DOCSLIB.ORG

Beverly, “Music Misses You”

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Beverly, “Music Misses You” University of Kentucky UKnowledge Theses and Dissertations--Music Music 2014 BEVERLY, “MUSIC MISSES YOU”: A BIOGRAPHICAL AND PERFORMANCE GUIDE TO AMERICAN MEZZO-SOPRANO BEVERLY WOLFF’S CAREER AND HER SUBSEQUENT IMPACT ON AMERICAN OPERA AND ART SONG Sarah C. Downs Trail University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Downs Trail, Sarah C., "BEVERLY, “MUSIC MISSES YOU”: A BIOGRAPHICAL AND PERFORMANCE GUIDE TO AMERICAN MEZZO-SOPRANO BEVERLY WOLFF’S CAREER AND HER SUBSEQUENT IMPACT ON AMERICAN OPERA AND ART SONG" (2014). Theses and Dissertations--Music. 27. https://uknowledge.uky.edu/music_etds/27 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. I retain all other ownership rights to the copyright of my work. I also retain the right to use in future works (such as articles or books) all or part of my work. I understand that I am free to register the copyright to my work. REVIEW, APPROVAL AND ACCEPTANCE The document mentioned above has been reviewed and accepted by the student’s advisor, on behalf of the advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; we verify that this is the final, approved version of the student’s thesis including all changes required by the advisory committee. The undersigned agree to abide by the statements above. Sarah C. Downs Trail, Student Dr. Everett McCorvey, Major Professor Dr. David Sogin, Director of Graduate Studies BEVERLY, “MUSIC MISSES YOU”: A BIOGRAPHICAL AND PERFORMANCE GUIDE TO AMERICAN MEZZO-SOPRANO BEVERLY WOLFF’S CAREER AND HER SUBSEQUENT IMPACT ON AMERICAN OPERA AND ART SONG DISSERTATION A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the School of Music at the University of Kentucky By Sarah Catherine Downs Trail Lexington, Kentucky Director: Dr. Everett McCorvey, Professor of Voice Lexington, Kentucky Copyright © Sarah Catherine Downs Trail 2014 ABSTRACT FOR DMA PROJECT BEVERLY, “MUSIC MISSES YOU”: A BIOGRAPHICAL AND PERFORMANCE GUIDE TO AMERICAN MEZZO-SOPRANO, BEVERLY WOLFF’S CAREER AND HER SUBSEQUENT IMPACT ON AMERICAN OPERA AND ART SONG American mezzo-soprano, Beverly Wolff has not received the credit or respect that she deserves in operatic history. Her career began in 1952 and flourished until her retirement from the stage in 1981. Her intense characterizations, innate musicianship, and intelligence made her one of the most sought-after performers from the 1950s to the 1970s. For thirty years, she worked with some of the operatic world’s finest musicians, including Leonard Bernstein, Gian-Carlo Menotti, Samuel Barber, Ned Rorem, Beverly Sills, Norman Triegle, Placido Domingo, among others. She was represented by Columbia Artists Management Inc (CAMI), one of New York’s oldest and most prestigious management companies, and maintained an active performance schedule that often included operatic, concert, and recital performances in the same week. She trained at the American Vocal Academy in Philadelphia and was inducted into its Hall of Fame. She performed in New York, Boston, Washington, D.C., San Francisco, New Orleans, and Atlanta and was an active member of the New York City Opera, Handel Society, Tanglewood, and the Handel Society of Washington, D.C. Wolff is credited with over sixty recordings. She also appeared on several of NBC’s live operatic programs, which brought opera to the masses. Perhaps most importantly, she created and debuted several important roles in American opera. Few have heard of her; the purpose of this document is to fill in this gap in operatic history, and to clarify and correct misinformation about her. In this document, I will answer the following questions: What determines a performer’s worth? What secures a performer’s place in history? Finally, and more specifically, what imprints did Beverly Wolff leave for posterity? KEYWORDS: Beverly Wolff, Songs of Love and Rain by Ned Rorem, Trouble in Tahiti by Leonard Bernstein, Carrie Nation by Douglas Moore, Mezzo-Soprano Sarah Catherine Downs Trail Student’s Signature June 18, 2014 Date BEVERLY, “MUSIC MISSES YOU”: A BIOGRAPHICAL AND PERFORMANCE GUIDE TO AMERICAN MEZZO-SOPRANO BEVERLY WOLFF’S CAREER AND HER SUBSEQUENT IMPACT ON AMERICAN OPERA AND ART SONG By Sarah Catherine Downs Trail Dr. Everett McCorvey____________ Director of Dissertation Dr. David Sogin_________________ Director of Graduate Studies June 14, 2014____________________ Date ACKNOWLEDGMENTS I would like to dedicate this work to the memory of my father, Thomas William Downs. Special thanks also go to Professor Cliff Jackson a man who has served as a constant inspiration to me as a performer and a person. I would also like to thank Dr. Joanne Filkins for constantly supporting me through this entire process, and Dr. David Sogin for helping me work through the process. I would be lost without the support of Glenn Trail my husband, friend, and rock, and Sandra Downs Pittman, my mother and best friend, who never let me give up on this project and more importantly on myself. Lastly, Audrey Jean Trail, my heart, I finished this for you! Never give up on your dreams no matter how difficult and challenging they are! I would also like to thank my committee members: Dr. Karen Bottge, Dr. Ben Arnold, Dr. Noemi Lugo, Dr. Everett McCorvey, Professor Robert Haven, Dr. Nancy Jones, Dr. Lance Brunner, and Dr. Richard Domek. iv TABLE OF CONTENTS Acknowledgements ............................................................................................................ iv PART ONE: Chapter One: Introduction and Project Overview ..............................................................1 Chapter One: Introduction ........................................................................................1 Scope and Goal of Research ......................................................................................1 Need for Study ...........................................................................................................1 Limitations of Study, Methodology, and Sources Used ............................................2 Chapter Two: Beverly Wolff Biography and Performance History .........................4 Chapter Overview ............................................................................................4 Chapter Three: Three Greats in American Music and Their Collaboration with Wolff: Leonard Bernstein, Trouble in Tahiti, Douglas Moore, Carrie Nation, and Ned Rorem, Poems of Love and Rain...............................4 Chapter Overview ............................................................................................4 Chapter Four: Performance Guide to the Role of Dinah from Bernstein’s Trouble in Tahiti, Carrie Nation from Moore’s Carrie Nation, and Rorem’s Song Cycle Poems of Love and Rain ..............................................................5 Chapter Overview ............................................................................................5 Chapter Five: Wolff’s Instrument, Musicianship, Reputation, and Legacy ..............5 Chapter Overview ............................................................................................5 Chapter Two: Wolff Biography and Performance History .................................................6 New York City Opera ..............................................................................................14 Other Major Opera Houses in the U.S. ....................................................................17 New York Philharmonic ..........................................................................................18 Columbia Artists Management Inc ..........................................................................20 Handel ......................................................................................................................21 Berkshire Music Festival-Tanglewood ....................................................................24 Brevard and Ravinia Music Festivals ......................................................................24 Spoleto and other Notable European Performances ................................................25 International Opera Festival in Mexico City, Mexico .............................................26 Carnegie Hall ...........................................................................................................27
Load more

Recommended publications
  • Aquiles Delle Vigne
    Aquiles Delle Vigne • "Only few pianists can go from a sparkling Mendelssohn to a thundering Liszt while passing an aristocratic, sophisticated and charming Ravel..."says Harold Schoenberg of the New York Times. The Italian newspaper La Repubblica calls him "A prince of the piano"…..and the PRS Rheinische Post "a Grand Seigneur of pianists". The SVZ Salzburger Volkszeitung titles its review "From silence till steel power" ("Von still bis stahlhart"). • Born in Argentina, Aquiles Delle Vigne gave his first recital at the age of 8. At 17 he was already a disciple of Claudio Arrau and won the prestigious Grand Prix "Albert Williams". This award opened the doors of the most important concert halls of the continent for him. Later, he completed his training in Europe with Prof. Eduardo del Pueyo and Georges Cziffra. • He accomplished more than 25 tournées in Japan, 10 in Australia, the United States of America, Mexico, Hong Kong, Korea, and all South America. Today he is invited to the most important Festivals and performs in the most important halls in the world, like Gstaad, Paris, Salzburg, Madrid, Euro Festival in Seoul, Beethoven Festival under Lord Yehudi Menuhin, Leopold Hager, Georges Octors, Alberto Lysy, Lee Dong-ho, Bogo Leskowitch, Vladimir Kim, Emiel Simon, Edvard R. Tchivtzel, André Vandernoot, Edgard Donneux, Kamen Goleminov, Juan Carlos Zorzi, Jesus Medina, Claudio Santoro, Henrique Morelenbaum, D. Marinescou, Laurent Petit-Girard, and with leading orchestras of the world. • Considered also as a top teacher in the world, Aquiles Delle Vigne gives Masterclasses at the International Sommerakademie Universität Mozarteum in Salzburg, was Visiting Professor at the Royal Northern College of Music in Manchester and Professor Extraordinaire of the National University in Taipei.
    [Show full text]
  • Boston Symphony Orchestra Archives
    Pftft.. Slower • .. ina• alumna •••• ■■••••■•••=411• 'I 4 mp • • ••• •• Mman•IMMIln. • ■•••••■•■ ••••■••■•••■•••■■ •••• =Mr • NOW". • • =Mir • 11••■••••■••1111••••1•11• ■•111•141•111111 NUM/ 11/MIIMIN MAIMM•MIM / •• la. ••MINM/ ..MIN MI ••`' GAM MI =MO OW GM womall AMMONIUM mm,•••• ■• ".••••• rnio gradually taster 111•^ •IIMI ._./Mat MINNIP MUM OM -AM DINIIMINIMP MAIIIIIMINIMIMM•••••■ •1•1 MM. IMMIMMIIMMIO MM. MIIMMIMMO IMMIN••••••• OPP"' a tempo (lively) 111111.1. -.la a ••••••••■• • •• . • •■•■ 011•1111111MMIMINIAMmIM m••• ■ ■ ■ ■ ■ ■ ■ ■ np. ••••• •••• A •• •• •••• • •• •11 OM MI MI MOM MOMMIll NI . •• maim ININIMIMMIM. ••• s4•4411•1• / a Ma . (1.• • •,41411•1~m MIHM11.11•••• 0 ■• IL • u damns. ••••■••••••••••• ••••• • •-••••,••• .ma• • ...•••■•••••••• mar- ••••• • • •••111111 • 4 . • 11.1111.1111111 Man a 4.M1 ... OM • 1■•••• ■••■=1IN•1•11••11 •IIMMIMIMMINIIIIIIMINIM-1• •••••••••••••••• NOMIM MAIM AMU MIMI MID IIIMIIIIP - IIIIIIMMIDIMIU•MIME V- • . • • 1•■•••■•••• al•IIMIMIIIII••••••••• ••••■••••••••• V M-4111•1111•111•IM • MS MI••••••■ •••• MMUMMIIMINAMMOMIIM •■•• • ••••■•• MINIam•• • • M ■•■•■ ••••••111M4•• IIIMIll. 111111.111. 511111.1111 111 ads MIIMNIM■• ■ • I 1••••••• IMAMS •111.401MMIIIIMI IIMI ■MIIIMMIMIMM • -.MMMMIMI ••• MINIMMOINNIMMIIMMMIIIMUM- ONO WM. Boston Symphony Orchestra Seiji Ozawa, Music Director Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor 16, 18, 21 October 1975 at 8:30 pm 17 October 1975 at 2:00 pm 25 November 1975 at 7:30 pm Symphony Hall, Boston Ninety-fifth season
    [Show full text]
  • Bernstein's Trouble in Tahiti By
    Postwar Modernity and the Wife's Subjectivity: Bernstein's Trouble in Tahiti By: Elizabeth L. Keathley Keathley, Elizabeth. “Postwar Modernity and the Wife's Subjectivity: Bernstein's Trouble in Tahiti,” American Music, Vol. 23 No. 2 (Summer 2005): 220-257. Made available courtesy of University of Illinois Press: http://www.jstor.org/stable/4153033 ***© University of Illinois Press. Reprinted with permission. No further reproduction is authorized without written permission from University of Illinois Press. This version of the document is not the version of record. Figures and/or pictures may be missing from this format of the document. *** Abstract: Leonard Bernstein's short opera Trouble in Tahiti (1951-52) is a humorous but scathing satire on postwar consumerism and bourgeois marriage. Such critiques are now so commonplace that it may be difficult to appreciate the opera's political edge unless it is seen against the backdrop of repression that marked the years following World War II: in an era in which a group as mainstream as the League of Women Voters was denounced as a "communist front organization," Trouble in Tahiti's criticisms risked reprisals.[1] Keywords: Musicals | Leonard Bernstein | Trouble in Tahiti | Gender | Feminism | Post World War II era Article: Leonard Bernstein's short opera Trouble in Tahiti (1951-52) is a humorous but scathing satire on postwar consumerism and bourgeois marriage. Such critiques are now so commonplace that it may be difficult to appreciate the opera's political edge unless it is seen against
    [Show full text]
  • Black Women, Educational Philosophies, and Community Service, 1865-1965/ Stephanie Y
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2003 Living legacies : Black women, educational philosophies, and community service, 1865-1965/ Stephanie Y. Evans University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Evans, Stephanie Y., "Living legacies : Black women, educational philosophies, and community service, 1865-1965/" (2003). Doctoral Dissertations 1896 - February 2014. 915. https://scholarworks.umass.edu/dissertations_1/915 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. M UMASS. DATE DUE UNIVERSITY LIBRARY UNIVERSITY OF MASSACHUSETTS AMHERST LIVING LEGACIES: BLACK WOMEN, EDUCATIONAL PHILOSOPHIES, AND COMMUNITY SERVICE, 1865-1965 A Dissertation Presented by STEPHANIE YVETTE EVANS Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2003 Afro-American Studies © Copyright by Stephanie Yvette Evans 2003 All Rights Reserved BLACK WOMEN, EDUCATIONAL PHILOSOHIES, AND COMMUNITY SERVICE, 1865-1964 A Dissertation Presented by STEPHANIE YVETTE EVANS Approved as to style and content by: Jo Bracey Jr., Chair William Strickland,
    [Show full text]
  • This Year Marks Leonard Bernstein's 100Th Birthday, and Some Philly Arts
    This year marks Leonard Bernstein’s 100th birthday, and some Philly arts and culture institutions are teaming up to celebrate his centenary with eye- and ear-opening firsts. We know Bernstein best for works such as West Side Story, but his 1951 opera, Trouble in Tahiti, also became an important cultural touchstone. It satirized the outwardly perfect and inwardly tumultuous family life of a suburban couple in 1950s America. But things got darker in the mid-1980s, when Bernstein revisited the same fictional family 30 years later, as a death calls them home, with 1983’s A Quiet Place. Bernstein’s last stage work In 1980, Bernstein teamed with 30-year-old writer Stephen Wadsworth in their joint inspiration for a sequel to Trouble in Tahiti, while they were both grappling with tragic losses in their own lives. The work would combine vernacular speech and music with relatable middle-class woes, performed through a mix of American musical theater and contemporary opera styles that was unusual and polarizing at the time. A Quiet Place premiered in Houston in 1983 as a one-act opera on a double bill with Trouble in Tahiti. Original conductor John Mauceri thought Bernstein and Wadsworth could revisit the two works again. They developed a new version of A Quiet Place that incorporated Trouble in Tahiti, creating one opera with the family’s complete arc, alternating between past and present and becoming a map of a changing U.S. culture from the 1950s to the ’80s. The revised A Quiet Place debuted successfully at La Scala in 1984 and went on to the Kennedy Center before returning to Europe.
    [Show full text]
  • The Attucks Theater September 4, 2020 | Source: Theater/ Words by Penny Neef
    Spotlight: The Attucks Theater September 4, 2020 | Source: http://spotlightnews.press/index.php/2020/09/04/spotlight-the-attucks- theater/ Words by Penny Neef. Images as credited. Feature image by Mike Penello. In the early 20th century, segregation was a fact of life for African Americans in the South. It became a matter of law in 1926. In 1919, a group of African Americans from Norfolk and Portsmouth met to develop a cultural/business center in Norfolk where the black community “could be treated with dignity and respect.” The “Twin Cities Amusement Corporation” envisioned something like a modern-day town center. The businessmen obtained funding from black owned financial institutions in Hampton Roads. Twin Cities designed and built a movie theater/ retail/ office complex at the corner of Church Street and Virginia Beach Boulevard in Norfolk. Photo courtesy of the family of Harvey Johnson The businessmen chose 25-year-old architect Harvey Johnson to design a 600-seat “state of the art” theater with balconies and an orchestra pit. The Attucks Theatre is the only surviving theater in the United States that was designed, financed and built by African Americans. The Attucks was named after Crispus Attucks, a stevedore of African and Native American descent. He was the first patriot killed in the Revolutionary War at the Boston Massacre of 1770. The theatre featured a stage curtain with a dramatic depiction of the death of Crispus Attucks. Photo by Scott Wertz. The Attucks was an immediate success. It was known as the “Apollo Theatre of the South.” Legendary performers Cab Calloway, Count Basie, Duke Ellington, Ella Fitzgerald, Sarah Vaughn, Nat King Cole, and B.B.
    [Show full text]
  • ARSC Journal
    LEONARD BERNSTEIN, A COMPOSER DISCOGRAPHY" Compiled by J. F. Weber Sonata for clarinet and piano (1941-42; first performed 4-21-42) David Oppenheim, Leonard Bernstein (recorded 1945) (78: Hargail set MW 501, 3ss.) Herbert Tichman, Ruth Budnevich (rec. c.1953} Concert Hall Limited Editions H 18 William Willett, James Staples (timing, 9:35) Mark MRS 32638 (released 12-70, Schwann) Stanley Drucker, Leonid Hambro (rec. 4-70) (10:54) Odyssey Y 30492 (rel. 5-71) (7) Anniversaries (for piano) (1942-43) (2,5,7) Leonard Bernstein (o.v.) (rec. 1945) (78: Hargail set MW 501, ls.) (1,2,3) Leonard Bernstein (rec. c.1949) (4:57) (78: RCA Victor 12 0683 in set DM 1278, ls.) Camden CAL 214 (rel. 5-55, del. 2-58) (4,5) Leonard Bernstein (rec. c.1949) (3:32) (78: RCA Victor 12 0228 in set DM 1209, ls.) (vinyl 78: RCA Victor 18 0114 in set DV 15, ls.) Camden CAL 214 (rel. 5-55, del. 2-58); CAL 351 (6,7) Leonard Bernstein (rec. c.1949) (2:18) Camden CAL 214 (rel. 5-55, del. 2-58); CAL 351 Jeremiah symphony (1941-44; f.p. 1-28-44) Nan Merriman, St. Louis SO--Leonard Bernstein (rec. 12-1-45) ( 23: 30) (78: RCA Victor 11 8971-3 in set DM 1026, 6ss.) Camden CAL 196 (rel. 2-55, del. 6-60) "Single songs from tpe Broadway shows and arrangements for band, piano, etc., are omitted. Thanks to Jane Friedmann, CBS; Peter Dellheim, RCA; Paul de Rueck, Amberson Productions; George Sponhaltz, Capitol; James Smart, Library of Congress; Richard Warren, Jr., Yael Historical Sound Recordings; Derek Lewis, BBC.
    [Show full text]
  • TONI PASSMORE ANDERSON 209 Lincoln Lane Lagrange, GA 30240 (706) 880-8264 [email protected]
    TONI PASSMORE ANDERSON 209 Lincoln Lane LaGrange, GA 30240 (706) 880-8264 [email protected] EDUCATION: Georgia State University, Atlanta, Georgia Ph.D. in Higher Education, 1997 Dissertation Title: “The Fisk Jubilee Singers: Performing Ambassadors for the Survival of an American Treasure, 1871-1878" Courses in Music: Aesthetics of Music, Music Technology, Multicultural Music Education, Reference Materials and Research Methodology in Music New England Conservatory of Music, Boston, Massachusetts M.M. in Vocal Performance, May 1982 Voice with Susan Fisher Clickner; Opera with John Moriarty Lamar University, Beaumont, Texas B.M. in Music Education, May 1979 K-12 Certificate in State of Texas Other: Voice study with Susan Fisher Clickner, Irene Harrower, and Herald Stark; Coaching with Terry Decima, Maestro Rudolf Fellner, John Moriarty, James Gardner, Boris Goldovsky, Douglas Hines, John Douglas, Walter Huff. Vocal Master Classes with Eleanor Steber, Janice Harsanyi, Beverly Wolff. Four years of dance training (ballet, folk, movement for singers, jazz); eight years of private piano study. TEACHING AND ADMINISTRATIVE EXPERIENCE: LaGrange College, LaGrange, Georgia Fall 1999 - Present, Tenured Professor Chair, Music Program Co-Chair, Musical Theatre Program Musical Director/Conductor Courses Taught: Applied Voice; Diction for Singers; Opera Experience; Opera Survey; Music Survey; Interim Term travel experiences Morris Brown College, Atlanta, Georgia 1985-1999, Assistant Professor of Music Program Coordinator/Chair 1991; 1993-96 Tenured
    [Show full text]
  • Orpheus Chamber Orchestra with Benita Valente, Soprano Department of Music, University of Richmond
    University of Richmond UR Scholarship Repository Music Department Concert Programs Music 3-17-1998 Orpheus Chamber Orchestra with Benita Valente, soprano Department of Music, University of Richmond Follow this and additional works at: https://scholarship.richmond.edu/all-music-programs Part of the Music Performance Commons Recommended Citation Department of Music, University of Richmond, "Orpheus Chamber Orchestra with Benita Valente, soprano" (1998). Music Department Concert Programs. 683. https://scholarship.richmond.edu/all-music-programs/683 This Program is brought to you for free and open access by the Music at UR Scholarship Repository. It has been accepted for inclusion in Music Department Concert Programs by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. March 17, 1998 at 8pm Modlin Center for the Arts Camp Concert Hall Booker Hall of Music Orpheus Chamber Orchestra with Benita Valente, soprano This concert was made possible, in part, by public funds from the National Endowment for the Arts and the New York State Council on the Arts. Benita Valente is represented by Janice Mayer and Associates, Inc. Benita Valente records for ARS Nova, BMG, Dandide, Centaur, Columbia, concerto Digital Classics/Grabacion, CRI, ERATO, Etcetera, Harmonia Mundi, INSYLNC, MusicMasters, MCA Classics, Pantheon, Pro Arte, RCA, SONY Classical, Telarc and Virgin Classics Records. Orpheus records for Deutsche Grammophon and Nonesuch. Orpheus is represented by Frank Salomon Associates. Orpheus Chamber Orchestra with Benita Valente, soprano VIOLIN CELLO Ronnie Bauch Annabelle Hoffman Nicolas Danielson Zvi Plesser Liang Ping How Jonathan Spitz Joanna Jenner ReneeJolles BASS Felicia Moye Gail Kruvand Richard Rood [ Eriko Sato HARPSICHORD Mitchell Stern Dongsok Shin Ad VIOLA Din David Cerutti Din Sarah Clarke Mat Jenny Douglass Ted Nardo Poy Op€ Arti Hm: Piar Orpheus Chamber Orchestra, Inc.
    [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]
  • Boston Symphony Orchestra Concert Programs, Summer, 1969
    THE MUSIC DIRECTOR music department he organizes the vocal lenufa, Aida, Parsifal, The flying Dutch- fellows' activities, which have been much When ERICH LEINSDORF relinquishes his man, Tristan und Isolde, Elektra and Son's extended during the last two seasons. post as Music Director of the Boston Sym- Codunov, to name only a few. He now Charles Wilson becomes principal resi- phony Orchestra at the end of the 1969 lives in Hamburg. dent conductor of the New York City Berkshire Festival, he will have made a Opera Company, beginning this coming significant contribution to American mu- SHERRILL MILNES, who made his first fall. sical life. Under his leadership the Or- appearance with the Boston Symphony chestra has presented many premieres and last summer here at Tanglewood, started revived many forgotten works. Among THE SOLOISTS his professional career as a member of the latter have been the complete Schu- Margaret Hiilis's Chicago Choir, and was mann Faust, the original versions of Twenty-three year old ANDRE WATTS soon taking solo parts when the chorus Beethoven's Fidelio and Strauss's Ariadne made his debut with the Boston Sym- appeared with the Chicago Symphony. auf Naxos, and the Piano concerto no. 1 phony Orchestra last winter. He started He won scholarships to the opera depart- of Xaver Scharwenka, while among the to study the piano with his mother when ment of the Berkshire Music Center for numerous world and American premieres he was seven. Two years later he won a two consecutive summers, then joined have been works like Britten's War competition to play a Haydn concert for Boris Goldovsky's company for several requiem and Cello symphony, the piano one of the Philadelphia Orchestra chil- tours.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 89, 1969-1970
    Carnegie Ha %mfwE&5£'3t'lHr* . <S) •COLUMBIA.' WmARCASREG PRINTED IN U S .A. Columbia Records announces a distinguished recording event. Columbia celebrates the Beethoven Bicentennial with a special salute to the great master from Leonard Bernstein and the New York Philharmonic. "Leonard Bernstein brings to his readings of Beethoven an overwhelming dramatic dynamism and surge of human feeling. One is swept into the world of Beethoven's own creative furies." —Stereo Review On Columbia Records Outside the United States and Canada, Columbia Records bear the CBS Records label THE CARNEGIE HALL CORPORATION Isaac Stern, President Frederick W. Richmond, Chairman of the Board Robert W. Dowling, Chairman, Executive Committee John Barry Ryan III, Executive Vice President Hon. Eugene M. Becker, Harry Van Arsdale, Gerald F. Warburg, Vice Presidents Lucien Wulsin, Treasurer Raymond S. R ubi now, Secre tary Nordlinger, Riegelman, Benetar and Charney, Counsel Board of Trustees Leonard Altman Hon. MacNeil Mitchell Hon. George W. Ball Mrs. George W. Naumburg Hon. Eugene M. Becker Frederick W. Richmond T. Roland Berner Col. Harold Riegelman Julius Bloom Raymond S. Rubinow James S. Deely John Barry Ryan III Jack deSimone Hon. Constantine Sidamon-Eristoff Robert W. Dowliny Aye Simon Hon. Abe Fortas Isaac Stern Hon. Roy M. Goodman Harry Van Arsdale Mrs. Dorothy Hirshon Gerald F. Warburg Mrs. Jacob M. Kaplan Mrs. Philip Wise Hon. John V. Lindsay Lucien Wulsin Joseph B. Martinson Honorary Trustees Marian Anderson Mrs. Albert D. Lasker Robert S. Benjamin Norman K. Winston Dr. Ralph J. Bunche David L. Yunich Mrs. Marshall Field Julius Bloom, Executive Director Ronald J.
    [Show full text]