Orchestra of St. Luke's 2020 Winter-Sping Season
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Bernstein's Trouble in Tahiti By
Postwar Modernity and the Wife's Subjectivity: Bernstein's Trouble in Tahiti By: Elizabeth L. Keathley Keathley, Elizabeth. “Postwar Modernity and the Wife's Subjectivity: Bernstein's Trouble in Tahiti,” American Music, Vol. 23 No. 2 (Summer 2005): 220-257. Made available courtesy of University of Illinois Press: http://www.jstor.org/stable/4153033 ***© University of Illinois Press. Reprinted with permission. No further reproduction is authorized without written permission from University of Illinois Press. This version of the document is not the version of record. Figures and/or pictures may be missing from this format of the document. *** Abstract: Leonard Bernstein's short opera Trouble in Tahiti (1951-52) is a humorous but scathing satire on postwar consumerism and bourgeois marriage. Such critiques are now so commonplace that it may be difficult to appreciate the opera's political edge unless it is seen against the backdrop of repression that marked the years following World War II: in an era in which a group as mainstream as the League of Women Voters was denounced as a "communist front organization," Trouble in Tahiti's criticisms risked reprisals.[1] Keywords: Musicals | Leonard Bernstein | Trouble in Tahiti | Gender | Feminism | Post World War II era Article: Leonard Bernstein's short opera Trouble in Tahiti (1951-52) is a humorous but scathing satire on postwar consumerism and bourgeois marriage. Such critiques are now so commonplace that it may be difficult to appreciate the opera's political edge unless it is seen against -
Albert-Lortzing-Gesellschaft E. V. Februar 2009
Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 Albert-Lortzing-Gesellschaft e. V. gegründet 2001 Lortzings Wohnhaus, die Große Funkenburg, in Leipzig Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 2 Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 Liebe Mitglieder, endlich halten Sie wieder einen Rundbrief in den Händen. Ich freue mich, daß auch diesmal zwei Mitglieder unserer Gesellschaft Beiträge verfasst haben, die den wesentlichen Teil dieses Rundbriefes ausmachen. Darüber hinaus finden Sie erneut Original-Rezensionen einiger Aufführungen durch Mitglieder unserer Gesellschaft sowie weitere Informationen, die hoffentlich Ihr Interesse finden. Das wichtigste Ereignis 2009 ist sicherlich das Mitgliedertreffen in Leipzig und die aus diesem Anlass stattfindende Fachtagung der Musikwissenschaftlichen Abteilung der Hochschule für Musik Felix Mendelssohn Bartholdy. Wir danken Herrn Prof. Dr. Schipperges sehr herzlich für die inhaltliche Planung und Organisation dieser Tagung. Ich wünsche allen einen schönen Frühling und freue mich, Sie bei dem Treffen in Leip- zig persönlich begrüßen zu können. Mit herzlichen Grüßen im Namen des ganzen Vorstands Ihre Irmlind Capelle Detmold, Ende Februar 2009 Impressum: Herausgeber: Albert-Lortzing-Gesellschaft e. V. c/o Prof. Dr. Bodo Gotzkowsky, Leipziger Straße 96, D – 36037 Fulda, Tel. 0661 604104 e-Mail: [email protected] Redaktion: Dr. Irmlind Capelle (V.i.S.d.P.) (Namentlich gezeichnete Beiträge müssen nicht unbe- dingt der Meinung des Herausgebers entsprechen.) © Lortzing-Gesellschaft e. V., 2009 Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 Rosina Regina Lortzing geb. Ahles Die Suche nach ihrem Grab Ein Bericht von Petra Golbs Regina Rosina (geb. -
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. -
573824 Itunes Lortzing
LORTZING Opera Overtures Der Waffenschmied Undine Der Wildschütz Hans Sachs Malmö Opera Orchestra Jun Märkl Albert Lortzing (1801–1851) though, sketched out a plan for an opera on the subject as wrong Peter. Ivanov hands it to the Tsar, thereby obtaining early as 1845, and he was certainly aware of Lortzing’s the latter’s blessing for his union with Marie. Van Bett was Opera Overtures work. Set in 1517, when Sachs would have been 23 and a yet another of Lortzing’s richly comic bass creations, and Gustav Albert Lortzing was a multifaceted man of the staged work, first produced the evening before his death. young cobbler, Lortzing’s opera centres on Sachs’s Lortzing himself created the tenor role of Peter Ivanov. theatre – actor, singer, librettist, composer and conductor. The relatively brief and sprightly overture sets the scene courtship of his first wife, Kunigunde, daughter of goldsmith Andreas Hofer is, like Der Weihnachtsabend , a one-act Though international currency of his operas has been for a behind-the-scenes one-act piece in the tradition of Steffen (the counterpart of Wagner’s Pogner). Steffen has piece composed in 1832. It features real and imaginary limited, on German stages he was for some 150 years the Cimarosa’s Il maestro di capella , Mozart’s Der offered Kunigunde’s hand as the prize in a singing contest, episodes of the life of the innkeeper and drover who in 1809 most performed composer after Mozart and Verdi. While Schauspieldirektor and similar works. In the castle of a but has arranged that the winner should be Eoban Hesse, led the Tyrolean rebellion against occupation by Bavarian the pace of productions there has slackened over the past Count (another of those comic bass roles), the household an alderman from Augsburg. -
Focus 2020 Pioneering Women Composers of the 20Th Century
Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers. -
Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and -
Mario Ferraro 00
City Research Online City, University of London Institutional Repository Citation: Ferraro Jr., Mario (2011). Contemporary opera in Britain, 1970-2010. (Unpublished Doctoral thesis, City University London) This is the unspecified version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/1279/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] CONTEMPORARY OPERA IN BRITAIN, 1970-2010 MARIO JACINTO FERRARO JR PHD in Music – Composition City University, London School of Arts Department of Creative Practice and Enterprise Centre for Music Studies October 2011 CONTEMPORARY OPERA IN BRITAIN, 1970-2010 Contents Page Acknowledgements Declaration Abstract Preface i Introduction ii Chapter 1. Creating an Opera 1 1. Theatre/Opera: Historical Background 1 2. New Approaches to Narrative 5 2. The Libretto 13 3. The Music 29 4. Stage Direction 39 Chapter 2. Operas written after 1970, their composers and premieres by 45 opera companies in Britain 1. -
MONC Qualifying Singers 2020-2021.Xlsx
Rebecca Achtenberg Soprano Andres Acosta Tenor Andrew Adridge Baritone Micaela Aldridge Mezzo-Soprano Erin Alford Mezzo-Soprano Fernanda Allande Soprano Caitlin Aloia Soprano Lucy Altus Mezzo-Soprano Sydney Anderson Soprano Michael Anderson Tenor Rosario Armas Mezzo-Soprano Dhyana Arom Soprano Talar Arslanian Soprano Cody Arthur Tenor Vasilisa Atanackovic Soprano Esther Atkinson Mezzo-Soprano Angel Azzarra Soprano Milan Babic Baritone Sydney Baedke Soprano Morgan Balfour Soprano Aubry Ballarò Soprano Audrey Ballish Soprano Sabina Balsamo Soprano Joel Balzun Baritone Jacinta Barbachano Soprano Gabrielle Barkidjija Mezzo-Soprano Tatev Baroyan Soprano Kendra Beasley Mezzo-Soprano Brandon Bell Baritone Paden Bell Soprano Georgia Belmont Soprano Allyson Bennett Soprano James Henry Benson Tenor Moriah Berry Soprano Brad Bickhardt Tenor Sarah Bissonnette Mezzo-Soprano Jenna Black Soprano Rachel Blaustein Soprano Avery Boettcher Soprano David Bogaev Tenor Andrew Boisvert Bass Nicholas Borg Baritone Cody Bowers Countertenor Jacob Bowman Baritone Jordan Bowman Soprano Spencer Boyd Tenor Ben Brady Bass-Baritone Chantal Braziel Soprano Naomi Brigell Mezzo-Soprano Ashlyn Brown Mezzo-Soprano Cadie J. Bryan Soprano Jonathan Bryan Baritone Zachary Bryant Baritone Leah Brzyski Soprano Natalie Buickians Soprano Hannah Marie Bullock Soprano Susanne Burgess Soprano Justin Burgess Baritone Haley Burgh Soprano Ian Burns Baritone Joanna Burrell Soprano Amelia Burshe Soprano Karl Buttermann Baritone Katherine Buzard Soprano Aaron Cafaro Tenor Blair Cagney Soprano -
Episode #29: Eleanor Alberga Listening to Ladies Original Release Date: August 29, 2019 Host: Elisabet
Episode #29: Eleanor Alberga Listening to Ladies www.listeningtoladies.com Original release date: August 29, 2019 Host: Elisabeth C Blair (ECB) Interviewee: Eleanor Alberga (EA) ECB: This episode is supported in part by the Irving S. Gilmore Foundation, in partnership with 102.1 WMUK, and by the International Alliance for Women in Music. Learn more and explore membership at www.iawm.org. I’m Elisabeth Blair and this is Listening to Ladies. [excerpt of Violin Concerto No. 1 plays] ECB: This is an excerpt from the first movement of Violin Concerto No. 1 by composer Eleanor Alberga. The Scottish Chamber Orchestra commissioned it, and it was composed in 2001 for her husband to perform. EA: I must say that it is a privilege to be married to married to a wonderful virtuoso violinist, Thomas Bowes. When the opportunity arose to write my first violin concerto for him, I was thrilled. With the violin concerto, I wanted to step away from any sort of clear extra musical idea. I wanted to exploit the drama of the relationship between the solo violin and the orchestra. The violin's natural ability to convey, almost viscerally, human vulnerability was something that attracted me greatly. [excerpt of Violin Concerto No. 1 plays] EA: I always feel that deciding upon the moment of which I start to crystallize what is in my imagination, is the most crucial decision of all and I always would like to wait until that moment is right. And with this piece, I could, I had enough time to wait until that moment arrived. -
Die Mich Erschauen Liess Ein Irdisch Paradies". Lortzings Regi:Na, Ein Dokument Im Geist Robert Blums Und Der Paulskirche 1848 Jürgen Lodemann
»Die mich erschauen liess ein irdisch Paradies". Lortzings Regi:na, ein Dokument im Geist Robert Blums und der Paulskirche 1848 Jürgen Lodemann Vom Mai 1848 bis zum 9. November 1848 verfasst der frühromanti- sche Theatermusiker Albert Lortzing Text und Musik zu einer Oper, die er Regina nennt. Der in Berlin geborene Komponist schreibt da, so könnte man sagen, ein in der Musikgeschichte einzigartiges Stück, bis heute de facto unbekannt, auch in der wissenschaftlichen Diskus- sion. Man könnte erklären, seine Regina habe er konzipiert als politi- sches Lehrstück - lange, bevor der Begriff Lehrstück bekannt war -, man könnte auch sagen, Regina sei das erste Opernspiel, das politi- sche Tages-Aktualität thematisiert. Und man könnte weiter sagen, Regina sei die erste und einzige klassisch-romantische Oper, in der Arbeiter, ausdrücklich „Fabrikarbeiter", dominierende Rollen spielen. Und man müsste ergänzen, da gehe es um nichts weniger als um die 1848 auch in Deutschland zu erkämpfenden Grund- und Menschen- rechte, um früheste Vorformen dessen, was erst 1949 „Grundgesetz" wurde. Die solitäre Oper Regina inszeniert diese Themen mit Lohnstreik, mit Kidnapping, mit Terrorismus, am Ende mit Selbstmordterror. Und die Botschaft des Lehrstücks, so kann man sagen und es auch begrün- den, ist die der führenden Köpfe im 1848 erstmals frei gewählten deut- schen Parlament der Paulskirche, die Botschaft ist vor allem die des am 9. November 1848 hingerichteten Paulskirchen-Vizepräsidenten Robert Blum. Die Botschaft trägt auch in diesem Stück der Tenor: Richard heißt der und singt wörtlich vom "Ton, in dem man Forderungen stellt" - exakt diesen Ton, "in dem man Forderungen stellt", den hat er erfulgreich beherrscht, Lortzings Freund Robert Blum, der als begnade- ter, als hoch wirksamer Volksredner beschrieben wird. -
The Cello in Motion
The Cello in Motion Co-presented by The Temple Emanu-El Streicker Center and Orchestra of St. Luke’s Monday, November 30th, 2020 at 6:30pm Streamed live from The Temple Emanu-El Streicker Center piano. In 1970, she won the biennial Royal Schools of Music Scholarship for the West Indies which Performers allowed her to study piano and singing at the Royal Academy of Music in London. In 1974, she was one Ilmar Gavilan, Mitsuru Tsubota, violin of three finalists in the International Piano Concerto Kaya Bryla-Weiss, viola Competition in Dudley, United Kingdom. While a Daire FitzGerald, Hamilton Berry, cellos rehearsal pianist for The London Contemporary Dance Theatre, Alberga began composing works conceived for dance, including her celebrated piano quintet Clouds (1984); she would later become the Program company’s musical director. ELEANOR ALBERGA Ride Through Alberga’s orchestral works, Sun Warrior (1990) written for the inaugural Women in Music Festival and her FRANZ SCHUBERT dramatic adaptation of Roald Dahl’s Snow White and the Seven Dwarves (1994) for large symphony String Quintet in C Major, D. 956 orchestra and narrators, were premiered at the Allegro ma non troppo Royal Festival Hall in 1994 with Franz Welser-Möst Adagio conducting the LPO. In 2009, the premiere of her Scherzo opera Letters of a Love Betrayed at the Royal Opera Allegretto House drew comparisons to Berg’s Wozzeck and Debussy’s Pelleas et Melisande. Program Notes In 2001, she was awarded a NESTA Fellowship for composition and premiered her first violin concerto, Ride Through by Eleanor Alberga written for Thomas Bowes and commissioned by The Scottish Chamber Orchestra under Joseph Swensen. -
Albert Lortzing Und Die Konversationsoper in Der Ersten Hälfte Des 19
Albert Lortzing und die Konversationsoper in der ersten Hälfte des 19. Jahrhunderts Bericht vom Roundtable aus Anlaß des 200. Geburtstages von Albert Lortzing am 22. und 23. Oktober 2001 in der Lippischen Landesbibliothek Detmold Im Auftrag der Albert-Lortzing-Gesellschaft e. V. herausgegeben von Irmlind Capelle Weitere Informationen über den Verlag und sein Programm unter: www.allitera.de Bibliographische Information der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen National bibliographie; detaillierte bibliographische Daten sind im Internet über <http://dnb.ddb.de> abrufbar. Dezember 2004 Allitera Verlag Ein Books on Demand-Verlag der Buch&media GmbH, München © 2004 Buch&media GmbH (Allitera Verlag) und Albert-Lortzing-Gesellschaft e.V., Freiberg/Sachsen Umschlaggestaltung: Kay Fretwurst unter Verwendung einer Zeichnung von H. Varges Herstellung: Books on Demand GmbH, Norderstedt Printed in Germany · isbn 3-86520-076-1 Inhalt Vorwort . 7 Jürgen Lodemann »Ehrt ihn hoch von heute an!« . 9 Von den Leuten geliebt, von den Kennern ignoriert? Zur wechselnden Popularität Albert Lortzings Sieghart Döhring Konversationsoper – Probleme und Forschungsstand . 31 Sigrid Rüttiger (†) Zar und Zimmermann von Albert Lortzing und Il Borgomastro di Saardam von Gaetano Donizetti . 45 Eine Gegenüberstellung zweier Opern gleichen Inhalts Irmlind Capelle Konversationsoper als Hofoper? – Zu Caramo oder das Fischerstechen von Albert Lortzing . 63 Sabine Henze-Döhring Lortzing und die »traditionelle« Oper – Das Finale der Undine . 83 Wolfgang Osthoff Das stille Finale – Zum ersten Finale aus Lortzings Waffenschmied . 95 Joachim Veit Musik über Musik? – Albert Lortzings Zum Großadmiral . 109 Thomas Betzwieser Die Dramatisierung des Bühnenliedes: Kotzebues Die Alpenhütte (1815) und ihre musikalischen Realisierungen . 129 Reiner Nägele »… gegen ein Heer von ini’s und ani’s« .