DOCSLIB.ORG

Resistance • Resilience • Reconciliation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Resistance • Resilience • Reconciliation Wednesday, December 16, 2020 | 1 PM MANHATTAN SCHOOL OF MUSIC GRADUATE OPERA THEATRE Tazewell Thompson, Director of Opera Studies presents RESISTANCE • RESILIENCE • RECONCILIATION SCENES OF MORAL STRUGGLE AND SOCIAL JUSTICE from Le nozze di Figaro, Die Zauberflöte, Falstaff, Werther, Roméo et Juliette, Anna Bolena, The Crucible, Tosca, The Consul, Margaret Garner, I Was Looking at the Ceiling and Then I Saw the Sky, and Mrs. President A. Scott Parry, Director MSM Opera Theatre productions are made possible by the Fan Fox and Leslie R. Samuels Foundation and the Joseph F. McCrindle Endowment for Opera Productions at Manhattan School of Music. Wednesday, December 16, 2020 | 1 PM MANHATTAN SCHOOL OF MUSIC GRADUATE OPERA THEATRE Tazewell Thompson, Director of Opera Studies RESISTANCE • RESILIENCE • RECONCILIATION SCENES OF MORAL STRUGGLE AND SOCIAL JUSTICE from Le nozze di Figaro, Die Zauberflöte, Falstaff, Werther, Roméo et Juliette, Anna Bolena, The Crucible, Tosca, The Consul, Margaret Garner, I Was Looking at the Ceiling and Then I Saw the Sky, and Mrs. President A. Scott Parry, Director Myra Huang, Vocal Coach & Pianist Kristen Kemp, Vocal Coach & Pianist Thomas Muraco, Vocal Coach & Pianist Nicolò Sbuelz, Vocal Coach & Pianist Danielle Ranno, Production Stage Manager Megan Kolpin, Props Coordinator Steven Jude Tietjen, Supertitles Author RESISTANCE • RESILIENCE • RECONCILIATION: A NOTE FROM TAZEWELL THOMPSON In a bitterly divided world, the future relies on those willing to take a stand against oppression. Resistance takes many forms: battles can be fought with military force, martyrdom, nonviolent resistance, philosophical argument, and/or witty maneuvers, as we see in some of the scenes that follow. But confrontation is only the first step: opera also gives us models for binding up our wounds, healing our divisions, and moving forward, wiser than before. –Tazewell Thompson, Director of Opera Studies DIRECTOR’S NOTE It’s a daunting task to put together a program with so raw and challenging a subject, but when Tazewell put forward this title and charged me with effectuating it for this fall, I felt it a privilege to do so. During this extremely uncertain time of great struggle and division, it is imperative that we as performing artists step into the public square to provide a purposeful voice with which to gather communities into conversation. Throughout opera’s history, it has taken up themes that are core to the human experience and made them sing. Whether it be a piece from hundreds of years ago, or just this last decade, opera has the power to speak directly to us in our own time and place regardless of the era in which it was composed. All opera is contemporary because it engages us in the here and now, in the moment that we currently experience, with all the resonance of the news of the day and the multifaceted lives we all lead. Although distressing at times, it is our hope that this program may help to provide a sense of greater empathy and understanding to build better bridges between us. We are proud to raise our voices together in this cause, to breathe life into these characters, to embody their experiences, and to engage in this conversation with you. – A. Scott Parry 3 SCENES Act I, scene 1, “Cinque... dieci...” from Le nozze di Figaro (1786) Music by W. A. Mozart Libretto by Lorenzo da Ponte Figaro Daniel Choi Susanna Tate Chu Myra Huang, coach-pianist Livestreamed from Gordon K. and Harriet Greenfield Hall Today is the day that Figaro, the Count’s valet, is set to marry Susanna, the Countess’s maid. Figaro measures their work room for a bed that the Count has gifted them, but Susanna objects, revealing that the Count plans to exert his right as “Lord of the Manor” to claim her virginity, a custom that had been previously abolished. Figaro resolutely determines to subvert his Master’s unscrupulous plans. “O zittre nicht, mein lieber Sohn!” from Die Zauberflöte (1791) Music by W.A. Mozart Libretto by Emanuel Schikaneder Königin der Nacht Melanie Spector Thomas Muraco, coach-pianist Recorded in Leonia, NJ and NYC The Queen of the Night implores Prince Tamino to rescue her imprisoned daughter Pamina who was cruelly abducted by the Queen’s political rival Sarastro. If Tamino succeeds, he will win Pamina’s hand. Act I, scene 2, “Nonet” from Falstaff (1893) Music by Giuseppe Verdi Libretto by Arrigo Boito Alice Ford Makila Kirchner Nannetta Ripley Lucas-Tagliani Meg Page Rosario Hernández Armas Mistress Quickly Maria Consamus Fenton Alexander Rodriguez Master Ford Gerardo Becerra de la Torre Dr. Caius Marcus Jefferson Bardolfo Nicolas Farrauto Pistola Yi Yang Nicolò Sbuelz, coach-pianist Kristen Kemp, second coach-pianist Livestreamed from Neidorff-Karpati Hall The aging, corpulent knight, Sir John Falstaff, has run out of funds. He instructs his henchmen Bardolph and Pistol to deliver identical letters to Alice Ford and Meg Page in hopes of seducing these wealthy wives of Windsor into gaining access to their fortunes. The henchmen refuse the assignment and go to find Master Ford to report the indecency, just as Alice and Meg compare their two letters, determined to upend the old knight’s agenda. All the while, Nannetta and Fenton try to consummate their love and thwart her parents’ desire for their daughter to marry the sycophantic Dr. Caius. 4 “Werther… Werther… Qui m’aurait dit la place” from Werther (1892) Music by Jules Massenet Libretto by Édouard Blau, Paul Milliet, and Georges Hartmann Charlotte Xiao Xiao Myra Huang, coach-pianist Recorded in Changsha, China and NYC Rereading again the many letters she has received from him, Charlotte marvels at how she ever had the strength to send Werther away. Indeed, she returns his love, but is married to Albert, her deceased mother’s choice as her husband, to whom she has vowed to remain constant regardless her desires. Act V, Final Scene, from Roméo et Juliette (1867) Music by Charles Gounod Libretto by Jules Barbier and Michel Carré Roméo Montague Giwooung Kim Juliette Capulet Heather Lake Thomas Muraco, coach-pianist Livestreamed from William R. and Irene D. Miller Hall An age-old vendetta between their powerful families have driven these two star-crossed lovers to take desperate measures. Although their parents object, and Romeo having been banished, the lovers persist in their hope to be united. Juliet has imbibed a potion, making her appear dead so as to be able to eventually escape with her love. However, word of her secret plans fail to reach Romeo, who, believing Juliette to be deceased, arrives at her tomb to say a last goodbye and to end his own life. “Al dolce guidami” from Anna Bolena (1830) Music by Gaetano Donizetti Libretto by Felice Romani Anna Bolena Hyeseong Kim Kristen Kemp, coach-pianist Recorded in Incheon, South Korea and NYC Locked in her cell in the Tower of London, the Queen, Anne Boleyn awaits execution, having been wrongly convicted by her husband King Henry VIII for infidelity with her former lover Richard Percy. She remained resolute in her wedding vows and so would not admit to the false charge of adultery. As such, she now recounts happier days with Percy as she awaits the horrors of the beheading scaffold. 5 Act III, scene 2, “Courtroom Scene” from The Crucible (1961) Music by Robert Ward Libretto by Bernard Stambler, after Arthur Miller John Proctor Michael Leyte-Vidal Judge Thomas Danforth Ongama Mhlontlo Abigail Williams Suehyun Ko Mary Warren Jordan Beaver Giles Corey Marcus Jefferson Ezekiel Cheever Alexander Rodriguez Elizabeth Proctor Maria Consamus Reverend Samuel Parris Nicholas Farrauto Thomas Putnam Daniel Chiu Ann Putnam Sara Mortensen Reverend John Hale Yi Yang Francis Nurse Wei Chen Ruth Putnam Haeun Baek Martha Sheldon Elizabeth Perry Betty Parris Julia Garcia Bridget Booth Heesoo Shin Susanna Walcott Martha Allen Mercy Lewis Ping Gu Myra Huang, coach-pianist Kristen Kemp, second coach-pianist Recorded Live in Assembly Hall at Riverside Church A conspiracy of witchcraft has overtaken Salem, Massachusetts, as a group of teenage girls, led by Abigail Williams, claim they have been psychically attacked by certain members of the community and now sit as special witnesses of the court. Judge Danforth has been summoned from Boston to oversee the proceedings, as has Reverend Hale, an expert in the occult. The well- respected farmer John Proctor’s own wife Elizabeth has been accused and taken into custody. John Proctor arrives at court with Mary Warren, the Proctor’s new house maid and former member of the girls’ crew, to try to dispel the machinations of Abigail Williams and the other girls whose motives are not as virtuous as they might appear. “E lucevan le stelle” from Tosca (1900) Music by Giacomo Puccini Libretto by Luigi Illica and Giuseppe Giacosa Mario Cavaradossi Xiaojie Ji Nicolò Sbuelz, coach-pianist Recorded in Changsha, China and NYC Even after severe physical torture, Cavaradossi, a political sympathizer to the former Roman Republic, has refused to provide information to Baron Scarpia, the chief of police, concerning the whereabouts of the resistance movement. In the early morning hours on the rooftop of the Castel Sant’Angelo, Cavaradossi awaits his death by firing squad and reminisces on his loving memories of Tosca. 6 Act I, scene 2, “Papers Scene” from The Consul (1950) Music and Libretto by Gian-Carlo Menotti Magda Sorel Tiffanie Trujillo Secretary Kalyn Powers Thomas Muraco, coach-pianist Livestreamed from Gordon K. and Harriet Greenfield Hall Magda Sorel has tried in vain to escape her home country in order to join John, her political refugee husband, in freedom across the border. She arrives again at the Consulate only to be told once more that she has not submitted all of the required paperwork - she will need an additional appointment to speak with the Consul directly.
Load more

Recommended publications
  • Seattle Opera Announces 2021/22 Season— a Return to Live, In-Person Performances
    FOR IMMEDIATE RELEASE: May 11, 2021 Contact: Gabrielle Gainor (206) 295-0998, [email protected] Press images: https://seattleopera.smugmug.com/2122 Password: “press” Seattle Opera announces 2021/22 season— a return to live, in-person performances La bohème Orpheus and Eurydice Blue The Marriage of Figaro Plus a special recital by Lawrence Brownlee McCaw Hall and The Opera Center Subscriptions begin at $240 (BRAVO! Club, senior, and student pricing is also available). Single tickets will go on sale closer to each production. seattleopera.org SEATTLE—After more than a year without live, in-person performances due to COVID-19, Seattle Opera will officially return to the theater this fall with its 2021/22 Season. Offerings include immortal favorites (La bohème, The Marriage of Figaro), historic works with a modern twist (Orpheus and Eurydice), plus an award-winning piece speaking to racial injustice in America (Blue). It will take years for Seattle Opera—and the arts sector as a whole—to recover from the pandemic’s economic impact. Feeling the presence and excitement of live performance again is one way that the healing can begin, said General Director Christina Scheppelmann. “The theater, where music, storytelling, lights, performers, and audiences meet, is a space of magic and impact,” Scheppelmann said. “This past year has been difficult and challenging on so many levels. As we process all that we’ve been through, we can come here to enjoy ourselves. We can rediscover the positive moment and outlook we are seeking. Through opera, we can reconnect with our deepest emotions and our shared humanity.” In addition to mainstage productions, the company will offer a special, one-night- only recital by tenor Lawrence Brownlee (April 29, 2022, at McCaw Hall) with pianist John Keene.
    [Show full text]
  • San Francisco Opera Center and Merola Opera Program Announce 2020 Schwabacher Recital Series
    SAN FRANCISCO OPERA CENTER AND MEROLA OPERA PROGRAM ANNOUNCE 2020 SCHWABACHER RECITAL SERIES January 29 Kicks Off First of Four Recitals Highlighting Emerging Artists and Unique Musical Programs Tickets available at sfopera.com/srs and (415) 864-3330 SAN FRANCISCO, CA (January 6, 2019) — Now in its 37th year, the Schwabacher Recital Series returns on Wednesday, January 29, with performances at San Francisco’s Dianne and Tad Taube Atrium Theater that feature emerging artists from around the globe. Presented by San Francisco Opera Center and Merola Opera Program, the annual Schwabacher Series consists of four Wednesday evening recitals, the last of which concludes on April 22. The first-ever Schwabacher series was presented in December 1983, kicking off a decades-long San Francisco tradition of presenting rising international talent in the intimacy of a recital setting. The 2020 series will blend classics like Hector Berlioz’s Les Nuits d’Été with rarely performed 20th- and 21st-century works like Olivier Messiaen’s Harawi. JANUARY 29: ALICE CHUNG, LAUREANO QUANT AND NICHOLAS ROEHLER (From left to right: Alice Chung, Laureano Quant and Nicholas Roehler) The series opens on January 29 with a set of performers recently seen as part of the Merola Opera Program: mezzo-soprano Alice Chung, baritone Laureano Quant and pianist Nicholas Roehler. Twice named as a Merola artist—once in 2017 and again in 2019—Chung returns to the 1 Bay Area for this recital, having been hailed as a “force of nature” by San Francisco Classical Voice (SFCV). She will tackle a range of works, from Colombian composer Luis Carlos Figueroa’s soothing lullaby “Berceuse” to cabaret-inspired works like William Bolcom’s “Over the Piano.” Quant, a 2019 Merola participant, joins Chung to perform Bolcom’s music, as well as select songs from Berlioz’s Les Nuits d’Été and Francesco Santoliquido’s I Canti della Sera.
    [Show full text]
  • 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]
  • Samuel Ramey
    welcome to LOS i\Ilgeles upera http://www.losangelesopera.comlproduction/index.asp?... •• PURCHASE TICKETS • 2003/2004 SEASON LA AMNATION DE FAD T La damnation de Faust The damnation of Faust / Hector Berlioz Nicholas and In French with English Supertitles Ticket Information Alexandra Lucia di Samuel Ramey, Synopsis Lammermoor r-----------.., Program Notes Denyce Graves and Photo Gallery Orfeo ed Euridice Paul Groves star in a spectacular new Recital: production by Achim Ask an Expert Hei-Kyung Hong Forward to a Freyer with Kent Friend Recital: Cecilia Nagano conducting. Bartoli Generously Madama Europe's master Underwritten by: Butterfly theatre artist Achim Freyer matches his New production Die Frau ohne made possible by a Schatten painterly visual imagery with Hector generous gift from Mr. and Mrs. Recital: Dmitri Berlioz's vivid musical imagination in the premiere of Hvorostovsky Milan Panic this new production featuring a cast of more than Le nozze di 100 singers and dancers. The legend of Faust, which Figaro tells the story of the man who sold his soul to the II trovatol'"e Devil, has captivated great imaginations for centuries. Marlowe, Goethe, Gounod, Schumann, Liszt, Mahler and Stravinsky all found inspiration in SEASON G!J1]) the Faust tale, which continues to reverberate in SPONSOR Audt today's modern world. Originally conceived as an oratoriO, Hector Berlioz's dramatic La damnation de Faust is now a mainstay of opera houses around the world. Haunting melodies and startling orchestrations flood the score and illustrate the beWitching tale of Faust's desperate struggle for power, riches, youth and, ultimately, redemption. PRODUCTION DATES: Wednesday September 10, 20036:30 p.m.
    [Show full text]
  • Coa-Program-For-Web.Pdf
    HOUSTON GRAND OPERA AND SID MOORHEAD, CHAIRMAN WELCOME YOU TO THE TAMARA WILSON, LIVESTREAM HOST E. LOREN MEEKER, GUEST JUDGE FRIDAY, FEBRUARY 5, 2021 AT 7 P.M. BROADCAST LIVE FROM THE WORTHAM THEATER CENTER TEXT TO VOTE TEXT TO GIVE Text to vote for the Audience Choice Award. On page Support these remarkable artists who represent 9, you will see a number associated with each finalist. the future of opera. Text the number listed next to the finalist’s name to 713-538-2304 and your vote will be recorded. One Text HGO to 61094 to invest in the next generation vote per phone number will be registered. of soul-stirring inspiration on our stage! 2 WELCOME TO CONCERT OF ARIAS 2021 SID MOORHEAD Chairman A multi-generation Texan, Sid Moorhead is the owner of in HGO’s Overture group and Laureate Society, and he serves Moorhead’s Blueberry Farm, the first commercial blueberry on the company’s Special Events committee. farm in Texas. The farm, which has been in the Moorhead family for three generations, sits on 28 acres in Conroe and Sid was a computer analyst before taking over the family boasts over 9,000 blueberry plants. It is open seasonally, from business and embracing the art of berry farming. He loves to the end of May through mid-July, when people from far and travel—especially to Europe—and has joined the HGO Patrons wide (including many fellow opera-lovers and HGO staffers) visit on trips to Italy and Vienna. to pick berries. “It’s wonderful.
    [Show full text]
  • 8.112023-24 Bk Menotti Amelia EU 26-03-2010 9:41 Pagina 16
    8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 16 Gian Carlo MENOTTI Also available The Consul • Amelia al ballo LO M CAR EN N OT IA T G I 8.669019 19 gs 50 din - 1954 Recor Patricia Neway • Marie Powers • Cornell MacNeil 8.669140-41 Orchestra • Lehman Engel Margherita Carosio • Rolando Panerai • Giacinto Prandelli Chorus and Orchestra of La Scala, Milan • Nino Sanzogno 8.112023-24 16 8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 2 MENOTTI CENTENARY EDITION Producer’s Note This CD set is the first in a series devoted to the compositions, operatic and otherwise, of Gian Carlo Menotti on Gian Carlo the occasion of his centenary in 2011. The recordings in this series date from the mid-1940s through the late 1950s, and will feature several which have never before appeared on CD, as well as some that have not been available in MENOTTI any form in nearly half a century. The present recording of The Consul, which makes its CD début here, was made a month after the work’s (1911– 2007) Philadelphia première. American Decca was at the time primarily a “pop” label, the home of Bing Crosby and Judy Garland, and did not yet have much experience in the area of Classical music. Indeed, this recording seems to have been done more because of the work’s critical acclaim on the Broadway stage than as an opera, since Decca had The Consul also recorded Arthur Miller’s Death of a Salesman with members of the original cast around the same time.
    [Show full text]
  • Prince Igor Knyaz Igor Page 1 of 3 Opera Assn
    San Francisco Civic 1996-1997 Prince Igor Knyaz Igor Page 1 of 3 Opera Assn. Auditorium Prince Igor (in Russian) Opera in five acts by Alexander Borodin Libretto by Alexander Borodin, after a scenario by Stasov Based on a 12th-century Russian epic "Song of the Army of Prince Igor" (See Notes) Conductor CAST Alexander Anissimov Igor Svyatoslavich, Prince of Seversk Sergei Leiferkus Production Galitsky, Prince of Galich, brother of Princess Yaroslavna Jeffrey Wells Francesca Zambello Vladimir Igorevich, Igor's son by his first marriage Mark Baker Designer Musicians: Skula Vladimir Ognovenko Zack Brown Musicians: Yeroshka Konstantin Pluzhnikov Lighting Designer Gary Rideout (9/10,13,15,21) Thomas J. Munn Yaroslavna, Igor's second wife Lauren Flanigan Sound Designer Yaroslavna's Nurse Catherine Cook Roger Gans Konchakovna, daughter of Khan Konchak Elena Zaremba Chorus Director Ovlur, a Christian Polovtsian Dennis Petersen Ian Robertson Konchak, Polovtsian Khan Paata Burchuladze Choreographer Solo dancers Teimuraz Koridze Alphonse Poulin Badri Esatia Musical Preparation Susanna Lemberskaya Bryndon Hassman *Role debut †U.S. opera debut Peter Grunberg PLACE AND TIME: The Russian city of Putivl; a Polovtsian Ian Robertson encampment on the Russian Steppes Svetlana Gorzhevskaya Supertitles Christopher Bergen Prompter Jonathan Khuner Assistant Stage Director Paula Williams Assistant Stage Director Yefim Maizel Stage Manager Jerry Sherk Fight Consultant Larry Henderson Friday, September 6 1996, at 6:30 PM PART I Tuesday, September 10 1996, at 8:00
    [Show full text]
  • Verdi Week on Operavore Program Details
    Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
    [Show full text]
  • La Favorite Opéra De Gaetano Donizetti
    La Favorite opéra de Gaetano Donizetti NOUVELLE PRODUCTION 7, 9, 12, 14, 19 février 2013 19h30 17 février 2013 17h Paolo Arrivabeni direction Valérie Nègre mise en scène Andrea Blum scénographie Guillaume Poix dramaturgie Aurore Popineau costumes Alejandro Leroux lumières Sophie Tellier choréraphie Théâtre des Champs-Elysées Alice Coote, Celso Albelo, Ludovic Tézier, Service de presse Carlo Colombara, Loïc Félix, Judith Gauthier tél. 01 49 52 50 70 [email protected] Orchestre National de France Chœur de Radio France theatrechampselysees.fr Chœur du Théâtre des Champs-Elysées Coproduction Théâtre des Champs-Elysées / Radio France La Caisse des Dépôts soutient l’ensemble de la Réservations programmation du Théâtre des Champs-Elysées T. 01 49 52 50 50 theatrechampselysees.fr 5 Depuis quelques saisons, le bel canto La Favorite et tout particulièrement Donizetti ont naturellement trouvé leur place au Gaetano Donizetti Théâtre puisque pas moins de quatre des opéras du compositeur originaire Opéra en quatre actes (1840, version française) de Bergame ont été récemment Livret d’Alphonse Royer et Gustave Vaëz, d’après Les Amours malheureuses présentés : la trilogie qu’il a consacré ou Le Comte de Comminges de François-Thomas-Marie de Baculard d’Arnaud aux Reines de la cour Tudor (Maria Stuarda, Roberto Devereux et Anna Bolena) donnée en version de direction musicale Paolo Arrivabeni concert et, la saison dernière, Don Valérie Nègre mise en scène Pasquale dans une mise en scène de Andrea Blum scénographie Denis Podalydès. Guillaume Poix dramaturgie Aurore Popineau costumes Compositeur prolifique, héritier de Rossini et précurseur de Verdi, Alejandro Le Roux lumières Donizetti appartient à cette lignée de chorégraphie Sophie Tellier musiciens italiens qui triomphèrent dans leur pays avant de conquérir Paris.
    [Show full text]
  • French Secular Music in Saint-Domingue (1750-1795) Viewed As a Factor in America's Musical Growth. John G
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1971 French Secular Music in Saint-Domingue (1750-1795) Viewed as a Factor in America's Musical Growth. John G. Cale Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Cale, John G., "French Secular Music in Saint-Domingue (1750-1795) Viewed as a Factor in America's Musical Growth." (1971). LSU Historical Dissertations and Theses. 2112. https://digitalcommons.lsu.edu/gradschool_disstheses/2112 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. 72-17,750 CALE, John G., 1922- FRENCH SECULAR MUSIC IN SAINT-DOMINGUE (1750-1795) VIEWED AS A FACTOR IN AMERICA'S MUSICAL GROWTH. The Louisiana State University and Agricultural and Mechanical College;, Ph.D., 1971 Music I University Microfilms, A XEROX Company, Ann Arbor, Michigan THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED FRENCH SECULAR MUSIC IN SAINT-DOMINGUE (1750-1795) VIEWED AS A FACTOR IN AMERICA'S MUSICAL GROWTH A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by John G. Cale B.M., Louisiana State University, 1943 M.A., University of Michigan, 1949 December, 1971 PLEASE NOTE: Some pages may have indistinct print.
    [Show full text]
  • Death in Venice Book by Benjamin Britten Music by Benjamin Britten Lyrics by Myfanwy Piper Based on Novella by Thomas Mann
    Death in Venice Book by Benjamin Britten Music by Benjamin Britten Lyrics by Myfanwy Piper Based on novella by Thomas Mann Production Information: Benjamin Britten’s Death in Venice opened at the Glimmerglass Festival in Cooperstown, NY on July 23, 2005. The production is a co-production between the Glimmerglass Festival and New York City Opera. Director: Tazewell Thompson (right of first refusal & royalty required) Conductor: Stewart Robertson Associate Director: N/A Set Designer: Donald Eastman (royalty required) Costume Designer: Carrie Robbins (royalty required) Lighting Designer: Robert Wierzel (right of first refusal & royalty required) Sound Designer: N/A Projections Designer: N/A Projected Titles Translation: Kelley Rourke (additional rental & royalty required) Hair & Makeup Designer: Elsen Associates, Inc. (wigs not owned by GGF) Stage Manager: Daniel Sokalski Cast Information: Principals: 3 Men’s Chorus: 13 Women’s Chorus: 12 Children’s Chorus: None Dancers: None Supers: 2 women, 8 children (2 girls, 6 boys) Animals: None Scenery Information: Built by: R.A. Reed Productions, Inc. (Portland, OR) Minimum Width: 60’0” Minimum Depth: 40’0” Line sets used for show scenery*: 5 Height of tallest hanger: 30’0” Width of widest hanger: 60’0” Stock items used: 8 Soft (Borders/2 BOC/RP)/10 Hard (Legs) Number of trailers needed: 2 Scenery Truck, 1 Prop/Costume Truck Prop Information: Built by: The Glimmerglass Festival Number of road boxes with sizes: Prop Box 1/2: 3’-0” x 6’-8” x 6’-9” ??? lbs. Prop Box 2/2: 3’-0” x 6’-8” x 6’-9” ??? lbs. Add’l items outside of road boxes: Trunk Costume Information: Built by: The Glimmerglass Festival Costume Shop Items not included with rental package: Shoes and undergarments Audio/Video/Special Effects Information: Reinforcement: None Recorded sound cues: None Disc available: N/A **Additional royalty required for use of sound effects.
    [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]