DOCSLIB.ORG

Copyright 2010, Michigan Opera Theatre BALDWIN the MOST TALKED ABOUT PIANO in the WORLD "Baldwin

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Copyright 2010, Michigan Opera Theatre BALDWIN the MOST TALKED ABOUT PIANO in the WORLD Copyright 2010, Michigan Opera Theatre BALDWIN THE MOST TALKED ABOUT PIANO IN THE WORLD "Baldwin ... is in itself a magnificently sensitive and brilliant SS-piece ensem­ ble ... completely satisfying to me both as Pianist and Conductor." .. Leonard Bernstein The New Baldwin Concert Grand is heralded by artist, audiences and critics alike as the Piano of the Century ... it is the result of a constant search for perfection, through 110 years of uninterrupted piano building, without change of ownership. "If Beethoven had had a piano like that (Baldwin) the course of music would have been radically altered." Robert CommandaY3 San Francisco Chronicle-August 9 3 1966 "The evening was further enhanced by the magnificent tones of one of the finest concert grands I have ever heard --­ another of those remarkable new Baldwin instruments." Harris Goldsmith3 High Fidelity/Musical American-January 1966 "The carrying power was imposing, something for which the Brahms Second provides a really severe test ... There has been a significant technological advance in pianos in decades ... We might all wind up being grateful to Baldwin for forcing a development." Michael Steinberg3 The Boston Sunday Globe-May 8 3 1966 "The~e was another contributing factor, too, the piano itself ... I cannot remember, in fact, hearing any make of piano with a better, truer, more musical treble right up to the top ... It 1S clear that the Baldwin people have taken a big forward step with this new instrument." Alan Rich, New York Herald-Tribune-October 28 3 1965 Smiley Brothers", ii' , DETROIT BIRMINGHAM 5510 Woodward Ave. 1010 N. Woodward (Hunter Blvd.) DISTRIBUTORS BALDWIN - BECHSTEIN - YAMAHA Copyright 2010, Michigan Opera Theatre PIANOS - ORGANS Vb. QTUQ( TO P~QA OF THE DETROIT GRAND OPERA ASSOCIATION The Music Hall Theatre Detroit, Michigan September 28 - December 16, 1972 DA VID DiCJIIERA, ROBERT M. HEUER, General Director Managing Director Detroit has done it again! A beautiful theatre, outstanding singers, and enthusiastic audiences have ensured that opera theatre is here to stay. Over­ ture to Opera, recently accepted into OPERA American (the organization to which all major opera companies belong), opens its season for the second time in an ideal setting - The Music Hall Theatre. This season our productions span three centuries of opera, from Mozart to Menotti. A varied repertoire has been characteristic of Overture to Opera - last year we presented a rock opera, and Puccini's La Rondine with so­ prano Nancy Shade. On our drawing boards for the future are ideas for productions of works by Offenbach, Barber and Verdi. We wiU continue to present familar as well as less-famous operas, always emphasizing the fact David DiChiera that opera is, above all, theatre. As a regional company, our casts consist primarily of the finest professional artists in the Great Lakes area, as well as outstanding young singers from around the country. New dimensions are added when major international stars such as Phyllis Curtin perform with us. Overture will continue with its extensive in-school educational program. New is the Opera in Residence Program beginning in February, in which Michigan communities will host the Overture Company in their town for a week of opera experience. The week will include classes, workshops and a full production. Overture is grateful for the gTant from the National Endowment for the Arts which will enable us to carry our Tosca to Flint and Kalamazoo. We wish again to extend heartfelt thanks to the many volunteers whose behind-the-scenes labors have sustained and strengthened us. Every great city needs a full gamut of cultural offerings. Overture to Opera is proud to provide the citizens of Southeastern Michigan with a full season of opera, thus joining the theatres, the Detroit Symphony and the Institute of Arts in offering Detroiters yet another outlet for their multi-faceted interests. Your generous contributions are making Overture possible, but your enthusiastic reception as an Copyright 2010, Michigan Opera Theatre audience gives the company the spiritual support that cannot be measured. THE OVERTURE TO OPERA COMPANY BIRMINGHAM GALLERY Inc. ADMINISTRATIVE STAFF 1025 HAYNES, BIRMINGHAM, MICH. 48011 General Director: Dr. David DiChiera Managing Director: Robert M.Heuer Public Relations: Cindy Skalsky ARTISTS Secretary/Receptionist: Diann Wolfe Company Photographer: Bill Morse MUSIC STAFF CORITA KENT CAROLYN HALL Music Director: William Byrd KEGHAM TAZIAN MICHAEL MTLLER Chorus Master: Dr. Raynold Allvin CLIFTON McCHESNEY J. FRED WOELL Coach/Accompanists: Beverly ·Labuta MICHAEL ROTHENSTEIN EMIL WEDDIGE Donna Edwards JANET FOLSOM DON CROUCH Harpsichordist: Dr. David Daniels ORCHESTRA The Flint Symphony Orchestra William C. Byrd, Music Director CHORUS Soprano: Basses: Jan Albright Mike · Albrigh t Nancy Hoover Ron Bobo Cindy Jackson James Dutcher Joan Wells George Jahn Lee Ann Wolf Tom Murphy FINE ARTS GRAPHICS CUSTOM FRAMING RESTORATION Pat Smith Steven Olds Phyllis Snow John Rahleeh Carol Weisswasser Albert Shont Roman Terleckyj Altos: Kenneth Young Rose Burnett Leta Dockett Diann Wolfe Boys Chorus: Gary Adams Tenors: Carl Allvin Jim Anderson Bruce Brunsdon Larry Bellaire Gary Cobb Carmen Cavallero Tim Hershberger PARMENTER William Kaminski Bob Munn Jim Wells FLOWERS and FLORAL ARRANGEMENTS Tim Thomas TO SATISFY YOUR EVERY NEED Larry Wolf Steve Tomlinson Prompt & Courteous Delivery Service PRODUCTION STAFF 8:30 A.M. to 5:30 P.M. Doily Stage Directors: J. Michael Bloom Carolyn Lockwood 178 E. Brown, Opposite City Parking Structure Hal Youngblood BIRMINGHAM Tel. Midwest 4-9340 Designers: Stage Manager: Tom Byrant Linda Connor George Dusincki Dayvid Warda Allen White Copyright 2010, Michigan Opera Theatre [[ trURI:1 I TO PC:QA "-----------~ Cc:Jr".../'IPANV OF THE DETROIT GR A ND O PER A A SSOC IATI O N 1972 FALL SEASON COMMITTEES THE COMMITTEE Mr.& Mrs. Lynn A. Townsend, Mr.& Mrs. Harry Jones Co-Chairmen Hon.& Mrs. Wade H. McCree Jr. Mr.& Mrs. Avern L. Cohn Mr.& Mrs. Harry J. Nederlander Mr.& Mrs. John H. DeCarlo Mr. E. Harwood Rydholm Dr.& Mrs. David DiChiera Mr.& Mrs. Neil Snow Mr.& Mrs. Aaron H. Gershenson Mr.& Mrs. Richard Strichartz Mr.& Mrs. Donald Graves Mr.& Mrs. Robert C. Vander Kloot Hon.& Mrs. ~oman S. Gribbs Mr.& Mrs. Sam B. Williams Mr.& Mrs. John C. Griffin Mr.& Mrs. Theodore o. Yntema EX-OFFICIO Mr.& Mrs. Frank W. Donovan Mr.& Mrs. Wilber H. Mack Mr.& Mrs. Joseph Vance AFFILIATED INSTITUTIONS Detroit Institute of Technology Oakland University University Center for Adult University of Detroit Education Wayne State University SEASON TICKET COMMITTEE Mrs. Donald Young Chairman TEAM CAPTAINS Mrs. Harvey Berman Mrs. Napolean Jones Mrs. Sigmund Blum Mrs. Gunnar Karlstrom Mrs. Edward Bush Mrs. Jay Benton Lackey Mrs. Abraham Cooper Mrs. Thomas V. LoCicero Mrs. Paul K. Cousino Mrs. Lorenzo Lorenzetti Mrs. Ralph Curtis Mrs. Scott McKean Mrs. Robert Cutler Mrs. Irving Pasman Mrs. Robert Dewar Mrs. Laurence Rattner Mrs. Edward Frohlich Mrs. Arthur J. Rooks Mrs. Matthew Garrisi Mrs. Ernest J. Shave Mrs. Eric T. Goullaud Ms. Pat Smith Mrs. John C. Griffin Mrs. William B. Ten Eyck Mrs. Horace Holloway Mrs. Robert C. Vander Kloot ~ Mrs. Robin Hough OPERA PARTY (NIGHT AT THE OPERA Party) Mrs. Avern L. Cohn and Mrs. Sam B. Williams Co-Chairmen A ZANY FUN-FILLED EVENING -- Spectacular Italian buffet -- Fabulous singing waiters -- Famous celebrities -- Great movies -- Exotic fun -- OctoberCopyright 16, 1972 2010, Michigan$20.00 Opera Theatreper person Latin Quarter 6:30 p.m. Call 377-2044 for Party reservations r ~QTUQc:1 To(J PC:QA ~. ----- ----- - ---- COI'vlPAI'-JV OF THE DETROIT GRAND OPERA ASSOCIATION SEPTEMBER 28, 30 & OCTOBER 6, 7, 1972 NEW PRODUCTION W,A, MOZART Cosi 3an 7utte [Wom en ane Like Tha~J OPERA IN TWO ACTS Libretto by Lorenzo Da Ponte Translation by Ruth and Thomas Martin Conductor: William C. Byrd Stage Director: J.Michael Bloom Technical Director: George Dusincki Costumes Designed by Dayvid Warda Fiordiligi ..•................ Doralene Davis Dorabella .................... Barbara Windham Guglielmo •....•.............. Charles Roe Ferrando ..................... Richard Conrad Despina ...................... Roma Riddell Don Alfo~~o .•................ John Ostendorf Servants: James Anderson, James Dutcher, Thomas Murphy, Roman Terlackj The action takes place in Naples The management reserves Copyrightthe right 2010, Michiganto make Opera any Theatre changes in the above cast in case of unforeseen exigencies. Richard Conrad, tenor, a sinuer of ex traordinary gifts has made ~everal Doralene Davis, soprano, has toured successful tours of Europe and South extensively as soloist wi th the Rouer Africa. He also has many recordings Wagner CI~oral e and the Robert Sh~w to his credit, including the award Chorale throughout South America, winning "The Age of Bel Canto" the U.S.S.R., Europe and the Cnited with Joan Sutherland and \larilyn States. \Jiss Davis has also made solo I Horne. .'Ilr. Conrad appeared pre­ appearances at the \lcadow Brook viously with The Overture to Opera Festival and ,vith the Detroit Svm­ Company in productions of LA RO;\­ phony Orchestra. She gained ~on­ D!;\E and HELP, HELP THE GLO­ siderable acclaim for her interpreta­ BOLI;\KS. tion of \ladame Euterpova in The Overture to Opera Company produc­ tion of HELP, HELP THE-GLOBO­ U:\KS. Roma Riddell, soprano, began her John Ostendorf, bass-baritone, comes career at the Toronto Conservatory to us from tlle .'Iletropolitan Opera of \Iusic and established herself as a Studio, and as an up-and-coming leading artist with the Toronto Sym­ young artist, he is in great demand phony, the Toronto Opera Festival around the country. Recent engage­ and the C.B.C. Opera Company. Now ments have included performances a resident of Detroi t, this talented with the Houston Grand Opera, the and beautiful singing actress frequent­ ~ewark Opera and an appearance in ly appears with The Overture to LES TROY ASS at Carnegie Hall. Opera Company and is also very active in the Detroit musical scene. Charles Roe has appeared lvith num­ erous orciIestras, including a perfor­ mance opposite Beverly Sills with Barbara Windham has appeared in th e Cleveland Orchestra.
Load more

Recommended publications
  • Boston Symphony Orchestra Concert Programs, Season 118, 1998-1999
    BOSTON SYMPHONY ORCHESTRA 1 I O Z AWA ' T W E N T Y- F I F 1 H ANNIVERSARY SEASO N 1 1 8th Season • 1 998-99 Bring your Steinway: < With floor plans from acre gated community atop 2,100 to 5,000 square feet, prestigious Fisher Hill you can bring your Concert Jointly marketed by Sotheby's Grand to Longyear. International Realty and You'll be enjoying full-service, Hammond Residential Real Estate. single-floor condominium living at Priced from $1,100,000. its absolutefinest, all harmoniously Call Hammond Real Estate at located on an extraordinary eight- (617) 731-4644, ext. 410. LONGYEAR at Jisner Jiill BROOKLINE Seiji Ozawa, Music Director 25TH ANNIVERSARY SEASON Bernard Haitink, Principal Guest Conductor One Hundred and Eighteenth Season, 1998-99 Trustees of the Boston Symphony Orchestra, Inc. R. Willis Leith, Jr., Chairman Nicholas T. Zervas, President Peter A. Brooke, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Harvey Chet Krentzman, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson Deborah B. Davis Edna S. Kalman Vincent M. O'Reilly Gabriella Beranek Nina L. Doggett George Krupp Peter C. Read James E Cleary Nancy J. Fitzpatrick Mrs. August R. Meyer Hannah H. Schneider John F. Cogan, Jr. Charles K. Gifford, Richard P. Morse Thomas G. Sternberg Julian Cohen ex-ojficio Mrs. Robert B. Stephen R. Weiner William F. Connell Avram J. Goldberg Newman Margaret Williams- William M. Crozier, Jr. Thelma E. Goldberg Robert P. O'Block, DeCelles, ex-qfficio Nader F Darehshori Julian T. Houston ex-ojficio Life Trustees Vernon R.
    [Show full text]
  • Little Bat” in the Opera Susannah
    Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses 1967 An Analysis of “Little Bat” in the Opera Susannah James William Dewey Central Washington University Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Education Commons, and the Music Education Commons Recommended Citation Dewey, James William, "An Analysis of “Little Bat” in the Opera Susannah" (1967). All Master's Theses. 820. https://digitalcommons.cwu.edu/etd/820 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. I AN ANALYSIS OF 11 LITTLE BAT" IN THE OPERA SUSANNAH . ....... :.;; A Covering Paper Presented to the Graduate Faculty Central Washington State College In Partial Fulfillment of the Requirements for the Degree Master of Education by James William Dewey May 1967 APPROVED FOR THE GRADUATE FACULTY ________________________________ John DeMerchant, COMMITTEE CHAIRMAN _________________________________ Joseph S. Haruda _________________________________ Dan A. Unruh TABLE OF CONTENTS SECTIONS PAGE AN ANALYSIS OF •LITTLE BAT" IN THE OPERA SUSANNAH 1 BIBLIOGRAPHY . 9 APPENDIX A. Letter from Carlisle Floyd • • • • • • • 10 APPENDIX B. Selections from vocal score of Susannah • 12 APPENDIX c. Susannah program, Central Washington State College production, February- March 1967 • • . • • • · · · · · · . 33 AN ANALYSIS OF "LITTLE BAT" IN THE OPERA SUSANNAH To be successful, an opera must externalize the basic philosophical concepts of a story through both action and visible situations. As stated by Carlisle Floyd, the composer of Susannah: My first consideration in attempting an opera is whether or not the subject is one in which the emo­ tional, psychological, and philosophical concepts of the story can be externalized through action and visible situation and still retain absorbing, multi­ dimensional characters.
    [Show full text]
  • 2002 Phyllis Curtin (Master Class)
    THE PHYLLIS CURTIN SERIES Vocal Master Class with Richard Lalli Thursday, April 4, 2002 Branford College 5:00 Undergraduate musicians from MUSIC 222: The Performance of Vocal Music Richard Lalli, instructor; Sara Kohane, coach Hugo Wolf (1860-1903) Die Spröde (from Goethelieder) Kimberly DeQuattro. soprano Sara Kohane, piano Francis Poulenc (1899-1963) Hôtel (from Banalités) Jonathan Boschetto, tenor Sara Kohane, piano Georg Frederick Handel (1685-1759) Meine Seele hört im Sehen (from Nine German Arias) Jessica Luck, soprano Ryan Rice, flute Perry So, harpsichord Richard Rodgers (1902-1979) Isn’t It Romantic? (from Love Me Tonight) Vira Slywotzky, mezzo-soprano Daniel Wielunski, piano Johann Sebastian Bach (1685-1750) Schlummer ein (from Cantata #82) Christopher Herbert, baritone Perry So, harpsichord Johann Strauss II (1825-1899) Czardas (from Die Fledermaus) Claire Owen, soprano Sara Kohane, piano Jesús Guridi (1886-1963) ¡Como quieres que adivine! (from Seis Canciones Castellanas) Elliot Lewis, baritone Sara Kohane, piano Wolfgang Amadeus Mozart (1756-1793) Crudel! perchè finora (from Le Nozze di Figaro) Kimberly DeQuattro, soprano Christopher Herbert, baritone Sara Kohane, piano Sponsored by Branford College and The Department of Music at Yale Jonathan Boschetto is a sophomore in Timothy Dwight College who has performed with the Yale College Opera Company, the Yale Camerata, and The Duke’s Men of Yale. He has spent two summers at the Boston University Tanglewood Institute and currently studies singing with Lili Chookasian. Kimberly DeQuattro studies voice with Lili Chookasian and is a junior in Branford College. She has recently performed leading roles in YCOC productions of Riders to the Sea and Gianni Schicchi.
    [Show full text]
  • Floyd's Susannah
    Baltimore Concert Opera presents: Floyd’s Susannah Who is Carlisle Floyd? The Gist of the Story: Setting: New Hope Valley, Tennessee in the mid 20th century; loosely inspired by the Apocryphal tale of Susannah and the Elders WHO? Set in the 1950s in the backwoods of Tennessee Composer and Librettist: hill country, the opera centers on 18-year-old Susannah, who faces hostility from women in Carlisle Floyd her church community for her beauty and the (born June 11, 1926) attention it attracts from their husbands. As she innocently bathes in a nearby creek one day, the WHAT? church elders spy on Susannah, and their own lustful impulses drive them to accuse her of sin Floyd called this operatic and seduction. Among these hypocrites is the creation a ‘musical drama,’ newly-arrived Reverend Olin Blitch, whose focusing on both music and own inner darkness leads to heart-wrenching Born in South Carolina to a piano teacher and a text to tell the story. tragedy for Susannah. Dealing with the Methodist minister, Carlisle Floyd developed an dramatic themes of jealousy, gossip, and interest in music early on. Studying creative ‘group-think’ -- and filled with soaring folk- writing, piano and then coming to composition, WHEN? inspired melodies -- this opera has been a he found himself teaching at Florida State Premiered on favorite of opera-goers for many years. University in the mid 1950s. Always one to February 24, 1955 The Characters write both the music and texts for his operas, he (62 years prior to our believes that this process gives him greater REV.
    [Show full text]
  • The Inventory of the Phyllis Curtin Collection #1247
    The Inventory of the Phyllis Curtin Collection #1247 Howard Gotlieb Archival Research Center Phyllis Curtin - Box 1 Folder# Title: Photographs Folder# F3 Clothes by Worth of Paris (1900) Brooklyn Academy F3 F4 P.C. recording F4 F7 P. C. concert version Rosenkavalier Philadelphia F7 FS P.C. with Russell Stanger· FS F9 P.C. with Robert Shaw F9 FIO P.C. with Ned Rorem Fl0 F11 P.C. with Gerald Moore Fl I F12 P.C. with Andre Kostelanetz (Promenade Concerts) F12 F13 P.C. with Carlylse Floyd F13 F14 P.C. with Family (photo of Cooke photographing Phyllis) FI4 FIS P.C. with Ryan Edwards (Pianist) FIS F16 P.C. with Aaron Copland (televised from P.C. 's home - Dickinson Songs) F16 F17 P.C. with Leonard Bernstein Fl 7 F18 Concert rehearsals Fl8 FIS - Gunther Schuller Fl 8 FIS -Leontyne Price in Vienna FIS F18 -others F18 F19 P.C. with hairdresser Nina Lawson (good backstage photo) FI9 F20 P.C. with Darius Milhaud F20 F21 P.C. with Composers & Conductors F21 F21 -Eugene Ormandy F21 F21 -Benjamin Britten - Premiere War Requiem F2I F22 P.C. at White House (Fords) F22 F23 P.C. teaching (Yale) F23 F25 P.C. in Tel Aviv and U.N. F25 F26 P. C. teaching (Tanglewood) F26 F27 P. C. in Sydney, Australia - Construction of Opera House F27 F2S P.C. in Ipswich in Rehearsal (Castle Hill?) F2S F28 -P.C. in Hamburg (large photo) F2S F30 P.C. in Hamburg (Strauss I00th anniversary) F30 F31 P. C. in Munich - German TV F31 F32 P.C.
    [Show full text]
  • Lost in the Stars
    REVIEWS Performances Lost in the Stars Washington National Opera and the production rocked the house. In musical terms, the 2016 version is even stronger, especially 12–20 February 2016 the contributions of the orchestra, due in great part to the added forces supplied by the Kennedy Center and WNO, particularly the dark richness of added violas. Conductor John DeMain’s Kurt Weill and Maxwell Anderson’s Lost in the Stars sailed into authoritative command of Weill’s score brought the powerful the Kennedy Center this February captained by Washington music to the forefront. National Opera’s Artistic Director Francesca Zambello. The The sound of the men in the Chorus reminds me of the production was an important event in the nation’s capital, not powerful South African tradition of male ensembles, rooted in only amplifying pressing conversations about race and unequal the practice of corralling Black miners in stockades, with music justice but broadening an artistic question in what has become their only emotional outlet. Through the choral writing, the a rich musical-theater nexus—what is musical theater? Lost nation itself becomes a character, with the first act establishing the in the Stars has been a challenge to define since it debuted on context and letting music invoke the work’s panoramic feel and Broadway, where it met mixed critical response. It has continued grand themes. The audience is challenged to feel the loneliness of to perplex many critics who try ungraciously to fit it into a pre- living in fear of “the other,” and to consider how fear and greed existing genre.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 109, 1989-1990, Subscription
    BOSTON SYMPHONY ORCHESTRA SBJI OZAWA MUSIC DIRECTOR 109TH SEASON 1989-90 ^r^ After the show, enjoy the limelight. Tanqueray. A singular experience. Imported English Gin, 47.3% Alc/Vol (94.6°). 100% Grain Neutral Spirits. © 1988 Schieffelin & Somerset Co., New York, N.Y. Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Ninth Season, 1989-90 Trustees of the Boston Symphony Orchestra, Inc. Nelson J. Darling, Jr., Chairman Emeritus J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Mrs. Eugene B. Doggett Mrs. August R. Meyer Peter A. Brooke Avram J. Goldberg Mrs. Robert B. Newman James F. Geary Mrs. John L. Grandin Peter C. Read John F. Cogan, Jr. Francis W. Hatch, Jr. Richard A. Smith Julian Cohen Mrs. Bela T. Kalman Ray Stata William M. Crozier, Jr. Mrs. George I. Kaplan William F. Thompson Mrs. Michael H. Davis Harvey Chet Krentzman Nicholas T. Zervas Trustees Emeriti Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen E. Morton Jennings, Jr. Mrs. George Lee Sargent Allen G. Barry Edward M. Kennedy Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs. John M. Bradley Thomas D. Perry, Jr. John L. Thorndike Abram T. Collier Irving W. Rabb Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Michael G. McDonough, Assistant Treasurer Daniel R. Gustin, Clerk Administration Kenneth Haas, Managing Director Daniel R.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1963-1964, Tanglewood
    TANGLEWOOD SIXTH WEEK August 7, 8, 9, 1964 Two notable firsts by Erich Leinsdorf and the \ Boston Symphony k\ Victor BRAHMS SYMPHONY No. t Mahler/Symphony No. 1 BOSTON SYMPHONY ORCHESTRA Boston Orch. Symphony ERICH LEINSDORF Erich Leinsdorf <Me©&&mt These two albums illustrate undeniably the unique capacity of Leins- dorfand the Boston Symphony to reconcile the opposing values in each of these works. In their reading of the prophetic Mahler First, they achieve color devoid of bombast, songfulness without sentimentality, and consistently sustain a unified conception of the work in its entirety. Their interpretation of the Brahms First combines classical restraint with emotional freedom, intensity with spaciousness, clarity of texture with richness ofsound. Both albums bril- D f^ A VjffnrmF^ liantly recorded in Dynagroove sound. @The most trusted name in sound w^^ Boston Symphony Orchestra ERICH LEINSDORF, Music Director RICHARD BURGIN, Associate Conductor Berkshire Festival, Season 1964 TWENTY-SEVENTH SEASON MUSIC SHED AT TANGLEWOOD, LENOX, MASSACHUSETTS SIXTH WEEK Concert Bulletin, with historical and descriptive notes by John N. Burk Copyright, 1964 by Boston Symphony Orchestra, Inc. The Trustees of The BOSTON SYMPHONY ORCHESTRA, Inc. President Vice-President Treasurer Henry B. Cabot Talcott M. Banks Richard C Paine Abram Berkowitz C. D. Jackson Sidney R. Rabb Theodore P. Ferris E. Morton Jennings, Jr. Charles H. Stockton Francis W. Hatch Henry A. Laughlin John L. Thorndike Harold D. Hodgkinson John T. Noonan Raymond S. Wilkins Mrs. James H. Perkins Trustees Emeritus Paefrey Perkins Lewis Perry Edward A. Taft Oliver Wolcott Tanglewood Advisory Committee Alan J. Blau Henry W. Dwight George E.
    [Show full text]
  • Lawrence Harris
    Lawrence Harris c/o International Music Talents Philippe Kahn-Salmon 59, Quai de Valmy 75010 Paris Tel : 01 40 40 94 75 / GSM : 06 71 63 43 33 [email protected] Licence d'agent artistique 1010 Role Opera Company Year di Luna Il Trovatore San Antonio Opera 2009 Frank Annie Get Your Gun (tour) Sue B. Music Productions 2009 Roberto Piazza Novana (Premiere) Teatro Ricardo Castro (Mexico) 2008 Soloist Beethoven's 9th Symphony Texarkana Symphony Orchestra 2008 Soloist Verdi Concert Altamura/Caruso Int'l Competition 2008 Soloist Verdi Concert Richard Tucker Foundation 2008 Scarpia Tosca Texarkana Symphony Orchestra 2008 Rigoletto Rigoletto Sherman Symphony 2008 Melchior Amahl & the Night Visitors Fort Worth Opera 2007 Melchior Amahl & the Night Visitors Opera East Texas 2007 High Priest Samson et Dalila Hawaii Opera Theatre 2007 High Priest Samson et Dalila Centre Symphony (NYC) 2007 Germont La Traviata Long Island Symphony 2007 Rigoletto Rigoletto New Rochelle Opera 2007 Burgomaster The Red Mill Little Orchestra Society 2007 Melchior Amahl & the Night Visitors Little Orchestra Society 2006 Rigoletto Rigoletto Garden State Philharmonic 2006 Germont La Traviata San Antonio Opera 2006 Scarpia Tosca Philadelphia Kimmel Center 2006 Lebret Cyrano (workshop) Michigan Opera Theatre 2006 Amonasro Aida One World Symphony 2006 Scarpia Tosca Opera East Texas 2006 Tonio I Pagliacci Center City Opera (Kimmel) 2006 Rigoletto Rigoletto Opera Co of Brooklyn 2006 Scarpia Tosca Opera North 2005 Duke The Gondoliers Opera North 2005 Germont La Traviata Center City
    [Show full text]
  • 2011 Convention Program
    THE EVOLUTION OF OPERA Facing Change From the Fifteenth to the Twenty-first Century The 56th Annual Convention of the National Opera Association San Antonio, Texas January 6-9, 2011 THORNTON AD HERE THE EVOLUTION OF OPERA Facing Change From the Fifteenth to the Twenty-first Century The 56th Annual Convention of the National Opera Association Hilton Palacio del Rio Hotel San Antonio, Texas January 6-9, 2011 CONVENTION COMMITTEE Barbara Hill Moore, NOA Local Chair Gordon Ostrowski, NOA Vice President for Programs Julia Aubrey John Pfautz Ruth Dobson Catherine Payn George Shirley Kimberly Wolfenbarger Nakamoto Special Thanks to the University of Texas-San Antonio and Dr. William McCrary Program Index Wednesday and Thursday Events 3 Collegiate Opera Scene Program 5 Friday Events 8 Saturday Events 10 Legacy Gala Banquet 12 Roll of Honor 13 Sunday Events 14 Past Conventions 15 Past Presidents 16 Presenter Biographies 18 1 2 Wednesday, January 5th, 2011 12:00 PM-4:00 PM Meeting HACIENDA III NOA Executive Board and Board of Directors 4:30 PM OPENING NIGHT FIESTA El Mercado, San Antonio Thursday Morning, January 6th 8:00 AM to 5:00 PM Registration CONFERENCE CENTER LOBBY 8:00 AM to 5:00 PM Exhibits CONFERENCE CENTER FOYER 9:30 AM to 11:00 AM CORTE REAL ABC “Strategies for Casting in an Increasingly Visual Era” George Shirley, moderator Jonathan Pell, Dallas Opera Darren K. Woods, Fort Worth Opera David O’Dell, Amarillo Opera 11:00 AM to 12:45 PM EL MIRADOR Opening Ceremonies and Luncheon Welcome from President Elizabeth Vrenios Welcome from Vice President for Conventions Gordon Ostrowski Welcome from Convention Chair Barbara Hill Moore Memorials to Deceased NOA Colleagues John Douglas by Richard Crittenden Shirley Verrett by George Shirley OPENING ADDRESS "An Un-plugged Art Form in a Plugged-in World" Darren K.
    [Show full text]
  • Minneapolis Symphony Orchestra STANISLAW SKROWACZEWSKI, Conductor
    1961 Eighty-third Season 1962 UNIVERSITY MUSICAL SOCIETY THE UNIVERSITY OF MICHIGAN Charles A. Sink, President Gail W. Rector, Executive Director Lester McCoy, Conductor Ninth Concert Eighty-third Annual Choral Union Series Complete Series 3346 Minneapolis Symphony Orchestra STANISLAW SKROWACZEWSKI, Conductor SUNDAY AFTERNOON, MARCH 4, 1962, AT 2 :30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Symphony No. 35 in D major, "Haffner," K. 385 MOZART Allegro con spirito Andante Menuetto Finale: presto Concerto for Orchestra LUTOSLAWSKI Intrada: allegro maestoso Capriccio notturno e arioso: vivace Passacaglia, toccata e coraIe: andante con moto, allegro giusto, poco sostenuto , molto allegro, presto INTERMISSION Symphony No.2 in C major, Op. 61 SCHUMANN Sostenu to assai; allegro, ma non troppo Scherzo: allegro vivace Adagio espressivo Allegro molto vivace Baldwin Piano Alercury l{ecords The University Musical Society has presented the Minneapolis Symphony Orchestra on four previous occasions since 1941. The Steinway is the official piano of the University Alusical Society. A R S LON G A V I T A BREVIS PROGRAM NOTES by MARY BARBARA FERGUSON Symphony No. 35 in D major ("Haffner" ), K. 385 WOLFGANG AMADEUS MOZART Rarely has a musical work of the stature of the "Haffner" Symphony been com­ posed by one so young and so beset with youthful troubles as Mozart in July of 1782. Jobless (he had been summarily dismissed by his patron, the Archbishop of Salzburg), at odds with his father who had guided the yo ung genius to some small measure of success, and contemplating marriage with the daughter of his landlady, Mozart had more than enough to occupy his thoughts.
    [Show full text]
  • INFORMATION to USERS This Manuscript Has Been Reproduced
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter 6ce, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing In this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Ifowell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 NOTE TO USERS The original manuscript received by UMI contains pages with slanted print. Pages were microfilmed as received. This reproduction is the best copy available UMI JANICE HARSANYI; PROFILE OF AN ARTISTATEACHER D.M.A.
    [Show full text]