DOCSLIB.ORG

Songs of Kurt Weill

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Songs of Kurt Weill \ Ethan Blake BM Vocal Performance Paradise Valley, Arizbna Justin Carpenter DMA Vocal Performance Tempe, Arizona Gabriella Cavalcanti BM Vocal Performance Tucson, Arizor;ia Chelsea Chimilar MM Vocal Pert. Pedagogy East St. Paul, MB Haeju Choi DMA Collaborative Piano Seoul, Soutt\._K1 SONGS OF KURT WEILL Julia Davis BM Music Theater Anthem, Ariz~a Philip Godfrey BM Vocal Performance Ahwatukee, Arizona Olivia Gardner MM Vocal Performance Mesa, Arizona David Hopkins MM Music Theater Savanah, Georgia Zhou Jiang DMA Collaborative Piano Kunming, CHINA Aaron T. Jones MM Opera Theater Richmond, Virginia Titus Kautz MM Music Theater Bridgeport, Nebraska 1 'i Rina Kim DMA Collaborative Piano Toronto, ON Canada Erin Kong BM Music Theater Chandler, Arizona Juhyun Lee DMA Collaborative Piano lncheon, South Korea Danielle Mendelson BM Vocal Performance Dallas, Texas Nicholas Medrano BM Music Education Scottsdale, Arizona Julian Mendoza BM Music Theater Phoenix, Arizona Vaibu Mohan BM Music Theater Phoenix, Arizona Rex Morris MM Music Theater Baton Rouge, Louisiana Mary Price MM Collaborative Piano Marion, Alabama Christopher Reah BM Music Theater Anthem, Arizona Mariah Rosario BM Vocal Performance Tucson, Arizona Analise Rosario BM Music Theater Tucson, Arizona Kaitlyn Russell BM Music Theater Tucson, Arizona Sara Sanderson BM Music Theater Tucson, Arizona Boston Scott BM Music Theater Scottsdale, Arizona Nathan Shepperd BM Music Theater Phoenix, Arizona Drake Sherman BM Vocal Performance Tucson, Arizona Amanda Sherrill MM Collaborative Piano Orlando~rida Juhee Seo DMA Vocal Performance Seoul, Sou~orea Yeojin Seol DMA Collaborative Piano Seoul, South Korea Melody Startzell BM Vocal Performance Prescott, Arizona Samuel Stefanski BM Vocal Performance Glendale, Arizona Kehui Wu DMA Vocal Performance Hengyong, China Monday • October 17, 2016 • ASU Organ Hall • 7:30pm Ch anashan. China · Herberger Institute Yijeong Yun MM Vocal Performance Busan, South Korea FOR DESIGN AND THE ARTS Jordan ZemJ:?s Anzona Bo"d of Cardston, AB Canada M,l.j§j~.)~~~ater Reg.MM , ARIZONA STATE UNIVERSITY Dongfang Zhang DMA Collaborative Piano Suzhou, China Ruihao Zhang BM Music Therapy Dalian, China PROGRAM Studio 303 Past Programs Bachanaglla 1989 Mozart Marathon 1992 Bachanaglla 1992 Mack the Knife from The Three Penny Opera Handel: Heros 1993 Gilbert and Sulllvan .•. revlslted 1993 Lyricist: Bertolt Brecht Shakespeare & Song 1994 Boston Scott, tenor To Vienna (With Love) 1995 Rex Morris, piano Gabriel Faure Songbook 1995 DIVA! 1996 Copland American Soliloquy 1996 Barbara Song from The Three Penny Opera Bernstein Sings 1997 English Folk Song Suite 1997 Lyricist: Bertolt Brecht 0 Canada! 1998 Yijeong Yun, mezzo soprano By George (Gershwin)! 1998 Stephen Sondheim Song Book 1999 Haeju Choi, piano . Trio! 1997 Viva Mozart 2000 Barber: Essay for Voices 2000 Oh Captain my Captain from Four Walt Witman Songs Three Sopranos & Three Clarlnets 2000 David Hopkins, tenor Duets 2001 Stormy Weather 2001 Amanda Sherrill, piano Dames 2002 Richard Rodgers: With a Song In My Heart 2002 Birdsong: A Fowl Concert 2003 Here I'll Stay from Love Life Dreamers 2004 Lyricist: Alan Jay Lerner Here's A Howdy-Do 2005 Nathan Sheppard, baritone Flowers 2005 A Song for Rosa 2006 Rex Morris, piano Luna 2006 Fur Ball 2007 La Volx d'un Femme: Cecile Chamlnade 2007 West Wind from One Touch of Venus Squabbles 2008 Lyricist: Ogden Nash Grieg Songs 2008 Serious Funt 2009 Ethan Blake, baritone Clara 2009 Rex Morris, piano Good Food 201 O Richard Hundley Songbook 2010 Posslbllltles 2011 Stay Well from Lost in the Stars Song Man: Stephen Foster 2011 Critters 2012 Lyricist: Maxwell Anderson Gershwin Project 2013 Danielle Mendelson, soprano Stephen Sondheim 2014 Haeju Choi, piano Ned Rorem 2014 A Song for Martin Luther King 2015 Songs from the Movies 2015 1 Amy Beach 2016 Kurt Welll Songs 2016 Saga of Jenny from Lady in the Dark Complainte de la Seine Lyricist: Ira Gershwin Lyricist: Maurice Magre Jordan Zemp, mezzo soprano Ruihao Zhang, mezzo soprano Titus Kautz, piano Rex Morris, piano It Never Was You from Knickbocker Holiday That's Him from One Touch of Venus Lyricist: Maxwell Anderson Lyricist: Ogden Nash Mariah Rosario, soprano Erin Kong, mezzo soprano Haeju Choi, piano Zhou Jiang, piano When We Go Away Together from Street Scene Lost in the Stars from Lost in the Stars Librettist: Langston Hughes Lyricist: Maxwell Anderson Gabriella Cavalcanti, soprano Nicholas Medrano, baritone Justin Carpenter, tenor Rex Morris, piano Haeju Choi, piano Youkali Lyricist: Roger Fernay There's Nowhere to Go but Up Vaibu Mohan, soprano from Knickerbocker Holiday Rex Morris, piano Lyricist: Maxwell Anderson Christopher Reah, tenor What Good Would the Moon Be? from Street Scene Julian Mendoza, tenor Lyricist: Langston Hughes Studio Ensemble Melody Startzell, soprano Haeju Choi, piano Haeju Choi, piano Je ne t'aime pas Lyricist: Bertolt Brecht Kehui\/Vu, soprano Dongfang Zhang, piano 5 2 Foolish Heart from One Touch of Venus Lonely House from Street Scene Lyricist: Ogden Nash Librettist: Langston Hughes Juhee Seo, soprano Aaron T. Jones, tenor Rina Kim, piano Rex Morris, piano I'm a Stranger Here Myself from A Touch of Venus Speak Low from One Touch of Venus Lyricist: Ogden Nash Lyricist: Ogden Nash Kaitlyn Russell, soprano Chelsea Chimilar, mezzo soprano Haeju Choi, piano Mary Price, piano INTERMISSION One Life to Live from Lady in the Dark Lyricist: Ira Gershwin September Song from Knlckbocker Holiday Olivia Gardner, soprano Lyricist: Maxwell Anderson Haeju Choi, piano Sam Stefanski, tenor Zhou Jiang, piano Tchaikowsky (And Other Russians) from Lady in the Dark Mr. Right from Love Life Lyricist: Ira Gershwin Lyricist: Alan Jay Lerner Drake Sherman, tenor Chumeng Yao, mezzo soprano Miles Plant, piano Zhou Jiang, piano Buddy on the Night Shift My Ship from Lady In the Dark from Lunch Time Follies Lyricist: Ira Gershwin Lyricist: Oscar Hammerstein II Julia Davis, soprano Analise Rosario, mezzo soprano Zhou Jiang, piano Titus Kautz, piano This is the Life from Love Life This Time Next Year from Huckleberry Finn Lyricist: Alan Jay Lerner Lyricist: Maxwell Anderson Philip Godfrey, baritone Sara Sanderson, soprano Yeojin Seol, piano Miles Plant, piano 3 4 Saga of Jenny from Lady in the Dark Complainte de la Seine Lyricist: Ira Gershwin Lyricist: Maurice Magre Jordan Zemp, mezzo soprano Ruihao Zhang, mezzo soprano Titus Kautz, piano Rex Morris, piano It Never Was You from Knickbocker Holiday That's Him from One Touch of Venus Lyricist: Maxwell Anderson Lyricist: Ogden Nash Mariah Rosario, soprano Erin Kong, mezzo soprano Haeju Choi, piano Zhou Jiang, piano When We Go Away Together from Street Scene Lost in the Stars from Lost in the Stars Librettist: Langston Hughes Lyricist: Maxwell Anderson Gabriella Cavalcanti, soprano Nicholas Medrano, baritone Justin Carpenter, tenor Rex Morris, piano Haeju Choi, piano Youkali Lyricist: Roger Fernay There's Nowhere to Go but Up Vaibu Mohan, soprano from Knickerbocker Holiday Rex Morris, piano Lyricist: Maxwell Anderson Christopher Reah, tenor What Good Would the Moon Be? from Street Scene Julian Mendoza, tenor Lyricist: Langston Hughes Studio Ensemble Melody Startzell, soprano Haeju Choi, piano Haeju Choi, piano Je ne t'aime pas Lyricist: Bertolt Brecht Kehui\/Vu, soprano Dongfang Zhang, piano 5 2 PROGRAM Studio 303 Past Programs Bachanaglla 1989 Mozart Marathon 1992 Bachanaglla 1992 Mack the Knife from The Three Penny Opera Handel: Heros 1993 Gilbert and Sulllvan .•. revlslted 1993 Lyricist: Bertolt Brecht Shakespeare & Song 1994 Boston Scott, tenor To Vienna (With Love) 1995 Rex Morris, piano Gabriel Faure Songbook 1995 DIVA! 1996 Copland American Soliloquy 1996 Barbara Song from The Three Penny Opera Bernstein Sings 1997 English Folk Song Suite 1997 Lyricist: Bertolt Brecht 0 Canada! 1998 Yijeong Yun, mezzo soprano By George (Gershwin)! 1998 Stephen Sondheim Song Book 1999 Haeju Choi, piano . Trio! 1997 Viva Mozart 2000 Barber: Essay for Voices 2000 Oh Captain my Captain from Four Walt Witman Songs Three Sopranos & Three Clarlnets 2000 David Hopkins, tenor Duets 2001 Stormy Weather 2001 Amanda Sherrill, piano Dames 2002 Richard Rodgers: With a Song In My Heart 2002 Birdsong: A Fowl Concert 2003 Here I'll Stay from Love Life Dreamers 2004 Lyricist: Alan Jay Lerner Here's A Howdy-Do 2005 Nathan Sheppard, baritone Flowers 2005 A Song for Rosa 2006 Rex Morris, piano Luna 2006 Fur Ball 2007 La Volx d'un Femme: Cecile Chamlnade 2007 West Wind from One Touch of Venus Squabbles 2008 Lyricist: Ogden Nash Grieg Songs 2008 Serious Funt 2009 Ethan Blake, baritone Clara 2009 Rex Morris, piano Good Food 201 O Richard Hundley Songbook 2010 Posslbllltles 2011 Stay Well from Lost in the Stars Song Man: Stephen Foster 2011 Critters 2012 Lyricist: Maxwell Anderson Gershwin Project 2013 Danielle Mendelson, soprano Stephen Sondheim 2014 Haeju Choi, piano Ned Rorem 2014 A Song for Martin Luther King 2015 Songs from the Movies 2015 1 Amy Beach 2016 Kurt Welll Songs 2016 \ Ethan Blake BM Vocal Performance Paradise Valley, Arizbna Justin Carpenter DMA Vocal Performance Tempe, Arizona Gabriella Cavalcanti BM Vocal Performance Tucson, Arizor;ia Chelsea Chimilar MM Vocal Pert. Pedagogy East St. Paul, MB Haeju Choi DMA Collaborative Piano Seoul, Soutt\._K1 SONGS OF KURT WEILL Julia Davis BM Music Theater Anthem, Ariz~a Philip Godfrey BM Vocal Performance Ahwatukee, Arizona Olivia Gardner MM Vocal Performance Mesa, Arizona David Hopkins MM Music Theater Savanah, Georgia Zhou Jiang DMA Collaborative Piano Kunming,
Load more

Recommended publications
  • ANTA Theater and the Proposed Designation of the Related Landmark Site (Item No
    Landmarks Preservation Commission August 6, 1985; Designation List 182 l.P-1309 ANTA THFATER (originally Guild Theater, noN Virginia Theater), 243-259 West 52nd Street, Manhattan. Built 1924-25; architects, Crane & Franzheim. Landmark Site: Borough of Manhattan Tax Map Block 1024, Lot 7. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the ANTA Theater and the proposed designation of the related Landmark Site (Item No. 5). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-three witnesses spoke in favor of designation. Two witnesses spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The ANTA Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in the 1924-25, the ANTA was constructed for the Theater Guild as a subscription playhouse, named the Guild Theater. The fourrling Guild members, including actors, playwrights, designers, attorneys and bankers, formed the Theater Guild to present high quality plays which they believed would be artistically superior to the current offerings of the commercial Broadway houses. More than just an auditorium, however, the Guild Theater was designed to be a theater resource center, with classrooms, studios, and a library. The theater also included the rrost up-to-date staging technology.
    [Show full text]
  • CONTRIBUTION TOWARDS AMERICAN PLAYS by CLIFFORD ODETS and OTHER PLAYWRIGHTS DURING 1930S
    IMPACT: International Journal of Research in Humanities, Arts and Literature (IMPACT: IJRHAL) ISSN (P): 2347-4564; ISSN (E): 2321-8878 Vol. 6, Issue 4, Apr 2018, 51-56 © Impact Journals CONTRIBUTION TOWARDS AMERICAN PLAYS BY CLIFFORD ODETS AND OTHER PLAYWRIGHTS DURING 1930s G. Visalam Head, Department of English, Sri Muthukumaran Arts and Science College, Chennai, Tamil Nadu, India Received: 31 Mar 2018 Accepted: 04 Apr 2018 Published: 07 Apr 2018 ABSTRACT American Plays had a tremendous response during 1930s and several genre of plays were staged at all corners of America and the Americans were fond of enacting and viewing the plays. The genre of plays will vary based on the American people mindset and the political situations. Several playwrights followed Hollywood techniques for writing their scripts. The role of playwright was found to be more vital than the role of an actor or the Director or the Production Company. The contribution of the playwrights during 1930s was considered to be a trend setting period in changing the roles of a writer from technician to becoming an artist. KEYWORDS : Playwright, Writer, Script, Actor, Play, Drama, Theatre INTRODUCTION During the 1930s, the playwrights followed Hollywood’s technique for paying writers for their scripts. Theatres such as Group Theatre and the Theatre Guild supported this idea to consider writers as autonomous artists whose function was very important than any other member of the company. The scripts were sold on the basis of their value, but they were written without the specific actor, particular director or any theatres in mind. Thus the Star System of Pre-World War came to an end, by giving importance to the playwright.
    [Show full text]
  • Topical Weill: News and Events
    Volume 27 Number 1 topical Weill Spring 2009 A supplement to the Kurt Weill Newsletter news & news events Summertime Treats Londoners will have the rare opportunity to see and hear three Weill stage works within a two-week period in June. The festivities start off at the Barbican on 13 June, when Die Dreigroschenoper will be per- formed in concert by Klangforum Wien with HK Gruber conducting. The starry cast includes Ian Bostridge (Macheath), Dorothea Röschmann (Polly), and Angelika Kirchschlager (Jenny). On 14 June, the Lost Musicals Trust begins a six-performance run of Johnny Johnson at Sadler’s Wells; Ian Marshall Fisher directs, Chris Walker conducts, with Max Gold as Johnny. And the Southbank Centre pre- sents Lost in the Stars on 23 and 24 June with the BBC Concert Orchestra. Charles Hazlewood conducts and Jude Kelly directs. It won’t be necessary to travel to London for Klangforum Wien’s Dreigroschenoper: other European performances are scheduled in Hamburg (Laeiszhalle, 11 June), Paris (Théâtre des Champs-Elysées, 14 June), and back in the Klangforum’s hometown, Vienna (Konzerthaus, 16 June). Another performing group traveling to for- eign parts is the Berliner Ensemble, which brings its Robert Wilson production of Die Dreigroschenoper to the Bergen Festival in Norway (30 May and 1 June). And New Yorkers will have their own rare opportunity when the York Theater’s “Musicals in Mufti” presents Knickerbocker Holiday (26–28 June). Notable summer performances of Die sieben Todsünden will take place at Cincinnati May Festival, with James Conlon, conductor, and Patti LuPone, Anna I (22 May); at the Arts Festival of Northern Norway, Harstad, with the Mahler Chamber Orchestra led by HK Gruber and Ute Gfrerer as Anna I (20 June); and in Metz, with the Orchestre National de Lorraine, Jacques Mercier, conductor, and Helen Schneider, Anna I (26 June).
    [Show full text]
  • The Lotte Lenya Competition
    Cover photos (left to right): Nine-time Competition judge Teresa Stratas; 2012 winners Matthew Grills, Jacob Keith Watson, Justin Hopkins, and Megan Marino; 2009 judge Ted Chapin with winners Lauren Worsham, Ginger Costa-Jackson, Yannick-Muriel Noah, and Zachary James. THE LOTTE LENYA COMPETITION PAST WINNERS AND JUDGES 2012 2007 2002 First Prize: Matthew Grills First Prize: James Benjamin First Prize: Lisa Conlon Second Prize: Justin Hopkins, Rodgers Second Prize: Kyle Barisich, Jacob Keith Watson Second Prize: Analisa Leaming Ethan Watermeier Third Prize: Megan Marino Third Prize: Leena Chopra, Lys Symonette Awards: Nicole Lys Symonette Awards: Natalie Christopher Herbert Cabell, Lucas Meachem, Amy Ballenger, Maria Failla Lys Symonette Awards: Paul Van Looy Judges: Rob Berman, Theodore Corona, Jeanine De Bique, Brian Judges: Eric Stern, Teresa Stratas, S. Chapin, Rebecca Luker Charles Rooney Stanley Walden Judges: Theodore S. Chapin, Ted 2011 2001 Sperling, Teresa Stratas First Prize: Caitlin Mathes First Prize: Jennifer Dyan Goode Three equal runner-up prizes: 2006 Second Prize: Jacob Langfelder, Jing Lin, Emma Sewell, Jacob First Prize: Justin Welsh Raquela Sheeran Lewis Smith Second Prize: Justin Lee Miller, Lys Symonette Awards: Noah Lys Symonette Awards: Daniel Rodell Aure Rosel Stewart, Misty Ann Castleberry Schwait, John Viscardi, Jorell Third Prize: Sarah Blaskowsky, Sturm Williams Hallie Silverston Judges: André Bishop, Welz Judges: Rob Berman, Rebecca Lys Symonette Awards: Meredith Kauffman, Teresa Stratas Luker, Michael Kaufmann Arwady, Karim Sulayman, Bray 2000 Wilkins 2010 Two special competitions were First Prize: Rebekah Camm Judges: Theodore S. Chapin, held in Germany, one for students James Holmes, Teresa Stratas and one for young professionals.
    [Show full text]
  • Social Critiques in Three Prose Plays by Maxwell Anderson: Saturday's Children, Both Your Houses, and the Star-Wagon
    SOCIAL CRITIQUES IN THREE PROSE PLAYS BY MAXWELL ANDERSON: SATURDAY'S CHILDREN, BOTH YOUR HOUSES, AND THE STAR-WAGON __________________________________________________ A Dissertation presented to the Faculty of the Graduate School at the University of Missouri-Columbia ____________________________________________________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy _____________________________________________________ by Fonzie Delbert Geary II Dr. Cheryl Black, Dissertation Supervisor May 2011 © Copyright by Fonzie D. Geary II 2011 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled SOCIAL CRITIQUES IN THREE PROSE PLAYS BY MAXWELL ANDERSON: SATURDAY'S CHILDREN, BOTH YOUR HOUSES, AND THE STAR-WAGON presented by Fonzie D. Geary II, a candidate for the degree of doctor of philosophy, and hereby certify that, in their opinion, it is worthy of acceptance. __________________________________________________ Professor Cheryl Black ___________________________________________________ Professor David Crespy ____________________________________________________ Professor Al Devlin ____________________________________________________ Professor Steven Watts For my dearest Laura, who endured so many nights alone, yet never wavered in her devotion, support, and love. May we cherish each other forever and always. For my son, Fonzie III, born during this process, may he recognize the possibilities of his intellect and eternally seek the betterment of himself for the sake of others. Not the least, I pay my gratitude to God and Jesus Christ. My time in Missouri has reaped such extraordinary blessings. In the absence of faith, I can achieve nothing. ACKNOWLEDGEMENTS I would like to thank the members of my committee, collectively, for taking the time to offer their critical eyes and expert intellects to my research.
    [Show full text]
  • A Performer's Guide to the American Theater Songs of Kurt Weill
    A Performer's Guide to the American Musical Theater Songs of Kurt Weill (1900-1950) Item Type text; Electronic Dissertation Authors Morales, Robin Lee Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 16:09:05 Link to Item http://hdl.handle.net/10150/194115 A PERFORMER’S GUIDE TO THE AMERICAN MUSICAL THEATER SONGS OF KURT WEILL (1900-1950) by Robin Lee Morales ________________________________ A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2 0 0 8 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As member of the Document Committee, we certify that we have read document prepared by Robin Lee Morales entitled A Performer’s Guide to the American Musical Theater Songs of Kurt Weill (1900-1950) and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. Faye L. Robinson_________________________ Date: May 5, 2008 Edmund V. Grayson Hirst__________________ Date: May 5, 2008 John T. Brobeck _________________________ Date: May 5, 2008 Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement.
    [Show full text]
  • 2016 Fri 7-29
    ANN ARBOR FESTIVAL OF SONG PRESENTS THE TWENTY-THIRD ANNUAL WEEK AFTER ART FA IR SONG FEST FRI D A Y J U L Y 2 9 , 2 0 1 6 , 8 : 0 0 P M SPEAK LOW: SONGS OF WEILL AND SONDHEIM KURT WEILL (1900-1950) STEPHEN SONDHEIM (B. 1930) SONDHEIM As the years go by, it gets easier on the love market-- easier to embrace a whole troop there. But it’s amazing how your feelings cool off when you’re stingy with them. (After all, everything gets used up eventually.) From The Frogs: Invocation and Instructions to the Thank God, it all goes by quickly-- both the love and the sorrow. Where are Audience the tears of last night? Where are the snows of years gone by? John Hopkins, tenor And although you learn the tricks of the trade on the love market, it’s never easy to convert lust into small change. Still it can be done, but A West Side Story Medley (Bernstein/Sondheim) meanwhile you get a little older. (After all, you can’t stay seventeen Ellen Strba Scholl, mezzo-soprano forever.) Christopher Scholl, tenor Thank God, it all goes by quickly-- both the love and the sorrow. Where are the tears of last night? Where are the snows of years gone by? WEILL From The Threepenny Opera: Youkali (Tango Habanera; Words by Roger Fernay) Moritat von Mackie Messer/Mack the Knife Laura Reaper, mezzo-soprano Dale Schriemer, baritone Antstatt-dass/Instead Of Wandering at the will of the sea, my vagabond bark Jane Schoonmaker Rodgers, soprano; led me to the end of the world.
    [Show full text]
  • THE APPRENTICESHIP of ROBERT ANDERSON. The
    This dissertation has been microfilmed exactly as received 70-6715 AYERS, David Hugh, 1924- THE APPRENTICESHIP OF ROBERT ANDERSON. The Ohio State University, Ph.D., 1969 Theater University Microfilms, Inc., Ann Arbor, Michigan ( c ) David Hugh Ayers 1970 ALL RIGHTS RESERVED THE APPRENTICESHIP OF ROBERT ANDERSON DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By David Hugh Ayers, B.A., H.A. ****** The Ohio State University 1969 Approved by ^ __ ^XCo-Adviser D^ision of Theatre ^ Co-Adviser Division of Theatre PREFACE For over fifteen years, Robert Anderson has been recognized as a major American playwright, but no full-length critical consider­ ation of his work has been undertaken. This first comprehensive treat­ ment of his career developed as an outgrowth of the American Play­ wrights Theatre program. As Executive Director of the APT project for the past six years, ray association with Mr. Anderson in connec­ tion with fifty nationwide APT productions of his play. The Days Between, resulted in some of the most rewarding and stimulating ex­ periences of my life. Inspired initially by admiration for the man and his work, the present study grew out of the realization that a wealth of material has accumulated over the period of this associa­ tion in the form of letters, tape-recorded broadcasts, various re­ visions of The Days Between, the author's notes on interpretation, etc., which could serve as valuable sources of information for future biographers, critics, historians, and play directors. The purpose of the dissertation is twofold: to present a professional biography of Robert Anderson and to provide explication of his major plays through an examination of his development as a playwright and by the inclusion of Mr.
    [Show full text]
  • News and Events
    Volume 24 Number 2 topical Weill Fall 2006 A supplement to the Kurt Weill Newsletter news &news events Berlin Phil Plays Weill Critical Edition of Der Protagonist The Berlin Philharmonic focuses on Weill this season in Published four different concert programs at the Philharmonie. On 8 Series I, Volume 1 of the Kurt Weill Edition, the November 2006, Sir Simon Rattle leads Mahagonny critical edition of Weill’s opera Der Protagonist, Songspiel with noted soloists and the Philharmonic’s has been published by the Kurt Weill Foundation Orchestra Academy, established in 1972 to prepare the most for Music and European American Music. Edited talented young musicians to join the Philharmonic and by Gunther Diehl and Jürgen Selk, the volume other leading international orchestras. Weill’s Symphony contains the full orchestral score of 324 pages, No. 2, in a program with Shostakovich and Prokofiev, will accompanied by an introductory essay and a sep- be conducted by Ion Marin on 5 and 6 May 2007. Former arately published critical report. For the first Artistic Director Claudio Abbado returns to the time, the score of Weill’s 1925 one-act opera is Philharmonic on 18–20 May for performances of Weill’s Simon Rattle available for purchase. Violin Concerto, with Kolja Blacher as soloist. And on 1–3 June, the Berlin Philharmonic plays Die sieben Todsünden, with Rattle conducting; Angelika Kirchschlager as Anna I; and a male quartet consisting of William Burden, Timothy Robinson, Simon Keenlyside, and Reinhard Hagen. This last series of concerts will be accompanied by an education- al program entitled MusicOPERA, in which students at two Berlin secondary schools create their own “sung ballet” on the Sins theme.
    [Show full text]
  • Race, Justice, Power: Finding New Relev...Weill's 'Lost in the Stars'
    1/31/2017 Race, justice, power: Finding new relevance in Kurt Weill's 'Lost in the Stars' - LA Times Review Race, justice, power: Finding new relevance in Kurt Weill's 'Lost in the Stars' Anne Bogart's SITI Company in Kurt Weill's "Lost in the Stars," co­produced by Los Angeles Chamber Orchestra and Center for the Art of Performance at UCLA. (Reed Hutchinson / UCLA) By Mark Swed Music Critic JANUARY 30, 2017, 5:35 PM he arts and entertainment communities — anticipating government cutbacks, harmed by a presidential travel ban, alarmed by an atmosphere of divisiveness and invigorated by mass protests — T have already declared war on a new Washington. And if music theater, a potent vehicle for any opposition party, appears uncannily ready for a new era of protest art, it has had a lot of practice. Los Angeles Chamber Orchestra had a good cry for a beloved country Sunday night at Royce Hall, where it performed the second of only two performances of Kurt Weill’s “Lost in the Stars,” staged by Anne Bogart and co-produced by the Center for the Art of Performance at UCLA. http://www.latimes.com/entertainment/arts/la-et-cm-laco-lost-in-stars-review-20170130-story.html 1/3 1/31/2017 Race, justice, power: Finding new relevance in Kurt Weill's 'Lost in the Stars' - LA Times Premiered on Broadway in 1950 and based on South African novelist Alan Paton’s anti-apartheid bestseller, “Cry, the Beloved Country,” “Lost in the Stars” is the theatrical collaboration between an émigré composer who had fled Nazi Germany and American playwright Maxwell Anderson.
    [Show full text]
  • Angelika Kirchschlager, Mezzo-Soprano Malcolm Martineau
    Cal Performances Presents Program Sunday, April 19, 2009, 3pm Erich Wolfgang Korngold (1897–1957) Five Songs, Op. 38 (1948) Hertz Hall Glückwunsch Der Kranke Alt-Spanisch Angelika Kirchschlager, mezzo-soprano Alt-English My Mistress’ Eyes Malcolm Martineau, piano Kurt Weill (1900–1950) Stay Well, from Lost in the Stars (1949) Complainte de la Seine (1934) Der Abschiedsbrief (1933) PROGRAM Je ne t’aime pas (1934) Franz Schubert (1797–1828) Fischerweise, D. 881, Op. 96, No. 4 (1826) The concert is part of the Koret Recital Series and is made possible, in part, Der Wanderer an den Mond, D. 870 (1826) by Patron Sponsors Nancy and Gordon Douglass, in honor of Robert Cole. Bertas Lied in der Nacht, D. 653 (1819) Wehmut, D. 772, Op. 22, No. 2 (1823) Cal Performances’ 2008–2009 season is sponsored by Wells Fargo Bank. Frühlingsglaube, D. 686 (1820) Im Frühling, D. 882, Op. 101, No. 1 (1826) Schubert Die Sterne, D. 939, Op. 96, No. 1 (1815) Lied der Anne Lyle, D. 830, Op. 85, No. 1 (1825) Abschied, D. 475 (1816) Rastlose Liebe, D. 138 (1815) Klärchen’s Lied, D. 210 (1815) Geheimes, D. 719 (1821) Versunken, D. 715 (1821) INTERMISSION CANCELED CANCELED 6 CAL PERFORMANCES CAL PERFORMANCES 7 Program Notes Program Notes Franz Schubert (1797–1828) suggests both the vigorous activity and the deep fashionable music lovers, and, in appreciation, his verses when Johann Schickh published some of Selected Songs contentment of the trade. he set five of Collin’s poems, including Wehmut them in his Zeitschrift für Kunst, Literatur, Theater Johann Gabriel Seidl (1804–1875), teacher, (“Sadness”) in 1823.
    [Show full text]
  • The WKNO-TV Collection
    The Theatre Memphis Programs Collection Processed by Joan Cannon 2007 Memphis and Shelby County Room Memphis Public Library and Information Center 3030 Poplar Avenue Memphis, Tennessee 38111 Scope and Content The Theatre Memphis Programs Collection was donated to the Memphis Public Library and Information Center by many individual donors over several years. Consisting of programs from performances at Theatre Memphis between the years 1975 and 2007, the collection provides invaluable information on the operation of community theatre in Memphis. Each program includes the names of the director, cast and crew as well as information on the production. Theatre Memphis was established as the Little Theatre in 1921. For several years plays were performed in a variety of locations in Memphis including Germania Hall and the Nineteenth Century Club. In 1929 the Little Theatre was headquartered at the Pink Palace Museum Playhouse where they would remain until the mid-1970s. When the Pink Palace closed for renovations, the theatrical company opened their own venue on Perkins Extended in East Memphis. Changing their name to Theatre Memphis, productions resumed in 1975 and have continued until the present day. 2 THEATRE MEMPHIS PROGRAMS COLLECTION BOX 1 Folder 1 Items 6 1975-1976 (56th Season) SUNSHINE BOYS by Neil Simon. Directed by Sherwood Lohrey. Cast: Archie S. Grinalds, Jerry Chipman, Ed Cook, Frank B. Crumbaugh, III, Andy Shenk, James Brock, Holly Shelton, Patricia Gill, Sam Stock. n.d. DESIRE UNDER THE ELMS by Eugene O’Neill. Directed by Sherwood Lohrey. Cast: Jay Ehrlicher, Don Barber, Carl Bogan, John Malloy, Janie Paris, Merle Ray, Ralph Brown.
    [Show full text]