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Edith Mathis Mozart | Bartók | Brahms | Schumann | Strauss Selected Lieder Karl Engel Wolfgang Amadé Mozart (1756–1791) Robert Schumann (1810–1897) Das Veilchen K
HISTORIC PERFORMANCES Edith Mathis Mozart | Bartók | Brahms | Schumann | Strauss Selected Lieder Karl Engel Wolfgang Amadé Mozart (1756–1791) Robert Schumann (1810–1897) Das Veilchen K. 476 2:47 Nine Lieder from Myrthen, Op. 25 Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte K. 520 1:41 Widmung 2:11 Abendempfindung an Laura K. 523 4:45 Der Nussbaum 3:27 Dans un bois solitaire K. 308 (295b) 2:54 Jemand 1:36 Der Zauberer K. 472 2:48 Lied der Braut I («Mutter, Mutter, glaube nicht») 2:01 Lied der Braut II («Lass mich ihm am Busen hängen») 1:34 Béla Bartók (1881–1945) Lied der Suleika («Wie mit innigstem Behagen») 2:48 Village Scenes. Slovak Folksongs, Sz. 78 Im Westen 1:16 Was will die einsame Thräne 2:59 Heuernte 1:33 Hauptmanns Weib 1:55 Bei der Braut 1:57 Hochzeit 3:30 Wiegenlied 5:03 Richard Strauss (1864–1949) Burschentanz 2:47 Schlechtes Wetter, Op. 69 No. 5 2:29 Die Nacht, Op. 10 No. 3 2:55 Johannes Brahms (1833–1897) Ach, Lieb, ich muss nun scheiden, Op. 21 No. 3 2:08 Five Songs from 42 Deutsche Volkslieder, WoO 33 Meinem Kinde, Op. 37 No. 3 2:19 Hat gesagt – bleibt’s nicht dabei, Op. 36 No. 3 2:31 Erlaube mir, feins Mädchen 1:15 In stiller Nacht 3:12 encore announcement: Edith Mathis 0:10 Wie komm’ ich denn zur Tür herein? 2:19 Da unten im Tale 2:29 Hugo Wolf (1860–1903) Feinsliebchen, du sollst 4:14 Auch kleine Dinge können uns entzücken from the Italienisches Liederbuch 2:42 recorded live at LUCERNE FESTIVAL (Internationale Musikfestwochen Luzern) Edith Mathis soprano Previously unreleased Karl Engel piano The voice of music The soprano Edith Mathis According to an artist feature of the soprano Edith Mathis, published by the music maga- zine Fono Forum in 1968, an engagement at the New York Met was a “Pour le Mérite” for a singer. -
American Spiritual Program Spring 2009
American Spiritual Ensemble Sunday, February 22, 2009 • 4 p.m. Asbury United Methodist Church Comprised of some of the finest voices in the world, the internationally acclaimed ensemble offers stirring renditions of Negro spirituals, Broadway songs and other music in the African-American tradition. The concert is sponsored by Asbury United Methodist Church; the Peter and Judy Jackson Music Performance Fund; Salisbury University’s Department of Music, Office of the Dean of the Charles R. and Martha N. Fulton School of Liberal Arts and Office of Multicultural Student Services; the SU Foundation, Inc.; and is made possible, in part, by a grant from the Salisbury Wicomico Arts Council, awarded by the Maryland State Arts Council and the National Endowment for the Arts. AMERICAN SPIRITUAL ENSEMBLE EVERETT MCCORVEY , F OUNDER AND MUSIC DIRECTOR www.americanspiritualensemble.com PROGRAM Walk Together, Children ............................................................arr. William Henry Smith We Shall Walk Through the Valley in Peace ............................................arr. Moses Hogan Plenty Good Room ......................................................................arr. William Henry Smith Oh, What A Beautiful City! ........................................................................arr. Johnie Dean Mari-Yan Pringle, Jeryl Cunningham, Sopranos I Want Jesus to Walk With Me ....................arr. Eurydice Osterman/Tedrin Blair Lindsay Ricky Little, Baritone Fi-yer, Fi-yer Lord (from the operetta Fi-yer! )......................Hall -
The Psychiatry of Opera
Psychiatric Bulletin (1990), 14,417-421 The psychiatry ofopera Don Giovanni MARK J?NES, Registrar, Department ofPsychological Medicine, St Bartholomew's HospItal, London EC3 In the second ofthis occasional series, Mark Jones looks at his composer father, the move to Vienna came in Mozartand his 1788 masterpiece, DonGiovanni and inter 178~/81 and was accompanied by a blossoming ofhis views Tom Sutcliffe, opera critic ofThe Guard;m; about his portra~al genIus. It was here that the vital meeting with the views on this problematical work and its on the powerful poet and intellectual, Lorenzo da Ponte stage. ~rred in 1782, and so began probably the most In these articles different aspects of our under Important collaboration of librettist and composer standing ofhuman nature as illustrated in opera will to date. Interestingly, da Ponte was a political exile tx: looked ~t. ~he title ~The Psychiatry ofOpera' you from Italy and had come to Vienna in 1782 with a tnlght feel IS shghtly mIsleading when you look at the letter of recommendation to Salieri! Mozart was a content of the articles. Yet I only intend it to be Germancomposer anxious to write Italian opera in a a broad blanket description for what I hope will city already dominated by Paisiello, Salieri and be thought-provoking pieces encompassing both the Cimarosa. These composers had far more success in 'hard' and 'soft' aspects ofpsychiatry. It is after all a their day and on 'home ground' than Mozart. complex discipline which must now take account of Certainly he was viewed with suspicion and seen as sociological and philosophical thought. -
The Pomegranate Cycle
The Pomegranate Cycle: Reconfiguring opera through performance, technology & composition By Eve Elizabeth Klein Bachelor of Arts Honours (Music), Macquarie University, Sydney A PhD Submission for the Department of Music and Sound Faculty of Creative Industries Queensland University of Technology Brisbane, Australia 2011 ______________ Keywords Music. Opera. Women. Feminism. Composition. Technology. Sound Recording. Music Technology. Voice. Opera Singing. Vocal Pedagogy. The Pomegranate Cycle. Postmodernism. Classical Music. Musical Works. Virtual Orchestras. Persephone. Demeter. The Rape of Persephone. Nineteenth Century Music. Musical Canons. Repertory Opera. Opera & Violence. Opera & Rape. Opera & Death. Operatic Narratives. Postclassical Music. Electronica Opera. Popular Music & Opera. Experimental Opera. Feminist Musicology. Women & Composition. Contemporary Opera. Multimedia Opera. DIY. DIY & Music. DIY & Opera. Author’s Note Part of Chapter 7 has been previously published in: Klein, E., 2010. "Self-made CD: Texture and Narrative in Small-Run DIY CD Production". In Ø. Vågnes & A. Grønstad, eds. Coverscaping: Discovering Album Aesthetics. Museum Tusculanum Press. 2 Abstract The Pomegranate Cycle is a practice-led enquiry consisting of a creative work and an exegesis. This project investigates the potential of self-directed, technologically mediated composition as a means of reconfiguring gender stereotypes within the operatic tradition. This practice confronts two primary stereotypes: the positioning of female performing bodies within narratives of violence and the absence of women from authorial roles that construct and regulate the operatic tradition. The Pomegranate Cycle redresses these stereotypes by presenting a new narrative trajectory of healing for its central character, and by placing the singer inside the role of composer and producer. During the twentieth and early twenty-first century, operatic and classical music institutions have resisted incorporating works of living composers into their repertory. -
BIOGRAPHY of EMILY HAMPER "The Extremely Difficult Piano Part
BIOGRAPHY OF EMILY HAMPER "The extremely difficult piano part was perfectly realized by Emily Hamper, a very authoritative accompanist throughout the concert." (Concertonet, Paris, January 2014) Emily Hamper has earned an excellent reputation for her exceptional skills as a vocal coach and accompanist. Singers from her coaching studio perform with major opera companies and symphony orchestras around the world. Within an international career spanning twenty years, she has worked as a rehearsal pianist, coach, and assistant conductor for many prominent opera companies and organizations. Highly sought-after as a collaborator for voice recitals, she has recently appeared in performance for the Montreal Symphony Orchestra’s “Virée Classique”, L'Opéra National de Paris, and Music Toronto. In January 2017 she partners baritone Phillip Addis in recital at the Canadian Opera Company. Other performances include recitals for the Queensland Music Festival (Australia), Calgary Opera, Festival Orford, Stratford Summer Music, and many other venues in Canada, the USA, and Europe. In 2011 she was awarded the Best Collaborative Pianist Prize at the Eckhardt-Gramatté National Music Competition and accompanied thirteen performances across Canada on the National Winner's Tour. Performances have been broadcast on CBC Radio, Radio-Canada, Classical 96.3 FM and Vermont Public Radio. Engaged as a répétiteur and official audition accompanist by Calgary Opera, l'Opéra de Montréal, Opera Atelier and Pacific Opera Victoria, Ms. Hamper was production director for a performance based on Manon at the Muskoka Opera Festival in 2013. Her genuine interest in new music has resulted in engagements with Soundstreams Canada and Tapestry Opera, the workshopping of a new opera with Manitoba Opera, and the commission of a cycle of four songs by composer Erik Ross and poet Zachariah Wells. -
The Other Tchaikowsky
The Other Tchaikowsky A biographical sketch of André Tchaikowsky David A. Ferré Cover painting: André Tchaikowsky courtesy of Milein Cosman (Photograph by Ken Grundy) About the cover The portrait of André Tchaikowsky at the keyboard was painted by Milein Cosman (Mrs. Hans Keller) in 1975. André had come to her home for a visit for the first time after growing a beard. She immediately suggested a portrait be made. It was completed in two hours, in a single sitting. When viewing the finished picture, André said "I'd love to look like that, but can it possibly be me?" Contents Preface Chapter 1 - The Legacy (1935-1982) Chapter 2 - The Beginning (1935-1939) Chapter 3 - Survival (1939-1945 Chapter 4 - Years of 'Training (1945-1957) Chapter 5 - A Career of Sorts (1957-1960) Chapter 6 - Homeless in London (1960-1966) Chapter 7 - The Hampstead Years (1966-1976) Chapter 8 - The Cumnor Years (1976-1982) Chapter 9 - Quodlibet Acknowledgments List of Compositions List of Recordings i Copyright 1991 and 2008 by David A. Ferré David A. Ferré 2238 Cozy Nook Road Chewelah, WA 99109 USA [email protected] http://AndreTchaikowsky.com Preface As I maneuvered my automobile through the dense Chelsea traffic, I noticed that my passenger had become strangely silent. When I sneaked a glance I saw that his eyes had narrowed and he held his mouth slightly open, as if ready to speak but unable to bring out the words. Finally, he managed a weak, "Would you say that again?" It was April 1985, and I had just arrived in London to enjoy six months of vacation and to fulfill an overdue promise to myself. -
How to Encode Georg Nikolaus Nissen's
Journal of the Text Encoding Initiative Issue 11 | July 2019 - June 2020 Selected Papers from the 2016 TEI Conference Biography as Compilation: How to Encode Georg Nikolaus Nissen’s Biographie W. A. Mozart’s (1828) in TEI P5 Anja Morgenstern and Agnes Amminger Electronic version URL: http://journals.openedition.org/jtei/2725 DOI: 10.4000/jtei.2725 ISSN: 2162-5603 Publisher TEI Consortium Electronic reference Anja Morgenstern and Agnes Amminger, « Biography as Compilation: How to Encode Georg Nikolaus Nissen’s Biographie W. A. Mozart’s (1828) in TEI P5 », Journal of the Text Encoding Initiative [Online], Issue 11 | July 2019 - June 2020, Online since 16 January 2020, connection on 01 July 2020. URL : http:// journals.openedition.org/jtei/2725 ; DOI : https://doi.org/10.4000/jtei.2725 For this publication a Creative Commons Attribution 4.0 International license has been granted by the author(s) who retain full copyright. Biography as Compilation 1 Biography as Compilation: How to Encode Georg Nikolaus Nissen’s Biographie W. A. Mozart’s (1828) in TEI P5 Anja Morgenstern and Agnes Amminger SVN keywords: $Id: jtei-cc-pn-morgenstern-135-source.xml 914 2020-02-20 09:04:30Z ron $ ABSTRACT The project of editing the early Biographie W. A. Mozart’s (1828) by Georg Nikolaus Nissen (Nissen Online) began as part of the Digital Mozart-Edition (DME) at the Mozarteum Foundation Salzburg. The aim of the edition is to reveal the structure of the text by identifying the diverse sources Nissen relied on when writing the biography. These include primary sources such as original letters and documents from the Mozart family, secondary sources such as contemporary literature about Wolfgang Amadeus Mozart, and original text written by the author and later editors. -
Interstellar Music - by Mike Overly
Interstellar Music - by Mike Overly Let's imagine that you could toss a message in a bottle faster than a speeding bullet into the cosmic ocean of outer space. What would you seal inside it for anyone, or anything, to open some day in the distant future, in a galaxy far, far away from our solar system? Well, imagine no more because it's been done! Thirty-five years ago, NASA launched two Voyager spacecraft carrying earthly images and sounds toward the Stars. Voyager 1 was launched on September 5, 1977, from Cape Canaveral, Florida and Voyager 2 was sent on its way August 20 of that same year. Voyager 1 is now 11 billion miles away from earth and is the most distant of all human-made objects. Everyday, it flies another million miles farther. In fact, Voyager 1 and 2 are so far out in space that their radio signals, traveling at the speed of light, take 16 hours to reach Earth. These radio signals are captured daily by the big dish antennas of the Deep Space Network and arrive at a strength of less than one femtowatt, a millionth of a billionth of a watt. Wow! Both Voyagers are headed towards the outer boundary of the solar system, known as the heliopause. This is the region where the Sun's influence wanes and interstellar space waxes. Also, the heliopause is where the million-mile-per-hour solar winds slow down to about 250,000 miles per hour. The Voyagers have reached these solar winds, also known as termination shock, and should cross the heliopause in another 10 to 20 years. -
Wolfgang Amadeus Mozart
Wolfgang Amadeus Mozart Wolfgang Amadeus Mozart is probably one of the best composers ever born. But this is not why I decided to speak about him. I decided to speak about Mozart, because I like his music and because I admire him as a person. What do you think, how many works did he write in 35 years of his life??? He left nearly 1000 musical works, including 50 symphonies, 27 piano concerts and seven operas, which are among the best masterpieces of all times. He was born in Salzburg, Austria, on January 27, 1756. He was baptised as JOHANNES CHRYSOSTOMUS WOLFGANGUS THEOPHILUS MOZART. His father was a musician, for this reason Mozart first met music already in the cradle. He was extrordinarily gifted for music. Actualy he was considered a Child genius. In the age of six he was able to perform on piano, violin and organ. He had a remarkable talent for sight-reading and improvisation. When most children learned how to write and read he already wrote five short piano pieces, which have been still frequently performed. In 1762, when Wolfgang was 7 his father took him on the first of many successful concert tours through the courts of Europe. During this period Mozart composed several sonatas, a symphony and many other works. In 1769, when he was only 13, Mozart was appointed as a concertmaster by the archbishop of Salzburg. In the same year he composed his first German operetta, Bastien und Bastienne. At the age of 14 he was commissioned to write a serious opera, Mithridates, King of Pontus, which completely established his already phenomenal reputation. -
What's a Christian to Do with the Magic Flute? Mysticism, Misogyny
What’s a Christian To Do With The Magic Flute? Masons, Mysticism, and Misogyny in Mozart’s Last Opera The libretto of Die Zauberflöte has generally been considered to be one of the most absurd specimens of that form of literature in which absurdity is regarded as a matter of course. - Edward J. Dent, 1913 It is in its infinite richness and variety, its inexhaustible capacity for the provision of new experience that the unique greatness of The Magic Flute lies as a work of art. - Patrick Cairns (“Spike”) Hughes, 1958 Introduction Perhaps no other opera has launched as much controversy, argument, or bewilderment as The Magic Flute. For the more than 200 years since its creation, scholars, musicologists, poets, psychologists, and critics, to name only a few, have pondered over and pontificated upon the intentions of its creators, Wolfgang Amadeus Mozart and his collaborator, Emanuel Schikaneder. This paper is presented as a very limited response to some of the questions that have historically been raised concerning the content of the opera’s libretto. The title of this presentation has been unceremoniously lifted from Connie Neal’s excellent book, What’s a Christian To Do With Harry Potter? (2001), which was written in response to the concerns of conservative Christian parents when confronted with the phenomenal success of the Harry Potter novels. In defense of Harry (and author J. K. Rowling), Neal chose passages from the books and discussed their positive, life-affirming content, outlining spiritual lessons that could be extracted from these segments. Although Mozart’s work needs no apology, some explanation of certain passages may provide enlightenment, or even edification. -
The Cleveland Opera: Don Giovanni at First Baptist Church (April 8)
The Cleveland Opera: Don Giovanni at First Baptist Church (April 8) by Robert Rollin On Saturday night, April 8, The Cleveland Opera gave an outstanding performance of Mozart’s Don Giovanni at First Baptist Church in Shaker Heights. Despite the venue’s awkward acoustics and lack of a pit for the sizeable orchestra, conductor Grzegorz Nowak led a well-balanced performance that allowed the singers to be heard clearly. The opera flowed beautifully through its many intricate arias, recitatives, and ensembles, and all eight leads were in fine voice. Baritone Lawson Alexander was terrific as Don Giovanni. His powerful, darkly-hued voice brought the character’s callous licentiousness to life. Pacing was excellent during the famous duet “Là ci darem la mano,” when Don Giovanni attempts to seduce the peasant girl Zerlina. Bass Nathan Baer was outstanding as the servant Leporello, especially during the “Catalogue Aria,” when he lists the womanizing title character’s many “conquests” by country. Baer possesses a magnificent voice, although at times it was difficult to hear him over the thick accompaniment. Soprano Dorota Sobieska sparkled as Donna Anna. Her light soprano floated beautifully in the highest range. She and her love interest Don Ottavio (sung by tenor Kyle Kelvington) skillfully negotiated their virtuosic coloratura passages. Rachel Morrison, as Donna Elvira, sang with a gorgeous full tone, as did fellow soprano Susan Fletcher, as Zerlina, while bass Christopher Aldrich depicted Masetto’s peasant background with fine vocal color and strong delivery. Bass Adam E. Shimko, as the Commendatore, was vocally solid but lacked the dark timbre needed for the character. -
28Apr2004p2.Pdf
144 NAXOS CATALOGUE 2004 | ALPHORN – BAROQUE ○○○○ ■ COLLECTIONS INVITATION TO THE DANCE Adam: Giselle (Acts I & II) • Delibes: Lakmé (Airs de ✦ ✦ danse) • Gounod: Faust • Ponchielli: La Gioconda ALPHORN (Dance of the Hours) • Weber: Invitation to the Dance ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Slovak RSO / Ondrej Lenárd . 8.550081 ■ ALPHORN CONCERTOS Daetwyler: Concerto for Alphorn and Orchestra • ■ RUSSIAN BALLET FAVOURITES Dialogue avec la nature for Alphorn, Piccolo and Glazunov: Raymonda (Grande valse–Pizzicato–Reprise Orchestra • Farkas: Concertino Rustico • L. Mozart: de la valse / Prélude et La Romanesca / Scène mimique / Sinfonia Pastorella Grand adagio / Grand pas espagnol) • Glière: The Red Jozsef Molnar, Alphorn / Capella Istropolitana / Slovak PO / Poppy (Coolies’ Dance / Phoenix–Adagio / Dance of the Urs Schneider . 8.555978 Chinese Women / Russian Sailors’ Dance) Khachaturian: Gayne (Sabre Dance) • Masquerade ✦ AMERICAN CLASSICS ✦ (Waltz) • Spartacus (Adagio of Spartacus and Phrygia) Prokofiev: Romeo and Juliet (Morning Dance / Masks / # DREAMER Dance of the Knights / Gavotte / Balcony Scene / A Portrait of Langston Hughes Romeo’s Variation / Love Dance / Act II Finale) Berger: Four Songs of Langston Hughes: Carolina Cabin Shostakovich: Age of Gold (Polka) •␣ Bonds: The Negro Speaks of Rivers • Three Dream Various artists . 8.554063 Portraits: Minstrel Man •␣ Burleigh: Lovely, Dark and Lonely One •␣ Davison: Fields of Wonder: In Time of ✦ ✦ Silver Rain •␣ Gordon: Genius Child: My People • BAROQUE Hughes: Evil • Madam and the Census Taker • My ■ BAROQUE FAVOURITES People • Negro • Sunday Morning Prophecy • Still Here J.S. Bach: ‘In dulci jubilo’, BWV 729 • ‘Nun komm, der •␣ Sylvester's Dying Bed • The Weary Blues •␣ Musto: Heiden Heiland’, BWV 659 • ‘O Haupt voll Blut und Shadow of the Blues: Island & Litany •␣ Owens: Heart on Wunden’ • Pastorale, BWV 590 • ‘Wachet auf’ (Cantata, the Wall: Heart •␣ Price: Song to the Dark Virgin BWV 140, No.