Boston Symphony Orchestra Concert Programs, Season 113, 1993-1994

Total Page:16

File Type:pdf, Size:1020Kb

Boston Symphony Orchestra Concert Programs, Season 113, 1993-1994 BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Thursday, Friday, and Saturday April 28, 29, and 30, 1994 Symphony Hall, Boston RICHARD WAGNER GOTTERDAMMERUNG, Act III Text and Translation BERNARD HAITINK conducting JANE EAGLEN, soprano (Brunnhilde) RENE KOLLO, tenor (Siegfried) MARGARET JANE WRAY, soprano (Gutrune) ROGER ROLOFF, bass-baritone (Gunther) PHILIP KANG, bass (Hagen) JAYNE WEST, soprano (Woglinde) DIANE KESLING, mezzo-soprano (Wellgunde) MEREDITH PARSONS, mezzo-soprano (Flosshilde) MEN OF THE TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor ! Richard Wagner Gdtterdammerung, Act III German text by Richard Wagner English translation by Marc Mandel, copyright ©1994 A wild, forested, craggy valley on the Rhine, which flows past a steep cliff in the background. ERSTE SZENE SCENE ONE The three Rhinemaidens , Siegfried. Woglinde, Wellgunde, and Flosshilde rise to the surface of the water and swim about in circles, as in a round-dance. DIE DREI RHEINTOCHTER THE THREE RHINEMAIDENS (im Schwimmen mafiig einhaltend) (taking a breakfrom their swimming) Frau Sonne sendet lichte Strahlen; Lady Sun casts down rays of light; Nacht liegt in derTiefe: night lies in the depths: einst war sie hell, once they were bright, da heil und hehr when father's gold, des Vaters Gold noch in ihr glanzte. safe and proud, still gleamed there. Rheingold! Klares Gold! Rhinegold! Shining gold! Wie hell du einstens strahltest, How brightly you once shone, hehrer Stern derTiefe! lordly star of the depths! (They swim once more in their round-dance.) Weialala leia, wallala leialala. Weialala leia, wallala leialala. (Distant horn-call. They listen. They splash joyfully in the water.) Frau Sonne, sende uns den Helden, Lady Sun, send us the hero der das Gold uns wiedergabe! who will give the gold back to us LieB' er es uns, sein lichtes Auge Would he but leave it for us, neideten dann wir nicht langer. we'd envy your bright eye no longer. Rheingold! Klares Gold! Rhinegold! Shining gold! Wie froh du dann strahltest, How happily you once shone, freier Stern derTiefe! free star of the depths! (Siegfried's horn is heardfrom the height above.) WOGLINDE WOGLINDE Ich hore sein Horn. I hear his horn. WELLGUNDE WELLGUNDE Der Helde naht. The hero draws near. FLOSSHILDE FLOSSHILDE LaJ3t uns beraten! Let us take counsel! (All three dive quickly beneath the surface. Siegfried appears infull armor.) SIEGFRIED SIEGFRIED Ein Albe fiihrte mich irr, An elf has led me astray, da!3 ich die Fahrte verlor: so that I've lost the track: He, Schelm, in welchem Berge Hey, rascal, on what hill bargst du schnell mir das Wild? have you concealed my prey so quickly? _ ._.jB^ DIE DREI RHEINTOCHTER THE THREE RHINEMAIDENS (tauchen wieder aufund schwimmen (rising up once more and swimming im Reigen) in circles) I Siegfried! Siegfried! FLOSSHILDE FLOSSHILDE Was schiltst du so in den Grand? What's causing you to scold so? witt t nuivm? WITT T rMTAjrur Welchem Alben bist du gram? What elf has got you mad? WOGLINDE WOGLINDE Hat dich ein Nicker geneckt? Has a hunting-knife nicked you? ALLE DREI ALL THREE Sag es, Siegfried, sag es uns! Tell us, Siegfried, tell us! SIEGFRIED SIEGFRIED (sie lachelnd betrachtend) (smiling at them) Entziicktet ihr zu euch den zottigen Have you charmed away Gesellen, the shaggy fellow der mir verschwand? that escaped me? Ist's euer Friedel, If he's your sweetheart I'll gladly euch lustigen Frauen lass' ich ihn gern. leave him, delightful girls, to you. (The maidens laugh loudly.) WOGLINDE WOGLINDE Siegfried, was gibst du uns, Siegfried, what would you give us wenn wir das Wild dir gonnen? if we granted you your prey? SIEGFRIED SIEGFRIED Noch bin ich beutelos; I'm still without booty, so bittet, was ihr begehrt. so ask whatever you like. WELLGUNDE WELLGUNDE Ein goldner Ring glanzt dir am Finger! A golden ring shines there, on your finger! DIE DREI MADCHEN THE THREE MAIDENS Den gib uns! Give it to us! SIEGFRIED SIEGFRIED Einen Riesenwurm erschlug ich um den I killed a giant dragon for this ring: Reif: fur eines schlechten Baren Tatzen for the claws of some wretched bear bot ich ihn nun zum Tausch? I'm now to trade it away? WOGLINDE WOGLINDE Bist du so karg? Are you so stingy? WELLGUNDE WELLGUNDE So geizig beim Kauf? So greedy at bargaining? Please turn the page quietly. — — FLOSSHILDE FLOSSHILDE Freigebig solltest Frauen du sein. You should be more generous to women! SIEGFRIED SIEGFRIED Verzehrt' ich an euch mein Gut, If I wasted my good will on you, des ziirnte mir wohl mein Weib. my wife would scold me good! FLOSSHILDE FLOSSHILDE Sie ist wohl schlimm? Is she that unpleasant? WELLGUNDE WELLGUNDE Sie schlagt dich wohl? Does she beat you, then? WOGLINDE WOGLINDE Ihre Hand fiihlt schon der Held! The hero's felt her hand already! (They laugh a great deal.) SIEGFRIED SIEGFRIED Nun lacht nur lustig zu! You have your good laugh! In Harm lass' ich euch doch: But I'll leave you to grieve: denn giert ihr nach dem Ring, you may be after this ring, you nixies, euch Nickern geb' ich ihn nie! but I'll never give it to you! (The Rhinemaidens have againformed their circle.) FLOSSHILDE FLOSSHILDE So schon! So fair! WELLGUNDE WELLGUNDE So stark! So strong! WOGLINDE WOGLINDE So gehrenswert! So desirable! ALLE DREI ALL THREE Wie schade, daB er geizig ist! What a pity that he's so greedy! (They dive below, laughing.) SIEGFRIED SIEGFRIED (tiefer in den Grund hinabsteigend) (climbingfarther down) Was leid' ich doch das karge Lob? Why should I take this ill-meant praise? Lass' ich so mich schmahn? Shall I put up with further insult? Kamen sie wieder zum Wasserrand, Should they come again to the water's edge den Ring konnten sie haben. they could have the ring. He! he, he! Ihr muntren Wasserminnen! Hey! Hey, hey! You charming water-ladies! Kommt rasch! Ich schenk' euch den Ring! Come quickly— I'll give you the ring! (He takes the ringfrom his finger and holds it up. The three Rhinemaidens surface once again. They are serious and solemn.) FLOSSHILDE FLOSSHILDE Behalt ihn, Held, und wahr ihn wohl, Keep it, hero, and guard it well, bis du das Unheil erratst until you discover the evil —— — — — — ——— WOGLINDE UND WELLGUNDE WOGLINDE AND WELLGUNDE Das in dem Ring du hegst. contained in the ring. ALLE DREI ALL THREE Froh fiihlst du dich dann, You'd then be glad enough befrein wir dich von dem Fluch. if we freed you from its curse. SIEGFRIED SIEGFRIED (steckt gelassen den Ring wieder an (calmly replacing the ring on seinen Finger) his finger) So singet, was ihr wiBt! Then sing of what you know! ALLE DREI ALL THREE Siegfried! Siegfried! Siegfried! Siegfried! Siegfried! Siegfried! Schlimmes wissen wir dir. We see misfortune ahead for you. WELLGUNDE WELLGUNDE Zu deinem Unheil wahrst du den Reif! You retain the ring at your peril. ALLE DREI ALL THREE Aus des Rheines Gold ist der Reif From the gold of the Rhine has the ring gegluht. been forged. WELLGUNDE WELLGUNDE Der ihn listig geschmiedet und Who cunningly forged it and schmahlich verlor shamefully lost it ALLE DREI ALL THREE Der verfluchte ihn, in fernster Zeit Who cursed it for all time zu zeugen den Tod dem, der ihn triig'. to mean death for its wearer FLOSSHILDE FLOSSHILDE Wie den Wurm du falltest Just as you felled the dragon WELLGUNDE UND FLOSSHILDE WELLGUNDE AND FLOSSHILDE So fallst auch du You too shall be killed ALLE DREI ALL THREE Und heute noch; And today at that; So heiBen wir's dir, This much we can tell you tauschest den Ring du uns nicht unless you trade us the ring WELLGUNDE UND FLOSSHILDE WELLGUNDE AND FLOSSHILDE Im tiefen Rhein ihn zu bergen. to conceal it deep in the Rhine. ALLE DREI ALL THREE Nur seine Flut siihnet den Fluch! Only its waters can cleanse the curse! Please turn the page quietly. — — — SIEGFRIED SIEGFRIED Ihr listigen Frauen, laBt das sein! You crafty ladies, that's enough! Traut' ich kaum eurem Schmeicheln, I scarcely believed your flattery; euer Drohen schreckt mich noch minder! your threats concern me still less. ALLE DREI ALL THREE Siegfried! Siegfried! Siegfried! Siegfried! Wir weisen dich wahr. We're telling the truth. Weiche, weiche dem Fluch! Yield, yield before its curse! Ihn flochten nachtlich webende Nornen The weaving Norns braided it by night in des Urgesetzes Seil! into the rope of eternal law. SIEGFRIED SIEGFRIED Mein Schwert zerschwang einen Speer: My sword shattered a spear: des Urgesetzes ewiges Seil, the rope of eternal law, flochten sie wilde Fliiche hinein, however wild a curse they've woven Notung zerhaut es den Nornen! Notung will sever it for the Norns! Wohl warnte mich einst A dragon strongly warned me vor dem Fluch ein Wurm, of the curse once before, doch das Fiirchten lehrt' er mich nicht! but he never taught me to fear! (Er betrachtet den Ring.) (He looks at the ring.) Der Welt Erbe gewanne mir ein Ring: The wealth of the world would a ring win for me: fur der Minne Gunst miss' ich ihn gern; I'd gladly give it up for the boon of love; ich geb' ihn euch, gonnt ihr mir Lust. I'd give it to you if you granted me pleasure. Doch bedroht ihr mir Leben und Leib: But you've threatened my life and limb: faJ3te er nicht eines Fingers Wert, were it worth even less than a finger, den Reif entringt ihr mir nicht! you'd not get the ring from me now! Denn Leben und Leib, As for life and limb, seht: —so—werf ich sie weit von mir! just see—thus I cast them away! (He lifts a clod of earth high above his head and throws it behind him.) ALLE DREI ALL THREE Kommt Schwestern! Come, sisters! Schwindet demToren! Let's be gone from this fool! So weise und stark verwahnt sich der Held, The hero thinks he's so clever and strong, als gebunden und blind er doch ist.
Recommended publications
  • Katalog EMI Classics Oraz Virgin Classics
    Katalog EMI Classics oraz Virgin Classics Tytuł: Vinci L'Artaserse ICPN: 5099960286925 KTM: 6028692 Data Premiery: 01.10.2012 Data nagrania: styczeń 2012 Main Artists: Diego Fasolis/Philippe Jaroussky/Max Emanuel Cencic/Franco Fagioli/Valer Barna-Sabadus/Yuriy Mynenko/Daniel Behle/Coro della Radiotelevisione svizzera, Lugano/Concerto Köln Kompozytor: Leonardo Vinci 3 CD POLSKA PREMIERA Tytuł: Feelhermony ICPN:5099901770827 KRM:0177082 Data Premiery: 09.10.2012 Data Nagrania: 2012 Main Artists: KROKE, Sinfonietta Cracovia, Anna Maria Jopek, Sławek Berny Kompozytor: KROKE Aranżancje: Krzysztof Herdzin 1 CD Tytuł: Rodgers & Hammerstein at the Movies ICPN: 5099931930123 KTM: 3193012 Data Premiery: 01.10.2012 Data nagrania: styczeń 2012 Main Artists: John Wilson, John Wilson Orchestra, Sierra Boggess, Anna Jane Casey, Joyce DiDonato, Maria Ewing, Julian Ovenden, David Pittsinger, Maida Vale Singers Kompozytor: Rodgers & Hammerstein 1 CD Tytuł: Sound the Trumpet - Royal Music of Purcell and Handel ICPN: 5099944032920 KTM: 4403292 Data Premiery: 15.10.2012 Data nagrania: styczeń 2012 Main Artists: Alison Balsom, The English Concert, Pinnock Trevor Kompozytor: Purcell, Haendel 1 CD Tytuł: Dvorak: Symphony No.9 & Cello Concerto ICPN: 5099991410221 KTM: 9141022 Data Premiery: 08.10.2012 Data Nagrania: styczeń 2012 Main Artists: Antonio Pappano Kompozytor: Antonin Dvorak 2 CD Tytuł: Drama Queens ICPN: 5099960265425 KTM: 6026542 Data Premiery: 01.10.2012 Main Artists: Joyce DiDonato/Il Complesso Barocco/Alan Curtis Kompozytor: Various Artists 1 CD
    [Show full text]
  • A1ib000000d8uszaaz.Pdf
    KOOR EN ORKEST VAN DE MUNT Ver A i U I T DE MUNT 14 J A N U A R I 92 KOOR EN ORKEST VAN DE MUNT muzikale leiding Antonio Pappano koorleider Johannes Mikkelsen Solisten Margaret Jane Wray, sopraan Florence Quivar, mezzo Richard Greager, tenor Carlo Colombara, bas P rogr a mma GIUSEPPE VERDI (1813-1901) MESSA DA REQUIEM Requiem en Kyrie (a quattro voci soliste e coro) Dies Irae Dies Irae (coro) Tuba mirum (basso e coro) Liber scriptus (mezzosoprano e coro) Quid sum mlser (soprano, mezzosoprano e coro) Rex tremendae (quartetto e coro) Recordare (soprano e mezzosoprano) Ingemisco (solo pet tenore) Confutatis (basso e coro) Lacrymosa (quartetto e coro) Domine Jesu (offertorio a quattro voci soliste) Sanctus (fuga a due cori) Agnus Dei (soprano, mezzosoprano e coro) Lux Aeterna inleidend gesprek door Magda de Meester Foyer 19.15 uur (mezzosoprano, tenore e basso) aanvang concert 20.00 uur Libera Me geen pauze (soprano e coro) einde concert omstreeks 21 .30 uur ANTONIO PAPPANO Antonio Pappano werd in Londen geboren uit Italiaanse ouders. Hij studeerde piano, compositie en orkestdirectie bij Norma Verrilli, Arnold Franchetti en Gustav Meier. Van in het begin van zijn carrière ontwikkelde Antonio Pappano een liefde voor opera en theater. Hij heeft in talrijke operahuizen gewerkt, zoals de New York City Opera, de Opera van San Diego, het Liceu in Barcelona en de Opera van Frankfurt. Hij onderhield nauwe banden met de Lyric Opera van Chicago en het Festival van Bayreuth waar hij assistent was van Daniel Barenboim voor 'Tristan und Isolde', 'Parsifal' en de 'Ring des Nibelungen'.
    [Show full text]
  • The University of Wyoming Board of Trustees' Report
    THE UNIVERSITY OF WYOMING BOARD OF TRUSTEES’ REPORT November 12-14, 2014 The final report can be found on the University of Wyoming Board of Trustees website at http://www.uwyo.edu/trustees/ University of Wyoming Mission Statement (March 2009) The University of Wyoming aspires to be one of the nation’s finest public land-grant research universities. We serve as a statewide resource for accessible and affordable higher education of the highest quality; rigorous scholarship; technology transfer; economic and community development; and responsible stewardship of our cultural, historical, and natural resources. In the exercise of our primary mission to promote learning, we seek to provide academic and co-curricular opportunities that will: • Expose students to the frontiers of scholarship and creative activity and the complexities of an interdependent world; • Ensure individual interactions among students, faculty, and staff; • Nurture an environment that values and manifests diversity, free expression, academic freedom, personal integrity, and mutual respect; and • Promote opportunities for personal growth, physical health, athletic competition, and leadership development for all members of the University community. As Wyoming’s only university, we are committed to outreach and service that extend our human talent and technological capacity to serve the people in our communities, our state, the nation, and the world. The primary vehicles for identifying the specific actions and resource allocations needed to accomplish this complex mission are the University’s strategic plans, revised periodically. TRUSTEES OF THE UNIVERSITY OF WYOMING AGENDA November 12-14, 2014 WORK SESSIONS UW Students, Student Safety, McGinity/Samp/Axelson ................................................................ 1 UW Response to University of North Carolina’s Academic Fraud Findings, Burman/Hagy ........
    [Show full text]
  • Eva Dahlgren 4 Vast Resource of Information Not Likely Found in Much of Gay Covers for Sale 6 Mainstream Media
    Lambda Philatelic Journal PUBLICATION OF THE GAY AND LESBIAN HISTORY ON STAMPS CLUB DECEMBER 2004, VOL. 23, NO. 4, ISSN 1541-101X Best Wishes French souvenir sheet issued to celebrate the new year. December 2004, Vol. 23, No. 4 The Lambda Philatelic Journal (ISSN 1541-101X) is published MEMBERSHIP: quarterly by the Gay and Lesbian History on Stamps Club (GLHSC). GLHSC is a study unit of the American Topical As- Yearly dues in the United States, Canada and Mexico are sociation (ATA), Number 458; an affiliate of the American Phila- $10.00. For all other countries, the dues are $15.00. All telic Society (APS), Number 205; and a member of the American checks should be made payable to GLHSC. First Day Cover Society (AFDCS), Number 72. Single issues $3. The objectives of GLHSC are to promote an interest in the col- There are two levels of membership: lection, study and dissemination of knowledge of worldwide philatelic material that depicts: 1) Supportive, your name will not be released to APS, ATA or AFDCS, and 6 Notable men and women and their contributions to society 2) Active, your name will be released to APS, ATA and for whom historical evidence exists of homosexual or bisex- AFDCS (as required). ual orientation, Dues include four issues of the Lambda Philatelic Journal and 6 Mythology, historical events and ideas significant in the his- a copy of the membership directory. (Names will be with- tory of gay culture, held from the directory upon request.) 6 Flora and fauna scientifically proven to having prominent homosexual behavior, and ADVERTISING RATES: 6 Even though emphasis is placed on the above aspects of stamp collecting, GLHSC strongly encourages other phila- Members are entitled to free ads.
    [Show full text]
  • 1 Melody Midas's Judgment in Ancient Myths of Music, Melody Often Takes
    Melody “It is said, melody is merely a succession of sounds. No doubt. And drawing is only an arrangement of colors. An orator uses ink to write out his compositions: does this mean ink is a very eloquent liquid?” (Jean-Jacques Rousseau, 1781)1 Midas’s judgment In ancient myths of music, melody often takes second place to harmony. The story of Pan’s duel with Apollo, the god of music, established this hierarchy through unequal participants, but also planted a seed of doubt through a disagreement over the duel’s outcome. After speaking poorly of Apollo’s gift, Pan was summoned to a competition between his monophonic pipes and Apollo’s multi-stringed lyre. This was to be judged by the old mountain god, Timolus. While Pan’s wild melody coaxed and charmed the animals, Apollo’s ‘skillful thumb’ brought forth such ‘sweetness’ from his strings that the sound won over all listeners but one.2 King Midas defiantly disagreed with Timolus’ judgment, upon which—so the tale goes—Apollo promptly transformed Midas’ ears into those of an ass. Figure 1 shows Jean Matheus’ seventeenth-century engraving, which captures the scene, depicting hands raised, symbolically, in protest and power. While the tale scarcely conceals an official criticism of poetic form in which the bucolic is outranked by the lyric, it also offers license for a dissenting view of melody. For Midas’s pleasure in Pan’s melody, so shamefully written into his visage, establishes a precedent for defying the hierarchy of a cosmic harmony, for prioritizing melody as an autonomous form.
    [Show full text]
  • Richard Strauss's Ariadne Auf Naxos
    Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails.
    [Show full text]
  • SPEECH, SONGS, and INTERMEDIATE VOCALIZATIONS: a LONGITUDINAL STUDY of PRESCHOOL CHILDREN's VOCAL DEVELOPMENT by ESTHER HO SHUN MANG
    SPEECH, SONGS, AND INTERMEDIATE VOCALIZATIONS: A LONGITUDINAL STUDY OF PRESCHOOL CHILDREN'S VOCAL DEVELOPMENT by ESTHER HO SHUN MANG B.A., Dalhousie University, 1984 Dip.Ed., The University of British Columbia, 1992 M.A., The University of British Columbia, 1995 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Department of Curriculum Studies) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA July 1999 © Esther Ho Shun Mang, 1999 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of CIAAAJ CAAJUA^J ^TIAJUJ^ The University of British Columbia Vancouver, Canada Date DE-6 (2/88) ABSTRACT The present study is a qualitative and quantitative interdisciplinary investigation of young children's vocal development. It investigated how vocalizations of young children mutate in relation to the children's linguistic and musical development, and the contexts in which these developments take place. Eight girls age eighteen to thirty-eight months participated in this study. Four spoke Chinese and four spoke English as their first language. Each child was visited every four to six months over a 42 month period.
    [Show full text]
  • Wagner Inlay 10/6/04 10:43 Am Page 1 NAXOS
    555789 Wagner inlay 10/6/04 10:43 am Page 1 NAXOS The present recording of scenes from Tristan und Isolde and of the Immolation Scene from Götterdämmerung features three distinguished interpreters of Wagner, acclaimed for performances in the major opera houses of Europe and America. Margaret Jane Wray has performed with some of the most important musical figures of our day, including Daniel Barenboim, Maris Janssons and Seiji Ozawa and 8.555789 enjoys a busy career as a concert artist in addition to her varied operatic performances. Included on this WAGNER: disc is the rarely recorded 1862 concert ending to the Love Duet from Tristan und Isolde. DDD Richard 8.555789 WAGNER Playing Time (1813-1883) 76:39 Scenes from Tristan and Götterdämmerung TRISTAN UND ISOLDE, ACT 2, SCENES 1 & 2 7 Isolde . Margaret Jane Wray, Soprano 47313 Tristan . John Horton Murray, Tenor Brangäne . Nancy Maultsby, Mezzo-Soprano 1 Einleitung (Introduction) 1:58 ! O sink hernieder, Nacht der Liebe 2:36 57892 2 Hörst du sie noch? 2:29 @ Barg im Busen uns sich die Sonne 2:42 3 Nicht Hörnerschall tönt so hold 6:09 # Einsam wachend in der Nacht 2:43 4 Dein Werk? O tör’ge Magd! 3:56 $ Lausch, Geliebter! 1:46 5 Isolde! Tristan! Geliebte(r)! 2:57 % Unsre Liebe? Tristans Liebe? 2:10 6 Wie lange fern! Wie fern so lang! 1:19 ^ Doch unsre Liebe 1:58 4 7 Dem Tage! Dem Tage 4:51 & So stürben wir, um ungetrennt 2:57 www.naxos.com Made in the EU English translations Gesangtexte auf Deutsch • German sung texts with Booklet notes in English • Kommentar und h 8 O eitler Tagesknecht! 2:15 * Soll ich lauschen? 1:41 & 9 In deiner Hand den süssen Tod 1:56 ( O ew’ge Nacht, süsse Nacht!* 5:43 g 0 Doch es rächte sich der 2004 Naxos Rights International Ltd.
    [Show full text]
  • PRESENTS Table of Contents
    PRESENTS Table of Contents Welcome................................................................................................................. 3 Staff and Board of Directors..........................................................................6 About Pittsburgh Festival Opera.................................................................7 Cornetti’s Candid Concert and After-Party | July 10................................8 Marianne: Unstaged | July 11, 18, and 25.................................................10 Pit Crew: Singer-Free Sundays | July 12, 19, and 26..............................13 Leitmotif: Walking through Wagner | July 16..........................................17 I, Too, Sing | July 17...........................................................................................18 Composer Spotlight: Mark Adamo | July 23.............................................20 Putting it Together: Online Young Artists Program | July 24..........21 2020 OYAP Faculty........................................................................................... 26 Rusalka: A Mermaid’s Tale | July 25............................................................27 Contributions, Gifts, and Institutional Support................................. 29 Welcome from the President We need 20-20 vision to view the events of 2020. Much of what we took for granted, including the highest ever level of our economy and the lowest ever level of unemployment, suggested a bright future for the performing arts. We at Pittsburgh Festival Opera were especially
    [Show full text]
  • 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.
    [Show full text]
  • Download February 2021
    ALWAYS Mendocino Coast's FREE Lighthouse February 2021 Peddler The Best Original Writing, plus the Guide to Art, Music, Events, Theater, Film, Books, Poetry and Life on the Coast ValentinesValentines DayDay ArtArt toto Enjoy,Enjoy, 22 GalleriesGalleries toto VisitVisit We’re blessed here on the coast with a world of art that surrounds us. We can take a look at the art, spend a li!le time gazing upon it, read something into it or just enjoy the moment. "is month two of our local galleries will have new exhibits and both are worth a look. So we’ve planned a day for you. Start your day in Gualala at the Dolphin Gallery for their new opening “Hearts for the Arts. "en take an easy 15 minute drive north to Point Arena for a stop at the Coast Highway art Collective where members of the collective will present Valentines Art. And don’t forget to look at the ocean as you drive between the two galleries. Both galleries will welcome you, and you will be assured a delightful day. At the Dolphin Gallery the new exhibit, “Hearts for the Arts”, brings together three artists: Jane Head’s focus on clay, Walt Rush’s on jewels, and Leslie Moody Cresswell’s glass. Cont'd on Page 12 Coast Highway Art Collective in February • Valentines Art and Poetry Meet February 6 By Rozann Grunig !e members of the Coast Highway Art mechanically adept artist mother” and her Council to deliver creative arts instruction Collective are hosting their "rst opening “gregarious, disordered, audacious poet fa- in K-12 classrooms around the Northern reception of 2021 on Saturday, February 6 ther,” she says.
    [Show full text]
  • To Download the Full Archive
    Complete Concerts and Recording Sessions Brighton Festival Chorus 27 Apr 1968 Concert Dome Concert Hall, Brighton Brighton Festival Belshazzar's Feast Walton William Walton Royal Philharmonic Orchestra Baritone Thomas Hemsley 11 May 1968 Concert Dome Concert Hall, Brighton Brighton Festival Kyrie in D minor, K 341 Mozart Colin Davis BBC Symphony Orchestra 27 Oct 1968 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Budavari Te Deum Kodály Laszlo Heltay Brighton Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Sarah Walker Tenor Paul Taylor Bass Brian Kay 23 Feb 1969 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Symphony No. 9 in D minor, op.125 Beethoven Herbert Menges Brighton Philharmonic Orchestra Soprano Elizabeth Harwood Mezzo-Soprano Barbara Robotham Tenor Kenneth MacDonald Bass Raimund Herincx 09 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Mass in D Dvorák Václav Smetáček Czech Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Valerie Baulard Tenor Paul Taylor Bass Michael Rippon Sussex University Choir 11 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Liebeslieder-Walzer Brahms Laszlo Heltay Piano Courtney Kenny Piano Roy Langridge 25 Jan 1970 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Requiem Fauré Laszlo Heltay Brighton Philharmonic Orchestra Soprano Maureen Keetch Baritone Robert Bateman Organ Roy Langridge 09 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Mass in B Minor Bach Karl Richter English Chamber Orchestra Soprano Ann Pashley Mezzo-Soprano Meriel Dickinson Tenor Paul Taylor Bass Stafford Dean Bass Michael Rippon Sussex University Choir 1 Brighton Festival Chorus 17 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Fantasia for Piano, Chorus and Orchestra in C minor Beethoven Symphony No.
    [Show full text]