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Fabulously Tidal — Issue 117, 1 January 2018
Fabulously Tidal — Issue 117, 1 January 2018 SPONSORED FEATURE — PHILIP SAWYERS' THIRD SYMPHONY Alice McVeigh: 'This is a fabulously tidal symphony, with wild expanses of differing moods, but it begins with a ripple of unease. We in the cello section were told to play the opening with as much stillness as possible, allowing the first theme to grow as it weaves into violins and violas, into threads of flute and oboe, and — from there — into a tempestuous section of interweaving themes. The argument descends into a woodwind quarrel, resolved by flute and oboe, decorated by horns — while the strings continue to niggle and churn away at any sense of calm. 'Then solo bassoon ignites a new, still tenser, section. The violins take over, lightly but resolutely, answered by middle strings conveying a sense of tenderness — but with a bitter aftertaste. (This is incidentally one of Sawyers' most characteristic strengths: a tenderness, never saccharine, often undermined by subtle discontent.) From the brass comes the first glimpse of escape: the powerful broken octave theme over which the other themes furiously contend. 'The cellos at the recapitulation, now deepened and enriched, are twisted by Sawyers into something passionate and grounded in lower brass, reinforced by timpani. The movement ends with the heavy brass seemingly triumphant over the strings' stubborn reiteration of the theme. Still, the lower strings' pessimism prevails. 'Tutti violins kick-start the second movement with a dramatic leap from their richest register, only yielding to keening solo oboe. 'The sobered strings leave the solo winds to mourn, yet, with characteristic Sawyers intensity, something is brewing at subterranean depths: eventually, the violas' chuntering is answered by full insistent brass, in a stormily ecstatic tantrum. -
L'enfant Et Les Sortilèges
RAVEL L’Enfant et les sortilèges Ma Mère l’Oye – Complete ballet Soloists • Choirs Orchestre National de Lyon Leonard Slatkin Maurice L’Enfant et les sortilèges 44:41 ) Danse des Rainettes (Dance of the Frogs) 2:11 ¡ Sauve-toi, sotte! Et la cage? La cage? RAVEL 1 J’ai pas envie de faire ma page (Keep away, fool! And the cage? The cage?) (1875-1937) (I don’t want to do my schoolwork) (L’Enfant) 2:20 (L’Ecureuil, la Rainette) 0:49 2 Bébé a été sage? Il a fini sa page? ™ La cage, c’était pour mieux voir ta prestesse L’Enfant et les sortilèges (1925) (Has Baby been good? Has he finished his work?) (The cage was to see your quickness better) (Maman) 1:13 (L’Enfant, l’Ecureuil) 1:54 (The Child and the Spells) 3 Ça m’est égal! Ça m’est égal! £ Ah! c’est l’Enfant au couteau! (I don’t care! I don’t care!) (L’Enfant) 1:11 (Ah! It’s the Child with the knife!) Fantaisie lyrique 4 Votre serviteur humble, Bergère (Les Bêtes et les Arbres) 0:39 Libretto by Colette (1873-1954) (Your humble servant, Chair) ¢ Il a pansé la plaie (Le Fauteuil, la Bergère) 1:47 (He has bandaged the wound) L’Enfant (The Child) . Hélène Hébrard, Soprano 5 Ding, ding, ding, ding (Les Bêtes et les Arbres, l’Ecureuil) 2:25 (L’Horloge comtoise, l’Enfant) 1:32 ∞ Il est bon, l’Enfant, il est sage Maman, la Libellule, la Tasse chinoise 6 How’s your mug? (La Théière) 0:51 (He’s good, the Child is good) (Mother, The Dragonfly, The Chinese Cup) . -
Les Séjours D'euridice
Automne et hiver euridice opéra 2006-2007 séjours culturels 5 rue du 4 septembre - 13100 Aix-en-Provence Tél. +33 (0) 442 91 33 91 - Fax +33 (0) 442 91 33 90 [email protected] - www.euridice-opera.com heures d’ouverture culturels séjours du lundi au vendredi de 9 h à 12 h et de 14 h à 18 h Agence de voyages, licence n° LI 013 96 00 98 SARL au capital de 108 000 E - R.C.S Aix-en-Provence B 402 294 730 - NAF 633 Z euridice opéra Garantie financière 99 092 E - Deutsche Bank, 3 avenue de Friedland, 75008 Paris RC Professionnelle - Generali France, 5 rue de Londres, 75009 Paris, Police n° 56.204.843.V La quête éternelle du bonheur trouve son apaisement dans la musique… euridice Edito Calendrier . 4 desmatières Table opéra séjours culturels A feuilleter sans modération, voici notre sélection de Les séjours d’Euridice . 6 voyages lyriques pour l’automne et l’hiver 2006. Vous y Envolée luxueuse à Salzbourg et Vienne . 7 trouverez un large choix de séjours individuels inoubliables. Escapade à Valencia et en Andalousie . 8 Nos forfaits répondent à toutes vos exigences et vous Rembrandt à Amsterdam . 10 laissent la plus grande liberté sur place. Ils sont aussi un cadeau idéal pour fêter avec éclat toute grande occasion. Berlin, Staatsoper Unter den Linden, Nous vous proposons : Deutsche Oper . 11 D’excellentes places de spectacle Budapest, Opera . 18 Une sélection des plus beaux hôtels Copenhague, Det Kongelige Teater . 20 Un service personnalisé de qualité Une grande facilité de réservation Dresde, Semperoper . -
Diszkográfia Az Első Kötethez
© Typotex Kiadó Diszkográfia az első kötethez Janet Baker: Full Circle Her last year in Opera Gluck: Alceste. The Royal Opera Covent Garden Donizetti: Stuart Maria. English National Opera Gluck: Orfeo ed Euridice. Glyndebourne Festival Opera Felvétel: 1992 Warner, NVC ARTS, 2006, DVD 50-51011-4855-2-7 Beethoven: Fidelio Waltraud Meier, Plácido Domingo, Falk Stuckmann, René Pape, Soile Isokoski, Werner Güra, Kwangchul Youn Chor der Deutschen Staatsoper Berlin, Staatskapelle Berlin Vezényel: Daniel Barenboim Felvétel: Groβer Sendesaal, Berlin, May/June 1999 Teldec, 1999, 2 CD 3984-25249-2 Beethoven: Fidelio Dietrich Fischer-Dieskau, Hans Sotin, René Kollo, Gundula Janowitz, Manfred Jungwirth, Lucia Popp, Adolf Dallapozza, Karl Terkal, Alfred Sramek Wiener Staatsoperchor, Wiener Philharmoniker Vezényel: Leonard Bernstein Felvétel: Wien, Musikverein, Groβer Saal, 2/1978 Deutsche Grammophon, 1978, 2 CD 419 438-2 Beethoven: Fidelio Leonie Rysanek, Judith Blegen, Jon Vickers, Walter Berry, Giorgio Tozzi, Murray Dickie, John Macurdy, Leo Goeke, Robert Goodloe Orchestra e coro dell’Opera di San Francisco Vezényel: Karl Böhm Élő felvétel: 29. 11. 1968, San Francisco Melodram, 1990, 2 CD 27086 Beethoven: Fidelio Michael Schade, Elizabeth Norberg-Schulz, Matthias Hölle, Deborah Voigt, www.interkonyv.hu © Fodor Géza jogutóda © Typotex Kiadó 248 • Mi szól a lemezen? Günter von Kannen, Andreas Schulist, Wielfried Vorwol, Ben Heppner, Thomas Quasthoff Symphonieorchester und Chor des Bayerischen Rundfunks, Bavarian Radio Symphony Orchestra and Chorus -
Enzo Dara - Legenda Komické Opery
JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra zpěvu Sólový zpěv Enzo Dara - legenda komické opery Diplomová práce Autor práce: David Szendiuch Vedoucí práce: doc. Mgr. MgA. Monika Holá Ph.D. Oponent práce: PhDr. Alena Borková Brno 2015 Bibliografický záznam Szendiuch, David: Enzo Dara - legenda komické opery (Enzo Dara - legend of comic opera). Brno: Janáčkova akademie múzických umění v Brně, Hudební fakulta, Katedra zpěvu, 2015, s. 49. Vedoucí magisterské práce doc. Mgr. MgA. Monika Holá Ph.D. Anotace Diplomová práce na téma „Enzo Dara - legenda komické opery“ pojednává o italském operním pěvci Enzo Darovi. V práci je dokumentován vývoj jeho bohaté pěvecké kariéry, která od počátku 70. let minulého století nevyhnutelně mířila k světovým operním jevištím. Cílem je představit a vyzdvihnout tohoto výjimečného operního pěvce, který dokázal v průběhu své kariéry zvládnout téměř všechny basové komické role na nejvyšší mistrovské úrovni. Nemalou měrou tak přispěl k obohacení hudební kultury, která si zasluhuje podrobnější prezentaci v českém hudebním prostředí. V nejlepších letech svého života, zužitkoval své životní zkušenosti v pozici režiséra a pedagoga. Annotation This Master's Thesis, with the subject "Enzo Dara- the legend of comical opera", deals about Italian singer Enzo Dara. In the master's thesis it is described his rich singing career, which was, inevitable, since the beginning of seventies of last century, heading to the worlds’ opera stages. The aim of the master's thesis is to introduce as well as to emphasize this extraordinary opera singer who managed during his career to deal with all his bass comical roles at the most possible highest masterly level. -
Stony Brook Opera 2015-2016 Season
LONG ISLAND OPERA GUILD NEWSLETTER MARCH 2016 Stony Brook Opera 2015-2016 Season A letter from the Artistic Director of Stony Brook Opera Our current season will end with a semi-staged concert performance of Giacomo Puccini’s beloved masterpiece La Department and friends from New York City who attended Bohème, sung in the original Italian language with projected those performances all told me that from a theatrical point of titles in English. The Stony Brook Symphony will be on stage, view nothing was lacking, and that they enjoyed immensely with the opera chorus behind it on risers. The Stony Brook being able to see how the singers, chorus, and orchestra Opera cast will perform from memory on the stage space in interact in the overall musical and dramatic experience. That is front of the orchestra. Timothy Long will conduct the cast, not possible when the orchestra is out of sight, as it always is chorus and orchestra. Brenda Harris, Performing Artist in in a full production. From a theatrical point of view, La Residence and a leading soprano in American regional opera Bohème presents a far greater challenge than Lucia did, in part will direct the singers, who will be fully blocked, and will use because it calls for so many “things” on stage throughout the props and furniture and minimal costuming as appropriate. opera—not only essential furniture pieces, but also numerous Tomas Del Valle of the Theatre Arts Department makes his small hand props, all of which are vital to the narrative, and Stony Brook Opera debut as the lighting designer, and he is carry great emotional weight in the plot, such as the candle planning exciting theatrical lighting for the space where the and the key, and Mimì’s bonnet, to name a few. -
José De Nebra: El “Lope De Vega” De La Lírica Española
LEONOR ORTEGA ALCÁNTARA “DESDE EL PARNASO” JOSÉ DE NEBRA: EL “LOPE DE VEGA” DE LA LÍRICA ESPAÑOLA Leonor Ortega Alcántara Licenciada en Filología Hispánica Profesora en el IES “Arroyo de la Miel”, Málaga 1. Introducción. Desde la muerte de Sebastián Durón…los italianos tuvieron el camino franco para imponer su estilo en la música española. Sin embargo, Literes mantuvo hasta cierto punto la tradición española frente al empuje de los Facco, Mele, Coradini, Corselli y un largo etcétera. A la muerte de Literes la música nacional encontró en José de Nebra un continuador de la tradición polifónica hispana…lo cual no impide que otras composiciones muestren a Nebra como el más avezado maestro en la asimilación de ciertos procedimientos y del espíritu del barroco italiano, que era omnipresente en Europa1. 1 Ruiz Tarazona, Andrés, “José de Nebra, luminaria del barroco”, El Cultural, 9 de enero de 2002. Isla de Arriarán,Isla XLII-XLIII, de Arriarán pp. 53-64— 53 Desde el Parnaso: José de Nebra: el “Lope de Vega”... Sirva esta cita de eficaz introducción a la situación histórica y musical que el compositor aragonés vivió y que, con gran soltura, supo unir la tradición musical de Hidalgo, Durón y Literes a las novedades de la ópera seria italiana que tendrían un gran defensor en el ministro Carlo Broschi, más conocido como Farinelli. 2. Vida y obra. No se poseen muchos datos biográficos de Nebra. Don José Mel- chor Gaspar de Nebra Blasco procede de una familia de músicos y de organistas de cierta importancia; nació en Calatayud el 6 de enero de 1702 y recibió las primeras nociones musicales de su padre José Antonio Nebra Mezquita2 y al igual que sus hermanos3, se dedicó a la composición musical a la par que realizó su cargo de organista de la Catedral de Cuenca y maestro de los Infantes de Coro4. -
IDOMENEO EN MEXICO (O Un Pretexto Para Pasearse Por Algunos Mitos Griegos) II ROBERTO KRETSCHMER
Este País 95 Febrero 1999 IDOMENEO EN MEXICO (o un pretexto para pasearse por algunos mitos griegos) II ROBERTO KRETSCHMER Mozart adoraba a su Idomeneo. Hasta el fin de sus días lo consideró su ópera consentida, la primogénita de sus siete óperas maestras. Y no es difícil entender por qué. Después de un deprimente pero no improductivo receso de diez años, en que aquel niño prodigio que deleitó a las cortes europeas no logra todavía transformarse y ser reconocido como el genio musical que él sabía que traía adentro —súbitamente, Deus ex machina—, el melómano y excelente flautista Karl Theodor, príncipe elector Bavaria, le encarga la composición de una ópera seria para el carnaval de 1781. Es probable que el frugal príncipe bávaro —por recomendación de Cannabich, director de la orquesta de Mannheim— acudiera por razones económicas al jovenzuelo Mozart (su súbdito, pues Salzburgo era parte de Bavaria entonces) y a Varesco, un jesuita italiano oriundo de Trieste pero radicado y mal pagado en Salzburgo, donde además murió en la miseria en 1805. Ordenar una ópera seria a consagrados como Gluck, Paisiello, Mercadante o Salieri, y usando a un libretista como Metastasio, hubiera salido demasiado caro. En cambio Mozart y Varesco, ambos radicados en la lánguida Salzburgo y aún lejos de la fama, aceptarían gustosos el encargo por un honorario mucho menor (Varesco recibió a regaña-dientes 90 ducados y Mozart 200 [?] ducados; un ducado era igual a 20 dólares actuales). Y así fue. ¡Su tacañez; nuestra ganancia! De no haber sido así, tendríamos más de lo mismo de Paisiello o de Salieri. -
Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
(De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification. -
|What to Expect from L'elisir D'amore
| WHAT TO EXPECT FROM L’ELISIR D’AMORE AN ANCIENT LEGEND, A POTION OF QUESTIONABLE ORIGIN, AND THE WORK: a single tear: sometimes that’s all you need to live happily ever after. When L’ELISIR D’AMORE Gaetano Donizetti and Felice Romani—among the most famous Italian An opera in two acts, sung in Italian composers and librettists of their day, respectively—joined forces in 1832 Music by Gaetano Donizetti to adapt a French comic opera for the Italian stage, the result was nothing Libretto by Felice Romani short of magical. An effervescent mixture of tender young love, unforget- Based on the opera Le Philtre table characters, and some of the most delightful music ever written, L’Eli s ir (The Potion) by Eugène Scribe and d’Amore (The Elixir of Love) quickly became the most popular opera in Italy. Daniel-François-Esprit Auber Donizetti’s comic masterpiece arrived at the Metropolitan Opera in 1904, First performed May 12, 1832, at the and many of the world’s most famous musicians have since brought the opera Teatro alla Cannobiana, Milan, Italy to life on the Met’s stage. Today, Bartlett Sher’s vibrant production conjures the rustic Italian countryside within the opulence of the opera house, while PRODUCTION Catherine Zuber’s colorful costumes add a dash of zesty wit. Toss in a feisty Domingo Hindoyan, Conductor female lead, an earnest and lovesick young man, a military braggart, and an Bartlett Sher, Production ebullient charlatan, and the result is a delectable concoction of plot twists, Michael Yeargan, Set Designer sparkling humor, and exhilarating music that will make you laugh, cheer, Catherine Zuber, Costume Designer and maybe even fall in love. -
Newsletter • Bulletin
NATIONAL CAPITAL OPERA SOCIETY • SOCIETE D'OPERA DE LA CAPITALE NATIONALE Newsletter • Bulletin Summer 2000 L’Été A WINTER OPERA BREAK IN NEW YORK by Shelagh Williams The Sunday afternoon programme at Alice Tully Having seen their ads and talked to Helen Glover, their Hall was a remarkable collaboration of poetry and words new Ottawa representative, we were eager participants and music combining the poetry of Emily Dickinson in the February “Musical Treasures of New York” ar- recited by Julie Harris and seventeen songs by ten dif- ranged by Pro Musica Tours. ferent composers, sung by Renee Fleming. A lecture We left Ottawa early Saturday morning in our bright preceded the concert and it was followed by having most pink (and easily spotted!) 417 Line Bus and had a safe of the composers, including Andre Previn, join the per- and swift trip to the Belvedere Hotel on 48th St. Greeted formers on stage for the applause. An unusual and en- by Larry Edelson, owner/director and tour leader, we joyable afternoon. met our fellow opera-lovers (six from Ottawa, one from Monday evening was the Met’s block-buster pre- Toronto, five Americans and three ladies from Japan) at miere production of Lehar’s The Merry Widow, with a welcoming wine and cheese party. Frederica von Stade and Placido Domingo, under Sir Saturday evening the opera was Offenbach’s Tales Andrew Davis, in a new English translation. The oper- of Hoffmann. This was a lavish (though not new) pro- etta was, understandably, sold out, and so the only tick- duction with sumptuous costumes, sets descending to ets available were seats in the Family Circle (at the very reappear later, and magical special effects. -
Georg Friedrich Händel (1685-1759)
Georg Friedrich Händel (1685-1759) Sämtliche Werke / Complete works in MP3-Format Details Georg Friedrich Händel (George Frederic Handel) (1685-1759) - Complete works / Sämtliche Werke - Total time / Gesamtspielzeit 249:50:54 ( 10 d 10 h ) Titel/Title Zeit/Time 1. Opera HWV 1 - 45, A11, A13, A14 116:30:55 HWV 01 Almira 3:44:50 1994: Fiori musicali - Andrew Lawrence-King, Organ/Harpsichord/Harp - Beate Röllecke Ann Monoyios (Soprano) - Almira, Patricia Rozario (Soprano) - Edilia, Linda Gerrard (Soprano) - Bellante, David Thomas (Bass) - Consalvo, Jamie MacDougall (Tenor) - Fernando, Olaf Haye (Bass) - Raymondo, Christian Elsner (Tenor) - Tabarco HWV 06 Agrippina 3:24:33 2010: Akademie f. Alte Musik Berlin - René Jacobs Alexandrina Pendatchanska (Soprano) - Agrippina, Jennifer Rivera (Mezzo-Soprano) - Nerone, Sunhae Im (Soprano) - Poppea, Bejun Mehta (Counter-Tenor) - Ottone, Marcos Fink (Bass-Bariton) - Claudio, Neal Davis (Bass-Bariton) - Pallante, Dominique Visse (Counter-Tenor) - Narciso, Daniel Schmutzhard (Bass) - Lesbo HWV 07 Rinaldo 2:54:46 1999: The Academy of Ancient Music - Christopher Hogwood Bernarda Fink (Mezzo-Sopran) - Goffredo, Cecilia Bartoli (Mezzo-Sopran) - Almirena, David Daniels (Counter-Tenor) - Rinaldo, Daniel Taylor (Counter-Tenor) - Eustazio, Gerald Finley (Bariton) - Argante, Luba Orgonasova (Soprano) - Armida, Bejun Mehta (Counter-Tenor) - Mago cristiano, Ana-Maria Rincón (Soprano) - Donna, Sirena II, Catherine Bott (Soprano) - Sirena I, Mark Padmore (Tenor) - Un Araldo HWV 08c Il Pastor fido 2:27:42 1994: Capella