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Sòouünd Póetry the Wages of Syntax
SòouÜnd Póetry The Wages of Syntax Monday April 9 - Saturday April 14, 2018 ODC Theater · 3153 17th St. San Francisco, CA WELCOME TO HOTEL BELLEVUE SAN LORENZO Hotel Spa Bellevue San Lorenzo, directly on Lago di Garda in the Northern Italian Alps, is the ideal four-star lodging from which to explore the art of Futurism. The grounds are filled with cypress, laurel and myrtle trees appreciated by Lawrence and Goethe. Visit the Mart Museum in nearby Rovareto, designed by Mario Botta, housing the rich archive of sound poet and painter Fortunato Depero plus innumerable works by other leaders of that influential movement. And don’t miss the nearby palatial home of eccentric writer Gabriele d’Annunzio. The hotel is filled with contemporary art and houses a large library https://www.bellevue-sanlorenzo.it/ of contemporary art publications. Enjoy full spa facilities and elegant meals overlooking picturesque Lake Garda, on private grounds brimming with contemporary sculpture. WElcome to A FESTIVAL OF UNEXPECTED NEW MUSIC The 23rd Other Minds Festival is presented by Other Minds in 2 Message from the Artistic Director association with ODC Theater, 7 What is Sound Poetry? San Francisco. 8 Gala Opening All Festival concerts take place at April 9, Monday ODC Theater, 3153 17th St., San Francisco, CA at Shotwell St. and 12 No Poets Don’t Own Words begin at 7:30 PM, with the exception April 10, Tuesday of the lecture and workshop on 14 The History Channel Tuesday. Other Minds thanks the April 11, Wednesday team at ODC for their help and hard work on our behalf. -
Nigredo Program
HOTEL CITY OPERA VANCOUVER PRESENTS HOTEL A one-act chamber opera by Nic Gotham and Ann-Marie MacDonald, commissioned in 1992 by Tarragon Theatre and Tapestry Opera, Toronto STARRING OCT 7 Tyler Duncan, Raymond • Sarah Vardy, Sophie Alan Corbishley • Stage Director Charles Barber • Music Director John Webber • Set and Lighting Design Barbara Clayden • Costume Design Jayson McLean • Production Manager Janet Lea and Nora Kelly • Producers COASTAL JAZZ PRESENTS Trudy Chalmers • General Manager KANDACE SPRINGS SUNDAY, OCTOBER 7 | 8PM | THE IMPERIAL TICKETS AT COASTALJAZZ.CA OR IN-PERSON AT RED CAT RECORDS @COASTALJAZZ This production is being given on the traditional territories of the Coast Salish peoples of the 1 Xʷməθkwəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and Səl̓ílwətaʔ (Tsleil-Waututh) Nations. 2 FROM THE ARTISTIC DIRECTOR FROM THE STAGE DIRECTOR Charles Barber Alan Corbishley Welcome to the legendary Nigredo Hotel, In alchemy, nigredo, or blackness, means putrefaction or a bizarre, macabre and astonishing operatic thriller decomposition. Many alchemists believed that as a first step by Nic Gotham and Ann-Marie MacDonald. in the pathway to the philosopher’s stone, all alchemical As you will see, it is the story of an encounter between a beautiful ingredients had to be cleansed and cooked extensively to a but crazed woman who runs a shoddy hotel, and a brain surgeon uniform black matter. In analytical psychology, the term who takes refuge there after he crashes his car. became a metaphor ‘for the dark night of the soul, when Raymond and Sophie are two of the most unusual characters in an individual confronts the shadow within’… 20th C opera: brilliant, dazed, lonely, each possessing great insight into the other but little into themselves, sarcastic and corrosive, ...and this, in relation to the theories of famed psychologist Dr. -
573824 Itunes Lortzing
LORTZING Opera Overtures Der Waffenschmied Undine Der Wildschütz Hans Sachs Malmö Opera Orchestra Jun Märkl Albert Lortzing (1801–1851) though, sketched out a plan for an opera on the subject as wrong Peter. Ivanov hands it to the Tsar, thereby obtaining early as 1845, and he was certainly aware of Lortzing’s the latter’s blessing for his union with Marie. Van Bett was Opera Overtures work. Set in 1517, when Sachs would have been 23 and a yet another of Lortzing’s richly comic bass creations, and Gustav Albert Lortzing was a multifaceted man of the staged work, first produced the evening before his death. young cobbler, Lortzing’s opera centres on Sachs’s Lortzing himself created the tenor role of Peter Ivanov. theatre – actor, singer, librettist, composer and conductor. The relatively brief and sprightly overture sets the scene courtship of his first wife, Kunigunde, daughter of goldsmith Andreas Hofer is, like Der Weihnachtsabend , a one-act Though international currency of his operas has been for a behind-the-scenes one-act piece in the tradition of Steffen (the counterpart of Wagner’s Pogner). Steffen has piece composed in 1832. It features real and imaginary limited, on German stages he was for some 150 years the Cimarosa’s Il maestro di capella , Mozart’s Der offered Kunigunde’s hand as the prize in a singing contest, episodes of the life of the innkeeper and drover who in 1809 most performed composer after Mozart and Verdi. While Schauspieldirektor and similar works. In the castle of a but has arranged that the winner should be Eoban Hesse, led the Tyrolean rebellion against occupation by Bavarian the pace of productions there has slackened over the past Count (another of those comic bass roles), the household an alderman from Augsburg. -
L'œuvre À L'affiche
37 affiche xp 2/06/05 10:13 Page 120 L'œuvre à l'affiche Recherches: Elisabetta Soldini avec la contribution de César Arturo Dillon, Georges Farret Calendrier des premières représentations du Barbier de Séville d’après A. Loewenberg, Annals of Opera 1597-1940, Londres 1978 et Pipers Enzyklopädie des Musiktheaters, éd. C. Dahlhaus et S. Döhring, 1991 Le signe [▼] renvoie aux tableaux des pages suivantes. Sauf indication contraire signalée entre parenthèses, l’œuvre a été chantée en italien: [Ang] anglais, [All] allemand, [Bulg] bulgare, [Cro] croate, [Dan] danois, [Esp] espagnol, [Est] estonien, [Finn] finnois, [Flam] flamand, [Fr] français, [Héb] hébreu, [Hong] hongrois, [Lett] letton, [Lit] Lituanien, [Née] néerlandais, [Nor] norvégien, [Pol] polonais, [Rou] roumain, [Ru] russe, [Serb] serbe, [Slov] slovène, [Sué] suédois, [Tch] tchèque CRÉATION: 20 février 1816, Rome, Teatro Argentina. [▼] 1869: décembre, Le Caire. 1871: 3 novembre, Paris, Athénée. 1818: 10 mars, Londres, Her Majesty’s Theatre. - 16 juillet, Barcelone. - 1874: 29 septembre, Helsinki. [Finn] - 2 décembre, Zagreb. [Cro] 13 octobre, Londres, Covent Garden. [Ang] 1875: Le Cap. 1819: 1er janvier, Munich. - Carnaval, Lisbonne. - 3 mai, New York [Ang] - 1876: Tiflis. - Kiev. [Ru] 27 mai, Graz. [All] - 28 septembre, Vienne, Theater auf der Wieden. [All] - 1883: 23 novembre, New York, Metropolitan. 26 octobre, Paris, Théâtre-Italien. 1884: 8 novembre, Paris, Opéra-Comique. 1820: 6 septembre, Milan, Teatro alla Scala. - 29 septembre, Prague. [All] - 1905 : Ljubljana. [Slov] 3 octobre, Braunschweig. [All] - 16 décembre, Vienne, Kärntnertor- 1913 : 3 mai, Christiania (Oslo). [Norv] Theater. [All] - 18 décembre, Brünn. [All] 1918 : Shanghai. [Ru] 1821: 25 août, Madrid. - 31 août, Odessa. - 19 septembre, Lyon. -
La Création Du Festival D'aix En Provence
] <[email protected]> ] <[email protected]> ALLE W [Frédéric Van de de Van [Frédéric Gabriel TAMISIER Dussurget La création 1948 Graphisme : Atelier Jean-Luc Jean-Luc : Atelier Graphisme Portrait de Gabriel DUSSURGET, du festival d’Aix par le peintre et décorateur CASSANDRE (A. M. Mouron, dit) Huile sur toile, 62 x 52 cm © Coll. Kathleen Fonmarty-Dussurget en Provence exposition du 18 juin au 4 septembre Musée du palais de l’Archevêché Association Gabriel Dussurget [musée des tapisseries] 2016 320 ter, chemin de la Gravesonne Place des Martyrs de la Résistance En partenariat Campagne Bellevue, avec 13100 Aix-en-Provence AIX-EN-PROVENCE Édito du Maire On a peine aujourd’hui à se représenter ce que la création d’un festival d’opéra dans une ville provinciale surnommée « la belle endormie », et au sortir d’une guerre qui laissait un pays exangue, avait de novateur. 1953 : Gabriel DUSSURGET, entouré de quelques artistes dans les rues d’Aix : Marcello CORTIS, Teresa STICH-RANDALL, Graziella SCIUTTI & Renato CAPECCHI © Photographie Henry Ely-Aix Gabriel Dussurget a su fédérer les énergies autour d’un projet qui paraissait fou à ses contemporains. L’exposition du Musée du Palais de l’Archevêché, qui a vu naître cette institution, montre qu’il a insufflé à Aix, comme à l’Opéra de Paris, une modernité et des Au même titre que Jean Vilar pour Avignon, Gabriel Dussurget de Fauré, à l’auditorium Campra, lors de la remise des Prix principes toujours d’actualité, entouré d’une équipe dont l’enthousiasme et le talent ont très fait partie de ces mythes fondateurs qui ont ancré une culture Gabriel Dussurget 2016. -
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. -
Singing in ‘The Peg’: the Dynamics of Winnipeg Singing Cultures During the 20Th Century
Singing in ‘The Peg’: The Dynamics of Winnipeg Singing Cultures During the 20th Century Muriel Louise Smith Doctor of Philosophy University of York Music September 2015 This thesis is dedicated to my parents, William Moore (1910-1982) Ann Moore (1916-2011) who inspired, demanded excellence, and loved me. 2 Abstract The research begins by establishing Winnipeg, as a city comprised of many different European immigrant communities where the dominant British-Canadian culture reflected the Canadian national consciousness of the early 20th century. After an outline of early musical life in the city, four case studies demonstrate how the solo vocal and choral culture in Winnipeg represents a realization of the constitutive, continuously forming and mutable relationships between peoples of differing identities. In all of these case studies, I investigate how this culture has been shaped by social and political actions through transnational connections over the 20th century. The first two case studies are underpinned by the theories of cultural capital and gender. The first focuses on the Women’s Musical Club of Winnipeg (1900-1920s), an elite group of Brito-Canadian women who shaped the reception of high art singing among their peers primarily through their American connections. The second investigates the Men’s Musical Club of Winnipeg (1920s-1950s), a dynamic group of businessmen and musicians who sought to reinforce Brito-Canadian cultural supremacy by developing a choral culture and establishing a music competition festival based on British models and enforced by British musical associations. The third and fourth case studies are examined through the lens of diaspora and identity, underpinned by social capital. -
National Arts Centre 09-10 Season
Subscribe today 613-947-7000 ext. 620 | www.nac-cna.ca/subscribe centre The ts difference is nal ar o Orchestra ti 09-10 na SEASON pinchas zukerman music director YourNational Labelle • Photo: Paul Pinchas Zukerman Arts Centre Orchestra welcome pinchas zukerman music director YourNational Arts Centre Orchestra Join Canada’s National Arts09-10 Centre Orchestra for an exciting 2009-2010 season. This season we celebrate our 40th anniversary with masterpieces from the Orchestra’s repertoire, and stellar visiting artists. Highlights for this season include: • The Romantic Revolution Festival, featuring Pinchas Zukerman in Beethoven’s Violin Concerto, cellist Lynn Harrell, pianist Angela Cheng and more; • Mahler’s “Symphony of a Thousand” with L’Orchestre Métropolitain du Grand Montréal and conductor Yannick Nézet-Séguin; • NAC Gala featuring renowned cellist Yo-Yo Ma and Dvořák’s glorious Cello Concerto; • A celebration of Oscar Peterson, with pianist Oliver Jones and other brilliant Canadian jazz artists; • And many more. Exclusivesubscriber benefits Subscribing is the most rewarding way to enjoy the NAC Orchestra! BEST SEATS BEST PRICES FREE Access the best seats for our 40th Anniversary Orchestra subscribers enjoy ticket discounts, saving season before tickets go on sale to the general up to 15% on Box Office prices. Save even more EXCHANGES public. Series subscribers can renew their seats when you purchase additional tickets to NAC Change in plans? No problem! As a subscriber, you year after year and have priority to change their Orchestra concerts or other NAC subscription can exchange your tickets for a different concert, series or seats. Subscribers also have a special performances when you subscribe, during or for any other NAC Dance or Theatre event priority week (beginning August 31) to purchase Subscriber Priority Week or anytime over the presented on subscription during the 2009-10 tickets to other great shows at the NAC Box Office course of the season. -
L'opéra Comique
Forumopera.com le magazine de l’opéra et du monde lyrique un dossier dirigé par Bruno Peeters L’Opéra Comique défense et illustration 1 Forumopera.com le magazine de l’opéra et du monde lyrique Sommaire Opéra Comique, défense et illustration Par Bruno Peeters Page 3 Naissance d’un Genre Par Catherine Scholler Page 5 L’Opéra Comique à l’Hôtel de Bourgogne Par Catherine Scholler Page 8 Adolphe Adam Par Geoffroy Bertrand Page 18 Où l’on parle de la Dame Blanche Par Catherine Scholler Page 27 Daniel François Esprit Auber Par Bruno Peeters Page 31 2 Forumopera.com le magazine de l’opéra et du monde lyrique Opéra Comique, défense et illustration Par Bruno Peeters C'est à dessein que je reprends ce titre, qui introduisait le numéro spécial consacré à l'Opéra-Comique par la célèbre Revue Musicale de... novembre 1933. Henry Prunières, directeur de la revue et signataire de cette introduction, y stigmatisait le mépris qu'engendrait la notion d'opéra-comique parmi un public wagnérien, debussyste ou stravinskien. Où en sommes-nous, 70 ans plus tard ? Comme ce numéro vénérable, le dossier que vous allez lire se propose de faire le tour du genre, de son éclosion au XVIIIe siècle à son déclin fin du siècle suivant, et en tournant les projecteurs sur les acteurs principaux : Grétry, Boieldieu, Hérold, Adam et Auber. Qu'est-ce que l'opéra-comique ? Né des vaudevilles donnés sur les tréteaux des foires parisiennes, il devint "comédie mêlée d'ariettes", définissant ainsi immédiatement sa singularité formelle, à savoir l'alternance du parlé et du chanté. -
Live Structures
LIVE STRUCTURES Graphical Notation Perceptible Musical Architecture Linda Bouchard Online Lectures Virtual Workshops Composer Linda Bouchard has been working on the Live Structures project since 2017 with the initial support of a two-year grant from the Canada Council for the arts . Live Structures explores the interpretation of analytical data into musical parameters. Much of the research took place during an artist residency at matralab, Concordia University, in Montreal Quebec, Canada, where she collaborated with designer Joseph Browne to develop Ocular Scores™, a custom tool that creates graphical scores from the analysis of complex sounds and textures. To date three iterations of Ocular Scores™ have been created, addressing the ability to draw: a) shapes and images that are replicable; b) transcriptions of a musical performance that reveal musical events, and c) real-time images which can be manipulated in a live performance and interactive setting. The beta version of this graphical notation platform has been developed in close collaborations with expert performers from Montreal, Vancouver, San Francisco, and Zurich. In 2019, Bouchard was invited to give demonstrations and lectures on Live Structures and Ocular Scores™ at the festival MNM in Montreal, Quebec; the Banff Center for the Arts in Canada; the TENOR Conference in Melbourne, Australia; the German society for Music Theory Conference at the Zurich University for the Arts; and CNMAT, UC Berkeley in California. In 2020, pre-covid19, Bouchard had lectures and performances on the calendar for the IRCAM Forum Hors les Murs in Montreal; the ISCM Festival 2020 in New Zealand; and at the IX International FIMM Festival held at the National University of Quilmes, Buenos Aires, Argentina. -
Welcome to OK Mozart
1 Information Ordering Welcome to OK Mozart elcome to the 259th anniversary of Wolfgang Mozart’s birth. This year HOW TO ORDER TICKETS Wthe OK Mozart Festival is celebrating in style by taking a musical trip Guide to 2015 Festival Events to Italy—the place where 17-year-old Wolfgang was given the Papal Order of • Day-by-day schedule of events – Pages 12-18 Knight of the Golden Spur for his extraordinary musical gifts. • Showcase Events (alphabetical order) – Pages 19-29 • OK Mozart Concert Order Form – Pages 31-32 Mozart had heard Allegri’s “Miserere” (have mercy on me, O God) during a performance and went home and wrote the entire score from memory. When PURCHASING TICKETS the authorities discovered that he possessed a score, he was arrested – the score OKM Box Office: (918) 336-9800 BCC Box Office: (918) 337-2787 was sacred to the church. But after discovering that Mozart could write it again, Monday through Friday, 10am to 4pm if need be, the Pope intervened and knighted him. Fax: (918) 336-9525 A big part of OK Mozart’s celebration will begin prior this year’s festival with the opening of our very own Fill out and fax Order Forms on pages 31-32 to OKM small concert venue–Aurora Hall. The hall is located on the north side ground floor of the Aurora Professional Online: www.okmozart.com Building at 415 S. Dewey, in downtown Bartlesville. The entire building was given to OK Mozart through the www.facebook.com/okmfestival generosity of Mr. and Mrs. -
Standing Wave Ensemble
VANSTERDAM Standing Wave Society presents STANDING WAVE ENSEMBLE SUNDAY APRIL 21 . 2013 THE CULTCH 1 Programme Vansterdam Two Tastes of Den Haag John Korsrud (2002; arr. 2013) Welcome to Vansterdam, the final concert of Standing Wave’s flute, clarinet, violin, cello, piano, percussion 2012-2013 Season. Vancouver musicians have long been aware of a certain musical kinship between our city and the Un visage d’emprunt Netherlands. Many of the Lower Mainland’s most adventurous and influential musicians have spent time working and studying Robin de Raaff (1999; rev. 2002) in the Netherlands, three of whom—John Korsrud, Justin clarinet, violin, cello, piano Christensen and Peggy Lee—are involved in tonight’s concert. Dutch-born and raised Edward Top, a relative new-comer to Pots ‘n Pans Falling* Vancouver, has been a virtual creative lightning bolt to the city, Edward Top (2013) as a composer and as curator of the VSO’s Annex Series. flute, clarinet, violin, cello, piano, percussion, We are thrilled to be premiering new works by Justin and recorded child violinist Edward, on tonight’s program. Critical Distance, Justin’s homage to French New Wave film director Jean-Luc Godard’s intermission genre-busting musical Une femme est une femme, challenges our pre-conceptions as performers and listeners, while Edward’s Critical Distance* Pots ‘n Pans Falling, with its cascading childlike motives, is a Justin Christensen (2013) poignant political statement. Edward’s piece, as he has noted flute, clarinet, violin, cello, piano, percussion in this program, came about through the generous donations of members of Acoustic Panel, a grass-roots commissioning Workers Union initiative that was dreamed up and established by the late, great Louis Andriessen (1975) Tom Cone, to whom we all owe an enormous debt of gratitude and inspiration.