Suzanne Shakespeare CV
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Auckland at 7.00Pm
Wagner Society of New Zealand Patron: Sir Donald McIntyre NEWSLETTER Vol. 13 No. 4 April 2017 President’s Report for 2016 AGM - 21 May 2017 Formal Notice The Wagner Society of New Zealand AGM is to be held on Sunday 21 May 2017 in St Heliers Community Centre, 100 St Heliers Bay Road, Auckland at 7.00pm. So far, Committee and Office-Bearer nominations have been received as follows: President ................. Chris Brodrick Vice President ............ Ken Tomkins Secretary ....................... Peter Rowe Treasurer ................. Jeanette Miller PR/Liaison ..................Gloria Streat Bob O’Hara Committee . John Davidson, Lesley Kendall, Juliet Rowe Bob O’Hara as Uberto (La Serva Padrona.) Michael Sinclair If you wish to make a nomination: In this, the 22nd President’s report to opera trips including both Adelaide Phone: Peter at 09-520 4690 or the Wagner Society of New Zealand, I Rings, the 2013 Melbourne Ring and he Email: [email protected]. would like, among all the thank yous, to has plans to attend the San Francisco to be sent a form. Nominations can focus some attention on two members. Ring next year. also be made from the floor at the One has been with us from 1995 and Bob and other WSNZ members’ ability meeting. after many years of service has recently to attend these overseas productions stepped down from the committee. The is enabled by the wonderful work of Membership renewals other, who may not have been with us Michael Sinclair, as the organising force Included with this newsletter is a from the start, has nonetheless made a behind our overseas trips. -
'Wagner on a Shoestring' by Suzanne Chaundy, 25 March 2018
'Wagner on a Shoestring' by Suzanne Chaundy, 25 March 2018 12.30pm: DVD: 'Das Liebesverbot', Act 2 2.00pm: Presentation by Suzanne Chaundy DVD: Das Liebesverbot Act 2 Wagner's rarely performed early comic opera (1836), based on Shakespeare's Measure for Measure, enjoys its Spanish debut in a new production by director Kaspar Holten. The lively score boasts clear Italian, French and Weberian influences that predate the composer's mature voice, yet the music continually delights with the unmistakable emergence of Wagner's precocious genius. His adaptation of the Bard's play reflects the rebellious mood of a revolutionary Germany, vindicating sensual love and attacking the fanatical repression of sexuality by a puritanical and hypocritical authority. Ivor Bolton conducts a vibrant cast with the chorus and orchestra from the Theatro Real, Madrid (2016). 'Wagner on a Shoestring' by Suzanne Chaundy Suzanne Chaundy is a highly regarded director of opera, drama, outdoor spectacle and special events, and will speak about her Wagner productions for Melbourne Opera. Miki Oikowa and Suzanne Chaundy She began directing as an undergraduate at the University of Melbourne and was subsequently fast-tracked into the NIDA Directing Course. Best known as an opera director, she began on this path as a trainee director with the Victorian State Opera. Her 2012 production of Cosi Fan Tutte for Melbourne Opera at Melbourne’s Athenaeum Theatre (nominated for Best Director – Green Room Awards) resulted in her becoming something of a regular for the company directing new productions of Der Freischütz and Maria Stuarda in 2015,The Abduction from the Seraglio, Tannhäuser and Anna Bolena in 2016, Lohengrin in 2017 and Tristan und Isolde in 2018. -
Addison, Joseph, 15 A¼ekt, 57, 67, 108 Alberti, Johann Friedrich
Cambridge University Press 978-0-521-83636-4 — Handel: Water Music and Music for the Royal Fireworks Christopher Hogwood Index More Information Index Addison, Joseph, 15 orchestral suites, 26, 33, 116 A¼ekt, 57, 67, 108 Baines, Anthony, 125 Alberti, Johann Friedrich, Handel Baker, Benjamin, 14 and, 55 Barthes, Roland, 56 Albinoni, Tomaso, 49 Barto´k, Be´la, 71 allemande, 26 Baselt, Bernd, 21, 125 alternativement/da capo, 26, 27, bassoon, 13 41, 45, 123, 130 Beecham, Thomas, 131, 142 Amelia, Princess, 21 Benda, Hans von, 125 Anne, Queen of Great Britain, 4, Berlin Chamber Orchestra, 125 7, 8 Berlin Philharmonic Orchestra, architecture, 58 125 Armstrong, John, 139 Berlioz, Hector, 100, 141 Arnold, Samuel, 22, 24, 63 Symphonie fune`bre et triomphale, edition of Fireworks Music, 101, 118 118, 122 Bloom, Robert, 123 edition of Water Music, 21, 24, Blow, John, Handel and, 28 46, 122 Bolton, Henrietta, Duchess of, 10, Augusta, Princess of Wales, 25, 11, 12 77, 96 Bonet, Friedrich, 12, 14, 27, 125 Axt, John, 14 Bononcini, Giovanni, 124 Aylesford, 21, 25 Handel and, 59, 133 borrowing, 58, 87 Babell, William, 131 attitudes to, 49–51, 55–9 Bach, C. P. E., 67 see also under Handel Bach, Johann Sebastian, 2, 3, 49 Boscawen, Frances, 140 borrowings, 55 bowing, 27, 42, 128 compositional methods and Boyce, William, 50 forms, 52, 55, 58, 61, 65 Brahe, Tycho, 2 and dance forms, 26, 27 Brainard, Paul, 55 Christmas Oratorio, 113 Brecht, Bertolt, 6 Mass in B minor, 117 Buelow, George J., 138 147 © in this web service Cambridge University Press www.cambridge.org -
Is She Dead Yet? Rehearsing La Bohéme at Opera Australia
Is she dead yet? Rehearsing La Bohéme at Opera Australia Avi Michael Casebook submitted in partial fulfilment of the requirements of the degree of Bachelor of Arts (Honours). Department of Performance Studies University of Sydney 2009 Many thanks to my supervisors, Dr. Ian Maxwell and Dr. Amanda Card. 2 | Is she dead yet? Table of Contents Introduction ...................................................................................................................................... 4 Introduction ................................................................................................................................................. 4 Causality: My Method of Operating ...................................................................................................... 7 Context .............................................................................................................................................. 12 The Project ................................................................................................................................................. 12 My Musical Inertia ................................................................................................................................... 14 A Rehearsal Space in Surry Hills ......................................................................................................... 15 Personnel ................................................................................................................................................... -
© in This Web Service Cambridge University Press
Cambridge University Press 978-0-521-81841-4 - Handel on the Stage David Kimbell Index More information Index Aachen (Aix-la-Chapelle), 43 Blathwayt, Colonel John, 25 Abingdon, Unicorn Th eatre, 178 Boethius, 65 Académie de Musique et de Danse, Paris, 99 Boiardo, Matteo Maria, Accademia degli Infuocati, Florence, 165 Orlando innamorato , 58 - 9 Adelung, Johann Christoph, 120 Bononcini, Giovanni, 29 , 30 , 49 , 51 , 87 , 160 , Addison, Joseph, 20 , 23 , 123 , 169 , 172 161 , 199 , 201 , 203 Alden, David, 186 , 193 , 194 Astarto, 30 , 198 Algarotti, Francesco, 170 , 180 Astianatte, 30 , 202 Amadei, Filippo, 198 , 199 , 200 Calfurnia , 200 Anne, Princess, 58 Ciro , 198 , 200 Anne, Queen, 16 , 18 , 19 , 21 , 73 Crispo , 198 , 200 Annibali, Domenico, 38 , 176 Griselda , 198 Arbuthnot, Dr John, 18 , 19 , 24 Erminia , 200 , 201 Arcadia (Accademia degli Arcadi), 13 – 14 , 57 , Farnace , 200 68 , 85 , 87 , 167 Xerse , 160 Ariosti, Attilio, 30 , 200 , 201 , 203 B o r d o n i , F a u s t i n a ( s e e F a u s t i n a ) Artaserse , 200 Boschi, Giuseppe Maria, 166 , 168 , 170 , Aquilio Consolo , 200 199 , 203 Coriolano, 30 , 171 , 200 Brandenburg-Prussia, 1 Dario , 200 Brockes, Barthold Hinrich, 2 Elisa , 202 Brown, Lady Margaret, 45 Lucio Vero , 202 Burlington, 3rd Earl of (Richard Boyle), 19 , Teuzzone , 202 24 , 33 , 73 Vespasiano , 200 Burney, Dr Charles, 44 , 59 , 68 , 69 , 80 – 2 , 122 , Ariosto, Ludovico, 32 , 59 , 60 , 151 145 , 156 – 7 , 176 Orlando furioso , 59 , 151 Burrows, Donald, 18 , 42 , 136 Aristotle, 54 , 72 , 80 , 81 Arne, Th omas -
NEWSLETTER of the American Handel Society
NEWSLETTER of The American Handel Society Volume XXVII, Number 2 Summer 2012 FROM THE PRESIDENT’S DESK SUMMER 2012 I would like to thank all the members of the Society who have paid their membership dues for 2012, and especially those who paid to be members of the Georg-Friedrich-Händel Gesellschaft and/or friends of The Handel Institute before the beginning of June, as requested by the Secretary/Treasurer. For those of you who have not yet renewed your memberships, may I urge you to do so. Each year the end of spring brings with it the Handel Festivals in Halle and Göttingen, the latter now regularly scheduled around the moveable date of Pentecost, which is a three-day holiday in Germany. Elsewhere in this issue of the Newsletter you will find my necessarily selective Report from Halle. While there I heard excellent reports on the staging of Amadigi at Göttingen. Perhaps other members of the AHS would be willing to provide reports on the performances at Göttingen, and also those at Halle that I was unable to attend. If so, I am sure that the Newsletter Angelica Kauffmann, British, born in Switzerland, 1741-1807 Portrait of Sarah Editor would be happy to receive them. Harrop (Mrs. Bates) as a Muse ca. 1780-81 Oil on canvas 142 x 121 cm. (55 7/8 x 47 5/8 in.) Princeton University Art Museum. Museum purchase, Surdna Fund The opening of the festival in Halle coincided and Fowler McCormick, Class of 1921, Fund 2010-11 photo: Bruce M. White with the news of the death of the soprano Judith Nelson, who was a personal friend to many of us. -
Melbourne Symphony Orchestra Chorus 50Th Anniversary
Melbourne Symphony Orchestra Chorus 50th Anniversary Concert Wednesday 7 October at 8pm Elisabeth Murdoch Hall, Melbourne Recital Centre WHAT’S ON OCTOBER – DECEMBER 2015 AN AMERICAN IN PARIS TCHAIKOVSKY AND GRIEG SIBELIUS’ FINLANDIA Friday 30 October Friday 13 November Thursday 19 November Saturday 14 November Friday 20 November Gershwin’s An American in Paris evokes a journey through the Asher Fisch conducts three Yan Pascal Tortelier celebrates the bustling streets of the French masterworks that defined the 150th anniversary of two Nordic capital, punctuated by taxi horns Romantic era. Tchaikovsky’s masters. Sibelius’ majestic Finlandia and a bluesy trumpet solo. Also stirring Romeo and Juliet is followed is balanced against Nielsen’s spirited featured in this program is by Grieg’s poignant Piano Concerto Violin Concerto. Also featured in this Ravel’s Piano Concerto in G and and the high-voltage intensity program is Sibelius’ Symphony No.5 Saint-Saëns’ Symphony No.3 Organ. of Tchaikovsky’s Fourth Symphony. and tone poem The Swan of Tuonela. BRAHMS AND TCHAIKOVSKY MESSIAH CHRISTMAS CAROLS Thursday 26 November Saturday 5 December Saturday 12 December Friday 27 November Sunday 6 December Sunday 13 December Saturday 28 November Join conductor Bramwell Tovey, Bramwell Tovey joins the MSO Divertimento, Bartók’s dark take the MSO Chorus and renowned as conductor, pianist and host on the Baroque, kick-starts this international soloists for one of in this celebration of the great night of European festivities. the MSO’s most beloved Christmas musical traditions of Christmas, Brahms’ Violin Concerto delivers traditions, Handel’s Messiah. from famous orchestral works and a fiery, gypsy-inspired rondo and favourite Christmas songs to the Tchaikovsky’s Serenade for Strings most beloved of Yuletide carols. -
Baroque Chamber Music – Syllabus Course Overview
Baroque Chamber Music – Syllabus Course Overview: What exactly does it mean to play Baroque music “stylistically”? Is there a real difference between what is “musical” in the standard repertoire as opposed to the Baroque repertoire? Find out the answers while improving your chamber music skills and enjoyment in this intense May Term course taught by a leading master in the field. Bring your group, or join a new one in the class. Vocalists, strings and wind players all welcome, as we work on music of Bach, Handel, Telemann, Purcell, Rameau, Vivaldi, and more. Baroque and Modern instruments both welcome; keyboardists may play piano or harpsichord. The goal is to demystify Baroque performance practice while encouraging lively, passionate, and intelligent music making. Students will achieve: Greater familiarity with the Baroque repertoire Skills of ornamentation and improvisation Elements of Baroque style Continuo skills for keyboard players and cellist/gambists Shaping and breathing needs in melodic lines Improved chamber music skills, particularly in rhythm and imitative playing James Richman has performed Baroque music with artists including Paula Robison, Jean-Pierre Rampal, Anner Bylsma, Stanley Ritchie, Jaap Schroeder, and Michael McCraw, and has coached vocalists including Jessye Norman, Jose Van Damm, and Christine Brandes, as well as Baroque specialists Julianne Baird, Drew Minter, Ann Monoyios, Jeffrey Thomas, and Bernard Deletré. For several years an associate of the renowned accompanist Samuel Sanders, he has coached Baroque chamber music at Juilliard, Mannes, Manhattan School of Music and Yale, in addition to Master Classes associated with performances all over the United States. He has performed numerous concerts of Baroque chamber music at Lincoln Center in New York, Princeton University, the Juilliard School, Aston Magna Festival, as well as at the Boston Early Music Festival, Festival d’Aix-en-Provence, Tage Alte Musik Regensburg, UNAM Mexico City, and many other major venues Other Information: Classroom location – TBA. -
Regent Theatre Ulumbarra Theatre, Bendigo
melbourne opera Part One of e Ring of the Nibelung WAGNER’S Regent Theatre Ulumbarra Theatre, Bendigo Principal Sponsor: Henkell Brothers Investment Managers Sponsors: Richard Wagner Society (VIC) • Wagner Society (nsw) Dr Alastair Jackson AM • Lady Potter AC CMRI • Angior Family Foundation Robert Salzer Foundation • Dr Douglas & Mrs Monica Mitchell • Roy Morgan Restart Investment to Sustain and Expand (RISE) Fund melbourneopera.com Classic bistro wine – ethereal, aromatic, textural, sophisticated and so easy to pair with food. They’re wines with poise and charm. Enjoy with friends over a few plates of tapas. debortoli.com.au /DeBortoliWines melbourne opera WAGNER’S COMPOSER & LIBRETTIST RICHARD WAGNER First performed at Munich National Theatre, Munich, Germany on 22nd September 1869. Wotan BASS Eddie Muliaumaseali’i Alberich BARITONE Simon Meadows Loge TENOR James Egglestone Fricka MEZZO-SOPRANO Sarah Sweeting Freia SOPRANO Lee Abrahmsen Froh TENOR Jason Wasley Donner BASS-BARITONE Darcy Carroll Erda MEZZO-SOPRANO Roxane Hislop Mime TENOR Michael Lapina Fasolt BASS Adrian Tamburini Fafner BASS Steven Gallop Woglinde SOPRANO Rebecca Rashleigh Wellgunde SOPRANO Louise Keast Flosshilde MEZZO-SOPRANO Karen Van Spall Conductors Anthony Negus, David Kram FEB 5, 21 Director Suzanne Chaundy Head of Music Raymond Lawrence Set Design Andrew Bailey Video Designer Tobias Edwards Lighting Designer Rob Sowinski Costume Designer Harriet Oxley Set Build & Construction Manager Greg Carroll German Language Diction Coach Carmen Jakobi Company Manager Robbie McPhee Producer Greg Hocking AM MELBOURNE OPERA ORCHESTRA The performance lasts approximately 2 hours 25 minutes with no interval. Principal Sponsor: Henkell Brothers Investment Managers Sponsors: Dr Alastair Jackson AM • Lady Potter AC CMRI • Angior Family Foundation Robert Salzer Foundation • Dr Douglas & Mrs Monica Mitchell • Roy Morgan Restart Investment to Sustain and The role of Loge, performed by James Egglestone, is proudly supported by Expland (RISE) Fund – an Australian the Richard Wagner Society of Victoria. -
SUMMER of the SEVENTEENTH DOLL 14-20 NOVEMBER | HER MAJESTY’S THEATRE Welcome
MILLS/GOLDSWORTHY SUMMER OF THE SEVENTEENTH DOLL 14-20 NOVEMBER | HER MAJESTY’S THEATRE Welcome Good evening dear friends You will hopefully have already heard about some of the brilliant works we are presenting next year (hurry before I never thought I would say this, but you miss out on Carousel!), and there is what a joy to have to write a program more to come so please do watch this note welcome message! We have finally space. Our desire to create, produce come to the end of a year we could only and present great shows in Adelaide have imagined taking place in a science has not been diminished at all by the fiction movie, and I for one am going to events of this year, but rather the positively drink in every sweet sound from challenges have inspired us to consider this production in an attempt to satisfy alternate and interesting ways to exceed my ever-growing hunger for live opera. your expectations and ensure that you continue to enjoy our magnificent art The choice to present Summer of the form. Thank you to the State Opera Seventeenth Doll to not only conclude Board of Directors for steering the ship 2020 but to jump-start 2021 was so carefully, and thank you to all of our very deliberate. The prioritisation of donors, corporate partners and Opera Australian opera and on this occasion, Club members for staying the course. to bring it to the mainstage, sets our And to you, our beloved audience, we Company apart for our steadfast belief are ever grateful for your warmth and in the quality and value of our Australian support. -
Melbourne Welsh News
Melbourne Welsh News No.6 Late in 2014, she travelled to the USA for an intense seven-week period auditioning for Young Artist Programs and coaching with Singer of the Year 2015 distinguished artists from the Metropolitan, Los Angeles and San Francisco Operas, among others. During this tour, Stacey successfully auditioned for the highly-competitive Summer Program of the Music Academy of the West in Santa Barbara, California, a voice program directed by legendary mezzo-soprano Marilyn Horne. She is one of only 23 out of nearly 550 applicants to gain a place in the distinguished program, and is the recipient of the 2015 Irene Cummings and Theodore Hostetler Full Scholarship in Voice. Recent performances in Australia include Opera Australia’s Great Opera Hits at the Sydney Opera House during the summer season, and covering the role of Pamina for Mainstage in January 2015. In March, Stacey performed the role of Amore in Gluck's Orfeo ed Euridice, in the SMH Spectrum Now Festival at the Art Gallery NSW. Lee Abrahamsen – winner 2012 Recent Concert engagements include: Richard Strauss’ Elektra singing Fifth Maid with Sydney Symphony Orchestra at the Sydney Opera House; Mahler’s Fourth Symphony (chamber version by Klaus Simon) with Omega Ensemble at City Recital Hall, Angel Place; Richard Strauss’ Vier Letzte Lieder with Queensland Symphony Orchestra and Melbourne Musicians; Bellini’s Norma singing Clotilde with Victorian Opera; Till the Boys Come Home ANZAC Concert at Hamer Hall with the Melbourne Welsh Male Choir: Percy Grainger’s Tribute to Foster with Melbourne Symphony Orchestra; Beethoven’s Ah Perfido and Marshall Hall’s Long After with Australian Doctor’s Orchestra; Geelong Waterfront Concert with Orchestra Victoria; Guest artist at internationally renowned soprano Lisa Gasteen’s recital series in Brisbane; Music and Monet concert series at National Gallery of Victoria; Soloist at the Consort of Melbourne’s Grainger Celebration at Melbourne Recital Centre; Mimi in La Bohème for Opera in the Outback in Far North Queensland. -
THE RICHARD WAGNER SOCIETY of W.A. Inc SEPTEMBER 2016 NEWSLETTER
THE RICHARD WAGNER SOCIETY OF W.A. Inc SEPTEMBER 2016 NEWSLETTER GALA CELEBRATION OF THIRTIETH ANNIVERSARY Well over one hundred members and friends filled before she had officially taken up her dual positions the Callaway Music Auditorium in the UWA School of intendant and music director at Hamburg. It was of Music on Sunday 24 July for a gala celebration of imperative to have productions already in the the thirtieth anniversary of the Richard Wagner company’s repertoire prior to 2013, with a new Ring Society of Western Australia. being mounted over four seasons in such a way that it actually took less than three years to bring the Following a welcome from immediate Past President complete cycle to the stage. There were some tricky John Meyer, a greeting was read from Horst Eggers, situations that had to be negotiated and Simone gave the President of the Richard Wagner Verband a hilarious account of the search for a last-minute International (RWVI), the international association of replacement for the Senta in Der Fliegende Wagner societies. His message read, in part: ‘As Holländer, with Anje Kampe having to take a President of the RWVI whose member you are, I circuituous route from Bayreuth in order to arrive at congratulate you on behalf of the RWVI and the opera house in Hamburg literally minutes before personally on your 30-years jubilee and your the curtain was due to go up. successful history…The RWVI and I personally wish your society further successful development. Our Simone went on to talk about how young singers can best wishes will accompany you in your meritorious be trained to become Wagnerians, and illustrated work’.