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Jamie Shannon Ferguson [email protected] Mezzo-Soprano D3-A5 / Belt/Mix D3-F5 OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO ROLES PERFORMED Next to Normal Diana The Longwood Players The Theory of Relativity Amy Boston Conservatory at Berklee Gentlemen Prefer Blondes Dorothy Shaw College Light Opera Company The Merry Widow Frou-Frou (Grisette) College Light Opera Company Beauty and the Beast Ensemble College Light Opera Company Guys and Dolls Ensemble/ Havana dancer College Light Opera Company Of Thee I Sing Ensemble/ Tap Soloist College Light Opera Company Rent Joanne Jefferson Westside Theatre Foundation Into the Woods Witch Mississippi College Music Theatre Beehive Jamie-Shannon Ferguson Carey Dinner Theatre Church Basement Ladies Mavis Carey Dinner Theatre Our Town Mrs. Webb Mississippi College Theatre South Pacific Nellie Mississippi College Music Theatre Les Misérables Fantine Vicksburg Theatre Guild OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO EDUCATION / TRAINING MFA in Musical Theatre from Boston Conservatory at Berklee 2018, Voice and Speech TA BM in Vocal Performance: Musical Theatre from Mississippi College 2016, magna cum laude Voice: Christy Turnbow, Paul D’Agostino (Linklater), Bryn Austin (Dialects), Kristen Johnson Gunn Acting: Candice Brown, Andrea Southwick (Meisner), Olivia D’Ambrosio, David Gammons (Shakespeare) Movement: Chris Webb (Viewpoints) Dance: Tatiana Obeso, Dean Vollick, Kristin Katsimpas OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO AWARDS / RECITALS Senior Music Theatre Showcase Mississippi College 2016 Second Place Mississippi NATS, Upper Musical Theatre Women 2016 Junior Recital Mississippi College 2015 Honorable Mention Voices of Mississippi: student 2014 Semi-finalist Southern Regional NATS 2014 Winner Mississippi NATS, Lower Musical Theatre 2014 Semi-finalist Southern Regional NATS 2013 Title Holder Miss Clinton, top 15 Miss Mississippi MAO 2012 OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO OTHER SKILLS SINGING: belt, choral, country, jazz, legit, operatic DANCE: intermediate ballet, beginner tap, beginner/intermediate jazz DIALECTS: RP, Estuary, Cockney, Scottish, Southern (hard & soft R), Minnesotan, Yiddish, German ICE SKATING: Freestyle 3 INSTRUMENTS: intermediate piano OTHER: good with children and animals, teaching/tutoring, choral conducting, worship leading, dialect coach, hair and makeup, pageant coaching (walks, interview, talent), license/passport, fluent in IPA.

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The Story of a White Blackbird Alfred De Musset
The Story of a White Blackbird Alfred de Musset The Harvard Classics Shelf of Fiction, Vol. XIII, Part 3. Selected by Charles William Eliot Copyright © 2001 Bartleby.com, Inc. Bibliographic Record Contents Biographical Note Criticism and Interpretation By George Pellissier Chapter I Chapter II Chapter III Chapter IV Chapter V Chapter VI Chapter VII Chapter VIII Chapter XI Biographical Note LOUIS CHARLES ALFRED DE MUSSET was born in the heart of old Paris on November 11, 1810. His father, who held various important state offices, is remembered chiefly as the editor and biographer of Rousseau. Alfred was brought up in a literary atmosphere and his early experiments in poetry and the drama convinced Sainte Beuve that he possessed genius. When he was nineteen his “Contes d’Espagne et d’Italie” had a sensational success. Though he is reckoned a member of the romantic school, he was sufficiently detached and critical to be aware of its foibles, and in his “Ballade à la lune,” contained in this first volume, he poked fun at the romantic worship of the moon, comparing it as it shone above a steeple to the dot over an i. He had a strong admiration for certain elements in classicism, and it seemed at one time that he might found a new school combining the virtues of both the old and new. But his drama, “Une nuit vénitienne,” was a failure on the stage, and in the future he wrote only to be read and so missed much of the influence he might have had on the theatre of his day.
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MODELING HEROINES from GIACAMO PUCCINI's OPERAS by Shinobu Yoshida a Dissertation Submitted in Partial Fulfillment of the Requ
MODELING HEROINES FROM GIACAMO PUCCINI’S OPERAS by Shinobu Yoshida A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in The University of Michigan 2011 Doctoral Committee: Associate Professor Naomi A. André, Co-Chair Associate Professor Jason Duane Geary, Co-Chair Associate Professor Mark Allan Clague Assistant Professor Victor Román Mendoza © Shinobu Yoshida All rights reserved 2011 TABLE OF CONTENTS LIST OF FIGURES ...........................................................................................................iii LIST OF APPENDECES................................................................................................... iv I. CHAPTER ONE........................................................................................................... 1 INTRODUCTION: PUCCINI, MUSICOLOGY, AND FEMINIST THEORY II. CHAPTER TWO....................................................................................................... 34 MIMÌ AS THE SENTIMENTAL HEROINE III. CHAPTER THREE ................................................................................................. 70 TURANDOT AS FEMME FATALE IV. CHAPTER FOUR ................................................................................................. 112 MINNIE AS NEW WOMAN V. CHAPTER FIVE..................................................................................................... 157 CONCLUSION APPENDICES………………………………………………………………………….162 BIBLIOGRAPHY..........................................................................................................
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Under the July Monarchy (1830-1848)
REPRESENTATIONS OF “LE TRAVAIL” UNDER THE JULY MONARCHY (1830-1848) by Rebecca Terese Powers A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland July, 2015 Representations of le travail under the July Monarchy ABSTRACT This project traces the definition of a social reality of labor under the July Monarchy. More specifically, it investigates how the ubiquitous but elusive term travail – understood as manual, non-agricultural work – operates at different levels of discourse in the 1830s and 1840s. To underline this specific cultural context, I employ the French travail rather than the English “work” or “labor.” French workers expected improved social conditions after their contribution to the 1830 Revolution, but were promptly denied this by the new Constitutional Monarchy. Their frustration came to a head in 1848, when they again revolted, demanding the right to work – le droit au travail. This moment is often considered the dawn of the French labor movement, but I contend that it is in the years leading up to 1848 that travail undergoes its most dramatic definition and consecration as a modern value. In order to better understand how the term took on such significance, I examine a variety of cultural documents, both literary and what we would today consider paraliterary. The corpus includes novels by Honoré de Balzac and George Sand; moralist inquiries by René Villermé and Honoré-Antoine Frégier; Jules Michelet’s historiography of the French people; and writings by the workers themselves, whose first-hand accounts of physical labor were becoming increasingly influential.
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Huart, Physiologie De La Grisette Summer 18
Physiologie de la Grisette1 by Louis Huart Chapitre II : Où l’auteur aborde franchement son sujet. Ce n’est pas d’aujourd’hui que les grisettes ont été appréciées, courtisées et physiologiées.2 Il y a deux cents ans qu’un de nos plus grands poètes leur a consacré les vers suivants, qui, pour être de l’époque de Louis XIV, ne sont pas déjà trop rococos: Une grisette est un trésor, Et, sans se donner de la peine, Et sans qu’au bal on la promène, On en vient aisément à bout ; On lui dit ce qu’on veut, bien souvent rien du tout : La peine est d’en trouver une qui soit fidèle3. La grisette de notre époque a bien quelque ressemblance avec celle du bon La Fontaine. C’est toujours un trésor, si vous voulez ; mais il faut la faire danser beaucoup et souvent : autrement, pas d’affaires, vous n’en viendrez jamais à bout. On lui dit toujours ce qu’on veut; elle y croit toujours. Quant à la fidélité, elle en a tout autant que certaines grandes dames, ne vous en déplaise. Il en est de la grisette comme d’une foule d’excellentes choses qui s’en vont ; et pour peu que nous allions quelque temps encore, nous n’aurons bientôt plus rien de bon. La grisette, la véritable et non contrefaite, est une jeune fille de seize à trente ans qui travaille, coud ou brode 1 For an explanation of the term “grisette,” see introduction to Paul de Kock’s “Un Bal des grisettes” in this volume.
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La Grisette Dans Les Romans Et Les Physiologies (1825-1850) : Une Incarnation De Paris
LA GRISETTE DANS LES ROMANS ET LES PHYSIOLOGIES (1825-1850) : UNE INCARNATION DE PARIS. NUANCES ET AMBIGUÏTÉS D’UN STÉRÉOTYPE Qui ne connaît la grisette, ne se rappelle croquis, lithographies et chansons, de Monnier et Gavarni à Béranger et Puccini1 ? Laissons ses amours faciles : « Quoi ! si tôt avoir cédé, dira-t-on », et elle « était novice et sage ? oui, et pourquoi donc différer ; un peu plus tôt, un peu plus tard, ne faut-il pas toujours en venir là? » écrit Maximilien Perrin2. Phémie, Musette et Mimi sont aussi vives chez H. Murger (Scènes de la vie de bohème). Déjà pour Béranger3 cette attitude volage, discrète ou agressive, est la marque des grisettes (mais aussi des ouvrières ou des demoiselles de boutique4) qui en outre se consolent facilement. Mais il est parfois des liaisons durables, et d’autre part Rigolette (Les Mystères de Paris), Nichette, l’héroïne d’Antonine de Dumas fils5, éprouveront un amour sérieux, d’autres aussi6. Certaines se tuent, incapables de vivre sans l’être aimé. Les Physiologies constatent le fait avec une sorte de fatalisme teinté d’ironie. Balzac et Musset sont vraiment émus par la fin d’Ida Gruget (Ferragus) ou de Bernerettte. Les grisettes ne vivent pas de leurs charmes, elles travaillent : elles ne sont pas des lorettes (mais elles peuvent le devenir)7. Pourtant Dumas fils nomme « courtisane » la Bernerette de Musset8, fort oisive, il est vrai. Les frontières se brouillent parfois : il y a dans l’amour de ces demoiselles de l’opportunisme, un peu de vénalité9. La plupart guigne le superflu, certaines sont près de demander le nécessaire, parfois tout le nécessaire.
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THE MERRY WIDOW Music by Franz Lehar English Dialogue by Gershom Clark Morningstar Lyrics by Adrian Ross and Ronald Orenstein
THE MERRY WIDOW Music by Franz Lehar English Dialogue by Gershom Clark Morningstar Lyrics by Adrian Ross and Ronald Orenstein FEATURES OF THIS SHOW The Merry Widow was a major hit in the United States, two years after it opened in Vienna. It boasted an English translation by Adrian Ross, a major lyricist in England. Although other librettos have been written for it since, Ross’s lyrics hold up very well, when modified for modern audiences. They convey the language that marks the period that is so important for the style of the show. Gershom Morningstar was commissioned by the Guild to rework the dialog, which was the show's weakest feature. New elements were added for plot depth and to increase the humor Obviously a star vehicle for a soprano as the Widow, the tenor De Rosillon and the soprano Valencienne have glorious duet material. The role of Danilo is one of the few chances for a baritone to be the romantic lead. The character moving the plot is Baron Zeta, who may be primarily an actor, as he sings little. There are good opportunities for supporting characters as well. CAST REQUIREMENTS Widow Hanna Glavari, soprano Marquis Cascada, baritone Count Danilo Danilovitch, baritone M. St. Brioche, a dandy, tenor Baron Mirko Zeta, actor General Cromov, actor, chorus Betush, his secretary, male or female actor Olga, his wife, actor, chorus Valencienne, his wife, soprano General Bogdanovitch, actor, chorus Camille, her lover, tenor Sylvaine, his wife, actor, chorus Zozo, the lead grisette, mezzo-soprano Praskovia Pritschitz, actor, chorus Six Grizettes, dancers Folk dancers, act 2 Chorus of embassy officials and their wives MUSICAL NUMBERS Overture........................................................................................
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2018 Lotte Lenya Competition Finals
20TH ANNIVERSARY Finalists from the 2017 Competition 2018 LOTTE LENYA COMPETITION FINALS Daytime Round Kilbourn Hall, Eastman School of Music Saturday, 14 April 2018, 11:00 am Each finalist will have fifteen minutes to present a program of four contrasting selections. 12:45 Benjamin Pattison, 27 To ensure that each contestant has the opportunity to sing his/her entire program, please “The Rain Song” from 110 in the Shade Schmidt/Jones withhold applause until the conclusion of each contestant’s final selection.For the “And where is the one who will mourn me when I’m gone?” daytime round, accompanists Lyndon Meyer and Shane Schag will alternate. from Down in the Valley Weill/Sundgaard “Una furtiva lagrima” from L’elisir d’amore Donizetti/Romani 11:00 John Tibbetts, 27 “If I Sing” from Closer Than Ever Shire/Maltby “This is New” from Lady in the Dark Weill/Gershwin “In Praise of Women” from A Little Night Music Sondheim -INTERMISSION- “Lieben, Hassen, Hoffen, Zagen” from Ariadne auf Naxos Strauss/von Hofmannsthal 2:00 Philip Stoddard, 26 “This is the Life” from Love Life Weill/Lerner “Or vi dirò...” from La bohème Puccini/Illica, Giacosa “Daybreak” from Floyd Collins Guettel 11:15 Andrea Lett, 27 “Ballade vom angenehmen Leben” “Youkali” Weill/Fernay from Die Dreigroschenoper Weill/Brecht “Vanilla Ice Cream” from She Loves Me Bock/Harnick “Joey, Joey, Joey” from The Most Happy Fella Loesser “Perfect” from Edges Pasek, Paul “Chacun le sait” from La fille du régiment Donizetti/Saint-Georges, Bayard 2:15 Christine Amon, 31 “Mister Snow” from
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Arts Event Discovery Packet for La Bohème!
Welcome to Pittsburgh Opera’s Arts Event Discovery Packet for La bohème! Activities and lesson suggestions are designed to supplement an excursion to the opera. Attending a student matinee can be a rich artistic experience—full of meaningful connections between real-life learning and academic skills. The contents of this packet address all Pennsylvania Academic Standards to enhance existing curricula, to create a real-life environment for learning, and to provide engaging opportunities for active involvement—before, during, and after the event. Look through the packet to discover strategies that apply to your classroom. Enjoy your trip and your discoveries about the opera! ___________________________________________________________________ Safety First! Pittsburgh Opera creates new stage sets or sections of scenery. The sets then need to be transported and installed, first in a rehearsal area, then on the stage of the Benedum Center for the Performing Arts. After an opera has run all scheduled performances, the set must be removed from the stage and stored, or shipped to another city for use by another opera company. • Develop a safety checklist for the people involved in each phase of the set building, installation, and removal process. Include artists, carpenters, electricians, truck drivers, and stagehands. What other people may be involved? Your list may include the following items: o Tools/Equipment Needed o Safety Procedures—Before, During and After Production • Consider the laws and regulations in effect to protect workers. Check the website of the Occupational Safety & Health Administration (OSHA) for some ideas about preventing and eliminating hazards in the workplace. • Organize your workflow by assigning specific tasks to the professionals on your list.
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A Much Loved Opera: La Bohème
A MUCH LOVED OPERA: LA BOHÈME Presented by George Kurti Plohn The title of this opera is not meant to be translated, we simply call it by its French name La bohème. Granted, in English it would be The bohemian. But what is its meaning? In our context, certainly it is not about somebody in the region of Bohemia, in the Czech Republic - I hasten to say - but rather people who practice an unconventional lifestyle, often in the company of like-minded people, with few permanent ties, and practicing free love. It involves musical, artistic, literary or spiritual pursuits. Puccini, the composer of La bohème, in his own private life was also a sort of bohemian himself. In his twenties, he went to Milan from his hometown, Lucca, and he studied hard there, while he was penniless and hungry most of the time. And he was also a great womanizer, which reached its highest point in the autumn of 1884, when at 36, he began a relationship with a 24 year old married woman named Elvira Gemignani. Elvira's husband, Narciso Gemignani, was himself an unrepentant philanderer, and Elvira's marriage was not a happy one. Elvira became pregnant by Puccini, and a son, Antonio, resulted from this affair. Elvira, Antonio and Elvira's daughter by Narciso, Fosca, began to live with Puccini shortly afterwards, when Narciso was killed by the husband of a woman that Narciso had an affair with. Only then, in early 1904, were Puccini and Elvira able to marry, and to legitimize Antonio. But the marriage between Puccini and Elvira was also troubled by infidelity, as Puccini had frequent parallel affairs himself, including with well-known singers such as the famous Austrian soprano Maria Jeritza, the Czech operatic legend Emmy Destinn, the Italian soprano Cesira Ferrani who was to sing Mimi’s role in La bohème at its premiere, and the outstanding Romanian-born soprano Hariclea Darclée.
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La Bohème Arts Event Discovery Packet COVER
Arts Event Discovery Packet Pittsburgh Opera Education thanks our for La bohème generous supporters: Synopsis: Students research, plan, and prepare for a Alcoa Foundation trip to Pittsburgh Opera’s student matinee Allegheny Regional Asset District performance of Puccini’s La bohème. American Eagle Outfitters Foundation Bayer Bobby Rahal Motorcar Company Pennsylvania Academic Content Standards BRIDGES & Company, Inc. Embedded in this Arts Discovery Event: Frick Fund of the Buhl Foundation Buncher Family Foundation ed “Father of the Italian Poster.” He helped • Arts and Humanities – 9.1, 9.2, 9.3, 9.4 Anne L. & George H. Clapp Charitable Trust form grandiose while advertising equally music. Dominion Foundation Eat’n Park Hospitality Group • Career Education and Work – 13.1, 13.2, 13.4 Eaton Corporation Eden Hall Foundation • Civics and Government – 5.1, 5.2, 5.3 Equitable Resources Foundation Fidelity Investments • Economics – 6.1, 6.2, 6.3, 6.4, 6.5 The Grable Foundation The Guilds of Pittsburgh Opera • Environment and Ecology – 4.2, 4.3, 4.4, 4.5, 4.8, 4.9 The Henry E. Haller, Jr. Foundation Highmark Blue Cross Blue Shield Giuseppe Giacosa and Luigi Illica • Family and Consumer Sciences – 11.1, 11.2, 11.3, Martha Mack Lewis Foundation National Endowment for the Arts The flamboyant created“Puccini La Boheme” was by German Art Nouveau master 11.4 Pennsylvania Council on the Arts The drama of the 19th Century dramatic advertised equally posters. Italian opera with was Pennsylvania Department of Community & • Geography – 7.1, 7.2, 7.3, 7.4 Music by Giacomo Puccini La bohème Economic Development transform the Italian poster into a grandiose art Pennsylvania Department of Education Adolpho Hohenstein (1854 – 1928), was nicknam who • Health, Safety, and Physical Education – 10.1, 10.2, The Pittsburgh Foundation 10.3, 10.4, 10.5 The PNC Financial Services Group, Inc.
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Paris Romantique, 1815-1848 Mai 2019 Une Exposition Présentée Au Petit Palais Et Au Musée De La Vie Romantique Du 22 Mai Au 15 Septembre 2019
DOSSIER DE PRESSE Paris Romantique, 1815-1848 Mai 2019 Une exposition présentée au Petit Palais et au musée de la Vie romantique du 22 mai au 15 septembre 2019 Du mardi au dimanche de 10h à 18h INFORMATIONS Nocturnes les vendredis jusqu’à 21h www.petitpalais.paris.fr Eugène Lami, Scène de Carnaval, place de la Concorde, 1834. Huile sur toile. Musée Carnavalet - Histoire de Paris Crédit : © Musée Carnavalet / Roger-Viollet Exposition organisée grâce au mécénat de #Parisromantique CONTACT PRESSE : Mathilde Beaujard Et avec le soutien de [email protected] 01 53 43 40 14 Exposition organisée avec le concours exceptionnel de Paris Romantique, 1815-1848 - du 22 mai au 15 septembre 2019 SOMMAIRE Communiqué de presse p. 3 Parcours de l’exposition p. 6 Scénographie de l’exposition p. 13 Catalogue de l’exposition p. 15 Les Ingres du musée de Montauban p. 16 Programmation à l’auditorium p. 17 Activités p. 23 Présentation du musée de la Vie Romantique p. 25 Paris Musées, le réseau des musées de la Ville de Paris p. 26 Le Petit Palais p. 27 Informations pratiques p. 28 2 Paris Romantique, 1815-1848 - du 22 mai au 15 septembre 2019 COMMUNIQUÉ DE PRESSE Après « Paris 1900, la Ville spectacle », le Petit Palais présente « Paris romantique » et pour- suit ainsi son évocation des grandes périodes fondatrices de l’identité de Paris. Cette expo- sition-événement offre un vaste panorama de la capitale durant les années romantiques, de la chute de Napoléon à la révolution de 1848. Plus de 600 œuvres -peintures, sculptures, cos- tumes, objets d’art et mobilier- plongent le visi- teur dans le bouillonnement artistique, culturel et politique de cette époque.
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Alain Lescart
Dr. A L A I N L E S C A R T 3138 Lighthouse Ridge Lane San Diego, CA. 92110. 619-578-4743 [email protected] EDUCATION University of Connecticut, Storrs, CT, USA. Ph.D. in French, September 2005. Dissertation Thesis: “Splendeur et misère de la grisette : L’évolution d’une figure emblématique.” Advised by Dr. Rae Beth Gordon. M.A. in French Studies, May 2003. Eastern Nazarene College, Quincy, MA, USA. M.S. in Marriage and Family Therapy, May 2001. Magna Cum Laude. Faculté Universitaire de Théologie Protestante, Brussels, Belgium. Agrégation (MAT), June 1993. Highest Honors. Public Lesson: “L’Inquisition: évolution de la position de L’Église sur l’intolérance & Marie et le culte marial.” Faculté Libre de Théologie, Vaux-sur-Seine (Académie de Versailles), France. M.A. Theology, February 1989. Thesis: “L’éducation religieuse des enfants dans plusieurs traditions chrétiennes du XVIè siècle.” Highest Honors. Licence in Theology, June 1983. D.E.U.G. in Theology, June 1981. Institut Technique Provincial du Brabant, CERIA, Brussels, Belgium Biochemist Technician Degree, June 1979 Professional Photography Degree, June 1978. Chemistry and Perfumery Technician Degree, June 1978 High School Diploma – Maturity Exam, June 1978 FELLOWSHIPS AND AWARDS Lescart – C.V. 1 2014-2015 Research and Special Project Grant (RASP) 2013 Tenure 2011-2012 Sabbatical for book on Fantasy Literature 2010-2011 Research and Special Project Grant (RASP) 2007-2008 Research and Special Project Grant (RASP) 2006-2007 Research and Special Project Grant (RASP) Wesleyan Center Grant. Point Loma Nazarene University 2005-2006 Research and Special Project Grant. (RASP) Point Loma Nazarene University, CA.
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