UN BALLO in MASCHERA a MASKED BALL (Sung in Italian with English Supertitles)

Total Page：16

File Type：pdf, Size：1020Kb

UN BALLO in MASCHERA a MASKED BALL (Sung in Italian with English Supertitles)

Opera in three acts by Giuseppe Verdi Libretto by Antonio Somma Based on a libretto by Eugene Scribe for Daniel Auber’s opera Gustave III, ou Le Bal masqué UN BALLO IN MASCHERA A MASKED BALL (Sung in Italian with English supertitles) Conductor CAST Nicola Luisotti (in order of appearance) Director Jose Maria Condemi Count Horn (Sam) Christian Van Horn Costume Designer Count Ribbing (Tom) Scott Conner* John Conklin Oscar Heidi Stober Lighting Designer Gustavus III, King of Sweden (Riccardo) Ramón Vargas Gary Marder Count Anckarström (Renato) Thomas Hampson Chorus Director Chief Magistrate A.J. Glueckert† Ian Robertson Madame Arvidson (Ulrica) Dolora Zajick Choreographer Lawrence Pech Christian (Silvano) Efraín Solís† Assistant Conductors Amelia’s Servant Christopher Jackson Giuseppe Finzi Amelia Anckarström Julianna Di Giacomo* Vito Lombardi Courtiers, chiefs of staﬀ, deputies, conspirators, inhabitants of the port area Musical Preparation Corps de ballet Bryndon Hassman Tamara Sanikidze *San Francisco Opera debut †Current Adler Fellow John Churchwell Jonathan Khuner TIME AND PLACE: 1792 in Stockholm, Sweden Fabrizio Corona Prompter ACT I Dennis Doubin SCENE 1: Levee in the king’s bedroom Supertitles SCENE 2: Madame Arvidson’s house on the waterfront Philip Kuttner —INTERMISSION— Assistant Stage Directors E. Reed Fisher ACT II Morgan Robinson A lonely ﬁeld Stage Manager Rachel C. Henneberry —INTERMISSION— Costume Supervisor ACT III Jai Alltizer SCENE 1: Count Anckarström’s study Wig & Makeup Designer SCENE 2: The king’s box at the opera Jeanna Parham SCENE 3: Inside the Stockholm opera house San Francisco Opera production OCTOBER 2014 The performance will last approximately three hours..

Copy Link

Recommended publications

Annual Report 2015–2016
ANNUAL REPORT 2015–2016 NEW YORK PHILHARMONIC 2015–16 ANNUAL REPORT 1 CONTENTS Reflections on the 2015–16 Season 2 Oscar S. Schafer, Chairman 4 Matthew VanBesien, President 6 Alan Gilbert, Music Director 8 Year at a Glance 10 Our Audiences 12 The Orchestra 14 The Board of Directors 20 The Administration 22 Conductors, Soloists, and Ensembles 24 Serving the Community 26 Education 28 Expanding Access 32 Global Immersion 36 Innovation and Preservation 40 At Home and Online 42 Social Media 44 The Archives 47 The Year in Pictures 48 The Benefactors 84 Lifetime Gifts 86 Leonard Bernstein Circle 88 Annual Fund 90 Education Donors 104 Heritage Society 106 Volunteer Council 108 Independent Auditor’s Report 110 2 NEW YORK PHILHARMONIC 2015–16 ANNUAL REPORT THE SEASON AT A GLANCE Second Line Title Case Reflections on the 2015–16 Season 2 NEW YORK PHILHARMONIC 2015–16 ANNUAL REPORT NEW YORK PHILHARMONIC 2015–16 ANNUAL REPORT 3 REFLECTIONS ON THE 2015–16 SEASON From the New York Philharmonic’s Leadership I look back on the Philharmonic’s 2015–16 season and remember countless marvelous concerts that our audiences loved, with repertoire ranging from the glory of the Baroque to the excitement of the second NY PHIL BIENNIAL. As our Music Director, Alan Gilbert has once again brought excitement and inspiration to music lovers across New York City and the world. I also look back on the crucial, impactful developments that took place offstage. Throughout the season our collaboration with Lincoln Center laid a strong foundation for the renovation of our home.
[Show full text]
San Francisco Opera Center and Merola Opera Program Announce 2020 Schwabacher Recital Series
SAN FRANCISCO OPERA CENTER AND MEROLA OPERA PROGRAM ANNOUNCE 2020 SCHWABACHER RECITAL SERIES January 29 Kicks Off First of Four Recitals Highlighting Emerging Artists and Unique Musical Programs Tickets available at sfopera.com/srs and (415) 864-3330 SAN FRANCISCO, CA (January 6, 2019) — Now in its 37th year, the Schwabacher Recital Series returns on Wednesday, January 29, with performances at San Francisco’s Dianne and Tad Taube Atrium Theater that feature emerging artists from around the globe. Presented by San Francisco Opera Center and Merola Opera Program, the annual Schwabacher Series consists of four Wednesday evening recitals, the last of which concludes on April 22. The first-ever Schwabacher series was presented in December 1983, kicking off a decades-long San Francisco tradition of presenting rising international talent in the intimacy of a recital setting. The 2020 series will blend classics like Hector Berlioz’s Les Nuits d’Été with rarely performed 20th- and 21st-century works like Olivier Messiaen’s Harawi. JANUARY 29: ALICE CHUNG, LAUREANO QUANT AND NICHOLAS ROEHLER (From left to right: Alice Chung, Laureano Quant and Nicholas Roehler) The series opens on January 29 with a set of performers recently seen as part of the Merola Opera Program: mezzo-soprano Alice Chung, baritone Laureano Quant and pianist Nicholas Roehler. Twice named as a Merola artist—once in 2017 and again in 2019—Chung returns to the 1 Bay Area for this recital, having been hailed as a “force of nature” by San Francisco Classical Voice (SFCV). She will tackle a range of works, from Colombian composer Luis Carlos Figueroa’s soothing lullaby “Berceuse” to cabaret-inspired works like William Bolcom’s “Over the Piano.” Quant, a 2019 Merola participant, joins Chung to perform Bolcom’s music, as well as select songs from Berlioz’s Les Nuits d’Été and Francesco Santoliquido’s I Canti della Sera.
[Show full text]
Network Notebook
Network Notebook Fall Quarter 2018 (October - December) 1 A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more.
[Show full text]
Coa-Program-For-Web.Pdf
HOUSTON GRAND OPERA AND SID MOORHEAD, CHAIRMAN WELCOME YOU TO THE TAMARA WILSON, LIVESTREAM HOST E. LOREN MEEKER, GUEST JUDGE FRIDAY, FEBRUARY 5, 2021 AT 7 P.M. BROADCAST LIVE FROM THE WORTHAM THEATER CENTER TEXT TO VOTE TEXT TO GIVE Text to vote for the Audience Choice Award. On page Support these remarkable artists who represent 9, you will see a number associated with each finalist. the future of opera. Text the number listed next to the finalist’s name to 713-538-2304 and your vote will be recorded. One Text HGO to 61094 to invest in the next generation vote per phone number will be registered. of soul-stirring inspiration on our stage! 2 WELCOME TO CONCERT OF ARIAS 2021 SID MOORHEAD Chairman A multi-generation Texan, Sid Moorhead is the owner of in HGO’s Overture group and Laureate Society, and he serves Moorhead’s Blueberry Farm, the first commercial blueberry on the company’s Special Events committee. farm in Texas. The farm, which has been in the Moorhead family for three generations, sits on 28 acres in Conroe and Sid was a computer analyst before taking over the family boasts over 9,000 blueberry plants. It is open seasonally, from business and embracing the art of berry farming. He loves to the end of May through mid-July, when people from far and travel—especially to Europe—and has joined the HGO Patrons wide (including many fellow opera-lovers and HGO staffers) visit on trips to Italy and Vienna. to pick berries. “It’s wonderful.
[Show full text]
Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
[Show full text]
Premières Principali All 'Opéra-Comique
Premières principali all ’Opéra-Comique Data Compositore Titolo 30 luglio 1753 Antoine Dauvergne Les troqueurs 26 luglio 1757 Egidio Romualdo Duni Le peintre amoureux de son modèle 9 marzo 1759 François-André Danican Philidor Blaise le savetier 22 agosto 1761 François-André Danican Philidor Le maréchal ferrant 14 settembre 1761 Pierre-Alexandre Monsigny On ne s ’avise jamais de tout 22 novembre 1762 Pierre-Alexandre Monsigny Le roy et le fermier 27 febbraio 1765 François-André Danican Philidor Tom Jones 20 agosto 1768 André Grétry Le Huron 5 gennaio 1769 André Grétry Lucile 6 marzo 1769 Pierre-Alexandre Monsigny Le déserteur 20 settembre 1769 André Grétry Le tableau parlant 16 dicembre 1771 André Grétry Zémire et Azor 12 giugno 1776 André Grétry Les mariages samnites 3 gennaio 1780 André Grétry Aucassin et Nicolette 21 ottobre 1784 André Grétry Richard Coeur-de-lion 4 agosto 1785 Nicolas Dalayrac L ’amant statue 15 maggio 1786 Nicolas Dalayrac Nina, ou La folle par amour 14 gennaio 1789 Nicolas Dalayrac Les deux petits savoyards 4 settembre 1790 Étienne Méhul Euphrosine 15 gennaio 1791 Rodolphe Kreutzer Paolo e Virginia 9 aprile 1791 André Grétry Guglielmo Tell 3 maggio 1792 Étienne Méhul Stratonice 6 maggio 1794 Étienne Méhul Mélidore et Phrosine 11 ottobre 1799 Étienne Méhul Ariodant 23 ottobre 1800 Nicolas Dalayrac Maison à vendre 16 settembre 1801 François-Adrien Boieldieu Le calife de Bagdad 17 maggio 1806 Étienne Méhul Uthal 17 febbraio 1807 Étienne Méhul Joseph 9 maggio 1807 Nicolas Isouard Les rendez-vous bourgeois 22 febbraio
[Show full text]
1 CRONOLOGÍA LICEÍSTA Se Incluye Un Listado Con Las
CRONOLOGÍA LICEÍSTA Se incluye un listado con las representaciones de Aida, de Giuseppe Verdi, en la historia del Gran Teatre del Liceu. Estreno absoluto: Ópera del Cairo, 24 de diciembre de 1871. Estreno en Barcelona: Teatro Principal, 16 abril 1876. Estreno en el Gran Teatre del Liceu: 25 febrero 1877 Última representación en el Gran Teatre del Liceu: 30 julio 2012 Número total de representaciones: 454 TEMPORADA 1876-1877 Número de representaciones: 21 Número histórico: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21. Fechas: 25 febrero / 3, 4, 7, 10, 15, 18, 19, 22, 25 marzo / 1, 2, 5, 10, 13, 18, 22, 27 abril / 2, 10, 15 mayo 1877. Il re: Pietro Milesi Amneris: Rosa Vercolini-Tay Aida: Carolina de Cepeda (febrero, marzo) Teresina Singer (abril, mayo) Radamès: Francesco Tamagno Ramfis: Francesc Uetam (febrero y 3, 4, 7, 10, 15 marzo) Agustí Rodas (a partir del 18 de marzo) Amonasro: Jules Roudil Un messaggiero: Argimiro Bertocchi Director: Eusebi Dalmau TEMPORADA 1877-1878 Número de representaciones: 15 Número histórico: 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36. Fechas: 29 diciembre 1877 / 1, 3, 6, 10, 13, 23, 25, 27, 31 enero / 2, 20, 24 febrero / 6, 25 marzo 1878. Il re: Raffaele D’Ottavi Amneris: Rosa Vercolini-Tay Aida: Adele Bianchi-Montaldo Radamès: Carlo Bulterini Ramfis: Antoine Vidal Amonasro: Jules Roudil Un messaggiero: Antoni Majjà Director: Eusebi Dalmau 1 7-IV-1878 Cancelación de ”Aida” por indisposición de Carlo Bulterini.
[Show full text]
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas GEORGES BIZET EMI 63633 Carmen Maria Stuarda Paris Opera National Theatre Orchestra; René Bologna Community Theater Orchestra and Duclos Chorus; Jean Pesneaud Childrens Chorus Chorus Georges Prêtre, conductor Richard Bonynge, conductor Maria Callas as Carmen (soprano) Joan Sutherland as Maria Stuarda (soprano) Nicolai Gedda as Don José (tenor) Luciano Pavarotti as Roberto the Earl of Andréa Guiot as Micaëla (soprano) Leicester (tenor) Robert Massard as Escamillo (baritone) Roger Soyer as Giorgio Tolbot (bass) James Morris as Guglielmo Cecil (baritone) EMI 54368 Margreta Elkins as Anna Kennedy (mezzo- GAETANO DONIZETTI soprano) Huguette Tourangeau as Queen Elizabeth Anna Bolena (soprano) London Symphony Orchestra; John Alldis Choir Julius Rudel, conductor DECCA 425 410 Beverly Sills as Anne Boleyn (soprano) Roberto Devereux Paul Plishka as Henry VIII (bass) Royal Philharmonic Orchestra and Ambrosian Shirley Verrett as Jane Seymour (mezzo- Opera Chorus soprano) Charles Mackerras, conductor Robert Lloyd as Lord Rochefort (bass) Beverly Sills as Queen Elizabeth (soprano) Stuart Burrows as Lord Percy (tenor) Robert Ilosfalvy as roberto Devereux, the Earl of Patricia Kern as Smeaton (contralto) Essex (tenor) Robert Tear as Harvey (tenor) Peter Glossop as the Duke of Nottingham BRILLIANT 93924 (baritone) Beverly Wolff as Sara, the Duchess of Lucia di Lammermoor Nottingham (mezzo-soprano) RIAS Symphony Orchestra and Chorus of La Scala Theater Milan DEUTSCHE GRAMMOPHON 465 964 Herbert von
[Show full text]
Un Ballo in Maschera
San Francisco Opera Association War Memorial Opera House 2014-2015 Un Ballo in Maschera A Masked Ball (In Italian) Opera in three acts by Giuseppe Verdi Libretto by Antonio Somma Based on a libretto by Eugene Scribe for Daniel Auber's opera Gustave III, ou Le Bal masque Cast Conductor Nicola Luisotti Count Horn (Sam) Christian Van Horn Count Ribbing (Tom) Scott Conner * Director Jose Maria Condemi Oscar Heidi Stober Costume Designer Gustavus III, King of Sweden (Riccardo) Ramón Vargas John Conklin Count Anckarström (Renato) Thomas Hampson Lighting Designer Brian Mulligan 10/7, 22 Gary Marder Chief Magistrate A.J. Glueckert † Chorus Director Madame Arvidson (Ulrica) Dolora Zajick Ian Robertson Christian (Silvano) Efraín Solís † Choreographer Amelia's Servant Christopher Jackson Lawrence Pech Amelia Anckarström Julianna Di Giacomo * Assistant Conductors Giuseppe Finzi Vito Lombardi * San Francisco Opera debut † Current Adler Fellow Musical Preparation Bryndon Hassman Tamara Sanikidze Place and Time: 1792 in Stockholm, Sweden John Churchwell Jonathan Khuner Fabrizio Corona Prompter Dennis Doubin Supertitles Philip Kuttner Assistant Stage Directors E. Reed Fisher Morgan Robinson Stage Manager Rachel Henneberry Costume Supervisor Jai Alltizer Wig and Makeup Designer Jeanna Parham Saturday, Oct 04 2014, 7:30 PM ACT I Tuesday, Oct 07 2014, 7:30 PM Scene 1: Levee in the king's bedroom Friday, Oct 10 2014, 7:30 PM Scene 2: Madame Arvidson's house on the waterfront Monday, Oct 13 2014, 7:30 PM INTERMISSION Thursday, Oct 16 2014, 7:30 PM ACT II Sunday, Oct 19 2014, 7:30 PM A lonely field Wednesday, Oct 22 2014, 7:30 PM INTERMISSION ACT III Scene 1: Count Anckarström's study Scene 2: The king's box at the opera Scene 3: Inside the Stockhold opera house Sponsors This production is made possible, in part, by the Bernard Osher Endowment Fund and the Thomas Tilton Production Fund.
[Show full text]
The American Opera Series May 16 – November 28, 2015
The American Opera Series May 16 – November 28, 2015 The WFMT Radio Network is proud to make the American Opera Series available to our affiliates. The American Opera Series is designed to complement the Metropolitan Opera Broadcasts, filling in the schedule to complete the year. This year the American Opera Series features great performances by the Lyric Opera of Chicago, LA Opera, San Francisco Opera, Glimmerglass Festival and Opera Southwest. The American Opera Series for 2015 will bring distinction to your station’s schedule, and unmatched enjoyment to your listeners. Highlights of the American Opera Series include: • The American Opera Series celebrates the Fourth of July (which falls on a Saturday) with Lyric Opera of Chicago’s stellar production of George Gershwin’s Porgy and Bess. • LA Opera brings us The Figaro Trilogy, including Mozart’s The Marriage of Figaro, Rossini’s The Barber of Seville, and John Corigliano’s The Ghosts of Versailles. • The world premiere of Marco Tutino’s Two Women (La Ciociara) starring Anna Caterina Antonacci, based on the novel by Alberto Moravia that became a classic film, staged by San Francisco Opera. • Opera Southwest’s notable reconstruction of Franco Faccio’s 1865 opera Amleto (Hamlet), believed lost for over 135 years, in its American premiere. In addition, this season we’re pleased to announce that we are now including multimedia assets for use on your station’s website and publications! You can find the supplemental materials at the following link: American Opera Series Supplemental Materials Please note: If you have trouble accessing the supplemental materials, please send me an email at [email protected] Program Hours* Weeks Code Start Date Lyric Opera of Chicago 3 - 5 9 LOC 5/16/15 LA Opera 2 ½ - 3 ¼ 6 LAO 7/18/15 San Francisco Opera 1 ¾ - 4 ¾ 10 SFO 8/29/15 Glimmerglass Festival 3 - 3 ½ 3 GLI 11/7/15 Opera Southwest Presents: Amleto 3 1 OSW 11/28/15 Los Angeles Opera’s Production of The Ghosts of Versailles Credit: Craig Henry *Please note: all timings are approximate, and actual times will vary.
[Show full text]
Verdian Musicodramatic Expression in Un Ballo in Maschera
VERDIAN MUSICODRAMATIC EXPRESSION IN UN BALLO IN MASCHERA A RESEARCH PAPER SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTERS OF MUSIC BY JERRY POLMAN DR. CRAIG PRIEBE – ADVISER BALL STATE UNIVERSITY MUNCIE, INDIANA JULY 2010 | 1 On September 19, 1857, Giuseppe Verdi wrote to the impresario at San Carlo that he was “in despair.” He was commissioned to write an opera for the 1858 carnival season but could not find what he deemed a suitable libretto. For many years he desired to compose an opera based on Shakespeare‟s King Lear but he deemed the singers in Naples to be inadequate for the task. Nevertheless, he writes in the same letter that he is now “…condensing a French drama, Gustave III di Svezia, libretto by Scribe, given at the [Paris Grand Opéra with music by Auber] about twenty years ago [1833]. It is grand and vast; it is beautiful; but this too has the conventional forms of all works for music, something which I have never liked and I now find unbearable. I repeat, I am in despair, because it is too late to find other subjects.”1 Despite finding it “unbearable” Verdi continued to work on Gustave, calling on the talents of Antonia Somma to write the libretto. However, Verdi did not foresee the intense scrutiny that would be leveled against it. Upon receiving word from Vincenzo Torelli (the impresario of the San Carlo Opera House), that nothing less than a new production would suffice to fulfill his contract, Verdi and Somma set to work immediately on Gustave.
[Show full text]
An Alabama School Girl in Paris 1842-1844
An Alabama School Girl in Paris 1842-1844 the letters of Mary Fenwick Lewis and her family Nancyt/ M. Rohr_____ _ An Alabama School Girl in Paris, 1842-1844 The Letters of Mary Fenwick Lewis and Her Family Edited by Nancy M. Rohr An Alabama School Girl In Paris N a n c y M. Ro h r Copyright Q 2001 by Nancy M. Rohr All rights reserved. No part of this book may be reproduced in any form without permission of the editor. ISPN: 0-9707368-0-0 Silver Threads Publishing 10012 Louis Dr. Huntsville, AL 35803 Second Edition 2006 Printed by Boaz Printing, Boaz, Alabama CONTENTS Preface...................................................................................................................1 EditingTechniques...........................................................................................5 The Families.......................................................................................................7 List of Illustrations........................................................................................10 I The Lewis Family Before the Letters................................................. 11 You Are Related to the Brave and Good II The Calhoun Family Before the Letters......................................... 20 These Sums will Furnish Ample Means Apples O f Gold in Pictures of Silver........................................26 III The Letters - 1842................................................................................. 28 IV The Letters - 1843................................................................................
[Show full text]