Les Contes D'hoffmann
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Ein Lied Für Eine Menschliche Welt
NEWSLETTER 55 © Herbert Büttiker www.roccosound.ch Jacques Offenbachs «Les Fées du Rhin» im Theater Biel Solothurn 7. November 2018 Ein Lied für eine menschliche Welt Feen verführen und verderben die Männer – Laura (Serenad Uya) rettet Franz (Gustavo Quaresma) aus ihren Fängen. Bilder: © Konstantin Nazlamov Jacques Offenbachs Lorgnon ren das Ballett «Le Papillon» für die rung. Diese gastierte auch in Winter- Nun also im Theater Biel Solo- war nicht nur für den spötti- Grand Opéra und «Barkouf» für die thur und war ein opernhistorisches thurn ein neuer Weckruf (fünf Sterne schen Blick geschliffen, son- Opéra Comique – auf einen franzö- Ereignis. Die grossen Opernbühnen dafür!). Operninteressierten sei die dern auch für den entsetzten. sischen Text für Wien, wo sie 1864 in scheinen es verschlafen zu haben. Inszenierung, die am 3. November Das Theater Biel Solothurn einer einigermassen unbeholfenen in Biel Premiere hatte, wärmstens offenbart es eindrücklich mit deutschen Übersetzung und vestüm- empfohlen – nicht nur aus histori- «Les Fées du Rhin». melt 1864 an der Wiener Hofoper schem Interesse, sondern weil es ein zur Uraufführung kam, durchaus packendes Stück ist: überraschend Um Krieg, Verwüstung, Bestiali- mit Erfolg. Das weitere Geschick des reich und stark die Musik, grossartig sierung der Männer, missbrauchte Werks und Offenbachs Karriere als die herausfordernden Partien für vier, Frauen und die romantische Visi- Opernkomponist bestimmten aber fünf Protagonisten. Zu erleben ist on der Heilung des Übels geht es in eine feindliche Presse und antisemiti- eine musikalisch starke Aufführung «Les Fées du Rhin», und der Bariton sche Ressentiments. und eine Inszenierung, die mit der als Kommandant der Soldateska ist Verlegung der Handlung aus der Zeit kein General Bumm, das Stück keine Ein opernhistorisches Ereignis der Bauernkriege im 16. -
Bellini's Norma
Bellini’s Norma - A discographical survey by Ralph Moore There are around 130 recordings of Norma in the catalogue of which only ten were made in the studio. The penultimate version of those was made as long as thirty-five years ago, then, after a long gap, Cecilia Bartoli made a new recording between 2011 and 2013 which is really hors concours for reasons which I elaborate in my review below. The comparative scarcity of studio accounts is partially explained by the difficulty of casting the eponymous role, which epitomises bel canto style yet also lends itself to verismo interpretation, requiring a vocalist of supreme ability and versatility. Its challenges have thus been essayed by the greatest sopranos in history, beginning with Giuditta Pasta, who created the role of Norma in 1831. Subsequent famous exponents include Maria Malibran, Jenny Lind and Lilli Lehmann in the nineteenth century, through to Claudia Muzio, Rosa Ponselle and Gina Cigna in the first part of the twentieth. Maria Callas, then Joan Sutherland, dominated the role post-war; both performed it frequently and each made two bench-mark studio recordings. Callas in particular is to this day identified with Norma alongside Tosca; she performed it on stage over eighty times and her interpretation casts a long shadow over. Artists since, such as Gencer, Caballé, Scotto, Sills, and, more recently, Sondra Radvanovsky have had success with it, but none has really challenged the supremacy of Callas and Sutherland. Now that the age of expensive studio opera recordings is largely over in favour of recording live or concert performances, and given that there seemed to be little commercial or artistic rationale for producing another recording to challenge those already in the catalogue, the appearance of the new Bartoli recording was a surprise, but it sought to justify its existence via the claim that it authentically reinstates the integrity of Bellini’s original concept in matters such as voice categories, ornamentation and instrumentation. -
Spring 2021 NEWSLETTER : BULLETIN Printemps 2021 President’S Message
Société d' Opéra National Capital de la Capitale Nationale Opera Society Spring 2021 NEWSLETTER : BULLETIN Printemps 2021 President’s Message It is March 15, 2021 and I am starting to feel viding a virtual Ring festival throughout optimistic that our jail sentences are coming March. The four operas, recorded in 2018, to an end. Spring is in the air and we saw a are streamed each weekend free of charge. In high of 16 C last week. The vaccines are on addition they offer a series of one hour pre- their way!! Phew! It is about time. sentations on subjects such as the History of We have postponed the next Brian Law The Ring, Dining on the Rhine, Feminism, Opera Competition until October 2022 and Grace Bumbry breaking the colour barrier at will start the planning in the fall. Also we Bayreuth etc. The fee to watch all 16 presen- decided to waive membership fees for this tations is US$99. As always, big thanks year. So do not worry about your member- for contributions from David Williams and ship. However, if you would like to make a his team for the newsletter and to Jim Bur- donation to the society, it will be gratefully gess for our website. received. I will provide you a receipt for As soon as everyone feels safe, we Income Tax purposes. should plan on a special face-to-face meet- I have some sad news to share, that one ing where we can embrace, watch opera, eat, of our long-time supporters passed away re- drink and be merry! cently, Tom McCool. -
Serge Diaghilev/Serge Lifar Collection [Finding Aid]. Library of Congress
Serge Diaghilev/Serge Lifar Collection Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2006 Revised 2012 November Contact information: http://hdl.loc.gov/loc.music/perform.contact Additional search options available at: http://hdl.loc.gov/loc.music/eadmus.mu003011 LC Online Catalog record: http://lccn.loc.gov/2006568220 Processed by the Music Division of the Library of Congress Collection Summary Title: Serge Diaghilev/Serge Lifar Collection Span Dates: 1750-1950 Bulk Dates: (bulk 1890-1929) Call No.: ML31.D53 Creator: Diaghilev, Serge, 1872-1929 Extent: around 1,350 items ; 81 boxes ; 91 linear feet Language: Collection material in English, French, and Russian Location: Music Division, Library of Congress, Washington, D.C. Summary: This collection is comprised in large part of printed music, widely representing 18th century Italian and 19th century Russian operatic music. Includes rare pre-revolutionary editions of Russian folk songs, annotated performance scores of Stravinsky, Mussorgsky, Rimsky-Korsakov, Gounod, Cimarosa. Non-musical materials include three letters from S. Prokofiev to S. Diaghilev, rare edition of books on music, literature and theater, libretti and synopses, souvenir books and programs and photographs. Several of the programs and photographs show Léon Bakst's set and costume designs. Non- musical materials also include Diaghilev’s personal notebook, containing entries in French, Russian, and English made in 1926-1929. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein. -
Staged Treasures
Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio -
Offenbach 2019 Wiederentdeckungen Zum 200
AUSGABE NR. 2 2018/19 WWW.BOOSEY.DE SPECIAL OFFENBACH 2019 WIEDERENTDECKUNGEN ZUM 200. GEBURTSTAG 20 JAHRE OFFENBACH EDITION KECK OEK EDITORIAL & INHALT 20 JAHRE OFFENBACH-ENTDECKUNGEN Yes, We Can Can ... Ein Grußwort Jedesmal ein Abenteuer ... so lautet das Motto, unter dem die Stadt und Region Köln von Marc Minkowski von den 200. Geburtstag Jacques Offenbachs mit einer Fülle von Veranstaltungen feiert ( yeswecancan.koeln). Es hätte auch Nun existiert sie zwanzig das Motto sein können, mit dem Boosey & Hawkes 1999 seine Jahre, und zwanzig Jahre monumentale Offenbach Edition, die OEK, in Angriff nahm arbeiten wir regelmäßig unter der Ägide von Jean-Christophe Keck. Aber das Bonmot lag zusammen – zu unserem noch nicht in der Luft. 2019 feiern wir den 20. Geburtstag der größten Vergnügen. Mit Anne or genau zwanzig Jahren starteten wichtigsten zu nennen, die uns unterstützt sion de Paris“ durchgesetzt hat; die Fas- Ausgabe zusammen mit dem 200. unseres Komponisten, und Sofie von Otters Rezital im wir die kritische Ausgabe der Wer- und mit uns zusammengearbeitet haben. sung der Pariser Uraufführung; schließlich wir freuen uns, dass dies in so enger Kooperation nicht nur mit Pariser Châtelet hat alles V ke Jaques Offenbachs mit seiner Auch die Archive der Verlagshäuser haben die überarbeitete Fassung für die Wiener der Stadt Köln, ihren Institutionen, den Organisatorinnen und begonnen. Seither reihen sich ersten abendfüllenden opéra-bouffon Or- oft schöne Funde ermöglicht, insbesonde- Bühnen. Dies sind die drei Eckpfeiler, die Organisatoren geschehen kann, sondern mit einer Fülle von Konzerte und Inszenierungen phée aux Enfers von 1858, unmittelbar ge- re diejenigen von Offenbachs historischen in der Regel den Takt für die Aufarbeitung Theatern, Orchestern und begeisterten Musiker*innen. -
2016|17 Season
2016| 17 SEASON LYRIC OPERA OF CHICAGO Table of Contents ROBERT KUSEL ROBERT IN THIS ISSUE Eugene Onegin – pp. 20-35 4 From the General Director 21 Synopsis 40 Patron Salute 6 From the Chairman 23 Cast 43 Aria Society 10 24 Artist Profiles Board of Directors 52 Breaking New Ground 11 Women’s Board/Guild Board/Chapters’ 29 Opera Notes 53 Look to the Future Executive Board/Young Professionals/ 34 A Talk with the Director Ryan Opera Center Board 54 Major Contributors – Special Events 35 After the Curtain Falls 12 Administration/Administrative Staff/ and Project Support Production and Technical Staff 36 Musical Staff/Orchestra/Chorus 55 Lyric Unlimited Contributors 37 14 Why I Love Opera… Backstage Life and Why I Love Lyric – Part 4 38 Artistic Roster 57 Ryan Opera Center 20 Tonight’s Performance 39 Lyric and Social Media 58 Ryan Opera Center Alumni Around the World 59 Ryan Opera Center Contributors 60 Planned Giving: The Overture Society TODD ROSENBERG TODD MORE FROM 61 Commemorative Gifts THE LYRIC 62 Corporate Partnerships AUDIENCE, 63 Matching Gifts, Special Thanks and pp. 14-18 Acknowledgements 64 Annual Individual and Foundation Support 70 Facilities and Services/Theater Staff On the cover: “An Unknown Man in a Frock Coat,” artist unknown. ©Victoria and Albert Museum, London. 2 | February 26 - March 20, 2017 vvvv 2017/18 SEASON Orphée & Eurydice GLUCK Featuring The Joffrey Ballet Sep 23 – Oct 15, 2017 Subscriptions on sale now — Rigoletto VERDI SAVE UP TO 50% Oct 7 – Nov 3, 2017 Die Walküre WAGNER Nov 1 – 30, 2017 The Pearl Fishers BIZET -
NABUCCO De G. Verdi
la música de Verdi Notas a la produccióN “Con Nabucco puede afirmarse realmente que mi Si hay un escenario del mundo rendido a Verdi es carrera ha comenzado”, afirmaba Verdi. En efecto, es la Arena de Verona. Sus óperas más espectaculares el principio de todo: de su idilio con el público, de su y colectivas, empezando por Nabucco , parecen romance con la soprano Giuseppina Strepponi (que pensadas para este inmenso anfiteatro romano del encarnó a la primera Abigail, y con la que convivió siglo I, con capacidad para 16.000 espectadores. más de medio siglo) y, sobre todo, de su estilo Más aún si al frente de la orquesta se sitúa un viejo musical, que impactó al mundo antes incluso del conocido como Daniel Oren y Marco Faelli dirige un estreno. Lo relataba una crónica: “Era tan nueva, tan estupendo coro, verdadera estrella de la función. Y desconocida, tan rápida, que durante los ensayos los eso que el reparto de esta grabación es de categoría: operarios, pintores, maquinistas, abandonaban sus Leo Nucci, barítono verdiano por excelencia, lleva tareas para mirar boquiabiertos”. cuatro décadas en la piel de Rigoletto, Miller, Simon ABUCCO de G. Verdi 4 N 1 Boccanegra o, por supuesto, el rey Nabucodonosor, 0 El joven compositor no había sido un niño prodigio. 2 e al que otorga autoridad, saber estar y carisma. Le d No tocaba bien el piano, razón por la cual le recha- o y zaron en el conservatorio de Milán. Pero logró cierta da réplica como Abigail la poderosa soprano Maria a m Guleghina, y completa la terna la nobleza del bajo e repercusión con su primera ópera, Oberto (1839), y d 8 Carlo Colombara. -
Jacques Offenbach Su Obra 1 Biblioteca Tao Gnostica
JACQUES OFFENBACH SU OBRA 1 BIBLIOTECA TAO GNOSTICA Jacques Offenbach Jacques Offenbach 20 de junio de 1819 Nacimiento Colonia, Alemania 5 de octubre de 1880 Fallecimiento París, Francia Alma máter Conservatorio de París Compositor, Ocupación violonchelista Cónyuge Herminia de Alcain Jacques Offenbach (n. Colonia, Alemania, 20 de junio de 1819 – f. París, Francia, 5 de octubre de 1880) fue un compositor y violonchelista judío nacido en la Confederación Germánica, convertido al catolicismo y nacionalizado francés,1 creador de la opereta moderna y de la comedia musical. Fue uno de los compositores más influyentes de la música popular europea del siglo XIX. www.gftaognosticaespiritual.org GRAN BIBLIOTECA VIRTUAL ESOTERICA ESPIRITUAL JACQUES OFFENBACH SU OBRA 2 BIBLIOTECA TAO GNOSTICA Biografía Nació en Deutz, hoy un barrio de la ciudad de Colonia, en el seno de una familia judía, con el nombre de Jakob. Sus padres fueron el encuadernador, profesor de música y compositor Isaac Juda Eberst y Marianne Rindskopf, quienes poco antes de su nacimiento cambiaron su apellido por el nombre de la ciudad natal del padre, Offenbach del Meno, cerca de Fráncfort. Estudió violonchelo y violín. En 1833 viajó a París, donde fue discípulo de Luigi Cherubini en el Conservatorio. Fue violonchelista de diversas orquestas, entre ellas la de la Opéra-Comique. En 1844 hubo de convertirse a la religión católica a fin de poder casarse con la española Herminia de Alcain —cuyo nombre en francés es Herminie d'Alcain— de 18 años de edad. En 1848 huyó de Francia ante los hechos revolucionarios que se produjeron, volviendo al año siguiente. -
Jacques Offenbach : His Centenary
Early Journal Content on JSTOR, Free to Anyone in the World This article is one of nearly 500,000 scholarly works digitized and made freely available to everyone in the world by JSTOR. Known as the Early Journal Content, this set of works include research articles, news, letters, and other writings published in more than 200 of the oldest leading academic journals. The works date from the mid-seventeenth to the early twentieth centuries. We encourage people to read and share the Early Journal Content openly and to tell others that this resource exists. People may post this content online or redistribute in any way for non-commercial purposes. Read more about Early Journal Content at http://about.jstor.org/participate-jstor/individuals/early- journal-content. JSTOR is a digital library of academic journals, books, and primary source objects. JSTOR helps people discover, use, and build upon a wide range of content through a powerful research and teaching platform, and preserves this content for future generations. JSTOR is part of ITHAKA, a not-for-profit organization that also includes Ithaka S+R and Portico. For more information about JSTOR, please contact [email protected]. JACQUES OFFENBACH : HIS CENTENARY By MARTIAL TENEO O N June the 20th, 1819, at Cologne, in the Glockengasse (now only a memory), was born Jacques Offenbach,whose renown, forty years later, was to overspreadthe world. To rehabilitate such an artist, still held in contempt at the present day by our musical "scientists," to restore him to his rightful place on the occasion of the centennial of his birth, is a task worthy of an unbiassed historian. -
Offenbach Fantastique! Symphonic Music by Jacques Offenbach
Offenbach Fantastique! Symphonic Music by Jacques Offenbach Leipziger Symphonieorchester Nicolas Krüger, Conductor Offenbach Fantastique! Symphonic Music by Jacques Offenbach Leipziger Symphonieorchester Nicolas Krüger, Conductor Jacques Offenbach (1819–1880) From the opéra fantastique Les trois baisers du diable (1857) 01 Ouverture . (03'03) From the opéra comique Robinson Crusoé (1867) 02 Entr’acte . (07'25) From the opéra féerie Le voyage dans la lune (1875) 03 Ouverture . (06'37) From the opéra comique Fantasio (1872) 04 Acte III: No. 15 Entr’acte . (02'44) From the opéra bouffe feérique Le Roi Carotte (1872) 05 No. 26 – Entr’acte (L’orage) . (04'23) From the opéra romantique Les Fées du Rhin (1864) 06 Ouverture . (05'07) From the opéra comique Fantasio 07 Acte II: No. 8 Entr’acte . (03'23) From the opéra bouffe Barkouf (1860) 08 Acte III: Entr’acte – Valse . (04'04) From the opéra comique Fantasio 09 Acte I: Introduction . (07'56) From La Haine – theater music (1874) 10 No. 22 – Marche Religieuse . (05'10) From the opéra bouffe feérique Le Roi Carotte 11 No. 25 A – Introduction . (02'53) 12 No. 25 B – Ballet/Valse . (07'18) From the opéra bouffe Orphée aux enfers (1858) 13 Ouverture . (09'17) Total Time . (69'27) Jacques Offenbach e was in the right place at the right time. Parisians whistled his melodies along the boulevards and ladies of the night danced the can-can. In the 1860s the name Jacques Off enbach stood for exhilaration, rapture and satire. In his more H than 100 works for the lyric stage he captured the mood of the day in Paris like no other. -
3. Temporada Artística J Pág 113 J Pág 6 8.1 Alquiler De Espacios J Pág 114
Memoria de actividad 2018/19 1 J 1. Nuestro Liceu 7. Actos de mecenazgo Índice J pág 3 J pág 110 2. Mecenazgo 8. Otras líneas J pág 4 de actividad comercial 3. Temporada artística J pág 113 J pág 6 8.1 Alquiler de espacios J pág 114 3. 1 Ópera J pág 8 8.2 Conciertos de otros programadores J pág 115 3. 2 Danza J pág 48 8.3 Visitas J pág 118 3. 3 Recitales y conciertos J pág 58 9. Información económica 3. 4 El Petit Liceu J pág 82 J pág 119 4. Giras fuera del Liceu 10. Estadísticas J pág 90 J pág 121 4.1 El Petit Liceu J pág. 91 10.1 Oferta y ocupación J pág 122 4.2 Orquesta y Coro del Gran Teatre del Liceu J pág. 92 10.2 Impacto en medios y redes sociales J pág 128 5. Audiovisuales J pág 93 6. La institución J pág 97 6.1 El proyecto social J pág. 98 6.2 El proyecto educativo J pág. 101 6.3 Liceu en el territorio J pág. 104 6.4 Liceu a la Fresca J pág. 105 6.5 Compromiso ambiental y energético J pág. 106 6.6 Las publicaciones del Liceu J pág. 108 2 J Volver al Índice Nuestro Liceu Una nueva temporada que cierra busca también romper barreras geográficas con otras iniciativas, como el Liceu con buenas noticias, pues el Gran en el Territorio, que ha aumentado un 21,27 % el número de personas de fuera de Teatre del Liceu se encamina con Barcelona y el área metropolitana que han venido al Teatre, o el Liceu a la Fresca, entusiasmo hacia el 20 aniversa- que, un año más, ha permitido que cerca de 100 000 personas de España, Fran- rio de la reapertura, una esperada cia y Andorra hayan podido disfrutar al aire libre y de forma gratuita de la ópera celebración que ha servido para Tosca de Puccini.