Fall 2008 Course Catalog
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Newsletter • Bulletin Summer 2007 Été 2007
NATIONAL CAPITAL OPERA SOCIETY • SOCIÉTÉ D'OPÉRA DE LA CAPITALE NATIONALE Newsletter • Bulletin Summer 2007 Été 2007 P.O. Box 8347, Main Terminal, Ottawa, Ontario K1G 3H8 • C.P. 8347, Succursale principale, Ottawa (Ontario) K1G 3H8 Cabellissima! by Shelagh Williams Cathedral Arts has done it again and brought us another su- ing! Bernstein’s I Hate Music, a song cycle of “Five Kid perb opera singer, American lyric soprano Nicole Cabell, to- Songs”, was sung with suitable actions and wide-eyed won- gether with Scottish pianist Alan Darling for a recital of opera der, in a most entertaining manner. Among the other offer- arias and art songs. Having won the 2005 BBC Cardiff ings, she really shimmered in William Bolcom’s “Amore”, Singer of the World Competition she has been showered and then after Kurt Weill's heartfelt “What good would the with accolades but one is still not really prepared for Nicole moon be” from Street Scene, closed with “And this is my Cabell in person — she has the voice, the looks, the pres- Beloved” from Kismet. ence, the whole package! This performance of superb technique and The first half of the programme was framed by well- beautiful tone elicited a rousing standing ovation which known arias from Nicole’s operatic rep- was rewarded with an encore of ertoire. Each aria benefited from her hav- “Summertime” from Porgy and Bess. ing performed the associated roles and her This was an excellent concert and a ability to use her mobile, expressive face rare chance to hear such an outstand- to convey the emotions involved. -
Pittsburgh Opera NEWS RELEASE
EMBARGO until 2/17/08 Pittsburgh Opera NEWS RELEASE CONTACT: BETH PARKER (412) 281-0912 X 248 [email protected] PHOTOS: MAGGIE JOHNSON (412) 281-0912 X 262 [email protected] Pittsburgh Opera Announces 2008-2009 Season: “A Journey of Imagination” Pittsburgh, PA (2/17/08) . Pittsburgh Opera announces its 2008-2009 season, “A Journey of Imagination” at the Benedum Center for the Performing Arts. Artistic Director Christopher Hahn says, “One of the wonderful things about opera is that it has the power to take us out of our ordinary lives into another world. This season we visit the ancient Middle East for Samson & Dalila, sunny Italy for Don Pasquale, the Latin Quarter of Paris for La bohème, and Jazz Age North Africa for The Italian Girl in Algiers.” Another important journey for the company is The Grapes of Wrath, a new opera by Ricky Ian Gordon and Michael Korie based on John Steinbeck’s classic American novel. Pittsburgh Opera’s Music Director, Antony Walker, who conducts three mainstage operas in the upcoming season, says, “This season showcases the incredible diversity of offerings that Pittsburgh Opera is now able to produce—bel canto comedies, French grand opera with all the trappings and Puccini’s huge Romantic score, as well as this wonderful new piece that so successfully fuses American popular music with grand operatic style.” SEASON HIGHLIGHTS • October 18-26, 2008: Saint-Saëns’ Samson & Dalila starring the incomparable mezzo- soprano Stephanie Blythe as Dalila, dramatic tenor Mark Lundberg as Samson, and Metropolitan Opera baritone Kim Josephson as the High Priest of Dagon. -
Otello Before They Attend
Welcome to Manitoba Opera This Study Guide has been created to assist you in preparing your students for their visit to the opera. It is our hope that you will be able to add this to your existing curriculum in order to expand your students’ understanding of opera, literature, history, and the fine arts. Materials in the Study Guide may be copied and distributed to students. Some students may wish to go over the information at home if there is insufficient time to discuss in class. Make the opera experience more meaningful and enjoyable by sharing with them knowledge and background on opera and Otello before they attend. Please Note: The Dress Rehearsal is the last opportunity the singers will have on stage to work with the orchestra before Opening Night. Since vocal demands are so great on opera singers, some singers choose not to sing in full voice during the Dress Rehearsal in order to preserve their vocal chords and avoid unnecessary strain. Table of Contents A Short Introduction to Opera ............................................................................................................. 2 Audience Etiquette ................................................................................................................................. 3 Cast List ................................................................................................................................................... 4 The Composer: Giuseppe Verdi ............................................................................................................ -
View PDF of Aria
NEAL S. BLAISDELL CONCERT HALL by Camille Saint-Saëns February 2, 4, 6, 2007 February Aria HAWAII OPERA THEATRE oahu 2118 kalakaua avenue 808.921.1000, ala moana center 808.942.1148 maui the shops at wailea 808.879.1060 shop www.gucci.com Director’s Notes by WILLIAM FLORESCU Saint-Saëns’ opera, which began life as an oratorio, presents challenges to a stage director - how does one make this piece dramatically gripping and real without resorting to contrived David & Verne Takagi dramatic devices that neither the score nor text call for? salute the The answer, I believe, lies in trusting the composer’s inherent dramatic bent, which is present in all of his music. Hawaii Opera Theatre If one is familiar with his Organ Symphony or piano concertos, it is immediately in its 45th season, apparent that his musical idiom is dramatic at its core. The dancing elements of inspiring us with works Samson are dramatically gripping, and the opening confrontation with Abimelech, of the highest caliber and the doomed temple scene also provide plenty of dramatic possibility. But the "hidden" dramatic possibilities of the score really reside in the tension that exists in and helping to make scenes where things are about to happen. Dalila’s various temptations of Samson Honolulu the are a classic example of how the operatic form freezes a moment in time and then artistic center comments and expands upon the situation. of the Pacific. Opera allows for this convention in a way that no other medium does. Because of this device, we as an audience have time to closely observe Samson’s struggles between the carnal and the sacred in a most riveting way. -
Téléchargez La Version
50 disques à gagner / 50 CDs to win LaScena Le guide canadien de la musique classique Canada's Guide to Musicale Classical Music La Scène musicale • The Music Scene http://www.brenrose.com/~scena GRATUIT / FREE GRATUIT Vol. 3.7 - mai / May 1998 Gerald Finley Richard Caniell Abroad Immortal Performances Recorded Music Society Montréal • Québec Toronto Ottawa Winnipeg Denis Brott Le troisi•me Festival de musique de chambre de MontrŽal Third Montreal Chamber Music Festival Canada Post Publication Mail Sales Agreement No. 1225561 No. Agreement Sales Mail Publication Post Canada Envois de publication canadienne, Contrat de vente / vente de Contrat canadienne, publication de Envois La Scena Musicale - mai 1998 ¥ May 1998 - Vol. 3, No. 7 - Page 2 et instrumentale. Chaque numŽro contient un calendrier de concerts, de confŽrences, de films, dÕŽmissions ainsi que des critiques et des Sommaire / Contents articles. LSM est publiŽ par La Sc•ne Gerald Finley................................................................................3 musicale, une organisme ˆ but non-lucratif. La Scena Musicale is dedicated to the enjoy- Denis Brott ..............................................................................4, 5 Mai 1998 - May 1998 ¥ Vol. 3, no. 7 ment of classical music. It is published ten Richard Caniell ........................................................................6,7 times per year. Inside readers will find listings ƒditeur/Publisher La Sc•ne musicale, of live concerts, lectures, films, broadcasts as Disques du mois / Discs of -
AHEAD Ex-Parks Chief Ends Legal Battle
u Marshall Midd'e School students get lessons in life, A3 Homdlawn I:IIW*HH|(:<THIMN WUf'IHJt* Putting you In touch Sunday with your world May 30,1999 Serving tHe Westland Community for 34 years €5 VOLUIW. 34 NlJMBFR 103 WESTLAND, MICHIGAN • 66 PAGES • http://observer-eccentric.com SEVENI Y-RVE CENTS O lMt BomaTown C«f»aituUc*Uoa* Nttwerk, lac. THE WEEK Ex-parks chief ends legal battle AHEAD Former Westland Parks and Recreation Direc and reputation damages from an ordeal issued an April 16 opinion dismissing tor Charles Skene apparently won't fight a ' "that will always dog him." Skene's wrongful firing lawsuit that he decision to dismiss a suit for wrongfulfiring .Skene has-worked in newspaper filed against the city and five officials: advertising for the last two years and Mayor Robert Thomas, Deputy Mayor he had filed. Skene now works in newspaper hasn't been able to restart his parks George Gillies, Budget Director Eliza SUNDAY advertising. and recreation career. beth Duggan, Westland police Lt. Gary BY DARRELL CLEM Stephen Boak said Wednesday. Skene was cleared of embezzling Sikorski and former Finanfce Director Remembering: The STAFF WRITER The decision means that Skene won't charges in February 1998 by a Wayne Michael Gorman. [email protected] receive any. city money even though he County Circuit Court jury that ruled On Wednesday, Mayor Thomas wel Wayne- Westland Memori he didn't embezzle thousands of dollars comed news that Skene apparently Charles Skene apparently won't chal was fired April 22, 1997, amid an 1 al Day Parade will begin lenge a judge's decision to dismiss a embezzling probe that ended with a from his department. -
Joshua Bell Dimitri Shostakovich Sting Y Edin Karamazov Franz Schreker
REVISTA DE MÚSICA Año XXI - Nº 213 - Noviembre 2006 - 6,30 ENTREVISTA Joshua Bell DOSIER Dimitri Shostakovich ENCUENTROS Sting y Edin Nº 213 - Noviembre 2006 SCHERZO Karamazov ACTUALIDAD Franz Schreker Dennis Russell Davies ESTUDIO Ley de Propiedad Intelectual AÑO XXI - Nº 213 - Noviembre 2006 - 6,30 € 2 OPINIÓN DOSIER Dimitri Shostakovich 113 CON NOMBRE Revisionistas PROPIO José Luis Pérez de Arteaga 114 6 Jos van Immerseel La intimidad del corredor de Enrique Martínez Miura fondo 8 Franz Schreker José Luis Tellez 118 Juan Carlos Moreno Artesanía y color 10 Dennis Russell Davies Elisa Rapado 124 Christian Springer Testimonios 128 Una discografía abundante 12 AGENDA Santiago Martín Bermúdez 134 20 ACTUALIDAD ENCUENTROS NACIONAL Sting y Edin Karamazov Juan Antonio Llorente 142 46 ACTUALIDAD ESTUDIO INTERNACIONAL La ley de la selva José Miguel Rodríguez Tapia 146 60 ENTREVISTA EDUCACIÓN Joshua Bell Pedro Sarmiento 148 Franco Soda JAZZ Pablo Sanz 150 64 Discos del mes LIBROS 152 SCHERZO DISCOS LA GUÍA 154 CONTRAPUNTO 65 Sumario Norman Lebrecht 160 Colaboran en este número: Javier Alfaya, Julio Andrade Malde, Iñigo Arbiza, Rafael Banús Irusta, Emili Blasco, Alfredo Brotons Muñoz, José Antonio Cantón, Patrick Dillon, Giacomo Di Vittorio, Pedro Elías Mamou, José Luis Fernández, Fernando Fraga, José Luis García del Busto, Manuel García Franco, José Antonio García y García, Antonio Gascó, Mario Gerteis, José Guerrero Martín, Fernando Herrero, Bernd Hoppe, Antonio Lasierra, Norman Lebrecht, Juan Antonio Llorente, Fiona Maddocks, Santiago Martín -
Resumenhistorico.Pdf
RESUMEN HISTÓRICO 1953/2020 resumen histórico 1953/2020 I FESTIVAL 1953 II FESTIVAL 1953 TOSCA Ballet: Valentina Rosa Ester, s. IL BARBIERE DI SIVIGLIA (G. PUCCINI) Kaschuba y Eugenia Esteban Recasens, t. (G. ROSSINI) Agosto, 16 Volguina R. Escala, t. Diciembre, 25 1ª representación Teatro: Coliseo Albia L. Pradelis, t. 6ª representación 1ª de este título Director musical: 1ª de este título Adriana Guerrini, s. RIGOLETTO Giuseppe Podestá Nicola Monti, t. Gianni Poggi, t. (G. VERDI) Director de escena: Enzo Mascherini, b. Anselmo Colzani, b. Agosto, 19 Giovanni Fiorini Ana Mª Olaria, s. Guillermo Arroniz, bj. 3ª representación Orquesta Municipal de Romeo Morisani, bj. Antonio Cabanes,b. 1ª de este título Bilbao Cristiano Dallamangas, bj. RESUMEN Esteban Recasens, t. Enzo Mascherini, b. Coros del Teatro del Liliana Pellegrino, mz. Lázaro Erauzquin, b. Ana María Olaria, s. Liceo y Teatro Nacional Lázaro Erauzquin, b. Rosa Ester, s. Gianni Poggi, t. Teatro: Coliseo Albia Salvatore di Tommaso, t. Director musical: Rosa Ester, s. Director musical: Mario Giuseppe Podestá Marco Stefano, bj. LA FAVORITA Parenti Director de escena: Pilar Torres, mz. (G. DONIZETTI) Director de escena: HISTÓRICO Giovanni Fiorini Lázaro Erauzquin, b. Agosto, 22 Giovanni Fiorini Orquesta Municipal de Guillermo Arroniz, bj. 5ª representación Orquesta Municipal de | 463 | Bilbao Esteban Recasens, t. 1ª de este título Bilbao Coros del Teatro del Director musical: Enzo Mascherini, b. Coros del Teatro Nacional Liceo y Teatro Nacional Giuseppe Podestá Elena Nicolai, mz. Teatro: Coliseo Albia Teatro: Coliseo Albia Director de escena: Gianni Poggi, t. Giovanni Fiorini Marco Stefanoni, bj. MADAMA BUTTERFLY AIDA Orquesta Municipal de Rosa Ester, s. -
A Critical Overview of Classical Music in Hamilton a Critical Overview of Classical Music in Hamilton
A CRITICAL OVERVIEW OF CLASSICAL MUSIC IN HAMILTON A CRITICAL OVERVIEW OF CLASSICAL MUSIC IN HAMILTON By TINA ANGELA DEPKO, BJ./MUSIC A Critical Portfolio Submitted to the School ofGraduate Studies in Partial Fulfillment ofthe Requirements for the Degree Master ofArts McMaster University © Copyright by Tina Angela Depko, April 2005 MASTER OF ARTS (2005) McMaster University (Music Criticism) Hamilton, Ontario TITLE: A Critical Overview ofClassical Music in Hamilton AUTHOR; Tina Angela Depko, B.J./Music (Carleton University) SUPERVISOR; Professor Paul Rapoport NUMBER OF PAGES; vi, 133 ii ABSTRACT Many people consider Hamilton a slightly distant suburb ofToronto, as well a city reliant on a struggling steel industry. Those interested in the arts may question what kind ofclassical music scene could exist in such a locale. This critical portfolio strives to answer this question, demonstrating that Hamilton possesses a rich classical music scene. The focus on seven local organizations supports this conclusion. These are Opera Ontario, the Hamilton Philharmonic Orchestra, chamberWORKS!, Symphony Hamilton, the John Laing Singers, the Bach Elgar Choir, and the Canadian Orpheus Male Choir. Through detailed background articles on each ofthese organizations, including examinations oftheir past, present and future, the issues affecting each are brought to the forefront, as are the attempts to fmd solutions. Reviews ofconcerts by each ofthe musical institutions reveal how well each is succeeding in producing high-quality events. An introductory essay sets the economic and demographic scene ofHamilton, with emphasis on how its characteristics affect the organizations. Parallels are drawn among issues affecting the seven groups, such as declining government grants and aging audiences. -
Lotte Lehmann & Her Legacy Vol. V ARIAS
MASTER CLASSES Lotte Lehmann & Her Legacy Vol. V ARIAS Gary Hickling MASTER CLASSES Lotte Lehmann & Her Legacy Vol. V ARIAS Gary Hickling i Introduction L otte Lehmann’s legacy in recordings, films, and writing offers as much fascination now as many years ago, and it’s a joy to discover how today’s technology allows access to much of it. Thus it has been my privilege to meld pieces of her legacy (in this case her master classes) into its own art form, a celebration worthy of her charisma and creativity. This Volume V of the series offers Lehmann’s teaching in opera master classes and a few private lessons. You can access the individual arias, opera scenes, and operas presented here in the Index. It’s alphabetized by composer, the opera’s title, as well as the aria’s title. Volume III offers individual songs, Lieder, mélodie. Volume IV provides the song cycles. Lehmann gave master classes beginning right after her farewell recital in 1951. They began at the MAW; then CalTech, Pasadena, California; University of Southern California; Northwestern University, Evanston, Illinois (41 classes); Jordan Hall, New England Conservatory, Boston; Mount Allison University, Sackville, New Brunswick, Canada; Town Hall, New York City; Wigmore Hall, London (at least 26 classes); Conservatory of Music at the University of Missouri, Kansas City, Missouri; College of Creative Studies, UCSB (at least 10 classes); Vienna, and Salzburg. In a press release for the 1967 Northwestern University master classes, the following sentence appears: “She does not want to turn her students, she says, ‘into a dozen other Lehmanns…I have always enough trouble with this one.’” This can be a motto for all that she was striving for. -
Copyright 2010, Michigan Opera Theatre S K Y S T H E L M T
Copyright 2010, Michigan Opera Theatre s K y s T H E L M T "Detroit has so much to offer, from the people to the industries. I feel like it's part of our responsibility to show the world that the possibilities are endless here." Heinz Prechter, Detroit Businessperson & Community Leader "We believe that when a business gets Europe and Asia, including nonstop selvice to involved in the economic development of Amsterdam three times a day, with connections our city, it benefits everybody . That's why to 100 cities in Europe, the Middle East, Africa Northwest's commitment to Detroit means and India. Together, we can make Detroit an so much to all of us. JJ even better place for all of us to live and work. The 51 ,000 people of Northwest Airlines are Visit our web site at www.nwa.com. proud to join Heinz Prechter in inviting the call your travel agent or call Northwest at world to Detroit. And we're proud to take 1-800-225-2525. You can also visit your City Detroit to the world with 9 daily nonstops to Ticket Office for all your ticketing needs. ~NORTHWEST VAIRLINES 1-800-225-2525 / www.nwa. com © 1998 Northwest Airlines, Inc. NOlthwest recycles enough paper products in one year to save over 6,874,000 gallons of water, 0 Copyright 2010, Michigan Opera Theatre ------------------------------------------------------------------------------ Few things are as soothing as a Robertson Brothers hOYne. Not to blow our own horn, but there's almost nothing as materials and our communities offer all the bells and whistles soothing as coming home to a Robertson you 'd expect-like golf courses, walking trails, Brothers home . -
The Mikel Rouse Talk Show 1
21ST CENTURY MUSIC FEBRUARY 2000 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. Subscription rates in the U.S. are $84.00 per year; subscribers elsewhere should add $36.00 for postage. Single copies of the current volume and back issues are $8.00 (large back orders must be ordered by volume and be pre-paid). Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. e-mail: [email protected]. Typeset in Times New Roman. Copyright 2000 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Typescripts should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors with access to IBM compatible word-processing systems are encouraged to submit a floppy disk, or e-mail, in addition to hard copy. Prospective contributors should consult "The Chicago Manual of Style," 13th ed.