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Parsifal and Canada: a Documentary Study
Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article. -
Time 1925 1930 1935 1940 1945 1950 1955 1960 1965 1970 1975 1980 1985 1990 1995 2000 2005 2010
Giulio Gatti Casazza 1926 Director, Metropolitan Opera Arturo Toscanini Leopold Stokowski 1926 1930 Conductor Conductor Pietro Mascagni Lucrezia Bori James Cæsar Petrillo 1926 1930 1948 Composer Singer Head, American Federation of Musicians Richard Strauss Alfred Hertz Sergei Koussevitsky Helen Traubel Charles Munch 1938 1927 1930 1946 1949 Composer and conductor Conductor Conductor Singer Conductor Ignace J Paderewski Geraldine Farrar Joseph Deems Taylor Marian Anderson Cole Porter 1939 1927 1931 1946 1949 Kirsten Flagstad Pianist, politician Singer Composer, critic Singer Composer 1935 Lauritz Melchior Giulio Gatti-Casazza Ignace Jan Paderewski Yehudi Menuhin Singer Artur Rodziński Gian Carlo Menotti Maria Callas 1940 1923 1928 1932 1947 1950 1956 Artur Rubinstein Edward Johnson Singer Director, Metropolitan Opera Pianist, politician Violinist; 16 years old Conductor Composer Singer 1966 1936 Leopold Stokowski Pianist Johann Sebastian Bach Nellie Melba Mary Garden Lawrence Tibbett Singer Arturo Toscanini Mario Lanza & Enrico Caruso Leonard Bernstein 1940 1968 1927 1930 1933 1948 1951 1957 Jean Sibelius Conductor Dmitri Shostakovich Composer (1685–1750) Singer Singer Singer Conductor Singers Composer, conductor 1937 1942 Beverly Sills Richard Strauss Rosa Ponselle Arturo Toscanini Composer Composer Benjamin Britten Patrice Munsel Renata Tebaldi Rudolf Bing Luciano Pavarotti 1971 1927 1931 1934 1948 1951 1958 1966 1979 Sergei Koussevitsky Sir Thomas Beecham Leontyne Price Singer Georg Solti Composer, conductor Singer Conductor Composer -
Guide to Ella Fitzgerald Papers
Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996................................................................. -
The Uuiversitj Musical Souietj of the University of Michigan
The UuiversitJ Musical SouietJ of The University of Michigan Presents ANN ARBOR THE PHILADELPHIA ORCHESTRA E UGENE ORMANDY , Music Director and Conduct01' WILLIAM SMITH, Assistant Conductor EUGENE ORMANDY, Conducting Soloist BEVERLY SILLS, Soprano SATURDAY EVENING , MAY 4, 1974, AT 8 :30 HILL AUDITORIUM , ANN ARBOR , MICHIGAN PROGRAM Five Pieces for Small Orchestra, Op. 42 SHOSTAKOVI CH Moderato Andante Largo Moderato Allegretto Symphony No. 88 in G major HAYDN Adagio; allegro La rgo Menuetto : a llegretto Allegro con spirito Motet, "Exsultate, jubilate," K. 165 MOZART Exsul tate, jubilate Tu virginum corona Fulge t arnica di es .-\lIelu ja BEVERL Y S ILLS IN TERiVIISSION " Depuis Ie jour," fr om Louise CHARPENTIER Fin al Scene from Anna Bolena DON IZETTl MISS SILLS ';'Roman Festivals R ESPIGHI *A vailable on Columbia R ecords RCA R ed Seal F ourth Concert Eighty-first Annua l May Festi n ll Complete Conce rts 3885 PROGRAM NOTES by G LENN D. MCGEOCH Five Pieces for Small Orchestra, Op. 42 DMITRI SHOSTAKOVICH (1906- ) The Fi ve Pieces, written by Shostakovich at the age of twenty-nine, were never mentioned or listed among his major works, until Ivan M artynov, in a monograph ( 1947) referred to them as "Five Fragments for Orchestra, 193 5 manuscript, op. 42." A conflict, which had begun to appear between the compose r's natura l, but advanced expression, and the Soviet official sanction came to a climax in 1934 wh en he produced his "avant guarde" opera Lady Ma cbeth of Mzensk. He was accuse d of "deliberate musical affectation " and of writing "un Soviet, eccent ric music, founded upon formalistic ideas of bourge ois musical conce ptions." Responding to this official castigation, he wrote a se ries of short, neoclassic, understated works, typical of the Fi ve Pieces on tonight's program. -
Prefaces to Scalia/Ginsburg: a (Gentle) Parody of Operatic Proportions
WANG, SCALIA/GINSBURG: A (GENTLE) PARODY OF OPERATIC PROPORTIONS, 38 COLUM. J.L. & ARTS 237 (2015) Prefaces to Scalia/Ginsburg: A (Gentle) Parody of Operatic Proportions Preface by Justice Ruth Bader Ginsburg: Scalia/Ginsburg is for me a dream come true. If I could choose the talent I would most like to have, it would be a glorious voice. I would be a great diva, perhaps Renata Tebaldi or Beverly Sills or, in the mezzo range, Marilyn Horne. But my grade school music teacher, with brutal honesty, rated me a sparrow, not a robin. I was told to mouth the words, never to sing them. Even so, I grew up with a passion for opera, though I sing only in the shower, and in my dreams. One fine day, a young composer, librettist and pianist named Derrick Wang approached Justice Scalia and me with a request. While studying Constitutional Law at the University of Maryland Law School, Wang had an operatic idea. The different perspectives of Justices Scalia and Ginsburg on constitutional interpretation, he thought, could be portrayed in song. Wang put his idea to the “will it write” test. He composed a comic opera with an important message brought out in the final duet, “We are different, we are one”—one in our reverence for the Constitution, the U.S. judiciary and the Court on which we serve. Would we listen to some excerpts from the opera, Wang asked, and then tell him whether we thought his work worthy of pursuit and performance? Good readers, as you leaf through the libretto, check some of the many footnotes disclosing Wang’s sources, and imagine me a dazzling diva, I think you will understand why, in answer to Wang’s question, I just said “Yes.” Preface by Justice Antonin Scalia: While Justice Ginsburg is confident that she has achieved her highest and best use as a Supreme Justice, I, alas, have the nagging doubt that I could have been a contendah—for a divus, or whatever a male diva is called. -
North Carolina Opera 2019-20 Season Announcement
FOR IMMEDIATE RELEASE MARCH 26, 2019 Contact: Bruce Loving +1 (202) 870-9572 [email protected] North Carolina Opera Announces Company’s 2019-20 Season A NEW Production of Mozart’s The Magic Flute Leoncavallo’s Pagliacci Wagner’s Siegfried: Act III in Concert Superstar Tenor Lawrence Brownlee in Recital RALEIGH, NC—North Carolina Opera has announced the company’s 2019-20 season, which includes fully-staged productions oF Mozart’s The Magic Flute (Apr. 3 & 5, 2020) and Leoncavallo’s Pagliacci (Jan. 24 & 26, 2020), a concert perFormance of Act III From Wagner’s Siegfried (Nov. 10, 2019), and a vocal recital by superstar tenor Lawrence Brownlee (Feb. 18, 2020). The announcement was made by the company’s General Director Eric Mitchko at the 2019-20 Season Reveal, which was held on Tuesday, March 26 at CAM Raleigh and graciously sponsored by the Meredith College Department of Music, CITRIX, Mitchell’s, Queen of Wines, Savills, Glenwood Agency Real Estate, and Hibernian Pub. The Magic Flute “We are thrilled to present a fully-staged new production of Mozart’s The Magic Flute directed by David Paul, who is presently directing the company’s production of Tosca, and are most grateful to our production sponsor C. Thomas Kunz,” said NCO General Director Eric Mitchko. “The Magic Flute has not been professionally staged in the Triangle in over two decades; a new production is a great way to welcome Mozart’s fantastical, adventure tale back to the area,” he concluded. The Magic Flute features a strong ensemble cast, including NCO debuting artists tenor Eric Ferring as Tamino, soprano Madison Leonard as Pamina, and soprano Rainelle Krause as the Queen of the Night. -
Study Buddy CASSETTE DION ELVIS GUITAR IPOD PHONOGRAPH RADIO RECORD RHYTHM ROCK ROLL Where The
Rhythm, Blues and Clues I V J X F Y R D L Y W D U N H Searchin Michael Presser, Executive Director A Q X R O C K F V K K P D O P Help the musical note find it’s home B L U E S B Y X X F S F G I A Presents… Y C L C N T K F L V V E A D R Y A K O A Z T V E I O D O A G E S W R R T H K J P U P T R O U S I D H S O N W G I I U G N Z E G V A Y V F F F U E N G O P T V N L O T S C G X U Q E H L T G H B E R H O J H D N L P N E C S U W Q B M D W S G Y M Z O B P M R O Y F D G S R W K O F D A X E J X L B M O W Z K B P I D R V X T C B Y W P K P F Y K R Q R E Q F V L T L S G ALBUM BLUES BROADWAY Study Buddy CASSETTE DION ELVIS GUITAR IPOD PHONOGRAPH RADIO RECORD RHYTHM ROCK ROLL Where the 630 Ninth Avenue, Suite 802 Our Mission: Music Inside Broadway is a professional New York City based children’s theatre New York, NY 10036 12 company committed to producing Broadway’s classic musicals in a Music Lives Telephone: 212-245-0710 contemporary light for young audiences. -
Reporter Privilege: a Con Job Or an Essential Element of Democracy Maguire Center for Ethics and Public Responsibility Public Scholar Presentation November 14, 2007
Reporter Privilege: A Con Job or an Essential Element of Democracy Maguire Center for Ethics and Public Responsibility Public Scholar Presentation November 14, 2007 Two widely divergent cases in recent months have given the public some idea as to what exactly reporter privilege is and whether it may or may not be important in guaranteeing the free flow of information in society. Whether it’s important or not depends on point of view, and, sometimes, one’s political perspective. The case of San Francisco Giants baseball star Barry Bonds and the ongoing issues with steroid use fueled one case in which two San Francisco Chronicle reporters were held in contempt and sentenced to 18 months in jail for refusing to reveal the source of leaked grand jury testimony. According to the testimony, Bonds was among several star athletes who admitted using steroids in the past, although he claimed he did not know at the time the substance he was taking contained steroids. In the other, New York Times reporter Judith Miller served 85 days in jail over her refusal to disclose the source of information that identified a CIA employee, Valerie Plame. The case was complicated with political overtones dealing with the Bush Administration’s claims in early 2003 that Iraq had weapons of mass destruction. A number of other reporter privilege cases were ongoing during the same time period as these two, but the newsworthiness and the subject matter elevated these two cases in terms of extensive news coverage.1 Particularly in the case of Miller, a high-profile reporter for what arguably is the most important news organization in the world, being jailed created a continuing story that was closely followed by journalists and the public. -
Cast Amendment for Il Trittico
1 FEBRUARY 2016 CAST AMENDMENT IL TRITTICO (Giacomo Puccini) 25, 29 Februry; 3, 5, 8 and 15 March at 6.30pm To her great disappointment, Austrian soprano Martina Serafin has been forced to withdraw from her role debut as Giorgetta in Il tabarro due to an injury suffered before Christmas. She has made good progress since the accident, but unfortunately she is still not adequately mobile to undertake this role for The Royal Opera. The role of Giorgetta will now be sung by American soprano Patricia Racette . Patricia Racette made her Royal Opera debut in 1996 as Mimì ( La bohème ). She has previously sung the role of Giorgetta for Theater an der Wien, and will perform the role in Rome in April 2016. Her other recent engagements include Nedda ( Pagliacci ) for the Metropolitan Opera, New York, Katerina Ismailova ( Lady Macbeth of Mtsensk ) for English National Opera and Elle ( La Voix humaine ) for Chicago Opera Theater. The rest of the cast remains unchanged, with Italian baritone Lucio Gallo as Michele, American tenor Carl Tanner as Luigi, Italian tenor Carlo Bosi as Tinca, British bass Jeremy White as Talpa, Korean tenor and Jette Parker Young Artist David Junghoon Kim as Ballad Seller, Russian mezzo-soprano Irina Mishura as Frugola, Australian soprano and Jette Parker Young Artist Lauren Fagan and Portguese tenor Luis Gomes as the Lovers and Italian conductor Nicola Luisotti . PRESS OFFICE CONTACTS Ann Richards/David Brownlie-Marshall/Celia Moran/Emily Meredith [email protected] / [email protected] / [email protected] /[email protected] For all Royal Opera House press releases visit www.roh.org.uk/press . -
2018 Annual Report
Annual Report 2018 Dear Friends, welcome anyone, whether they have worked in performing arts and In 2018, The Actors Fund entertainment or not, who may need our world-class short-stay helped 17,352 people Thanks to your generous support, The Actors Fund is here for rehabilitation therapies (physical, occupational and speech)—all with everyone in performing arts and entertainment throughout their the goal of a safe return home after a hospital stay (p. 14). nationally. lives and careers, and especially at times of great distress. Thanks to your generous support, The Actors Fund continues, Our programs and services Last year overall we provided $1,970,360 in emergency financial stronger than ever and is here for those who need us most. Our offer social and health services, work would not be possible without an engaged Board as well as ANNUAL REPORT assistance for crucial needs such as preventing evictions and employment and training the efforts of our top notch staff and volunteers. paying for essential medications. We were devastated to see programs, emergency financial the destruction and loss of life caused by last year’s wildfires in assistance, affordable housing, 2018 California—the most deadly in history, and nearly $134,000 went In addition, Broadway Cares/Equity Fights AIDS continues to be our and more. to those in our community affected by the fires and other natural steadfast partner, assuring help is there in these uncertain times. disasters (p. 7). Your support is part of a grand tradition of caring for our entertainment and performing arts community. Thank you Mission As a national organization, we’re building awareness of how our CENTS OF for helping to assure that the show will go on, and on. -
King Lear − Learning Pack
King Lear − Learning Pack Contents About This Pack ................................................................1 Background Information ..................................................2 Teaching Information ........................................................3 Adaptation Details & Plot Synopsis..................................5 Find Out More...................................................................12 1 King Lear − Learning Pack About This learning pack supports the Donmar Warehouse production of King Lear, directed by Michael Grandage, which opened on 7th December 2010 in London. Our packs are designed to support viewing the recording on the National Theatre Collection. This pack provides links to the UK school curriculum and other productions in the Collection. It also has a plot synopsis with timecodes to allow you to jump to specific sections of the play. 1 King Lear − Learning Pack Background Information Recording Date – 3rd February, 2011 Location – Donmar Warehouse, London Age Recommendation – 12+ Cast Earl of Kent .................................................. Michael Hadley Early of Gloucester ...........................................Paul Jesson Edmund ...........................................................Alec Newman King Lear ......................................................... Derek Jacobi Goneril................................................................Gina McKee Regan ............................................................Justine Mitchell Cordelia .............................................Pippa -
Royal Opera House Performance Review 2006/07
royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 1 Royal Opera House Performance Review 2006/07 The Royal Ballet - The Royal Opera royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 2 Contents 01 TH E ROYA L BA L L E T PE R F O R M A N C E S 02 TH E ROYA L OP E R A PE R F O R M A N C E S royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 3 3 TH E ROYA L BA L L E T PE R F O R M A N C E S 2 0 0 6 / 2 0 0 7 01 TH E ROYA L BA L L E T PE R F O R M A N C E S royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 4 4 TH E ROYA L BA L L E T PE R F O R M A N C E S 2 0 0 6 / 2 0 0 7 GI S E L L E NU M B E R O F PE R F O R M A N C E S 6 (15 matinee and evening 19, 20, 28, 29 April) AV E R A G E AT T E N D A N C E 91% CO M P O S E R Adolphe Adam, revised by Joseph Horovitz CH O R E O G R A P H E R Marius Petipa after Jean Coralli and Jules Perrot SC E N A R I O Théophile Gautier after Heinrich Meine PRO D U C T I O N Peter Wright DE S I G N S John Macfarlane OR I G I N A L LI G H T I N G Jennifer Tipton, re-created by Clare O’Donoghue STAG I N G Christopher Carr CO N D U C T O R Boris Gruzin PR I N C I PA L C A S T I N G Giselle – Leanne Benjamin (2) / Darcey Bussell (2) / Jaimie Tapper (2) Count Albrecht – Edward Watson (2) / Roberto Bolle (2) / Federico Bonelli (2) Hilarion – Bennet Gartside (2) / Thiago Soares (2) / Gary Avis (2) / Myrtha – Marianela Nuñez (1) / Lauren Cuthbertson (3) (1- replacing Zenaida Yanowsky 15/04/06) / Zenaida Yanowsky (1) / Vanessa Palmer (1) royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 5 5 TH E ROYA L BA L L E T PE R F O R M A N C E S 2 0 0 6 / 2 0 0 7 LA FI L L E MA L GA R D E E NU M B E R O F PE R F O R M A N C E S 10 (21, 25, 26 April, 1, 2, 4, 5, 12, 13, 20 May 2006) AV E R A G E AT T E N D A N C E 86% CH O R E O G R A P H Y Frederick Ashton MU S I C Ferdinand Hérold, freely adapted and arranged by John Lanchbery from the 1828 version SC E N A R I O Jean Dauberval DE S I G N S Osbert Lancaster LI G H T I N G John B.