A Centenary Volume 16 in This Issue Kurt Weill Number 2 Newsletter Fall 1998 Lenya Centenary
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The Threepenny Opera (Rec
Volume 27 Kurt Weill Number 2 Newsletter Fall 2009 David Drew 1930–2009 In this issue Volume 27 Kurt Weill Number 2 Newsletter Note from the Editor 3 Fall 2009 Letters 3 Tribute to David Drew ISSN 0899-6407 David Drew: An Obituary 4 © 2009 Kurt Weill Foundation for Music Alexander Goehr 7 East 20th Street New York, NY 10003-1106 Letter from Drew to Lenya, 1956 5 tel. (212) 505-5240 Struggling for Supremacy: fax (212) 353-9663 The Libretto of Mahagonny 6 David Drew Published twice a year, the Kurt Weill Newsletter features articles Letter from Drew to Lys Symonette, 1970 9 and reviews (books, performances, recordings) that center on Kurt Weill but take a broader look at issues of twentieth-century music David Drew: Für Weill! 10 and theater. With a print run of 5,000 copies, the Newsletter is dis- Kim H. Kowalke tributed worldwide. Subscriptions are free. The editor welcomes the submission of articles, reviews, and news items for inclusion in Recordings future issues. Street Scene (rec. 1949) on Naxos 12 A variety of opinions are expressed in the Newsletter; they do not John Mauceri necessarily represent the publisher's official viewpoint. Letters to the editor are welcome. The Threepenny Opera (rec. 1976) on Sony 13 Foster Hirsch Staff Books Elmar Juchem, Editor Carolyn Weber, Associate Editor Dave Stein, Associate Editor Brady Sansone, Production The Sound of Broadway Music: A Book of Orchestrators and Orchestrations 14 by Steven Suskin Kurt Weill Foundation Trustees Mark N. Grant Kim Kowalke, President Joanne Hubbard Cossa Performances Guy Stern, Secretary Paul Epstein Philip Getter, Treasurer Susan Feder Johnny Johnson, Lost in the Stars, Die Dreigroschenoperin London 16 Walter Hinderer Patrick O’Connor Welz Kauffman Mahagonny Songspiel / Die sieben Todsünden Teresa Stratas, Honorary Trustee at Ravinia Festival, Chicago 18 John von Rhein Milton Coleman, Harold Prince, Julius Rudel, Trustees Emeriti Die sieben Todsünden in Cincinnati 20 Internet Resources bruce d. -
German Jews in the United States: a Guide to Archival Collections
GERMAN HISTORICAL INSTITUTE,WASHINGTON,DC REFERENCE GUIDE 24 GERMAN JEWS IN THE UNITED STATES: AGUIDE TO ARCHIVAL COLLECTIONS Contents INTRODUCTION &ACKNOWLEDGMENTS 1 ABOUT THE EDITOR 6 ARCHIVAL COLLECTIONS (arranged alphabetically by state and then city) ALABAMA Montgomery 1. Alabama Department of Archives and History ................................ 7 ARIZONA Phoenix 2. Arizona Jewish Historical Society ........................................................ 8 ARKANSAS Little Rock 3. Arkansas History Commission and State Archives .......................... 9 CALIFORNIA Berkeley 4. University of California, Berkeley: Bancroft Library, Archives .................................................................................................. 10 5. Judah L. Mages Museum: Western Jewish History Center ........... 14 Beverly Hills 6. Acad. of Motion Picture Arts and Sciences: Margaret Herrick Library, Special Coll. ............................................................................ 16 Davis 7. University of California at Davis: Shields Library, Special Collections and Archives ..................................................................... 16 Long Beach 8. California State Library, Long Beach: Special Collections ............. 17 Los Angeles 9. John F. Kennedy Memorial Library: Special Collections ...............18 10. UCLA Film and Television Archive .................................................. 18 11. USC: Doheny Memorial Library, Lion Feuchtwanger Archive ................................................................................................... -
Frauenleben in Magenza
www.mainz.de/frauenbuero Frauenleben in Magenza Porträts jüdischer Frauen und Mädchen aus dem Mainzer Frauenkalender seit 1991 und Texte zur Frauengeschichte im jüdischen Mainz Frauenleben in Magenza Frauenleben in Magenza Die Porträts jüdischer Frauen und Mädchen aus dem Mainzer Frauenkalender und Texte zur Frauengeschichte im jüdischen Mainz 3 Frauenleben in Magenza Impressum Herausgeberin: Frauenbüro Landeshauptstadt Mainz Stadthaus Große Bleiche Große Bleiche 46/Löwenhofstraße 1 55116 Mainz Tel. 06131 12-2175 Fax 06131 12-2707 [email protected] www.mainz.de/frauenbuero Konzept, Redaktion, Gestaltung: Eva Weickart, Frauenbüro Namenskürzel der AutorInnen: Reinhard Frenzel (RF) Martina Trojanowski (MT) Eva Weickart (EW) Mechthild Czarnowski (MC) Bildrechte wie angegeben bei den Abbildungen Titelbild: Schülerinnen der Bondi-Schule. Privatbesitz C. Lebrecht Druck: Hausdruckerei 5. überarbeitete und erweiterte Auflage Mainz 2021 4 Frauenleben in Magenza Vorwort des Oberbürgermeisters Die Geschichte jüdischen Lebens und Gemein- Erstmals erschienen ist »Frauenleben in Magen- delebens in Mainz reicht weit zurück in das 10. za« aus Anlass der Eröffnung der Neuen Syna- Jahrhundert, sie ist damit auch die Geschichte goge im Jahr 2010. Weitere Auflagen erschienen der jüdischen Frauen dieser Stadt. 2014 und 2015. Doch in vielen historischen Betrachtungen von Magenza, dem jüdischen Mainz, ist nur selten Die Veröffentlichung basiert auf den Porträts die Rede vom Leben und Schicksal jüdischer jüdischer Frauen und Mädchen und auf den Frauen und Mädchen. Texten zu Einrichtungen jüdischer Frauen und Dabei haben sie ebenso wie die Männer zu al- Mädchen, die seit 1991 im Kalender »Blick auf len Zeiten in der Stadt gelebt, sie haben gelernt, Mainzer Frauengeschichte« des Frauenbüros gearbeitet und den Alltag gemeistert. -
Critical Perspectives on American Musical Theatre Thea
Critical Perspectives on American Musical Theatre Thea. 80200, Spring 2002 David Savran, CUNY Feb 4—Introduction: One Singular Sensation To be read early in the semester: DiMaggio, “Cultural Boundaries and Structural Change: The Extension of the High Culture Model to Theater, Opera, and the Dance, 1900-1940;” Block, “The Broadway Canon from Show Boat to West Side Story and the European Operatic Ideal;” Savran, “Middlebrow Anxiety” 11—Kern, Hammerstein, Ferber, Show Boat Mast, “The Tin-Pan-Tithesis of Melody: American Song, American Sound,” “When E’er a Cloud Appears in the Blue,” Can’t Help Singin’; Berlant, “Pax Americana: The Case of Show Boat;” 18—No class 20—G. and I. Gershwin, Bolton, McGowan, Girl Crazy; Rodgers, Hart, Babes in Arms ***Andrea Most class visit*** Most, Chapters 1, 2, and 3 of her manuscript, “We Know We Belong to the Land”: Jews and the American Musical Theatre; Rogin, Chapter 1, “Uncle Sammy and My Mammy” and Chapter 2, “Two Declarations of Independence: The Contaminated Origins of American National Culture,” in Blackface, White Noise: Jewish Immigrants in the Hollywood Melting Pot; Melnick, “Blackface Jews,” from A Right to Sing the Blues: African Americans, Jews, and American Popular Song 25— G. and I. Gershwin, Kaufman, Ryskind, Of Thee I Sing, Shall We Dance Furia, “‘S’Wonderful: Ira Gershwin,” in his Poets of Tin Pan Alley, Mast, “Pounding on Tin: George and Ira Gershwin;” Roost, “Of Thee I Sing” Mar 4—Porter, Anything Goes, Kiss Me, Kate Furia, “The Tinpantithesis of Poetry: Cole Porter;” Mast, “Do Do That Voodoo That You Do So Well: Cole Porter;” Lawson-Peebles, “Brush Up Your Shakespeare: The Case of Kiss Me Kate,” 11—Rodgers, Hart, Abbott, On Your Toes; Duke, Gershwin, Ziegfeld Follies of 1936 Furia, “Funny Valentine: Lorenz Hart;” Mast, “It Feels Like Neuritis But Nevertheless It’s Love: Richard Rodgers and Lorenz Hart;” Furia, Ira Gershwin: The Art of the Lyricist, pages 125-33 18—Berkeley, Gold Diggers of 1933; Minnelli, The Band Wagon Altman, The American Film Musical, Chaps. -
AN ANALYSIS of the MUSICAL INTERPRETATIONS of NINA SIMONE by JESSIE L. FREYERMUTH B.M., Kansas State University, 2008 a THESIS S
AN ANALYSIS OF THE MUSICAL INTERPRETATIONS OF NINA SIMONE by JESSIE L. FREYERMUTH B.M., Kansas State University, 2008 A THESIS submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2010 Approved by: Major Professor Dale Ganz Copyright JESSIE L. FREYERMUTH 2010 Abstract Nina Simone was a prominent jazz musician of the late 1950s and 60s. Beyond her fame as a jazz musician, Nina Simone reached even greater status as a civil rights activist. Her music spoke to the hearts of hundreds of thousands in the black community who were struggling to rise above their status as a second-class citizen. Simone’s powerful anthems were a reminder that change was going to come. Nina Simone’s musical interpretation and approach was very unique because of her background as a classical pianist. Nina’s untrained vocal chops were a perfect blend of rough growl and smooth straight-tone, which provided an unquestionable feeling of heartache to the songs in her repertoire. Simone also had a knack for word painting, and the emotional climax in her songs is absolutely stunning. Nina Simone did not have a typical jazz style. Critics often described her as a “jazz-and-something-else-singer.” She moved effortlessly through genres, including gospel, blues, jazz, folk, classical, and even European classical. Probably her biggest mark, however, was on the genre of protest songs. Simone was one of the most outspoken and influential musicians throughout the civil rights movement. Her music spoke to the hundreds of thousands of African American men and women fighting for their rights during the 1960s. -
SMTA Catalog Complete
The Integrated Broadway Library Index including the complete works from 34 collections: sorted by musical HL The Singer's Musical Theatre Anthology (22 vols) A The Singer's Library of Musical Theatre (8 vols) TMTC The Teen's Musical Theatre Collection (2 vols) MTAT The Musical Theatre Anthology for Teens (2 vols) Publishers: HL = Hal Leonard; A = Alfred *denotes a song absent in the revised edition Pub Voice Vol Page Song Title Musical Title HL S 4 161 He Plays the Violin 1776 HL T 4 198 Mama, Look Sharp 1776 HL B 4 180 Molasses to Rum 1776 HL S 5 246 The Girl in 14G (not from a musical) HL Duet 1 96 A Man and A Woman 110 In The Shade HL B 5 146 Gonna Be Another Hot Day 110 in the Shade HL S 2 156 Is It Really Me? 110 in the Shade A S 1 32 Is It Really Me? 110 in the Shade HL S 4 117 Love, Don't Turn Away 110 in the Shade A S 1 22 Love, Don't Turn Away 110 in the Shade HL S 1 177 Old Maid 110 in the Shade HL S 2 150 Raunchy 110 in the Shade HL S 2 159 Simple Little Things 110 in the Shade A S 1 27 Simple Little Things 110 in the Shade HL S 5 194 Take Care of This House 1600 Pennsylvania Avenue A T 2 41 Dames 42nd Street HL B 5 98 Lullaby of Broadway 42nd Street A B 1 23 Lullaby of Broadway 42nd Street HL T 3 200 Coffee (In a Cardboard Cup) 70, Girls, 70 HL Mezz 1 78 Dance: Ten, Looks: Three A Chorus Line HL T 4 30 I Can Do That A Chorus Line HL YW MTAT 120 Nothing A Chorus Line HL Mezz 3 68 Nothing A Chorus Line HL Mezz 4 70 The Music and the Mirror A Chorus Line HL Mezz 2 64 What I Did for Love A Chorus Line HL T 4 42 One More Beautiful -
28Apr2004p2.Pdf
144 NAXOS CATALOGUE 2004 | ALPHORN – BAROQUE ○○○○ ■ COLLECTIONS INVITATION TO THE DANCE Adam: Giselle (Acts I & II) • Delibes: Lakmé (Airs de ✦ ✦ danse) • Gounod: Faust • Ponchielli: La Gioconda ALPHORN (Dance of the Hours) • Weber: Invitation to the Dance ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Slovak RSO / Ondrej Lenárd . 8.550081 ■ ALPHORN CONCERTOS Daetwyler: Concerto for Alphorn and Orchestra • ■ RUSSIAN BALLET FAVOURITES Dialogue avec la nature for Alphorn, Piccolo and Glazunov: Raymonda (Grande valse–Pizzicato–Reprise Orchestra • Farkas: Concertino Rustico • L. Mozart: de la valse / Prélude et La Romanesca / Scène mimique / Sinfonia Pastorella Grand adagio / Grand pas espagnol) • Glière: The Red Jozsef Molnar, Alphorn / Capella Istropolitana / Slovak PO / Poppy (Coolies’ Dance / Phoenix–Adagio / Dance of the Urs Schneider . 8.555978 Chinese Women / Russian Sailors’ Dance) Khachaturian: Gayne (Sabre Dance) • Masquerade ✦ AMERICAN CLASSICS ✦ (Waltz) • Spartacus (Adagio of Spartacus and Phrygia) Prokofiev: Romeo and Juliet (Morning Dance / Masks / # DREAMER Dance of the Knights / Gavotte / Balcony Scene / A Portrait of Langston Hughes Romeo’s Variation / Love Dance / Act II Finale) Berger: Four Songs of Langston Hughes: Carolina Cabin Shostakovich: Age of Gold (Polka) •␣ Bonds: The Negro Speaks of Rivers • Three Dream Various artists . 8.554063 Portraits: Minstrel Man •␣ Burleigh: Lovely, Dark and Lonely One •␣ Davison: Fields of Wonder: In Time of ✦ ✦ Silver Rain •␣ Gordon: Genius Child: My People • BAROQUE Hughes: Evil • Madam and the Census Taker • My ■ BAROQUE FAVOURITES People • Negro • Sunday Morning Prophecy • Still Here J.S. Bach: ‘In dulci jubilo’, BWV 729 • ‘Nun komm, der •␣ Sylvester's Dying Bed • The Weary Blues •␣ Musto: Heiden Heiland’, BWV 659 • ‘O Haupt voll Blut und Shadow of the Blues: Island & Litany •␣ Owens: Heart on Wunden’ • Pastorale, BWV 590 • ‘Wachet auf’ (Cantata, the Wall: Heart •␣ Price: Song to the Dark Virgin BWV 140, No. -
[T] IMRE PALLÓ
VOCAL 78 rpm Discs FRANZ (FRANTISEK) PÁCAL [t]. Leitomischi, Austria, 1865-Nepomuk, Czechoslo- vakia, 1938. First an orchestral violinist, Pácal then studied voice with Gustav Walter in Vienna and sang as a chorister in Cologne, Bremen and Graz. In 1895 he became a member of the Vienna Hofoper and had a great success there in 1897 singing the small role of the Fisherman in Rossini’s William Tell. He then was promoted to leading roles and remained in Vienna through 1905. Unfor- tunately he and the Opera’s director, Gustav Mahler, didn’t get along, despite Pacal having instructed his son to kiss Mahler’s hand in public (behavior Mahler considered obsequious). Pacal stated that Mahler ruined his career, calling him “talentless” and “humiliating me in front of all the Opera personnel.” We don’t know what happened to invoke Mahler’s wrath but we do know that Pácal sent Mahler a letter in 1906, unsuccessfully begging for another chance. Leaving Vienna, Pácal then sang with the Prague National Opera, in Riga and finally in Posen. His rare records demonstate a fine voice with considerable ring in the upper register. -Internet sources 1858. 10” Blk. Wien G&T 43832 [891x-Do-2z]. FRÜHLINGSZEIT (Becker). Very tiny rim chip blank side only. Very fine copy, just about 2. $60.00. GIUSEPPE PACINI [b]. Firenze, 1862-1910. His debut was in Firenze, 1887, in Verdi’s I due Foscari. In 1895 he appeared at La Scala in the premieres of Mascagni’s Guglielmo Ratcliff and Silvano. Other engagements at La Scala followed, as well as at the Rome Costanzi, 1903 (with Caruso in Aida) and other prominent Italian houses. -
Kennedy Center Education Department. Funding Also Provided by the Kennedy Center Corporate Fund
DOCUMENT RESUME ED 381 839 CS 508 906 AUTHOR Carr, John C. TITLE "Crazy for You." Spotlight on Theater Notes. INSTITUTION John F. Kennedy Center for the Performing Arts, Washington, D.C. SPONS AGENCY Department of Education, Washington, DC. PUB DATE [95] NOTE 17p.; Produced by the Performance Plus Program, Kennedy Center Education Department. Funding also provided by the Kennedy Center Corporate Fund. For other guides in this series, see CS 508 902-905. PUB TYPE Guides General (050) EDRS PRTCE MF01/PC01 Plus Postage. DESCRIPTORS Acting; *Cultural Enrichment; *Drama; Higher Education; Playwriting; Popular Culture; Production Techniques; Secondary Education IDENTIFIERS *Crazy for You; Historical Background; Musicals ABSTRACT This booklet presents a variety of materials concerning the musical play "Crazy for You," a recasting of the 1930 hit. "Girl Crazy." After a brief historical introduction to the musical play. the booklet presents biographical information on composers George and Ira Gershwin, the book writer, the director, the star choreographer, various actors in the production, the designers, and the musical director. The booklet also offers a quiz about plays. and a 7-item list of additional readings. (RS) ....... ; Reproductions supplied by EDRS ore the best that can he made from the original document, U S DEPARTMENT OF EDUCATION Ofi.co ofEaucabonni Research aria improvement EDUCATIONAL RESOURCES INFORMATION CENTER IERIC1 Et This document has been reproduced as received from the person or organization onqinallnq d 0 Minor charms have been made to improve reproduction quality. Points or view or opinions stated in this document do not necessarily represent official OERI position or policy -1411.1tn, *.,3^ ..*. -
Dubberly Curriculum Vitae
STEPHEN DUBBERLY Opera Conductor Division of Conducting and Ensembles College of Music University of North Texas Denton, TX 76203-1367 940-367-8770 EDUCATION 1992 Doctor of Musical Arts Yale University, New Haven, Connecticut 1986-87 Graduate Fellowship Piano Performance The University of Texas at Austin 1986 Master of Musical Arts Yale University 1985 Master of Music Yale University 1979 Diploma with honors College Preparatory Uruguayan-American School, Montevideo, Uruguay 1974-78 5 Performance Certificates Piano, Solfège Conservatorio Juan Sebastián Bach, Montevideo conducting studies with Harold Evans, Otto-Werner Mueller, and Kirk Trevor piano studies with Santiago Baranda Reyes, Boris Berman, Claude Frank, and Seymour Lipkin vocal literature studies with Nico Castel, David Garvey, Thomas Grubb, and Gérard Souzay PROFESSIONAL EXPERIENCE 2016- Conductor Red River Lyric Opera Wichita Falls, Texas 2016- Music Director Opera in Concert in Italy Urbino, Texas 2015 Chorus Master OPERA San Antonio San Antonio, Texas 2013-2015 Conductor Opera Breve Wichita Falls, Texas 2012- Music Director Opera in Concert Dallas, Texas 2012- Conductor Frontiers Festival/ Fort Worth Opera Ft. Worth, Texas 2010-2016 Chorus Master, Associate Conductor Fort Worth Opera Ft. Worth, Texas 2008 Chorus Master Fort Worth Opera Ft. Worth, Texas 2002-2014 Music Director Christ Presbyterian Church Flower Mound, Texas 2001-02 Music Director Black Tie Opera Ensemble Houston, Texas 1999- Associate Professor of Music University of North Texas Denton, Texas (tenured in 2002) Music Director, UNT Opera 1999-2001 Music Director American Bel Canto Opera Denton/Kansas City 1998-99 Music Staff Des Moines Metro Opera Indianola, Iowa 1998-99 Music Director Totally Vocal! Institute Knoxville, Tennessee 1997-99 Director of Music First Presbyterian Church Crossville, Tennessee 1996-99 Music Director Knoxville Opera Studio Knoxville, Tennessee 1993- Pianist Bel Canto Festival Highlands, North Carolina 1992-97 Music Staff Opera Theatre of Saint Louis St. -
Ariadne Auf Naxos
La natura és l'origen de totes les coses bones. Yoghourts, flams, cremes, formatges. —aliments frescos i naturals— GRAN TEATRE DEL LICEU Temporada d'òpera 1983/84 CONSORCI DEL GRAN TEATRE DEL LICEU CENERALHAT DE CATALUNYA AJUNTAMENT DE BARCELONA SOCIETAT DEL GRAN TEATRE DEL LICEU Ptas.1,949.480PRECIO: decirfaltahaceNomás dynamicThecar BRITISH Tels. Tels. S.A.MOTORS, 46-48Gervasio.SanP.»VENTAS:YEXPOSICION Q38211373124797- 36Calabna,RECAMBIOS:YTALLERES BARCELONA242922314-- ARIADIME AUF IMAXOS òpera en 1 pròleg i 1 acte Llibret d'Hugo von Hofmannsthal Miisica de Richard Strauss Funció de Gala Dijous, 12 de gener de 1984, a les 21 h., funció núm. 23, torn B Diumenge, 15 de gener de 1984, a les 17 h., funció núm. 24, torn T Dimecres, 18 de gener de 1984, a les 21 h., funció núm. 25, torn A GRAN TEATRE DEL LICEU Barcelona HïïVÜS ^ROSSO^ fWlW^ATI martini & ROSSI Un Martini invitaavivir [martini ARIADNE AUF NAXOS El majordom (part parlada): Hans Christian Un mestre de miisica: Ernst Gutstein El compositor: Alicia Nafé Bacchus: Klaus Koening Un oficial: Alfredo Heilbron Un mestre de ball: Wolf Appel Un perruquer: Steven Kimbrough Un lacai: Alfred Werner Zerbinetta: Celina Lindsley Ariadne: Montserrat Caballé Arlequí: Georg Tichy Scaramuccio: Ernst Dieter Suttheimer Truffaldin: Ude Krekow Brighella: Wolf Appel Echo: Downing Whitesell Najade: Agnes Habereder Dryade: Ingrid Mayr Director d'orquestra: János Kulka Director d'escena: Mario Kriiger Violí concertino: Josep M." Alpiste Producció: Staatstheater - Braunschweig (R.F.A.) ORQUESTRA SIMFÒNICA DEL GRAN TEATRE DEL LICEU Comentaris a càrrec dels Drs. Roger Alier, Xosé Aviñoa i Oriol Martorell, del Departament d'Art de la Universitat de Barcelona. -
Weill, Kurt (Julian)
Weill, Kurt (Julian) (b Dessau, 2 March 1900; d New York, 3 April 1950). German composer, American citizen from 1943. He was one of the outstanding composers in the generation that came to maturity after World War I, and a key figure in the development of modern forms of musical theatre. His successful and innovatory work for Broadway during the 1940s was a development in more popular terms of the exploratory stage works that had made him the foremost avant- garde theatre composer of the Weimar Republic. 1. Life. Weill‟s father Albert was chief cantor at the synagogue in Dessau from 1899 to 1919 and was himself a composer, mostly of liturgical music and sacred motets. Kurt was the third of his four children, all of whom were from an early age taught music and taken regularly to the opera. Despite its strong Wagnerian emphasis, the Hoftheater‟s repertory was broad enough to provide the young Weill with a wide range of music-theatrical experiences which were supplemented by the orchestra‟s subscription concerts and by much domestic music-making. Weill began to show an interest in composition as he entered his teens. By 1915 the evidence of a creative bent was such that his father sought the advice of Albert Bing, the assistant conductor at the Hoftheater. Bing was so impressed by Weill‟s gifts that he undertook to teach him himself. For three years Bing and his wife, a sister of the Expressionist playwright Carl Sternheim, provided Weill with what almost amounted to a second home and introduced him a world of metropolitan sophistication.