DOCSLIB.ORG

Juliana Gondek

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Juliana Gondek Juliana Gondek Mezzo-soprano (Updated August 2012 – please discard any previous versions) Juliana Gondek has performed in the world's most celebrated opera houses, concert halls, and festivals throughout a 35-year international singing career. She has collaborated with such musical luminaries as Herbert von Karajan, Leonard Bernstein, Aaron Copland, Rudolf Serkin, James Levine, Carlos Kleiber, Nicholas McGegan, and Yehudi Menuhin. She's performed leading operatic roles at the Metropolitan Opera, San Francisco Opera, Houston Grand Opera, Seattle Opera, New York City Opera, Dallas Opera, the Netherlands Opera, the Edinburgh Festival, the Göttingen and Halle Handel Festivals, Antibe's Festival de Bel Canto, the Pacific Music Festival (Sapporo, Japan), Lincoln Center's Mostly Mozart Festival, and at Washington's Kennedy Center. The extraordinary beauty, versatility, technical mastery, and range of her voice, coupled with a rare intelligence, artistry, and expressiveness, have enabled her to move freely through an astonishing breadth of operatic repertoire. Ms. Gondek has been hailed as one of her generation's finest singing-actors, and for her impassioned portrayals of such varied roles as Ginevra in Handel's Ariodante, Vitellia in La Clemenza di Tito, all the heroines in The Tales of Hoffmann and the title roles in Rossini's Bianca e Falliero, Bellini's Beatrice di Tenda, Verdi's Giovanna d'Arco, and Bizet's Carmen. She has twenty additional Handel roles to her credit, including Alcina, Theodora, Rodelinda, Cleopatra, Zenobia (Radamisto), Gismonda (Ottone), Galatea, Michal (Saul), and Fortuna (Giustino). Other operatic roles include Mozart heroines Countess Almaviva, Donna Elvira, Fiordiligi, Pamina and 1st Lady, Aspasia in Mitridate, Verdi heroines Gulnara (Il Corsaro) and Marchesa del Poggio (Un Giorno di Regno), Mimi in La Boheme, Rosalinde in Die Fledermaus, and Pat Nixon (Nixon in China). Juliana Gondek has been the singer of choice for many of the world's most celebrated contemporary composers. She has created starring roles in several world-premiere operas, among them: Ela in David Carlson's Dreamkeepers with Utah Opera; the triple role of Dianne Feinstein/ Harvey's Mama/Hooker in Stewart Wallace's Harvey Milk with Houston Grand Opera, the New York City Opera, and San Francisco Opera; the title role in Wallace's s Hopper's Wife, with Long Beach Opera; Sabina in David Diamond's The Noblest Game with New York City Opera; and Gertrude Stein in the Jonathan Sheffer's Blood on the Dining Room Floor at New York's Guggenheim Museum. Ms. Gondek has sung the lead roles in Bernstein's A Quiet Place, Bright Sheng's The Song of Majnun, Hugo Weisgall's Esther, and Ian Krouse's Lorca, Child of the Moon. She will create the central role of Mexican opera star Angela Peralta in Roger Bourland's The Dove and the Nightingale slated for premiere in 2013. She has premiered the music of John Corigliano, Paul Chihara, Anthony Davis, Morten Lauridson, Ricky Ian Gordon, Richard Hundley, Stephen Albert, Richard Wernick, Donald Crockett, Roger Bourland, Adrienne Albert, Mark Carlson, Bruce Babcock, and Steven Sacco, among many others. Ms. Gondek has sung as soloist with well over 100 symphony orchestras worldwide, in works such as Mahler's Symphony No. 4 (New York Philharmonic under conductor Andre Previn); Mozart's Mass in C Minor and Beethoven's Symphony No. 9 (San Francisco Symphony - Herbert Blomstedt); Mozart's Exsultate, jubilate (L'Orchestre de la Suisse Romande - Armin Jordan); Handel's L'Allegro (Seattle Symphony, Philharmonia Baroque Orchestra - Nichoas McGegan); Handel, Haydn, and Mozart solo cantatas (St. Louis Symphony - Sir Raymond Leppard); Beethoven's "Symphony No 9" (Bruckner Orchestra of Linz, Austria); Wagner's Wesendonck Lieder (Rochester Symphony - Jerzy Semkow); Shostakovich's Symphony No. 14 (New York Chamber Orchestra - Gerard Schwarz); Britten's Les Illuminations (Munich Chamber Orchestra); Mendelssohn's "Lobgesang" (Symphony No. 2) at Carnegie Hall (St. Luke's Chamber Orchestra - John Nelson). Having spent most of her career performing soprano repertoire, she now performs mezzo-soprano symphonic, operatic, and song literature, including the alto solos in Beethoven's Symphony No. 9, Bach's Mass in B Minor, and Verdi's Requiem. Some of the world's most celebrated venues and summer festivals have presented Ms. Gondek in art song and chamber music recital: the Grand Theatre Geneve and Geneva Conservatory; Teatro La Fenice; Lucerne's Festival Hall; Berlin's National Library; Toronto's Glenn Gould Hall; New York's Carnegie Recital Hall and Merkin Concert Hall; Jordan Hall in Boston and Shalin Liu Performing Arts Center; the Yaddo Artist Colony; in Sapporo (Japan), the Kitara Concert Hall; Los Angeles's Royce Hall, Ambassador Auditorium, Getty Museum, Zipper Hall, and Schoenberg Concert Hall; the Shanghai Conservatory of Music; the Hong Kong Philharmonic; Chicago's Smart Museum of Art; Santa Fe's St. Francis Chapel; and at the Caramoor Festival, the Newport Chamber Music Festival (seven summers), the Bard Festival, and the Bowdoin International Festival. Additional important festival engagements have included the Salzburg Osterfestspiel, the New York Lincoln Center Summer Festival, the Göttingen Handel Festival and the Halle Handel Festival in Germany, Vermont's famed Marlboro Festival, England's Aldeburgh Festival, the Avignon Festival in France, Vail's Bravo! Colorado Festival, the St. Louis Symphony's Summerfest, the Astoria Festival (Oregon), the Hawaii Performing Arts Festival, and the 25th Anniversary Gala celebration of the Spanish National Radio and Television Orchestra (Soprano I in Mahler's 8th Symphony). Juliana Gondek's discography includes Mozart's The Magic Flute on DGG, Harvey Milk on Teldec, Handel's operas Ottone, Radamisto (Recording of the Year: International Handel Society), Giustino, and Ariodante (1996 "Gramophone" Recording of the Year Award) on harmonia mundi, Mozart's Exsultate, jubiliate on Sonoris, "The Yoav Chamber Ensemble" on Orion (Yehudi Menuhin Foundation Prize), as well as more recent recordings of Bright Sheng's Songs from the Sung Dynasty with the Hong Kong Philharmonic on Naxos, and The Complete Songs of Karol Szymanowski with Dutch pianist Reinild Mees on the Dutch label Channel Classics, which won the "Fryderyk" Prize for Best Recording of Polish Music from the Polish Gramophonic Society. Ms. Gondek's most recent recording, songs by composer Roger Bourland, will be released on the Parma Records label in early 2013. Television and film appearances include a "Live from the Met" telecast and DGG videodisc recording of Mozart's The Magic Flute with the Metropolitan Opera, the BBC documentary The Making of West Side Story on the legendary DGG recording with Leonard Bernstein, a Vancouver Symphony trans- Canadian telecast featuring Ms. Gondek and Sir Yehudi Menuhin, and European telecasts of several of Ms. Gondek's international performances. She made her on-screen feature film debut as The Opera Diva in a PBS Masterpiece Theatre film adaptation of Willa Cather's novel The Song of the Lark. Other unusual engagements have included her portrayal of Vera Stravinsky for the Los Angeles Philharmonic alongside stars from the "Star Trek: Next Generation" and "Star Trek: Deep Space Nine" television series, a national tour with the Mark Morris Dance Group as soloist for Morris's ballet masterpiece set to Handel's L'Allegro, il Penseroso, ed il Moderato, soloist with the American Ballet Theater at the Metropolitan Opera House, and the ingénue lead in the Broadway smash Kismet with Baltimore Opera opposite Broadway veterans John Reardon, Eddie Bracken, and Patrice Munsel. Recognized as a distinguished pedagogue, Ms. Gondek has maintained an active voice studio for more than 35 years and, since 1997, has served as Professor and Chair of Voice and Opera Studies at the UCLA Herb Alpert School of Music at the University of California, Los Angeles. She travels frequently to adjudicate prominent national and international singing competitions, and to lecture and teach master classes at institutions such as the Hong Kong Academy of Performing Arts, Shanghai Conservatory, the Geneva Conservatory, Florence's "Cherubini" Conservatory, the Manhattan School of Music, the University of Chicago, Rice University in Houston and at the Idyllwild Arts Academy's Summer Session. She serves as ongoing consultant to American filmmakers, journalists, and news organizations. In recent years Ms. Gondek has been closely associated with OperaAMERICA as panelist/mentor for their Professional Singer Training Workshops, and as Master Teacher with the Classical Singer National Convention and National Opera Association, Japan's Pacific Music Festival's Baroque Vocal Academy, and the Astoria Festival Young Artist Program. Since 2006 she has served as Co-Artistic Director and Voice faculty of the Hawaii Performing Arts Festival and is Founder-Director of the Baroque Opera Boot Camp. A native of Pasadena, California, Juliana Gondek began her musical training on the piano and violin, and starting singing Broadway musicals in middle school. Her first musical career was as a professional violinist while earning BM and MM degrees in Voice Performance "magna cum laude" from the University of Southern California. She embarked on her international singing career after winning back-to-back Gold Medals in the Geneva International Competition (unanimous Gold Medal) and the Barcelona Francisco Viñas International Competition. This same year she
Load more

Recommended publications
  • Mozart Magic Philharmoniker
    THE T A R S Mass, in C minor, K 427 (Grosse Messe) Barbara Hendricks, Janet Perry, sopranos; Peter Schreier, tenor; Benjamin Luxon, bass; David Bell, organ; Wiener Singverein; Herbert von Karajan, conductor; Berliner Mozart magic Philharmoniker. Mass, in C major, K 317 (Kronungsmesse) (Coronation) Edith Mathis, soprano; Norma Procter, contralto...[et al.]; Rafael Kubelik, Bernhard Klee, conductors; Symphonie-Orchester des on CD Bayerischen Rundfunks. Vocal: Opera Così fan tutte. Complete Montserrat Caballé, Ileana Cotrubas, so- DALENA LE ROUX pranos; Janet Baker, mezzo-soprano; Nicolai Librarian, Central Reference Vocal: Vespers Vesparae solennes de confessore, K 339 Gedda, tenor; Wladimiro Ganzarolli, baritone; Kiri te Kanawa, soprano; Elizabeth Bainbridge, Richard van Allan, bass; Sir Colin Davis, con- or a composer whose life was as contralto; Ryland Davies, tenor; Gwynne ductor; Chorus and Orchestra of the Royal pathetically brief as Mozart’s, it is Howell, bass; Sir Colin Davis, conductor; Opera House, Covent Garden. astonishing what a colossal legacy F London Symphony Orchestra and Chorus. Idomeneo, K 366. Complete of musical art he has produced in a fever Anthony Rolfe Johnson, tenor; Anne of unremitting work. So much music was Sofie von Otter, contralto; Sylvia McNair, crowded into his young life that, dead at just Vocal: Masses/requiem Requiem mass, K 626 soprano...[et al.]; Monteverdi Choir; John less than thirty-six, he has bequeathed an Barbara Bonney, soprano; Anne Sofie von Eliot Gardiner, conductor; English Baroque eternal legacy, the full wealth of which the Otter, contralto; Hans Peter Blochwitz, tenor; soloists. world has yet to assess. Willard White, bass; Monteverdi Choir; John Le nozze di Figaro (The marriage of Figaro).
    [Show full text]
  • Time 1925 1930 1935 1940 1945 1950 1955 1960 1965 1970 1975 1980 1985 1990 1995 2000 2005 2010
    Giulio Gatti Casazza 1926 Director, Metropolitan Opera Arturo Toscanini Leopold Stokowski 1926 1930 Conductor Conductor Pietro Mascagni Lucrezia Bori James Cæsar Petrillo 1926 1930 1948 Composer Singer Head, American Federation of Musicians Richard Strauss Alfred Hertz Sergei Koussevitsky Helen Traubel Charles Munch 1938 1927 1930 1946 1949 Composer and conductor Conductor Conductor Singer Conductor Ignace J Paderewski Geraldine Farrar Joseph Deems Taylor Marian Anderson Cole Porter 1939 1927 1931 1946 1949 Kirsten Flagstad Pianist, politician Singer Composer, critic Singer Composer 1935 Lauritz Melchior Giulio Gatti-Casazza Ignace Jan Paderewski Yehudi Menuhin Singer Artur Rodziński Gian Carlo Menotti Maria Callas 1940 1923 1928 1932 1947 1950 1956 Artur Rubinstein Edward Johnson Singer Director, Metropolitan Opera Pianist, politician Violinist; 16 years old Conductor Composer Singer 1966 1936 Leopold Stokowski Pianist Johann Sebastian Bach Nellie Melba Mary Garden Lawrence Tibbett Singer Arturo Toscanini Mario Lanza & Enrico Caruso Leonard Bernstein 1940 1968 1927 1930 1933 1948 1951 1957 Jean Sibelius Conductor Dmitri Shostakovich Composer (1685–1750) Singer Singer Singer Conductor Singers Composer, conductor 1937 1942 Beverly Sills Richard Strauss Rosa Ponselle Arturo Toscanini Composer Composer Benjamin Britten Patrice Munsel Renata Tebaldi Rudolf Bing Luciano Pavarotti 1971 1927 1931 1934 1948 1951 1958 1966 1979 Sergei Koussevitsky Sir Thomas Beecham Leontyne Price Singer Georg Solti Composer, conductor Singer Conductor Composer
    [Show full text]
  • The Music the Music-To-Go Trio Wedding Guide Go Trio Wedding
    The MusicMusic----ToToToTo----GoGo Trio Wedding Guide Processionals Trumpet Voluntary.................................................................................Clarke Wedding March.....................................................................................Wagner Jesu, Joy of Man’s Desiring...................................................................... Bach Te Deum Prelude.......................................................................... Charpentier Canon ................................................................................................. Pachelbel Air from Water Music............................................................................. Handel Sleepers Awake.......................................................................................... Bach Sheep May Safely Graze........................................................................... Bach Air on the G String................................................................................... Bach Winter (Largo) from The Four Seasons ..................................................Vivaldi MidMid----CeremonyCeremony Music Meditations, Candle Lightings, Presentations etc. Ave Maria.............................................................................................Schubert Ave Maria...................................................................................Bach-Gounod Arioso......................................................................................................... Bach Meditation from Thaïs ......................................................................Massenet
    [Show full text]
  • Bernstein's Trouble in Tahiti By
    Postwar Modernity and the Wife's Subjectivity: Bernstein's Trouble in Tahiti By: Elizabeth L. Keathley Keathley, Elizabeth. “Postwar Modernity and the Wife's Subjectivity: Bernstein's Trouble in Tahiti,” American Music, Vol. 23 No. 2 (Summer 2005): 220-257. Made available courtesy of University of Illinois Press: http://www.jstor.org/stable/4153033 ***© University of Illinois Press. Reprinted with permission. No further reproduction is authorized without written permission from University of Illinois Press. This version of the document is not the version of record. Figures and/or pictures may be missing from this format of the document. *** Abstract: Leonard Bernstein's short opera Trouble in Tahiti (1951-52) is a humorous but scathing satire on postwar consumerism and bourgeois marriage. Such critiques are now so commonplace that it may be difficult to appreciate the opera's political edge unless it is seen against the backdrop of repression that marked the years following World War II: in an era in which a group as mainstream as the League of Women Voters was denounced as a "communist front organization," Trouble in Tahiti's criticisms risked reprisals.[1] Keywords: Musicals | Leonard Bernstein | Trouble in Tahiti | Gender | Feminism | Post World War II era Article: Leonard Bernstein's short opera Trouble in Tahiti (1951-52) is a humorous but scathing satire on postwar consumerism and bourgeois marriage. Such critiques are now so commonplace that it may be difficult to appreciate the opera's political edge unless it is seen against
    [Show full text]
  • This Year Marks Leonard Bernstein's 100Th Birthday, and Some Philly Arts
    This year marks Leonard Bernstein’s 100th birthday, and some Philly arts and culture institutions are teaming up to celebrate his centenary with eye- and ear-opening firsts. We know Bernstein best for works such as West Side Story, but his 1951 opera, Trouble in Tahiti, also became an important cultural touchstone. It satirized the outwardly perfect and inwardly tumultuous family life of a suburban couple in 1950s America. But things got darker in the mid-1980s, when Bernstein revisited the same fictional family 30 years later, as a death calls them home, with 1983’s A Quiet Place. Bernstein’s last stage work In 1980, Bernstein teamed with 30-year-old writer Stephen Wadsworth in their joint inspiration for a sequel to Trouble in Tahiti, while they were both grappling with tragic losses in their own lives. The work would combine vernacular speech and music with relatable middle-class woes, performed through a mix of American musical theater and contemporary opera styles that was unusual and polarizing at the time. A Quiet Place premiered in Houston in 1983 as a one-act opera on a double bill with Trouble in Tahiti. Original conductor John Mauceri thought Bernstein and Wadsworth could revisit the two works again. They developed a new version of A Quiet Place that incorporated Trouble in Tahiti, creating one opera with the family’s complete arc, alternating between past and present and becoming a map of a changing U.S. culture from the 1950s to the ’80s. The revised A Quiet Place debuted successfully at La Scala in 1984 and went on to the Kennedy Center before returning to Europe.
    [Show full text]
  • Children in Opera
    Children in Opera Children in Opera By Andrew Sutherland Children in Opera By Andrew Sutherland This book first published 2021 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2021 by Andrew Sutherland Front cover: ©Scott Armstrong, Perth, Western Australia All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-6166-6 ISBN (13): 978-1-5275-6166-3 In memory of Adrian Maydwell (1993-2019), the first Itys. CONTENTS List of Figures........................................................................................... xii Acknowledgements ................................................................................. xxi Chapter 1 .................................................................................................... 1 Introduction What is a child? ..................................................................................... 4 Vocal development in children ............................................................. 5 Opera sacra ........................................................................................... 6 Boys will be girls .................................................................................
    [Show full text]
  • Harvey Milk Page 1 of 3 Opera Assn
    San Francisco Orpheum 1996-1997 Harvey Milk Page 1 of 3 Opera Assn. Theatre Production made possible by a generous grant from Madeleine Haas Russell. Harvey Milk (in English) Opera in three acts by Stewart Wallace Libretto by Michael Korie Commissioned by S. F. Opera, Houston Grand Opera, and New York City Opera The commission for "Harvey Milk" has been funded in substantial part by a generous gift from Drs. Dennis and Susan Carlyle and has been supported by major grants from the Lila Wallace-Reader's Digest Opera for a New America, a project of OPERA America; the Caddell & Conwell Foundation for the Arts; as well as the National Endowment for the Arts. Conductor CAST Donald Runnicles Harvey Milk Robert Orth Production Messenger James Maddalena Christopher Alden Mama Elizabeth Bishop Set designer Young Harvey Adam Jacobs Paul Steinberg Dan White Raymond Very Costume Designer Man at the opera James Maddalena Gabriel Berry Gidon Saks Lighting Designer Bradley Williams Heather Carson Randall Wong Sound Designer William Pickersgill Roger Gans Richard Walker Chorus Director Man in a tranch coat/Cop Raymond Very Ian Robertson Central Park cop David Okerlund Choreographer Joe Randall Wong Ross Perry Jack Michael Chioldi Realized by Craig Bradley Williams Victoria Morgan Beard Juliana Gondek Musical Preparation Mintz James Maddalena Peter Grunberg Horst Brauer Gidon Saks Bryndon Hassman Adelle Eslinger Scott Smith Bradley Williams Kathleen Kelly Concentration camp inmate Randall Wong Ernest Fredric Knell James Maddalena Synthesizer Programmer
    [Show full text]
  • Prints and Johan Wittert Van Der Aa in the Rijksmuseum in Amsterdam.[7] Drawings, Inv
    Esther before Ahasuerus ca. 1640–45 oil on panel Jan Adriaensz van Staveren 86.7 x 75.2 cm (Leiden 1613/14 – 1669 Leiden) signed in light paint along angel’s shield on armrest of king’s throne: “JOHANNES STAVEREN 1(6?)(??)” JvS-100 © 2021 The Leiden Collection Esther before Ahasuerus Page 2 of 9 How to cite Van Tuinen, Ilona. “Esther before Ahasuerus” (2017). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–. https://theleidencollection.com/artwork/esther-before-ahasuerus/ (accessed October 02, 2021). A PDF of every version of this entry is available in this Online Catalogue's Archive, and the Archive is managed by a permanent URL. New versions are added only when a substantive change to the narrative occurs. © 2021 The Leiden Collection Powered by TCPDF (www.tcpdf.org) Esther before Ahasuerus Page 3 of 9 During the Babylonian captivity of the Jews, the beautiful Jewish orphan Comparative Figures Esther, heroine of the Old Testament Book of Esther, won the heart of the austere Persian king Ahasuerus and became his wife (Esther 2:17). Esther had been raised by her cousin Mordecai, who made Esther swear that she would keep her Jewish identity a secret from her husband. However, when Ahasuerus appointed as his minister the anti-Semite Haman, who issued a decree to kill all Jews, Mordecai begged Esther to reveal her Jewish heritage to Ahasuerus and plead for the lives of her people. Esther agreed, saying to Mordecai: “I will go to the king, even though it is against the law.
    [Show full text]
  • Esther Nelson, Stanford Calderwood General
    ESTHER NELSON, STANFORD CALDERWOOD GENERAL & ARTISTIC DIRECTOR | DAVID ANGUS, MUSIC DIRECTOR | JOHN CONKLIN, ARTISTIC ADVISOR THE MISSION OF BOSTON LYRIC OPERA IS TO BUILD CURIOSITY, ENTHUSIASM AND SUPPORT FOR OPERA BY CREATING MUSICALLY AND THEATRICALLY COMPELLING PRODUCTIONS, EVENTS, AND EDUCATIONAL RESOURCES FOR THE BOSTON COMMUNITY AND BEYOND. B | BOSTON LYRIC OPERA OVERVIEW: ANNUAL REPORT 2017 WELCOME Dear Patrons, Art is often inspired by the idea of a journey. Boston Lyric Opera’s 40TH Anniversary Season was a journey from Season opener to Season closer, with surprising and enlightening stories along the way, lessons learned, and strengths found. Together with you, we embraced the unexpected, and our organization was left stronger as a result. Our first year of producing works in multiple theaters was thrilling and eye-opening. REPORT Operas were staged in several of Boston’s best houses and uniformly received blockbuster reviews. We made an asset of being nimble, seizing upon the opportunity CONTENTS of our Anniversary Season to create and celebrate opera across our community. Best of all, our journey brought us closer than ever to our audiences. Welcome 1 It’s no coincidence that the 2016/17 Season opened with Calixto Bieito’s renowned 2016/17 Season: By the Numbers 2 staging of Carmen, in co-production with San Francisco Opera. The strong-willed gypsy Leadership & Staff 3 woman and the itinerant community she adopted was a perfect metaphor for our first production on the road. Bringing opera back to the Boston Opera House was an iconic 40TH Anniversary Kickoff 4 moment. Not only did Carmen become the Company’s biggest-selling show ever, it also Carmen 6 ignited a buzz around the community that drew a younger, more diverse audience.
    [Show full text]
  • La Sonnambula 3 Content
    Florida Grand Opera gratefully recognizes the following donors who have provided support of its education programs. Study Guide 2012 / 2013 Batchelor MIAMI BEACH Foundation Inc. Dear Friends, Welcome to our exciting 2012-2013 season! Florida Grand Opera is pleased to present the magical world of opera to the diverse audience of © FLORIDA GRAND OPERA © FLORIDA South Florida. We begin our season with a classic Italian production of Giacomo Puccini’s La bohème. We continue with a supernatural singspiel, Mozart’s The Magic Flute and Vincenzo Bellini’s famous opera La sonnam- bula, with music from the bel canto tradition. The main stage season is completed with a timeless opera with Giuseppe Verdi’s La traviata. As our RHWIEWSRÁREPI[ILEZIEHHIHERI\XVESTIVEXSSYVWGLIHYPIMRSYV continuing efforts to be able to reach out to a newer and broader range of people in the community; a tango opera María de Buenoa Aires by Ástor Piazzolla. As a part of Florida Grand Opera’s Education Program and Stu- dent Dress Rehearsals, these informative and comprehensive study guides can help students better understand the opera through context and plot. )EGLSJXLIWIWXYH]KYMHIWEVIÁPPIH[MXLLMWXSVMGEPFEGOKVSYRHWWXSV]PMRI structures, a synopsis of the opera as well as a general history of Florida Grand Opera. Through this information, students can assess the plotline of each opera as well as gain an understanding of the why the librettos were written in their fashion. Florida Grand Opera believes that education for the arts is a vital enrich- QIRXXLEXQEOIWWXYHIRXW[IPPVSYRHIHERHLIPTWQEOIXLIMVPMZIWQSVI GYPXYVEPP]JYPÁPPMRK3RFILEPJSJXLI*PSVMHE+VERH3TIVE[ILSTIXLEX A message from these study guides will help students delve further into the opera.
    [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]
  • Boston Symphony Orchestra Concert Programs, Season 125, 2005-2006
    Tap, tap, tap. The final movement is about to begin. In the heart of This unique and this eight-acre gated final phase is priced community, at the from $1,625 million pinnacle of Fisher Hill, to $6.6 million. the original Manor will be trans- For an appointment to view formed into five estate-sized luxury this grand finale, please call condominiums ranging from 2,052 Hammond GMAC Real Estate to a lavish 6,650 square feet of at 617-731-4644, ext. 410. old world charm with today's ultra-modern comforts. BSRicJMBi EM ;\{? - S'S The path to recovery... a -McLean Hospital ', j Vt- ^Ttie nation's top psychiatric hospital. 1 V US NeWS & °r/d Re >0rt N£ * SE^ " W f see «*££% llffltlltl #•&'"$**, «B. N^P*^* The Pavijiorfat McLean Hospital Unparalleled psychiatric evaluation and treatment Unsurpassed discretion and service BeJmont, Massachusetts 6 1 7/855-3535 www.mclean.harvard.edu/pav/ McLean is the largest psychiatric clinical care, teaching and research affiliate R\RTNERSm of Harvard Medical School, an affiliate of Massachusetts General Hospital HEALTHCARE and a member of Partners HealthCare. REASON #78 bump-bump bump-bump bump-bump There are lots of reasons to choose Beth Israel Deaconess Medical Center for your major medical care. Like less invasive and more permanent cardiac arrhythmia treatments. And other innovative ways we're tending to matters of the heart in our renowned catheterization lab, cardiac MRI and peripheral vascular diseases units, and unique diabetes partnership with Joslin Clinic. From cardiology and oncology to sports medicine and gastroenterology, you'll always find care you can count on at BIDMC.
    [Show full text]