Newsnotes Spring 2015 V2
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Castleton Festival Opera the Britten Project: the Rape of Lucretia
CAL PERFORMANCES PRESENTS Thursday, March 24, 2011, 8pm Friday, March 25, 2011, 8pm Zellerbach Hall Castleton Festival Opera The Britten Project: The Rape of Lucretia Composed by Benjamin Britten Conducted by Lorin Maazel Stage Direction by William Kerley Berkeley Symphony production Set & Costume Designer Nicholas Vaughan Lighting Designer Rie Ono Production Stage Manager Laine Goerner Assistant Director Amanda Consol Assistant Lighting Designer Marnie Cumings Associate Lighting Designer Brandon Mitchell Assistant Costume Designer Sarah Swafford cast (in order of vocal appearance) Male Chorus Vale Rideout Female Chorus Arianna Zukerman Collatinus Michael Rice Junius Michael Weyandt Tarquinius Matthew Worth Lucretia Ekaterina Metlova Bianca Alison Tupay Lucia Marnie Breckenridge music staff Assistant Conductor Blake Richardson Rehearsal Pianist/Coach Wilson Southerland By arrangement with Boosey & Hawkes, Inc., publisher and copyright holder. These performances are funded, in part, by the Britten-Pears Foundation and by Patron Sponsors Susan Graham Harrison and Michael A. Harrison. Cal Performances’ 2010–2011 season is sponsored by Wells Fargo. CAL PERFORMANCES 5 SYNOPSIS PROGRAM NOTES Scene 2 The Female Chorus takes us into the world of Lucretia at home with her nurse, Bianca, and maid, Lucia. They work, spinning yarn, embroi- dering, and folding linen, while Lucretia frets over Collatinus’s prolonged absence. Just as they are preparing to go to bed, Tarquinius arrives and demands to be put up for the night. With some trepidation, she invites him in and shows him to his room. Giuseppe DiLiberto Giuseppe act two The Rape of Lucretia (1946; rev. 1947) Scene 1 Civil unrest grows in Rome, and the discontent- he events of the opera, which take ed wait for the moment to revolt. -
Daniel Freiberg's Latin American Chronicles Frank Proto's Paganini in Metropolis
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2019 An Exploration of Two Twenty-First Century American Works for Clarinet and Orchestra: Daniel Freiberg's Latin American Chronicles Frank Proto's PKaatsugyaa Ynuaisani in Metropolis Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC AN EXPLORATION OF TWO TWENTY-FIRST CENTURY AMERICAN WORKS FOR CLARINET AND ORCHESTRA: DANIEL FREIBERG’S LATIN AMERICAN CHRONICLES FRANK PROTO’S PAGANINI IN METROPOLIS By KATSUYA YUASA A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music 2019 Katsuya Yuasa defended this treatise on April 5, 2019. The members of the supervisory committee were: Deborah Bish Professor Co-Directing Treatise Jonathan Holden Professor Co-Directing Treatise Richard Clary University Representative Eva Amsler Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS I am indebted to several people for their support while finishing my studies. First and foremost, I would like to thank my graduate committee for their guidance and constructive feedback during my final semesters at Florida State University. I would like to give my utmost gratitude to my professors Deborah Bish and Jonathan Holden for helping me become the musician and person I am today. Thank you for your patience and kindness throughout my apprenticeship. iii TABLE OF CONTENTS List of Figures ..................................................................................................................................v Abstract ......................................................................................................................................... -
National Arts Centre 09-10 Season
Subscribe today 613-947-7000 ext. 620 | www.nac-cna.ca/subscribe centre The ts difference is nal ar o Orchestra ti 09-10 na SEASON pinchas zukerman music director YourNational Labelle • Photo: Paul Pinchas Zukerman Arts Centre Orchestra welcome pinchas zukerman music director YourNational Arts Centre Orchestra Join Canada’s National Arts09-10 Centre Orchestra for an exciting 2009-2010 season. This season we celebrate our 40th anniversary with masterpieces from the Orchestra’s repertoire, and stellar visiting artists. Highlights for this season include: • The Romantic Revolution Festival, featuring Pinchas Zukerman in Beethoven’s Violin Concerto, cellist Lynn Harrell, pianist Angela Cheng and more; • Mahler’s “Symphony of a Thousand” with L’Orchestre Métropolitain du Grand Montréal and conductor Yannick Nézet-Séguin; • NAC Gala featuring renowned cellist Yo-Yo Ma and Dvořák’s glorious Cello Concerto; • A celebration of Oscar Peterson, with pianist Oliver Jones and other brilliant Canadian jazz artists; • And many more. Exclusivesubscriber benefits Subscribing is the most rewarding way to enjoy the NAC Orchestra! BEST SEATS BEST PRICES FREE Access the best seats for our 40th Anniversary Orchestra subscribers enjoy ticket discounts, saving season before tickets go on sale to the general up to 15% on Box Office prices. Save even more EXCHANGES public. Series subscribers can renew their seats when you purchase additional tickets to NAC Change in plans? No problem! As a subscriber, you year after year and have priority to change their Orchestra concerts or other NAC subscription can exchange your tickets for a different concert, series or seats. Subscribers also have a special performances when you subscribe, during or for any other NAC Dance or Theatre event priority week (beginning August 31) to purchase Subscriber Priority Week or anytime over the presented on subscription during the 2009-10 tickets to other great shows at the NAC Box Office course of the season. -
The 2018 Guide Festivals
April 2018 The 2018 Guide Festivals FEATURE ARTICLE 10 Questions, Two (Very Different) Festivals Editor’s Note Our fifth annual Guide to Summer Festivals is our biggest yet, with some 85 annotated entries, plus our usual free access to the 1400 listings in the Musical America database. The details for the 85—dates, locations, artistic directors, programming, guest artists, etc.—have been provided by the festivals themselves, in response to a questionnaire sent to our list of Editor’s Picks. Those are determined by a number of factors: it’s hardly a surprise to see the big-budget events, such as Salzburg, Tanglewood, and Aspen, included. But budget is by no means the sole criterion. The 2018 Guide Programming, performers, range and type of events offered—all of these factor into the equation. For our feature article, we chose two highly regarded events and asked them one set of questions, just for the purposes of compare and contrast. Since George Loomis traveled to Ravenna last summer and knows Ojai well, we decided he was the perfect candidate to get the answers. Our hunch that the two couldn’t be more different turned out to be quite accurate: one takes place over a weekend, the over a two-month period; one is in the U.S., the other in Europe; one is rural, the other urban; one’s in a valley, the other by the sea; one focuses on contemporary fare, the other on traditional; one houses its artists in homes, the other in hotels; one is overseen by a man, the other by Festivals a woman; Ojai’s venues are primarily outdoor and strictly 20th century, Ravenna’s are mostly indoor and date as far back as the sixth century. -
Chicago Sun-Times COT Opens Season with Engrossing 'Turn'
Chicago Sun-Times COT opens season with engrossing 'Turn' March 28, 2003 BY WYNNE DELACOMA Classical Music Critic Stage director Diane Paulus and conductor Jane Glover have been intimately involved with Chicago Opera Theater's current rebirth. In 2001, they created a production of Monteverdi's "Orfeo'' that was both stylishly updated and sumptuously sung. For COT's 2002 season, their take on "Cosi fan tutte'' also updated to contemporary times, turned da Ponte's cynical libretto into a thoughtful look at the battle of the sexes without doing violence to one of Mozart's most beautiful scores. Paulus and Glover are working their magic again, opening COT's 2003 season Wednesday night at the Athenaeum Theatre with a production of Benjamin Britten's 1954 gripping chamber opera, "The Turn of the Screw,'' with a libretto by Myfanwy Piper, based on Henry James novella. Using minimal sets and retaining the 19th-century English country setting of James' story, COT's "Turn of the Screw'' takes us into a world as familiar as a Jane Austen novel or a Merchant-Ivory film, yet as disorienting as a fog-shrouded Impressionist landscape. With a strong cast and a superb band of 13 musicians in the pit, Britten's tale of two orphaned children menaced by the ghosts of their dead governess, Miss Jessel, and a mysterious man-servant, Peter Quint, becomes an engrossing swirl of reality and fantasy, unbounded goodness and absolute malevolence. OPERA REVIEW This is a precarious world, one in which the 'THE TURN OF THE SCREW' ghostly Quint and Miss Jessel do battle for the children's souls against their loving new governess (Arianna Zukerman) and kindly HIGHLY RECOMMENDED housekeeper, Mrs. -
2017-2018 Season Brochure
17/18 SEASON Together Grammy-nominated True Concord and I invite you to join us for another season of ageless masterpieces and cutting-edge new works. True Concord’s audiences have come to expect the highest musical standards in riveting performances by the best choral and instrumental artists from across the country, and this year is no exception! True Concord is known for its relaxed ambience and intimate venues, and yet this season includes two works that demand a larger scale. At UA’s Centennial Hall, we’ll join forces with the Tucson Arizona Boys Choir, UA Dance Ensemble and the charismatic Jubilant Sykes, baritone, for Bernstein’s Mass, and then return to Centennial for Verdi’s monumental Requiem in partnership with UA’s Arizona Choir. Our 14th season is bursting with renowned composers, world-class guest artists, exciting collaborations, a world premiere, two requiems and the theatrical extravaganza of Bernstein’s Mass in January when the Tucson Desert Song Festival celebrates his centenary. In November we celebrate communal bonding, a hallmark of Tucson’s annual Day of the Dead festivities, with concerts that explore the emotions of death and rebirth. And in March, we join with UA’s Poetry Center to laud one of America’s literary giants, Emily Dickinson, in a series of events, including our concerts, that feature her poems and letters set to music. Beauty, reverence, excitement, drama, dance. At True Concord, music is a communal activity, a dynamic exchange of energy between artist and audience. Join us for our boldest season yet, a journey we’ll share TOGETHER. -
Pizzicato Reviews
niederließen, in Griechenland, auf Les meilleurs CDs de notre dem Balkan, in der Türkei und in rubrique sont présentés par ALTE MUSIK Marokko. Das ergibt den speziellen Touch dieser CD-Produktion, die mu- sikalisch nichts zu wünschen übrig lässt und mit ganz schönen Stim- mungsbildern für sich einnimmt. Den Klang freilich hätte ich mir le samedi de 9.30 à 11.00 hrs etwas intimer gewünscht und nicht et le lundi de 14.00 à 15.30 hrs so großräumig. RéF dans l’émission «CD-Klassik» de Rémy Franck BAROCK CD + SACD + DVD Audio + DVD + SACD CD Bewertung: BACH OHNE STROMSCHNELLEN Unbefriedigend AUTOUR DE PÂQUES des textes en sept langues et six CD. Les trois premiers CD contiennent J. S. Bach: Partiten Nr. 2 & Mittelmäßig G. P. da Palestrina (Vo- la musique et les récitations (en 6, Toccata BWV 911; David lume 3): Stabat Mater langue française), les trois derniers Fray, Klavier; 1 CD Virgin Classics Gut, aber mit punktuellen a8, Song of Songs n° 4-6, Three uniquement la musique. Des ver- 50999 070944 2 12; 9/12 (65’32) Einschränkungen Offertories for the Easter Period, sions de langues alternatives (an- Nach den vielen exzellenten Bach- Missa Regina Caeli; The Sixteen, glais, italien, allemand, espagnol, Aufnahmen, die wir in der letzten Gut Harry Christophers; 1 CD Coro Cor catalan et néerlandais) sont dispo- Zeit gehört und die uns durch ihre 16106; 10/12 (70'30) nibles par téléchargement. En ma- Interpretationsqualität regelrecht Sehr gut Voici une très belle production riant la musique à ces textes (ceux begeistert haben, lässt uns diese qui nous mène de la Croix à la Ré- 'Erasme, mais aussi ceux de Luther, Einspielung des talentierten David Supersonic: surrection. -
Proto List of Works by Year
Frank Proto List of works 1: Works For Orchestra Concerto No. 1 for Double Bass and Orchestra 1968 Commissioned by Barry Green Fantasy on the Partita in C Minor of J.S. Bach for Jazz Quintet and Orchestra 1969 Concerto in One Movement for Violin, Double Bass and Orchestra 1972 Commissioned by Thomas Schippers An American Overture 1973 Commissioned by the Cincinnati Symphony Orchestra Concerto for Saxophone and Orchestra 1973 Commissioned by Gerry Mulligan Casey at The Bat - an American Folk Tale for Narrator and Orchestra 1973 Commissioned by the Cincinnati Symphony Orchestra Concertino for Percussion and Strings 1973 Commissioned by the Cincinnati Symphony Orchestra Three Pieces for Percussion and Orchestra 1976 Commissioned by Marion Rawson Dear Friends and Gentle Hearts - Ballet 1976 Commissioned by the Cincinnati Ballet Company Nocturne for Strings 1976 Commissioned by the Cincinnati Symphony Orchestra Concerto for Cello and Orchestra 1978 Commissioned for Peter Wiley by Marion Rawson Suite from the Opera Carmen for Jazz Ensemble and Orchestra 1978 The Four Seasons for Tuba, Percussion, Strings and Stereo Tape 1979 Commissioned by the Cincinnati Symphony Orchestra Concerto No. 2 for Double Bass and Orchestra 1981 Commissioned for François Rabbath by Marion Rawson Three Movements for Brass Choir and Percussion 1983 Commissioned by Radio Station WGUC Fantasy for Double Bass and Orchestra 1983 Commissioned by the Houston Symphony Orchestra Dialogue for Synclavier and Orchestra 1985 Commissioned by Michael Gielen A Carmen Fantasy for -
Newsletter • Bulletin Fall 2009 Automne 2009
NATIONAL CAPITAL OPERA SOCIETY • SOCIÉTÉ D'OPÉRA DE LA CAPITALE NATIONALE 1999 Newsletter • Bulletin Fall 2009 Automne 2009 P.O. Box 8347, Main Terminal, Ottawa, Ontario K1G 3H8 • C.P. 8347, Succursale principale, Ottawa (Ontario) K1G 3H8 Six Outstanding Finalists to Compete for $ 8,500 in Prizes! by Renate Chartrand Twenty aspiring young opera singers have applied for national de Montréal, she is currently starring as our 9th Brian Law Opera Scholarship Competition, to Madama Butterfly at the COC, to rave reviews. She be held Nov. 21. On October 8 our preliminary jurors also recently made a stellar Austrian début as La Wally met to review applications and in Klagenfurt, where listen to submitted recordings in she will return in 2010 order to select the finalists: to sing Aida! Both audience and Jonathan Estabrooks, baritone contestants will feel Wallis Giunta, mezzo-soprano the suspense when the Sharleen Joynt, soprano jury returns to an- Liliana Piazza, mezzo-soprano nounce its decision: Philippe Sly, bass-baritone The winner will be Graham Thomson, tenor. awarded the greatly in- creased 1st prize of For the finalists’ educa- $5,000 and the runner- tion and operatic experience up will receive the new please see the insert. At the 2nd prize of $3,000. In competition they will each per- addition, our board form three operatic arias, at least member Cavaliere Pat one preceded by a recitative, with Adamo is again offer- their own piano accompanist. ing a 3rd prize of $500. Our panel of jurors will The presentation of include tenor Dr. Darryl prizes will be followed Edwards, Head of Voice Stud- by a reception, where ies, University of Toronto, and Yannick-Muriel Noah the audience will have internationally celebrated Ot- the pleasure of meeting tawa soprano Donna Brown, the contestants and ju- part-time professor, University of Ottawa. -
Fall 2019 NEWSLETTER : BULLETIN Automne 2019 the 2019 Brian Law Opera Competition Saturday 19Th October 2019, 2:00 P.M
Société d' Opéra National Capital de la Capitale Nationale Opera Society Fall 2019 NEWSLETTER : BULLETIN Automne 2019 The 2019 Brian Law Opera Competition Saturday 19th October 2019, 2:00 p.m. Southminster United Church 15 Aylmer Avenue at Bank Street Please mark your calendar for this, the National Capital Opera Society’s principal event which is held every two years. Again there has been an exciting number and quality of applicants associated with the Ottawa area. The panel of first-round judges has chosen the folowing six talented young singers as finalists: Susan Elizabeth Brown, soprano Juliana Krajčovič, soprano Adam Kuiack, baritone Ellen McAteer, soprano Lucie St-Martin, soprano Mark Wilkinson, baritone Their CVs have been listed on pp 2 and 3; somewhat abbreviated, but you should not have any problems finding more information on the internet. On 19th October they will compete for prizes of $7,500, $3,500 and $1,500; the other three finalists will each receive $750. All will be judged by an expert panel. General Admission is $25; while Students pay $10. Please come and invite all of your musical friends. For this modest price you receive a seat at the best vocal competition in Ottawa and attendance at a reception following the event to meet the competitors, their accompanists and the distinguished judges. The National Capital Opera Society www.ncos.ca is, of course, a not-for-profit or- ganization with registered charity status (should you consider a donation to this competition) and all moneys go to young singers trying to establish a career. -
Archives Concerts.Pdf
~ ~ ~ ~ ARCHIVES DES CONCERTS BARBER DANS LE MONDE DEPUIS 2009 ~ ~ ~ ~ © Association Capricorn, 2009-2014 Décembre 2013 20 La Jolla, All Hallows Catholic Church ..... [infos] Barber : Hermit Songs Œuvres de Hahn, Hildegard, Kuspa Katina Mitchell, soprano Peter Walsh, piano 15 Munich, Prinzregententheater ..... [infos] Barber : Adagio pour cordes Œuvres de Mozart, Liadov, Rossini, Dvořák Münchner Symphoniker, Jonathan Stockhammer 15 Vaudreuil-Dorion, Aréna ..... [infos] Barber : Agnus Dei Œuvres de Redner, Lully, Saint-Saëns, Holmès, Anderson Chœur Classique Vaudreuil-Soulanges, Jean-Pascal Hamelin 14 Moret-sur-Long, Eglise Notre-Dame-de-la-Nativité..... [infos] Barber : Reincarnations Œuvres de Brahms, Britten Ensemble vocal La Gioia, Laure-Marie Meyer 13 Lyon, Conservatoire national supérieur de musique et de danse ..... [infos] Barber : Mutations from Bach Œuvres de Copland, Cage, Glass, Nyman, Bernstein, Dahl Ensemble de cuivres, David Guerrier 13 Parme, Auditorium Niccolò Paganini ..... [infos] Barber : Concerto pour violon, Adagio pour cordes Brahms : Sérénade pour orchestre n°2 Mihaela Costa, violon Filarmonica Arturo Toscanini, Gaetano D'Espinosa 12 Paris, Fondation Singer-Polignac ..... [infos] Barber : Agnus Dei Œuvres de Stravinski, Ligeti, Messiaen, Poulenc, Britten, Schoenberg, Florentz, Kodaly Les Cris de Paris, Geoffroy Jourdain 11 Bruxelles, Grande Salle du Conservatoire royal ..... [infos] Barber : Capricorn Concerto Œuvres de Gorecki, Vasks, Rota Orchestre de chambre du Conservatoire royal de Bruxelles, Bernard Delire 11 Saint-Pétersbourg, Philharmonie ..... [infos] Barber : Concerto pour violon Œuvres de Gershwin, Chaplin, Elfman, Williams Igor Uryasch, violon Orchestre symphonique de Saint-Pétersbourg, Maxim Alexeev 10 Neuilly-sur-Seine, Théâtre des Sablons ..... [infos] 11 Gagny, Théâtre ..... [infos] 12 Vincennes, Auditorium ..... [infos] Barber : Adagio pour cordes Œuvres de Mozart, Britten Orchestre de chambre Nouvelle Europe, Nicolas Krauze 9 Melbourne, University/Melba Hall .... -
E Afterglow of This Incredible Person Who Gave So Much to So Many, and Whose Passion for This Place and What We Do Is Now in Our Collective Heart’S Memories
Afterglow Music for Our Westminster Family Remembering Joe Flummerfelt Westminster Williamson Voices James Jordan, conductor Gregory Stout, accompanist e Friday, May 17, 2019 Bristol Chapel Westminster Choir College Princeton, NJ 2 Conductor’s Note To Our Westminster Family, As Donald Nally said in comments prior to The Crossing program “For Joe,” we all feel as musicians that we have to do something; we are just not certain what it is we should do. But do something, express something…that is what we must do as artists at times like these. And as we all know, music speaks to us at times of loss and remembrance in ways that only it can. In this time of precariousness for our school and the place we all love, it seems only appropriate that we ponder a piece of our communal fabric, of which many squares in this human/musical quilt that are of Joe’s making. This is Williamson Voices way of “doing something” to allow us to sit in the afterglow of this incredible person who gave so much to so many, and whose passion for this place and what we do is now in our collective heart’s memories. I have found great comfort in recent days having lost people deeply close to me in my life, and in the larger world, to focus not on sadness but the afterglow that becomes imprinted on each life that was touched in big ways and small by a life well-lived with a passion for things that are larger than any one of us.