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THE DALLAS OPERA ORCHESTRA Announces a vacancy for the following position: Principal Bassoon Collective Bargaining Agreement terms currently in negotitation Principal Scale: $1609.44 per week (2020-21 season) $130.00 per week Health and Welfare payment (2020-21 season) Employment beginning with the 2022-23 Season Auditions in Dallas: Monday, November 1, 2021 Resumes accepted until Friday, August 25, 2021 Please send a ONE PAGE resume to: [email protected] The Dallas Opera PRINCIPAL BASSOON Repertoire List – 2021 SOLO PIECE: W.A. Mozart Concerto in Bb, K. 191 – Movements I & II, (exposition of each mvt.) EXCERPTS: For any multiple-staved excerpts, please prepare indicated top line only. Multi-measure rests of 2 complete bars or more do not need to be ‘rested’ or counted in time Berg, A. Wozzeck Act I, Scene 3: bar 441 to bar 444 Act II, Scene 2: bar 288 to bar 293 Bizet, G. Carmen Act II, Entr’acte: Beginning through 8 after Reh 1 Act IV, No. 26 a. bar 3 through fourth bar after Reh. 12 b. Reh. 21 for 16 measures Britten, B. Peter Grimes Prologue: bar 1 to bar 6 Act I, Interlude 2: Reh. 51 to Reh. 54 Donizetti, G. L’elisir d’amore Act II, Nr. 11: beginning to downbeat of Reh. 67 Mozart, W.A. Cosi fan tutte Act I, Finale: bar 636 to downbeat of bar 643 Mozart, W.A. Le nozze di Figaro Sinfonia (Overture) a. bar 1 to bar 25 b. bar 101 to bar 124 c. bar 156 to bar 172 Mussorgsky, M. Boris Godunov Prologue: 5 bars before Reh. 1 to Reh. 1 Act IV, Scene 2: 8 bars before Reh. 46 to Reh. 47 Puccini, G. Manon Lescaut Act I a. pickup to Reh. 1 through fourth bar of Reh. 2 b. Reh. 3 through fifth bar of Reh. 5 Rossini, G. Il barbiere di Siviglia Act 1, Nr. 2: Reh. 31 to 28th bar after Reh. 31 Strauss, R. Salome 6 bars before Reh. 141 through first half of 4th bar after Reh. 143 Tanz (Dance): Four bars before Reh. S to Reh. V Stravinsky, I. Pulcinella Gavotte: Reh. 166 to 2nd ending after Reh. 169 Stravinksy, I. The Rake’s Progress Act I, Scene 3: 3 bars before Reh. 184 to Reh. 190 Verdi, G. Aida Act III, Nr. 6: 2nd bar after Reh. N to 4 bars before Reh. O Wagner, R. Die Meistersinger Act I, Scene 3: 1 bar before Reh. 39 to 20th bar after von Nurnberg Reh. 39 Act II, Scene 6: 16 bars before Reh. 79 to Reh. 80 Beginning through 8 after Reh 1 .

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Boris Godunov
Boris Godunov and Little Tragedies Alexander Pushkin Translated by Roger Clarke FE<NFIC; :C8JJ@:J ONEWORLD CLASSICS LTD London House 243-253 Lower Mortlake Road Richmond Surrey TW9 2LL United Kingdom www.oneworldclassics.com Boris Godunov first published in Russian in 1831 The Mean-Spirited Knight first published in Russian in 1836 Mozart and Salieri first published in Russian in 1831 The Stone Guest first published in Russian in 1839 A Feast during the Plague first published in Russian in 1832 This translation first published by Oneworld Classics Limited in 2010 English translations, introductions, notes, extra material and appendices © Roger Clarke, 2010 Front cover image © Catriona Gray Printed in Great Britain by MPG Books, Cornwall ISBN: 978-1-84749-147-3 All the material in this volume is reprinted with permission or presumed to be in the public domain. Every effort has been made to ascertain and acknowledge the copyright status, but should there have been any unwitting oversight on our part, we would be happy to rectify the error in subsequent printings. All rights reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise), without the prior written permission of the publisher. This book is sold subject to the condition that it shall not be resold, lent, hired out or otherwise circulated without the express prior consent of the publisher. Contents Boris Godunov 1 Introduction by Roger Clarke 3 Boris Godunov 9 Little Tragedies 105 Introduction by Roger Clarke 107 The Mean-Spirited Knight 109 Mozart and Salieri 131 The Stone Guest 143 A Feast during the Plague 181 Notes on Boris Godunov 193 Notes on Little Tragedies 224 Extra Material 241 Alexander Pushkin’s Life 243 Boris Godunov 251 Little Tragedies 262 Translator’s Note 280 Select Bibliography 282 Appendices 285 1.
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The End of Boris. Contribution to an Aesthetics of Disorientation
The end of Boris. ConTriBuTion To an aesTheTiCs of disorienTaTion by reuven Tsur The Emergence of the Opera–An Outline Boris Godunov was tsar of russia in the years 1598–1605. he came to power after fyodor, the son of ivan the terrible, died without heirs. Boris was fyodor's brother-in-law, and in fact, even during fyodor's life he was the omnipotent ruler of russia. ivan the Terrible had had his eldest son executed, whereas his youngest son, dmitri, had been murdered in unclear circumstances. in the 16–17th centuries, as well as among the 19th-century authors the prevalent view was that it was Boris who ordered dmitri's murder (some present-day historians believe that dmitri's murder too was ordered by ivan the Terrible). in time, two pretenders appeared, one after the other, who claimed the throne, purporting to be dmitri, saved miraculously. Boris' story got told in many versions, in history books and on the stage. Most recently, on 12 July 2005 The New York Times reported the 295-year-late premiere of the opera Boris Goudenow, or The Throne Attained Through Cunning, or Honor Joined Happily With Affection by the German Baroque composer Johann Mattheson. Boris' story prevailed in three genres: history, tragedy, and opera. in the nineteenth century, the three genres culminated in n. M. Karamzin's monumental History of the Russian State, in alexander Pushkin's tragedy Boris Godunov, and in Modest Mussorgsky's opera Boris Godunov. each later author in this list liberally drew upon his predecessors. in her erudite and brilliant 397 reuven tsur the end of boris book, Caryl emerson (1986) compared these three versions in a Pimen interprets as an expression of the latter's ambition.
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Musically Russian: Nationalism in the Nineteenth Century Joshua J
Cedarville University DigitalCommons@Cedarville The Research and Scholarship Symposium The 2016 yS mposium Apr 20th, 3:40 PM - 4:00 PM Musically Russian: Nationalism in the Nineteenth Century Joshua J. Taylor Cedarville University, [email protected] Follow this and additional works at: http://digitalcommons.cedarville.edu/ research_scholarship_symposium Part of the Musicology Commons Taylor, Joshua J., "Musically Russian: Nationalism in the Nineteenth Century" (2016). The Research and Scholarship Symposium. 4. http://digitalcommons.cedarville.edu/research_scholarship_symposium/2016/podium_presentations/4 This Podium Presentation is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in The Research and Scholarship Symposium by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Musically Russian: Nationalism in the Nineteenth Century What does it mean to be Russian? In the eighteenth and early nineteenth centuries, Russian nobility was engrossed with French culture. According to Dr. Marina Soraka and Dr. Charles Ruud, “Russian nobility [had a] weakness for the fruits of French civilization.”1 When Peter the Great came into power in 1682-1725, he forced Western ideals and culture into the very way of life of the aristocracy. “He wanted to Westernize and modernize all of the Russian government, society, life, and culture… .Countries of the West served as the emperor’s model; but the Russian ruler also tried to adapt a variety of Western institutions to Russian needs and possibilities.”2 However, when Napoleon Bonaparte invaded Russia in 1812, he threw the pro- French aristocracy in Russia into an identity crisis.
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Boris Godunov
Modest Mussorgsky Boris Godunov CONDUCTOR Opera in a prologue and four acts Valery Gergiev Libretto by the composer, based on the play by PRODUCTION Alexander Pushkin (1875 version, with additions Stephen Wadsworth from the 1869 version) SET DESIGNER Ferdinand Wögerbauer Saturday, October 23, 2010, 12:00–4:15 pm COSTUME DESIGNER Moidele Bickel New Production LIGHTING DESIGNER Duane Schuler CHOREOGRAPHER Apostolia Tsolaki This production of Boris Godunov was made possible by generous gifts from Karen and Kevin Kennedy, Mr. and Mrs. Howard Solomon, and Mr. and Mrs. Wilmer J. Thomas, Jr. GENERAL MANAGER Peter Gelb MUSIC DIRECTOR James Levine 2010–11 Season The 268th Metropolitan Opera performance of Modest Mussorgsky’s Boris Godunov Conductor Valery Gergiev in o r d e r o f v o c a l a p p e a r a n c e Nikitich, a police officer Xenia, daughter of Boris Valerian Ruminski Jennifer Zetlan Mitiukha, a peasant Feodor, son of Boris Mikhail Svetlov Jonathan A. Makepeace Shchelkalov, a boyar Nurse, nanny to Boris’s Alexey Markov children Larisa Shevchenko Prince Shuisky, a boyar Oleg Balashov Boyar in Attendance Brian Frutiger Boris Godunov René Pape Marina Ekaterina Semenchuk Pimen, a monk Mikhail Petrenko Rangoni, a Jesuit priest Evgeny Nikitin Grigory, a monk, later pretender to the Russian throne Holy Fool Aleksandrs Antonenko Andrey Popov Hostess of the Inn Chernikovsky, a Jesuit Olga Savova Mark Schowalter Missail Lavitsky, a Jesuit Nikolai Gassiev Andrew Oakden Varlaam Khrushchov, a boyar Vladimir Ognovenko Dennis Petersen Police Officer Gennady Bezzubenkov Saturday, October 23, 2010, 12:00–4:15 pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide.
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The World of Child Psychology in Early Mussorgsky's Works
INTERNATIONAL JOURNAL OF ENVIRONMENTAL & SCIENCE EDUCATION 2016, VOL. 10, NO. 4, 3436-3449 OPEN ACCESS The World of Child Psychology in Early Mussorgsky’s Works Iza A. Nemirovskayaa, Lyudmila S. Bakshia, Olga V. Gromovaa, Irina A. Korsakovaa, and Alexander S. Bazikovb aMoscow state Institute of music named after A. G Schnitke, Moscow, RUSSIA; bGnessin Russian Academy of Music, Moscow, RUSSIA ABSTRACT The world of a child as a topic gave birth to a number of Mussorgsky`s decisions concerning figurative modes, music style systems, principles of composition and music poetics. The master captured the microcosm of passions, that originally inhabit the soul of a child, and his works presented an embodiment of the deep, ontological nature of any human personality with its typical mixture of good and evil. In his musical works about children the composer also showed us some fundamental laws of psychology: some child entertainments, that are not quite harmless, conceal future repulsive character traits of an adult; and evident aggressiveness of a person is often a result of a former child having been unjustly insulted. All this makes it possible for us to speak of Mussorgsky as a composer and a child psychologist. KEYWORDS ARTICLE HISTORY Mussorgsky, childhood, psychology, poetics Received 3 May 2016 Revised 13 July 2016 Accepted 22 July 2016 Introduction The interest of Mussorgsky to the world of a child was intrinsic to his soul capable of understanding children and evoking their love in response. Lonely in his soul, he had a trusting heart, openness and sincerity that are characteristic to children. A.N.
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Musical Offerings Volume 10 Number 2 Fall 2019 Article 1 10-7-2019 Understanding the Cultural and Nationalistic Impacts of the moguchaya kuchka Austin M. Doub Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/musicalofferings Part of the Diplomatic History Commons, Ethnomusicology Commons, Fine Arts Commons, Musicology Commons, Music Performance Commons, Music Theory Commons, and the Russian Literature Commons DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Recommended Citation Doub, Austin M. (2019) "Understanding the Cultural and Nationalistic Impacts of the moguchaya kuchka," Musical Offerings: Vol. 10 : No. 2 , Article 1. DOI: 10.15385/jmo.2019.10.2.1 Available at: https://digitalcommons.cedarville.edu/musicalofferings/vol10/iss2/1 Understanding the Cultural and Nationalistic Impacts of the moguchaya kuchka Document Type Article Abstract This paper explores Russian culture beginning in the mid nineteenth-century as the leading group of composers and musicians known as the moguchaya kuchka, or The Mighty Five, sought to influence Russian culture and develop a "pure" school of Russian music amid rampant westernization. Comprised of César Cui, Alexander Borodin, Mily Balakirev, Modest Mussorgsky, and Nikolay Rimsky-Korsakov, this group of inspired musicians opposed westernization and supported Official Nationalismy b the incorporation of folklore, local village traditions, and promotion of their Tsar as a supreme political leader.
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BORIS GODUNOV Modest Mussorgsky Prologue: at the Instigation of the Boyars, Headed by Shuisky, Russian Peasants Are Forced by P
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Completions and Reconstructions of Musical Works Part 4: Russian School by Stephen Barber Borodin Left His Opera Prince Igor
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Chapman Symphony Orchestra: Come Hear Chapman Chapman Symphony Orchestra
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The Nineteenth-Century Russian Operatic Roots of Prokofyev’S
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Boris Godunov Mussorgsky
Chan 3007 book cover.qxd 15/10/07 10:12 am Page 1 Chan 3007 MUSSORGSKY CHANDOS Highlights O PERA IN BORIS GODUNOV ENGLISH JOHN TOMLINSON C H O R U S O F O P E R A N O R T H • E N G L I S H N O R T H E R N P H I L H A R M O N I A PAUL DANIEL PETE MOOES FOUNDATION CHAN 3007 BOOK.qxd 15/10/07 10:17 am Page 2 Modest Mussorgsky (1839–1881) Boris Godunov (based on the initial version of 1869) Libretto by the composer, based on Pushkin’s historical tragedy of the same name and Karamzin’s History of the Russian State English translation by David Lloyd-Jones AKG Prince Shuisky .................................................................................................... Stuart Kale tenor Boris, Tsar of Russia...................................................................................... John Tomlinson bass Varlaam, a vagabond monk ................................................................................ Clive Bayley bass Xenia, Boris’s daughter ................................................................................ Joan Rodgers soprano Feodor, Tsarevich ................................................................................ Susan Parry mezzo-soprano The old Nurse .............................................................................. Yvonne Howard mezzo-soprano Simpleton ........................................................................................................ Mark Curtis tenor Pimen, monk and chronicler ............................................................................ Matthew
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Ii the Interpretation of Opera Excerpts for Bassoon
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