March 14, 15 & 16, 2014

Total Page：16

File Type：pdf, Size：1020Kb

J ubilate! a ConC ert of SaC red Mu S i C Program, TexTs and TranslaTions march 14, 15 & 16, 2014 George Frideric Handel (1685-1759) | Samson Let the Bright Seraphim Karen Barraza Johann Sebastian Bach (1685-1750) | Cantata No. 159 | Sehet, wir gehn hinauf gen Jerusalem Es ist vollbracht Jorge Espino Johann Sebastian Bach (1685-1750) | Cantata No. 82 | Ich habe Genug Ich freue mich auf meinen Tod André Courville Johann Sebastian Bach (1685-1750) | Cantata No. 172 | Erschallet ihr Lieder O seelen Paradies Jonas Hacker Wolfgang Amadeus Mozart (1756-1791) | Grand Mass in C minor Laudamus te Alexandra Schenck Quoniam Shelley Jackson, Alexandra Schenck and Galeano Salas Franz Joseph Haydn (1732-1809) | Missa in tempore belli (Mass in the time of War) Benedictus Chloé Moore, Kristina Nicole Lewis, André Courville and Galeano Salas Gioachino Rossini (1792-1868) | Messa di Gloria Laudamus Shelley Jackson Domine Deus Karen Barraza, Julia Dawson, and Anthony Schneider Quoniam Patrick Guetti Qui tollis Alasdair Kent Intermission George Frideric Handel (1685-1759) | Judas Maccabaeus Sound an Alarm Dominick Chenes Recitative Air George Frideric Handel (1685-1759) | Joshua See the Raging Flames Arise Daniel Noyola Recitative Air Felix Mendelssohn (1809-1847) | Elijah Help Me, Man of God Melinda Whittington and Michael Adams Elijah Elijah Elijah Elijah Felix Mendelssohn (1809-1847) | Elijah Lord God of Abraham Armando Piña Hear Ye, Israel Chloé Moore Felix Mendelssohn (1809-1847) | Paulus (Saint Paul) Gott sei mir gnädig Musa Ngqungwana Johann Sebastian Bach (1685-1750) | Charles Gounod (1818-1893) Ave Maria Marina Costa-Jackson Georges Bizet (1838-1875) Agnus Dei Mackenzie Whitney James H. East (1920-2006) A Teacher’s Prayer Kristina Nicole Lewis The Teacher John Musto (b.1954) | Shadow of the Blues | Text by Langston Hughes Litany Michael Adams William J. “Bill” Gaither (b. 1936) It Is Finished Resident Artists Jubilate! a ConC ert of SaC red Mu S i C.

Copy Link

Recommended publications

Compact Discs by 20Th Century Composers Recent Releases - Spring 2020
Compact Discs by 20th Century Composers Recent Releases - Spring 2020 Compact Discs Adams, John Luther, 1953- Become Desert. 1 CDs 1 DVDs $19.98 Brooklyn, NY: Cantaloupe ©2019 CA 21148 2 713746314828 Ludovic Morlot conducts the Seattle Symphony. Includes one CD, and one video disc with a 5.1 surround sound mix. http://www.tfront.com/p-476866-become-desert.aspx Canticles of The Holy Wind. $16.98 Brooklyn, NY: Cantaloupe ©2017 CA 21131 2 713746313128 http://www.tfront.com/p-472325-canticles-of-the-holy-wind.aspx Adams, John, 1947- John Adams Album / Kent Nagano. $13.98 New York: Decca Records ©2019 DCA B003108502 2 028948349388 Contents: Common Tones in Simple Time -- 1. First Movement -- 2. the Anfortas Wound -- 3. Meister Eckhardt and Quackie -- Short Ride in a Fast Machine. Nagano conducts the Orchestre Symphonique de Montreal. http://www.tfront.com/p-482024-john-adams-album-kent-nagano.aspx Ades, Thomas, 1971- Colette [Original Motion Picture Soundtrack]. $14.98 Lake Shore Records ©2019 LKSO 35352 2 780163535228 Music from the film starring Keira Knightley. http://www.tfront.com/p-476302-colette-[original-motion-picture-soundtrack].aspx Agnew, Roy, 1891-1944. Piano Music / Stephanie McCallum, Piano. $18.98 London: Toccata Classics ©2019 TOCC 0496 5060113444967 Piano music by the early 20th century Australian composer. http://www.tfront.com/p-481657-piano-music-stephanie-mccallum-piano.aspx Aharonian, Coriun, 1940-2017. Carta. $18.98 Wien: Wergo Records ©2019 WER 7374 2 4010228737424 The music of the late Uruguayan composer is performed by Ensemble Aventure and SWF-Sinfonieorchester Baden-Baden. http://www.tfront.com/p-483640-carta.aspx Ahmas, Harri, 1957- Organ Music / Jan Lehtola, Organ.
[Show full text]
Wolf Trap Opera 2017 Artist Roster, Productions and Casting
Wolf Trap Opera 2017 Artist Roster, Productions and Casting Wolf Trap Opera is a summer residency program of Wolf Trap Foundation for the Performing Arts. Each summer, some of the best young opera singers in America come to Wolf Trap to refine their craft. Rather than choosing singers based on casting requirements, Wolf Trap Opera identifies the most promising artists, and then selects repertoire that will best showcase their talents. This artist-centric, tailored approach to artist development makes Wolf Trap Opera one of the most respected artist training programs in the country, and provides audiences with a variety of intriguing operas that play to the strengths of each season’s distinct mix of talent. Through its unique performance-based training program, Wolf Trap Opera has contributed to the career development of nearly 700 emerging professional singers from across the country. WTO alumni can be found working in every top opera house in the U.S., Europe, and beyond. Offstage, WTO has also provided 300+ fellows and interns with the skills needed to achieve significant careers in production, design, and administration. Wolf Trap Opera artists go on to have long and healthy careers on stage, and many of the leading singers of our time started out as a Wolf Trap Opera artists. Distinguished alumni include: Stephanie Blythe, Lawrence Brownlee, Michelle DeYoung, Christine Goerke, Denyce Graves, Nathan Gunn, Alan Held, Dawn Upshaw, and Eric Owens. FILENE YOUNG ARTISTS All principal roles in Wolf Trap Opera productions are performed by singers selected as Filene Young Artists (FYAs). FYAs are at an interim point between academic training and full-time professional careers.
[Show full text]
BILANCIO SOCIALE ANNO 2017 Indice
BILANCIO SOCIALE ANNO 2017 Indice Il Festival 2017 p. 4 Per un bilancio etico p. 7 Valori sociali prodotti p. 9 Ricerca p. 9 Formazione p. 9 Diffusione p. 12 Valore e distribuzione della ricchezza prodotta p. 17 Personale dipendente e collaboratori p. 21 Valore aggiunto p. 25 Conclusioni p. 31 Scheda del Festival p. 34 Teatro Sperimentale - 17 luglio FESTIVAL GIOVANE Accademia Rossiniana “Alberto Zedda” IL Concerto degli allievi Teatro Rossini - 14 e 16 agosto FESTIVAL GIOVANE Il viaggio a Reims FESTIVAL Cantata scenica - Libretto di Luigi Balochi Edizione critica Fondazione Rossini e Casa Ricordi, a cura di Janet Johnson Direttore Michele Spotti Elementi scenici e Regia Emilio Sagi 2017 Ripresa della Regia Elisabetta Courir Costumi Pepa Ojanguren XXXVIII Edizione dedicata ad Alberto Zedda Interpreti Martiniana Antonie, Beatriz De Sousa, 10~22 agosto Valeria Girardello, Sofia Mchedlishvili, Noluvuyiso Mpofu, Adriatic Arena - 10, 13, 16 e 19 agosto Giorgia Paci, Marigona Qerkezi, Francesca Tassinari, LE SIÈGE DE CORINTHE Daniele Antonangeli, Francesco Auriemma, Gurgen Baveyan, Tragédie lyrique in tre atti di Luigi Balocchi e Alexandre Soumet Michael Borth, Emmanuel Faraldo, Ruzil Gatin, Elcin Huseynov, Edizione critica Fondazione Rossini e Casa Ricordi, a cura di Damien Colas Alasdair Kent, Roberto Lorenzi, Oscar Oré, Aleksandr Utkin Filarmonica Gioachino Rossini Direttore Roberto Abbado Produzione 2001, riallestimento Progetto Regia La Fura dels Baus Regia e Scene Carlus Padrissa Auditorium Pedrotti - 15 e 21 agosto Elementi scenografici e pittorici, Costumi e VideoLita Cabellut Concerti di Belcanto Luci Fabio Rossi 15 agosto LUCA PISARONI Giulio Zappa pianoforte Interpreti Nino Machaidze, Cecilia Molinari, Xabier Anduaga, Musiche di F.
[Show full text]
PROGRAMME CALENDAR a BRIEF HISTORY Beginning the 135Th Opera Season of OPERA in HUNGARY 2018
PROGRAMME CALENDAR A BRIEF HISTORY Beginning the 135th opera season OF OPERA IN HUNGARY 2018 Two years ago, we celebrated the 200th anniversary of the publication of the play that was later to be “THE PLEASURES OF CIVILISED used as the libretto of the first surviving Hungarian musical drama. And even though some form of op- era performance had already existed in Hungary in the courts of the aristocrats and primates – for an PEOPLE ARE ALWAYS COMPLEX” example, one need look no further than Haydn, who worked at Eszterháza (today’s Fertőd) – the first institution at the national level was the one which opened as the Hungarian Theatre of Pest in 1837 and was renamed the National Theatre in 1840. The opera company led by Ferenc Erkel and the dance en- semble led by Frigyes Campilli were given their own building and independence only at a relatively late stage, in 1884. But then they moved into the new building designed and built by Miklós Ybl on the “radial” avenue, and in doing so became the greatest of all of Hungary’s cultural institutions. We can really put our faith in Géza Csáth, since, as an early “So what do they do? They curse and insult those who, with follower of Freud, he studied the subconscious and believed their youthful tendons, climbed the walls and out into open that the mysterious world within us gives us pleasure. space. They see Puccini’s weaknesses, but are incapable of Opera and ballet, too, are complex experiences, as are all the noticing his youthfullness, his strength.
[Show full text]
Contact: Rachel Krasner Merola Opera Program [email protected] 415-551-6299
Contact: Rachel Krasner Merola Opera Program [email protected] 415-551-6299 FOR IMMEDIATE RELEASE / UPDATED July 1, 2015 Kia Ora Foundation sponsors New Zealand singers Amina Edris and James Ioelu in the world-renowned Merola Opera Program's 2015 summer training program SAN FRANCISCO, UPDATED July 1, 2015 – The Kia Ora Foundation will sponsor two singers from New Zealand, soprano Amina Edris and bass-baritone James Ioelu, in the 2015 Merola Opera Program. Edris and Ioelu were chosen from over 800 artists who applied for this world-renowned summer opera training program. They, along with twenty-one other singers, five apprentice coaches, and one apprentice stage director, representing seven countries, will participate in the 58th season of the Merola Opera Program from June 8 to August 22. The Kia Ora Foundation contributed $10,000 ($5000 for each singer) to sponsor Edris and Ioelu. Merola's training program is offered free of tuition to the participants and Merola also covers travel to and from San Francisco and provides housing and weekly stipend while the artists are in the program. Sponsors play an important role in funding the artists. Edris and Ioelu will both appear in Merola's production of Don Pasquale (Edris as Norina, Ioelu in the title role) which will be presented at the Cowell Theater at Fort Mason Center on August 6 (7:30 pm) and August 8 (2:00 pm). They will also participate in pubic master classes with opera luminaries Jane Eaglen, Martin Katz, Malcolm Martineau, James Morris, and Antony Walker. Edris and Ioelu, along with the other young artists in the program, will perform in the Merola Grand Finale concert on the stage of the War Memorial Opera House on August 22.
[Show full text]
Ramón Vargas
2018. február március Ramón Vargas A bahcsiszeráji szökőkút Az álarcosbál Lukács Gyöngyi Kobajasi Kenicsiró Fabio Ceresa Beköszöntő Tisztelt Ókovács Úr, Köszönettel vettük január 10-én kelt levelét a Magyar Állami Operaház The Gershwins®’ Porgy és Bess® budapesti bemutatója kapcsán. Csodálatra méltó vállalkozás, amit mi az Opera Europa részéről igencsak támogatunk. Fotó: Jana Hallova Jana Fotó: Önökhöz hasonlóan én is úgy vélem, hogy ez az opera a 20. század egyik legnagyszerűbb zenei és drámai műve, mely egyetemes üzeneteket hordoz. Ez az alkotás különleges helyet foglal el az amerikai kultúrában, ezért megértem a jogtulajdonosokat is, miért ragaszkodnak ahhoz, hogy olyan szereposztásban mutassák be, amely tiszteletben tartja az operai figurák kulturális hátterét az Egyesült Államokban, ami valójában más angol nyelvű országok, így az Egyesült Királyság, Dél-Afrika és Ausztrália vegyes etnikumú társadalmára is igaz. Másrészt viszont van egy elfogadott szokás, miszerint, ha eltérő feltételek mellett [azaz nem csak született fekete énekesek előadásában] mutatnák be olyan országokban, mint Németország vagy Ausztria, a jogtulajdonosok időnként lazítottak a megszorításokon annak érdekében, hogy más közösségek is élvezhessék a művet. Mivel a Magyar Állami Operaház magyar énekesekkel mutatta be a művet, előnyös lenne, ha a jogtulajdonosok a szereposztásra vonatkozó feltételektől eltekintenének, ahogyan azt már megtették más európai előadások esetében. Nem arról van ugyanis szó, hogy [az Opera] megtagadja a fekete művészektől a munkát; mint inkább
[Show full text]
Lyric Opera of Kansas City Announces 2018-2019 Season
FOR IMMEDIATE RELEASE Contact: Ellen McDonald (816) 444-0052 Or (816) 213-4355 (c) [email protected] For Tickets: kcopera.org or 816.471.7344 Lyric Opera of Kansas City Announces 2018-2019 Season Kansas City, MO (February 12, 2018) – Lyric Opera of Kansas City General Director and CEO Deborah Sandler today announced its 2018-2019 season. The season includes four mainstage productions at the Kauffman Center for the Performing Arts including a spectacular NEW PRODUCTION of West Side Story, plus new-to-Kansas City productions of Madama Butterfly, Così fan tutte, and The Pearl Fishers. All performances will be accompanied by members of the Kansas City Symphony. In its third season, the Lyric’s 2018-2019 Exploration Series continues with three performances at the Michael and Ginger Frost Production Arts Building and at Grace & Holy Trinity Cathedral. General Director and CEO Deborah Sandler stated, “When the Lyric Theatre was founded in 1958, Russell Patterson had a vision to make opera accessible to a modern audience. Sixty years later, Lyric Opera of Kansas City is still firmly committed to that vision. We have made it our mission to make opera indispensable to Kansas City through adventurous programming over a wide range of repertoire. Our 2018-2019 season was designed to surprise, delight, and inspire the seasoned opera-lover and the newcomer alike.” 2018-2019 Season Bernstein’s West Side Story The season opens with the award-winning work that transports Romeo & Juliet to the streets of New York City, an ALL-NEW PRODUCTION of West Side Story, featuring the original Jerome Robbins choreography and the original orchestral score.
[Show full text]
Teatro Petruzzelli
TEATRO PETRUZZELLI History: The Teatro Petruzzelli is a symbol of both Italian musical excellence and architectural beauty and harmony; currently owned by the Messeni Nemagna family, it is the main theater in Bari, the fourth largest in Italy, and the largest private theater in Europe. In 1877 the City Council decided to give 12,000 lire and an allotment of free land to the company willing to build a theater under the terms and conditions it had set. Brothers Onofrio and Antonio Petruzzelli – two traders and ship builders originally from Trieste – presented a project by their brother-in-law, Bari-born engineer Angelo Cicciomessere (who later changed his name to Messeni by Royal Decree). Their proposal was approved in 1895, but construction did not begin until May 23, 1898; the Teatro Petruzzelli opened four years later, on February 14, 1903, with “Les Huguenots” by Giacomo Meyerbeer (recently performed in Martina Franca, for the Festival pugliese della Valle d’Itria). Its stage welcomed the great masterpieces of opera (especially Verdi and Puccini) as well as new works in step with international artistic trends, such as Marchetti’s ‘grand opéra’ “Ruy Blas”, Auber’s opéra-comique “Fra Diavolo”, Gomes’s opera ballo “Il Guarany”, and the famous “Ballo Excelsior” by Marenco. Unforgettable artists like Beniamino Gigli, Licia Albanese, Tito Schipa, Mario Del Monaco, Alfredo Kraus, Luciano Pavarotti, Renato Bruson, Renata Tebaldi, Piero Cappuccilli, Raina Kabaivanska, and Ruggero Raimondi all performed here. Not to mention conductors Herbert von Karajan and Riccardo Muti, dancers Rudolf Nureyev and Carla Fracci. Theatre: E’ un’iniziativa de: IL SIPARIO MUSICALE Via Molino delle Armi 11 – 20123 Milano.
[Show full text]
OPERA Magazine Don Procopio
Don Procopio Perth Australia’s arts scene is in crisis after a devastating government funding cut in May left 62 companies without funding. In this climate it is a miracle that the nation’s most innovative opera company LOST & FOUND continues to flourish. The company performs rarely heard repertoire in unusual venues, employs outstanding West Australian freelance singers and engages a much wider audience demographic than traditional opera. LOST & FOUND’S hilarious, thought-provoking and theatrical production of Bizet’s Don Procopio on June 14th was a compelling argument for the vital role of small arts companies in Australia. Bizet’s early opera buffa (composed in 1859 and borrowing heavily from Don Pasquale) demonstrates an easily facility with patter, brillante ensemble numbers to rival Mozart and a knack for musical characterisation. The libretto follows the antics of Bettina as she rails against an arranged marriage to the wealthy elderly Don Procopio. Bizet didn’t (as far as we know) provide recitatives which leaves plenty of room for interpretation. Director Thomas de Mallet Burgess rented the suburban Italian VASTO CLUB and enlisted a group of nonne from the nearby retirement village to lend an organic feel to the chorus. Conductor Chris van Tuinen arranged the score for an eight-piece ensemble with accordion adding cabaret flavour. Sally Phipps’ wedding set and costumes were awash in pink from balloons to wigs and even pink waistcoats for the orchestra. In Scene One the wedding had already begun (with audience members participating in the banquet) and Bettina’s uncle and aunt were part-dressed and mid-argument.
[Show full text]
Alasdair Kent Tenor
ALASDAIR KENT TENOR “Sound[ing] to the bel canto born with his evenly-produced tenor, refined technique and intense expressiveness,” (Opera News), British-Australian Alasdair Kent made his professional debut as Don Ramiro in La Cenerentola with Opera Queensland in 2013. His affinity for this repertoire has since lead to debuts in the principal tenor parts of Rossini’s Il barbiere di Siviglia, L’Italiana in Algeri, La pietra del paragone and Mosè in Egitto, culminating in his European debut as Cavaliere Belfiore in Il viaggio a Reims with the Rossini Opera Festival in 2017. Mr. Kent is a graduate of the Academy of Vocal Arts in Philadelphia, where his roles included Ferrando in Così fan tutte, Tamino in Die Zauberflöte, Don Ottavio in Don Giovanni and Rinuccio in Gianni Schicchi. He is a proud alumnus of ROF’s Accademia Rossiniana, Opera Philadelphia’s Emerging Artist Program, the Merola Opera Program, the Lisa Gasteen National Opera School, and spent two seasons with Wolf Trap Opera (where he has sung also the difficult role of Ritornello in Gassmann’s L’Opera seria) as a Filene Young Artist. Alasdair captured the attention of the international critic and theatres in 2016, winning the Joan Sutherland & Richard Bonynge Bel Canto Award and the Mildred Miller International Voice Competition. Semi-finalist at the Metropolitan Opera National Council Auditions, finalist at the Paris Opéra competition at Théâtre des Champs- Elysées. Notable mentioning first prize at Loren L. Zachary National Vocal Competition, at Gerda Lissner Foundation International Vocal Competition, at Licia Albanese-Puccini Foundation International Vocal Competition, special award at the Giulio Gari Foundation International Vocal Competition, at Opera Index Vocal Competition, a Career Bridges Grant Awards and prize at the Violetta DuPont Vocal Competition.
[Show full text]
La Temporada Lírica Española Sigue En La Cuerda
Bienvenida UNA TEMPORADA EXTRAORDINARIA a temporada lírica española sigue en la cuerda Joan TOMÀS Joan floja a expensas de lo que dictaminen las institu- ciones sanitarias con respecto a las restricciones de movimientos y aforos en cada comunidad autónoma o desde el estado. Se trata sin duda alguna de una temporada extraordinaria, por dos motivos muy distintos: En primer lugar y más determinante, por que nadie sabe a ciencia cierta cuándo ganaremos la batalla a la pandemia de la Covid-19 y cuáles van a ser los aforos posibles y durante cuánto tiempo. En segundo lugar, se trata de unas temporadas que se han tenido que ir modificando en sucesivas ocasiones y que en cualquier momento pueden sufrir nuevos cambios. Un trabajo ingente de los gestores artísticos, económicos y por supuesto de todos los colectivos que hacen posible este gran arte de la ópera. Un curso que se verá trastocado por las dificultades de viajar entre paises y continentes, con estados que obligan a largos confinamientos a los que hayan pasado por países con altos índices de contagio como España y un largo etcétera de dificultades añadidas. LA todo ello hay que sumar la incertidumbre de un público que en gene- ral está más recluído de lo normal en sus domicilios, teletrabajando y con muchas ganas de volver a su vida normal pero atentos a no aumentar los índices de contagio y a cuidar de su propia salud. No queremos ser negativos pero nunca se había dado en tiempor modernos una situación tan alarmante, compleja y extraordinaria como esta. A pesar de ello los programadores líricos españoles han ido presentando una excelente temporada 2020-21 llena de grandes títulos del repertorio inter- REVISTA FUNDADA EN 1991 nacional -con preeminencia verdiana- y apostando por las novedades inter- CON EL PATROCINIOÓA DEL CÍRCULO DEL LICEO nacionales y los estrenos absolutos españoles.
[Show full text]
Alasdair Kent Tenor
ALASDAIR KENT TENOR “Sound[ing] to the bel canto born with his evenly-produced tenor, refined technique and intense expressiveness,” (Opera News), British-Australian Alasdair Kent made his professional debut as Don Ramiro in La Cenerentola with Opera Queensland in 2013. His affinity for this repertoire has since lead to debuts in the principal tenor parts of Rossini’s Il barbiere di Siviglia, L’Italiana in Algeri, La pietra del paragone and Mosè in Egitto, culminating in his European debut as Cavaliere Belfiore in Il viaggio a Reims with the Rossini Opera Festival in 2017. Mr. Kent is a graduate of the Academy of Vocal Arts in Philadelphia, where his roles included Ferrando in Così fan tutte, Tamino in Die Zauberflöte, Don Ottavio in Don Giovanni and Rinuccio in Gianni Schicchi. He is a proud alumnus of ROF’s Accademia Rossiniana, Opera Philadelphia’s Emerging Artist Program, the Merola Opera Program, the Lisa Gasteen National Opera School, and spent two seasons with Wolf Trap Opera (where he has sung also the difficult role of Ritornello in Gassmann’s L’Opera seria) as a Filene Young Artist. Alasdair captured the attention of the international critic and theatres in 2016, winning the Joan Sutherland & Richard Bonynge Bel Canto Award and the Mildred Miller International Voice Competition. Semi-finalist at the Metropolitan Opera National Council Auditions, finalist at the Paris Opéra competition at Théâtre des Champs-Elysées. Notable mentioning first prize at Loren L. Zachary National Vocal Competition, at Gerda Lissner Foundation International Vocal Competition, at Licia Albanese-Puccini Foundation International Vocal Competition, special award at the Giulio Gari Foundation International Vocal Competition, at Opera Index Vocal Competition, a Career Bridges Grant Awards and prize at the Violetta DuPont Vocal Competition.
[Show full text]