Die Fledermaus
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NAXOS Historical NAXOS 8.111226 Johann Strauss II ADD Paraphrases and Piano Transcriptions Playing ൿ THIS COMPACTAND COPYING OF BROADCASTING DISC PROHIBITED. UNAUTHORISED PUBLIC PERFORMANCE, RESERVED. TRANSLATIONS ALLAND TEXTS ARTWORK, THIS SOUND RECORDING, RIGHTS IN 8.111226 Time & Ꭿ An Anthology of Historic Performances Volume 1 (1930-1954) 78:33 2007 Naxos Rights International Ltd. 1 DOHNÁNYI: Schatz Waltz (Treasure Waltz) 4:29 The undisputed master of Viennese Ernö Dohnányi (Rec: 25th February 1931) dance forms, “those irresistible 2 RAWICZ and LANDAUER: Annen Polka 3:15 Strauss II Maryan Rawicz and Walter Landauer (Rec: 1st January 1950) waltzes that first catch the ear, and 3 SCHULTZ-EVLER: then curl round the heart, until Concert Arabesques “On the Beautiful Blue Danube” 7:27 suddenly they invade the legs”, Isador Goodman (Rec: 1932) Johann Strauss II became the most 4 GRÜNFELD: Soirée de Vienne 5:35 popular musician of his Jakov Fliere (1939) generation. His publishers printed : 5 TAUSIG: Valse-Caprice No.2 6:03 1 Vol. Transcriptions Paraphrases and Piano Ania Dorfmann (Rec: 5th November 1938) countless copies of his sheet music, 6 CHASINS: Concert Paraphrase on “Artists’ Life” 7:11 making it possible for anyone who Vera Appleton and Michael Field (Rec: 1954) had access to a piano to play his 7 SCHULHOF: Neue Pizzicato-Polka, Opus 449 3:25 compositions at social gatherings Paul Badura-Skoda (Rec: December 1951– January 1952) or simply for enjoyment at home. 8 TEMPLETON: Improvisation on “Tales from the Vienna Woods” 5:47 Concert pianists in the late Alec Templeton (Rec: 1954) nineteenth century and throughout 9 PENNARIO: Emperor Waltz 7:32 the twentieth century added to Leonard Pennario (Rec: 9th May 1952) Strauss’s popularity by creating 0 SCHÜTT : Concert Paraphrase on “Die Fledermaus” 4:42 paraphrases and transcriptions of Adolf Wolff (Rec: 18th March 1938) many of his works. -
DIE FLEDERMAUS Johann Strauss II 1874 April 26, 30, May 2, 4, 2014 BATS in the BELFRY: Lyric’S Fledermaus Offers Fine Singing, Excellent Scenic Design, Firm Direction
DIE FLEDERMAUS Johann Strauss II 1874 April 26, 30, May 2, 4, 2014 BATS IN THE BELFRY: Lyric’s Fledermaus offers fine singing, excellent scenic design, firm direction May 1, 2014 By Paul Horsley Die Fledermaus is a surprisingly difficult opera to bring to the stage, deceptively simple on the surface yet filled with comic subtleties and a sort of effortless graciousness that has to be “just right.” The Lyric Opera of Kansas City’s new English-language production that opened April 26th, directed by Tomer Zvulun in his company debut, features first-rate scenic design and magnificent singing but in the end succeeds only partly in capturing the breathless effervescence of the piece. Audiences will enjoy it nevertheless, because the core of this story is implacably funny and much of the music is familiar and beloved. I did not enjoy myself overly, and I’ve devoted no little angst to figuring out why. To begin with the positive, the Lyric has brought some wonderful singers into the mix here. Kelly Kaduce lends substantial heft and a gloriously powerful soprano to the role of Rosalinde, the bored bourgeois housewife in Hapsburg Vienna who is being wooed by a dashing tenor. Her whimsical “Klänge der Heimat” czárdás aria in Act II, in which she tries to prove she’s a Hungarian countess, is a vocal and dramatic highlight of the show. Tall, elegant Liam Bonner offers a warm, delicious baritone to the central role of Eisenstein, the would-be philandering husband, whose earlier offense against his friend Dr. Falke has set the whole intrigue into motion. -
Spring Celebration
SPRING CELEBRATION PROGRAM NOTES. By Erik Rohde © | Violin II, Illinois Symphony Orchestra | Music Director, Winona Symphony Orchestra | Director of Strings and Activities, Indiana State University ILSYMPHONY.ORG Voices of Spring seventeen days later. This too was met with acclaim by the audience and was also cheered until it was 30 JOHANN STRAUSS, II b. St. Ulrich near Vienna, Austria, 25 October 1825 encored at that performance as well. d. Vienna, 3 June 1899 Violin Concerto Premiered on March 1, 1883 in the Theater an der Wien ANTONÍN DVORˇ ÀK in Vienna with soprano Bianca Bianchi. As an orchestral b. Nelahozeves, Austrian Empire, 8 September 1841 work it was premiered by Eduard Strauss (the composer’s brother) on March 18, 1883 by the Strauss Orchestra in d. Prague, Czechoslovakia, 1 May 1904 the Goldene Saal of the Musikverein in Vienna. Premiered on October 14, 1883 in Prague by violinist (Approx. 6 minutes) František Ondrícek. (Approx. 32 minutes) Best known for his “Blue Danube” waltz and Die The Czech composer Antonín Dvorˇàk owed much of Fledermaus, Johann Strauss II was the son of the his widespread acclaim to “being discovered” by his elder Johann Strauss and the most prominent friend and elder composer Johannes Brahms, who member of the famous Strauss family waltz dynasty. had met Dvorˇàk through a composition competition Famous in Vienna, and later to tour across Europe in the 1870s and helped to bring public prominence and the United States, the Strauss family had a huge to his work after being substantially impressed by the influence on musical life in Vienna in the 1800s, talent of this young composer from Bohemia. -
Festival Richard Strauss
RICHARD STRAUSS Torino, 2-25 febbraio 2018 Un progetto di CITTÀ DI TORINO TEATRO REGIO TORINO RICHARD-STRAUSS-ARCHIV GARMISCH RICHARD-STRAUSS-INSTITUT GARMISCH-PARTENKIRCHEN ASSOCIAZIONE AMICI DEL REGIO ARIANNA PER LA MUSICA AMBAscIATA DELLA REPUBBLICA FEDERALE DI GERMANIA A ROMA BIBLIOTECA NAZIONALE UNIVERSITARIA DI TORINO ASSOCIAZIONE ABNUT - AMICI BIBLIOTECA NAZIONALE UNIVERSITARIA DI TORINO CONSERVATORIO “GIUSEPPE VERDI” DI TORINO ORCHESTRA FILARMONICA DI TORINO ASSOCIAZIONE BARETTI UNIONE MUSICALE ORCHESTRA DA CAMERA “GIOVANNI BATTISTA POLLEDRO” ACCADEMIA DEL SANTO SPIRITO I MUSICI DI SANTA PELAGIA ACCADEMIA CORALE STEFANO TEMPIA ASSOCIAZIONE CONCERTANTE - PROGETTO ARTE&MUSICA CIRCOLO DEGLI ARTISTI ORCHESTRA SINFONICA NAZIONALE DELLA RAI GOETHE-INSTITUT TURIN ACCADEMIA DI MUSICA DI PINEROLO UNIVERSITÀ DEGLI STUDI DI TORINO - CENTRO STUDI SUL TEATRO MUSICALE IL CIRCOLO DEI LETTORI ASSOCIAZIONE CULTURALE ORGANALIA ACADEMIA MONTIS REGALIS MARCHESATO OPERA FESTIVAL - COMUNE DI SALUZZO - FONDAZIONE SCUOLA APM DI SALUZZO ASSOCIAZIONE ANTIDOGMA MUSICA MUSEO NAZIONALE DEL CINEMA INPOETICA - FESTIVAL TRASVERSALE DELLE ARTI Dopo il successo del Festival Alfredo Casella, che nel 2016 si è aggiudicato il Premio Abbiati dell’Associazione Nazionale dei Critici Musica- li per l’originalità del progetto, e del Festival Antonio Vivaldi l’anno scorso, il 2018 è l’an- no di Richard Strauss. Al compositore tedesco più in vista e di successo nella prima metà del Novecento viene dunque dedicato il terzo festi- val monografico, interdisciplinare e collegiale realizzato a Torino: interdisciplinare perché nei 33 appuntamenti che lo costituiscono sono coin- volte più forme artistiche; collegiale perché tutto il programma è frutto di una vasta sinergia che coinvolge circa trenta istituzioni culturali. Richard Strauss (1864-1949) ebbe un forte lega- me con l’Italia e la sua cultura, come testimonia la mostra documentaria allestita per l’occasione e che significativamente inaugura il Festival. -
NEW on NAXOS the World’S Leading Classical Music Label MARCH 2020
NEW ON NAXOS The World’s Leading Classical Music Label MARCH 2020 This Month’s Other Highlights EightNine titlestitles includeinclude WorldWorld PremierePremiere Recordings!Recordings! © 2020 Naxos Rights US, Inc. • Contact Us: [email protected] www.naxos.com • www.NaxosMusicGroup.com • www.naxosmusiclibrary.com • blog.naxos.com | WORLD PREMIERE NEW ON NAXOS MARCH 2020 RECORDING © Vasilka Balevska © Vasilka Performance of Johann Strauss II’s Blindekuh at Bulgaria Hall, Sofia, Bulgaria (January 2019) Click button to listen to an extract from Overture 8.660434-35 Playing Time: 1:45:11 Price Code: NXP Release Date: LISTEN 7 30099 04347 2 27 Mar 2020 Johann STRAUSS II (1825–1899) Key Features: ● Aside from his dance pieces, Johann Strauss II is also well- Blindekuh (‘Blind Man’s Buff’) known for his operettas particularly Die Fledermaus (‘The Bat’) Libretto by Rudolf Kneisel and Die Ziguenerbaron (‘The Gypsy Baron’). This new recording after his comedy of the same name continues our revival of Strauss’ stage works, which previously Kirsten C. Kunle, Martina Bortolotti and Andrea Chudak, Sopranos included Eine Nacht in Venedig (‘A Night in Venice’) on 8.660268-69, Emily K. Byrne, Mezzo-soprano • Roman Pichler, James Bowers, described by MusicWeb International as ‘a veritable string Daniel Schliewa and Julian Rohde, Tenors • Robert Davidson, of pearls of ear-catching melodies, lavishly orchestrated and Bass-baritone • Sofia Philharmonic Orchestra and Chorus grateful for the singers.’ Other releases include Fürstin Ninetta Dario Salvi (‘Princess Ninetta’) on 8.660227-28 and Jabuka (‘The Apple Festival’) on 8.660216-17. Of the rarely-heard Die Göttin der Blindekuh (‘Blind Man’s Buff’) was Johann Strauss II’s sixth operetta Vernunft (‘The Goddess of Reason’, 8.660280-81), Gramophone and his least known. -
Barbora Kohoutková
BARBORA KOHOUTKOVÁ Barbora Kohoutková started ballet training at a very early age. She was chosen at the age of 4 by a pre-ballet school of the National Theater in Prague and got accepted to the Prague Dance Conservatory when she was 10 years old. Barbora started her professional career at the age of 17 in Helsinki as a Principal Dancer with the Finnish National Ballet (1996-2002). Before becoming a guest principal dancer she worked with the Bavarian State Ballet – Munich (2002-2003), Boston Ballet (2003-2004) and Hamburg Ballet-John Neumeier (2004-2008). In her career she has danced the most important roles of almost the entire classical repertoire in its original form and in productions by Ben Stevenson, Natalia Makarova, Rudolf Nureyev, Vladimir Bourmeister, Sylvie Guillem, Wayne Eagling, Toer van Schayk, Bruce Marks, Frederick Ashton, Mikhail Fokine… Besides the classical repertoire she also performed in choreographies by George Balanchine, Jiri Kylian, John Cranko, John Neumeier, Jorma Uotinen, Sir Kenneth MacMillan, Heinz Spoerli, Mark Morris… As a guest artist she has been performing in Essen, Helsinki, Milano, Moscow, Munich, Prague, Rome, St. Petersburg, Tokyo (World Ballet Festival 2002 and 2004), … Sadly, due to injuries, she had to cut short her beautiful career at the early age of 28. After having undergone multiple surgeries and stoically enduring much physical suffering, Barbora had to retire from the stage and began a rewarding career as a Ballet Master and teacher, occasionally still performing as a guest Principal. During the season 2009- 2010 she worked as Ballet Master at the National Theater in Prague. -
New National Theatre, Tokyo 2019/2020 Season
PRESS RELEASE (FEB 2019) NEW NATIONAL THEATRE, TOKYO NEW NATIONAL THEATRE, TOKYO 2019/2020 SEASON BALLET & DANCE THE NATIONAL BALLET OF JAPAN New National Theatre, Tokyo (NNTT) announced the 2019/2020 Ballet & Dance Season, the final season under the Artistic Director, Noriko OHARA, which features 38 performances of 6 ballet works including 5 full-length narrative ballet, and 11 performances of 3 dance pieces. The Final Season for Noriko OHARA as Artistic Director of Ballet and Dance at the New National Theatre, Tokyo Noriko OHARA became the Ballet Mistress of the company in 1999, Assistant Director in 2010 before assumed office as the Artistic Director in September 2014. During these 20 years ever since the company was founded, she has nurtured and led the dancers for The National Ballet of Japan to become the leading company in Japan. This season's line-up sums up this company's best works thus far. The season will open in October with Kenneth MACMILLAN's "Romeo and Juliet", an exemplar of the dramatic ballet tradition. This will be followed by "Manon" in February and March. Both works will showcase the company's expressive richness and depth. Christmas season will feature Wayne EAGLING's "The Nutcracker and the Mouse King". Technically a very demanding piece, this dreamy fairy tale has real visual appeal which audiences of all ages will enjoy. Then, our "New Year Ballet" will feature what has been called "music for the eyes" in the form of George BALANCHINE's "Serenade", as well as pas de deux from "Raymonda" and "Le Corsaire". -
Words Into Movement: the Ballet As Intersemiotic Translation Karen
Words into Movement: The Ballet as Intersemiotic Translation 1 Karen Bennett Centre for Comparative Studies University of Lisbon In 1959, Roman Jakobson, in his famous article “On Linguistic Aspects of Translation”, extended the concept of translation from the merely verbal to include transfer between different sign systems. On the basis of this, most ballets, which generally derive their aesthetic structure and narrative content from some preceding text, may legitimately be considered as examples of intersemiotic translation. Indeed, many classical ballets are based upon not one but two prior texts - a musical score, which largely determines the form and emotional thrust of the choreography, 1 and a canonical or popular work of literature of which the score is itself a ‘translation’; hence there is a dual transfer involved. This is the case in the three versions of Romeo and Juliet that I wish to look at here, all of which are simultaneously based upon Prokofiev’s score and Shakespeare’s play. If we define ballet as translation into kinesthetic/visual medium of a work previously encoded in verbal or musical form, then the tools used in the discipline of Translation Study may be validly applied to these works. The objective of this paper, therefore, is to examine some of the constraints operating upon three different ballet versions of Romeo and Juliet, produced at different moments during the twentieth century, which I will do so with reference to the categories suggested by André Lefevere in his 1985 article “Why Waste our Time on Rewrites?” These are, in his order, 1 Published in Teatro e Tradução: Palcos de Encontro, Maria João Brilhante & Manuela Carvalho (Eds) Lisbon: Colibri, 2007 (pp.125-138). -
Johann Strauss Emperor Waltz - Kaiserwalzer Mp3, Flac, Wma
Johann Strauss Emperor Waltz - Kaiserwalzer mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Emperor Waltz - Kaiserwalzer Country: Brazil Released: 1973 Style: Romantic MP3 version RAR size: 1938 mb FLAC version RAR size: 1722 mb WMA version RAR size: 1690 mb Rating: 4.2 Votes: 651 Other Formats: XM ADX RA VOC MP4 MP3 APE Tracklist A1 –Johann Strauss* An Der Schönen Blauen Donau, Op. 314 A2 –Johann Strauss* Tritsch-Tratsch-Polka, Op. 214 A3 –Johann Strauss* Kaiser-Walzer, Op. 437 B1 –Johann Strauss* Unter Donner Und Blitz, Op. 324 B2 –Johann Strauss* Rosen Aus Dem Süden, Op. 388 B3 –Josef Strauss*, Johann Strauss* Pizzicato-Polka B4 –Johann Strauss* Annen-Polka, Op. 117 B5 –Johann Strauss* Perpetuum Mobile, Op. 257 Companies, etc. Manufactured By – Companhia Brasileira De Discos Phonogram Distributed By – Companhia Brasileira De Discos Phonogram Credits Conductor – Karl Böhm Orchestra – Wiener Philharmoniker Notes Vinyl has the generic yellow Company labels with top small Tulips motif logo and straight borders. Vinyl is held in a fully laminated picture cover which has 'Serie De Luxo' back top print. Other versions Category Artist Title (Format) Label Category Country Year Johann Strauss* & Johann Strauss* & Josef Strauss* - Deutsche 2530 316 2530 316 Germany 1973 Josef Strauss* Emperor Waltz - Grammophon Kaiserwalzer (LP) Johann Strauss* & DK 214 Johann Strauss* & Josef Strauss* - Deutsche DK 214 US 1978 LPS Josef Strauss* Emperor Waltz - Klassische LPS Kaiserwalzer (LP) Johann* Et Joseph Johann* Et Joseph Strauss* / -
Ambassador Auditorium Collection ARS.0043
http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf194 No online items Guide to the Ambassador Auditorium Collection ARS.0043 Finding aid prepared by Frank Ferko and Anna Hunt Graves This collection has been processed under the auspices of the Council on Library and Information Resources with generous financial support from the Andrew W. Mellon Foundation. Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] 2011 Guide to the Ambassador Auditorium ARS.0043 1 Collection ARS.0043 Title: Ambassador Auditorium Collection Identifier/Call Number: ARS.0043 Repository: Archive of Recorded Sound, Stanford University Libraries Stanford, California 94305-3076 Physical Description: 636containers of various sizes with multiple types of print materials, photographic materials, audio and video materials, realia, posters and original art work (682.05 linear feet). Date (inclusive): 1974-1995 Abstract: The Ambassador Auditorium Collection contains the files of the various organizational departments of the Ambassador Auditorium as well as audio and video recordings. The materials cover the entire time period of April 1974 through May 1995 when the Ambassador Auditorium was fully operational as an internationally recognized concert venue. The materials in this collection cover all aspects of concert production and presentation, including documentation of the concert artists and repertoire as well as many business documents, advertising, promotion and marketing files, correspondence, inter-office memos and negotiations with booking agents. The materials are widely varied and include concert program booklets, audio and video recordings, concert season planning materials, artist publicity materials, individual event files, posters, photographs, scrapbooks and original artwork used for publicity. -
Digital Concert Hall
Digital Concert Hall Streaming Partner of the Digital Concert Hall 21/22 season Where we play just for you Welcome to the Digital Concert Hall The Berliner Philharmoniker and chief The coming season also promises reward- conductor Kirill Petrenko welcome you to ing discoveries, including music by unjustly the 2021/22 season! Full of anticipation at forgotten composers from the first third the prospect of intensive musical encoun- of the 20th century. Rued Langgaard and ters with esteemed guests and fascinat- Leone Sinigaglia belong to the “Lost ing discoveries – but especially with you. Generation” that forms a connecting link Austro-German music from the Classi- between late Romanticism and the music cal period to late Romanticism is one facet that followed the Second World War. of Kirill Petrenko’s artistic collaboration In addition to rediscoveries, the with the orchestra. He continues this pro- season offers encounters with the latest grammatic course with works by Mozart, contemporary music. World premieres by Beethoven, Schubert, Mendelssohn, Olga Neuwirth and Erkki-Sven Tüür reflect Brahms and Strauss. Long-time compan- our diverse musical environment. Artist ions like Herbert Blomstedt, Sir John Eliot in Residence Patricia Kopatchinskaja is Gardiner, Janine Jansen and Sir András also one of the most exciting artists of our Schiff also devote themselves to this core time. The violinist has the ability to capti- repertoire. Semyon Bychkov, Zubin Mehta vate her audiences, even in challenging and Gustavo Dudamel will each conduct works, with enthusiastic playing, technical a Mahler symphony, and Philippe Jordan brilliance and insatiable curiosity. returns to the Berliner Philharmoniker Numerous debuts will arouse your after a long absence. -
NEWSLETTER > 2019
www.telmondis.fr NEWSLETTER > 2019 Opera Dance Concert Documentary Circus Cabaret & magic OPERA OPÉRA NATIONAL DE PARIS > Boris Godunov 4 > Don Pasquale 4 > Les Huguenots 6 SUMMARY > Simon Boccanegra 6 OPÉRA DE LYON DANCE > Don Giovanni 7 OPÉRA NATIONAL DE PARIS TEATRO LA FENICE, VENICE > Thierrée / Shechter / Pérez / Pite 12 > Tribute to Jerome Robbins 12 > Tannhäuser 8 > Cinderella 14 > Orlando Furioso 8 > Norma 9 MALANDAIN BALLET CONCERT > Semiramide 9 > Noah 15 OPÉRA NATIONAL DE PARIS DUTCH NATIONAL OPERA MARIINSKY THEATRE, ST. PETERSBURG > Tchaikovsky Cycle (March 27th and May 15th) 18 > Le Nozze de Figaro 10 > Petipa Gala – 200th Birth Anniversary 16 > The 350th Anniversary Inaugural Gala 18 > Der Ring des Nibelungen 11 > Raymonda 16 BASILIQUE CATHÉDRALE DE SAINT-DENIS > Processions 19 MÜNCHNER PHILHARMONIKER > Concerts at Münchner Philharmoniker 19 ZARYADYE CONCERT HALL, MOSCOW > Grand Opening Gala 20 ST. PETERSBURG PHILHARMONIC > 100th Anniversary of Gara Garayev 20 > Gala Concert - 80th Anniversary of Yuri Temirkanov 21 ALHAMBRA DE GRANADA > Les Siècles, conducted by Pablo Heras-Casado 22 > Les Siècles, conducted by François-Xavier Roth 22 > Pierre-Laurent Aimard’s Recital 23 OPÉRA ROYAL DE VERSAILLES > La Damnation de Faust 23 DOCUMENTARY > Clara Haskil, her mystery as a performer 24 > Kreativ, a study in creativity by A. Ekman 24 > Hide and Seek. Elīna Garanča 25 > Alvis Hermanis, the last romantic of Europe 25 > Carmen, Violetta et Mimi, romantiques et fatales 25 CIRCUS > 42nd international circus festival of Monte-Carlo 26