Programma Centenario Programma

Total Page:16

File Type:pdf, Size:1020Kb

Programma Centenario Programma Celebrazioni del centenario di Tito Gobbi Royal Opera House – Londra Otello a Palazzo Ducale, ripresa RAI 1966 Pubblicazione sul sito di un ricordo di Tito Gobbi DVD prodotto dall’Associazione (www.roh.org.uk ) Tito Gobbi 100th Anniversary edition 1913 - 2013 Comune di Bassano del Grappa DVD prodotto dall’Associazione e ICA Classics: selezione Stagione lirica di Operafestival dedicata a Tito Gobbi di scene da Rigoletto con Renata Scotto, Gianni Schicchi con Elizabeth Robson e Tosca con Marie Collier, tratte Museo Civico: Giovedì d’opera dalla serie BBC Tito Gobbi Great Characters of Opera. Laboratori, conferenze, proiezioni – 3, 10, 17 Ottobre Tito Gobbi Opera Workshop: Tosca SETTEMBRE 2013 Teatro Remondini: evento curato da Luca Scarlini su Tito CD e fascicolo delle master classes di Tito Gobbi su Gobbi e Wozzek - 17 Ottobre Tosca, prodotto dall’Associazione. Teatro di San Carlo, Napoli Intitolazione del Teatro al Castello a Tito Gobbi RADIO Evento al MEMUS: “Tito Gobbi e Napoli” 24 ottobre 28 Settembre Amici della Musica: Concerto operistico al Teatro Radio France Amici dei Musei di Bassano Remondini con la partecipazione dei cantanti del pro- Una puntata di “Les traverses du temps” dedicata a Tito Villa Zanchetta, Rosà – Concerto in memoria di Tito getto Tito Gobbi - 24 Ottobre Gobbi trasmessa il 30 Aprile e il 7 Agosto Gobbi - 29 Settembre WFMT Radio – Chicago OTTOBRE 2013 NOVEMBRE 2013 Special radiofonico di due ore trasmesso da 150 emit- tenti USA e nel circuito europeo di WFMT: “Tito Gobbi. Lyric Opera – Chicago Teatro dell’Opera di Roma Master singer “ - Ottobre Apertura della stagione con Otello dedicato a Tito Gobbi Conferenza su Tito Gobbi, interprete del Wozzeck del 5 Ottobre 1942 al Teatro dell’Opera Radio Irlanda Bel Canto Society – Chicago Data da definire Special radiofonico di un’ora su Tito Gobbi - Ottobre Serata-concerto in onore di Tito Gobbi - 6 Ottobre DICEMBRE 2013 STAMPA Casa Zerilli Marimò - New York University - New York Mostra: “Tito Gobbi meets Giuseppe Verdi: Voice, Stage, Teatro Regio - Parma Gramophone on line: articolo “Tito Gobbi inspirational Imagination” dal 9 al 28 ottobre Conferenza su Tito Gobbi, interprete verdiano instruction”, con podcast di lezioni tratte dalla collana Associazione Tito Gobbi – Roma Data da definire “Tito Gobbi Opera Workshop” - Ottobre (www.gramophone.co.uk) Concerto operistico di celebri cantanti russi in omaggio Teatro La Fenice - Venezia a Tito Gobbi – 19 Ottobre Proiezione nelle Sale Apollinee dell’Otello del 1966 a Operà Magazine (F): articolo su Tito Gobbi - Dicembre Teatro alla Scala - Milano Palazzo Ducale (Ferraro, Londi, Gobbi, Sanzogno) Opèrà News (USA): citazione del centenario nella ru- Prima di Aida dedicata a Tito Gobbi - 25 ottobre Data da definire brica Opera Watch del numero di ottobre Metropolitan Opera – New York Accademia dei Lincei - Roma Classic Record Quarterly (UK): articolo su Tito Gobbi - Prima di Tosca dedicata a Tito Gobbi – 29 Ottobre Documenti e memorabilia di Tito Gobbi nella mostra “Verdi e Roma”. Dal 12 Dicembre all’8 Febbraio 2014 Ottobre Trasmissione dell’Otello del 1967 (Mc Cracken, Gobbi, Caballè, Mehta) sul canale radio del Metropolitan dal PUBBLICAZIONI Opera (UK): articolo “A masterclass in life” - Ottobre 21 al 27 Ottobre Gotlieb Archival Centre, Boston University Documentario INA: La leçon de musique Mostra online di documenti e memorabilia di Tito Gobbi, DVD pubblicato dall’Associazione donati dalla figlia nel 2004 www.associazionetitogobbi.com Documentario BBC: Tito Gobbi’s Tuscan summer (www.bu.edu/dbin/archives) DVD pubblicato dall’Associazione I programmi dettagliati degli eventi saranno pubblicati sul sito.
Recommended publications
  • Strauss Elektra Solti SC
    Richard Strauss Elektra Elektra: Birgit Nilsson; Klytemnestra: Regina Resnik; Chrysothemis: Marie Collier; Oreste: Tom Krause; Aegistheus: Gerhard Stolze Vienna State Opera Chorus and Vienna Philharmonic Orchestra Georg Solti Recorded June, September and November 1966 at the Sofiensaal, Vienna Recording Engineers: Gordon Parry and James Brown Producers: John Culshaw and Christopher Raeburn Remastered at Air Studios London by Tony Hawkins and Ray Staff Speakers Corner 2LPs Decca SET 354/5 Performance: 5 Strauss's Elektra was premièred in 1909 and marks the highpoint of the composers operatic career. Never again would he compose such searingly dramatic, concise music, replete with startlingly vivid orchestration, and a wealth of highly chromatic (and often atonal) thematic material, centred around decidedly Wagnerian sounding leitmotifs. It is isn't easy to cast. The title role needs a true dramatic soprano who is happy above the stave, and that of Klytemnestra a big-voiced mezzo- soprano. Chrysothemis is written for a lyric soprano, and Oreste for an heroic baritone. Elektra's don't come any better than Birgit Nilsson. She was 48 when the recording was made, and even the most exposed leaps and murderously high tessitura don't bother her. As the greatest Wagnerian soprano since Frieda Leider, she can effortlessly ride the orchestra, while still using a wide dynamic range in quieter passages. There are occasions when her intonation falters in the Recognition Scene, but this is a classic, thrillingly savage performance. Regina Resnik scales the same dramatic heights as Nilsson in her confrontation with Elektra, and her laughter at the end of the scene is gloriously OTT.
    [Show full text]
  • Marie Collier: a Life
    Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family.
    [Show full text]
  • Iuru!It Nrws Issued by the Australian Elizabethan Theatre Trust to Members of the Trust
    iUru!it Nrws Issued by The Australian Elizabethan Theatre Trust to Members of the Trust. Winter Edition, 1967 Price 10c. LINE-UP? ERDI'S "Don Carlos" and V Wagner's "Tannhauser" are among the operas being discussed for presentation at the 1968 Ade­ laide Festival of Arts along with the "Tosca" which, as already announced, will feature two of Europe's supreme dramatic singers, soprano Marie Collier and baritone Tito Gobbi. F "Don Carlos" and 'Tann­ I hauser" are, in fact, brought into the Elizabethan Trust Opera Com­ pany's repertoire for the Festival, they will subsequently be toured through other capitals as part of the company's main tour for 1968. The main tour is expected to fol­ Tita Gobbi Marie Collier as Tosca low on immediately from the Ade­ as Scarpia laide season. without a peer in his own generation, will ennially timely taunts at officialdom, Finn and final announcement cannot be making his first visit to Australia at "The Inspector-General", and a new play yet be made regarding the company's full Festival time. commissioned from Australian writer operatic bill for 1968, but it is known The electrifying excitement which Patricia Hooker will also feature in the that operas such as Puccini's "Girl of the 1968 Festival's drama activity. Golden West" and Menotti's "The Saint these two singers are able to generate of Bleecker Street" are receiving ardent in an audience at every performance is A LTHOUH a tour of Asia during 1968 advocacy in influential quarters. expected to make their joint appearance will preclude appearances by the The last operatic appearances in Aus­ in "Tosca" at Adelaide "a milestone in Australian Ballet at Adelaide Festival tralia of Victoria-born Marie Collier, the history of operd in Australia", as time, executives of the Festival are con­ now acclaimed throughout the world as a the Trust's Executive Director, Stefan tinuing negotiations for the presentation dramatic singer of resource not excelled Haag described it in announcing the of another notable ballet company.
    [Show full text]
  • Opera Recordings: a Very Personal Guide by Ralph Moore
    “Untouchable” and ”Most Recommendable” Opera Recordings: a very personal guide by Ralph Moore My handful of regular readers might have noticed some glaring omissions in the list of thirty-seven major operas whose discographies I have surveyed over the last couple of years - operas whose quality and popularity are such that one might reasonably have expected me to have included them in my labours. There are, after all, probably around fifty truly first-rate operas which have been most often performed and recorded and I have by no means covered them all. I received requests to survey some of the following but on consideration, I realised that there were good reasons for my reluctance to do so. The most obvious omissions are these twelve operas: Verdi’s La traviata and Il trovatore; Wagner’s Lohengrin and Tannhäuser; Mozart’s Don Giovanni; Puccini’s La bohème, Tosca, Madama Butterfly and Turandot; Rossini’s Il barbiere di Siviglia; Donizetti’s Lucia di Lammermoor and Beethoven’s Fidelio. My reason for not having reviewed them collectively is that either the opera in question has received one or two recordings of such definitive quality that consideration of the others is otiose or there are so many good recordings of it in the catalogue that making a helpful or meaningful recommendation becomes difficult. I have therefore decided to circumvent the problem by making some brief, annotated recommendations and guidance for those major operas hitherto neglected. Obviously, my selections are highly subjective and controversial, and other collectors will be dismayed that I have ostensibly rejected their own candidates for recordings of classic status or nominated one they loathe but at the same time I think I may fairly claim that these are, in general, recordings which have stood the test of time.
    [Show full text]
  • Decca Discography
    DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982.
    [Show full text]
  • About Elektra.Pdf
    More about Elektra Books Richard Strauss by Matthew Boyden (Northeastern University Press). Richard Strauss: Man, Musician, Enigma by Michael Kennedy (Cambridge University Press). Boyden adopts a less traditional approach than Kennedy, but both are fluent writers who love their L subject and offer many insights. H o S y T R I offer a personal take on Strauss in A M my essay “First-Rate Second-Class / S E v Composer” in For the Love of Music I H C (oxford University Press). R A A R E S P E Videos and Recordings o G A o M C I Elektra has been filmed and recorded often. Among the many S I N C A N video versions, two that stand out are those with Claudio A M R E F G Abbado conducting the vienna Philharmonic and Christian D I N R A S B Thielemann conducting the Munich Philharmonic. Abbado’s all-star cast includes Éva Marton, Brigitte Fassbaender, and Cheryl Studer and features eerily effective staging by Harry final rising note—Elektra asserts that Agamemnon will return ( so Kupfer (Arthaus Musik). Thielemann’s cast includes Linda kommst du wieder ). We hear this figure again as Klytemnestra Watson, Jane Henschel, and Manuela Uhl, in a minimalist explains the power residing in the jewels— Steine, literally production by Herbert Wernicke (opus Arte). A historical stones—that hang from her neck. When the “herald” reveals that footnote: Thielemann made his memorable U.S. conducting orest is alive, a ray of light emerges in the form of a muted fan - debut leading the Company’s 1991 production of Elektra , fare, which reappears in the celebration after orest dispenses his starring Gwyneth Jones in the title role and Helga Dernesch mother and her lover.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 108, 1988-1989
    I' H I I fWl IBv H I .#= MS? • *vt-i: •v. - **e* ? The Mall At Chestnut Hill 617-965-5555 Seiji Ozawa, Music Director Carl St. Clair and Pascal Verrot, Assistant Conductors One Hundred and Eighth Season, 1988-89 Trustees of the Boston Symphony Orchestra, Inc. Nelson J. Darling, Jr., Chairman George H. Kidder, President J. P. Barge r, Vice-Chairman Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Vernon R. Alden Mrs. Eugene B. Doggett Mrs. August R. Meyer David B. Arnold, Jr. Mrs. John H. Fitzpatrick Mrs. Robert B. Newman Mrs. Norman L. Cahners Avram J. Goldberg Peter C. Read James F. Cleary Mrs. John L. Grandin Richard A. Smith Julian Cohen Francis W Hatch, Jr. Ray Stata William M. Crozier, Jr. Harvey Chet Krentzman William F. Thompson r Mrs. Michael H. Davis Roderick M. MacDougall Nicholas T Zervas Trustees Emeriti Philip K. Allen E. Morton Jennings, Jr. Mrs. George R. Rowland Allen G. Barry Edward M. Kennedy Mrs. George Lee Sargent Leo L. Beranek Albert L. Nickerson Sidney Stoneman Mrs. John M. Bradley Thomas D. Perry, Jr. John Hoyt Stookey Abram T. Collier Irving W Rabb John L. Thorndike Mrs. Harris Fahnestock Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Jay B. Wailes, Assistant Treasurer Daniel R. Gustin, Clerk Administration of the Boston Symphony Orchestra, Inc. Kenneth Haas, Managing Director Daniel R. Gustin, Assistant Managing Director and Manager of Tanglewood Michael G. McDonough, Director of Finance and Business Affairs Anne H. Parsons, Orchestra Manager Costa Pilavachi, Artistic Administrator Caroline Smedvig, Director of Promotion Josiah Stevenson, Director of Development Robert Bell, Data Processing Manager Marc Mandel, Publications Coordinator Helen P.
    [Show full text]
  • Classical by Composer
    Classical by Composer Adolphe Adam, Giselle (The Complete Ballet), Bolshoi Theater Orchestra, Algis Zuraitis,ˆ MHS 824750F Isaac Albeniz, Iberia (complete), Maurice Ravel, Rapsodie Espagnole, Jean Morel, Paris Conservatoire Orchestra, RCA Living Stereo LSC-6094 (audiophile reissue) 2 records Tomaso Albinoni, Adagio for Strings and Organ, Concerto a Cinque in C Major, Concerto a Cinque in C Major Op. 5, No. 12, Concerto a Cinque in E Minor Op. 5, No. 9, The Sinfonia Instrumental Ensemble, Jean Witold, Nonesuch H-71005 Alfonso X, El Sabio, Las Cantigas de Santa Maria, History of Spanish Music, Volume I MHS OR 302 Charles Valentin Alkan, Piano Pieces Bernard Ringeissen Piano Harmonia Mundi B 927 Gregorio Allegri, Miserere, and other Great Choral Works CD ASV CD OS 6036 DDD, ADD 1989 Gregorio Allegri, Miserere, and other Choral Masterpieces CD Naxos 8.550827 DDD 1993 Gregorio Allegri, Miserere, Giovanni Pierluigi, Stabat Mater, Hodie Beata Virgo, Senex puerum portabat, Magnificat, Litaniae de Beata Virgine Maria, Choir of King’s College, Cambridge, Sir David Willcocks, CD London 421 147-2 ADD 1964 William Alwyn, Symphony 1, London Philharmonic Orchestra, William Alwyn, HNH 4040 Music of Leroy Anderson, Vol. 2 Frederick Fennell, Eastman-Rochester “POPS” Orchestra, 19 cm/sec quarter-track tape Mercury Living Presence ST-90043 The Music of Leroy Anderson, Frederick Fennell, Eastman-Rochester Pops Orchestra, Mercury Living Presence SR-90009 (audiophile) The Music of Leroy Anderson, Sandpaper Ballet, Forgotten Dreams, Serendata, The Penny Whistle Song, Sleigh Ride, Bugler’s Holiday, Frederick Fennell, Eastman-Rochester POPS Orchestra, 19 cm/sec half-track tape Mercury Living Presence (Seeing Ear) MVS5-30 1956 George Antheil, Symphony No.
    [Show full text]
  • R. STRAUSS Liederalbum Arthur Rother, Direttore (1) ACANTA D
    COMPOSITORE TITOLO INTERPRETI CASA COLLOCAZIONE DISCOGRAFICA R. STRAUSS Liederalbum Arthur Rother, direttore (1) ACANTA D. Joseph Keilberth, direttore (2) STR. 4 Michael Raucheisen, 1 pianoforte Orchestra della Deutsches Opernhaus di Berlino R. STRAUSS Richard Strauss Lieder Lucia Popp, soprano EMI HMV D. Wolfgang Sawallisch, piano STR. 4 2 R. STRAUSS Klemperer dirige Richard Orchestra Philharmonia di EMI HMV D. Strauss Londra STR. 4 Don Giovanni, Op. 20 - Otto Klemperer, direttore Poema sinfonico 3 Danza dei sette veli (da “Salomè”) I tiri burloni di Till Eulenspiegel R. STRAUSS Also sprach Zarathustra, The Vienna Philarmonic DECCA D. symphonic poem opus 30 Orchestra STR. 4 Clemens Krauss, direttore 4 R. STRAUSS Symphonia domestica The Vienna Philarmonic DECCA D. Opus 53 Orchestra STR. 4 Clemens Krauss, direttore 5 R. STRAUSS Il cavaliere della rosa, Jean Hubeau, pianista ΣRATO D. Op. 59 Burleske, Op. 11 Orchestra Sinfonica di STR. 4 Bamberg Fanfare für die Wiener 6 Philharmoniker Theodor Guschlbauer, direttore R. STRAUSS Tod und Verklärung Op. NBC Symphony orchestra RCA D. 24 Arturo Toscanini, direttore STR. 4 Don Juan Op. 20 7 Till Eulenspiegels lustige Streiche Op. 28 R. STRAUSS Four last songs and five Elisabeth Schwarzkopf, EMI Angel D. other songs with soprano orchestra STR. 4 Berlin Radio Symphony Orchestra 8 George Szell, direttore R. STRAUSS Salome Vienna Symphony Orchestra Philips D. Rudolf Moralt, conduttore STR. 4 9 R. STRAUSS Arabella Elisabeth Schwarzkopf, EMI Electrola D. soprano Josepf Metternich, baritono STR. 4 Nicolai Gedda, tenore 10 Anny Felbermayer, soprano Walter Berry, baß Philarmonia Orchestra London Lovro von Matacic, direttore R. STRAUSS Arabella Lisa Della Casa, soprano DECCA Ace of D.
    [Show full text]
  • ROBYN CATHCART: M.A. CANDIDATE in MUSICOLOGY the UNIVERSITY of VICTORIA, VICTORIA BC -The Singing School of Manuel Garcia
    ROBYNCATHCART: M.A. CANDIDATEIN MUSICOLOGY THEUNIVERSITY OF VICTORIA, VICTORIA BC -The Singing School of Manuel Garcia IZ- Supervisor: Dr. Gordana Lazarevich December 12,2003 University of Victoria PO Box 1700 STN CSC Victoria, BC V8W 2Y2 Canada Supervisor: Dr. Gordana Lazarevich A~STRACT Manuel Garcia 11 (1805-1906) is perhaps the greatest teacher of voice in history, and his approach, stated in A Complete Treatise on the Art of Singing, Parts One (1841) and Two (1847), became one of the principal methods of vocal instruction during his time. By tracing Garcia 11's methodology, based on the Italian Schools of Singing and be1 canto opera, it will become clear that his type of voice building holds many of the keys needed to unlock the voices of singers today. Analysis of Garcia II's vocal treatises, combined with first hand research conducted with faculty throughout three prominent Canadian university voice programs, will further substantiate the claim that Garcia 11 is a pivotal figure within the landscape of vocal pedagogy, also putting to rest several misconceptions (i.e. vocal onset and the coup de la glotte, and vocal registers) concerning his teachings. Respected internationally for his contributions to the worlds of classical voice and opera, performance practice, voice science, and pedagogy during his lifetime, Garcia II's theories on vocal production remain intact in current vocal pedagogy, despite shifts in the paradigms of musical, cultural, social and vocal aesthetics. List of Figures ............................................................................ 11 ... List of Appendices ...................................................................... 111 Acknowledgements ..................................................................... iv Preface ......................................................................................... v Chapter 1: Planting the Seeds of the Garcia 11 School ................. 1 (a) The Italian Schools ......................................
    [Show full text]
  • Operas, Ethics, and Elektra: a Return to the Recordings of John Culshaw
    forty-five.com / papers /176 Ryan M. Prendergast Reviewed by Nicholas Clark and Michele Spanghero Operas, Ethics, and Elektra: A Return to the Recordings of John Culshaw If there is any secret about the sort of work we have been doing i n V i e n n a o v e r t h e p a s t f e w y e a r s , i t h a s fi n a l l y n o t h i n g t o d o w i t h b i g g e r a n d b e t t e r m a c h i n e s , a l t h o u g h t h e y c e r t a i n l y i n c r e a s e e f fi c i e n c y : i t h a s t o d o w i t h t r y i n g t o g e t t o thear of a score before you record a note of it, so that before you b e g i n y o u h a v e a c o n c e p t o f w h a t t h e fi n a l r e c o r d i s g o i n g to s o u n d l i k e . T h i s c o n c e p t m a y , o f c o u r s e , b e r i g h t o r w r o n g ; i t m a y b e s u s t a i n e d o r m o d i fi e d a s t h i n g s p r o g r e s s ; b u the i m p o r t a n t t h i n g i s t h a t i t s h o u l d b e t h e r e t o s t a r t w i t h , f o r t h e c a t a l o g u e s a r e f u l l o f e x a m p l e s t o s h o w w h a t h a p p e n s w h e n i t isn’t.
    [Show full text]
  • LINEAGES of VOCAL PEDAGOGY in AUSTRALIA, 1850-1950 Volume 2
    LINEAGES OF VOCAL PEDAGOGY IN AUSTRALIA, 1850-1950 Volume 2 by Beth Mary Williams A dissertation submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy. The University of Melbourne September 2002 11 Lineages of Vocal Pedagogy in Australia The following is an introductory lineage study of major lineages of vocal pedagogy in Australia. Many lineages not contained in the body of the thesis are outlined in this document. The lineage also provides a cursory glance at the major lineages of traditional Italian pedagogy which have relevance for an Australian vocal pedagogical context, and it was hoped that this might assist readers in ascertaining the long term lineage links without excessive complication. The symbol'-' indicates that the following is separated from what is immediately above, and that a new lineage has begun. Lineages are indicated as subsequent generations by the use of one tab space, to show that the following names are pupils of the aforementioned. Naturally, lists of students of particular teachers are far from complete, and some only represent one particularly successful pupil of a given teacher. Where possible dates and biographical information are given, in order to contextualise the work of a singer or teacher. The documentation of lineages is not exhaustive. Many teachers who were active between 1850 and 2000 are omitted owing to the difficulties in finding information on private studios through archival resources and the reluctance of many present teachers to participate in surveys. The following is a sample three-generation entry, with an explanation of how the lineage may be understood: ~ (Separates different schools of singers.) Joe Bloggs (The teacher/s of the following bold name.) Joe Green (The teacher/singer under consideration.) Tenor, born in 1889, Green performed extensively with the Eastside Liedertafel.
    [Show full text]