NATIONAL CAPITAL OPERA SOCIETY Newsletter August 1996
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Liturgical Drama in Bach's St. Matthew Passion
Uri Golomb Liturgical drama in Bach’s St. Matthew Passion Bach’s two surviving Passions are often cited as evidence that he was perfectly capable of producing operatic masterpieces, had he chosen to devote his creative powers to this genre. This view clashes with the notion that church music ought to be calm and measured; indeed, Bach’s contract as Cantor of St. Thomas’s School in Leipzig stipulated: In order to preserve the good order in the churches, [he would] so arrange the music that it shall not last too long, and shall be of such nature as not to make an operatic impression, but rather incite the listeners to devotion. (New Bach Reader, p. 105) One could argue, however, that Bach was never entirely faithful to this pledge, and that in the St. Matthew Passion he came close to violating it entirely. This article explores the fusion of the liturgical and the dramatic in the St. Matthew Passion, viewing the work as the combination of two dramas: the story of Christ’s final hours, and the Christian believer’s response to this story. This is not, of course, the only viable approach to this masterpiece. The St. Matthew Passion is a complex, heterogeneous work, rich in musical and expressive detail yet also displaying an impressive unity across its vast dimensions. This article does not pretend to explore all the work’s aspects; it only provides an overview of one of its distinctive features. 1. The St. Matthew Passion and the Passion genre The Passion is a musical setting of the story of Christ’s arrest, trial and crucifixion, intended as an elaboration of the Gospel reading in the Easter liturgy. -
Frederic Albou, Bass-Baritone
Frederic Albou, bass-baritone 0033 1 46 63 88 19 0033 6 80 12 63 99 http://www.fredericalbou.com/ [email protected] After graduating in literature, musicology and conducting, and receiving an award from the CNR of Reims in clarinet, Frédéric Albou started to study singing with Christiane Patard, and worked with such coaches as Janine Reiss, Marie-Jeanne Serero, Olivier Reboul, Erika Guiormar, Jory Vinikour and Brigitte Clair. He also improved his mastery under the advices of Jorge Chamine, Teresa Berganza, Ruggero Raimondi, Alain Fondary, Sergei Leiferkus, Eva Märtson, Anna Ringart, Russel Smythe and Howard Crook. He has been trained as an actor by Ruth Ortmann, Roberto Maria Grassi and Catherine Riboli, and practises Chinese martial arts with Master Tien Shue. His is a passionate and committed path dedicated to a wide repertoire. Thus since 1999 he is a member of the Ensemble Kerylos, devoted to Ancient Greek musical scores, founded and conducted by Annie Bélis, with whom he has premiered several works (Medea by Karkinos, Hymn to Lemnos, by Euripides, Abstract from Theseus by Sophokles, Nequia from the Oslo Papyrus, Hymn to Apollo from the Yale Papyrus), and has performed in such renowned venues as the Grand Amphitheatre de la Sorbonne, the Auditorium du Louvre, or Lyon’s Archaeological Museum. Together with that band he also recorded several radio and television broadcasted programmes, and is to prepare a new double CD. He has also performed Renaissance polyphonic music, particularly with the Huelgas Ensemble, conducted by Paul Van Nevel, with whom he sang in various European festivals (Saintes, Noirlac, Tongeren), and recorded the CD Sommets de la polyphonie flamande (Harmonia Mundi). -
Berlioz's Les Nuits D'été
Berlioz’s Les nuits d’été - A survey of the discography by Ralph Moore The song cycle Les nuits d'été (Summer Nights) Op. 7 consists of settings by Hector Berlioz of six poems written by his friend Théophile Gautier. Strictly speaking, they do not really constitute a cycle, insofar as they are not linked by any narrative but only loosely connected by their disparate treatment of the themes of love and loss. There is, however, a neat symmetry in their arrangement: two cheerful, optimistic songs looking forward to the future, frame four sombre, introspective songs. Completed in 1841, they were originally for a mezzo-soprano or tenor soloist with a piano accompaniment but having orchestrated "Absence" in 1843 for his lover and future wife, Maria Recio, Berlioz then did the same for the other five in 1856, transposing the second and third songs to lower keys. When this version was published, Berlioz specified different voices for the various songs: mezzo-soprano or tenor for "Villanelle", contralto for "Le spectre de la rose", baritone (or, optionally, contralto or mezzo) for "Sur les lagunes", mezzo or tenor for "Absence", tenor for "Au cimetière", and mezzo or tenor for "L'île inconnue". However, after a long period of neglect, in their resurgence in modern times they have generally become the province of a single singer, usually a mezzo-soprano – although both mezzos and sopranos sometimes tinker with the keys to ensure that the tessitura of individual songs sits in the sweet spot of their voices, and transpositions of every song are now available so that it can be sung in any one of three - or, in the case of “Au cimetière”, four - key options; thus, there is no consistency of keys across the board. -
Riccardo Muti Conductor Michele Campanella Piano Eric Cutler Tenor Men of the Chicago Symphony Chorus Duain Wolfe Director Wagne
Program ONE huNdrEd TwENTy-FirST SEASON Chicago Symphony orchestra riccardo muti Music director Pierre Boulez helen regenstein Conductor Emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Friday, September 30, 2011, at 8:00 Saturday, October 1, 2011, at 8:00 Tuesday, October 4, 2011, at 7:30 riccardo muti conductor michele Campanella piano Eric Cutler tenor men of the Chicago Symphony Chorus Duain Wolfe director Wagner Huldigungsmarsch Liszt Piano Concerto No. 1 in E-flat Major Allegro maestoso Quasi adagio— Allegretto vivace— Allegro marziale animato MiChElE CampanellA IntErmISSIon Liszt A Faust Symphony Faust: lento assai—Allegro impetuoso Gretchen: Andante soave Mephistopheles: Allegro vivace, ironico EriC CuTlEr MEN OF ThE Chicago SyMPhONy ChOruS This concert series is generously made possible by Mr. & Mrs. Dietrich M. Gross. The Chicago Symphony Orchestra thanks Mr. & Mrs. John Giura for their leadership support in partially sponsoring Friday evening’s performance. CSO Tuesday series concerts are sponsored by United Airlines. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. CommEntS by PhilliP huSChEr ne hundred years ago, the Chicago Symphony paid tribute Oto the centenary of the birth of Franz Liszt with the pro- gram of music Riccardo Muti conducts this week to honor the bicentennial of the composer’s birth. Today, Liszt’s stature in the music world seems diminished—his music is not all that regularly performed, aside from a few works, such as the B minor piano sonata, that have never gone out of favor; and he is more a name in the history books than an indispensable part of our concert life. -
Le Temple De La Gloire
april insert 4.qxp_Layout 1 5/10/17 7:08 AM Page 15 A co-production of Cal Performances, Philharmonia Baroque Orchestra & Chorale, and Centre de musique baroque de Versailles Friday and Saturday, April 28 –29, 2017, 8pm Sunday, April 30, 2017, 3pm Zellerbach Hall Jean-Philippe Rameau Le Temple de la Gloire (The Temple of Glory) Opera in three acts with a prologue Libretto by Voltaire featuring Nicholas McGegan, conductor Marc Labonnette Camille Ortiz-Lafont Philippe-Nicolas Martin Gabrielle Philiponet Chantal Santon-Jeffery Artavazd Sargsyan Aaron Sheehan New York Baroque Dance Company Catherine Turocy, artistic director Brynt Beitman Caroline Copeland Carly Fox Horton Olsi Gjeci Alexis Silver Meggi Sweeney Smith Matthew Ting Andrew Trego Philharmonia Baroque Orchestra & Chorale Bruce Lamott, chorale director Catherine Turocy, stage director and choreographer Scott Blake, set designer Marie Anne Chiment, costume designer Pierre Dupouey, lighting designer Sarah Edgar, assistant director Cath Brittan, production director Major support for Le Temple de la Gloire is generously provided by Philharmonia Baroque Orchestra & Chorale supporters: David Low & Dominique Lahaussois, The Waverley Fund, Mark Perry & Melanie Peña, PBO’s Board of Directors, and The Bernard Osher Foundation. Cal Performances and Philharmonia Baroque Orchestra & Chorale dedicate Le Temple de la Gloire to Ross E. Armstrong for his extraordinary leadership in both our organizations, his friendship, and his great passion for music. This performance is made possible, in part, by Patron Sponsors Susan Graham Harrison and Michael A. Harrison, and Francoise Stone. Additional support made possible, in part, by Corporate Sponsor U.S. Bank. april insert 4.qxp_Layout 1 5/10/17 7:08 AM Page 16 Title page of the original 1745 libretto of Le Temple de la Gloire . -
L'air Français, Un Art Intime
©Denis Rouvre ©Philippe Parent Les Arts Florissants – William Christie L’air français, un art intime Conciertos en seis ciudades de América Latina Les Arts Florissants presentan su primera gira en América Latina desde 2004: L’air français, un art intime El aria francesa, un arte íntimo Al final del reinado de Louis XIV; cambia el estilo de vida aristocrático, y el desarrollo de los salons da como resultado una vuelta de la sociedad elegante desde Versalles a París. Este fue el inicio de una nueva era socio-cultural: en música, esto provocó una evolución en la ambición y el formato. Aunque las formas a gran escala, sobre todo la Tragedia – lírica, continuaron siendo los modelos más avanzados para el entretenimiento de la corte, un arte más confidencial se desarrollaba, favoreciendo formas más modestas, como la sonata. En el ámbito de la música vocal, el air de cour se había vuelto muy popular desde el siglo XVI, y se le unió, a principios del XVIII, un nuevo género: La cantate. Esta forma se extendió a través de los círculos musicales franceses, coexistiendo con la más Antigua y muy en boga: cantata Italiana. La cantate francesa se distinguía de su prima italiana por su estilo, heredado de la tragédie lyrique, y en particular por la atención puesta en el texto. Estas obras eran la quintaesencia de “el buen gusto francés”, combinando los delicados ritmos de elocuencia poética con graciosas melodías. Estas arias à la française eran cantadas por uno o dos cantantes, acompañados de un clave, al que se le podían unir varios instrumentos: flauta, violín, viola, por ejemplo. -
Michael Schade at a Special Release of His New Hyperion Recording “Of Ladies and Love...”
th La Scena Musicale cene English Canada Special Edition September - October 2002 Issue 01 Classical Music & Jazz Season Previews & Calendar Southern Ontario & Western Canada MichaelPerpetual Schade Motion Canada Post Publications Mail Sales Agreement n˚. 40025257 FREE TMS 1-01/colorpages 9/3/02 4:16 PM Page 2 Meet Michael Schade At a Special Release of his new Hyperion recording “Of ladies and love...” Thursday Sept.26 At L’Atelier Grigorian Toronto 70 Yorkville Ave. 5:30 - 7:30 pm Saturday Sept. 28 At L’Atelier Grigorian Oakville 210 Lakeshore Rd.E. 1:00 - 3:00 pm The World’s Finest Classical & Jazz Music Emporium L’Atelier Grigorian g Yorkville Avenue, U of T Bookstore, & Oakville GLENN GOULD A State of Wonder- The Complete Goldberg Variations (S3K 87703) The Goldberg Variations are Glenn Gould’s signature work. He recorded two versions of Bach’s great composition—once in 1955 and again in 1981. It is a testament to Gould’s genius that he could record the same piece of music twice—so differently, yet each version brilliant in its own way. Glenn Gould— A State Of Wonder brings together both of Gould’s legendary performances of The Goldberg Variations for the first time in a deluxe, digitally remastered, 3-CD set. Sony Classical celebrates the 70th anniversary of Glenn Gould's birth with a collection of limited edition CDs. This beautifully packaged collection contains the cornerstones of Gould’s career that marked him as a genius of our time. A supreme intrepreter of Bach, these recordings are an essential addition to every music collection. -
Download This PDF File
REV I EWS The Canadian Musical Heritage / Le Patrimoine Musical Canadien. 3: Songs I to Engl i sh texts/Chansons I sur des textes anglai S. Frederick- A. Ha1 l, Edi tor/Di recteur de l 'ouvrage. Ottawa- 1985. (xxx, 235 p., $34.95) Last month I nad the pleasure of reading product of tne time, and the Canadian one, Robertson Davies' new novel, What's bred seem to be on tne level of presentation. in the bone, and tnis last weekend of watching Tne American oublisners were bound to be the television broadcast of Harry Somers' richer, and could afford showier formats, opera Louis Riel. UD Canada! It is no surprise fancier covers and the like. Also, some of then to find this songbook published by the the Canadian choices for engravers were pernaps Canadian Musical Heritage Society a real injudicious (see 00.18-19, where clearly treasure in both songs and historical someone from tne old school was westling background. That Edward B. Shuttleworth, with the new-fangled steel-type machine). who wrote the words for the romantic serenade, But the overall ~hysiognomy of the material "I am waiting for thee," (11.154) was an is virtually indistinguishable from the "acknowledged authority on the study of American product in many details. A song microbes," is interesting, but even more like "The Ottawa fire" (p.151) is a clear fun to discover is that tne song's ComDoser, imitation of the Charles K. Harris- Monroe Ro- Edwin Gledhill , was the son of a tenor who senfeld scnool of reportage songs that toured witn Jenny Lind, under tne name "Signor flourished around 1895, and it is just as Salvi". -
Louis Riel Tosca
LOUIS RIEL TOSCA PROGRAM SPRING 2017 CONTENTS A MESSAGE FROM GENERAL DIRECTOR 4 WHAT’S PLAYING: ALEXANDER NEEF LOUIS RIEL 12 HONOURING INDIGENEITY NEW EXPERIENCES, IN LOUIS RIEL NEW INITIATIVES 14 COMPOSER HARRY SOMERS This spring we celebrate the return ADOPTS A MODERN TONE IN of an iconic Canadian opera, Harry LOUIS RIEL Somers’ Louis Riel. 15 THE NISGA’A HISTORY OF THE “KUYAS” ARIA The fact that 50 years ago Somers and Moore made the bold decision 16 A CANADIANIZED RIEL: to focus their work on the struggles MAKING SPACE FOR MÉTIS of Riel and the Métis Nation against TO SPEAK Canada’s colonial government serves as a challenge for present and future WHAT’S PLAYING: TOSCA Great opera 18 understandings of our country. In Canada’s sesquicentennial year, these 24 A PASSION FOR PUCCINI: CONDUCTOR KERI-LYNN challenges remain at the forefront of WILSON our country’s conversations, particularly as part of the ongoing Truth and lives here. 28 GET TO KNOW ADRIANNE Reconciliation process. PIECZONKA With this new production of Louis 32 BACKSTAGE AND BEYOND Riel, we have taken the opportunity to expand our base of creative knowledge with not-for-profit arts groups, 34 BIOGRAPHIES: LOUIS RIEL and perspectives to include musical community partners, and social and performance practices that service organizations in Ontario BIOGRAPHIES: TOSCA 42 wouldn’t have been a part of the artistic to offer more than 1,000 people conversation in 1967. the opportunity to experience our EVERY NOTE COUNTS 45 mainstage programming free of 46 MEET A BOARD MEMBER: Building broader awareness of the charge. -
Newsletter • Bulletin Winter 2011 Hiver
NATIONAL CAPITAL OPERA SOCIETY • SOCIÉTÉ D'OPÉRA DE LA CAPITALE NATIONALE Newsletter • Bulletin Winter 2011 Hiver P.O. Box 8347, Main Terminal, Ottawa, Ontario K1G 3H8 • C.P. 8347, Succursale principale, Ottawa (Ontario) K1G 3H8 A Tribute To Bobbi Cain by Murray Kitts I n 1983 after thirteen years of mag- cessful of these was Fête Opera in nificent summer opera and concerts 1985 with outstanding singers and a Festival Ottawa was cancelled be- chorus and orchestra drawn from cause of major cuts to the budget of NAC productions under the direction the National Arts Centre. Mario of Brian Law. Any time there was an Bernardi conducted over thirty op- opera production staged at the NAC eras in those years including an out- Bobbi arranged a reception for the standing Queen of Spades with Jon principals and conductor, partly as a Vickers and Maureen Forrester and fund-raiser for the society and partly a splendid production of Handel’s to celebrate this great art. Every year Rinaldo which was given to the Met- brought new attempts to keep the ropolitan Opera for its very first pre- cause of opera in the minds of sentation of that opera in New York. Bobbi Cain 1936-2010 Ottawans. Every year there was a new Opera lovers came regularly from as “gala” like the one which paid tribute far away as Montreal to enjoy these to great opera composers. This gave performances at the NAC. Bobbi an opportunity to introduce Bobbi Cain, whose connec- some young singers to the public, tion with choral singing and music in “showcase them” as it is termed. -
Madama Butterfly
Madama Butterfly Production Rental Information Year Built: 1990 Director: Brian Macdonald Set Designer: Susan Benson Costume Designer: Susan Benson Lighting Designer: Michael Whitfield Cast Number of Principals: 14 Number of Chorus: 30 Number of Supers: 16 Number of Children: 1 Running Times Total for performance: 2h 28m Act 1: 48m intermission: 20m Acts 2 & 3: 80m Original/Home Theatre Information In Toronto, the production was presented in the Hummingbird Centre for the Performing Arts which is described below: • Wall to wall width: 104’ • Wing width stage right: 24’ • Wing width stage left: N/A • Number of line sets: 79 • Load capacity of line sets: 1100 lb. • Depth of apron: 4’6” • Depth (p.l. to back wall): 60’ • Depth (p.l. to last line): 50’ • Height of grid: 72’ • Height of proscenium: 30’ • Width of proscenium: 60’ Crew Requirements In Toronto, the following running crew sizes were used. These may vary for the renting company. Carpenters 1 Head 2 Assistants 0 Regula Electricians 2 Heads 2 Assistants 2 Regular 1 Special Operator Props 1 Head 4 Regular Wardrobe 1 Head 1 Assistant 13 Regularr Wigs & Make-up 14 Set/Technical Information • Number and size of trucks: 2 x 48’ Properties Information Properties are available with rental. Costume Information Costumes are available with rental. Principal Costumes: 9 Male 8 Female Chorus Costumes: 10 Male 20 Female Supers Costumes: 16 Male 0 Female Supers Costumes: 1 Male 0 Female Wig & Make-up Information Specialty “Japanese” make-up, wigs. SURTITLES™ Available for rental (disk or slides). History of Previous Usage Vancouver Opera 2004. -
Opera San José Presents the Irene Dalis Memorial Concert PAGE 1
Opera San José presents The Irene Dalis Memorial Concert PAGE 1 FOR IMMEDIATE RELEASE Press Contact: March 10, 2015 Bryan Ferraro 408.423.2229 [email protected] Opera San José presents The Irene Dalis Memorial Concert SAN JOSE, CA – Opera San José is hosting a memorial concert for its former general director and founder, Irene Dalis, at the California Theatre on May 16, 2015 at 8 p.m. The concert will feature arias and ensembles performed by over 20 current and former members of Opera San José’s resident company, accompanied by the Opera San José Orchestra and Chorus. A dramatic mezzo soprano, Dalis was admired internationally for her vocal richness and fiery dramatic presence. Among her most notable roles were Amneris in Verdi's Aida and Princess Eboli in his Don Carlo, as well as Isolde in Wagner’s Tristan und Isolde and Kundry in his Parsifal, and Richard Strauss’ Klytaemnestra in Elektra and the Nurse in Die Frau ohne Schatten. After retiring from the Met in 1976, Dalis returned to San José and became a professor of music at San José State University. In 1984, she formed Opera San José, the only resident opera company in the United States. Dalis retired from Opera San José in 2014 and the Opera San José board of trustees selected Larry Hancock to take over as general director. Dalis’s last wish was that there be no memorial service, but she did allow a fundraising concert in her memory. That concert will include: Eilana Lappalainen, Soprano: Lappalainen served as a member of the resident company from 1988 to 1992.