DOCSLIB.ORG

Celia Craig, Dean Newcomb, Mark Gaydon & Michael Ierace

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Celia Craig, Dean Newcomb, Mark Gaydon & Michael Ierace Chopin’s Piano with Aura Go Celia Craig, Dean Newcomb, History comes to life as a cast of historical characters tell the tale of Chopin’s piano, their words set amongst a complete performance of his beloved Preludes. Mark Gaydon & Michael Ierace Thursday 18 November, 7.30pm Thursday 26 August, 7.30pm musicaviva.com.au/chopins-piano Adelaide Town Hall Special thanks to our Ensemble Patrons Michele and Stephen Johns, and Anonymous for their support of this tour. Meet the Artists Program Celia Craig oboe International Clarinet Competition in Dean Newcomb clarinet Portugal. Dean Newcomb is a Yamaha Jean FRANÇAIX (1912-1997) Mark Gaydon bassoon artist. Divertissement (1947) 11 min Michael Ierace piano I Prélude Mark Gaydon has been Principal II Allegretto assai Celia Craig was taught by Bela de Csillery Bassoonist with the Adelaide Symphony III Elégie (a pupil of both Kodály and Hindemith, Orchestra since 2003. During this time he and personally tutored by Leonard has appeared as soloist with the orchestra IV Scherzo Bernstein), and she experiences sound and on numerous occasions, and has also colour synaesthesia. She was elected an appeared as Guest Principal Bassoon with Camille SAINT-SAËNS (1835-1921) Associate, Royal Academy of Music, in 1997 the Sydney Symphony, the New Zealand Oboe Sonata in D Major, Op. 166 (1921) 9 min and is now Artist in Residence, National Symphony, the Queensland Symphony and I Andantino Trust of South Australia. the Tasmanian Symphony Orchestra. II Ad libitum – Allegretto – Ad libitum Celia is dedicatee of Judith Weir’s Oboe As a chamber musician he has performed III Molto allegro Concerto and formerly Chairman of BBC with Elision Ensemble, Southern Cross Symphony Orchestra, London. She has Soloists, and many others. An avid teacher, performed for Royalty, toured on five Mark has been Associate Instructor at the Francis POULENC (1899-1963) continents, and recorded with many of the Indiana University School of Music, a guest Sonata for clarinet and bassoon (1922) 9 min world’s great artists at Abbey Road Studios artist at the Australian National Academy I Allegro and the Royal Albert Hall. of Music and Australian Youth Orchestra, II Romance In 2020 a Fellowship from Arts SA enabled and Bassoon Instructor at the Elder III Final Celia to found a not-for-profit multimedia Conservatorium since 2005. production company with six directors, When Mark isn’t performing or teaching, Artaria, inspired by synaesthesia. Artaria’s he likes to indulge in his great passion for Erik SATIE (1866-1925) mission is to increase awareness of and tennis. Gnossiennes No. 3 (1889-90) 4 min participation in classical music. Sonatine bureaucratique (1917) 4 min Michael Ierace has been cited as having Dean Newcomb is currently the Principal an ‘exceptional gift’ and his playing as Francis POULENC (1899-1963) Clarinettist with the Adelaide Symphony ‘revelatory’. Born and raised in Adelaide, Trio for oboe, bassoon and piano (1926) 13 min Orchestra, a position he has held since he completed his undergraduate studies 2008. Dean has performed as Guest with teachers Stefan Ammer and Lucinda Principal Clarinet with various orchestras in Collins. He received the prestigious Elder Paul PIERNÉ (1874-1952) Australia and overseas. Overseas Scholarship from Adelaide Bucolique Variations (1947) 7 min His solo concerto performances have been University enabling him to move to London met with critical acclaim, with reviewers and study at the Royal College of Music Germaine TAILLEFERRE (1892-1983) praising his ‘musical gifts, technical finesse with Professor Andrew Ball. Selected as an Sonate champêtre (1972) 10 min and outstanding ability’ (The Advertiser). RCM Rising Star, Michael was later on staff I Allegro Moderato Dean regularly performs as a recital and as a Junior Fellow in piano accompaniment. II Andantino chamber musician with many of Australia’s In the UK, he won several competitions III Allegro Vivace: Gaiement leading ensembles. including Keyboard and Accompanist Prizes His active involvement in music education in the Royal Over-Seas League Competition includes giving masterclasses, lecturing – the first pianist in the competition’s and tutoring at the Elder Conservatorium distinguished history to have received both of Music, tutoring for the Australian Youth awards. Orchestra’s orchestral and chamber music Michael is currently working at the Elder Special thanks to our Ensemble Patrons Ian and Caroline Frazer seasons and adjudicating at the Lisbon Conservatorium. and Concert Champion Gale Spalvins for their support of this tour. Meet the Artists Program Celia Craig oboe International Clarinet Competition in Dean Newcomb clarinet Portugal. Dean Newcomb is a Yamaha Jean FRANÇAIX (1912-1997) Mark Gaydon bassoon artist. Divertissement (1947) 11 min Michael Ierace piano I Prélude Mark Gaydon has been Principal II Allegretto assai Celia Craig was taught by Bela de Csillery Bassoonist with the Adelaide Symphony III Elégie (a pupil of both Kodály and Hindemith, Orchestra since 2003. During this time he and personally tutored by Leonard has appeared as soloist with the orchestra IV Scherzo Bernstein), and she experiences sound and on numerous occasions, and has also colour synaesthesia. She was elected an appeared as Guest Principal Bassoon with Camille SAINT-SAËNS (1835-1921) Associate, Royal Academy of Music, in 1997 the Sydney Symphony, the New Zealand Oboe Sonata in D Major, Op. 166 (1921) 9 min and is now Artist in Residence, National Symphony, the Queensland Symphony and I Andantino Trust of South Australia. the Tasmanian Symphony Orchestra. II Ad libitum – Allegretto – Ad libitum Celia is dedicatee of Judith Weir’s Oboe As a chamber musician he has performed III Molto allegro Concerto and formerly Chairman of BBC with Elision Ensemble, Southern Cross Symphony Orchestra, London. She has Soloists, and many others. An avid teacher, performed for Royalty, toured on five Mark has been Associate Instructor at the Francis POULENC (1899-1963) continents, and recorded with many of the Indiana University School of Music, a guest Sonata for clarinet and bassoon (1922) 9 min world’s great artists at Abbey Road Studios artist at the Australian National Academy I Allegro and the Royal Albert Hall. of Music and Australian Youth Orchestra, II Romance In 2020 a Fellowship from Arts SA enabled and Bassoon Instructor at the Elder III Final Celia to found a not-for-profit multimedia Conservatorium since 2005. production company with six directors, When Mark isn’t performing or teaching, Artaria, inspired by synaesthesia. Artaria’s he likes to indulge in his great passion for Erik SATIE (1866-1925) mission is to increase awareness of and tennis. Gnossiennes No. 3 (1889-90) 4 min participation in classical music. Sonatine bureaucratique (1917) 4 min Michael Ierace has been cited as having Dean Newcomb is currently the Principal an ‘exceptional gift’ and his playing as Francis POULENC (1899-1963) Clarinettist with the Adelaide Symphony ‘revelatory’. Born and raised in Adelaide, Trio for oboe, bassoon and piano (1926) 13 min Orchestra, a position he has held since he completed his undergraduate studies 2008. Dean has performed as Guest with teachers Stefan Ammer and Lucinda Principal Clarinet with various orchestras in Collins. He received the prestigious Elder Paul PIERNÉ (1874-1952) Australia and overseas. Overseas Scholarship from Adelaide Bucolique Variations (1947) 7 min His solo concerto performances have been University enabling him to move to London met with critical acclaim, with reviewers and study at the Royal College of Music Germaine TAILLEFERRE (1892-1983) praising his ‘musical gifts, technical finesse with Professor Andrew Ball. Selected as an Sonate champêtre (1972) 10 min and outstanding ability’ (The Advertiser). RCM Rising Star, Michael was later on staff I Allegro Moderato Dean regularly performs as a recital and as a Junior Fellow in piano accompaniment. II Andantino chamber musician with many of Australia’s In the UK, he won several competitions III Allegro Vivace: Gaiement leading ensembles. including Keyboard and Accompanist Prizes His active involvement in music education in the Royal Over-Seas League Competition includes giving masterclasses, lecturing – the first pianist in the competition’s and tutoring at the Elder Conservatorium distinguished history to have received both of Music, tutoring for the Australian Youth awards. Orchestra’s orchestral and chamber music Michael is currently working at the Elder Special thanks to our Ensemble Patrons Ian and Caroline Frazer seasons and adjudicating at the Lisbon Conservatorium. and Concert Champion Gale Spalvins for their support of this tour. Chopin’s Piano with Aura Go Celia Craig, Dean Newcomb, History comes to life as a cast of historical characters tell the tale of Chopin’s piano, their words set amongst a complete performance of his beloved Preludes. Mark Gaydon & Michael Ierace Thursday 18 November, 7.30pm Thursday 26 August, 7.30pm musicaviva.com.au/chopins-piano Adelaide Town Hall Special thanks to our Ensemble Patrons Michele and Stephen Johns, and Anonymous for their support of this tour..
Load more

Recommended publications
  • 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.
    [Show full text]
  • 2012 02 20 Programme Booklet FIN
    COMPOSITION - EXPERIMENT - TRADITION: An experimental tradition. A compositional experiment. A traditional composition. An experimental composition. A traditional experiment. A compositional tradition. Orpheus Research Centre in Music [ORCiM] 22-23 February 2012, Orpheus Institute, Ghent Belgium The fourth International ORCiM Seminar organised at the Orpheus Institute offers an opportunity for an international group of contributors to explore specific aspects of ORCiM's research focus: Artistic Experimentation in Music. The theme of the conference is: Composition – Experiment – Tradition. This two-day international seminar aims at exploring the complex role of experimentation in the context of compositional practice and the artistic possibilities that its different approaches yield for practitioners and audiences. How these practices inform, or are informed by, historical, cultural, material and geographical contexts will be a recurring theme of this seminar. The seminar is particularly directed at composers and music practitioners working in areas of research linked to artistic experimentation. Organising Committee ORCiM Seminar 2012: William Brooks (U.K.), Kathleen Coessens (Belgium), Stefan Östersjö (Sweden), Juan Parra (Chile/Belgium) Orpheus Research Centre in Music [ORCiM] The Orpheus Research Centre in Music is based at the Orpheus Institute in Ghent, Belgium. ORCiM's mission is to produce and promote the highest quality research into music, and in particular into the processes of music- making and our understanding of them. ORCiM
    [Show full text]
  • "Woman.Life.Song" by Judith Weir Heather Drummon Cawlfield
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-1-2015 Study and analysis of "woman.life.song" by Judith Weir Heather Drummon Cawlfield Follow this and additional works at: http://digscholarship.unco.edu/dissertations Recommended Citation Cawlfield, Heather Drummon, "Study and analysis of "woman.life.song" by Judith Weir" (2015). Dissertations. Paper 14. This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2015 HEATHER DRUMMOND CAWLFIELD ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School STUDY AND ANALYSIS OF woman.life.song BY JUDITH WEIR A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Heather Drummond Cawlfield College of Performing and Visual Arts School of Music Music Performance May 2015 This Dissertation by: Heather Drummond Cawlfield Entitled: Study and Analysis of “woman.life.song” by Judith Weir has been approved as meeting the requirement for the Degree of Doctor of Arts in College of Performing Arts in School of Music, Program of Vocal Performance Accepted by the Doctoral Committee ______________________________________________________ Melissa Malde, D.M.A., Research Advisor ______________________________________________________ Brian Luedloff, M.F.A., Co-Research Advisor (if applicable) _______________________________________________________ Robert Ehle, Ph.D., Committee Member _______________________________________________________ Susan Collins, Ph.D., Committee Member Date of Dissertation Defense _________________________________________ Accepted by the Graduate School _________________________________________________________ Linda L. Black, Ed.D.
    [Show full text]
  • ANODE 2014 Press Release
    ANODE 2014 Festival and Symposium presented by FOCI Arts in partnership with Tulane University and Coup d'Oeil Art Consortium April 10-14, 2014 Press Contact: Ray Evanoff: 504.214.7503 | [email protected] ANODE 2014 ("Artistic New Orleans: Discussions & Extensions") is a brand new contemporary music festival taking place in New Orleans and Chicago in April 10-14, organized by FOCI Arts in partnership with Coup d'oeil Art Consortium and the Tulane University Music Department. It features concerts, public discussions, gallery shows, and educational events showcasing a variety of internationally- prominent contemporary musicians, both based in New Orleans and from across the globe. ANODE 2014 will showcase their work in performances, and explore the visual documentation of their music through a display of scores and sketches at Coup d'oeil Art Consortium's gallery. The festival will feature numerous world premieres and New Orleans first performances, and is the first event of its kind to take place in New Orleans, with a sister concert in Chicago. ANODE 2014 is made possible in part through the generous support of the Harry and Alice Eiler Foundation, inc, the Newcomb College Institute of Tulane University, and Coup d'Oeil Art Consortium. Claus-Steffen Mankopf's attendance is made possible through the generous support of the Goethe- Institut Chicago. The attendance of Kathryn Schulmeister and Joan Arnau Pàmies is made possible through the generous support of New Music USA. 7:30 - Amanda DeBoer Bartlett, Shanna Gutierrez, and Jesse Langen
    [Show full text]
  • Download Booklet
    SAM HAYDEN FREE DOWNLOAD from our online store Sam Hayden Die Abkehr 11’07 Ensemble Musikfabrik • Stefan Asbury conductor Helen Bledsoe fl ute/piccolo/alto fl ute · Peter Veale oboe/cor anglais Richard Haynes contrabass clarinet · Rike Huy trumpet/piccolo trumpet Bruce Collings trombone · Benjamin Kobler piano · Dirk Rothbrust percussion Hannah Weirich violin · Axel Porath viola · Dirk Wietheger cello Håkon Thelin double bass Enter code: HAYDEN247 nmcrec.co.uk/recording/dieabkehr Die Abkehr (Turning Away) is the most recent drive or melodic elegance of a particular part one composition presented here. As Hayden explains, moment, to the dialogic interplay between different ‘[t]he more poetic meanings of the title hint at a instruments the next and the more complex and critical commentary on the increasingly nostalgic diffuse surface of the totality at another time. What and inward-looking culture of the UK’. Abkehr also remains tantalisingly out of reach is an appreciation means ‘renunciation’, and to what extent that title of the whole and its constituent parts at the same time. is expressed more specifi cally in the piece, over and Again like earlier works, Die Abkehr is highly above being embodied by a musical language that episodic: there are three movements, each seems out of step with what the composer sees as consisting of a number of short individual sections the dominant trends in the UK and that is largely each exploring a particularly type of material. If shared with the rest of his oeuvre is hard to say. As anything, however, Hayden appears to have grown the composer also states, the composition ‘is the bolder in his use of the general pause: time and latest of a cycle of pieces that combine ideas related again, the music recedes into silence, before to “spectral” traditions with algorithmic approaches starting afresh.
    [Show full text]
  • Mozart: Requiem
    LSO Live Mozart Requiem Sir Colin Davis Marie Arnet Anna Stéphany Andrew Kennedy Darren Jeffery London Symphony Chorus London Symphony Orchestra Mozart Requiem, K626 (1791) Page Index Marie Arnet soprano 3 Track listing Anna Stéphany alto 4 English notes Andrew Kennedy tenor 5 French notes Darren Jeffery bass 6 German notes 7 Composer biography Sir Colin Davis conductor 8 Text London Symphony Orchestra 10 Conductor biography London Symphony Chorus 11 Artist biographies 13 Orchestra and Chorus personnel lists 14 LSO biography James Mallinson producer Daniele Quilleri casting consultant Classic Sound Ltd recording, editing and mastering facilities Jonathan Stokes and Neil Hutchinson for Classic Sound Ltd balance engineers Ian Watson and Jenni Whiteside for Classic Sound Ltd editors A high density DSD (Direct Stream Digital) recording Recorded live at the Barbican, London 30 September and 3 October 2007 © 2008 London Symphony Orchestra, London UK P 2008 London Symphony Orchestra, London UK 2 Track listing Introitus and Kyrie 1 No 1 Requiem and Kyrie (chorus, soprano) 7’12’’ p8 Sequence 2 No 2 Dies irae (chorus) 1’44’’ p8 3 No 3 Tuba mirum (soprano, alto, tenor, bass) 3’38’’ p8 4 No 4 Rex tremendae (chorus) 2’13’’ p8 5 No 5 Recordare (soprano, alto, tenor, bass) 6’03’’ p8 6 No 6 Confutatis maledictis (chorus) 2’44’’ p8 7 No 7 Lacrimosa (chorus) 2’59’’ p8 Offertorium 8 No 8 Domine Jesu (chorus, soprano, alto, tenor, bass) 4’16’’ p8 9 No 9 Hostias (chorus) 4’36’’ p9 Sanctus 10 No 10 Sanctus (chorus) 1’47’’ p9 Benedictus 11 No 11 Benedictus (chorus, soprano, alto, tenor, bass) 4’29’’ p9 Agnus Dei and Communio 12 No 12 Agnus Dei (chorus, soprano) 8’46’’ p9 TOTAL 50’35’’ 3 Wolfgang Amadeus Mozart (1756–91) Jesu’ and the ’Hostias’ were written separately.
    [Show full text]
  • 1 © Luisa Greenfield
    1 © Luisa Greenfield © Luisa MING TSAO (*1966) 1 – 7 ensemble ascolta Conductors: 1 – 7 Johannes Kalitzke, Andrea Nagy, clarinet 8 – 19 Stefan Schreiber Erik Borgir, violoncello Recording dates: 1 – 7 18–19 Jul 2014, Hubert Steiner, guitar 8 – 19 28–29 Nov 2015 Plus Minus (2012 /13) Mirandas Atemwende (2014 /15) Andrew Digby, trombone Recording venues: 1 – 7 KvB-Saal Funkhaus Köln, Germany Realization of Karlheinz Stockhausen’s Markus Schwind, trumpet 8 – 19 Teldex Studio Berlin, Germany “Plus Minus” Anne-Maria Hoelscher, accordion Producer: 1 – 7 Eckhard Glauche Florian Hoelscher, piano 8 – 19 Markus Heiland 1 Plus Minus – Page I. 05:53 8 Erwartung 02:54 Martin Homann, percussion Recording engineer: 1 – 7 Mark Hohn Boris Müller, percussion 8 – 19 Markus Heiland Julian Belli, percussion Technique / Editing: 1 – 7 Astrid Groflmann 2 Plus Minus – Page II. 05:38 9 Es gibt einen Ort 02:33 Akos Nagy, percussion Executive Producer: 1 – 7 Harry Vogt 8 – 19 Markus Heiland 3 Plus Minus – Page III. 04:15 10 Du entscheidest dich 02:01 8 – 19 Kammerensemble Final mastering: Markus Heiland Neue Musik Berlin Graphic Design: Alexander Kremmers 4 Plus Minus – Page IV. 03:24 11 Heute 04:44 Miranda: Tajana Raj, soprano (paladino media), cover based on Caliban: Christoph Gareisen and artwork by Erwin Bohatsch 5 Plus Minus – Page V. 03:04 12 Helligkeitshunger 04:36 Jan Pohl, speaking voices Publisher: Edition Peters Rebecca Lenton, flute Gudrun Reschke, oboe / english horn 1 – 7 © 2014 Produced by 6 13 Plus Minus – Page VI. 03:59 Das Geschriebene 03:44 Theo Nabicht, bass clarinet Westdeutscher Rundfunk Köln.
    [Show full text]
  • Michael Finnissy Singular Voices
    Michael Finnissy Singular Voices 1 Lord Melbourne †* 15:40 2 Song 1 5:29 3 Song 16 4:57 4 Song 11 * 3:02 5 Song 14 3:11 6 Same as We 7:42 7 Song 15 7:15 Beuk o’ Newcassel Sangs †* 8 I. Up the Raw, maw bonny 2:21 9 II. I thought to marry a parson 1:39 10 III. Buy broom buzzems 3:18 11 IV. A’ the neet ower an’ ower 1:55 12 V. As me an’ me marra was gannin’ ta wark 1:54 13 VI. There’s Quayside fer sailors 1:19 14 VII. It’s O but aw ken weel 3:17 Total Duration including pauses 63:05 Clare Lesser soprano David Lesser piano † Carl Rosman clarinet * Michael Finnissy – A Singular Voice by David Lesser The works recorded here present an overview of Michael Finnissy’s continuing engagement with the expressive and lyrical possibilities of the solo soprano voice over a period of more than 20 years. It also explores the different ways that the composer has sought to ‘open-up’ the multiple tradition/s of both solo unaccompanied song, with its universal connotations of different folk and spiritual practices, and the ‘classical’ duo of voice and piano by introducing the clarinet, supremely Romantic in its lyrical shadowing of, and counterpoints to, the voice in Song 11 (1969-71) and Lord Melbourne (1980), and in an altogether more abrasive, even aggressive, way in the microtonal keenings and rantings of the rarely used and notoriously awkward C clarinet in Beuk O’ Newcassel Sangs (1988).
    [Show full text]
  • RNCM OPERA the CUNNING LITTLE VIXEN LEOŠ JANÁČEK WED 02, FRI 04, MON 07 DEC | 7.30PM SUN 06 DEC | 3PM RNCM THEATRE
    WED 02 - MON 07 DEC RNCM OPERA The CUNNING LITTLE VIXEN LEOŠ JANÁČEK WED 02, FRI 04, MON 07 DEC | 7.30PM SUN 06 DEC | 3PM RNCM THEATRE LEOŠ JANÁČEK The CUNNING LITTLE VIXEN The Cunning Little Vixen Music by Leoš Janáček Libretto by Leoš Janáček based on the novella by Rudolf Těsnohlídek, translated by David Pountney Translation © David Pountney Used with permission of David Pountney. All Rights Reserved. 3 SYNOPSIS CAST THE ADVENTURES OF THE VIXEN BYSTROUŠKA Emyr Jones*, Ross Cumming** Forester Act I Pasquale Orchard*, Alicia Cadwgan** Vixen Sharp-Ears How they caught Bystrouška Georgia Mae Ellis*, Melissa Gregory** Fox Goldenmane Bystrouška in the courtyard of Lake Lodge Philip O’Connor*, Gabriel Seawright** Schoolmaster/Mosquito Bystrouška in politics Liam Karai*, George Butler** Priest/Badger Bystrouška gets the hell out Ema Rose Gosnell*, Lila Chrisp** Forester’s Wife/Owl Ranald McCusker*, Samuel Knock** Rooster/Mr Pásek Act II Sarah Prestwidge*, Zoë Vallée** Chocholka/Mrs Pásek Bystrouška dispossesses William Kyle*, Thomas Ashdown** Harašta Bystrouška's love affairs Rebecca Anderson Lapák Bystrouška's courtship and love Lorna Day Woodpecker Katy Allan Vixen as a Cub Interval Georgia Curwen Frantík/Cricket Emily Varney Pepík/Frog Act III Anastasia Bevan Grasshopper/Jay Bystrouška outran Harašta from Líšeň How the Vixen Bystrouška died RNCM OPERA CHORUS DANCER FOX CUBS The baby Bystrouška - the spitting image of her mother Lleucu Brookes Jade Carty Lleucu Brookes Jade Carty Jade Carty Dominic Carver HENS Abigail Jenkins James Connolly
    [Show full text]
  • An Interview with Liza Lim Madeline Roycroft
    2017 © Madeline Roycroft, Context 42 (2017): 85–90. COMPOSER INTERVIEW The Ecology of Collaboration: An Interview with Liza Lim Madeline Roycroft Liza Lim is one of Australia’s leading composers. Born in Perth in 1966, she completed her BMus at the Victorian College of the Arts, MMus at the University of Melbourne and received her PhD from the University of Queensland. As Director of the Centre for Research in New Music at the University of Huddersfield from 2008–2017, Liza Lim established the highly regarded Divergence Press and CeReNeM Journals, as well as the Huddersfield Contempor- ary Records label. Now based in Melbourne, she maintains a part-time role at Huddersfield and from 2017 is Professor of Composition at the Sydney Conservatorium of Music. She is also Visiting Professor of Composition at the Shanghai Conservatory during 2017. Lim has been commissioned by some of the world’s pre-eminent orchestras, including the Los Angeles Philharmonic, BBC Symphony, and Bavarian Radio Orchestra, and she was composer in residence with the Sydney Symphony from 2005–2007. She has collaborated with ensembles such as MusikFabrik, Ensemble Intercontemporain and Ensemble Modern, and has been particularly associated with the ELISION Ensemble since the group’s inception. Lim has composed three operas: The Oresteia (1993), Moon Spirit Feasting (1999) and The Navigator (2008), all of which ELISION have performed in seasons across Melbourne, Brisbane, Adelaide, 85 86 Context 42 (2017) Tokyo, Moscow, Paris, Zurich and Berlin. Her fourth opera, Tree of Codes (2015), commissioned and presented by Cologne Opera, Musikfabrik and Hellerau in Cologne and Dresden, was described as ‘a major contribution to the music theatre of our time.’ Liza Lim connects her compositional practice to areas of thought and knowledge such as Australian Indigenous aesthetics, Asian ritual forms, Sufi poetics, and the textilic arts of weaving and knot-making.
    [Show full text]
  • Empyreanensemble Laurie San Martin & Kurt Rohde, Directors Department of Music Presents The
    DEPARTMENT OF MUSIC PRESENTS THE empyreanensemble Laurie San Martin & Kurt Rohde, directors DEPARTMENT OF MUSIC PRESENTS THE EMPYREAN ENSEMBLE Directors Kurt Rohde Laurie San Martin Core Players Terrie Baune, violin Tod Brody, flute Chris Froh, percussion Peter Josheff, clarinet Thalia Moore, cello Guest Artists David Moschler, conductor Michael Orland, piano Pre-Concert Speaker Sandra Graham Administrative & Production Staff Phil Daley, events & publicity manager Josh Paterson, events & production manager Rudy Garibay, senior graphic designer Jessica Kelly, senior writer David Moschler, Empyrean student production manager EMPYREAN ENSEMBLE Through compelling performances and diverse programming, Empyrean Ensemble offers audiences an opportunity to hear original works by emerging and established composers alike. It has premiered over 200 works and performed throughout California, including appearances at many prominent music festivals and concert series. Empyrean has two full-length CDs released under the Centaur and Arabesque labels and has been the featured ensemble on others. Founded in 1988 by composer Ross Bauer as the ensemble-in-residence at UC Davis, Empyrean Ensemble now consists of a core of some of California’s finest musicians with extensive experience in the field of contemporary music. 2 PROGRAM The 51% Majority: Modern Works by Female Composers The Memory Palace (2006) for clarinet, cello, and piano Ann Callaway (world premiere) Peter Josheff, clarinet; Thalia Moore, cello; Michael Orland, piano Piano Etudes (1992) Unsuk
    [Show full text]
  • Media Kit 2015 Season
    MEDIA KIT 2015 SEASON Partnerships www.australianworldorchestra.com.au MEDIA RELEASE The Australian World Orchestra brings Australia’s finest musical talent home for three extraordinary concerts “… the Mehta Stravinsky and Mahler concert was such a thrilling night of brilliant musicianship (always GREAT when Melbourne audiences get to their feet in rapture!)” – Geoffrey Rush “The Australian World Orchestra brings together some of the finest musicians I have had the pleasure to make music with. I adored conducting them last year.” – Zubin Mehta In July/August 2015, the Australian World Orchestra (AWO) performs under the baton of Chief Conductor of the Berlin Philhar- monic Orchestra, Sir Simon Rattle, together with internationally renowned mezzo-sopranoMagdalena Kožená. AWO will perform three electrifying performances in Australia, at the Sydney Opera House and the Arts Centre Melbourne, Hamer Hall, before the orchestra makes its international debut, accepting Zubin Mehta’s invitation to perform in India in October 2015. AWO Founder and Artistic Director, Alexander Briger, said: “It’s so exciting that the AWO will come together in 2015 to work with the incomparable Sir Simon Rattle in Australia, and that we give our first international performances, reuniting with Maestro Zubin Mehta in India.” Since its inaugural concert series in 2011, AWO has dazzled Australian audiences and established its place as one of the world’s premier orchestras. Founded through the creative vision of internationally acclaimed conductor Alexander Briger, AWO brings Australia’s utmost classical music talent from around the world to perform together. The 2015 season includes 95 Australian musicians from over 30 cities and 45 of the world’s leading orchestras and ensembles, from the Berlin and Vienna Philharmonic Orchestras, the Royal Concertgebouw, and the London and Chicago Symphony Orchestras, as well as Australia’s own magnificent state orchestras.
    [Show full text]