Love Story: a Chronicle of Winning the Amore Opera Universe's Lottery: Ana Maria Ugarte and Brian Landry

Total Page:16

File Type:pdf, Size:1020Kb

Love Story: a Chronicle of Winning the Amore Opera Universe's Lottery: Ana Maria Ugarte and Brian Landry February 2017 MID-CAREER MAGIC: Piotr Beczala Two Sides to Anne- Carolyn Bird's Story Love Story: A Chronicle of Winning the Amore Opera Universe's Lottery: Ana Maria Ugarte and Brian Landry U.S.A. $6.50 • Can $8.70 Announcing auditions for summer 2017 Two Amazing Cities Stunning performance venues along with the thrill of singing fully-staged and beautifully-costumed operas with professional orchestras in Rome and Orvieto, Italy. May 24th to June 17th. Operafestival di Roma Don Giovanni Suor Angelica w.a. Mozart | Directed by Dugg McDonough Giacomo Puccini | Directed by Tony Offerle In Italian | Principal Roles | Double Cast | Performances with Orchestra February auditions Chicago • Baton Rouge Positions available until all roles are filled. Video auditions accepted. A Complete Italian Musical Experience for $5,000 • Apartment Style Living • Voice Lessons • Two Meals A Day Provided • Coachings • Financing Options Available • Aria Concerts Faculty Dr. Todd Queen: Executive Director Dennis Jesse: General & Artistic Director Nyela Basney: Conductor Michael Borowitz & Laura Friesen: Vocal Coaches For more information please visit our site at: operafest.wixsite.com/operafest CS VOCAL COMPETITION $2,000,000 in Scholarships $20,000 Cash Prizes Competition Classical & Musical Theatre $4,000 First Place Prize and No Age Limits! High School, University, and Emerging Professional Divisions First Round - Online or Live Locations, January-May Finals - CS Convention in Chicago, May 26-28, 2017 Convention Classes Four days of masterclasses and presentations by universities, conservatories, summer programs, industry experts, and more. Free for Competition Participants The Expo More than 80 schools, summer programs, and professional companies eager to recruit top singers and offer scholarship and performance opportunities. More than $12,700,000 in Scholarships offered since 2004 Sponsored by magazine Use the $20 Coupon Code magazine www.ClassicalSinger.com/vocalcompetition ADVERTISER INDEX We have listed our advertisers in this issue by what they’ll do for you. While we cannot vouch for any advertiser’s product or service, we do not run ads from vendors with unresolved complaints. Please e-mail and tell us about your experiences with our advertisers. Competitions Barcelona Festival of Song .................54 Vol. 30 No. 2 CS Vocal Competition ..........................4 The Boston Conservatory ...................11 Publisher David Wood Gerda Lissner Foundation ..................59 California Opera Association ...............40 Jensen Foundation ...........................26 Canta in Italia ...................................45 Editor in Chief Sara Thomas Druid City Opera ...............................15 General Manager Convention Early Music Vancouver .......................57 Alex Stoddard CS Music Convention ........................58 Early Music Week at Pinewoods ..........29 Design and Layout Fall Island Vocal Arts Seminar .............15 Horizon Design Education Greve Summer Opera Academy ..........21 Advertising Manager The Academy of Vocal Arts ...................2 T he Harrower Summer Dane Trimble Baldwin Wallace University .................31 Opera Workshop ............................55 Auditions Plus Manager California State University - Fullerton ....53 Highlands Opera Studio .....................47 Kimberlee Talbot Columbus State University ..................19 Lotte Lehman Summer Academy ........52 Customer Service Manager Converse College .............................16 Lingua e Canto .................................31 Mary Taylor Palm Beach Atlantic University ............12 Little Patuxent Opera Institute ..............29 Office Manager and Accounts Receivable University of Houston.........................37 McClosky Institute of Voice .................41 Marianne Johnston University of Oklahoma ......................53 M etropolitan International Final Copy Editor Deb Tokarewich Music Festival ................................43 Masterclass/Workshops Musiktheater Bavaria .........................17 Assistant Copy Editor Jenny Jenson Fawcett S ummer Workshop: John Blow's Nautilus Music Theater.......................20 Marketing Consultant 'Venus and Adonis' .........................56 New York Lyric Opera Theater .............21 Mark Stoddard Operafestival di Roma .........................3 For inquiries: [email protected] Musical Accessories Opera Viva! ......................................25 Classical Singer magazine (ISSN: 1534-276X) Pocket Opera ...................................50 Prelude to Performance .....................42 is published monthly by Classical Singer Corp, 949 East Pioneer Road, Draper, UT 84020. Sing & See ......................................52 Redwoods Opera Workshop ...............16 Periodicals postage paid at Draper, UT and at additional mailing offices. Annual subscription Song of Joy Industries, LLC................54 Shenandoah University - CCM Vocal rate is US$58.00. Pedagogy Institute ............................60 POSTMASTER: Send address change to Classical Singer, P.O. Box 1710, Draper, UT 84020- 1710. Office: (801) 254-1025, FAX (801) 254-3139. Printed Music San Miguel Institute of Bel Canto .........34 The opinions expressed in the manuscripts, editorials, and letters to the editor are not Leyerle Publications ..........................56 Si Parla, Si Canta ..............................40 necessarily the opinions of the publisher. Packard Humanities Institute ...............28 Summer Opera Institute .....................49 Missed Copies/Change of Address Report missed copies of CS magazine to T afelmusik Baroque Summer 801-254-1025, Mary Taylor or [email protected]. Missed Publication Institute ..........................................41 copies will be replaced only if notification is received within 30 days after publication date of Aria Ready! ......................................51 University of Miami at Salzburg ...........24 copy missed. Failure to report change of address at least 30 days prior to publication Marketing Singers .............................45 V.O.I.C.Experience Foundation .............39 date forfeits any claim to replacement. Vocal Artistry Art Song Festival ............35 PHOTOCOPYING: Please do not photocopy any part of this issue. Recordings Vocal Arts Society .............................56 SUBSCRIPTION RATES David Jones .....................................39 ONE YR. TWO YRS. United States: US$58 US$96 Voice Teachers Canada: US$78 US$136 International: US$88 US$154 Summer Programs Davis, Osceola ...................................56 ON THE COVER: Piotr Beczala AIMS ..........................................6, 30 Jacklin, Diana ...................................50 PHOTO BY: J Henry Fair Amherst Early Music..........................17 www.classicalsinger.com 5 American Institute of Musical Studies Celebrating 49 Years July 3 - August 14, 2017 in Graz, Austria MASTERCLASS ARTISTS Deborah Voigt Barbara Bonney Linda Watson Patricia Craig Gabriele Lechner $125,000 MAJOR SCHOLARSHIP AWARDS You CAN afford to attend AIMS! AIMS participants receive world-class instruction from FIVE $5,000 Scholarships professionals working at the top of their craft in the United SIX $4,000 Scholarships States, Europe and other countries. AIMS bridges the gap between fine musical training and a career in a unique European SEVEN $3,000 Scholarships environment. EIGHT $2,000 Scholarships To be considered for these merit-based scholarships, a live or $1,500 Scholarships recorded audition is required. We welcome singers from all NINE countries who are 18 years of age and older to audition. View live TEN $1,000 Scholarships and recorded audition information and requirements here THIRTY under $1,000 awards www.aimsgraz.com/audition Sarah Halley, General Director We are committed to helping you reach your goals! February 2017 Vol. 30 No. 2 Mid-Career Magic: Piotr Beczala 22 BY LISA HOUSTON Tenor Piotr Beczala is having a meaning- ful career, built over decades of consis- tent excellence that keeps him in high demand at the world’s most illustrious houses, as he continues to benefit greatly from the support of his wife, Katarzyna, who gave up her own successful career as a singer two decades ago to support and travel with him. But his career also stands on a foundation of respect and serious attention paid to the lineage of COLUMNS singers that preceded him. Perhaps it's that awe for both the past and present The Music Major Minute: Interns, that has helped Beczala find a remark- 10 Volunteers, and Apprentices—Oh My! able sense of balance in his personal and BY CHRISTI AMONSON professional life, all of which he discusses Even if you know your long-term goal is a in this exclusive interview. career on the stage, taking a look at some other Piotr Beczala jobs in the music industry is never a bad idea, and an internship can be a great place to start. FEATURES 14 Musings on Mechanics: Why Can’t Two Sides to Anne-Carolyn We All Get a Song? The Perils and Paradoxes of Auditions 18 Bird’s Story BY CLAUDIA FRIEDLANDER BY GREG WAXBERG Auditions can sometimes bring out the worst One year after featuring Anne-Carolyn Bird on in singers, even though every singer goes in the cover, we catch up with the singer to find hoping to show their best. Claudia Friedlander out how her family’s changing needs led to an takes a look at this and other contradictions of unexpected but perfect career change. the audition scene. Love Story: A Chronicle of The Singer’s Library: 32 Amore
Recommended publications
  • Parsifal and Canada: a Documentary Study
    Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article.
    [Show full text]
  • 2013 Year in Review
    OPERA AMERICA 2013 GROWING ONSTAGE AND OFF OPTION 1 TABLE OF CONTENTS A SURGE OF INNOVATION 6 RESONATING IN NEW SPACES 14 A COMMUNITY OF VOICES 20 OPERA AMERICA FINANCIAL REPORT 28 ANNUAL FIELD REPORT 30 SUPPORT FOR OPERA AMERICA 55 COVER: Maria Aleida as Queen of the Night in Opera Carolina’s production of The Magic Flute. Photo by Jon Silla. LEFT: Nina Yoshida Nelsen, Ji Hyun Jang and Mihoko Kinoshita in Houston Grand Opera’s production of The Memory Stone by Marty Regan and Kenny Fries. Photo by Felix Sanchez. CONCEPT AND DESIGN FOR ANNUAL REPORT BY THE LETTER FROM THE CHAIRMAN Since its inception OPERA America has existed as a community of like-minded individuals committed to the artistic and financial strength of the field. This past year, our definition of community expanded: our conference, held in Vancouver, affirmed our commitment to all of North America, while our growing partnership with Opera Europa continued to bridge the continents through our shared dedication to an art form that knows no borders. Most profoundly, however, the opening of the National Opera Center in New York has created a new center for our community, a tangible space where individual and company members can gather for auditions, recitals and professional learning programs. The center’s technology capabilities enable us to share these offerings globally, even as its flexible amenities enable us to share our love for opera locally. We are delighted to present our global, national and local achievements of the past year through this Annual Report. To our members we offer gratitude for your support of these achievements.
    [Show full text]
  • ARSC New York Chapter MARCH 2014 Meeting
    ARSC New York Chapter MARCH 2014 Meeting !!NOTE CHANGE OF DATE!! 7 P. M. Thursday, 3/27/14 at the CUNY Sonic Arts Center West 140th Street & Convent Avenue, New York or, enter at 138th Street off Convent Avenue Shepard Hall (the Gothic building) – Recital Hall (Room 95, Basement level) An elevator is located in the center of the building ARSCNY is again pleased to present “The Two Gary’s” (Galo and Thalheimer, respectively) …reprising their gala presentations of recordings by Lauritz Melchior (“The Great Dane: Lauritz Melchior – A 40th Anniversary Tribute”) and German singers in Verdi roles. Both are expanded versions of presentations given at the ARSC national conference in Kansas City, MO in May 2013. Danish tenor Lauritz Melchior (1890-1973) was arguably the greatest Wagnerian tenor in the history of that species. Melchior began his career as a baritone, making his operatic debut as Sivlio in Leoncavallo’s Pagliacci at the Royal Opera, Copenhagen in 1913. On the advice of Mme. Charles Cahier, Melchior restudied as a tenor with Vilhelm Herold, and made a second debut in 1918 in the title role of Wagner’s Tannhäuser. After further studies with Anna Bahr-Mildenburg, Melchior began his international career at the Royal Opera House, Covent Garden in 1924 as Siegmund in Wagner’s Die Walküre, followed by a Bayreuth debut later that year, and a Metropolitan Opera debut in 1926. Melchior combined a voice of unrivalled power with a true bel canto production, allowing him to remain virtually unchallenged in the heldentenor repertoire until his retirement from the stage in 1950.
    [Show full text]
  • Opera Software the Best Browsing Experience on Any Device
    Opera Software The best browsing experience on any device The best Internet experience on any device Web Standards for the Future – Bruce Lawson, Opera.com • Web Evangelist, Opera • Tech lead, Law Society & Solicitors Regulation Authority (2004-8) • Author 2 books on Web Standards, edited 2 • Committee member for British Standards Institution (BSI) for the new standard for accessible websites • Member of Web Standards Project: Accessibility Task Force • Member of W3C Mobile Best Practices Working Group Web Standards for the Future – Bruce Lawson, Opera.com B.A., Honours English Literature and Language with Drama Theresa is blind But she can use the Web if made with standards The big picture WWW The big picture Western Western Web A web (pre)history • 1989 TBL proposes a project • 1992 <img> in Mosaic beta. Now 99.57% (MAMA) • 1994 W3C started at MIT • 1996 The Browser Wars • 1999 WAP, Web Content Accessibility Guidelines (WCAG) • 2000 Flash Modern web history • 2000-ish .com Crash - Time to grow up... • 2002 Opera Mobile with Small Screen Rendering • 2005 WHAT-WG founded, W3C Mobile Web Initiative starts • 2007 W3C adopts WHAT-WG spec as basis for HTML 5 • January 22, 2008 First public working draft of HTML 5 Standards at Opera • 25 employees work on standards • Mostly at W3C - a big player • Working on many standards • Bringing new work to W3C • Implementing Standards properly (us and you!) (Web Standards Curriculum www.opera.com/wsc) Why standards? The Web works everywhere - The Web is the platform • Good standards help developers: validate; separate content and presentation - means specialisation and maintainability.
    [Show full text]
  • Pavel Lisitsian Discography by Richard Kummins
    Pavel Lisitsian Discography By Richard Kummins e-mail: [email protected] Rev - 17 June 2014 Composer Selection Other artists Date Lang Record # The capital city of the country (Stolitsa Agababov rodin) 1956 Rus 78 USSR 41366 (1956) LP Melodiya 14305/6 (1964) LP Melodiya M10 45467/8 (1984) CD Russian Disc 15022 (1994) MP3 RMG 1637 (2005 - Song Listen, maybe, Op 49 #2 (Paslushai, byt Anthology Vol 1) Arensky mozhet) Andrei Mitnik, piano 1951 Rus MP3 RMG 1766 (2006) 78 USSR 14626 (1947) LP Vocal Record Collector's Armenian (trad) Armenian girls (Hayotz akhchikner) Matvei Sakharov, piano 1947 Arm Society 1992 Armenian girls (Hayotz akhchikner) LP Melodiya 45465/6 (1984) Armenian (trad) (arranged by Aleksandr Dolukhanian) Matvei Sakharov, piano 1948 Arm MP3 RMG 1766 (2006) Armenian girls (Hayotz akhchikner) 1960 (San LP New York Records PL 101 Armenian (trad) (arranged by Aleksandr Dolukhanian) Maro Ajemian, piano Francisco) Arm (1960) Crane (Groong) 1960 (San LP New York Records PL 101 Armenian (trad) (arranged by Aleksandr Dolukhanian) Maro Ajemian, piano Francisco) Arm (1960) Russian Folk Instrument Orchestra - Crane (Groong) Central TV and All-Union Radio LP Melodiya 45465/6 (1984) Armenian (trad) (arranged by Aleksandr Dolukhanian) - Vladimir Fedoseyev 1968 Arm MP3 RMG 1766 (2006) LP DKS 6228 (1955) Armenian (trad) Dogwood forest (Lyut kizil usta tvoi) Matvei Sakharov, piano 1955 Arm MP3 RMG 1766 (2006) Dream (Yeraz) (arranged by Aleksandr LP Melodiya 45465/6 (1984) Armenian (trad) Dolukhanian) Matvei Sakharov, piano 1948 Arm MP3 RMG
    [Show full text]
  • Music Man Meredith Willson
    The Music Man Meredith Willson THEATER 16/17 FOR YOUR INFORMATION Do you want more information about upcoming events at the Jacobs School of Music? There are several ways to learn more about our recitals, concerts, lectures, and more! Events Online Visit our online events calendar at music.indiana.edu/events: an up-to-date and comprehensive listing of Jacobs School of Music performances and other events. Events to Your Inbox Subscribe to our weekly Upcoming Events email and several other electronic communications through music.indiana.edu/publicity. Stay “in the know” about the hundreds of events the Jacobs School of Music offers each year, most of which are free! In the News Visit our website for news releases, links to recent reviews, and articles about the Jacobs School of Music: music.indiana.edu/news. Musical Arts Center The Musical Arts Center (MAC) Box Office is open Monday – Friday, 11:30 a.m. – 5:30 p.m. Call 812-855-7433 for information and ticket sales. Tickets are also available at the box office three hours before any ticketed performance. In addition, tickets can be ordered online at music.indiana.edu/boxoffice. Entrance: The MAC lobby opens for all events one hour before the performance. The MAC auditorium opens one half hour before each performance. Late Seating: Patrons arriving late will be seated at the discretion of the management. Parking Valid IU Permit Holders access to IU Garages EM-P Permit: Free access to garages at all times. Other permit holders: Free access if entering after 5 p.m. any day of the week.
    [Show full text]
  • Opera Mini Opera Mobile Shipments Pre-Installed in 4Q08: 7.3 Million
    Opera Software Fourth quarter 2008 A note from our lawyers 2 This presentation contains and is, i.a., based on forward-looking statements. These statements involve known and unknown risks, uncertainties and other factors which may cause our actual results, performance or achievements to be materially different from any future results, performances or achievements expressed or implied by the forward-looking statements . Forward-looking statements may in some cases be identified by terminology such as “may”, “will”, “could”, “should”, “expect”, “plan”, “intend”, “anticipate”, “believe”, “estimate”, “predict”, “pp,gpgyotential” or “continue”, the negative of such terms or other comparable terminology. These statements are only predictions. Actual events or results may differ materially, and a number of factors may cause our actual results to differ materially from any such statement. Although we believe that the expectations and assumptions reflected in the statements are reasonable, we cannot guarantee future results, levels of activity, performance or achievement. Opera Software ASA makes no representation or warranty (express or implied) as to the correctness or completeness of the presentation, and neither Opera Software ASA nor any of its direc tors or emp loyees assumes any lia bility resu lting from use. Excep t as requ ire d by law, we undertake no obligation to update publicly any forward-looking statements for any reason after the date of this presentation to conform these statements to actual results or to changes in our expectations. You are advised, however, to consult any further public disclosures made by us, su ch as filings made w ith the OSE or press releases .
    [Show full text]
  • Deutsche Nationalbibliografie 2012 T 04
    Deutsche Nationalbibliografie Reihe T Musiktonträgerverzeichnis Monatliches Verzeichnis Jahrgang: 2012 T 04 Stand: 18. April 2012 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2012 ISSN 1613-8945 urn:nbn:de:101-ReiheT04_2012-7 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. Die Titelanzeigen der Musiktonträger in Reihe T sind, wie sche Katalogisierung von Ausgaben musikalischer Wer- auf der Sachgruppenübersicht angegeben, entsprechend ke (RAK-Musik)“ unter Einbeziehung der „International der Dewey-Dezimalklassifikation (DDC) gegliedert, wo- Standard Bibliographic Description for Printed Music – bei tiefere Ebenen mit bis zu sechs Stellen berücksichtigt ISBD (PM)“ zugrunde.
    [Show full text]
  • Following His Heart: Your Next Five Career Moves Your Ears and Your Career from Opera to Jazz with Sylvia Mcnair
    December 2016 Michael Chioldi Following His Heart: Your Next Five Career Moves Your Ears and Your Career From Opera to Jazz with Sylvia McNair U.S.A. $6.50 • Can $8.70 CS VOCAL COMPETITION $20,000 Cash Prizes Competition Classical & Musical Theatre $4,000 First Place Prize and No Age Limits! High School, University, and Emerging Professional Divisions First Round - Online or Live Locations, January-May Finals - CS Convention in Chicago, May 26-28, 2017 Convention Classes Four days of masterclasses and presentations by universities, conservatories, summer programs, industry experts, and more. Free for Competition Participants The Expo More than 80 schools, summer programs, and professional companies eager to recruit top singers and offer scholarship and performance opportunities. More than $12,700,000 in Scholarships Offered since 2004 Sponsored by magazine Use the $20 Coupon Code Magazine www.ClassicalSinger.com/vocalcompetition CELEBRATING 15 SHENANDOAH CONSERVATORy’S YEARS CCM VOCAL PEDAGOGY INSTITUTE Vocal Pedagogy for the 21st Century July 15 – 23, 2017 “I will recommend the CCM Institute to literally every vocal pedagogue I know! Shenandoah is offering the world exactly what has been needed for such a long time! I’m so grateful that I took Dr. Matthew Edwards Lifetime Achievement the time to do it, and I will definitely be back.” Artistic Director Award Recipient Dr. Robert Sataloff, Luisa Rodriguez, Boulder, CO Otolaryngologist and 2016 participant Keynote Speaker SESSION 1: JULY 15–17 RESPIRATION AND PHONATION FOR CCM SINGERS Matt Edwards with returning guests Wendy LeBorgne and Marci Rosenberg, authors of “Building on the new format established last summer, we are proud “The Vocal Athlete” to announce our first Lifetime Achievement Award honoree, world renowned otolaryngologist Dr.
    [Show full text]
  • Leopold and Wolfgang Mozart's View of the World
    Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World by Thomas McPharlin Ford B. Arts (Hons.) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy European Studies – School of Humanities and Social Sciences University of Adelaide July 2010 i Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World. Preface vii Introduction 1 Chapter 1: Leopold Mozart, 1719–1756: The Making of an Enlightened Father 10 1.1: Leopold’s education. 11 1.2: Leopold’s model of education. 17 1.3: Leopold, Gellert, Gottsched and Günther. 24 1.4: Leopold and his Versuch. 32 Chapter 2: The Mozarts’ Taste: Leopold’s and Wolfgang’s aesthetic perception of their world. 39 2.1: Leopold’s and Wolfgang’s general aesthetic outlook. 40 2.2: Leopold and the aesthetics in his Versuch. 49 2.3: Leopold’s and Wolfgang’s musical aesthetics. 53 2.4: Leopold’s and Wolfgang’s opera aesthetics. 56 Chapter 3: Leopold and Wolfgang, 1756–1778: The education of a Wunderkind. 64 3.1: The Grand Tour. 65 3.2: Tour of Vienna. 82 3.3: Tour of Italy. 89 3.4: Leopold and Wolfgang on Wieland. 96 Chapter 4: Leopold and Wolfgang, 1778–1781: Sturm und Drang and the demise of the Mozarts’ relationship. 106 4.1: Wolfgang’s Paris journey without Leopold. 110 4.2: Maria Anna Mozart’s death. 122 4.3: Wolfgang’s relations with the Weber family. 129 4.4: Wolfgang’s break with Salzburg patronage.
    [Show full text]
  • Dubberly Curriculum Vitae
    STEPHEN DUBBERLY Opera Conductor Division of Conducting and Ensembles College of Music University of North Texas Denton, TX 76203-1367 940-367-8770 EDUCATION 1992 Doctor of Musical Arts Yale University, New Haven, Connecticut 1986-87 Graduate Fellowship Piano Performance The University of Texas at Austin 1986 Master of Musical Arts Yale University 1985 Master of Music Yale University 1979 Diploma with honors College Preparatory Uruguayan-American School, Montevideo, Uruguay 1974-78 5 Performance Certificates Piano, Solfège Conservatorio Juan Sebastián Bach, Montevideo conducting studies with Harold Evans, Otto-Werner Mueller, and Kirk Trevor piano studies with Santiago Baranda Reyes, Boris Berman, Claude Frank, and Seymour Lipkin vocal literature studies with Nico Castel, David Garvey, Thomas Grubb, and Gérard Souzay PROFESSIONAL EXPERIENCE 2016- Conductor Red River Lyric Opera Wichita Falls, Texas 2016- Music Director Opera in Concert in Italy Urbino, Texas 2015 Chorus Master OPERA San Antonio San Antonio, Texas 2013-2015 Conductor Opera Breve Wichita Falls, Texas 2012- Music Director Opera in Concert Dallas, Texas 2012- Conductor Frontiers Festival/ Fort Worth Opera Ft. Worth, Texas 2010-2016 Chorus Master, Associate Conductor Fort Worth Opera Ft. Worth, Texas 2008 Chorus Master Fort Worth Opera Ft. Worth, Texas 2002-2014 Music Director Christ Presbyterian Church Flower Mound, Texas 2001-02 Music Director Black Tie Opera Ensemble Houston, Texas 1999- Associate Professor of Music University of North Texas Denton, Texas (tenured in 2002) Music Director, UNT Opera 1999-2001 Music Director American Bel Canto Opera Denton/Kansas City 1998-99 Music Staff Des Moines Metro Opera Indianola, Iowa 1998-99 Music Director Totally Vocal! Institute Knoxville, Tennessee 1997-99 Director of Music First Presbyterian Church Crossville, Tennessee 1996-99 Music Director Knoxville Opera Studio Knoxville, Tennessee 1993- Pianist Bel Canto Festival Highlands, North Carolina 1992-97 Music Staff Opera Theatre of Saint Louis St.
    [Show full text]
  • Operas Performed in New York City in 2013 (Compiled by Mark Schubin)
    Operas Performed in New York City in 2013 (compiled by Mark Schubin) What is not included in this list: There are three obvious categories: anything not performed in 2013, anything not within the confines of New York City, and anything not involving singing. Empire Opera was supposed to perform Montemezzi’s L'amore dei tre re in November; it was postponed to January, so it’s not on the list. Similarly, even though Bard, Caramoor, and Peak Performances provide bus service from midtown Manhattan to their operas, even though the New York City press treats the excellent but four-hours-away-by-car Glimmerglass Festival like a local company, and even though it’s faster to get from midtown Manhattan to some performances on Long Island or in New Jersey or Westchester than to, say, Queens College, those out-of-city productions are not included on the main list (just for reference, I put Bard, Caramoor, and Peak Performances in an appendix). And, although the Parterre Box New York Opera Calendar (which includes some non-opera events) listed A Rite, a music-theatrical dance piece performed at the BAM Opera House, I didn’t because no performer in it sang. I did not include anything that wasn’t a local in-person performance. The cinema transmissions from the Met, Covent Garden, La Scala, etc., are not included (nor is the movie Metallica: Through the Never, which Owen Gleiberman in Entertainment Weekly called a “grand 3-D opera”). I did not include anything that wasn’t open to the public, so the Met’s workshop of Scott Wheeler’s The Sorrows of Frederick is not on the list.
    [Show full text]