Boston Symphony Orchestra Concert Programs, Season 64,1944-1945
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Boston Symphony Orchestra Concert Programs, Season
// BOSTON T /?, SYMPHONY ORCHESTRA THURSDAY B SERIES EIGHTY-SEVENTH SEASON 1967-1968 wgm _«9M wsBt Exquisite Sound From the palace of ancient Egyp to the concert hal of our moder cities, the wondroi music of the harp hi compelled attentio from all peoples and a countries. Through th passage of time man changes have been mac in the original design. Tl early instruments shown i drawings on the tomb < Rameses II (1292-1225 B.C were richly decorated bv lacked the fore-pillar. Lato the "Kinner" developed by tl Hebrews took the form as m know it today. The pedal hai was invented about 1720 by Bavarian named Hochbrucker an through this ingenious device it b came possible to play in eight maj< and five minor scales complete. Tods the harp is an important and familij instrument providing the "Exquisi* Sound" and special effects so importai to modern orchestration and arrang ment. The certainty of change mak< necessary a continuous review of yoi insurance protection. We welcome tl opportunity of providing this service f< your business or personal needs. We respectfully invite your inquiry CHARLES H. WATKINS & CO. Richard P. Nyquist — Charles G. Carleton 147 Milk Street Boston, Massachusetts Telephone 542-1250 OBRION, RUSSELL & CO. Insurance of Every Description EIGHTY-SEVENTH SEASON 1967-1968 BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF Music Director CHARLES WILSON Assistant Conductor THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. HENRY B. CABOT President TALCOTT M. BANKS Vice-President JOHN L. THORNDIKE Treasurer PHILIP K. ALLEN E. MORTON JENNINGS JR ABRAM BERKOWITZ EDWARD M. KENNEDY THEODORE P. -
Passive Participation: the Selling of Spectacle and the Construction of Maple Leaf Gardens, 1931
Sport History Review, 2002, 33, 35-50 PASSIVE PARTICIPATION 35 © 2002 Human Kinetics Publishers, Inc. Passive Participation: The Selling of Spectacle and the Construction of Maple Leaf Gardens, 1931 Russell Field In 1927, Conn Smythe, a Toronto businessman and hockey enthusi- ast, organized a group to purchase Toronto’s entry in the National Hockey League (NHL). Operating out of the fifteen-year-old Arena Gardens, the St. Patricks (who Smythe renamed Maple Leafs) had for years been only moderately successful both on the ice and at the cashbox. Compounding Smythe’s local and competitive circumstances was the changing nature of the NHL in the mid 1920s. Beginning in 1924, the Canadian-based NHL clubs reaped the short-term benefits of expansion fees paid by the new American teams, but the latter’s greater capital resources and newer, larger playing facilities soon shifted the economic balance of power within the “cartel” south of the border.1 As Thompson and Seager note of this period: “Canadian hockey was revolutionized by American money.”2· Despite the Maple Leafs’ bleak economic circumstances, Smythe had big dreams for himself and his hockey team. In attempting to realize his vision, he built Canada’s best-known sports facility, Maple Leaf Gardens, managed the Maple Leafs into one of the NHL’s wealthiest clubs, and assumed majority ownership of the team. The economic and cultural impact of the major NHL-inspired arena projects of the 1920s and early 1930s—the Montreal Forum, New York’s Madison Square Garden, Boston Garden, Chicago Stadium, the Detroit Olympia, as well as Maple Leaf Gardens—has received little attention among scholarly contributions to the study of sport.3 However, there has been greater interest in the politics of arena and stadium construction, and work by scholars such as John Bale and Karl Raitz has helped to define and explore the notion of arenas and stadiums as sport spaces.4 Adding a fur- ther temporal context to these issues then, allows changes over time to be meaningfully explored. -
Boston Guide
what to do U wherewher e to go U what to see July 13–26, 2009 Boston FOR KIDS INCLUDING: New England Aquarium Boston Children’s Museum Museum of Science NEW WEB bostonguide.com now iPhone and Windows® smartphone compatible! oyster perpetual gmt-master ii The moon landing 40th anniversary. See how it Media Sponsors: OFFICIALROLEXJEWELER JFK ROLEX OYSTER PERPETUAL AND GMT-MASTER II ARE TRADEMARKS. began at the JFK Presidential Library and Museum. Columbia Point, Boston. jfklibrary.org StunningCollection of Murano Glass N_Xc\ NXkZ_ E\n <e^cXe[ 8hlXi`ld J`dfej @D8O K_\Xki\ Pfli e\ok Furnishings, Murano Glass, Sculptures, Paintings, X[m\ekli\ Tuscan Leather, Chess Sets, Capodimonte Porcelain Central Wharf, Boston, MA www.neaq.org | 617-973-5206 H:K:CIN C>C: C:L7JGN HIG::I s 7DHIDC B6HH68=JH:IIH XnX`kj telephone s LLL <6AA:G>6;ADG:CI>6 8DB DAVID YURMAN JOHN HARDY MIKIMOTO PATEK PHILIPPE STEUBEN PANERAI TOBY POMEROY CARTIER IPPOLITA ALEX SEPKUS BUCCELLAITI BAUME & MERCIER HERMES MIKIMOTO contents l Jew icia e ff le O r COVER STORY 14 Boston for Kids The Hub’s top spots for the younger set DEPARTMENTS 10 hubbub Sand Sculpting Festival and great museum deals 18 calendar of events 20 exploring boston 20 SIGHTSEEING 30 FREEDOM TRAIL 32 NEIGHBORHOODS 47 MAPS 54 around the hub 54 CURRENT EVENTS 62 ON EXHIBIT 67 SHOPPING 73 NIGHTLIFE 76 DINING on the cover: JUMPING FOR JOY: Kelly and Patrick of Model Kelly and Patrick enjoy the Club Inc. take a break in interactive dance floor in the front of a colorful display Boston Children’s Museum’s during their day of fun at the Kid Power exhibit area. -
TD GARDEN LEGENDARY TRANSFORMATION UPDATES Details of the More Than $100 Million Investment & Arena Expansion Announced for Start of 2019-20 Season
TD GARDEN LEGENDARY TRANSFORMATION UPDATES Details of the More than $100 Million Investment & Arena Expansion Announced for Start of 2019-20 Season BOSTON (September 17, 2019) – Delaware North, a global leader in hospitality and the owner and operator of TD Garden, announced last November that a massive, 50,000 square foot and more than $100 million expansion of the 23-year-old arena would be taking place over the next two years. Now, nearly a year later, there are many exciting updates to share with fans as TD Garden readies itself for the 2019-20 season. “Through tremendous teamwork and round the clock efforts, our project teams are in the final stages of TD Garden’s ‘Legendary Transformation’, successfully bringing a whole new level of fan experience to life this season,” said Amy Latimer, president of TD Garden. “We are so excited for the Bruins and Celtics seasons to kick off, and for our guests to enjoy all-new seats, game presentation enhancements, expanded concourses, thoughtfully designed gathering areas and clubs, delicious food and beverage options, and a new level of Rafters seating for fans.” ✓ NORTH STATION GARAGE EXPANSION: The North Station Garage, located beneath TD Garden with entrances on 121 Nashua Street and 140 Causeway Street, has expanded by nearly 500 additional parking spots. Two new elevators have been added to the expanded parking garage levels (P1-P4) and provide convenient access to The Hub on Causeway, North Station concourse, and TD Garden entrance. Status: Complete ✓ TD GARDEN ENTRANCE: TD Garden now has an official front door with a fitting grand entrance directly from Causeway Street through The Hub on Causeway. -
January 19, 2020 Luc De Wit 3:00–4:40 PM
ALBAN BERG wozzeck conductor Opera in three acts Yannick Nézet-Séguin Libretto by the composer, based on the production William Kentridge play Woyzeck by Georg Büchner co-director Sunday, January 19, 2020 Luc De Wit 3:00–4:40 PM projection designer Catherine Meyburgh New Production set designer Sabine Theunissen costume designer Greta Goiris The production of Wozzeck was made possible lighting designer Urs Schönebaum by a generous gift from Robert L. Turner A co-production of the Metropolitan Opera; Salzburg Festival; the Canadian Opera Company, Toronto; and Opera Australia general manager Peter Gelb jeanette lerman-neubauer music director Sunday matinee performances at the Met are Yannick Nézet-Séguin sponsored by the Neubauer Family Foundation 2019–20 SEASON The 75th Metropolitan Opera performance of ALBAN BERG’S wozzeck conductor Yannick Nézet-Séguin in order of vocal appearance the captain the fool Gerhard Siegel Brenton Ryan wozzeck a soldier Peter Mattei Daniel Clark Smith andres a townsman Andrew Staples Gregory Warren marie marie’s child Elza van den Heever Eliot Flowers margret Tamara Mumford* puppeteers Andrea Fabi the doctor Gwyneth E. Larsen Christian Van Horn ac tors the drum- major Frank Colardo Christopher Ventris Tina Mitchell apprentices Wozzeck is stage piano solo Richard Bernstein presented without Jonathan C. Kelly Miles Mykkanen intermission. Sunday, January 19, 2020, 3:00–4:40PM KEN HOWARD / MET OPERA A scene from Chorus Master Donald Palumbo Berg’s Wozzeck Video Control Kim Gunning Assistant Video Editor Snezana Marovic Musical Preparation Caren Levine*, Jonathan C. Kelly, Patrick Furrer, Bryan Wagorn*, and Zalman Kelber* Assistant Stage Directors Gregory Keller, Sarah Ina Meyers, and J. -
Boston Symphony Orchestra Concert Programs, Season 77, 1957-1958, Subscription
*l'\ fr^j BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON 24 G> X will MIIHIi H tf SEVENTY-SEVENTH SEASON 1957-1958 BAYARD TUCEERMAN. JR. ARTHUR J. ANDERSON ROBERT T. FORREST JULIUS F. HALLER ARTHUR J. ANDERSON, JR. HERBERT 8. TUCEERMAN J. DEANE SOMERVILLE It takes only seconds for accidents to occur that damage or destroy property. It takes only a few minutes to develop a complete insurance program that will give you proper coverages in adequate amounts. It might be well for you to spend a little time with us helping to see that in the event of a loss you will find yourself protected with insurance. WHAT TIME to ask for help? Any time! Now! CHARLES H. WATKINS & CO. RICHARD P. NYQUIST in association with OBRION, RUSSELL & CO. Insurance of Every Description 108 Water Street Boston 6, Mast. LA fayette 3-5700 SEVENTY-SEVENTH SEASON, 1957-1958 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN with historical and descriptive notes by John N. Burk Copyright, 1958, by Boston Symphony Orchestra, Inc. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Jacob J. Kaplan Vice-President Richard C. Paine Treasurer Talcott M. Banks Michael T. Kelleher Theodore P. Ferris Henry A. Laughlin Alvan T. Fuller John T. Noonan Francis W. Hatch Palfrey Perkins Harold D. Hodgkinson Charles H. Stockton C. D. Jackson Raymond S. Wilkins E. Morton Jennings, Jr. Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Edward A. Taft Thomas D. -
Le Corsaire Overture, Op. 21
Any time Joshua Bell makes an appearance, it’s guaranteed to be impressive! I can’t wait to hear him perform the monumental Brahms Violin Concerto alongside some fireworks for the orchestra. It’s a don’t-miss evening! EMILY GLOVER, NCS VIOLIN Le Corsaire Overture, Op. 21 HECTOR BERLIOZ BORN December 11, 1803, in Côte-Saint-André, France; died March 8, 1869, in Paris PREMIERE Composed 1844, revised before 1852; first performance January 19, 1845, in Paris, conducted by the composer OVERVIEW The Random House Dictionary defines “corsair” both as “a pirate” and as “a ship used for piracy.” Berlioz encountered one of the former on a wild, stormy sea voyage in 1831 from Marseilles to Livorno, on his way to install himself in Rome as winner of the Prix de Rome. The grizzled old buccaneer claimed to be a Venetian seaman who had piloted the ship of Lord Byron during the poet’s adventures in the Adriatic and the Greek archipelago, and his fantastic tales helped the young composer keep his mind off the danger aboard the tossing vessel. They landed safely, but the experience of that storm and the image of Lord Byron painted by the corsair stayed with him. When Berlioz arrived in Rome, he immersed himself in Byron’s poem The Corsair, reading much of it in, of all places, St. Peter’s Basilica. “During the fierce summer heat I spent whole days there ... drinking in that burning poetry,” he wrote in his Memoirs. It was also at that time that word reached him that his fiancée in Paris, Camile Moke, had thrown him over in favor of another suitor. -
Market Demand and Operational Effectiveness Analysis of the Hartford Civic Center
Market Demand and Operational Effectiveness Analysis of the Hartford Civic Center Presented to: The Connecticut Development Authority Presented by: August 4, 2006 August 4, 2006 Mr. Philip Siuta Senior Vice President Finance and Administration Connecticut Development Authority 999 West Street Rocky Hill, CT 06067 Dear Mr. Siuta: We have completed the market demand and operational effectiveness analysis of the Hartford Civic Center. The attached report summarizes the study’s research and analyses, and is intended to assist the Connecticut Development Authority (“CDA”) in evaluating the on-going viability of the Hartford Civic Center (“HCC”) and potential future arena development options in Hartford and should not be used for any other purposes. The information contained in this report is based on estimates, assumptions and other information developed from research of the market, knowledge of the public assembly facility industry and other factors, including certain information you have provided. All information provided to us by others was not audited or verified and was assumed to be correct. Because procedures were limited, we express no opinion or assurances of any kind on the achievability of any projected information contained herein and this report should not be relied upon for that purpose. Furthermore, there will be differences between projected and actual results. This is because events and circumstances frequently do not occur as expected, and those differences may be material. We have no responsibility to update this report for events and circumstances occurring after the date of this report. We sincerely appreciate the opportunity to assist you with this project, and would be pleased to be of further assistance in the interpretation and application of the study’s findings. -
An Educational Experience
INTRODUCTION An Educational Experience In many countries, hockey is just a game, but to Canadians it’s a thread woven into the very fabric of our society. The Hockey Hall of Fame is a museum where participants and builders of the sport are honoured and the history of hockey is preserved. Through the Education Program, students can share in the glory of great moments on the ice that are now part of our Canadian culture. The Hockey Hall of Fame has used components of the sport to support educational core curriculum. The goal of this program is to provide an arena in which students can utilize critical thinking skills and experience hands-on interactive opportunities that will assure a successful and worthwhile field trip to the Hockey Hall of Fame. The contents of this the Education Program are recommended for Grades 6-9. Introduction Contents Curriculum Overview ……………………………………………………….… 2 Questions and Answers .............................................................................. 3 Teacher’s complimentary Voucher ............................................................ 5 Working Committee Members ................................................................... 5 Teacher’s Fieldtrip Checklist ..................................................................... 6 Map............................................................................................................... 6 Evaluation Form……………………............................................................. 7 Pre-visit Activity ....................................................................................... -
A Night at the Garden (S): a History of Professional Hockey Spectatorship
A Night at the Garden(s): A History of Professional Hockey Spectatorship in the 1920s and 1930s by Russell David Field A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Exercise Sciences University of Toronto © Copyright by Russell David Field 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-39833-3 Our file Notre reference ISBN: 978-0-494-39833-3 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation. -
Don Carlo Mp3, Flac, Wma
Verdi Don Carlo mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Don Carlo Country: US Released: 1979 Style: Romantic MP3 version RAR size: 1589 mb FLAC version RAR size: 1226 mb WMA version RAR size: 1632 mb Rating: 4.8 Votes: 852 Other Formats: AC3 AU XM APE ADX MMF AA Tracklist A1 Act 1. Su, Cacciator! Prontio La Belva 25:45 B1 Act 2. Scene 1. Carlo, Il Sommo Imperatore 17:38 B2 Act 2. Scne 2. Sotto Al Forti-Immensi Abeti 7:42 C1 Act 2. Scene 2. (Con't) La Regina 24:00 D1 Act 2. Scene 2. (Concl.) Restate . Presso Alla Mia Persona 11:55 D2 Act 3. Scene 1. Preludio . A Mezza Notte 15:00 E1 Act 3. Scene 2. Spuntato Ecco Il Di D'esultanza 20:15 F1 Act 4. Scene 1. Ella Giammai M'amò 30:00 G1 Act 4. Scene 1. (Concl.) Pietà! Pietà! 6:35 G2 Act 4. Scene 2. Son Io Mio Carlo 15:08 H1 Act 5. Tu Che Le Vanti 21:30 Credits Chorus, Orchestra – Chorus and Orchestra Of The Royal Opera House, Covent Garden* Composed By – Giuseppe Verdi Conductor – Georg Solti Libretto By – Camille Du Locle, Joseph Mery* Performer [A Celestial Voice] – Joan Carlyle Performer [A Friar] – Tugomir Franc Performer [A Royal Herald] – John Wakefield Performer [Count Di Lerma] – Kenneth MacDonald Performer [Don Carlo] – Carlo Bergonzi Performer [Elizabeth De Valois] – Renata Tebaldi Performer [King Philip Ii] – Nicolai Ghiaurov Performer [Princess Eboli] – Grace Bumbry Performer [Rodrigo] – Dietrich Fischer-Dieskau Performer [Tebaldo] – Jeannette Sinclair Performer [The Grand Inquisitor] – Martti Talvela Translated By [Libretto-rendered Into Italian] – A. -
Amalie Joachim's 1892 American Tour
Volume XXXV, Number 1 Spring 2017 Amalie Joachim’s 1892 American Tour By the 1890s, American audiences had grown accustomed to the tours of major European artists, and the successes of Jenny Lind and Anton Rubinstein created high expectations for the performers who came after them. Amalie Joachim toured from March to May of 1892, during the same months as Paderewski, Edward Lloyd, and George and Lillian Henschel.1 Although scholars have explored the tours of artists such as Hans von Bülow and Rubinstein, Joachim’s tour has gone largely unnoticed. Beatrix Borchard, Joachim’s biographer, has used privately held family letters to chronicle some of Joachim’s own responses to the tour, as well as a sampling of the reviews of the performer’s New York appearances. She does not provide complete details of Joachim’s itinerary, however, or performances outside of New York. Although Borchard notes that Villa Whitney White traveled with Joachim and that the two performed duets, she did not realize that White was an American student of Joachim who significantly influenced the tour.2 The women’s activities, however, can be traced through reviews and advertisements in newspapers and music journals, as well as brief descriptions in college yearbooks. These sources include the places Joachim performed, her repertoire, and descriptions of the condition of her voice and health. Most of Joachim’s performances were in and around Boston. During some of her time in this city, she stayed with her Amalie Joachim, portrait given to Clara Kathleen Rogers. friend, the former opera singer Clara Kathleen Rogers.