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Lectures and Community Engagement 2017–18 About the Metropolitan Opera Guild
Lectures and Community Engagement 2017 –18 About the Metropolitan Opera Guild The Metropolitan Opera Guild is the world’s premier arts educa- tion organization dedicated to enriching people’s lives through the magic and artistry of opera. Thanks to the support of individuals, government agencies, foundations, and corporate sponsors, the Guild brings opera to life both on and off the stage through its educational programs. For students, the Guild fosters personal expression, collaboration, literacy skills, and self-confidence with customized education programs integrated into the curricula of their schools. For adults, the Guild enhances the opera-going experience through intensive workshops, pre-performance talks, and community outreach programs. In addition to educational activities, the Guild publishes Opera News, the world’s leading opera magazine. With Opera News, the Guild reaches a global audience with the most insightful and up-to-date writing on opera available anywhere, helping to maintain opera as a thriving, contemporary art form. For more information about the Metropolitan Opera Guild and its programs, visit metguild.org. Additional information and archives of Opera News can be found online at operanews.com. How to Use This Booklet This brochure presents the 2017–18 season of Lectures and Community Programs grouped into thematic sections—programs that emphasize specific Met performances and productions; courses on opera and its history and culture; and editorial insights and interviews presented by our colleagues at Opera News. Courses of study are arranged chronologically, and learners of all levels are welcome. To place an order, please call the Guild’s ticketing line at 212.769.7028 (Mon–Fri 10AM–4PM). -
Die Zauberflöte the Magic Flute Page 1 of 2 Opera Assn
San Francisco War Memorial 1991 Die Zauberflöte The Magic Flute Page 1 of 2 Opera Assn. Opera House Summer This production is made possible by Lexus, a division of Toyota Motors U.S.A. Inc. The production was originally made possible by Bernard and Barbro Osher. Die Zauberflöte (in German) Opera in two acts by Wolfgang Amadeus Mozart Libretto by Emanuel Johann Schikaneder Conductor CAST Gerard Schwarz First Lady Patricia Racette Production Second Lady Yanyu Guo John Cox Third Lady Catherine Keen Stage Director Tamino Jerry Hadley Paula Williams Papageno Michael Kraus † Designer The Queen of the Night Sally Wolf David Hockney First Spirit John Wheeler-Rappe Lighting Designer Second Spirit Jeremy Faust Thomas J. Munn Third Spirit Eric Sparks Sound Designer First Slave Raymond Murcell Roger Gans Second Slave Robert Presley Chorus Director Third Slave Gerald Johnson Ian Robertson Monostatos Steven Cole Assistant to Maestro Schwarz Pamina Ruth Ann Swenson William Vendice The Speaker Thomas Stewart Musical Preparation Sarastro Kevin J. Langan Robert Morrison A Priest Alan Fischer Christopher Larkin John Beeson Papagena Laura Claycomb First Armored Man Hong-Shen Li Prompter Jonathan Khuner Second Armored Man Philip Skinner Assistant Stage Director *Role debut †U.S. opera debut Elizabeth Bachman PLACE AND TIME: (not specified) Supertitles Christopher Bergen Stage Manager Jerry Sherk Saturday, June 1 1991, at 8:00 PM Act I, Scene 1 -- A rocky place Tuesday, June 4 1991, at 8:00 PM Act I, Scene 2 -- A room in Sarastro's castle Friday, June 7 1991, -
Rapport Annuel 18/19
RAPPORT ANNUEL 2018-2019 SOMMAIRE TABLE OF CONTENTS LES GRANDS BALLETS 4 LES GRANDS BALLETS MOT DU PRÉSIDENT 6 MESSAGE FROM THE PRESIDENT HISTORIQUE DES GRANDS BALLETS 8 HISTORY OF LES GRANDS BALLETS LES GRANDS BALLETS EN CHIFFRES 12 LES GRANDS BALLETS AT A GLANCE SAISON 2018-2019 16 2018-2019 SEASON MUSIQUE ET CHANT 18 MUSIC AND SONG LE BALLET NATIONAL DE POLOGNE 21 THE POLISH NATIONAL BALLET RAYONNEMENT INTERNATIONAL 23 INTERNATIONAL CELEBRITY LA FAMILLE CASSE-NOISETTE 26 THE NUTCRACKER FAMILY CENTRE NATIONAL DE DANSE-THÉRAPIE 28 NATIONAL CENTRE FOR DANCE THERAPY LES STUDIOS 30 GALA-BÉNÉFICE 2018 35 2018 ANNUAL BENEFIT GALA LES JEUNES GOUVERNEURS 36 THE JEUNES GOUVERNEURS COMMANDITAIRES ET PARTENAIRES 38 SPONSORS AND PARTNERS REMERCIEMENTS 39 SPECIAL THANKS Photo: Sasha Onyshchenko • Danseuse / Dancer: Maude Sabourin DANSEURS 45 DANCERS 3 LES GRANDS BALLETS FAIRE BOUGER LE MONDE. AUTREMENT. Depuis plus de 60 ans, Les Grands Ballets Canadiens de Montréal sont une compagnie de création, de production et de diffusion internationale qui se consacre au développement de la danse sous toutes ses formes, en s’appuyant sur la discipline du ballet classique. Les danseuses et danseurs des Grands Ballets, sous la direction artistique d’Ivan Cavallari, interprètent des chorégraphies de créateurs de référence et d’avant-garde. Les Grands Ballets, reconnus pour leur excellence, leur créativité et leur audace, sont pleinement engagés au sein de la collectivité et rayonnent sur toutes les scènes du monde. MOVING THE WORLD. DIFFERENTLY. For over 60 years, Les Grands Ballets Canadiens de Montréal has been a creation, production and international performance company devoted to the development of dance in all its forms, while always staying faithful to the spirit of classical ballet. -
Dis/Counting Women: a Critical Feminist Analysis of Two Secondary Social Studies Textbooks
DIS/COUNTING WOMEN: A CRITICAL FEMINIST ANALYSIS OF TWO SECONDARY SOCIAL STUDIES TEXTBOOKS by JENNIFER TUPPER B.Ed., The University of Alberta, 1994 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES DEPARTMENT OF CURRICULUM STUDIES; FACULTY OF EDUCATION; SOCIAL STUDIES SPECIALIZATION We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA September 1998 ©Copyright: Jennifer Tupper, 1998 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Curriculum Studies The University of British Columbia Vancouver, Canada Date October ff . I 9 92? 11 ABSTRACT Two secondary social studies textbooks, Canada: A Nation Unfolding, and Canada Today were analyzed with regard to the inclusion of the lives, experiences, perspectives and contributions of females throughout history and today. Drawing on the existing literature,-a framework of analysis was created comprised of four categories: 1) language; 2) visual representation; 3) positioning and; 4) critical analysis of content. Each of these categories was further broken into a series of related subcategories in order to examine in depth and detail, the portrayal of women in these two textbooks. -
Download Booklet
557309 bk OprNext US 26/08/2004 12:30pm Page 24 bello è affrontar la morte it is good to face death gridando: libertà! crying: liberty! Amor di patria impavido Let fearless patriotic love mieta i sanguigni allori, win bloody laurels, A NIGHT AT THE OPERA poi terga i bei sudori then may mercy wipe away e i pianti la pietà. our sweat and tears. Favourite opera arias, duets and ensembles featuring RICCARDO e GIORGIO RICHARD and GEORGE Indra Thomas, Soprano • Kristine Jepson, Mezzo-Soprano All’alba! At dawn! Matthew Polenzani, Tenor • Mariusz Kwiecien, Baritone English translation by Susannah Howe and Keith Anderson (tracks 13-14) Valerian Ruminski, Bass Royal Philharmonic Orchestra • Charles Rosekrans Valerian Ruminski Charles Rosekran Photo: Harry Heleotis Photo: Erich Hartmann / Magnum Photos 8.557309 24 557309 bk OprNext US 26/08/2004 12:30pm Page 2 A Night At The Opera Basta con queste ubbie… grette e piccine! Enough of this small-minded prejudice! Firenze è come un albero fiorito Florence is like a tree in blossom, Based on Victor Hugo’s Le Roi s’amuse, Verdi’s Sextus agrees to Vitellia’s demands, to the che in piazza dei Signori ha tronco e fronde, its trunk and branches stand in the piazza dei Signori, Rigoletto centres on the curse of a father on the father of accompaniment of a basset clarinet, in the original ma le radici forze nuove apportano but its spreading roots bring new life the title, the court jester to the Duke of Mantua. The scoring, a part for the Vienna court clarinettist Anton dalle convalli limpide e feconde! from the limpid, fertile valleys! climax of the action comes in the third act. -
Los Puritanos
VINCENZO BELLINI LOS PURITANOS STREAMING METROPOLITAN OPERA HOUSE Presenta VINCENZO BELLINI LOS PURITANOS Ópera en tres actos Libreto de Cesar Pepoli, basado en el drama histórico “Têtes rondes et Cavaliers” de Jaques François Ancelot y Joseph Xavier Boniface. Reparto Elvira Anna Netrebko Arturo Eric Cutler Riccardo Franco Vassallo Giorgio John Relyea Enrichetta Maria Zifchak Gualtiero Valerian Ruminski Bruno Eduardo Valdes Coro y Orquesta del Metropolitan Opera House Dirección: Patrick Summers Producción escénica Dirección teatral Sandro Sequi Escenografía Ming Cho Lee Vestuario Peter J. Hall Dirección de TV Gary Halvorson Viernes 18 de septiembre de 2018 Transmisión vía streaming desde Metropolitan Opera House – New York, USA TEATRO NESCAFÉ DE LAS ARTES Temporada 2020 LOS PURITANOS ANTECEDENTES Toda información que se reciba con ante- cedentes sobre “Los puritanos” de Vincen- zo Bellini debe considerar que ésta es la décima y última ópera de este compositor, surgida en 1835, pocos meses antes de su temprana muerte, a los 33 años. A fines de marzo de 1833, poco después de estrenar “Beatrice di Tenda” en Vene- cia, Bellini viajó a Londres vía París, junto a la aclamada soprano Giuditta Pasta, quien encabezaría el estre- no de “Norma” en la capital inglesa. En otros teatros londinenses se presentarían también “La sonámbula” y “Capuletos y Montescos” en la misma temporada. Vincenzo Bellini Pero a Bellini le atraía mucho París, la ciu- dad más importante de Europa a la que Opera de París y encontrar una esposa, ya ya habían arribado Rossini y Donizetti, sus que hasta entonces había mantenido rela- grandes colegas belcantistas, a quienes ciones muy complejas con algunas mujeres quería seguir en la ruta geográfica y artís- casadas. -
Rossini Propició El Futuro De La Ópera
www.proopera.org.mx • año XXVI • número 1 • enero – febrero 2018 • sesenta pesos ENTREVISTAS Andeka Gorrotxategi Óscar Martínez ENTREVISTAS EN LÍNEA Mojca Erdmann Nancy Fabiola Herrera Willy Anthony Waters FESTIVALES Cervantino XLV OBITUARIO Dmitri Hvorostovsky JohnJohn OsbornOsborn “Rossini“Rossini propiciópropició el futuro de la ópera”pro opera¾ DIRECTORIO REVISTA COMITÉ EDITORIAL Adriana Alatriste índice Luis Gutiérrez Ruvalcaba Andrea Labastida Charles H. Oppenheim 3 Carta del Presidente FUNDADOR Y DIRECTOR EMÉRITO CONCIERTOS Xavier Torres Arpi 4 Juan Diego Flórez: Canto a México EDITOR Charles H. Oppenheim 6 En breve 6 [email protected] CORRECCIÓN DE ESTILO CRÍTICA Darío Moreno 8 Otello en Bellas Artes COLABORAN EN ESTE NÚMERO 10 Ópera en México Othón Canales Treviño Carlos Fuentes y Espinosa Luis Gutiérrez Ruvalcaba PROTAGONISTAS Ingrid Haas 12 Andeka Gorrotxategi: Ramón Jacques “Me encantaría tener puestas José Noé Mercado todas las óperas de Puccini” David Rimoch Vladimiro Rivas Iturralde RESEÑA Gamaliel Ruiz 15 Arreglo de bodas en el Cenart José Andrés Tapia Osorio David Josué Zambrano de León 16 Ópera en los estados 15 www.proopera.org.mx. FESTIVALES CORRESPONSALES EN ESTE NÚMERO 20 Cervantino XLV Eduardo Benarroch Francesco Bertini Abigaíl Brambila ENTREVISTA Jorge Binaghi 22 Óscar Martínez: John Koopman Un cantante versátil Daniel Lara y un maestro ecléctico Gregory Moomjy Maria Nockin OBITUARIO Gustavo Gabriel Otero 25 Dmitri Hvorostovsky (1962-2017) Joel Poblete Roberto San Juan Ximena Sepúlveda PORTADA Massimo Viazzo 26 John Osborn: “Rossini propició el futuro de la ópera” FOTOGRAFIA Ana Lourdes Herrera ESTRENO 25 DISEÑO GRAFICO 32 La degradación de la burguesía: Ida Noemí Arellano Bolio The Exterminating Angel, desde Nueva York DISEÑO PÁGINA WEB TESTIMONIAL Christiane Kuri – Espacio Azul 34 Pro Ópera en Los Ángeles DISEÑO LOGO 36 México en el mundo Ricardo Gil Rizo IMPRESION ÓPERA EN EL MUNDO Grupo Gama. -
To Download the Full Archive
Complete Concerts and Recording Sessions Brighton Festival Chorus 27 Apr 1968 Concert Dome Concert Hall, Brighton Brighton Festival Belshazzar's Feast Walton William Walton Royal Philharmonic Orchestra Baritone Thomas Hemsley 11 May 1968 Concert Dome Concert Hall, Brighton Brighton Festival Kyrie in D minor, K 341 Mozart Colin Davis BBC Symphony Orchestra 27 Oct 1968 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Budavari Te Deum Kodály Laszlo Heltay Brighton Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Sarah Walker Tenor Paul Taylor Bass Brian Kay 23 Feb 1969 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Symphony No. 9 in D minor, op.125 Beethoven Herbert Menges Brighton Philharmonic Orchestra Soprano Elizabeth Harwood Mezzo-Soprano Barbara Robotham Tenor Kenneth MacDonald Bass Raimund Herincx 09 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Mass in D Dvorák Václav Smetáček Czech Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Valerie Baulard Tenor Paul Taylor Bass Michael Rippon Sussex University Choir 11 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Liebeslieder-Walzer Brahms Laszlo Heltay Piano Courtney Kenny Piano Roy Langridge 25 Jan 1970 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Requiem Fauré Laszlo Heltay Brighton Philharmonic Orchestra Soprano Maureen Keetch Baritone Robert Bateman Organ Roy Langridge 09 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Mass in B Minor Bach Karl Richter English Chamber Orchestra Soprano Ann Pashley Mezzo-Soprano Meriel Dickinson Tenor Paul Taylor Bass Stafford Dean Bass Michael Rippon Sussex University Choir 1 Brighton Festival Chorus 17 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Fantasia for Piano, Chorus and Orchestra in C minor Beethoven Symphony No. -
Newsletter • Bulletin
NATIONAL CAPITAL OPERA SOCIETY • SOCIETE D'OPERA DE LA CAPITALE NATIONALE Newsletter • Bulletin Summer 2000 L’Été A WINTER OPERA BREAK IN NEW YORK by Shelagh Williams The Sunday afternoon programme at Alice Tully Having seen their ads and talked to Helen Glover, their Hall was a remarkable collaboration of poetry and words new Ottawa representative, we were eager participants and music combining the poetry of Emily Dickinson in the February “Musical Treasures of New York” ar- recited by Julie Harris and seventeen songs by ten dif- ranged by Pro Musica Tours. ferent composers, sung by Renee Fleming. A lecture We left Ottawa early Saturday morning in our bright preceded the concert and it was followed by having most pink (and easily spotted!) 417 Line Bus and had a safe of the composers, including Andre Previn, join the per- and swift trip to the Belvedere Hotel on 48th St. Greeted formers on stage for the applause. An unusual and en- by Larry Edelson, owner/director and tour leader, we joyable afternoon. met our fellow opera-lovers (six from Ottawa, one from Monday evening was the Met’s block-buster pre- Toronto, five Americans and three ladies from Japan) at miere production of Lehar’s The Merry Widow, with a welcoming wine and cheese party. Frederica von Stade and Placido Domingo, under Sir Saturday evening the opera was Offenbach’s Tales Andrew Davis, in a new English translation. The oper- of Hoffmann. This was a lavish (though not new) pro- etta was, understandably, sold out, and so the only tick- duction with sumptuous costumes, sets descending to ets available were seats in the Family Circle (at the very reappear later, and magical special effects. -
Michael Schade at a Special Release of His New Hyperion Recording “Of Ladies and Love...”
th La Scena Musicale cene English Canada Special Edition September - October 2002 Issue 01 Classical Music & Jazz Season Previews & Calendar Southern Ontario & Western Canada MichaelPerpetual Schade Motion Canada Post Publications Mail Sales Agreement n˚. 40025257 FREE TMS 1-01/colorpages 9/3/02 4:16 PM Page 2 Meet Michael Schade At a Special Release of his new Hyperion recording “Of ladies and love...” Thursday Sept.26 At L’Atelier Grigorian Toronto 70 Yorkville Ave. 5:30 - 7:30 pm Saturday Sept. 28 At L’Atelier Grigorian Oakville 210 Lakeshore Rd.E. 1:00 - 3:00 pm The World’s Finest Classical & Jazz Music Emporium L’Atelier Grigorian g Yorkville Avenue, U of T Bookstore, & Oakville GLENN GOULD A State of Wonder- The Complete Goldberg Variations (S3K 87703) The Goldberg Variations are Glenn Gould’s signature work. He recorded two versions of Bach’s great composition—once in 1955 and again in 1981. It is a testament to Gould’s genius that he could record the same piece of music twice—so differently, yet each version brilliant in its own way. Glenn Gould— A State Of Wonder brings together both of Gould’s legendary performances of The Goldberg Variations for the first time in a deluxe, digitally remastered, 3-CD set. Sony Classical celebrates the 70th anniversary of Glenn Gould's birth with a collection of limited edition CDs. This beautifully packaged collection contains the cornerstones of Gould’s career that marked him as a genius of our time. A supreme intrepreter of Bach, these recordings are an essential addition to every music collection. -
Cultural Diplomacy and Nation-Building in Cold War Canada, 1945-1967 by Kailey Miller a Thesis Submitt
'An Ancillary Weapon’: Cultural Diplomacy and Nation-building in Cold War Canada, 1945-1967 by Kailey Miller A thesis submitted to the Graduate Program in History in conformity with the requirements for the Degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada September, 2015 Copyright ©Kailey Miller, 2015 Abstract This dissertation is a study of Canada’s cultural approaches toward the Communist world – particularly in the performing arts – and the ways in which the public and private sectors sought to develop Canada’s identity during the Cold War. The first chapter examines how the defection of Igor Gouzenko in 1945 framed the Canadian state’s approach to the security aspects of cultural exchanges with the Soviet Union. Chapters 2 to 4 analyse the socio-economic, political, and international context that shaped Canada's music, classical theatre, and ballet exchanges with communist countries. The final chapter explores Expo ’67’s World Festival of Arts and Entertainment as a significant moment in international and domestic cultural relations. I contend that although focused abroad, Canada’s cultural initiatives served a nation-building purpose at home. For practitioners of Canadian cultural diplomacy, domestic audiences were just as, if not more, important as foreign audiences. ii Acknowledgements My supervisor, Ian McKay, has been an unfailing source of guidance during this process. I could not have done this without him. Thank you, Ian, for teaching me how to be a better writer, editor, and researcher. I only hope I can be half the scholar you are one day. A big thank you to my committee, Karen Dubinsky, Jeffrey Brison, Lynda Jessup, and Robert Teigrob. -
NEWSLETTER of the American Handel Society
NEWSLETTER of The American Handel Society Volume XXI, Number 3 Winter 2006 AMERICAN HANDEL SOCIETY- PRELIMINARY SCHEDULE (Paper titles and other details of program to be announced) Thursday, April 19, 2006 Check-in at Nassau Inn, Ten Palmer Square, Princeton, NJ (Check in time 3:00 PM) 6:00 PM Welcome Dinner Reception, Woolworth Center for Musical Studies Covent Garden before 1808, watercolor by Thomas Hosmer Shepherd. 8:00 PM Concert: “Rule Britannia”: Richardson Auditorium in Alexander Hall SOME OVERLOOKED REFERENCES TO HANDEL Friday, April 20, 2006 In his book North Country Life in the Eighteenth Morning: Century: The North-East 1700-1750 (London: Oxford University Press, 1952), the historian Edward Hughes 8:45-9:15 AM: Breakfast, Lobby, Taplin Auditorium, quoted from the correspondence of the Ellison family of Hebburn Hall and the Cotesworth family of Gateshead Fine Hall Park1. These two families were based in Newcastle and related through the marriage of Henry Ellison (1699-1775) 9:15-12:00 AM:Paper Session 1, Taplin Auditorium, to Hannah Cotesworth in 1729. The Ellisons were also Fine Hall related to the Liddell family of Ravenscroft Castle near Durham through the marriage of Henry’s father Robert 12:00-1:30 AM: Lunch Break (restaurant list will be Ellison (1665-1726) to Elizabeth Liddell (d. 1750). Music provided) played an important role in all of these families, and since a number of the sons were trained at the Middle Temple and 12:15-1:15: Board Meeting, American Handel Society, other members of the families – including Elizabeth Liddell Prospect House Ellison in her widowhood – lived in London for various lengths of time, there are occasional references to musical Afternoon and Evening: activities in the capital.