Creating Operas in Isolation
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
A Midsummer Night's Dream
Monday 25, Wednesday 27 February, Friday 1, Monday 4 March, 7pm Silk Street Theatre A Midsummer Night’s Dream by Benjamin Britten Dominic Wheeler conductor Martin Lloyd-Evans director Ruari Murchison designer Mark Jonathan lighting designer Guildhall School of Music & Drama Guildhall School Movement Founded in 1880 by the Opera Course and Dance City of London Corporation Victoria Newlyn Head of Opera Caitlin Fretwell Chairman of the Board of Governors Studies Walsh Vivienne Littlechild Dominic Wheeler Combat Principal Resident Producer Jonathan Leverett Lynne Williams Martin Lloyd-Evans Language Coaches Vice-Principal and Director of Music Coaches Emma Abbate Jonathan Vaughan Lionel Friend Florence Daguerre Alex Ingram de Hureaux Anthony Legge Matteo Dalle Fratte Please visit our website at gsmd.ac.uk (guest) Aurelia Jonvaux Michael Lloyd Johanna Mayr Elizabeth Marcus Norbert Meyn Linnhe Robertson Emanuele Moris Peter Robinson Lada Valešova Stephen Rose Elizabeth Rowe Opera Department Susanna Stranders Manager Jonathan Papp (guest) Steven Gietzen Drama Guildhall School Martin Lloyd-Evans Vocal Studies Victoria Newlyn Department Simon Cole Head of Vocal Studies Armin Zanner Deputy Head of The Guildhall School Vocal Studies is part of Culture Mile: culturemile.london Samantha Malk The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation A Midsummer Night’s Dream Music by Benjamin Britten Libretto adapted from Shakespeare by Benjamin Britten and Peter Pears -
Explore Unknown Music with the Toccata Discovery Club
Explore Unknown Music with the Toccata Discovery Club Since you’re reading this booklet, you’re obviously someone who likes to explore music more widely than the mainstream offerings of most other labels allow. Toccata Classics was set up explicitly to release recordings of music – from the Renaissance to the present day – that the microphones have been ignoring. How often have you heard a piece of music you didn’t know and wondered why it hadn’t been recorded before? Well, Toccata Classics aims to bring this kind of neglected treasure to the public waiting for the chance to hear it – from the major musical centres and from less-well-known cultures in northern and eastern Europe, from all the Americas, and from further afield: basically, if it’s good music and it hasn’t yet been recorded, Toccata Classics is exploring it. To link label and listener directly we run the Toccata Discovery Club, which brings its members substantial discounts on all Toccata Classics recordings, whether CDs or downloads, and also on the range of pioneering books on music published by its sister company, Toccata Press. A modest annual membership fee brings you, free on joining, two CDs, a Toccata Press book or a number of album downloads (so you are saving from the start) and opens up the entire Toccata Classics catalogue to you, both new recordings and existing releases as CDs or downloads, as you prefer. Frequent special offers bring further discounts. If you are interested in joining, please visit the Toccata Classics website at www.toccataclassics.com and click on the ‘Discovery Club’ tab for more details. -
Richard Strauss's Ariadne Auf Naxos
Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails. -
Hilde Zadek (1917-2019) Den Sista Stora Sopranen I Den Österrikiska Efterkrigsgenerationen, Hilde Zadek, Har Gått Ur Tiden, 101 År Gammal
In memoriam: Hilde Zadek (1917-2019) Den sista stora sopranen i den österrikiska efterkrigsgenerationen, Hilde Zadek, har gått ur tiden, 101 år gammal. Zadek föddes i polska Bydgoszcz 1917 och växte upp i Stettin och Wien. 1934 tvingades hon på grund av sin judiska härkomst lämna Tyskland och utvandrade till Palestina där hon arbetade som sjuksköterska på en barnklinik i Jerusalem. Hon studerade för Rose Pauly där och för Ria Ginster i Zürich där hon även deltog i uruppförandet av Max Ettingers ortatorium Die Königin Esther. 1947 gjorde Zadek sensationell debut som Aida på Wiener Staatsoper. Zadek kom att tillhöra ensemblen på Staatsoper i över tjugo år. Gästspel över hela världen gav henne stora framgångar. Hon sjöng på festivalerna i Salzburg och Edinburgh, 1948 som Brangäne i Frank Martins Le Vin herbé och året därpå i sopransolot i Verdis Requiem under Herbert von Karajan. 1950 sjöng hon titelrollen i Ariadne på Naxos och Vitellia i Mozarts La clemenza di Tito. Hon sjöng i uruppförandet av Carl Orffs Antigonae 1949 och gestaltade Magda Sorel i Wien-premiären på Gian Carlo Menottis Konsuln. Hon sjöng Donna Anna och Ariadne i Edinburgh och Glyndebourne, Aida i Florens, Lisa iSpader dam och Tosca på Covent Garden. Zadek sjöng även i bl.a. Buenos Aires, Lissabon, Paris, Bryssel, Amsterdam, Rom, San Francisco och München. Säsongen 1952-53 uppträdde hon på Metropolitan som Donna Anna, Aida, Eva i Mästersångarna, Elsa i Lohengrin och Salome. 1957 gästspelade hon i titelrollen i Glucks Ifigenia på Tauris på Staatsoper i Berlin. Hon hade också stora framgångar på Bolsjoj i Moskva och i Rio de Janeiro. -
Download PDF Booklet
THE CALL INTRODUCING THE NEXT GENERATION OF CLASSICAL SINGERS Martha Jones Laurence Kilsby Angharad Lyddon Madison Nonoa Alex Otterburn Dominic Sedgwick Malcolm Martineau piano our future, now Martha Jones Laurence Kilsby Angharad Lyddon Madison Nonoa Alex Otterburn Dominic Sedgwick THE CALL Martha Jones Laurence Kilsby Angharad Lyddon Madison Nonoa Alex Otterburn Dominic Sedgwick Malcolm Martineau THE CALL FRANZ SCHUBERT (1797-1828) 1 Fischerweise (Franz von Schlechta) f 2’53 2 Im Frühling (Ernst Schulze) a 4’32 ROBERT SCHUMANN (1810-1856) 3 Mein schöner Stern (Friedrich Rückert) d 2’39 JOHANNES BRAHMS (1833-1897) 4 An eine Äolsharfe (Eduard Mörike) f 3’52 ROBERT SCHUMANN 5 Aufträge (Christian L’Egru) b 2’30 GABRIEL FAURÉ (1845-1924) 6 Le papillon et la fleur (Victor Marie Hugo) e 2’08 CLAUDE ACHILLE DEBUSSY (1862-1918) 7 La flûte de Pan (Pierre-Félix Louis) b 2’45 REYNALDO HAHN (1874-1947) 8 L’heure exquise (Paul Verlaine) c 2’27 CLAUDE ACHILLE DEBUSSY 9 C’est l’extase (Paul Verlaine) a 2’54 FRANCIS POULENC (1899-1963) Deux poèmes de Louis Aragon (Louis Aragon) d 10 i C 2’44 11 ii Fêtes galantes 0’57 GABRIEL FAURÉ 12 Notre amour (Armand Silvestre) e 1’58 MEIRION WILLIAMS (1901-1976) 13 Gwynfyd (Crwys) c 3’25 HERBERT HOWELLS (1892-1983) 14 King David (Walter de la Mare) b 4’51 RALPH VAUGHAN WILLIAMS (1872-1958) 15 The Call (George Herbert) f 2’12 16 Silent Noon (Dante Gabriel Rossetti) c 4’03 BENJAMIN BRITTEN (1913-1976) 17 The Choirmaster’s Burial (Thomas Hardy) d 4’08 IVOR GURNEY (1890-1937) 18 Sleep (John Fletcher) e 2’55 BENJAMIN -
Avant Première Catalogue 2018 Lists UNITEL’S New Productions of 2017 Plus New Additions to the Catalogue
CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CATALOGUE 2018 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany CEO: Jan Mojto Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: February 2018 © UNITEL 2018 All rights reserved Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES LEONARD BERNSTEIN 1918 – 1990 Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music. -
German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
Remarkable Highgate Women a Joint Project Between the HLSI and Photographer Ruth Corney
Remarkable Highgate Women A joint project between the HLSI and photographer Ruth Corney This exhibition has developed from a project begun in the HLSI Archives to document the many Highgate women, aged 80 or more, who have made their mark on their community or further afield. They all deserve our notice, have done remarkable things and have lived life to the full. Working women, refugees, social activists, scientists, mothers, teachers, actors or writers – we want to know about them and to celebrate them. Hilary Laurie, HLSI I have long been fascinated by the faces of older women and have loved photographing them. Over the last 2 years, I have photographed 18 wonderful women. It has been a joy to meet them, to talk to them and to find out about their lives. I have found their positivity, resilience, vivacity, wisdom and generosity of spirit inspiring. Ruth Corney Eva Alberman Eva was born in Berlin in August 1929. When her father, a doctor, lost his job in 1933 the family left for London. Their house in Golders Green quickly became home to other family members. Eva was evacuated with a cousin to Bath to live with her father’s sister and her husband, the writer Stefan Zweig. In 1943 she was brought back home – ‘just in time for the rockets, but this didn’t worry me.’ At St Paul’s Girls’ School she took up the cello and ‘had lots of music and good friends’. She studied medicine at Newnham College, Cambridge and continued her training at the London Hospital, qualifying in 1955 with a first-class degree. -
07 – Spinning the Record
VI. THE STEREO ERA In 1954, a timid and uncertain record industry took the plunge to begin investing heav- ily in stereophonic sound. They were not timid and uncertain because they didn’t know if their system would work – as we have seen, they had already been experimenting with and working the kinks out of stereo sound since 1932 – but because they still weren’t sure how to make a home entertainment system that could play a stereo record. Nevertheless, they all had their various equipment in place, and so that year they began tentatively to make recordings using the new medium. RCA started, gingerly, with “alternate” stereo tapes of monophonic recording sessions. Unfortunately, since they were still uncertain how the results would sound on home audio, they often didn’t mark and/or didn’t file the alternate stereo takes properly. As a result, the stereo versions of Charles Munch’s first stereo recordings – Berlioz’ “Roméo et Juliette” and “Symphonie Fanastique” – disappeared while others, such as Fritz Reiner’s first stereo re- cordings (Strauss’ “Also Sprach Zarathustra” and the Brahms Piano Concerto No. 1 with Ar- thur Rubinstein) disappeared for 20 years. Oddly enough, their prize possession, Toscanini, was not recorded in stereo until his very last NBC Symphony performance, at which he suf- fered a mental lapse while conducting. None of the performances captured on that date were even worth preserving, let alone issuing, and so posterity lost an opportunity to hear his last half-season with NBC in the excellent sound his artistry deserved. Columbia was even less willing to pursue stereo. -
The Old Vic Announces the Old Vic 12 Class of 2016-2017
The Old Vic announces The Old Vic 12 Class of 2016-2017 London, 5th December: Today The Old Vic announces the theatre makers behind this year’s Old Vic 12: a company of talented, developing artists looking to make the next step in their careers. The scheme offers them the opportunity to expand their networks, experience first class mentoring and receive funding to create three brand new plays as a collective. The newly announced Old Vic 12 consists of: ➔ Directors, Chelsea Walker, Lekan Lawal and Jesse Jones ➔ Producers, Molly Roberts, Tobi Kyeremateng and Aaron Rogers ➔ Playwrights, Joe White, Rebecca Crookshank and John O’Donovan ➔ Designer, Fin Redshaw ➔ Movement Director, Rachael Nanyonjo ➔ Composer, Cassie Kinoshi This Autumn, after receiving 1,300 applications and interviewing over 300 candidates, The Old Vic is thrilled to start work with these artists to nurture and unveil the work they produce. Artistic Director, Matthew Warchus said, ‘Supporting the next generation of theatre-makers is one of the most important and effective contributions to our cultural future we can make. It is also one of the most enjoyable. The Old Vic 12 sees emerging creatives engaging with people at the top of their profession across a wide range of theatrical disciplines and it's hugely inspiring to see how much all parties get from the mutual exchange of ideas. The presence of these early-career creative minds in our midst through the year is extremely energising. And it's also exciting to see the partnerships formed within the group and how these develop forward beyond The Old Vic. -
Final Draft with PQ Edits
UNIVERSITY OF CALIFORNIA Santa Barbara Liebe und Leben: Exploring Gender Roles and Sexuality in Nineteenth-Century Lieder A supporting document submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts in Music by Tyler Michael-Anthony Reece Committee in charge: Professor Benjamin Brecher, Chair Professor Isabel Bayrakdarian Professor Linda Di Fiore Professor Stefanie Tcharos June 2019 The supporting document of Tyler Michael-Anthony Reece is approved. Linda Di Fiore Stefanie Tcharos Isabel Bayrakdarian Benjamin Brecher, Committee Chair May 2019 Liebe und Leben: Exploring Gender Roles and Sexuality in Nineteenth-Century Lieder Copyright © 2019 by Tyler Michael-Anthony Reece iii ACKNOWLEDGEMENTS I would like to thank the members of my committee, Professors Benjamin Brecher, Isabel Bayrakdarian, Stephanie Tcharos, and Dr. Linda Di Fiore for their devotion and lending of expertise with regard to this project. A special thanks to Professor Stefanie Tcharos, who so willingly guided my research and kept me focused during the writing on this document, despite my being outside of the musicology area. And to Dr. Linda Di Fiore, my teacher and mentor, whom I owe an immense amount of gratitude. Her unwavering support and leadership have positively influenced my abilities as a singer, scholar, and member of the arts community. Without her, I would not be where I am today. Finally, I want to thank my friends and family who kept me smiling during the stressful moments along the way. I hope that I am able to provide -
A Centenary Celebration 100 Years of the London Chamber Orchestra
Available to stream online from 7:30pm, 7 May 2021 until midnight, 16 May 2021 A Centenary Celebration 100 years of the London Chamber Orchestra Programme With Christopher Warren-Green, conductor Handel Arrival of the Queen of Sheba Jess Gillam, presenter Mozart Divertimento in D Major, K205, I. Largo – Allegro Debussy Danses Sacrée et Profane Maconchy Concertino for Clarinet and Orchestra, III. Allegro Soloists Mozart Eine Kleine Nachtmusik, I. Allegro Anne Denholm, harp Britten Courtly Dance No. 5 Mark van de Wiel, clarinet Maxwell Davies Farewell to Stromness Various A Century of Music (premiere) Soloists, A Century of Music Elgar Introduction and Allegro Mary Bevan, soprano Pekka Kuusisto, violin London Chamber Orchestra Alison Balsom, trumpet Ksenija Sidorova, accordion Violin 1 Viola Flute & Piccolo Benjamin Beilman, violin Clio Gould Rosemary Warren-Green Harry Winstanley Jess Gillam, saxophone Manon Derome Kate Musker Gina McCormack Becky Low Oboe Sophie Lockett Jenny Coombes Gordon Hunt Imogen East Alison Alty Composers, A Century of Music Eunsley Park Cello Rob Yeomans Robert Max Clarinet & Bass Clarinet John Rutter Edward Bale Joely Koos Mark van de Wiel Freya Waley-Cohen Julia Graham Violin 2 Rachael Lander Bassoon Paul Max Edlin Charles Sewart Meyrick Alexander George Morton Anna Harpham Bass Alexandra Caldon Andy Marshall Horn Tim Jackson Guy Button Ben Daniel-Greep Richard Watkins Jo Godden Michael Thompson Gabriel Prokofiev Harriet Murray Percussion Cheryl Frances-Hoad Julian Poole Trumpet Ross Brown If you’re joining us in the virtual concert hall, we’d love to know about it! Tag us on your social media using the hashtag #LCOTogether George Frideric Handel Wolfgang Amadeus Mozart Arrival of the Queen of Sheba Divertimento in D Major, K205 I.