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Francis Poulenc
CHAN 3134(2) CCHANHAN 33134134 WWideide bbookook ccover.inddover.indd 1 330/7/060/7/06 112:43:332:43:33 Francis Poulenc © Lebrecht Music & Arts Library Photo Music © Lebrecht The Carmelites Francis Poulenc © Stephen Vaughan © Stephen CCHANHAN 33134(2)134(2) BBook.inddook.indd 22-3-3 330/7/060/7/06 112:44:212:44:21 Francis Poulenc (1899 – 1963) The Carmelites Opera in three acts Libretto by the composer after Georges Bernanos’ play Dialogues des Carmélites, revised English version by Joseph Machlis Marquis de la Force ................................................................................ Ashley Holland baritone First Commissioner ......................................................................................James Edwards tenor Blanche de la Force, his daughter ....................................................... Catrin Wyn-Davies soprano Second Commissioner ...............................................................................Roland Wood baritone Chevalier de la Force, his son ............................................................................. Peter Wedd tenor First Offi cer ......................................................................................Toby Stafford-Allen baritone Thierry, a valet ........................................................................................... Gary Coward baritone Gaoler .................................................................................................David Stephenson baritone Off-stage voice ....................................................................................... -
Mendelssohn's Elijah
Boston University College of Fine Arts School of Music presents Boston University Symphony Orchestra and Symphonic Chorus Mendelssohn’s Elijah Ann Howard Jones conductor Monday, April 11 Symphony Hall Founded in 1872, the School of Music combines the intimacy and intensity of conservatory training with a broadly based, traditional liberal arts education at the undergraduate level and intense coursework at the graduate level. The school offers degrees in performance, composition and theory, musicology, music education, collaborative piano, historical performance, as well as a certificate program in its Opera Institute, and artist and performance diplomas. Founded in 1839, Boston University is an internationally recognized private research university with more than 32,000 students participating in undergraduate, graduate, and professional programs. BU consists of 17 colleges and schools along with a number of multidisciplinary centers and institutes which are central to the school’s research and teaching mission. The Boston University College of Fine Arts was created in 1954 to bring together the School of Music, the School of Theatre, and the School of Visual Arts. The University’s vision was to create a community of artists in a conservatory-style school offering professional training in the arts to both undergraduate and graduate students, complemented by a liberal arts curriculum for undergraduate students. Since those early days, education at the College of Fine Arts has begun on the BU campus and extended into the city of Boston, a rich center of cultural, artistic and intellectual activity. Boston University College of Fine Arts School of Music Boston University Symphonic Chorus April 11, 2011 Boston University Symphony Orchestra Symphony Hall Ann Howard Jones, conductor The 229th concert in the 2010–11 season Elijah, op. -
Mario Ferraro 00
City Research Online City, University of London Institutional Repository Citation: Ferraro Jr., Mario (2011). Contemporary opera in Britain, 1970-2010. (Unpublished Doctoral thesis, City University London) This is the unspecified version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/1279/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] CONTEMPORARY OPERA IN BRITAIN, 1970-2010 MARIO JACINTO FERRARO JR PHD in Music – Composition City University, London School of Arts Department of Creative Practice and Enterprise Centre for Music Studies October 2011 CONTEMPORARY OPERA IN BRITAIN, 1970-2010 Contents Page Acknowledgements Declaration Abstract Preface i Introduction ii Chapter 1. Creating an Opera 1 1. Theatre/Opera: Historical Background 1 2. New Approaches to Narrative 5 2. The Libretto 13 3. The Music 29 4. Stage Direction 39 Chapter 2. Operas written after 1970, their composers and premieres by 45 opera companies in Britain 1. -
Adventures Adventures
THEADVENTURESADVENTURES COUNTCOUNT ORYORY Music by Gioachino Rossini CAST: PRODUCTION: Count Ory: Nicholas Sharratt Musical Director: Nicholas Jenkins Raimbaud, a friend of Ory: Benedict Nelson Director: Harry Fehr Ory’s Tutor: Steven Page Designer: Max Dorey Isolier, Ory’s brother: Kate Howden Lighting Designer: Christopher Nairne Two cavaliers, friends of Ory: Benjamin Ellis* Assistant Director: Jack Furness and Guy Elliott* Assistant Musical Director: Jeremy Cooke Countess Adele: Anna Devin Production Manager: Rene (Freddy) Marchal Ragonde , a friend of the Countess: Louise Winter Costume Supervisor: Felicity Langthorne A lady, another friend of the Countess: Costume Assistant: Jo Ray Claire Barton* Hair and Make-Up: Maisie Palmer Alice, a villager: Zoe Freedman* Production Assistant: Sophie Horan *Vocal student at Trinity Laban Conservatoire of Music and Dance Senior Stage Manager: Sasja Ekenberg Deputy Stage Manager: Marian Sharkey Blackheath Halls Opera Chorus Assistant Stage Managers: Mimi Palmer-Johnston Blackheath Halls Orchestra and Rosanna Grimes Pupils from Greenvale School Community Stage Manager: Sarah Southerton Pupils from Charlton Park Academy Technical Assistant Stage Manager: Pupils from Year 5 at St Margaret’s Primary School Oliver Ballantyne Pupils from Year 4 at Lee Manor Primary School Project Manager: Rose Ballantyne Assistant Project Manager: Alice Murray BLACKHEATH HALLS TEAM: General Manager: Keith Murray Publicity and Programme Designer: Community Engagement Manager: Rose Ballantyne Colin Dunlop Operations Manager: Hannah Benton TRINITY LABAN PROJECT TEAM: Technical Manager: Malcolm Richards Programme Manager: Anna Wyatt and Marketing and Box Office Co-ordinator:Kyle Jarvis Helen Hendry Development Officer:Helma Zebregs Project Leader: Joe Townsend Bookkeeper: Debra Skeet Administrator: Caroline Foulkes Running time: 2hrs and 30mins We have been staging community operas at Blackheath WELCOME Halls since July 2007. -
An Investigation Into How Engagement with the Context and Processes of Collaborative Devising Affects the Praxis of the Playwright
An Investigation into How Engagement with the Context and Processes of Collaborative Devising Affects the Praxis of the Playwright: A Practice-as-Research PhD Volume 2 223 Practice-As-Research: The 9.21 to Shrub Hill (Devised Production) Playground (Non-Devised Production) and Accompanying Exegesis 224 Chapter Five Exegesis of the Processes of Creating a Devised Script (The 9.21 to Shrub Hill) and Non-Devised Script (Playground) Introduction The preceding chapters have created a framework for the analysis of my own experiences as a writer-deviser. Without this framework, it would be difficult to situate my practice within a theoretical context, since a similar academic discourse, placing the writer-deviser at the heart of the study, does not exist. As highlighted in the Introduction, the central query of this dissertation is how engagement with devising affects a playwright. This is a query with important ramifications for pedagogical practice and the discourses of devising and playwriting in general, but also represents a significant investigation in the development of my own artistic practice. As previously discussed, my methodological approach encompasses both research-led practice, and practice-led research.1 The preceding chapters have informed the development of the two scripts contained within this volume, and the development of the two scripts directed the focus of my research. As with most PaR investigations, the findings resulting from the practice share equal weighting (if not, in the case of some researchers, more) with those discoveries made from traditional, text-based research methodologies. Whilst I explore the ramifications of devising practice on my writing, I am also placing it within the context of the previous chapters’ revelations, finding resonances with the work of other writer-devisers, and testing out the theories presented of both devising and writing in my own work. -
October 11Th 2005
Classic Songs in the City Charity Concert and Reception Raising Funds for Cancer Research October 11, 2005. Programme Highlights from the worlds of Musical Theatre and Opera Performed by Kim Sheehan soprano Caryl Hughes mezzo-soprano Edwin Hawkes bass-baritone Kirsten Simpson piano Keith Beresford piano Concert 6:00 - 7:30 p.m. at the City Temple Church, Holborn Viaduct, London EC1A 2DE (a few yards East of Holborn Circus). Reception 7:30 - 9:30 p.m. Wine and nibbles in The Atrium, RBS NatWest Holborn Bars Building, 138-142 Holborn (old Prudential building a few yards West of Holborn Circus). Auction/Raffle At the reception (see inside programme for details of items) The Music Trio Mozart Soave Sia Il Vento Cosi Fan Tutte Caryl Hughes Mozart La Chi Darem La Mano Don Giovanni Edwin Hawkes Kim Sheehan Donizetti Quel `Guardo Cavaliere Don Pasquale Caryl Hughes Rossini Una Voce Poco Fa Il Barbiere Di Siviglia Edwin Hawkes Verdi Ella Giammai M’Amo Don Carlo Kim Sheehan Puccini Quando M’En Vo Soletta La Boheme Kim Sheehan Delibes The Flower Duet Lakme Caryl Hughes Caryl Hughes Bizet Habanera Carmen Kim Sheehan Strauss The Laughing Song Die Fledermaus Kim Sheehan Gershwin Bess You Is My Woman Porgy and Bess Edwin Hawkes Interval (10 minutes) Edwin Hawkes Gilbert/Sullivan Policeman’s Song Pirates of Penzance Caryl Hughes Bernstein Somewhere West Side Story Kim Sheehan Rodgers Climb Every Mountain The Sound of Music Caryl Hughes Kern Smoke Gets in Your Eyes Roberta Kim Sheehan Lloyd Webber Think of Me Phantom of the Opera Trio Rodgers You’ll Never Walk Alone Carousel Edwin Hawkes Schoenberg Stars Les Miserables Kim Sheehan Rodgers If I Loved You Carousel Caryl Hughes Arlen Somewhere over the Rainbow Wizard Of Oz Edwin Hawkes Bock If I Were a Rich Man Fiddler on the Roof Kim Sheehan Gershwin Someone to Watch over Me Oh, Kay! Trio Gershwin I Got Rhythm Girl Crazy (Arr. -
Don Giovanni 2007
www.englishchamberopera.com | [email protected] www.englishchamberopera.com [email protected] English Chamber Opera was established in 2006 following a critically acclaimed, sell-out English tour of Don Giovanni, directed by Caroline Sharman and conducted by Igor Kennaway. “You really don’t need to be an opera buff, nor even know anything of Mozart’s naughty Don, to thoroughly enjoy this.” The Stage English Chamber Opera’s stylish productions will appeal to opera connoisseurs and first-timers alike. The company takes the highest quality performances, with superlative production values, to unusual, unconventional, and utterly unique venues in the UK and Europe. “There is a unity, a camaraderie…that is infectious…fine, heart-rending soliloquies that raise the hairs on your neck. And there are many times with the entire cast in full throat that bring tears of joy and admiration to the eyes.” The Stage With forthcoming performances in the UK and mainland Europe, the company’s 2007 calendar will also include a revival tour in Ireland of Caroline Sharman’s magnificent production of Don Giovanni (designed by Simon Higlett). Other plans include brand new productions of Cosi fan Tutte, and Handel’s cruel, treacherous masterpiece, Ariodante. “Gripping stuff… for anyone looking for an evening of compelling entertainment, an absolute treat.” The Oxford Times www.englishchamberopera.com [email protected] Don Giovanni 2007 English Chamber Opera's 2007 revival of Don Giovanni is fully staged with lavish period costumes, a stunning set and a seven-piece chamber orchestra. Director - Caroline Sharman Conductor - (tbc) Design - Simon Higlett Cast Don Giovanni - David Durham Leporello - Giles Davies Donna Elvira - Rebecca Cooper Donna Anna - Sarah Moule Zerlina - Beverley Worboys Masetto - Ian Jervis Don Ottavio - Peter Wilman Commendatore - (tbc) www.englishchamberopera.com [email protected] Don Giovanni 2007 Biographies David Durham – Don Giovanni David studied at the Guildhall school of Music and Drama as a violinist. -
The Thieving Magpie
ROSSINI’S DARKLY COMIC 2-ACT OPERA SUNG IN ENGLISH 7pm JULY 15-18 2015 the crescent theatre birmingham www.midlandopera.com MIDLAND OPERA CAST, CHORUS & GUESTS tickets 0121 444 6842 Featuring Abigail Kelly as Ninetta and with student concessions Stephen Holloway NO FEE if booking through the above number as the Podestà But bookings with the Crescent will incur a fee www.midlandopera.com 2015 PRODUCTION TEAM Musical Director ..............................................................................................................James Longstaffe Director/Producer .............................................................................................. Sarah Helsby Hughes Score Reduction ................................................................................................................................... James Longstaffe Adapted English Translation ........................................................................................ Sarah Helsby Hughes Rehearsal Accompanist ................................................................................................................. James Longstaffe Set Design ................................................................................. Jemima Bruntlett & Sarah Helsby Hughes Set Realisation ........................................................................................................................................ Trevor Woodford Wardrobe Co-ordination .............................................................................................................. -
Der Ring Des Nibelungen the Ring of the Nibelung
1 2 Der Ring des Nibelungen The Ring of the Nibelung Ein Bühnesfestspiel für drei Tage und einen Vorabend A Festival Stage Play for Three Days and a Preliminary Evening 1. Das Rheingold 9th & 23rd February 2014 2. Die Walküre 11th & 25th February 2014 3. Siegfried 12th & 28th February 2014 4. Götterdämmerung 16th February & 2nd March 2014 WELCOME TO THE FULHAM RING Good evening. Thank you for coming and supporting perhaps the maddest and most complicated theatrical production ever undertaken by a tiny fringe opera company! The idea was never to do a complete Ring Cycle. After a production of Amahl and the Night Visitors in December 2010, our dear departed friend Robert Presley said to me “Let’s do Rheingold. I wanna be Alberich”. He should have already known at that point not to put such a silly idea in my head! That Rheingold was a remarkable success, to our great surprise, and rather laid down a gauntlet. The idea to revive the shows for full Cycles was that of Fiona Williams a year ago. Between the two of them, along with the support of Zoë South’s wonderfully colourful Brünnhilde, they have caused something wonderful – not to say unlikely – to occur. The productions and the company have grown over the last three years, and I am personally incredibly grateful to every singer, director, board member, crew member, donor and of course, you, the audience for coming and supporting these crazy endeavours. These two week-long productions are the culmination of six weeks rehearsal, as well as 3 years belief on the part of everyone, and they’re all doing it predominantly for love, as they will each only make a share of the ticket sales. -
A Practice-As-Research Phd Volume 1
An Investigation into How Engagement with the Context and Processes of Collaborative Devising Affects the Praxis of the Playwright: A Practice-as-Research PhD Volume 1 Karen Morash Submitted for the Degree of PhD October 2016 Goldsmiths, University of London Department of Theatre and Performance 2 This thesis is available for library use on the understanding that it is copyright material and no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signed, Karen Morash 3 Abstract An Investigation into How Engagement with the Context and Processes of Collaborative Devising Affects the Praxis of the Playwright: A Practice-as-Research PhD The central research inquiry of this dissertation is how the experience of working within a collaborative context, employing the processes of devising, affects a playwright. It springs from the presentiment that the processes of devising are significantly different than traditional playwriting methodologies and have the potential to offer short and long-term benefits to both playwright and collaborators. A central focus of the dissertation is the figure of the writer-deviser as a distinctive artist with a particular skillset developed from both devising praxis and standard playwright training (which traditionally does not emphasise collaborative theatre-making). This dissertation therefore examines the historical and contemporary context of the writer-deviser in order to provide a foundation for the presentation and exegesis of my practice-as-research: a play written via the devising process and another play written as a solo playwright. -
The Cambridge Companion to Creative Writing Edited by David Morley and Philip Neilsen Frontmatter More Information
Cambridge University Press 978-0-521-76849-8 - The Cambridge Companion to Creative Writing Edited by David Morley and Philip Neilsen Frontmatter More information the cambridge companion to creative writing Creative writing has become a highly professionalised academic discipline, with popular courses and prestigious degree programmes worldwide. This book is a must for all students and teachers of creative writing, indeed for anyone who aspires to be a published writer. It engages with a complex art in an accessible manner, addressing concepts important to the rapidly growing field of creative writing, while maintaining a strong craft emphasis, analysing exemplary models of writing and providing related writing exercises. Written by professional writers and teachers of writing, the chapters deal with specific genres or forms – ranging from the novel to new media – or with significant topics that explore the cutting- edge state of creative writing internationally (including creative writing and science, contemporary publishing and new workshop approaches). david morley is Professor of Creative Writing at the University of Warwick. philip neilsen is Professor of Creative Writing at the Queensland University of Technology. A complete list of books in the series is available at the back of this book. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-76849-8 - The Cambridge Companion to Creative Writing Edited by David Morley and Philip Neilsen Frontmatter More information © in this web service -
Programme Spring 2014 Draft 2
spring concert ludwig van beethoven overture from the creatures of prometheus michael haydn requiem in c minor wolfgang amadeus mozart symphony no. 25 gabriel fauré requiem in d minor conductors: benjamin wolf, andrew rochford 7.30 pm, saturday 15 march 2014, st mark’s church, nw1 programme £12 2a South Hill Park, London. NW3 2SB 020 7435 2503 / [email protected] www.the-magdala.com A warm, friendly welcome awaits you as you walk through the doors of The Magdala. Watch our chefs produce superb, freshly cooked food in our theatre style kitchen. Enjoy some great pub classics and modern international dishes, simply presented. v 3 cask ales, including a seasonal guest ale, Cask Marque accredited. v Great selection of fine wines and spirits. v The best Sunday roasts in town. v Small, quiet heated garden area v First floor dining / function room available for private hire, larger groups or intimate dinner dates! With a cosy lounge bar, bright café bar, restaurant and meeting room, The Magdala is your venue for all occasions. We look forward to welcoming you soon! programme ludwig van beethoven (hampstead sinfonietta) overture from the creatures of prometheus michael haydn (choir with hampstead sinfonietta) requiem in c minor Introitus et Kyrie Sequentia: Dies Irae Offertorium: Domine Jesu Christe; quam olim Abrahae Sanctus Benedictus Agnus Dei et Communio; cum sanctis tuis Requiem aeternam; cum sanctis tuis interval wolfgang amadeus mozart (hampstead sinfonietta) symphony no. 25 Allegro con brio Andante Menuetto Allegro gabriel fauré (choir with hampstead sinfonietta) requiem in d minor Introit-Kyrie Offertorium (O Domine) Sanctus Pie Jesu Agnus Dei Libera Me In Paradisum soloists charlotte-anne shipley (soprano) ann sadan (alto) matthew pochin (tenor) gabriel gottlieb (bass) the hampstead sinfonietta is led by tim miller Welcome Dear Audience, Thank you for attending our first concert of 2014.