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AWAR of INDIVIDUALS: Bloomsbury Attitudes to the Great
2 Bloomsbury What were the anti-war feelings chiefly expressed outside ‘organised’ protest and not under political or religious banners – those attitudes which form the raison d’être for this study? As the Great War becomes more distant in time, certain actions and individuals become greyer and more obscure whilst others seem to become clearer and imbued with a dash of colour amid the sepia. One thinks particularly of the so-called Bloomsbury Group.1 Any overview of ‘alter- native’ attitudes to the war must consider the responses of Bloomsbury to the shadows of doubt and uncertainty thrown across page and canvas by the con- flict. Despite their notoriety, the reactions of the Bloomsbury individuals are important both in their own right and as a mirror to the similar reactions of obscurer individuals from differing circumstances and backgrounds. In the origins of Bloomsbury – well known as one of the foremost cultural groups of the late Victorian and Edwardian periods – is to be found the moral and aesthetic core for some of the most significant humanistic reactions to the war. The small circle of Cambridge undergraduates whose mutual appreciation of the thoughts and teachings of the academic and philosopher G.E. Moore led them to form lasting friendships, became the kernel of what would become labelled ‘the Bloomsbury Group’. It was, as one academic described, ‘a nucleus from which civilisation has spread outwards’.2 This rippling effect, though tem- porarily dammed by the keenly-felt constrictions of the war, would continue to flow outwards through the twentieth century, inspiring, as is well known, much analysis and interpretation along the way. -
A Midsummer Night's Dream
Monday 25, Wednesday 27 February, Friday 1, Monday 4 March, 7pm Silk Street Theatre A Midsummer Night’s Dream by Benjamin Britten Dominic Wheeler conductor Martin Lloyd-Evans director Ruari Murchison designer Mark Jonathan lighting designer Guildhall School of Music & Drama Guildhall School Movement Founded in 1880 by the Opera Course and Dance City of London Corporation Victoria Newlyn Head of Opera Caitlin Fretwell Chairman of the Board of Governors Studies Walsh Vivienne Littlechild Dominic Wheeler Combat Principal Resident Producer Jonathan Leverett Lynne Williams Martin Lloyd-Evans Language Coaches Vice-Principal and Director of Music Coaches Emma Abbate Jonathan Vaughan Lionel Friend Florence Daguerre Alex Ingram de Hureaux Anthony Legge Matteo Dalle Fratte Please visit our website at gsmd.ac.uk (guest) Aurelia Jonvaux Michael Lloyd Johanna Mayr Elizabeth Marcus Norbert Meyn Linnhe Robertson Emanuele Moris Peter Robinson Lada Valešova Stephen Rose Elizabeth Rowe Opera Department Susanna Stranders Manager Jonathan Papp (guest) Steven Gietzen Drama Guildhall School Martin Lloyd-Evans Vocal Studies Victoria Newlyn Department Simon Cole Head of Vocal Studies Armin Zanner Deputy Head of The Guildhall School Vocal Studies is part of Culture Mile: culturemile.london Samantha Malk The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation A Midsummer Night’s Dream Music by Benjamin Britten Libretto adapted from Shakespeare by Benjamin Britten and Peter Pears -
Lady Ottoline Morrell Papers (1896-1938) (Add MS 88886) Table of Contents
British Library: Western Manuscripts Lady Ottoline Morrell Papers (1896-1938) (Add MS 88886) Table of Contents Lady Ottoline Morrell Papers (1896–1938) Key Details........................................................................................................................................ 1 Arrangement..................................................................................................................................... 1 Provenance........................................................................................................................................ 1 Add MS 88886/1/1–3 Add MS 88886/1 Letters.Add MS 88886/1/1–3. Lady Ottoline Morrell Papers. Vols. i–iii. Letters of Lady....................................................................................................... 2 Add MS 88886/2/1–32 Add MS 88886/2 Diaries. (1905–1938)............................................................ 4 Add MS 88886/3/1–15 Add MS 88886/3 Notebooks. (1896–1937)...................................................... 20 Add MS 88886/4/1–41 Add MS 88886/4. Journals. (1901–1937)......................................................... 29 Add MS 88886/5/1–3 Add MS 88886/5 Visitors' Books. Add MS 88886/5/1–3. Lady Ottoline Morrell Papers. Vols. xcii–xciv. .......................................................................................................... 50 Add MS 88886/6/1–20 Add MS 88886/6 Transcriptions. (1907–1997)................................................. 52 Key Details Collection Area British Library: -
2017 Season 2
1 2017 SEASON 2 Eugene Onegin, 2016 Absolutely everything was perfection. You have a winning formula Audience member, 2016 1 2 SEMELE George Frideric Handel LE NOZZE DI FIGARO Wolfgang Amadeus Mozart PELLÉAS ET MÉLISANDE Claude Debussy IL TURCO IN ITALIA Gioachino Rossini SILVER BIRCH Roxanna Panufnik Idomeneo, 2016 Garsington OPERA at WORMSLEY 3 2017 promises to be a groundbreaking season in the 28 year history of Cohen, making his Garsington debut, and directed by Annilese Miskimmon, Garsington Opera. Artistic Director of Norwegian National Opera, who we welcome back nine years after her Il re pastore at Garsington Manor. We will be expanding to four opera productions for the very first time and we will now have two resident orchestras as the Philharmonia Orchestra joins us for Our fourth production will be a revival from 2011 of Rossini’s popular comedy, Pelléas et Mélisande. Il turco in Italia. We are delighted to welcome back David Parry, who brings his conducting expertise to his 13th production for us, and director Martin Duncan Our own highly praised Garsington Opera Orchestra will not only perform Le who returns for his 6th season. nozze di Figaro, Il turco in Italia and Semele, but will also perform the world premiere of Roxanna Panufnik’s Silver Birch at the conclusion of the season. To cap the season off we are very proud to present a brand new work commissioned by Garsington from composer Roxanna Panufnik, to be directed Pelléas et Mélisande, Debussy’s only opera and one of the seminal works by our Creative Director of Learning & Participation, Karen Gillingham, and I of the 20th century, will be conducted by Jac van Steen, who brought such will conduct. -
Mario Ferraro 00
City Research Online City, University of London Institutional Repository Citation: Ferraro Jr., Mario (2011). Contemporary opera in Britain, 1970-2010. (Unpublished Doctoral thesis, City University London) This is the unspecified version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/1279/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] CONTEMPORARY OPERA IN BRITAIN, 1970-2010 MARIO JACINTO FERRARO JR PHD in Music – Composition City University, London School of Arts Department of Creative Practice and Enterprise Centre for Music Studies October 2011 CONTEMPORARY OPERA IN BRITAIN, 1970-2010 Contents Page Acknowledgements Declaration Abstract Preface i Introduction ii Chapter 1. Creating an Opera 1 1. Theatre/Opera: Historical Background 1 2. New Approaches to Narrative 5 2. The Libretto 13 3. The Music 29 4. Stage Direction 39 Chapter 2. Operas written after 1970, their composers and premieres by 45 opera companies in Britain 1. -
William Dazeley Baritone
William Dazeley Baritone William Dazeley is a graduate of Jesus College, Cambridge. He studied singing at the Guildhall School of Music and Drama, where he received several notable prizes including the prestigious Gold Medal, the Decca/Kathleen Ferrier Prize and the Richard Tauber Prize and won such competitions as the Royal Overseas League Singing Competition and the Walther Grüner International Lieder Competition. Engagements in the current season include MARCELLO La Boheme for Grange Park Opera, the world premiere of LIKE FLESH for the Opera de Lille and MUSIKLEHRER Ariadne auf Naxos for the Opera de Montpellier. Most recently, William sang DON ALFONSO Così fan tutte for the Royal Danish Opera, FATHER Hansel & Gretel in his company debut for Grange Park Opera, PROSECUTOR Frankenstein in the world premiere of Mark Grey’s opera Frankenstein at La Monnaie, COUNT Capriccio for Garsington Opera and PANDOLFE Cendrillon for Glyndebourne on Tour for whom he also appeared as CLAUDIUS in Brett Dean’s new award winning Hamlet. William has appeared in many of the world’s opera houses, where roles have included COUNT Cherubin, MARCELLO La Bohème, GUGLIELMO Così fan tutte, ANTHONY Sweeney Todd, YELETSKY Queen of Spades, MERCUTIO Romeo et Juliette and FIGARO Il Barbiere di Siviglia Royal Opera House, Covent Garden, PAPAGENO The Magic Flute English National Opera, ALFONSO Così fan tutte, Yeletsky, TITLE ROLE Don Giovanni, POSA Don Carlos, FANINAL Der Rosenkavalier, DANILO The Merry Widow, MR GEDGE Albert Herring Opera North, L’AMI The Fall of the -
Two Young Singers Win Awards 11
TWO YOUNG SINGERS WIN AWARDS Garsington Opera is delighted to announce the winners of two awards in recognition of their extraordinary talent, musical skill and contribution to the 2014 productions. The 2014 Helen Clarke Award has been won by Bradley Travis and the Simon Sandbach Award by Richard Dowling. Both singers return in the 2015 season and, as well as singing in the Britten chorus, Bradley sings German Father / Priest in St Marks / 6th Boy on Board and understudies the challenging role of the Traveller in Britten’s Death in Venice and Richard sings the roles of the Glass Maker / 1st Boy on Board in Death in Venice as well as understudying Baron Lummer in Intermezzo. One of Garsington Opera’s key objectives is to discover, encourage and nurture the best young performing talent who are given the opportunity to work alongside singers, conductors and directors of distinction. This year the 2015 season that runs from Friday 5 June – Sunday 26 July features three new productions – Richard Strauss’ Intermezzo, Benjamin Britten’s Death in Venice, Mozart’s Così fan tutte and a collaboration with the Royal Shakespeare Company of Shakespeare’s A Midsummer Night’s Dream with Mendelssohn’s incidental music. Bradley Travis said “I am very pleased to receive this award. Garsington Opera is so important to me as it was my first professional job after leaving the Royal College of Music and proved to be a highly rewarding, creative and enjoyable experience. “The award couldn’t have come at a better time and I am delighted” says Richard Dowling. -
GARSINGTON OPERA to MOVE to WORMSLEY ESTATE, HOME of the GETTY FAMILY, in 2011 Submitted By: Clare Adams Publicity Thursday, 29 April 2010
GARSINGTON OPERA TO MOVE TO WORMSLEY ESTATE, HOME OF THE GETTY FAMILY, IN 2011 Submitted by: Clare Adams Publicity Thursday, 29 April 2010 The Directors of Garsington Opera (http://www.garsingtonopera.org) are pleased to announce that Wormsley Estate, the home of the Getty family, is the preferred site for Garsington Opera with effect from the 2011 season. Garsington Opera, founded by the late Leonard Ingrams and his wife Rosalind in 1989, has established an enviable reputation over the last twenty-one years for promoting opera of the highest professional quality in an outdoor setting for a short summer season. Wormsley Estate is set within a magnificent historic landscape in the Chiltern Hills, in an Area of Outstanding Natural Beauty. An elegant pavilion auditorium will be created, to be assembled annually, sited close to an attractive collection of flinted buildings, not far from Wormsley House, and nestling in the beautiful deer park. After twenty-one years at Garsington Manor, Garsington Opera has been seeking a new location over the last two years and has reached agreement with Mark Getty to hold the festival at the Wormsley Estate from the summer of 2011. Garsington Opera has now started consultations with the local community, relevant authorities and other interested parties and shall be applying for planning consent. As well as being the setting of the famous cricket ground established by Sir Paul Getty, Wormsley enjoys an impressive two acre 18th century walled garden, a short drive away from the opera pavilion. The estate straddles the Oxfordshire / Buckinghamshire border. It is located close to the M40, is less than fifteen miles from Garsington Manor, and under an hour from central London. -
Download Booklet
MAG IC L A N T Sophie Daneman ~ soprano Beth Higham-Edwards ~ vibraphone E D Alisdair Hogarth ~ piano Anna Huntley ~ mezzo-soprano R A George Jackson ~ conductor Sholto Kynoch ~ piano O N Anna Menzies ~ cello Edward Nieland ~ treble H Sinéad O’Kelly ~ mezzo-soprano Natalie Raybould ~ soprano - T S E Collin Shay ~ countertenor Philip Smith ~ baritone Nicky Spence ~ tenor A Mark Stone ~ baritone Verity Wingate ~ soprano C L N A E R S F L Y R E H C Y B S G N O S FOREWORD Although the thought of singing and acting in front of an audience terrifies me, there is nothing I enjoy more than being alone at my piano and desk, the notes on an empty page yet to be fixed. Fortunately I am rarely overheard as I endlessly repeat words and phrases, trying to find the music in them: the exact pitches and rhythms needed to portray a particular emotion often take me an exasperatingly long time to find. One of the things that I love most about writing songs is that I feel I truly get to know and understand the poetry I am setting. The music, as I write it, allows me to feel as if I am inhabiting the character in the poem, and I often only discover what the poem really says to me when I reach the final bar. This disc features a number of texts either written especially for me (Kei Miller, Tamsin Collison, Andrew Motion, Stuart Murray), or already in existence (Kate Wakeling, Ian McMillan, 4th century Aristotle). -
Conservation Cases Processed by the Gardens Trust 19.11.2020 Response By
CONSERVATION CASES PROCESSED BY THE GARDENS TRUST 19.11.2020 This is a list of all the conservation consultations that The Gardens Trust has logged as receiving over the past week, consisting mainly, but not entirely, of planning applications. Cases in England are prefixed by ‘E’ and cases in Wales with ‘W’. When assessing this list to see which cases CGTs may wish to engage with, it should be remembered that the GT will only be looking at a very small minority. SITE COUNTY SENT BY REFERENCE GT REF DATE GR PROPOSAL RESPONSE RECEIVED AD BY E ENGLAND Northwoods House Avon South P20/22078/LB E20/1148 16/11/2020 N PLANNING APPLICATION External works 07/11/2020 Gloucestershi https://developments.so to install an electric vehicle charging re DC uthglos.gov.uk/online- point. Northwoods House, Old applications/ Gloucester Road, Winterbourne, South Gloucestershire BS36 1RS. MISCELLANEOUS Tyringham Buckinghams Milton 20/02790/FUL E20/1155 16/11/2020 II* PLANNING APPLICATION Erection of 07/12/2020 hire Keynes www.milton- Orangery on south-west elevation. The keynes.gov.uk/publicacce Dower House, 18 Garden Lane, ss Tyringham, Newport Pagnell MK16 9ED. BUILDING ALTERATION Bulstrode Park Buckinghams South Bucks PL/20/3741/HB E20/1175 19/11/2020 II* PLANNING APPLICATION Listed Building 10/12/2020 hire DC https://pa.chilternandso Consent for: Emergency window repairs to replace/refurbish missing glass, uthbucks.gov.uk/online- frames, and ironmongery and applications/ subsequent damage to windows due to vandalism and weather damage. Soft Strip of modern floor finishes, sanitaryware, plasterboard partitions to enable drying out of historic fabric. -
This Work Has Been Submitted to NECTAR, the Northampton Electronic Collection of Theses and Research
This work has been submitted to NECTAR, the Northampton Electronic Collection of Theses and Research. Conference or Workshop Item Title: Katherine Mansfield and T.S. Eliot Creator: Wilson, J. M. Example citation: Wilson, J. M. (2015) Katherine Mansfield and T.S. Eliot. Paper presented to: Katherine Mansfield and the 'Blooms Berries', Newberry Library, Chicago, USA, 2830 May 2015. Version: Presented version Official URL: http://www.katherinemansfieldsociety.org/chicagoconference 2015/ NECTARhttp://nectar.northampton.ac.uk/7579/ Abstract: “Katherine Mansfield and T.S. Eliot” Katherine Mansfield and T. S. Eliot had a friendly yet fraught relationship in which an initial mutual admiration turned into wariness. Their literary acquaintance began with the Bloomsbury Circle, and Mansfield’s enthusiasm for The Love Song of Alfred J. Prufrock which she read out at Garsington Manor in June 1917, saying: ‘that’s what I want modern poetry to be’, and ‘it is after all, a short story’. Later she saw his poetry as ‘unspeakably dreary’, while he formed the view that she was ‘a thick skinned toady’, and ‘a dangerous WOMAN’. Eliot’s brief comments on Mansfield’s story ‘Bliss’ give some insight into his views of her work. This paper, however, aims to examine his modernism as a possible influence on on her artistic practice (evident in allusions to ’Preludes’, Prufrock and ‘Rhapsody on a Winter’s Night’), and the possible impact of his criticism and theories of art on her thinking (for example, her belief in the impersonality of the artist). Finally it will consider how the relationship has been taken up as a subject for fiction by New Zealand writer and critic, C.K. -
Regional Modernism in Kangaroo–A Foreground To
J∙D∙H∙L∙S Journal of D. H. Lawrence Studies Citation details Essay: SHIFTING THE AXIS: REGIONAL MODERNISM IN KANGAROO – A FOREGROUND TO AUSTRALIAN LITERARY MODERNISM Author: David Game Source: Journal of the D. H. Lawrence Society, vol. 5.1 (2018) Pages: 83‒104 Copyright: individual author and the D. H. Lawrence Society. Quotations from Lawrence’s works © The Estate of Frieda Lawrence Ravagli. Extracts and poems from various publications by D. H. Lawrence reprinted by permission of Pollinger Limited (www.pollingerltd.com) on behalf of the Estate of Frieda Lawrence Ravagli. A Publication of the D. H. Lawrence Society of Great Britain 84 JDHLS 5.1 (2018) SHIFTING THE AXIS: REGIONAL MODERNISM IN KANGAROO – A FOREGROUND TO AUSTRALIAN LITERARY MODERNISM DAVID GAME As the welcome and monumental The Cambridge History of Modernism (2016) shows, the parameters of modernism have been further shaped and defined, and Lawrence’s modernist credentials continue to be illuminated by scholars on both sides of the Atlantic.1 Although not one of “‘The Men of 1914’ – Pound, Eliot, Joyce, and Wyndham Lewis”, he is usually included among key modernist figures, such as Mansfield, Yeats and Woolf.2 Pericles Lewis, in his Preface to The Cambridge Introduction to Modernism (2007), sees Lawrence as one of the “major figures in English-language modernism”.3 In this essay I examine Kangaroo (1923) as a modernist novel through the lens of “regional modernism”, broadening and extending our understanding of Lawrence’s engagement with the local, and providing a new basis for evaluating the novel as a major modernist work.