Bridget Johnston Soprano
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Year's Music
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com fti E Y LAKS MV5IC 1896 juu> S-q. SV- THE YEAR'S MUSIC. PIANOS FOR HIRE Cramer FOR HARVARD COLLEGE LIBRARY Pianos BY All THE BEQUEST OF EVERT JANSEN WENDELL (CLASS OF 1882) OF NEW YORK Makers. 1918 THIS^BQQKJS FOR USE 1 WITHIN THE LIBRARY ONLY 207 & 209, REGENT STREET, REST, E.C. A D VERTISEMENTS. A NOVEL PROGRAMME for a BALLAD CONCERT, OR A Complete Oratorio, Opera Recital, Opera and Operetta in Costume, and Ballad Concert Party. MADAME FANNY MOODY AND MR. CHARLES MANNERS, Prima Donna Soprano and Principal Bass of Royal Italian Opera, Covent Garden, London ; also of 5UI the principal ©ratorio, dJrtlustra, artii Sgmphoiu) Cxmctria of ©wat Jfvitain, Jtmmca anb Canaba, With their Full Party, comprising altogether Five Vocalists and Three Instrumentalists, Are now Booking Engagements for the Coming Season. Suggested Programme for Ballad and Opera (in Costume) Concert. Part I. could consist of Ballads, Scenas, Duets, Violin Solos, &c. Lasting for about an hour and a quarter. Part II. Opera or Operetta in Costume. To play an hour or an hour and a half. Suggested Programme for a Choral Society. Part I. A Small Oratorio work with Chorus. Part II. An Operetta in Costume; or the whole party can be engaged for a whole work (Oratorio or Opera), or Opera in Costume, or Recital. REPERTOIRE. Faust (Gounod), Philemon and Baucis {Gounod) (by arrangement with Sir Augustus Harris), Maritana (Wallace), Bohemian Girl (Balfe), and most of the usual Oratorios, &c. -
The Threepenny Opera (Rec
Volume 27 Kurt Weill Number 2 Newsletter Fall 2009 David Drew 1930–2009 In this issue Volume 27 Kurt Weill Number 2 Newsletter Note from the Editor 3 Fall 2009 Letters 3 Tribute to David Drew ISSN 0899-6407 David Drew: An Obituary 4 © 2009 Kurt Weill Foundation for Music Alexander Goehr 7 East 20th Street New York, NY 10003-1106 Letter from Drew to Lenya, 1956 5 tel. (212) 505-5240 Struggling for Supremacy: fax (212) 353-9663 The Libretto of Mahagonny 6 David Drew Published twice a year, the Kurt Weill Newsletter features articles Letter from Drew to Lys Symonette, 1970 9 and reviews (books, performances, recordings) that center on Kurt Weill but take a broader look at issues of twentieth-century music David Drew: Für Weill! 10 and theater. With a print run of 5,000 copies, the Newsletter is dis- Kim H. Kowalke tributed worldwide. Subscriptions are free. The editor welcomes the submission of articles, reviews, and news items for inclusion in Recordings future issues. Street Scene (rec. 1949) on Naxos 12 A variety of opinions are expressed in the Newsletter; they do not John Mauceri necessarily represent the publisher's official viewpoint. Letters to the editor are welcome. The Threepenny Opera (rec. 1976) on Sony 13 Foster Hirsch Staff Books Elmar Juchem, Editor Carolyn Weber, Associate Editor Dave Stein, Associate Editor Brady Sansone, Production The Sound of Broadway Music: A Book of Orchestrators and Orchestrations 14 by Steven Suskin Kurt Weill Foundation Trustees Mark N. Grant Kim Kowalke, President Joanne Hubbard Cossa Performances Guy Stern, Secretary Paul Epstein Philip Getter, Treasurer Susan Feder Johnny Johnson, Lost in the Stars, Die Dreigroschenoperin London 16 Walter Hinderer Patrick O’Connor Welz Kauffman Mahagonny Songspiel / Die sieben Todsünden Teresa Stratas, Honorary Trustee at Ravinia Festival, Chicago 18 John von Rhein Milton Coleman, Harold Prince, Julius Rudel, Trustees Emeriti Die sieben Todsünden in Cincinnati 20 Internet Resources bruce d. -
10-26-2019 Manon Mat.Indd
JULES MASSENET manon conductor Opera in five acts Maurizio Benini Libretto by Henri Meilhac and Philippe production Laurent Pelly Gille, based on the novel L’Histoire du Chevalier des Grieux et de Manon Lescaut set designer Chantal Thomas by Abbé Antoine-François Prévost costume designer Saturday, October 26, 2019 Laurent Pelly 1:00–5:05PM lighting designer Joël Adam Last time this season choreographer Lionel Hoche revival stage director The production of Manon was Christian Räth made possible by a generous gift from The Sybil B. Harrington Endowment Fund general manager Peter Gelb Manon is a co-production of the Metropolitan Opera; jeanette lerman-neubauer Royal Opera House, Covent Garden, London; Teatro music director Yannick Nézet-Séguin alla Scala, Milan; and Théâtre du Capitole de Toulouse 2019–20 SEASON The 279th Metropolitan Opera performance of JULES MASSENET’S manon conductor Maurizio Benini in order of vocal appearance guillot de morfontaine manon lescaut Carlo Bosi Lisette Oropesa* de brétigny chevalier des grieux Brett Polegato Michael Fabiano pousset te a maid Jacqueline Echols Edyta Kulczak javot te comte des grieux Laura Krumm Kwangchul Youn roset te Maya Lahyani an innkeeper Paul Corona lescaut Artur Ruciński guards Mario Bahg** Jeongcheol Cha Saturday, October 26, 2019, 1:00–5:05PM This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation. Digital support of The Met: Live in HD is provided by Bloomberg Philanthropies. The Met: Live in HD series is supported by Rolex. -
Download (4MB)
https://theses.gla.ac.uk/ Theses Digitisation: https://www.gla.ac.uk/myglasgow/research/enlighten/theses/digitisation/ This is a digitised version of the original print thesis. Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] 6iThe Adaptation of Literature to the Musical Stage: The Best of the Golden Age” b y Lee Ann Bratten M. Phil, by Research University of Glasgow Department of English Literature Supervisor: Mr. AE Yearling Ju ly 1997 ProQuest Number: 10646793 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uesL ProQuest 10646793 Published by ProQuest LLO (2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLO. -
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 -
Hérodiade Herodiade Page 1 of 3 Opera Assn
San Francisco War Memorial 1994Hérodiade Herodiade Page 1 of 3 Opera Assn. Opera House This production is made possible by generous gifts from Mr. and Mrs. Gorham B. Knowles and Mr. and Mrs. Alfred S. Wilsey Hérodiade (in French) Opera in four acts by Jules Massenet Libretto by Paul Milliet and Henry Grémont Based on a story by Gustave Flaubert Supertitles provided by a generous gift from the Langendorf Foundation Conductor CAST Valery Gergiev Phanuel, a Chaldean Kenneth Cox Paul Ethuin (11/23.25)† Salomé Renée Fleming Production Hérode ((Herod), King of Galilee Juan Pons Lotfi Mansouri Hérodiade (Herodias), wife of Hérode Dolora Zajick* Designer Jean (John the Baptist) Plácido Domingo* Gerard Howland John Keyes (11/23,25) Costume Designer A Young Babylonian Kristin Clayton Maria-Luise Walek Vitellius, Roman Proconsul Hector Vásquez Lighting Designer A Voice in the Temple Alfredo Portilla Thomas J. Munn High Priest Eduardo del Campo Assistant to Lotfi Mansouri Charles Roubaud Chorus Director *Role debut †U.S. opera debut Ian Robertson PLACE AND TIME: Jerusalem, 30 A.D. Choreographer Victoria Morgan Assistant to Maestro Gergiev Peter Grunberg Musical Preparation Robert Morrison Bryndon Hassman Kathleen Kelly Svetlana Gorzhevskaya Philip Eisenberg Prompter Philip Eisenberg Assistant Stage Director Paula Williams Paula Suozzi Stage Manager Theresa Ganley Fight Coordinator Larry Henderson Supertitles Clifford Cranna Tuesday, November 8 1994, at 8:00 PM Act I -- Hérode's palace Saturday, November 12 1994, at 8:00 PM INTERMISSION Tuesday, November 15 1994, at 7:30 PM Act II, Scene 1 -- Hérode's chambers Friday, November 18 1994, at 8:00 PM Act II, Scene 2 -- The grand square in Jerusalem Sunday, November 20 1994, at 2:00 PM INTERMISSION Wednesday, November 23 1994, at 7:30 PM Act III, Scene 1 -- Phanuel's rooms Friday, November 25 1994, at 8:00 PM Act III, Scene 2 -- Palace courtyard Act III, Scene 3 -- The temple Act IV, Scene 1 -- Prison Act IV, Scene 2 -- Great hall of the palace San Francisco War Memorial 1994Hérodiade Herodiade Page 2 of 3 Opera Assn. -
Roméo Et Juliette
Charles Gounod Roméo et Juliette CONDUCTOR Opera in five acts Plácido Domingo Libretto by Jules Barbier and Michel Carré PRODUCTION Guy Joosten Saturday, December 15, 2007, 1:00–4:20pm SET DESIGNER Johannes Leiacker COSTUME DESIGNER Jorge Jara LIGHTING DESIGNER David Cunningham The production of Roméo et Juliette is made possible by generous gifts from the CHOREOGRAPHER Gramma Fisher Foundation, Marshalltown, Iowa, Sean Curran and The Annenberg Foundation. Additional funding for this production was provided by Mr. and Mrs. Sid R. Bass, Hermione Foundation, Karen and Kevin Kennedy, Mr. and Mrs. William R. Miller, Bill Rollnick and Nancy Ellison Rollnick, and Mr. and Mrs. Ezra K. Zilkha. GENERAL MANAGER Peter Gelb MUSIC DIRECTOR James Levine 2007-08 Season The 319th Metropolitan Opera performance of Charles Gounod’s This performance is broadcast live over The Toll Brothers– Roméo et Metropolitan Opera International Radio Network, Juliette sponsored by Toll Brothers, America’s luxury home builder®, Conductor with generous long- Plácido Domingo term support from The Annenberg IN ORDER OF VOCAL APPEARANCE Foundation and the Tybalt Friar Laurence Vincent A. Stabile Marc Heller Robert Lloyd Endowment Fund for Paris Stéphano Broadcast Media, Louis Otey Isabel Leonard and through contributions from Capulet Benvolio listeners worldwide. Charles Taylor Tony Stevenson Juliette The Duke of Verona This afternoon’s Anna Netrebko Dean Peterson performance is also being transmitted Mercutio live in high definition Nathan Gunn to movie theaters in the -
South-Pacific-Script.Pdf
RODGERS AND HAMMERSTEIN'S SOUTH PACIFIC First Perfol'mance at the 1vlajestic Theatre, New York, A pril 7th, 1949 First Performance in London, Theatre Royal, Drury Lane, November 1st, 1951 THE CHARACTERS (in order of appearance) NGANA JEROME HENRY ENSIGN NELLIE FORBUSH EMILE de BECQUE BLOODY MARY BLOODY MARY'S ASSISTANT ABNER STEWPOT LUTHER BILLIS PROFESSOR LT. JOSEPH CABLE, U.S.M.C. CAPT. GEORGE BRACKETT, U.S.N. COMMDR. WILLIAM HARBISON, U.S.N. YEOMAN HERBERT QUALE SGT. KENNETH JOHNSON SEABEE RICHARD WEST SEABEE MORTON WISE SEAMAN TOM O'BRIEN RADIO OPERATOR, BOB McCAFFREY MARINE CPL. HAMILTON STEEVES STAFF-SGT. THOMAS HASSINGER PTE. VICTOR JEROME PTE. SVEN LARSEN SGT. JACK WATERS LT. GENEVIEVE MARSHALL ENSIGN LISA MANELLI ENSIGN CONNIE WALEWSKA ENSIGN JANET McGREGOR ENSIGN BESSIE NOONAN ENSIGN PAMELA WHITMORE ENSIGN RITA ADAMS ENSIGN SUE YAEGER ENSIGN BETTY PITT ENSIGN CORA MacRAE ENSIGN DINAH MURPHY LIAT MARCEL (Henry's Assistant) LT. BUZZ ADAMS Islanders, Sailors, Marines, Officers The action of the play takes place on two islands in the South Pacific durin~ the recent war. There is a week's lapse of time between the two Acts. " SCENE I SOUTH PACIFIC ACT I To op~n.o House Tabs down. No.1 Tabs closed. Blackout Cloth down. Ring 1st Bar Bell, and ring orchestra in five minutes before rise. B~ll Ring 2nd Bar three minutes before rise. HENRY. A Ring 3rd Bar Bell and MUSICAL DIRECTOR to go down om minute before rise. NGANA. N Cue (A) Verbal: At start of overt14re, Music No.1: House Lights check to half. -
Weill, Kurt (Julian)
Weill, Kurt (Julian) (b Dessau, 2 March 1900; d New York, 3 April 1950). German composer, American citizen from 1943. He was one of the outstanding composers in the generation that came to maturity after World War I, and a key figure in the development of modern forms of musical theatre. His successful and innovatory work for Broadway during the 1940s was a development in more popular terms of the exploratory stage works that had made him the foremost avant- garde theatre composer of the Weimar Republic. 1. Life. Weill‟s father Albert was chief cantor at the synagogue in Dessau from 1899 to 1919 and was himself a composer, mostly of liturgical music and sacred motets. Kurt was the third of his four children, all of whom were from an early age taught music and taken regularly to the opera. Despite its strong Wagnerian emphasis, the Hoftheater‟s repertory was broad enough to provide the young Weill with a wide range of music-theatrical experiences which were supplemented by the orchestra‟s subscription concerts and by much domestic music-making. Weill began to show an interest in composition as he entered his teens. By 1915 the evidence of a creative bent was such that his father sought the advice of Albert Bing, the assistant conductor at the Hoftheater. Bing was so impressed by Weill‟s gifts that he undertook to teach him himself. For three years Bing and his wife, a sister of the Expressionist playwright Carl Sternheim, provided Weill with what almost amounted to a second home and introduced him a world of metropolitan sophistication. -
Charles Gounod Faust Vittorio Grigolo ∙ René Pape Angela Gheorghiu ∙ Dmitri Hvorostovsky Orchestra of the Royal Opera House Conducted by Evelino Pidò
CHARLES GOUNOD FAUST VITTORIO GRIGOLO ∙ RENÉ PAPE ANGELA GHEORGHIU ∙ DMITRI HvOROSTOVSKY ORCHESTRA OF THE ROYAL OpERA HOUSE CONDUCTED BY EvELINO PIDÒ STAGED BY DAVID MCVICAR CHARLES GOUNOD FAUST Charles-François Gounod’s Faust was once one of the most Conductor Evelino Pidò famous and most performed of all operas: at Covent Garden Orchestra Orchestra of the it was heard every season between 1863 and 1911. Jules Barbier Royal Opera House and Michel Carré’s libretto is a tale of romance, temptation, Chorus Royal Opera Chorus and the age-old battle between satanic powers and religion. It is Stage Director David McVicar based on Carré’s play Faust et Marguerite, which in turn is based on Part I of Johann Wolfgang von Goethe’s dramatic poem Faust Vittorio Grigolo Faust, one of the great works of European literature: Weary of Méphistophélès René Pape life and the pursuit of knowledge, the aged Faust contemplates Marguerite Angela Gheorghiu suicide. Méphistophélès promises to satisfy all of his hedonistic Wagner Daniel Grice demands in exchange for his soul. Valentin Dmitri Hvorostovsky Siébel Michèle Losier David McVicar’s lavish production sets the action in the Paris of Marthe Schwertlein Carole Wilson Gounod’s later years, on the eve of the Franco-Prussian War. Charles Edwards’s designs include a memorable Cabaret d’Enfer Video Director Sue Judd and an impressive reconstruction of the Church of Saint-Séverin. They vividly convey the clash between religion and hedonistic entertainment, and provide a powerful backdrop to Gounod’s Length: 182' score. Faust contains much-loved musical highlights including Shot in HDTV 1080/50i the memorable Soldiers’ Chorus, Méphistophélès’s rowdy ‘Song Cat. -
Der Kuhhandel
Volume 22 Kurt Weill Number 2 Newsletter Fall 2004 Der Kuhhandel In this Issue: Bregenz Festival Reviewed Feature Article about Weill and An Operetta Resurfaces Operetta Volume 22 In this issue Kurt Weill Number 2 Newsletter Fall 2004 Note from the Editor 3 Letters 3 ISSN 0899-6407 Bregenz Festival © 2004 Kurt Weill Foundation for Music Der Protagonist / Royal Palace 4 7 East 20th Street Horst Koegler New York, NY 10003-1106 Der Kuhhandel 6 tel. (212) 505-5240 Larry L. Lash fax (212) 353-9663 Zaubernacht 8 Horst Koegler Published twice a year, the Kurt Weill Newsletter features articles and reviews (books, performances, recordings) that center on Kurt Weill but take a broader look at issues of twentieth-century music Feature and theater. With a print run of 5,000 copies, the Newsletter is dis- Weill, the Operettenkrise, and the tributed worldwide. Subscriptions are free. The editor welcomes Offenbach Renaissance 9 the submission of articles, reviews, and news items for inclusion in Joel Galand future issues. A variety of opinions are expressed in the Newsletter; they do not Books necessarily represent the publisher's official viewpoint. Letters to the editor are welcome. Dialog der Künste: Die Zusammenarbeit von Kurt Weill und Yvan Goll 16 by Ricarda Wackers Esbjörn Nyström Staff Elmar Juchem, Editor Carolyn Weber, Associate Editor Performances Dave Stein, Associate Editor Teva Kukan, Production Here Lies Jenny in New York 18 William V. Madison Kurt Weill Foundation Trustees Kim Kowalke, President Paul Epstein Der Zar lässt sich photographieren -
Charles Gounod
1864 VERSION CHARLES GOUNOD FAUST Aljaž Farasin • Carlo Colombara • Marjukka Tepponen Lucio Gallo • Diana Haller • Ivana Srbljan • Waltteri Torikka Croatian National Theatre in Rijeka Opera Orchestra and Choir Ville Matvejeff Act I 24:56 $ Scene 6: Récitatif: Je voudrais bien 1:32 1 Introduction 6:39 (Marguerite) 2 Scene 1: Rien!… En vain j’interroge – % Scene 6: Chanson du Roi de Thulé: Chorus: Ah! Paresseuse fille 8:27 Ile était un roi de Thulé 6:16 (Faust, Maidens, Labourers) (Marguerite) 3 Récitatif: Mais ce Dieu 1:09 ^ Air des bijoux: Charles (Faust) Ah! Je ris de me voir 3:57 4 Scene 2: Duo: Me voici! 8:41 (Marguerite) GOUNOD (Méphistophélès, Faust) & Scene 7: Scène: Seigneur Dieu... – (1818–1893) Scene 8: Dame Marthe Schwerlein 2:57 Act II 27:15 (Marthe, Marguerite, Méphistophélès, Faust) 5 Scene 1: Chœur: Vin ou bière 4:45 * Scene 8: Quatuor: (Students, Wagner, Soldiers, Citizens, Prenez mon bras un moment! 7:22 Faust Maidens, Matrons) (Faust, Marguerite, Méphistophélès, Marthe) 6 Scene 2: Scène: O sainte médaille – ( Scene 10: Scène: Il était temps! 1:47 Opera in five acts (1858) (London version, 1864) Récitatif: Ah! Voici Valentin – (Méphistophélès) Libretto by Jules Barbier (1825–1901) and Michel Carré (1822–1872) Invocation: Avant de quitter ces lieux – ) Scene 11: Duo: Il se fait tard – Scene 3: Pardon! 6:47 Scene 12: Scene: Tête folle! – Additional text by Onésime Pradère (1825–1891) (Valentin, Wagner, Siébel, Students, Méphistophélès) Scene 13: Il m’aime 13:53 Sung in French 7 Ronde du Veau d’or: (Marguerite, Faust, Méphistophélès) Le veau d’or est toujours debout! 1:56 (Méphistophélès, Siébel, Wagner, Chorus) Act IV 46:13 Faust ..............................................................................................