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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. -
Services and Music List
Services and Music List March and April 2018 WELCOME Much of our attention, both in Church and in the world, is given to what is extraordinary; to anything which is unusual or which stands out. The daily round of prayer and praise at the Cathedral reminds us that our access to God, and our privilege to begin and end each day begun and ended in God – is far from ordinary. The gold of word and sacrament is supported here at Wells through sensitively chosen and performed music, which for many, is the very ‘language of God.’ It enables us to reflect our world and its triumphs and tribulations back to God creatively and so to experience our share in the divine life. We hope very much that you will join us when you can. The Reverend Canon Nicholas Jepson-Biddle, Precentor Communicant members of other churches in good standing are welcome to receive the Sacrament in this church if they so desire. IN RESIDENCE February 25 – March 3: The Very Reverend Dr John Davies, DL, Dean March 4 – 10: The Reverend Canon Andrew Featherstone, Chancellor March 11 – 17: The Reverend Canon Nicholas Jepson-Biddle, Precentor March 18 – 24: The Venerable Anne Gell, Archdeacon of Wells March 25 – 31: The Reverend Canon Nicholas Jepson-Biddle, Precentor April 1 – 7: The Reverend Canon Andrew Featherstone, Chancellor April 8 – 14: The Very Reverend Dr John Davies, DL, Dean April 15 – 21: The Reverend Canon Andrew Featherstone, Chancellor April 22 – 28: The Reverend Canon Nicholas Jepson-Biddle, Precentor April 29 – May 5: The Very Reverend Dr John Davies, DL, Dean WELLS CATHEDRAL CHOIR The Cathedral’s Organist and Master of the Choristers, Prebendary Matthew Owens, is always pleased to hear from parents of prospective choristers. -
Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and -
2021-2022 Music Season Brochure
UPLIFT YOUR SPIRIT Music at Christ Church Cathedral 2021-22 About Richards, Fowkes & Co. Opus 24 In December 2013, Christ Church Cathedral commissioned Richards, Fowkes & Co. to design, build, and install a new organ for the primary worship space. Opus 24, completed in March 2021, is a three-manual, 58-stop mechanical-action instrument designed to accompany congregational singing and choral music, in addition to playing solo organ repertoire with a wide palette of colorful sounds. Join us as we celebrate Opus 24’s inaugural season! UPLIFT YOUR SPIRIT with Christ Church Cathedral’s 2021-22 Season of Music! Friends of Music Most of the concerts in our 2021-22 season are offered at no charge, thanks, in part, to generous contributions to the cathedral’s Friends of Music Fund. Friends of Music donations support music programming outside the cathedral’s annual budget. You can become a Friend of Music today by donating online (text GIVECCC to 73256 or visit abundant.co/ccc/friendsofmusic) or send a check to Christ Church Cathedral with “Friends of Music” written on the memo line. Subscribe To have a copy of the season brochure mailed to you annually, visit cincinnaticathedral.com/music or contact Kathy Noe (knoe@cccath. org or 513.842.2051) with your street address. You may also ask to receive our monthly music e-news. Programming All programming is subject to change. See cincinnaticathedral.com/ music for updated information. See the calendar at the bottom of the music webpage for add to calendar links for concerts and worship services. Weekly Sunday Worship 8:00 AM, 10:00 AM, 12:00 PM 3 September 2021 Sunday, September 26 | 5:30 PM Kory Caudill and Wordsmith The Concert for the Human genre-bending original music to launch conversation around Family is an inspiring collaboration that bridges jazz, hip-hop, reconciliation, healing, and between award-winning and bluegrass, performed by justice in the communities we call musicians and church leaders a multicultural team led by home. -
THE BROOKLYN PHILHARMONIA 27Th Season: 1980/1981 LUKAS FOSS, Music Director
THEOOOPER~ONFORUM November 14, 1980, Spm THE BROOKLYN PHILHARMONIA 27th Season: 1980/1981 LUKAS FOSS, Music Director MEET THE MODERNS 1: MUSIC + DRAMA two one-act operas THE CRY OF CLYTAEMNESTRA THE EGG Music by John Eaton an operatic riddle Libretto by Patrick Creagh Music and Libretto by Gian Carlo Menotti New York premiere New York premiere RICHARD DUNCAN, conductor LUKAS FOSS, conductor Staging by Maurice Edwards Staging by Maurice Edwards Lighting by William Mintzer Lighting by William Mintzer Sound Co-ordinator: Lonnie Juli Costumes by Constance Mellen Cast Cast (in o rder of appearance) (in o rder of appearance) ClytaernJlt'~tra Quec•11 o{ Ar,J~e>S . elcla elson Manuel ................................... Martin Strother lphygene1a eldest dau,J~hter o{ C/ytaemnestra St Simeon Stylites .............................joseph Levitt !111(/ A.I!Cllll£'11111011 . • • • . • . • Sally Wolf BasJIJssa Empress o{ ByzantiUm ( Pnde} . ............ Edith Diggory Agamemnon KJII,JI of ArJioS . • . • • . Tim o ble Areobindus. {avonte o{the Bas111ssa (Lust} .......... Steven Nelson Ody~seus . Ri chard Walker Gourmantus, the cook (Gluttony} . ....... ........ Ted Adkins Menelaus . ·- . Brian Trego Eunuch of the Sacred Cubicle !Slot hi ............ Richard Walker DJOilll'tks . Martin Strother Pachomius. the treasurer (A vance} . .................. Jon Fay TnKer . Steven Nelson Sister of the BasJIJssa !Envyl . ...... ............... Paula Redd Calcha~. HlJih Pnest. joseph Levitt Julian, Capt am o{ the Guard (Anger} (silent role} . .. ..... Brian Trego Acl11llcs . .Jon Fay Beggar Woman . ... .............. Sarah Miller Electra. dauxhter o{ C/ytaem11estra and !Chorusl ............ Axamemncm. as a ch1ld . ................. .. ....... Abby Tate Members of the Basi IIssa's Court Sally Wolf, Martha Waltman Rebecca Field, Glenn Siebert, Colenton Freeman Orestes. so11 o{ Clytaem>lestra and Agamemnon, as a child . -
The Old Maid and the Thief by Gian Carlo Menotti a Grotesque Opera in 14 Scenes
THE BELHAVEN UNIVERSITY DEPARTMENT OF MUSIC Dr. Stephen W. Sachs, Chair presents Two Hilarious American Operas: The Telephone by Gian Carlo Menotti An Opera Buffa in One Act The Old Maid and the Thief by Gian Carlo Menotti A Grotesque Opera in 14 Scenes Dr. Christopher Shelt, Artistic Director Friday, November 19, 2010 at 7:30pm & Saturday, November 20, 2010 at 2:30pm Belhaven University Center for the Arts Concert Hall BELHAVEN UNIVERSITY DEPARTMENT OF MUSIC MISSION STATEMENT The Music Department seeks to produce transformational leaders in the musical arts who will have profound influence in homes, churches, private studios, educational institutions, and on the concert stage. While developing the God-bestowed musical talents of music majors, minors, and elective students, we seek to provide an integrative understanding of the musical arts from a Christian world and life view in order to equip students to influence the world of ideas. The music major degree program is designed to prepare students for graduate study while equipping them for vocational roles in performance, church music, and education. The Belhaven University Music Department exists to multiply Christian leaders who demonstrate unquestionable excellence in the musical arts and apply timeless truths in every aspect of their artistic discipline. The Music Department would like to thank our many community partners for their support of Christian Arts Education at Belhaven University through their advertising in “Arts Ablaze 2010-2011” (should be published and available on or before September 30, 2010). Special thanks tonight to Bo-Kays Florist for our reception table flowers. It is through these and other wonderful relationships in the greater Jackson community that makes an afternoon like this possible at Belhaven. -
"Propheten" Von Kurt Weill
((Prophetenn von Kurt Weill Ende 1935 erschien in New York im Verlag «Viking Hau se» << The Eternal Road », Ludwig Lewisohns sorgfältige Überset zung von «Der Weg der Verheißung», für die man einen griffi geren und «verkaufbareren » Titel al s «The Road of Promi se» gewählt hatte. Im Vorwort dieses Buches wurde die Urauffüh rung vo n Werfels «Drama » (bzw. «Bibelspiel », wie noch auf dem ersten Manuskript zu lesen war) in Lewisohns Überset zung angekündigt, und zwar für Jänner 1936 im Manhattan Opera Hau se in einer Inszenierung von Max Reinhardt. Nur wen ige Tage vor der geplanten Premiere meldeten die Produzenten Konkurs an . Reinhardt reiste nach Hollywood ab, und Werfel kehrte nach Europa zurück. Genau ein Jahr später - am 4. Jänner 1937 - und in Abwesenheit von Werfel brach te Reinhardt eine vielfach veränderte Version von «Th e Eternal Road » am selben Schauplatz in Manhattan heraus, begleitet von einem gigantischen Werbefeldzug und unter al lgemeinem Beifall von Presse und Publikum. Schon im September 1935 hatte Reinhardt über erbarmungs losen Kürzungen eines Dramas gesessen, das über sechs Stunden dauern sollte, wobei mindestens 3 '/, Stunden Musik erklungen wären . Angeblich wegen dieser ungeheuren Länge, aber auch aus Gründen der Zweckdienlichkeit strich Reinhardt fa st den ganzen vierten und letzten Akt. in dem Weill derart von dem Stoff gefangen genommen worden war, daß er - wiewohl in großer Zeitnot - sogar noch jene Stel len vertonte, die von Werfel als Sprechtexte konzipiert worden waren . Werfel hatte den IV. Akt ursprünglich mit «Propheten » über• schrieben, nicht «Die Propheten », aber aus unbekanntem Grund hatte Lewisohn diesen unspezifischen Titel mit «The Proph ets» übersetzt und damit auf mißverständliche Weise auf die ganze Reihe von Propheten und Heiligen angespielt, die in den hebräischen Königreichen Palästinas vom 8. -
Mona Lisa LEON BOTSTEIN, Conductor
Friday Evening, February 20, 2015, at 8:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00 presents Mona Lisa LEON BOTSTEIN, Conductor MAX VON SCHILLINGS Mona Lisa ACT I Intermission ACT II Foreigner/Francesco del Giocondo: MICHAEL ANTHONY MCGEE, Bass-baritone Woman/Mona Fiordalisa: PETRA MARIA SCHNITZER, Soprano Lay Brother/Giovanni de Salviati: PAUL MCNAMARA, Tenor Pietro Tumoni: JUSTIN HOPKINS, Bass-baritone Arrigo Oldofredi: ROBERT CHAFIN, Tenor Alessio Beneventi: JOHN EASTERLIN, Tenor Sandro da Luzzano: CHRISTOPHER BURCHETT, Baritone Masolino Pedruzzi: MICHAEL SCARCELLE, Bass-baritone Mona Ginevra: ILANA DAVIDSON, Soprano Dianora: LUCY FITZ GIBBON, Soprano Piccarda: KATHERINE MAYSEK, Mezzo-soprano Sisto: JOHN KAWA, Tenor BARD FESTIVAL CHORALE JAMES BAGWELL, Director This evening’s concert will run approximately two hours and 20 minutes including one 20-minute intermission. Used by arrangement with European American Music Distributors Company, sole U.S. and Canadian agent for Universal Edition Vienna, publisher and copyright owner. American Symphony Orchestra welcomes the many organizations who participate in our Community Access Program, which provides free and low-cost tickets to underserved groups in New York’s five boroughs. For information on how you can support this program, please call (212) 868-9276. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. FROM THE Music Director The Stolen Smile DVDs or pirated videos. Opera is the by Leon Botstein one medium from the past that resists technological reproduction. A concert This concert performance of Max von version still represents properly the Schillings’ 1915 Mona Lisa is the latest sonority and the multi-dimensional installment of a series of concert perfor- aspect crucial to the operatic experi- mances of rare operas the ASO has pio- ence. -
Topical Weill: News and Events
Volume 15 Number 2 topical Weill Fall 1997 A supplement to the Kurt Weill Newsletter news &news events Mark your calendars—18 October 1998 is Lenya’s 100th Birthday! &news events Publications CD features the legendary Verlag Kiepenheuer & Witsch of Cologne will publish recordings that Lenya the German edition of Speak Low (When You Speak made for Philips in Ham- Love): The Letters of Kurt Weill and Lotte Lenya in the burg in 1955 and 1956, and fall of 1998. Entrusted to editors and translators Kim the booklet includes never- H. Kowalke and Lys Symonette by Lenya on her before-published photos of deathbed in 1981, these letters are testimonies to one of the recording sessions. the century’s most legendary artistic partnerships. The Lenya’s performances are German version contains minor revisions along with indeed “masterworks” and some new material. continue to be held up by The University of California Press gets a head start music critics as bench- on the centenary by reissuing the English version of marks of Weill interpreta- Speak Low in a paperback edition this month. Critics tion. from around the world praised the 1996 hardcover edi- tion as an outstanding achievement. Events Overlook Press will publish Lenya the Legend: A Pic- The New York-based torial Autobiography in the summer of 1998, an illustrat- American Foundation for ed narrative of Lenya’s life, told in her own words, AIDS Research (AmFAR) assembled entirely from interviews, correspondence, will be the beneficiary of autobiographical notes, and other writings. Compiled an all-star Broadway gala and edited by David Farneth, director of the Weill-Lenya tribute to Lenya on 18 Research Center, the book features nearly 350 photos October 1998 at the Majes- (300 black-and-white and 50 color) showing Lenya’s tic Theatre. -
Thomas Hampson, Baritone
Monday, May 3, 2021 | 3 PM Livestreamed from Gordon K. and Harriet Greenfield Hall and William R. and Irene D. Miller Recital Hall MASTER CLASS & LIVE WEBCAST Distinguished Visiting Artist for Vocal Studies and Distance Learning Thomas Hampson, baritone PROGRAM WOLFGANG AMADEUS “Dove sono i bei momenti” from Le nozze di Figaro, K. 492 MOZART (1756–1791) RICHARD STRAUSS “Wasserrose” from Mädchenblumen, Op. 22 (1864–1949) Jasmine Ismail, soprano Winston Salem, North Carolina Student of Ruth Golden Travis Bloom, piano NED ROREM Emily’s Goodbye Aria from Our Town (b. 1923) HARRY THACKER “Worth While” from Five Songs of Laurence Hope BURLEIGH (1866–1949) RICHARD STRAUSS “Cäcilie,” Op. 27, no. 2 Evangeline Ng, soprano Singapore Student of Joan Patenaude-Yarnell Fumiyasu Kawase, piano GEORGE FRIDERIC “È gelosia” from Alcina, HWV 34 HANDEL (1685–1759) GUSTAV MAHLER “Wenn mein Schatz Hochzeit macht” from Lieder eines fahrenden Gesellen (1860–1911) Yile Huang, mezzo-soprano Inner Mongolia, China Student of Maitland Peters Tongyao Li, piano FRANZ SCHUBERT “Erlkönig,” Op. 1, D. 328 (1797–1828) WOLFGANG AMADEUS “Tutto è disposto… Aprite un po’quegli ochi” from Le nozze di Figaro, K. 492 MOZART Michael Leyte-Vidal, bass-baritone Palmetto Bay, Florida Student of Ashley Putnam Travis Bloom, piano Alternates WOLFGANG AMADEUS “Ah, chi mi dice mai” from Don Giovanni, K. 527 MOZART HENRI DUPARC “Au pays où se fait la guerre” (1848–1933) Sarah Rachel Bacani, soprano Toms River, New Jersey Student of Cynthia Hoffmann Travis Bloom, piano TEXT AND TRANSLATIONS “Dove sono i bei momenti” from Le nozze di Figaro E Susanna non vien! Sono ansiosa di saper Susanna does not come! come il Conte accolse la proposta. -
Weill, Kurt (Julian)
Weill, Kurt (Julian) (b Dessau, 2 March 1900; d New York, 3 April 1950). German composer, American citizen from 1943. He was one of the outstanding composers in the generation that came to maturity after World War I, and a key figure in the development of modern forms of musical theatre. His successful and innovatory work for Broadway during the 1940s was a development in more popular terms of the exploratory stage works that had made him the foremost avant- garde theatre composer of the Weimar Republic. 1. Life. Weill‟s father Albert was chief cantor at the synagogue in Dessau from 1899 to 1919 and was himself a composer, mostly of liturgical music and sacred motets. Kurt was the third of his four children, all of whom were from an early age taught music and taken regularly to the opera. Despite its strong Wagnerian emphasis, the Hoftheater‟s repertory was broad enough to provide the young Weill with a wide range of music-theatrical experiences which were supplemented by the orchestra‟s subscription concerts and by much domestic music-making. Weill began to show an interest in composition as he entered his teens. By 1915 the evidence of a creative bent was such that his father sought the advice of Albert Bing, the assistant conductor at the Hoftheater. Bing was so impressed by Weill‟s gifts that he undertook to teach him himself. For three years Bing and his wife, a sister of the Expressionist playwright Carl Sternheim, provided Weill with what almost amounted to a second home and introduced him a world of metropolitan sophistication. -
Program Notes | Amahl and the Night Visitors
23 Season 2018-2019 Thursday, December 13, at 7:30 The Philadelphia Orchestra Saturday, December 15, at 8:00 Bramwell Tovey Conductor and Narrator Dante Michael DiMaio Boy Soprano (Amahl) Renée Tatum Mezzo-soprano (His Mother) Andrew Stenson Tenor (King Kaspar) Brandon Cedel Bass-baritone (King Melchior) David Leigh Bass (King Balthazar) Kirby Traylor Bass (The Page) Philadelphia Symphonic Choir (Shepherds and Villagers) Amanda Quist Director Omer Ben Seadia Stage Director Walton Crown Imperial (Coronation March) Britten The Young Person’s Guide to the Orchestra, Op. 34 Intermission Menotti Amahl and the Night Visitors First complete Philadelphia Orchestra performances Ryan Howell, designer Chris Frey, lighting desig This program runs approximately 1 hour, 45 minutes. These concerts are part of the Fred J. Cooper Memorial Organ Experience, supported through a generous grant from the Wyncote Foundation. The December 15 concert is sponsored by Medcomp. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. PO Book 16_Home.indd 23 12/7/18 10:35 AM 24 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra Philadelphia is home and orchestra, and maximizes is one of the preeminent the Orchestra continues impact through Research. orchestras in the world, to discover new and The Orchestra’s award- renowned for its distinctive inventive ways to nurture winning Collaborative sound, desired for its its relationship with its Learning programs engage keen ability to capture the loyal patrons at its home over 50,000 students, hearts and imaginations of in the Kimmel Center, families, and community audiences, and admired for and also with those who members through programs a legacy of imagination and enjoy the Orchestra’s area such as PlayINs, side-by- innovation on and off the performances at the Mann sides, PopUP concerts, concert stage.