WILLIAM KELLEY Conductor/Pianist

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WILLIAM KELLEY Conductor/Pianist Conductor and pianist William Kelley, a graduate of The Juilliard School, has performed for audiences across the United States and Europe in a range of repertoire from Baroque to jazz to opera and concert world premieres. In the 2020/21 season, Maestro Kelley assumes the position of Kapellmeister for Theater Bremen, where he will undertake several productions and new commissions. Kelley is currently Kapellmeister at Luzerner Theater in Luzern, Switzerland. He made his European conducting debut in 2017 with the Luzerner Sinfonieorchester in Mozart’s Die Zauberflöte. During the 2019/2020 season, he conducts Abraham’s Märchen im Grand Hotel, Carmen.maquia (a version for ballet), a world premiere by Manuel Renggli, Dschungel, Tchaikovsky’s Eugene Onegin, and Piazzolla’s tango operetta, María de Buenos Aires. In 2018, his debuts included a world premiere with the 21st Century Orchestra at the Lucerne Festival, Im Amt für Todesangelegenheiten, a concert with tenor Petr Nekoranec and the Czech Radio Symphony, and a return to the Luzerner Sinfonieorchester for Mozart's Don Giovanni. Previous performance highlights include several recitals with Czech tenor Petr Nekoranec, Schubert’s Winterreise with baritone Christopher Herbert for Trinity Wall Street’s Twelfth Night Festival, a residency with the New York Festival of Song (NYFOS) at the Caramoor Festival, and a production of Ravel’s L'enfant et les Sortilèges at The Juilliard School. In 2011, William made his Lincoln Center debut in recital with baritone Theo Hoffman which included the New York premiere of Jonathan Dove’s Three Tennyson Songs. Other highlights include Schubert’s Die schöne Müllerin on the Art de L’Autre concert series in Berlin, Germany. William has previously worked as a pianist and coach for Juilliard Opera, Music Academy of the West, Berlin Opera Academy, UNCG/Greensboro Opera, and the opera studio at the Robert Schumann Hochschule in Düsseldorf, Germany. JUNE 2020 www.InsigniaArtists.com (917) 525-2011 .

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The Transformation of Pushkin's Eugene Onegin Into Tchaikovsky's Opera
THE TRANSFORMATION OF PUSHKIN'S EUGENE ONEGIN INTO TCHAIKOVSKY'S OPERA Molly C. Doran A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2012 Committee: Eftychia Papanikolaou, Advisor Megan Rancier © 2012 Molly Doran All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Since receiving its first performance in 1879, Pyotr Il’yich Tchaikovsky’s fifth opera, Eugene Onegin (1877-1878), has garnered much attention from both music scholars and prominent figures in Russian literature. Despite its largely enthusiastic reception in musical circles, it almost immediately became the target of negative criticism by Russian authors who viewed the opera as a trivial and overly romanticized embarrassment to Pushkin’s novel. Criticism of the opera often revolves around the fact that the novel’s most significant feature—its self-conscious narrator—does not exist in the opera, thus completely changing one of the story’s defining attributes. Scholarship in defense of the opera began to appear in abundance during the 1990s with the work of Alexander Poznansky, Caryl Emerson, Byron Nelson, and Richard Taruskin. These authors have all sought to demonstrate that the opera stands as more than a work of overly personalized emotionalism. In my thesis I review the relationship between the novel and the opera in greater depth by explaining what distinguishes the two works from each other, but also by looking further into the argument that Tchaikovsky’s music represents the novel well by cleverly incorporating ironic elements as a means of capturing the literary narrator’s sardonic voice.
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Study Guide for Teachers and Students
Melody Mennite in Cinderella. Photo by Amitava Sarkar STUDY GUIDE FOR TEACHERS AND STUDENTS 1 TABLE OF CONTENTS PRE AND POST-PERFORMANCE ACTIVITIES AND INFORMATION Learning Outcomes & TEKS 3 Attending a ballet performance 5 The story of Cinderella 7 The Artists who Created Cinderella: Choreographer 11 The Artists who Created Cinderella: Composer 12 The Artists who Created Cinderella Designer 13 Behind the Scenes: “The Step Family” 14 TEKS ADDRESSED Cinderella: Around the World 15 Compare & Contrast 18 Houston Ballet: Where in the World? 19 Look Ma, No Words! Storytelling in Dance 20 Storytelling Without Words Activity 21 Why Do They Wear That?: Dancers’ Clothing 22 Ballet Basics: Positions of the Feet 23 Ballet Basics: Arm Positions 24 Houston Ballet: 1955 to Today 25 Appendix A: Mood Cards 26 Appendix B: Create Your Own Story 27 Appendix C: Set Design 29 Appendix D: Costume Design 30 Appendix E: Glossary 31 2 LEARNING OUTCOMES Students who attend the performance and utilize the study guide will be able to: • Students can describe how ballets tell stories without words; • Compare & contrast the differences between various Cinderella stories; • Describe at least one dance from Cinderella in words or pictures; • Demonstrate appropriate audience behavior. TEKS ADDRESSED §117.106. MUSIC, ELEMENTARY (5) Historical and cultural relevance. The student examines music in relation to history and cultures. §114.22. LANGUAGES OTHER THAN ENGLISH LEVELS I AND II (4) Comparisons. The student develops insight into the nature of language and culture by comparing the student’s own language §110.25. ENGLISH LANGUAGE ARTS AND READING, READING (9) The student reads to increase knowledge of own culture, the culture of others, and the common elements of cultures and culture to another.
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Biography - Alexander Sinan Binder
Biography - Alexander Sinan Binder Designated 1. Kapellmeister at Luzerner Theater German-Turkish conductor Alexander Sinan Binder studied orchestral conducting at Robert Schumann Hochschule Düsseldorf with Prof. Rüdiger Bohn and piano with Prof. Paolo Giacometti. Additionally he continued his Master of Music at Zürcher Hochschule der Künste with Prof. Johannes Schlaefli as part of the Swiss European Mobility Programme. Besides that he was chosen for the fellowship of Dirigentenforum des Deutschen Musikrates and currently is part of the fellowhsip programme Akademie Musiktheater heute of Deutsche Bank Stiftung. Alexander Sinan Binder enriched his artistic skills throughout the years in Masterclasses and Workshops with e.g. Maestro David Zinman, Maestro Bernard Haitink (passive), Maestro John Carewe, Maestro Yuri Simonov, Maestro Peter Eötvös, Maestro Colin Metters, Maestro Peter Gülke as well as his latest invitation to the Conducting Seminar with Maestro Stefan Asbury at Tanglewood Music Center. Engagements as assistant conductor led Alexander e.g. to Deutsche Oper am Rhein «Das Zauberwort», Warsaw Autumn Festival: European Workshop for Contemporary Music, «Mathis der Maler» as assistant of GMD Hermann Bäumer at Staatstheater Mainz, «Hänsel und Gretel» at Jeunesses Musicales Germany as assistant of GMD Patrick Lange, to Musiktheater im Revier Gelsenkirchen as assistant of GMD Rasmus Baumann, to Junge Deutsche Philharmonie as assistant of Ingo Metzmacher for the «Sax & Crime Tour 2018» and furthermore he assisted James Gaffigan with the
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Alexander Zaitsev Freelance Principal Dancer, Coach and Guest Teacher
Alexander Zaitsev Freelance principal dancer, coach and guest teacher Alexander Zaitsev, born in Moscow, Russia, was trained at the Bolshoi Ballet School. In 1992, he graduated and had his ﬁrst engagement with the Bolshoi Ballet under the direction of Juri Grigorovich. During this time, he danced with the company on tours all around the world. In 1995 he danced with the State Opera Dresden for one season and in 1996 he joined the Stuttgart Ballet. In 1997 Alexander Zaitsev received his Pedagogical Diploma of the Moscow Choreography Academy. In January 1999, he was promoted to Soloist with the Stuttgart Ballet, and then to Principal Dancer. With the company he has danced an extensive repertoire of leading roles in classical and contemporary works, as well as in many world premieres. He has also appeared with the Stuttgart Ballet on tours all around the world. Alexander Zaitsev receives numerous invitations to international galas with many Ballet Stars. Also has been a guest artist with the Royal Ballet Covent Garden, Tokyo Ballet, Bolshoi Ballet, Deutsche Oper Berlin, Korean National Ballet, Ballet Santiago de Chile, Latvian Ballet in Riga, Estonian Ballet in Tallinn, Leipzig Ballet. Since 2013 he has been invited as a guest ballet master to: Stuttgart Ballet, La Scala, Korean National Ballet, Estonian National Ballet, Tokyo Ballet, Perm Ballet Theater, Latvian National Ballet, Zürich Ballet, Gautier Dance Theater in Stuttgart, Musiktheater im Revier. Since 2014 working with Glen Tetley Legacy(GTL). Since 2017 member of GTL. As well assisting
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Download Booklet
CHAN 3042 BOOK 29/01/2016 14:55 Page 2 Pyotr Ilyich Tchaikovsky (1840–1893) Eugene Onegin KG A Opera in three acts Text by the composer and Konstantin Shilovsky after Alexander Pushkin’s verse novel Eugene Onegin English translation by David Lloyd-Jones Eugene Onegin....................................................Thomas Hampson baritone Tatyana......................................................................Kiri Te Kanawa soprano Lensky..........................................................................Neil Rosenshein tenor Prince Gremin....................................................................John Connell bass A Captain/Zaretsky....................................................Richard Van Allan bass Monsieur Triquet..............................................................Nicolai Gedda tenor Madame Larina..................................................Linda Finnie mezzo-soprano Filippyevna............................................Elizabeth Bainbridge mezzo-soprano Olga................................................................Patricia Bardon mezzo-soprano Pyotr Ilyich Tchaikovsky Orchestra and Chorus of Welsh National Opera Gareth Jones chorus master Sir Charles Mackerras 3 CHAN 3042 BOOK 29/01/2016 14:55 Page 4 COMPACT DISC ONE TimePage TimePage No. 5 Scene and Quartet Act I 8 ‘Mesdames, I hope that you’ll excuse me’ 1:4897 1 Introduction 2:3992 Lensky, Onegin, Madame Larina 9 ‘Now tell me, which of them’s Tatyana?’ 1:4297 Scene 1 Onegin, Lensky, Tatyana, Olga No. 1 Duet and Quartet 2 ‘Oh, did you hear the lovesick shepherd boy’ 5:0892 No. 6 Scene and Arioso Tatyana, Olga, Madame Larina, Nurse 10 ‘How perfect, how wonderful’ 2:14 098 No. 2 Chorus and Dance of the Peasants Lensky, Olga, Onegin, Tatyana 3 ‘My legs ache and can no longer run’ 2:3994 11 ‘How I love you, I adore you, Olga’ 3:16 099 Leader (John Hudson), Peasants, Madame Larina Lensky, Olga 4 ‘In a cottage by the water’ 2:0594 No. 7 Closing Scene Peasants 12 ‘Ah, here you are!’ 2:40100 No.
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Eugene Onegin Synopsis
EUGENE ONEGIN – FULL STORY SYNOPSIS ACT I It is autumn, and at the Larin estate in the countryside, Madame Larina thinks about her youth; she was in love, but courted by another man whom she eventually married. She is now widowed, and has two daughters: Tatyana and Olga. Olga is being courted by the poet Lensky who lives nearby; he stops by unexpectedly, bringing his friend Eugene Onegin. Tatyana falls in love at first sight. Tatyana asks her nurse Filippyeva about her first love and marriage, and spends the subsequent night pouring her heart out in a letter to Onegin. She finishes as the day breaks, and persuades Filippyevna to have her grandson deliver the message. Onegin returns to the estate to respond to Tatyana’s letter; he admits that he was touched by the sentiment, but that marriage is not for him; he can only offer her friendship. He advises her to take care of expressing herself so forwardly, as less of a gentleman might take advantage of her innocence. ACT II January at the Larin Estate. The local community has been invited to celebrate Tatyana’s name day, and Lensky has invited Onegin to join. Surprised and annoyed by the scope of the celebration, Onegin soon grows bored, and takes his revenge on Lensky by flirting and dancing with Olga. Infuriated with Onegin’s increasing attention, and with Olga’s lighthearted reciprocation, Lensky’s jealousy grows. He confronts Onegin, dissolves their friendship, and challenges him to a duel. Before the duel, Lensky contemplates his poetry, his love for Olga, and death.
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The Australian Ballet 1 2 Swan Lake Melbourne 23 September– 1 October
THE AUSTRALIAN BALLET 1 2 SWAN LAKE MELBOURNE 23 SEPTEMBER– 1 OCTOBER SYDNEY 2–21 DECEMBER Cover: Dimity Azoury. Photography Justin Rider Above: Leanne Stojmenov. Photography Branco Gaica Luke Ingham and Miwako Kubota. Photography Branco Gaica 4 COPPÉLIA NOTE FROM THE ARTISTIC DIRECTOR Dame Peggy van Praagh’s fingerprints are on everything we do at The Australian Ballet. How lucky we are to have been founded by such a visionary woman, and to live with the bounty of her legacy every day. Nowhere is this legacy more evident than in her glorious production of Coppélia, which she created for the company in 1979 with two other magnificent artists: director George Ogilvie and designer Kristian Fredrikson. It was her parting gift to the company and it remains a jewel in the crown of our classical repertoire. Dame Peggy was a renowned Swanilda, and this was her second production of Coppélia. Her first was for the Borovansky Ballet in 1960; it was performed as part of The Australian Ballet’s first season in 1962, and was revived in subsequent years. When Dame Peggy returned to The Australian Ballet from retirement in 1978 she began to prepare this new production, which was to be her last. It is a timeless classic, and I am sure it will be performed well into the company’s future. Dame Peggy and Kristian are no longer with us, but in 2016 we had the great pleasure of welcoming George Ogilvie back to the company to oversee the staging of this production. George and Dame Peggy delved into the original Hoffmann story, layering this production with such depth of character and theatricality.
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The Australian Ballet with Berkeley Symphony in Graeme Murphy’S Swan Lake Music by Pyotr Il’Yich Tchaikovsky Swan Lake: Ballet in Four Acts , Op
Thursday, October 16, 2014, 8pm Friday, October 17, 2014, 8pm Saturday, October 18, 2014, 2pm & 8pm Sunday, October 19, 2014, 3pm Zellerbach Hall The Australian Ballet with Berkeley Symphony in Graeme Murphy’s Swan Lake Music by Pyotr Il’yich Tchaikovsky Swan Lake: Ballet in Four Acts , Op. 20 (1875–1876) y b s u B ﬀ e J David McAllister AM, Artistic Director Libby Christie, Executive Director Nicolette Fraillon, Music Director and Chief Conductor The Australian Ballet acknowledges the invaluable support of its Official Tour Partners, Qantas and News Corp. The Australian Ballet’s 2014 tour to the United States has been generously supported by the Talbot Family Foundation and by The Australian Ballet’s International Touring Fund. These performances are made possible, in part, by Corporate Sponsor U.S. Bank, and by Patron Sponsors Deborah and Bob Van Nest, and Anonymous. Cal Performances’ – season is sponsored by Wells Fargo. CAL PERFORMANCES 19 Cal Performances thanks for its support of our presentation of The Australian Ballet in Graeme Murphy’s Swan Lake. PLAYBILL PROGRAM Graeme Murphy’s Swan Lake Choreography Graeme Murphy Creative Associate Janet Vernon Music Pyotr Il’yich Tchaikovsky (1840–1893): Swan Lake , Op. 20 (1875 –1876) Concept Graeme Murphy, Janet Vernon, and Kristian Fredrikson Set and Costume Design Kristian Fredrikson Original Lighting Design Damien Cooper PROGRAM Act I Scene I Prince Siegfried’s quarters Scene II Wedding festivities INTERMISSION Act II Scene I The sanatorium Scene II The lake INTERMISSION Act III An evening
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The International Journal of Arts
VOLUME 13 ISSUE 4 The International Journal of Arts Theory and History __________________________________________________________________________ At the Heart of Creativity John Cranko and His Genius in Two Cities BRUCE MCCORMICK ARTSINSOCIETY.COM EDITOR Barbara Formis, University Paris I, France HEAD OF JOURNAL PRODUCTION McCall Macomber, Common Ground Research Networks, USA EDITORIAL ASSISTANT Crystal Lasky Robinson, Common Ground Research Networks, USA ADVISORY BOARD The Arts in Society Research Network recognizes the contribution of many in the evolution of the Research Network. The principal role of the Advisory Board has been, and is, to drive the overall intellectual direction of the Research Network. A full list of members can be found at http://artsinsociety.com/about/advisory-board. PEER REVIEW Articles published in The International Journal of Arts Theory and History are peer reviewed using a two-way anonymous peer review model. Reviewers are active participants of The Arts in Society Research Network or a thematically related Research Network. The publisher, editors, reviewers, and authors all agree upon the following standards of expected ethical behavior, which are based on the Committee on Publication Ethics (COPE) Codes of Conduct and Best Practice Guidelines. More information can be found at: THE INTERNATIONAL JOURNAL http://artsinsociety.com/journals/model. OF ARTS THEORY AND HISTORY http://artsinsociety.com ARTICLE SUBMISSION ISSN: 2326-9952 (Print) The International Journal of Arts Theory and History ISSN: 2327-1779 (Online) publishes quarterly (March, June, September, December). http://doi.org/10.18848/2326-9952/CGP (Journal) Please visit http://artsinsociety.com/journals/call-for-papers to find out more about the submission process.
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A Conversation with Evan Mckie from Ballet Review Spring 2015
Spring 2015 Ballet Review A Conversation with Evan McKie from Ballet Review Spring 2015 On the cover: Olga Smirnova and Evan McKie in Onegin at the 2014 Youth America Grand Prix Gala. Photograph by Hideaki Tanioka, YAGP ©2015 Dance Research Foundation, Inc. All rights reserved. 4 New York – Susanna Sloat 5 Stuttgart – Gary Smith 6 Boston – Jeﬀrey Gantz 8 New York – Karen Greenspan 10 Berlin – Darrell Wilkins 13 Washington, D.C. – Christine Temin 15 Paris – David Mead 17 New York – Christopher Caines 20 Washington, D. C. – Lisa Traiger 23 New York – Nina Alovert 25 New York – Harris Green 86 Michael Langlois Ballet Review 43.1 28 A Conversation with Richard Alston Spring 2015 Kevin Ng Editor and Designer: 40 A Conversation with David Hallberg Marvin Hoshino Managing Editor: Karen Greenspan Roberta Hellman 46 The Early Work of Anne Teresa Senior Editor: De Keersmaeker Don Daniels 28 Marvin Hoshino Associate Editor: 52 Russian Avant-Garde Joel Lobenthal Associate Editor: Leigh Witchel Larry Kaplan 56 Liam Scarlett Webmaster: Nina Alovert David S. Weiss 62 Divine Diana Copy Editors: Barbara Palfy* Vincent Giroud Naomi Mindlin 66 Nicolas Nabokov at the Ballet Photographers: Tom Brazil 40 Marvin Hoshino Costas 73 Beauty and Nothing Else Associates: Gary Smith Peter Anastos Robert Greskovic 80 Evan McKie George Jackson Elizabeth Kendall Joel Lobenthal Paul Parish 86 “This Is Her Mother” Nancy Reynolds James SuRon Joel Lobenthal David Vaughan 92 A Conversation with Irina Baronova Edward Willinger 62 Sarah C. Woodcock 105 London Reporter – Clement Crisp 109 Jenifer Ringer – Jay Rogoﬀ 110 Music on Disc – George Dorris 116 Check It Out Cover photograph by Hideaki Tanioka, Youth America Grand Prix: Onegin with Olga Smirnova and Evan McKie at the 2014 YAGP Gala.
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Florian Erdl Since the 2017/18 Season Florian Erdl Has Been 1
Florian Erdl 2020 Deputy professorship of conducting at Rostock University of Music and Drama 2019 Guest conductor at Mecklenburgisches Staatstheater Schwerin 2019/20 Acting GMD at Theater Pforzheim 2019 Guest conductor at Oper Frankfurt, Concerts with the Sønderjyllands Symfoniorkester and the LJO Hessen 2018 Guest conductor at Oper Frankfurt and at Philharmonie Merck 2017–2019 several times Assistant to Sebastian Weigle at Oper Frankfurt (Capriccio) 2017–2019 1st Kapellmeister and deputy GMD at Theater Pforzheim 2017 Guest conductor at Theater Coburg 2014–2017 1st Kapellmeister and deputy GMD at Landestheater in Flensburg 2012–2014 Kapellmeister at Oper Graz 2010/15 Guest conductor at Oper Kiel since 2010 Guest conductor at LJO Schleswig-Holstein 2010/12/14 Guest conductor at the Landestheater in Innsbruck 2009–2017 Music Director of Chamber Opera Frankfurt in the Palmengarten Since the 2017/18 season Florian Erdl has been 1. Kapellmeister at Theater Pforzheim, last as an acting GMD. Here he will take over the new productions of Britten’s A Midsummer Night’s Dream and Abraham’s Märchen im Grandhotel. He also will be experienced as a conductor with Beethoven’s Fidelio, his 9. Symphony and in the symphony concert. Florian Erdl has been assisting GMD Sebastian Weigle several times at Oper Frankfurt since 2017. After the work on Richard Strauss’ Capriccio he conducted at Oper Frankfurt Mozart’s Magic Flute (2018) and Schreker’s Der Ferne Klang/The Distant Sound (2019). In 2021 he will conduct Mozarts Le Nozze di Figaro. Besides he took up a deputy professorship of conducting at the Rostock University of Music and Drama where he will take over the production of Mozart’s Don Giovanni and several symphony concerts.
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John Cranko's Ballet Onegin
A Functional Type of Intersemiotic Translation: John Cranko’s Ballet Onegin (1965) Anna Ponomareva UCL The aim of my presentation is to analyse intersemiotic translation in order to find out what makes it to be functional, or the one that does not appear to look as an impoverished version of its original. The focus of my research is John Cranko’s ballet Onegin (1965) which I treat as a multimodal version of Pushkin’s novel in verse Eugene Onegin (1830s) and Tchaikovsky’s opera Eugene Onegin (1879). It will be shown that Pushkin’s nearly four hundred stanzas have not simply shrunken into the three act ballet but are remade as a combination of aural, visual and kinaesthetic practices which are telling the story of the novel. I am going to use the framework of paratextual studies (Genette (1997 [1987]) and Batchelor (2018)) and look at scholarly and critical publications on the various productions of Onegin and also at Cranko’s files kept in the Royal Opera House archive related to his work there and to the production of his ballet at Covent Garden in 2001. The ballet will not be analysed in its entirety. Only one act, Tatiana’s letter scene, will be discussed in detail. The piece is chosen owing to its equally powerful and beautiful interpretations in the novel, opera and ballet. In particular, the peculiar use of a mirror, metaphorically and as a tool, in Cranko’s choreography of the scene might provide clues on the functionality of his translation of Pushkin’s novel. The results of my data collection and its analyses are aimed to contribute to the current discussion of Jakobson’s notion of intersemiotic translation (1959) by suggesting the importance of paratextual elements in translation.
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