Boston Symphony Orchestra Concert Programs, Season 113, 1993-1994
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Conversazioni I Cantatas from a Cardinal’S Court
Key: CTP Template: CD_1PD2 CTP Template: CD_1PD2 COLOURS No text area Compact Disc Booklet: Single Facing Page Compact Disc Booklet: Single Facing Page CYAN MAGENTA Customer Customer YELLOW Bleed Catalogue No. Catalogue No. BLACK Trim Job Title Page No. BC Job Title Page No. 1 Fold Also available from Avie… CONVERSAZIONI I Cantatas from a Cardinal’s Court 119.5 Andrew Radley countertenor Julian Perkins director Ingenious Jestings Eight Harpsichord Setts by James Nares played by Julian Perkins av2152 120.5 PLEASE NOTE THIS TEMPLATE HAS BEEN CREATED USING SPECIFIC CO-ORDINATES REQUIRED FOR PLEASE NOTE THIS TEMPLATE HAS BEEN CREATED USING SPECIFIC CO-ORDINATES REQUIRED FOR COMPUTER TO PLATE IMAGING AND IS NOT TO BE ALTERED, MOVED OR THE DOCUMENT SIZE CHANGED. COMPUTER TO PLATE IMAGING AND IS NOT TO BE ALTERED, MOVED OR THE DOCUMENT SIZE CHANGED. ALL DIMENSIONS ARE IN MILLIMETRES. BLEED ALLOWANCE OF 3MM ON TRIMMED EDGES ALL DIMENSIONS ARE IN MILLIMETRES. BLEED ALLOWANCE OF 3MM ON TRIMMED EDGES Key: CTP Template: CD_1PD2 CTP Template: CD_1PD2 COLOURS No text area Compact Disc Booklet: Single Facing Page Compact Disc Booklet: Single Facing Page CYAN MAGENTA Customer Customer YELLOW Bleed Catalogue No. Catalogue No. BLACK Trim Job Title Page No. BC2 Job Title Page No. 13 Fold ONVERSAZIONI Antonio Caldara (c1670–1736) C I Clori, mia bella Clori 19:03 Cantatas from a Cardinal’s Court 1 Sinfonia Largo – Allegro – Minuet 2:53 2 Recitativo 1:03 3 Aria Larghetto 5:25 countertenor Andrew Radley 4 Recitativo 0:31 Julian Perkins harpsichord and director -
Jonathan Summers B) CATEGORY: Opera Singer / Baritone C) POSITION: Freelance
1a) NAME: Jonathan Summers b) CATEGORY: Opera singer / baritone c) POSITION: Freelance 2a) PERSONAL DETAILS: date of birth / place / country 2nd October, 1946; Melbourne; Australia b) MARITAL STATUS: date of marriage / name of spouse / number of children 29th March 1969, Melbourne Australia; Lesley; 3 children 3) PREVIOUS OCCUPATIONS: dates / occupation 1965-1974 Freelance singer/concert artist 1970-1974 Technical operator/recording engineer Australian Broadcasting Commission, Melbourne 4) EDUCATION: dates / institution / city / teacher Secondary : Melbourne; Macleod High School Tertiary : Melbourne; Prahran Technical College (Art School) 1964-1974 Melbourne; Bettine McCaughan, voice teacher 1972-1973 Melbourne;National Theatre Opera School 1974-1980 London; Otakar Kraus, voice teacher 5) PROFESSIONAL DEBUT: date / opera company / role / opera / cast Nov 1975; Kent Opera; title role in Verdi's Rigoletto; Congress Theater, Eastbourne, UK; producer: Jonathan Miller; conductor: Roger Norrington; David Hillman (Duke), Meryl Drower (Gilda), Sarah Walker (Maddalena), Malcolm King (Sparafucile) 6) EARLY CAREER WITH BRIEF RESUME: dates / opera house or company / role / opera Feb 1976; University College London Opera; title role in Macbeth (orig. 1847 version); producer: John Moody; conductor: George Badachoni Sep 1976; Glyndebourne Touring Opera; title role in Falstaff; producer: Jean-Pierre Ponnelle; conductor: Kenneth Montgomery Oct 1976; joined the Royal Opera House, Covent Garden, London, as a company principal Nov 1976; English National Opera -
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. -
Mario Ferraro 00
City Research Online City, University of London Institutional Repository Citation: Ferraro Jr., Mario (2011). Contemporary opera in Britain, 1970-2010. (Unpublished Doctoral thesis, City University London) This is the unspecified version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/1279/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] CONTEMPORARY OPERA IN BRITAIN, 1970-2010 MARIO JACINTO FERRARO JR PHD in Music – Composition City University, London School of Arts Department of Creative Practice and Enterprise Centre for Music Studies October 2011 CONTEMPORARY OPERA IN BRITAIN, 1970-2010 Contents Page Acknowledgements Declaration Abstract Preface i Introduction ii Chapter 1. Creating an Opera 1 1. Theatre/Opera: Historical Background 1 2. New Approaches to Narrative 5 2. The Libretto 13 3. The Music 29 4. Stage Direction 39 Chapter 2. Operas written after 1970, their composers and premieres by 45 opera companies in Britain 1. -
Joseph Haydn
The Creation JOSEPH HAYDN First Metropolitan United Church March 14, 2020 The Program Victoria Philharmonic Choir It’s Music to OurMusic Ears to... Our Ears Harmonizing self-interest with environmental welfare Haydn’s The Creation is a majestic where the tiny hummingbird could pick is a majestic ode to the glorious qualities of Haydn’s The Creation ode to the glorious qualities of our planet up only a drop of water at a time to try to our planet Earth as a safe home for humanity. TheHarmonizing story confirms why we should quench a raging forest fire. She pointed hold our Earth in awe as a special place in the cosmos where humanity can thrive Earth as a safe home for humanity. The out that she was doing everything she in spirit and in wellbeing. self-interest story confirms why we should hold our Earth in awe as a special place in the could to save the forest. The challenge The power of the work reminds us of living within nature’s limits. Unfortunately, cosmos where humanity can thrive in of the Legacy Series is to inspire all of us carbon gas buildup in our atmosphere and the withcontinuing loss of biodiversity spirit and in well-being. to do all we can to protect this precious though large-scale human activity has pushed us beyond Earth’s natural limits. Earth. In response, the United Nations continues toplanetary urge all nations to return to carbon The power of the work reminds us of living neutrality by 2050. This means that the natural capacity of the Earths’ ecosystems within nature’s limits. -
Program Submissions
PRI Submission Guidelines About PRI: Celebrated as a driver of innovation in public media, Public Radio International (PRI) was founded in 1983 to diversify and expand the content available on public platforms, enabling U.S. listeners to "hear a different voice™" and to connect with one another and the larger world. PRI leads by identifying critical but unmet content needs and partnering with producers, stations, digital networks and funders to develop multi-platform resources to meet those needs. By creating an environment in which innovation can thrive, PRI supports the creation and distribution of content that would otherwise be unavailable and that brings new voices, global journalism and cultural perspectives to the American public. PRI content is available on pri.org and via podcasts, and is broadcast on over 824 public radio stations. More than 13 million people access PRI content each week through these sources. PRI's newest production is "The Takeaway™," a groundbreaking morning-drive news show co-produced with WNYC Radio. Its best known programming includes "This American Life," produced by Chicago Public Radio; PRI's "The World," a co- production of BBC World Service, PRI and WGBH Radio Boston; "Living on Earth," produced by World Media Foundation Inc.; "Michael Feldman's Whad'Ya Know?," produced by Wisconsin Public Radio; "The Tavis Smiley Show," produced by Smiley Radio Properties Inc.; and "Studio 360 from PRI and WNYC®," produced by PRI and WNYC; as well as 24-hour program services — "Classical 24®," produced by American Public Media; and BBC World Service, produced by the British Broadcasting Corporation. For more information, visit www.pri.org. -
Audio Signal Processing in Faust
Audio Signal Processing in Faust Julius O. Smith III Center for Computer Research in Music and Acoustics (CCRMA) Department of Music, Stanford University, Stanford, California 94305 USA jos at ccrma.stanford.edu Abstract Faust is a high-level programming language for digital signal processing, with special sup- port for real-time audio applications and plugins on various software platforms including Linux, Mac-OS-X, iOS, Android, Windows, and embedded computing environments. Audio plugin formats supported include VST, lv2, AU, Pd, Max/MSP, SuperCollider, and more. This tuto- rial provides an introduction focusing on a simple example of white noise filtered by a variable resonator. Contents 1 Introduction 3 1.1 Installing Faust ...................................... 4 1.2 Faust Examples ...................................... 5 2 Primer on the Faust Language 5 2.1 Basic Signal Processing Blocks (Elementary Operators onSignals) .......... 7 2.2 BlockDiagramOperators . ...... 7 2.3 Examples ........................................ 8 2.4 InfixNotationRewriting. ....... 8 2.5 Encoding Block Diagrams in the Faust Language ................... 9 2.6 Statements ...................................... ... 9 2.7 FunctionDefinition............................... ...... 9 2.8 PartialFunctionApplication . ......... 10 2.9 FunctionalNotationforOperators . .......... 11 2.10Examples ....................................... 11 1 2.11 Summary of Faust NotationStyles ........................... 11 2.12UnaryMinus ..................................... 12 2.13 Fixing -
A Discussion of Goethe's Faust Part 1 Rafael Sordili, Concordia University
Sordili: Nothingness on the Move Sordili 1 Nothingness on the Move: A Discussion of Goethe's Faust Part 1 Rafael Sordili, Concordia University (Editor's note: Rafael Sordili's paper was selected for publication in the 2013 Agora because it was one of the best three presented at the ACTC Student Conference at Shimer College in Chicago in March 2013.) In the world inhabited by Faust, movement is a metaphysical fact: it is an expression of divine will over creation. There are, however, negative consequences to an existence governed by motion. The most prevalent of them is a feeling of nothingness and nihilism. This essay will discuss the relations between movement and such feelings in Goethe's Faust.1 It is my thesis that the assertion of his will to life, the acceptance of his own limitations, and the creation of new personal values are the tools that will ultimately enable Faust to escape nihilism. Metaphysics of Motion Faust lives in a world in which motion is the main force behind existence. During the Prologue in Heaven, three archangels give speeches in praise of the Creator, emphasizing how the world is in a constant state of movement. Raphael states that the movement of the Sun is a form of worship: "The sun proclaims its old devotion / [. .] / and still completes in thunderous motion / the circuits of its destined years" (246-248). For Gabriel, the rotation of the earth brings movement to all the elements upon its surface: "High cliffs stand deep in ocean weather, / wide foaming waves flood out and in, / and cliffs and seas rush on together / caught in the globe's unceasing spin" (251-258). -
Georg Friedrich Händel (1685-1759)
Georg Friedrich Händel (1685-1759) Sämtliche Werke / Complete works in MP3-Format Details Georg Friedrich Händel (George Frederic Handel) (1685-1759) - Complete works / Sämtliche Werke - Total time / Gesamtspielzeit 249:50:54 ( 10 d 10 h ) Titel/Title Zeit/Time 1. Opera HWV 1 - 45, A11, A13, A14 116:30:55 HWV 01 Almira 3:44:50 1994: Fiori musicali - Andrew Lawrence-King, Organ/Harpsichord/Harp - Beate Röllecke Ann Monoyios (Soprano) - Almira, Patricia Rozario (Soprano) - Edilia, Linda Gerrard (Soprano) - Bellante, David Thomas (Bass) - Consalvo, Jamie MacDougall (Tenor) - Fernando, Olaf Haye (Bass) - Raymondo, Christian Elsner (Tenor) - Tabarco HWV 06 Agrippina 3:24:33 2010: Akademie f. Alte Musik Berlin - René Jacobs Alexandrina Pendatchanska (Soprano) - Agrippina, Jennifer Rivera (Mezzo-Soprano) - Nerone, Sunhae Im (Soprano) - Poppea, Bejun Mehta (Counter-Tenor) - Ottone, Marcos Fink (Bass-Bariton) - Claudio, Neal Davis (Bass-Bariton) - Pallante, Dominique Visse (Counter-Tenor) - Narciso, Daniel Schmutzhard (Bass) - Lesbo HWV 07 Rinaldo 2:54:46 1999: The Academy of Ancient Music - Christopher Hogwood Bernarda Fink (Mezzo-Sopran) - Goffredo, Cecilia Bartoli (Mezzo-Sopran) - Almirena, David Daniels (Counter-Tenor) - Rinaldo, Daniel Taylor (Counter-Tenor) - Eustazio, Gerald Finley (Bariton) - Argante, Luba Orgonasova (Soprano) - Armida, Bejun Mehta (Counter-Tenor) - Mago cristiano, Ana-Maria Rincón (Soprano) - Donna, Sirena II, Catherine Bott (Soprano) - Sirena I, Mark Padmore (Tenor) - Un Araldo HWV 08c Il Pastor fido 2:27:42 1994: Capella -
110273-74 Bk Boito EC 02/06/2003 09:04 Page 12
110273-74 bk Boito EC 02/06/2003 09:04 Page 12 Great Opera Recordings ADD 8.110273-74 Also available: 2 CDs BOITO Mefistofele Nazzareno de Angelis Mafalda Favero Antonio Melandri Giannina Arangi-Lombardi Chorus and Orchestra of La Scala, Milan 8.110117-18 Lorenzo Molajoli Recorded in 1931 8.110273-74 12 110273-74 bk Boito EC 02/06/2003 09:04 Page 2 Ward Marston Great Opera Recordings In 1997 Ward Marston was nominated for the Best Historical Album Grammy Award for his production work on BMG’s Fritz Kreisler collection. According to the Chicago Tribune, Marston’s name is ‘synonymous with tender loving care to collectors of historical CDs’. Opera News calls his work ‘revelatory’, and Fanfare deems him Arrigo ‘miraculous’. In 1996 Ward Marston received the Gramophone award for Historical Vocal Recording of the Year, honouring his production and engineering work on Romophone’s complete recordings of Lucrezia Bori. He also BOITO served as re-recording engineer for the Franklin Mint’s Arturo Toscanini issue and BMG’s Sergey Rachmaninov (1842-1918) recordings, both winners of the Best Historical Album Grammy. Born blind in 1952, Ward Marston has amassed tens of thousands of opera classical records over the past four decades. Following a stint in radio while a student at Williams College, he became well-known as a reissue producer in 1979, when he restored the earliest known stereo recording made by the Bell Telephone Laboratories in 1932. Mefistofele In the past, Ward Marston has produced records for a number of major and specialist record companies. -
Download Publication
Arts Council OF GREAT BRITAI N Patronage and Responsibility Thirty=fourth annual report and accounts 1978/79 ARTS COUNCIL OF GREAT BRITAIN REFERENCE ONLY DO NOT REMOVE fROwI THE LIBRARY Thirty-fourth Annual Report and Accounts 1979 ISSN 0066-813 3 Published by the Arts Council of Great Britai n 105 Piccadilly, London W 1V OAU Designed by Duncan Firt h Printed by Watmoughs Limited, Idle, Bradford ; and London Cover pictures : Dave Atkins (the Foreman) and Liz Robertson (Eliza) in the Leicester Haymarket production ofMy Fair Lady, produced by Cameron Mackintosh with special funds from Arts Council Touring (photo : Donald Cooper), and Ian McKellen (Prozorov) and Susan Trac y (Natalya) in the Royal Shakespeare Company's small- scale tour of The Three Sisters . Contents 4 Chairman's Introductio n 5 Secretary-General's Report 12 Regional Developmen t 13 Drama 16 Music and Dance 20 Visual Arts 24 Literature 25 Touring 27 Festivals 27 Arts Centres 28 Community Art s 29 Performance Art 29 Ethnic Arts 30 Marketing 30 Housing the Arts 31 Training 31 Education 32 Research and Informatio n 33 Press Office 33 Publications 34 Scotland 36 Wales 38 Membership of Council and Staff 39 Council, Committees and Panels 47 Annual Accounts , Awards, Funds and Exhibitions The objects for which the Arts Council of Great Britain is established by Royal Charter are : 1 To develop and improve the knowledge , understanding and practice of the arts ; 2 To increase the accessibility of the arts to the public throughout Great Britain ; and 3 To co-operate with government departments, local authorities and other bodies to achieve these objects . -
2012 Annual Report from the Director
News, Conversation, Music, Entertainment, Innovation, Community. Wisconsin Public Radio’s 2012 Annual Report From the director . While I’m not from Wisconsin, it didn’t take me long to fully embrace my new home. I grew up in New York State and have spent much of my life living up and down the east coast, from Vermont all the way down to Florida. When I moved to Wisconsin in 2008 I found myself quickly becoming a Packer fan. The idea of a team owned by the fans makes a lot of sense to me. And the fans’ passionate “Go Pack Go!” spirit reminds me of the way listeners talk about WPR: it’s the property of the people of Wisconsin and you love it deeply! While the Packers didn’t win another Super Bowl, 2012 was still an eventful year in Wisconsin. Our news team spent much of the year covering elections, from the recalls in state government to the congressional and presidential races on the federal level. Wisconsinites from every side of the aisle turned to us for accurate, honest and unbiased coverage of these important events. Our online collaborations with Wisconsin Public Television included a revamped voter information website, WisconsinVote.org, and WisconsinDrought.org, a valuable resource for those affected by the devastating heat wave last summer. Changes to our line-up included the retirement of Here on Earth host Jean Feraca, the passing of our friend and colleague Jim Packard and the addition of Mike Arnold, who serves as WPR’s Director of Content. Mike brought new perspectives to our program strategy and several new shows to our schedule.