EINSTEIN on the BEACH BROOKLYN ACADEMY of MUSIC Harvey Lichtenstein, President and Executive Producer
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CIM Opera: Glass & Moran's the Juniper Tree
CIM Opera: Glass & Moran’s The Juniper Tree (Oct. 31) by David Kulma If anyone is worried about the future of opera, all they have to do is attend a college production to calm the nerves. There are numerous highly-skilled young people ready to take up the genre’s mantle, as was clear from the Cleveland Institute of Music Opera Theater’s production of The Juniper Tree in Mixon Hall on Halloween weekend. I attended opening night on Thursday, October 31, which was dedicated to the memory of the late Cleveland arts icon A. Grace Lee Mims. Artistic director Dean Southern chose a relatively recent work composed in 1984 by Philip Glass and Robert Moran. With a libretto by Arthur Yorinks, The Juniper Tree takes its plot from a grim tale by the Brothers Grimm. A stepmother doesn’t like her stepson, kills him, and feeds him to his unwitting father. The boy’s bones are buried under a juniper by his younger sister, and thereby — in fairy-tale fashion — his soul inhabits a bird in the tree above. The boy-bird sings so beautifully that he receives a gold chain, red shoes, and a millstone from passing men. He drops each of these as a gift for a family member. Of course, the dropped stone is the means to kill his stepmother, and just as miraculously, the boy returns to human form. And all is well for the happy family. Glass and Moran divided the libretto, each setting their own scenes, which are unified with overlapping themes. The result is an “exquisite corpse” of two disparate styles. -
Mario Ferraro 00
City Research Online City, University of London Institutional Repository Citation: Ferraro Jr., Mario (2011). Contemporary opera in Britain, 1970-2010. (Unpublished Doctoral thesis, City University London) This is the unspecified version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/1279/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] CONTEMPORARY OPERA IN BRITAIN, 1970-2010 MARIO JACINTO FERRARO JR PHD in Music – Composition City University, London School of Arts Department of Creative Practice and Enterprise Centre for Music Studies October 2011 CONTEMPORARY OPERA IN BRITAIN, 1970-2010 Contents Page Acknowledgements Declaration Abstract Preface i Introduction ii Chapter 1. Creating an Opera 1 1. Theatre/Opera: Historical Background 1 2. New Approaches to Narrative 5 2. The Libretto 13 3. The Music 29 4. Stage Direction 39 Chapter 2. Operas written after 1970, their composers and premieres by 45 opera companies in Britain 1. -
Advance Program Notes Powaqqatsi: Life in Transformation Philip Glass Ensemble Friday, November 1, 2013, 8 PM
Advance Program Notes Powaqqatsi: Life in Transformation Philip Glass Ensemble Friday, November 1, 2013, 8 PM These Advance Program Notes are provided online for our patrons who like to read about performances ahead of time. Printed programs will be provided to patrons at the performances. Programs are subject to change. CENTER FOR THE ARTS AT VIRGINIA TECH presents POWAQQATSI LIFE IN TRANSFORMATION The CANNON GROUP INC. A FRANCIS FORD COPPOLA and GEORGE LUCAS Presentation Music by Directed by PHILIP GLASS GODFREY REGGIO Photography by Edited by GRAHAM BERRY IRIS CAHN/ ALTON WALPOLE LEONIDAS ZOURDOUMIS Performed by PHILIP GLASS and the PHILIP GLASS ENSEMBLE conducted by Michael Riesman with the Blacksburg Children’s Chorale Patrice Yearwood, artistic director PHILIP GLASS ENSEMBLE Philip Glass, Lisa Bielawa, Dan Dryden, Stephen Erb, Jon Gibson, Michael Riesman, Mick Rossi, Andrew Sterman, David Crowell Guest Musicians: Ted Baker, Frank Cassara, Nelson Padgett, Yousif Sheronick The call to prayer in tonight’s performance is given by Dr. Khaled Gad Music Director MICHAEL RIESMAN Sound Design by Kurt Munkacsi Film Executive Producers MENAHEM GOLAN and YORAM GLOBUS Film Produced by MEL LAWRENCE, GODFREY REGGIO and LAWRENCE TAUB Production Management POMEGRANATE ARTS Linda Brumbach, Producer POWAQQATSI runs approximately 102 minutes and will be performed without intermission. SUBJECT TO CHANGE PO-WAQ-QA-TSI (from the Hopi language, powaq sorcerer + qatsi life) n. an entity, a way of life, that consumes the life forces of other beings in order to further its own life. POWAQQATSI is the second part of the Godfrey Reggio/Philip Glass QATSI TRILOGY. With a more global view than KOYAANISQATSI, Reggio and Glass’ first collaboration, POWAQQATSI, examines life on our planet, focusing on the negative transformation of land-based, human- scale societies into technologically driven, urban clones. -
ARTS V- Entertainment
ARTS V- entertainment Titian Schlummernde Venus” (1510) Erotica? Pornography? Who Sees What? rt and the erotic and/or pornographic image have maintained a long and in cestuous alliance. Indeed, perhaps the first known work of sculpture recovered, the Paleolithic “ Venus of Wildendorf” reflects in a size somewhat larger than a person’s thumb a avoluptuous fem ale form radiating with sexual potency. The representation of woman as sexual goddess has continued to preoccupy virtually every cultural epoch. Our own age is no ex ception. In fact, images of women in a sexual context have become so alarmingly com monplace that one is coerced into endorsing it. And that is precisely why the accelerated ex ploitation of these images through the media is so insidious. A naked woman lying suggestively upon a bed is a scene celebrated and culturally legitamatized by Titian, Rembrandt, Goya, Watteau, Manet and just about every other greater or lesser talent that has applied paint to a surface. This particular kind of image has become so ingrained in us that we accept and even pay homage to it as part of our history. In both a high and low art form people of both sexes continue to help foster and encourage it. The men who buy Playboy and the women who buy Cosmopolitan are, in truth, purchasing one and the same image. In fact, we have become so saturated with these images that they tend to cancel one another out, leaving us benumbed to their subtle manipulation. This is commonplace, a fam iliar aspect of everyday life. -
Ph Ili P Glass
pHILIP GL ASS 319 A p T E R 11 PH ILI PGLASS Born Baltimore, 1937 1 5 si W H I L E J o H N e A G E may be the first name in new music that most people know, the music of Philip Glass is more likely to be the first sound of it they actually hear. Glass's music can be found not only at the opera, where he reigns supreme as America's most success ful living composer, but at the ballet, on television, in symphony halls, films , jazz clubs, and even the occasional sports stadium. There are times in New York when it seems his music is everywhere; one Village Philip Glass, New York, 1972. Photo Credit: Richard I.andry Voice headline called 1992-1993 the "Season of Glass." When he was named "Musician of the Year" in 1985 by Musical America, joining Igor Stravinsky and Benjamin Britten (the only other composers so honored Glass an in-depth look at the rhythmic subtleties of Indian music, and in the magazine's then twenty-five-year history), the citation 1 1 began, he carne to see how rhythm could be used to shape his own musical "Few composers in this century have achieved the sweeping popularity ideas, developing, in the process, his particular brand of minimalism or influenced the musical sound of their times as much as Philip Glass." based on rhythms with overlapping cycles, something he once And that was a decade ago. Today, in the post-Cage world of experi· described as "like wheels turning inside of wheels." His earliest music menta! ~usic, no one has their music heard by more people. -
Philip Glass's New Symphony No. 11 Highlights Bruckner Orchestra's Appearance at Bing Concert Hall
FOR IMMEDIATE RELEASE CONTACT: Robert Cable, Stanford Live 650-736-0091 [email protected] PHOTOS: http://live.stanford.edu/press PHILIP GLASS’S NEW SYMPHONY NO. 11 HIGHLIGHTS BRUCKNER ORCHESTRA’S APPEARANCE AT BING CONCERT HALL Conductor Dennis Russell Davies commissioned the work for the composer’s 80th birthday Stanford, CA, February 1, 2017—It was 25 years ago that Dennis Russell Davies led the Brooklyn Philharmonic through the first American performance of a Philip Glass symphony. Now the same maestro who has helped launch all but one of Glass’s symphonies celebrates the composer’s 80th birthday with his newest work, the Symphony No. 11, performed by the Bruckner Orchestra of Linz at Stanford’s Bing Concert Hall on Sunday, February 12. Perhaps best known for his film scores (The Truman Show, The Hours, Notes on a Scandal) and for his operas like Einstein on the Beach, Glass didn’t start writing symphonies until he was in his 50s. “I could easily not have done any symphonies, but it turned out that Dennis Russell Davies was interested in working on that kind of work with me,” Glass recently told the New York Times. “And he pretty much commissioned all the symphonies, except for No. 7.” So to commemorate the composer’s 80th, Davies commissioned No. 11 for the January 31 (Glass’s actual birthday) world premiere at Carnegie Hall. Stanford Live launched its own celebration in the fall when Glass himself was on hand to kick off the season at Bing, joining four other pianists to perform his complete series of Études for piano. -
Glass Phillip
PHILIP GLASS Compositore statunitense (Baltimora, 31 gennaio 1937) 1 Autore di musica classica contemporanea, è solitamente considerato tra i capofila del minimalismo musicale con Terry Riley, Steve Reich, La Monte Young, John Adams, sebbene, esaurito il periodo di massima produzione minimalista, contrariamente agli autori succitati, a parte forse Adams, si è progressivamente emancipato, scegliendo uno stile di più facile fruizione, postminimalista, meno rigoroso, e spesso volto verso la tradizione sinfonica americana. Dagli anni ottanta ha preferito prendere le distanze dal termine, mantenendo nel suo stile una forma iterativa, ma ampliando al massimo le possibilità espressive offerte dalla tonalità, e accogliendo sempre più suggestioni dalle culture musicali extraeuropee, interesse del resto già manifestato all'inizio della carriera collaborando con il musicista indiano e compositore Ravi Shankar. Tra le sue opere compaiono numerosi componimenti musicali di vario tipo, con una certa predilezione per le forme sceniche (teatro, danza, performance) e le colonne sonore di diversi film e documentari. Celebre, in quest'ultima categoria, la serie di film realizzati da Godfrey Reggio a cavallo tra il 1983 e il 2003 e basati su profezie degli indiani Hopi, nota come "Trilogia Qatsi": lo stesso Glass ha portato in tournée anche in Italia concerti live in cui il suo ensemble esegue le musiche direttamente sulle immagini dei film (prima esecuzione integrale: Torino, Settembre Musica, Auditorium "Giovanni Agnelli" del Lingotto, settembre 2005) Ha collaborato con vari artisti (tra cui Brian Eno) e pop-rock (tra cui David Bowie, di cui ha adottato i temi di "Heroes" per comporre l'omonima sinfonia). 2 Infanzia e studi Philip Glass nasce a Baltimora, nel Maryland, figlio di immigrati ebrei provenienti dall'Ucraina. -
Missionaries
Brooklyn Academy of Music 1997 Next Wave Festival .•- •• • •••••• ••• • • • • Julio Galan, Rado, 1996, oil on canvas, 39 '/>" x 31 W' Missionaries PHILIP MORRIS BAM 1997 Next Wave Festival is sponsored by COMPANIES INC. Brooklyn Academy of Music Bruce C. Ratner Chairman of the Board Harvey Lichtenstein President and Executive Producer presents Missionaries Running time: BAM Majestic Theater approximately November 4-8, 1997 at 7:30pm two hours and twenty minutes Conceived, composed and directed by Elizabeth Swados including one intermission Produced by Ron Kastner, Peter Manning and New York Stage and Film Cast Dorothy Abrahams, Vanessa Aspillaga, Carrie Crow, Josie de Guzman, Pierre Diennet, Marisa Echeverria, Abby Freeman, Peter Kim, Gretchen Lee Krich, Fabio Polanco, Nick Petrone, Heather Ramey, Nina Shreiber, Tina Stafford, Rachel Stern, Amy White Musical direction and piano David Gaines Percussion Genji Ito, Bill Ruyle Guitar Ramon Taranco Cello / keyboards J. Michael Friedman Lighting design Beverly Emmons Costu me design Kaye Voyce Production manager Jack O'Connor General manager Christina Mills Production stage manager Judy Tucker Co-commissioned by Brooklyn Academy of Music Major support provided by ==:ATaaT and The Ford Foundation ~ Missionaries is meant to honor the memory of those who were killed in EI Salvador during the terrible times of the 1970s and 1980s. I hope it will also bring attention to the extraordinary efforts being made today by the MADRES and other groups devoted to stopping violence and bringing freedom and dignity to the poor. Jean Donovan, Dorothy Kazel, Ita Ford, and Maura Clarke were murdered because of their beliefs and dedication to the women and children of EI Salvador. -
PHILIP GLASS PHILIP GLASS ● Words XXXXXXXX XXXXXXX Cover Words JULIAN DAY
● PHILIP GLASS PHILIP GLASS ● WORDS XXXXXXXX XXXXXXX cover WORDS JULIAN DAY HE ART of GLASS Composer Philip Glass couple of summers ago I was sitting in a hot Brooklyn backyard among musicians from sparked the musical A MATA, a festival for young composers that revolution of minimalism Philip Glass helped set up in the ’90s. As cold drinks were gratefully drained I found myself chatting to a – then pronounced it dead. cheery man who introduced himself as Glass’s tour But, at the age of 75, he is manager. At one point he drew from his back pocket a crumpled sheet of paper that on close inspection still propelled by the manic yielded a long list of cities and dates. energy of those early works, “This,” he declared, “is Phil’s schedule. Right now he ought to be in a cab in Kuala Lumpur heading towards as Julian Day discovered the concert hall. In a few hours’ time he’ll be on a plane to Tokyo. He hits London the following morning then flies on to LA. He plays here in New York next week.” This has been the way of life for Glass for as long as anyone can remember. At 75, an age when many have long retired and hit the golf courses of Florida, he’s on the go as much as ever. Even with the bulge of birthday events already scheduled, 2012 is pretty much business as usual – a constant stream of performances, commissions, collaborations and obligatory chats to the press. It’s almost as if Glass’s early minimalist works – all giddying arpeggios and whirring electric scales – were somehow just winding him up for a life of perpetual motion, in the studio, on stage, on the road and in the air. -
Dictionary of Music.Pdf
The FACTS ON FILE Dictionary of Music The FACTS ON FILE Dictionary of Music Christine Ammer The Facts On File Dictionary of Music, Fourth Edition Copyright © 2004 by the Christine Ammer 1992 Trust All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Ammer, Christine The Facts On File dictionary of music / Christine Ammer.—4th ed. p. cm. Includes index. Rev. ed. of: The HarperCollins dictionary of music. 3rd ed. c1995. ISBN 0-8160-5266-2 (Facts On File : alk paper) ISBN 978-1-4381-3009-5 (e-book) 1. Music—Dictionaries. 2. Music—Bio-bibliography. I. Title: Dictionary of music. II. Ammer, Christine. HarperCollins dictionary of music. III. Facts On File, Inc. IV. Title. ML100.A48 2004 780'.3—dc22 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can find Facts On File on the World Wide Web at http://www.factsonfile.com Text design by James Scotto-Lavino Cover design by Semadar Megged Illustrations by Carmela M. Ciampa and Kenneth L. Donlan Grateful acknowledgment is made for permission to reprint an excerpt from Cornelius Cardew’s “Treatise.” Copyright © 1960 Hinrichsen Edition, Peters Edition Limited, London. -
ROBERT WILSON / PHILIP GLASS LANDMARK EINSTEIN on the BEACH BEGINS YEARLONG INTERNATIONAL TOUR First Fully Staged Production in 20 Years of the Rarely Performed Work
For Immediate Release March 13, 2012 ROBERT WILSON / PHILIP GLASS LANDMARK EINSTEIN ON THE BEACH BEGINS YEARLONG INTERNATIONAL TOUR First Fully Staged Production in 20 Years of the Rarely Performed Work Einstein on the Beach 2012-13 trailer: http://www.youtube.com/watch?v=OZ5hTfDzU9A&feature=player_embedded#! The Robert Wilson/Philip Glass collaboration Einstein on the Beach, An Opera in Four Acts is widely recognized as one of the greatest artistic achievements of the 20th century. Although every performance of the work has attracted a sold-out audience, and the music has been recorded and released, few people have actually experienced Einstein live. An entirely new generation—and numerous cities where the work has never been presented—will have the opportunity during the 2012-2013 international tour. The revival, helmed by Wilson and Glass along with choreographer Lucinda Childs, marks the first full production in 20 years. Aside from New York, Einstein on the Beach has never been seen in any of the cities currently on the tour, which comprises nine stops on four continents. • Opéra et Orchestre National de Montpellier Languedoc-Roussillon presents the world premiere at the Opera Berlioz Le Corum March 16—18, 2012. • Fondazione I TEATRI di Reggio Emilia in collaboration with Change Performing Arts will present performances on March 24 & 25 at Teatro Valli. • From May 4—13, 2012, the Barbican will present the first-ever UK performances of the work in conjunction with the Cultural Olympiad and London 2012 Festival. • The North American premiere, June 8—10, 2012 at the Sony Centre for the Performing Arts, as part of the Luminato, Toronto Festival of Arts and Creativity, represents the first presentation in Canada. -
Dracula: the Music and Film
October 1999 Brooklyn Academy of Music 1999 Next Wave Festival BAMcinematek Brooklyn Philharmonic 651 ARTS Jennifer Bartlett, House: Large Grid, 1998 BAM Next Wave Festival sponsored by PHILIP MORRIS ~lA6(Blll COMPANIES INC. Brooklyn Academy of Music Bruce C. Ratner Chairman of the Board Karen Brooks Hopkins Joseph V. Melillo President Executive Prod ucer presents in association with Universal Pictures Dracula: the Music and Film Running time: BAM Opera House approximately 1 hour October 26 and 27, 1999, at 7:30 p.m. and 25 minutes, with Original Music Philip Glass no intermission Performed by Philip Glass and Kronos Quartet Violin David Harrington Violin John Sherba Viola Hank Dutt Cello Jennifer Culp Conductor Michael Riesman Music Production Kurt Munkasci Scenery and Lighting Designer John Michael Deegan Sound Designer Mark Grey Producer Linda Greenberg Tour Management Pomegranate Arts © Dunvagen Music Publishers, Inc. Dracula: The Music and Film has been made possible with the generous support of Universal Family & Home Entertainment Productions, and Universal Studios Home Video. Technical support for the development of Dracula: The Music and Film was provided by The John Harms Center for the Arts, Englewood, New Jersey. Film sound equipment donated by Dolby Laboratories, Inc. Additional loud speakers provided by Meyer Sound Laboratories, Berkeley, California. 17 • • thp 1\/11 I,ir ~ nrl ~i Im Production Manager Doug Witney Aud io Engineer Mark Grey Production Stage Manager, Lighting Supervisor Larry Neff Company Manager Carol Patella Music Production Euphorbia Productions Stylist Kasia Walicka Maimone Assistant Stylist Stacy Saltzman Press Representation Annie Ohayon and Reyna Mastrosimone, Annie Ohayon Media (New York, New York) Kronos Quartet Managing Director Janet Cowperthwaite Associate Director Laird Rodet Technical Director Larry Neff Business Manager Sandie Schaaf Office Manager Leslie Mainer Assistant to Managing Director Ave Maria Hackett Record ing Projects Coord inator Sidney Chen PO.