Opera Productions, Old and New

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Opera Productions, Old and New 12. Opera through the Lens Boris GoduNov Reigned as Tsar 1585–98 Opera by Modest Mussorgsky 1784 Boris Godunov, Mariinsky 1990 Boris Godunov, film 1989 The theater at Drottningholm Palace and the audience for Ingmar Bergman’s film ofThe Magic Flute (1975) Scene from the overture in Kenneth Branagh’s film ofThe Magic Flute (2006) The Three Ladies in Kenneth Branagh’s film ofThe Magic Flute (2006) Joseph Losey: Don Giovanni (1979) Kasper Bech Holten: Juan (2010) Andrea Palladio buildings in Vicenza: the Basilica (above) and the Villa Rotonda (right) Ruggero Raimondi in the opening scene of Joseph Losey’s film ofDon Giovanni (1979) Ruggiero Raimondi in the final scene of Joseph Losey’s film ofDon Giovanni (1979) Scene from Juan by Kasper Bech Holten (2010) Ruggero Raimondi as Don Giovanni Christopher Maltman as Juan Opera for Television Gian Carlo Menotti:Amahl and the Night Visitors (1951), left Benjamin Britten:Owen Wingrave (1970), below Benjamin Britten and Myfanwy Piper John Piper: San Marco, Venice Death in Venice Art by Catherine Moleski Filming Death in Venice (1981) Scene from Tony Palmer’s film ofDeath in Venice (1981) Britten:Death in Venice. Opening picture of the Deborah Warner production (ENO, 2013) Britten:Death in Venice. Andrew Shore and John Graham-Hall in he Deborah Warner production (ENO, 2013) Scene from Tony Palmer’s film ofDeath in Venice (1981) The Roman Settings of Tosca Act 1 (top left): Sant’Andrea della Valle Act 2 (above): Palazzo Farnese Act 3 (bottom left): Castel Sant’Angelo Ruggero Raimondi as Scarpia, in Giuseppe Patroni Griffi’s Tosca (1992) Angel Blue and Catherine Malfitano in Christophe Honoré’s Tosca (Aix-en-Provence, 2019) Angel Blue sings “Vissi d’Arte” in Christophe Honoré’s Tosca (Aix-en-Provence, 2019) Director Ken Russell, left Puccini: Turandot, below Opera Productions, Old and New Opera through the Lens Ken Russell: “Nessun dorma” from Aria (1987) .

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Broadcasting the Arts: Opera on TV
Broadcasting the Arts: Opera on TV With onstage guests directors Brian Large and Jonathan Miller & former BBC Head of Music & Arts Humphrey Burton on Wednesday 30 April BFI Southbank’s annual Broadcasting the Arts strand will this year examine Opera on TV; featuring the talents of Maria Callas and Lesley Garrett, and titles such as Don Carlo at Covent Garden (BBC, 1985) and The Mikado (Thames/ENO, 1987), this season will show how television helped to democratise this art form, bringing Opera into homes across the UK and in the process increasing the public’s understanding and appreciation. In the past, television has covered opera in essentially four ways: the live and recorded outside broadcast of a pre-existing operatic production; the adaptation of well-known classical opera for remounting in the TV studio or on location; the very rare commission of operas specifically for television; and the immense contribution from a host of arts documentaries about the world of opera production and the operatic stars that are the motor of the industry. Examples of these different approaches which will be screened in the season range from the David Hockney-designed The Magic Flute (Southern TV/Glyndebourne, 1978) and Luchino Visconti’s stage direction of Don Carlo at Covent Garden (BBC, 1985) to Peter Brook’s critically acclaimed filmed version of The Tragedy of Carmen (Alby Films/CH4, 1983), Jonathan Miller’s The Mikado (Thames/ENO, 1987), starring Lesley Garret and Eric Idle, and ENO’s TV studio remounting of Handel’s Julius Caesar with Dame Janet Baker. Documentaries will round out the experience with a focus on the legendary Maria Callas, featuring rare archive material, and an episode of Monitor with John Schlesinger’s look at an Italian Opera Company (BBC, 1958).
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Rite of Spring
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20 - 23 June 2013 Lo N D O N W C 1 Main Sponsor Greetings DIRECTOR’S STATEMENT
20 - 23 JUNE 2013 LO N D O N W C 1 Main Sponsor GREEtiNgs DIRECTOR’S STATEMENT Sponsors & Cultural Partners Welcome This year we’re asking questions. The artist is the person in society focused day events. Many of Questions of filmmakers, who is being paid to stop and our films have panels or Q&As questions of artists and also try and deal with them, and to – check the website for details, questions of ourselves - all part create a climate in which more where you will also find our useful Faculty of Arts and Humanities UCL Faculty of Population Health Sciences Faculty of Medical Sciences Faculty of Brain Sciences of the third edition of Open people would have occasion to links – ‘if you liked this you might Faculty of The Built Environment Faculty of Engineering Sciences UCL Slade School of Fine Art Faculty of Social and Historical Sciences City Docs Fest. And we are stop. …You want to get people’s like that’ suggesting alternative celebrating the documentarian attention, stop them dead in their journeys through the festival. who changes things. Not only tracks. Get them to say, ‘oh wait a Media Partners changing their world, but minute!’ To turn the tables! To say, There is no single way of making changing our understanding of ‘everything I thought obtained, documentary – people can’t even the wider world. So, what is the doesn’t obtain: oh my God! What agree where documentary ends onus on today’s filmmakers? does that mean?’” and fiction begins (see our Hybrid Forms strand).
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Britten100launched in San Francisco Included in This Issue: Celebrations for Britten’S Centenary in 2013 Include Performances in 140 Cities Around the World
Boosey & Hawkes Music Publishers Limited October 2012 2012/3 Holloway Britten100launched in San Francisco Included in this issue: Celebrations for Britten’s centenary in 2013 include performances in 140 cities around the world. Robin Holloway travels to Turnage San Francisco on Interview about new works: Highlights in Aldeburgh, where Britten lived including three by the Berliner Philharmoniker 10 January for the world Cello Concerto and Speranza and worked most of his life, include and Simon Rattle. A series of events at premiere of his new performances of Peter Grimes on the beach Carnegie Hall in New York will be announced Debussy song and six new works specially commissioned in early 2013. orchestrations for by the Britten-Pears Foundation and Royal soprano Renée Fleming. New books for the centenary include Paul Philharmonic Society. A week-long festival in Michael Tilson Thomas Kildea’s Benjamin Britten - the first major Glasgow sees Scotland’s four leading Photo: Charlie Troman conducts the San biography for twenty years (Penguin’s Allen orchestras and ensembles come together Francisco Symphony in ten settings of Paul Lane), a collection of rare images from The in April 2013. Verlaine’s poetry, which Holloway has titled Red House archive entitled Britten in Pictures, C’est l’extase after one of the chosen songs. Britten’s global appeal is demonstrated with and the sixth and final volume of Letters from Orchestra and conductor have long territorial premieres of his operas staged in a Life (Boydell & Brewer). BBC Radio and championed Holloway’s music, Brazil, Chile, China, Israel, Russia, Turkey, Television honours Britten with a year-long commissioning a sequence of works Japan and New Zealand.
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'Russian Wagnerians in the 20Th & 21St Centuries' by Rosamund
'Russian Wagnerians In The 20th & 21st Centuries' By Rosamund Bartlett, 12 March 2017 12.30pm: Magic Fire – 1955 film of the life of composer Richard Wagner with Wagner’s music arranged by Erich Korngold - Part 1 2.00pm: Presentation by Dr Rosamund Bartlett Presentation by Dr Rosamund Bartlett The presentation by Dr Rosamund Bartlett on 12 March was very popular, attended by 53 members and visitors. She reminded us of the excellent Russian singers of the early 20th century, particularly the great basses, such as Kolovsky, Lemeshev and Reizen, whom she had discussed in her 2016 presentation. That had highlighted the popularity of Wagner during the period before and after World War I. She described the suppression of Wagner’s music during the Stalinist period, when none of his operas were performed. She played the little-known 15th symphony of Shostakovich (1971) in which he quotes musical memories of his life, including references to Wagner’s Ring, from 'Die Walküre' onwards. The collapse of the Soviet Union in 1997 provided opportunities for a renewed interest in Wagner spearheaded by Valery Gergiev at the Mariinsky. She showed footage of a 1997 'Parsifal' directed by the UK’s Tony Palmer, with a set drawing on Russian icons and a cast of 150. A promotional video showed a beautiful young Anna Netrebko as a Flower Maiden. Gergiev’s commitment continued with 'Der fliegende Holländer' (1998), 'Lohengrin' (1999) and the full Ring Cycle in 2003, using a number of directors and designs referencing the Eastern Russian steppes and Caucasian mythology. This Ring travelled the world to such houses as Covent Garden.
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The Times: Antivax Cyberwar
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Nixon in China Opera Box Lesson Plan Title Page with Related Academic Standards
JOHNADAMS Opera Box Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Lesson Plans . .9 Synopsis . .36 John Adams – a biography .................................38 Background Notes . .40 World Events in 1987 ....................................44 History of Opera ........................................45 History of Minnesota Opera, Repertoire . .56 The Standard Repertory ...................................60 Elements of Opera .......................................61 Glossary of Opera Terms ..................................65 GIACOMO PUCCINI NOVEMBER 6 – 14, 2004 Glossary of Musical Terms .................................71 Bibliography, Discography, Videography . .74 GAETANO DONIZETTI Evaluation . .77 MARCH 5 – 13, 2005 Acknowledgements . .78 GEORGES BIZET APRIL 16 – 24, 2005 JOHN ADAMS mnopera.org MAY 14 – 22, 2005 FOR SEASON TICKETS, CALL 612.333.6669 620 North First Street, Minneapolis, MN 55401 Kevin Ramach, PRESIDENT AND GENERAL DIRECTOR Dale Johnson, ARTISTIC DIRECTOR Dear Educator, Thank you for using a Minnesota Opera Opera Box. This collection of material has been designed to help any educator to teach students about the beauty of opera. This collection of material includes audio and video recordings, scores, reference books and a Teacher’s Guide. The Teacher’s Guide includes Lesson Plans that have been designed around the materials found in the box and other easily obtained items. In addition, Lesson Plans have been aligned with State and National Standards. See the Unit Overview for a detailed explanation. Before returning the box, please fill out the Evaluation Form at the end of the Teacher’s Guide. As this project is new, your feedback is imperative. Comments and ideas from you – the educators who actually use it – will help shape the content for future boxes.
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The Life and Deaths of Maria Callas (Nov
1 Note: this article appeared on the occasion of the first commercial release of Callas's television appearances for home video The Life and Deaths of Maria Callas (Nov. 1995, The New Yorker) If only she hadn't gotten mixed up with Ari and Jackie, we would be less aware of Maria Callas's life after singing, and that would be better. Here was the most celebrated operatic soprano of the 20th century, unable to find peace or purpose in her 12 years of premature retirement and unable to rehabilitate herself as a performer, winding up an overmedicated recluse in Paris, a city that never knew her in her prime. By the time she died there in 1977, at 53, her career had long since ebbed into fitful and mostly unfulfilled comeback projects, and her fame -- the pure, resonant fame of noble achievement -- had long since been admixed with notoriety. The stormy, capricious diva who abandoned husband and stage for a seductive billionaire, only to be dumped in favor of a President's widow, attained to levels of name recognition that merely singing in opera could never have brought. Callas is remembered as Puccini's Tosca, the role in which she was best photographed, and since Tosca herself is a celebrated opera singer who gets into desperate straits, a reciprocal identification has proved irresistible. In "Harvey Milk" at the New York City Opera, whenever opera fandom as a cultural rallying force for gays is mentioned, one hears the opening chords of "Tosca" and sees an enormous blow-up of Callas.
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Benjamin Britten At
13/26 Benjamin Britten at 100 BFI Southbank celebrates the centenary of one of Britain’s most innovative composers, with Peter Morley OBE, Dame Josephine Barstow, Tony Palmer, Phyllida Lloyd, John Bridcut and Paul Kildea all appearing onstage 2013 marks the centenary of the birth of Benjamin Britten, one of Britain’s greatest composers. Beginning in September and running into the first week of October, BFI Southbank will be holding a season to celebrate the ways in which Britten contributed to cinema and television, either through writing film scores or adapting operas, or as the subject of remarkable documentaries about his life and work. Benjamin Britten at 100 will include screenings of documentaries from the GPO Film Unit (for which Britten composed the music), plus a re- mastered screening of The Turn of the Screw (1959) introduced by director Peter Morley OBE. Further highlights will include special previews of new films by Tony Palmer and John Bridcut (Nocturne and Britten’s Endgame respectively) followed by director Q&As and a Season Introduction by Britten biographer Paul Kildea (which will include rarely screened home movie footage which has been digitised by the BFI National Archive). This season will give audiences a unique opportunity to augment their understanding of this remarkable composer, whose career was so inextricably linked to film and television. In 1935 aged only 21, Benjamin Britten was plucked from relative obscurity by (depending on which version of events you read) either John Grierson or Alberto Cavalcanti. Grierson was at that time the head of the GPO Film Unit, with Cavalcanti as his assistant, and required a young and talented composer to write scores for him.
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National Gallery of Art Winter 2014 Film Program
FILM WINTER 2014 National Gallery of Art 9 Art Films and Events 18 American Originals Now: John Gianvito 20 Max Linder Restored 23 Michael Snow: Looking Forward, Looking Back 24 Tony Palmer: Wagner and Britten 25 Recovered Treasure: UCLA’s Festival of Preservation 29 Hans Richter 32 Masterworks of Czech Animation 33 “As I Went Walking” Dreams that Money Can Buy p. 31 nga.gov/film cover: Rain (Regen) p.33 Unless otherwise noted, films are screened in the East The 2014 season opens with a new slate of non-fiction, Building Auditorium, Fourth Street and Pennsylvania experimental, and classic narrative films, featuring trib- Avenue NW. Works are presented in original formats, utes to legendary directors, contemporary groundbreak- and seating is on a first-come, first-seated bases. Doors ers, and a few often overlooked motion picture artists. open thirty minutes before each show and programs The Gallery welcomes Canadian-born artist Michael Snow, are subject to change. who will introduce several of his seminal films, including Wavelength, and welcomes back British documentarian For more information, e-mail [email protected], and historian Tony Palmer with a US premiere of his most call (202) 842-6799, or visit nga.gov/film. recent film on the legacy of composer Benjamin Britten. Other guests include John Gianvito, Caroline Martel, and Pacho Velez — all visiting to present and speak about their current work. Ciné-concerts include silent films by mas- ters Max Linder and Buster Keaton, with original scores by Andrew Simpson; a special presentation of The Yellow Ticket, with a score commissioned by the Foundation for Jewish Culture’s New Jewish Culture Network; and a screening of Victor Fleming’s silent Mantrap, just one of the recently restored gems presented during the UCLA Film & Television Archive’s biennial preservation festival, accompanied by Ben Model.
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