa-Jackson Tekst: talijanski Stanka poslije Cavallerije rusticane. Titlovi: engleski Svršetak oko 22 sata. Ruggero Leoncavallo I PAGLIACCI Foto:Metropolitan opera Opera u dva čina s prologom Libreto: skladatelj NEDJELJA, 3. SVIBNJA 2015. POčETAK U 18 SATI I 30 MINUTA. Praizvedba: Teatro Dal Verme, Milano, 21. kolovoza 1892. Prva hrvatska izvedba: Treća operna stagiona, Zagreb, 22. travnja 1894. Prva izvedba u Metropolitanu: 11. prosinca 1893. Premijera ove izvedbe u Metropolitanu: 25. travnja 2015. KOSTIMOGRAF Moritz Junge CANIO/PAGLIACCIO Marcelo Álvarez OBLIKOVATELJICA RASVJETE Paule Constable NEDDA/COLOMBINA Patricia Racette KOREOGRAF Andrew George TONIO/TADDEO George Gagnidze KONZULTANT ZA VODVILJ Emil Wolk BEPPE/ARLECCHINO Andrew Stenson SILVIO Lucas Meachem Tekst: talijanski Titlovi: engleski CAVALLERIA RUSTICANA Radnja se događa na Uskrs u sicilijanskom selu. -
Il Trovatore Was Made Stage Director Possible by a Generous Gift from Paula Williams the Annenberg Foundation
ilGIUSEPPE VERDItrovatore conductor Opera in four parts Marco Armiliato Libretto by Salvadore Cammarano and production Sir David McVicar Leone Emanuele Bardare, based on the play El Trovador by Antonio García Gutierrez set designer Charles Edwards Tuesday, September 29, 2015 costume designer 7:30–10:15 PM Brigitte Reiffenstuel lighting designed by Jennifer Tipton choreographer Leah Hausman The production of Il Trovatore was made stage director possible by a generous gift from Paula Williams The Annenberg Foundation The revival of this production is made possible by a gift of the Estate of Francine Berry general manager Peter Gelb music director James Levine A co-production of the Metropolitan Opera, Lyric Opera of Chicago, and the San Francisco principal conductor Fabio Luisi Opera Association 2015–16 SEASON The 639th Metropolitan Opera performance of GIUSEPPE VERDI’S il trovatore conductor Marco Armiliato in order of vocal appearance ferr ando Štefan Kocán ines Maria Zifchak leonor a Anna Netrebko count di luna Dmitri Hvorostovsky manrico Yonghoon Lee a zucena Dolora Zajick a gypsy This performance Edward Albert is being broadcast live on Metropolitan a messenger Opera Radio on David Lowe SiriusXM channel 74 and streamed at ruiz metopera.org. Raúl Melo Tuesday, September 29, 2015, 7:30–10:15PM KEN HOWARD/METROPOLITAN OPERA A scene from Chorus Master Donald Palumbo Verdi’s Il Trovatore Musical Preparation Yelena Kurdina, J. David Jackson, Liora Maurer, Jonathan C. Kelly, and Bryan Wagorn Assistant Stage Director Daniel Rigazzi Italian Coach Loretta Di Franco Prompter Yelena Kurdina Assistant to the Costume Designer Anna Watkins Fight Director Thomas Schall Scenery, properties, and electrical props constructed and painted by Cardiff Theatrical Services and Metropolitan Opera Shops Costumes executed by Lyric Opera of Chicago Costume Shop and Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department Ms. -
Early 20Th-Century Operetta from the German Stage: a Cosmopolitan Genre
This is a repository copy of Early 20th-Century Operetta from the German Stage: A Cosmopolitan Genre. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/150913/ Version: Accepted Version Article: Scott, DB orcid.org/0000-0002-5367-6579 (2016) Early 20th-Century Operetta from the German Stage: A Cosmopolitan Genre. The Musical Quarterly, 99 (2). pp. 254-279. ISSN 0027-4631 https://doi.org/10.1093/musqtl/gdw009 © The Author 2016. Published by Oxford University Press. This is an author produced version of a paper published in The Musical Quarterly. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Early 20th-Century Operetta from the German Stage: A Cosmopolitan Genre Derek B. Scott In the first four decades of the twentieth century, new operettas from the German stage enjoyed great success with audiences not only in cities in Europe and North America but elsewhere around the world.1 The transfer of operetta and musical theatre across countries and continents may be viewed as cosmopolitanism in action. -
Il Trovatore
Synopsis Act I: The Duel Count di Luna is obsessed with Leonora, a young noblewoman in the queen’s service, who does not return his love. Outside the royal residence, his soldiers keep watch at night. They have heard an unknown troubadour serenading Leonora, and the jealous count is determined to capture and punish him. To keep his troops awake, the captain, Ferrando, recounts the terrible story of a gypsy woman who was burned at the stake years ago for bewitching the count’s infant brother. The gypsy’s daughter then took revenge by kidnapping the boy and throwing him into the flames where her mother had died. The charred skeleton of a baby was discovered there, and di Luna’s father died of grief soon after. The gypsy’s daughter disappeared without a trace, but di Luna has sworn to find her. In the palace gardens, Leonora confides in her companion Ines that she is in love with a mysterious man she met before the outbreak of the war and that he is the troubadour who serenades her each night. After they have left, Count di Luna appears, looking for Leonora. When she hears the troubadour’s song in the darkness, Leonora rushes out to greet her beloved but mistakenly embraces di Luna. The troubadour reveals his true identity: He is Manrico, leader of the partisan rebel forces. Furious, the count challenges him to fight to the death. Act II: The Gypsy During the duel, Manrico overpowered the count, but some instinct stopped him from killing his rival. The war has raged on. -
Download Booklet
2 CDs the ultimate DDD VERDI 8.578068-69 opera album CD 1 innovative style. His effective use of the spectacular, the supernatural, the superstitious, the sentimental, the scandalous, even the downright silly, are evident to everyone familiar with 1 Prelude to La Traviata 3:53 these great operas. But Verdi cannily uses these melodramatic conventions of Romantic opera Slovak Radio Symphony Orchestra, Alexander Rahbari (conductor) to reveal his characters’ psychological situations both directly (through their own words and actions, which of course give rise to their predicaments) and indirectly (as mirrored by, say, the 2 Brindisi: Libiamo ne’ lieti calici from La Traviata 2:54 famous storm in Rigoletto, or by contrasting Aïda’s inner turmoil when she discovers her father Monika Krause (soprano), Yordy Ramiro (tenor), Slovak Philharmonic Chorus, has been taken captive with the Egyptian’s public victory celebrations over the Ethiopians). Slovak Radio Symphony Orchestra, Alexander Rahbari (conductor) Few may find it credible when the old gypsy Azucena reveals that she had mistakenly thrown her own baby into the flames instead of the son of the man who burned her mother at the stake 3 La donna è mobile from Rigoletto 2:55 as a witch, but the disastrous consequences are tragic for all concerned. And the wide-ranging Yordy Ramiro (tenor), Slovak Radio Symphony Orchestra, grand guignol plot of La forza del destino may beggar belief, but it remains a gothic classic, Alexander Rahbari (conductor) complete with its own legendary ‘curse’ which apparently originated when the American baritone Leonard Warren died on the Metropolitan Opera stage on 4 March 1960 while singing Morir, 4 Va, pensiero ‘Chorus of the Hebrew Slaves’ from Nabucco 4:39 tremenda cosa (‘to die, a momentous thing’). -
Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated -
Biographic Details Regarding the Operetta the Land of Smiles by Franz Lehár
BIOGRAPHIC DETAILS REGARDING THE OPERETTA THE LAND OF SMILES BY FRANZ LEHÁR Katja Claudia Nadler Abstract This essay on biographic details regarding the operetta The Land of Smiles by Franz Lehár is entirely dedicated to facts found in literature and repositories of performance organisers. It does not aim at discussing importance or consequences this operetta might have on current musical life neither in central Europe nor in Asia. Being aware of this, here are only details mentioned that are helpful for further studies and do not mislead into speculation. Also, this essay is just a first access to the materials from the viewpoint of recent experiences with operettas. Keywords: operetta, exoticism, Franz Lehár, Vienna Franz Lehár was born on 30th April, 1870 in Komárno, a town then belonging to Hungary. His father was Franz Lehár (senior) the military capellmeister from Habsburg; province of Moravian Silesia. His mother was Christine Lehár of Hungarian origin (Linke, 2001: 7). Due to the father’s profession, Lehár frequently moved from place to place in his early childhood. Hence, in 1871 the Lehárs were ordered to Bratislava, 1875 to Sopron, 1877 to Cluj and in 1879 to Carlsberg. The family became larger from one station to the next. Three of Lehár’s siblings died shortly after birth, whereas Maria Anna was only 11 years old when she passed away. A long life was only granted to Lehár and his 1876 born brother Anton and to his 1890 born sister Emilie Christine (ibid: 13). In Lehár’s parents’ house music played a crucial role. For the parents, it was obvious that one day their eldest son would overtake the father’s profession (ibid: 14). -
VERDI Il Trovatore
OPERA EXPLAINED An Introduction t o… VERDI Il trovatore ThomsownriSttmenilbliye DavniadrrTaitmedsobny 8.558079D Opera Explained: Il trovatore An Introduction to… VERDI Il troThvomasontSomirllie e written by David Timson narrated by Background 1 Italy’s history in the 19th century 3:14 2 Verdi’s popularity 2:59 3 The operas 4:14 4 Rigoletto 3:05 5 La traviata 4:44 Il trovatore 6 Genesis of Il trovatore 3:41 7 Principal characters and the story so far 3:19 8 The gypsy woman 2:59 9 Leonora’s entrance aria 5:05 10 The role of Inez 1:54 11 Count di Luna and his place as Manrico’s rival 5:29 12 Act II: the gypsies’ encampment; Azucena’s ‘Stride la vampa!’ 3:07 2 8.558079D Opera Explained: Il trovatore 13 Azucena continues her story 3:27 14 Who is Manrico? 2:17 15 At the convent 3:34 16 Act II finale 3:41 17 Act III: Di Luna’s soldiers 3:43 18 Manrico: ‘Ah! Sì ben mio’; ‘Di quella pira’ 4:31 19 Act IV: Leonora’s ‘D’amor sull’ ali rosee’ 5:15 20 Leonora and Di Luna 3:11 21 Azucena and Manrico share a prison cell 2:02 22 Conclusion 3:35 TT 79:18 Il trovatore Music from – Naxos 8.660023–24 Leonora, Duchess – Daniela Longhi, soprano Azucena, a gypsy-woman – Irina Tschistiakova, mezzo-soprano Manrico, a troubador – Maurizio Frusoni, tenor Count di Luna – Roberto Servile, baritone Ferrando, a captain in the army – Franco de Grandis, bass Inez, Leonora’s confidante – Zsuzsa Csonka, soprano Ruiz, Manrico’s retainer – Jozsef Mukk, tenor Leonora’s attendants, the Count’s followers, soldiers, nuns, messengers, gypsies Budapest Festival Chorus Hungarian State Opera Orchestra Will Humburg 8.558079D 3 Opera Explained: Il trovatore Giuseppe Verdi (1813–1901) Il trovatore The word ‘opera’ is Latin and means ‘the works’; it represents a synthesis of all the other arts: drama, vocal and orchestral music, dance, light and design.