Wales: Modern and Contemporary Performance Practice
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ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
6 September 2019 Dear Colleague, As the Schools Go Back And
6 September 2019 Dear Colleague, As the schools go back and students are gearing up for university life the UHB has been as busy as ever. To those of you who have enjoyed a summer break - welcome back. The summer period did not result in the usual dip in numbers with as many patients presenting at EU remaining as during some of our busiest winter months and this has in some areas placed some pressures on us, which is a picture replicated across the whole of Wales. Politically the activity on the run-up to Brexit has increased including a lot more interest in the health service and how we would cope with a shortage of medicines, reduced access to medical equipment and, vitally important, our staffing levels. I’m pleased to say that all of the indications for us are that there is no exodus of EU staff as a result of Brexit and the surveys completed by workforce colleagues are demonstrating that people are providing us with their nationality details so that we can engage with them on obtaining Settled Status in the UK post-Brexit. We have continued the forward planning and contingency work to ensure that we are as prepared as we possibly can be to mitigate any kind of shortages. So, while we are not complacent - none of us can be specific on what a no deal Brexit will mean for health care or health services we provide for our patients - our priority is that staff nor patients are affected adversely by any of the scenarios deal or no deal and that we will remain an open and inclusive NHS service and employer to all. -
Eisteddfod Branding
The National Eisteddfod The National Eisteddfod is Wales’ largest festival, held alternately in north and south Wales, celebrating the Welsh language and culture of Wales. Its history can be traced back to the court of the Lord Rhys in 1176, with the modern day Eisteddfod held every year bar one since 1861. The festival has evolved and developed greatly over the past ten years, with over 1,000 events held across the Maes (site) during the eight-day festival. The Eisteddfod also plays host to over 200 competitions, with many of these held in the main Pavilion during the week. The other events are held across the Maes, some in semi- permanent buildings and others in attractive tents and yurts, such as Tŷ Gwerin and Caffi Maes B. We know the Eisteddfod and the community project are unique. Our brand needs to celebrate and embrace this uniqueness. Information on the festival and all events can be found online, www.eisteddfod.wales The project The Eisteddfod is looking to rebrand the festival and the organisation over the next year. The Eisteddfod festival is an iconic brand, the word itself is known across the world, and our brand needs to reflect this, with the word playing a central part in any graphic. Typography is very important to us. With so many events and activities held during the week and the community project, the typography must be strong and instantly recognisable – emphasising the uniqueness of the festival and the project and its central place in the culture of Wales. The successful agency will need to deliver a brand which overcomes a number of challenges. -
Goldies WW1 Project Is a Winner in the National Lottery Awards 2018
Goldies WW1 project wins the Education Category in the 2018 National Lottery Awards Welsh singing sensation Katherine Jenkins OBE surprised Cardiff-based project, Armistice Cantata, on September 12th, with the news that they had won Best Education Project in the National Lottery Awards 2018. The mezzo soprano broke the news of the win to pupils at Thornhill Primary School in Cardiff, who piloted the intergenerational education project with Goldies charity founder Grenville Jones which commemorates the Centenary of the end of WW1 (November 11 2018)! The National Lottery Awards are the annual search for the UK’s favourite Lottery-funded projects and celebrate the inspirational people and projects who do extraordinary things with National Lottery funding. Marking 100 years since the end of the Great War (November 11 2018), Armistice Cantata is part of a two- year intergenerational education project led by Grenville and his Goldies charity that encourages primary schools to open their doors to older people. As part of the programme, from Goldies Cymru – which helps older people get involved in music through daytime FUN Songs and Smiles – teamed up with youngsters from Thornhill Primary school in Cardiff who have written a musical to celebrate the end of World War One. The children from Thornhill Primary appear on stage together in a 30-minute production, named Armistice Cantata. The musical – which includes popular songs from World War One – is now being rolled out to a number of schools across England and Wales. More than 7,000 children and 800 older people from the Goldies charity are taking part. -
Recordings of Mahler Symphony No. 4
Recordings of Mahler Symphony No. 4 by Stan Ruttenberg, President, Colorado MahlerFest SUMMARY After listening to each recording once or twice to get the general feel, on bike rides, car trips, while on the Internet etc, I then listened more carefully, with good headphones, following the score. They are listed in the survey in about the order in which I listened, and found to my delight, and disgust, that as I went on I noticed more and more details to which attention should be paid. Lack of time and adequate gray matter prevented me from going back and re-listening all over again, except for the Mengelberg and Horenstein recordings, and I did find a few points to change or add. I found that JH is the ONLY conductor to have the piccolos play out adequately in the second movement, and Claudio Abbado with the Vienna PO is the only conductor who insisted on the two horn portamenti in the third movement.. Stan's prime picks: Horenstein, Levine, Reiner, Szell, Skrowaczewski, von Karajan, Abravanel, in that order, but the rankings are very close. Also very good are Welser- Most, and Klemperer with Radio Orchestra Berlin, and Berttini at Cologne. Not one conductor met all my tests of faithfulness to the score in all the too many felicities therein, but these did the best and at the same time produced a fine overall performance. Mengelberg, in a class by himself, should be heard for reference. Stan's soloist picks: Max Cencic (boy soprano with Nanut), in a class by himself. Then come, not in order, Davrath (Abravanel), Mathes (von Karajan), Trötschel (Klemperer BRSO), Raskin (Szell), Blegen (Levine), Della Casa (Reiner), Irmgard Seefried (Walter), Jo Vincent (Mengelberg), Ameling (Haitink RCOA), Ruth Zeisek (Gatti), Margaret Price with Horenstein, and Kiri Te Kanawa (Solti), Szell (Rattle broadcast), and Battle (Maazel). -
Purpose Washington University in St
Purpose Washington University in St. Louis 2017–18 Annual Report $711.8M 25 Research support 2017–18 Nobel laureates associated with the university 4,182 15,396 Total faculty Total enrollment, fall 2017 7,087 undergraduate; 6,962 graduate and professional; 20 1,347 part-time and other Number of top 15 graduate and professional programs U.S. News & World Report, 2017–18 30,463 Class of 2021 applications, first-year students entering fall 2017 18 Rank of undergraduate program 1,778 U.S. News & World Report, 2017–18, National Universities Category Class of 2021 enrollment, first-year students entering fall 2017 138,548 >2,300 Number of alumni addresses on record July 2017 Total acres, including Danforth Campus, Medical Campus, West Campus, North Campus, South Campus, 560 Music Center, Lewis Center, and Tyson Research Center $7.7B Total endowment as of June 30, 2018 22 Number of Danforth Campus buildings on the National 16,428 Register of Historic Places Total employees $248M Amount university provided in undergraduate $3.5B and graduate scholarship support in 2017-18 Total operating revenues as of June 30, 2018 4,638 All degrees awarded 2017–18 TABLE OF CONTENTS 2 Letter from the Chair and Chancellor 18 Purpose 38 Financial Highlights 4 Leading Together 34 Year in Review 4 | Purpose LETTER FROM THE CHAIR AND THE CHANCELLOR Mark S. Wrighton, Chancellor, and Craig D. Schnuck, Chair, Board of Trustees The campaign has laid On June 30, 2018, we marked the conclusion of Leading Together: The Campaign for the foundation for a Washington University, the most successful fundraising initiative in our history. -
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. -
Peter Grimes Page 1 of 2 Opera Assn
San Francisco War Memorial 1976 Peter Grimes Page 1 of 2 Opera Assn. Opera House New production made possible in 1973 through a generous gift from the Gramma Fisher Foundation of Marshalltown, Iowa, made jointly to the Chicago Lyric and San Francisco Operas. Peter Grimes (in English) Opera in three acts by Benjamin Britten Libretto by Montagu Slater Based on a poem by George Crabbe Conductor CAST John Pritchard Hobson Paul Geiger Production Swallow Alexander Malta Geraint Evans Peter Grimes Jon Vickers Set Designer Mrs. Sedley Donna Petersen Carl Toms Ellen Orford Heather Harper Chorus Director A fisherman John Del Carlo Robert Jones Auntie Sheila Nadler Lighting Designer Bob Boles Paul Crook Thomas J. Munn Captain Balstrode Geraint Evans Musical Preparation Rev. Horace Adams Joseph Frank Thomas Fulton First Niece Claudia Cummings Costume Designer Second Niece Pamela South Tanya Moiseiwitsch Ned Keene Wayne Turnage Boy Steven Cohen Edward Lampe (10/22) A lawyer John Duykers Dr. Thorpe Janusz Offstage voice Luana De Vol Janice Aaland *Role debut †U.S. opera debut PLACE AND TIME: The Borough, a small fishing town on the east coast of England, towards 1830 Wednesday, October 6 1976, at 8:00 PM PROLOGUE -- A room inside Moot Hall Saturday, October 9 1976, at 8:00 PM Act I, Scene 1 -- The Borough beach and street Wednesday, October 13 1976, at 8:00 PM Scene 2 -- Inside "The Boar" Sunday, October 17 1976, at 2:00 PM INTERMISSION Friday, October 22 1976, at 8:00 PM Act II, Scene 1 -- The Borough beach and street Scene 2 -- Peter Grimes's hut INTERMISSION Act III, Scene 1 -- The Borough beach and street Scene 2 -- Later that night San Francisco War Memorial 1976 Peter Grimes Page 2 of 2 Opera Assn. -
Braids of Song Gwead Y Gân
Braids of Song Gwead y Gân by Mari Morgan BMus (Hons), MA. Supervised by: Professor Menna Elfyn and Dr Jeni Williams Submitted in partial fulfilment for the award of the degree of Doctor of Philosophy in Creative Writing University of Wales Trinity Saint David 2019 Er cof am fy nhad, Y Parchedig E D Morgan a ddiogelodd drysor. In memory of my father, the Reverend E D Morgan who preserved a treasure. iii ACKNOWLEDGEMENTS With grateful thanks for the generous support of: North America Wales Foundation (Dr Philip Davies and Hefina Phillips) Welsh Women’s Clubs of America (Barbara Crysler) Welsh Society of Philadelphia (Jack R. Williams, Jr.) Diolch o galon: for the experience and guidance of my supervisors, Professor Menna Elfyn and Dr Jeni Williams, for the friendship and encouragement of Karen Rice, for my siblings always, Nest ac Arwel, for the love and steadfast support of Lisa E Hopkins, and for the unconditional love of my mother, Thelma Morgan. Diolch am fod yn gefn. iv Abstract The desire to recognise the richness, humanity, and cross fertilisation of cultures and identities that built today’s America is the starting point for Braids of Song. Its overarching concerns trace the interrelation between immigration, identity and creativity within a Welsh Trans-Atlantic context. Braids of Song is a mixed-genre collection of stories that acknowledges the preciousness of culture; in particular, the music, which is both able to cross different linguistic boundaries and to breach those between melody and language itself. The stories are shared through four intertwined narrative strands in a mixture of literary styles, ranging from creative non-fiction essays and poems to dramatic monologues. -
Llyfrgell Genedlaethol Cymru = the National Library of Wales Cymorth
Llyfrgell Genedlaethol Cymru = The National Library of Wales Cymorth chwilio | Finding Aid - Winifred Coombe Tennant Papers, (GB 0210 WINCOOANT) Cynhyrchir gan Access to Memory (AtoM) 2.3.0 Generated by Access to Memory (AtoM) 2.3.0 Argraffwyd: Mai 05, 2017 Printed: May 05, 2017 Wrth lunio'r disgrifiad hwn dilynwyd canllawiau ANW a seiliwyd ar ISAD(G) Ail Argraffiad; rheolau AACR2; ac LCSH Description follows ANW guidelines based on ISAD(G) 2nd ed.; AACR2; and LCSH https://archifau.llyfrgell.cymru/index.php/winifred-coombe-tennant-papers-2 archives.library .wales/index.php/winifred-coombe-tennant-papers-2 Llyfrgell Genedlaethol Cymru = The National Library of Wales Allt Penglais Aberystwyth Ceredigion United Kingdom SY23 3BU 01970 632 800 01970 615 709 [email protected] www.llgc.org.uk Winifred Coombe Tennant Papers, Tabl cynnwys | Table of contents Gwybodaeth grynodeb | Summary information .............................................................................................. 3 Hanes gweinyddol / Braslun bywgraffyddol | Administrative history | Biographical sketch ......................... 3 Natur a chynnwys | Scope and content .......................................................................................................... 4 Trefniant | Arrangement .................................................................................................................................. 5 Nodiadau | Notes ............................................................................................................................................ -
Download the Job Description
MUSIC. THEATRE. WALES. needs a Marketing and Communications Manager Fixed term contract until the end of December 2020 (part-time) We are inviting applications from suitably qualified candidates who are able to offer 3 days a week. The company is based in an attractive, modern office situated within a listed building close to Cardiff Bay station and the successful candidate will be expected to work from here. Salary: £27-30k depending on experience (pro rata) Music Theatre Wales is one of Europe’s leading contemporary opera companies, recognised since its formation in 1988 as a vital force in opera, presenting bold new work that is characterised by the powerful impact it makes on audiences and artists alike. We work in association with the UK’s leading contemporary music ensemble, the London Sinfonietta, with whom all our productions are performed. In 2020, we will deliver two contrasting new works: February/March 2020 • Denis & Katya by Philip Venables and Ted Huffman has already proved to be an outstanding success with our co-producers at Opera Philadelphia where the work has been acclaimed as a totally new way of using opera and music theatre to engage with current social issues. Alongside this, we will run a Young People’s Consultation and Creative Project aimed at hard-to-reach young people in Newport and Mold. June/July and Autumn 2020 • Violet will be an equally powerful contemporary work which presents a female- centred plot that stands in stark contrast to most of the operatic canon. Composed by Tom Coult and written by Alice Birch – an outstanding and uncompromising theatre writer known for her strong females leads – Violet will give award-winning theatre director Rebecca Frecknall the chance to work in opera for the first time. -
Wales at Westminster: Parliament, Principality and Pressure Groups, 1542-1601*
Parliamentary History, Vol. 22, pt. 2 (2003), pp. 107-120 Wales at Westminster: Parliament, Principality and Pressure Groups, 1542-1601* LLOYD BOWEN Cdif University This article attempts to address an inconsistency of modern historiography regarding the legacy of Wales’s union with England in the mid-sixteenth century. The discrepancy concerns the participation of Welshmen in the new parliamentary and administrative roles afforded by the union. The Henrician statutes which united Wales with England remodelled Welsh justice and administration, bringing Wales into line with English practice. Justices of the peace were introduced, Wales was divided into shires like England, and, in the most symbolically significant demon- stration of the incorporation of Wales into the English body politic, 26 (later 27) Welsh borough and county constituencies were enfranchised and allowed to send representatives to the national parliaments at Westminster.’ However, the speed of the reception and adoption of these new rights by Welshmen has not been seen as uniform. Whereas they are often portrayed as embracing their new administrative roles quickly and with enthusiasm, their participation in parliamentary business is seen as halting, uncertain and ineffective.2 This generally has led to the characteri- zation of the Welsh as lacking interest in parliament and continuing to be unsure of its mechanisms and procedures for many decades after their enfiran~hisement.~ This article examines how the ‘two-speed’ adoption of the union has become an accepted element of modern historiography, and suggests that this case has been overstated. The picture of a hesitant body of Welsh members in the Tudor Commons is attributable mainly to Professor A.