Defining Naxos
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Time 1925 1930 1935 1940 1945 1950 1955 1960 1965 1970 1975 1980 1985 1990 1995 2000 2005 2010
Giulio Gatti Casazza 1926 Director, Metropolitan Opera Arturo Toscanini Leopold Stokowski 1926 1930 Conductor Conductor Pietro Mascagni Lucrezia Bori James Cæsar Petrillo 1926 1930 1948 Composer Singer Head, American Federation of Musicians Richard Strauss Alfred Hertz Sergei Koussevitsky Helen Traubel Charles Munch 1938 1927 1930 1946 1949 Composer and conductor Conductor Conductor Singer Conductor Ignace J Paderewski Geraldine Farrar Joseph Deems Taylor Marian Anderson Cole Porter 1939 1927 1931 1946 1949 Kirsten Flagstad Pianist, politician Singer Composer, critic Singer Composer 1935 Lauritz Melchior Giulio Gatti-Casazza Ignace Jan Paderewski Yehudi Menuhin Singer Artur Rodziński Gian Carlo Menotti Maria Callas 1940 1923 1928 1932 1947 1950 1956 Artur Rubinstein Edward Johnson Singer Director, Metropolitan Opera Pianist, politician Violinist; 16 years old Conductor Composer Singer 1966 1936 Leopold Stokowski Pianist Johann Sebastian Bach Nellie Melba Mary Garden Lawrence Tibbett Singer Arturo Toscanini Mario Lanza & Enrico Caruso Leonard Bernstein 1940 1968 1927 1930 1933 1948 1951 1957 Jean Sibelius Conductor Dmitri Shostakovich Composer (1685–1750) Singer Singer Singer Conductor Singers Composer, conductor 1937 1942 Beverly Sills Richard Strauss Rosa Ponselle Arturo Toscanini Composer Composer Benjamin Britten Patrice Munsel Renata Tebaldi Rudolf Bing Luciano Pavarotti 1971 1927 1931 1934 1948 1951 1958 1966 1979 Sergei Koussevitsky Sir Thomas Beecham Leontyne Price Singer Georg Solti Composer, conductor Singer Conductor Composer -
Enrico Caruso (1873-1921)
ENRICO CARUSO (1873-1921) Birth Name: Enrico Caruso Place of Birth: Naples, Italy Career Highlights: Enrico Caruso was widely considered the greatest international opera star of his day. He was not American – Caruso was born and died in Naples, Italy – but he spent many years living in New York as a leading star at the Metropolitan Opera, and was the United States’ first recording superstar, issuing almost 300 recordings with the Victor Talking Machine Company (later RCA). While much of his recording focused on operatic works, Caruso recorded many popular songs, including the Neapolitan (southern Italian) song “O Sole Mio,” in the language of his native Naples. (In 1960, Elvis Presley had a No. 1 hit with the song “It’s Now or Never,” sung to same tune as “O Sole Mio.”) In 1918, Caruso recorded the patriotic American World War I song “Over There.” Recording: “O Sole Mio” (traditional Italian song), 1916 Recording: “Over There” (patriotic World War I song), 1918 Questions to consider: What cities are the newspapers below from? What does the size and placement of the articles about Caruso’s death suggest about his popularity in the United States? What are some of the terms used to describe Caruso in the headlines to these articles? Why might American audiences have been interested in listening to recordings of popular Italian songs? What does Caruso’s recording of a song like “Over There” suggest about his attitude toward the United States? About Americans’ attitudes toward him? Why might it have been easier for an Italian to find success as an opera star in the United States during this period than in another field? How might Caruso’s success have helped paved the way for singers of Italian descent who came after him?. -
2018-19 Chronological Calendar
2018-19 (119TH SEASON) Chronological Calendar (as of January 31, 2018) OPENING NIGHT September 13 at 7:00 PM–Thursday evening—Verizon Hall at the Kimmel Center for the Performing Arts The Philadelphia Orchestra Yannick Nézet-Séguin Conductor André Watts Piano Rossini Overture to William Tell Strauss Don Juan Join us as we kick off The Philadelphia Orchestra’s 119th season in high style. The Opening Night Concert and Gala for the 2018-19 season promises to be a highlight of the cultural year. Yannick, internationally renowned pianist André Watts (who made his debut with the Orchestra in 1957, at the age of 10), and the Fabulous Philadelphians are planning a special celebratory program that features musical masterworks and audience favorites, including Rossini’s famous Overture to William Tell and Strauss’s Don Juan. Opening Night Co-Chairs Alison Avery Lerman and Lexa Edsall, Volunteer Association President Lisa Yakulis, Board Chairman Richard Worley, and the Opening Night Gala committee look forward to welcoming you to this special evening, featuring great music, high couture and black tie, and delicious food and champagne with Philadelphia’s cultural leaders and arts patrons. Contact Dorothy Byrne in the Volunteer Relations office at 215.893.3124 or via e-mail at [email protected] to make sure you are on the invitation list. Concert-only tickets for the evening are also available—simply add them to your subscription. January 31, 2018—All programs and artists subject to change. PAGE 2 The Philadelphia Orchestra 2018-19 Chronological -
Hemsing Associates, Inc
Hemsing Associates, Inc. 401 East 80th Street, Suite 14H New York, NY 10075-0650 Tel.: 212/772-1132 Fax: 212/628-4255 HEMSING ASSOCIATES Public Relations for the Arts Josephine Hemsing Managing Director Dan Cameron Managing Director Vanessa Meiling Haynes Publicity Associate Ellen Churui Li Publicity Associate Joanna Malinowska Graphics Designer www.hemsingpr.com FOR IMMEDIATE RELEASE MUSICIANS FOUNDATION TO RECEIVE $25,000 GRANT FROM THE NATIONAL ENDOWMENT FOR THE ARTS Funds To Be Used To Organize NYC Conference Slated For Fall 2021 To Focus On Performing Artists’ Needs in Time of Crisis June 29, 2020, New York City—The Musicians Foundation is honored to announce that it has been granted a generous Art Works award of $25,000 from the National Endowment for the Arts. Funds are to be used to organize a national conference of organizations that assist professional performing artists in times of need and crisis. The conference, which gains urgency and a new significance in the COVID-19 pandemic, is currently slated to take place in New York City in the fall of 2021 and will address the situation in which performing artists have suffered extreme loss of income as current and future engagements have been cancelled. (Depending on COVID-19 government guidelines, the conference might be postponed till spring 2022.) The conference will be organized by the Musicians Foundation in tandem with a Steering Committee of national and regional organizations, including the Actors Fund, MusiCares, Jazz Foundation, and Episcopal Actors Guild. Founded in 1914 by the Bohemians, a group of musicians and music lovers, the Musicans Foundation was first led by such important figures as Frank Damrosch, Franz Kneisel, Rubin Goldmark (teacher to Aaron Copland and George Gershwin,) and Rudolf Schirmer. -
Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and -
Paris, 1918-45
un :al Chapter II a nd or Paris , 1918-45 ,-e ed MARK D EVOTO l.S. as es. 21 March 1918 was the first day of spring. T o celebrate it, the German he army, hoping to break a stalemate that had lasted more than three tat years, attacked along the western front in Flanders, pushing back the nv allied armies within a few days to a point where Paris was within reach an oflong-range cannon. When Claude Debussy, who died on 25 M arch, was buried three days later in the Pere-Laehaise Cemetery in Paris, nobody lingered for eulogies. The critic Louis Laloy wrote some years later: B. Th<' sky was overcast. There was a rumbling in the distance. \Vas it a storm, the explosion of a shell, or the guns atrhe front? Along the wide avenues the only traffic consisted of militarr trucks; people on the pavements pressed ahead hurriedly ... The shopkeepers questioned each other at their doors and glanced at the streamers on the wreaths. 'II parait que c'ctait un musicicn,' they said. 1 Fortified by the surrender of the Russians on the eastern front, the spring offensive of 1918 in France was the last and most desperate gamble of the German empire-and it almost succeeded. But its failure was decisive by late summer, and the greatest war in history was over by November, leaving in its wake a continent transformed by social lb\ convulsion, economic ruin and a devastation of human spirit. The four-year struggle had exhausted not only armies but whole civiliza tions. -
Hector B Erlioz
MARDI 28 SEPTEMBRE – 20H Hector Berlioz L’Enfance du Christ Première Partie : Le Songe d’Hérode Deuxième Partie : La Fuite en Égypte entracte Troisième Partie : L’Arrivée à Saïs Ensemble Orchestral de Paris Accentus Maîtrise de Paris * Laurence Equilbey, direction Vesselina Kasarova, mezzo-soprano (Marie) Paul Groves, ténor (Récitant) Matthew Brook, baryton (Joseph) | Mardi 28 septembre 28 | Mardi Laurent Naouri, baryton-basse (Hérode / Le Père de famille) Jean-Louis Georgel, basse (Polydore) Romain Champion, ténor (Centurion) Patrick Marco, chef de chœur * Coproduction Salle Pleyel, Ensemble Orchestral de Paris, dans le cadre de la collaboration artistique d’Accentus avec l’Ensemble Orchestral de Paris. L’Enfance du Christ L’Enfance Ce concert est surtitré. | Fin du concert vers 22h10. Hector Berlioz Berlioz Hector 28/09 ACCENTUS.indd 1 22/09/10 17:16 Hector Berlioz (1803-1869) L’Enfance du Christ, trilogie sacrée op. 25 (H 130) Composition : octobre 1850 à juillet 1854. Texte et musique d’Hector Berlioz. Première exécution intégrale : Paris, salle Herz, 10 décembre 1854, sous la direction du compositeur. Principaux interprètes : Mme Meillet (la Vierge Marie), M. Meillet (saint Joseph), M. Depassio (Hérode), M. Battaille (le Père de famille), M. Jourdan (le récitant). Durée : environ 100 minutes. Riche d’une diversité parfois étonnante, L’Enfance du Christ n’a pas été conçue immédiatement dans sa version complète et définitive. La Fuite en Égypte, deuxième volet d’un vaste triptyque, forme une œuvre dans l’œuvre qui fut d’abord pensée séparément et figura au programme de nombreux concerts en France et à l’étranger. Berlioz a raconté comment lui fut suggérée la toute première page de ce qu’il aimait à qualifier d’« oratoire ». -
A History of German-Scandinavian Relations
A History of German – Scandinavian Relations A History of German-Scandinavian Relations By Raimund Wolfert A History of German – Scandinavian Relations Raimund Wolfert 2 A History of German – Scandinavian Relations Table of contents 1. The Rise and Fall of the Hanseatic League.............................................................5 2. The Thirty Years’ War............................................................................................11 3. Prussia en route to becoming a Great Power........................................................15 4. After the Napoleonic Wars.....................................................................................18 5. The German Empire..............................................................................................23 6. The Interwar Period...............................................................................................29 7. The Aftermath of War............................................................................................33 First version 12/2006 2 A History of German – Scandinavian Relations This essay contemplates the history of German-Scandinavian relations from the Hanseatic period through to the present day, focussing upon the Berlin- Brandenburg region and the northeastern part of Germany that lies to the south of the Baltic Sea. A geographic area whose topography has been shaped by the great Scandinavian glacier of the Vistula ice age from 20000 BC to 13 000 BC will thus be reflected upon. According to the linguistic usage of the term -
NORTHERN STARS MUSIC from the NORDIC and BALTIC REGIONS NAXOS • MARCO POLO • ONDINE • PROPRIUS • SWEDISH SOCIETY • DACAPO Northern Stars
NORTHERN STARS MUSIC FROM THE NORDIC AND BALTIC REGIONS NAXOS • MARCO POLO • ONDINE • PROPRIUS • SWEDISH SOCIETY • DACAPO Northern Stars Often inspired by folk tradition, nature, landscape and a potent spirit of independence, the music of Scandinavia, Finland and the Baltic states is distinctive and varied, with each country’s music influenced by its neighbours, yet shaped and coloured by its individual heritage. Traveling composers such as Sweden’s Joseph Kraus introduced 18th and early 19th century classical trends from Germany and Italy, but with national identity gaining increasing importance as Romantic ideals took hold, influential and distinctive creative lines were soon established. The muscular strength of Carl Nielsen’s symphonies grew out of the Danish nationalist vigor shown by Friedrich Kuhlau and Niels Gade, extending to names such as Per Nørgård today. Gade was a teacher of Edvard Grieg, who owes his position as Norway’s leading composer, at least in part, to the country’s traditional folk music and the poignant lyricism of the Hardanger fiddle. The music of Finland is dominated by the rugged symphonies of Jean Sibelius, and his Finlandia ensured his status as an enduring national symbol. Sibelius successfully combined the lessons of Viennese romanticism with a strong Nordic character, and this pragmatic approach has generated numerous contemporary giants such as Aus Sallinen, Einojuhani Rautavaara, Kalevi Aho and Kaija Saariaho. Turbulent history in the Baltic States partially explains a conspicuous individualism amongst the region’s composers, few more so than with Arvo Pärt, whose work distils the strong Estonian vocal tradition into music of striking intensity and crystalline beauty. -
Marco Polo – the Label of Discovery
Marco Polo – The Label of Discovery Doubt was expressed by his contemporaries as to the truth of Marco Polo’s account of his years at the court of the Mongol Emperor of China. For some he was known as a man of a million lies, and one recent scholar has plausibly suggested that the account of his travels was a fiction inspired by a family dispute. There is, though, no doubt about the musical treasures daily uncovered by the Marco Polo record label. To paraphrase Marco Polo himself: All people who wish to know the varied music of men and the peculiarities of the various regions of the world, buy these recordings and listen with open ears. The original concept of the Marco Polo label was to bring to listeners unknown compositions by well-known composers. There was, at the same time, an ambition to bring the East to the West. Since then there have been many changes in public taste and in the availability of recorded music. Composers once little known are now easily available in recordings. Marco Polo, in consequence, has set out on further adventures of discovery and exploration. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again. In addition to pioneering recordings of the operas of Franz Schreker, Der ferne Klang (The Distant Sound), Die Gezeichneten (The Marked Ones) and Die Flammen (The Flames), were three operas by Wagner’s son, Siegfried. Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich and Schwarzschwanenreich (The Kingdom of the Black Swan) explore a mysterious medieval world of German legend in a musical language more akin to that of his teacher Humperdinck than to that of his father. -
GIORDANO BELLINCAMPI, Direttore
GIORDANO BELLINCAMPI , direttore Giordano Bellincampi è il direttore musicale della Auckland Philharmonia. Nato in Italia e trasferitosi a Copenaghen in giovane età, ha iniziato la sua carriera come trombonista con la Royal Danish Orchestra prima di fare il suo debutto come direttore d’orchestra nel 1994. In precedenza, è stato direttore principale de’ I Pomeriggi Musicali di Milano, direttore principale della Kristiansand Symphony Orchestra dal 2013 al 2018, direttore generale della musica della Duisburg Philharmonic dal 2012 al 2017, direttore generale della musica della Danish National Opera di Aarhus dal 2005 al 2013, direttore musicale della Copenhagen Philharmonic Orchestra dal 2000 al 2006 e, tra il 1997 e il 2000, anche direttore principale dell'Athelas Sinfonietta di Copenhagen, il principale ensemble contemporaneo in Danimarca. Bellincampi intrattiene relazioni regolari come ospite con molte orchestre in tutto il mondo, in particolare in Scandinavia ed Europa, tra cui le Orchestre Royal Stockholm, Rotterdam e Royal Flemish Philharmonic e la St Petersburg Symphony, ma anche in Nord America, Asia e Australia. Con un enorme repertorio che abbraccia la musica classica, romantica e contemporanea, è particolarmente celebre per la sua ampia conoscenza della musica sinfonica dell'Europa centrale, italiana e scandinava e per le sue interpretazioni di importanti opere corali e vocali. I momenti salienti delle ultime stagioni includono concerti di Aida di Verdi e Mozart di Don Giovanni con la Auckland Philharmonia, e spettacoli di gala della musica lirica e orchestrale di Wagner con la Duisburg Philharmonic in occasione della riapertura della casa dell'orchestra nel Mercatorhalle di Duisburg, nonché una visita acclamata alla leggendaria Concertgebouw Hall di Amsterdam, nel repertorio di Nielsen, Sibelius e Beethoven. -
Orchestre "Lyrique De Région' Avignon Provence
HEATRE D^ÂVJGNON ET DES PAYS DE VAUCLUSE ORCHESTRE "LYRIQUE DE RÉGION' AVIGNON PROVENCE - - - i. " - V-v s fi \ • Jr , m I mi ¿ih 20iri2011 SAMEDM5 JANVIER - 20H30 Dans le cadre du bicentenaire de la naissance de Franz Liszt PREMIERE AUDITION A AVIGNON LA LEGENDE DE SAINTE- ELISABETH Oratorio de Franz Liszt (Editions musicales Peters) Co-réalisation Opéra-Théâtre d'Avignon et des Pays de Vaucluse Orchestre Lyrique de Région Avignon-Provence Musique Sacrée en Avignon Avec le soutien de Radio Classique et de France Bleu Vaucluse Direction musicale Direction de la Maîtrise Alain Altinoglu Florence Goyon-Pogemberg Direction des Choeurs Etudes musicales Michel Piquemal Sylvain Souret Aurore Marchand Elisabeth Ludwig Christina Dietzsch Marc Barrard Comtesse Sophie Le Sénéchal/un magnat hongrois Nora Gubisch Olivier Heyte Elisabeth enfant Hermann Pauline Nachman* Chul-Jun Kim Frédérik II Jean-Marie Delpas Ludwig enfant *Pages du Centre Augustin Mathieu* de Musique Baroque de Versailles MAITRISE DE L'OPERA- ORCHESTRE LYRIQUE CHŒUR REGIONAL CHŒUR DE L'OPERA- THEATRE DAVIGNON DE REGION AVIGNON PROVENCE-ALPES- THEATRE DAVIGNON ET DES PAYS PROVENCE COTE DAZUR ET DES PAYS DEVAUCLUSE DEVAUCLUSE Direction Délégué général Direction Direction Florence Philippe Grison Michel Piquemal Aurore Marchand Goyon-Pogemberg Directeur technique Régisseur général Régie surtitrage Noël Lemaitre Patrice Blancke Sabine Sendra Régisseurs de scène Directeur de production Nathalie Bruno et de la scène Michele Soro Philippe Turchi Franz Liszt et la Légende de Sainte-Elisabeth Assurément, Franz Liszt eut l'envergure d'un géant. Par bien de ses traits, il offre des similitudes avec Victor Hugo. Même ample stature, celle qu'une longévité accroît ; de la génération des compositeurs de 1810 - Mendelssohn, Chopin, Schumann -, Liszt fut le seul à avoir éprouvé une longue vie créatrice.