DOCSLIB.ORG

Simone Young Conducts Beethoven

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

18–20 February Sydney Town Hall SIMONE YOUNG CONDUCTS BEETHOVEN Principal Partner 2021 CONCERT SEASON Thursday 18 February, 1.30pm SYDNEY SYMPHONY ORCHESTRA THURSDAY AFTERNOON SYMPHONY Saturday 20 February, 2pm GREAT CLASSICS Sydney Town Hall PATRON Her Excellency The Honourable Margaret Beazley AC QC Founded in 1932 by the Australian Broadcasting Commission, the Sydney Symphony Orchestra has evolved into one of the world’s finest orchestras as Sydney has become one of the world’s great cities. Resident at the iconic Sydney Opera House, the Sydney Symphony Orchestra also performs in venues throughout Sydney and regional New South Wales, and international tours to Europe, Asia and the USA have earned the Orchestra worldwide recognition for artistic excellence. SIMONE YOUNG The Orchestra’s first chief conductor was Sir Eugene Goossens, appointed in 1947; he was followed by Nicolai Malko, Dean Dixon, Moshe Atzmon, Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras, Zdenêk Mácal, Stuart Challender, Edo de CONDUCTS Waart and Gianluigi Gelmetti. Vladimir Ashkenazy was Principal Conductor from 2009 to 2013, followed by David Robertson as Chief Conductor from 2014 to 2019. Australia-born Simone Young has been the Orchestra’s Chief Conductor Designate BEETHOVEN since 2020. She commences her role as Chief Conductor in 2022 as the Orchestra returns to the renewed Concert Hall of the Sydney Opera House. The Sydney Symphony Orchestra's concerts encompass masterpieces from the classical repertoire, music by some of the finest living composers, and collaborations SIMONE YOUNG conductor ESTIMATED DURATIONS with guest artists from all genres, reflecting the Orchestra's versatility and diverse LAUREN FAGAN soprano 14 minutes, 13 minutes, appeal. Its award-winning education program is central to its commitment to the interval 20 minutes, future of live symphonic music, and the Orchestra promotes the work of Australian 36 minutes. composers through performances, recordings and its commissioning program. LUDWIG VAN BEETHOVEN (1770–1827) COVER IMAGE ‘Leonore’ Overture No.3, Op.72 Simone Young Photo: Nic Walker Simone Young SECOND VIOLINS CELLOS CLARINETS TUBA Ah! perfido (Oh, faithless one), Op.65 Chief Conductor Marina Marsden Catherine Hewgill Francesco Celata Steve Rossé Designate Principal Principal Associate Principal Principal Donald Runnicles Marianne Edwards Leah Lynn Christopher Tingay Principal Guest Associate Principal Acting Associate TIMPANI Conductor James Burke Emma Jezek Principal Principal Mark Robinson Symphony No.7 in A major, Op.92 Vladimir Ashkenazy Assistant Principal Kristy Conrau Acting Principal Conductor Laureate Alexander Morris Poco sostenuto - vivace Alice Bartsch Fenella Gill Principal Bass Clarinet Elizabeth Neville PERCUSSION Andrew Haveron Victoria Bihun Allegretto Christopher Pidcock BASSOONS Rebecca Lagos Concertmaster Emma Hayes Adrian Wallis Principal Presto Chair supported by Shuti Huang Matthew Wilkie David Wickham Vicki Olsson Monique Irik Principal Emeritus Timothy Constable Allegro con brio Wendy Kong Timothy Nankervis Fiona McNamara * = Guest Musician FIRST VIOLINS Benjamin Li Nicole Masters DOUBLE BASSES Tobb Gibson-Cornish ° = Contract Musician Andrew Haveron Principal Rebecca Gill Kees Boersma † = Sydney Symphony Concertmaster Maja Verunica Principal Noriko Shimada Fellow Harry Bennetts Principal Alex Henery Grey = Permanent Associate VIOLAS Contrabassoon Principal Member of the Sydney Concertmaster Tobias Breider David Campbell HORNS Symphony Orchestra Sun Yi Principal Steven Larson not appearing in Ben Jacks Associate Justin Williams Richard Lynn this concert Principal Concertmaster Acting Associate Jaan Pallandi Fiona Ziegler Principal Benjamin Ward Geoffrey O’Reilly Principal 3rd Horn Assistant Rosemary Curtin Concertmaster Graham Hennings FLUTES Euan Harvey Kirsten Williams Stuart Johnson Joshua Batty Rachel Silver Associate Justine Marsden Principal Marnie Sebire Concertmaster Felicity Tsai Emma Sholl TRUMPETS Emeritus Amanda Verner Associate Principal Jenny Booth Leonid Volovelsky Carolyn Harris David Elton Sophie Cole Dana Lee† Principal Georges Lentz Anne-Louise OBOES Anthony Heinrichs Nicola Lewis David Johnson* Comerford Diana Doherty Emily Long Associate Principal Principal Alexandra Mitchell TROMBONES Sandro Costantino Nicola Bell* Alexander Norton Jane Hazelwood Scott Kinmont Anna Skálová Shefali Pryor Associate Principal Léone Ziegler Associate Principal Nick Byrne Lerida Delbridge Alexandre Oguey PRINCIPAL PARTNER Christopher Harris Assistant Principal Cor Anglais Principal Bass Concertmaster Trombone Claire Herrick Ronald Prussing Principal WELCOME ABOUT THE ARTISTS PRESENTING PARTNER SIMONE YOUNG conductor Simone Young AM, General Manager and Music Director of the Hamburg State Opera and Music Director of the Philharmonic State Orchestra Hamburg from 2005 – 2015 is currently Principal Guest Conductor of the Lausanne Chamber Orchestra. She has conducted complete cycles of Der Ring des Nibelungen at the Vienna Staatsoper, the Staatsoper Berlin and Staatsoper Hamburg. Her Welcome to Simone Young conducts Beethoven, Hamburg recordings include the Ring cycle, Mathis der proudly supported by Emirates. Maler (Hindemith), and symphonies of Bruckner, Brahms Two great musical spirits meet as Chief Conductor Designate Simone and Mahler. Her 2012 Hamburg Opera and Ballet tour to Young masterfully interprets the music of Beethoven. An overture to his Brisbane, (Das Rheingold in concert, and Mahler Symphony only opera, Fidelio and one of his most-loved pieces, Symphony No.7 No. 2 “Resurrection”), won her the 2013 Helpmann Award Simone Young feature in today’s program. for the Best Individual Classical Music Performance. Photo: Nic Walker Almost 20 years ago, Emirates and the Sydney Symphony Orchestra met Simone Young’s most recent engagements have included to partner in a great synergy of culture and travel. COVID-19 has caused return invitations to the New York and Monte Carlo both of our organisations to navigate through uncharted skies, but we are Philharmonic Orchestras; the Helsinki, Barcelona, proud to do this side by side. Cincinnati, and Minnesota Orchestras; Orchestre Emirates has led the way in response to COVID-19 with safety initiatives de Paris; and the West Australian and Queensland to boost travel confidence. We continue to seek ways to support our Symphony Orchestras. community during this challenging time and we hope today’s music helps The BBC Symphony, Berlin, Vienna, Munich, Dresden, to brings joy during these times. and London Philharmonic Orchestras, the Staatskapelle It is my pleasure to welcome you to this performance of Simone Young Dresden, the Bruckner Orchestra, Linz, City of Birmingham conducts Beethoven, and we wish you all the best for the year ahead. Symphony, Dallas Symphony Orchestra, and the Wiener Symphoniker, are among the leading orchestras Simone Enjoy your listening and exploring! Young also regularly conducts. Maintaining her passionate interest in and understanding of the voice, her recent invitations to conduct opera have included Reimann’s Lear (Madrid), Fidelio, a Verdi Gala and Der Rosenkavalier (Berlin State Opera), Lohengrin and Elektra (Zürich), A Midsummer Night’s Dream and Henze’s Das verratene Meer (Vienna State Opera), and Tannhäuser (Munich). Simone Young has been Music Director of Opera Australia, Barry Brown Conductor of the Bergen Philharmonic Orchestra, and Emirates’ Divisional Vice President Principal Guest Conductor of the Gulbenkian Orchestra, for Australasia Lisbon. Her many accolades include a Professorship at the Musikhochschule in Hamburg, Honorary Doctorates from Griffith University, University of Western Australia, Monash University and the University of New South Wales; the Chevalier de l’Ordre des Arts et des Lettres from France, the Goethe Institute Medal and the Sir Bernard Heinze Award. Simone Young has been the Orchestra’s Chief Conductor Designate since 2020. She commences her role as Chief Conductor in 2022 as the Orchestra returns to the renewed Concert Hall of the Sydney Opera House. Simone Young's appearances are generously supported by both Bob Magid OAM & Ruth Magid and Emirates. ABOUT THE ARTISTS ABOUT THE MUSIC LAUREN FAGAN soprano Beethoven’s only opera, Fidelio, had a tortuous gestation. The first performance in 1805 was a flop. It was far too A graduate of Covent Garden’s prestigious Jette long, but more importantly, the occupation of Vienna by Parker Young Artist Programme, Lauren Fagan has Napoleon’s troops had caused the evacuation of local developed into one of today’s most accomplished aristocrats so the small audience was made up mainly of young sopranos and had the honour of representing her French officers. Cuts and revisions followed for a revival native Australia in the 2019 BBC Cardiff Singer of the the following year, but in 1814, three librettists and four World Competition. Recent role debuts as Alcina for overtures later, Beethoven made the final version. The the Internationale Händel-Festspiele Karlsruhe, Violetta work was now a triumph. Vienna was celebrating the final in Rodula Gaitanou’s new production of La Traviata for defeat of Napoleon, but more importantly, Fidelio was now Opera Holland Park and Mimi in the classic Phyllida a powerful, focused piece of theatre. Lloyd production of La Bohème for Opera North were met The model for Fidelio was a then-fashionable French with unanimous critical acclaim for her richness of tone, genre, later known as ‘rescue opera’. The story was based
Recommended publications
  • ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS from the LEADERSHIP

    ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS from the LEADERSHIP

    ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS FROM THE LEADERSHIP The New York Philharmonic’s 2019–20 season certainly saw it all. We recall the remarkable performances ranging from Berlioz to Beethoven, with special pride in the launch of Project 19 — the single largest commissioning program ever created for women composers — honoring the ratification of the 19th Amendment. Together with Lincoln Center we unveiled specific plans for the renovation and re-opening of David Geffen Hall, which will have both great acoustics and also public spaces that can welcome the community. In March came the shock of a worldwide pandemic hurtling down the tracks at us, and on the 10th we played what was to be our final concert of the season. Like all New Yorkers, we tried to come to grips with the life-changing ramifications The Philharmonic responded quickly and in one week created NY Phil Plays On, a portal to hundreds of hours of past performances, to offer joy, pleasure, solace, and comfort in the only way we could. In August we launched NY Phil Bandwagon, bringing live music back to New York. Bandwagon presented 81 concerts from Chris Lee midtown to the far reaches of every one of the five boroughs. In the wake of the Erin Baiano horrific deaths of Black men and women, and the realization that we must all participate to change society, we began the hard work of self-evaluation to create a Philharmonic that is truly equitable, diverse, and inclusive. The severe financial challenge caused by cancelling fully a third of our 2019–20 concerts resulting in the loss of $10 million is obvious.
  • Marie Collier: a Life

    Marie Collier: a Life

    Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family.
  • ROBIN DE RAAFF Entangled Tales

    ROBIN DE RAAFF Entangled Tales

    World premiere ROBIN DE RAAFF Entangled Tales Rotterdam Philharmonic Orchestra Residentie Orkest, The Hague Het Gelders Orkest Yannick Nézet-Séguin | Neeme Järvi Antonello Manacorda Marien van Staalen cello 1 ROBIN DE RAAFF Entangled Tales Rotterdam Philharmonic Orchestra Residentie Orkest, The Hague Het Gelders Orkest Yannick Nézet-Séguin | Neeme Järvi Antonello Manacorda Marien van Staalen Yannick Nézet-Séguin conductor Marien van Staalen cello Neeme Järvi conductor Antonello Manacorda conductor Cello Concerto (2012-2013)* [1] I (Q = 44) 6:53 [2] II (Q = 88) 6:31 [3] III (Q = 44) 8:46 [4] IV (Q = 88 - Q = 132) 2:57 [5] Coda (Q = 44) 4:55 [6] Entangled Tales, for large orchestra (2007) 8:42 Symphony No 3 “Illumination...Eclipse”, for large orchestra (2014-2015) [7] I (Q = 60) 9:13 [8] II (Q = 42) 10:34 [9] III (Q = 80) 5:32 [10] Coda (Q = 42) 4:20 total time 68:28 4 5 Cello Concerto For a cello, Robin’s concerto is innovative and challenging from a technical In the Ardennes, the wooded hills south of Holland, you hear the silence. point of view. The cello plays all conceivable harmonics. The double stops are The wind rustles through the trees, nature breathes. There, in my tiny cottage, extremely difficult, demanding different dynamics on each string. All of this is I practised new sounds: the solo part of Robin’s concerto. Robin emailed me modern, ground-breaking cello technique; in this respect the concerto reminds his beautiful manuscript page by page, and I sought a solution to each me of Dallapiccola’s work for solo cello.
  • SYDNEY SYMPHONY UNDER the STARS BENJAMIN NORTHEY DIANA DOHERTY CONDUCTOR OBOE Principal Oboe, John C Conde AO Chair

    SYDNEY SYMPHONY UNDER the STARS BENJAMIN NORTHEY DIANA DOHERTY CONDUCTOR OBOE Principal Oboe, John C Conde AO Chair

    SYDNEY SYMPHONY Photo: Photo: Jamie Williams UNDER THE STARS SYDNEY SYMPHONY ORCHESTRA I AUSTRALIA PROGRAM Dmitri Shostakovich (Russian, 1906–1975) SYDNEY Festive Overture SYMPHONY John Williams (American, born 1932) Hedwig’s Theme from Harry Potter UNDER THE Wolfgang Amadeus Mozart (Austrian, 1756–1791) Finale from the Horn Concerto No.4, K.495 STARS Ben Jacks, horn SYDNEY SYMPHONY ORCHESTRA I AUSTRALIA THE CRESCENT Hua Yanjun (Chinese, 1893–1950) PARRAMATTA PARK Reflection of the Moon on the Lake at Erquan 8PM, 19 JANUARY 120 MINS John Williams Highlights from Star Wars: Imperial March Benjamin Northey conductor Cantina Music Diana Doherty oboe Main Title Ben Jacks horn INTERVAL Sydney Symphony Orchestra Gioachino Rossini (Italian, 1792–1868) Galop (aka the Lone Ranger Theme) from the overture to the opera William Tell Percy Grainger (Australian, 1882–1961) The Nightingale and the Two Sisters from the Danish Folk-Song Suite Edvard Grieg (Norwegian, 1843–1907) Highlights from music for Ibsen’s play Peer Gynt: Morning Mood Anitra’s Dance In the Hall of the Mountain King Ennio Morricone (Italian, born 1928) Theme from The Mission Diana Doherty, oboe Josef Strauss (Austrian, 1827–1870) Music of the Spheres – Waltz Pyotr Ilyich Tchaikovsky (Russian, 1840–1893) 1812 – Festival Overture SYDNEYSYDNEY SYMPHONY SYMPHONY UNDER UNDER THE STARS THE STARS SYDNEY SYMPHONY UNDER THE STARS BENJAMIN NORTHEY DIANA DOHERTY CONDUCTOR OBOE Principal Oboe, John C Conde AO Chair Benjamin Northey is Chief Conductor of the Christchurch Diana Doherty joined the Sydney Symphony Orchestra as Symphony Orchestra and Associate Conductor of the Principal Oboe in 1997, having held the same position with Melbourne Symphony Orchestra.
  • Compassion Booklet

    Compassion Booklet

    481 0678 Compassion – Symphony of Songs Song cycle for voice and orchestra by Lior and Nigel Westlake based on a collection of ancient Hebrew and Arabic texts 1 Sim Shalom – Grant Peace 7’28 2 Eize Hu Chacham? – Who is Wise? 5’25 3 La Yu’minu – Until You Love Your Brother 4’18 4 Inna Rifqa – The Beauty Within 4’55 5 Al Takshu L’vavchem – Don’t Harden Your Hearts 4’45 6 Ma Wadani Ahadun – Until the End of Time 7’57 7 Avinu Malkeinu – Hymn of Compassion 5’57 Total Playing Time 40’46 Lior vocals Sydney Symphony Orchestra Nigel Westlake conductor Compassion was commissioned by the Sydney Symphony Orchestra, for the SSO and the other Australian symphony orchestras, with the support of Symphony Services International. 3 The Genesis of Compassion In stark contrast to what had preceded, here was another side to Lior’s artistry, his keening and emotionally charged voice allowing us an intimate glimpse into the rich vein of middle eastern heritage The catalyst for Compassion can be traced to a single watershed moment: the occurrence of my first that is his birthright. Lior concert. It was the winter of 2009 in the tiny rural village of St Albans NSW, the occasion being the inaugural fundraising event for the Smugglers of Light, a foundation formed by our family in The power and spirituality of the song struck a deep resonance amongst the crowd, all of whom were memory of my son Eli. captivated in spellbound rapture. For my own part, I had just experienced a small taste of a tantalising and exotic sound world and was overcome by a strange yearning to be a part of it.
  • Chopin / Liszt ; Alexander Uninsky, the Hague Philharmonic Orchestra Conducted by Willem

    Chopin / Liszt ; Alexander Uninsky, the Hague Philharmonic Orchestra Conducted by Willem

    Chopin Piano Concerto No. 2 In F Minor, Op. 21 / Piano Concerto No. 2 In A mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Piano Concerto No. 2 In F Minor, Op. 21 / Piano Concerto No. 2 In A Country: UK Released: 1968 Style: Romantic MP3 version RAR size: 1139 mb FLAC version RAR size: 1923 mb WMA version RAR size: 1843 mb Rating: 4.4 Votes: 352 Other Formats: AIFF MPC MIDI VOC VOX MP1 DXD Tracklist Hide Credits Piano Concerto No. 2 In F Minor, Op. 21 Composed By – Chopin*Conductor – Willem Van OtterlooOrchestra – The Hague Philharmonic Orchestra*Piano – Alexander Uninsky A1 1st Movt: Maestoso A2a 2nd Movt: Larghetto A2b 3rd Movt: Allegro Vivace Piano Concerto No. 2 In A Composed By – Liszt*Conductor – Laszlo Somogyi*Orchestra – Vienna Symphony Orchestra*Piano – Yuri Boukoff B1a Adagio Sostenuto Assai - B1b Allegro Agitato Assai - B1c Allegro Moderato - B1d Allegro Deciso - B1e Marziale Un Poco Meno Allegro - B1f Allegro Animato Notes There are cuts in the opening tutti of the Chopin concerto in this recording LABELS: - Blue label / silver text - "fontana" logo at top (blue text / silver background) - Catalog Number: SFL.14050 at 3 o'clock - International Catalog Number: 700 172 WGY at 3 o'clock - Matrix number at 3 o'clock - ℗ 1959 at 9 o'clock SLEEVE: - Second UK Fontana Special sleeve design, ie: --- Front and back laminated --- No flipbacks --- Red, black and white front cover 3-section logo "special / fontana / special" - Catalog number: SFL14050 and International Catalog Number (sleeve back, top right) - Catalog
  • My Fifty Years with Wagner

    My Fifty Years with Wagner

    MY FIFTY YEARS WITH RICHARD WAGNER I don't for a moment profess to be an expert on the subject of the German composer Wilhelm Richard Wagner and have not made detailed comments on performances, leaving opinions to those far more enlightened than I. However having listened to Wagnerian works on radio and record from the late 1960s, and after a chance experience in 1973, I have been fascinated by the world and works of Wagner ever since. I have been fortunate to enjoy three separate cycles of Der Ring des Nibelungen, in Bayreuth 2008, San Francisco in 2011 and Melbourne in 2013 and will see a fourth, being the world's first fully digitally staged Ring cycle in Brisbane in 2020 under the auspices of Opera Australia. I also completed three years of the degree course in Architecture at the University of Quensland from 1962 and have always been interested in the monumental buildings of Europe, old and new, including the opera houses I have visited for performance of Wagner's works. It all started in earnest on September 29, 1973 when I was 28 yrs old, when, with friend and music mentor Harold King of ABC radio fame, together we attended the inaugural orchestral concert given at the Sydney Opera House, in which the legendary Swedish soprano Birgit Nilsson opened the world renowned building singing an all Wagner programme including the Immolation scene from Götterdämmerung, accompanied by the Sydney Symphony Orchestra conducted by a young Charles Mackerras. This event fully opened my eyes to the Ring Cycle - and I have managed to keep the historic souvenir programme.
  • Impact Report 2019 Impact Report

    Impact Report 2019 Impact Report

    2019 Impact Report 2019 Impact Report 1 Sydney Symphony Orchestra 2019 Impact Report “ Simone Young and the Sydney Symphony Orchestra’s outstanding interpretation captured its distinctive structure and imaginative folkloric atmosphere. The sumptuous string sonorities, evocative woodwind calls and polished brass chords highlighted the young Mahler’s distinctive orchestral sound-world.” The Australian, December 2019 Mahler’s Das klagende Lied with (L–R) Brett Weymark, Simone Young, Andrew Collis, Steve Davislim, Eleanor Lyons and Michaela Schuster. (Sydney Opera House, December 2019) Photo: Jay Patel Sydney Symphony Orchestra 2019 Impact Report Table of Contents 2019 at a Glance 06 Critical Acclaim 08 Chair’s Report 10 CEO’s Report 12 2019 Artistic Highlights 14 The Orchestra 18 Farewelling David Robertson 20 Welcome, Simone Young 22 50 Fanfares 24 Sydney Symphony Orchestra Fellowship 28 Building Audiences for Orchestral Music 30 Serving Our State 34 Acknowledging Your Support 38 Business Performance 40 2019 Annual Fund Donors 42 Sponsor Salute 46 Sydney Symphony Under the Stars. (Parramatta Park, January 2019) Photo: Victor Frankowski 4 5 Sydney Symphony Orchestra 2019 Impact Report 2019 at a Glance 146 Schools participated in Sydney Symphony Orchestra education programs 33,000 Students and Teachers 19,700 engaged in Sydney Symphony Students 234 Orchestra education programs attended Sydney Symphony $19.5 performances Orchestra concerts 64% in Australia of revenue Million self-generated in box office revenue 3,100 Hours of livestream concerts
  • Deborah Riedel Paul Ferris Cameron Hill

    Deborah Riedel Paul Ferris Cameron Hill

    DEBORAH RIEDEL Soprano PAUL FERRIS Tenor Tenor Paul Ferris has performed a wide rage of opera and music theatre repertoire throughout Australia and overseas. He has sung leading roles in La Traviata and Voss with Opera Australia and with the Sydney Symphony Orchestra under Stuart Challender. His performances have included much of the lyric tenor repertoire, including many roles Sydney born soprano, Deborah Riedel, in operetta, music theatre and concert. has performed major roles in most of the world’s best known opera houses, including the Metropolitan Opera, New York, the Royal Opera House, Covent Garden, Opera ~~~~~~~~ National de Paris, Vienna State Opera, Rome Opera, Munich State Opera, Netherlands Opera, Geneva Opera and many CAMERON HILL more. Her roles have included Freia in Das Violinist Rheingold, Donna Elvira, Donna Anna and Zerlina in Don Giovanni, Pamina in The Young Melbourne virtuoso violinist, Magic Flute, Mimi in La Boheme, Susanna Cameron Hill, won the national Dorcas and the Countess in The Marriage of Figaro, McClean Violin Competition in 2005 and the Marschallin in Der Rosenkavalier, was named 2006 ABC Symphony Marguerite in Faust, and the title roles in La Australia Young Performer of the Year Traviata, Tosca and Maria Stuarda. after winning the Grand Final with a She has also performed with many performance of the Stravinsky Violin European orchestras, such as the Czech Concerto with the Melbourne Symphony Philharmonic under Kurt Albrecht and Sir Orchestra. Cameron was subsequently the Charles Mackerras, the London Symphony inaugural recipient of the ABC Sir Charles under Sir Colin Davis, and with Australian Moses Young Performers Trophy.
  • 2018–19 Chronological Listing

    2018–19 Chronological Listing

    UPDATED June 7, 2019 CHRONOLOGICAL LISTING 2018–19 SEASON THE ART OF THE SCORE Alec Baldwin, Artistic Advisor THERE WILL BE BLOOD David Geffen Hall at Lincoln Center Wednesday, September 12, 2018, 7:30 p.m. Thursday, September 13, 2018, 7:30 p.m. Hugh Brunt*, conductor Michelle Kim, violin Jonny GREENWOOD There Will Be Blood (score performed live to complete film) THE ART OF THE SCORE Alec Baldwin, Artistic Advisor 2001: A SPACE ODYSSEY David Geffen Hall at Lincoln Center Friday, September 14, 2018, 8:00 p.m. Saturday, September 15, 2018, 8:00 p.m. André de Ridder, conductor Musica Sacra, chorus Kent Tritle, director VARIOUS 2001: A Space Odyssey (score performed live to complete film) (includes selections from works by Ligeti, R. Strauss, J. Strauss II, and Khachaturian) * New York Philharmonic debut JAAP VAN ZWEDEN CONDUCTS: OPENING GALA CONCERT NEW YORK, MEET JAAP David Geffen Hall at Lincoln Center Thursday, September 20, 2018, 7:00 p.m. Jaap van Zweden, conductor Daniil Trifonov, piano Rebekah Heller*, bassoon Nate Wooley*, trumpet Brandon Lopez*, bass Constellation Chor*, moving voices Marisa Michelson, director César Alvarez*, Lilleth Glimcher*, staging and dramaturgy Brandon Clifford*, Wes McGee*, Johanna Lobdell*, matter design Marika Kent*, lighting design Tolulope Aremu*, costume design Ashley FURE Filament (World Premiere–New York Philharmonic Commission) RAVEL Piano Concerto in G major STRAVINSKY The Rite of Spring * New York Philharmonic debut JAAP VAN ZWEDEN CONDUCTS: NEW WORK BY ASHLEY FURE, DANIIL TRIFONOV IN BEETHOVEN, AND STRAVINSKY’S THE RITE OF SPRING David Geffen Hall at Lincoln Center Friday, September 21, 2018, 8:00 p.m.
  • L I V M I G D a L Marian Migdal

    L I V M I G D a L Marian Migdal

    LIV MIGDAL VIOLINE & PIANO MARIAN MIGDAL BEETHOVEN DEBUSSY STRAUSS MULTICHANNEL plays on SACD, CD & DVD player MOZART GESELLSCHAFT DORTMUND Wir bedanken uns bei der MOZART GESELLSCHAFT DORTMUND e.V. und der OPLÄNDER STIFTUNG für die freundliche Unterstützung. Many thanks to MOZART GESELLSCHAFT DORTMUND e.V. and to OPLÄNDER STIFTUNG for the generous support. 2 3 »Diese Sonaten sind die einzigen in ihrer Art. […] Dabey ist das Accompagnement der Violine mit der Clavierpartie so künstlich verbunden, daß beide Instrumente in beständiger Aufmerk - samkeit unterhalten werden; so daß diese Sonaten einen eben so fertigen Violin- als Clavier- LUDWIG VAN BEETHOVEN (177 0–1827 ) Spieler erfordern.« Mit diesen Worten pries man im Magazin der Musik von Carl Friedrich Sonate für Klavier und Violine Nr. 6 A-Dur op. 30 Nr. 1 Cramer die originelle Qualität der im Jahr 1781 als Opus II veröffentlichten Six Sonates pour 1 Allegro 7 : 54 le Clavecin, ou Piano Forte avec l‘accomagnement d’un Violon von Wolfgang Amadeus 2 Adagio molto espressivo 7 : 17 Mozart. Entgegen den Konventionen bemühte sich der Komponist – der damit als Begründer 3 Allegretto con variazioni 8 : 20 der modernen Violinsonate gelten kann – in seinen späten Sonaten um ein ausgewogeneres Verhältnis beider Instrumente. In folgender Generation war es Ludwig van Beethoven, der das Prinzip des musikalischen Dialogs aufgriff und mit seinen Werken den grundlegenden Typus CLAUDE DEBUSSY (1862 –1918 ) für Sonaten mit zwei gleichberechtigten Partnern schuf. Sonate für Violine und Klavier g-Moll 4 Allegro vivo 5 : 29 Dieser Entwicklung der Duopartnerschaft ging eine Norm voraus, in der die Violine stets eine 5 Intermède – Fantasque et léger 4 : 55 untergeordnete Rolle gespielt hatte.
  • June, 1947 1/3/47 I Ice Skating Carnivals in Each Five Boroughs On

    June, 1947 1/3/47 I Ice Skating Carnivals in Each Five Boroughs On

    INDEX \ January - June, 1947 1/3/47 I Ice skating carnivals in each five boroughs on Sunday, Jan. 12 1/5/47 2 Year end report on Park's activities and progress made dur- ing 1946 1/9/47 3 Warning for skaters to observe safety signs before going on frozen ponds and lakes 1/17/47 4 Procedure for assigning lockers at golf club houses 1/22/47 5 First day of ice skating in neighborhood playgrounds 2/8/47 6 Skiing and coasting areas in parks of all five boroughs listed 3/10/47 7 Schedule for first set of borough-wide elimination boxing bouts 3/17/47 8 Second week of elimination bouts in Parks Boxing Tournement 3/24/47 9 Last two sets of Borough-wide boxing finals in preparation for City-wide Championships in Department of Parks annual Boxing Tournement. 3/26/47 10, Finalists in three divisions of Parks Basketball Tournament to take place on March 29 at Madison Square Garden 3/27/47 11 For advent of Easter, Arnold Constable to sponser Egg & I Rolling Contest in Central Park on April 5 3/29/47 12 Park Department announces opening of Annual Easter Flower Show in Greenhouse at Prospect Park on Palm Sunday 3/30/47 13 Semi-finals in junior boxing tournement sponsored by Gimbels on 3/31/47 in Queens 4/2/47 14 750 girls and boys enter Arnold Constable Egg & I Rolling Contest; further details regarding rules and prizes 4/6/47 15 Last set of City-wide semi-finals in Department of Parks Boxing Tournement sponsored by Gimbels to be held on April 7 at 8 p.m.