DOCSLIB.ORG

Acanemy of IDUSIC a Department of the BROOKLYN INSTITUTE of ARTS and SCIENCES

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Acanemy of IDUSIC a Department of the BROOKLYN INSTITUTE of ARTS and SCIENCES BROOKLYn acanemy OF IDUSIC a department of THE BROOKLYN INSTITUTE OF ARTS AND SCIENCES FRANCIS T. CHRISTY, President WILLIAM B. HEWSON, Clwirrnun The Governing Committee WM. McKELVY MARTIN, Director METROPOLITAN OPERA NATIONAL CO. Cinderella Friday, December ·31st, 1965 THE BROOKLYN ACADEMY OF MUSIC in association w:ith The Opera Society of Brooklyn presents METROPOLITAN OPERA NATIONAL COMPANY Inaugural Season 1965-1966 e Gioacchino Rossini CINDERELLA (La Cenerentola) Opera in two acts (in English) Friday Evening, December 31st, 1965 - 8:00 p. :m. Libretto by JACOPO FERRETTI New version by GUENTHER RENNERT English text by RUTH and THOMAS MARTIN Conductor: SAMUEL KRACHMALNICK Directed by GUENTHER RENNERT Sets and costumes designed by BENI MONTRESOR Choreography by RHODA LEVINE Choral Director: WILLIAM JONSON CAST IN ORDER OF APPEARANCE Alidoro, poet and magician .......................................................................................... EUGENE GREEN Don Ramiro, the prince ....................................................................................................... NORMAN PAIGE Dandini, servant to the prince ................................................................................ JULIAN PATRICK Cl~rinda I Don Magnifico's daughters .............................................................. LINDA NEWMAN Thtsbe { ......................................................................... ELLEN BERSE Don Magnifico ....................................................................... ~ ............. _..,........ ...... ARNOLD VOKETAITIS Cinderella, his step-daughter .............................................................................. SYLVIA FRIEDERICH DREAM BALLET (in order of appearance): Cinderella- Ronnie Segal; Don Ramiro - Luis Olivares; Clorinda - Ania Romaine; Thisbe - Marcia O'Brien; Don Magnifico - Walter Adkins; Dandini - GeorKe Bice STORM BALLET: ]ames Carson, Luis Olivares, Walter Adkins Cavaliers, servants, ladies, peasants KNABE PIANOS USED EXCLUSIVELY ,. .. RESTAURANT r OUdoJa COCKTAIL LOUNGE "FOR PEOPLE OF GOOD TASTE" 20 lafayettetG Ave., Brooklyn NEvins 8·9547 Across the street from the Acodemy Yor Qlour !A/Ier lhe diww a>ining c!J/easure - our Venezia Room is just the place to relax and enjoy the finest in food and drinks. WE CATER TO ALL SOCIAL FUNCTIONS-UP TO 300 The STEINW A Y is the official piano of THE BROOKLYN ACADEMY OF MUSIC Academy pianos are serviced by ABARD PIANO & ORGAN CO. JOC'~ PIA~O PIAYfR K~OW~ ··~[IANCNOLY BABY:• Come to Joe's an_y evening and let Joe's piano player play your favorite. If you come between 4 and 6, you can also get your favorite drink, (within reason) for only 75¢. Joe's Restaurant. 44 Court St., B'klyn. Synopsis of Scenes ACT I: Prologue Scene 1: The kitchen in Don Magnifico's house. Scene 2: Outside Don Rrumiro's palace. Scene 3: The wine ceUar. Scene 4 : A small room in the palace. Scene 5: The ballroom. Intermission ACT II: Scene 1: The wintergarden . .Scene 2: The btchen. S'C ene 3 : The village square. By arrangement with Franco Colombo, Inc., copyright owners. Assistant to Guenther Rennert: Plato Karayanis Scenery and properties built and painted in the Metwpolitan Opera Shops. Costumes executed b y the Metropolitan Opera Tailor Shop. Shoes by La Ray Boot Shop, McCreedy & Schreiber, Inc., The Shop for Pappagalh. Women's millinery by Fanny Violino. - Men's millinery by Haentze Theatrical Hat Co. Women's gloves by Wear Right. Electric harpsichord by Allen Organ Co. e STAFF FOR THE BROOKLYN ACADEMY OF MUSIC Wm. M•cKelvy !Martin, Director; Ri•chard L. Kirschner, Assistant Director ; Lewis ~ Lloyd, Press R erpresentative; Robert J. Hayden, Building Su perrintendent; Alfred~ Salmaggi, House Manager; RichardT. Beck, Stage Manager and Chief Carp·enter; Fred L. Schonberg, Chief Electrician; ·Gerard J. Stmith, Master of Proper ties; Edward Hochner, Box Office Treasurer. Librettos for sale in the lobby MAKE YOURS A MEMORABLE EVENING! Before or after the Performance visit DODGERS Restaurant and Cocktail Lounge "Brooklyn's Most Intimate Restaurant" Complimentary Wine- Garlic Bread & Salad LUNCHEON • DINNER • SUPPER ( 7 Days) Steaks • Lobsters Dancing Fri. & Sat.- Catering (Amer. Exp1·ess) - Recommended by "CUE" - (Est. 1942) 24 DEKALB AVE. cor. FLATBUSH AVE. EXT. MA 5-8977 (Just 3 Blocks from Academy) FIRE NOTICE. The exit indicated by a red light and sign nearest to the seat you occupy is the shorest route to the street. In the event of fire or other emergency please do not run - WALK TO THAT EXIT. NEW ABRAHAMcf NOW "'... •~ c: "' QUICK SILVER Streak bolt lightning quick into this dazzler dress and see your charm turn on, on, on! Shining way to make yourself shimmer and seen ... bright-now in a sparkling collection of metallic fiber dresses at A&S. I THE METROPOLITAN OPERA ASSOCIATION General Manager: Rudolf Bing and THE JOHN F. KENNEDY CENTER FOR THE PERFORMING ARTS present the METROPOLITAN 0 PER A NATIONAL COMPANY General Managers; Rise" Stevens Michael Manuel Music Director: Robert La Marchina Associate Music Director: Samuel Krachmalnick INAUGURAL SEASON 1965 - 1966 PRINCIPAL ARTISTS Robert Bennett Job.n Fiorito Julian Patrick Ellen Berse Sylvia Friederich Mary Beth Peil Ron Bottcher Charles Gonzales Francesca Roberto Robert Cowden Eu~e Green Polyna Savridi John Craig Dorothy Krebill Vern Shinall Joy Davidson Chris Lachona Huguette Tourangeau Enrico Di Giuseppe Mary Munroe Peter Van Ginkel Nicholas di Virgilio Linda Newman Nolan Van Way Andrij Dobriansky Maralin Niska Arnold Voketaitis James Farrar Nonnan Paige Marilyn Zschau EXCLUSIVE MANAGEMENT: HUROK ATTRACTIONS, INC. METROPOLIT AN OPERA NATIONAL COMPANY General Managers Ris~ Stevens, Michael Manuel Administrative Staff Company Manager Herbert Clle.rin Publicity Director & Advance Repre~ative Mary Jolliffe Associate Publicity Director (New York) Dale Heapps· Official Photographer Martha Swope Metropolitan Opera Representative (New York) Michael Bronson Production Coordinator Jane Rei~ . General Administrative Assistant Plato Karayiro.is Press Assistant (New York) Margaret Norton Assistant Representative (New York) Jay Rutherford Secretary to the General Managers Anne Kock.a · Music and Production Staff Music Director, Robert La Marchina Associate Music Director, Samuel Krachmalnick Assistant Conductors Ross Reimueller Edwin Stahl Executive Stage Manager John L. Moorehead Assistant Stage Director & Stage Manager Margaret Fairbank Assistant Stage Director Plato Karayanis Assistant Stage Manager Thorn Trethewey Ballet Mistress Maree Austin Musical Preparation Joan Dornemann, Peter Paul Fuchs, Frederic Popper, Eve Queler, Dorothy Zeigler English Diction Supervision Dorothy Uris French Diction Supervision Jeannette Breval Albert Myara Italian Diction Supervision Adriano Petronio Dramatic Consultant Ludwig Donath Style and Movement Coach Sondra Lee Technical Staff Master Carpenter Joseph Russell Master Electrician Chester Brown Master Propertyman Peter Stadolnik Wardrobe Supervisor Laurette Hickman Wig Supervisor Maggie Zicha Assistant Carpenter Edward Triggs Flyman K. Keith Klemmt Assistant Electricians Albert Pidgeon Arthur Goldenberg Assistant Propertyman Laurence Buck Assistant Wardrobe Supervisor Robert Stickney Wardrobe Assistant Selma Brown Trucking by Clark Transfer Co., Inc., Philadelphia, Pa. Bus transportation by Charter Coach, Inc., Fords. N.J. Lighting equipment by Altman Stage Lighting, Yonkers, N.Y. Travel arrangements by Astral Travel Service, New York .
Load more

Recommended publications
  • Sounding Nostalgia in Post-World War I Paris
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Sounding Nostalgia In Post-World War I Paris Tristan Paré-Morin University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Paré-Morin, Tristan, "Sounding Nostalgia In Post-World War I Paris" (2019). Publicly Accessible Penn Dissertations. 3399. https://repository.upenn.edu/edissertations/3399 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3399 For more information, please contact [email protected]. Sounding Nostalgia In Post-World War I Paris Abstract In the years that immediately followed the Armistice of November 11, 1918, Paris was at a turning point in its history: the aftermath of the Great War overlapped with the early stages of what is commonly perceived as a decade of rejuvenation. This transitional period was marked by tension between the preservation (and reconstruction) of a certain prewar heritage and the negation of that heritage through a series of social and cultural innovations. In this dissertation, I examine the intricate role that nostalgia played across various conflicting experiences of sound and music in the cultural institutions and popular media of the city of Paris during that transition to peace, around 1919-1920. I show how artists understood nostalgia as an affective concept and how they employed it as a creative resource that served multiple personal, social, cultural, and national functions. Rather than using the term “nostalgia” as a mere diagnosis of temporal longing, I revert to the capricious definitions of the early twentieth century in order to propose a notion of nostalgia as a set of interconnected forms of longing.
    [Show full text]
  • Bellini's Norma
    Bellini’s Norma - A discographical survey by Ralph Moore There are around 130 recordings of Norma in the catalogue of which only ten were made in the studio. The penultimate version of those was made as long as thirty-five years ago, then, after a long gap, Cecilia Bartoli made a new recording between 2011 and 2013 which is really hors concours for reasons which I elaborate in my review below. The comparative scarcity of studio accounts is partially explained by the difficulty of casting the eponymous role, which epitomises bel canto style yet also lends itself to verismo interpretation, requiring a vocalist of supreme ability and versatility. Its challenges have thus been essayed by the greatest sopranos in history, beginning with Giuditta Pasta, who created the role of Norma in 1831. Subsequent famous exponents include Maria Malibran, Jenny Lind and Lilli Lehmann in the nineteenth century, through to Claudia Muzio, Rosa Ponselle and Gina Cigna in the first part of the twentieth. Maria Callas, then Joan Sutherland, dominated the role post-war; both performed it frequently and each made two bench-mark studio recordings. Callas in particular is to this day identified with Norma alongside Tosca; she performed it on stage over eighty times and her interpretation casts a long shadow over. Artists since, such as Gencer, Caballé, Scotto, Sills, and, more recently, Sondra Radvanovsky have had success with it, but none has really challenged the supremacy of Callas and Sutherland. Now that the age of expensive studio opera recordings is largely over in favour of recording live or concert performances, and given that there seemed to be little commercial or artistic rationale for producing another recording to challenge those already in the catalogue, the appearance of the new Bartoli recording was a surprise, but it sought to justify its existence via the claim that it authentically reinstates the integrity of Bellini’s original concept in matters such as voice categories, ornamentation and instrumentation.
    [Show full text]
  • Opera Chapman: Gems of the Bel Canto Era Opera Chapman
    Chapman University Chapman University Digital Commons Printed Performance Programs (PDF Format) Music Performances 10-18-2013 Opera Chapman: Gems of the Bel Canto Era Opera Chapman Follow this and additional works at: http://digitalcommons.chapman.edu/music_programs Recommended Citation Opera Chapman, "Opera Chapman: Gems of the Bel Canto Era" (2013). Printed Performance Programs (PDF Format). Paper 811. http://digitalcommons.chapman.edu/music_programs/811 This Choral Performance is brought to you for free and open access by the Music Performances at Chapman University Digital Commons. It has been accepted for inclusion in Printed Performance Programs (PDF Format) by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. Opera Chapman: Gems of the Bel Canto Era October 18-20, 2013 Peter Atherton' ARTISTIC DIRECTOR Carol Neblett, ASSOCIATE DIRECTOR David Alt, ASSOCIATE DIRECTOR FALL 2013 calendar highlights CHAPMAN UNIVERSITY septernber September 26-28, October 3-5 September 27 Present laughter Guest Artists in Recital - The College of Peiforming Arts By Noel Coward Los Angeles Percussion Quartet and the Directed by Andrew Barnicle october Hall-Musco Conservatory of Music October 18-20 October 24-26, November 7-9 Opera Chapman: Spring Awakening present "Gems of the Bel Canto Era" Music by Duncan Sheik Book and Lyrics by Steven Sater Peter Atherton, Artistic Director Directed by Jim Taulli Carol Neblett. Associate Director novernber November 5 November 9 Opera Chapman:
    [Show full text]
  • MACBETH Classic Stage Company JOHN DOYLE, Artistic Director TONI MARIE DAVIS, Chief Operating Officer/GM Presents MACBETH by WILLIAM SHAKESPEARE
    MACBETH Classic Stage Company JOHN DOYLE, Artistic Director TONI MARIE DAVIS, Chief Operating Officer/GM presents MACBETH BY WILLIAM SHAKESPEARE WITH BARZIN AKHAVAN, RAFFI BARSOUMIAN, NADIA BOWERS, N’JAMEH CAMARA, ERIK LOCHTEFELD, MARY BETH PEIL, COREY STOLL, BARBARA WALSH, ANTONIO MICHAEL WOODARD COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN ANN HOULD-WARD SOLOMON WEISBARD MATT STINE FIGHT DIRECTOR PROPS SUPERVISOR THOMAS SCHALL ALEXANDER WYLIE ASSOCIATE ASSOCIATE ASSOCIATE SCENIC DESIGN COSTUME DESIGN SOUND DESIGN DAVID L. ARSENAULT AMY PRICE AJ SURASKY-YSASI PRESS PRODUCTION CASTING REPRESENTATIVES STAGE MANAGER TELSEY + COMPANY BLAKE ZIDELL AND BERNITA ROBINSON KARYN CASL, CSA ASSOCIATES ASSISTANT DESTINY LILLY STAGE MANAGER JESSICA FLEISCHMAN DIRECTED AND DESIGNED BY JOHN DOYLE MACBETH (in alphabetical order) Macduff, Captain ............................................................................ BARZIN AKHAVAN Malcolm ......................................................................................... RAFFI BARSOUMIAN Lady Macbeth ....................................................................................... NADIA BOWERS Lady Macduff, Gentlewoman ................................................... N’JAMEH CAMARA Banquo, Old Siward ......................................................................ERIK LOCHTEFELD Duncan, Old Woman .........................................................................MARY BETH PEIL Macbeth.....................................................................................................
    [Show full text]
  • Guide2019-20 20 Sea
    MEMBERGUIDE 2019-2020 SEASON WELCOME TO OUR 2019-2020 SEASON AT CSC! The 2019-2020 Season is fast approaching and we're so thrilled to have you join us! We want you to take advantage of all your membership benefits, so please read through this membership guide to learn more about your Ticket Benefits, our Production Season, the exapanded Classic Rewards program, and how to book your tickets. This season we will be expanding our Talkback Series, continuing our Classic Conversations and rolling out new perks, so make sure to check your inbox for our exclusive member e-newsletter, to be the first to know! Please note this season we will booking member tickets on a show by show basis. One of our newest perks, and to enhance your experience, is the new Member Show Guide, which you will receive prior to each booking period. If you have any questions, please call us at 212-677-4210 ext 11 or [email protected]. We look forward to seeing you at the theater this season! Graham Shelton Audience Services Manager YOUR BENEFITS ALL MEMBERSHIPS INCLUDE*: · Priority seating and booking period · No-fee exchange privileges (72 hour notice preferred) · Access to our Classic Rewards Program · An exclusive monthly member e-newsletter · Direct Members Services hotline - 212.677.4210 x11 MEMBERSHIP TICKETING DETAILS: CSC 4-PLAY MEMBERSHIP includes one ticket to each production, per membership, for a total of four (4) tickets CSC PAY-AS-YOU-GO MEMBERSHIP includes access to purchase up to one (1) $52 ticket to each production, per membership CSC FUTURE CLASSIC MEMBERSHIP includes access to purchase up to two (2) $35 tickets per production, per membership (second ticket may be used by a patron of any age), valid ID required at member ticket pickup.
    [Show full text]
  • A History of the Hunter Hills Theatre, 1956-1977
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 12-1979 A History of the Hunter Hills Theatre, 1956-1977 Gary Buttrey University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Theatre and Performance Studies Commons Recommended Citation Buttrey, Gary, "A History of the Hunter Hills Theatre, 1956-1977. " Master's Thesis, University of Tennessee, 1979. https://trace.tennessee.edu/utk_gradthes/3272 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Gary Buttrey entitled "A History of the Hunter Hills Theatre, 1956-1977." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Arts, with a major in Theatre. Fred Fields, Major Professor We have read this thesis and recommend its acceptance: Thomas P. Cook, Albert Harris Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a thesis written by Gary Buttrey entitled 11A History of the Hunter Hills Theatre, 1956-1977.11 I recommend that it be accepted in partial fulfillment of the re� quirements for the deqree of Master of Arts, with a major in Speech and Theatre.
    [Show full text]
  • Ambassador Auditorium Collection ARS.0043
    http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf194 No online items Guide to the Ambassador Auditorium Collection ARS.0043 Finding aid prepared by Frank Ferko and Anna Hunt Graves This collection has been processed under the auspices of the Council on Library and Information Resources with generous financial support from the Andrew W. Mellon Foundation. Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] 2011 Guide to the Ambassador Auditorium ARS.0043 1 Collection ARS.0043 Title: Ambassador Auditorium Collection Identifier/Call Number: ARS.0043 Repository: Archive of Recorded Sound, Stanford University Libraries Stanford, California 94305-3076 Physical Description: 636containers of various sizes with multiple types of print materials, photographic materials, audio and video materials, realia, posters and original art work (682.05 linear feet). Date (inclusive): 1974-1995 Abstract: The Ambassador Auditorium Collection contains the files of the various organizational departments of the Ambassador Auditorium as well as audio and video recordings. The materials cover the entire time period of April 1974 through May 1995 when the Ambassador Auditorium was fully operational as an internationally recognized concert venue. The materials in this collection cover all aspects of concert production and presentation, including documentation of the concert artists and repertoire as well as many business documents, advertising, promotion and marketing files, correspondence, inter-office memos and negotiations with booking agents. The materials are widely varied and include concert program booklets, audio and video recordings, concert season planning materials, artist publicity materials, individual event files, posters, photographs, scrapbooks and original artwork used for publicity.
    [Show full text]
  • BULLETIN CENTRAL OPERA SERVICE 147 West 39Th Streej New York 18, New York
    BULLETIN CENTRAL OPERA SERVICE sponsored by METROPOLITAN OPERA NATIONAL COUNCIL 147 West Thirty-ninth Street, New York 18, N.Y. Telephone: PEnnsylvania 6-1200 This issue: SURVEY OF OPERA WORKSHOPS AND CONTEMPORARY OPERA PERFORMANCES March-April, 1964 NEW OPERAS AND PREMIERES It is reported that Ned Rorem ("Childhood Miracle","The Robbers") while in residence at Yaddo, Saratoga Springs, N.Y., is working on a new opera entitled MISS JULIE. Kenward Elmslie is responsible for the libretto. ******* The Center for Advanced Study at the University of Illinois commissioned Robert Kelly, Professor of Composition at the University, to write an opera. Professor Kelly has chosen for his theme the conquest of Mexico presented from the Aztec viewpoint. The opera will be entitled THE WHITE GODS. ******* Jack Gottlieb, assistant to Leonard Bernstein, will witness the premiere of his one-act opera TEA PARTY on April 18 at the Donnell Library, 23 W. 53 St. in New York. It is written for soprano, alto, tenor and baritone and will be performed with the accompaniment of two pianos. The opera, which the composer subtitles "Movement I of a Symphony of Operas" is available through Boosey and Hawkes. ******* The Central City Opera commissioned work, LADY FROM COLORADO, will be pre- miered in Central City on July 3. The Robert Ward-Bernard Stambler work is based on a book by Homer Croy and actual Colorado history and was commissioned in honor of the 100th anniversary of the University of Den- ver (formerly Colorado Seminary). ******* Shostakovich's KATERINA ISMAILOVA (see Jan. Bulletin) will be premiered in the U.S.
    [Show full text]
  • The Harlingen Auditorium and Harlingen Concert Association 51 Years Young – and the Beat Goes on Norman Rozeff, November 2006 (Revised 12/07, 2/11)
    The Harlingen Auditorium and Harlingen Concert Association 51 Years Young – And the Beat Goes On Norman Rozeff, November 2006 (revised 12/07, 2/11) Civic leaders and the city fathers recognized early on that a sizeable auditorium capable of hosting name attractions would be an important asset to the city. In April 1926 even before such an auditorium was a reality Mayor Ewing had approached the Southwest Chautauqua Organization about bringing its major performers to the city. It had toured such stalwarts as the violinist Efrem Zimbalist, Polish pianist Ignacy Jan Paderewski, and lecturer Herbert Hoover. It is in 1927 that the Harlingen Municipal Auditorium, 1114 Fair Park Blvd., is approved for construction at a cost of $125,000. Its site is where the annual Valley Mid-Winter ag- ricultural fairs are held, and it is expected to be utilized as part of the fair activities. It is completed before mid-1928 and seats 1,800. The Hurricane of 1933 causes extensive to the auditorium, so it is extensively renovated. Reopened in late 1935, a new cornerstone dated 1936 is placed in it. The entrance offers a art deco façade. The interior is also of art deco design and has a state of the art stage. Reconfigured, it then seats over 2,200. The city government people who approved the expenditures were: Mayor Sam Botts; com- missioners J.J.Burk, George Waters, Neil Madeley, Dr. E.A. Davis, and H.C. Ware. The architect was Stanley Bliss with the Ramsey Brothers doing the contracting. Since the year 1928 when Harlingen was first blessed with one of the finest civic audito- riums in the Lower Rio Grande Valley, the community has always enticed topnotch en- tertainment.
    [Show full text]
  • Michael John Lachiusa's STORIES of AMERICA
    LARGE PRINT PROGRAM ThE ALLEN ROOM JAZZ AT LINCOLN CENTER’S fREdERICk P. ROSE hALL LincoLn center presents AmericAn songbook JAnuAry 22 – June 12, 2014 sponsored by prudential investment management Saturday Evening, February 1, 2014, at 8:30 hEARTbREAk COuNTRy: MIChAEL JOhN LAChIuSA’S STORIES Of AMERICA with kate baldwin, Sherry d. boone, Marc kudisch, bryce Ryness, Andrew Samonsky, Emily Skinner, and Mary Testa mary-mitchell campbell, Musical Director and Piano David gardos, Piano PLEASE TuRN PAGES quIETLy (program continued) 2 steven Lyon, Reeds Laura bontrager, Cello marc schmied, Bass Damien bassman, Drums Jack cummings iii, Conception and Director This evening’s program is approximately 75 minutes long and will be performed without intermission. major support for Lincoln center’s American songbook is provided by Fisher brothers, in memory of richard L. Fisher; and Amy & Joseph perella. Wine generously donated by William Hill estate Winery, official Wine of Lincoln center. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. steinway piano please make certain your cellular phone, pager, or watch alarm is switched off. 3 Lincoln Center’s Large Print and braille programs are made possible thanks to a generous endowment established by frederick P. Rose, daniel Rose, and Elihu Rose in honor of their mother, belle b. Rose. Additional support for Lincoln center’s American songbook is provided by the brown Foundation, inc., of Houston, the Dubose and Dorothy Heyward memorial Fund, the shubert Foundation, Jill and irwin cohen, the g & A Foundation, inc., great performers circle, chairman’s council, and Friends of Lincoln center.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 109, 1989-1990, Subscription
    BOSTON SYMPHONY ORCHESTRA SBJI OZAWA MUSIC DIRECTOR 109TH SEASON 1989-90 ^r^ After the show, enjoy the limelight. Tanqueray. A singular experience. Imported English Gin, 47.3% Alc/Vol (94.6°). 100% Grain Neutral Spirits. © 1988 Schieffelin & Somerset Co., New York, N.Y. Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Ninth Season, 1989-90 Trustees of the Boston Symphony Orchestra, Inc. Nelson J. Darling, Jr., Chairman Emeritus J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Mrs. Eugene B. Doggett Mrs. August R. Meyer Peter A. Brooke Avram J. Goldberg Mrs. Robert B. Newman James F. Geary Mrs. John L. Grandin Peter C. Read John F. Cogan, Jr. Francis W. Hatch, Jr. Richard A. Smith Julian Cohen Mrs. Bela T. Kalman Ray Stata William M. Crozier, Jr. Mrs. George I. Kaplan William F. Thompson Mrs. Michael H. Davis Harvey Chet Krentzman Nicholas T. Zervas Trustees Emeriti Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen E. Morton Jennings, Jr. Mrs. George Lee Sargent Allen G. Barry Edward M. Kennedy Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs. John M. Bradley Thomas D. Perry, Jr. John L. Thorndike Abram T. Collier Irving W. Rabb Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Michael G. McDonough, Assistant Treasurer Daniel R. Gustin, Clerk Administration Kenneth Haas, Managing Director Daniel R.
    [Show full text]
  • Central Opera Service Bulletin
    CENTRAL OPERA SERVICE BULLETIN JANUARY-FEBRUARY, 1970 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center Plaza • Metropolitan Opera • New York, N.Y. 10023 • 799-3467 CENTRAL OPERA SERVICE COMMITTEE ROBERT L. B. TOBIN, National Chairman GEORGE HOWERTON, National Co-Chairman National Council Directors MRS. AUGUST BELMONT MRS. FRANK W. BOWMAN MRS. TIMOTHY FISKE E. H. CORR1GAN, JR. CARROLL G. HARPER MRS. NORRIS DARRELL EL1HU M. HYNDMAN Professional Committee JULIUS RUDEL, Chairman New York City Opera KURT HERBERT ADLER MRS. LOUDON MELLEN San Francisco Opera Opera Soc. of Wash., D.C. VICTOR ALESSANDRO ELEMER NAGY San Antonio Symphony Hartt College of Music ROBERT G. ANDERSON MME. ROSE PALMAI-TENSER Tulsa Opera Mobile Opera Guild WILFRED C. BAIN RUSSELL D. PATTERSON Indiana University Kansas City Lyric Theater ROBERT BAUSTIAN MRS. JOHN DEWITT PELTZ Santa Fe Opera Metropolitan Opera MORITZ BOMHARD JAN POPPER Kentucky Opera University of California, L.A. STANLEY CHAPPLE GLYNN ROSS University of Washington Seattle Opera EUGENE CONLEY GEORGE SCHICK No. Texas State Univ. Manhattan School of Music WALTER DUCLOUX MARK SCHUBART University of Texas Lincoln Center PETER PAUL FUCHS MRS. L. S. STEMMONS Louisiana State University Dallas Civic Opera ROBERT GAY LEONARD TREASH Northwestern University Eastman School of Music BORIS GOLDOVSKY LUCAS UNDERWOOD Goldovsky Opera Theatre University of the Pacific WALTER HERBERT GIDEON WALDROP Houston & San Diego Opera Juilliard School of Music RICHARD KARP MRS. J. P. WALLACE Pittsburgh Opera Shreveport Civic Opera GLADYS MATHEW LUDWIG ZIRNER Community Opera University of Illinois We are delighted to announce the appointment of Dr. Jan Popper (UCLA) and Mr.
    [Show full text]