DOCSLIB.ORG

The 2017/18 Season: 70 Years of the Komische Oper Berlin – 70 Years Of

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The 2017/18 Season: 70 Years of the Komische Oper Berlin – 70 Years Of Press release | 30/3/2017 | acr | Updated: July 2017 The 2017/18 Season: 70 Years of the Komische Oper Berlin – 70 Years of the Future of Opera 10 premieres for this major birthday, two of which are reencounters with titles of legendary Felsenstein productions, two are world premieres and four are operatic milestones of the 20 th century. 70 years ago, Walter Felsenstein founded the Komische Oper as a place where musical theatre makers were not content to rest on the laurels of opera’s rich traditions, but continually questioned it in terms of its relevance and sustainability. In our 2017/18 anniversary season, together with their team, our Intendant and Chefregisseur Barrie Kosky and the Managing Director Susanne Moser are putting this aim into practice once again by way of a diverse program – with special highlights to celebrate our 70 th birthday. From Baroque opera to operettas and musicals, the musical milestones of 20 th century operatic works, right through to new premieres of operas for children, with works by Georg Friedrich Handel through to Philip Glass, from Jacques Offenbach to Jerry Bock, from Claude Debussy to Dmitri Shostakovich, staged both by some of the most distinguished directors of our time as well as directorial newcomers. New Productions Our 70 th birthday will be celebrated not just with a huge birthday cake on 3 December, but also with two anniversary productions. Two works which enjoyed great success as legendary Felsenstein productions are returning in new productions. Barrie Kosky is staging Jerry Brock’s musical Fiddler on the Roof , with Max Hopp/Markus John and Dagmar Manzel in the lead roles, and the magician of the theatre, Stefan Herheim, will present Jacques Offenbach’s operetta Barbe- bleue in a new, German and French version. All up, the program boasts nine full premieres of new productions and one as a concert performance, including Pelléas et Mélisande and The Nose (both staged by Barrie Kosky), Die Gezeichneten (staged by Calixto Bieito) and Philip Glass’ Satyagraha (staged by Sidi Larbi Cherkaoui), a series of four unique and outstanding works of the 20 th century. Additionally, there will be two world premieres: The Town Musicians of Bremen , a new German- Turkish children’s opera, and a production with the mezzo star Anne Sophie von Otter, the actor Wolfram Koch, and songs from the 1920s and ’30s. Märchen im Stiftung Oper in Berlin/Komische Oper Berlin Dr. Andrea C. Röber Behrenstraße 55–57, 10117 Berlin, Germany Press Officer Phone +49 (0)30 20260 370 [email protected] Fax +49 (0)30 20260 366 www.komische-oper-berlin.de Grand Hotel (with Max Hopp, musical direction by Adam Benzwi) opens a five- part series of concert operettas by Paul Abraham – and further sharpens the focus on the field of musical theatre from the 1920s and ’30s. Handel’s Semele continues the run of Baroque operas, and in November, the successful silent film festival Kino Varieté returns . Repertoire and Concerts After an extended absence, Calixto Bieito’s production of The Abduction from the Seraglio returns, as does Stefan Herheim’s Serse. The repertoire includes the successful productions The Pearls of Cleopatra, Il barbiere di Siviglia and Petrushka/L’Enfant et les Sortilèges from the current season, as well as Eugene Onegin , La belle Hélène and of course, the internationally acclaimed Magic Flute. In the 2017/18 season, the Komische Oper also welcomes two high-profile Kapellmeisters , in Ivo Hentschel and Jordan de Souza. For the symphony concerts, the orchestra of the Komische Oper Berlin is excited to welcome soloists and conductors such as Fazıl Say, Mischa Maisky, Daniel Hope, Nicola Benedetti, Chrisoph Eschenbach, Kristjan Järvi, and Katia and Merielle Labèque. The Projects Young and Selam Opera! Beyond our German-Turkish children’s opera premieres, Young Komische Oper and the intercultural project Selam Opera! are continuing with our successful work, enriching our existing project components with the addition of the Berliner Sing Along and the Pop-Up Opera . Every year, around 40,000 children and teenagers from all different backgrounds travel from Berlin and neighbouring Brandenburg come to see performances at the Komische Oper Berlin. The proportion of visitors from a non-German background is close to 10%. Advanced Ticket Sales and Streaming Advanced ticket sales for the 2017/18 season begins on 31 March 2017 at 11 a.m. In the new season, the Komische Oper will once again be live-streaming three premieres on the internet, free of charge ( Pelléas et Mélisande on 15.10.2017, Die Gezeichneten on 21.1.2018 and Barbe-bleu on 17.3.2018). To date, more than 185,000 people have been reached by the streams of the previous and current season. Stiftung Oper in Berlin/Komische Oper Berlin Dr. Andrea C. Röber Behrenstraße 55–57, 10117 Berlin, Germany Press Officer Phone +49 (0)30 20260 370 [email protected] Fax +49 (0)30 20260 366 www.komische-oper-berlin.de The season 2017/18 New Productions................................................................................... .............. 1 Festivals...................................................................................... .......................... 7 Repertoire, revivals, concerts...................................................... ....................... 8 Tours, livestreamings...................................................................... .................... 9 70th anniversary celebrations........................................................... .................. 10 Facts and figures.......................................................................................... ........ 11 Komische Oper Young!............................................................................... ........ 18 Selam Opera! ............................................................................................ ........... 22 Barrie Kosky, Artistic Director ................................................ ......................... 26 And why »comic«?............................................................................ ................... 34 Stiftung Oper in Berlin/Komische Oper Berlin Dr. Andrea C. Röber Behrenstraße 55–57, 10117 Berlin, Germany Press Officer Phone +49 (0)30 20260 370 [email protected] Fax +49 (0)30 20260 366 www.komische-oper-berlin.de Season 2017/18 New productions, Festivals, Revivals, Concerts, Tours, Live streamings Premieres Die Bremer Stadtmusikanten (Bremen Mızıkacıları) (The Town Musicians of Bremen) – World Premiere Children's opera in two acts [2017] by Attila Kadri Şendil (age 6 and older) Opera in German and Turkish A work commissioned by the Komische Oper Berlin Musical direction: Ivo Hentschel Staging: Tobias Ribitzki World premiere: 24 September, 2017 The famous tale by the Brothers Grimm about four displaced characters who take fate into their own hands and discover how much stronger they are as a group. The creator of this new German-Turkish children’s opera, in which bilingualism is presented as a natural part of our day-to-day lives, is the Turkish composer Attila Kadri Şendil. Born in İzmir, the composer Attila Kadri Şendil studied the clarinet and composing in İstanbul, Paris and Memphis/USA, and today teaches at the Akdeniz Üniversitesi in Antalya. Although based on Oriental tonal systems, his music – whose style is extremely wide-ranging – also sounds extremely familiar to Western European listeners. Although the sound of the orchestra is enriched with Turkish instruments such as the zurna, bağlama, oud and qanun, Sendil’s score for the Grimm’s fairytale (which is also known in Turkey) is also influenced by a whole variety of different musical sources. Pelléas et Mélisande Drame lyrique in five acts [1902] by Claude Debussy | Opera in French A co-production with the Nationaltheater Mannheim Musical direction: Jordan de Souza Staging: Barrie Kosky Premiere: 15 October, 2017 Last updated: July 2017. Subject to change. 1 | 19 With his deeply moving Eugene Onegin, Barrie Kosky took audiences and the press by storm – now he is once more peering into the ominous abyss of the human soul and tackling one of the most symbolic Fin de Siècle masterpieces. Nadja Mchantaf, who conquered the public’s heart as Cendrillon, Tatjana and Rusalka, will play Mélisande at the side of Dominik Köninger, the darling of the audience. Debussy congenially captured the ambiguous currents of the Maurice Maeterlinck’s play in a musical chamber play in the Impressionist style. This production by Barrie Kosky conjures up the psychogram of a moribund, late- bourgeois society which has nothing with which to counter a world out of balance other than the solace of a finely chiselled melancholy. The musical direction is provided by Canadian-born Jordan de Souza, the new Kapellmeister of the Komische Oper Berlin and a rising star in the international conducting scene. Satyagraha Opera in three acts [1980] by Philip Glass | Opera in Sanskrit A co-production with the Theater Basel and the Opera Vlaanderen Musical direction: Jonathan Stockhammer Staging and choreography: Sidi Larbi Cherkaoui Premiere: 27 Oktober, 2017 Born in the USA in 1937, the composer Philip Glass is an established member of the Avant-Garde. First performed in Rotterdam in 1980, Satyagraha – Glass’s piece of musical theatre – is many things: a theatre of ideas, a multimedia work of historic art, a political statement and an attempt to unite spiritual inwardness with modern Enlightenment through artistic ritual. Glass takes
Load more

Recommended publications
  • 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.
    [Show full text]
  • 103 the Music Library of the Warsaw Theatre in The
    A. ŻÓRAWSKA-WITKOWSKA, MUSIC LIBRARY OF THE WARSAW..., ARMUD6 47/1-2 (2016) 103-116 103 THE MUSIC LIBRARY OF THE WARSAW THEATRE IN THE YEARS 1788 AND 1797: AN EXPRESSION OF THE MIGRATION OF EUROPEAN REPERTOIRE ALINA ŻÓRAWSKA-WITKOWSKA UDK / UDC: 78.089.62”17”WARSAW University of Warsaw, Institute of Musicology, Izvorni znanstveni rad / Research Paper ul. Krakowskie Przedmieście 32, Primljeno / Received: 31. 8. 2016. 00-325 WARSAW, Poland Prihvaćeno / Accepted: 29. 9. 2016. Abstract In the Polish–Lithuanian Common- number of works is impressive: it included 245 wealth’s fi rst public theatre, operating in War- staged Italian, French, German, and Polish saw during the reign of Stanislaus Augustus operas and a further 61 operas listed in the cata- Poniatowski, numerous stage works were logues, as well as 106 documented ballets and perform ed in the years 1765-1767 and 1774-1794: another 47 catalogued ones. Amongst operas, Italian, French, German, and Polish operas as Italian ones were most popular with 102 docu- well ballets, while public concerts, organised at mented and 20 archived titles (totalling 122 the Warsaw theatre from the mid-1770s, featured works), followed by Polish (including transla- dozens of instrumental works including sym- tions of foreign works) with 58 and 1 titles phonies, overtures, concertos, variations as well respectively; French with 44 and 34 (totalling 78 as vocal-instrumental works - oratorios, opera compositions), and German operas with 41 and arias and ensembles, cantatas, and so forth. The 6 works, respectively. author analyses the manuscript catalogues of those scores (sheet music did not survive) held Keywords: music library, Warsaw, 18th at the Archiwum Główne Akt Dawnych in War- century, Stanislaus Augustus Poniatowski, saw (Pl-Wagad), in the Archive of Prince Joseph musical repertoire, musical theatre, music mi- Poniatowski and Maria Teresa Tyszkiewicz- gration Poniatowska.
    [Show full text]
  • The Grey Woman and Bluebeard's Bride
    Opticon1826 , Issue 7, Autumn 2009 THE GREY WOMAN AND BLUEBEARD’S BRIDE: Comparisons between Elizabeth Gaskell’s short story The Grey Woman and the tale of Bluebeard By Michael Hiltbrunner Introduction The short story The Grey Woman by Elizabeth Gaskell gives a description of female oppression set within a Gothic context. The story is reminiscent of the English fairy tale Mr Fox , and there are thematic similarities between The Grey Woman and the German fairy tales The Robber Bridegroom and Bluebeard . In spite of a direct connection with Bluebeard , Gaskell’s tale, with its focus on women’s rights and love without marriage, can be seen to anticipate contemporary receptions of the Bluebeard tale. A Story of Oppression and Friendship Elizabeth Gaskell wrote The Grey Woman for Charles Dickens’s journal All the Year Round . It was intended to become a full-length novel, but was published as a short story in three parts in January 1861. The story is told from the perspective of the protagonist, Anna Scherer, daughter of a German miller, who relates her marriage to the French nobleman Monsieur de la Tourelle, a ‘gay, young, elegant’ (Gaskell 2000, 339) man, who turns out to be a robber. She and her servant Amante escape from his castle, Les Rochers, and settle in Frankfurt. During their escape, they become bound in friendship and in the shared fear of the revenge of Anna’s husband. Amante is finally discovered and killed in Frankfurt by de la Tourelle’s people, and Anna marries her attending physician Dr Voss. She has a daughter by de la Tourelle and finally writes the letter through which the story is presented, to prevent her daughter from marrying a Frenchman, who could be a member of the de la Tourelle gang.
    [Show full text]
  • Complete Catalogue 2006 Catalogue Complete
    COMPLETE CATALOGUE 2006 COMPLETE CATALOGUE Inhalt ORFEO A – Z............................................................................................................................................................................................................................................................. 4 Recital............................................................................................................................................................................................................................................................................82 Anthologie ............................................................................................................................................................................................................................................................89 Weihnachten ....................................................................................................................................................................................................................................................96 ORFEO D’OR Bayerische Staatsoper Live ...................................................................................................................................................................................................99 Bayreuther Festspiele Live ...................................................................................................................................................................................................109
    [Show full text]
  • Oscar Straus Beiträge Zur Annäherung an Einen Zu Unrecht Vergessenen
    Fedora Wesseler, Stefan Schmidl (Hg.), Oscar Straus Beiträge zur Annäherung an einen zu Unrecht Vergessenen Amsterdam 2017 © 2017 die Autorinnen und Autoren Diese Publikation ist unter der DOI-Nummer 10.13140/RG.2.2.29695.00168 verzeichnet Inhalt Vorwort Fedora Wesseler (Paris), Stefan Schmidl (Wien) ......................................................................5 Avant-propos Fedora Wesseler (Paris), Stefan Schmidl (Wien) ......................................................................7 Wien-Berlin-Paris-Hollywood-Bad Ischl Urbane Kontexte 1900-1950 Susana Zapke (Wien) ................................................................................................................ 9 Von den Nibelungen bis zu Cleopatra Oscar Straus – ein deutscher Offenbach? Peter P. Pachl (Berlin) ............................................................................................................. 13 Oscar Straus, das „Überbrettl“ und Arnold Schönberg Margareta Saary (Wien) .......................................................................................................... 27 Burlesk, ideologiekritisch, destruktiv Die lustigen Nibelungen von Oscar Straus und Fritz Oliven (Rideamus) Erich Wolfgang Partsch† (Wien) ............................................................................................ 48 Oscar Straus – Walzerträume Fritz Schweiger (Salzburg) ..................................................................................................... 54 „Vm. bei Oscar Straus. Er spielte mir den tapferen Cassian vor;
    [Show full text]
  • A Countertenor's Reference Guide to Operatic Repertoire
    A COUNTERTENOR’S REFERENCE GUIDE TO OPERATIC REPERTOIRE Brad Morris A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2019 Committee: Christopher Scholl, Advisor Kevin Bylsma Eftychia Papanikolaou © 2019 Brad Morris All Rights Reserved iii ABSTRACT Christopher Scholl, Advisor There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide. iv I dedicate this thesis to all of the music educators who encouraged me on my countertenor journey and who pushed me to find my own path in this field. v PREFACE One of the hardships while working on my Master of Music degree was determining the lack of resources available to countertenors. While there are opera repertoire books for sopranos, mezzo-sopranos, tenors, baritones, and basses, none is readily available for countertenors. Although there are online resources, it requires a great deal of research to verify the validity of those sources.
    [Show full text]
  • Liner Notes, Visit Our Web Site: Recording: March 22, 2012, Philharmonie in Berlin, Germany
    21802.booklet.16.aas 5/23/18 1:44 PM Page 2 CHRISTIAN WOLFF station Südwestfunk for Donaueschinger Musiktage 1998, and first performed on October 16, 1998 by the SWF Symphony Orchestra, conducted by Jürg Wyttenbach, 2 Orchestra Pieces with Robyn Schulkowsky as solo percussionist. mong the many developments that have transformed the Western Wolff had the idea that the second part could have the character of a sort classical orchestra over the last 100 years or so, two major of percussion concerto for Schulkowsky, a longstanding colleague and friend with tendencies may be identified: whom he had already worked closely, and in whose musicality, breadth of interests, experience, and virtuosity he has found great inspiration. He saw the introduction of 1—the expansion of the orchestra to include a wide range of a solo percussion part as a fitting way of paying tribute to the memory of David instruments and sound sources from outside and beyond the Tudor, whose pre-eminent pianistic skill, inventiveness, and creativity had exercised A19th-century classical tradition, in particular the greatly extended use of pitched such a crucial influence on the development of many of his earlier compositions. and unpitched percussion. The first part of John, David, as Wolff describes it, was composed by 2—the discovery and invention of new groupings and relationships within the combining and juxtaposing a number of “songs,” each of which is made up of a orchestra, through the reordering, realignment, and spatial distribution of its specified number of sounds: originally between 1 and 80 (with reference to traditional instrumental resources.
    [Show full text]
  • Premieren Der Oper Frankfurt Ab September 1945 Bis Heute
    Premieren der Oper Frankfurt ab September 1945 bis heute Musikalische Leitung der Titel (Title) Komponist (Composer) Premiere (Conductor) Regie (Director) Premierendatum (Date) Spielzeit (Season) 1945/1946 Tosca Giacomo Puccini Ljubomir Romansky Walter Jokisch 29. September 1945 Das Land des Lächelns Franz Lehár Ljubomir Romansky Paul Kötter 3. Oktober 1945 Le nozze di Figaro W.A. Mozart Dr. Karl Schubert Dominik Hartmann 21. Oktober 1945 Wiener Blut Johann Strauß Horst-Dietrich Schoch Walter Jokisch 11. November 1945 Fidelio Ludwig van Beethoven Bruno Vondenhoff Walter Jokisch 9. Dezember 1945 Margarethe Charles Gounod Ljubomir Romansky Walter Jokisch 10. Januar 1946 Otto und Theophano Georg Friedrich Händel Bruno Vondenhoff Walter Jokisch 22. Februar 1946 Die Fledermaus Johann Strauß Ljubomir Romansky Paul Kötter 24. März 1946 Zar und Zimmermann Albert Lortzing Ljubomir Romansky Heinrich Altmann 12. Mai 1946 Jenufa Leoš Janáček Bruno Vondenhoff Heinrich Altmann 19. Juni 1946 Spielzeit 1946/1947 Ein Maskenball Giuseppe Verdi Bruno Vondenhoff Hans Strohbach 29. September 1946 Così fan tutte W.A. Mozart Bruno Vondenhoff Hans Strohbach 10. November 1946 Gräfin Mariza Emmerich Kálmán Georg Uhlig Heinrich Altmann 15. Dezember 1946 Hoffmanns Erzählungen Jacques Offenbach Werner Bitter Karl Puhlmann 2. Februar 1947 Die Geschichte vom Soldaten Igor Strawinsky Werner Bitter Walter Jokisch 30. April 1947 Mathis der Maler Paul Hindemith Bruno Vondenhoff Hans Strohbach 8. Mai 1947 Cavalleria rusticana / Pietro Mascagni / Werner Bitter Heinrich Altmann 1. Juni 1947 Der Bajazzo Ruggero Leoncavallo Spielzeit 1947/1948 Ariadne auf Naxos Richard Strauss Bruno Vondenhoff Hans Strohbach 12. September 1947 La Bohème Giacomo Puccini Werner Bitter Hanns Friederici 2. November 1947 Die Entführung aus dem W.A.
    [Show full text]
  • JUNE 2014 LIST See Inside for Valid Dates
    tel 0115 982 7500 fax 0115 982 7020 JUNE 2014 LIST See inside for valid dates Dear Customer, 11th June sees the 150th anniversary of the birth of Richard Strauss and we have already seen a good sprinkling of new releases and re-issues appear in celebration this year. Thielemann’s new Elektra for DG is probably the highest-profile release this month, featuring a magnificent cast that includes Rene Pape and Anne Schwanewilms. Sadly, we hadn’t yet managed to obtain a preview copy at the time of going to print, but it certainly looks very promising! DG are also issuing a deluxe LP-sized boxset of Karajan’s analogue Strauss recordings this month that will feature 11 CDs, plus the entire contents on a single Blu-ray Audio. As is the trend at the moment, it will be a limited edition set packed full of extra material including photos and original liner notes. See p.2 for more information. Continuing with the Strauss theme, you may also like to take a look at the listing we have compiled of recordings from various independent labels. This covers 3½ pages (pp.10-13) and features some truly great titles. A good opportunity to fill in gaps in the library! Away from Strauss, other things to point out are a further batch of Most Wanted Recitals from Decca, featuring wonderful discs from the likes of Siepi, Nilsson, Souzay, Carreras etc. Harmonia Mundi are issuing another 10 titles in their HM Gold series - top recordings moved from their full-price catalogue down to mid-price.
    [Show full text]
  • 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.
    [Show full text]
  • Beauties Vs Beasts by Tatar.Pdf
    Page 1 of 6 Title: Beauties vs. Beasts in the Grimms' Nursery and Household Tales Author(s): Maria M. Tatar Publication Details: The Brothers Grimm and Folktale. Urbana: University of Illinois Press, 1988. Source: Short Story Criticism. Ed. Rachelle Mucha and Thomas J. Schoenberg. Vol. 88. Detroit: Gale, 2006. From Literature Resource Center. Document Type: Critical essay Full Text: COPYRIGHT 2006 Gale, COPYRIGHT 2007 Gale, Cengage Learning [(essay date 1988) In the following essay, Tatar examines the textual history of the Bluebeard folktale in Nursery and Household Tales, contrasting narrative elements of "Mary's Child" and "Fowler's Fowl."] Fairy-tale beauties may all be very much alike, but there are two quite different types of beasts in the Grimms' Nursery and Household Tales. First, there are the animal-grooms who make life unpleasant for many a female protagonist: these are the frogs, bears, hedgehogs, and other creatures that press themselves on attractive young girls. But these beasts invariably turn out to be handsome young princes in disguise and generally prove to be perfect gentlemen. The real fairy-tale beasts, even if they are beasts in only the figurative rather than the literal sense of the term, turn out to be murderers masquerading as civilized men: Bluebeard, the Robber Bridegroom (in the tale of that title), and the wizard in "Fowler's Fowl" ("Fitchers Vogel") are the most prominent examples in the Nursery and Household Tales. Bluebeard, the most infamous of this entire lot of beasts, entered the pages of the Grimms' collection, but only in its first edition. For the second, revised edition of 1819, the Grimms eliminated the tale, evidently because it was too close in both substance and verbal realization to its French source.
    [Show full text]
  • CV English - Noëmi Nadelmann —
    CV English - Noëmi Nadelmann — Noëmi Nadelmann is a swiss soprano and one of the leading opera and concert singer of her generation. She made her debut in 1987 at the Teatro La Fenice in Venice as Musetta in 'La Bohème' with Renata Scotto as Mimi. Since that time she has sung major roles in the great opera houses of the world, in the major concert halls and with the world's leading orchestras. Noëmi Nadelmann has sung Musetta at the Metropolitan Opera in New York, Opéra National Paris (Bastille) in Paris (conductor: Daniel Oren), Vienna State Opera, Komische Oper Berlin (conductor: Simone Young), Dutch National Opera Amsterdam (director: Pierre Audi) and the Lyric Opera of Chicago. She has sung Violetta in 'La Traviata' at the Komische Oper in Berlin (director: Harry Kupfer, conductor: Yakov Kreizberg), Hessisches Staatstheater Wiesbaden, Deutsche Oper Berlin (director: Götz Friedrich), Opernhaus Zürich (director: Jürgen Flimm, conductor: Franz Welser- Möst) and the State Opera House Hamburg. She has also sung the title role in 'Lucia di Lammermoor' at the Komische Oper Berlin (director: Harry Kupfer, conductor: Yakov Kreizberg, Vladimir Jurowski) and the State Opera House Hamburg. Noëmi Nadelmann has sung the tiltle role in 'Manon' at the Deutsche Oper Berlin and Marschallin in 'der Rosenkavalier' on their tour to Beijing (conductor: Uwe Schirmer) as well as at the Israeli Opera in Tel Aviv (conductor: Asher Fisch). Armida in 'Rinaldo' she was a tremendous success at the Bavarian State Opera in Munich (director: David Alden, conductor: Harry Bicket) and at the State Opera Berlin (director: Nigel Lowery, conductor: René Jacobs).
    [Show full text]