Amadeus in Cowan Hall
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Im Dienste Einer Staatsidee
Wiener Musikwissenschaftliche Beiträge Band 24 Herausgegeben von Gernot Gruber und Theophil Antonicek Forschungsschwerpunkt Musik – Identität – Raum Band 1 Elisabeth Fritz-Hilscher (Hg.) IM DIENSTE EINER STAATSIDEE Künste und Künstler am Wiener Hof um 1740 2013 Böhlau Verlag Wien Köln Weimar Gedruckt mit der Unterstützung durch den Fonds zur Förderung der wissenschaftlichen Forschung Bibliografische Information der Deutschen Nationalbibliothek : Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie ; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Umschlagabbildung : Mittelmedaillon des Deckenfreskos im Festsaal der Österreichischen Akademie der Wissenschaften (ehemals Alte Universität) von Gregorio Guglielmi nach einem Programmentwurf von Pietro Metastasio (Rekonstruktion nach dem Brand von 1961 durch Paul Reckendorfer) © ÖAW © 2013 by Böhlau Verlag Ges.m.b.H., Wien Köln Weimar Wiesingerstraße 1, A-1010 Wien, www.boehlau-verlag.com Alle Rechte vorbehalten. Dieses Werk ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist unzulässig. Satz : Michael Rauscher, Wien Druck und Bindung : General Nyomda kft., H-6728 Szeged Gedruckt auf chlor- und säurefreiem Papier Printed in Hungary ISBN 978-3-205-78927-7 Inhalt Vorwort .................................... 7 Grete Klingenstein : Bemerkungen zur politischen Situation um 1740 ..... 11 Literatur Alfred Noe : Die italienischen Hofdichter. Das Ende einer Ära ......... 19 Wynfrid Kriegleder : Die deutschsprachige Literatur in Wien um 1740 .... 47 Kunst Werner Telesko : Herrscherrepräsentation um 1740 als „Wendepunkt“ ? Fragen zur Ikonographie von Kaiser Franz I. Stephan ............. 67 Anna Mader-Kratky : Modifizieren oder „nach alter Gewohnheit“ ? Die Auswirkungen des Regierungsantritts von Maria Theresia auf Zeremoniell und Raumfolge in der Wiener Hofburg .................... 85 Theater Andrea Sommer-Mathis : Höfisches Theater zwischen 1735 und 1745. -
Spanish Piano Concertos Narro I Martinez I Palomino
HC20016.Booklet.SpanishPiano.qxp_PH?????_Booklet_Gamben/Handel 01.12.20 09:08 Seite 1 – World Premiere Recordings – SPANISH PIANO CONCERTOS NARRO I MARTINEZ I PALOMINO ORQUESTA FILARMONÍA IBÉRICA MELANI MESTRE piano & conductor Bonus: Palomino – Violin Concerto NATALIA BORYSIUK violin HC20016.Booklet.SpanishPiano. Seite 2 HC20016.Booklet.SpanishPiano. Seite 3 SPANISH PIANO CONCERTOS NARRO I MARTINEZ I PALOMINO ENGLISH SPANISH PIANO CONCERTOS disc having been recorded for the first tion of orchestral music of the period archive of the Vienna Musikverein; and “Unknown” would be the best adjective time. to ecclesiastical and study purposes finally the concertos of José Palomino, at the present time to define the musical until well into the 19th century; thirdly, in the Biblioteca Nacional de Portugal landscape embracing the concertos for Given the vast quantity of sonatas and the possibility of having lost a large in Lisbon. piano (harpsichord) and orchestra from other works written for the keyboard, quantity of manuscripts and musico- Spain throughout almost the whole whether for harpsichord, clavichord, logical sources that might inform us and As is the case with the majority of 18th- of the 18th century and the beginning virginal, organ or any other keyboard at least cast light on the musical and and early-19th-century concertos for key- of the 19th, as Spanish Classicism was instrument of the period, it is hard to instrumental state of the art at the period board instruments that are known to us, emerging. believe that all this host of -
OSLO Casting Announcement
MICHAEL ARONOV, ADAM DANNHEISSER, JENNIFER EHLE, DANIEL JENKINS, DARIUSH KASHANI, JEFFERSON MAYS, DANIEL ORESKES, HENNY RUSSELL, JOSEPH SIRAVO, T. RYDER SMITH TO BE FEATURED IN THE LINCOLN CENTER THEATER PRODUCTION OF “OSLO” a new play by J.T. ROGERS directed by BARTLETT SHER PREVIEWS BEGIN THURSDAY, JUNE 16 OPENING NIGHT IS MONDAY, JULY 11 AT THE MITZI E. NEWHOUSE THEATER Lincoln Center Theater (under the direction of André Bishop) has announced that Michael Aronov, Adam Dannheisser, Jennifer Ehle, Daniel Jenkins, Dariush Kashani, Jefferson Mays, Daniel Oreskes, Henny Russell, Joseph Siravo, and T. Ryder Smith will be featured in the cast of its upcoming production of OSLO, a new play by J.T. Rogers, directed by Bartlett Sher. Commissioned by Lincoln Center Theater, OSLO begins performances Thursday, June 16 and will open Monday, July 11 at the Mitzi E. Newhouse Theater (150 West 65 Street). Additional casting will be announced at a later date. It’s 1993. The world watches the impossible: Israeli Prime Minister Yitzhak Rabin and Palestinian Liberation Organization Chairman Yasser Arafat, standing together in the White House Rose Garden, signing the first ever peace agreement between Israel and the PLO. How were the negotiations kept secret? Why were they held in a castle in the middle of Norway? And who are these mysterious negotiators? A darkly comic epic, OSLO tells the true, but until now, untold story of how one young couple, Norwegian diplomat Mona Juul (to be played by Jennifer Ehle) and her husband social scientist Terje Rød-Larsen (to be played by Jefferson Mays), planned and orchestrated top-secret, high-level meetings between the State of Israel and the Palestine Liberation Organization, which culminated in the signing of the historic 1993 Oslo Accords. -
United States Theatre Programs Collection O-016
http://oac.cdlib.org/findaid/ark:/13030/c8s46xqw No online items Inventory of the United States Theatre Programs Collection O-016 Liz Phillips University of California, Davis Library, Dept. of Special Collections 2017 1st Floor, Shields Library, University of California 100 North West Quad Davis, CA 95616-5292 [email protected] URL: https://www.library.ucdavis.edu/archives-and-special-collections/ Inventory of the United States O-016 1 Theatre Programs Collection O-016 Language of Material: English Contributing Institution: University of California, Davis Library, Dept. of Special Collections Title: United States Theatre Programs Collection Creator: University of California, Davis. Library Identifier/Call Number: O-016 Physical Description: 38.6 linear feet Date (inclusive): 1870-2019 Abstract: Mostly 19th and early 20th century programs, including a large group of souvenir programs. Researchers should contact Archives and Special Collections to request collections, as many are stored offsite. Scope and Contents Collection is mainly 19th and early 20th century programs, including a large group of souvenir programs. Access Collection is open for research. Processing Information Liz Phillips converted this collection list to EAD. Preferred Citation [Identification of item], United States Theatre Programs Collection, O-016, Archives and Special Collections, UC Davis Library, University of California, Davis. Publication Rights All applicable copyrights for the collection are protected under chapter 17 of the U.S. Copyright Code. Requests for permission to publish or quote from manuscripts must be submitted in writing to the Head of Special Collections. Permission for publication is given on behalf of the Regents of the University of California as the owner of the physical items. -
Amadeus Insert.Indd
HISTORICAL BACKGROUND TECHNICAL CREW WOLFGANG AMADEUS MOZART was born on Janu- AGE OF REASON, covered about a century and a half Stage Manager................................................... Jessica McRandall THEATRE SHERIDAN PRESENTS ary 27, 1756, in Salzburg, to Leopold and Anna in Europe. It was considered to have begun with Maria Mozart. The last of seven children, only he the close of the Thirty Years’ War (1648) and ended Assistant Stage Manager .................................... Sydney Collet and his sister Marianne (“nannerl”) were to sur- with the French Revolution (1789). Audio Crew ........................................................ Eric Wellman vive past infancy. Young Mozart started playing the The Enlightenment advocated reason as a means piano at the age of three. He began to study music to establishing an authoritative system that would Carpentry Crew .................................................. Ian Barber, Nicholas Cholack, Joshua at four and by six was an accomplished performer allow human beings to obtain objective truth about Chudziak, Matthew Cochrane, Cedric Daros, on the harpsichord, organ and violin. He and his sis- the whole of reality. Enlightenment thinkers argued Jonathan Grosz, Nicholas Matthews, Erikka AmadeuS BY PETER SHAFFER ter went on a series of tours with their father. From that reason could free humankind from superstition Rombough, Eric Ruberto the age of six, Mozart performed across Europe. and religious authoritarianism that had brought Mozart wrote his first opera, Matridate, King -
Luca Antonio Predieri
Masarykova univerzita Filozofická fakulta Ústav hudební vědy Hudební věda Iva Bittová Luca Antonio Predieri: Missa in C Sacratissimi Corporis Christi Magisterská diplomová práce Vedoucí práce: doc. PhDr. Jana Perutková, Ph.D. 2017 Prohlašuji, že jsem práci vypracovala samostatně a pouze s využitím uvedených pramenů a literatury. ...................................... OBSAH PŘEDMLUVA ....................................................................................................................................................... 4 ÚVOD ..................................................................................................................................................................... 5 1 STAV BÁDÁNÍ .............................................................................................................................................. 6 2 LUCA ANTONIO PREDIERI .................................................................................................................... 12 2.1 ŽIVOTOPIS .............................................................................................................................................. 12 2.2 PŘEHLED DÍLA ........................................................................................................................................ 16 3 EDICE PRAMENE MISSA IN C SACRATISSIMI CORPORIS CHRISTI ......................................... 19 3.1 POPIS PRAMENE ..................................................................................................................................... -
Modes of Being and Time in the Theatre of Samuel Beckett
f.'lODES Ol!' BEING AND TIME IN THE THEATRE OF SANUEL BECKETT MODES OF BEING AND TIME IN THE THEATRE OF SAMUEL BECKETT By ANNA E.V. PRETO, B.A., LICENCE ES LETTRES A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree TvIaster of Arts !-1cMaster Uni versi ty October 1974 MASTER OF ARTS (1974) McMASTER UNIVERSITY (Romance Languages) Hamilton, Ontario TITLE: Modes of Being and Time in the Theatre of Samuel Beckett AUTHOR: Anna E.V. Preto, B.A. (University of British Columbia) Licence es Lettres (Universite de Grenoble) SUPERVISOR: Dr. Brian S. Pocknell NUNBER OF PAGES: vi, 163 ii AKNOWLEDGEMENTS I wish to thank Dr. Brian S. Pocknell for his interest, his encouragement and counsel in the patient supervision of this dissertation. I also wish to thank McMaster University for its generous financial assistance. iii CONTENTS I An Introduction to the Beckett Situation 1 II Being on the Threshold to Eternity: Waiting for Godot and Endgame 35 III The Facets of the Prism: Beckett's Remaining Plays 74 IV The Language of the Characters and Time 117 Conclusion 147 Bibliography 153 iv PREFACE Beckett as an author has inspired an impressive range of critical studies to date. The imposing amounts of critical material bear witness to the richness of his writings, which present a wealth of themes and techniques. His plays concentrate for us the problem-themes that already concerned him in his earlier prose works, and bring them to the stage in a more streamlined form. The essential problem which evolves from Beckett's own earlier writings comes to the fore, downstage, in the plays: it is that of being in time, a purgatorial state, the lot of mankind and of Beckett's characters, who are representative of mankind. -
Il Re Pastore
IL RE PASTORE CLASSICAL OPERA IAN PAGE (CONDUCTOR) WOLFGANG AMADEUS MOZART (1756-1791) IL RE PASTORE, K.208 Libretto by Pietro Metastasio (1698-1782) Performance material: New Mozart Edition (NMA) ALESSANDRO JOHN MARK AINSLEY tenor By kind permission of Bärenreiter-Verlag Kassel · Basel · London · New York · Praha Alexander the Great, King of Macedonia Recorded at St John’s Smith Square, London, UK from 17 to 25 July 2014 AMINTA SARAH FOX soprano Produced and engineered by Andrew Mellor A shepherd, in love with Elisa Assistant engineers: Claire Hay, Brett Cox Post-production by Andrew Mellor and Claire Hay Design by gmtoucari.com ELISA AILISH TYNAN soprano Cover image by Debbie Coates Photographs by Ruth Crafer unless otherwise stated A noble Phoenician girl, in love with Aminta Italian language coach: Rosalba Lo Duca Harpsichord technician: Malcolm Greenhalgh TAMIRI ANNA DEVIN soprano Daughter of the tyrant Strato, in love with Agenore Orchestra playing on period instruments at A = 430 Hz We are extremely grateful to George and Efthalia Koukis for sponsoring this recording. AGENORE BENJAMIN HULETT tenor We are also grateful to the following people for their generous support: Kate Bingham and Jesse A nobleman of Sidon, in love with Tamiri Norman, Sir Vernon and Lady Ellis, Kevin Lavery, Robin and Amanda Osmond, Hamish and Carol Ritchie, Pierce and Beaujolais Rood, and all the other individuals who supported this project. THE ORCHESTRA OF CLASSICAL OPERA Special thanks to: Kate Aldridge, Pawel Siwczak, Stephen Page and TallWall Media. Leader: Matthew Truscott Continuo: Steven Devine (harpsichord), Joseph Crouch (cello), Cecelia Bruggemeyer (double bass) IAN PAGE conductor 2 MOZART / IL RE PASTORE MOZART / IL RE PASTORE 3 IL RE PASTORE, K.208 Scena V Page 11 Recitativo: “No, voi non siete, o Dei” (Tamiri) 0’34 36 CD 1 ACT ONE (62’38) 12 No. -
Robin Robinson (Director)
WHO’S WHO I THE WICKHAMS: CHRISTMAS AT PEMBERLEY Robin Robinson (Director) Main Street Theater: The Best Christmas Pageant Ever, Alexander and the Terrible, Horrible, No Good, Very Bad Day, Curious George: The Golden Meatball, Hello, Mrs. Piggle-Wiggle, Click, Clack, Moo: Cows That Type, The Last Wife, Ramona Quimby, Duck for President, Seussical, She Loves Me, Quilters, Our Country’s Good, Serious Money, Into The Woods, The Art Of Self Defense, Chocolate Cake, Old Doves (World Premiere), How To Say Goodbye. Stages: Merrily We Roll Along; The World Of Beauty (World Premiere); Theatre Lab Houston: Avenue X; Search And Destroy; Hyde Park Theatre In Austin: Colonel Mustard (World Premiere); Capitol City Playhouse: Stud Silo (World Premiere); South Pacific; Grayson College: Over 80 Productions including Working, Treasure Island, Dead Man’s Cell Phone, Othello, Godspell, Pippin, Grapes Of Wrath, Charlotte’s Web. Film: The Prodigy (Actor); Who's Who for Outstanding Educators; 2014 Texas Educational Theatre Association Educator of the Year for Community WHO’S WHO I THE WICKHAMS: CHRISTMAS AT PEMBERLEY Colleges. Education: M.A., Texas Woman’s University, Directing; B.S., University of Texas, Austin, Education. Member, TTAO (Texas Theatre Adjudicators & Officials). Alan Brincks (Mr. Fitzwilliam Darcy) Main Street Theater: Private Lives, Miss Bennet: Christmas at Pemberley (2018); Alley Theatre: All New Festival- The Supreme Leader; The Classical Theatre Company: The Fair Maid of the West; Unity Theatre: And Then There Were None. Landing Theatre: The Visit. Caduceus Theatre Co: Porcelain; Arkansas Shakespeare Festival: Love’s Labour’s Lost, Julius Caesar; Company One: Green Eyes; Virginia Stage Company: A Christmas Carol; Nebraska Shakespeare Festival: A Midsummer Night’s Dream, Hamlet, Romeo and Juliet; Quintessence Theatre: The Three Musketeers, Romeo and Juliet, Richard II, As You Like It, The Metamorphosis, Mourning Becomes Electra. -
The Lady in the Van
BBC Films THE LADY IN THE VAN Directed by Nicholas Hytner Written by Alan Bennett from his memoir 103 min East Coast Publicity West Coast Publicity Distributor Springer Associates PR Block-Korenbrot Sony Pictures Classics Gary Springer Eric Osuna Carmelo Pirrone 1501 Broadway, Suite 506 6100 Wilshire Blvd., Ste 170 Maya Anand New York, NY 10036 Los Angeles, CA 90048 550 Madison Ave. 212-354-4660 tel 323-634-7001 tel New York, NY 10022 [email protected] 323-634-7030 fax 212-833-8833 tel 212-833-8844 fax CREDITS CAST Maggie Smith MISS SHEPHERD Alex Jennings ALAN BENNETT Jim Broadbent UNDERWOOD Frances De La Tour MRS VAUGHAN WILLIAMS Roger Allam RUFUS DIRECTED BY Nicholas Hytner WRITTEN BY Alan Bennett from his memoir EXECUTIVE PRODUCERS Christine Langan, Ed Wethered, Charles Moore, Miles Ketley PRODUCERS Kevin Loader, Nicholas Hytner, Damian Jones DIRECTOR OF PHOTOGRAPHY Andrew Dunn PRODUCTION DESIGNER John Beard EDITOR Tariq Anwar COMPOSER George Fenton COSTUME DESIGNER Natalie Ward HAIR AND MAKE UP DESIGNER Naomi Donne CASTING DIRECTOR Toby Whale SYNOPSIS Alan Bennett’s story is based on the true story of Miss Shepherd (played by a magnificent Maggie Smith), a woman of uncertain origins who “temporarily” parked her van in Bennett’s London driveway and proceeded to live there for 15 years. What begins as a begrudged favor becomes a relationship that will change both their lives. Filmed on the street and in the house where Bennett and Miss Shepherd lived all those years, acclaimed director Nicholas Hytner reunites with iconic writer Alan Bennett (The Madness of King George, The History Boys) to bring this rare and touching portrait to the screen. -
PFT's EDUCATION PACK
PFT’s EDUCATION PACK - TRAVESTIES 1 PFT’s EDUCATION PACK - TRAVESTIES 2 TRAVESTIES by Tom Stoppard CONTENTS 3 Cast & Creatives 4 Introduction to Pitlochry Festival Theatre 5 Introduction to the Play 6 Introduction to the Author 7 Characters in the Play 8 Play Synopsis (+ videos) 9 Real People behind the Characters: Tristan Tzara 10 Real People behind the Characters: James Joyce 11 Real People behind the Characters: Lenin 12, 13 Real People behind the Characters: Henry Carr 14 - 16 History & Background to the Play 17, 18 Parallels between Travesties & The Importance of being Earnest (+ videos) 19 - 22 Five Questions with the Designer 23 Resource articles and reviews PFT’s EDUCATION PACK - TRAVESTIES 3 CAST & CREATIVES Henry Carr Mark Elstob Tristan Tzara Graham Mackay Bruce James Joyce Alex Scott Fairley Lenin Alan Steele Bennett Carl Patrick Gwendolen Camrie Palmer Cecily Lucie-Mae Sumner Nadya Helen Logan Director: Richard Baron Set & Costume Designer: Adrian Rees Lighting Designer: Wayne Dowdeswell Choreographer: Chris Stuart Wilson Sound Designer: Jon Beales Assistant Director (Dialect): Helen Logan Stage Manager: Kate Schofield Assistant Stage Manager (Book): Helen Ashman Assistant Stage Manager (Floor): Lily Howarth Production Photographer: Douglas McBride Please note that all copy, content and images in this education pack are copyrighted and all the designs featured are the intellectual property of the designers. PFT’s EDUCATION PACK - TRAVESTIES 4 Introduction to PFT A unique repertory theatre in the heart of Highland Perthshire. We produce six plays in a summer season. This year we have presented: Chicago by Fred Ebb, Bob Fosse and John Kander The Rise and Fall of Little Voice by Jim Cartwright Travesties by Tom Stoppard Quality Street by J M Barrie Before the Party by Rodney Ackland (based on a short story by Somerset Maughan) The Last Witch by Rona Munro We have an ensemble of 17 actors who we auditioned around the UK back in December 2017. -
Redalyc.THE REAL THING? ADAPTATIONS, TRANSFORMATIONS and BURLESQUES of SHAKESPEARE, HISTORIC and POST-MODERN
Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies E-ISSN: 2175-8026 [email protected] Universidade Federal de Santa Catarina Brasil Draudt, Manfred THE REAL THING? ADAPTATIONS, TRANSFORMATIONS AND BURLESQUES OF SHAKESPEARE, HISTORIC AND POST-MODERN Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies, núm. 49, julio-diciembre, 2005, pp. 289-314 Universidade Federal de Santa Catarina Florianópolis, Brasil Available in: http://www.redalyc.org/articulo.oa?id=478348687015 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative The real thing? Adaptations, transformations... 289 THE REAL THING?1 ADAPTATIONS, TRANSFORMATIONS AND BURLESQUES OF SHAKESPEARE, HISTORIC AND POST-MODERN Manfred Draudt University of Austria The practice of adapting great authors to fit current requirements is not just a recent phenomenon. The first great wave of adaptations of Shakespeare came after the period of the closing of theatres in 1642, with the advent of the Restoration in 1660. Political change was accompanied by a radical change in tastes, ideals and conditions: theatres were roofed in and artificially illuminated (like the earlier private theatres); there was also elaborate changeable scenery; and for the first time female roles were taken by professional actresses. Most importantly, French neo-classicism was adopted as the fashionable theory that shaped both the form and the language of plays. These currents of change motivated playwrights and managers to “improve on” Shakespeare by rewriting and staging his plays in accordance with the spirit of the new times.