La Damnation De Faust the Damnation of Faust Page 1 of 2 Opera Assn

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San Francisco War Memorial 2002-2003 La Damnation de Faust The damnation of Faust Page 1 of 2 Opera Assn. Opera House La Damnation de Faust (in French) Opera in four acts by Hector Berlioz Libretto by H. Berlioz and Almire Gandonnière Based on Gérard de Nerval's translation of Goethe's "Faust" Conductor CAST Donald Runnicles Faust David Kuebler Production Méphistophélès Kristinn Sigmundsson Thomas Langhoff Brander Gregory Stapp* Scenery, Costumes and Lighting designed by Marguerite Angela Denoke* † Jürgen Rose Soprano Solo Virginia Pluth Production Lighting Designer Michael Bauer *Role debut †U.S. opera debut Chorus Director Ian Robertson PLACE AND TIME: (not specified) Musical Preparation Bryndon Hassman Adelle Eslinger John Parr Judith Yan Ernest Fredric Knell Prompter Jonathan Khuner Associate Stage Director Laura Berman Assistant Stage Director Gina Lapinski Kathleen Smith Stage Manager Theresa Ganley Supertitles Philip Kuttner Production by Bavarian State Opera, Munich Re-created by San Francisco Opera Orig, movement for Munich production by Brigitta Trommler Tuesday, June 10 2003, at 8:00 PM (not specified) Saturday, June 14 2003, at 8:00 PM Tuesday, June 17 2003, at 8:00 PM Friday, June 20 2003, at 8:00 PM Thursday, June 26 2003, at 7:30 PM Sunday, June 29 2003, at 2:00 PM Thursday, July 3 2003, at 7:30 PM San Francisco War Memorial 2002-2003 La Damnation de Faust The damnation of Faust Page 2 of 2 Opera Assn. Opera House Sponsors: The June 10th performance is sponsored by Urban Chateau. The June 14 performance is sponsored by Deloitte & Touche LLP. Notes: The database specifies "opera" and "acts" for those particular categories. This work, however, was called "Dramatic legend in four parts." ADDITIONAL PERFORMERS MIMES Kathleen Antonia John Brown Davina Cohen Billy Conti Tom T. Doud Carolyn Dougherty Jade-blue Eclipse Simon Elliott-LehBohn John Guglielmelli Lisa Jenai Hernandez Isaac Immanuel Hilary Kilpatric Jeffrey Kohler Ron Mann Laura Neustedter Carlo Sierras SUPERNUMERARIES Trey Alonso Gene Angell Pat Angell Samantha Gold Dorothy Lefkovitz Charlie Lichtman Lisa Lorea Alec Page Ashley Runnicles George Weiss Production Sponsorship Path donors: Roberta Bialet, Contributing Sponsor; Sets Ms. Annette Campbell-White & Dr. Ruediger Naumann-Etienne, Contributing Sponsors; Orchestra Karl and Kristen Mills, Affiliate Sponsor; Director.

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Doktor Faust Doctor Faust Page 1 of 2 Opera Assn
San Francisco War Memorial 2003-2004 Doktor Faust Doctor Faust Page 1 of 2 Opera Assn. Opera House Doktor Faust (in German) Opera in two acts by Ferruccio Busoni Libretto by Ferruccio Busoni Conductor CAST Donald Runnicles Faust Rodney Gilfry Stage Direction and dramaturgy Wagner Friedemann Röhlig Jossi Wieler A Student from Krakow Dennis Petersen Sergio Morabito Joshua Bloom Production designer Ricardo Herrera Anna Viebrock Gravis/Jurist Gregory Stapp Lighting Designer Levis/Theologian William Pickersgill David Finn Asmodus/Natural Philosopher Jere Torkelsen Sound Designer Belzebuth/A Student Daniel Harper Roger Gans Magäros/A Platonist Richard Walker Chorus Director Mephistopheles/Night Watchman Chris Merritt Ian Robertson A Voice Dvora Djoraev Musical Preparation Virginia Pluth Paul Harris Sally Mouzon William Hobbs John Parr Gretchen's Brother (A Soldier) Johannes Martin Kränzle Sara Jobin Lieutenant Todd Geer Ernest Fredric Knell Master of Ceremonies Oren Gradus Organ Duke of Parma Jay Hunter Morris James Welch Duchess of Parma Hope Briggs Supertitles The Shy One Michael Rogers Philip Kuttner A Student from Wittenberg Todd Geer Assistant Stage Director John Ames Roy Rallo Thomas Glenn Costume supervisor Lucas Meachem Keena Golden Chris Dickerson Stage Manager Brett Finley *Role debut †U.S. opera debut PLACE AND TIME: The room where Faust works, lives and dies; a place of memory, daydreaming and obsession. Tuesday, June 15 2004, at 7:30 PM Sunday, June 20 2004, at 2:00 PM Tuesday, June 22 2004, at 7:30 PM Friday, June 25 2004, at 8:00 PM Wednesday, June 30 2004, at 7:30 PM Saturday, July 3 2004, at 8:00 PM San Francisco War Memorial 2003-2004 Doktor Faust Doctor Faust Page 2 of 2 Opera Assn.
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WAGNER Die Walküre
660172-74 bk Walküre US 17/7/06 10:28 Page 16 3 CDs Recorded at the Staatsoper Stuttgart, Germany, WAGNER on 29th September 2002 and 2nd January 2003. General Director: Prof. Klaus Zehelein Die Walküre Executive Producers: Dr Reinhard Ermen (SWR Radio), Gambill • Jun • Rootering • Denoke • Behle • Vaughn Dr Dietrich Mack (SWR TV) and Paul Smaczny (EuroArts) Staatsoper Stuttgart • Staatsorchester Stuttgart Producer: Thomas Angelkorte Editor: Irmgard Bauer Lothar Zagrosek Engineers: Brigitte Hermann and Karl-Heinz Runde This performance of Die Walküre is the second part of Wagner’s Ring cycle recorded live during Stuttgart Opera’s 2002/2003 season. For the first time in the history of the Ring cycle each of the four operas was staged with separate producers and casts. A production of EuroArts Music International GmbH and Südwestrundfunk in co-operation with ARTE Gefördert von der Medien- und Filmgesellschaft Baden-Württemberg 8.660172-74 16 660172-74 bk Walküre US 17/7/06 10:28 Page 2 Die Walküre Stuttgart Staatsorchester (The Valkyrie) Established in 1589 as the Court Orchestra of Württemberg, the Württemberg Stuttgart State Orchestra has a history The First Day of over four hundred years. Over the generations there have been collaborations with musicians of distinction, among them Leonhard Lechner, the Frobergers, Niccolò Jommelli, Johann Rudolf Zumsteeg, Konradin Kreutzer, of Johann Nepomuk Hummel and Carl Maria von Weber. Berlioz praised the orchestra, when he appeared with it as Der Ring des Nibelungen conductor, and in the 1880s Stuttgart was one of the first to stage the complete Ring cycle, conducted by the then (The Ring of the Nibelung) General Music Director Herman Zumpe, who had assisted Wagner at the first Bayreuth Festival.
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Woodbridge, Boydell Press, 2017 Gaëlle Loisel
Compte rendu de Music in Goethe’s Faust. Goethe’s Faust in Music, Lorraine Byrne Bodley (dir.), Woodbridge, Boydell Press, 2017 Gaëlle Loisel To cite this version: Gaëlle Loisel. Compte rendu de Music in Goethe’s Faust. Goethe’s Faust in Music, Lorraine Byrne Bodley (dir.), Woodbridge, Boydell Press, 2017. 2019. halshs-02344793 HAL Id: halshs-02344793 https://halshs.archives-ouvertes.fr/halshs-02344793 Submitted on 4 Nov 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Compte rendu de Lorraine Byrne Bodley (ed.), Music in Goethe’s Faust. Goethe’s Faust in music, Woodbridge, Boydell, 2017, 336 p. Paru dans la Revue de musicologie, t. 105, no 2, 2019, p. 454-458. L’ouvrage dirigé par Lorraine Byrne Bodley s’inscrit dans la continuité de ses travaux sur Goethe et son rapport à la musique (Goethe: Musical Poet, Musical Catalyst, Pater Lang, 2004 ; Proserpina: Goethe’s Melodrama with Music by Carl Eberwein, Peter Lang, 2009) ou à des compositeurs tels que Schubert (Schubert’s Goethe Settings, Routledge, 2003 ; Goethe and Schubert Across the Divide, Carysfort Press, 2003) et Zelter (Goethe and Zelter: Musical Dialogues, Ashgate, 2009).
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Listen to Discoveries from the Fleisher Collection Listen to WRTI 90.1 FM Philadelphia or online at wrti.org. Encore presentations of Discoveries every Wednesday at 7:00 p.m. on WRTI-HD2 Saturday, April 5th, 2008, 5:00-6:00 p.m. • Louis Spohr (1784-1859). Symphony No. 4 in F, Op 86 “The Consecration of Sound” (1832). Budapest Symphony Orchestra, Alfred Walter. Marco Polo 8.223122. 38:49 • Spohr. Overture to Faust, Op. 60 (1813/23). Budapest Symphony Orchestra, Alfred Walter. Marco Polo 8.223122. 7:35 An experimental composer, the first conductor to use a baton, and the inventor of the violin chin-rest (someone had to invent it!) was Louis Spohr. His program music was considered avant-garde in the 1830s, and many considered him the most important German composer between Beethoven and Brahms. The New York Philharmonic, at its founding in 1843, stated that its mission was to be an American orchestra that could play the music of Mozart, Beethoven, Haydn, and Spohr. He was the leading conductor of his day, an unparalleled orchestrator, and one of the top violin soloists on the continent. His legacy includes 15 violin concertos, 35 string quartets, 10 symphonies, four clarinet concertos, 90 lieder, dozens of operas, and a school of violin performance reaching well into the 20th century. We don’t hear his music today with nearly the same frequency that mid-19th-century audiences did, but it’s worth considering what the attraction might have been. He titled his fourth symphony—the most popular of his symphonies during his lifetime—Die Weihe der Töne (“The Consecration of Sound”).
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110273-74 Bk Boito EC 02/06/2003 09:04 Page 12
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Digital Concert Hall
Digital Concert Hall Streaming Partner of the Digital Concert Hall 21/22 season Where we play just for you Welcome to the Digital Concert Hall The Berliner Philharmoniker and chief The coming season also promises reward- conductor Kirill Petrenko welcome you to ing discoveries, including music by unjustly the 2021/22 season! Full of anticipation at forgotten composers from the first third the prospect of intensive musical encoun- of the 20th century. Rued Langgaard and ters with esteemed guests and fascinat- Leone Sinigaglia belong to the “Lost ing discoveries – but especially with you. Generation” that forms a connecting link Austro-German music from the Classi- between late Romanticism and the music cal period to late Romanticism is one facet that followed the Second World War. of Kirill Petrenko’s artistic collaboration In addition to rediscoveries, the with the orchestra. He continues this pro- season offers encounters with the latest grammatic course with works by Mozart, contemporary music. World premieres by Beethoven, Schubert, Mendelssohn, Olga Neuwirth and Erkki-Sven Tüür reflect Brahms and Strauss. Long-time compan- our diverse musical environment. Artist ions like Herbert Blomstedt, Sir John Eliot in Residence Patricia Kopatchinskaja is Gardiner, Janine Jansen and Sir András also one of the most exciting artists of our Schiff also devote themselves to this core time. The violinist has the ability to capti- repertoire. Semyon Bychkov, Zubin Mehta vate her audiences, even in challenging and Gustavo Dudamel will each conduct works, with enthusiastic playing, technical a Mahler symphony, and Philippe Jordan brilliance and insatiable curiosity. returns to the Berliner Philharmoniker Numerous debuts will arouse your after a long absence.
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01-28-2019 Iolanta Eve.Indd
PYOTR ILYICH TCHAIKOVSKY iolanta AND BÉLA BARTÓK bluebeard’s castle conductor Iolanta Henrik Nánási Opera in one act production Libretto by Modest Tchaikovsky, Mariusz Treli ´nski based on the play King René’s Daughter set designer by Henrik Hertz Boris Kudliˇcka Bluebeard’s Castle costume designer Marek Adamski Opera in one act lighting designer Libretto by Béla Balázs, based on the Marc Heinz fairy tale by Charles Perrault projection designer Monday, January 28, 2019 Bartek Macias 7:30–10:40 PM sound designer Mark Grey choreographer Tomasz Jan Wygoda The productions of Iolanta and Bluebeard’s Castle dramaturg were made possible by a generous gift from Piotr Gruszczy ´nski Ambassador and Mrs. Nicholas F. Taubman Additional funding was received from Mrs. Veronica Atkins; Dr. Magdalena Berenyi, in memory of Dr. Kalman Berenyi; and the general manager Peter Gelb National Endowment for the Arts jeanette lerman-neubauer Co-production of the Metropolitan Opera and music director Yannick Nézet-Séguin Teatr Wielki–Polish National Opera 2018–19 SEASON The ninth Metropolitan Opera performance of PYOTR ILYICH TCHAIKOVSKY’S iolanta conductor Henrik Nánási in order of vocal appearance martha duke robert Larissa Diadkova Alexey Markov iol anta count got tfried vaudémont Sonya Yoncheva Matthew Polenzani brigit ta Ashley Emerson* l aur a Megan Marino bertr and Harold Wilson alméric Mark Schowalter king rené Vitalij Kowaljow ibn-hakia Elchin Azizov Monday, January 28, 2019, 7:30–10:40PM 2018–19 SEASON The 33rd Metropolitan Opera performance of BÉLA BARTÓK’S bluebeard’s castle conductor Henrik Nánási cast judith Angela Denoke duke bluebe ard Gerald Finley * Graduate of the Lindemann Young Artist Development Program Monday, January 28, 2019, 7:30–10:40PM MARTY SOHL / MET OPERA A scene from Bartók’s Chorus Master (Iolanta) Donald Palumbo Bluebeard’s Castle Musical Preparation (Iolanta) Linda Hall, J.
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Program Notes Program Notes by April L. Racana 16 18 Nov Nov Arrigo Boito (1842-1918) "Mefistofele" Opera with Prologue, 4 Acts, and Epilogue (Concert-Style Opera with Japanese supertitles) Perhaps most well-known for his adept work as librettist for Verdi’s 16 final two operas, “Otello” and “Falstaff”, Arrigo Boito was lesser known as a Nov composer in his own right. He began his studies at the Milan Conservatory in 18 1853, and had already begun work on his first operatic composition (based on Nov the Faust legend) when he first was introduced to Verdi in 1862. It was then their collegial relationship began with Boito writing the text for Verdi’s “Hymn of the Nations” which had been commissioned for the world fair in London. Apparently when Boito discovered that other more established composers were exploring the Faust legend, he set his own initial work to the side. Gounod was one of those composers whose premiere at La Scala with his version of “Faust” was a great success. In the meantime, Boito had begun openly criticizing what he viewed as a provincial approach in the Italian artistic circles, which caused a falling out with Verdi that would last for over a decade and a half. It wasn’t until Verdi began working on “Otello” that the two would begin their collaborative work once again. Still, Boito was nurturing ideas for his version of a “Faust” opera. Initially the composer had intended to divide the saga into two separate productions, based on the two main sections of Goethe’s “Faust” in its literary form.
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