Press Kit: the Barber of Seville
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THE BARBER of SEVILLE” Opened with a Standing Ovation by Iride Aparicio
OSJ’s “THE BARBER OF SEVILLE” Opened with a Standing Ovation By Iride Aparicio Photos by: Pat Kirk BRIAN JAMES MYER as Figaro SAN JOSÉ, CA -- “Figaro, Figaro, Figaro” According to CESARE STERBINI’s Libretto, written for GIACHINO ROSSINI’s opera “IL BARBIERI DI SIVIGLIA,” everybody calls Figaro in Seville, Spain during the seventeenth Century. Figaro was the town’s witty barber, who aside from shaving men’s beards, and fixing ladies’ hair, fixed everything else, if paid for his help. So, (in the libretto) when Count Almaviva (KIRK DOUGHERTY) disguised as Lindoro, a poor student, asks Figaro (BRIAN JAMES MYER) to help him enter the house of Don Bartolo ( VALERIAN RUMINSKI) the guardian of Rosina (RENÉE RAPIER) the woman he loves, Figaro plans a way that when putting it into effect, keep the audience laughing, the singers acting different comic roles and composer Rossini the opportunity to display his marvelous Bel Canto arias interpreted by the singers. KIRK DOUGHERTY as Lindoro and RENÉE RAPIER as Rosina And here we can add that on the opera's opening night, on November 12 at the California Theatre, the Opera San José’s singers voices were top class. On that night, the whole two acts of the work, moved smoothly. It was one of those rare nights in which all the elements go perfectly on the stage. The orchestra under the baton of ANDREW WHITFIELD, sounded rhythmically, and all the solos of the instruments were played in tune. Stage Director, LAYNA CHIANAKAS, managed natural acting from the singers playing the comic roles. -
Petite Messe Solennelle
Altrincham Choral Society Rossini Petite Messe Solennelle Steven Roberts Conductor Lydia Bryan Piano Jeffrey Makinson Chamber organ Emma Morwood Soprano Carolina Krogius Mezzo-soprano John Pierce Tenor Thomas Eaglen Bass Royal Northern College of Music Saturday 13th November 2010 Altrincham7.30 Choral p.m. Society Altrincham Choral Society Brenda Adams Bill Hetherington Ian Provost Joy Anderson Jane Hollinshead Linley Roach * Sara Apps Catherine Horrocks * Doris Robinson * Pat Arnold * Valerie Hotter Kate Robinson Ann Ashby Gail Hunt Christine Ross Joyce Astill * Rosemary Hurley Jenny Ruff Kate Barlow Karen Jarmany Stephen Secretan Janet Bedell Elizabeth Jones # Fiona Simpson Laura Booth Rodney Jones Isabel Sinagola Frances Broad * John King-Hele * Susan Sinagola Anne Bullock George Kistruck Isobel Singleton Anthony Campion Elisabeth Lawrence Colin Skelton * John Charlton * Jan Lees Audrey Smallridge # Barbara Clift * John Lees David Swindlehurst Barbara Coombs * Gill Leigh Audrey Taylor * Michael Cummings Keith Lewis Brian Taylor Adrienne Davies Annie Lloyd-Walker Elizabeth Taylor Jacqueline Davies Emma Loat Adrienne Thompson Marie Dixon Rosie Lucas * Ted Thompson * Jean Drape * Sarah Lucas Pamela Thomson Richard Dyson Gavin McBride Jane Tilston Kathy Duffy Helen McBride Jean Tragen Liz Foy Tom McGrath Gill Turner Joyce Fuller Hazel Meakin Elaine Van Der Zeil Rima Gasperas Cathy Merrell Joyce Venables ++ Estelle Goodwin Catherine Mottram Catherine Verdin Bryan Goude * Pamela Moult Christine Weekes Ann Grainger John Mulholland Geryl Whitaker -
The Barber of Seville
The Barber of Seville Education Kit Opera Australia The Barber of Seville 2019 Education Kit WELCOME In 2019, we are delighted to present The Barber of Seville as Opera Australia’s Schools Tour in Victoria. Singing and drama play an inspiring role in the education of children. We aim to foster a love of the performing arts in people of all ages, engaging them in a combination of music, singing, drama and design. Opera involves its audience visually, aurally and emotionally. For over 20 years, Opera Australia has maintained a strong commitment to bringing high calibre opera into schools; and our Schools Tours have developed a reputation for being some of the finest incursion performances in Australia. This year, 70,000 children will experience the excitement of opera in their own school. We trust that The Barber of Seville inspires your students, and that their engagement with the performing arts encourages their creativity, imagination and learning. Rory Jeffes Chief Executive Officer Opera Australia 1 The Barber of Seville 2019 Education Kit Contents ABOUT OPERA AUSTRALIA ...................................................................................................................... 3 ABOUT OPERA ......................................................................................................................................... 4 OPERA: A HISTORY ............................................................................................................................. 4 THE OPERATIC VOICE ............................................................................................................................ -
Shaping Nationalism 2
TO WHAT EXTENT SHOULD WE EMBRACE NATIONALISM? CHAPTER Shaping Nationalism 2 Figure 2-1 In July 1789, many people in Paris, France, rebelled against the government. They said they wanted liberty and equality for all citizens. In November 2005, young people in some Paris suburbs rioted and burned thousands of cars. They said they wanted equality with other French citizens. The photograph of a firefighter trying to put out a car fire was taken in Paris in November 2005. That same month, Ares, a Cuban artist, created the cartoon on this page to show his thoughts on what was happening in France. CHAPTER ISSUE How do external and internal factors shape nationalism? KEY TERMS ON OCTOBER 27, 2005, two teenagers — 15-year-old Bouna Traore and 17-year-old Zyed Benna — died in an electrical relay station in a suburb revolution of Paris, France. They were electrocuted when they tried to hide from republic French police, who were chasing them. Their families had immigrated collective to France from former French colonies. consciousness After Traore and Benna died, some young French citizens of bourgeoisie immigrant parents in the suburbs of Paris rioted and burned cars. They wanted the same rights and opportunities that other French push factors citizens enjoyed. pull factors Some people agreed that French society discriminated against non- white citizens and immigrants. Non-white citizens and immigrants often have trouble finding jobs. As a result, many end up living in suburban slums and find it difficult to improve their lives. Examine the photograph and cartoon on the previous page, then respond to the following questions. -
"Il Barbiere Di Siviglia" De Rossini
SAVERIO LAMACCHIA Universitá di Udine Reflexiones para una nueva interpretación de Il barbiere di Siviglia de Rossini (y de Manuel García)1 Se dice que Il barbiere di Siviglia de Rossini es una obra en la que un astuto barbero (Figaro), consigue que se casen el Conde de Almaviva y Rosina, para vergüenza del viejo Bartolo.Aquí sos- tenemos que, con toda probabilidad, Rossini y su libretista, Cesare Sterbini, en el carnaval de 1816, habían pensado en otra historia, aquella en la que el barbero chapucero intenta en el primer acto ayudar al Conde, pero provoca grandes problemas que hacen que el poderoso Conde deba tomar las riendas de la intriga en el segundo acto y a conducir él mismo el desenlace. Para argumentar esta tesis se subrayan las importantes diferencias entre el libreto y su fuente principal, Le barbier de Séville de Beaumarchais, y por primera vez, se señala como fuente Il Califfo di Bagdad de Manuel García (1813). Sostenemos que Il barbiere di Siviglia fue escrito por mediación de García, no sólo desde el punto de vista vocal sino también actoral: éste elegía personajes iracundos, poderosos y con deter- minación. Figaro no obstante, se toma su revancha desde el punto de vista musical: desde siempre, los espectadores acaban por hacer suya la parte de más éxito y divertida; y a fin de cuentas, es eso lo que más importa en una ópera cómica. Palabras clave: Rossini, Manuel García, Il barbiere di Siviglia, Il Califfo di Bagdad, Beaumarchais, ópera s. XIX. Rossini’s The Barber of Seville is said to be a work in which an astute barber -
Lecture 1: a Short History of Thinking on Poverty
WIDER Conference, Helsinki 2013 The Idea of Antipoverty Policy Martin Ravallion Georgetown University and NBER “Is there anyone today who would not commit to eliminating poverty?” (Jim Yong Kim, 2013) 1 How did we come to think that eliminating poverty is a legitimate goal for public policy? What types of policies emerged over time in the hope of attaining that goal? 2 Three premises are now widely accepted: Premise 1: Poverty is a social bad Premise 2: Poverty can be eliminated Premise 3: Public policies can help do that • But these premises did not have broad scholarly support 200 years ago. • There has been a dramatic change in economic thinking about poverty—a new model of poverty. 3 The evolution in thinking, in four quotes • “The poor … are like the shadows in a painting: they provide the necessary contrast.” (Philippe Hecquet, 1740). • “Everyone but an idiot knows that the lower classes must be kept poor or they will never be industrious.” (Arthur Young, 1771). • “May we not outgrow the belief that poverty is necessary?” (Alfred Marshall, 1890). • “Our dream is a world free of poverty.” (Motto of the World Bank since 1990). This presentation aims to document and understand this huge change in how we think about poverty in the last 200+ years 4 A simple expository model and some definitions 5 Model of personal wealth dynamics • The credit market is imperfect, such that individuals can only borrow up to λ times their wealth. • Each person has a strictly concave production function yielding output h(k) from a capital stock k. -
Black Cosmopolitans
BLACK COSMOPOLITANS BLACK COSMOPOLITANS Race, Religion, and Republicanism in an Age of Revolution Christine Levecq university of virginia press Charlottesville and London University of Virginia Press © 2019 by the Rector and Visitors of the University of Virginia All rights reserved Printed in the United States of America on acid- free paper First published 2019 ISBN 978-0-8139-4218-6 (cloth) ISBN 978-0-8139-4219-3 (e-book) 1 3 5 7 9 8 6 4 2 Library of Congress Cataloging- in- Publication Data is available for this title. Cover art: Jean-Baptiste Belley. Portrait by Anne Louis Girodet de Roussy- Trioson, 1797, oil on canvas. (Château de Versailles, France) To Steve and Angie CONTENTS Acknowledgments ix Introduction 1 1. Jacobus Capitein and the Radical Possibilities of Calvinism 19 2. Jean- Baptiste Belley and French Republicanism 75 3. John Marrant: From Methodism to Freemasonry 160 Notes 237 Works Cited 263 Index 281 ACKNOWLEDGMENTS This book has been ten years in the making. One reason is that I wanted to explore the African diaspora more broadly than I had before, and my knowledge of English, French, and Dutch naturally led me to expand my research to several national contexts. Another is that I wanted this project to be interdisciplinary, combining history and biography with textual criticism. It has been an amazing journey, which was made pos- sible by the many excellent scholars this book relies on. Part of the pleasure in writing this book came from the people and institutions that provided access to both the primary and the second- ary material. -
E.T.A. Hoffmann and the Hairdresser Around 1800
Publications of the English Goethe Society ISSN: 0959-3683 (Print) 1749-6284 (Online) Journal homepage: http://www.tandfonline.com/loi/ypeg20 E.T.A. Hoffmann and the Hairdresser around 1800 Seán M. Williams To cite this article: Seán M. Williams (2016) E.T.A. Hoffmann and the Hairdresser around 1800, Publications of the English Goethe Society, 85:1, 54-66, DOI: 10.1080/09593683.2016.1162582 To link to this article: http://dx.doi.org/10.1080/09593683.2016.1162582 © 2016 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group Published online: 13 May 2016. Submit your article to this journal Article views: 69 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=ypeg20 Download by: [Royal Hallamshire Hospital] Date: 17 May 2016, At: 08:22 PUBLICATIONS OF THE ENGLISH GOETHE SOCIETY, Vol. LXXXV No. 1, 2016, 54–66 E.T.A. Hoffmann and the Hairdresser around 1800 Seán M. Williams University of Sheffield, Sheffield, UK The following historicizes the figure of the hairdresser in Die Elixiere des Teufels, and especially its relation to a pair of popular, recurrent representations in European culture around 1800. The hairdresser is here read as a self-made man, and as a second maker—a genius. Hoffmann made creative use of these two commonplaces. The character as an artisan working without attachment to a family lineage, fixed location or any other regulative structure, such as a guild, and the connection of hairdressing to literature as well as to other arts becomes productive for both Hoffmann’s novel and for his poetics more generally. -
Nber Working Paper Series the Idea of Antipoverty
NBER WORKING PAPER SERIES THE IDEA OF ANTIPOVERTY POLICY Martin Ravallion Working Paper 19210 http://www.nber.org/papers/w19210 NATIONAL BUREAU OF ECONOMIC RESEARCH 1050 Massachusetts Avenue Cambridge, MA 02138 July 2013 For comments the author thanks Robert Allen, Tony Atkinson, Pranab Bardhan, Francois Bourguignon, Denis Cogneau, Sam Fleischacker, Pedro Gete, Karla Hoff, Ravi Kanbur, Charles Kenny, Sylvie Lambert, Peter Lindert, Will Martin, Alice Mesnard, Branko Milanovic, Johan Mistiaen, Thomas Pogge, Gilles Postel-Vinay, John Rust, Agnar Sandmo, Amartya Sen, Dominique van de Walle and participants at presentations at the World Bank, the Midwest International Economic Development Conference at the University of Wisconsin Madison, the Paris School of Economics, the Canadian Economics Association and the 12th Nordic Conference on Development Economics. The paper’s title owes a debt to Gertrude Himmelfarb’s (1984), The Idea of Poverty: England in the Early Industrial Age. The views expressed herein are those of the author and do not necessarily reflect the views of the National Bureau of Economic Research. NBER working papers are circulated for discussion and comment purposes. They have not been peer- reviewed or been subject to the review by the NBER Board of Directors that accompanies official NBER publications. © 2013 by Martin Ravallion. All rights reserved. Short sections of text, not to exceed two paragraphs, may be quoted without explicit permission provided that full credit, including © notice, is given to the source. The Idea of Antipoverty Policy Martin Ravallion NBER Working Paper No. 19210 July 2013 JEL No. B1,B2,I38 ABSTRACT How did we come to think that eliminating poverty is a legitimate goal for public policy? What types of policies have emerged in the hope of attaining that goal? The last 200 years have witnessed a dramatic change in thinking about poverty. -
The Marriage of Figaro
Taylor University Pillars at Taylor University Taylor Theatre Playbills Campus Events 11-13-2015 The aM rriage of Figaro Follow this and additional works at: https://pillars.taylor.edu/playbills Part of the Acting Commons, Dance Commons, Higher Education Commons, Playwriting Commons, and the Theatre History Commons Recommended Citation "The aM rriage of Figaro" (2015). Taylor Theatre Playbills. 31. https://pillars.taylor.edu/playbills/31 This Book is brought to you for free and open access by the Campus Events at Pillars at Taylor University. It has been accepted for inclusion in Taylor Theatre Playbills by an authorized administrator of Pillars at Taylor University. For more information, please contact [email protected]. ARTISTIC DIRECTOR Sometime in the last two years I was asked by Dr. Patricia Roberson to direct an opera. I asked emphatically, “does it bother you at all that I’ve never directed an opera?” She simply replied, “No.” I’m not sure whose idea it was to tackle the icon that is Mozart’s The Marriage of Figaro. Perhaps it was mine. If I’m walking all the way to the edge of the cliff anyway, why not just jump? Halfway through casting, I realized there was no safety net. I was casting before I was ready, May 2015, and was asking for all involved to take monumental risks on my choices. Dr. Conor Angell would work as Music Director, Dr. Robertson, who’s done Figaro multiple times, would travel the journey with us, teaching and mentoring along the way. I asked designer Kevin Gawley to join me on the adventure, trusting in his collaborative nature and aesthetic sensibilities. -
The Barber of Seville
Education Study Guide The Barber of Seville Music by Gioachino Rossini Libretto by Cesare Sterbini First Performance February 5, 1816, Teatro Argentina, Rome Opera 101, Wednesday February 19, 2014 Children’s Performance February 22 at 1pm Performances February 21 & 22 at 7:30 pm. Matinée February 23 at 2:00 pm At the Kravis Center for the Performing Arts In Italian with English Surtitles PALM BEACH OPERA Education Materials THE BARBER OF SEVILLE STUDY GUIDE & ACTIVITES 2013/2014 CAST & CREATIVE TEAM Conductor: Patrick Fournillier* Director: Christopher Mattaliano* Figaro: Rodion Pogossov* Rosina: Silvia Tro Santafe* Count Almaviva: David Portillo* Dr. Bartolo: Bruno Pratico Don Basilio: Wayne Tigges* *Palm Beach Opera Debut GIAOCHINO ROSSINI, Composer PALM BEACH OPERA Education Materials THE BARBER OF SEVILLE STUDY GUIDE & ACTIVITES 2013/2014 THE BARBER OF SEVILLE COMPOSER BIOGRAPHY GIAOCHINO ROSSINI Gioachino Antonio Rossini (February 29, 1792 – November 13, 1868) is one of the most prolific, enduring and popular composers in the history of opera. He wrote 39 operas, including the famous Il Barbiere di Siviglia (The Barber of Seville), La Cenerentola (Cinderella), and Guillaume Tell (William Tell). His musical style is characterized by distinctive, song-like melodies that, combined with his operasʼ lighthearted stories, have captivated audiences to the present day. Rossini was born in Pesaro, Italy on February 29, 1792 to musical parents. As a boy he learned to sing and play the horn, and sang in at least one opera in Bologna. Though he wrote an opera that went unperformed for several years at the age of 13 or 14, the official beginning of his operatic career occurred at the age of 18, with a one-act comedy for the opera in Venice, and furthercommissions followed from Bologna, Ferrara, Venice, and Milan, where La Pietra del Paragone was a success at La Scala in 1812. -
The Barber of Seville – Gioacchino Rossini
The Barber of Seville – Gioacchino Rossini Spunky young Rosina lives under lock and key on a secluded square in ◊ A comic opera in two acts. Seville with her guardian, Dr. Bartolo. Dr. Bartolo has secret plans to marry Originally titled “Almaviva” or Rosina, but she has her eye on another suitor, a poor student named Lindoro, “The Useless Precaution” who is actually Count Almaviva, a Spanish nobleman in disguise. ◊ First performed: Teatro Outside Rosina’s window the voice of a blustering, swaggering fellow can Argentina, Rome, February 20, be heard. Figaro arrives, boasting that he is always in demand because he is 1816 in Italian simply the best barber in Seville (Largo al factotum). When Almaviva learns ◊ Librettist: Cesare Sterbini that Figaro is barber, wigmaker, surgeon, gardener, vet, apothecary and (1784-1831) general handyman to the Bartolo household, he sees his chance to meet ◊ Based on the comedy Le barbier Rosina. Figaro recognizes an opportunity to make some money helping de Séville (the prequel to Le Almaviva. marriage de Figaro) by Pierre Almaviva disguises himself as Rosina’s music teacher in order to meet Augustine de Beaumarchais in her. During the music lesson, Bartolo dozes in a chair while Almaviva and 1775 Rosina express their love for one another. They plan to escape together at ◊ Role: Figaro, the barber midnight. Figaro steals the key to the house as he shaves Bartolo but the plan is foiled when Bartolo sends Figaro and Almaviva from the house and Rosina to her room. Later that night when Figaro and Almaviva spring over the balcony to whisk her away, Rosina confronts them in a rage.