A4 Auswahlverzeichnis Ring
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Parsifal and Canada: a Documentary Study
Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article. -
ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
Richard Strauss's Ariadne Auf Naxos
Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails. -
A Culture of Recording: Christopher Raeburn and the Decca Record Company
A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon. -
RWVI WAGNER NEWS – Nr
RWVI WAGNER NEWS – Nr. 7 – 01/2018 – deutsch – english – français Wir möchten die Ortsverbände höflich bitten, zur Übermittlung von Nachrichten und Veranstaltungsankündigungen diese Links zu benutzen Link zur Übermittlung von Nachrichten für die RWVI Webseiten: http://www.richard-wagner.org/send-news/ Link zur Übermittlung von Veranstaltungshinweisen für die RWVI Webseiten. http://www.richard-wagner.org/send-event/ Danke für ihre Mithilfe. Liebe Wagnergemeinde weltweit, Das nun zu Ende gehende Jahr 2017 war geprägt von großen politischen Veränderungen, deren Umstände und Auswüchse in den Medien sattsam kritisch gewürdigt wurden. Gleichwohl aber markieren Ereignisse wie wir Sie in einigen Staaten derzeit erleben, Entwicklungen, die wir sicher nicht nur begrüßen. Humanismus, Aufklärung und Gewaltenteilung waren lange Zeit unumstrittene Eckpfeiler unseres Zusammenlebens und Dietrich Bonhoeffer, Henry Dunant, Elihu Root, José Martí oder Yoko Ono mögen exemplarisch als einige, der vielen von uns denkbaren Vorbilder in dieser Hinsicht gelten. Auch Komponisten spielten früher eine gewichtige gesellschaftliche Rolle und repräsentierten oder beeinflussten die Menschen in ihrem Handeln. Gerade die Tatsache aber, dass Musik heute fast ohne Ausnahme zum gesichtslosen Konsumartikel geworden ist, sagt viel aus. Wen würden Sie heute als eine „große Persönlichkeit“ mit bedeutendem Einfluss unter den lebenden Komponisten bezeichnen? Große Persönlichkeiten waren und sind aber meist nicht unumstritten, biographische Brüche und punktuelles Versagen gehören zum Leben leider dazu. Richard Wagner ist hierfür ein beredtes Beispiel und wir alle kennen die Angriffsflächen, die unser vielseitiger und viel produzierender Meister bis heute bietet. Geschichte ist leider ebenso wenig abzuändern wie eben diese Schattenseiten des Genies. Die Zeit bleibt nicht stehen und wir sollten gerade bei Richard Wagner immer vor allem und immer wieder neu auf die Taten in Form seiner ewig gültigen Musikdramen blicken, die eben genau das Gegenteil einer Blaupause für die aktuellen Entwicklungen sind. -
Wagner Im Kino. Der Chereau-Ringund Sein Publikum
Wagner im Kino. Der Chereau-Ringund sein Publikum Karl-Heinz Reuband 1. Einleitung Der Bayreuther Ring von 1976 - allgemein auch als "Jahrhundertring" bezeichnet - wurde kurze Zeit nach der Premiere in einer eigenen Pro- duktion filmisch aufgezeichnet und als Videokassette in den Handel gebracht. Eine DVD- Version, die naturgemäß optisch wie auch auditiv über eine weitaus bessere Qualität verfügt, erschien erst im Sommer 2005 - zu einer Zeit, in der DVDs längst als neues Medium der Vermittlung ihren Siegeszug angetreten hatten und es bereits auch mehrere Aufnah- men von Opernaufführungen als DVD-Fassung im Handel gab. Das Erscheinen der DVD-Version des Ring wurde mit einer Werbekampagne der Vertriebsfirma Universal Classics verknüpft, in der neue Wege gegan- gen wurden und in deren Folge u.a. an vier Sonntagen im August 2005 in ausgewählten Kinos die DVD- Version des Ring auf Großbildleinwand gezeigt wurde. Der filmischen Präsentation wurde dabei der Charakter des Exklusiven verliehen: nicht nur aufgrund der Tatsache, dass die ein- zelnen Opern des Ring jeweils nur an einem einzigen Tag, sondern auch nur an einigen wenigen Orten gezeigt wurden: In Nordrhein-Westfalen waren es lediglich das Programmkino Black Box in Düsseldorf und Cine- ma in Münster. In der Werbung wurde die Präsentation der DVD-Fassung im Kino damit begründet, dass es in diesem Jahr in Bayreuth keinen neuen Ring geben würde und es sich bei der DVD- Version um eine besonders klassi- sche Inszenierung handle. Doch ist dies sicherlich nicht der einzige Grund, kein Akt des Altruismus für Wagner-Anhänger und Bayreuth- Besucher. Vielmehr handelt es sich um eine groß angelegte Werbekampa- gne für die DVD-Ausgabe und die Tatsache, dass Universal Classics nach längerer Verzögerung nun endlich damit begonnen hatte, ihre VHS- Aufzeichnungen nach und nach als DVD neu herauszubringen. -
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. -
Wagner) Vortrag Am 21
Miriam Drewes Die Bühne als Ort der Utopie (Wagner) Vortrag am 21. August 2013 im Rahmen der „Festspiel-Dialoge“ der Salzburger Festspiele 2013 Anlässlich des 200. Geburtstags von Richard Wagner schreibt Christine Lemke-Matwey in „Der Zeit“: „Keine deutsche Geistesgröße ist so gründlich auserzählt worden, politisch, ästhetisch, in Büchern und auf der Bühne wie der kleine Sachse mit dem Samtbarrett. Und bei keiner fällt es so schwer, es zu lassen.“1 Allein zum 200. Geburtstag sind an die 3500 gedruckte Seiten Neuinterpretation zu Wagners Werk und Person entstanden. Ihre Bandbreite reicht vom Bericht biographischer Neuentdeckungen, über psychologische Interpretationen bis hin zur Wiederauflage längst überholter Aspekte in Werk und Wirkung. Inzwischen hat die Publizistik eine Stufe erreicht, die sich von Wagner entfernend vor allen Dingen auf die Rezeption von Werk und Schöpfer richtet und dabei mit durchaus ambivalenten Lesarten aufwartet. Begegnet man, wie der Musikwissenschaftler Wolfgang Rathert konzediert, Person und Werk naiv, begibt man sich alsbald auf vermintes ideologisches Terrain,2 auch wenn die Polemiken von Wagnerianern und Anti-Wagnerianern inzwischen nicht mehr gar so vehement und emphatisch ausfallen wie noch vor 100 oder 50 Jahren. Selbst die akademische Forschung hat hier, Rathert zufolge, nur wenig ausrichten können. Immerhin aber zeigt sie eines: die Beschäftigung mit Wagner ist nicht obsolet, im Gegenteil, die bis ins Ideologische reichende Rezeption führe uns die Ursache einer heute noch ausgesprochenen Produktivität vor Augen – sowohl diskursiv als auch auf die Bühne bezogen. Ich möchte mich in diesem Vortrag weniger auf diese neuesten Ergebnisse oder Pseudoergebnisse konzentrieren, als vielmehr darauf, in wieweit der Gedanke des Utopischen, der Richard Wagners theoretische Konzeption wie seine Opernkompositionen durchdringt, konturiert ist. -
To Download the Full Archive
Complete Concerts and Recording Sessions Brighton Festival Chorus 27 Apr 1968 Concert Dome Concert Hall, Brighton Brighton Festival Belshazzar's Feast Walton William Walton Royal Philharmonic Orchestra Baritone Thomas Hemsley 11 May 1968 Concert Dome Concert Hall, Brighton Brighton Festival Kyrie in D minor, K 341 Mozart Colin Davis BBC Symphony Orchestra 27 Oct 1968 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Budavari Te Deum Kodály Laszlo Heltay Brighton Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Sarah Walker Tenor Paul Taylor Bass Brian Kay 23 Feb 1969 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Symphony No. 9 in D minor, op.125 Beethoven Herbert Menges Brighton Philharmonic Orchestra Soprano Elizabeth Harwood Mezzo-Soprano Barbara Robotham Tenor Kenneth MacDonald Bass Raimund Herincx 09 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Mass in D Dvorák Václav Smetáček Czech Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Valerie Baulard Tenor Paul Taylor Bass Michael Rippon Sussex University Choir 11 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Liebeslieder-Walzer Brahms Laszlo Heltay Piano Courtney Kenny Piano Roy Langridge 25 Jan 1970 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Requiem Fauré Laszlo Heltay Brighton Philharmonic Orchestra Soprano Maureen Keetch Baritone Robert Bateman Organ Roy Langridge 09 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Mass in B Minor Bach Karl Richter English Chamber Orchestra Soprano Ann Pashley Mezzo-Soprano Meriel Dickinson Tenor Paul Taylor Bass Stafford Dean Bass Michael Rippon Sussex University Choir 1 Brighton Festival Chorus 17 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Fantasia for Piano, Chorus and Orchestra in C minor Beethoven Symphony No. -
Boston Symphony Orchestra Concert Programs, Season 121, 2001-2002
2001-2002 SEASON BOSTON SYMPHONY ORCHESTRA Saluting Seiji Ozawa in his farewell season SEIJI OZAWA MUSIC DIRECTOR BERNARD HAITINK PRINCIPAL GUEST CONDUCTOR Bring your Steinway: With floor plans from 2,300 Phase One of this magnificent to over 5,000 square feet, property is 100% sold and you can bring your Concert occupied. Phase Two is now Grand to Longyear. being offered by Sotheby's Enjoy full-service, single- International Realty and floor condominium living at its Hammond Residential Real absolute finest, all harmoniously Estate. Priced from $1,500,000. located on an extraordinary eight-acre Call Hammond Real Estate at gated community atop prestigious (617) 731-4644, ext. 410. Fisher Hill. LONGYEAR. at ^Jrisner Jiill BROOKLINE CORT1 SOTHEBY'S PROPERTIES INC. International Realty E A L ESTATE Somethingfor any occasion.. &* m y-^ ;fe mwm&m <*-iMF--%^ h : S-i'ffi- I C'?t m^^a»f * • H ^ >{V&^I> ^K S8 ^ r" • >-*f &a Davic^Company Sellers & Collectors of Beautiful Jewelry 232 Boylston Street, Chestnut Hill, MA 02467 617-969-6262 (Tel) 1-800-DAVIDCO 617-969-3434 (Fax) www.davidnndcompany.com . Every car has its moment. This one has thousands per second. .-:.: % - The new 3 Series. Pure drive, The New ^m BMW 3 Series ^f^rn^w^ From $27,745* fop 9 Test drive The Ultimate Driving Machine bmwusa.com The Ultimate at your authorized BMW center 1-8QG-334-4BMW Driving Machine* Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship Bernard Haitink, Principal Guest Conductor One Hundred and Twenty-first Season, 2001-02 SALUTING SEIJI OZAWA IN HIS FAREWELL SEASON Trustees of the Boston Symphony Orchestra, Inc. -
Developing the Young Dramatic Soprano Voice Ages 15-22 Is Approved in Partial Fulfillment of the Requirements for the Degree Of
DEVELOPING THE YOUNG DRAMATIC SOPRANO VOICE AGES 15-22 By Monica Ariane Williams Bachelor of Arts – Vocal Arts University of Southern California 1993 Master of Music – Vocal Arts University of Southern California 1995 A dissertation submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas December 2020 Copyright 2021 Monica Ariane Williams All Rights Reserved Dissertation Approval The Graduate College The University of Nevada, Las Vegas November 30, 2020 This dissertation prepared by Monica Ariane Williams entitled Developing the Young Dramatic Soprano Voice Ages 15-22 is approved in partial fulfillment of the requirements for the degree of Doctor of Musical Arts School of Music Alfonse Anderson, DMA. Kathryn Hausbeck Korgan, Ph.D. Examination Committee Chair Graduate College Dean Linda Lister, DMA. Examination Committee Member David Weiller, MM. Examination Committee Member Dean Gronemeier, DMA, JD. Examination Committee Member Joe Bynum, MFA. Graduate College Faculty Representative ii ABSTRACT This doctoral dissertation provides information on how to develop the young dramatic soprano, specifically through more concentrated focus on the breath. Proper breathing is considered the single most important skill a singer will learn, but its methodology continues to mystify multitudes of singers and voice teachers. Voice professionals often write treatises with a chapter or two devoted to breathing, whose explanations are extremely varied, complex or vague. Young dramatic sopranos, whose voices are unwieldy and take longer to develop are at a particular disadvantage for absorbing a solid vocal technique. First, a description, classification and brief history of the young dramatic soprano is discussed along with a retracing of breath methodologies relevant to the young dramatic soprano’s development. -
Carl Orff Die Kluge Mp3, Flac, Wma
Carl Orff Die Kluge mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical / Stage & Screen Album: Die Kluge Country: Germany Style: Modern, Opera MP3 version RAR size: 1909 mb FLAC version RAR size: 1356 mb WMA version RAR size: 1620 mb Rating: 4.3 Votes: 411 Other Formats: AC3 XM WAV DXD DMF VQF MOD Tracklist Die Geschichte Von Dem König Und Der Klugen Frau A Carl Orff Spricht Den Prolog, 1.-3. Szene B 4.-6. Szene C 7.-8. Szene, 9. Szene (1. Teil) D 9. Szene (Schluß), 10.-12. Szene, Carl Orff spricht den Epilog Credits Baritone Vocals [Der König] – Marcel Cordes Baritone Vocals [Zweiter Strolch] – Hermann Prey Bass Vocals [Der Bauer] – Gottlob Frick Bass Vocals [Der Kerkermeister] – Georg Wieter Bass Vocals [Der Mann Mit Dem Maulesel] – Benno Kusche Bass Vocals [Dritter Strolch] – Gustav Neidlinger Composed By, Narrator [Speaker], Other [Recording Supervisor] – Carl Orff Conductor – Wolfgang Sawallisch Liner Notes – K. H. Ruppel Orchestra – Philharmonia Orchester London* Soprano Vocals [Die Kluge] – Elisabeth Schwarzkopf Tenor Vocals [Der Mann Mit Dem Esel] – Rudolf Christ Tenor Vocals [Erster Strolch] – Paul Kuen Notes Recorded under the personal supervision of Carl Orff Recorded in London · May 1956 Other versions Category Artist Title (Format) Label Category Country Year Angel ANGEL 3551 Records, ANGEL 3551 B/L, ANG. Die Kluge (2xLP, Angel B/L, ANG. Carl Orff US 1956 35389, ANG. Mono + Box) Records, 35389, ANG. 35390 Angel 35390 Records Elisabeth Schwarzkopf / Elisabeth Marcel Cordes / Schwarzkopf / Gottlob Frick / Marcel Cordes / Rudolf Christ / The Record Gottlob Frick / Benno Kusche / Society, Rudolf Christ / Paul Kuen / World 40-6040, No.