The Little Sweep Libretto
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“Music-Making in a Joyous Sense”: Democratization, Modernity, and Community at Benjamin Britten's Aldeburgh Festival of Music and the Arts
“Music-making in a Joyous Sense”: Democratization, Modernity, and Community at Benjamin Britten's Aldeburgh Festival of Music and the Arts Daniel Hautzinger Candidate for Senior Honors in History Oberlin College Thesis Advisor: Annemarie Sammartino Spring 2016 Hautzinger ii Table of Contents 1. Introduction 1 2. Historiography and the Origin of the Festival 9 a. Historiography 9 b. The Origin of the Festival 14 3. The Democratization of Music 19 4. Technology, Modernity, and Their Dangers 31 5. The Festival as Community 39 6. Conclusion 53 7. Bibliography 57 a. Primary Sources 57 b. Secondary Sources 58 Hautzinger iii Acknowledgements This thesis would never have come together without the help and support of several people. First, endless gratitude to Annemarie Sammartino. Her incredible intellect, voracious curiosity, outstanding ability for drawing together disparate strands, and unceasing drive to learn more and know more have been an inspiring example over the past four years. This thesis owes much of its existence to her and her comments, recommendations, edits, and support. Thank you also to Ellen Wurtzel for guiding me through my first large-scale research paper in my third year at Oberlin, and for encouraging me to pursue honors. Shelley Lee has been an invaluable resource and advisor in the daunting process of putting together a fifty-some page research paper, while my fellow History honors candidates have been supportive, helpful in their advice, and great to commiserate with. Thank you to Steven Plank and everyone else who has listened to me discuss Britten and the Aldeburgh Festival and kindly offered suggestions. -
English Translation of the German by Tom Hammond
Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p. -
Diadem Gold Mining Co
aiyiM iwaftwfiFBywiwftBiaww1' 1,,iw Mf MJff Wednesday, May i, 1901 THE SUMPTER MINER Diadem Gold Mining Co. : OFFICERS Mines Situated on Green- This Mine is Working j President J. H. ROBBINS J Every Day j Mayor of Sumpttr a. N.C.RICHARDS horn Mountain Attorney (Uw J This Mine is a Shiping Sec'y and Treas...OTTO HERLOCKER Baker County Mine i4 At. Cathltr First Bank ol Sumpttr f Directors J. H. Robblns, N. C. J The Baker Cl!y SamplInK Works Richards, E. M. Anderson, M. D. gives the following returns (or two Supt. of Mines... DAVID O'NEIL small shipments: Lot 68-1- . 253 sacks X Of Iter P, O.. Baker County, Oregon 1,000,000 SHARES of ore, dry weight, 13,06) pounds. In addition to the officer of the company Z Gold, 7 ounces; silver, 940 ounces. J among the atockholderi are: Hon. Lee Mantle, T : PAR VALUE $1 00 EACH Gold per oz, $20; treatment cost 98. late IT. S. Senator, Hutte, Montana: Tho. R. Net price per Freight, Hindi, County Treasurer, Butte, Montana; I ton, 130.50. late of Hon. John F. Forbes, Attorney-at-La- Butte; Zi a 97 per ton. Net value lost, 9800,24. Chas. S. Warren, Speculator, Butte; los. F. Par-- T Lot No. 102. 378 sack ore; dry dee, Miner, Phllllpsburg, Montana; H. M. Grant, weight, 18,810. Gold, 6.20 ounces; Insurance Adfuster, Portland; Geo. W, McDow- - ell, Broker Portland; CB. Richardson, Contrac- - Home Office silver, q ounces; gold $20 per ounce. tor, Walla. Walla, Wash.; Hector McRea. -
Britten Spring Symphony Welcome Ode • Psalm 150
BRITTEN SPRING SYMPHONY WELCOME ODE • PSALM 150 Elizabeth Gale soprano London Symphony Chorus Alfreda Hodgson contralto Martyn Hill tenor London Symphony Orchestra Southend Boys’ Choir Richard Hickox Greg Barrett Richard Hickox (1948 – 2008) Benjamin Britten (1913 – 1976) Spring Symphony, Op. 44* 44:44 For Soprano, Alto and Tenor solos, Mixed Chorus, Boys’ Choir and Orchestra Part I 1 Introduction. Lento, senza rigore 10:03 2 The Merry Cuckoo. Vivace 1:57 3 Spring, the Sweet Spring. Allegro con slancio 1:47 4 The Driving Boy. Allegro molto 1:58 5 The Morning Star. Molto moderato ma giocoso 3:07 Part II 6 Welcome Maids of Honour. Allegretto rubato 2:38 7 Waters Above. Molto moderato e tranquillo 2:23 8 Out on the Lawn I lie in Bed. Adagio molto tranquillo 6:37 Part III 9 When will my May come. Allegro impetuoso 2:25 10 Fair and Fair. Allegretto grazioso 2:13 11 Sound the Flute. Allegretto molto mosso 1:24 Part IV 12 Finale. Moderato alla valse – Allegro pesante 7:56 3 Welcome Ode, Op. 95† 8:16 13 1 March. Broad and rhythmic (Maestoso) 1:52 14 2 Jig. Quick 1:20 15 3 Roundel. Slower 2:38 16 4 Modulation 0:39 17 5 Canon. Moving on 1:46 18 Psalm 150, Op. 67‡ 5:31 Kurt-Hans Goedicke, LSO timpani Lively March – Lightly – Very lively TT 58:48 4 Elizabeth Gale soprano* Alfreda Hodgson contralto* Martyn Hill tenor* The Southend Boys’ Choir* Michael Crabb director Senior Choirs of the City of London School for Girls† Maggie Donnelly director Senior Choirs of the City of London School† Anthony Gould director Junior Choirs of the City of London School -
A Paratextual Analysis of Nurturing Opera Audiences: Transmedia Practices, Interactivity and Historical Interpretation in the We
. Volume 16, Issue 1 May 2019 A paratextual analysis of Nurturing Opera Audiences: Transmedia practices, interactivity and historical interpretation in the Welsh National Opera’s promotion of the ‘Tudors Trilogy’1 Rachel Grainger and Márta Minier, University of South Wales, UK Abstract: This article examines contemporary opera marketing strategies in the context of paratextuality and transmedia storytelling using the case study of the Welsh National Opera’s (WNO) 2013 ‘Tudor trilogy’ (Anna Bolena, Maria Stuarda, Roberto Devereux by Gaetano Donizetti). The WNO’s marketing, and education & outreach campaigns for their Tudor opera performances build on the contemporary manifold ‘presence of the past in British society’ (Wright 2009: ix) and the widespread use of technologically aided branding in the arts world. We will argue that the WNO’s creative and heritagising recourse to the Tudor period as ‘usable past’ (Jordanova 2006, Smith 1997: 37) and ‘playable past’ (Kapell and Elliott 2013: 362) not only determines the main branding context for the performed opera trilogy as a cultural product but that there is also a lucrative case of one brand supporting another: the Tudor brand as a phenomenon of contemporary retro-culture bolstering the WNO brand as a not exclusively upper class but accessible and chic brand. WNO’s Tudors performance cluster is a project where significant agencies and configurations of the contemporary heritage industry converge: high opera meets Tudormania, digital marketing company Yello brick and the National Trust as -
From the Garden of Eden to the New Creation in Christ : a Theological Investigation Into the Significance and Function of the Ol
The University of Notre Dame Australia ResearchOnline@ND Theses 2017 From the Garden of Eden to the new creation in Christ : A theological investigation into the significance and function of the Old estamentT imagery of Eden within the New Testament James Cregan The University of Notre Dame Australia Follow this and additional works at: https://researchonline.nd.edu.au/theses Part of the Religion Commons COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 WARNING The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice. Publication Details Cregan, J. (2017). From the Garden of Eden to the new creation in Christ : A theological investigation into the significance and function of the Old Testament imagery of Eden within the New Testament (Doctor of Philosophy (College of Philosophy and Theology)). University of Notre Dame Australia. https://researchonline.nd.edu.au/theses/181 This dissertation/thesis is brought to you by ResearchOnline@ND. It has been accepted for inclusion in Theses by an authorized administrator of ResearchOnline@ND. For more information, please contact [email protected]. FROM THE GARDEN OF EDEN TO THE NEW CREATION IN CHRIST: A THEOLOGICAL INVESTIGATION INTO THE SIGNIFICANCE AND FUNCTION OF OLD TESTAMENT IMAGERY OF EDEN WITHIN THE NEW TESTAMENT. James M. Cregan A thesis submitted for the degree of Doctor of Philosophy at the University of Notre Dame, Australia. School of Philosophy and Theology, Fremantle. November 2017 “It is thus that the bridge of eternity does its spanning for us: from the starry heaven of the promise which arches over that moment of revelation whence sprang the river of our eternal life, into the limitless sands of the promise washed by the sea into which that river empties, the sea out of which will rise the Star of Redemption when once the earth froths over, like its flood tides, with the knowledge of the Lord. -
Mastersingers 2017-2018 Season with the Academy of Children’S Theatre Present Benjamin Britten’S Let’S Make an Opera the Little Sweep
Mid-Columbia Mastersingers 2017-2018 Season With The Academy of Children’s Theatre present Benjamin Britten’s Let’s Make an Opera THE LITTLE SWEEP JANUARY 12, 7:30PM JANUARY 13, 2:00PM & 7:30PM UPTOWN THEATRE, RICHLAND www.MCMastersingers.org LET’S MAKE AN OPERA Today’s performance is being recorded. Please silence cell phones and watches. PROLOGUE Wherein the players create the opera, as themselves, in the current time and place Intermission Concessions by Ethos Bakery & Cafe for sale in the lobby THE LITTLE SWEEP, OP. 45 Music by Benjamin Britten (1913-1976) Libretto by Eric Crozier (1914-1994) Setting: children’s nursery of Iken Hall, Suffolk, in the year 1810. Scene One - - - - - A January morning Scene Two - - - - - - - - - - - - - - -Later Scene Three - - - - - The next morning I. The Sweep’s Song: Audience Song I II. Quartet: Sweep the chimney! Rebuilding Mid-Columbia is a III. Duet: Now little white boy volunteer organization serving the community by repairing IIIa. Hide and Seek: Juliet! Juliet! homes of low-income homeowners with genuine needs - particularly IV. Shanty: Pull the rope gently the elderly, disabled and families V. Ensemble: Is he wounded? with children. VI. Marching Song Rebuilding Mid-Columbia VII. Trio PO Box 2221 VIII. Aria: Run poor sweep boy Richland WA, 99352 509.420.4854 IX. Sammy’s Bath: Audience Song II [email protected] X. Ensemble: O why do you weep XI. Pantomime We’re a Bank as local as XII. Scena the Mastersingers. XIII. Finale: Help! Help! she’s collapsed Strong. Local. Relationships. XIV. The Night Song: Audience Song III Community First. -
Britten's Acoustic Miracles in Noye's Fludde and Curlew River
Britten’s Acoustic Miracles in Noye’s Fludde and Curlew River A thesis submitted by Cole D. Swanson In partial fulfillment of the requirements for the degree of Master of Arts in Music TUFTS UNIVERSITY May 2017 Advisor: Alessandra Campana Readers: Joseph Auner Philip Rupprecht ii ABSTRACT Benjamin Britten sought to engage the English musical public through the creation of new theatrical genres that renewed, rather than simply reused, historical frameworks and religious gestures. I argue that Britten’s process in creating these genres and their representative works denotes an operation of theatrical and musical “re-enchantment,” returning spiritual and aesthetic resonance to the cultural relics of a shared British heritage. My study focuses particularly on how this process of renewal further enabled Britten to engage with the state of amateur and communal music participation in post-war England. His new, genre-bending works that I engage with represent conscious attempts to provide greater opportunities for amateur performance, as well cultivating sonically and thematically inclusive sound worlds. As such, Noye’s Fludde (1958) was designed as a means to revive the musical past while immersing the Aldeburgh Festival community in present musical performance through Anglican hymn singing. Curlew River (1964) stages a cultural encounter between the medieval past and the Japanese Nō theatre tradition, creating an atmosphere of sensory ritual that encourages sustained and empathetic listening. To explore these genre-bending works, this thesis considers how these musical and theatrical gestures to the past are reactions to the post-war revivalist environment as well as expressions of Britten’s own musical ethics and frustrations. -
Outer Garments: Copes, Cloaks and Mantles
CHAPTER 2 Outer Garments: Copes, Cloaks and Mantles Introduction was very much the province of the highest ranks, secular or ecclesiastical, in Europe. The cope is a form of vestment which has changed very In its ecclesiastical history the earliest use of the little over the centuries. It originated (like the chasuble, cope seems to have been as a hooded garment worn see chapter 3) from a Roman garment, the earliest form by monks and priests in church, probably for warmth of which was not particularly grand, called the paenula. and for protection against the weather. The Catholic This was a semi-circular cloak, open down the front, Encyclopedia notes some interesting eighth- to ninth- worn as everyday clothing by the ordinary citizen, and century mentions of a garment called a cappa (still an apparently by women and the upper classes as a pro- alternative name for a cope) which make clear that tection from the weather when travelling. This latter some were indeed everyday cloaks, others more suit- version could be made of splendid rather than merely able for liturgical wear – and in one instance that the practical material, and it was this which gradually, in garment called by some a cuculla (cowl) was the same fact very slowly, became part of ecclesiastical dress, and as that called by others a cappa, and was part of monas- even more slowly developed a ceremonial use. Because tic dress.1 This casts an interesting light on the ultimate of its originally protective function it was usually volu- origins of the Franciscan cowl of later centuries (see the minous, so that it could be wrapped around the body cowl of St Francis of Assissi, 4.4). -
Subducted Carbonates, Metasomatism of Mantle Wedges, and Possible Connections to Diamond Formation: an Example from California
American Mineralogist, Volume 90, pages xxx–xxx, 2005 Subducted carbonates, metasomatism of mantle wedges, and possible connections to diamond formation: An example from California MIHAI N. DUCEA,1,* JASON SALEEBY,2 JEAN MORRISON,3 AND VICTOR VALENCIA1 1University of Arizona, Department of Geosciences, Tucson, Arizona 85721, U.S.A. 2California Institute of Technology, Division of Geological and Planetary Sciences, Pasadena, California 91125, U.S.A. 3University of Southern California, Department of Earth Sciences, Los Angeles, California 90089, U.S.A. ABSTRACT We investigated calcite globules and veins in two spinel-garnet peridotite xenoliths from the sub- Sierra Nevada mantle. The studied xenoliths were entrained in a Miocene (11 Ma) volcanic plug. These carbonates are associated spatially with silicate glass inclusions, suggesting that they are primary inclusions—inclusions that formed at high temperature in the mantle and not at or close to the Earthʼs surface. The host peridotites represent samples of the lithospheric mantle wedge beneath the Meso- zoic California magmatic arc, as indicated by radiogenic isotopic ratios measured on clinopyroxene 87 86 separates [ Sr/ Sr(11 Ma) = 0.7058–0.7061, εNd (11 Ma) = –1.9 to –0.7]. Mineral chemistry of the peridotite major phases is typical of a mantle section that was depleted of melt. The δ18O values of olivine and orthopyroxene from the two samples are also typical of mantle rocks (δ18O = 6–6.5‰). In contrast, calcite veins have δ18O of 18–20‰ and δ13C of –14‰, arguing for a subducted sedimentary origin for these carbonates. Presumably, the carbonates were expelled from the downgoing slab and fluxed into the overlying mantle wedge as CO2- or CO2-H2O-rich fluids or melts. -
On Site Opera Press Kit 2016
PRESS KIT 2016 P.O. Box 231480 | New York, NY 10023 347-394-3050 | [email protected] | www.osopera.org QUOTES Gregg Kallor's The Tell-Tale Heart • “The starkly simple production by Sarah Meyers, which placed Pojanowski in the merciless glare of a single spotlight, proved one of the most effective stagings I've seen from the always-inventive On Site Opera” –The Observer • “Part of the draw of The Crypt Sessions is its unique venue. Performances happen in the Crypt Chapel...an inspired setting for The Tell-Tale Heart—the vaulted, cloistered qualities well suited for a meditation on entombment.” –Parterre Box Dominick Argento’s Miss Havisham’s Wedding Night & Hector Berlioz’s La Mort de Cléopâtre • “I would not have wanted to hear either opera anywhere else....Without that separation from the audience, Partridge and Gaissert leveraged the closeness, relying on the transparency of their characters’ damaged psyches, indulging in murmured pianissimos and quick turns that might get lost in a bigger house. The result was both lavish and intimate.” — NY Magazine • “There was the gobsmacking experience of having the performers right there at one’s elbow, inches away – Cleopatra’s gown wafting against your shoulder as she passed, Miss Havisham’s old lace perfuming the air as her doleful countenance met yours in a transfixing intimacy. And, above all, there was the sound!” La Scena Musicale Marcos Portugal's The Marriage of Figaro • “So Much More Than Sleep No More. On Site Opera's immersive version of Marriage of Figaro is on point. This lively young cast was so irresistible that you wouldn’t ever want them to stop singing.” –The Observer • “On Site Opera presents the ultimate in intimate productions by performing works in spaces that fit the setting of the story. -
Whither Cowboy Poetry?
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for 1999 WHITHER COWBOY POETRY? Jim Hoy Emporia State University Follow this and additional works at: https://digitalcommons.unl.edu/greatplainsquarterly Part of the Other International and Area Studies Commons Hoy, Jim, "WHITHER COWBOY POETRY?" (1999). Great Plains Quarterly. 902. https://digitalcommons.unl.edu/greatplainsquarterly/902 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. WHITHER COWBOY POETRY? JIM HOY As a cultural phenomenon the explosion in high-heeled boots, silk neckerchief, leather popularity of cowboy poetry in the past dozen chaps-has long since become an icon that years has been nothing short of spectacular. represents the very nation: wear a cowboy hat Until the first full-scale cowboy poetry gath and you will be taken for an American any ering at Elko, Nevada, in late January 1985, where in the world. The two essential working poetry was arguably the one aspect of cowboy skills of the cowboy-roping cattle and riding culture that had not been expropriated into bucking horses-long ago have been trans American popular culture. Certainly the men formed from actual ranch work into one of the tal picture of the cowboy himself-big hat, nation's largest spectator and participant sports: rodeo. And the idealized, romanticized image of the cowboy (certainly far removed from the low-paid, hard-working hired man on horseback who actually works with cows, horses, and four-wheel-drive pickups) has be come, through pulp fiction, television, and James F.