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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. -
About the Exhibition Tenorissimo! Plácido Domingo in Vienna
Tenorissimo! Plácido Domingo in Vienna May 17th, 2017 - January 8th, 2018 Lobkowitzplatz 2, 1010 Wien [email protected] T +43 1 525 24 5315 About the exhibition An unmistakable dark timbre, highly dramatic expressiveness, an impressive, vast repertoire – all this enraptures the fans of the Spanish crowd-pleaser with waves of enthusiasm. The Theatermuseum celebrates Plácido Domingo on the anniversary of his stage debut: He has been singing at the Vienna State Opera for 50 years. When the Tenor, then still considered as insider tip, made his debut at the State Opera in the title role of Verdi‘s Don Carlo, not only he took stage and cast in storm, but also the hearts of the Viennese audience – a true love relationship, unbroken till today. This performance contributed to an unparalleled career, taking him to the world‘s leading opera houses. Vienna has always been a very special “home port“ for the opera star. Here he performed 30 different roles in 300 shows and was awarded the title Austrian Kammersänger. The exhibition at the Theatermuseum documents the most important appearances of the “Tenorissimo“ in Vienna with original costumes and props, photographs and memorabilia, video and audio samples. The presentation portrays him also as baritone, the role fach on which he concentrated almost exclusively in the past 10 years, and refers to his activities as conductor, taking him regularly to the orchestra pit of the Vienna State Opera since the end of the 1970s. Without hesitation Plácido Domingo can be described as one of the most versatile, curious and longest serving representative of his musical genre. -
Vice President & Chief Advancement Officer Status: Full
POSITION DESCRIPTION Position Title: Vice President & Chief Advancement Officer Status: Full -Time, Exempt Reports to: President & Chief Executive Officer Works in close collaboration with: Senior Leadership Team, Board of Directors, and Music Director RESPONSIBILITIES OF THE POSITION: The Vice President & Chief Advancement Officer (CAO) is responsible for planning, implementing, overseeing, and assessing Jacksonville Symphony's development plans in support of the organization's strategic vision and growth. Reporting to the Chief Executive Officer (CEO) as a key member of the leadership team, the CAO will effectively represent the organization's development interests to constituencies, both internal and external, and will work in close collaboration with the CEO, Music Director and the Board of Trustees to achieve philanthropic goals and build a case for support. The primary responsibility is to develop the overall strategy for the annual fund, estate planning and proposed capital campaigns, especially the identification, cultivation, solicitation and stewardship of major donors. In this effort, the CAO will primarily focus on high-net-worth individuals and trustees as well as cultivating relationships with major local and national foundations. In addition to establishing and maintaining a personal portfolio of current and prospective major donors, the CAO will manage the development team, as well as oversee the data support function within the department, including, prospect research. The CAO will succeed and lead by example in a mission-driven -
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. -
Edition 2 | 2019-2020
2 WWW.JAXSYMPHONY.ORG – NOVEMBER 2019 – JANUARY 2020 WELCOME! Dear Friends, Welcome to Jacoby Symphony Hall. As we enter into the most joyous time of the year, let me be the first to wish you happy and healthy holidays. This time of year is particularly joyous for the Jacksonville Symphony as we have the opportunity to share the music of the holidays with you. This time of year, the Symphony is steeped in holiday tradition. It wouldn’t be December at the Symphony without the First Coast Nutcracker, Holiday Pops and Handel’s Messiah. Jacoby Symphony Hall is decked with holiday cheer and there are plenty of places for family photos in the lobby with the towering Nutcracker tree. There is also a very special treat this © Renee Parenteau holiday season; the return of Nathan Aspinall to the Jacoby Symphony Hall podium. Nathan will lead the orchestra in a holiday-themed Masterworks concert featuring Haydn’s “Surprise Symphony,” Rimsky-Korsakov’s Christmas Eve Suite and Rachmaninoff’s exciting Symphonic Dances. As we close out the holiday season and prepare to celebrate the New Year, the Symphony is preparing to throw the best party in town. This year Courtney Lewis brings you The Jazz Age: a celebration of the music of the Roarin’ Twenties in a Gatsby-esque fashion. After a rousing performance by the orchestra, it’s out to the Uible Gallery for dessert, champagne and dancing to the Chris Thomas Band. At midnight we will all head out the back doors to watch the spectacular fireworks from the best viewing location in Jacksonville. -
CONDUCTOR Rico Saccani
如 • 歌 • 文 • 化 Ruge Artists Management 扫描关注微信订阅号 CONDUCTOR Rico Saccani ARTISTIC ACHIEVEMENTS Rico Saccani is the most recently served as Music Director/Artistic Adviser of the Budapest Philharmonic Orchestra and was principal guest conductor of the Hungarian State Opera. He won top prize in the Herbert von Karajan International Conducting Competition in Berlin. He was immediately engaged to perform with the Berlin and Stuttgart Radio Orchestras, the Royal Danish Philharmonic and the Spoleto Festival. His opera debut came in 1985 in Verdi’s Un Giorno di Regno at the Teatro Filarmonico di Verona. La Traviata at the Paris Opera and the Vienna State Opera, Il Turco in Italia at the Rossini Festival in Pesaro plus La Bohème at the Philadelphia Opera with Luciano Pavarotti for the PBS American television network immediately followed. PERFORMANCES He has returned on numerous occasions as a guest conductor with the most important symphony orchestras around the globe, such as Bavarian Radio Orchestra, Czech Philharmonic Orchestra, Cologne Gurzenisch Symphony and Opera Orchestras, Houston Symphony, Oslo Philharmonic, Royal Philharmonic of Denmark, Tokyo Philharmonic, Yomiuri Symphony Orchestra. He has also worked with many of the world’s greatest solo artists, such as Alicia De Larrocha, Stephen Isserlis, Denis Matsouev, Sabine Meyer, Kun Woo Paik, Dimitri Sitkovetsky, Maxim Vengerov, Julian Lloyd-Weber, Pinchas Zuckerman, etc, as well renowned Beaux Arts Trio. Maestro Saccani has also appeared at the Hamburg State Opera, the Lyon Opera, the Monte-carlo Opera, the Arena de Nimes Festival, the Paris Opera Comique, Rome, Dresden and Cologne Operas. He made his Metropolitan Opera debut in Il Trovatore and re- engaged for the first international radio broadcast of Traviata and Aida. -
House Manager Status: Part-Time, Seasonal/Non-Exempt Reports To: Director of Marketing & Communications Supervises: Volunteer Ushers
POSITION DESCRIPTION Position Title: House Manager Status: Part-Time, Seasonal/Non-Exempt Reports To: Director of Marketing & Communications Supervises: Volunteer Ushers Position Summary: The House Manager is responsible for ensuring all Symphony patrons receive the best overall front-of-house concert experience. S/He must be able to effectively and courteously problem- solve and exhibit grace under pressure. Responsibilities: Recruit, train, schedule and monitor volunteer ushers for all Symphony performances at the Times-Union Center for the Performing Arts, ensuring Symphony events are staffed by volunteers of the highest caliber. Serve as a liaison between patrons and the Symphony, ensuring an efficient front-of-house operation and a positive experience for Symphony patrons; coordinate concert start and end times with back-of-house personnel; work with ASM (building management company) Executive on Duty to address any facility issues. Work with staff to address all patron issues either at the time of the issue or within three days of the concert at which the issue occurred. Other duties as assigned. Requirements: Bachelor’s degree preferred or two years of similar experience. Excellent communication, interpersonal, organization and leadership skills. Proficient in Microsoft Office. Responsible, reliable, able to work daytime, weekends and evenings. The position requires work at concerts most Friday and Saturday nights from mid-September through mid-June. There are also Friday morning, Thursday evening and Sunday afternoon concerts periodically throughout the season. Must have a positive attitude, be able to work as part of a high-functioning team, possess a knowledge of and passion for symphonic music, as well as the strong desire to share it with others. -
The Blake Collection in Memory of Nancy M
The Blake Collection In Memory of Nancy M. Blake BELLINI’S NORMA featuring CECILIA BARTOLI This tragic opera is set in Roman-occupied, first-century Gaul, features a title character, who although a Druid priestess, is in many ways a modern woman. Norma has secretly taken the Roman proconsul Pollione as her lover and had two children with him. Political and personal crises arise when the locals turn against the occupiers and Pollione turns to a new paramour. Norma “is a role with emotions ranging from haughty and demanding, to desperately passionate, to vengeful and defiant. And the singer must convey all of this while confronting some of the most vocally challenging music ever composed. And if that weren't intimidating enough for any singer, Norma and its composer have become almost synonymous with the specific and notoriously torturous style of opera known as bel canto — literally, ‘beautiful singing’” (“Love Among the Druids: Bellini's Norma,” NPR World of Opera, May 16, 2008). And Bartoli, one of the greatest living opera divas, is up to the challenges the role brings. (New York Public Radio’s WQXR’s “OperaVore” declared that “Bartoli is Fierce and Mercurial in Bellini's Norma,” Marion Lignana Rosenberg, June 09, 2013.) If you’re already a fan of this opera, you’ve no doubt heard a recording spotlighting the great soprano Maria Callas (and we have such a recording, too), but as the notes with the Bartoli recording point out, “The role of Norma was written for Giuditta Pasta, who sang what today’s listeners would consider to be mezzo-soprano roles,” making Bartoli more appropriate than Callas as Norma. -
Enrico Caruso
NI 7924/25 Also Available on Prima Voce ENRICO CARUSO Opera Volume 3 NI 7803 Caruso in Opera Volume One NI 7866 Caruso in Opera Volume Two NI 7834 Caruso in Ensemble NI 7900 Caruso – The Early Years : Recordings from 1902-1909 NI 7809 Caruso in Song Volume One NI 7884 Caruso in Song Volume Two NI 7926/7 Caruso in Song Volume Three 12 NI 7924/25 NI 7924/25 Enrico Caruso 1873 - 1921 • Opera Volume 3 and pitch alters (typically it rises) by as much as a semitone during the performance if played at a single speed. The total effect of adjusting for all these variables is revealing: it questions the accepted wisdom that Caruso’s voice at the time of his DISC ONE early recordings was very much lighter than subsequently. Certainly the older and 1 CAVALLERIA RUSTICANA, Mascagni - O Lola ch’ai di latti la cammisa 2.50 more artistically assured he became, the tone became even more massive, and Rec: 28 December 1910 Matrix: B-9745-1 Victor Cat: 87072 likewise the high A naturals and high B flats also became even more monumental in Francis J. Lapitino, harp their intensity. But it now appears, from this evidence, that the baritone timbre was 2 LA GIOCONDA, Ponchielli - Cielo e mar 2.57 always present. That it has been missed is simply the result of playing the early discs Rec: 14 March 1910 Matrix: C-8718-1 Victor Cat: 88246 at speeds that are consistently too fast. 3 CARMEN, Bizet - La fleur que tu m’avais jetée (sung in Italian) 3.53 Rec: 7 November 1909 Matrix: C-8349-1 Victor Cat: 88209 Of Caruso’s own opinion on singing and the effort required we know from a 4 STABAT MATER, Rossini - Cujus animam 4.47 published interview that he believed it should be every singers aim to ensure ‘that in Rec: 15 December 1913 Matrix: C-14200-1 Victor Cat: 88460 spite of the creation of a tone that possesses dramatic tension, any effort should be directed in 5 PETITE MESSE SOLENNELLE, Rossini - Crucifixus 3.18 making the actual sound seem effortless’. -
Luciano Pavarotti 1 PHILLIP GEORGE
21ST CENTURY MUSIC NOVEMBER 2007 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. ISSN 1534-3219. Subscription rates in the U.S. are $84.00 per year; subscribers elsewhere should add $36.00 for postage. Single copies of the current volume and back issues are $10.00. Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. email: [email protected]. Typeset in Times New Roman. Copyright 2007 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Typescripts should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors with access to IBM compatible word-processing systems are encouraged to submit a floppy disk, or e-mail, in addition to hard copy. -
Itunes Store and Spotify Recordings
iTunes Store and Spotify Recordings Bach Musique Baroque a la Cour Royale, track 18, Brandenburg Concerto No. 2 in F Major, BWV 1047: III. Allegro Assai (Wolfgang Bauer Consort, K&K Verlagsanstalt, 2011). iTunes: https://music.apple.com/us/album/brandenburg-concerto-no-2-in-f-major-bwv- 1047-iii-allegro/447106718?i=447107158 Spotify: https://open.spotify.com/track/4QMATTkod4tud0vNYoCANt?si=eRIlE2KcQX6AxDwtW- Qq1Q Beethoven Favorites from the Classics, Vol. 5: Beethoven’s Greatest Hits, track 3, Turkish March (From “The Ruins of Athens”) (Charles Gerhardt, National Philharmonic Orchestra, The Reader’s Digest Association, Inc., 2005). iTunes: https://music.apple.com/us/album/turkish-march-from-the-ruins-of- athens/75846662?i=75846543 Spotify: https://open.spotify.com/track/7qS7tnK86qiabeORPZ2qAy?si=oC0S1SEBTzGvMidbLG2I ng Chaminade Bernstein: Chaminade: Piano Music, track 15, 6 Romances sans paroles, Op. 76, 1. Souvenance (Mark Viner, Brilliant Classics, 2018). iTunes: https://music.apple.com/us/album/6-romances-sans-paroles-op-76-i- souvenance/1438094819?i=1438095092 Spotify: https://open.spotify.com/track/4k499jK6NeGqwXckmYbZ0H?si=m- WHnckPS8SqqzPE2OWOMQ Falla Guitar Duet Recital: Rost, Monica – Rost, Jurgen – Sor, F – Granados, E. – Albeni, I. – Moreno Torroba, F. – Tarrega, F. – Ruizz-Pipo, A., track 15, La ida breve: Danza Espanola No. 1 (arr. for 2 guitars) (Monika Rost & Jurgen Rost, Capriccio, 1989). iTunes: https://music.apple.com/us/album/la-vida-breve-danza-espanola-no-1-arr-for- 2-guitars/401010055?i=401010183 Spotify: https://open.spotify.com/track/6edhckDUfAjGt9iSv7nqxd?si=_OoJMcLxQR2pQdUIM9G WlA 1 Handel Handel: Messiah, disc 2, track 9, 42. Chorus” “Hallelujah” (Sir Georg Solti, Chicago Symphony Orchestra, Chicago Symphony Chorus & Margaret Hillis, Decca Music Group Limited, 1985). -
Boston Symphony Orchestra Concert Programs, Summer, 2005
anglewood - ORIGINS GAU€RV formerly TRIBAL ARTS GALLERY, NYC Ceremonial and modern sculpture for new and advanced collectors Open 7 Days 36 Main St. POB 905 413-298-0002 Stockbridge, MA 01262 i^^H^H^H^m Wfi? Burning Tree Estates! " ^fWf —-r- m& II •HI I^Sror HI! an inviting opportunity in the Berkshires: our exclusive community of fifteen [ Comforts of Home ] tastefully unique homes. Classic New duality of Life ] England designs, abundant with luxury [ 5rai"<? of Community ] amenities, are built with the discerning homeowner in mind. Each is majestically sited on private wooded acres along tranquil streets. Please schedule an appointment to explore our distinctive designs and the remaining lots available at Burning Tree Estates. For more information please call lli|-{Si4~3 or visit Burning Tree Road BOSTON SYMPHONY ORCHESTRA One Hundred and Twenty- Fourth Season, 2004-05 TANGLEWOOD 2005 Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman John F. Cogan, Jr., Vice-Chairman Robert P. O'Block, Vice-Chairman Nina L. Doggett, Vice-Chairman Roger T. Servison, Vice-Chairman Edward Linde, Vice-Chairman Vincent M. O'Reilly, Treasurer Harlan E. Anderson Eric D. Collins Edmund Kelly Edward I. Rudman George D. Behrakis Diddy Cullinane, George Krupp Hannah H. Schneider Gabriella Beranek ex-officio R. Willis Leith, Jr. Thomas G. Sternberg Mark G. Borden William R. Elfers Nathan R. Miller Stephen R. Weber Jan Brett Nancy J. Fitzpatrick Richard P. Morse Stephen R. Weiner Samuel B. Bruskin Charles K. Gifford Ann M. Philbin, Robert C. Winters Paul Buttenwieser Thelma E. Goldbere James F. Cleary Life Trustees Vernon R.