WNIB Program Schedule September 1971
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Orazio Costa Regista. Dalla Compagnia Dell’Accademia Al Piccolo Di Roma (1939- 1954)
Orazio Costa regista. Dalla Compagnia dell’Accademia al Piccolo di Roma (1939- 1954). Fonti e documenti dal suo archivio Dipartimento di Storia Antropologia Religioni Arte Spettacolo Dottorato di Ricerca in Musica e Spettacolo XXXII ciclo – Studi di Teatro Massimo Giardino Tutor Co-tutor Roberto Ciancarelli Stefano Geraci Orazio Costa regista. Dalla Compagnia dell’Accademia al Piccolo di Roma (1939- 1954). Fonti e documenti dal suo archivio Dipartimento di Storia Antropologia Religioni Arte Spettacolo Dottorato di Ricerca in Musica e Spettacolo XXXII ciclo – Studi di Teatro Massimo Giardino Matricola 1740690 Tutor Co-tutor Roberto Ciancarelli Stefano Geraci A.A. 2018-2019 INDICE PRESENTAZIONE 4 RICOGNIZIONE DEGLI STUDI E DELLE RICERCHE SU ORAZIO COSTA 10 CAPITOLO PRIMO. UN REGISTA PRIMA DELLA REGIA 1.1. Un’“innata” vocazione teatrale 12 1.2. La Scuola di Recitazione “Eleonora Duse” 15 1.3. L’educazione per un teatro possibile 21 1.4. Tra una scuola e l’altra 32 CAPITOLO SECONDO. LE PRIME REGIE COSTIANE 2.1. L’Accademia d’Arte Drammatica 36 2.2. Le assistenze alla regia 40 2.3. L’apprendistato con Copeau 47 2.4. La Compagnia dell’Accademia 54 CAPITOLO TERZO. REGISTA DI COMPAGNIA 3.1. La prima regia senza D’Amico 70 3.2. La seconda Compagnia dell’Accademia 73 3.3. Le regie ibseniane 77 3.4. I semi del metodo mimico 81 3.5. La collaborazione con la Compagnia Pagnani-Ninchi 84 3.6. Le ultime collaborazioni come regista di compagnia 85 CAPITOLO QUARTO. LA COMPAGNIA DEL TEATRO QUIRINO 4.1. La formazione della Compagnia 93 4.2. -
Musica Lirica
Musica Lirica Collezione n.1 Principale, in ordine alfabetico. 891. L.v.Beethoven, “Fidelio” ( Domingo- Meier; Barenboim) 892. L.v:Beethoven, “Fidelio” ( Altmeyer- Jerusalem- Nimsgern- Adam..; Kurt Masur) 893. Vincenzo Bellini, “I Capuleti e i Montecchi” (Pavarotti- Rinaldi- Aragall- Zaccaria; Abbado) 894. V.Bellini, “I Capuleti e i Montecchi” (Pavarotti- Rinaldi- Monachesi.; Abbado) 895. V.Bellini, “Norma” (Caballé- Domingo- Cossotto- Raimondi) 896. V.Bellini, “I Puritani” (Freni- Pavarotti- Bruscantini- Giaiotti; Riccardo Muti) 897. V.Bellini, “Norma” Sutherland- Bergonzi- Horne- Siepi; R:Bonynge) 898. V.Bellini, “La sonnanbula” (Sutherland- Pavarotti- Ghiaurov; R.Bonynge) 899. H.Berlioz, “La Damnation de Faust”, Parte I e II ( Rubio- Verreau- Roux; Igor Markevitch) 900. H.Berlioz, “La Damnation de Faust”, Parte III e IV 901. Alban Berg, “Wozzeck” ( Grundheber- Meier- Baker- Clark- Wottrich; Daniel Barenboim) 902. Georges Bizet, “Carmen” ( Verret- Lance- Garcisanz- Massard; Georges Pretre) 903. G.Bizet, “Carmen” (Price- Corelli- Freni; Herbert von Karajan) 904. G.Bizet, “Les Pecheurs de perles” (“I pescatori di perle”) e brani da “Ivan IV”. (Micheau- Gedda- Blanc; Pierre Dervaux) 905. Alfredo Catalani, “La Wally” (Tebaldi- Maionica- Gardino-Perotti- Prandelli; Arturo Basile) 906. Francesco Cilea, “L'Arlesiana” (Tassinari- Tagliavini- Galli- Silveri; Arturo Basile) 907. P.I.Ciaikovskij, “La Dama di Picche” (Freni- Atlantov-etc.) 908. P.I.Cajkovskij, “Evgenij Onegin” (Cernych- Mazurok-Sinjavskaja—Fedin; V. Fedoseev) 909. P.I.Tchaikovsky, “Eugene Onegin” (Alexander Orlov) 910. Luigi Cherubini, “Medea” (Callas- Vickers- Cossotto- Zaccaria; Nicola Rescigno) 911. Luigi Dallapiccola, “Il Prigioniero” ( Bryn-Julson- Hynninen- Haskin; Esa-Pekka Salonen) 912. Claude Debussy, “Pelléas et Mélisande” ( Dormoy- Command- Bacquier; Serge Baudo). 913. Gaetano Doninzetti, “La Favorita” (Bruson- Nave- Pavarotti, etc.) 914. -
An Interview with Robert Shaw: Reflections at Eighty
An Interview with Robert Shaw: Reflections at Eighty by Jeffrey Baxter RobertShaw .Robert Shaw's distinguished career began in New York City In 1979, Shaw was appointed by President Jimmy Carter to in 1938, where he prepared choruses for such renowned con the National Council on the Arts and he was a 1991 recipient of ductors as Fred Waring, Arturo Toscanini, and Bruno Walter. the Kennedy Center Honors, the nation's highest award given to In 1949 he formed the Robert Shaw Chorale, which for two artists. Musical America, the international directory of the per decades reigned as America's premier touring choir. Under the forming arts, named him Musician of the Year for 1992, and auspices ofthe U.S. State Department, the Chorale performed during the same year he was awarded the National Medal ofthe in thirty countries throughout Europe, the Soviet Union, the Arts in a White House ceremony. He was the 1993 recipient of Middle East, and Latin America. During this period Shaw also the Conductors' Guild TheodoreThomas Award, in recognition served as Music Director ofthe San Diego Symphony and then ofhis outstanding achievement in conducting and his contribu as Associate Conductor of the Cleveland Orchestra, working tions to the education and training ofyoung conductors. closely with George Szell for eleven years. He served as Music A regular guest conductor ofmajor orchestras in this country Director of the Atlanta Symphony Orchestra from 1967 to and abroad, Shaw also is in demand as a teacher and lecturer at 1988, during which time the orchestra garnered widespread leading U.S. -
Vision / Dance Innovations
2020 FEBRUARY PROGRAMS 02 /03 CLASSICAL (RE)VISION / DANCE INNOVATIONS The people you trust, trust City National. Top Ranked in Client Referrals* “City National helps keep my financial life in tune.” Michael Tilson Thomas Conductor, Educator and Composer Find your way up.SM Visit cnb.com *Based on interviews conducted by Greenwich Associates in 2017 with more than 30,000 executives at businesses across the country with sales of $1 million to $500 million. City National Bank results are compared to leading competitors on the following question: How likely are you to recommend (bank) to a friend or colleague? City National Bank Member FDIC. City National Bank is a subsidiary of Royal Bank of Canada. ©2018 City National Bank. All Rights Reserved. cnb.com 7275.26 PROGRAM 02 | CLASSICAL (RE)VISION PROGRAM 03 | DANCE INNOVATIONS TABLE OF CONTENTS 05 Greetings from the Artistic Director & Principal Choreographer 05 06 Board of Trustees Endowment Foundation Board 07 SF Ballet Leadership 08 Season News 10 Off Stage 13 Pointe and Counterpoint: The Story of Programs 02 and 03 14 PROGRAM 02 Classical (Re)Vision Bespoke Director's Choice Sandpaper Ballet 22 PROGRAM 03 Dance Innovations The Infinite Ocean The Big Hunger World Premiere Etudes 30 Artists of the Company 14 39 SF Ballet Orchestra 40 SF Ballet Staff 42 Donor Events and News 46 SF Ballet Donors 61 Thank You to Our Volunteers 63 For Your Information 64 Designing Sandpaper Ballet FOLLOW US BEFORE AND AFTER THE PERFORMANCE! San Francisco Ballet SFBallet youtube.com/sfballet SFBallet 42 San Francisco Ballet | Program Book | Vol. -
CHORAL PROBLEMS in HANDEL's MESSIAH THESIS Presented to The
*141 CHORAL PROBLEMS IN HANDEL'S MESSIAH THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By John J. Williams, B. M. Ed. Denton, Texas May, 1968 PREFACE Music of the Baroque era can be best perceived through a detailed study of the elements with which it is constructed. Through the analysis of melodic characteristics, rhythmic characteristics, harmonic characteristics, textural charac- teristics, and formal characteristics, many choral problems related directly to performance practices in the Baroque era may be solved. It certainly cannot be denied that there is a wealth of information written about Handel's Messiah and that readers glancing at this subject might ask, "What is there new to say about Messiah?" or possibly, "I've conducted Messiah so many times that there is absolutely nothing I don't know about it." Familiarity with the work is not sufficient to produce a performance, for when it is executed in this fashion, it becomes merely a convention rather than a carefully pre- pared piece of music. Although the oratorio has retained its popularity for over a hundred years, it is rarely heard as Handel himself performed it. Several editions of the score exist, with changes made by the composer to suit individual soloists or performance conditions. iii The edition chosen for analysis in this study is the one which Handel directed at the Foundling Hospital in London on May 15, 1754. It is version number four of the vocal score published in 1959 by Novello and Company, Limited, London, as edited by Watkins Shaw, based on sets of parts belonging to the Thomas Coram Foundation (The Foundling Hospital). -
ARSC Journal
LEONARD BERNSTEIN, A COMPOSER DISCOGRAPHY" Compiled by J. F. Weber Sonata for clarinet and piano (1941-42; first performed 4-21-42) David Oppenheim, Leonard Bernstein (recorded 1945) (78: Hargail set MW 501, 3ss.) Herbert Tichman, Ruth Budnevich (rec. c.1953} Concert Hall Limited Editions H 18 William Willett, James Staples (timing, 9:35) Mark MRS 32638 (released 12-70, Schwann) Stanley Drucker, Leonid Hambro (rec. 4-70) (10:54) Odyssey Y 30492 (rel. 5-71) (7) Anniversaries (for piano) (1942-43) (2,5,7) Leonard Bernstein (o.v.) (rec. 1945) (78: Hargail set MW 501, ls.) (1,2,3) Leonard Bernstein (rec. c.1949) (4:57) (78: RCA Victor 12 0683 in set DM 1278, ls.) Camden CAL 214 (rel. 5-55, del. 2-58) (4,5) Leonard Bernstein (rec. c.1949) (3:32) (78: RCA Victor 12 0228 in set DM 1209, ls.) (vinyl 78: RCA Victor 18 0114 in set DV 15, ls.) Camden CAL 214 (rel. 5-55, del. 2-58); CAL 351 (6,7) Leonard Bernstein (rec. c.1949) (2:18) Camden CAL 214 (rel. 5-55, del. 2-58); CAL 351 Jeremiah symphony (1941-44; f.p. 1-28-44) Nan Merriman, St. Louis SO--Leonard Bernstein (rec. 12-1-45) ( 23: 30) (78: RCA Victor 11 8971-3 in set DM 1026, 6ss.) Camden CAL 196 (rel. 2-55, del. 6-60) "Single songs from tpe Broadway shows and arrangements for band, piano, etc., are omitted. Thanks to Jane Friedmann, CBS; Peter Dellheim, RCA; Paul de Rueck, Amberson Productions; George Sponhaltz, Capitol; James Smart, Library of Congress; Richard Warren, Jr., Yael Historical Sound Recordings; Derek Lewis, BBC. -
TONI PASSMORE ANDERSON 209 Lincoln Lane Lagrange, GA 30240 (706) 880-8264 [email protected]
TONI PASSMORE ANDERSON 209 Lincoln Lane LaGrange, GA 30240 (706) 880-8264 [email protected] EDUCATION: Georgia State University, Atlanta, Georgia Ph.D. in Higher Education, 1997 Dissertation Title: “The Fisk Jubilee Singers: Performing Ambassadors for the Survival of an American Treasure, 1871-1878" Courses in Music: Aesthetics of Music, Music Technology, Multicultural Music Education, Reference Materials and Research Methodology in Music New England Conservatory of Music, Boston, Massachusetts M.M. in Vocal Performance, May 1982 Voice with Susan Fisher Clickner; Opera with John Moriarty Lamar University, Beaumont, Texas B.M. in Music Education, May 1979 K-12 Certificate in State of Texas Other: Voice study with Susan Fisher Clickner, Irene Harrower, and Herald Stark; Coaching with Terry Decima, Maestro Rudolf Fellner, John Moriarty, James Gardner, Boris Goldovsky, Douglas Hines, John Douglas, Walter Huff. Vocal Master Classes with Eleanor Steber, Janice Harsanyi, Beverly Wolff. Four years of dance training (ballet, folk, movement for singers, jazz); eight years of private piano study. TEACHING AND ADMINISTRATIVE EXPERIENCE: LaGrange College, LaGrange, Georgia Fall 1999 - Present, Tenured Professor Chair, Music Program Co-Chair, Musical Theatre Program Musical Director/Conductor Courses Taught: Applied Voice; Diction for Singers; Opera Experience; Opera Survey; Music Survey; Interim Term travel experiences Morris Brown College, Atlanta, Georgia 1985-1999, Assistant Professor of Music Program Coordinator/Chair 1991; 1993-96 Tenured -
Télécharger Le Bulletin De Liaison N° 42
Bulletin de liaison N° 42 janvier 2008 Page: 1 ASSOCIATION NATIONALE HECTOR BERLIOZ Reconnue d’utilité publique Président : Gérard CONDÉ COMITÉ D’HONNEUR Gilbert AMY, Jacques CHARPENTIER, Pascal DUSAPIN, Henri DUTILLEUX, Betsy JOLAS, Noël LEE, Michaël LÉVINAS, Serge NIGG, de l’Institut. MEMBRES D’HONNEUR Serge BAUDO Colin DAVIS Alain LOMBARD Anne BONGRAIN Désiré DONDEYNE Jean-Pierre LORÉ David CAIRNS Jean FOURNET Hugh MACDONALD Sylvain CAMBRELING Brigitte FRANCOIS-SAPPEY Jean-Paul PENIN Jean-Claude CASADESUS Nicolaï GEDDA Michel PLASSON Gérard CAUSSÉ Yves GÉRARD Georges PRÊTRE Marie-Hélène COUDROY-SAGHAÏ CONSEIL D’ADMINISTRATION Président : Gérard CONDÉ Membres élus Dominique ALEX, Josiane BOULARD, Présidente adjointe : Arlette GINIER-GILLET Jacques CHAMBREUIL, Philippe Secrétaire général : Alain REYNAUD CHINKIRCH, Alain DURIAU, Patrick FAVRE-TISSOT-BONVOISIN, Marcelle Trésorière : Michèle CORRÉARD GIDON, Clarisse GUILMET, Gérard LEBRUN, Jean-Pierre MAASSAKKER, Membres de droit: Patrick MOREL, Hervé ROBERT, Alain M. le Président du Conseil général de l’Isère ROUSSELON, Pierre-René SERNA, M. le Conseiller général du canton de La Côte-Saint- Christian WASSELIN, Charles WOLFERS. André M. le Maire de La Côte-Saint-André Membres associés M. le Président de l’Agence iséroise de diffusion artistique Jean-Pierre ARNAUD, Gunther BRAAM, (AIDA) Lucile DUC, Marcelle GEORJON, Emma- Mme le Conservateur en chef du musée Hector-Berlioz nuel de MALEYZIEUX. DÉLÉGATIONS REGIONALES Alsace: Martine WEBER, Clarisse GUILMET Nord-Picardie : Dominique CATTEAU -
The George-Anne Student Media
Georgia Southern University Digital Commons@Georgia Southern The George-Anne Student Media 5-20-1966 The George-Anne Georgia Southern University Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/george-anne Part of the Higher Education Commons Recommended Citation Georgia Southern University, "The George-Anne" (1966). The George-Anne. 471. https://digitalcommons.georgiasouthern.edu/george-anne/471 This newspaper is brought to you for free and open access by the Student Media at Digital Commons@Georgia Southern. It has been accepted for inclusion in The George-Anne by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. ^^H pg^g^gg^fl^HHI See SOUTHERN THE BELLE CONTEST George -Anne Page 9 PUBLISHED BY STUDENTS OF GEORGIA SOUTHERN COLLEGE VOLUME 43 STATESBORO, GEORGIA, FRIDAY' MAY 20, 1966 NUMBER 9 One-Act Plays Set for Tuesday olff To Appear in Concert In Auditorium Campus Enrichment Committee A series of four one-act plays will be presented Tuesday night at 8:15 in McCroan Auditorium To Sponsor Monday Attraction by Robert Overstreet's direct- Miss Beverly Wolff, the final 1965-66 attraction of the Campus ing class. Masquers will spons- Life Enrichment Committee, will appear in concert Monday at or the series. 8:15 p.m. in McCroan Auditorium. The four directors are Lib- Her career as a New York church singing, sales clerking by Brannon, Ralph Jones, City Opera vocalist began in and baby sitting. Pam Theus and Parker Cook. 1963 when she sang the role The one-act play is presented of Cherubino in Mozart's Following her 1952 first place in partial fulfillment for the "Marriage of Figaro." This in the Youth Auditions of the completion of the directing debut was the result of a Philadelphia Orchestra she course. -
Nancy Opéra Passion, a Réservé Au Public Cette Surprise Renouant Avec Les Fastes D’Un Passé Pas Si Lointain
"Forum Opéra" Splendeurs à la Cour des Ducs de Lorraine La tradition lyrique de la Cité des Ducs de Lorraine est installée depuis des lustres et bien des Nancéiens se souviennent encore - et en conservent précieusement les programmes - de fabuleuses saisons lyriques des années 50, où un spectacle nouveau était monté chaque semaine ! Il n’était pas rare d’assiter alors, pour ne citer que deux titres, aussi bien au Postillon de Longjumeau d’Adolphe Adam, qu’à La Poupée d’Edmond Audran. Les années passant, la Ville n’a pu conserver un tel renouvellement dans la magie d’opéra qu’elle réservait à son public mais elle continua à le régaler de spectacles de grande qualité, servis par des artistes de renommée nationale et internationale. Il était en effet monnaie courante d’entendre ceux pour lesquels on ajoutait alors, après leur nom, « de l’Opéra », signifiant qu’ils étaient les glorieux pensionnaires de l’Opéra de Paris, comme Mado Robin, Jacqueline Brumaire, Régine Crespin, Guy Chauvet, Henri Legay, Michel Dens, Gabriel Baquier, Alain Vanzo… L’Opéra de Nancy s’ouvrit également aux grands noms internationaux et l’on retrouvait régulièrement Piero Cappuccilli, Rolando Panerai, Nicola Rossi Lemeni, Sesto Bruscantini, Paolo Montarsolo, Ruggero Raimondi, Fedora Barbieri, côtoyant des artistes venus d’Europe et même d’Asie. Quelques grands parmi les grands passèrent parfois à Nancy, comme Lucia Valentini Terrani et, pour dérouler un tapis rouge à José Cura, grand Interprète d‘aujourd’hui, ses illustres devanciers-ténors : Giacomo Lauri Volpi, Luis Mariano et Carlo Bergonzi. Il était temps que le public encourageât son Opéra et vers la fin des années 60, naissait la première association promouvant conférences et brochures destinées à présenter les ouvrages à l’affiche de la saison lyrique, ainsi que de sympathiques réceptions des artistes, approchés par tous. -
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas GEORGES BIZET EMI 63633 Carmen Maria Stuarda Paris Opera National Theatre Orchestra; René Bologna Community Theater Orchestra and Duclos Chorus; Jean Pesneaud Childrens Chorus Chorus Georges Prêtre, conductor Richard Bonynge, conductor Maria Callas as Carmen (soprano) Joan Sutherland as Maria Stuarda (soprano) Nicolai Gedda as Don José (tenor) Luciano Pavarotti as Roberto the Earl of Andréa Guiot as Micaëla (soprano) Leicester (tenor) Robert Massard as Escamillo (baritone) Roger Soyer as Giorgio Tolbot (bass) James Morris as Guglielmo Cecil (baritone) EMI 54368 Margreta Elkins as Anna Kennedy (mezzo- GAETANO DONIZETTI soprano) Huguette Tourangeau as Queen Elizabeth Anna Bolena (soprano) London Symphony Orchestra; John Alldis Choir Julius Rudel, conductor DECCA 425 410 Beverly Sills as Anne Boleyn (soprano) Roberto Devereux Paul Plishka as Henry VIII (bass) Royal Philharmonic Orchestra and Ambrosian Shirley Verrett as Jane Seymour (mezzo- Opera Chorus soprano) Charles Mackerras, conductor Robert Lloyd as Lord Rochefort (bass) Beverly Sills as Queen Elizabeth (soprano) Stuart Burrows as Lord Percy (tenor) Robert Ilosfalvy as roberto Devereux, the Earl of Patricia Kern as Smeaton (contralto) Essex (tenor) Robert Tear as Harvey (tenor) Peter Glossop as the Duke of Nottingham BRILLIANT 93924 (baritone) Beverly Wolff as Sara, the Duchess of Lucia di Lammermoor Nottingham (mezzo-soprano) RIAS Symphony Orchestra and Chorus of La Scala Theater Milan DEUTSCHE GRAMMOPHON 465 964 Herbert von -
Suggested Guidelines for the Composition of Vocal
NATS VISITS AATS selected pro HE JOURNAL OF SINGING PERIODICALLY publishes of nouncements issued by the American Academy of Teachers unique re Singing. For a brief history of the organization and its Singing lationship to NATS, the reader is referred to Journal of of its founding, the 61, no.3 (January/February 2005). Since 1922, the year papers on all sub Academy has been actively writing and disseminating jects pertaining to the teaching of singing. arising out of the The present paper differs from the usual Statements questions from the Academy in that it came about in response to some available to Douglas Moore Foundation concerning the lack of resources intended principally American Academy of composers who write for the voice. This response is how singers choose Teachers of Singing for composers-in-training who wish to learn more about music and how teachers teach it. At the same time, Addison and learn contemporary Adele voice pedagogues regarding challenges Elaine Bonazzi the paper may inform singers and music for voice. Claudia Cantania inherent in composing and performing contemporary whole rather than Lindsey Christiansen Because position papers arise out of the Academy as a Patricia Craig list the thinking of an individual or small group, it is important to Eric Douglas reflect the Jan time of the drafting of a particular doc Robert Edwin organization’s membership at the does not imply Shirlee Emmons ument. Its appearance in the Journal of Singing, however, the philosophy Robert Gartside NATS endorsement, nor does its content necessarily reflect Westerman Gregg website Jean or this publication.