Premiere DALIBOR Opera in Three Acts by Bedřich Smetana Libretto By
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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. -
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas GEORGES BIZET EMI 63633 Carmen Maria Stuarda Paris Opera National Theatre Orchestra; René Bologna Community Theater Orchestra and Duclos Chorus; Jean Pesneaud Childrens Chorus Chorus Georges Prêtre, conductor Richard Bonynge, conductor Maria Callas as Carmen (soprano) Joan Sutherland as Maria Stuarda (soprano) Nicolai Gedda as Don José (tenor) Luciano Pavarotti as Roberto the Earl of Andréa Guiot as Micaëla (soprano) Leicester (tenor) Robert Massard as Escamillo (baritone) Roger Soyer as Giorgio Tolbot (bass) James Morris as Guglielmo Cecil (baritone) EMI 54368 Margreta Elkins as Anna Kennedy (mezzo- GAETANO DONIZETTI soprano) Huguette Tourangeau as Queen Elizabeth Anna Bolena (soprano) London Symphony Orchestra; John Alldis Choir Julius Rudel, conductor DECCA 425 410 Beverly Sills as Anne Boleyn (soprano) Roberto Devereux Paul Plishka as Henry VIII (bass) Royal Philharmonic Orchestra and Ambrosian Shirley Verrett as Jane Seymour (mezzo- Opera Chorus soprano) Charles Mackerras, conductor Robert Lloyd as Lord Rochefort (bass) Beverly Sills as Queen Elizabeth (soprano) Stuart Burrows as Lord Percy (tenor) Robert Ilosfalvy as roberto Devereux, the Earl of Patricia Kern as Smeaton (contralto) Essex (tenor) Robert Tear as Harvey (tenor) Peter Glossop as the Duke of Nottingham BRILLIANT 93924 (baritone) Beverly Wolff as Sara, the Duchess of Lucia di Lammermoor Nottingham (mezzo-soprano) RIAS Symphony Orchestra and Chorus of La Scala Theater Milan DEUTSCHE GRAMMOPHON 465 964 Herbert von -
09 March 2020
09 March 2020 12:01 AM Carl Maria von Weber (1786-1826) Der Freischutz (Overture) Netherlands Radio Philharmonic Orchestra, Kenneth Montgomery (conductor) NLNOS 12:11 AM George Frideric Handel (1685-1759) Suite No 2 in F major HWV 427 Christian Ihle Hadland (piano) GBBBC 12:20 AM Johann Sebastian Bach (1685-1750) 4 Schemelli Chorales (BWV.478, 484, 492 and 502) Bernarda Fink (mezzo soprano), Marco Fink (bass baritone), Domen Marincic (gamba), Dalibor Miklavcic (organ) SIRTVS 12:30 AM Ture Rangstrom (1884-1947) Suite for violin and piano No 1 'In modo antico' Tale Olsson (violin), Mats Jansson (piano) SESR 12:39 AM Nicolaas Arie Bouwman (1854-1941) Thalia - overture for wind orchestra (1888) Dutch National Youth Wind Orchestra, Jan Cober (conductor) NLNOS 12:47 AM Domenico Scarlatti (1685-1757) Sonata in D minor Fugue (K.41); Presto (K. 18) Eduardo Lopez Banzo (harpsichord) PLPR 12:57 AM Johannes Brahms (1833-1897) Trio for viola, cello and piano (Op.114) in A minor Maxim Rysanov (viola), Ekaterina Apekisheva (piano), Kristina Blaumane (cello) GBBBC 01:23 AM Edvard Grieg (1843-1907) Lyric pieces - book 1 for piano Op 12 Zoltan Kocsis (piano) HUMR 01:35 AM Carl Philipp Emanuel Bach (1714-1788) Flute Concerto in G major (Wq 169) Tom Ottar Andreassen (flute), Norwegian Radio Orchestra, Roy Goodman (conductor) NONRK 02:01 AM Antonio Vivaldi (1678-1741) Concerto in D, RV 562 (Andante, Allegro) Les Concert des Nations, Jordi Savall (conductor) ESCAT 02:07 AM Antonio Vivaldi (1678-1741) Violin Concerto in D, RV 230 'L'estro armonico' (Larghetto) -
Bakalářská Diplomová Práce
MASARYKOVA UNIVERZITA FILOZOFICKÁ FAKULTA Ústav hudební vědy BAKALÁŘSKÁ DIPLOMOVÁ PRÁCE 2014 Klára Schützová MASARYKOVA UNIVERZITA FILOZOFICKÁ FAKULTA Ústav hudební vědy Sdruţená uměnovědná studia Beethovenův Fidelio a Smetanův Dalibor: srovnání aspektů historických a koncepčních Bakalářská diplomová práce Vedoucí práce: Autor práce: Mgr. Jan Špaček Klára Schützová 2014 Čestné prohlášení Prohlašuji, ţe jsem tuto bakalářskou práci vypracovala zcela samostatně s vyuţitím pouze citovaných literárních pramenů a zdrojů, které jsou uvedeny v seznamu pouţité literatury. V Brně dne 9. května 2014 ………………….……… Klára Schützová Poděkování Srdečně děkuji Mgr. Janu Špačkovi za odborné vedení této bakalářské práce, za cenné rady a připomínky. Děkuji také své rodině a blízkým za podporu během celého studia. Bibliografický záznam SCHÜTZOVÁ, Klára. Beethovenův Fidelio a Smetanův Dalibor: srovnání aspektů historických a koncepčních. Brno, 2013/2014. Bakalářská práce. Masarykova univerzita, Filozofická fakulta, Ústav hudební vědy. Vedoucí práce Mgr. Jan Špaček. Anotace Bakalářská práce „Beethovenův Fidelio a Smetanův Dalibor: srovnání aspektů historických a koncepčních“ si klade za cíl porovnat opery Fidelio a Dalibor z hlediska historického kontextu, koncepce a jejich kompozice. Podle Zdeňka Nejedlého je ‚Fidelio pravým otcem Dalibora‘. V čem tedy tkví ona podobnost oper? Můţeme tvrdit, ţe jsou si díla velmi podobná a dějově téměř totoţná, nebo se snad jedná o analogie ryze vnějšího charakteru a Fidelio s Daliborem nemají mnoho společného? Nejen na tyto otázky se ve své bakalářské práci pokusím najít odpovědi. Klíčová slova Ludwig van Beethoven, Bedřich Smetana, opera, Fidelio, Leonor, Dalibor, věznice, láska, morálka, svoboda Annotation The aim of this Bachelor‘s thesis „Beethoven's Fidelio and Smetana's Dalibor - comparison of historical and conceptual aspects" is to compare these two operas in the viewpoint of its historical context, conception and composition. -
Opera and Operetta Are Chronicled in the Belknap Opera
The high notes from the world of Opera and Operetta are chronicled in the Belknap Opera MUSIC OPERA AND OPERETTA The high notes from the world of Opera and Operetta are chronicled in the Belknap Opera/Operetta ephemera collection. The great performers, performances, showplaces and companies are included in this melodically colorful compilation of material. OPERA AND OPERETTA LIBRETTI: Miscellaneous libretti filed alphabetically by show title in 5 Hollinger boxes (3 linear feet). Each folder contains at least one English translation, but many have multiple and varied versions. INTERNATIONAL OPERA COMPANIES: Miscellaneous ephemera filed alphabetically by country in 3 boxes (4.5 linear feet). USA OPERA COMPANIES: Miscellaneous ephemera filed alphabetically by state in 4 boxes (6 linear feet). OPERA AND OPERETTA PROGRAMS: Miscellaneous programs and ephemera filed alphabetically by show title in 17 boxes (25.5 linear feet.) For more information on the Belknap Collection for the Performing Arts contact: Jim Liversidge University of Florida George A. Smathers Libraries Department of Special and Area Studies Collections PO Box 117007 Gainesville, FL 32611-7007 (352) 273-2759 email: [email protected] Copyright © 2003- University of Florida George A. Smathers Libraries. Department of Special Collections P. O. Box 117007 Gainesville, FL 32611-7007 (352) 273-2755 https://www.uflib.ufl.edu/spec/belknap/opera/opera.htm[2/1/2021 4:26:35 PM] OPERA and OPERETTA LIBRETTI OPERA AND OPERETTA OPERA & OPERA AND OPERETTA LIBRETTI Miscellaneous libretti, filed alphabetically by title, in 5 boxes (3 linear feet). Each folder contains at least one English translation, but many have multiple and varied versions. -
Smetana Music from the Bartered Bride the Two Widows • the Devil’S Wall Dalibor • Libuše • the Kiss • the Secret the Brandenburgers in Bohemia ORCHESTRAL WORKS, VOL
Smetana Music from The Bartered Bride The Two Widows • The Devil’s Wall Dalibor • Libuše • The Kiss • The Secret The Brandenburgers in Bohemia ORCHESTRAL WORKS, VOL. 2 BBC Philharmonic Gianandrea Noseda 24 CHAN 10518 Bedřich Smetana (1824 –1884) Orchestral Works, Volume 2 from ‘The Bartered Bride’ 20:21 (Prodaná nevěsta) © Lebrecht Music & Arts Photo Library 1 Overture 6:26 2 Polka (Act I Finale) 5:20 3 Furiant 2:18 4 Skocna (Dance of the Comedians) 6:05 5 Overture to ‘The Secret’ 6:31 (Tajemstvi) 6 Prelude to ‘Libuše’ 9:38 from ‘The Devil’s Wall’ 6:54 (Čertova stěna) 7 Prelude 4:06 8 Infernal Dance 2:43 Bedřich Smetana 3 Smetana: Orchestral Works, Volume 2 from ‘The Brandenburgers in Bohemia’ 3:08 While Smetana’s best-known independent the knight Oldrich frets about the sad fate (Braniboři v Čechách) orchestral work is the symphonic poem of his nation. The more extended first-act 9 Prelude 0:48 cycle My Country (Má vlast), there is a ballet centres on the Czech citizens of Prague wealth of orchestral music in his operas. celebrating their new-found freedom from 10 Act I Ballet 2:19 Even apart from the overtures and preludes, the German army. Marked by excitable cross- 11 Overture to ‘The Kiss’ 5:50 there are numerous dances of various kinds rhythms and impulsive, abrupt changes from (Hubička) to accommodate the enthusiasm of Czech minor to major, it effectively set the pattern audiences in the 1860s and 1870s for ballet in for the Slavonic manner in dance in Smetana’s 12 Entr’acte from ‘Dalibor’ 6:05 or out of the operatic context. -
Dalibor Oper in Drei Akten Von Bedřich Smetana Libretto: Josef Wenzig & Ervín Špindler Deutsche Übersetzung: Kurt Honolka
Medienlisten der Stadtbücherei Augsburg Dalibor Oper in drei Akten von Bedřich Smetana Libretto: Josef Wenzig & Ervín Špindler Deutsche Übersetzung: Kurt Honolka Premiere: Sonntag, 14.10.2018 18:00 Uhr, martini-Park Weitere Termine, Tickets (Staatstheater Augsburg) >> EG Kinderbücherei Besucherservice des Staatstheaters Augsburg 1. OG Erwachsenenabteilung in der Bürger- und Tourist-Information 2. OG Musikbücherei, relax am Rathausplatz 1 Ernst-Reuter-Platz 1 86150 Augsburg 86150 Augsburg Mo-Fr 9.00-17.30 Uhr / Sa 10.00-17.00 Uhr Mo-Fr 10.00-19.00 Uhr / Sa 10.00-15.00 Uhr (Nov. - März: Mo, Di, Mi, Fr nur bis 17.00 Uhr) Telefon 0821 324 2756 Telefon 0821 324 4900 stadtbuecherei.augsburg.de/ staatstheater-augsburg.de/karten [email protected] [email protected] Medienlisten der Stadtbücherei Augsburg – Dalibor CDs Smetana, Bedřich: 2. OG, Musikbücherei Dalibor [in dt. Spr.] / Bedřich Smetana - Josef Krips. - CD-TD5/Sme [München]: BMG Entertainment, P & C 1998. 41802124 Interpret: Eberhard Wächter (Vladislav), Ludovico Spiess (Dalibor), Oskar Czerwenka (Budivoj), Walter Kreppel (Beneš), Adolf Dallapozza (Vitek), Streaming & Download Tugomir Franc (Richter), Leonie Rysanek-Gausmann (Milada), Lotte Rysanek (Jitka), Chorus of the Wiener Staatsoper, Orchestra of the Wiener Staatsoper, Josef Krips (Dir.). - Aufnahme: ORF, 19. Oktober 1969 https://opac-stadtbuecherei.augsburg.de/00/katkey/683358 Smetana, Bedřich: 2. OG, Musikbücherei Dalibor / Bedřich Smetana. Libretto by Josef Wenzig. - CD-TD5/Sme Genova: Dynamic, c 2000. 41802137 Interpret: Eva Urbanova (Milada), Valerij Popov (Dalibor), Valeri Alexejev (Wladislaw), Dagmar Schellenberger (Jitka), Jiri Kalendovskly (Beneš), Damir Basyrov (Budivoj), Valentin Prolat (Vitek) u.a., Orchestra e Coro del Tatro Lirico di Cagliari, Yoram David (Dir.). -
Smetanův Dalibor a Interpretace Postav Jitky a Milady Bakalářská Práce
JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra zpěvu Zpěv Smetanův Dalibor a interpretace postav Jitky a Milady Bakalářská práce Autor práce: Alena Nevimová Vedoucí práce: Doc. Mgr. MgA. Monika Holá, Ph.D. Oponent práce: PhDr. Alena Borková Brno 2012 Bibliografický záznam NEVIMOVÁ, Alena. Smetanův Dalibor a interpretace postav Jitky a Milady [Smetana's Dalibor and interpretation of characters Jitka and Milada]. Brno: Janáčkova akademie múzických umění v Brně, Hudební fakulta, Katedra zpěvu, 2012. 32 s. Vedoucí diplomové práce Doc. Mgr. MgA. Monika Holá, Ph.D. Anotace Tématem bakalářské práce je „Smetanův Dalibor a interpretace postav Jitky a Milady“. Práce je pojednáním o vzniku a vývoji opery Dalibor Bedřicha Smetany, dále je analýzou dvou hlavních ţenských postav v závislosti na zpěvním partu a zobrazuje slavná jména pěvkyní, jeţ se představily v těchto rolích a zapsaly se do dějin české opery. Práci jsem rozčlenila do čtyř kapitol: Ţivotopis Bedřicha Smetany, Smetanův Dalibor, Sopránové postavy v opeře Dalibor a jejich charakteristika a Významné představitelky v roli Milady a Jitky v období od první premiéry Smetanova Dalibora. Dále jsou tyto hlavní kapitoly děleny do podkapitol. Annotation The theme of the thesis is "Smetana's Dalibor and interpretation of characters Jitka and Milada." The work is a treatise on the origin and development of opera, Bedřich Smetana's Dalibor, further analysis of the two main female characters, depending on the vocal part, and displays the names of famous singers, who presented themselves in these roles and enrolled in the history of Czech opera. My thesis is broken down into four chapters: Biography Bedřich Smetana, Smetana's Dalibor, soprano characters in opera Dalibor and their characteristics and an outstanding representative in the role of Milada and Jitka during the premiere of Smetana's Dalibor. -
Opera in Concert
THE TRUSTS COMMUNITY FOUNDATION OPERA IN CONCERT 7.30PM, FRIDAY 14 JULY AUCKLAND TOWN HALL AUCKLAND PHILHARMONIA ORCHESTRA Auckland Philharmonia Orchestra is Renowned for its innovation, passion New Zealand’s full-time, professional, and versatility, the APO collaborates with metropolitan orchestra, serving the some of New Zealand’s most inventive country’s largest and most vibrant city with artists. In 2017 the APO performs with a comprehensive programme of concerts, Pop-up Globe, The Dust Palace circus and education and outreach activities. theatre company, and together with Jon Toogood, Julia Deans, Laughton Kora and In more than 50 mainstage performances Anna Coddington in a concert celebrating annually, the APO presents a full season the musical legacy of David Bowie. The of symphonic work, showcasing many APO also supports several New Zealand of the world’s finest classical musicians. concert premieres in 2017, including Recent high-profile artists include Vladimir singer-songwriter Rufus Wainwright, La Ashkenazy, violinists Ning Feng and Noah La Land film with live orchestra and Harry Bendix-Balgley, horn player Stefan Dohr, Potter Live in Concert. pianist Cédric Tiberghien and cellists Li-Wei Qin and Julian Steckel. Leading international Through its numerous APO Connecting artists in 2017 include composer/conductor (education, outreach and community) Tan Dun, violinists Alina Ibragimova and initiatives the APO offers opportunities to Chloë Hanslip, pianists Kathryn Stott more than 20,000 young people and adults and Behzod Abduraimov, and cellist nationwide to participate in music, ranging Torleif Thedéen. We are also delighted to from hip-hop and rock, to contemporary welcome back conductors Rumon Gamba and classical. -
VOICES of SURVIVAL: OPERA in THERESIENSTADT by Jackelyn Marcus a Thesis Submitted to the Faculty of the Dorothy F. Schmidt Colle
VOICES OF SURVIVAL: OPERA IN THERESIENSTADT by Jackelyn Marcus A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters in Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, Florida May 2012 VOICES OF SURVIVAL: OPERA IN THERESIENSTADT by Jackelyn Marcus This thesis was prepared under the direction ofthe candidate's thesis advisor, Dr. Sandra McClain, Department of Music, and has been approved by the' members of her supervisory committee. It was submitted to the faculty ofthe Dorothy F. Schmidt College of Arts and Letters and was accepted in partial fulfillment of the requirements for the degree ofMaster ofArts. Re ecca Lautar, MM Interim Chair, Department ofMusic Heather J. Coltm -- Interim Dean, The Dorothy F. Schmidt College ofArts and Letters 13"...~r~,,-· !:hI; II'-J~f2- Barry T. Ro ;on, PhD . ~ Dean, Graduate College 11 ACKNOWLEDGEMENTS I would like to offer thanks and express my sincere appreciation to the following people who generously helped me in completing this document: Ela Weisberger, Lisl Bogart, and Dr. Jerry Goldsmith, for being strong enough to survive Theresienstadt and the willingness to share their stories. Merle Saferstein from the Holocaust Documentation and Education Center for assisting in connecting with survivors and research. My parents, family, friends, and sisters of Sigma Alpha Iota for their support and encouragement throughout the research and writing of this manuscript. Dr. Sandra McClain, my thesis advisor, for her wisdom, advice, and motivation throughout this process. Dr. Kenneth Keaton and Dr. Laura Joella for their dedicated service on my thesis committee. -
Smetana's the Brandenburgers in Bohemia And
Smetana’s The Brandenburgers in Bohemia and Czech Nationalism: A Historical Reevaluation MARTIN NEDBAL Abstract Post-WWII studies of Smetana’s The Brandenburgers in Bohemia view the work as an expression of the Czechs’ resistance to various kinds of national oppression, by the Austrian Empire, and by Austrian and Bohemian Germans. This article shows that these views emerged only long after the opera was written in 1862-3 and premiered in 1866. An exploration of Czech political debates in the early 1860s, contemporaneous historical accounts of the thirteenth- century events the opera depicts, Smetana’s sketches, censorship practices and records, and reviews of The Brandenburgers from the months after the premiere illustrates that the mid-nineteenth-century conceptualization of the Czechs’ position within the Austrian Empire and their relationship to Germans and German Bohemians was less oppositional and binary than in later decades. This context in fact clarifies numerous ambiguous aspects of Smetana’s opera, such as the main villain’s characterization and the ambiguous depiction of the Brandenburgers. A brief survey of the opera’s reception history shows, furthermore, that the intensely nationalistic, anti-German, and anti-Austrian perspective on The Brandenburgers, still accepted nowadays, became particularly prominent in reaction to various twentieth-century totalitarian ideologies and were strongly influenced by the opera’s first post-WWII production at the former New German Theater in September 1945. On September 4, 1945, a performance of Bedřich Smetana’s opera The Brandenburgers in Bohemia inaugurated the first post-WWII season in the building in central Prague that, until a few months earlier, had been commonly referred to as the New German Theater (Neues deutsches Theater). -
Graduate Voice Recital
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1988 Graduate voice recital Ann Cogswell The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Cogswell, Ann, "Graduate voice recital" (1988). Graduate Student Theses, Dissertations, & Professional Papers. 2471. https://scholarworks.umt.edu/etd/2471 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. GRADUATE VOICE RECITAL Ann Cogswell University of Montana July 17, 1988 UMI Number: EP35209 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT UMMranon riKiBwWig UMI EP35209 Published by ProQuest LLC (2012). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest ProQuest LLC. 789 East Eisenhower Parkway P.O. 60x1346 Ann Arbor, Ml 48106-1346 TABLE OF CONTENTS Foreword 1 Introduction 3 Baroque Period 4 Classical Period 6 Romantic Period: Schubert 9 French Songs: Koechlin 13 French Songs: Bizet 14 Romantic Period 15 Bainbridge Crist 17 Conclusion 20 Bibliography 21 Attachments 23-27 GRADUATE VOICE RECITAL Ann Cogswell FOREWORD The musical grapevine bears a rich harvest of rumors.