DOCSLIB.ORG

CARLO MARIA GIULINI Concert Register

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CARLO MARIA GIULINI Concert Register CARLO MARIA GIULINI Concert Register Bruckner Concerts Highlighted in Red 16 July 1944 Teatro Adriano, Rome 7 May 1947 Orchestra della Regia Accademia di Santa Teatro Argentina, Rome Cecilia Orchestra dell'Accademia Nazionale di Bliss: Purcell Suite, for strings Santa Cecilia Liadov: The Enchanted Lake Benedetto Mazzacurati, cello Salviucci: Introduction, Passcaglia and Finale Dvořák: Symphony No. 9, From the New World Brahms: Symphony No. 4 Jachino: Fantasy of the Red and the Black Schumann: Cello Concerto 7 January 1945 Teatro Adriano, Rome 3 December 1947 Orchestra della Regia Accademia di Santa Teatro Argentina, Rome Cecilia Orchestra dell'Accademia Nazionale di Enrico Mainardi, cello Santa Cecilia Cimarosa: Overture, The Secret Marriage Vittorio Emanuele, violin Hindemith: Cello Concerto Sacrae symphoniae: Canzon per sonar Quarti Toni Brahms: Symphony No. 2 Berg: Violin Concerto Brahms: Symphony No. 4 15 April 1945 Teatro Adriano, Rome 22 February 1948 Orchestra della Regia Accademia di Santa Teatro Argentina, Rome Cecilia Orchestra dell'Accademia Nazionale di Massimo Amfiteatrov, cello Santa Cecilia Weber: Overture, Der Freischütz Coro dell'Accademia Nazionale di Santa Cecilia Bloch: Schelomo Bach: Nun komm' der Heiden Heland, chorale Parodi: Prelude to a Comedy BWV 659, (orch. Respighi) Debussy: La Mer Renzi: Vexilla Regis, cantata Tchaikovsky: Symphony No. 2, Little Russian Borodin: Polovtsian Dances 9 May 1945 Teatro Adriano, Rome Orchestra della Regia Accademia di Santa 16 January 1949 Cecilia Teatro Argentina, Rome Lilia D’Albore, violin Orchestra dell'Accademia Nazionale di Bach: Air from Orchestral Suite No. 3, BWV 1068 Santa Cecilia Mendelssohn: Violin Concerto Manfredini: Sinfonia da chiesa, Op. 2 No. 2 Schubert: Symphony No. 8, Unfinished Salviucci: Introduction, passacaglia and finale Falla: Love the Magician, Suite Brahms: Tragic Overture Mussorgsky: Prelude to Act 1, Khovanshchina; Pictures at an Exhibition (orch. Ravel) 11 December 1945 Rome: Teatro Adriano Members of the Orchestre della RAI 22 October 1949 Martinů: Serenade for Orchestra Teatro Argentina, Rome Hindemith: Symphonic Metamorphoses on Themes Orchestra dell'Accademia Nazionale di of Weber Santa Cecilia Ghedini: Concerto dell’albatro Brahms: Symphony No. 2 Pizzetti: Prelude, Fedra Weber: Overture, Der Freischütz 2 March 1947 Teatro Argentina, Rome Orchestra dell'Accademia Nazionale di 22 March 1950 Santa Cecilia Teatro Argentina, Rome Dvořák: Serenade for Strings Orchestra dell'Accademia Nazionale di Busoni: Two Studies for Doktor Faust Santa Cecilia Davico: Offrande lyrique Mozart: Eine kleine Nachtmusik, K. 525 Beethoven: Symphony No. 6, Pastoral De Paoli: Canti gaelici Schubert: String Quintet in C major, D. 956 (orch. Galuppi: La Diavolessa Ghedini) 22 October 1952 26 March 1950 Teatro La Fenice, Venice Teatro Argentina, Rome Orchestra del Teatro La Fenice Orchestra dell'Accademia Nazionale di Sergio Marzorati, piano Santa Cecilia Geminiani: Concerto grosso, Op. 3 No. 2 Coro dell'Accademia Nazionale di Santa Cecilia Chopin: Piano Concerto No. 2 Boccherini: Overture in D major Tchaikovsky: Symphony No. 2, Little Russian Zafred: Symphony No. 3, Canto del Carso Cherubini: Requiem in D minor 19 March 1955 Teatro La Fenice, Venice 28 June 1950 Orchestra del Teatro La Fenice Teatro Argentina, Rome Salviucci: Introduction, Passacaglia and Finale Orchestra dell'Accademia Nazionale di Brahms: Symphony No. 4 Santa Cecilia Boccherini: Overture in D major Coro dell'Accademia Nazionale di Santa Cecilia Mussorgsky: Night on the Bare Mountain Rossini: Overture, The Italian Girl in Algiers Salviucci: Introduction, Passacaglia and Finale Cherubini: Requiem in D minor 23, 25, 27, 29 August, 2, 7 September 1955 King’s Theatre, Edinburgh Royal Philharmonic Orchestra 18 April 1951 Glyndebourne Festival Opera Teatro Argentina, Rome Fernando Corena, Anna Maria Rovere, Fernanda Orchestra dell'Accademia Nazionale di Cadoni, Oralia Dominguez, Eugenia Ratti, Walter Santa Cecilia Monachesi, Juan Oncina/Kevin Miller, Dermot Coro dell'Accademia Nazionale di Santa Cecilia Troy, Daniel McCoshan, Marco Stefanoni, Harold Liliana Rossi, Alessandra Valeriani Pavoni, Antonio Williams Pirino, Piero Besma, Ennio Engst Verdi: Falstaff Haydn: Symphony No. 49, Passione Turchi: Piccolo concerto notturno Schubert: Mass in E flat major, D. 950 18 December 1955 Teatro Argentina, Rome Orchestra dell'Accademia Nazionale di 5 May 1951 Santa Cecilia Teatro La Fenice, Venice Wilhelm Kempff, piano Orchestra del Teatro La Fenice Haydn: Symphony No. 94, Surprise Claudio Arrau, piano Liszt: Piano Concerto No. 2 Dvořák: Symphony No. 8 Pizzetti: Prelude, Fedra Bonporti: Concerto for Strings, Op. 11, No. 1 Mussorgsky: Pictures at an Exhibition (orch. Ravel) Brahms: Piano Concerto No. 2 30 November 1955 12 September 1951 Victoria Hall, Geneva Teatro La Fenice, Venice Orchestre de la Suisse Romande Orchestra e Coro di Milano della Radio Nikita Magaloff, piano Italiana Bonporti: Concerto grosso in D major Italo Tajo, Giangiacomo Guelfi, Caterina Mancini, Mozart: Piano Concerto No. 22 Gino Penno, Aldo Bertocci, Dario Caselli Pizzetti: Overture, Fedra Verdi: Attila (concert performance) Mussorgsky: Pictures at an Exhibition (orch. Ravel) 21 September 1952 21 December 1955 Teatro La Fenice, Venice Teatro Argentina, Rome Gino Orlandini, Elena Rizzieri, Fernanda Cadoni, Orchestra dell'Accademia Nazionale di Franco Calabrese, Sesto Bruscantini, Alda Noni, Santa Cecilia Agostino Lazzari, Tito Fuga, Mario Bardella, Cesco Vivaldi: The Four Seasons Ferro Bartók: Duke Bluebeard’s Castle Orchestra dell'Accademia Nazionale di Santa Cecilia 29 February, 1 March 1956 Coro dell'Accademia Nazionale di Santa Cecilia Musikverein, Vienna Beethoven: Symphony No. 6, Pastoral Wiener Symphoniker Cherubini: Requiem in D minor Bronislaw Gimpel, violin Mozart: Divertimento No. 11, K. 251 Paganini: Violin Concerto No. 1 18 December 1957 Respighi: Fountains of Rome Teatro Argentina, Rome Falla: The Three Cornered Hat, Suite No. 2 Orchestra dell'Accademia Nazionale di Santa Cecilia Bronislaw Gimpel, violin 8 April 1956 Brahms: Tragic Overture Teatro La Fenice, Venice Lalo: Symphonie espagnole Orchestra del Teatro La Fenice Schumann: Symphony No. 3, Rhenish Haydn: Symphony No. 94, Surprise Falla: The Three Cornered Hat, Suite Ravel: Mother Goose 9, 12, 15, 19, 21, 24, 26, 28 May 1958 Mozart: Divertimento No. 11, K. 251 Royal Opera, Covent Garden Gré Brouwenstijn, Fedora Barbieri, Jeanette Sinclair, Jon Vickers, Tito Gobbi, Boris Christoff, 2, 3, 4, 5 April 1957 Marco Stefanoni/Michael Langdon Musikverein, Vienna Verdi: Don Carlos Wiener Symphoniker Johanna Martzy, violin Ravel: Mother Goose 16 May 1958 Mendelssohn: Violin Concerto Royal Festival Hall, London Boccherini: Symphony in C minor Philharmonia Orchestra Stravinsky: The Firebird: Suite (1919) Hans Richter-Haaser, piano Brahms; Tragic Overture Brahms: Piano Concerto No. 2 28, 29, 30 May 1957 Brahms: Symphony No. 1 Vienna, Musikverein Wiener Symphoniker Rossini: Overture, The Barber of Seville 9 July 1958 Mussorgsky: Pictures at an Exhibition (orch. Ravel) Palazzo Ducale, Venice Brahms: Symphony No. 2 Orchestra del Teatro La Fenice Coro del Teatro La Fenice Ilva Ligabue, Fiorenza Cossotto, Alvinio Misciano, 10, 11, 12, 13, 14 October 1957 Ivo Vinco Musikverein, Vienna Verdi: Requiem Wiener Symphoniker Ornella Santoliquido, piano Wolf-Ferrari: Interlude from I Quattro Rusteghi 27 October 1958 Wolf-Ferrari: Overture, Susanna’s Secret Royal Festival Hall, London Ravel: Piano Concerto in G major Philharmonia Orchestra Tchaikovsky: Symphony No. 6, Pathétique Beethoven: Overture, Egmont Beethoven: Symphony No. 6, Pastoral Beethoven: Symphony No. 5 8 December 1957 Teatro La Fenice, Venice Orchestra del Teatro La Fenice 12 April 1959 Coro del Teatro La Fenice Royal Festival Hall, London Ilva Ligabue, Dora Minarchi, Alvinio Misciano, Philharmonia Orchestra Carlo Cava Fou Ts’ong, piano Verdi: Requiem Brahms: Piano Concerto No. 1 Brahms: Symphony No. 1 15 December 1957 Teatro Argentina, Rome 22, 24, 28 April, 1, 4 May 1959 Royal Opera, Covent Garden Richard Strauss: Four Last Songs Gré Brouwenstijn, Grace Hoffman, Jeanette Schubert: Symphony No. 8, Unfinished Sinclair, Jon Vickers, Geraint Evans/John Shaw, Ravel: Daphnis and Chloe, Suite No. 2 Boris Christoff, Michael Langdon Verdi: Don Carlos 16, 19, 21, 23, 25, 27, 31 May, 2 June 1960 Royal Opera, Covent Garden 7 June 1959 Teresa Berganza, Josephine Veasey, Luigi Alva, Royal Festival Hall, London Rolando Panerai, Fernando Corena, Ivo Vinco, Philharmonia Orchestra Ronald Lewis Clara Haskil, piano Rossini: Il barbiere di Siviglia Tchaikovsky: Symphony No. 6, Pathétique Chopin: Piano Concerto No. 2 Stravinsky: The Firebird, Suite (1919) 12 June 1960 Royal Festival Hall, London Philharmonia Orchestra 11 June 1959 Philharmonia Chorus Royal Festival Hall, London Joan Sutherland, Fiorenza Cossotto, Luigi Ottolini, Philharmonia Orchestra Ivo Vinco György Cziffra Verdi: Messa da Requiem Rossini: Overture, The Italian Girl in Algiers Franck: Symphonic Variations Wagner: Prelude and Liebestod, Tristan und Isolde 21 August 1960 Liszt: Hungarian Fantasia Usher Hall, Edinburgh Mussorgsky: Pictures at an Exhibition (orch. Ravel) Philharmonia Orchestra Philharmonia Chorus Joan Sutherland, Fiorenza Cossotto, Luigi Ottolini, 28 September 1959 Ivo Vinco Royal Festival Hall, London Verdi: Messa da Requiem Philharmonia Orchestra Elisabeth Schwarzkopf, Anna Moffo, Fiorenza Cossotto, Eberhard Wächter, Giuseppe Taddei, Ivo 24 August 1960 Vinco, Piero
Load more

Recommended publications
  • ARSC Journal
    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
    [Show full text]
  • (ABH) and Gesellschaft Für Unternehmensgeschichte (GUG), 27-28 May 2016, Humboldt University Berlin, Germany
    Joint Conference Association of Business Historians (ABH) and Gesellschaft für Unternehmensgeschichte (GUG), 27-28 May 2016, Humboldt University Berlin, Germany Disruptive Innovation in the Creative Industries: The adoption of the German horn in Britain 1935-75 David Smith* and Richard Blundel** *Nottingham Trent University, UK and **The Open University, UK Abstract This paper examines the interplay between innovation and entrepreneurial processes amongst competing firms in the creative industries. It does so through a case study of the introduction and diffusion into Britain of a brass musical instrument, the wide bore German horn, over a period of some 40 years in the middle of the twentieth century. The narrative contrasts the strategies followed by two brass instrument manufacturers, one a new entrant the other an incumbent. It shows how the new entrant despite a slow start, small scale and a commitment to traditional artisanal skills, was able to develop the technology of the German horn and establish itself as one of the world’s leading brands of horn, while the incumbent firm despite being the first to innovate steadily lost ground until like many of the other leading horn makers of the 1930s, it eventually exited the industry. Keywords: Disruptive innovation, Creative Industries, Musical Instruments Introduction For much of the 19th and a substantial part of the 20th century, British orchestras had a distinctive sound. This differentiated them from their counterparts in many parts of Europe and the United States. This sound was the product of the instruments they played, most notably in the horn section of the orchestra. In Britain horn players typically utilized instruments modelled on the Raoux horn from France.
    [Show full text]
  • Fri, Aug 20, 2021
    Fri, Aug 20, 2021 - 09 Listener Requests on The Classical Station 1 Start Description Performers Requested by Additional 09:01:10 Overture to Candide / Bernstein Bournemouth Symphony/Litton Carol in Fuquay-Varina 09:06:32 Grand Canyon Suite / Grofé London Philharmonic George in Raleigh Orchestra/Handley 09:40:50 Rider March in C, D. 866 No. 1 / Vienna Academy Cathy in Menominee Falls, Schubert Orchestra/Haselbock Wisc. 09:51:27 Romance for String Orchestra, Op. 11 / Northern Sinfonia/Griffiths Vincent in Greensboro, Finzi NC 10:01:30 Radetzky March / Strauss Sr. Johann Strauss Orchestra Timothy in Rocky Mount, Vienna/Francek NC 10:05:38 Nuvole bianche / Einaudi Ludovico Einaudi Rachel in Raleigh 10:13:03 Suite Bergamasque / Debussy Alexis Weissenberg Kenneth in Apex, NC also for Linda in Whitewater, Wisc. 10:29:23 Piano Quintet in E flat, Op. 44 / Robert Schumann Ensemble Vivian in Carrboro, NC Schumann 11:00:20 Suite for Flute and Strings / Respighi Fabbriciani/Abruzzo Adrienne in Raleigh Symphony/Paszkowski 11:21:15 Eclogue for Piano and Strings / Finzi Jones/English String Cyndi in Raleigh Orchestra/Boughton 11:32:28 The Girl with the Flaxen Hair from Samson Francois Greg in Ronkonkoma, NY in memory of his Preludes, Book I / Debussy beloved wife, Carol 11:35:53 Partita No. 2 in C minor, BWV 826 / Simone Dinnerstein Desiree in Coconut Creek, Bach Fla. 12:00:25 Concerto in B minor for 4 Violins and English Concert/Pinnock Rhowan in Garner, NC Cello, Op. 3 No. 10 / Vivaldi 12:10:50 Recuerdos de la Alhambra / Tarrega David Russell Lynn in Durham, NC 12:17:30 Finlandia, Op.
    [Show full text]
  • Open Research Online Oro.Open.Ac.Uk
    Open Research Online The Open University’s repository of research publications and other research outputs Disruptive Innovation in the Creative Industries: The adoption of the German horn in Britain 1935-75 Conference or Workshop Item How to cite: Smith, David and Blundel, Richard (2016). Disruptive Innovation in the Creative Industries: The adoption of the German horn in Britain 1935-75. In: Association of Business Historians (ABH) and Gesellschaft für Unternehmensgeschichte (GUG) Joint Conference, 27-29 May 2016, Humbolt University, Berlin. For guidance on citations see FAQs. c 2016 The Authors https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://ebha.org/public/C6:pdf Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Joint Conference Association of Business Historians (ABH) and Gesellschaft für Unternehmensgeschichte (GUG), 27-28 May 2016, Humboldt University Berlin, Germany Disruptive Innovation in the Creative Industries: The adoption of the German horn in Britain 1935-75 David Smith* and Richard Blundel** *Nottingham Trent University, UK and **The Open University, UK Abstract This paper examines the interplay between innovation and entrepreneurial processes amongst competing firms in the creative industries. It does so through a case study of the introduction and diffusion into Britain of a brass musical instrument, the wide bore German horn, over a period of some 40 years in the middle of the twentieth century.
    [Show full text]
  • 10-26-2019 Manon Mat.Indd
    JULES MASSENET manon conductor Opera in five acts Maurizio Benini Libretto by Henri Meilhac and Philippe production Laurent Pelly Gille, based on the novel L’Histoire du Chevalier des Grieux et de Manon Lescaut set designer Chantal Thomas by Abbé Antoine-François Prévost costume designer Saturday, October 26, 2019 Laurent Pelly 1:00–5:05PM lighting designer Joël Adam Last time this season choreographer Lionel Hoche revival stage director The production of Manon was Christian Räth made possible by a generous gift from The Sybil B. Harrington Endowment Fund general manager Peter Gelb Manon is a co-production of the Metropolitan Opera; jeanette lerman-neubauer Royal Opera House, Covent Garden, London; Teatro music director Yannick Nézet-Séguin alla Scala, Milan; and Théâtre du Capitole de Toulouse 2019–20 SEASON The 279th Metropolitan Opera performance of JULES MASSENET’S manon conductor Maurizio Benini in order of vocal appearance guillot de morfontaine manon lescaut Carlo Bosi Lisette Oropesa* de brétigny chevalier des grieux Brett Polegato Michael Fabiano pousset te a maid Jacqueline Echols Edyta Kulczak javot te comte des grieux Laura Krumm Kwangchul Youn roset te Maya Lahyani an innkeeper Paul Corona lescaut Artur Ruciński guards Mario Bahg** Jeongcheol Cha Saturday, October 26, 2019, 1:00–5:05PM This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation. Digital support of The Met: Live in HD is provided by Bloomberg Philanthropies. The Met: Live in HD series is supported by Rolex.
    [Show full text]
  • 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.
    [Show full text]
  • The Pianist's Freedom and the Work's Constrictions
    The Pianist’s Freedom and the Work’s Constrictions What Tempo Fluctuation in Bach and Chopin Indicate Alisa Yuko Bernhard A thesis submitted in partial fulfilment of the requirements for the degree of Master of Music (Performance) Sydney Conservatorium of Music University of Sydney 2017 Declaration I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. Alisa Yuko Bernhard 10 November 2016 i Abstract The concept of the musical work has triggered much discussion: it has been defined and redefined, and at times attacked and deconstructed, by writers including Wolterstorff, Goodman, Levinson, Davies, Nattiez, Goehr, Abbate and Parmer, to name but a few. More often than not, it is treated either as an abstract sound-structure or, in contrast, as a culturally constructed concept, even a chimera. But what is a musical work to the performer, actively engaged in a “relationship” with the work he or she is interpreting? This question, not asked often enough in scholarship, can be used to yield fascinating insights into the ontological status of the work. My thesis therefore explores the relationship between the musical work and the performance, with a specific focus on classical pianists of the twentieth and twenty-first centuries. I make use of two methodological starting-points for considering the nature of the work. Firstly, I survey what pianists have said and written in interviews and biographies regarding their role as interpreters of works. Secondly, I analyse pianists’ use of tempo fluctuation at structurally significant moments in a selection of pieces by Johann Sebastian Bach and Frederic Chopin.
    [Show full text]
  • West Side Story
    To Our Readers ow can something be as fresh, as bril­ Hliant, as explosively urgent as "West Side Story," and be 50 years old? How can this brand new idea for the American theatre have been around for half a century? Leonard Bernstein used to say that he wished he could write the Great American Opera. He was still designing such a project shortly before his death. But in retrospect, we can say that he fulfilled his wish. "West Side Story" is performed to enthusiastic audiences in opera houses around the world - recently in La Scala and, before this year is out, at the Theatre du Chatelet in Paris. Is there a Broadway revival in the works? The signs are highly auspicious. In this issue, we celebrate "West Side Story": its authors, its original performers, and its continuing vital presence in the world. Chita Rivera regrets that, due to scheduling conflicts, she was unable to contribute to this issue by print time. [ wEst SIDE ·sronv L "West Side Story" continues to break ground to this very day. Earlier this year, the show was performed by inmates at Sing Sing. A few months later, it was presented as part of a conflict resolution initiative for warring street gangs in Seattle. And if there's a heaven, Leonard Bernstein was up there dancing for joy last summer while Gustavo Dudamel led his sensational 200-piece Simon Bolfvar Youth Orchestra in the "Mambo" at the Proms in London. The audience went bonkers. Check it out: http://www.dailymotion.com/swf/ 6pXLfR60dUfQNjMYZ There are few theatrical experiences as reliably thrilling as a student production of "West Side Story".
    [Show full text]
  • 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
    [Show full text]
  • Jazzzeitung 2002 / 11
    27. Jahrgang Nr. 11-02 www.jazzzeitung.de November 2002 B 07567 PVSt/DPAG Entgelt bezahlt Jazzzeitung Mit Jazz-Terminen ConBrio Verlagsgesellschaft aus Bayern, Hamburg, Brunnstraße 23 93053 Regensburg Mitteldeutschland ISSN 1618-9140 und dem Rest E 2,05 der Republik berichte farewell portrait label portrait dossier Große Namen: die 26. Leipziger Jazztage Unfassbar: zum Tod von Peter Kowald Ready To Play For You: Paul Kuhn Qualität als Rezept: das Label Songlines Ungehorsam: Dietrich Schulz-Köhn S. 4 S. 11 S. 13 S. 16 S. 22–23 Liebe Leserinnen, liebe Leser, die Temperaturen an diesem Tag der ers- ten großen Kälte in München wollten so gar nicht zu den sonnigen Klängen auf WARMEWARME KLÄNGEKLÄNGE AUSAUS DEMDEM SÜDENSÜDEN den neuen CD-Produktionen meiner bei- den Interviewpartner passen. Trotzdem unterhielten wir uns bei griechischem Neue CDs von Lisa Wahlandt & Mulo Francel Bergtee im angenehmen vegetarischen „Bossa Nova Affair“ heißt die neueste CD Restaurant „Prinz Myshkin“ ausnehmend von Lisa Wahlandt und Mulo Francel (Re- gut. Die Ergebnisse des Gesprächs mit zension auf Seite 15 dieser Ausgabe!). der Sängerin Lisa Wahlandt, die überdies Die musikalische „Affäre“ der beiden be- als Titelmädchen diese Ausgabe der Jazz- gann am Bruckner Konservatorium in zeitung ziert, und dem Saxophonisten Linz, wo beide zeitversetzt studierten. Mulo Francel lesen Sie weiter unten auf Mulo hörte Lisas Stimme während ihrer dieser Seite. Rezensionen der beiden CDs Aufnahmeprüfung und verliebte sich – in finden Sie auf Seite 15 dieser Ausgabe die Stimme. Aber erst vier Jahre später, der Jazzzeitung. 1996, begann eine echte Zusammenar- Weniger erfreulich sind die zunehmenden beit, die bis heute ungebrochen weiter Finanzierungsprobleme innovativer Jazz- funktioniert.
    [Show full text]
  • EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES from The
    EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES From the 19th Century To the Present A Discography Of CDs And LPs Prepared by Michael Herman Composers K-P MILOSLAV KABELÁČ (1908-1979, CZECH) Born in Prague. He studied composition at the Prague Conservatory under Karel Boleslav Jirák and conducting under Pavel Dedeček and at its Master School he studied the piano under Vilem Kurz. He then worked for Radio Prague as a conductor and one of its first music directors before becoming a professor of the Prague Conservatoy where he served for many years. He produced an extensive catalogue of orchestral, chamber, instrumental, vocal and choral works. Symphony No. 1 in D for Strings and Percussion, Op. 11 (1941–2) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 2, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 2 in C for Large Orchestra, Op. 15 (1942–6) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 3 in F major for Organ, Brass and Timpani, Op. 33 (1948-57) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 2, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Libor Pešek/Alena Veselá(organ)/Brass Harmonia ( + Kopelent: Il Canto Deli Augei and Fišer: 2 Piano Concerto) SUPRAPHON 1110 4144 (LP) (1988) Symphony No. 4 in A major, Op. 36 "Chamber" (1954-8) Marko Ivanovic/Czech Chamber Philharmonic Orchestra, Pardubice ( + Martin·: Oboe Concerto and Beethoven: Symphony No. 1) ARCO DIVA UP 0123 - 2 131 (2009) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos.
    [Show full text]
  • 07 – Spinning the Record
    VI. THE STEREO ERA In 1954, a timid and uncertain record industry took the plunge to begin investing heav- ily in stereophonic sound. They were not timid and uncertain because they didn’t know if their system would work – as we have seen, they had already been experimenting with and working the kinks out of stereo sound since 1932 – but because they still weren’t sure how to make a home entertainment system that could play a stereo record. Nevertheless, they all had their various equipment in place, and so that year they began tentatively to make recordings using the new medium. RCA started, gingerly, with “alternate” stereo tapes of monophonic recording sessions. Unfortunately, since they were still uncertain how the results would sound on home audio, they often didn’t mark and/or didn’t file the alternate stereo takes properly. As a result, the stereo versions of Charles Munch’s first stereo recordings – Berlioz’ “Roméo et Juliette” and “Symphonie Fanastique” – disappeared while others, such as Fritz Reiner’s first stereo re- cordings (Strauss’ “Also Sprach Zarathustra” and the Brahms Piano Concerto No. 1 with Ar- thur Rubinstein) disappeared for 20 years. Oddly enough, their prize possession, Toscanini, was not recorded in stereo until his very last NBC Symphony performance, at which he suf- fered a mental lapse while conducting. None of the performances captured on that date were even worth preserving, let alone issuing, and so posterity lost an opportunity to hear his last half-season with NBC in the excellent sound his artistry deserved. Columbia was even less willing to pursue stereo.
    [Show full text]