DOCSLIB.ORG

Opera in Concert

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

THE TRUSTS COMMUNITY FOUNDATION OPERA IN CONCERT 7.30PM, FRIDAY 14 JULY AUCKLAND TOWN HALL AUCKLAND PHILHARMONIA ORCHESTRA Auckland Philharmonia Orchestra is Renowned for its innovation, passion New Zealand’s full-time, professional, and versatility, the APO collaborates with metropolitan orchestra, serving the some of New Zealand’s most inventive country’s largest and most vibrant city with artists. In 2017 the APO performs with a comprehensive programme of concerts, Pop-up Globe, The Dust Palace circus and education and outreach activities. theatre company, and together with Jon Toogood, Julia Deans, Laughton Kora and In more than 50 mainstage performances Anna Coddington in a concert celebrating annually, the APO presents a full season the musical legacy of David Bowie. The of symphonic work, showcasing many APO also supports several New Zealand of the world’s finest classical musicians. concert premieres in 2017, including Recent high-profile artists include Vladimir singer-songwriter Rufus Wainwright, La Ashkenazy, violinists Ning Feng and Noah La Land film with live orchestra and Harry Bendix-Balgley, horn player Stefan Dohr, Potter Live in Concert. pianist Cédric Tiberghien and cellists Li-Wei Qin and Julian Steckel. Leading international Through its numerous APO Connecting artists in 2017 include composer/conductor (education, outreach and community) Tan Dun, violinists Alina Ibragimova and initiatives the APO offers opportunities to Chloë Hanslip, pianists Kathryn Stott more than 20,000 young people and adults and Behzod Abduraimov, and cellist nationwide to participate in music, ranging Torleif Thedéen. We are also delighted to from hip-hop and rock, to contemporary welcome back conductors Rumon Gamba and classical. and Andrew Gourlay, among others, to 100,000 people hear the orchestra live complement the presence of APO Music each year, with many thousands more Director Giordano Bellincampi. reached through special events, live The APO is proud to support both New streams, recordings and other media. Zealand Opera and the Royal New Zealand Ballet in their Auckland performances, as well as working in partnership with Auckland Arts Festival, the New Zealand International Film Festival and the Michael Hill International Violin Competition. CONTENTS Welcome 2 Auckland Philharmonia Orchestra 2017 5 Puccini’s Manon Lescaut 6 Acknowledgements 18 Auckland Philharmonia Orchestra receives major funding from Please consider others and mind that cough. A hand or handkerchief placed over the mouth greatly reduces the volume. Please turn off all watch alarms and mobile devices before entering the auditorium. It is strictly prohibited to take photographs, visual or audio recordings of any performance. Programme book Visiting international artists Programme notes by Tabatha McFadyen © 2017 Stay at Enjoy Season photography by Adrian Malloch Layout and print management The flowers presented on stage are generously donated Creative design by Scarecrow – Auckland city’s deli, café and florist. Puccini’s Manon Lescaut 2017 1 WELCOME 36 musicians. In this concert, we will present Puccini’s original orchestration, for the first time in New Zealand, with the full complement of 80 musicians. The orchestra and Maestro Giordano Bellincampi are excited to be taking on this timeless work with such a phenomenal line up of singers. This includes Italian soprano Serena Farnocchia in the title role and Italian tenor Massimo Giordano as her hapless lover Des Grieux. We are also delighted to be collaborating Since our first Opera in Concert one again with our friends from New Zealand composer has appeared more frequently Opera and grateful for the continued than any other. support of the Trusts Community Foundation in presenting our fourteenth Manon Lescaut was Puccini’s break-through Opera in Concert. success and at its 1893 premiere received 30 curtain calls. It is impassioned and Barbara Glaser addictive, much like the title character herself. Chief Executive Auckland Philharmonia Orchestra Tragic heroines are a common theme in Puccini’s work. A master of operatic realism, he has created some of opera’s most memorable moments – think Turandot’s Nessun dorma, and the respective deaths of his two heroines in La Bohème and Madama Butterfly. Perhaps this is what drew him to Prévost’s novel, from which Manon Lescaut is adapted? Manon Lescaut was last performed in Auckland in 1984, at the Mercury Theatre, with a reduced orchestra of approximately 2 apo.co.nz The APO plays a vital role in the trustees’ arts strategy, delivering a programme for West Auckland secondary schools to attend the annual Connecting with Music concert; APO Adventures West, an open orchestra event at The Trusts Arena; and APO 4 Kids Christmas, an annual concert for young children in West Auckland. TTCF’s support also helps to ensure that the APO can attract and retain musicians of the highest calibre, which is why we are proud of our commitment to a violist’s chair held by Greg McGarity and a trombonist’s The Trusts Community Foundation (TTCF) is chair held by Mark Close. delighted to be a strong supporter of Opera in Concert, the cornerstone of the Auckland We very much hope that you will enjoy Philharmonia Orchestra’s annual programme. tonight’s operatic masterpiece, Puccini’s Manon Lescaut, performed by wonderful TTCF’s partnership with the APO was guest artists and Auckland’s own world- established in 1998, a relationship that class orchestra, conducted by Music continues to grow and develop. We Director, Maestro Giordano Bellincampi. increasingly value the role that the APO plays. It delivers not only world-class main Ross Clow stage concerts but also APO Connecting, Chairman an extensive community and education The Trusts Community Foundation programme for toddlers through to aspiring professional musicians – a programme also supported by TTCF. TTCF is proud to have West Auckland’s Portage and Waitakere Trusts as foundation members and it is the Portage trustees’ consistent recommendations that ensure TTCF’s ongoing support of APO’s Opera in Concert is an easy decision. Puccini’s Manon Lescaut 2017 3 Proudly helping the APO bring you the best international talent. www.malcolmpacific.com 4 apo.co.nz AUCKLAND PHILHARMONIA ORCHESTRA 2017 MUSIC DIRECTOR CELLOS TRUMPETS Giordano Bellincampi Eliah Sakakushev-von Bismarck β Huw Dann β David Garner + Jonah Levy + CONCERTMASTER Liliya Arefyeva # Norman McFarlane + Andrew Beer James sang-oh Yoo # TROMBONES ASSOCIATE Katherine Hebley Douglas Cross β CONCERTMASTER You Lee Mark Close # Liu-Yi Retallick Callum Hall BASS TROMBONE ASSISTANT BASSES Timothy Sutton * CONCERTMASTER Gordon Hill β Miranda Adams Annabella Zilber + TUBA Evgueny Lanchtchikov # Tak Chun Lai * FIRST VIOLINS Matthias Erdrich Artur Grabczewski # Michael Steer TIMPANI Mark Bennett Steven Logan β Elzbieta Grabczewska FLUTES Ainsley Murray Emma Gerstein β PERCUSSION Alexander Shapkin Kathryn Moorhead + Eric Renick β Jennifer Raven # Caroline von Bismarck PICCOLO Shane Currey Yanghe Yu Jennifer Seddon-Mori * Lucy Qi Zhang HARP Yuri Cho OBOES Rebecca Harris * Satomi Suzuki Bede Hanley β Camille Wells + Guest Musicians for this event SECOND VIOLINS First Violin – Rosemary Harris Dianna Cochrane β COR ANGLAIS Second Violin – Charmian Keay, Xin (James) Jin + Martin Lee * Jiwon Lee, Irina Lgotkina William Hanfling # Viola – Wen Chuan Lin, Mary Wilson Rae Crossley-Croft = CLARINETS Cello – Jacky Siu Sarah Hart Bridget Miles (Bass Clarinet) + Bass – Hamish Gullick Jocelyn Healy Alexei Dupressoir (Bass Clarinet) + Principal Clarinet – Lionel Andrey Rachel Moody James Fry (Eb Clarinet) + Trombone – Benjamin Zilber Milena Parobczy BASSOONS Celeste – David Kelly Ewa Sadag Ingrid Hagan β Katherine Walshe Yang Rachel Guan Ebbett + COMPOSER-IN-RESIDENCE Esther Kim ~ Karlo Margetić CONTRABASSOON VIOLAS Ruth Brinkman * Proudly helping the APO bring you the best international talent. Robert Ashworth β David Samuel + HORNS β Section Principal Christine Bowie # Nicola Baker β = Section Leader Emeritus Anne Draffin # Emma Eden * * Principal Helen Bevin Carl Wells # + Associate Principal Ping Tong Chan Simon Williams # # Sub-Principal Gregory McGarity David Kay ~ APO Orchestral Fellow Susan Wedde www.malcolmpacific.com Puccini’s Manon Lescaut 2017 5 THE TRUSTS COMMUNITY FOUNDATION OPERA IN CONCERT PUCCINI’S MANON LESCAUT Auckland Philharmonia Orchestra in association with New Zealand Opera Conductor Giordano Bellincampi Manon Lescaut Serena Farnocchia Des Grieux Massimo Giordano Lescaut Dalibor Jenis Geronte Pelham Andrews Also featuring Matteo Falcier Bianca Andrew James Ioelu The Freemasons New Zealand Opera Chorus 6 apo.co.nz SYNOPSIS Manon returns to enjoying the admiration of Geronte and his friends. ACT I After they have departed, Des Grieux Amiens, France, around 1720 appears, initially admonishing Manon for her A group of carefree students and their infidelity, but quickly succumbing to her pleas girlfriends are revelling in the summer for forgiveness. Geronte returns to see them evening outside an inn. Chevalier Des locked in a passionate embrace. He berates Grieux joins them and sings a tongue-in- Manon for having treated him so poorly cheek serenade to the girls. A carriage after he had so loved her; Manon retaliates arrives, bearing a young man (Lescaut), a by mocking his age, underestimating how clearly wealthy, old gallant (Geronte) and severely he will react to such a slight. After a very beautiful young woman. Des Grieux he leaves, Lescaut bursts in, telling them that is
Recommended publications
  • Doctor Atomic

    Doctor Atomic

    John Adams Doctor Atomic CONDUCTOR Opera in two acts Alan Gilbert Libretto by Peter Sellars, PRODUCTION adapted from original sources Penny Woolcock Saturday, November 8, 2008, 1:00–4:25pm SET DESIGNER Julian Crouch COSTUME DESIGNER New Production Catherine Zuber LIGHTING DESIGNER Brian MacDevitt CHOREOGRAPHER The production of Doctor Atomic was made Andrew Dawson possible by a generous gift from Agnes Varis VIDEO DESIGN and Karl Leichtman. Leo Warner & Mark Grimmer for Fifty Nine Productions Ltd. SOUND DESIGNER Mark Grey GENERAL MANAGER The commission of Doctor Atomic and the original San Peter Gelb Francisco Opera production were made possible by a generous gift from Roberta Bialek. MUSIC DIRECTOR James Levine Doctor Atomic is a co-production with English National Opera. 2008–09 Season The 8th Metropolitan Opera performance of John Adams’s Doctor Atomic Conductor Alan Gilbert in o r d e r o f v o c a l a p p e a r a n c e Edward Teller Richard Paul Fink J. Robert Oppenheimer Gerald Finley Robert Wilson Thomas Glenn Kitty Oppenheimer Sasha Cooke General Leslie Groves Eric Owens Frank Hubbard Earle Patriarco Captain James Nolan Roger Honeywell Pasqualita Meredith Arwady Saturday, November 8, 2008, 1:00–4:25pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from the Neubauer Family Foundation. Additional support for this Live in HD transmission and subsequent broadcast on PBS is provided by the Alfred P. Sloan Foundation. Ken Howard/Metropolitan Opera Gerald Finley Chorus Master Donald Palumbo (foreground) as Musical Preparation Linda Hall, Howard Watkins, Caren Levine, J.
  • Out of This World

    Out of This World

    TURANGALÎLA OPERA’S MESSIAEN’S ANTIHERO THE AGE OF ADÈS MASTERPIECE DON GIOVANNI’S DISCOVERING COMES TO NEW RELEVANCE BOLD NEW MUSICAL AUCKLAND I N 2019 HORIZONS SUMMER 2019 VOL.42 NO.1 your free copy OUT OF THIS WORLD APO CONCERTMASTER ANDREW BEER PREPARES TO PUSH THE LIMITS OF VIRTUOSITY We’re taking you behind the headlines Get the inside story from our journalists bringing you all the news that matters. Watch now at nzherald.co.nz/journalists apo.co.nz 3 UPFRONT WITH BARBARA GLASER 15 Bach and Beyond 4 APO NEWS Swedish conductor Sofi Jeannin talks about the demands of a unique Easter concert 7 Auckland Philharmonia Redefining Nature Orchestra 16 PO Box 7083 The orchestra takes you up close Wellesley St to the Animal Kingdom Antihero for the Ages Auckland 1141 ‘The opera of all operas’ in 2019 Phone (09) 638 6266 APO Ticketing (09) 623 1052 [email protected] 18 apo.co.nz aporchestra Chauffeur to the Stars @aporchestra Tony Waring drives APO guests aporchestra in style Patrons Dame Kiri Te Kanawa, DBE, ONZ Dame Catherine Tizard, GCMG, GCVO, DBE, ONZ, QSO 8 19 Sir James Wallace, KNZM, ONZM Dame Rosanne Meo, DNZM The Nature of Love Vice Patron Sonic Riches Composer Ken Young discusses Dame Jenny Gibbs, DNZM, OBE A deep dive into Messiaen’s his new collaboration with Witi Auckland Philharmonia masterpiece Turangalîla Ihimaera Orchestra Board Geraint A. Martin (Chair) Symphony Leigh Auton DEVELOPMENT NEWS Richard Ebbett 20 Lope Ginnen CONTENTS Pare Keiha 11 21 CONNECTING NEWS Kieran Raftery QC Eric Renick Soloist on a High-Wire Julian Smith
  • Sir John Eliot Gardiner Conductor Stravinsky Symphony in Three Movements = 160 Andante—Interlude:Q L’Istesso Tempo— Con Moto Elgar in the South (Alassio), Op

    Sir John Eliot Gardiner Conductor Stravinsky Symphony in Three Movements = 160 Andante—Interlude:Q L’Istesso Tempo— Con Moto Elgar in the South (Alassio), Op

    Program OnE HundrEd TwEnTIETH SEASOn Chicago Symphony orchestra riccardo muti Music director Pierre Boulez Helen regenstein Conductor Emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, January 20, 2011, at 8:00 Saturday, January 22, 2011, at 8:00 Sir John Eliot gardiner Conductor Stravinsky Symphony in Three Movements = 160 Andante—Interlude:q L’istesso tempo— Con moto Elgar In the South (Alassio), Op. 50 IntErmISSIon Bartók Concerto for Orchestra Introduzione: Andante non troppo—Allegro vivace Giuoco delle coppie: Allegro scherzando Elegia: Andante non troppo Intermezzo interrotto: Allegretto Finale: Presto Steinway is the official piano of the Chicago Symphony Orchestra. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. CommEntS by PHILLIP HuSCHEr Igor Stravinsky Born June 18, 1882, Oranienbaum, Russia. Died April 6, 1971, New York City. Symphony in three movements o composer has given us more Stravinsky is again playing word Nperspectives on a “symphony” games. (And, perhaps, as has than Stravinsky. He wrote a sym- been suggested, he used the term phony at the very beginning of his partly to placate his publisher, who career (it’s his op. 1), but Stravinsky reminded him, after the score was quickly became famous as the finished, that he had been com- composer of three ballet scores missioned to write a symphony.) (Petrushka, The Firebird, and The Rite Then, at last, a true symphony: in of Spring), and he spent the next few 1938, Mrs. Robert Woods Bliss, years composing for the theater and together with Mrs.
  • EN QUATRE ACTES Livret De Luigi Illica, Giuseppe Giacosa Et Marco Praga L’Histoire Du Chevalier Des Grieux Et De Manon Lescaut De L’Abbé Prévost Distribution Intrigue

    EN QUATRE ACTES Livret De Luigi Illica, Giuseppe Giacosa Et Marco Praga L’Histoire Du Chevalier Des Grieux Et De Manon Lescaut De L’Abbé Prévost Distribution Intrigue

    EN DIRECT - EN QUATRE ACTES LIVRET DE LUIGI ILLICA, GIUSEPPE GIACOSA ET MARCO PRAGA L’HISTOIRE DU chevalier DES GRIEUX ET DE MANON LESCAUT DE L’ABBÉ PRÉVOST DISTRIBUTION INTRIGUE MANON LESCAUT - KRISTINE OPOLAIS - Sur la route du couvent, Manon Lescaut rencontre Des Grieux, qui LESCAUT - CHRISTOPHER MALTMAN - tombe aussitôt fou d’amour pour elle. Un style de vie sobre ne CHEVALIER DES GRIEUX - JONAS KAUFMANN - convient pas à Manon, et lassée de vivre d’amour et d’eau fraîche, GERONTE DE RAVOIR - MAURIZIO MURARO - elle se laissera entretenir par un vieux riche. Son penchant pour le EDMONDO - BENJAMIN HULETT - luxe va la perdre et ce malgré tous les efforts de Des Grieux; en effet, mû par un amour aveugle et obsessionnel pour Manon, il ne CHEf D’ORCHESTRE - ANTONIO PAPPANO - DÉcors - PAUL BROWN - négligera aucun moyen pour la suivre... COSTUMES - À CONFIRMER - METTEUR EN SCÈNE - JONATHAN KENT - LUMIÈRES - MARK HENDERSON - CHORÉGRAPHIE - DENNI SAYERS - Orchestre du Royal Opera House © AKUENTIC ACTE I Alors que le fermier sort de la pièce en les menaçant, Des Grieux Sur une place publique à Amiens, des jeunes gens, des jeunes implore Manon de fuir avec lui. Alors que Manon rassemble encore filles, des soldats, des bourgeois… goûtent la douceur du quelques bijoux, Lescaux fait irruption dans la pièce et annonce soir. Parmi eux, Edmond, étudiant poète, et son ami le jeune que Geront arrive avec des soldats. Il est trop tard pour fuir et Des Grieux, un rêveur un peu mélancolique qui attend la Manon est arrêtée. Lescaut empêche Des Grieux de libérer Manon femme idéale.
  • 02-27-2020 Cosi Fan Tutte Eve.Indd

    02-27-2020 Cosi Fan Tutte Eve.Indd

    WOLFGANG AMADEUS MOZART così fan tutte conductor Opera in two acts Harry Bicket Libretto by Lorenzo Da Ponte production Phelim McDermott Thursday, February 27, 2020 PM set designer 7:30–11:05 Tom Pye costume designer Laura Hopkins lighting designer Paule Constable The production of Così fan tutte was revival stage director made possible by generous gifts from Sara Erde William R. Miller, and John Sucich / Trust of Joseph Padula Additional funding was received from the The Walter and Leonore Annenberg Endowment Fund, and the National Endowment for the Arts general manager Peter Gelb Co-production of the Metropolitan Opera and jeanette lerman-neubauer English National Opera music director Yannick Nézet-Séguin In collaboration with Improbable 2019–20 SEASON The 203rd Metropolitan Opera performance of WOLFGANG AMADEUS MOZART’S così fan tutte conductor Harry Bicket in order of vocal appearance ferrando skills ensemble Ben Bliss* Leo the Human Gumby Jonathan Nosan guglielmo Ray Valenz Luca Pisaroni Josh Walker Betty Bloomerz don alfonso Anna Venizelos Gerald Finley Zoe Ziegfeld Cristina Pitter fiordiligi Sarah Folkins Nicole Car Sage Sovereign Arthur Lazalde dorabella Radu Spinghel Serena Malfi despina continuo Heidi Stober harpsichord This performance Jonathan C. Kelly is being broadcast cello David Heiss live on Metropolitan Opera Radio on SiriusXM channel 75 and streamed at metopera.org. Thursday, February 27, 2020, 7:30–11:05PM RICHARD TERMINE / MET OPERA A scene from Chorus Master Donald Palumbo Mozart’s Così Musical Preparation Joel Revzen,
  • 247. Org Apra Amcos Correction.Pdf

    247. Org Apra Amcos Correction.Pdf

    COPYRIGHT AND THE DIGITAL ECONOMY APRA|AMCOS SUBMISSIONS TABLE OF CONTENTS EXECUTIVE SUMMARY ............................................................................................. 4 OVERVIEW ................................................................................................................. 5 Australia's emerging digital economy and the Australian music industry ................ 5 A response to the Issues Paper’s general introductory comments .......................... 6 The importance of the communication right .......................................................... 10 Commercial/non-commercial ................................................................................ 10 Matters outside the scope of this inquiry ............................................................... 12 International obligations ........................................................................................ 13 The US system ..................................................................................................... 15 The Inquiry ............................................................................................................ 17 Question 1 ......................................................................................................... 17 Guiding principles for reform ................................................................................. 29 Question 2 ......................................................................................................... 29 Caching, indexing and other
  • Pioneering History

    Pioneering History

    New Zealand Journal of History, 36, 1 (2002) Chris Hilliard Pioneering History NEGOTIATING PAKEHA COLLECTIVE MEMORY IN THE LATE NINETEENTH AND EARLY TWENTIETH CENTURIES* IN APRIL 1884 Thomas Hocken stood before a group of nearly 40 men who had gathered to establish the Early History Society of Otago. Hocken was known by his contemporaries as a 'gentleman who had always taken a great interest' in New Zealand's history.1 On this occasion he gave a speech designed to rouse interest in the foundation of Pakeha New Zealand: 'Whatever his nationality, the pioneer delights to record, and his successors to hand down, the minutest incidents of early history'. He hoped that the story of Pakeha origins, symbolized by the arrival of the immigrant ships Tory, Cuba, Wild Watcli, John Wicklijfe, Randolph and Cressy, would become 'as complete and full of interest' as the accounts of Maori or white American origins (with their well-known immigrant vessels the Arawa and Tainui or the Mayflower). He urged his audience to emulate the Historic Society of New York in 'raising from oblivion a thousand interesting details connected with the settlement... which but for such timely efforts must have been irrevocably lost.'2 Another founding member, the Rev. Dr D.M. Stuart, also spoke with a sense of urgency: 'For years he had advocated the formation of such a society'. His friend — old settler Mr Cutten — had recently died, taking much information on early Otago with him. However, J. Hyde Harris outdid both Hocken and Stuart with a remarkably long-standing intention to gather Otago's foundational history.
  • Verdi Week on Operavore Program Details

    Verdi Week on Operavore Program Details

    Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
  • Inventory for John Logan Campbell Papers MS-51 Auckland Museum

    Inventory for John Logan Campbell Papers MS-51 Auckland Museum

    Inventory for John Logan Campbell Papers MS‐51 Auckland Museum Library Prepared by: Christina Troup, 1966/7; reconfigured by Mary Donald, 2005‐2013; amended and edited by Bruce Ralston, 2014‐ Date prepared: 26 May 2018. The collection currently known as the John Logan Campbell Papers (MS‐51) consists of five separate collections: 1. John Logan Campbell’s personal papers and his business enterprises ‐ these reflect both business and social history from the 1840s to 1910. There is also a section containing papers of wife Emma and daughter Winifred. 2. Cornwall Park Trust Board. Records. Cornwall Park management covering the period 1902 ‐ 1930s. 3. Winifred Humphreys (nee Campbell). Papers, 1910 ‐ 1930s. 4. Russell Stone. Photocopies of documents, a single original letter and donated from other sources. 5. Sir Colin Campbell. Includes JLC’s bible. Size 6.5 linear metres Date range 1806‐1975, primarily 1840s‐1930s Physical description Holograph Printed Plans Architectural drawings Photographs Provenance The Cornwall Park Trust Board deposited the first two collections in 1957. Winifred Humphrey’s papers were gifted from the Alexander Turnbull Library in the early 1960s. May 26, 2018 Professor Russell Stone and Sir Colin Campbell gifted the remainder in 1975. Earlier archival practice clumped like material; hence the collections are catalogued under the one manuscript number – MS‐51. One of the advantages of this ‘clumping’ was to facilitate use; it was easy to add to existing inventories. However, it is current archival practice to maintain the integrity of individual collections through provenance. Today collections are held in their own right and linked through catalogues, indices and finding aids.
  • 2.2 the MONARCHY Republican Sentiment Among New Zealand Voters, Highlighting the Social Variables of Age, Gender, Education

    2.2 the MONARCHY Republican Sentiment Among New Zealand Voters, Highlighting the Social Variables of Age, Gender, Education

    2.2 THE MONARCHY Noel Cox and Raymond Miller A maturing sense of nationhood has caused some to question the continuing relevance of the monarchy in New Zealand. However, it was not until the then prime minister personally endorsed the idea of a republic in 1994 that the issue aroused any significant public interest or debate. Drawing on the campaign for a republic in Australia, Jim Bolger proposed a referendum in New Zealand and suggested that the turn of the century was an appropriate time symbolically for this country to break its remaining constitutional ties with Britain. Far from underestimating the difficulty of his task, he readily conceded that 'I have picked no sentiment in New Zealand that New Zealanders would want to declare themselves a republic'. 1 This view was reinforced by national survey and public opinion poll data, all of which showed strong public support for the monarchy. Nor has the restrained advocacy for a republic from Helen Clark, prime minister from 1999, done much to change this. Public sentiment notwithstanding, a number of commentators have speculated that a New Zealand republic is inevitable and that any move in that direction by Australia would have a dramatic influence on public opinion in New Zealand. Australia's decision in a national referendum in 1999 to retain the monarchy raises the question of what effect, if any, that decision had on opinion on this side of the Tasman. In this chapter we will discuss the nature of the monarchy in New Zealand, focusing on the changing role and influence of the Queen's representative, the governor-general, together with an examination of some of the factors that might have an influence on New Zealand becoming a republic.
  • Università Degli Studi Di Milano Corso Di

    Università Degli Studi Di Milano Corso Di

    UNIVERSITÀ DEGLI STUDI DI MILANO CORSO DI DOTTORATO DI RICERCA IN SCIENZE DEL PATRIMONIO LETTERARIO ARTISTICO E AMBIENTALE XXIX CICLO TESI DI DOTTORATO DI RICERCA IMAGO MUSICAE: FEDERICO TIEZZI DAL TEATRO ALL’OPERA L-ART/07 Biagio SCUDERI TUTOR Chiar.mo Prof. Emilio SALA COORDINATORE DEL DOTTORATO Chiar.mo Prof. Alberto CADIOLI Anno Accademico 2016/2017 ! INDICE Introduzione………………………………………………………………….....3 PARTE PRIMA Cap. 1 Appunti per una teatrografia: 1968-2017……………………..11 Cap. 1.1 Gli anni Settanta, l’adolescenza teatrale………………11 Cap. 1.2 Gli anni Ottanta, verso un teatro di poesia…………….20 Cap. 1.3 Gli anni Novanta, l’opera lirica……………………….26 Cap. 1.4 Gli anni 2000, l’impegno istituzionale………………...33 Cap. 1.5 Lavori in corso…………………...……………………42 Cap. 1.6 La musica filigrana della drammaturgia………………45 PARTE SECONDA Cap. 2 Le regie operistiche: 1991-2009………………………………51 Cap. 2.1 Norma, 1991…………………………………………..51 Cap. 2.1.1 Un dramma, due tempi e tre spazi…………….53 Cap. 2.1.2 Dalla carta alle tavole………………………....64 Cap. 2.1.3 Ut pictura theatrum……………………………65 Cap. 2.2 Il barbiere di Siviglia, 1994-1995……………………..79 Cap. 2.3 Madama Butterfly, 1997………………………………86 Cap. 2.4 La sonnambula, 2000………………………………….93 Cap. 2.5 Nox erat-Dido and Æneas, 2000………………….....101 Cap. 2.6 Il trovatore, 2001…………………...………………..105 Cap. 2.7 I cavalieri di Ekebù, 2004……………………………109 Cap. 2.8 Die Walküre e Parsifal, 2005-2007……...…………..121 Cap. 2.9 Don Quichotte, 2006…………………………………133 Cap. 2.10 Iris, 2006……………………………………………..143 ! 1 Cap. 2.11 Carmen, 2006………………………………………...155 Cap. 2.12 Simon Boccanegra, 2009-2010………………………163 Cap.
  • Prã©Vostâ•Žs Manon Lescaut and Her Transition to the Operatic Stage

    Prã©Vostâ•Žs Manon Lescaut and Her Transition to the Operatic Stage

    Grand Valley State University ScholarWorks@GVSU Honors Projects Undergraduate Research and Creative Practice Winter 2011 Prévost’s Manon Lescaut and Her Transition to the Operatic Stage Lily Guerrero Grand Valley State University Follow this and additional works at: http://scholarworks.gvsu.edu/honorsprojects Recommended Citation Guerrero, Lily, "Prévost’s Manon Lescaut and Her Transition to the Operatic Stage" (2011). Honors Projects. 79. http://scholarworks.gvsu.edu/honorsprojects/79 This Open Access is brought to you for free and open access by the Undergraduate Research and Creative Practice at ScholarWorks@GVSU. It has been accepted for inclusion in Honors Projects by an authorized administrator of ScholarWorks@GVSU. For more information, please contact [email protected]. Prévost’s Manon Lescaut and Her Transition to the Operatic Stage Lily Guerrero Senior Project, Frederik Meijer Honors College Grand Valley State University Dr. Kathryn Stieler, advisor 2 Prévost’s 1731 novel L'Histoire du chevalier des Grieux et de Manon Lescaut was an extremely controversial publication during its time. While the title expresses that it is a story concerning both Des Grieux and Manon, the latter is the character of interest for most readers. Many composers have fallen in love with this dangerous literary figure, and Manon’s story has culminated in operas by Massenet, Puccini, Henze, and Auber. What is it about Manon that inspires composers to translate Prévost’s written word to the operatic stage? Are these adaptations successful pieces of the operatic repertoire? Does Manon’s seemingly fickle nature become a caricature when transferred to the libretto, or do artistic teams successfully interpret this femme fatale of the stage? A study of the infatuation artists have with Manon and their commitment to the integrity of Prévost’s original Manon in their theatrical renditions of the character will shed light on these questions.