Music Comprehensive 01
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
THE BARBER of SEVILLE” Opened with a Standing Ovation by Iride Aparicio
OSJ’s “THE BARBER OF SEVILLE” Opened with a Standing Ovation By Iride Aparicio Photos by: Pat Kirk BRIAN JAMES MYER as Figaro SAN JOSÉ, CA -- “Figaro, Figaro, Figaro” According to CESARE STERBINI’s Libretto, written for GIACHINO ROSSINI’s opera “IL BARBIERI DI SIVIGLIA,” everybody calls Figaro in Seville, Spain during the seventeenth Century. Figaro was the town’s witty barber, who aside from shaving men’s beards, and fixing ladies’ hair, fixed everything else, if paid for his help. So, (in the libretto) when Count Almaviva (KIRK DOUGHERTY) disguised as Lindoro, a poor student, asks Figaro (BRIAN JAMES MYER) to help him enter the house of Don Bartolo ( VALERIAN RUMINSKI) the guardian of Rosina (RENÉE RAPIER) the woman he loves, Figaro plans a way that when putting it into effect, keep the audience laughing, the singers acting different comic roles and composer Rossini the opportunity to display his marvelous Bel Canto arias interpreted by the singers. KIRK DOUGHERTY as Lindoro and RENÉE RAPIER as Rosina And here we can add that on the opera's opening night, on November 12 at the California Theatre, the Opera San José’s singers voices were top class. On that night, the whole two acts of the work, moved smoothly. It was one of those rare nights in which all the elements go perfectly on the stage. The orchestra under the baton of ANDREW WHITFIELD, sounded rhythmically, and all the solos of the instruments were played in tune. Stage Director, LAYNA CHIANAKAS, managed natural acting from the singers playing the comic roles. -
The Barber of Seville
The Barber of Seville Education Kit Opera Australia The Barber of Seville 2019 Education Kit WELCOME In 2019, we are delighted to present The Barber of Seville as Opera Australia’s Schools Tour in Victoria. Singing and drama play an inspiring role in the education of children. We aim to foster a love of the performing arts in people of all ages, engaging them in a combination of music, singing, drama and design. Opera involves its audience visually, aurally and emotionally. For over 20 years, Opera Australia has maintained a strong commitment to bringing high calibre opera into schools; and our Schools Tours have developed a reputation for being some of the finest incursion performances in Australia. This year, 70,000 children will experience the excitement of opera in their own school. We trust that The Barber of Seville inspires your students, and that their engagement with the performing arts encourages their creativity, imagination and learning. Rory Jeffes Chief Executive Officer Opera Australia 1 The Barber of Seville 2019 Education Kit Contents ABOUT OPERA AUSTRALIA ...................................................................................................................... 3 ABOUT OPERA ......................................................................................................................................... 4 OPERA: A HISTORY ............................................................................................................................. 4 THE OPERATIC VOICE ............................................................................................................................ -
Press Kit: the Barber of Seville
Press Kit: The Barber of Seville Press Release José Maria Condemi Bio Bryan Nies Bio Synopsis Images: Krassen Karagiozov (as Figaro in The Barber of Seville) José Maria Condemi (stage director) Bryan Nies (conductor) News Release Press contacts: Virginia Perry, 408.437.4463 or 650.799.1341 [email protected] Elizabeth Santana, 408.437.2229 [email protected] FOR IMMEDIATE RELEASE: December 13, 2010 “Give Us More Barbers!” – Beethoven The Barber of Seville Opera San José presents Rossini’s comic masterpiece SAN JOSÉ, CA— Opera San José continues its 27th Season with Rossini’s delightful comic opera, The Barber of Seville. The charming tale of a clever young woman, her eager lover, and their resourceful accomplice, Figaro, The Barber of Seville is a tuneful testament to all that’s wonderful about fun and romance. Eight performances are scheduled from February 12 through 27 at the California Theatre, 345 South First Street in downtown San José. Tickets are on sale at the Opera San José Box Office, by phone at (408) 437-4450 or online at www.operasj.org. This production of The Barber of Seville is made possible, in part, by a Cultural Affairs Grant from the City of San José. The madcap story unfolds fast and furious in 18th-century Seville, Spain. Young Rosina is a wealthy orphan and the ward of a grasping old codger, Dr. Bartolo, who is plotting to marry her not only for her beauty, but for her substantial dowry. However, Rosina has two things on her side: the handsome Count Almaviva, who has fallen in love with her, and the town barber, Figaro, her conniving accomplice, who through clever disguises and quick wit succeeds in securing victory for the young couple. -
Shaping Nationalism 2
TO WHAT EXTENT SHOULD WE EMBRACE NATIONALISM? CHAPTER Shaping Nationalism 2 Figure 2-1 In July 1789, many people in Paris, France, rebelled against the government. They said they wanted liberty and equality for all citizens. In November 2005, young people in some Paris suburbs rioted and burned thousands of cars. They said they wanted equality with other French citizens. The photograph of a firefighter trying to put out a car fire was taken in Paris in November 2005. That same month, Ares, a Cuban artist, created the cartoon on this page to show his thoughts on what was happening in France. CHAPTER ISSUE How do external and internal factors shape nationalism? KEY TERMS ON OCTOBER 27, 2005, two teenagers — 15-year-old Bouna Traore and 17-year-old Zyed Benna — died in an electrical relay station in a suburb revolution of Paris, France. They were electrocuted when they tried to hide from republic French police, who were chasing them. Their families had immigrated collective to France from former French colonies. consciousness After Traore and Benna died, some young French citizens of bourgeoisie immigrant parents in the suburbs of Paris rioted and burned cars. They wanted the same rights and opportunities that other French push factors citizens enjoyed. pull factors Some people agreed that French society discriminated against non- white citizens and immigrants. Non-white citizens and immigrants often have trouble finding jobs. As a result, many end up living in suburban slums and find it difficult to improve their lives. Examine the photograph and cartoon on the previous page, then respond to the following questions. -
Lecture 1: a Short History of Thinking on Poverty
WIDER Conference, Helsinki 2013 The Idea of Antipoverty Policy Martin Ravallion Georgetown University and NBER “Is there anyone today who would not commit to eliminating poverty?” (Jim Yong Kim, 2013) 1 How did we come to think that eliminating poverty is a legitimate goal for public policy? What types of policies emerged over time in the hope of attaining that goal? 2 Three premises are now widely accepted: Premise 1: Poverty is a social bad Premise 2: Poverty can be eliminated Premise 3: Public policies can help do that • But these premises did not have broad scholarly support 200 years ago. • There has been a dramatic change in economic thinking about poverty—a new model of poverty. 3 The evolution in thinking, in four quotes • “The poor … are like the shadows in a painting: they provide the necessary contrast.” (Philippe Hecquet, 1740). • “Everyone but an idiot knows that the lower classes must be kept poor or they will never be industrious.” (Arthur Young, 1771). • “May we not outgrow the belief that poverty is necessary?” (Alfred Marshall, 1890). • “Our dream is a world free of poverty.” (Motto of the World Bank since 1990). This presentation aims to document and understand this huge change in how we think about poverty in the last 200+ years 4 A simple expository model and some definitions 5 Model of personal wealth dynamics • The credit market is imperfect, such that individuals can only borrow up to λ times their wealth. • Each person has a strictly concave production function yielding output h(k) from a capital stock k. -
Black Cosmopolitans
BLACK COSMOPOLITANS BLACK COSMOPOLITANS Race, Religion, and Republicanism in an Age of Revolution Christine Levecq university of virginia press Charlottesville and London University of Virginia Press © 2019 by the Rector and Visitors of the University of Virginia All rights reserved Printed in the United States of America on acid- free paper First published 2019 ISBN 978-0-8139-4218-6 (cloth) ISBN 978-0-8139-4219-3 (e-book) 1 3 5 7 9 8 6 4 2 Library of Congress Cataloging- in- Publication Data is available for this title. Cover art: Jean-Baptiste Belley. Portrait by Anne Louis Girodet de Roussy- Trioson, 1797, oil on canvas. (Château de Versailles, France) To Steve and Angie CONTENTS Acknowledgments ix Introduction 1 1. Jacobus Capitein and the Radical Possibilities of Calvinism 19 2. Jean- Baptiste Belley and French Republicanism 75 3. John Marrant: From Methodism to Freemasonry 160 Notes 237 Works Cited 263 Index 281 ACKNOWLEDGMENTS This book has been ten years in the making. One reason is that I wanted to explore the African diaspora more broadly than I had before, and my knowledge of English, French, and Dutch naturally led me to expand my research to several national contexts. Another is that I wanted this project to be interdisciplinary, combining history and biography with textual criticism. It has been an amazing journey, which was made pos- sible by the many excellent scholars this book relies on. Part of the pleasure in writing this book came from the people and institutions that provided access to both the primary and the second- ary material. -
Carlo Goldoni As Musical Reformer
CARLO GOLDONI AS MUSICAL REFORMER IN SEARCH OF REALISM IN THE DRAMMA GIOCOSO La vraisemblance doit toujours être la principale règle, et sans laquelle toutes les autres deviennent déréglées. -l’Abbé d’Aubignac, La Pratique du Théâtre by Pervinca Rista Dissertation submitted to the Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy. Baltimore, Maryland March 18, 2015 © Pervinca Rista All Rights Reserved Abstract Venetian playwright Carlo Goldoni (1707-1793), who is best remembered in literary history for his realist ‘reform’ of comic theatre, was also a prolific librettist. In particular, his texts for music written from 1748 onwards remain understudied but warrant significant reappraisal, for Goldoni was one of the first to give shape to the dramma giocoso, an innovative and realistic new genre of opera that went on to have a lasting legacy all the way to W. A. Mozart and Lorenzo da Ponte. Through an interdisciplinary, historical approach and intertextual analysis, the present study reevaluates Goldoni’s drammi giocosi, largely overlooked by scholarship, to uncover the lasting innovations in form and content introduced by the Venetian playwright. Analysis of these texts also reveals clear affinity between Goldoni's contributions to the dramma giocoso and his reform of prose theatre. Most importantly, unlike other types of comic opera, the dramma giocoso has the particularity of combining buffo with serio, a dynamic that, through Goldoni's mature output, continually evolves to bring new realism and social relevance to opera theatre. Goldoni’s influence on this type of musical representation has not been fully considered, but the realism in music that he achieves through the dramma giocoso must be acknowledged as a lasting contribution to modern literature, and to operatic history. -
HOTELS ET CHATEAUX LOUIS Xin
HOTELS ET CHATEAUX LOUIS Xin Bien que huguenots l'un et l'autre, Abraham Bosse, le gra veur, et Gédéon Tallemant des Réaux, l'auteur des Historiettes, ne sont point gens de même farine. Dix-sept années d'ailleurs les séparaient, Bosse étant né en 1602 et Tallemant'des Réaux en 1619. Maniant sa pointe avec soin et habileté mais sans grande imagination, assez gourmé et pesant, Bosse relève plutôt de la petite bourgeoisie des Caquets de l'Accouchée. Ce freluquet de Tallemant fréquente aine société plus relevée, qui se pique de lettres. Il n'a plus la lourdeur du bonhomme L'Estoile, bien qu'il appartienne comme lui à une famille de robe, moindre probablement, en dépit des apparences, que celle de son ancien. Il fait débauche avec les élégants, court les ruelles, écrit de petits vers, hante l'hôtel de Rambouillet. Il a décrit, avec beau coup plus de véracité qu'on ne l'a cru longtemps, un monde haut en couleurs, pittoresque, assez faisandé en somme. En tous les milieux de tous les temps, il y a toujours eu, pour em ployer l'expression de notre auteur, beaucoup « d'honnêtes femmes qui se gouvernent mal ». Mais enfin, la marquise de Rambouillet, qui est inattaquable, donne la faveur de son amitié à Mlle Paulet, la « lionne », qui sort d'assez bas lieu et qui n'est après tout que ce que nos aïeuls appelaient un « demi-castor ». La considération relative dont jouit Marion Delorme, qui ne cache pas son métier, nous surprend, et plus encore l'intimité HOTELS ET CHATEAUX LOUIS XIII 655 de celle qui sera plus tard Mme de Maintenon avec Ninon de L'Enclos. -
Antigona Van Tommaso Traetta Wo 2, Do 3 April 2003 Om Dramaturgische Redenen Zijn in De Partituur Enige Coupures Aangebracht
Muziektheater Transparant Antigona van Tommaso Traetta wo 2, do 3 april 2003 Om dramaturgische redenen zijn in de partituur enige coupures aangebracht. redactie programmaboekje deSingel en Janine Brogt druk Tegendruk duur van de voorstelling: deel 1 1 uur pauze 25 minuten deel 2 1 uur spreektaal Italiaans . boventiteling Nederlands bediening boventiteling Bart Boone gelieve uw GSM uit te schakelen! Muziektheater Transparant Antigona van Tommaso Traetta dirigent Paul Dombrecht assistent-dirigent Ewald Demeyere regie Gerardjan Rijnders regieassistent en voorstellingsleider Remi Beelprez muzikale uitvoering orkest Il Fondamento repetente Noémi Biro koor La Sfera del Canto verantwoordelijke dramaturgie Janine Brogt licht- en standenplan Tom Verheijen decor Paul Gallis verantwoordelijke belichting Luc De Vreese kostuums Rien Bekkers productieleiding Veerle Francke licht Reinier Tweebeeke technische leiding Roel Ghesquière beweging Bambi Uden lichttechnici Koen Ghesquière, Dag Jennes podiumtechnici Anton Devilder, Koen Ghesquière, rolverdeling Maarten Streefland Antigona, prinses van Thebe Raffaella Milanesi rigging Jan Hooyberghs Ismene, haar zuster Giorgia Milanesi coördinatie orkest en koor Philippe Severyns Creonte, haar oom Markus Brutscher vertaling libretto Janine Brogt Emone, Creonte’s zoon Maartje de Lint assistentie dramaturgie Bart Boone Adrasto, een Thebaans edelman David-Erich Fankhauser kleedsters Viviane Coubergs, Reintje Daens orkest kap en grime Sylvia Hiel, Leen Samyn viool Dirk Van Daele, Marianne Herssens, Maia Silberstein, -
Les Talens Lyriques Announces 20-21 Season with First Modern Performances of Salieri’S Armida
Les Talens Lyriques announces 20-21 season with first modern performances of Salieri’s Armida 31 December 2020, 28 February, 3 April 2021 London: Wigmore Hall concerts 16 January, 19 February 2021 Vienna: Festival Resonanzen & Theater an der Wien 10-13 May 2021 Paris: St. John Passion staged with Calixto Bieito 11-12 June 2021 Würzburg: Mozartfest Centenary with Idomeneo Also touring to: Dortmund, Heidelberg, Linz, Innsbruck, Ferrara, Bologna, Genoa, Bilbao, Brussels, Liège, Caen, Rouen, Qatar Christophe Rousset and Les Talens Lyriques announce their 2020-21 season championing heroines, with the first modern performances of Salieri’s breakthrough success Armida, 250 years after the work’s premiere. A recording of Armida to be made during the season is complemented by the release of Mozart’s Betulia liberata on Aparté this autumn. In June 2021, Les Talens Lyriques join the centennial Mozartfest Würzburg with performances of Idomeneo. Rousset and Les Talens Lyriques express their love of the French Baroque, pairing ballets by Lully and Pascal Collasse to tell of the birth and life of Venus. On tour in Europe, Les Talens Lyriques make multiple visits to Germany and Austria, and give three concerts at London’s Wigmore Hall in Spring 2021. At home in Paris, Les Talens Lyriques are joined by Calixto Bieito for a staged production of Bach’s St. John Passion at the Théâtre du Châtelet. Further recordings from the ensemble include a DVD of Stefano Landi’s La Morte d’Orfeo from the Dutch National Opera’s 2018 production, and a solo disc of Armand-Louis Couperin’s harpsichord works from Christophe Rousset. -
Schloss Maisons: Landsitz René De Longueils Und Königliche Maison De Plaisance
Schloss Maisons: Landsitz René de Longueils und königliche maison de plaisance Inaugural-Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät der Rheinischen Friedrich-Wilhelms-Universität zu Bonn vorgelegt von Stefan Rath aus Herford Bonn 2011 Gedruckt mit Genehmigung der Philosophischen Fakultät der Rheinischen Friedrich-Wilhelms-Universität Bonn Zusammensetzung der Prüfungskommission: Prof. Dr. Paul Geyer (Vorsitzender) Prof. Dr. Barbara Schellewald (Betreuerein und Gutachterin) Prof. Dr. Anne-Marie Bonnet (Gutachterin) Prof. Dr. Roland Kanz (weiteres prüfungsberechtigtes Mitglied) Tag der mündlichen Prüfung: 11.02.2011 Inhaltsverzeichnis Vorwort I. Einleitung 1 II. Gesamtanlage im Überblick 5 III. Quellen, Forschungsstand und Untersuchungskonzept 1. Quellen 8 2. Forschungsstand 12 3. Untersuchungskonzept und Ziel der Arbeit 20 IV. Planungs- und Baugeschichte I (1631/32 bis 1651) 26 V. Auftragsvergabe 42 VI. Planungs- und Baugeschichte II (1656/57 bis 1668) 46 VII. Vorgängerbau 55 VIII. Möblierung und Nutzung 1677 60 1. Schloss 1.1. Appartement des captifs (Erdgeschoss links) 61 1.2. Appartement de la renommée (Erdgeschoss rechts) 65 1.3. Appartement aux aigles (Obergeschoss rechts) 66 1.4. Appartement à l’italienne (Obergeschoss links) 68 1.5. Hierarchie der Räume 70 1.5.1. Appartement Longueils 71 1.5.2. Appartement du roi und de la reine 73 1.6. Unter- und Dachgeschosse 76 2. Stallungen 77 2.1. Appartement der Tochter Longueils 78 3. Parkeingänge der Hauptachse 79 IX. Architektur und Ausstattung I (1631/32 bis 1651) 1. Gesamtanlage 80 2. Eingangspavillons 84 3. Vorhöfe 86 4. Schlosshof 88 5. Schloss 5.1. Bautypologie 89 5.2. Fassaden 93 5.3. Fassadenskulptur 102 5.4. Disposition des Inneren 5.4.1. -
Operatic Reform in Turin
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter tece, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, If unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 800-521-0600 NOTE TO USERS This reproduction is the best copy available. UMI OPERATIC REFORM IN TURIN: ASPECTS OF PRODUCTION AND STYLISTIC CHANGE INTHEI760S DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Margaret Ruth Butler, MA.