Chicago Symphony Orchestra Riccardo Muti April 2018
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Mozart Magic Philharmoniker
THE T A R S Mass, in C minor, K 427 (Grosse Messe) Barbara Hendricks, Janet Perry, sopranos; Peter Schreier, tenor; Benjamin Luxon, bass; David Bell, organ; Wiener Singverein; Herbert von Karajan, conductor; Berliner Mozart magic Philharmoniker. Mass, in C major, K 317 (Kronungsmesse) (Coronation) Edith Mathis, soprano; Norma Procter, contralto...[et al.]; Rafael Kubelik, Bernhard Klee, conductors; Symphonie-Orchester des on CD Bayerischen Rundfunks. Vocal: Opera Così fan tutte. Complete Montserrat Caballé, Ileana Cotrubas, so- DALENA LE ROUX pranos; Janet Baker, mezzo-soprano; Nicolai Librarian, Central Reference Vocal: Vespers Vesparae solennes de confessore, K 339 Gedda, tenor; Wladimiro Ganzarolli, baritone; Kiri te Kanawa, soprano; Elizabeth Bainbridge, Richard van Allan, bass; Sir Colin Davis, con- or a composer whose life was as contralto; Ryland Davies, tenor; Gwynne ductor; Chorus and Orchestra of the Royal pathetically brief as Mozart’s, it is Howell, bass; Sir Colin Davis, conductor; Opera House, Covent Garden. astonishing what a colossal legacy F London Symphony Orchestra and Chorus. Idomeneo, K 366. Complete of musical art he has produced in a fever Anthony Rolfe Johnson, tenor; Anne of unremitting work. So much music was Sofie von Otter, contralto; Sylvia McNair, crowded into his young life that, dead at just Vocal: Masses/requiem Requiem mass, K 626 soprano...[et al.]; Monteverdi Choir; John less than thirty-six, he has bequeathed an Barbara Bonney, soprano; Anne Sofie von Eliot Gardiner, conductor; English Baroque eternal legacy, the full wealth of which the Otter, contralto; Hans Peter Blochwitz, tenor; soloists. world has yet to assess. Willard White, bass; Monteverdi Choir; John Le nozze di Figaro (The marriage of Figaro). -
All Strings Considered a Subjective List of Classical Works
All Strings Considered A Subjective List of Classical Works & Recordings All Recordings are available from the Lake Oswego Public Library These are my faves, your mileage may vary. Bill Baars, Director Composer / Title Performer(s) Comments Middle Ages and Renaissance Sequentia We carry a lot of plainsong and chant; HILDEGARD OF BINGEN recordings by the Anonymous 4 are also Antiphons highly recommended. Various, Renaissance vocal and King’s Consort, Folger Consort instrumental collections. or Baltimore Consort Baroque Era Biondi/Europa Galante or Vivaldi wrote several hundred concerti; try VIVALDI Loveday/Marriner. the concerti for multiple instruments, and The Four Seasons the Mandolin concerti. Also, Corelli's op. 6 and Tartini (my fave is his op.96). HANDEL Asch/Scholars Baroque For more Baroque vocal, Bach’s cantatas - Messiah Ensemble, Shaw/Atlanta start with 80 & 140, and his Bach B Minor Symphony Orch. or Mass with John Gardiner conducting. And for Jacobs/Freiberg Baroque fun, Bach's “Coffee” cantata. orch. HANDEL Lamon/Tafelmusik For an encore, Handel's “Music for the Royal Water Music Suites Fireworks.” J.S. BACH Akademie für Alte Musik Also, the Suites for Orchestra; the Violin and Brandenburg Concertos Berlin or Koopman, Pinnock, Harpsicord Concerti are delightful, too. or Tafelmusik J.S. BACH Walter Gerwig More lute - anything by Paul O'Dette, Ronn Works for Lute McFarlane & Jakob Lindberg. Also interesting, the Lute-Harpsichord. J.S. BACH Bylsma on period cellos, Cello Suites Fournier on a modern instrument; Casals' recording was the standard Classical Era DuPre/Barenboim/ECO & HAYDN Barbirolli/LSO Cello Concerti HAYDN Fischer, Davis or Kuijiken "London" Symphonies (93-101) HAYDN Mosaiques or Kodaly quartets Or start with opus 9, and take it from there. -
Sir John Eliot Gardiner Conductor Stravinsky Symphony in Three Movements = 160 Andante—Interlude:Q L’Istesso Tempo— Con Moto Elgar in the South (Alassio), Op
Program OnE HundrEd TwEnTIETH SEASOn Chicago Symphony orchestra riccardo muti Music director Pierre Boulez Helen regenstein Conductor Emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, January 20, 2011, at 8:00 Saturday, January 22, 2011, at 8:00 Sir John Eliot gardiner Conductor Stravinsky Symphony in Three Movements = 160 Andante—Interlude:q L’istesso tempo— Con moto Elgar In the South (Alassio), Op. 50 IntErmISSIon Bartók Concerto for Orchestra Introduzione: Andante non troppo—Allegro vivace Giuoco delle coppie: Allegro scherzando Elegia: Andante non troppo Intermezzo interrotto: Allegretto Finale: Presto Steinway is the official piano of the Chicago Symphony Orchestra. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. CommEntS by PHILLIP HuSCHEr Igor Stravinsky Born June 18, 1882, Oranienbaum, Russia. Died April 6, 1971, New York City. Symphony in three movements o composer has given us more Stravinsky is again playing word Nperspectives on a “symphony” games. (And, perhaps, as has than Stravinsky. He wrote a sym- been suggested, he used the term phony at the very beginning of his partly to placate his publisher, who career (it’s his op. 1), but Stravinsky reminded him, after the score was quickly became famous as the finished, that he had been com- composer of three ballet scores missioned to write a symphony.) (Petrushka, The Firebird, and The Rite Then, at last, a true symphony: in of Spring), and he spent the next few 1938, Mrs. Robert Woods Bliss, years composing for the theater and together with Mrs. -
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. -
Estival Lourdes
DIMANCHE 14 AVRIL - 15H30 TARIFS INFOS PRATIQUES DU 13 AU 22 AVRIL 2019 en OFF… Casino de Cauterets Fantômes et sortilèges (contes japonais) Tarif Cat.1 : 35€ / Groupe* : 32€ Billetterie Concerts en OFF gratuits avec libre participation Trio Des cordes et des vents Pass Festival Cat.1 (3 concerts) : 80€ Dans les offices de Tourisme : Pass Festival Cat.1 (5 concerts) : 140€ SAMEDI 13 AVRIL - 20H30 Nathalie Amat, flûte - Caroline Bazire, alto, récitante LOURDES - Place Peyramale - tél. 05 62 42 77 40 € / € / € Denis Abbate, guitare - Patrick Mahot, récitant Tarif Cat.2 : 25 Groupe* : 22 Tarif réduit** : 12 TARBES - 3, cours Gambetta - tél. 05 62 51 30 31 Hall départ de l’Aéroport Tarbes Lourdes Pyrénées* Pass Festival Cat.2 (3 concerts) : 50€ PAU - Place royale - tél. 05 59 27 27 08 Requiem de Mozart Pass Festival Cat.2 (5 concerts) : 100€ LUNDI 15 AVRIL - 20H30 Sur le web : www.festivaldelourdes.fr ou www.festik.net Révision Pierre-Henri Dutron Le tarif catégorie 1 permet d’avoir une place réservée Hall du Palais des Congrès de Lourdes dans les premiers rangs. Les soirs de concerts : vente de billets, dans la limite des Orchestre du Conservatoire Henri Duparc places disponibles, à l’entrée une heure avant le début du Chœur de Chambre de Lourdes Francis Poulenc, musique de chambre Concerts gratuits pour les enfants de moins de 12 ans. concert (espèces - chèque - CB). * Tarif groupe à partir de 10 personnes. Alain Perpétue, direction Nathalie Amat, flûte - Laurent Bouchadeill, clarinette Aurélie Samani, piano - Marie Tardieu, récitante ** moins de 18 ans, étudiants, demandeurs d’emploi, Lourdes estival Le Requiem de Mozart est sublime, mais nous ne l’entendrons bénéficiaires des minima sociaux. -
Case 1:21-Cv-00756 ECF No. 1, Pageid.1 Filed 08/27/21 Page 1 of 49
Case 1:21-cv-00756 ECF No. 1, PageID.1 Filed 08/27/21 Page 1 of 49 IN THE UNITED STATES DISTRICT COURT FOR THE WESTERN DISTRICT OF MICHIGAN JEANNA NORRIS, on behalf of herself ) and all others similarly situated, ) ) Plaintiffs, ) ) v. ) ) CLASS ACTION COMPLAINT SAMUEL L. STANLEY, JR. ) FOR DECLARATORY AND in his official capacity as President of ) INJUNCTIVE RELIEF Michigan State University; DIANNE ) BYRUM, in her official capacity as Chair ) JURY TRIAL DEMANDED of the Board of Trustees, DAN KELLY, ) in his official capacity as Vice Chair ) of the Board of Trustees; and RENEE ) JEFFERSON, PAT O’KEEFE, ) BRIANNA T. SCOTT, KELLY TEBAY, ) and REMA VASSAR, in their official ) capacities as Members of the Board of ) Trustees of Michigan State University, ) and JOHN and JANE DOES 1-10, ) ) Defendants. ) Plaintiff and those similarly situated, by and through their attorneys at the New Civil Liberties Alliance (“NCLA”), hereby complains and alleges the following: INTRODUCTORY STATEMENT a. By the spring of 2020, the novel coronavirus SARS-CoV-2, which can cause the disease COVID-19, had spread across the globe. Since then, and because of the federal government’s “Operation Warp Speed,” three separate coronavirus vaccines have been developed and approved more swiftly than any other vaccines in our nation’s history. The Food and Drug Administration (“FDA”) issued an Emergency Use Authorization (“EUA”) for the Pfizer- 1 Case 1:21-cv-00756 ECF No. 1, PageID.2 Filed 08/27/21 Page 2 of 49 BioNTech COVID-19 Vaccine (“BioNTech Vaccine”) on December 11, 2020.1 Just one week later, FDA issued a second EUA for the Moderna COVID-19 Vaccine (“Moderna Vaccine”).2 FDA issued its most recent EUA for the Johnson & Johnson COVID-19 Vaccine (“Janssen Vaccine”) on February 27, 2021 (the only EUA for a single-shot vaccine).3 b. -
Maybe Something Beautiful—A New Bilingual English/Spanish Short Film
For Immediate Release: March 19, 2021 Press contact for Chicago Children’s Theatre: Jay Kelly, 312.315.3935, [email protected] Press contact for Chicago Symphony Orchestra: Eileen Chambers, 312.294.3092, [email protected] MAYBE SOMETHING BEAUTIFUL—A NEW BILINGUAL ENGLISH/SPANISH SHORT FILM FROM CHICAGO CHILDREN'S THEATRE AND THE CHICAGO SYMPHONY ORCHESTRA—PREMIERES APRIL 1 CHICAGO–What good can a splash of color do in a community of gray? A neighborhood radically transformed for the better is the answer in Maybe Something Beautiful, a new virtual short film for kids, families and schools from Chicago Children’s Theatre and the Negaunee Music Institute at the Chicago Symphony Orchestra (CSO). Inspired by the award-winning book by F. Isabel Campoy and Theresa Howell, illustrated by Rafael López, Maybe Something Beautiful brings together five CSO musicians performing classical works by Latino composers, bilingual English/Spanish narration, and colorful, playful puppetry to tell a true story about how even the smallest artists among us can accomplish something big. Maybe Something Beautiful, ideal viewing for children ages 5 to 10, will premiere Thursday, April 1 at 10 a.m. CT in a Facebook Premiere event cohosted by Chicago Children’s Theatre and the Chicago Symphony Orchestra Association. Immediately after, the 13-minute video will be posted on CCTv: Virtual Theatre and Learning from Chicago Children’s Theatre and CSOtv for free, on-demand viewing for children and families in Chicago and around the world. Kids of all ages will love and be inspired by Mira, the young protagonist in Maybe Something Beautiful who decides one day to paste her drawing of a sun on one of the dark walls of an alley, just to bring brightness to the smiles of her neighbors. -
Friday, August 20, 1999 36 Pages Free
I Buik Rate U.S. Postage Paid Sanibel, FL. Permit #33 Postal Patron Vol. 38, No. 40 Friday, August 20, 1999 36 Pages Free , i Michael Pistella Sanibel School building supervisor Nofman Mohr power washes the pavement in the courtyard Monday afternoon preparing for the first day of school. 2 • Friday, August 20. 1999 • Islander island Island Newspaper Group In our companion newspaper the Island Reporter, you won't want to miss announces promotions the following stories: To better serve our readers, the Island humorous," Martell said. "We must make high school after college, then returned to Newspaper Group has undergone the fol- sure that each publication is different and the islands to work for the Island Reporter. M How safe is the Sanibel School? lowing reorganization, according to Group that readers are anxiously looking forward After a stint as an assistant editor with a Manager Carlene Brennen. to each publication. national magazine, she joined the Islander H Island visitors — Who visits '~This is an intriguing place to live — this year as a staff writer. Sanibel and Captiva. and how do they B Scott Martell, formerly Editor of there is a lot of change, a lot of diversity, H Pace wrote news and features for a affect us? " . the Islander, has been appointed Executive and a lot of threats to our lifestyle," Martell newspaper in Pittsburgh before moving to Editor of the group, which includes the said. "It's our job to cover it all, and to help Southwest Florida where she was quickly • U Sanibel man 'files lawsuit Islander, Island Reporter, Captiva Current create a true sense of community." grabbed as a news reporter for the Island against city* , • - > "-• , and the Captiva Chronicle magazine. -
2012-Fall.Pdf
MAGAZINE BowdoiVOL.84 NO.1 FALL 2012 n KLINGLE AND KOLSTER A RIVER LOST AND FOUND AN OLD TRADITION AND A NEW CURRICULUM FOR FILM NIGHT SHIFT BREWING: A COMMITMENT TO CRAFTMANSHIP FALL 2012 BowdoinMAGAZINE CONTENTS 14 A River Lost and Found BY EDGAR ALLEN BEEM PHOTOGRAPHS BY BRIAN WEDGE ’97 AND MIKE KOLSTER Ed Beem talks to Professors Klingle and Kolster about their collaborative multimedia project telling the story of the Androscoggin River through photographs, oral histories, archival research, video, and creative writing. 24 Speaking the Language of Film "9,)3!7%3%,s0(/4/'2!0(3"9-)#(%,%34!0,%4/. An old tradition and a new curriculum combine to create an environment for film studies to flourish at Bowdoin. 32 Working the Night Shift "9)!.!,$2)#(s0(/4/'2!0(3"90!40)!3%#+) After careful research, many a long night brewing batches of beer, and with a last leap of faith, Rob Burns ’07, Michael Oxton ’07, and their business partner Mike O’Mara, have themselves a brewery. DEPARTMENTS Bookshelf 3 Class News 41 Mailbox 6 Weddings 78 Bowdoinsider 10 Obituaries 91 Alumnotes 40 Whispering Pines 124 [email protected] 1 |letter| Bowdoin FROM THE EDITOR MAGAZINE Happy Accidents Volume 84, Number 1 I live in Topsham, on the bank of the Androscoggin River. Our property is a Fall 2012 long and narrow lot that stretches from the road down the hill to our house, MAGAZINE STAFF then further down the hill, through a low area that often floods when the tide is Editor high, all the way to the water. -
Boston Symphony Orchestra
■ ••••••• 0•L • Boston Symphony Orchestra Seiji Ozawa, Music Director Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Thursday, January 29, 1976 at 8:30 p.m. Friday, January 30, 1976 at 2:00 p.m. Saturday, January 31, 1976 at 8:30 p.m. Symphony Hall, Boston Ninety-fifth Season Baldwin Piano Deutsche Grammophon & Philips Records Program Program Notes Seiji Ozawa conducting Gioacchino Antonio Rossini (1792-1868) Overture to the Opera 'Semiramide' Rossini: Overture to the Opera 'Semiramide' This opera in two acts on a libretto of Gaetano Rossi Griffes: 'The Pleasure Dome of Kubla Khan' (based on Voltaire's tragedy of the same name) was first (After the Poem of S. T. Coleridge) performed at the Fenice Theatre, Venice in February 1823. It was mounted at La Scala, Milan in 1824. The first per- formance in Boston was at the Federal Street Theatre, Intermission March 3, 1851. It was last performed by the Boston Sym- phony in Boston in 1953 by the late Guido Cantelli, and Bruckner: Symphony No. 4 in E flat 'Romantic' most recently at the Berkshire Festival in 1975 conducted by Arthur Fiedler. Ruhig Bewegt (Tranquillo, con moto) Rossini, piqued by unfavorable comments by no less an Andante authority than Beethoven himself regarding opera seria sat Scherzo: Bewegt (Con moto) Trio (Gernachlich) down and wrote a long tragedy in music in the grand style Finale: Massig Bewegt (Moderato, con moto) ('melodramma (sic) tragico') in seven days less than the forty his contract allowed. 'Semiramide' was premiered at La The Friday program will end about 3:25 p.m. -
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. -
New Zealand Works for Contrabassoon
Hayley Elizabeth Roud 300220780 NZSM596 Supervisor- Professor Donald Maurice Master of Musical Arts Exegesis 10 December 2010 New Zealand Works for Contrabassoon Contents 1 Introduction 3 2.1 History of the contrabassoon in the international context 3 Development of the instrument 3 Contrabassoonists 9 2.2 History of the contrabassoon in the New Zealand context 10 3 Selected New Zealand repertoire 16 Composers: 3.1 Bryony Jagger 16 3.2 Michael Norris 20 3.3 Chris Adams 26 3.4 Tristan Carter 31 3.5 Natalie Matias 35 4 Summary 38 Appendix A 39 Appendix B 45 Appendix C 47 Appendix D 54 Glossary 55 Bibliography 68 Hayley Roud, 300220780, New Zealand Works for Contrabassoon, 2010 3 Introduction The contrabassoon is seldom thought of as a solo instrument. Throughout the long history of contra- register double-reed instruments the assumed role has been to provide a foundation for the wind chord, along the same line as the double bass does for the strings. Due to the scale of these instruments - close to six metres in acoustic length, to reach the subcontra B flat’’, an octave below the bassoon’s lowest note, B flat’ - they have always been difficult and expensive to build, difficult to play, and often unsatisfactory in evenness of scale and dynamic range, and thus instruments and performers are relatively rare. Given this bleak outlook it is unusual to find a number of works written for solo contrabassoon by New Zealand composers. This exegesis considers the development of contra-register double-reed instruments both internationally and within New Zealand, and studies five works by New Zealand composers for solo contrabassoon, illuminating what it was that led them to compose for an instrument that has been described as the 'step-child' or 'Cinderella' of both the wind chord and instrument makers.