Mona Lisa LEON BOTSTEIN, Conductor
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Darwin Prakash CV July 2021
DARWIN PRAKASH Baritone [email protected] | +447498700209 Date of Birth 23rd June 1993 Education 2017-2019 Advanced Diploma in Opera Royal Academy of Music, London 2015-2017 MA Performance (Vocals) Royal Academy of Music, London 2011-2014 BSc (Hons.) Geology University of Delhi, India Prizes, Awards and Scholarships 2019 Queen's Commendation for Excellence Award Royal Academy of Music, London 2019 First Prize and Audience Prize National Mozart Competition, UK 2018 English Speaking Union Scholarship Georg Solti Accademia, Italy 2015-2017 Full Entrance Scholarship Royal Academy of Music, London 2017-2019 Susie Sainsbury Scholarship Royal Academy of Music, London 2017 Second Prize Richard Lewis/ Jean Shanks Award 2017 Philip Hattey Award & Scholarship Royal Academy of Music, London 2016 Gus Christie Award Glyndebourne Opera Performing Highlights 2021 Liceu Opera Barcelona Finalist Tenor Viñas Competition 2020 Staatsoper Hannover Steuermann Tristan und Isolde Richard Wagner Staatsoper Hannover Kaherdin Le vin herbé Frank Martin Staatsoper Hannover Fiorello, Ufficale Il barbiere di Siviglia Rossini 2019 Staatsoper Hannover Sergente La Boheme Puccini Staatsoper Hannover Second Nazarene Salome Strauss Staatsoper Hannover Baritone,Sherifa Hamed und Sherifa Zad Moultaka Glyndebourne Opera Chorus Il barbiere di Siviglia Rossini Glyndebourne Opera Chorus La damnation de Faust Berlioz Royal Academy Opera Ibn- Hakia Iolanta Tchaikovsky 2018 Royal Academy Opera Escamillo La tragédie de Carmen Gounod Royal Academy Opera Immigration Officer Flight Jonathan Dove British Youth Opera Lysander Enchanted Island (Pastiche) Jeremy Sams 2017 Royal Academy Opera Masetto Don Giovanni Mozart Opera Holland Park Leporello Don Giovanni Mozart Concert 2021 Jewish Culture Commemoration Staatsoper Hannover 2019 Opening Concert Staatsoper Hannover 2019 Handel's Messiah Arundel Cathedral, UK 2018 Beethoven 9th Symphony Marlborough College, UK 2018 Georg Solti Accademia Concert Piazza Solti, Grosseto, Italy 2018 Songs of War Recital Wilfred Owen Association at St. -
Advance Program Notes New York Gilbert & Sullivan Players H.M.S
Advance Program Notes New York Gilbert & Sullivan Players H.M.S. Pinafore Friday, May 5, 2017, 7:30 PM These Advance Program Notes are provided online for our patrons who like to read about performances ahead of time. Printed programs will be provided to patrons at the performances. Programs are subject to change. Albert Bergeret, artistic director in H.M.S. Pinafore or The Lass that Loved a Sailor Libretto by Sir William S. Gilbert | Music by Sir Arthur Sullivan First performed at the Opera Comique, London, on May 25, 1878 Directed and conducted by Albert Bergeret Choreography by Bill Fabis Scenic design by Albère | Costume design by Gail Wofford Lighting design by Benjamin Weill Production Stage Manager: Emily C. Rolston* Assistant Stage Manager: Annette Dieli DRAMATIS PERSONAE The Rt. Hon. Sir Joseph Porter, K.C.B. (First Lord of the Admiralty) James Mills* Captain Corcoran (Commanding H.M.S. Pinafore) David Auxier* Ralph Rackstraw (Able Seaman) Daniel Greenwood* Dick Deadeye (Able Seaman) Louis Dall’Ava* Bill Bobstay (Boatswain’s Mate) David Wannen* Bob Becket (Carpenter’s Mate) Jason Whitfield Josephine (The Captain’s Daughter) Kate Bass* Cousin Hebe Victoria Devany* Little Buttercup (Mrs. Cripps, a Portsmouth Bumboat Woman) Angela Christine Smith* Sergeant of Marines Michael Connolly* ENSEMBLE OF SAILORS, FIRST LORD’S SISTERS, COUSINS, AND AUNTS Brooke Collins*, Michael Galante, Merrill Grant*, Andy Herr*, Sarah Hutchison*, Hannah Kurth*, Lance Olds*, Jennifer Piacenti*, Chris-Ian Sanchez*, Cameron Smith, Sarah Caldwell Smith*, Laura Sudduth*, and Matthew Wages* Scene: Quarterdeck of H.M.S. Pinafore *The actors and stage managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. -
Schreker Franz
SCHREKER FRAZ Compositore tedesco (Monaco di Baviera 23 III 1878 - Berlino 21 III 1934) 1 Schreker studiò composizione a Vienna insieme a Robert Fuchs e Hermann Graedener e violino con Sigismund Bachrich e Joseh Rosé. Fondatore (1908), e più tardi anche direttore (1911) del coro filarmonico di Vienna, nel 1912 fu nominato professore di composizione all'Accademia di musica. Dal 1920 fu direttore della Musikhochschule a Berlino, e negli anni compresi tra il 1922 e il 1933 diresse una classe di composizione all'Accademia prussiana delle arti di Berlino. Schreker fu amico di Schonberg e di Berg ed ebbe fra i suoi rilievi Alois Haba ed Ernest Krenek e fu uno dei compositori più celebri del suo tempo. Per numero di rappresentazioni delle sue opere superò addirittura Richard Strauss. Nel 1933 il regime nazista lo privò di tutte le cariche. Schreker è stato il compositore più popolare di un'opera fortemente influenzata dalla psicanalisi e basata sul patetismo di soggetti da cui traspaiono conflitti sessuali carichi di implicazioni simboliche. Al tempo stesso, è stato il maestro di un'espressività timbrica dell'orchestra che sfrutta a fondo le risorse di un cromatismo dal colore fortemente caratteristico e massimamente espressivo. 2 DER FERNE KLANG Tipo: (Il suono lontano) Opera in tre atti Soggetto: libretto proprio Prima: Francoforte, Stadtoper, 18 agosto 1912 Cast: Grete (S), Fritz (T), il dottor Vigelius (B), un comico (Bar), il conte (Bar), il cavaliere (T), Rudolf (B), una vecchia (Ms), il vecchio Graumann (B), sua moglie (Ms), l’oste (B), Mizi (S), Milly (Ms), Mary (S), una spagnola (A), il barone (B) Autore: Franz Schreker (1878-1934) Der ferne Klang è la seconda opera di Franz Schreker, ma la prima ad approdare sulle scene teatrali, dato che la precedente, Flammen (1902), era stata presentata soltanto in una ridotta esecuzione concertistica, con l’autore stesso al pianoforte. -
Alban Berg – Sieben Frühe Lieder
DOI: 10.2478/ajm-2020-0012 Studies Alban Berg – Sieben frühe Lieder. Performance perspectives IONELA BUTU, Associate Professor PhD “George Enescu” National University of Arts ROMANIA∗ Bergʼs worldwide reputation had been consolidated with orchestral and chamber works and the opera Wozzeck. (...) For different reasons, his dimension as a composer of songs does not seem to be very large, and yet it is fundamental to his personality nevertheless. Mark DeVoto Abstract: The study presents several interpretative suggestions made from the perspective of the accompanying pianist that played Alban Bergʼs Sieben frühe Lieder. Why this topic? Because in the Romanian music literature, there is nothing written about the song cycle Sieben frühe Lieder by Alban Berg, which is a representative work in the history of the art song. The theme, addressed in the literature written abroad, is treated mostly from a musicological standpoint. That is why we considered it useful to make some observations of an interpretative nature. They will become relevant if read in parallel with the PhD thesis entitled Alban Bergʼs “Sieben frühe Lieder”: An Analysis of Musical Structures and Selected Performances, written by Lisa A. Lynch (the only documentary source that proposes in-depth syntactic analyses of the work, associated with valuable interpretative suggestions made from a vocal perspective). We also considered useful, during the study, the comparison between the two variants of the work: the chamber/voice-piano version and the orchestral version. The analysis of the symphonic text was carried out intending the observation of significant details useful for realizing an expressive duo performance. Of course, our interpretative suggestions are a variant between many others. -
TURANDOT Cast Biographies
TURANDOT Cast Biographies Soprano Martina Serafin (Turandot) made her San Francisco Opera debut as the Marshallin in Der Rosenkavalier in 2007. Born in Vienna, she studied at the Vienna Conservatory and between 1995 and 2000 she was a member of the ensemble at Graz Opera. Guest appearances soon led her to the world´s premier opera stages, including at the Vienna State Opera where she has been a regular performer since 2005. Serafin´s repertoire includes the role of Lisa in Pique Dame, Sieglinde in Die Walküre, Elisabeth in Tannhäuser, the title role of Manon Lescaut, Lady Macbeth in Macbeth, Maddalena in Andrea Chénier, and Donna Elvira in Don Giovanni. Upcoming engagements include Elsa von Brabant in Lohengrin at the Opéra National de Paris and Abigaille in Nabucco at Milan’s Teatro alla Scala. Dramatic soprano Nina Stemme (Turandot) made her San Francisco Opera debut in 2004 as Senta in Der Fliegende Holländer, and has since returned to the Company in acclaimed performances as Brünnhilde in 2010’s Die Walküre and in 2011’s Ring cycle. Since her 1989 professional debut as Cherubino in Cortona, Italy, Stemme’s repertoire has included Rosalinde in Die Fledermaus, Mimi in La Bohème, Cio-Cio-San in Madama Butterfly, the title role of Manon Lescaut, Tatiana in Eugene Onegin, the title role of Suor Angelica, Euridice in Orfeo ed Euridice, Katerina in Lady Macbeth of Mtsensk, the Countess in Le Nozze di Figaro, Marguerite in Faust, Agathe in Der Freischütz, Marie in Wozzeck, the title role of Jenůfa, Eva in Die Meistersinger von Nürnberg, Elsa in Lohengrin, Amelia in Un Ballo in Machera, Leonora in La Forza del Destino, and the title role of Aida. -
BAM and New York City Opera Present US Premiere of Anna Nicole, an Opera by Mark-Anthony Turnage with Libretto by Richard Thomas—September 17 to 28
BAM and New York City Opera present US premiere of Anna Nicole, an opera by Mark-Anthony Turnage with libretto by Richard Thomas—September 17 to 28 Anna Nicole launches BAM 2013 Next Wave Festival American Express is the BAM 2013 Next Wave Festival Sponsor BAM and New York City Opera present Anna Nicole Composed by Mark-Anthony Turnage Libretto by Richard Thomas Directed by Richard Jones Conducted by Steven Sloane Scenic design by Miriam Buether Costume design by Nicky Gillibrand Lighting design by Mimi Jordan Sherin & D.M. Wood Choreography by Aletta Collins Line producer and Soloist Casting by Elaine Padmore Additional Casting by Telsey + Company, Tiffany Little Canfield, CSA Anna Nicole was commissioned by the Royal Opera House, Covent Garden, London, and premiered there in February 2011 BAM Howard Gilman Opera House (30 Lafayette Ave) Sep 17–28 at 7:30pm Tickets: $25, 50, 75, 100, 125, 150 (weekday); $35, 60, 85, 115, 145, 175 (weekend) Master Class: Lyrics, Libretto, and Luck with Richard Thomas Sep 12 at 3pm, BAM Fisher Leavitt Workshop (321 Ashland Pl) Tickets: $25 Talk: The Making of Anna Nicole, with Mark-Anthony Turnage, Richard Thomas, and Richard Jones, moderated by Elaine Padmore. Sept 16 at 7pm, BAMcafé (30 Lafayette Ave) Tickets: $15 ($7.50 for Friends of BAM) Anna Nicole: An Opening Affair, Sep 17, post-show celebration Tickets: BAM Patron Services, 718.636.4182 or [email protected] Brooklyn, NY/Aug 8, 2013—The 2013 Next Wave Festival launches with the Brooklyn Academy of Music (BAM) and New York City Opera co-production of Anna Nicole, an opera by composer Mark- Anthony Turnage and librettist Richard Thomas based on the flamboyant life and tragic death of Anna Nicole Smith. -
There's a Real Buzz and Sense of Purpose About What This Company Is Doing
15 FEBRUARY 7.15PM & 17 FEBRUARY 2PM “There’s a real buzz and sense of purpose about what this company is doing” ~ The Guardian www.niopera.com Grand Opera House, Belfast Welcome to The Grand Opera House for this new production of The Flying Dutchman. This is, by some way, NI Opera’s biggest production to date. Our very first opera (Menotti’s The Medium, coincidentally staged two years ago this month) utilised just five singers and a chamber band, and to go from this to a grand opera demanding 50 singers and a full symphony orchestra in such a short space of time indicates impressive progress. Similarly, our performances of Noye’s Fludde at the Beijing Music Festival in October, and our recent Irish Times Theatre Award nominations for The Turn of the Screw, demonstrate that our focus on bringing high quality, innovative opera to the widest possible audience continues to bear fruit. It feels appropriate for us to be staging our first Wagner opera in the bicentenary of the composer’s birth, but this production marks more than just a historical anniversary. Unsurprisingly, given the cost and complexities involved in performing Wagner, this will be the first fully staged Dutchman to be seen in Northern Ireland for generations. More unexpectedly, perhaps, this is the first ever new production of a Wagner opera by a Northern Irish company. Northern Ireland features heavily in this production. The opera begins and ends with ships and the sea, and it does not take too much imagination to link this back to Belfast’s industrial heritage and the recent Titanic commemorations. -
Orfeo Euridice
ORFEO EURIDICE NOVEMBER 14,17,20,22(M), 2OO9 Opera Guide - 1 - TABLE OF CONTENTS What to Expect at the Opera ..............................................................................................................3 Cast of Characters / Synopsis ..............................................................................................................4 Meet the Composer .............................................................................................................................6 Gluck’s Opera Reform ..........................................................................................................................7 Meet the Conductor .............................................................................................................................9 Meet the Director .................................................................................................................................9 Meet the Cast .......................................................................................................................................10 The Myth of Orpheus and Eurydice ....................................................................................................12 OPERA: Then and Now ........................................................................................................................13 Operatic Voices .....................................................................................................................................17 Suggested Classroom Activities -
Marschner Heinrich
MARSCHNER HEINRICH Compositore tedesco (Zittau, 16 agosto 1795 – Hannover, 16 dicembre 1861) 1 Annoverato fra i maggiori compositori europei della sua epoca, nonché degno rivale in campo operistico di Carl Maria von Weber, strinse amicizia con i maggiori musicisti del tempo, fra cui Ludwig van Beethoven e Felix Mendelssohn Bartoldy. Dopo gli studi fatti a Lipsia ed a Praga con Tomášek e dopo essersi introdotto nel mondo musicale viennese, fu nominato maestro di cappella a Bratislava e successivamente divenne il direttore dei teatri dell'opera di Dresda e Lipsia; fu quindi ad Hannover nel periodo 1830-59, per dirigere la cappella di corte. Marschner fu fondamentalmente un compositore teatrale, fra le opere che gli conferirono maggior fama si annoverano: Der Vampyr (1828), Der templar und die Jüdin (1829) e un'opera di gusto popolare e leggendario, come è nel suo stile, intitolata Hans Heiling (1833), la quale ha alcune analogie con L'olandese volante di Richard Wagner. Caratteristica dell'arte di Marschner sono: la ricerca (nel melodramma) di soggetti soprannaturali caratteristici di quel senso puramente romantico di "orrore dilettevole", ma anche cavallereschi e soprattutto popolari, resi attraverso una ritmica incalzante, una vasta coloritura dei timbri orchestrali e con l'ausilio di numerosi leitmotiv e fili conduttori musicali. Non mancano inoltre nella sua produzione numerosi Lieder, due quartetti per pianoforte e ben sette trii per pianoforte particolarmente apprezzati da Robert Schumann. 2 3 HANS HEILING Tipo: Opera romantica in un prologo e tre atti Soggetto: libretto di Philipp Eduard Devrient Prima: Berlino, Königliches Opernhaus, 24 maggio 1833 Cast: la regina degli spiriti (S), Hans Heiling (Bar), Anna (S), Gertrude (A), Konrad (T), Stephan (B), Niklas (rec); spiriti, contadini, invitati, giocatori, tiratori Autore: Heinrich Marschner (1795-1861) Il personaggio di Hans Heiling, tra quelli creati da Marschner, rappresenta una delle più notevoli incarnazioni del tipico tema romantico dell’io diviso, condannato a non trovare la propria unità. -
Mcallister Interview Transcription
Interview with Timothy McAllister: Gershwin, Adams, and the Orchestral Saxophone with Lisa Keeney Extended Interview In September 2016, the University of Michigan’s University Symphony Orchestra (USO) performed a concert program with the works of two major American composers: John Adams and George Gershwin. The USO premiered both the new edition of Concerto in F and the Unabridged Edition of An American in Paris created by the UM Gershwin Initiative. This program also featured Adams’ The Chairman Dances and his Saxophone Concerto with soloist Timothy McAllister, for whom the concerto was written. This interview took place in August 2016 as a promotion for the concert and was published on the Gershwin Initiative’s YouTube channel with the help of Novus New Music, Inc. The following is a full transcription of the extended interview, now available on the Gershwin channel on YouTube. Dr. Timothy McAllister is the professor of saxophone at the University of Michigan. In addition to being the featured soloist of John Adams’ Saxophone Concerto, he has been a frequent guest with ensembles such as the Chicago Symphony Orchestra and the Los Angeles Philharmonic. Lisa Keeney is a saxophonist and researcher; an alumna of the University of Michigan, she works as an editing assistant for the UM Gershwin Initiative and also independently researches Gershwin’s relationship with the saxophone. ORCHESTRAL SAXOPHONE LK: Let’s begin with a general question: what is the orchestral saxophone, and why is it considered an anomaly or specialty instrument in orchestral music? TM: It’s such a complicated past that we have with the saxophone. -
CHINEKE! ORCHESTRA Kevin John Edusei Conductor
SIGCD517_Bklt****.qxp_BookletSpread.qxt 28/04/2017 16:19 Page 1 CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CyAN mAGENTA Customer yEllOw Catalogue No. BlACK Job Title page Nos. Antonin Dvořák SympHONy NO.9, ‘FROm THE NEw wORlD’ Jean Sibelius FINlANDIA CHINEKE! ORCHESTRA Kevin John Edusei conductor 16 1 291.0mm x 169.5mm SIGCD517_Bklt****.qxp_BookletSpread.qxt 28/04/2017 16:19 Page 2 CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CyAN mAGENTA Customer yEllOw Catalogue No. BlACK Job Title page Nos. Jean Sibelius Jean Sibelius (1865-1957) Finlandia Finlandia, Op 26 9’ Antonin Dvořák A brief trip to Finland is all that is required to grasp the legendary status that Jean Sibelius has acquired in his home nation. From his long-time home, Ainola, which has become a national Symphony No. 9, ‘From the New world’ museum, it is a mere 30 minute drive to Sibelius park in Helsinki, where sits the Sibelius monument. Budding Finnish musicians attend the Sibelius Academy, partake in the International Jean Sibelius Violin Competition and perform his symphonies in Sibelius Hall. Until the introduction of the euro, his portrait was on the Finnish 100 mark bill and Finland’s 1. Finlandia Jean Sibelius .....................................................................................................................................................[7.50] national Flag Day is now held on his birthday. But how did a musician and composer become a national hero, a position usually reserved for generals, freedom fighters and politicians? Symphony No. 9 in E Minor, Op. 95, ‘From the New World’ Antonin Dvořák 2. I. Adagio - Allegro molto ...............................................................................................................................................[11.42] e answer lies with Finlandia, Sibelius’ love letter to the Finnish nation. -
I Urban Opera: Navigating Modernity Through the Oeuvre of Strauss And
Urban Opera: Navigating Modernity through the Oeuvre of Strauss and Hofmannsthal by Solveig M. Heinz A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Germanic Languages and Literatures) in the University of Michigan 2013 Doctoral Committee: Associate Professor Vanessa H. Agnew, Chair Associate Professor Naomi A. André Associate Professor Andreas Gailus Professor Julia C. Hell i For John ii Acknowledgements Writing this dissertation was an intensive journey. Many people have helped along the way. Vanessa Agnew was the most wonderful Doktormutter a graduate student could have. Her kindness, wit, and support were matched only by her knowledge, resourcefulness, and incisive critique. She took my work seriously, carefully reading and weighing everything I wrote. It was because of this that I knew my work and ideas were in good hands. Thank you Vannessa, for taking me on as a doctoral rookie, for our countless conversations, your smile during Skype sessions, coffee in Berlin, dinners in Ann Arbor, and the encouragement to make choices that felt right. Many thanks to my committee members, Naomi André, Andreas Gailus, and Julia Hell, who supported the decision to work with the challenging field of opera and gave me the necessary tools to succeed. Their open doors, email accounts, good mood, and guiding feedback made this process a joy. Mostly, I thank them for their faith that I would continue to work and explore as I wrote remotely. Not on my committee, but just as important was Hartmut. So many students have written countless praises of this man. I can only concur, he is simply the best.