DOCSLIB.ORG

Program Winter 2016

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Program Winter 2016 PROGRAM WINTER 2016 SIEGFRIED THE MARRIAGE OF FIGARO CONTENTS A MESSAGE FROM GENERAL DIRECTOR 4 HIS LIFE, HIS WORK, ALEXANDER NEEF HIS CRAZY SCHEDULE Johannes Debus, COC Music Director “This is our reply to violence: to make music more intensely, 6 NEWS FROM THE COC’S more beautifully, more devotedly ANNUAL GENERAL than ever before.” MEETING Making Leonard Bernstein 7 BIOGRAPHIES Who’s Who at the COC this Winter First of all, it gives me great pleasure to announce that our exceptional 16 WHAT’S PLAYING: music director Johannes Debus has the arts SIEGFRIED extended his contract with the COC to the end of the 2020/2021 season. 22 SIEGFRIED, MEMORY Orchestra of the National Anthem at AND IDENTITY In January and February, two the top of the performance, and a few 24 GET TO KNOW... extraordinary COC productions grace brief remarks from me to dedicate the STEFAN VINKE the mainstage, both conducted by production of The Marriage of Figaro accessible. Johannes, who will be making his to the Canadian values we hold so 25 UP IN THE AIR Siegfried debut. dear. WITH THE COC! This production also stars the Every new calendar year at the COC 28 BACKSTAGE AND world’s most renowned Siegfried, begins with a season announcement. BEYOND Stefan Vinke in his first Canadian For the third year in a row, our 30 WHAT’S PLAYING: performances, and the incomparable subscribers were part of the THE MARRIAGE Christine Goerke, making her role excitement at the 2016/2017 Season OF FIGARO debut. Launch Celebration last week, becoming the first to hear about our 36 HOLDING A MIRROR UP Our new Marriage of Figaro is a upcoming line-up of productions. In TO NATURE production originally created by the addition to our beloved classics, Tosca Jane Archibald and Erin Wall Salzburg Festival. Directed by the on The Marriage of Figaro and The Magic Flute, the majesty of renowned Claus Guth and starring Götterdämmerung, and superb new 38 DARKNESS AND JOY our own wonderful Jane Archibald, productions of Norma and Ariodante, Exploring the humanity of Russell Braun and Erin Wall, we are we are presenting, in collaboration Claus Guth’s Figaro very pleased that this acclaimed with Canada’s National Arts Centre, a production now belongs to us. new production of Louis Riel to help 41 OPERA’S NEXT mark the country’s 150th birthday. I’m GENERATION The Marriage of Figaro is a sure you agree that 16/17 is a season 44 OPERA: FACES AND particularly poignant opera that truly worth celebrating! (Please refer to the WORDS exemplifies the values of freedom of insert within this program for more speech and expression. Mozart’s opera information). 46 MANY THANKS (and the comedy by Beaumarchais Acknowledging our it is based on) is among the earliest Finally, over the past year, COC staff many supporters pieces in the operatic canon to and volunteers have been looking deal with the ideas and values that further ahead into the future and 54 PATRON INFORMATION AND POLICIES have recently come under attack in embarked on an extensive strategic Paris, Beirut, San Bernardino and planning process called COC365. other places around the world. At At the heart of the new mission the COC, we feel it is important to and vision for the company is not only reflect on the impact of our unequivocal belief in artistic these attacks, but also to honour excellence, and, in the next five COC Program is published three times a our Canadian values of freedom, years, we will turn our dreams and year by the Canadian Opera Company. All rights reserved. Reproduction in whole respect for cultural differences, and a ideas into concrete plans to help or in part without written consent is commitment to social justice. We are our large, multi-faceted, and ever- prohibited. Contents copyright Canadian proud of providing a cultural space evolving company grow even better Opera Company. Direct all advertising in this country where people are BMO Financial Group is proud to sponsor the Canadian inquiries to [email protected]. and stronger. With COC365, we will free to gather, create art and express bring the transformative experience of Program edited by Claudine Domingue, opinions—freedoms not granted in opera to our local, national, and global Opera Company’s Student Dress Rehearsals and Director of Public Relations; Kristin McKinnon, Assistant Publicist; and, Gianna many places around the world. audience every day of the year. You Pre-Performance Opera Chats. Wichelow, Senior Manager, Creative and won’t want to miss a moment of it! Publications. Layout by Gianna Wichelow. Opening night of Figaro will include All information is correct at time of printing. Photo credits are on page 53. a special presentation by the COC CANADIAN OPERA COMPANY 2015/2016 3 15-1969 - Corporate Donations - Canadian Opera Company AD EDITS_Student Ad_Ev1.indd 1 15-08-27 10:36 AM Both winter operas are pretty long, What have you been up to since Siegfried particularly. How do you Pyramus and Thisbe closed, and JOHANNES DEBUS, and the musicians get through what does the rest of your season them? look like? Wagner conductors are always revered In November, I did a very special COC MUSIC DIRECTOR for their stamina and strength, but, in concert with the San Diego Symphony, fact, I think sometimes it’s far more in which the symphony collaborated exhausting to conduct a Verdi opera with the city’s art museum. After that than to follow the natural flow of I made my debut with the National HIS LIFE, Wagner’s music. It’s so well written Arts Centre Orchestra, conducting the for all the instruments that everyone world premiere of a new piece by Ana loves to play it. Wagner, even though Sokolovic*. Then I spent some time in he loved to write longer operas, was Berlin studying the winter operas. In HIS WORK, extremely clever in terms of pacing of the middle of the Siegfried and Figaro the piece. Each act has maybe one real run, I have a concert with the Royal climax. As the conductor you have to Conservatory Orchestra on February know where those climaxes are, and 12, which we kind of squeezed into HIS CRAZY you work towards them and try not to my crazy schedule. I was released exhaust yourself and everyone else too from the spring run here because I early. If you understand that, then it’s got an offer from my old theatre in not as difficult to get through as one Frankfurt to do a production of The SCHEDULE might imagine. Cunning Little Vixen. I’m a real lover of Janácek’sv music and I’m also very BY CLAUDINE DOMINGUE How can Verdi be more difficult to happy to be back in Frankfurt and conduct than Wagner? reconnect with my old “opera family.” I think it was Daniel Barenboim who said that Verdi is always in the In a way I was really lucky that I could present and Wagner is always in the spend a long time in Frankfurt and it development of something, of getting became a kind of home for me. When somewhere. Another conductor said I left Frankfurt, I came here and found Verdi’s music is vertical and Wagner’s a new beautiful home. I have to say is horizontal. This means that Verdi’s that I’m very, very grateful for that, operas force you to jump start your and I have to remind myself how good engine at the very beginning and things turned out for me! that requires a lot of energy. And you We caught up with our busy maestro it again, and I might have a different the piece—the architecture of each have to keep that motor going at high as he prepares to conduct both operas answer, but right now I’m very happy act—trying to somehow connect the speed for the whole opera. That might On January 13, 2016, at the public this winter run. about it! very beginning with the very end, be a reason that you sweat a little bit launch of the COC’s 2016/2017 and by doing that, build this arc over more during a Verdi opera than you do season, General Director Alexander Johannes, how do you perform Do you do a lot of preparation the the whole evening. For something in a Wagner opera. Neef announced that a new contract two operas back-to-back? Isn’t it day you conduct? like Figaro, I try to capture the for Johannes Debus extends his exhausting? Yes and no. I do need some time “atmosphere” of the piece. Also, as Last year, your son was born the tenure with the Canadian Opera Well, first of all, an instrumentalist to prepare, to get into the “zone.” I always in Mozart you are trying to deal same day as a performance of Die Company through to June 30, 2021. wants to play, a singer wants to sing need this moment—and of course, with the emotions of the characters. Walküre. How did you get through and conductor wants to conduct, for Siegfried and Figaro it’s a longer Mozart is a composer of the soul and that run? *Ana Sokolovic has been commissioned to so it’s actually great when you have moment because the works are long— what the soul is going through, so, I Noah was born at 12:45 in the compose a new opera for the COC for the 2019/2020 season. La Reine-Garçon will have performances back-to-back.
Load more

Recommended publications
  • UNITEL PROUDLY REPRESENTS the INTERNATIONAL TV DISTRIBUTION of Browse Through the Complete Unitel Catalogue of More Than 2,000 Titles At
    UNITEL PROUDLY REPRESENTS THE INTERNATIONAL TV DISTRIBUTION OF Browse through the complete Unitel catalogue of more than 2,000 titles at www.unitel.de Date: March 2018 FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CONTENT BRITTEN: GLORIANA Susan Bullock/Toby Spence/Kate Royal/Peter Coleman-Wright Conducted by: Paul Daniel OPERAS 3 Staged by: Richard Jones BALLETS 8 Cat. No. A02050015 | Length: 164' | Year: 2016 DONIZETTI: LA FILLE DU RÉGIMENT Natalie Dessay/Juan Diego Flórez/Felicity Palmer Conducted by: Bruno Campanella Staged by: Laurent Pelly Cat. No. A02050065 | Length: 131' | Year: 2016 OPERAS BELLINI: NORMA Sonya Yoncheva/Joseph Calleja/Sonia Ganassi/ Brindley Sherratt/La Fura dels Baus Conducted by: Antonio Pappano Staged by: Àlex Ollé Cat.
    [Show full text]
  • English Translation of the German by Tom Hammond
    Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p.
    [Show full text]
  • OCT 2005NEW.Qxd
    AAGGMMAAZZIINNEE Official Publication of the American Guild of Musical Artists A Branch of the Associated Actors and Artistes of America • Affiliated with the AFL-CIO Summer 2015 Volume 69, Number 1 How Technology Affects our Careers Page 2 AGMAzine Summer 2015 It would be inappropriate to go to press without recognizing the victory for many of our members and all supporters of civil rights from the Supreme Court’s decision on Marriage Equality (Obergefell v Hodges) . AGMA Establishes a New System for Reporting Illegal Discrimination By Alan S. Gordon, National Executive Director AGMA has estab - retaliation. Unfortunately, it’s a valid fear. act; the nature of the abuse, harassment or lished a system However, reporting abuse or harassment to discrimination; the employment position of for members to con - your employer remains one of the ONLY two that person (composer, coach, etc.); their fidentially report truly effective ways of dealing with sexual work relationship to the person making the instances of any abuse or other illegal discrimination. report (unless it’s obvious from their posi - illegal discrimina - tion); whether or not there were witnesses to tion, including sex - The other possible remedy exists because dis - the situation, including their names or identi - ual abuse, harass - crimination is also a violation of AGMA’s fication by job titles; and any other informa - ment and conduct collective bargaining agreements and tion you think relevant to the report. that creates a hostile Standard Artist Agreements, and so it can also Although members can report abuse encoun - work environment. be pursued through the grievance and arbitra - tered at non-union companies, we have no tion provision of our contracts and decided by ability to influence behavior among non- A number of members, including participants an arbitrator.
    [Show full text]
  • Reforming the Supreme Court Appointment Process, 2004-2014: a 10-Year Democratic Audit 2014 Canliidocs 33319 Adam M
    The Supreme Court Law Review: Osgoode’s Annual Constitutional Cases Conference Volume 67 (2014) Article 4 Reforming the Supreme Court Appointment Process, 2004-2014: A 10-Year Democratic Audit 2014 CanLIIDocs 33319 Adam M. Dodek Follow this and additional works at: http://digitalcommons.osgoode.yorku.ca/sclr This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Citation Information Dodek, Adam M.. "Reforming the Supreme Court Appointment Process, 2004-2014: A 10-Year Democratic Audit." The Supreme Court Law Review: Osgoode’s Annual Constitutional Cases Conference 67. (2014). http://digitalcommons.osgoode.yorku.ca/sclr/vol67/iss1/4 This Article is brought to you for free and open access by the Journals at Osgoode Digital Commons. It has been accepted for inclusion in The uS preme Court Law Review: Osgoode’s Annual Constitutional Cases Conference by an authorized editor of Osgoode Digital Commons. Reforming the Supreme Court Appointment Process, 2004-2014: A 10-Year Democratic Audit* Adam M. Dodek** 2014 CanLIIDocs 33319 The way in which Justice Rothstein was appointed marks an historic change in how we appoint judges in this country. It brought unprecedented openness and accountability to the process. The hearings allowed Canadians to get to know Justice Rothstein through their members of Parliament in a way that was not previously possible.1 — The Rt. Hon. Stephen Harper, PC [J]udicial appointments … [are] a critical part of the administration of justice in Canada … This is a legacy issue, and it will live on long after those who have the temporary stewardship of this position are no longer there.
    [Show full text]
  • Year in Review
    2 0 Year in Review 1Supreme 9 Court of Canada Cour suprême du Canada Find the Visit our Like us on Follow us on Supreme website at Facebook at Twitter at scc-csc.ca facebook.com/ twitter.com/SCC_eng Court of Supreme Canada CourtofCanada online! This was the very first photo ever taken of the current judges together. It was taken in the library of the Winnipeg Law Courts on September 23, 2019. © Supreme Court of Canada (2020) Front cover: Grand Hall, Supreme Court of Canada All photos (except pages 8-9, bottom photo on page 16, left-hand photos on page 17, and page 18): Supreme Court of Canada Collection Photo credits: Pages 4-5: Justices Abella and Côté – Philippe Landreville, photographer | Justice Karakatsanis – Jessica Deeks Photography | Justices Gascon, Brown, and Rowe – Andrew Balfour Photography Page 7: Cochrane Photography Page 8-9: True North Sports + Entertainment The Supreme Court of Canada emblem is a symbol of the Court as the highest judicial Page 16: Senate of Canada institution in Canada. It was designed nearly a century ago by the Page 17 - left side, top: Supreme Court of the United Kingdom distinguished Montreal architect Ernest Cormier, and can be found emblazoned Page 17 - left side, bottom: Embassy of Canada to Japan in the marble floor of the Court’s Grand Hall leading to the Main Courtroom. Page 18: Shannon VanRaes/Winnipeg Free Press As its emblem, it represents the Court’s key values of justice, independence, integrity, ISSN 2562-4776 (Online) transparency, and bilingualism. A Message from the Chief Justice When I became Chief Justice just over two years ago, I committed to making the Court more open and understandable, and to enhancing access to justice for everyone.
    [Show full text]
  • Year in Review Supreme Court of Canada Cour Suprême Du Canada Find the Supreme Court of Canada Online
    2020Year in Review Supreme Court of Canada Cour suprême du Canada Find the Supreme Court of Canada online Like us on Facebook Follow us on Twitter Visit our website at SupremeCourtofCanada @SCC_eng www.scc-csc.ca Current bench of the Supreme Court of Canada Photo credits: All photos (except photo on page 9): Supreme Court of Canada Collection Page 3: Cochrane Photography Page 9: Speech from the Throne – PMO-CPM Pages 10 and 11: Justices Abella and Côté – Philippe Landreville, photographer | Justice Karakatsanis – Jessica Deeks Photography | Justices Brown and Rowe – Andrew Balfour Photography The Supreme Court of Canada emblem is a symbol of the Court as Page 28: Justices Brown, Abella et Kasirer – the highest judicial institution in Canada. It was designed nearly Justice Andromache Karakatsanis a century ago by the distinguished Montreal architect Ernest Supreme CourtSupreme Canada of Cormier, and can be found emblazoned in the marble floor of the Court’s Grand Hall leading to the Main Courtroom. © Supreme Court of Canada (2021) The emblem represents the Court’s key values of justice, ISSN 2562-4776 (Print) independence, integrity, transparency and bilingualism. Message from the Chief Justice Along with millions of Canadians in 2020, the Supreme Court of Canada found innovative ways to pivot, adapt and persevere through a global pandemic. Our dedicated employees introduced new technologies, streamlined processes and implemented protocols in collaboration with public health authorities to ensure everyone’s safety and health while serving Canadians. I am proud of the Court’s agility and commitment to maintain access to justice throughout a devastating public health crisis.
    [Show full text]
  • Amity Visit to Canada 2019 Ju
    Programme Overview Wednesday 18 September 2019 (Ottawa) 17:00 - Treasurer’s Lecture by The Hon Justice Rosalie Silberman Abella, Supreme Court of Canada at the National Arts Centre, followed by a reception and dinner CDN$195per ticket Friday 20 September 2019 (Toronto) 14:00 - Appellate Advocacy Discussion and Moot at the Rosalie Silberman Abella Moot Courtroom, University of Toronto Free to attend 19:00 - Bench Call (Chief Justice of Canada and Sheila Block) and dinner at Osgoode Hall CDN$225 per ticket Saturday 21 September 2019 (Toronto) 09:30 - Seminars at Osgoode Hall Free to attend 17:30 - Farewell reception at the CN Tower Free to attend For booking and payment information please click here For more information please contact the Inn’s Membership Manager, Oliver Muncey, at [email protected] 2 Wednesday 18 September 2019 (Ottawa) Treasurer’s Lecture The Hon Justice Rosalie Silberman Abella, Supreme Court of Canada A Generation of Justice’s Journey: Now what? Venue - National Arts Centre 17:00 - Lecture 18:00 - Reception 19:00 - Dinner 21:30 - Carriages Dress code – Lounge suite/business attire Guests welcome CDN$195per ticket For booking and payment information please click here 3 Friday 20 September 2019 (Toronto) Moot and Appellate Advocacy Discussion Venue - Rosalie Silberman Abella Moot Courtroom, University of Toronto 14:00 - Introduction and Appellate Advocacy Discussion Chair: Andrew Hochhauser QC, Essex Court Chambers Speakers: The Rt Hon The Lord Judge, former Lord Chief Justice of England and Wales The Hon Justice Graeme Mew, Superior Court of Justice 14:30 - Moot before the Supreme Court Judges: The Rt Hon Sir Stanley Burnton, One Essex Court and former Lord Justice of Appeal The Hon Justice Kathryn N.
    [Show full text]
  • Don Giovanni Was Made Possible by a Generous Gift from the Richard and Susan Braddock Family Foundation, and Sarah and Howard Solomon
    donWOLFGANG AMADEUS MOZARTgiovanni conductor Opera in two acts Fabio Luisi Libretto by Lorenzo Da Ponte production Michael Grandage Saturday, October 22, 2016 PM set and costume designer 1:00–4:30 Christopher Oram lighting designer Paule Constable choreographer Ben Wright revival stage director Louisa Muller The production of Don Giovanni was made possible by a generous gift from the Richard and Susan Braddock Family Foundation, and Sarah and Howard Solomon Additional funding was received from Jane and Jerry del Missier and Mr. and Mrs. Ezra K. Zilkha general manager Peter Gelb The revival of this production is made possible music director emeritus by a gift from Rolex James Levine principal conductor Fabio Luisi 2016–17 SEASON The 556th Metropolitan Opera performance of WOLFGANG AMADEUS MOZART’S don giovanni conductor Fabio Luisi in order of vocal appearance leporello maset to Adam Plachetka Matthew Rose donna anna Hibla Gerzmava continuo David Heiss, cello don giovanni Howard Watkins*, Simon Keenlyside harpsichord the commendatore mandolin solo Kwangchul Youn Joyce Rasmussen Balint don ot tavio Paul Appleby* donna elvir a Malin Byström zerlina Serena Malfi Saturday, October 22, 2016, 1:00–4:30PM This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation. Global sponsorship of The Met: Live in HD is also provided by Bloomberg Philanthropies. Chorus Master Donald Palumbo Musical
    [Show full text]
  • Radio 3 Listings for 2 – 8 June 2012 Page 1 of 10
    Radio 3 Listings for 2 – 8 June 2012 Page 1 of 10 SATURDAY 02 JUNE 2012 4:49 AM plays works by two of the most influential composers for the Durante, Francesco (1684-1755) piano, Liszt and Debussy. Two sides of Liszt are on display in SAT 01:00 Through the Night (b01j29g1) Concerto per quartetto for strings No.3 in E flat major the solemn Invocation (from the Harmonies Poetiques et Susan Sharpe presents a recital of early organ music Lübeck, Concerto Köln Religieuses) and his brilliantly virtuosic Grosses Konzertsolo, Frescobaldi and Pasquini. Performed by Andrea Marcon and while Debussy's Images show his genius for evocative piano recorded at the 2009 Ansbach Bach Week. 5:01 AM textures. Presented by Sean Rafferty. Rimsky-Korsakov, Nikolai (1844-1908) 1:01 AM May Night: overture FULL PROGRAMME Lübeck, Vincent (1654-1740) Calgary Philharmonic Orchestra, Mario Bernardi (conductor) Liszt: Invocation from Harmonies Poétiques et Religieuses Prelude in D minor (first version) Andrea Marcon (organ) 5:09 AM Debussy: Images oubliées Chopin, Frédéric (1810-1849) Debussy: Images Book I 1:10 AM Scherzo for piano No.4 (Op.54) in E major Debussy: L'isle joyeuse Frescobaldi, Girolamo (1583-1643) Simon Trpceski (piano) Liszt: Grosses Konzertsolo Canzon III; Toccata IV 'per l'Elevazione' Andrea Marcon (organ) 5:21 AM Jean-Efflam Bavouzet (piano). Schuyt, Cornelis (1557-1616) 1:21 AM Voi bramate, ben mio Bernardo Storace (fl.1664) Netherlands Chamber Choir, Paul van Nevel (conductor) SAT 15:00 Saturday Classics (b01jg7z8) Ballo della battaglia for keyboard;
    [Show full text]
  • Così Fan Tutte DA SEMPRE FACCIAMO QUADRATO ATTORNO ALLE TUE PASSIONI
    IL REGIO ONLINE 2021 Wolfgang Amadeus Mozart COSÌ FAN TUTTE DA SEMPRE FACCIAMO QUADRATO ATTORNO ALLE TUE PASSIONI. Fin dal 1828, anno di fondazione di Reale Mutua, abbiamo costruito la nostra storia insieme: una storia fatta di persone, semplicità, coraggio e tradizione ma anche capace di innovazione. Un museo accessibile e inclusivo, patrimonio culturale di tutti, oggi riaperto nel rispetto della sicurezza dei visitatori e disponibile anche on-line all’indirizzo www.museorealemutua.org. Museo Storico Reale Mutua - Via Garibaldi, 22 - Torino - Tel. +39 011 4312320 - [email protected] FONDAZIONE TEATRO REGIO DI TORINO Fondatori PANTONE 301 C PANTONE 325 C Aziende metropolitane torinesi Partner Sostenitori Aziende aderenti FONDAZIONE TEATRO REGIO DI TORINO Commissario straordinario Rosanna Purchia Direttore artistico Sebastian F. Schwarz Direttore generale Guido Mulè Collegio dei Revisori Presidente Mario Pischedda Revisori Diego De Magistris Massimo Broccio Soci fondatori Paolo Cantarella Piera Braja Gallone Luciano Donati Nanette Grigolo e Carlo Burdonzotti Beatrice Ramasco Adriano Butta Emanuela Recchi Silvia Calosso Castino Donatella e Gian Luigi Canata Consiglio direttivo Gianfranco Carbonato Gian Carlo Caselli Elsa Teresa Begnis Moiso presidente Marco Castino Delphine Geldof vicepresidente Maria Cattaneo Leonetti Marco Castino segretario e tesoriere Sonia e Salvatore De Fazio Maria Luisa Cosso Eynard Annamaria Donetti Vesce in memoria Leopoldo Furlotti di Franco Vesce Flavia Pesce Mattioli Fisio SpA - Centro Medico Lingotto
    [Show full text]
  • Alban Berg's Filmic Music
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 Alban Berg's filmic music: intentions and extensions of the Film Music Interlude in the Opera Lula Melissa Ursula Dawn Goldsmith Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Goldsmith, Melissa Ursula Dawn, "Alban Berg's filmic music: intentions and extensions of the Film Music Interlude in the Opera Lula" (2002). LSU Doctoral Dissertations. 2351. https://digitalcommons.lsu.edu/gradschool_dissertations/2351 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. ALBAN BERG’S FILMIC MUSIC: INTENTIONS AND EXTENSIONS OF THE FILM MUSIC INTERLUDE IN THE OPERA LULU A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The College of Music and Dramatic Arts by Melissa Ursula Dawn Goldsmith A.B., Smith College, 1993 A.M., Smith College, 1995 M.L.I.S., Louisiana State University and Agricultural and Mechanical College, 1999 May 2002 ©Copyright 2002 Melissa Ursula Dawn Goldsmith All rights reserved ii ACKNOWLEDGMENTS It is my pleasure to express gratitude to my wonderful committee for working so well together and for their suggestions and encouragement. I am especially grateful to Jan Herlinger, my dissertation advisor, for his insightful guidance, care and precision in editing my written prose and translations, and open mindedness.
    [Show full text]
  • The Digital Concert Hall
    Welcome to the Digital Concert Hall he time has finally come! Four years have Emmanuelle Haïm, the singers Marlis Petersen passed since the Berliner Philharmoniker – the orchestra’s Artist in Residence – Diana T elected Kirill Petrenko as their future chief Damrau, Elīna Garanča, Anja Kampe and Julia conductor. Since then, the orchestra and con- Lezhneva, plus the instrumentalists Isabelle ductor have given many exciting concerts, fuel- Faust, Janine Jansen, Alice Sara Ott and Anna ling anticipation of a new beginning. “Strauss Vinnitskaya. Yet another focus should be like this you encounter once in a decade – if mentioned: the extraordinary opportunities to you’re lucky,” as the London Times wrote about hear members of the Berliner Philharmoniker their Don Juan together. as protagonists in solo concertos. With the 2019/2020 season, the partnership We invite you to accompany the Berliner officially starts. It is a spectacular opening with Philharmoniker as they enter the Petrenko era. Beethoven’s Ninth Symphony, whose over- Look forward to getting to know the orchestra whelmingly joyful finale is perfect for the festive again, with fresh inspiration and new per- occasion. Just one day later, the work can be spectives, and in concerts full of energy and heard once again at an open-air concert in vibrancy. front of the Brandenburg Gate, to welcome the people of Berlin. Further highlights with Kirill Petrenko follow: the New Year’s Eve concert, www.digital-concert-hall.com featuring works by Gershwin and Bernstein, a concert together with Daniel Barenboim as the soloist, Mahler’s Sixth Symphony, Beethoven’s Fidelio at the Baden-Baden Easter Festival and in Berlin, and – for the European concert – the first appearance by the Berliner Philharmoniker in Israel for 26 years.
    [Show full text]