Siv Wennberg Romances with Jan Eyron, Piano (Mozart, Schubert, Stenhammar, Grieg, Alfvén, R

Total Page:16

File Type:pdf, Size:1020Kb

Siv Wennberg Romances with Jan Eyron, Piano (Mozart, Schubert, Stenhammar, Grieg, Alfvén, R Some further recordings: Birgit Nilsson Richard Strauss: Elektra/ Wiener Philharmoniker, Sir Georg Solti, Decca (2CD). Richard Strauss: Salome/ Wiener Philharmoniker, Sir Georg Solti, Decca (2CD). Richard Wagner: Die Walküre/ London Symphony Orchestra, Erich Leinsdorf, Decca (3CD). Siv Wennberg Romances with Jan Eyron, piano (Mozart, Schubert, Stenhammar, Grieg, Alfvén, R. Strauss, Peterson-Berger). Sterling CDA 1689-2: Wagner, Tristan und Isolde. Spas Wenkoff, Anne Wilkens, Peter Meven, Björn Asker, Lennart Stregård, Norrköping Symphony Orchestra, Franz Welser-Möst (3CD). Sterling CDA 1690/1692-2 Siv Wennberg and Birgit Nilsson 2 31 Berislav Klobucar was born in Zagreb in 1924 and studied conducting with Clemens Krauss and Lovro von Matacic. Richard Strauss (1864-1949) Between 1943 and 1951 he worked at the Opera in Zagreb and between 1960 and 1971 he was music director in Graz. Die Frau ohne Schatten, op 65 From 1953 he conducted 1 133 performances of more than 50 operas at Staatsoper in Vienna. He was greatly admired Opera in three acts by Birgit Nilsson who sang under him in Vienna, and Birgit Nilsson writes about him in her memoires in Libretto: Hugo von Hoffmansthal appreciating terms as a “wonderful singer conductor with an Composed 1911-1915 or 1917. Premiered 10 October 1919, Vienna State Opera, conductor: enormous repertoire and a solid knowledge”. Klobucar was Franz Schalk also guest conductor at the Festspiele in Salzburg and Bayreuth (The Ring of Nibelungen 1964, Tannhäuser 1967, Lohengrin 1967, Die Meistersinger von Nürnberg 1968-69). In 1968 he conducted the Fliegende Holländer and the CD 1 Act 1 Duration 1’03’34 Valkyrie at the Metropolitan. Between 1973 an 1977 Klobucar was engaged as first conductor at the Royal Opera track 1 Licht über‘m See (Die Amme) 5’25 in Stockholm where he performed the Ring of Nibelungen track 2 Bleib und Wache (Der Kaiser) 5‘15 which the Stockholm Opera made on guest tours to Moscow and Copenhagen in 1975. Klobucars repertoire track 3 Ist mein Liebster dahin (Die Kaiserin) 3‘21 consisted of more than 115 operas and he did not least make track 4 Wie soll ich denn nicht weinen? (Des Falken Stimme) 2‘21 a name as a Beethoven, Wagner and Strauss conductor. track 5 Amme, um alles, wo find ich den Schatten? (Amme, Kaiserin) 5‘03 Berislav Klobucar died in June, 2014. track 6 Erdenflug 1‘51 track 7 Szene 2: Dieb! Da nimm! / Reiß ihn nach hinten! / Zu Hilfe, Bruder! (Die Frau, Der Verwachsende, Der Einäugige, Der Einarmige) 2‘01 track 8 Sie aus dem Hause, und das für immer (Die Frau, Barak) 8‘05 30 3 track 9 Dritthalb Jahr bin ich dein Weib (Die Frau, Barak) 4‘37 track 10 Was wollt ihr hier?(Die Frau, Amme) 5‘56 track 11 Ach, Herrin, süße Herrin! (Dienerinnen) 3‘19 track 12 Hat es dich blutige Tränen gekostet (Amme, Kaiserin) 5‘38 track 13 Mutter, Mutter, laß uns nach Hause! (Kinderstimmen, Die Frau) 1‘20 track 14 Trag ich die Ware selber zu Markt - Ihr Gatten in den Häusern dieser Stadt (Barak, Die Frau) 3‘19 track 15 Ihr Gatten in den Häusern dieser Stadt (Die Wächter, Barak) 5‘53 CD 2 Act 2 Duration 57’06 Track 1 Komm bald wieder nach Haus, mein Gebieter (Die Amme, Die Frau) 3‘57 Track 2 Was ist nun deine Rede, du Prinzessin - O Tag des Glücks, o Abend der Gnade! (Barak, Die Brüder, Die Frau) 4‘37 Track 3 Verwandlung 3‘24 Track 4 Falke, Falke, du wiedergefundener (Der Kaiser) 10‘14 Track 5 Es gibt derer, die haben immer Zeit (Die Frau, Barak, Amme, Kaiserin) 3‘42 Track 6 Wer tut mir das, daß ich jäh muß stehn (Der Jüngling, Die Frau, Die Amme, Barak) 3‘28 Track 7 Ein Handwerk verstehst du sicher nicht / Um Nahrung für Matti Kastu. Photo: Enar Merkel Rydberg mich gräme dich nicht (Die Frau, Barak) 5‘16 4 29 Matti Kastu, tenor, was born 1943 in Turku (Åbo) in Finland. He started his professional Track 8 Wer da? / Verwandlung (Barak, Die Kaiserin) 2‘39 carrier as a baker in his father´s bakery. After his voice was discovered, he was employed Track 9 Sieh, Amme, sieh (Die Kaiserin) 4‘53 after a short singing education at the opera in Stockholm where he made his debut as Track 10 Wehe, mein Mann! (Die Kaiserin) 4’15 Laca in Janáceks Jenufa, In 1975 he sang Kaiser in Strauss Die Frau ohne Schatten (This recording) ha made the role also in Vienna 1977 and in Cardiff in 1981. Kastu has had a Track 11 Verwandlung / Es dunkelt, daß ich nicht sehe zur Arbeit lot of success as Walther in Die Meistersinger von Nürnberg and Bacchus in Ariadne auf (Barak, Die Brüder, Amme, Die Frau, Kaiserin) 5‘23 Naxos. In 1979 he made a large tour in the US. (Detroit, New York, Washington) where Track 12 Sie wirft keinen Schatten he successfully sang the role as Menela in another Strauss opera, Die ägyptische Helena. (Die Brüder, Amme, Kaiserin, Die Frau) 5‘17 He was also was guest at Covent Garden in London, Staatsoper in Münich, in Helsinki, Copenhagen and Oslo as well as in Frankfurt, Düsseldorf, Berlin and at the CD 3 Act 3 Duration 55’30 opera festival at Savonlinna in his home country. He sang in Mahlers Das Klagende Lied in Milan, the title role in Parsifal in Rouen, and also Tristan in Aarhus and Edinburgh (a Track 1 Schweigt doch, ihr Stimmen! (Die Frau) 7’21 concertante performance). Kastu has also done the “Drum major” in Wozzek in Nice and Track 2 Mir anvertraut, daß ich sie hege (Barak, Die Frau) 3‘45 Marcello in Leoncavallos La Bohème. He also made a career as concert soloist. On record he can be heard in the Decca recording of Die ägyptische Helena, (together with Gwyneth Track 3 Auf, geh nach oben, Mann / Verwandlung (Die Frau) 4‘42 Jones) Track 4 Fort von hier! (Amme, Die Kaiserin, Der Bote) 8‘59 Track 5 Wehe, mein Kind / Verwandlung (Amme, Der Bote, Die Frau, Barak) 2‘43 Track 6 Sterben! Sterben! (Die Frau, Barak, Die Kaiserin, Der Hüter) 3‘20 Track 7 Vater, bist du‘s? (Die Kaiserin) 5‘27 Track 8 Doch weich ich nicht (Die Kaiserin, Der Hüter, Barak) 4‘54 Track 9 Wenn das Herz aus Kristall zerbricht in einem Schrei (Der Kaiser, Die Kaiserin) 5‘43 Track 10 Schatten, dein Schatten (Barack, Die Frau, Der Kaiser, Die Kaiserin, Amme) 8‘38 28 5 The Cast Der Kaiser Matti Kastu Die Kaiserin Siv Wennberg Barak, der Färber (Bassbariton) Walter Berry Die Färberin (dramatischer Sopran) Birgit Nilsson Die Amme Barbro Ericson Der Geisterbote Bo Lundborg Der Hüter der Schwelle des Tempels Hillevi Blyloods Die Stimme des Jünglings (Tenor) Tord Slättegård Falke (Sopran) Birgit Nordin Stimme von oben (Alt) Ileana Peterson Baraks Brüder (Tenor/Bariton/Bass) John-Erik Jacobsson, Carl-Johan Falkman, Rolf Cederlöf Stimmen der Wächter (Tenor/Bariton/Bass) Björn Asker, Gunnar Lundberg Håkan Hagegård Sechs nicht geborene Kinder Britt-Marie Aruhn Gunilla Slättegård Solweig Lindström Gunilla Söderström Siv Wennberg and Barbro Ericson. Ileana Peterson Drei Dienerinnen Britt-Marie Aruhn Busk Margit Jonsson Margot Rödin 6 27 Barbro Ericson, mezzo soprano and alt, was born in Halmstad in 1930 and had her SYNOPSIS singing education, among others, from Arne Sunnegårdh at the Stockholm Musical Academy from 1950 to 1956. The same year she made her debut as Eboli in Don Carlos. The opera's story is set in the mythical empire of the Southeastern Islands and involves From 1958 she was an regular member of the ensemble at the Stockholm Opera, where five principal characters: the Emperor (tenor), the Empress (soprano), her Nurse (mezzo- she quickly became one of the leading singers in her lines. Ericson participated in the first soprano), Barak, a lowly dyer (bass-baritone), and the Dyer's Wife, (dramatic soprano). performance in Hilding Rosenbergs The Portrait in 1956 and in Karl-Birger Blomdahls Mr A sixth character, Keikobad, King of the Spirit Realm and father to the Empress, sets the von Hancken in 1965. Through international appearances in Berlin, Hamburg, Helsinki, plot in motion, but never appears on stage. The Empress is half human: she was captured Copenhagen and Oslo, and on scenes in France, Italy and the Netherlands she also by the Emperor in the form of a gazelle. She assumed human shape and he married her, became internationally wellknown. In 1964 she sang Venus in Tannhäuser in Paris and but she has no shadow. This symbolizes her inability to bear children. Keikobad has from the same year Kundry in Parsifal in Bayreuth. In 1966 she sang Eboli in Athens and decreed that unless the Empress gains a shadow before the end of the twelfth moon, she in 1967 she participated in Walkyrie under Herbert von Karajan in Salzburg. She sang will be reclaimed by her father and the Emperor will turn to stone. Ulrica in the Masked Ball and Baba Turk in the Rakes Progress at the Word exhibition in Montreal in 1967. The same year she also sang in the first performance of the Mines of Act 1 Sulphur by Richard Rodney Bennett and in 1981 Klytämnästra in Elektra. She made her Scene 1 first performance as Fricka in the Walkyrie at the Metropolitan in 1968. Ericsons repertoire is as voluminous as her voice. Her singing was forceful and It is dawn, outside the bedchambers of the Emperor and Empress. The Messenger of dramatic and of her other significant roles one should include Orfeus in Orfeus and Keikobad arrives, and tells the Empress's nurse that the Empress must acquire a shadow Eurydike, Carmen, Amneris in Aida, Quickly in Falstaff, Marie in Wozzek, Brangäne in within three days, or will be forcibly returned to his realm, and the Emperor turned to Tristan and Isolde, Ortrud in Lohengrin, Madame de Croissy in Poulencs the Dialogue de stone.
Recommended publications
  • ARSC Journal
    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
    [Show full text]
  • Iewsletter No~4 September 1981
    T THE_W,4GNE .SOCIE’TY — Page fk~ PRESIDENT’S REPORT There is no doubt that the return to Australia of our Patron, Sir 71i~~ Charles Mackerras, to conduct the Wagner concerts, has been one of the most exciting happenings on the local musical scene for marty (Patron — Sir Charles Mackerras) years. The music loving public reacted instantly and whole- heartedly, buying up all the Sydney tickets weeks in advance, and Registered Office: 141 Dowlirig Street, Woolloornooloo 201 surprising the A.B.C. and Opera management with its enthusiasm. Telephone enquiries: 358 1919 (Bus. Hours) in Melbourne also the response was excellent, the Town Hall on boti nights rippling with feverish excitement, which was echoed by the outstanding performances given by the orchestra and soloists. The spontaneity of the final ovation was a gauge of the intense pleasure and warm appreciation of the near capacity audiences. Miss Rita Hunter was presented with a bouquet of flowers on~the opening night of her tour, with the best wishes of the Wagner IEWSLETTER NO~ 4 SEPTEMBER 1981 Society. At the luncheon in Melbourne given by the Wagner Societ; in her honour, she thanked us for our support and said that she in her turn, would dO all she could to encourage a fully—staged Ring ~‘, Wagner Society L~ isteredOffice: 141 Dowling Street, Woolloomooloo, 2011 • ey-c~--±rt--Aimtr~-I±-a -‘--hopi~o~~cur~e,-that—sh’e~‘wo~td ~èd 6 take part in it. Also at the luncheon, a nucleus of ~ Melbourne ~elephoneEnquiries: 358—1919 (BusIness Hours only) Wagner Society was formed.
    [Show full text]
  • Female Composer Segment Catalogue
    FEMALE CLASSICAL COMPOSERS from past to present ʻFreed from the shackles and tatters of the old tradition and prejudice, American and European women in music are now universally hailed as important factors in the concert and teaching fields and as … fast developing assets in the creative spheres of the profession.’ This affirmation was made in 1935 by Frédérique Petrides, the Belgian-born female violinist, conductor, teacher and publisher who was a pioneering advocate for women in music. Some 80 years on, it’s gratifying to note how her words have been rewarded with substance in this catalogue of music by women composers. Petrides was able to look back on the foundations laid by those who were well-connected by family name, such as Clara Schumann and Fanny Mendelssohn-Hensel, and survey the crop of composers active in her own time, including Louise Talma and Amy Beach in America, Rebecca Clarke and Liza Lehmann in England, Nadia Boulanger in France and Lou Koster in Luxembourg. She could hardly have foreseen, however, the creative explosion in the latter half of the 20th century generated by a whole new raft of female composers – a happy development that continues today. We hope you will enjoy exploring this catalogue that has not only historical depth but a truly international voice, as exemplified in the works of the significant number of 21st-century composers: be it the highly colourful and accessible American chamber music of Jennifer Higdon, the Asian hues of Vivian Fung’s imaginative scores, the ancient-and-modern syntheses of Sofia Gubaidulina, or the hallmark symphonic sounds of the Russian-born Alla Pavlova.
    [Show full text]
  • 25243 Cmp.Pdf
    ��, (",..'\¡ �Jl��lYL{#I' GRAN TEATRE DEL LICEU DIE FRAU OHNE SCHATTEN CHAN TEATRE DEL LICEU Temporada 1985/86 EL REGUlADOR BAGUÉS Rambla de les Flors, 105 Carme,1 Telèfon 317 1974 08002 Barcelona Passeig de Gràcia, 41 Telèfon 21601 73 - 216 01 74 08007 Barcelona CONSORCI DEL GRAN TEATRE DEL LICEU Sanf Pau, 6 CE ERAlI'I:'\T DE CATALUNYA - Telèfons 317 32 46 318 57 37 AJUNUMENT DE Ii�RCEl.ONA 0800 1 Barcelona SOCI E-lAT DEL CHAN TEATRE DEL LICEU CASA SMIIA DIE FRAU ORNE SCRATIEN (La dona sense ombra) Òpera en 3 actes Llibret d'Hugo Hofrnannsthal LENGERIA PARA EL HOGAR Música de Richard Strauss LA MUJER y EL REGlEN NAGIDO Diumenge, 16 de març de 1986, a les 17 h., funció núm. 48, torn T Dimarts, 18 de març de 1986, a les 20 h., funció núm. 49, torn A Funció de Gala GRAN VIA CORTS CATALANES. 640 Divendres, 21 de març de 1986, a les 20 h., 24 98 08007 BARCELONA TELEFONO 318 funció núm. 50, torn B CRUCEROS YBARRA TRADICIONAL DIE FRAU OHNE SCHATTEN CRUCERO (La dona sense'ombra) L'Emperador Klaus Koenig SEMANA SANTA 86 L'Emperadriu Katryn Montgomery­ Meissner A lIordo del La dida Ute Trekel-Burckhardt Buque El missatger deis esprits Peter Wimberger EUGENIO "C" Guàrdia del llindar del Bente Marcussen Temple Del Z2: al 32: de Marzo L'aparició d'un jove Antoni Comas La veu del falcó Julie Griffeth Veu des de dalt Rosa M,« Ysàs CRUCEROS Barak, el tintorer Anthony Raffel! Muller de Barak Ute Vinzing YBARRA Germans de Barak El borni Wolfram Bach El manc Alfred Kainz El geperut Wilfried Plate Les veus dels nonats Isabel Aragón Cecília Fondevila M.» A.
    [Show full text]
  • Programmheft 2014
    PROGRAMM 5. – 9. März 2014 Mit freundlicher Unterstützung Vorarlberger Landeswettbewerb INHALTSVERZEICHNIS ÜBERSICHT Teilnehmerstatistik 2 Vorwort 3 - 4 Rahmenzeitplan 5 Violine/Viola 7 - 9 Violoncello 10 - 13 Kontrabass 14 Klavier 16 - 20 Orgel 21 Gitarre 23 - 29 Harfe 30 - 31 Hackbrett/Zither 32 - 33 Gesang 34 - 35 Holzbläserkammermusik 36 - 40 Blechbläserkammermusik 42 - 44 Schlagwerkensembles 45 - 47 Offene Kammermusik 48 Vorarlberger Teilnehmer/innen am Tiroler Landeswettbewerb 50 Jurymitglieder 51 - 66 Öffentliche Abschlussveranstaltung / Preisträgerkonzert 67 Sponsoren 69 ...raiffeisen.atk finden wir wklich gut. Sodass wir Musiker, Gr Jetzt wollent länger stören. Foto-, Film- und Tonaufnahmen sind laut Beschluss des Bundesfachbeirates MUSIK DER JUGEND während der Vorspiele nicht erlaubt! Wettbewerbsergebnisse unter: http://www.musikschulwerk-vorarlberg.at Gute Unterhaltung noch. Österreichische Jugendmusikwettbewerbe MUSIK DER JUGEND prima la musica 2014 Vorarlberger Landeswettbewerb 5. bis 9. März 2014 Austragungsorte: Vorarlberger Landeskonservatorium Pförtnerhaus, Musikschule Feldkirch Kulturbühne AmBach Götzis Ehrenschutz: Landesrat Mag Harald Sonderegger prima la musica 2014 Stand: 24.02.2014 Vorarlberger Landeswettbewerb TEILNEHMERSTATISTIK Solisten: Anzahl der Anmeldungen (Solowertungen) 176 Akkordeon 4 Gesang 12 Gitarre 46 Hackbrett 2 Harfe 8 Klavier 39 Klavier / Cembalo 0 Kontrabass 5 Orgel 8 Viola 4 Violine 18 Violoncello 22 Zither 8 Jugendliche Begleiter: Anzahl der Anmeldungen 5 Ensembles: Anzahl der Anzahl der Anmeldungen Teilnehmer (Wertungen) Ensembles für Alte Musik 1 4 Kammermusik für Blechbläser 13 46 Kammermusik für Blockflöten 1 3 Kammermusik für Holzbläser 24 90 Kammermusik in offenen Besetzungen 4 13 Schlagwerkensembles 10 48 Summe: 53 204 Wertungen Teilnehmer (Solisten und Ensembles) (Solisten, Ensembles und jugendliche Begleiter) Anzahl der gesamten Anmeldungen: 229 385 erstellt mit: PlmManager VORWORT Teilnehmerrekord zum 20 jährigen Jubiläum Von 5.
    [Show full text]
  • Programme 6–8 June 2013 Gothenburg, Sweden
    PROGRAMME 6–8 JUNE 2013 GOTHENBURG, SWEDEN 1 2 VENSKA MÄSSAN S OWERS/ T WHAT’S THE CONFERENCE ALL ABOUT 4 – 7 WELCOME 8 – 9 PHOTO: GOTHIA CONFERENCE FOCUS 10 – 11 CONFERENCE VENUES 12 – 13 PROGRAMME AT-A-GLANCE 14 – 18 SESSION FORMATS/KEYWORDS 19 CONFERENCE MAPS 20 – 21 Pre-conference workshops TUESDAY JUNE 4 22 – 25 WEDNESDAY JUNE 5 26 – 31 Conference programme THURSDAY JUNE 6 32 – 49 FRIDAY JUNE 7 50 – 77 SATURDAY JUNE 8 78 – 101 SPEAKERS AND CONVENORS 102 – 105 BUSINESS BISTRO 106 – 121 SOCIAL PROGRAMME 122 – 125 ABOUT GOTHENBURG 126 – 131 ABOUT SCIENCE CENTRES IN WEST SWEDEN 132 – 137 ECSITE INFORMATION 138 – 141 PRACTICAL INFORMATION 142 – 143 THE ECSITE ANNUAL CONFERENCE 2014 144 – 145 2 3 NER M OL H JELL K PHOTO: What’s the ECSITE ANNUAL CONFERENCE all ABOUT? Ecsite, the European network of science centres and museums, and Universeum – Sweden’s largest science centre – are delighted to invite you to the twenty-fourth edition of the Ecsite Annual Conference in Gothenburg. For more than two decades, the Ecsite Annual Conference has gathered Europe’s most renowned science communication professionals and estab- lished its position as the most important yearly platform in the field. The Ecsite Annual Conference is an interactive event on science communication drawing 1,000 professionals from science centres, natural history museums, universities, aquariums, zoos, research institutes and private companies. Come, and benefit from three full days of inspiring sessions and workshops, a rich social programme to remember for years to come and the chance to sample cutting edge products in the Business Bistro trade fair.
    [Show full text]
  • Elektra GRAN TEATRE DEL LICEU
    Elektra GRAN TEATRE DEL LICEU Temporada 89-90 CONSORCI DEL GRAN TEATRE DEL LICEU Generalitat de Catalunya Ajuntament de Barcelona Ministerio de Cultura Diputació de Barcelona Societat del Gran Teatre del Liceu • ® Elektra Tragèdia en un acte Text d'Hugo von Hofmannsthal Música de Richard Strauss Amb el patrocini de Grupo Tabacalera • Funció de Gala "ASSEIG UE liliÀCIA. 41 TEL £. F a N 216 OI 73 27 de a les 21 funció núm. torn C U8007 I:!AII:(ELUNA Dissabte, gener, h., 46, • e A II: R E II SANT PAU. 6 a A TEL e: F o N 317 a a 46 Dilluns, 29 de gener, les 21 h., funció núm. 47, torn o 8 o o I BARCELONA • Dimecres, 31 de gener, a les 21 h., funció núm. 48, torn D EL REGULADOR BAGuEs RAM8LA DE LES FLORS. 105 Divendres, 2 de febrer, a les 21 funció núm. 49, torn B TELEFON 317 " 74 h., 08002 BARCELONA Diumenge, 4 de febrer, a les 17 h., funció núm. 50, torn T •••••••••••••••• Elektra Klytaemnestra Mignon Dunn Elektra Eva Marton (dies 27, 31 i 4) Ute Vinzing (dies 29 i 2) Chrysothernis Sue Patchell Aegisth Hermann Winkler Orest John Bròcheter El mentor d'Orest Joan Tomàs La confident Rosa Vilar Un patge M.:' Antonia Martín-Regueiro Un servidor jove Antoni Comas Un servidor vell Cristóbal Viñas La zeladora María Uriz 1" donzella Rosa Maria Ysàs 2" donzella Francesca Roig 3� donzella Mabel Perelstein 4� donzella Carme Hernández 5'- donzella Hiroko Shiraishi Director d' orquestra Uwe Mund Directora d'escena Núria Espert Directors del cor Romano Gandolfi Vittorio Sicuri Escenografia Ezio Frigerio Vestuari Franca Squarciapino Producció Théàtre Royal
    [Show full text]
  • ~Lagf8lll COM PAN I E SIN C
    June 2001 BAMcinematek 2001 Spring Season ___ 651 AFLlS Andres Serrano, Hooded Warbler II, 2000 BAM Spring Season sponsor: PHILIP MORRIS ~lAGf8lll COM PAN I E SIN C. 200] Spriog Brooklyn Academy of Music Bruce C. Ratner Alan H. Fishman Chairman of the Board Chairman, Campaign for BAM Karen Brooks Hopkins Joseph V. Melillo President Executive Prod ucer presents The Ghost Sonata The Royal Dramatic Theatre of Sweden Approximate BAM Harvey Lichtenstein Theater running time: June 20-23,2001, at 7:30pm 1 hour and June 24, at 3pm 35 minutes with Performed in Swedish with simultaneous English translation no intermission Written by August Strindberg Directed by Ingmar Bergman Set design Giiran Wassberg Costume design Anna Bergman Lighting design Pierre Leveau Wigs and masks Leif Qvistriim, Barbro Forsgardh Choreography Virpi Pahkinen Translation Inga Stina Ewbank BAM Theater sponsors: AOL Time Warner Inc. and Fleet Leadership support: The Peter Jay Sharp Foundation; The Shubert Foundation, Inc.; The Norman & Rosita Winston Foundation, Inc.; and The SHS Foundation Major support: The Barbra Osher Pro Suecia Foundation Additional support: Consulate General of Sweden and Trallback & Company Official airline for the BAM presentation of The Royal Dramatic Theatre of Sweden's The Ghost Sonata: Scandinavian Airlines 17 The Cast The Old Man Jan Malmsjo The Student Jonas Malmsjo The Milkmaid Virpi Pahkinen The Doorman's Wife Gertrud Mariano The Dead Man Nils Eklund The Dark Lady Gerthi Kulle The Young Lady Elin Klinga The Colonel Per Myrberg Mummy Gunnel
    [Show full text]
  • La Influencia De Ichikawa En'nosuke Iii En La
    VIOLETTA BRÁZHNIKOVA TSÝBIZOVA LA INFLUENCIA DE ICHIKAWA EN’NOSUKE III EN LA EVOLUCIÓN DE LOS RECURSOS ESCENOGRÁFICOS DEL TEATRO KABUKI Y SU RELACIÓN CON LA PUESTA EN ESCENA DEL TEATRO CONTEMPORÁNEO ESPAÑOL TESIS DOCTORAL DIRIGIDA POR LA DOCTORA KAYOKO TAKAGI TAKANASHI, PROFESORA TITULAR DE LENGUA Y LITERATURA DE JAPÓN DE LA UNIVERSIDAD AUTÓNOMA DE MADRID DEPARTAMENTO DE CIENCIAS DEL ESPECTÁCULO FACULTAD DE HUMANIDADES UNIVERSIDAD CARLOS III DE MADRID 2011 Tesis que, para la obtención del Título de Doctor, presenta Violetta Brázhnikova Tsýbizova bajo la dirección de la Doctora Kayoko Takagi Takanashi, Profesora Titular de Lengua y Literatura de Japón de la Universidad Autónoma de Madrid. Vº Bº La directora de la tesis doctoral ÍNDICE: INTRODUCCIÓN Recorrido El porqué de la elección del tema de la tesis Fortalecer el puente cultural entre España y Japón Criterios metodológicos y organizativos Condiciones del desarrollo del trabajo de investigación. Agradecimientos CAPÍTULO PRIMERO: CONTEXTO ESPIRITUAL DEL SURGIMIENTO DEL TEATRO KABUKI Introducción 1.1. Shintō 1.1.1. Nacimiento del Shintō 1.1.2. Mito de Amaterasu como fuente para la deificación del emperador 1.1.3. Kokugaku 1.1.4. Estructura interna del santuario shintōísta 1.1.5. Presencia femenina en el Shintō 1.1.6. Purificación 1.2. Zen como filosofía imperante en el período Edo 1.2.1. Tendencias espirituales durante el período Edo 1.2.2. Tao 1.2.2.1. Áreas de aplicación del Tao: el cuerpo y la razón 1.2.2.2. Superación del egoísmo individualista como base de la felicidad terrenal 1.2.3. Budismo 1.2.3.1.
    [Show full text]
  • Jussi's Three Debuts at the Stockholm Opera
    Olve: Jussi’s Three Debuts at the Stockholm Opera John Forsell and his students 1930. Jussi is far right. Jussi’s Three Debuts at the Stockholm Opera By Nils-Göran Olve s readers of this journal may know before we go deeper into that we need to hoped to become an opera singer you would Jussi Björling’s first role in opera understand the kind of employer the Stock- aim for this theatre. It had a permanent was the tiny part of the Lamplight- holm Opera of those days was, into which ensemble, if without today’s guaranteed em- Aer in Manon Lescaut, a role which is only 18 successful debuts could provide entry. Then ployment. There were at least forty soloists bars long – but most of them solo – in that this article will trace the circumstances who could be required at short notice to opera’s third act. That was on 21 July 1930, behind each of the three debuts, in turn. take part in those operas that management and the venue was of course the Stockholm chose, and if they wanted to accept invi- Opera, or as it says on the poster “Kungl. The system of repertoire theatre, a perma- tations to perform elsewhere they needed Teatern” — an abbreviation for “Kungliga nent ensemble – and debuts permission. The repertoire was finally de- Teatern” — The Royal Theatre. If you can There were few opportunities for opera cided on a week-by-week basis, so they had master rudimentary Swedish you can find singers in Sweden in 1930. The title was to be on hand and receive their schedules at it and much of the data that I will cite in used also by operetta singers, and there fairly short notice.
    [Show full text]
  • Sir Colin Davis Discography
    1 The Hector Berlioz Website SIR COLIN DAVIS, CH, CBE (25 September 1927 – 14 April 2013) A DISCOGRAPHY Compiled by Malcolm Walker and Brian Godfrey With special thanks to Philip Stuart © Malcolm Walker and Brian Godfrey All rights of reproduction reserved [Issue 10, 9 July 2014] 2 DDDISCOGRAPHY FORMAT Year, month and day / Recording location / Recording company (label) Soloist(s), chorus and orchestra RP: = recording producer; BE: = balance engineer Composer / Work LP: vinyl long-playing 33 rpm disc 45: vinyl 7-inch 45 rpm disc [T] = pre-recorded 7½ ips tape MC = pre-recorded stereo music cassette CD= compact disc SACD = Super Audio Compact Disc VHS = Video Cassette LD = Laser Disc DVD = Digital Versatile Disc IIINTRODUCTION This discography began as a draft for the Classical Division, Philips Records in 1980. At that time the late James Burnett was especially helpful in providing dates for the L’Oiseau-Lyre recordings that he produced. More information was obtained from additional paperwork in association with Richard Alston for his book published to celebrate the conductor’s 70 th birthday in 1997. John Hunt’s most valuable discography devoted to the Staatskapelle Dresden was again helpful. Further updating has been undertaken in addition to the generous assistance of Philip Stuart via his LSO discography which he compiled for the Orchestra’s centenary in 2004 and has kept updated. Inevitably there are a number of missing credits for producers and engineers in the earliest years as these facts no longer survive. Additionally some exact dates have not been tracked down. Contents CHRONOLOGICAL LIST OF RECORDING ACTIVITY Page 3 INDEX OF COMPOSERS / WORKS Page 125 INDEX OF SOLOISTS Page 137 Notes 1.
    [Show full text]
  • 2019/20 Spielzeitbuch 2019/20 Spielzeitbuch 3 VORWORT
    2019/20 Spielzeitbuch 2019/20 Spielzeitbuch 3 VORWORT Verehrtes Publikum, geht es um die Grundfragen unserer Existenz, so unterschiedlich die Herangehensweisen in einer Welt, in der die Verkürzung von und Stilmittel der verschiedenen Komponisten Inhalten immer mehr zum bestimmenden auch sein mögen: Zeigt Verdis LA FORZA Merkmal unseres Umgangs miteinander DEL DESTINO eine Welt, in der das Verzeihen wird, markiert das Musiktheater einen unver­ keinen Platz hat, widmet sich Chaya Czernowin zichtbaren Gegenpol. Hier geht es nicht in HEART CHAMBER den Anziehungs­ um Vereinfachung, sondern darum, den und Abstoßungsenergien, die die Beziehung Dingen auf den Grund zu gehen. Zu fragen, zweier Menschen prägen. Spürt Britten in was Menschen zu ihrem Handeln treibt und seinem MIDSUMMER NIGHT’S DREAM was die Welt im Innersten zusammenhält, den Verwirrungen nach, die sich aus ist die Aufgabestellung, die sich als roter dem Ineinandergreifen von Trieb und Liebe Faden durch mehr als 400 Jahre Oper zieht ergeben, zeigt Tschaikowskij in seiner und Komponisten heute ebenso antreibt wie PIQUE DAME einen Außenseiter, dem der zu Zeiten Mozarts. Musiktheater, so wie Glaube an das Glück im Kartenspiel zum wir es verstehen, ist Sinnsuche, egal, ob ein einzigen Lebensinhalt geworden ist. Und Werk diese Fragen mit großen, die ganze sowohl der dänische Außenseiter­Komponist Gefühlswelt einer Figur offenbarenden Arien, Rued Langgaard, dessen einzige Oper mit der Entfesselung orchestraler Klang­ ANTIKRIST wir erstmalig in Berlin zeigen, gewalt oder durch das Aufzeigen von beunruhi­ wie auch Richard Wagner in seinem RING genden Leerstellen beantwortet. Um diese DES NIBELUNGEN waren von der Aufgabe erfüllen zu können, nimmt es sich Idee durchdrungen, der Menschheit durch Zeit und erreicht mit der emotionalen Kraft die Kunst den Weg hin zu einer besseren seiner musikalischen und dramatischen Mittel, Existenz zu zeigen.
    [Show full text]