Notre Dame Scholastic, Vol. 126, No. 05
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Network Notebook
Network Notebook Fall Quarter 2018 (October - December) 1 A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more. -
1 Madama Butterfly I Personaggi E Gli Interpreti
1 G V M e i r a a s i d c o n o a e Madama Butterfly m m o o r a i Versione originale del 17 febbraio 1904 g i P B n u a u l c Giacomo Puccini e t c t d e i e n r l i f 1 l 7 y f e Stagione d’Opera 2016 / 2017 b b r a i o 1 9 0 4 S t a g i o n e d ’ O p e r a 2 0 1 6 / 2 0 1 7 Madama Butterfly Versione originale del 17 febbraio 1904 Tragedia giapponese in due atti Musica di Giacomo Puccini Libretto di Luigi Illica e Giuseppe Giacosa (da John L. Long e David Belasco) Nuova produzione Teatro alla Scala EDIZIONI DEL TEATRO ALLA SCALA TEATRO ALLA SCALA PRIMA RAPPRESENTAZIONE Mercoledì 7 dicembre 2016, ore 18 REPLICHE dicembre Sabato 10 Ore 20 – TurNo B Martedì 13 Ore 20 – TurNo A VeNerdì 16 Ore 20 – TurNo C DomeNica 18 Ore 20 – TurNo D VeNerdì 23 Ore 20 – TurNo E REPLICHE gennaio 2017 Martedì 3 Ore 20 – Fuori abboNameNto DomeNica 8 Ore 15 – Fuori abboNameNto ANteprima dedicata ai GiovaNi LaScalaUNDER30 Domenica 4 dicembre 2016, ore 18 SOMMARIO 5 Madama Butterfly . Il libretto 40 Il soggetto ArgumeNt – SyNopsis – Die HaNdluNg – ࠶ࡽࡍࡌ – Сюжет Claudio Toscani 53 Giacomo PucciNi Marco Mattarozzi 56 L’opera iN breve Claudio Toscani 58 La musica Virgilio Bernardoni 62 La prima Butterfly , uN ricoNoscimeNto morale all’Autore. UNa possibilità iN più di ascolto, coNfroNto e coNosceNza INtervista a Riccardo Chailly 67 “UNa vera sposa...”? INgaNNo e illusioNe Nella prima Arthur Groos scaligera di Madama Butterfly 83 Madama Butterfly, uNa tragedia iN kimoNo Michele Girardi 99 Come eseguire Madama Butterfly Dieter Schickling 110 Madama Butterfly alla Scala dal 1904 al 2007 Luca Chierici 137 Alvis HermaNis e Madama Butterfly Olivier Lexa Il gesto della fragilità 167 Riccardo Chailly 169 Alvis HermaNis 170 Leila Fteita 171 Kris t¯ıNe Jur j¯aNe 172 Gleb FilshtiNsky 173 INeta SipuNova 174 Alla Sigalova 175 Olivier Lexa 176 Madama Butterfly . -
Recordings of Mahler Symphony No. 4
Recordings of Mahler Symphony No. 4 by Stan Ruttenberg, President, Colorado MahlerFest SUMMARY After listening to each recording once or twice to get the general feel, on bike rides, car trips, while on the Internet etc, I then listened more carefully, with good headphones, following the score. They are listed in the survey in about the order in which I listened, and found to my delight, and disgust, that as I went on I noticed more and more details to which attention should be paid. Lack of time and adequate gray matter prevented me from going back and re-listening all over again, except for the Mengelberg and Horenstein recordings, and I did find a few points to change or add. I found that JH is the ONLY conductor to have the piccolos play out adequately in the second movement, and Claudio Abbado with the Vienna PO is the only conductor who insisted on the two horn portamenti in the third movement.. Stan's prime picks: Horenstein, Levine, Reiner, Szell, Skrowaczewski, von Karajan, Abravanel, in that order, but the rankings are very close. Also very good are Welser- Most, and Klemperer with Radio Orchestra Berlin, and Berttini at Cologne. Not one conductor met all my tests of faithfulness to the score in all the too many felicities therein, but these did the best and at the same time produced a fine overall performance. Mengelberg, in a class by himself, should be heard for reference. Stan's soloist picks: Max Cencic (boy soprano with Nanut), in a class by himself. Then come, not in order, Davrath (Abravanel), Mathes (von Karajan), Trötschel (Klemperer BRSO), Raskin (Szell), Blegen (Levine), Della Casa (Reiner), Irmgard Seefried (Walter), Jo Vincent (Mengelberg), Ameling (Haitink RCOA), Ruth Zeisek (Gatti), Margaret Price with Horenstein, and Kiri Te Kanawa (Solti), Szell (Rattle broadcast), and Battle (Maazel). -
Opera 2001 Sl
OPERA 2001 S.L. Tel (+ 34) 965 26 86 01 – Fax 965 26 85 94 1 www.opera 2001.net opera 2001@opera 2001.net LA COMPAÑÍA LÍRICA OPERA 2001 presenta El Barbero de Sevilla De Gioacchino Rossini Ópera en 4 actos de Rossini Libreto de Cesare STERBINI Versión original en italiano Ópera sobretitulada en español ÍNDICE Ficha artística – p3 Curriculum del equipo artístico – p4 Curriculum de los artistas de los papeles principales – p5 Argumento - p8 Compañía - Contactos - Enlaces - p9 Ficha técnica - p10 SINOPSIS Es la historia del viejo Doctor Bartolo, empeñado en casarse con su pupila Rosina. Pero Rosina está enamorada del joven Conde Almaviva que con la complicidad del barbero Fígaro, se presenta disfrazado de varias maneras en casa de Bartolo. En cuanto a Basilio, un jesuita muy sospechoso, sirve alternativamente los intereses de Bartolo y los de Almaviva… OPERA 2001 S.L. Tel (+34) 965 26 86 01 – Fax 965 26 85 94 www.opera 2001.net opera 2001@opera 2001.net 2 El Barbero de Sevilla Ópera en 4 actos de Rossini Libreto de Cesare STERBINI Dirección musical: Martin Mázik & Constantin Rouits Dirección de escena: Roberta Mattelli & Matteo Peirone Dirección artística: Luis Miguel Lainz Escenografía: Alfredo Troisi Vestuario: Arrigo (Milano - Italia) Peluquería: Mario Audello (Torino - Italia) Calzado: Calzature Epoca (Milano – Italia) Solistas, Orquesta y Coros de la compañía lírica Opera 2001 REPARTO ALMAVIVA Paolo ANTOGNETTI, Gora CAH FIGARO Giulio BOSCHETTI, Javier GALÁN, Paolo RUGGIERO ROSINA Francesca BRUNI, Linda CAMPANELLA, Pauline ROUILLARD BARTOLO Matteo PEIRONE, Giancarlo TOSI BASILIO Luca DALL’AMICO, Ivaylo DZHUROV FIORELLO Nicolay BACHEV BERTA Roberta MATELLI *Reparto a título informativo, que puede sufrir cambios el día de la actuación, no previstos en la fecha de publicar esta información OPERA 2001 S.L. -
CV EN Soprano Claudia Oddo
www.claudiaoddo.com Claudia Oddo Opern- und Konzertsängerin Am Botanischen Garten 12 33617 Bielefeld & Elisabethstr. 4 40217 Düsseldorf Email: [email protected] Mobil: +491722588111 Biography – Claudia Oddo – spinto soprano Born in Germany, the Italian soprano Claudia Oddo gained her first stage experience at the age of 14 at the opera house of her native city, Bielefeld. There she received her ballet, piano and first vocal training. She performed as dancer, actress and chorus-singer in the theatre’s operas and ballets until she moved to Italy where she started her classical voice studies at the conservatories in Bologna and Modena. By the age of 21 she had already made her concert debut as a solo vocalist in the contemporary music theatre play "Siate Parchi“. Claudia Oddo’s performances in concert and opera are an equally important part of her schedule. She currently performs numerous concerts in Europe with excellent musicians, ensembles and orchestras. She is well known for her extraordinary concert programs of combining classical music to visual and multimedia arts. 2018 marks for Claudia Oddo the year of new recordings of soundtracks and songs that have made history. With the music video shot in Sicily and the soundtrack "Brucia la terra“ by Nino Rota and Giuseppe Rinaldi of the film "The Godfather" the Sicilian soprano wants to pay tribute to the life of Sicilian immigrants in Germany who emigrated in the 60s with testimony of her own family. Furthermore she will publish the audio recording and video called "Ode of Rock - Claudia Oddo & Mondo Musica" which will be a „Rock meets Classic“ version of the European anthem, Beethoven's "hymn to joy". -
The Inventory of the Deborah Voigt Collection #1700
The Inventory of the Deborah Voigt Collection #1700 Howard Gotlieb Archival Research Center Voigt, Deborah #1700 6/29/05 Preliminary Listing I. Subject Files. Box 1 A Chronological files; includes printed material, photographs, memorabilia, professional material, other items. 1. 1987-1988. [F. 1] a. Mar. 1987; newsletters of The Riverside Opera Association, Verdi=s AUn Ballo in Maschera@ (role of Amelia). b. Apr. 1987; program from Honolulu Symphony (DV on p. 23). c. Nov. 1987; program of recital at Thorne Hall. d. Jan. 1988; program of Schwabacher Debut Recitals and review clippings from the San Francisco Examiner and an unknown newspaper. e. Mar. 1988; programs re: DeMunt=s ALa Monnaie@ and R. Strauss=s AElektra@ (role of Fünfte Magd). f. Apr. 1988; magazine of The Minnesota Orchestra Showcase, program for R. Wagner=s ADas Rheingold@ (role of Wellgunde; DV on pp. 19, 21), and review clippings from the Star Tribune and the St. Paul Pioneer Press Dispatch. g. Sep. - Oct. 1988; programs re: Opera Company of Philadelphia and the International Voice Competition (finalist competition 3; DV on p. 18), and newspaper clippings. 2. 1989. [F. 2] a. DV=s itineraries. (i) For Jan. 4 - Feb. 9, TS. (ii) For the Johann Strauss Orchestra on Vienna, Jan. 5 - Jan. 30, TS, 7 p. b. Items re: California State, Fullerton recital. (i) Copy of Daily Star Progress clipping, 2/10/89. (ii) Compendium of California State, Fullerton, 2/13/89. (iii) Newspaper clipping, preview, n.d. (iv) Orange County Register preview, 2/25/89. (v) Recital flyer, 2/25/89. (vi) Recital program, program notes, 2/25/89. -
Inside This Issue "
.SCHOLASTIC February, 1985 \ \ \\', \. \, INSIDE THIS ISSUE ", I. Ireland , Love Relationships: Romancing the Dome 'College Suicide "\'~"", Plus Fiction by Chuck Ehrman Laurel-Ann Dooley ' ' " '. ''\ i, '. , '.' . ~ ; ".'. \ , ' r .' " ' '--.. ~.'. :: L ·oN Il WJ9d tlUtllPUI '9Wtla 9JION a I'ld 3E)\f.lSOd ·s·n 3.l\fI:l>llns a • I.e• SCHOLASTIC ~~For in every act of love and will-and in the long run they are Volume 127, Number 4 both present in each act-we mold ourselves and our world simultane ously. This is what it means to em brace the future." Dr. Rollo May Psychotherapist FEATURES 6/Streetwise: Gotta Beat the Streets by Bud Luepke Love has everything to do with justice. Chocolate St. Mary's is to claim a standard for community brown Jim with his fifty-two-year-old cigarette that counts individuals as more than parts of a sum. 8/The Proximity of Crime saturated voice wants us to remember that. The It is to claim that we have a table bountiful enough by Theresa Hardy and Anne Gallagher Urban Plunge, a forty-eight-hour descent into the to nourish our spirits, as well as our minds and·our bowels of an American city explodes the term bodies. Suicide should make us stop and listen. 9/Looking for Answers "poverty" right before our middle-class eyes. We "Therefore never send to know for whom the bell by Sue St. Ville find the debris scattered across our manicured lawns tolls;' the poet John Donne writes. "It tolls for IO/Beware of Yuppies and our consciences and we are forced to admit that . -
Faculty Recital
Department of Music Musical Arts Series presents Karen Clarke, violin with Douglas Fisher, piano Thursday, September 13, 2001 8:00 p.m. Music Building Recital Hall 1st concert of the 2001/2002 Musical Arts Series season. PROGRAM Menuet Fritz Kreisler (in the style of Porpora) Sonata in D Major, Op. 94a Sergei Prokofieff Moderato Scherzo Andante Allegro con brio INTERMISSION Sonata #2 in A Minor Johann Sebastian Bach (for unaccompanied violin) Grave Fuga Sonata in A Major, Op. 13 Gabriel Faure Allegro molto Andante Allegro vivo Allegro quasi presto Tambourin Chinois Fritz Kreisler Karen Clarke, Professor of Violin, joined the FSU faculty in 1980. She received the Bachelor of Music and Master of Music degrees from the Peabody Conservatory and continued her study at the Yale School of Music. Her teachers have included Joseph Silverstein, Robert Gerle, Donald Weilerstein and Charles Treger. Additional study of baroque violin took place in London. Ms. Clarke is a former member of the Baltimore Symphony Orchestra and the Aspen Festival Orchestra and served as concertmaster of the Wisconsin Chamber Orchestra and the Tanglewood Music Center Orchestra. As violinist of the Rogeri Trio, Ms. Clarke performed throughout the United States and served a residency at Yale University. She has recorded for the Leonarda, Titanic, Smithsonian, Denon and Dorian record labels and has appeared as soloist with the Buffalo Philharmonic, North Carolina Symphony and orchestras throughout Florida. Ms. Clarke is concertmaster of the Tallahassee Symphony Orchestra and principal second violin of the Apollo Ensemble, a period instrument orchestra. She maintains a versatile performing career, equally at home as a recitalist, chamber musician, orchestral player and period- instrument violinist. -
La Vie Musicale
MIHAI DE BRANCOVAN LA VIE MUSICALE Verdi, au T.M.P. — Fidelio, à l'Opéra. — Mstislav Ros- tropovitch et l'Orchestre de Paris. — Rudolf Serkin. — Annie d'Arco. Maintenant qu'il est terminé, on peut dire en connaissance de cause que le cycle d'opéras de jeunesse de Verdi présenté par le Théâtre Musical de Paris a été un succès, même si toutes les représentations n'ont pas été d'un niveau irréprochable. Mes réactions diffèrent sensiblement de celles du public, qui a beaucoup applaudi Emani, a fait un triomphe aussi délirant qu'exagéré à Macbeth, mais s'est montré, par contre, d'une froi• deur assez surprenante à l'égard dì Attila, spectacle qui méritait bien mieux que cela. Commençons par Macbeth. Pier Luigi Pizzi, qui a signé à la fois les décors, les costumes et la mise en scène, a choisi de faire jouer cette tragédie sur un plateau quasiment nu, où, à de rares exceptions près, tout est noir. Rien à dire à cela : c'est dans des cadres non moins austères et dépouillés que celui-ci qu'ont été réalisées, notamment en Angleterre, quelques-unes des plus fortes, des plus impressionnantes productions shakespearien• nes des quinze ou vingt dernières années. Pier Luigi Pizzi a d'ailleurs, lui aussi, trouvé de belles images, qui restent dans la mémoire : les apparitions du spectre de Banquo (habituellement laissées à l'imagination du spectateur, Macbeth étant seul à les voir), ou encore celles, suscitées par les sorcières, des huit rois symbolisant la descendance du même Banquo. Il n'était, en revan• che, pas indispensable de faire déposer, en plein milieu de la scène, le corps nu et ruisselant de sang du roi assassiné ; ni d'user et d'abuser (comme l'avait aussi fait Pierre Constant dans / Mas• nadieri) de ces nuages d'azote qui, depuis Chéreau, sont devenus 470 LA VIE MUSICALE l'accessoire obligatoire de tout spectacle qui se respecte : c'est là une véritable manie, qui commence à prendre des proportions inquiétantes. -
Paolo Antognetti Character Tenor
! Paolo Antognetti Character Tenor Italian character tenor Paolo Antognetti has been an audience favorite across the globe. His masterful portrayals, musicality and simpatico, driven by his sweet-timbered voice, also allow him to sing some lyric tenor roles such as Nemorino and Don Ottavio In 2017/18, Mr. Antognetti performs as Le Remendado in Carmen at Opera di Firenze, Borsa in Rigoletto at Teatro Massimo di Palermo, and Raymond in Jérusalem at Festival Verdi in Parma. Last season he returned to the Arena di Verona Opera Festival as Abdallo in Nabucco and Il Messaggero in Aida. At Teatro Comunale di Bologna he sang Bob Boles in Peter Grimes and at La Fenice, the role of Heinrich der Schreiber in Tannhäuser as well as Ernesto in the World Première of Filippo Ferocco’s Aquagranda. Recent seasons have seen Paolo Antognetti performing for delighted audiences across Italy in the roles of Arlecchino in I Pagliacci, Spoletta in Tosca, Gastone in La Traviata, Pong in Turandot, Ismaele in Nabucco, Tebaldo in both Romèo et Juliette and I Capuletti e i Montecchi, and many others. He has also appeared outside of Italy at the Royal Opera House of Muscat in Oman (Pong in Turandot), the State Opera Rousse in Bulgaria (Ismaele in Nabucco), International Opera Theater in Philadelphia (multiple roles in the World Première of Carlo Pedini’s Jago), Musikfestuttgart in Germany and the Concertgebouw in Holland (Eurimaco/Eumete in Il Ritorno d’Ulisse). He has created the roles for World Premièmes of Fabio Vacchi’s Lo specchio magico at Maggio Musicale Fiorentino (Alessandro di Fere/John Dunbar) and Alessandro Solbiati’s Il suono giallo at Teatro Comunale di Bologna Throughout Europe, audiences have seen Mr. -
Un Ballo in Maschera: Performance Practices at the Met Siegmund Levarie Brooklyn College
Verdi Forum Number 16 Article 3 1-1-1988 Un ballo in maschera: Performance Practices at the Met Siegmund Levarie Brooklyn College Follow this and additional works at: http://scholarship.richmond.edu/vf Part of the Musicology Commons, and the Music Performance Commons Recommended Citation Levarie, Siegmund (1988) "Un ballo in maschera: Performance Practices at the Met," Verdi Forum: No. 16, Article 3. Available at: http://scholarship.richmond.edu/vf/vol1/iss16/3 This Performance Review is brought to you for free and open access by UR Scholarship Repository. It has been accepted for inclusion in Verdi Forum by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. Un ballo in maschera: Performance Practices at the Met Keywords Giuseppe Verdi, Un ballo in maschera, Metropolitan Opera This performance review is available in Verdi Forum: http://scholarship.richmond.edu/vf/vol1/iss16/3 UN BALLO IN MASCHERA: Performance Practices at the Met• Siegmund Levarie, Brooklyn College of the City University of New York I shall first address myself to gratuitous disturbing because of its sudden occurrence. and to specified noises in the performance we Comparable nonmusical noise competes have just heard and seen, the latest with the fortissimo tutti that closes the first production of Un ballo in maschera at the scene: the ensemble of courtiers, conspir Metropolitan Opera. In this version, Riccardo ators, officials, and soldiers breaks into is shot rather than stabbed to death. Now applause. What or who is being applauded? whereas a dagger does not affect the ears of The decision to visit Ulrica? To meet in the audience, the noise of a pistol shot has disguise at three o'clock? The applause on the shock value of a kettledrum fortissimo. -
Eugene Ormandy Commercial Sound Recordings Ms
Eugene Ormandy commercial sound recordings Ms. Coll. 410 Last updated on October 31, 2018. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2018 October 31 Eugene Ormandy commercial sound recordings Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 4 Administrative Information........................................................................................................................... 5 Related Materials........................................................................................................................................... 5 Controlled Access Headings..........................................................................................................................6 Collection Inventory...................................................................................................................................... 7 - Page 2 - Eugene Ormandy commercial sound recordings Summary Information Repository University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts Creator Ormandy, Eugene, 1899-1985