Boston Symphony Orchestra Concert Programs, Summer, 1970
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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 -
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. -
JOHN RELYEA Four Villains... Four
spring 2012 | volume 19 | number 3 Catherine Malfitano Born into the right trunk! John relyea Four Villains... Four signatures alan held a DouBle Bill oF sun anD shaDow happy BirthDay Myth Manifest enseMble CirCle Zhang huan’s Semele A MESSAge From THe generAl DireCTor aleXander neef spring into opera Photo: Rider Dyce Opera is such a collaborative business great Canadian bass-baritone Gary A gift to our friends that great artists make very specific Relyea, performed many times with Editorial Board: decisions about who they want to work the COC over the years. I am very robert lamb, with and where they want to work. As proud to have the Relyeas join Louis Managing Director roberto mauro, more of the world’s best artists choose and Gino Quilico, and Victor and Artistic Administrator us, you, the audience, are the ultimate Russell Braun as COC father-son Jeremy elbourne, beneficiary; the better the artists, opera stars. Director of Marketing the better the art on stage. Is it any Claudine Domingue, Director of Public Relations wonder why welcoming new artists to Opera is a synthesis of many art forms, and a huge part of its presentation is Christie Darville, our company is a particular pleasure Director of Development the theatrical and visual aspect. Zhang of mine? Editors: Huan, our Semele director, is a visual suzanne vanstone, This spring it is our privilege to have artist of great renown and his ability Senior Communications Manager, Editorial the legendary Catherine Malfitano to merge art forms is second nature. gianna Wichelow, join us to direct our new double bill – Zhang has placed this production of Senior Communications Manager, Creative Zemlinsky’s A Florentine Tragedy Handel’s Baroque masterpiece within Editors E-mail: [email protected] and Puccini’s Gianni Schicchi. -
Verdi's Rigoletto
Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered. -
DIMITRIS PAKSOGLOU – Tenor Born in Greece. Dimitris Paksoglou First Embarked on a Career As an Actor and Studied at the National Superior School of Drama
DIMITRIS PAKSOGLOU – Tenor Born in Greece. Dimitris Paksoglou first embarked on a career as an actor and studied at the National Superior School of Drama. As an actor he went on to appear in important Greek theatres, including the ancient theatre of Epidaurus, the Greek National Theatre and the Athens Megaron. He then decided to make a career change and studied singing at the Athens National Conservatory under the guidance of the famous baritone Kostas Paskalis and Marina Krilovici, graduating with distinction. He moved to France where he appeared with several opera companies and his success lead Greek National Opera to offer him a contract as a principal tenor. He continues to appear in leading roles with the company, which he combines with guest appearances abroad. Greek Dimitris Paksoglou does not sing Cavaradossi with the usual slightly emotional Mediterranean glow. His tenor is more powerfully virile, but also with beautiful splashes of tenderness. He makes his famous song for life with considerable intensity. AFTONBLADET – Lennart Bromander - Monday 10th February 2020 Dimitris Paksoglou who sang Cavaradossi is a real Italian tenor (although he is Greek) with plenty of power and clear tone up to the highest register. Capriccio - Lars-Erik Larsson – 23rd December 2019 Roles: AIDA: Radames ~ Stade de France UN BALLO IN MASCHERA: Gustavo III ~ Greek National Opera CARMEN: Don José ~ Odeon of Herodes Atticus CAVALLERIA RUSTICANA: Turiddu ~ Opéra de Saint-Étienne; Greek National Opera EDIPO RE: Creonte ~ Opera of Thessaloniki DIE FLEDERMAUS: Eisenstein ~ Greek National Opera INNO DELLE NAZIONE VERDI: Tenor Solo ~ Opera of Thessaloniki JENUFA: Števa ~ Greek National Opera APA Artists’ Management / Alexandra Mercer Mobile: +44 (0)7710 378719 - Tel: +44 (0)189 686 0276 Email: [email protected] - www.apaartistsmanagement.com Hillslap Tower - Langshaw - By Galashiels - Scotland TD1 2PA, United Kingdom Vat Registration No. -
BULLETIN CENTRAL OPERA SERVICE 147 West 39Th Streej New York 18, New York
BULLETIN CENTRAL OPERA SERVICE sponsored by METROPOLITAN OPERA NATIONAL COUNCIL 147 West Thirty-ninth Street, New York 18, N.Y. Telephone: PEnnsylvania 6-1200 This issue: SURVEY OF OPERA WORKSHOPS AND CONTEMPORARY OPERA PERFORMANCES March-April, 1964 NEW OPERAS AND PREMIERES It is reported that Ned Rorem ("Childhood Miracle","The Robbers") while in residence at Yaddo, Saratoga Springs, N.Y., is working on a new opera entitled MISS JULIE. Kenward Elmslie is responsible for the libretto. ******* The Center for Advanced Study at the University of Illinois commissioned Robert Kelly, Professor of Composition at the University, to write an opera. Professor Kelly has chosen for his theme the conquest of Mexico presented from the Aztec viewpoint. The opera will be entitled THE WHITE GODS. ******* Jack Gottlieb, assistant to Leonard Bernstein, will witness the premiere of his one-act opera TEA PARTY on April 18 at the Donnell Library, 23 W. 53 St. in New York. It is written for soprano, alto, tenor and baritone and will be performed with the accompaniment of two pianos. The opera, which the composer subtitles "Movement I of a Symphony of Operas" is available through Boosey and Hawkes. ******* The Central City Opera commissioned work, LADY FROM COLORADO, will be pre- miered in Central City on July 3. The Robert Ward-Bernard Stambler work is based on a book by Homer Croy and actual Colorado history and was commissioned in honor of the 100th anniversary of the University of Den- ver (formerly Colorado Seminary). ******* Shostakovich's KATERINA ISMAILOVA (see Jan. Bulletin) will be premiered in the U.S. -
Ancient Theatre of Epidaurus Program
Ancient Theatre of Epidaurus Program 21 and 22 June 2019 Oedipus The iconic story of Oedipus comes alive in Robert Wilson’s series of breathtaking, distinctive tableau vivant. The celebrated director follows Oedipus’ story chronologically, without faithfully adapting Sophocles’ Oedipus Rex, from the moment of Oedipus’ birth and his abandonment as an infant to the moment of his self-inflicted blinding, following the horrific revelations: from the first light of birth to the last light he sees before it all goes black. Two ‘witnesses,’ a man and a woman, spin his tale, the life and times of Oedipus, speaking across the centuries. Concept - Directing - Set design - Lighting design: Robert Wilson Co-directed by: Ann Christin Rommen Dramaturgy: Konrad Kuhn Original music: Dickie Landry, Kinan Azmeh Costume design: Carlos Soto Set design collaboration: Annick Lavallée-Benny Lighting design collaboration: Solomon Weisbard Sound design: Dario Felli Lighting programming and supervision: Marcello Lumaca Make-up: Manu Halligan Sound engineer: Marco Olivieri Technical manager: Enrico Maso Mechanic: Adriano Pernigotti Seamstress: Lara Friio Stage design: Cecilia Sacchi Follow spot operator: Isadora Giuntini Hairstyle and make-up artist: Nicole Tomaini Video: Andrea Villa Assistant to the director: Sara Thaiz Bozano Cast: Angela Winkler, Lydia Koniordou, Michalis Theophanous, Casilda Madrazo, Kayije Kagame, Alexis Fousekis, Dickie Landry Also starring: Meg Harper, Laila Gozzi, Alessandro Anglani, Marcello di Giacomo, Gaetano Migliaccio, Francesco Roccasecca, -
Edition 1 | 2019-2020
Credit: Harald Hoffmann New Horizons September 21-24, 2017 MESSAGE FROM THE BOARD PRESIDENT & EXECUTIVE DIRECTOR elcome to the his evening marks the opening concerts beginning of Daniel Wof New Century’s THope’s second season 2019-2020 Season! We open as New Century’s Music this season on the heels of New Director. In just one short year Century’s successful European at the helm, Daniel has made an debut tour. Our musicians indelible impact on the scope charmed European audiences of our activities, our artistic during sold-out concerts at some partnerships, and orchestral of Europe’s most celebrated music festivals, including the sound. Just three months ago, Daniel led New Century Leonard Bernstein-founded Schleswig-Holstein Music on its debut tour of Europe, where our musicians Festival, and three concerts at the massive Festspiele played to enthusiastic sold-out crowds across Germany Mecklenburg-Vorpommern. and Poland. It was a moving experience to hear our wonderful orchestra play at some of the most important I was delighted to join the tour with an enthusiastic festival venues in Europe—truly an incredible milestone fan club of Bay Area patrons and members of the New for our Bay Area orchestra. This first European tour Century Board of Directors. It was a proud moment for was just the beginning of a new chapter for us as an all of us to witness our brilliant musicians and Music internationally recognized ensemble. Director Daniel Hope received with wild applause and standing ovations at these storied European festivals. We open the 2019-2020 season with a program that We have all known for years that we have a very special features the sensational young pianist Maxim Lando. -
Ancient Theatre of Epidaurus
2 Athens & Epidaurus Festival 2020 ARTISTIC DIRECTOR Katerina Evangelatos BOARD OF DIRECTORS PRESIDENT Dimitris Passas VICE PRESIDENT Alexis Galinis MEMBERS Patricia Apergi Stavros Gasparatos Antonis Karampatzos Nikos Stampolidis Helene Varopoulou DIRECTOR GENERAL Ioannis Kaplanis ARTISTIC ADVISERS Stefanie Carp • International productions Evi Nakou • Artistic research & Audience development Costa Pilavachi • Music Elias Chatzigeorgiou • Dance 3 Artistic Director’ Note Over the past few weeks humanity has been going through a very challenging period, struggling to survive this pandemic, with thousands of casualties already. Life, as we know it, has changed for all of us. It has been almost three weeks since theatres and cultural venues closed down, and day by day we have come to realise how important contact with the living Arts is in our lives. Theatres are hubs, places of reflection, entertainment, homes we go to in groups, audiences and artists alike, hoping for something that real life cannot offer us. Can anyone fathom what our society will be like after this crisis and how important its cultural reflection will be through artist insight and sensitivity? The presence of an international festival will be, more than ever, a need and our duty. The Athens & Epidaurus Festival is an international event that has been warmly embraced by audiences and artists for 65 years. Normally on this day we would all be at Peiraios 260, together with friends, artists and journalists, to announce our programme. This is a programme we have been working on for seven months now, in collaboration with the entire Festival team and with the practical support of our Board of Directors, as well as my invaluable team of artistic advisors: Stefanie Carp for international theatre productions, Costa Pilavachi for music, Ilias Chatzigeorgiou for dance and Evi Nakou for artistic research and audience development. -
NED ROREM New World Records 80575 Evidence of Things Not Seen
NED ROREM New World Records 80575 Evidence of Things Not Seen Look not to things that are seen, but to that which is unseen; for things that are seen pass away, but that which is unseen is forever. —Corinthians II, 4:18 It is at once by poetry and through poetry, by music and through music, that the soul divines what splendors shine behind the tomb. —Edgar Allan Poe, The Poetic Principle Faith is the substance of things hoped for, the evidence of things not seen. —Hebrews, II:1 If in the world of Elvis song is a trillion-dollar business, in the world of serious classical music song is the least remunerative of expressions. Song, in English, particularly by Americans, is more rarefied still, partly because historically the form’s intimacy never meshed with the massive concepts of our pioneer composers, and partly because we have no recital tradition for singers. You can count on one hand the number of vocalists who subsist as recitalists, and even they prosper more than the composers. Today, re-creation takes priority over creation. The Three Tenors, intoning arias by dead Italians, earn more in one evening than what a live American composer earns in a lifetime. Nevertheless, I embarked on the madness of a composer’s career by writing songs. The first ones, at age fourteen, were settings of cummings. By age forty I had written 400 songs, on texts of over 100 authors, from Anonymous to Ashbery, Freud to Kafka, Wylie to Whitman. My singular reputation, such as it is, has always centered around song, probably because there is so little competition. -
Programma Festival 2017 EN-1.Pdf
Give me this stranger (...) who as a stranger has nowhere to lay his head. [George Akropolites (13th c.), sticheron from the Matins of Holy Friday] Give me this stranger (...) who as a stranger has nowhere to lay his head. [George Akropolites (13th c.), sticheron from the Matins of Holy Friday] ATHENS & EPIDAURUS FESTIVAL 2017 ARTISTIC DIRECTOR Vangelis Theodoropoulos BOARD OF DIRECTORS PRESIDENT John Milios VICE PRESIDENT Petros Stavrianos MEMBERS Nikos Erinakis Martha Fosteri George Kouroupos Vassilis Lambrinoudakis Effi Yannopoulou ARTISTIC CO-CURATORS Matthias von Hartz – International Productions Georgina Kakoudaki – Educational Programmes Dimitra Kondylaki – Contemporary Greek Theatre Steriani Tsintziloni – Dance Nikos Vassiliou – Music EPIDAURUS “The Arrival of the Stranger” INTERNATIONAL PRODUCTIONS Ancient Theatre of Epidaurus Tribute to Volksbühne Cezaris Graužinis, Seven Against Thebes Frank Castorf, The Gambler Stavros Tsakiris, Oedipus at Colonus Herbert Fritsch, Murmel Murmel / Mumbling Ektoras Lygizos, The Bacchae René Pollesch, I Love You, but I’ve Chosen Entdramatisierung Konstantinos Arvanitakis, Peace Masterclass with Hans-Thies Lehmann Katerina Evangelatos, Alcestis Robert Wilson – Mikhail Baryshnikov, Letter to a Man Marianna Calbari, Medea Julien Gosselin, Les Particules élémentaires / Atomised Aris Biniaris, The Persians Milo Rau, Empire Closing celebration: Dances of the Peloponnese Afsaneh Mahian, From the Basement to the Roof Romeo Castellucci, Democracy in America Little Theatre of Ancient Epidaurus Forced Entertainment, -
Photo © Philip Newton from the GENERAL DIRECTOR
Photo © Philip Newton Photo FROM THE GENERAL DIRECTOR Thank you for welcoming Seattle Opera into your home for this digital performance of Wolfgang Amadeus Mozart’s Don Giovanni, one of three great operas (The Marriage of Figaro, Così fan tutte) he created with librettist Lorenzo Da Ponte. Their handling of operatic storytelling is without equal. And in the hands of our creative team, led by conductor Lidiya Yankovskaya, stage director Brenna Corner, video director Ken Christensen, and lighting designer Connie Yun, this production takes on added layers of musical prescience, dramatic interpretation, and visual Photo © Philip Newton Photo dynamics. As the title makes clear, Don Giovanni, the seducer, is the center of this daylong tale. But the surrounding characters are the ones who drive the intrigue and passion. Giovanni’s behavior sparks all kinds of reactions—from revenge and anguish to curiosity and compassion to disgust and envy. Leporello, Giovanni’s manservant, is a reluctant loyalist. Donna Anna, Giovanni’s accuser, is vengeful to the point of conspiring to have him murdered. Zerlina, the newlywed, is torn between Giovanni’s panache and her husband. Then there is Donna Elvira, who believes herself his wife. At first she risks public humiliation to accuse him of treachery. But in the end, she pleads for Giovanni to repent and to save his soul from the depths of hell. Musically, Don Giovanni is without question a work of genius. It’s elegant and powerful, musically depicting each character’s personality and social standing. The brilliance is the combination of differing emotions and vocal lines by each of the four characters all held together by an elegant musical arc that belies those very feelings.