DOCSLIB.ORG

Das Rheingold

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

WAGNER DAS RHEINGOLD Matthias Goerne Michelle DeYoung Hong Kong Philharmonic Orchestra Jaap van Zweden Das Rheingold CD 1 74:45 (The Rhinegold) 1 Vorspiel (Prelude) 5:03 @ Sanft schloß Schlaf dein Aug’! 2:28 (Fasolt, Wotan) Preliminary Evening Scene 1: In the Depths of the Rhine of # Was sagst du? Ha! Sinn’st du Verrath? 5:10 Der Ring des Nibelungen 2 Weia! Waga! Woge, du Welle 1:24 (Fasolt, Fafner, Wotan) (Rhinemaidens) (The Ring of the Nibelung) $ Du da folge uns! 1:44 by 3 Hehe! ihr Nicker 1:29 (Fafner, Freia, Froh, Donner, Wotan, Fricka) Richard Wagner (Alberich, Rhinemaidens) % Endlich Loge! Eiltest du so 3:50 (1813-1883) 4 Garstig glatter glitschriger Glimmer! 8:24 (Wotan, Loge, Froh, Donner) Gods (Alberich, Rhinemaidens) ^ Immer ist Undank Loges Lohn! 7:40 Wotan . Matthias Goerne, Baritone 5 Lugt, Schwestern! Die Weckerin lacht (Loge, Wotan, Fasolt, Fafner, Fricka) Fricka . Michelle DeYoung, Mezzo-soprano in den Grund 4:26 Loge . Kim Begley, Tenor (Rhinemaidens, Alberich) & Ein Runenzauber zwingt das Gold zum Reif 3:28 Donner . Oleksandr Pushniak, Baritone (Loge, Wotan, Froh, Donner, Fricka, Fafner) Froh . Charles Reid, Tenor 6 Nur wer der Minne Macht entsagt 1:51 Freia . Anna Samuil, Soprano (Rhinemaidens, Alberich) * Hör’ Wotan, der Harrenden Wort! 2:04 Erda . Deborah Humble, Mezzo-soprano (Fafner, Wotan, Fasolt, Freia) 7 Der Welt Erbe gewann’ich zu eigen durch dich? 1:47 Nibelungs (Alberich, Rhinemaidens) ( Schwester! Brüder! Rettet! 5:14 Alberich . Peter Sidhom, Baritone (Freia, Froh, Donner, Loge) Mime . David Cangelosi, Tenor 8 Haltet den Räuber! 3:21 (Rhinemaidens) ) Wotan, Gemahl, unsel’ger Mann! 1:49 Giants (Fricka, Wotan, Loge, Donner, Froh) Scene 2: Open Region on the Mountain Peaks Fasolt . Kwangchul Youn, Bass ¡ Verwandlungsmusik 2:36 Fafner . Stephen Milling, Bass 9 Einleitung (Introduction) 1:05 (Music for the Change of Scene) Rhinemaidens 0 Wotan, Gemahl, erwache! 7:05 Scene 3: Nibelheim Woglinde . Eri Nakamura, Soprano (Fricka, Wotan) Wellgunde . Aurhelia Varak, Mezzo-soprano ™ Hehe! Hehe! Hieher! Hieher! Tückischer Zwerg! 0:46 Floßhilde . Hermine Haselböck, Mezzo-soprano ! So schirme sie jetzt 2:01 (Alberich, Mime) (Fricka, Freia, Wotan) Hong Kong Philharmonic Orchestra Jaap van Zweden CD 2 78:50 Richard Wagner (1813-1883) Das Rheingold (The Rhinegold) 1 Schau, du Schelm! 2:14 @ Lieblichste Schwester süsseste Lust! 2:58 (Alberich, Mime) (Fricka, Fasolt, Wotan) Wagner’s tetralogy, Der Ring des Nibelungen (The Ring of Richter, had, on Wagner’s instructions, withdrawn, after the the Nibelung) was first performed as a whole in August 1876 expected problems with the complicated stage machinery 2 Nibelheim hier: durch bleiche Nebel 6:06 # Gepflanzt sind die Pfähle nach Pfandes Maß 6:18 at the new Festspielhaus in Bayreuth. The complete cycle involved. In the event the work, on the orders of King (Loge, Mime, Wotan) (Fafner, Wotan, Loge, Froh, Fasolt, Fricka, consists of a Prologue, Das Rheingold (The Rhinegold), Ludwig, who was losing patience, went ahead and was Donner, Freia, Froh) followed the next day by Die Walküre (The Valkyrie), and given a successful performance under another conductor. 3 Nehmt euch in acht! Alberich naht! 5:33 then by Siegfried, leading up to the final Götterdämmerung (Mime, Wotan, Alberich, Loge) $ Weiche, Wotan, weiche! 5:32 (Twilight of the Gods). The texts had been completed by Synopsis (Erda, Wotan) Wagner by 1853 and the completion of the music and 4 Die in linder Lüfte Weh’n da oben ihr lebt 6:52 performance of the whole cycle in a specially created opera- CD 1 (Alberich, Wotan, Loge) % Soll ich sorgen und fürchten 2:25 house of novel design represented a summit of creative (Wotan, Fricka, Froh, Freia) achievement, the apotheosis of German art. Leading motifs 1 Prelude 5 Ohe! Ohe! Schreckliche Schlange 2:23 associated with characters, events and ideas in the drama, (Loge, Wotan, Alberich) ^ Halt, du Gieriger! Gönne mir auch was! 1:13 recur, interwoven to unify the whole conception. Scene 1 (Fasolt, Fafner, Loge) The sources of the drama were found in Icelandic 6 Dort, die Kröte! Greife sie rasch! 4:02 sagas, the thirteenth-century Middle High German Das 2 The opening scene is set at the bottom of the Rhine. A (Loge, Alberich, Wotan) & Nun blinzle nach Freia’s Blick! 4:04 Nibelungenlied and the Old Norse Thidreks Saga af Bern, rising motif suggests the root of all things, while a second (Fafner, Wotan, Loge, Fricka, Donner) but Wagner had recourse to a wide range of other reading, motif represents nature and a third the flowing waters of the Scene 4: Open Region on the Mountain Peaks while the structure of the tetralogy and the underlying river. Three Rhinemaidens sing, as they swim in the water, * Heda! Heda! Hedo! 2:06 theme of the curse owes a strong debt to Aeschylus and careless of the Rhinegold, which they should be guarding, 7 Da, Vetter, sitze du fest! 2:29 (Donner) Greek tragedy. The music of Das Rheingold was as Floßhilde warns them. 3 The dwarf Nibelung Alberich, (Loge, Alberich, Wotan) completed in 1854 and follows the principles Wagner had emerging from a dark cavern, lecherously watches them ( Bruder, hieher! Weise der Brücke den Weg! 2:03 laid down in his treatise of 1851, Opera and Drama, and they tease him, tempting him to catch them. 4 He 8 Wohlan, die Niblungen rief ich mir nah’ 2:27 (Donner, Froh) principles that he was to follow less rigidly in later works. In clumsily stumbles forward on the slippery rocks, but they (Alberich, Wotan) his text he made use of a form of Stabreim, the Old High elude him. 5 As they mock him and play, the Rhinegold ) Abendlich strahlt der Sonne Auge 1:45 German alliterative verse, familiar to English readers from starts to shine in the rays of the sun and they greet it, telling 9 Gezahlt hab’ ich, nun laß’ mich ziehn! 5:26 (Wotan) early English texts. The orchestration of Das Rheingold of its power: the one who can make a ring from the gold 6 (Alberich, Loge, Wotan) uses quadruple upper woodwind, three bassoons, eight and who renounces love will be master of the world. Motifs ¡ So grüss’ich die Burg 2:04 horns, four tubas, with contra bass tuba, quadruple are heard suggesting the trouble to come, the gold itself 0 Ist er gelöst? 4:44 (Wotan, Fricka, Loge) trumpets and trombones, a percussion section that and the ring, with a motif representing the renunciation of (Loge, Wotan, Alberich) includes an array of anvils for the Nibelungs, six harps, with love. 7 Alberich suddenly climbs up to the rock where the ™ Rheingold! Rheingold! Reines Gold! 3:19 a seventh on stage, and a large string section. The score gold is resting, curses love and makes off with it. 8 The ! Lauschtest du seinem Liebesgruß? 2:47 (Rhinemaidens, Wotan, Loge) was published in 1864, with a fulsome dedication to dem Rhinemaidens are left in darkness and distress. (Loge, Wotan, Froh, Donner, Fricka) königlichen Freunde (the royal friend), King Ludwig II of Bavaria, and the work was first performed at the Court and Scene 2 National Theatre in Munich in 1869. Wagner used the occasion to intrigue, from his villa at Triebschen in 9 The scene changes to open ground on a mountain Switzerland, in order to defeat his Munich opponents in the height, overlooking the Rhine valley. Wotan, ruler of theatre administration, hoping to be recalled to save a heaven and earth, and his wife Fricka, goddess of marital performance from which his protégé, the young Hans happiness, are sleeping on the ground. The music makes use of the renunciation of love motif and the ring motif, Rhinemaidens. The giants have been discussing the bearing heavy loads of gold and silver. Suddenly he sees the ring. ! The giants now draw near with Freia, while indications of Alberich’s unseen activity, forging the ring. 0 matter. * Fafner now declares that they will be willing to Loge and Wotan and calls Mime to him, forcing him back to Donner, Froh and Fricka are now seen hurrying in, anxious Fricka wakes and rouses her husband, as he dreams of accept the gold in payment for their labour, instead of Freia. work and holding the ring out, threatening with its power, as to find out the success of the venture. @ Fricka greets Freia, Valhalla, and they see that the new castle of the gods is Wotan hesitates, since the ring is not yet his, ( but the the Nibelungs disperse in fear. He questions Wotan and as she appears, but Fasolt declares her still theirs, until now finished, shining on the other side of the valley. The giants drag Freia away, to her distress, planning to hold her Loge and the latter reminds Alberich of his debt to him, the Wotan pays her ransom. Wotan offers the gold of the Valhalla motif is heard. Fricka is anxious, however, since as a hostage for the ring until nightfall. Her cries bring her bringer of light and warmth, and, professing friendship, Nibelungs and Fasolt agrees, if gold is heaped up high Wotan has promised her sister Freia, goddess of youth, to brothers Donner, the god of thunder, and Froh to her flatters him. 4 Alberich, however, will force all to forswear enough to hide Freia from view. # Loge calls on Froh to the two giants Fafner and Fasolt in payment for their work rescue. Loge describes their action, as the giants bear their love. He warns of his power to defeat the gods and have his help him. It is only when Loge throws the Tarn-cap onto the in building the fortress. The agreement motif is in the form captive home.
Recommended publications
  • Don Giovanni Sweeney Todd

    Don Giovanni Sweeney Todd

    FALL 2019 OPERA SEASON B R AVO Don Giovanni OCTOBER 19-27, 2019 Sweeney Todd NOVEMBER 16-24, 2019 2019 Fall Opera Season Sponsor e Katherine McGregor Dessert Parlor …at e Whitney. Named a er David Whitney’s daughter, Katherine Whitney McGregor, our intimate dessert parlor on the Mansion’s third oor features a variety of decadent cakes, tortes, and miniature desserts. e menu also includes chef-prepared specialties, pies, and “Drinkable Desserts.” Don’t miss the amazing aming dessert station featuring Bananas Foster and Cherries Jubilee. Reserve tonight’s table online at www.thewhitney.com or call 313-832-5700 4421 Woodward Ave., Detroit Pre- eater Menu Available on performance date with today’s ticket. Choose one from each course: FIRST COURSE Caesar Side Salad Chef’s Soup of the Day e Whitney Duet MAIN COURSE Grilled Lamb Chops Lake Superior White sh Pan Roasted “Brick” Chicken Sautéed Gnocchi View current menus DESSERT and reserve online at Chocolate Mousse or www.thewhitney.com Mixed Berry Sorbet with Fresh Berries or call 313-832-5700 $39.95 4421 Woodward Ave., Detroit e Katherine McGregor Dessert Parlor …at e Whitney. Named a er David Whitney’s daughter, Katherine Whitney McGregor, our intimate dessert parlor on the Mansion’s third oor features a variety of decadent cakes, tortes, and miniature desserts. e menu also includes chef-prepared specialties, pies, and “Drinkable Desserts.” Don’t miss the amazing aming dessert station featuring Bananas Foster and Cherries Jubilee. Reserve tonight’s table online at www.thewhitney.com or call 313-832-5700 4421 Woodward Ave., Detroit Pre- eater Menu Available on performance date with today’s ticket.
  • Parsifal and Canada: a Documentary Study

    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.
  • English Translation of the German by Tom Hammond

    English Translation of the German by Tom Hammond

    Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p.
  • Wagner in Comix and 'Toons

    Wagner in Comix and 'Toons

    - The original artwork [pictured in black and white Who Knew? at bottom] used to produce the 1975 Marvel cover [pictured in color below] is, like a number Remember when parents struck like Darth Vader at of other original illustrations for comic books, their kids’ comic book collections? “Trash” is the fetching large sums from collectors. word they used, and out the comics went. Little did The New York Times, Sunday, June 30, 2008 anyone realize that he might be throwing out a valuable collectors piece. More to the point, as Mr. F. Peter Phillips shows in the following illustrated essay on Richard Wagner is how the “comix” have been used to graphically portray his epic “Rng Cycle.” Phillips shows how popular culture and its forms (comic books and car- toons) have been incorporated in the Gesamtkust- werk concept and have added still another dimension to the legacy of Wagner’s operas. It wouldn’t have surprised Wagner who said after the first production of the Ring in 1876, “Next time, children, everything different.” An open mind and a willing heart have always been prerequisites for en- joying any of the fine arts. Mr. Phllips is an attorney specializing in Alternative Dispute Resolution and serves as Secretary of the Wagner Society of New York. Harry L. Wagner, Publisher Wagner Society of New York Wagner in Comix and ‘Toons By F. Peter Phillips Recent publications have revealed an aspect of Wagner-inspired literature that has been grossly overlooked—Wagner in graphic art (i.e., comics) and in animated cartoons. The Ring has been ren- dered into comics of substantial integrity at least three times in the past two decades, and a recent scholarly study of music used in animated cartoons has noted uses of Wagner’s music that suggest that Wagner’s influence may even more profoundly im- bued in our culture than we might have thought.
  • Wagner: Das Rheingold

    Wagner: Das Rheingold

    as Rhe ai Pu W i D ol til a n ik m in g n aR , , Y ge iin s n g e eR Rg s t e P l i k e R a a e Y P o V P V h o é a R l n n C e R h D R ü e s g t a R m a e R 2 Das RheingolD Mariinsky Richard WAGNER / Рихард ВагнеР 3 iii. Nehmt euch in acht! / Beware! p19 7’41” (1813–1883) 4 iv. Vergeh, frevelender gauch! – Was sagt der? / enough, blasphemous fool! – What did he say? p21 4’48” 5 v. Ohe! Ohe! Ha-ha-ha! Schreckliche Schlange / Oh! Oh! Ha ha ha! terrible serpent p21 6’00” DAs RhEingolD Vierte szene – scene Four (ThE Rhine GolD / Золото Рейна) 6 i. Da, Vetter, sitze du fest! / Sit tight there, kinsman! p22 4’45” 7 ii. Gezahlt hab’ ich; nun last mich zieh’n / I have paid: now let me depart p23 5’53” GoDs / Боги 8 iii. Bin ich nun frei? Wirklich frei? / am I free now? truly free? p24 3’45” Wotan / Вотан..........................................................................................................................................................................René PaPe / Рене ПАПЕ 9 iv. Fasolt und Fafner nahen von fern / From afar Fasolt and Fafner are approaching p24 5’06” Donner / Доннер.............................................................................................................................................alexei MaRKOV / Алексей Марков 10 v. Gepflanzt sind die Pfähle / These poles we’ve planted p25 6’10” Froh / Фро................................................................................................................................................Sergei SeMISHKUR / Сергей СемишкуР loge / логе..................................................................................................................................................Stephan RügaMeR / Стефан РюгАМЕР 11 vi. Weiche, Wotan, weiche! / Yield, Wotan, yield! p26 5’39” Fricka / Фрикка............................................................................................................................ekaterina gUBaNOVa / Екатерина губАновА 12 vii.
  • MONDAY 1 OCTOBER 2018 CAST AMENDMENT GÖTTERDÄMMERUNG (Richard Wagner) Monday 1 October 2018 at 4Pm

    MONDAY 1 OCTOBER 2018 CAST AMENDMENT GÖTTERDÄMMERUNG (Richard Wagner) Monday 1 October 2018 at 4Pm

    MONDAY 1 OCTOBER 2018 CAST AMENDMENT GÖTTERDÄMMERUNG (Richard Wagner) Monday 1 October 2018 at 4pm Due to the indisposition of Christina Bock, Rachael Lloyd sings Wellgunde in today’s performance. Rachael Lloyd has sung Alisa (Lucia di Lammermoor) and Kate Pinkerton (Madama Butterfly) for The Royal Opera. Other appearances include Mrs Anderssen in Sondheim’s A Little Night Music (Théâtre du Châtelet, Paris), the title role of Carmen (Raymond Gubbay Ltd at Royal Albert Hall), Miss Jessel in The Turn of the Screw, Third Lady in The Magic Flute and Pitti-Sing in The Mikado (ENO), Amastris in Xerxes (ETO, Early Opera Company), Maddalena in Rigoletto (Iford Arts), Aristea in L’Olimpiade (Buxton Festival), Meg Page in Falstaff (Glyndebourne on Tour), Woman/Mother in Dove’s The Day After (ENO Baylis) and Cornelia in Giulio Cesare (Glyndebourne Festival). Notable concert performances include Rossini’s Stabat Mater (Ulster Orchestra), Dido and Aeneas (Spitalfields Festival), Messiah (Kristiansund), Ravel’s Trois Poèmes de Stéphane Mallarmé (LPO) andSchumann’s Frauenliebe und - leben and Elgar’s Sea Pictures (Opéra de Lille). Plans include Selene in Berenice (Royal Opera). The rest of the cast remains the same with German tenor Stefan Vinke as Siegfried, Swedish soprano Nina Stemme as Brünnhilde, Austrian baritone Markus Butter as Gunther, Danish bass Stephen Milling as Hagen, American soprano Emily Magee as Gutrune, Scottish mezzo-soprano Karen Cargill as Waltraute, German baritone Johannes Martin Kränzle as Alberich, British contralto Claudia Huckle as First Norn, For all Royal Opera House press releases visit www.roh.org.uk/press German soprano Irmgard Wilsmaier as Second Norn, Norwegian soprano Lise Davidsen as Third Norn, Australian soprano Lauren Fagan as Woglinde and English mezzo-soprano Angela Simkin as Flosshilde, conducted by Antonio Pappano.
  • Il Trovatore Was Made Stage Director Possible by a Generous Gift from Paula Williams the Annenberg Foundation

    Il Trovatore Was Made Stage Director Possible by a Generous Gift from Paula Williams the Annenberg Foundation

    ilGIUSEPPE VERDItrovatore conductor Opera in four parts Marco Armiliato Libretto by Salvadore Cammarano and production Sir David McVicar Leone Emanuele Bardare, based on the play El Trovador by Antonio García Gutierrez set designer Charles Edwards Tuesday, September 29, 2015 costume designer 7:30–10:15 PM Brigitte Reiffenstuel lighting designed by Jennifer Tipton choreographer Leah Hausman The production of Il Trovatore was made stage director possible by a generous gift from Paula Williams The Annenberg Foundation The revival of this production is made possible by a gift of the Estate of Francine Berry general manager Peter Gelb music director James Levine A co-production of the Metropolitan Opera, Lyric Opera of Chicago, and the San Francisco principal conductor Fabio Luisi Opera Association 2015–16 SEASON The 639th Metropolitan Opera performance of GIUSEPPE VERDI’S il trovatore conductor Marco Armiliato in order of vocal appearance ferr ando Štefan Kocán ines Maria Zifchak leonor a Anna Netrebko count di luna Dmitri Hvorostovsky manrico Yonghoon Lee a zucena Dolora Zajick a gypsy This performance Edward Albert is being broadcast live on Metropolitan a messenger Opera Radio on David Lowe SiriusXM channel 74 and streamed at ruiz metopera.org. Raúl Melo Tuesday, September 29, 2015, 7:30–10:15PM KEN HOWARD/METROPOLITAN OPERA A scene from Chorus Master Donald Palumbo Verdi’s Il Trovatore Musical Preparation Yelena Kurdina, J. David Jackson, Liora Maurer, Jonathan C. Kelly, and Bryan Wagorn Assistant Stage Director Daniel Rigazzi Italian Coach Loretta Di Franco Prompter Yelena Kurdina Assistant to the Costume Designer Anna Watkins Fight Director Thomas Schall Scenery, properties, and electrical props constructed and painted by Cardiff Theatrical Services and Metropolitan Opera Shops Costumes executed by Lyric Opera of Chicago Costume Shop and Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department Ms.
  • Boston Symphony Orchestra Concert Programs, Season 130, 2010-2011

    Boston Symphony Orchestra Concert Programs, Season 130, 2010-2011

    Hi 1 , 'I 2010-2011 SEASON WEEK 25 s James Levine Music Director Bernard Haitink Conductor Emeritus Seiji Ozawa Music Director Laureate Boston 320 Boylston Street (617) 482-8707 Hermes.com Summer twill giant scarf When colors meet inspiration HERMES PARIS Hermes, contemporary artisan since 1837. Table of Contents | Week 25 15 BSO NEWS 23 ON DISPLAY IN SYMPHONY HALL 24 BSO MUSIC DIRECTOR JAMES LEVINE 26 THE BOSTON SYMPHONY ORCHESTRA 29 TRANSLATING SHAKESPEARE: COMING TO MUSICAL TERMS WITH THE BARD BY THOMAS MAY 38 FAREWELL, THANKS, AND ALL BEST: THIS YEAR'S BSO RETIREE 40 THIS WEEK'S PROGRAM Notes on the Program 44 Berlioz's "Romeo et Juliette" 56 To Read and Hear More... 58 Text and Translation Guest Artists 68 Charles Dutoit 69 Bernarda Fink 71 Jean-Paul Fouchecourt 72 Laurent Naouri 73 Tanglewood Festival Chorus 75 John Oliver 78 2010-2011 SEASON SUMMARY 92 SPONSORS AND DONORS 106 SYMPHONY HALL EXIT PLAN 107 SYMPHONY HALL INFORMATION THIS WEEK S PRE-CONCERT TALKS ARE GIVEN BY BSO DIRECTOR OF PROGRAM PUBLICATIONS MARC MANDEL. program copyright ©2011 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photograph by Michael J. Lutch BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org It takes a dedicated craftsman to create a flawless instrument. Shouldn't your investments be handled with the same expertise? FIDUCIARYTRUST REAP THE DIVIDENDS FIDUCIARY-TRUST.COM 175 FEDERAL STREET B0ST0.N. MA - INVESTMENT | SETTLEMEN MANAGEMENT I I TRUST SERVICES ESTATE AND FINANCIAL PLANNING I FAMILY OFFICE SERVICES ESTATE \ EVERY CLOUD HAS A SILVER LINING At EMC, success comes from creating technology which will transform the world's largest IT departments into private clouds—and from sharing that success by supporting a range of educational, cultural, and social programs in our community.
  • A Season of Thrilling Intrigue and Grand Spectacle –

    A Season of Thrilling Intrigue and Grand Spectacle –

    A Season of Thrilling Intrigue and Grand Spectacle – Angel Blue as MimÌ in La bohème Fidelio Rigoletto Love fuels a revolution in Beethoven’s The revenger becomes the revenged in Verdi’s monumental masterpiece. captivating drama. Greetings and welcome to our 2020–2021 season, which we are so excited to present. We always begin our planning process with our dreams, which you might say is a uniquely American Nixon in China Così fan tutte way of thinking. This season, our dreams have come true in Step behind “the week that changed the world” in Fidelity is frivolous—or is it?—in Mozart’s what we’re able to offer: John Adams’s opera ripped from the headlines. rom-com. Fidelio, to celebrate the 250th anniversary of Beethoven’s birth. Nixon in China by John Adams—the first time WNO is producing an opera by one of America’s foremost composers. A return to Russian music with Musorgsky’s epic, sweeping, spectacular Boris Godunov. Mozart’s gorgeous, complex, and Boris Godunov La bohème spiky view of love with Così fan tutte. Verdi’s masterpiece of The tapestry of Russia's history unfurls in Puccini’s tribute to young love soars with joy a family drama and revenge gone wrong in Rigoletto. And an Musorgsky’s tale of a tsar plagued by guilt. and heartbreak. audience favorite in our lavish production of La bohème, with two tremendous casts. Alongside all of this will continue our American Opera Initiative 20-minute operas in its 9th year. Our lineup of artists includes major stars, some of whom SPECIAL PRESENTATIONS we’re thrilled to bring to Washington for the first time, as well as emerging talents.
  • Elisa Citterio Discography 2009 Handel Between Heaven and Earth

    Elisa Citterio Discography 2009 Handel Between Heaven and Earth

    Elisa Citterio Discography 2009 Handel Between Heaven And Earth CD Stefano Montanari, conductor Accademia Bizantina Soloists Sandrine Piau,Topi Lehtipuu 2008 Handel The Musick For The Royal Fireworks, Concerti A Due Cori CD Alfredo Bernardini Zefiro Fiorenza Concerti & Sonate CD Stefano Demicheli Dolce & Tempesta 2003 Various Storia Del Sonar A Quattro - Volume III CD Joseph Joachim Quartet 2001 Schuster 6 Quartetti Padovani CD Joseph Joachim Quartet 2000 Vivaldi La Tempesta di Mare CD Fabio Biondi Europa Galante 1998 Monteverdi Settimo Libro Dei Madrigali CD Claudio Cavina La Venexiana Recordings with L’orchestra del Teatro alla Scala di Milano 2015 Mozart Don Giovanni DVD Daniel Barenboim, conductor Orchestra & Chorus of Teatro alla Scala Peter Mattei, Bryn Terfel, Anna Netrebko, Barbara Frittoli, Giuseppe Filianoti, Anna Prohaska 2014 Jarre Notre-Dame De Paris DVD Paul Connelly, conductor Ballet Company & Orchestra of Teatro alla Scala Natalia Osipova, Roberto Bolle, Mick Zeni, Eris Nezha Wagner Goetterdammerung DVD Daniel Barenboim, conductor Orchestra & Chorus of Teatro alla Scala Maria Gortsevskaya, Lance Ryan, Iréne Theorin, Mikhail Petrenko Wagner Siegfried DVD Daniel Barenboim, conductor Orchestra & Chorus of Teatro alla Scala Lance Ryan, Peter Bronder, Terje Stensvold, Johannes Martin Kränzle, Alexander Tsymbalyuk, Anna Larsson, Nina Stemme, Rinnat Moriah Beethoven Fidelio VC Daniel Barenboim, conductor Orchestra & Chorus of Teatro alla Scala Peter Mattei, Falk Struckmann, Klaus Florian Vogt, Jonas Kaufmann, Anja Kampe, Kwangchul
  • Ebook Download Wagners Ring Turning the Sky Around

    Ebook Download Wagners Ring Turning the Sky Around

    WAGNERS RING TURNING THE SKY AROUND - AN INTRODUCTION TO THE RING OF THE NIBELUNG 1ST EDITION PDF, EPUB, EBOOK M Owen Lee | 9780879101862 | | | | | Wagners Ring Turning the Sky Around - An Introduction to the Ring of the Nibelung 1st edition PDF Book It is even possible for the orchestra to convey ideas that are hidden from the characters themselves—an idea that later found its way into film scores. Unfamiliarity with Wagner constitutes an ignorance of, well, Wagnerian proportions. Some of my friends have seen far more than these. This section does not cite any sources. Digital watches chime the hour in half-diminished seventh chords. The daughters of the Rhine come up and pull Hagen into the depth of the Rhine. The plot synopses were helpful, but some of the deep psychological analysis was a bit boring. Next he encounters Wotan his grandfather , quarrels with him and cuts Wotan's staff of power in half. The next possessor of the ring, the giant Fafner, consumed with greed and lust for power, kills his brother, Fasolt, taking the spoils to the deep forest while the gods enter Valhalla to some of the most glorious and ironically triumphant music imaginable. Has underlining on pages. John shares his recipe for Nectar of the Gods. April Learn how and when to remove this template message. It's actually OK because that's what Wotan decreed for her anyway: First one up there shall have you. See Article History. Politics and music often go together. It left me at a whole new level of self-awareness, and has for all the years that have followed given me pleasures and insights that have enriched my life.
  • 2021 WFMT Opera Series Broadcast Schedule & Cast Information —Spring/Summer 2021

    2021 WFMT Opera Series Broadcast Schedule & Cast Information —Spring/Summer 2021

    2021 WFMT Opera Series Broadcast Schedule & Cast Information —Spring/Summer 2021 Please Note: due to production considerations, duration for each production is subject to change. Please consult associated cue sheet for final cast list, timings, and more details. Please contact [email protected] for more information. PROGRAM #: OS 21-01 RELEASE: June 12, 2021 OPERA: Handel Double-Bill: Acis and Galatea & Apollo e Dafne COMPOSER: George Frideric Handel LIBRETTO: John Gay (Acis and Galatea) G.F. Handel (Apollo e Dafne) PRESENTING COMPANY: Haymarket Opera Company CAST: Acis and Galatea Acis Michael St. Peter Galatea Kimberly Jones Polyphemus David Govertsen Damon Kaitlin Foley Chorus Kaitlin Foley, Mallory Harding, Ryan Townsend Strand, Jianghai Ho, Dorian McCall CAST: Apollo e Dafne Apollo Ryan de Ryke Dafne Erica Schuller ENSEMBLE: Haymarket Ensemble CONDUCTOR: Craig Trompeter CREATIVE DIRECTOR: Chase Hopkins FILM DIRECTOR: Garry Grasinski LIGHTING DESIGNER: Lindsey Lyddan AUDIO ENGINEER: Mary Mazurek COVID COMPLIANCE OFFICER: Kait Samuels ORIGINAL ART: Zuleyka V. Benitez Approx. Length: 2 hours, 48 minutes PROGRAM #: OS 21-02 RELEASE: June 19, 2021 OPERA: Tosca (in Italian) COMPOSER: Giacomo Puccini LIBRETTO: Luigi Illica & Giuseppe Giacosa VENUE: Royal Opera House PRESENTING COMPANY: Royal Opera CAST: Tosca Angela Gheorghiu Cavaradossi Jonas Kaufmann Scarpia Sir Bryn Terfel Spoletta Hubert Francis Angelotti Lukas Jakobski Sacristan Jeremy White Sciarrone Zheng Zhou Shepherd Boy William Payne ENSEMBLE: Orchestra of the Royal Opera House,