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From the Violin Studio of Sergiu Schwartz
CoNSERVATORY oF Music presents The Violin Studio of Sergiu Schwartz SPOTLIGHT ON YOUNG VIOLIN VIRTUOSI with Tao Lin, piano Saturday, April 3, 2004 7:30p.m. Amamick-Goldstein Concert Hall de Hoernle International Center Program Polonaise No. 1 in D Major ..................................................... Henryk Wieniawski Gabrielle Fink, junior (United States) (1835 - 1880) Tambourin Chino is ...................................................................... Fritz Kreisler Anne Chicheportiche, professional studies (France) (1875- 1962) La Campanella ............................................................................ Niccolo Paganini Andrei Bacu, senior (Romania) (1782-1840) (edited Fritz Kreisler) Romanza Andaluza ....... .. ............... .. ......................................... Pablo de Sarasate Marcoantonio Real-d' Arbelles, sophomore (United States) (1844-1908) 1 Dance of the Goblins .................................................................... Antonio Bazzini Marta Murvai, senior (Romania) (1818- 1897) Caprice Viennois ... .... ........................................................................ Fritz Kreisler Danut Muresan, senior (Romania) (1875- 1962) Finale from Violin Concerto No. 1 in g minor, Op. 26 ......................... Max Bruch Gareth Johnson, sophomore (United States) (1838- 1920) INTERMISSION 1Ko<F11m'1-za from Violin Concerto No. 2 in d minor .................... Henryk Wieniawski ten a Ilieva, freshman (Bulgaria) (1835- 1880) llegro a Ia Zingara from Violin Concerto No. 2 in d minor -
Donizetti Operas and Revisions
GAETANO DONIZETTI LIST OF OPERAS AND REVISIONS • Il Pigmalione (1816), libretto adapted from A. S. Sografi First performed: Believed not to have been performed until October 13, 1960 at Teatro Donizetti, Bergamo. • L'ira d'Achille (1817), scenes from a libretto, possibly by Romani, originally done for an opera by Nicolini. First performed: Possibly at Bologna where he was studying. First modern performance in Bergamo, 1998. • Enrico di Borgogna (1818), libretto by Bartolomeo Merelli First performed: November 14, 1818 at Teatro San Luca, Venice. • Una follia (1818), libretto by Bartolomeo Merelli First performed: December 15, 1818 at Teatro San Luca,Venice. • Le nozze in villa (1819), libretto by Bartolomeo Merelli First performed: During Carnival 1820-21 at Teatro Vecchio, Mantua. • Il falegname di Livonia (also known as Pietro, il grande, tsar delle Russie) (1819), libretto by Gherardo Bevilacqua-Aldobrandini First performed: December 26, 1819 at the Teatro San Samuele, Venice. • Zoraida di Granata (1822), libretto by Bartolomeo Merelli First performed: January 28, 1822 at the Teatro Argentina, Rome. • La zingara (1822), libretto by Andrea Tottola First performed: May 12, 1822 at the Teatro Nuovo, Naples. • La lettera anonima (1822), libretto by Giulio Genoino First performed: June 29, 1822 at the Teatro del Fondo, Naples. • Chiara e Serafina (also known as I pirati) (1822), libretto by Felice Romani First performed: October 26, 1822 at La Scala, Milan. • Alfredo il grande (1823), libretto by Andrea Tottola First performed: July 2, 1823 at the Teatro San Carlo, Naples. • Il fortunate inganno (1823), libretto by Andrea Tottola First performed: September 3, 1823 at the Teatro Nuovo, Naples. -
Tianjin Juilliard Faculty Concert
The Tianjin Juilliard School presents Tianjin Juilliard Faculty Concert Monday, February 25, 2019, 7:00pm Cosmos Hall SAINT-SAËNS Fantaisie for Violin and Harp, Op. 124 GLINKA Romance for Violin, Cello, and Harp MOZART Oboe Quartet in F Major, K. 370/368b Intermission BRAHMS Piano Quintet, Op. 34 I. Allegro non troppo II. Andante, un poco Adagio III. Scherzo. Allegro IV. Finale. Poco sostenuto-Allegro non troppo Program order and selections are subject to change. Changes will be announced from the stage. Learn more about The Tianjin Juilliard School by visiting our website: tianjin.juilliard.edu About the Artists Scott Bell Oboist Scott Bell has performed recitals as part of the Music in a Great Space series in Pittsburgh and Reykjavik, Iceland. He has also appeared with the Santa Fe Opera, Glimmerglass Opera, Atlanta Symphony, National Symphony, Minnesota Orchestra, and Milwaukee Symphony. He is a member of the critically acclaimed Pittsburgh Reed Trio. As well as having been a member of the two-time Grammy Award winning Pittsburgh Symphony since 1993, Bell also holds the Mr. and Mrs. William Rinehart endowed oboe chair. Bell has been on the faculties of Northern Illinois University, Tulane University, Trinity College, Wesleyan University, Carnegie Mellon University, and Duquesne University. He attended the Cleveland Institute of Music as a student of legendary oboist and pedagogue John Mack. In 1982, Bell became the first oboist to win First Prize at the prestigious Fernand Gillet Competition. Sheila Browne Recently named William Primrose Memorial Recitalist Sheila Browne has performed across six continents. She premiered a concerto written for her by Kenneth Jacobs at the international viola congresses in Australia and South Africa and recorded it with the Kiev Philharmonic. -
First Glimpse 2018: Songs from the Great Room
presents First Glimpse 2018: Songs from the Great Room World Premiere Songs rom e 17-19 omosers e oie series Composers & the Voice Artistic Director - Steven Osgood Musical Direction by Mila Henry & Kelly Horsted 2017-19 Composers & the Voice Composer and Librettist Fellows Laura Barati Pamela Stein Lynde Sokunthary Svay Matthew Browne Scott Ordway Amber Vistein Kimberly Davies Frances Pollock Alex Weiser 2017-18 Composers & the Voice Resident Singers Tookah Sapper, soprano Jennifer Goode Cooper, soprano Blythe Gaissert, mezzo-soprano* Blake Friedman, tenor Mario Diaz Moresco, baritone Adrian Rosas, bass-baritone *Songs written for mezzo-soprano will be performed tonight by Kate Maroney Resident Stage Manager - W. Wilson Jones May 19 & 20, 2018 - 7:30 PM SOUTH OXFORD SPACE, BROOKLYN FROM THE ARTISTIC DIRECTOR I always have mixed emotions when a cycle of Composers and the Voice arrives at the First Glimpse concerts. It is thrilling to FINALLY throw open the doors of this room and share some of the wonderful pieces that have been written since last Fall. But it also means that my time working so regularly and directly with a family of artists is drawing to a close. It takes a huge team of people to make a program like Composers and the Voice work, but I would like to thank two who have stepped into new and significantly larger roles this year. Mila Henry, C&V Head of Music, has overseen the musical organization of the entire season, while also preparing several pieces for each of our workshop sessions. Matt Gray, as C&V Head of Drama, has brought his insight into character and operatic narrative into every element of the program. -
Newsletter • Bulletin Summer 2002 Été
NATIONAL CAPITAL OPERA SOCIETY • SOCIÉTÉ D'OPÉRA DE LA CAPITALE NATIONALE Newsletter • Bulletin Summer 2002 Été P.O. Box 8347, Main Terminal, Ottawa, Ontario K1G 3H8 • C.P. 8347, Succursale principale, Ottawa (Ontario) K1G 3H8 A new Canadian star!!! by Renate Chartrand Opernglas’ featured a six-page interview with her on the occasion of her Covent Garden debut as Donna Anna with Bryn Terfel as Don Giovanni. (Perhaps while I am writing this, ‘Opera Canada’ is doing the same?) For several years she was based in Vienna, singing lead roles at the State Opera. Elsewhere in Europe she has had great success as Elsa, Arabella, Tatiana, Desdemona and Alice Ford in Munich, Paris, Glyndebourne and Milan. Four years ago in Hamburg she had already caught my at- tention as a great Ellen Orford in Peter Grimes. As is the custom in Europe we joined the fans wait- ing for her at the stage door and asked her whether she is thinking of doing Tosca. Yes, next year in San Francisco. This year she will sing her first Elisabetta (Don Carlo) in Salzburg, Ariadne in Barcelona and her Met debut as Lisa (Pique Dame) is planned for 2004. For us Ottawans of greatest interest will be her first Sieglinde in Toronto’s (continued on page 3) Adrianne Pieczonka Kat’a Kabanova During my trip to Germany in April I had the pleasure of witnessingBrian a Canadian star being born. Soprano Adrianne Pieczonka made the front page of the ‘Hamburger Abendblatt’Law with the comment “A star was born” follow- ing the opening night of Kat’a Kabanova by Janacek at the Hamburg State Opera. -
La Sonnambula 3 Content
Florida Grand Opera gratefully recognizes the following donors who have provided support of its education programs. Study Guide 2012 / 2013 Batchelor MIAMI BEACH Foundation Inc. Dear Friends, Welcome to our exciting 2012-2013 season! Florida Grand Opera is pleased to present the magical world of opera to the diverse audience of © FLORIDA GRAND OPERA © FLORIDA South Florida. We begin our season with a classic Italian production of Giacomo Puccini’s La bohème. We continue with a supernatural singspiel, Mozart’s The Magic Flute and Vincenzo Bellini’s famous opera La sonnam- bula, with music from the bel canto tradition. The main stage season is completed with a timeless opera with Giuseppe Verdi’s La traviata. As our RHWIEWSRÁREPI[ILEZIEHHIHERI\XVESTIVEXSSYVWGLIHYPIMRSYV continuing efforts to be able to reach out to a newer and broader range of people in the community; a tango opera María de Buenoa Aires by Ástor Piazzolla. As a part of Florida Grand Opera’s Education Program and Stu- dent Dress Rehearsals, these informative and comprehensive study guides can help students better understand the opera through context and plot. )EGLSJXLIWIWXYH]KYMHIWEVIÁPPIH[MXLLMWXSVMGEPFEGOKVSYRHWWXSV]PMRI structures, a synopsis of the opera as well as a general history of Florida Grand Opera. Through this information, students can assess the plotline of each opera as well as gain an understanding of the why the librettos were written in their fashion. Florida Grand Opera believes that education for the arts is a vital enrich- QIRXXLEXQEOIWWXYHIRXW[IPPVSYRHIHERHLIPTWQEOIXLIMVPMZIWQSVI GYPXYVEPP]JYPÁPPMRK3RFILEPJSJXLI*PSVMHE+VERH3TIVE[ILSTIXLEX A message from these study guides will help students delve further into the opera. -
Smith College Alumnae Chorus to Honor Composer Alice Parker, Class of 1947, in Special Concert
Published on GazetteNet (http://www.gazettenet.com) Print this Page A lifetime of music; Smith College Alumnae Chorus to honor composer Alice Parker, class of 1947, in special concert By STEVE PFARRER Staff Writer Wednesday, September 17, 2014 (Published in print: Thursday, September 18, 2014) Who says your time singing in college has to end with graduation? For members of the Smith College Alumnae Chorus, launched four years ago, choral music remains a means for forging connections among graduates of different classes and keeping their voices raised in song. For Alice Parker, Smith class of 1947, choral music has been a lifelong calling — as a composer, a conductor and teacher. Parker, 88, has composed for decades, earning particular notice for her arrangements of folk songs and hymns for vocal ensembles. She collaborated for years on such material with the late Robert Shaw, known as “the Dean of American Choral Conductors.” On Sunday, Sept. 21, Parker and the Alumnae Chorus (SCAC) will join forces at Smith to celebrate Parker’s lifetime achievements in a 2 p.m. show at Sweeney Concert Hall. Part of the performance, which will be conducted by Parker, has a special connection to the Valley as well: Parker will lead the chorus in a rendition of her song cycle “Three Seas,” a suite based on the poetry of Emily Dickinson. Members of the SCAS, most of whom performed with one of more vocals groups at Smith when they were students, say the opportunity to work with Parker is an exciting one. “It’s really an honor,” Sarah Muffly, class of 2008 and the chorus’ secretary, said in a recent phone call from her home in the New York area. -
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. -
OPERAFASHION: OLTRE LO STILE DEL CANTO (Operafashion.Blog)
OPERAFASHION: OLTRE LO STILE DEL CANTO (Operafashion.blog) AN UNUSUAL INTERVIEW WITH ELENA MOSUC Elena Mosuc is considered by international critics among the most expressive and versatile sopranos of Belcanto. She will be Mimì in “La Boheme” at Puccini Festival 2018 in the new production directed by Alfonso Signorini and the conduction of Alberto Veronesi. The Primadonna granted an interview to Operafashion with a lot of music, memories and fashion! What have been the key steps of your artistic career? ©Paulo César First of all, the year 1990, when I won the international singing competition ARD-Wettbewerb in Munich, which completely changed my life. I had been studying singing privately for 10 years and at that point I was already very well prepared from a vocal point of view. Winning this competition has opened the doors to a new beautiful world, which has offered me so much but has also asked a lot of work, a lot of preparation, many sacrifices. Let’s say that this was the key to my musical life. I haven’t got anything because I have beautiful blue eyes! Even though I was already very well prepared, I had to work to grow in my profession. What all my colleagues and I do is a job where you never stop working. As my dear maestro in Zurich – Ion Buzea, a great tenor with a great career – says, “the job of the singer continues even after retirement!”. Of course it is true for those who really want to achieve something in life and have great respect for the public and for the stage, which I consider a temple. -
Marino Faliero
MARINO FALIERO Tragedia lirica. testi di Giovanni Emanuele Bidera musiche di Gaetano Donizetti Prima esecuzione: 12 marzo 1835, Parigi. www.librettidopera.it 1 / 44 Informazioni Marino Faliero Cara lettrice, caro lettore, il sito internet www.librettidopera.it è dedicato ai libretti d©opera in lingua italiana. Non c©è un intento filologico, troppo complesso per essere trattato con le mie risorse: vi è invece un intento divulgativo, la volontà di far conoscere i vari aspetti di una parte della nostra cultura. Motivazioni per scrivere note di ringraziamento non mancano. Contributi e suggerimenti sono giunti da ogni dove, vien da dire «dagli Appennini alle Ande». Tutto questo aiuto mi ha dato e mi sta dando entusiasmo per continuare a migliorare e ampliare gli orizzonti di quest©impresa. Ringrazio quindi: chi mi ha dato consigli su grafica e impostazione del sito, chi ha svolto le operazioni di aggiornamento sul portale, tutti coloro che mettono a disposizione testi e materiali che riguardano la lirica, chi ha donato tempo, chi mi ha prestato hardware, chi mette a disposizione software di qualità a prezzi più che contenuti. Infine ringrazio la mia famiglia, per il tempo rubatole e dedicato a questa attività. I titoli vengono scelti in base a una serie di criteri: disponibilità del materiale, data della prima rappresentazione, autori di testi e musiche, importanza del testo nella storia della lirica, difficoltà di reperimento. A questo punto viene ampliata la varietà del materiale, e la sua affidabilità, tramite acquisti, ricerche in biblioteca, su internet, donazione di materiali da parte di appassionati. Il materiale raccolto viene analizzato e messo a confronto: viene eseguita una trascrizione in formato elettronico. -
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. -
Table of Contents More Information
Cambridge University Press 978-0-521-63535-6 - The Cambridge Companion to Verdi Edited by Scott L. Balthazar Table of Contents More information Contents List of figures and table [page vii] List of examples [viii] Notes oncontributors [x] Preface [xiii] Chronology [xvii] r Part I Personal, cultural, and political context 1Verdi’s life: a thematic biography Mary Jane Phillips-Matz [3] 2The Italian theatre of Verdi’s day Alessandro Roccatagliati [15] 3Verdi, Italian Romanticism, and the Risorgimento Mary Ann Smart [29] r Part II The style of Verdi’s operas and non-operatic works 4Theforms of set pieces Scott L. Balthazar [49] 5Newcurrents in the libretto Fabrizio Della Seta [69] 6Words and music Emanuele Senici [88] 7French influences Andreas Giger [111] 8Structuralcoherence Steven Huebner [139] 9Instrumental music in Verdi’s operas David Kimbell [154] 10 Verdi’s non-operatic works Roberta Montemorra Marvin [169] r Part III Representative operas 11 Ernani: the tenor in crisis Rosa Solinas [185] 12 “Ch’hai di nuovo, buffon?” or What’s new with Rigoletto Cormac Newark [197] 13 Verdi’s Don Carlos:anoverviewoftheoperas Harold Powers [209] 14 Desdemona’s alienation and Otello’s fall Scott L. Balthazar [237] r Part IV Creation and critical reception 15 An introduction to Verdi’s working methods Luke Jensen [257] 16 Verdi criticism Gregory W.Harwood [269] [v] © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-63535-6 - The Cambridge Companion to Verdi Edited by Scott L. Balthazar Table of Contents More information vi Contents Notes [282] List of Verdi’s works [309] Select bibliography and works cited [312] Index [329] © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-63535-6 - The Cambridge Companion to Verdi Edited by Scott L.