DOCSLIB.ORG

Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt (De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification. -------------------------------- Signature -------------------------------- Date ii ABSTRACT Deon van der Walt was, at the height of his career, considered the leading lyric tenor of his generation. In a career that spanned more than 25 years he performed in the great opera houses of the world and sang for the leading conductors of the time, sharing the stage with the best singers in the world. He was the first male South African to accomplish the so-called “grand slam” of opera, having sung in the Royal Opera House, Covent Garden (London), Wiener Staatsoper (Vienna), La Scala (Milan) and the Metropolitan Opera House (New York). He was also a prolific oratorio and lieder singer, collaborating with the best artists the musical world had to offer. In addition he left a large recorded legacy, both published and unpublished. His untimely death on 29 November 2005 was extensively reported on both locally and abroad - a fact which again highlighted the importance of his personal and professional contribution to the international opera world. The Deon van der Walt Collection is the single most important key to unlocking the life and career of one of the most successful South African opera singers of all time. It was bequeathed to the Nelson Mandela Metropolitan University (NMMU) Library the Deon van der Walt Trust in 2007. The collection is made up of an arbitrary assortment of books, documents, sound and video recordings that were left in van der Walt’s Zürich accommodations at the time of his death in 2005. It is housed in separate section on the lower level of the South Campus Library of the NMMU. The collection has been partially catalogued by the NMMU Library but left largely unattended for the last 6 years. The compiling of an annotated catalogue of this collection is the vital first step in connecting the dots of an extraordinary musical career that was hailed as one of the greatest of his time --------------------------------------------------------------------- iii OPSOMMING Op die kruin van sy loopbaan is Deon van der Walt (1958-2005) gereken as een van die toonaangewende liriese tenore van sy tyd. Sy loopbaan het oor bykans 25 jaar gestrek en hy het in hierdie tydperk in die wêreld se belangrikste operahuise gesing en die verhoog met die voorste kuntenaars van die tyd gedeel. Hy was die eerste manlike Suid-Afrikaanse sanger wat die sogenaamde ‘Grand Slam’ van opera kon behaal deur in die Koninklike Operahuis, Covent Garden (London), die Weense Staatsopera (Wenen), La Scala (Milaan) en die Metropolitaanse Operahuis (New York) te sing. Hy was ook ‘n vooraanstaande lieder en oratorium vertolker en het met gerekende orkeste en begeleiers saamgewerk. Benewens sy verhoogwerk het hy vele komersiëel-vrygestelde klank en video opnames agtergelaat, asook ‘n groot versameling privaat opnames. Daar is intensief oor sy ontydige dood op 29 November 2005 verslag gedoen in die media - plaaslik sowel as internasionaal – ‘n feit wat weereens sy belangrikheid in die profesionele operawêreld boekstaaf. Die Deon van der Walt Versameling kan met reg beskou word as die belangrikste toegangspunt tot die onstluiting van die lewe en werk van een van Suid-Afrika se mees suksesvolle operasangers. Die versameling is in 2007 aan die Biblioteek van die Nelson Mandela Metropolitaanse Universiteit (NMMU) geskenk deur die Deon van der Walt Trust. Die versameling bestaan uit ‘n lukrake versameling partiture, boeke, opnames en dokumente wat ten tye van van der Walt se dood in 2005 in sy woonplek in Zürich, Switzerland agter gelaat is. Die versameling word in ‘n aparte vertrek op die laervlak van die Suid-Kampus Biblioteek van die NMMU gehuisves en is gedeeltelik gekatalogiseer, maar grootliks verwaarloos gelaat vir die laaste 6 jaar. Die opstelling van ‘n beskrywende katalogus van die versameling is die eerste stap in die ontrafeling van ‘n loopbaan en lewe wat op sy kruin as die een van die uitmuntendste in ‘n geslag beskou is. ----------------------------------------------------------------------------------- iv KEY WORDS Deon van der Walt, South African Tenors, NMMU Library, Music Archives, Annotated Catalogue, Veenwouden, Brenda Rein, Deon van der Walt Collection, Opera, Lieder --------------------------------------------------------------------------------- v ACKNOWLEDGEMENTS I am indebted to many people who helped and supported me to complete not only this treatise but also the other facets of this study. I would like to express my sincere gratitude to Zelda Potgieter, my supervisor. Her sober guidance and uncanny ability to bring order to my sometimes chaotic ramblings is an inspiration. Sharing their knowledge about Deon van der Walt’s career and pointing me in the right direction to find the relevant facts, I have to thank Lionel van Zyl, Andries van Rensburg, Weiß Doubell, Lize Thomas, Brenda Rein and Mrs Sheila van der Walt. Thank you also to the staff and the NMMU Library, specifically Ms Desiree Minnaar, Ms Marlene Scharf and Ms Madeleine Clare. My many friends who took time out to share the stage with me as part of the performance requirements for this degree – Elizabeth Lombard, Erik Albertyn, Juan Munoz, Magdalene Minnaar, Minette du Toit-Pearce, Gareth Williams and Pierre Malan, and not to forget Albie van Schalkwyk who ensured we began and ended together and sounded good in between. Thank you for lending an ear between rehearsals and helping me bring this entire project to fruition. I am fortunate to have the unwavering support of my better half, Gerhard Maritz, without whom I would never have been able to complete this project. Thank you for catching all the balls that I dropped along the way and allowing me to indulge in this flight of fancy. I am also grateful to my parents and siblings for their support – listening, helping and just letting me get on with it. Thank you. Lastly I have to thank the man, who with his golden voice and amazing ability to communicate with his instrument, inspired me both in life and death. Deon van der Walt deserves a living legacy – something I hope this treatise will be a small first step to help ensure. -------------------------------------------------------------------------------- 1 CHAPTER 1 – INTRODUCTION TO THIS STUDY 1. Aim of the Research When the idea for this research project was in its infancy, I began – as is customary in such cases – by scouring the internet and the library catalogues of academic institutions in South Africa in search of sources on Deon van der Walt, only to make a most startling and disturbing discovery. What I found was one BMus Honours paper, some magazine and newspaper articles, performance reviews and - sadly - a plethora of obituaries, but that not a single serious academic work or published biography had yet been written on one of the brightest opera stars ever to emerge from South Africa. Eight years after the death of Deon van der Walt, his legacy remains virtually untouched in our musicological discourse. Many reasons can be offered up for this neglect, not least of which involves the tragic and puzzling circumstances of his death and the emotional response this inevitably stirs in those local scholars of opera who might otherwise have been in a position to take on such a task, particularly as, for the most part, these same scholars count themselves among Van der Walt’s many personal friends; in a case such as this, subjective response inevitably clouds and undermines any attempts at objective scholarly rigour. The aim of this research is therefore to make some contribution towards addressing this lacuna. The Deon van der Walt Collection in the Library of the Nelson Mandela Metropolitan University is the single most important key to unlocking the life and career of this South African icon. The compiling of an annotated catalogue of this collection is the vital first step to connecting the dots of an
Load more

Recommended publications
  • 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.
    [Show full text]
  • 10-12-2019 Turandot Mat.Indd
    Synopsis Act I Legendary Peking. Outside the Imperial Palace, a mandarin reads an edict to the crowd: Any prince seeking to marry Princess Turandot must answer three riddles. If he fails, he will die. The most recent suitor, the Prince of Persia, is to be executed at the moon’s rising. Among the onlookers are the slave girl Liù, her aged master, and the young Calàf, who recognizes the old man as his long-lost father, Timur, vanquished King of Tartary. Only Liù has remained faithful to the king, and when Calàf asks her why, she replies that once, long ago, Calàf smiled at her. The mob cries for blood but greets the rising moon with a sudden fearful reverence. As the Prince of Persia goes to his death, the crowd calls upon the princess to spare him. Turandot appears in her palace and wordlessly orders the execution to proceed. Transfixed by the beauty of the unattainable princess, Calàf decides to win her, to the horror of Liù and Timur. Three ministers of state, Ping, Pang, and Pong, appear and also try to discourage him, but Calàf is unmoved. He reassures Liù, then strikes the gong that announces a new suitor. Act II Within their private apartments, Ping, Pang, and Pong lament Turandot’s bloody reign, hoping that love will conquer her and restore peace. Their thoughts wander to their peaceful country homes, but the noise of the crowd gathering to witness the riddle challenge calls them back to reality. In the royal throne room, the old emperor asks Calàf to reconsider, but the young man will not be dissuaded.
    [Show full text]
  • In Santa Cruz This Summer for Special Summer Encore Productions
    Contact: Peter Koht (831) 420-5154 [email protected] Release Date: Immediate “THE MET: LIVE IN HD” IN SANTA CRUZ THIS SUMMER FOR SPECIAL SUMMER ENCORE PRODUCTIONS New York and Centennial, Colo. – July 1, 2010 – The Metropolitan Opera and NCM Fathom present a series of four encore performances from the historic archives of the Peabody Award- winning The Met: Live in HD series in select movie theaters nationwide, including the Cinema 9 in Downtown Santa Cruz. Since 2006, NCM Fathom and The Metropolitan Opera have partnered to bring classic operatic performances to movie screens across America live with The Met: Live in HD series. The first Live in HD event was seen in 56 theaters in December 2006. Fathom has since expanded its participating theater footprint which now reaches more than 500 movie theaters in the United States. We’re thrilled to see these world class performances offered right here in downtown Santa Cruz,” said councilmember Cynthia Mathews. “We know there’s a dedicated base of local opera fans and a strong regional audience for these broadcasts. Now, thanks to contemporary technology and a creative partnership, the Metropolitan Opera performances will become a valuable addition to our already stellar lineup of visual and performing arts.” Tickets for The Met: Live in HD 2010 Summer Encores, shown in theaters on Wednesday evenings at 6:30 p.m. in all time zones and select Thursday matinees, are available at www.FathomEvents.com or by visiting the Regal Cinema’s box office. This summer’s series will feature: . Eugene Onegin – Wednesday, July 7 and Thursday, July 8– Soprano Renée Fleming and baritone Dmitri Hvorostovsky star in Tchaikovsky’s lushly romantic masterpiece about mistimed love.
    [Show full text]
  • Eberhard Waechter“
    DIPLOMARBEIT Titel der Diplomarbeit „Eberhard Waechter“ Verfasserin Mayr Nicoletta angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2011 Studienkennzahl: A 317 Studienrichtung: Theater-, Film- und Medienwissenschaft Betreuerin: Univ.-Prof.Dr. Hilde Haider-Pregler Dank Ich danke vor allem meiner Betreuerin Frau Professor Haider, dass Sie mir mein Thema bewilligt hat und mir mit Rat und Tat zur Seite stand. Ich danke der Familie Waechter und Frau Anneliese Sch. für die Bereitstellung des Materials. Ich danke meiner Schwester Romy und meiner „Seelenverwandten“ Sheila und all meinen Freunden für ihre emotionale Unterstützung und die zahlreichen motivierenden Gespräche. Ich danke meinem Bruder Florian für die Hilfe im Bereich der Computertechnik. Ein großer Dank gilt meiner Tante Edith, einfach dafür, dass es dich gibt. Außerdem danke ich meinen Großeltern, dass sie meine Liebe zur Musik und zur Oper stets enthusiastisch aufgenommen haben und mit mir Jahr für Jahr die Operettenfestspiele in Bad Ischl besucht haben. Ich widme meine Diplomarbeit meinen lieben Eltern. Sie haben mich in den letzten Jahren immer wieder finanziell unterstützt und mir daher eine schöne Studienzeit ermöglicht haben. Außerdem haben sie meine Liebe und Leidenschaft für die Oper stets unterstützt, mich mit Büchern, Videos und CD-Aufnahmen belohnt. Ich danke euch für eure Geduld und euer Verständnis für eure oft komplizierte und theaterbessene Tochter. Ich bin glücklich und froh, so tolle Eltern zu haben. Inhalt 1 Einleitung ..........................................................................................
    [Show full text]
  • Richard Strauss's Ariadne Auf Naxos
    Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails.
    [Show full text]
  • Diszkográfia Az Első Kötethez
    © Typotex Kiadó Diszkográfia az első kötethez Janet Baker: Full Circle Her last year in Opera Gluck: Alceste. The Royal Opera Covent Garden Donizetti: Stuart Maria. English National Opera Gluck: Orfeo ed Euridice. Glyndebourne Festival Opera Felvétel: 1992 Warner, NVC ARTS, 2006, DVD 50-51011-4855-2-7 Beethoven: Fidelio Waltraud Meier, Plácido Domingo, Falk Stuckmann, René Pape, Soile Isokoski, Werner Güra, Kwangchul Youn Chor der Deutschen Staatsoper Berlin, Staatskapelle Berlin Vezényel: Daniel Barenboim Felvétel: Groβer Sendesaal, Berlin, May/June 1999 Teldec, 1999, 2 CD 3984-25249-2 Beethoven: Fidelio Dietrich Fischer-Dieskau, Hans Sotin, René Kollo, Gundula Janowitz, Manfred Jungwirth, Lucia Popp, Adolf Dallapozza, Karl Terkal, Alfred Sramek Wiener Staatsoperchor, Wiener Philharmoniker Vezényel: Leonard Bernstein Felvétel: Wien, Musikverein, Groβer Saal, 2/1978 Deutsche Grammophon, 1978, 2 CD 419 438-2 Beethoven: Fidelio Leonie Rysanek, Judith Blegen, Jon Vickers, Walter Berry, Giorgio Tozzi, Murray Dickie, John Macurdy, Leo Goeke, Robert Goodloe Orchestra e coro dell’Opera di San Francisco Vezényel: Karl Böhm Élő felvétel: 29. 11. 1968, San Francisco Melodram, 1990, 2 CD 27086 Beethoven: Fidelio Michael Schade, Elizabeth Norberg-Schulz, Matthias Hölle, Deborah Voigt, www.interkonyv.hu © Fodor Géza jogutóda © Typotex Kiadó 248 • Mi szól a lemezen? Günter von Kannen, Andreas Schulist, Wielfried Vorwol, Ben Heppner, Thomas Quasthoff Symphonieorchester und Chor des Bayerischen Rundfunks, Bavarian Radio Symphony Orchestra and Chorus
    [Show full text]
  • Dissertation
    DISSERTATION Titel der Dissertation Dr. Marcel Prawy - Pionier und Wegbereiter des Musicals vom Broadway nach „Good Old Europe“ Verfasserin Mag. Wilhelmine Brandtner angestrebter akademischer Grad Doktorin der Philosophie (Dr.phil.) Wien, 2012 Studienkennzahl lt. Studienblatt: A 092 317 Dissertationsgebiet lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuerin: Prof. Dr. Hilde Haider 2 Diese Arbeit widme ich der Künstlerin Olive Moorefield - Mach. 3 4 Die Zeit war reif für das Musical, mit guten Geschichten, origineller 1 Musik, einem schlagkräftigen Team: Prawy ante portas! 1 Marcel Prawy erzählt aus seinem Leben. S. 113 (Beitrag des Bühnenbildners Walter von Hoesslin). 5 ABKÜRZUNGEN: AB Archivbox DEA Deutschsprachige Erstaufführung DS Durchschlag (TS DS - Typoskript Durchschlag) E - Musik Ernste Musik ISB Information Services Branch M Musik und B (Buch) n.k. (noch) nicht katalogisiert NL Nachlass ÖEA Österreichische Erstaufführung ÖTM Österreichisches Theatermuseum SS Sommersemester (WS Wintersemester) Thewi Institut für Theater-, Film- und Medienwissenschaft UA Uraufführung U - Musik Unterhaltungsmusik USIS US Information Service wibi HSS Wienbibliothek im Rathaus - Handschriftensammlung wibi DSS Wienbibliothek im Rathaus - Druckschriftensammlung ( wibi - „wienbibliothek im rathaus“ - Kleinschreibung siehe offizielle Rathaus - Informationsfolder ). ZPH Zuwachsprotokoll (1298 für Nachlass Marcel Prawy) 6 INHALTSANGABE Marcel Prawy - Pionier und Wegbereiter des Musicals vom Broadway nach „Good Old Europe“ 1. Einleitung - „Lernet Amerika lieben!“ Seite 12 2. Marcel Prawy - Biographie „in nuce“ - „Musik ist mein Leben - Melodien vergesse ich nicht“ Seite 17 3. Geschichte des Musicals: 3.1. Das amerikanische Musical - Etymologie, Historie und Charakteristika eines (multi)- kulturellen Phänomens Seite 20 4. Vorgeschichte des Musicals amerikanischer Provenienz Seite 23 4.1. Die Minstrel Show Seite 23 4.2. Der Jazz Seite 25 4.3.
    [Show full text]
  • 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
    [Show full text]
  • The Inventory of the Deborah Voigt Collection #1700
    The Inventory of the Deborah Voigt Collection #1700 Howard Gotlieb Archival Research Center Voigt, Deborah #1700 6/29/05 Preliminary Listing I. Subject Files. Box 1 A Chronological files; includes printed material, photographs, memorabilia, professional material, other items. 1. 1987-1988. [F. 1] a. Mar. 1987; newsletters of The Riverside Opera Association, Verdi=s AUn Ballo in Maschera@ (role of Amelia). b. Apr. 1987; program from Honolulu Symphony (DV on p. 23). c. Nov. 1987; program of recital at Thorne Hall. d. Jan. 1988; program of Schwabacher Debut Recitals and review clippings from the San Francisco Examiner and an unknown newspaper. e. Mar. 1988; programs re: DeMunt=s ALa Monnaie@ and R. Strauss=s AElektra@ (role of Fünfte Magd). f. Apr. 1988; magazine of The Minnesota Orchestra Showcase, program for R. Wagner=s ADas Rheingold@ (role of Wellgunde; DV on pp. 19, 21), and review clippings from the Star Tribune and the St. Paul Pioneer Press Dispatch. g. Sep. - Oct. 1988; programs re: Opera Company of Philadelphia and the International Voice Competition (finalist competition 3; DV on p. 18), and newspaper clippings. 2. 1989. [F. 2] a. DV=s itineraries. (i) For Jan. 4 - Feb. 9, TS. (ii) For the Johann Strauss Orchestra on Vienna, Jan. 5 - Jan. 30, TS, 7 p. b. Items re: California State, Fullerton recital. (i) Copy of Daily Star Progress clipping, 2/10/89. (ii) Compendium of California State, Fullerton, 2/13/89. (iii) Newspaper clipping, preview, n.d. (iv) Orange County Register preview, 2/25/89. (v) Recital flyer, 2/25/89. (vi) Recital program, program notes, 2/25/89.
    [Show full text]
  • INFORMATION to USERS This Manuscript Has Been Reproduced
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 THE COMPLETED SYMPHONIC COMPOSITIONS OF ALEXANDER ZEMLINSKY DISSERTATION Volume I Presented in Partial Fulfillment of the Requirement for the Degree Doctor of Philosophy In the Graduate School of The Ohio State University By Robert L.
    [Show full text]
  • L'œuvre À L'affiche
    37 affiche xp 2/06/05 10:13 Page 120 L'œuvre à l'affiche Recherches: Elisabetta Soldini avec la contribution de César Arturo Dillon, Georges Farret Calendrier des premières représentations du Barbier de Séville d’après A. Loewenberg, Annals of Opera 1597-1940, Londres 1978 et Pipers Enzyklopädie des Musiktheaters, éd. C. Dahlhaus et S. Döhring, 1991 Le signe [▼] renvoie aux tableaux des pages suivantes. Sauf indication contraire signalée entre parenthèses, l’œuvre a été chantée en italien: [Ang] anglais, [All] allemand, [Bulg] bulgare, [Cro] croate, [Dan] danois, [Esp] espagnol, [Est] estonien, [Finn] finnois, [Flam] flamand, [Fr] français, [Héb] hébreu, [Hong] hongrois, [Lett] letton, [Lit] Lituanien, [Née] néerlandais, [Nor] norvégien, [Pol] polonais, [Rou] roumain, [Ru] russe, [Serb] serbe, [Slov] slovène, [Sué] suédois, [Tch] tchèque CRÉATION: 20 février 1816, Rome, Teatro Argentina. [▼] 1869: décembre, Le Caire. 1871: 3 novembre, Paris, Athénée. 1818: 10 mars, Londres, Her Majesty’s Theatre. - 16 juillet, Barcelone. - 1874: 29 septembre, Helsinki. [Finn] - 2 décembre, Zagreb. [Cro] 13 octobre, Londres, Covent Garden. [Ang] 1875: Le Cap. 1819: 1er janvier, Munich. - Carnaval, Lisbonne. - 3 mai, New York [Ang] - 1876: Tiflis. - Kiev. [Ru] 27 mai, Graz. [All] - 28 septembre, Vienne, Theater auf der Wieden. [All] - 1883: 23 novembre, New York, Metropolitan. 26 octobre, Paris, Théâtre-Italien. 1884: 8 novembre, Paris, Opéra-Comique. 1820: 6 septembre, Milan, Teatro alla Scala. - 29 septembre, Prague. [All] - 1905 : Ljubljana. [Slov] 3 octobre, Braunschweig. [All] - 16 décembre, Vienne, Kärntnertor- 1913 : 3 mai, Christiania (Oslo). [Norv] Theater. [All] - 18 décembre, Brünn. [All] 1918 : Shanghai. [Ru] 1821: 25 août, Madrid. - 31 août, Odessa. - 19 septembre, Lyon.
    [Show full text]
  • Agnes Baltsa Angela Gheorghiu Grace Bumbry
    A VoceVista Study: Formant Boosting and Vowel Modification, Adapting Resonance Techniques of Professionals to the Voice Studio Kathryn Hansen Department of Music, Carthage College, 2001 Alford Park Drive, Kenosha, WI 53140 Results and Discussion: AGNES BALTSA PAS6, The Conference on the Physiology and Acoustics of Singing At right is the spectral evidence of my attempt (Spectogram (A)) to re-create Agnes Baltsa’s Abstract: approach (Spectogram (B)) to the F#5 pitch on the French word “garde.” The spectral images can never be an exact match as the two vocalists have biologically different instruments and one This investigation analyzes VoceVista (VV) spectral evidence for formant boosting and vowel modification in Las Vegas, October 17 - 20, 2012 set of data is performed live into the VoceVista system while the other is a recording. However, recordings of mezzo-sopranos singing the final measures (“si je t’aime prends garde à toi”) of the “Habanera” from by means of formant tracking and vowel modification, I was able to get a spectral image (as well Carmen by Georges Bizet. With these findings, I further explore matching these resonance strategies to feel the Data: as a sound) that is much closer to that of Agnes Baltsa than my original approach. differences in sensation and sound. With these differences recognized, I can discover which best suits my instrument Below is the spectral evidence of each of six professional, traditionally trained vocalists, performing the final phrase of Georges Bizet’s at this time. “Habenera” from his Opera, Carmen (“si je t’aime, prends garde à toi”) lined up above (Spectogram (A)) is spectral evidence of my original ANGELA GHEORGHIU approach to the same passage.
    [Show full text]