Student Recital Program 2019
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Superstar Soprano Measha Brueggergosman Makes Triumphant Return to the Canadian Opera Stage in Opera Atelier’S Award-Winning Production of Mozart’S –Idomeneo–
FOR IMMEDIATE RELEASE February 26, 2019 Superstar Soprano Measha Brueggergosman Makes Triumphant Return to the Canadian Opera Stage in Opera Atelier’s Award-Winning Production of Mozart’s –Idomeneo– Lauded Company Makes Ed Mirvish Theatre Debut with Sumptuous Sound, Breathtaking Ballet, and Lavish Scenery Toronto, ON – Opera Atelier is delighted to present their award-winning production of Mozart’s Idomeneo from April 4–13, 2019 at the Ed Mirvish Theatre starring Canadian soprano superstar Measha Brueggergosman, who returns to the Toronto opera stage after an absence of 10 years, in her internationally acclaimed performance as Elettra. Brueggergosman is joined by a luminary cast featuring some of North America’s finest singers including tenor Colin Ainsworth in the title role, mezzo-soprano Wallis Giunta (Young Singer of the Year, 2018 International Opera Awards) as Idamante, soprano Meghan Lindsay as Ilia, bass-baritone Douglas Williams as Neptune, baritone Olivier Laquerre as Arbace, and baritone Bradley Christensen as the Priest. Brimming with Mozart’s show-stopping arias, deeply emotional ensembles, and spectacular ballet, Idomeneo tells the story of the Greek hero who is forced to choose between the life of his son and a terrible promise he has made to the god of the sea. “Idomeneo demands a unique juxtaposition of an extremely formal dramatic and musical structure coupled with an emotional intensity that foreshadows the Romantic movement,” says Opera Atelier Founding Co-Artistic Director Marshall Pynkoski, who also directs the opera. “In Opera Atelier’s production, every element - superbly rendered music, fully-integrated ballet, and historically-informed design - combine to tell this timeless story with precision and clarity.” “We have restored the ballet that closes Idomeneo,” adds Opera Atelier Co-Artistic Director and Choreographer Jeannette Lajeunesse Zingg. -
Wiederentdeckt Beiblatt DAS KALTE HERZ
Wiederentdeckt Eine Veranstaltungsreihe von CineGraph Babelsberg, Berlin-Brandenburgisches Centrum für Film- forschung und dem Zeughauskino, in Zusammenarbeit mit dem Bundesarchiv-Filmarchiv, der F. W. Murnau-Stiftung und der Deutschen Kinemathek 4. November 2016 Einführung: Raff Fluri DAS KALTE HERZ (1931/33) Drehbuch, Kamera, Produktion und Regie: Karl Ulrich Schnabel, Ausstattung: Margarethe Adele Hammer- schmidt, Lotte Lubinski, Aube Tzerko Darsteller: Franz Schnyder (Peter Munk), Stefan Schnabel (Holländer-Michel), Wolf-Wolfgang Guth (Glas- männchen), Elfriede Gärtner (Lisbeth), Juana Sujo (Munks Mutter), Peter Diamand (Amtmann) u.a. Projektleitung 2016, Produktion, Redaktion und Schnitt: Raff Fluri, Musik: Robert Israel.16 mm, Projektions- format: DCP, 84 min., Erstaufführung: 3. Juli 2016 Neuchâtel, International Fantastic Film Festival Making of 1932: Karl Ulrich Schnabel beim Dreh mit Franz Schnyder, unterstützt von Assistentinnen (Foto: Schnabel Music Foundation LLC) ----------------------------------------------------------------------------------------------------------------------------------------- 1931-33 drehte der junge Pianist Karl Ulrich Schnabel mit bescheidenen Mitteln, aber umso mehr Unterstüt- zung von Freunden und Bekannten, in Berlin den Märchenfilm DAS KALTE HERZ nach Wilhelm Hauff. Am Pro- jekt beteiligt waren junge Musiker, Theaterschaffende und Schauspieler, die am Anfang ihrer Karriere stan- den und später zu namhaften Persönlichkeiten wurden. So ist in der Hauptrolle einer der erfolgreichsten Regisseure -
2017-18 Season Announcement News Release
N E W S R E L E A S E FOR IMMEDIATE RELEASE DATE: February 23, 2017 Yannick Nézet-Séguin and The Philadelphia Orchestra Announce 2017-2018 Season Yannick Nézet-Séguin’s Sixth Season Spans a Vast Range of Sounds Commissions • Oratorio • Chamber Music • Opera A Crowd-Sourced Celebration of Philadelphia • Broadway and a Wide Swath of Orchestral Repertoire Philadelphia Voices, a new work by Tod Machover Tosca Winter Festival focuses on British Isles Hilary Hahn is Artist-in-Residence American Sounds Leonard Bernstein Centenary Including Full Score Performances of West Side Story in Concert Premieres for Orchestra Principals (Philadelphia , February 23, 2017)—Philadelphia Orchestra Music Director Yannick Nézet-Séguin and President and CEO Allison Vulgamore today released The Philadelphia Orchestra’s 2017-18 season. Nézet-Séguin begins his sixth season in Philadelphia with a commitment to lead the world-renowned ensemble through at least 2025-26, continuing a relationship between music director and musicians that has garnered praise around the globe. “This is possibly the most varied season The Philadelphia Orchestra and I have undertaken together,” said Music – more – Yannick Nézet-Séguin and The Philadelphia Orchestra: 2017-18 Season 2 Director Yannick Nézet-Séguin. “It’s thrilling to be able to make music in every way possible, from playing piano with our wonderful principal strings in chamber music, to conducting new works, including commissions, to an oratorio I adore, to a semi-staged production of Tosca. We have some audience favorites, of course, and naturally we are celebrating the centenary of that amazing musical figure Leonard Bernstein. We hope everyone will join us!” “We truly are celebrating Yannick in every musical way this season, and we’re also celebrating our wonderful city of Philadelphia,” added Philadelphia Orchestra President and CEO Allison Vulgamore. -
Connecting Canada Conference Program
CFMTA / FCAPM VIRTUAL CONFERENCE 20 CONNECTING CANADA 21 Musical diversity from coast to coast to coast CONFERENCE PROGRAM July 8–10, 2021 Dear Friends: I am pleased to extend my warmest greetings to everyone attending Connecting Canada – Musical Diversity from Coast to Coast to Coast, a virtual conference hosted by the Canadian Federation of Music Teachers’ Associations (CFMTA). This event brings together music educators from across the country to share their knowledge, ideas and experiences. I am certain that the wide array of professional development activities planned for this event, focussed on the theme of inclusion and diversity in music education, will stimulate a great deal of thoughtful and meaningful exchange and that attendees will come away inspired to put what they have learned into practice. It continues to be a challenging time for planning and hosting events. That is why I would like to thank the organizers for their hard work and dedication in ensuring this year’s conference could still take place and for putting together an informative program for everyone involved. You can take pride in your commitment to providing leadership in music education. Please accept my best wishes for a rewarding experience. Yours sincerely, The Rt. Hon. Justin P. J. Trudeau, P.C., M.P. Prime Minister of Canada Du 8 au 10 juillet 2021 Chères amies, chers amis, Je suis heureux de présenter mes salutations les plus chaleureuses à celles et ceux qui assistent à Connecter le Canada – La diversité musicale d’un océan à l’autre, un congrès virtuel organisé par la Fédération canadienne des associations de professeurs de musique (FCAPM). -
Download Booklet
559216-18 bk Bolcom US 12/08/2004 12:36pm Page 40 AMERICAN CLASSICS WILLIAM BOLCOM Below: Longtime friends, composer William Bolcom and conductor Leonard Slatkin, acknowledge the Songs of Innocence audience at the close of the performance. and of Experience (William Blake) Soloists • Choirs University of Michigan Above: Close to 450 performers on stage at Hill Auditorium in Ann Arbor, Michigan, under the School of Music baton of Leonard Slatkin in William Bolcom’s Songs of Innocence and of Experience. Symphony Orchestra University Musical Society All photographs on pages 37-40 courtesy of Peter Smith/University Musical Society Leonard Slatkin 8.559216-18 40 559216-18 bk Bolcom US 12/08/2004 12:36pm Page 2 Christine Brewer • Measha Brueggergosman • Ilana Davidson • Linda Hohenfeld • Carmen Pelton, Sopranos Joan Morris, Mezzo-soprano • Marietta Simpson, Contralto Thomas Young, Tenor • Nmon Ford, Baritone • Nathan Lee Graham, Speaker/Vocals Tommy Morgan, Harmonica • Peter “Madcat” Ruth, Harmonica and Vocals • Jeremy Kittel, Fiddle The University Musical Society The University of Michigan School of Music Ann Arbor, Michigan University Symphony Orchestra/Kenneth Kiesler, Music Director Contemporary Directions Ensemble/Jonathan Shames, Music Director University Musical Society Choral Union and University of Michigan Chamber Choir/Jerry Blackstone, Conductor University of Michigan University Choir/Christopher Kiver, Conductor University of Michigan Orpheus Singers/Carole Ott, William Hammer, Jason Harris, Conductors Michigan State University Children’s Choir/Mary Alice Stollak, Music Director Leonard Slatkin Special thanks to Randall and Mary Pittman for their continued and generous support of the University Musical Society, both personally and through Forest Health Services. Grateful thanks to Professor Michael Daugherty for the initiation of this project and his inestimable help in its realization. -
Concert Program for October 22 and 23, 2009
Concert Program for October 22 and 23, 2009 David Robertson, conductor Measha Brueggergosman, soprano Kate Lindsey, mezzo-soprano Paul Groves, tenor Jubilant Sykes, baritone Saint Louis Symphony Chorus Amy Kaiser, director Saint Louis Symphony IN UNISON® Chorus Robert Ray, director IVES The Unanswered Question (c. 1908) (1874-1954) BARBER Adagio for Strings (1936) (1910-1981) ROLLO DILWORTH Freedom’s Plow (2009) World Premiere (b. 1970) Saint Louis Symphony IN UNISON® Chorus Robert Ray, director Intermission TIPPETT A Child of Our Time (1939-41) (1905-1998) Part I Chorus: The world turns on its dark side The Argument: Man has measured the heavens Scena: Is evil then good? Now in each nation Chorus of the Oppressed: When shall the usurers’ city cease I have no money for my bread How can I cherish my man in such days A Spiritual: Steal away Part II Chorus: A star rises in mid-winter And a time came Double Chorus of Persecutors and Persecuted: Away with them! Where they could, they fled Chorus of the Self-righteous: We cannot have them in our Empire And the boy’s mother wrote a letter Scena: O my son! A Spiritual: Nobody knows the trouble I see Scena: The boy becomes desperate in his agony They took a terrible vengeance. The Terror: Burn down their houses! Men were ashamed of what was done A Spiritual of Anger: Go down, Moses The Boy sings in his Prison: My dreams are all shattered What have I done to you, my son? The dark forces rise like a flood A Spiritual: O, by and by Part III Chorus: The cold deepens The soul of man Scena: The words of wisdom are these General Ensemble: I would know my shadow and my light A Spiritual: Deep river Measha Brueggergosman, soprano Kate Lindsey, mezzo-soprano Paul Groves, tenor Jubilant Sykes, baritone Saint Louis Symphony Chorus Amy Kaiser, director Saint Louis Symphony IN UNISON® Chorus Robert Ray, director David Robertson is the Beofor Music Director and Conductor. -
Summer 2019 NEWSLETTER : BULLETIN Été 2018
Société d' Opéra National Capital de la Capitale Nationale Opera Society Summer 2019 NEWSLETTER : BULLETIN Été 2018 A Feast of Ottawa Singers! by Shelagh Williams The Canadian Opera Company(COC)’s final two of- butter wouldn’t melt in his mouth, but when he was ferings of the season, Verdi’s Otello and Puccini’s La alone his voice and manner revealed his true nature, as Bohème were a testament to Ottawa singers, the in his Credo. His eyes had a red, devilish gleam and NCOS, and the Brian Law Opera Competition twice he dropped a lit match to dramatically light a (BLOC)! fire on stage! The staging of the oath of vengeance To begin, we saw the last night of Otello, star- between Iago and Otello at the end of Act II, with the ring the NCOS patron, baritone Gerald Finley, as knife to cut and blood to smear, was very powerful. Iago, originally Verdi’s title character! The produc- At the end, with Desdemona and Otello both dead, tion was created by English National Opera as a Iago just sat there with a big satanic smile on his face, co-production with Royal Swedish Opera and Teatro like the devil incarnate. It was fascinating to watch Real Madrid, and so came with director David Alden. Gerald Finley, without overacting, seem so easily to He gave us a fairly straightforward production, with orchestrate the downfall of first Cassio, then Otello, only a few quirky, head scratching aspects to distract and finally Desdemona, all the while appearing to be one from the opera itself and its marvellous music. -
Measha Brueggergosman & Simon Lepper
Measha Brueggergosman & Simon Lepper Wednesday 8 May 2019 7.30pm, Milton Court Concert Hall Ravel Shéhérazade Debussy Chansons de Bilitis Duparc Chanson triste; L’invitation au voyage; Phidylé; La vie antérieure interval 20 minutes Cage The Wonderful Widow of Eighteen Springs Montsalvatge Cinco canciones negras William Bolcom Cabaret Songs: Surprise; The total stranger in the garden; Lisa MacIntosh Toothbrush time; Song of Black Max; George; Amor Measha Brueggergosman soprano Simon Lepper piano Part of Barbican Presents 2018–19 Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. Please remember that to use our induction loop you should switch your hearing aid to T setting on entering the hall. If your hearing aid is not correctly set to T it may cause high-pitched feedback which can spoil the enjoyment of your fellow audience members. We appreciate that it’s not always possible to prevent coughing during a performance. But, for the sake of other audience members and the artists, if you feel the need to cough or sneeze, please stifle it The City of London with a handkerchief. Corporation is the founder and If anything limits your enjoyment please let us know principal funder of during your visit. Additional feedback can be given the Barbican Centre online. Welcome A warm welcome to tonight’s recital longing in Debussy’s Chansons de Bilitis given by an artist who delights in defying to the extraordinarily distilled world of expectation. -
Chitose Okashiro September 18, 1998 Brendle Recital Hall 8:00 P.M
Chitose Okashiro September 18, 1998 Brendle Recital Hall 8:00 p.m. Wake Forest University Winston-Salem, North Carolina chitose okashiro Wake;: est Universityexpresses its deepappreciation to Mrs. MarionSecrest and her husband,the lateDr. WillisSecrest, [ for generouslyendowing the SecrestArtists Series. Exclusive Representation and Management • Ricard de La Rosa • 212-206-8794 A native of Japan, Chitose Okashiro received early musical education at the re- nowned Toho Gakuen High School of Music and her bachelor's degree fromToho Gakuen University in Tokyo. Her extensive background in musical ear training places her in a rare stra ta of aural sensitivity from which she is able to create unique and original musical expressions. Ms. Okashiro won numerous honors in Japanese competitions, including The Over- seas Delegation Prize. While performing at The Aspen Music Festival in 1986, she met her future teacher at The Juilliard School, Herbert Stessin. In 1989 she was the major prize winner at The Japan America Association's Piano Competition in New York. In 1990 Ms. Okashiro graduated with a master's degree from the Juilliard School, and in 1992 she completed the Professional Studies Program at the Manhattan School of Music under Karl Ulrich Schnabel. She was named The 1993 Pro Piano Artist of The Year, was a major prize winner at The 1993 International Chopin Com- pet ition, and won The Young Artists International Competition . Ms. Okashiro has gained worldwide acclaim for interpretative and expressive skills that show themselve s in a very -
Chopin ETUDES Amir Katz
Frédéric Chopin ETUDES Amir Katz FRÉDÉRIC CHOPIN (1810–1849) 12 Études op. 10 1 No. 1 C-Dur. Allegro 1’53 2 No. 2 a-Moll. Allegro 1’25 3 No. 3 E-Dur. Lento ma non troppo 4’08 4 No. 4 cis-Moll. Presto, con fuoco 1’55 5 No. 5 Ges-Dur. Vivace 1’42 6 No. 6 es-Moll. Andante 4’01 7 No. 7 C-Dur. Vivace 1’33 8 No. 8 F-Dur. Allegro 2’15 9 No. 9 f-Moll. Allegro molto agitato 2’02 10 No. 10 As-Dur. Vivace assai 2’11 11 No. 11 Es-Dur. Allegretto 3’16 12 No. 12 c-Moll. Allegro con fuoco 3’02 12 Études op. 25 13 No. 1 As-Dur. Allegro sostenuto 2’39 14 No. 2 f-Moll. Presto 1’34 15 No. 3 F-Dur. Allegro 1’51 16 No. 4 a-Moll. Agitato 1’38 17 No. 5 e-Moll. Vivace – Più lento – Tempo primo 3’28 18 No. 6 gis-Moll. Allegro 2’15 19 No. 7 cis-Moll. Lento 5’17 20 No. 8 Des-Dur. Vivace 1’13 21 No. 9 Ges-Dur. Allegro assai 1’07 22 No.10 h-Moll. Allegro con fuoco 3’27 23 No.11 a-Moll. Lento – Allegro con brio 3’49 24 No.12 c-Moll. Allegro molto con fuoco 2’59 AMIR KATZ Die überwältigende Wirkung, die die ners Wagner), bestehend anfäng- Chopin-Etüden bei der ersten Be- lich aus den ersten Obertönen eines gegnung auf den Hörer insgesamt Grundtones – ein würdiges, fanfaren- ausüben, hat sehr viel mit der spek- haftes Präludium, gewagt, neuartig, takulären Wirkung des unmittelbaren vieles zugleich. -
Canada's NEXT
1 Canada’s NEXT Classical:NEXT Opening Gala Proposal May 20, 2015, Rotterdam TABLE OF CONTENTS Ceremony design concept……………………………………………………………………. 2 Artist, composer, speaker bios……………………………………………………………… 4 Proposed stage manager……………………………………………………………………… 7 Financing / funding source……………………………………………………………………. 8 Appendix 1: Production/Stage Manager detailed CV…………………………….. 8 Appendix 2: Video Production Company ……………………………………………… 10 Appendix 3: Video Montage Content Ideas………………………………………….. 11 Canada’s Next | Classical:NEXT Opening Gala Proposal Submitted 21.11.2014 2 CEREMONY DESIGN CONCEPT This proposed program for the Classical:NEXT opening night is designed to show that Canada is ideally and uniquely positioned to provide a delightful, dynamic and potentially shocking take on what’s “next” in classical and contemporary music. Musical selections and proposed artists are intended to reflect what Canadian classical music is today with representation from the current generation which is innovative and bold. Suggested artists come from a wide range of culturally and linguistically diverse communities, aboriginal origins and are geographically representative of Canada. The design concept for the evening focuses on a theme of “possibility.” What is possible for Canadian artists within the country and abroad? How can we challenge what is possible musically? The evening will have a seamless flow and be tightly produced. The program will move from artists to speakers connected through a high quality video montage that will showcase cultural elements not easily presented in the conference format. This will allow for the contrast of larger scale ensembles and projects with the smaller more intimate solo and chamber works that will be live during the event. Starting off with the Polaris Prize-winning Inuit throat singer Tanya Tagaq from a blacked-out theatre will immediately set the tone of surprise for the evening. -
Kurt Weill Newsletter SPRING 2019
VOLUME 37 NUMBER 1 Kurt Weill Newsletter SPRING 2019 Raves for Lady in the Dark at New York City Center New Lives for Deadly Sins Unveiling a New Orchestration IN THIS ISSUE VOLUME 37 Kurt Weill Newsletter NUMBER 1 EDITOR’S NOTE 2 German Publisher for Love Life SPRING 2019 As so often, this spring finds us looking both backward and for- tions to date to offer perspective and context for all those newly 3 Editor’s Note ward to striking developments in the Weill universe. Behind us intrigued by the work. Down in the Valley Re-Issue lies the MasterVoices production of Lady in the Dark, which Marc Blitzstein’s universe expanded this past season as well, © 2019 Kurt Weill Foundation for Music ISSN 0899-6407 Vive les Livres! proved to be everything Weill fans had been hoping for, greet- with the world premiere of the complete score of his ballet Cain. 7 East 20th Street tel (212) 505-5240 Rise of the City of Mahagonny ed by a rapturous press and prolonged ovations at each perfor- Our news section offers a brief account, along with a cornuco- New York, NY 10003-1106 fax (212) 353-9663 mance. Meanwhile, a new epoch in the history of one of Weill's pia of other stories, not least the results of the latest Lotte Lenya FEATURES [email protected] [email protected] best-known works, Die sieben Todsünden, begins on 21 Septem- Competition. We must also shoulder the sad duty of memorializ- ing three great artists who intersected with Weill, Len ya, or Blitz- 4 Raves for Lady ber at Beethovenfest Bonn, the world premiere of a new version Published twice a year, the Kurt Weill Newsletter features articles and reviews for an orchestra of fifteen musicians.