Gran Teatre Liceu

Total Page:16

File Type:pdf, Size:1020Kb

Gran Teatre Liceu GRAN TEATRE DEL LICEU Temporada d'òpera 1981/82 CONSORCI DEL GRAN TEATRE DEL LICEU Generalitat de Catalunya Ajuntament de Barcelona Societat del Gran Teatre del Liceu LOHENGRIN Opera en tres actes i quatre quadres Llibret i Música de Richard Wagner Inauguració de la temporada Funció de gala Dijous, 19 de novembre de 1981, a les 21 h., funció núm. l, torn B PLANTES MEDICINALS I AROMÀTIQUES Diumenge, 22 de novembre de a les 17 Espècies, Productes de règim, 1981, h., funció núm. tarda Aliments seleccionats 1, 25 de Pge BACAROI. 1 (Pça Reial) TeL 30178 39· BARCELONA 2 Dimecres, novembre de 1981, a les 21 h., funció núm. 2, torn A GRAN TEATRE DEL LICEU Barcelona Jardins de Barcelona Plaça Gaudí LOHENGRIN Eisa de Brabant Maria Slatinaru Lohengrin Peter Hofmann Ortrud Danica Mastilovic Frederic de Telramund Raimund Herincx Enric J l'ocellaire, rei de Germània Matti Salminen Herald del rei Georg Tichy lnrdineria i COl/strllcciol/s Antoni Gaudi, arquitecte, creador de la Sl/grada Director d'orquestra: Georg Alexander Albrecht Mitjans S.A. Família. s/lllarroel, 62, 2 01/. Nicolau M. Rubió i Tudurí, Director d'escena: Uwe Drechsel Tel. 323 o/ 72 . tsarcclonu-! t arquitecte I jardiner, creador del jardí des d'on Director del cor: Riccardo Bottino es pot contemplar l'obra. Garden Center de L'Ajuntament Producció del Teatre de - Hannover Mitjans S.A. Barcelona ha fet possible I'Opera kin aquesta realitat, El Servei Autovia . 5.7 Castelldetels de Parcs I Tel. 370/059 Municipal Jardins hi ha posat la E/ Prat de l.Iobregat direcció tècnica i nosa/Ires el treball. ORQUESTRA SIMFONICA I COR La feina ben feta és el nostre DEL GRAN TEATRE DEL LICEU P/IIII/es homenatge a Nicolau M. Rubió i Tuduri que amb Mitjans S.A. La COlI/a,S.A. Amb la tanta il·lusió seguia la collaboració del Volimorena sell Para/ge realització del projecte Cor del Teatre de I'Opera de Hannover Te/. 759 43 52· Vilassar de Da/t d'homenatge a Gaudí i que [IJ malauradament, no ha pogut Te/ex 57.505 - PLM/-E veure acabat. platej�da armadura. És Lohengrin, jove de noble esguard que aixeca tota mena de comentaris meravellats dels lOHENGRIN presents. Lohengrin, després de saludar el rei, accepta la defensa d'EIsa i demana si amb ella. Acte I �i P?drà cas�r-se Elsa, que en nou vmgut la Imatge del seu somni, li L'acció se situa al segle xè en una contrada a la ribera descobreI::C �l respon afirrnativament; aleshores, el cavaller li imposa de l'Escalda on saxons, brabantins i turingians són con­ una sola condició davant de tots els presents: no vocats entorn el rei Enric I l'Ocellaire amb la finalitat pre­ guntar mai pel seu país d'origen, ni pel seu nom. de reunir esforços per a assolir la victòria enfront els els nobles fidels a Frederic li preguen que temuts i odiats hongaresos que de nou presenten batalla. Ment�estant refusi de lluitar amb el cavaller però aquest manté El rei es dirigeix als brabantins perquè, mort el seu el repte. Es prepara per al combat, després d'haver-se a oïdes seves ha arribat els seus súbdits príncep, que encomanat al judici diví; sis cavallers encerclen el lloc malden en contínues baralles per a assolir el poder. De­ de i, enmig de gran expectació, s'inicia la lluita mana a Frederic de Telramund, home de la seva con­ com�at que deca�ta la victòria cap a Lohengrin, el fiança, la raó d'aquelles querelles. Aquest explica que fàcIl�ent q�al, tenint Fredenc sota el seu poder, li perdona la d'ençà de la mort del príncep, Elsa i Jafre, els seus fills, VIda. van quedar sota la seva cura; en un moment d'incertesa, Elsa, el rei i els soldats, aixequen crits de lloança a Déu Elsa sortí al bosc amb el seu germà i tornà sense ell. per la seva justa decisió, mentre Frederic i Ortrud ma­ El comte de Telramund, renuncià a la mà d'EIsa que que leeixen l'honor perdut. per dret li pertocava, casant-se amb Ortrud, acusa la Primer entreacte (25 seva protegida de fratricidi i demana el dret que li cor­ minuts) Acte II. respon sobre els territoris de Brabant; a més, l'acusa L'escenari se situa en el d'amors iHícits i de pretendre per al tron de Brabant un burg d'Anvers, davant la sala dels desconegut al qual no escauria el ceptre. cavallers, la de les dames i l'església, als esglaons la i conse­ El rei fa venir Elsa mentre realitza el ritual del Judici d�, . qual Fre�eric Ortrud, que palesen les de la i de Déu; el mateix fan els cavallers presents en espera quencies perdua d'honor béns, seuen tot maleint la de sentir la sentència. L'aparició d'EIsa és rebuda amb seva desgràcia. Frederic es demana què l'ha fet unir-se a dona tan expectació sobretot perquè no respon a les acusacions horripilant que l'ha dut a la misèria i al deshonor. de Frederic, ans explica un somni que va tenir enmig Qu�n enmig de la discussió Ortrud pronuncia el nom de fa de tal del qual se li feia present un jove cavaller ornat d'arma­ Deu, ho manera que Frederic des­ cobreix en la seva dura de plata. Aquest posat endolcit troba eco en els companya poders sobrenaturals que de la divina. La presents, que dubten de la culpabilitat de la noia, a ex­ l'allunyen benaurança dona proposa una Elsa a cepció de Frederic, que reclama que es dugui a terme maquinació per obliga� trencar la seva pro­ mesa I sobre el Judici de Déu, a la qual cosa també accedeix Elsa. mterrog�r Lohengrm la seva nissaga i el seu nom. Fredenc cau de nou en L'herald fa una crida: qui vulgui batre's en nom d'EIsa la seva xarxa i es pres­ .. ta a la obtindrà com a premi, si guanya, la mà de la noia i, d'es conjuració. Elsa a creix, el ceptre de Brabant. �n I'escena sewma, apareix la terrassa i Ortrud, La crida, de bon principi, no és atesa per ningú i es fmgmt-se penedida pel seu error se li acosta humilment· de Elsa la crea una situació molt tensa; però, finalment, tots els primer antuvi, menysprea, però enternida pe; les falses li presents veuen com riu avall s'acosta una embarcació paraules d'Ortrud, promet ajut. Mentre surt a cercar-la, l'embruixada dona invoca Wotan i conduïda per un cigne que duu un cavaller ornat de Freia, per tal que arribi a bon port la seva trampa, i així que Elsa se li ha confiat, Ortrud li injecta el verí de la descon­ fiança envers Lohengrin, que no s'avé a revelar el seu secret. Es fa de dia. Surten els heralds i proclamen l'exili de Frederic així com la mateixa sort per a tots aquells que li prestin ajut. Per la seva banda, Lohengrin, que ha rebutjat el títol de duc, que li corresponia, ha estat nomenat protector de Brabant. En tant que això s'esdevé, quatre nobles fidels a Fre­ deric es confabulen amb ell d'amagat per tal de treure a la llum pública un suposat sacrilegi del jove victoriós. A l'escena següent, tot el poble espera amb delit els > esposos per tal de celebrar les noces. Arriba Elsa, que és honorada per la multitud, però Ortrud, davant de tothom, es nega a acceptar el seu paper de serventa i posa com a testimoni de la seva honestedat el bon nom del seu espòs, vençut per un desconegut a qui ningú, ni tan sols ella, Elsa, la qui ha de ser la seva esposa, gosa preguntar sobre els seus orígens. El trasbalsament d'EIsa és molt gran; arriba el seguici VIA - del rei i amb ell Lohengrin, que maleeix la feblesa de la AUGUSTA, 317 319 seva promesa en fer cas d'Ortrud. Tothom bandeja Or­ , .. mentre es Frederic el de trud, presenta qual, després AI de lluitar contra els qui el volen deturar, aconsegueix de peu l'estació de SARRIA parlar i posar de nou la pregunta que nia en el cor de tothom: qui és i d'on ve Lohengrin? Lohengrin nega a tots els presents, àdhuc al rei, el dret de saber el seu orígen. Tan sols Elsa ho pot preguntar, però ha fet una promesa i ha de restar-hi fidel. Tothom accepta de grat l'explicació i honora el seu heroi, però ni Sala d'estar de 60 m.2 l'acceptació ni l'honor aconsegueixen escampar la tene­ bra que plana sobre tots. Cuina-menjador Segon entreacte (20 minuts) 5 dormitoris. 3 Acte III. banys S'estan celebrant les noces d'EIsa i Sona la Lohengrin. Sala comunitària marxa nupcial i els esposos són acompanyats pels nobles i patges a la cambra nupcial. Per fi ambdós es troben i ... moltes coses més sols per primera vegada i frueixen d'aquests instants tan cantant-se mútuament el seu amor. Elsa esperats, Últim pis recorda que ja de bell antuvi Lohengrin se li havia fet dúplex present en somnis i que tot s'ha esdevingut tal com es- INFORMACiÓ: Canet, 38 - Telf. 2034870 ( / @ perava; però, de cop, brolla la llavor del dubte i C9- mença a insistir sobre la necessitat de saber la nissaga i el nom del seu espòs. Aquest prova de fer-li veure que és un parany i que cal que confiï en la seva paraula.
Recommended publications
  • Parsifal and Canada: a Documentary Study
    Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article.
    [Show full text]
  • ARSC Journal
    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
    [Show full text]
  • ARSC New York Chapter MARCH 2014 Meeting
    ARSC New York Chapter MARCH 2014 Meeting !!NOTE CHANGE OF DATE!! 7 P. M. Thursday, 3/27/14 at the CUNY Sonic Arts Center West 140th Street & Convent Avenue, New York or, enter at 138th Street off Convent Avenue Shepard Hall (the Gothic building) – Recital Hall (Room 95, Basement level) An elevator is located in the center of the building ARSCNY is again pleased to present “The Two Gary’s” (Galo and Thalheimer, respectively) …reprising their gala presentations of recordings by Lauritz Melchior (“The Great Dane: Lauritz Melchior – A 40th Anniversary Tribute”) and German singers in Verdi roles. Both are expanded versions of presentations given at the ARSC national conference in Kansas City, MO in May 2013. Danish tenor Lauritz Melchior (1890-1973) was arguably the greatest Wagnerian tenor in the history of that species. Melchior began his career as a baritone, making his operatic debut as Sivlio in Leoncavallo’s Pagliacci at the Royal Opera, Copenhagen in 1913. On the advice of Mme. Charles Cahier, Melchior restudied as a tenor with Vilhelm Herold, and made a second debut in 1918 in the title role of Wagner’s Tannhäuser. After further studies with Anna Bahr-Mildenburg, Melchior began his international career at the Royal Opera House, Covent Garden in 1924 as Siegmund in Wagner’s Die Walküre, followed by a Bayreuth debut later that year, and a Metropolitan Opera debut in 1926. Melchior combined a voice of unrivalled power with a true bel canto production, allowing him to remain virtually unchallenged in the heldentenor repertoire until his retirement from the stage in 1950.
    [Show full text]
  • Magdalena Kožená Anna Gourari Friedrich Gulda
    www.klassikakzente.de • C 43177 • 2 • 2005 Magdalena Kožená GLUCKS VERSCHOLLENE OPER Anna Gourari DER KLANG DER WOLGA Friedrich Gulda JOACHIM KAISER, FREUND UND KRITIKER JANINE JANSEN Der Kern der „Vier Jahreszeiten“ INHALT EDITORIAL INTRO 3 Edelmetall für Anna Netrebko Heißer Herbst für Renée Fleming Andreas Kluge TITEL Foto: Kai Lerner 4 Janine Jansen: Der musikalische Kern Liebe Musikfreundin, lieber Musikfreund, MAGAZIN eigentlich könnte ich es mir leicht machen und Ihnen an dieser 8 Dietrich Fischer-Dieskau: Stelle – parallel zu Salzburg, Bayreuth, München, Luzern und Der Mann, den sie abkürzten anderswo – einfach eine neue „Opernsaison“ auf Universal 10 Sonderteil: Oper 2005 Classics ankündigen. Denn natürlich gibt’s neue Recitals, 10 Magdalena Kožená: Aufnahmen in Troja Opernquerschnitte und -gesamtaufnahmen, im CD- wie im 12 Augenschmaus: Opern-DVDs DVD-Format. Etwa Recitals mit Dietrich Fischer-Dieskau, da- 14 Händel und Weber: Die Deutschen in London neben Händels „Rodelinda“, Webers „Oberon“ und Wagners 15 Riccardo Chailly: Mahler als zweite Haut „Fliegender Holländer“. Alles schon mal da gewesen, werden 16 MoMu: Mehrheitsfähige Moderne Sie denken. Aber so einfach ist die Sache nicht, denn der Teu- 18 Das andere Jubiläum: Keith Jarrett fel steckt hier im Detail. In der 9-CD-Box mit „Early Recordings“ 20 Classic Recitals: Gute alte Neuzeit des gefeierten deutschen Baritons entdeckt man nämlich bei 21 Neue ECM-Veröffentlichungen: In Kontrastwelten genauerer Untersuchung unter den 220 (sic!) Tracks dieser Ar- 22 Cristina Branco:
    [Show full text]
  • Spring 2008-Final
    Wagneriana Endloser Grimm! Ewiger Gram! Spring 2008 Der Traurigste bin ich von Allen! Volume 5, Number 2 —Die Walküre From the Editor ven though the much-awaited concert of the Wagner/Liszt piano transcriptions was canceled due to un- avoidable circumstances (the musicians were unable to obtain a visa), the winter and early spring months E brought several stimulating events. On January 19, Vice President Erika Reitshamer gave an audiovisual presentation on Wagner’s early opera Das Liebesverbot. This well-attended event was augmented by photocopies of extended excerpts from the libretto, with frequently amusing commentary by the presenter on Wagner’s influences and foreshadowings of his future operas. February 23 brought the excellent talk by Professor Hans Rudolf Vaget of Smith College. Professor Vaget spoke about Wagner’s English biographer Ernest Newman, whose seminal four-volume book The Life of Richard Wagner has never been surpassed in its thoroughness. In the early part of the twentieth century, the music critic Newman served as a counterbalance to his fellow countryman Houston Stewart Chamberlain, Wagner’s son-in-law and an ardent Nazi. The talk also included aspects of Thomas Mann’s fictional writings on Wagner, as well as the philoso- pher and musician Theodor Adorno and Wagner’s other son-in-law Franz Beidler. On April 19 we learned the extent of Buddhism’s influence on Wagner’s operas thanks to a lecture and book signing by Paul Schofield, author of The Redeemer Reborn: Parsifal as the Fifth Opera of Wagner’s Ring. The audience members were so interested in what Mr.
    [Show full text]
  • A Culture of Recording: Christopher Raeburn and the Decca Record Company
    A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon.
    [Show full text]
  • Annals Liceu
    GRAN TEATRE DEL LICEU I' Temporada d'òpera 1984/85 I f - CONSORCI DEL GRAN TEATRE DEL LICEU GENERALIl;�r DE CATALUNYA AJUNTAMENT DE BARCELONA SOCIETAT DEL GRAN TEATIlE DEL LICEU ,..------- (fi),�------------------� I SIEGFRIED Eso a menudo; la comida pasa Òpera en 3 actes es en cuanto a buena, pero Llibret i música de Richard Wagner postres, , , " sólo hay las tres banalidades de siempre, En Flo los postres son tantos que requieren una carta aparte: más de 20 postres hechos en casa, que son 20 suculentas tentaciones, Es que no puede haber una buena «brasserie» sin buenos postres, ¡QUE "BRASSERIE"! LA BRASSERIE FlO .. on LA LAI. Funció de Gala de a Dijous, 14 març de 1985 ' les 21 h ., funció núm. 37, torn B . 17 de 1985 a les 17 h ., Diumenge, març de ' funció núm. 38 , torn. T Dimecres, 20 de març de 1985 a les 21 h " funció núm. 39, torn A' Jonqueres, 10· BARCELONA Reservas Tel. 311 80 31 GRAN TEATRE DEL LICEU Barcelona --------(�--------� SIEGFRIED Siegfried: Reiner Goldberg Mime: Wolf Appel Wotan, el vianant: Peter W imberger Alberich: Walter Berry Fafner, el dragó: Malcolm Smith Erda: Martha Szirmay Brünnhilde: Elisabeth Payer-Tucci L'ocell: Rebeca Littig Director d'orquestra: Matthias Kuntzsch Direcció escènica: Werner M. Esser Decoracions: Teatro Comunale Giuseppe Verdi (Trieste) Violins concertinos: Jaume Franceschi a Josep M. Alpiste Comentaris a càrrec dels Drs. Roger Alier, Xosé Aviñoa i Oriol Martorell, del Departament d'Art de la Universitat de Barcelona. ORQUESTRA SIMFÒNICA DEL GRAN TEATRE DEL LICEU --------------------(!!)--------------------�
    [Show full text]
  • A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina
    University of South Carolina Scholar Commons Theses and Dissertations 2015 A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Amos, D. C.(2015). A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3642 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A SURVEY OF THE CAREER OF BARITONE, JOSEF METTERNICH: ARTIST AND TEACHER by Diana Carol Amos Bachelor of Music Oberlin Conservatory of Music, 1982 Master of Music University of South Carolina, 2011 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2015 Accepted by: Walter Cuttino, Major Professor Donald Gray, Committee Member Sarah Williams, Committee Member Janet E. Hopkins, Committee Member Lacy Ford, Senior Vice Provost and Dean of Graduate Studies ©Copyright by Diana Carol Amos, 2015 All Rights Reserved. ii ACKNOWLEDGEMENTS I gratefully acknowledge the help of my professor, Walter Cuttino, for his direction and encouragement throughout this project. His support has been tremendous. My sincere gratitude goes to my entire committee, Professor Walter Cuttino, Dr. Donald Gray, Professor Janet E. Hopkins, and Dr. Sarah Williams for their perseverance and dedication in assisting me.
    [Show full text]
  • Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
    (De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification.
    [Show full text]
  • Wagner March 06.Indd
    Wagner Society in NSW Inc. Newsletter No. 103, March 2006 IN NEW SOUTH WALES INC. President’s Report In Memoriam While on the subject of recordings, we are still waiting for the first opera of the promised set from the Neidhardt Birgit Nilsson, the Wagner Soprano Legend, Ring in Adelaide in 2004, and regretting that last year’s Dies at 87 and Tenor James King at 80 triumphal Tristan in Brisbane with Lisa Gasteen and John Birgit Nilsson, the Swedish soprano, died on 25 December Treleaven went unrecorded. 2005 at the age of 87 in Vastra Karup, the village where Functions she was born. Max Grubb has specially written for the Newsletter an extensive appraisal and appreciation of the On 19 February, we held our first function of 2006, at which voice, career and character of Nilsson (page 10). Nilsson’s Professor Kim Walker, Dean of the Sydney Conservatorium regular co-singer, Tenor James King has also died at eighty: of Music, spoke about the role of the Conservatorium, Florida, 20 November 2005 (see report page 14). the work of the Opera Studies Unit in particular, and the need to find private funding to replace government grants A LETTER TO MEMBERS which have been severely cut. Sharolyn Kimmorley then Dear Members conducted a voice coaching class with Catherine Bouchier, a voice student at the Con. From feedback received at and Welcome to this, our first Newsletter for 2006, in which since the function, members attending found this “master we mourn the passing of arguably the greatest Wagnerian class” a fascinating and rewarding window onto the work soprano of the second half of the 20th century, Birgit of the Conservatorium, and I’d like on your behalf to once Nilsson.
    [Show full text]
  • 110308-10 Bk Lohengrineu 13/01/2005 03:29Pm Page 12
    110308-10 bk LohengrinEU 13/01/2005 03:29pm Page 12 her in his arms, reproaching her for bringing their @ Ortrud comes forward, declaring the swan to be happiness to an end. She begs him to stay, to witness her Elsa’s brother, the heir to Brabant, whom she had repentance, but he is adamant. The men urge him to bewitched with the help of her own pagan gods. WAGNER stay, to lead them into battle, but in vain. He promises, Lohengrin kneels in prayer, and when the white dove of however, that Germany will be victorious, never to be the Holy Grail appears, he unties the swan. As it sinks defeated by the hordes from the East. Shouts announce down, Gottfried emerges. Ortrud sinks down, with a the appearance of the swan. cry, while Gottfried bows to the king and greets Elsa. Lohengrin Lohengrin leaps quickly into the boat, which is drawn ! Lohengrin greets the swan. Sorrowfully he turns away by the white dove. Elsa sees him, as he makes his towards it, telling Elsa that her brother is still alive, and sad departure. She faints into her brother’s arms, as the G WIN would have returned to her a year later. He leaves his knight disappears, sailing away into the distance. AN DG horn, sword, and ring for Gottfried, kisses Elsa, and G A F SS moves towards the boat. L E Keith Anderson O N W Mark Obert-Thorn Mark Obert-Thorn is one of the world’s most respected transfer artist/engineers. He has worked for a number of specialist labels, including Pearl, Biddulph, Romophone and Music & Arts.
    [Show full text]
  • Andreas Ottensamer: Der Seelenbohrer Schätze Für Die Nackte Den Plattenschrank 57 Gulasch-Kanone 22 Boulevard: Tianwa Yang: Bunte Klassik 58 25.07
    Das Klassik & Jazz Magazin 2/2015 HILLE PERL Unter Strom Bryan Hymel und Piotr Beczała: Zeit für Helden Frank Peter Zimmermann: Feilen am perfekten Klang François Leleux: Seelenbohrer Pierre Boulez: Maître der Moderne Immer samstags aktuell www.rondomagazin.de Foto: Rankin Foto: Foto: Shervin Lainez Foto: 7. bis 16. maiSchirmherr: Oberbürgermeister 2015 Jürgen Nimptsch Nigel Kennedy Lizz Wright Foto: Ferrigato Foto: Foto: Stephen Freiheit Stephen Foto: onn www.jazzfest-bonn.de zfest Marilyn Mazur Wolfgang Muthspiel b Karten an allen Do 7.5. Post Tower Mo 11.5. Brotfabrik VVK-Stellen Pat Martino Trio Peter Evans – Zebulon Trio z und unter www.bonnticket.de Ulita Knaus Hanno Busch Trio Fr 8.5. LVR-LandesMuseum Bonn Di 12.5. Haus der Geschichte Anke Helfrich Trio Wolfgang Muthspiel Trio Norbert Gottschalk Quintett Efrat Alony Trio Sa 9.5. Universität Bonn Mi 13.5. Bundeskunsthalle ja Lizz Wright Marilyn Mazur‘s Celestial Circle Stefan Schultze – Large Ensemble Frederik Köster – Die Verwandlung So 10.5. Volksbank-Haus Do 14.5. Beethoven-Haus Bonn Michael Schiefel & David Friedman Enrico Rava meets Michael Heupel Gianluca Petrella & Giovanni Guidi Julia Kadel Trio Fr 15.5. Bundeskunsthalle Franco Ambrosetti Sextet feat. Terri Lyne Carrington, Greg Osby, Buster Williams WDR Big Band & Erik Truffaz Sa 16.5. Telekom Forum Nigel Kennedy plays Jimi Hendrix Rebecca Treschers Ensemble 11 Fotos: Johannes Gontarski; Dario Acosta/Warner Classics; Georg Thum/Sony; Lars Borges/Mercury Calssics; Friedrun Reinhold Calssics; Friedrun Borges/Mercury Dario Thum/Sony; Acosta/Warner Lars Johannes Gontarski; Classics; Georg Fotos: 2 Rondo.indd 1 09.02.15 15:26 Lust auf Themen Musikstadt: St.
    [Show full text]