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A Passion for Opera the DUCHESS and the GEORGIAN STAGE
A Passion for Opera THE DUCHESS AND THE GEORGIAN STAGE A Passion for Opera THE DUCHESS AND THE GEORGIAN STAGE PAUL BOUCHER JEANICE BROOKS KATRINA FAULDS CATHERINE GARRY WIEBKE THORMÄHLEN Published to accompany the exhibition A Passion for Opera: The Duchess and the Georgian Stage Boughton House, 6 July – 30 September 2019 http://www.boughtonhouse.co.uk https://sound-heritage.soton.ac.uk/projects/passion-for-opera First published 2019 by The Buccleuch Living Heritage Trust The right of Paul Boucher, Jeanice Brooks, Katrina Faulds, Catherine Garry, and Wiebke Thormählen to be identified as the authors of the editorial material and as the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording or in any information storage or retrieval system, without permission in writing from the authors. ISBN: 978-1-5272-4170-1 Designed by pmgd Printed by Martinshouse Design & Marketing Ltd Cover: Thomas Gainsborough (1727-1788), Lady Elizabeth Montagu, Duchess of Buccleuch, 1767. Portrait commemorating the marriage of Elizabeth Montagu, daughter of George, Duke of Montagu, to Henry, 3rd Duke of Buccleuch. (Cat.10). © Buccleuch Collection. Backdrop: Augustus Pugin (1769-1832) and Thomas Rowlandson (1757-1827), ‘Opera House (1800)’, in Rudolph Ackermann, Microcosm of London (London: Ackermann, [1808-1810]). © The British Library Board, C.194.b.305-307. Inside cover: William Capon (1757-1827), The first Opera House (King’s Theatre) in the Haymarket, 1789. -
Boston Symphony Orchestra Concert Programs, Season 118, 1998-1999
BOSTON SYMPHONY ORCHESTRA 1 I O Z AWA ' T W E N T Y- F I F 1 H ANNIVERSARY SEASO N 1 1 8th Season • 1 998-99 Bring your Steinway: < With floor plans from acre gated community atop 2,100 to 5,000 square feet, prestigious Fisher Hill you can bring your Concert Jointly marketed by Sotheby's Grand to Longyear. International Realty and You'll be enjoying full-service, Hammond Residential Real Estate. single-floor condominium living at Priced from $1,100,000. its absolutefinest, all harmoniously Call Hammond Real Estate at located on an extraordinary eight- (617) 731-4644, ext. 410. LONGYEAR at Jisner Jiill BROOKLINE Seiji Ozawa, Music Director 25TH ANNIVERSARY SEASON Bernard Haitink, Principal Guest Conductor One Hundred and Eighteenth Season, 1998-99 Trustees of the Boston Symphony Orchestra, Inc. R. Willis Leith, Jr., Chairman Nicholas T. Zervas, President Peter A. Brooke, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Harvey Chet Krentzman, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson Deborah B. Davis Edna S. Kalman Vincent M. O'Reilly Gabriella Beranek Nina L. Doggett George Krupp Peter C. Read James E Cleary Nancy J. Fitzpatrick Mrs. August R. Meyer Hannah H. Schneider John F. Cogan, Jr. Charles K. Gifford, Richard P. Morse Thomas G. Sternberg Julian Cohen ex-ojficio Mrs. Robert B. Stephen R. Weiner William F. Connell Avram J. Goldberg Newman Margaret Williams- William M. Crozier, Jr. Thelma E. Goldberg Robert P. O'Block, DeCelles, ex-qfficio Nader F Darehshori Julian T. Houston ex-ojficio Life Trustees Vernon R. -
And Type the TITLE of YOUR WORK in All Caps
ORIGINAL AND TRANSCRIBED ETUDE BOOKS FOR VIOLA: A REFERENCE GUIDE 1 UNIVERSIDADE FEDERAL DA PARAÍBA CENTER FOR THE COMMUNICATION, TOURISM, AND ARTS PRESIDENT MARGARETH DE FÁTIMA FORMIGA DINIZ VICE PRESIDENT BERNARDINA MARIA JUVENAL FREIRE DE OLIVEIRA Dean of CCTA JOSÉ DAVID CAMPOS FERNANDES Associate Dean ULISSES CARVALHO SILVA Editora do CCTA Editorial Board CARLOS JOSÉ CARTAXO GABRIEL BECHARA FILHO HILDEBERTO BARBOSA DE ARAÚJO JOSÉ DAVID CAMPOS FERNANDES MARCÍLIO FAGNER ONOFRE Editor JOSÉ DAVID CAMPOS FERNANDES Secretary of the Editorial Board PAULO VIEIRA Coordinator of the Laboratory of Journalism and Publishing PEDRO NUNES FILHO 2 ULISSES CARVALHO DA SILVA ORIGINAL AND TRANSCRIBED ETUDE BOOKS FOR VIOLA: A REFERENCE GUIDE Editora do CCTA João Pessoa 2019 3 © Copyright by Ulisses Carvalho da Silva, 2019 Graphic Production and Cover DAVID FERNANDES Cataloging Sheet Elaborated in the Sectional Library of CCTA-UFPB S586o Silva, Ulisses Carvalho. Original and transcribed etude books for viola: a reference guide [electronic resource]/Ulisses Carvalho da Silva. João Pessoa: Editora do CCTA, 2019. Digital resource (2,38MB) Format: ePDF System Requirement: Adobe Acrobat Reader ISBN: 978-85-9559-073-1 1. Viola. 2. Etude Books. 3. Viola Pedagogy. 4. String Instrument. I. Title. CDU 780.614.333 UFPB/CCTA/BS CDD 787 Rights of this edition reserved to: EDITORA DO CCTA/UFPB Printed in Brazil Legal deposit in the National Library, as per decree n° 1.825, of December 20, 1907. , 4 DEDICATION To my wife Katia and our kids Julio Cesar and Julie Anne. For their unconditional love and support, patience and encouragement. For have laughed and cried with me. -
Allusions and Historical Models in Gaston Leroux's the Phantom of the Opera
Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 2004 Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera Joy A. Mills Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the French and Francophone Literature Commons, Other Theatre and Performance Studies Commons, and the Translation Studies Commons Recommended Citation Mills, Joy A., "Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera" (2004). Honors Theses. 83. https://scholarlycommons.obu.edu/honors_theses/83 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. Gaston Leroux's 1911 novel, The Phantom of the Opera, has a considerable number of allusions, some of which are accessible to modern American audiences, like references to Romeo and Juilet. Many of the references, however, are very specific to the operatic world or to other somewhat obscure fields. Knowledge of these allusions would greatly enhance the experience of readers of the novel, and would also contribute to their ability to interpret it. Thus my thesis aims to be helpful to those who read The Phantom of the Opera by providing a set of notes, as it were, to explain the allusions, with an emphasis on the extended allusion of the Palais Garnier and the historical models for the heroine, Christine Daae. Notes on Translations At the time of this writing, three English translations are commercially available of The Phantom of the Opera. -
Bellini's Norma
Bellini’s Norma - A discographical survey by Ralph Moore There are around 130 recordings of Norma in the catalogue of which only ten were made in the studio. The penultimate version of those was made as long as thirty-five years ago, then, after a long gap, Cecilia Bartoli made a new recording between 2011 and 2013 which is really hors concours for reasons which I elaborate in my review below. The comparative scarcity of studio accounts is partially explained by the difficulty of casting the eponymous role, which epitomises bel canto style yet also lends itself to verismo interpretation, requiring a vocalist of supreme ability and versatility. Its challenges have thus been essayed by the greatest sopranos in history, beginning with Giuditta Pasta, who created the role of Norma in 1831. Subsequent famous exponents include Maria Malibran, Jenny Lind and Lilli Lehmann in the nineteenth century, through to Claudia Muzio, Rosa Ponselle and Gina Cigna in the first part of the twentieth. Maria Callas, then Joan Sutherland, dominated the role post-war; both performed it frequently and each made two bench-mark studio recordings. Callas in particular is to this day identified with Norma alongside Tosca; she performed it on stage over eighty times and her interpretation casts a long shadow over. Artists since, such as Gencer, Caballé, Scotto, Sills, and, more recently, Sondra Radvanovsky have had success with it, but none has really challenged the supremacy of Callas and Sutherland. Now that the age of expensive studio opera recordings is largely over in favour of recording live or concert performances, and given that there seemed to be little commercial or artistic rationale for producing another recording to challenge those already in the catalogue, the appearance of the new Bartoli recording was a surprise, but it sought to justify its existence via the claim that it authentically reinstates the integrity of Bellini’s original concept in matters such as voice categories, ornamentation and instrumentation. -
28Apr2004p2.Pdf
144 NAXOS CATALOGUE 2004 | ALPHORN – BAROQUE ○○○○ ■ COLLECTIONS INVITATION TO THE DANCE Adam: Giselle (Acts I & II) • Delibes: Lakmé (Airs de ✦ ✦ danse) • Gounod: Faust • Ponchielli: La Gioconda ALPHORN (Dance of the Hours) • Weber: Invitation to the Dance ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Slovak RSO / Ondrej Lenárd . 8.550081 ■ ALPHORN CONCERTOS Daetwyler: Concerto for Alphorn and Orchestra • ■ RUSSIAN BALLET FAVOURITES Dialogue avec la nature for Alphorn, Piccolo and Glazunov: Raymonda (Grande valse–Pizzicato–Reprise Orchestra • Farkas: Concertino Rustico • L. Mozart: de la valse / Prélude et La Romanesca / Scène mimique / Sinfonia Pastorella Grand adagio / Grand pas espagnol) • Glière: The Red Jozsef Molnar, Alphorn / Capella Istropolitana / Slovak PO / Poppy (Coolies’ Dance / Phoenix–Adagio / Dance of the Urs Schneider . 8.555978 Chinese Women / Russian Sailors’ Dance) Khachaturian: Gayne (Sabre Dance) • Masquerade ✦ AMERICAN CLASSICS ✦ (Waltz) • Spartacus (Adagio of Spartacus and Phrygia) Prokofiev: Romeo and Juliet (Morning Dance / Masks / # DREAMER Dance of the Knights / Gavotte / Balcony Scene / A Portrait of Langston Hughes Romeo’s Variation / Love Dance / Act II Finale) Berger: Four Songs of Langston Hughes: Carolina Cabin Shostakovich: Age of Gold (Polka) •␣ Bonds: The Negro Speaks of Rivers • Three Dream Various artists . 8.554063 Portraits: Minstrel Man •␣ Burleigh: Lovely, Dark and Lonely One •␣ Davison: Fields of Wonder: In Time of ✦ ✦ Silver Rain •␣ Gordon: Genius Child: My People • BAROQUE Hughes: Evil • Madam and the Census Taker • My ■ BAROQUE FAVOURITES People • Negro • Sunday Morning Prophecy • Still Here J.S. Bach: ‘In dulci jubilo’, BWV 729 • ‘Nun komm, der •␣ Sylvester's Dying Bed • The Weary Blues •␣ Musto: Heiden Heiland’, BWV 659 • ‘O Haupt voll Blut und Shadow of the Blues: Island & Litany •␣ Owens: Heart on Wunden’ • Pastorale, BWV 590 • ‘Wachet auf’ (Cantata, the Wall: Heart •␣ Price: Song to the Dark Virgin BWV 140, No. -
Examining Chapter One of Edith Wharton's the Age of Innocence
Anthós Volume 5 Issue 1 Article 4 2013 Operatic Observation of the Audience: Examining Chapter One of Edith Wharton's The Age of Innocence Andréa René Franke Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/anthos Part of the Comparative Literature Commons Let us know how access to this document benefits ou.y Recommended Citation Franke, Andréa René (2013) "Operatic Observation of the Audience: Examining Chapter One of Edith Wharton's The Age of Innocence," Anthós: Vol. 5: Iss. 1, Article 4. https://doi.org/10.15760/anthos.2013.33 This open access Article is distributed under the terms of the Creative Commons Attribution-NonCommercial- ShareAlike 4.0 International License (CC BY-NC-SA 4.0). All documents in PDXScholar should meet accessibility standards. If we can make this document more accessible to you, contact our team. Andréa René Franke Operatic Observation of the Audience: Examining Chapter One of Edith Wharton’s The Age of Innocence Andréa René Franke The act of observation, as defined by Professor Lawrence Wheeler’s Fall 2012 Syllabus for his course titled “Theatron”, is “a morally complex act undertaken by qualified agents, operating through recognized and formalized practices, in a specific venue, and in possession of a carefully delimited vocabulary of discourse.” Throughout many disciplines this formalized practice can be identified in many forms while still prescribing to this narrow definition. This essay will show how this definition of observation is applied to early 20th century American literature in Edith Wharton’s The Age of Innocence (1920) by examining the first chapter of Wharton’s museum cultured novel. -
Staged Treasures
Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio -
On Site Opera Press Kit 2016
PRESS KIT 2016 P.O. Box 231480 | New York, NY 10023 347-394-3050 | [email protected] | www.osopera.org QUOTES Gregg Kallor's The Tell-Tale Heart • “The starkly simple production by Sarah Meyers, which placed Pojanowski in the merciless glare of a single spotlight, proved one of the most effective stagings I've seen from the always-inventive On Site Opera” –The Observer • “Part of the draw of The Crypt Sessions is its unique venue. Performances happen in the Crypt Chapel...an inspired setting for The Tell-Tale Heart—the vaulted, cloistered qualities well suited for a meditation on entombment.” –Parterre Box Dominick Argento’s Miss Havisham’s Wedding Night & Hector Berlioz’s La Mort de Cléopâtre • “I would not have wanted to hear either opera anywhere else....Without that separation from the audience, Partridge and Gaissert leveraged the closeness, relying on the transparency of their characters’ damaged psyches, indulging in murmured pianissimos and quick turns that might get lost in a bigger house. The result was both lavish and intimate.” — NY Magazine • “There was the gobsmacking experience of having the performers right there at one’s elbow, inches away – Cleopatra’s gown wafting against your shoulder as she passed, Miss Havisham’s old lace perfuming the air as her doleful countenance met yours in a transfixing intimacy. And, above all, there was the sound!” La Scena Musicale Marcos Portugal's The Marriage of Figaro • “So Much More Than Sleep No More. On Site Opera's immersive version of Marriage of Figaro is on point. This lively young cast was so irresistible that you wouldn’t ever want them to stop singing.” –The Observer • “On Site Opera presents the ultimate in intimate productions by performing works in spaces that fit the setting of the story. -
De Lane, by the Author and Sold by All Booksellers, [C
vis04njf Section name Library Special Collections Service Baron Collection Handlist 2 GREAT BRITAIN Catalogue: ordered alphabetically 1 BAGSHAWE, Rev. C. F. Ambrosden : ‘There shall be no night there’ Rev.XXI.25. / Words from Hymns A & M. No 23 ; Music by Rev. C. F. Bagshawe. MA. – Ambrosden : [s.n.], Nov. 1866. – Single leaf printed on one side ; 280 x 225 mm. 2 BEULER, Jacob. The figity man, comic song, / by J. Beuler. – London : Published by J. Beuler, 42, Bemerton Strt, Caledonian Road, King’s Cross ; Sold by Purday…Keith & Prowse… Monro & May, *c. 1845+. – 5 + [1] p. ; 346 x 244 mm. 3 BLOCKLEY, John. The Arab’s farewell, to his favorite steed, / written by the Honble Mrs Norton, / composed by John Blockley. – London : Addison & Hodson, 210, Regent Street… and 47, King Street, [c. 1844-48]. – 7 + [1] p. ; 348 x 255 mm. 4 A child’s hymn, / set to music by a blind girl for the benefit of an aged man who is blind and destitute. – [Exeter] : W. Spreat, Lith, [c. 1850]. – Single leaf printed on one side ; 343 x 248 mm. 5 Detail of the exercise of Light Infantry and the bugle sounds of the Royal Sappers & Miners. – Second edition. – Chatham : Lithographed at the Establishment for Field Instruction Royal Engineer Department, 1823. – [4], 20 p. ; 215 x 130 mm. 6 The Englishwoman’s quadrilles / dedicated by the composer to the subscribers of the Englishwoman’s Domestic Magazine. – London : Vincent Brooks, Lith, [c. 1860]. – 4 p. ; 344 x 255 mm. 7 GILLESPIE, Maria. The ‘Adieu polka’, / composed by Miss Maria Gillespie, and dedicated to Mrs Fitzgibbon, Sidney House. -
Music to My Ears, but Words to My Eyes? Text, Opera and Their Audiences
Music to my ears, but words to my eyes? Text, opera and their audiences Lucile Desblache Roehampton University To Judi Palmer and Jonathan Burton, surtitlers at the Royal Opera House, Covent Garden This paper discusses the translation of opera libretti throughout the history of the genre. Opera was born of a need to make words more prominent in vocal music and to express emotions through their musical setting. We shall first consider how attitudes to languages and to the audiences have im- pacted on different ways of providing translated versions of the operatic text through its relatively short history. Then, we shall focus on the most recent form of transfer available, on surtitling, show how it is governed by a desire for accessibility and is provided within the context of making clas- sical music available to a wider and more diversified public. 1. Introduction: words in opera From Confucius to Jaques Attali, thinkers through the ages have argued that music reflects the civilisation it belongs to but also expresses prophetic vi- sions of society, anticipating historical and social developments to come through its own rules and styles. Although the power of music has always been notable in all human cultures, in the space of less than a century our ways of making, listening to and appreciating music have changed dramati- cally, essentially through the use of technology. This is particularly visible in compositions which combine words with music, as we now have the means to make the text as prominent or discreet as we wish, and it is the case in all vocal music genres, from pop to opera. -
Giacomo Puccini – Quartetto in D” Per Archi
Bulletin of the Transilvania University of Braşov Series VIII: Performing Arts • Vol. 11 (60) No. 1 – 2018 Giacomo Puccini – Quartetto in D” per archi Raluca TONESCU (IRIMIA)1 Abstract: Giacomo Puccini’s works for a string quartet are: three minutes, the Crisantemi elegy and the String Quartet in D Major, which is the only complete piece we have. This work has four parts and was composed between 1881 and 1883, when Puccini was studying at Milan Conservatory. This quartet was first published in its complete version by the Italian publishing house Casa Ricordi. All four parts of the Quartet were discovered in different places, either as manuscripts or as transcriptions for other chamber works made by his younger brother, Michele Puccini. The fact that all these parts were put together in one piece has been subject of thorough research, of which Dieter Schickling is the most important. In his volume about Puccini, The works of Giacomo Puccini. A complete catalogue, he describes all the composer’s manuscripts in detail. Key-words: Giacomo Puccini, quartetto in D. 1. Introduction String Quartet's history indicates the first signs of the occurrence of the Quartet as genre in the compositions of Giuseppe Tartini and Alessandro Scarlatti, as sonatas a quarto from their creations, VII-VIII century (Bughici 1978, 88). If Joseph Haydn (1732-1809) is for the Symphony and for piano sonatas a guide on the way of completion, for the String Quartet he is the creator. The structure of the beginning Quartets is five parts: allegro-adagio-allegro-minuet- minuet- allegro finale, and after only a few years, starting with op.