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Gustav Mahler : Conducting Multiculturalism
GUSTAV MAHLER : CONDUCTING MULTICULTURALISM Victoria Hallinan 1 Musicologists and historians have generally paid much more attention to Gustav Mahler’s famous career as a composer than to his work as a conductor. His choices in concert repertoire and style, however, reveal much about his personal experiences in the Austro-Hungarian Empire and his interactions with cont- emporary cultural and political upheavals. This project examines Mahler’s conducting career in the multicultural climate of late nineteenth-century Vienna and New York. It investigates the degree to which these contexts influenced the conductor’s repertoire and questions whether Mahler can be viewed as an early proponent of multiculturalism. There is a wealth of scholarship on Gustav Mahler’s diverse compositional activity, but his conducting repertoire and the multicultural contexts that influenced it, has not received the same critical attention. 2 In this paper, I examine Mahler’s connection to the crumbling, late nineteenth- and early twentieth-century depiction of the Austro-Hungarian Empire as united and question whether he can be regarded as an exemplar of early multiculturalism. I trace Mahler’s career through Budapest, Vienna and New York, explore the degree to which his repertoire choices reflected the established opera canon of his time, or reflected contemporary cultural and political trends, and address uncertainties about Mahler’s relationship to the various multicultural contexts in which he lived and worked. Ultimately, I argue that Mahler’s varied experiences cannot be separated from his decisions regarding what kinds of music he believed his audiences would want to hear, as well as what kinds of music he felt were relevant or important to share. -
Stony Brook University
SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Invasions, Insurgency and Interventions: Sweden’s Wars in Poland, Prussia and Denmark 1654 - 1658. A Dissertation Presented by Christopher Adam Gennari to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in History Stony Brook University May 2010 Copyright by Christopher Adam Gennari 2010 Stony Brook University The Graduate School Christopher Adam Gennari We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. Ian Roxborough – Dissertation Advisor, Professor, Department of Sociology. Michael Barnhart - Chairperson of Defense, Distinguished Teaching Professor, Department of History. Gary Marker, Professor, Department of History. Alix Cooper, Associate Professor, Department of History. Daniel Levy, Department of Sociology, SUNY Stony Brook. This dissertation is accepted by the Graduate School """"""""" """"""""""Lawrence Martin "" """""""Dean of the Graduate School ii Abstract of the Dissertation Invasions, Insurgency and Intervention: Sweden’s Wars in Poland, Prussia and Denmark. by Christopher Adam Gennari Doctor of Philosophy in History Stony Brook University 2010 "In 1655 Sweden was the premier military power in northern Europe. When Sweden invaded Poland, in June 1655, it went to war with an army which reflected not only the state’s military and cultural strengths but also its fiscal weaknesses. During 1655 the Swedes won great successes in Poland and captured most of the country. But a series of military decisions transformed the Swedish army from a concentrated, combined-arms force into a mobile but widely dispersed force. -
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. -
Broadcasting the Arts: Opera on TV
Broadcasting the Arts: Opera on TV With onstage guests directors Brian Large and Jonathan Miller & former BBC Head of Music & Arts Humphrey Burton on Wednesday 30 April BFI Southbank’s annual Broadcasting the Arts strand will this year examine Opera on TV; featuring the talents of Maria Callas and Lesley Garrett, and titles such as Don Carlo at Covent Garden (BBC, 1985) and The Mikado (Thames/ENO, 1987), this season will show how television helped to democratise this art form, bringing Opera into homes across the UK and in the process increasing the public’s understanding and appreciation. In the past, television has covered opera in essentially four ways: the live and recorded outside broadcast of a pre-existing operatic production; the adaptation of well-known classical opera for remounting in the TV studio or on location; the very rare commission of operas specifically for television; and the immense contribution from a host of arts documentaries about the world of opera production and the operatic stars that are the motor of the industry. Examples of these different approaches which will be screened in the season range from the David Hockney-designed The Magic Flute (Southern TV/Glyndebourne, 1978) and Luchino Visconti’s stage direction of Don Carlo at Covent Garden (BBC, 1985) to Peter Brook’s critically acclaimed filmed version of The Tragedy of Carmen (Alby Films/CH4, 1983), Jonathan Miller’s The Mikado (Thames/ENO, 1987), starring Lesley Garret and Eric Idle, and ENO’s TV studio remounting of Handel’s Julius Caesar with Dame Janet Baker. Documentaries will round out the experience with a focus on the legendary Maria Callas, featuring rare archive material, and an episode of Monitor with John Schlesinger’s look at an Italian Opera Company (BBC, 1958). -
Avant Première Catalogue 2018 Lists UNITEL’S New Productions of 2017 Plus New Additions to the Catalogue
CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CATALOGUE 2018 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany CEO: Jan Mojto Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: February 2018 © UNITEL 2018 All rights reserved Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES LEONARD BERNSTEIN 1918 – 1990 Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music. -
Introduction
Title: Daring Missions of World War II Author: William B. Breuer ISBN: 0-471-40419-5 Introduction World war ii, the mightiest endeavor that history has known, was fought in many arenas other than by direct confrontation between opposing forces. One of the most significant of these extra dimensions was a secret war-within-a-war that raged behind enemy lines, a term that refers to actions taken a short dis- tance to the rear of an adversary’s battlefield positions or as far removed as a foe’s capital or major headquarters. Relentlessly, both sides sought to penetrate each other’s domain to dig out intelligence, plant rumors, gain a tactical advantage, spread propaganda, create confusion, or inflict mayhem. Many ingenious techniques were employed to infiltrate an antagonist’s territory, including a platoon of German troops dressed as women refugees and pushing baby carriages filled with weapons to spearhead the invasion of Belgium. Germans also wore Dutch uniforms to invade Holland. The Nazi attack against Poland was preceded by German soldiers dressed as civilians and by others wearing Polish uniforms. In North Africa, British sol- diers masqueraded as Germans to strike at enemy airfields, and both sides dressed as Arabs on occasion. One British officer in Italy disguised himself as an Italian colonel to get inside a major German headquarters and steal vital information. In the Pacific, an American sergeant of Japanese descent put on a Japan- ese officer’s uniform, sneaked behind opposing lines, and brought back thir- teen enemy soldiers who had obeyed his order to lay down their weapons. -
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. -
A MOZART GALA from Salzburg
UNITEL and CLASSICA present A MOZART GALA from Salzburg PATRICIA PETIBON MAGDALENA KOŽENÁ EKATERINA SIURINA MICHAEL SCHADE THOMAS HAMPSON ANNA NETREBKO RENÉ PAPE DANIEL HARDING A MOZART GALA from Salzburg Patricia Petibon René Pape Daniel Harding Magdalena Kožená Thomas Hampson Ekaterina Siurina Anna Netrebko Michael Schade Music by Wolfgang Amadeus Mozart he most spectacular homage to Wolfgang Amadeus Mozart on his 250th birthday in 2006 was incontestably Conductor Daniel Harding the presentation of all of his operas and operatic Orchestra Wiener Philharmoniker T fragments at the Salzburg Festival, “Mozart22”. Recorded on Soloists Anna Netrebko film (available from Unitel Classica), this monumental project Magdalena Kožená has been preserved for posterity as a benchmark of Mozart Ekaterina Siurina interpretation in the early 21st century. Patricia Petibon Thomas Hampson The “Mozart Gala“ held at the Felsenreitschule on 30 René Pape July 2006, in the first days of the 2006 Salzburg Festival, Michael Schade presents a kind of microcosm of the Mozart festivities, with Directed by Brian Large a selection of arias and orchestral music performed by the Vienna Philharmonic under Daniel Harding and featuring Don Giovanni Overture some of the top vocalists of the 2006 Salzburg Festival. A “Madamina, il catalogo è questo“ (René Pape) sampling of exquisite hors d‘œuvres prepared by the most “Dalla sua pace“ (Michael Schade) outstanding musical chefs! Mitridate, Re di Ponto Internationally celebrated soprano Anna Netrebko lives “Nel grave tormento“ (Patricia Petibon) up to her reputation as a fiery, dramatic diva in her passionate La clemenza di Tito rendition of Elettra‘s aria “D‘Oreste, d‘Aiace” from Idomeneo. -
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas GEORGES BIZET EMI 63633 Carmen Maria Stuarda Paris Opera National Theatre Orchestra; René Bologna Community Theater Orchestra and Duclos Chorus; Jean Pesneaud Childrens Chorus Chorus Georges Prêtre, conductor Richard Bonynge, conductor Maria Callas as Carmen (soprano) Joan Sutherland as Maria Stuarda (soprano) Nicolai Gedda as Don José (tenor) Luciano Pavarotti as Roberto the Earl of Andréa Guiot as Micaëla (soprano) Leicester (tenor) Robert Massard as Escamillo (baritone) Roger Soyer as Giorgio Tolbot (bass) James Morris as Guglielmo Cecil (baritone) EMI 54368 Margreta Elkins as Anna Kennedy (mezzo- GAETANO DONIZETTI soprano) Huguette Tourangeau as Queen Elizabeth Anna Bolena (soprano) London Symphony Orchestra; John Alldis Choir Julius Rudel, conductor DECCA 425 410 Beverly Sills as Anne Boleyn (soprano) Roberto Devereux Paul Plishka as Henry VIII (bass) Royal Philharmonic Orchestra and Ambrosian Shirley Verrett as Jane Seymour (mezzo- Opera Chorus soprano) Charles Mackerras, conductor Robert Lloyd as Lord Rochefort (bass) Beverly Sills as Queen Elizabeth (soprano) Stuart Burrows as Lord Percy (tenor) Robert Ilosfalvy as roberto Devereux, the Earl of Patricia Kern as Smeaton (contralto) Essex (tenor) Robert Tear as Harvey (tenor) Peter Glossop as the Duke of Nottingham BRILLIANT 93924 (baritone) Beverly Wolff as Sara, the Duchess of Lucia di Lammermoor Nottingham (mezzo-soprano) RIAS Symphony Orchestra and Chorus of La Scala Theater Milan DEUTSCHE GRAMMOPHON 465 964 Herbert von -
CHAPTER 5 EPILOGUE It Has Been My Aim in This Thesis to Address a Two-Fold Proposition. Informed by My Reading of the Work of Gi
CHAPTER 5 EPILOGUE It has been my aim in this thesis to address a two-fold proposition. Informed by my reading of the work of Gilles de Van, I have discovered that Verdi wished to realize a concept which he called posizione. He provided musical strategies which would delineate characters in their subjective and objective ‘position’ with regard to circumstance and to their relationship with other characters at any given moment of the operatic narrative. The term posizione was intended to denote a musico-dramatic mapping of the co-ordinates which could pinpoint this relationship. With Verdi’s concept in view I have investigated the posizione of Violetta Valéry’s character as it has evolved throughout the course of the operatic narrative of La traviata. In addressing the second facet of my proposition I have taken the term posizione into the broader context of its social implications for the character of Violetta and for women of suspect moral status. In order to do this I have investigated the literary and factual provenance of the narrative and the contemporary response of Despite Budden’s own speculative objection to the notion that Verdi compared Violetta with Giuseppina Strepponi, the possibility remains that the courtesan character elicited a special sympathy from Verdi. The life of Alexandre Dumas fils is the origin from which the narrative of La traviata is drawn. Dumas fils turned the experience of his own liaison with the courtesan Marie Duplessis into the novel La Dame aux Camélias which he later adapted for the stage. As characterized by Dumas, Duplessis, transformed into the more noble Marguerite Gautier, renounced her own happiness in order to save the reputation of the family to whom her lover Armand 192 Duval belonged. -
Hailed As One of the Leading Exponents of the Bel Canto and Lyric
JOHN KANEKLIDES, TENOR Hailed by Opera News as “the very picture of youthful optimism and potential,” John Kaneklides is quickly establishing himself as a celebrated tenor of his time. After being named a finalist in the Nico Castel International Master Singer Competition in 2011, Kaneklides was personally championed by the prolific diction coach and opera translator - a mentorship that propelled his career in opera, art song, and oratorio. This season Kaneklides will create the role of the Guide who mysteriously transforms into Narciso Borgia in the world premiere of Harold Blumenfeld’s Borgia Infami with Winter Opera Saint Louis. He will also reprise the title role in Les contes d’Hoffmann with Skylight Music Theatre and make his role debut as Ralph Rackstraw in H.M.S. Pinafore with the Young Victorian Theatre Company. Additionally, Kaneklides will return to St. Petersburg Opera as Alfredo in La traviata. On the concert stage he can be heard as the tenor soloist in Orff’s Carmina Burana with the Florida Orchestra, under the baton of Michael Francis. Kaneklides will also be concertizing with Lyric Opera Baltimore, Gulfshore Opera and throughout North Carolina. The 2016-2017 season brought Kaneklides rave reviews for his role debut in the title role of Les contes d’Hoffmann. The Tampa Bay Times said he, “makes for a mesmerizing lead as the poet Hoffmann, equipped with matinee idol looks and a electric sound that continues to surprise.” Kaneklides also starred as Villiers, The Duke of Buckingham in the highly anticipated New York premier of Carlisle Floyd’s most recent opera, The Prince of Players, with the Little Opera Theatre of New York. -
Jindřich Toman
Jindřich Toman: Publications and Presentations Authored Books / Authored Books in Preparation / Edited Books / Translated Books / Articles and Book Chapters / Reviews / Miscellanea / Presentations Authored Books ______________________________________ 2009 Foto/montáž tiskem - Photo/Montage in Print. Praha: Kant (The Modern Czech Book, 2), 380 pp. ______________________________________ 2004 Kniha v českém kubismu / Czech Cubism and the Book. Praha: Kant (The Modern Czech Book, 1), 206 pp. _____________________________________ 1995 The Magic of a Common Language—Mathesius, Jakobson, Trubetzkoy and the Prague Linguistic Circle. Cambridge: MIT Press. 355 pp. • Also in Czech as Příběh jednoho moderního projektu: Pražský lingvistický kroužek, 1926-1948. Praha: Karolinum, 2011. ______________________________________ 1983 Wortsyntax: Eine Diskussion ausgewählter Probleme deutscher Wortbil- dung. Tübingen: Niemeyer. • Wortsyntax: [...] 2., erweiterte Auflage [Second, expanded edition]. Tübingen: Niemeyer. 1987. Current Book Projects ______________________________________ in prep. Projects, Conflicts, Change: Bohemia’s Jews and Their Nineteenth-century. in prep. Languages of Simplicity: Modernist Book Design in Interwar Czechoslo- vakia. Prague: Kant (The Modern Czech Book, 4.) Edited Books ______________________________________ 2017 Angažovaná čítanka Romana Jakobsona: Články, recenze, polemiky – 1920- 1945 a Moudrost starých Čechů. [Roman Jakobson’s Engaged Reader: Articles, Reviews, Polemics, 1920-1945]. Praha: Karolinum. ______________________________________