The New Symphony Orchestra of London Verdi: Scenes from Falstaff Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

The New Symphony Orchestra Of London Verdi: Scenes From Falstaff mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical / Stage & Screen Album: Verdi: Scenes From Falstaff Style: Opera MP3 version RAR size: 1654 mb FLAC version RAR size: 1521 mb WMA version RAR size: 1341 mb Rating: 4.8 Votes: 341 Other Formats: MP4 AU MMF DXD AA DMF WMA Tracklist A1 Act 1. Part 1. Ehi Paggio!... L'onore A2 Act 2. Part 2. Presenteremo Un Bill A3 Act 3. Part 1. Ehi Taverniere! A4 Act 3. Part 2. Dal Labbro Canto Estasiato A5 Act 3. Part 2. Sul Fil D'un Soffio B1 Act 1. Part 2. Alice. Meg. Quickly. Nannetta B2 Act 2. Part 1 (Complete). Siam Pentiti E Contriti. Credits Composed By – Giuseppe Verdi Conductor – Edward Downes Vocals – Fernando Corena, Ilva Ligabue, Luigi Alva, Lydia Marimpietri, Michael Langdon, Regina Resnik, Renato Capecchi Notes 1xLP box set. 8-page booklet with lyrics in Italian and English. On cover title reads "Verdi: Falstaff Highlights". Other versions Category Artist Title (Format) Label Category Country Year Verdi*, Corena*, Verdi*, LXT 6079, Downes* - Scenes Decca, LXT 6079, Corena*, UK 1963 LXT.6079 From Falstaff (LP, Decca LXT.6079 Downes* Mono) Verdi*, Verdi*, Corena*, SXL 6079, Decca, SXL 6079, Corena*, Downes* - Scenes UK 1963 SXL.6079 Decca SXL.6079 Downes* From Falstaff (LP) Verdi*, Verdi*, Corena*, Ace Of SDD 429 Corena*, Downes* - Scenes SDD 429 UK 1974 Diamonds Downes* From Falstaff (LP) Verdi*, Verdi*, Corena*, LXT 6079, Decca, LXT 6079, Corena*, Downes* - Scenes Germany Unknown LXT.6079 Decca LXT.6079 Downes* From Falstaff (LP) Related Music albums to Verdi: Scenes From Falstaff by The New Symphony Orchestra Of London Giuseppe Verdi - Falstaff Modest Mussorgsky, Paata Burchuladze, Edward Downes, English Concert Orchestra - Boris Godunov - Don Carlos - Macbeth - Simon Boccanegra - Ernani Verdi - The Great Operas - Falstaff [Act 1 - Act 2 (Beginning)] Giuseppe Verdi, Sherrill Milnes, Joan Sutherland, Luciano Pavarotti, The London Symphony Orchestra, Richard Bonynge - Rigoletto - Highlights Maria Antonieta Stella, Carlo Bergonzi, Paolo Silveri, Francesco Molinari-Pradelli, Giuseppe Verdi - Simon Boccanegra Arturo Toscanini, NBC Symphony Orchestra, Ramón Vinay, Giuseppe Valdengo, Herva Nelli, Nan Merriman - Otello Regina Resnik, Edward Downes - Arias From Carmen Et Al. Giuseppe Verdi, Igor Markevitch, Moscow Philharmonic Orchestra, Государственный Академический Русский Хор Им. А. В. Свешникова - Requiem Part 1 Rome Opera House, with Christoff, Gobbi, Santini, - Verdi, Don Carlo Verdi, Moffo, Bergonzi, Verrett, MacNeil, Tozzi, Flagello, RCA Italiana Opera Orchestra And Chorus, Fausto Cleva - Luisa Miller.

Copy Link

Recommended publications

Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
[Show full text]
Marie Collier: a Life
Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family.
[Show full text]
Verdi's Rigoletto
Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered.
[Show full text]
Staged Treasures
Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio
[Show full text]
British Piano Concertos DDD the RNCM Symphony Orchestra Is One of Several Major Ensembles at the Royal Northern College of Music in Manchester
557291 bk PitfieldUS 12/08/2005 04:32pm Page 8 8.557291 RNCM Symphony Orchestra British Piano Concertos DDD The RNCM Symphony Orchestra is one of several major ensembles at the Royal Northern College of Music in Manchester. All the ensembles perform regularly in public concerts in the College as well as externally around Britain and abroad. The Symphony Orchestra has worked with many guest conductors including Martyn Brabbins, Sir Edward Downes, Mark Elder, Cristian Mandeal, Vassily Sinaisky, Gerard Schwarz and Yan Pascal Tortelier. Thomas The orchestra also supports the College’s critically acclaimed opera productions, most recently Rossini’s La Cenerentola, Stravinsky’s The Rake’s Progress and Tchaikovsky’s Queen of Spades. Overseas tours have PITFIELD included concerts at the Al Bustan Festival in Beirut and a residency at the annual Cantiere Internazionale d’arte di Montepulciano, Italy between 1992 and 2003. The RNCM Symphony Orchestra’s commercial recordings include Piano Concertos Nos. 1 and 2 contributions to Classico’s The British Symphonic Collection Series. Anthony Goldstone, Piano • Peter Donohoe, Piano Royal Northern College of Music Orchestra Andrew Penny Andrew Penny Andrew Penny was born in Hull and entered the Royal Manchester College of Music in 1971 to study the clarinet with Sidney Fell. As a postgraduate he was the first holder of the Rothschild Scholarship in Conducting at the Royal Northern College of Music, studying with Sir Charles Groves and Timothy Reynish, subsequently receiving the Ricordi Prize. He gained invaluable experience with the Opera Unit during this time and was associated with many of the operas presented by the College in its early years both in Manchester and Sadlers Wells Theatre.
[Show full text]
Decca Discography
DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982.
[Show full text]
Adriana Lecouvreur
CILEA Adriana Lecouvreur • Mario Rossi, cond; Magda Olivero (Adriana Lecouvreur); Giulietta Simionato (La Principessa di Bouillon); Franco Corelli (Maurizio); Ettore Bastianini (Michonnet); Teatro San Carlo Naples Ch & O • IMMORTAL PERFORMANCES 1111/1–2 mono (2 CDs: 142:49) Live: Naples 11/28/1959 MASCAGNI Iris • Olivero de Fabritiis, cond; Magda Olivero (Iris); Salvatore Puma (Osaka); Saturno Meletti (Kyoto); Giulio Neri (Il Cieco); RAI Turin Ch & O • IMMORTAL PERFORMANCES 1111/3–4 mono (2 CDs: 156:05) Live: Turin 9/6/1956 & PUCCINI Manon Lescaut: In quelle trine morbide; Sola perdutto abbandonata (Fulvio Vernizzi, Netherlands RS, 10/31/1966). La rondine: Che il bel sogno (Anton Kerjes, unidentified O, 3/5/1972). ALFANO Risurrezione: Dio pietoso (Elio Boncompagni, RAI Turin O, 1/30/1973). CATALANI Loreley: Amor celeste ebbrezza (Arturo Basile, RAI Turin O, 5/6/1953) VERDI La traviata: Act I, É strano....Ah, fors’è lui....Sempre libera; Magda Olivero, Muzio Giovagnoli, tenor, Ugo Tansini, cond.; RAI Turin O, 1940. Act II, Scene 1: Magda Olivero; Aldo Protti, (Giorgio Germont). Live, Orchestra Radio Netherlands, Fulvio Vernizzi, cond., 6 May 1967. Act II – Amami Alfredo! Magda Olivero; Ugo Tansini cond., 6 May 1953 (Cetra AT 0320) Act III Complete • Fulvio Vernizzi, cond; Magda Olivero (Violetta); Doro Antonioli (Alfredo Germont); Aldo Protti (Giorgio Germont). Live, Orchestra Radio Netherlands, 6 May 1967. & PUCCINI Tosca: Vissi d’arte (Ugo Tansini, RAI Turin O, 1940). La bohème: Addio….Donde lieta usci (Fulvio Vernizzi, Netherlands RS, 3/2/1968). Madama Butterfly: Ancora un passo; Un bel di vedremo (Fulvio Vernizzi, Netherlands RS, 3/2/1968 and 12/14/1968) By James Altena March/April 2019 The remarkably long-lived Magda Olivero (1910–2014)—who, incredibly and like the magnificent Russian basso Mark Reizen, sang when in her 90s—is the rare singer for whom an adjective such as “fabled” never grows 1 stale.
[Show full text]
U.S. Sheet Music Collection
U.S. SHEET MUSIC COLLECTION SUB-GROUP I, SERIES 4, SUB-SERIES B (VOCAL) Consists of vocal sheet music published between 1861 and 1890. Titles are arranged in alphabetical order by surname of known composer or arranger; anonymous compositions are inserted in alphabetical order by title. ______________________________________________________________________________ Box 181 Abbot, Jno. M. Gently, Lord! Oh, Gently Lead Us. For Soprano Solo and Quartette. Harmonized and adapted from a German melody. Troy, NY: C. W. Harris, 1867. Abbot, John M. God Is Love. Trio for Soprano, Tenor, and Basso. Adapted from Conradin Kreutzer. New York: Wm. A. Pond & Co., 1865. Abbot, John M. Hear Our Prayer. Trio for Soprano, Contralto, and Basso. Brooklyn: Alphonzo Smith, 1862. Abbot, John M. Hear Our Prayer. Trio for Soprano, Contralto, and Basso. Brooklyn: Charles C. Sawyer, 1862. 3 copies. Abbot, John M. Hear Our Prayer. Trio for Soprano, Contralto, and Basso. Brooklyn: J. W. Smith, Jr., 1862. 3 copies. Abbot, John M. Softly now the light of day. Hymn with solos for Soprano, Tenor, and Contralto or Baritone. New York: S. T. Gordon, 1866. Abbott, Jane Bingham. Just For To-Day. Sacred Song for Soprano. Words by Samuel Wilberforce. Chicago: Clayton F. Summy Co., 1894. Abraham’s Daughter; or, Raw Recruits. For voice and piano. New York: Firth, Pond & Co., 1862. Cover features lithograph printed by Sarony, Major & Knapp. Abt, Franz. Absence and Return. For voice and piano. Words by J. E. Carpenter, PhD. From “New Songs by Franz Abt.” Boston: Oliver Ditson & Co., [s.d.]. Abt, Franz. Autumnal Winds (Es Braust der Herbstwind). Song for Soprano or Tenor in D Minor.
[Show full text]
High-Fidelity-1966-0
JUNE 1966 60c H BGH FI 0 ELITY SPea kers WHAT TO LOOK FOR IN THE STORE -HOW TO PLACE THEM IN THE HOME 111100=- B ernstein HIS FIRST OPERA RECORDING: VERDI'S FALSTAFF, WITH FISCHER -DIESKAU Prokofiev AN APPRAISAL OF HIS OPERAS BY A DISTINGUISHED ITALIAN CRITIC www.americanradiohistory.com because it is the next best speakers, or $299.50 with 10- thing to our grand grands. At inch speakers. a small fraction of the size The 85 includes a powerful and cost. The 95 baby grand transistor amplifier, an auto- is only $369.50 with standard matic turntable and a mag- speakers, or $399.50 with op- netic cartridge to match. The tional larger speaker systems 95 has a sensitive FM- stereo for even finer bass. The 85 is tuner in addition. Everything only $269.50 with 8 -inch you need for fine stereo. The Fisher baby grand. CIRCLE 27 ON READER -SERVICE CARD www.americanradiohistory.com OVESSES N140 CNM101NMMESiDENTS wl !If TOEIlNENMAP. iNTElN.TiONNI,iNC., LONG 1l1.NNOEITT,M.r. .. r PLACE 4¢ STAMP ucl+v HERE At Fisher we don't equate .oeä"4.>. performance with size. Every 'TF =Ç system must ° ¿_^¡ á Fisher stereo ClCjkly ó LI of fnmcR FISHER RADIO CORPORATION be capable producing {S.8 1:1 2,c N sound as big as the music. Y "N. 11-35 45th Road O > ÿ Y °= "_A 3.4 wE Long Island City, N. Y. 11101 Without compromise. And OCAON mC Ht ÉEao it on. IA.' p every time you turn O m iEi°vttuDl a, mre-°a E 9 ..> The Fisher baby grand is C p a,,C' 9 z < J the most recent proof of this.
[Show full text]
Parola Scenica: Towards Realism in Italian Opera Etdhendrik Johannes Paulus Du Plessis
Parola Scenica: Towards Realism in Italian Opera ETDHendrik Johannes Paulus du Plessis A thesis submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of PhD by Thesis Abstract This thesis attempts to describe the emergence of a realistic writing style in nine- teenth-century Italian opera of which Giuseppe Verdi was the primary architect. Frequently reinforced by a realistic musico-linguistic device that Verdi would call parola scenica, the object of this realism is a musical syntax in which nei- ther the dramatic intent of the text nor the purely musical intent overwhelms the other. For Verdi the dramatically effective depiction of a ‘slice of a particular life’—a realist theatrical notion—is more important than the mere mimetic description of the words in musical terms—a romantic theatrical notion in line with opera seria. Besides studying the device of parola scenica in Verdi’s work, I also attempt to cast light on its impact on the output of his peers and successors. Likewise, this study investigates how the device, by definition texted, impacts on the orchestra as a means of realist narrative. My work is directed at explaining how these changes in mood of thought were instrumental in effecting the gradual replacement of the bel canto singing style typical of the opera seria of Rossini, Donizetti, and Bellini, by the school of thought of verismo, as exemplified by Verdi’s experiments. Besides the work of Verdi and the early nineteenth-cen- tury Italian operatic Romanticists, I touch also briefly on the œuvres of Puccini, ETDGiordano and the other veristi.
[Show full text]
Frits Kamp Bass
Frits Kamp Bass Pettenkoferstraße 40 80336 München Deutschland Tel: 089/ 53 86 86 93 Mobil: 0179/328 0366 E-Mail: [email protected] Websites: 401dutchdivas.nl; Theapolis.de PERSÖNLICHE DATEN: Geboren: 31.5.1958 in Gouda, Niederlande Größe: 1.98 Meter; 90 Kg, blaue Augen; blonde Haare Staatsangehörigkeit: Niederländisch AUSBILDUNG: New England Conservatory, Boston, Gesangstudium mit Edward Zambara, 1988-95 Renato Capecchi, Privatstudium italienische Oper, New York City, 1994 MUSIKTHEATER: Sparafucile, Monterone, RIGOLETTO, Kammeroper Augsburg, Klaus Straube, 2018-19 Baron Zeta, LUSTIGE WITWE, Foyle Opera, Derry, Frank Chastrusse Colombier, Jochen Sauter, Ireland, 2018 Benoit, LA BOHEME, Immling Festival, Ludwig Baumann, Lorenzo Coladonato, 2018 Baron Weps, VOGELHÄNDLER, Lyrisches Opernensemble Dachau, Herbert Müller, Armando Merino, 2017 Frank, DIE FLEDERMAUS, North West Opera, Grianan Theatre, Letterkenny, Irland, Anton Zapf , 2012, 2016 Alidoro/Herr Rossini, ASCHENPUTTEL, Immling Festival, Ludwig Baumann, 30 Aufführungen, 2001-15 Colline, LA BOHEME, Cairo Opera House Orchestra, Nayer Nagui, Earagail Arts Festival, Irland, 2010-14 Sarastro, DIE ZAUBERFLÖTE, Moosach macht Oper, Theatron, Carl-Orff-Saal, Gasteig, München, 2014 Graf Tomsky, PIQUE DAME (auf Russisch), Seilvilla, München, Kristina Wuss, 2014 Eremit, FREISCHÜTZ, Opernbühne Württembergisches Allgäu, Wangen im Allgäu, 2014 Colas, BASTIEN UND BASTIENNE, Voilá Opera, München, Maria Czeiler, Stellario Fagone, 2013 Kemal-Pascha, DIE ROSE VON STAMBUL (Fall), Cuvilliés Theater München,
[Show full text]
Philharmonic Hall Lincoln Center for the Pf°Forming Arts
PHILHARMONIC HALL LINCOLN CENTER FOR THE PF°FORMING ARTS 1963-1964 NEW YORK STATE THEATER Designed primarily as a home for ballet and musical One year and seven months after the opening of Philhar theater, under the direction, respectively, of George Balan monic Hall on September 23, 1962, the second unit of chine and Richard Rodgers, the New York State Theater Lincoln Center for the Performing Arts takes its place as also includes public areas of unusual spaciousness and a functioning part of the evolving operational plan. This, utility. Entrance from the plaza level brings one to the by coincidence rather than choice, is the 23rd of April, box office facilities, with corridors to either side from when New York State Day is observed at the World’s which there is access to the orchestra floor of the theater. Fair following formal opening of the Fair the day before. A pair of staircases lead to the Promenade, which faces Governor Nelson D. Rockefeller and other high officials across the plaza to the orchestral level of Philharmonic will be present for the inaugural ceremonies of the New Hall. The Promenade itself, with a floor area of 200 feet York State Theater, in which the two resident companies, by 60 feet, provides bar facilities and ample space for the New York City Ballet and the Music Theater of walking or smoking during intermissions. Each ring above Lincoln Center, will take part. opens on galleries that surround the Promenade on four Though its exterior is designed to be a congruent part sides. The Promenade can also seat 600 or more for of the total Lincoln Center complex and thus balances Philharmonic Hall, which it faces, the interior treatment banquets and other ceremonials.
[Show full text]