2016|17 Season
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Diva Forever the Operatic Voice Between Reproduction and Reception
ERIK STEINSKOG Diva Forever The Operatic Voice between Reproduction and Reception The operatic voice has been among the key dimensions within opera-studies for several years. Within a fi eld seemingly reinventing itself, however, this voice is intimately relat- ed to other dimensions: sound, the body, gender and sexuality, and so forth. One par- ticular voice highlighting these intersections is the diva’s voice. Somewhat paradoxical this is not least the case when this particular voice is recorded, stored, and replayed by way of technology. The technologically reproduced voice makes it possible to fully con- centrate on “the voice itself,” seemingly without paying any attention to other dimen- sions. The paradox thus arises that the above-mentioned intersections might be most clearly found when attempts are made to remove them from the scene of perception. The focus on “the voice itself” is familiar to readers of Michel Chion’s The Voice in Cinema. Starting out with stating that the voice is elusive, Chion asks what is left when one eliminates, from the voice, “everything that is not the voice itself.”1 Relating pri- marily to fi lm, and coming from a strong background in psychoanalysis, Chion moves on to discuss many features of the voice, beginning with the sometimes forgotten dif- ferentiation from speech. The materiality of the voice becomes important, and then already different intersections are hinted at. Combining Chion’s interpretations with musicology is nothing new, but it opens some other questions. The voice in music is not necessarily as elusive as Chion seems to argue, or, perhaps better, its elusiveness is of a different kind.2 And when it comes to the operatic voice, dimensions beyond the ones Chion discusses beckon a refl ection. -
Children in Opera
Children in Opera Children in Opera By Andrew Sutherland Children in Opera By Andrew Sutherland This book first published 2021 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2021 by Andrew Sutherland Front cover: ©Scott Armstrong, Perth, Western Australia All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-6166-6 ISBN (13): 978-1-5275-6166-3 In memory of Adrian Maydwell (1993-2019), the first Itys. CONTENTS List of Figures........................................................................................... xii Acknowledgements ................................................................................. xxi Chapter 1 .................................................................................................... 1 Introduction What is a child? ..................................................................................... 4 Vocal development in children ............................................................. 5 Opera sacra ........................................................................................... 6 Boys will be girls ................................................................................. -
Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr. -
June WTTW & WFMT Member Magazine
Air Check Dear Member, The Guide As we approach the end of another busy fiscal year, I would like to take this opportunity to express my The Member Magazine for WTTW and WFMT heartfelt thanks to all of you, our loyal members of WTTW and WFMT, for making possible all of the quality Renée Crown Public Media Center content we produce and present, across all of our media platforms. If you happen to get an email, letter, 5400 North Saint Louis Avenue or phone call with our fiscal year end appeal, I’ll hope you’ll consider supporting this special initiative at Chicago, Illinois 60625 a very important time. Your continuing support is much appreciated. Main Switchboard This month on WTTW11 and wttw.com, you will find much that will inspire, (773) 583-5000 entertain, and educate. In case you missed our live stream on May 20, you Member and Viewer Services can watch as ten of the area’s most outstanding high school educators (and (773) 509-1111 x 6 one school principal) receive this year’s Golden Apple Awards for Excellence WFMT Radio Networks (773) 279-2000 in Teaching. Enjoy a wide variety of great music content, including a Great Chicago Production Center Performances tribute to folk legend Joan Baez for her 75th birthday; a fond (773) 583-5000 look back at The Kingston Trio with the current members of the group; a 1990 concert from the four icons who make up the country supergroup The Websites wttw.com Highwaymen; a rousing and nostalgic show by local Chicago bands of the wfmt.com 1960s and ’70s, Cornerstones of Rock, taped at WTTW’s Grainger Studio; and a unique and fun performance by The Piano Guys at Red Rocks: A Soundstage President & CEO Special Event. -
![[Collection Title]](https://docslib.b-cdn.net/cover/6756/collection-title-186756.webp)
[Collection Title]
1 New Orleans Opera Association Archives 99 boxes/68 linear ft Special Collections & Archives J. Edgar & Louise S. Monroe Library Loyola University New Orleans Collection 74 2 Contents Collection Summary ....................................................................................................................... 3 Series Description .......................................................................................................................... 7 Container List ................................................................................................................................. 8 Series I: Administrative Files ..................................................................................................... 8 Subseries I-A: Artist Fees ...................................................................................................... 8 Subseries I-B: Awards and Grants ......................................................................................... 8 Subseries I-C: Board of Directors 1943-1999 ........................................................................ 9 Subseries I-D: Budgets ........................................................................................................ 10 Subseries I-E: Clubs and Guilds .......................................................................................... 10 Subseries I-F: Correspondence ............................................................................................ 10 Subseries I-G: Facilities and Sets ........................................................................................ -
Chicago Philharmonic Performs Playful Soundtracks to Hilarious Silent Films in the North Shore
Contact: Cassandra Kirkpatrick [email protected] (312) 957-0000 Chicago Philharmonic Performs Playful Soundtracks to Hilarious Silent Films in the North Shore Chicago, IL - (March 11 2019) Following critically acclaimed, sold-out performances with the Joffrey Ballet and English National Ballet, the Chicago Philharmonic returns to the North Shore to present another unforgettable multimedia production combining film and classical music. Featuring fresh new soundtracks by Tom Nazziola, a prolific composer and conductor best known for his work on film, television and musicals, Silent Sherlock will astound and entertain audiences at the North Shore Center for the Performing Arts in Skokie this March. Nazziola will lead the Chicago Philharmonic ensemble in three new film scores to accompany a live screening of movies from the golden age of silent film in the 1920s. Headlining the program is Sherlock Jr., starring perhaps the greatest comedic genius of the 20th century, Buster Keaton. Hilarious hijinks ensue as Keaton attempts to impress his sweetheart, solve a mystery, and save the day. Accompanying spectacular cinematography is a colorful palette of violin, piano, bass, and winds painted with Nazziola’s masterful hand. Silent Sherlock also features the short Sure-Locked Homes with legendary cartoon character Felix the Cat and Fadeaway, at the time a revolutionary blend of animation and live action, with vividly entertaining Koko the Clown. Nazziola’s film scores have been lavishly praised by Rolling Stone: “Nazziola is doing astonishing compositional work with silent films…his contribution indispensable.” Silent Sherlock Films with live music March 24 2019, 4:00pm North Shore Center for the Performing Arts, Skokie Tom Nazziola composer and conductor Featuring the silent films Sherlock Jr. -
Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and -
Quaderni Musicali Marchigiani 14
Quaderni Musicali Marchigiani 14 a cura di Concetta Assenza Pubblicazione dell’A.Ri.M. – Associazione Marchigiana per la Ricerca e Valorizzazione delle Fonti Musicali QUADERNI MUSICALI MARCHIGIANI 14/2016 a cura di Concetta Assenza ASSOCIAZIONE MARCHIGIANA PER LA RICERCA E VALORIZZAZIONE DELLE FONTI MUSICALI (A.Ri.M. – onlus) via P. Bonopera, 55 – 60019 Senigallia www.arimonlus.it [email protected] QUADERNI MUSICALI MARCHIGIANI Volume 14 Comitato di redazione Concetta Assenza, Graziano Ballerini, Lucia Fava, Riccardo Graciotti, Gabriele Moroni Realizzazione grafica: Filippo Pantaleoni ISSN 2421-5732 ASSOCIAZIONE MARCHIGIANA PER LA RICERCA E VALORIZZAZIONE DELLE FONTI MUSICALI (A.Ri.M. – onlus) QUADERNI MUSICALI MARCHIGIANI Volume 14 a cura di Concetta Assenza In copertina: Particolare dell’affresco di Lorenzo D’Alessandro,Madonna orante col Bambino e angeli musicanti, 1483. Sarnano (MC), Chiesa di Santa Maria di Piazza. La redazione del volume è stata chiusa il 30 giugno 2016 Copyright ©2016 by A.Ri.M. – onlus Diritti di traduzione, riproduzione e adattamento totale o parziale e con qualsiasi mezzo, riservati per tutti i Paesi. «Quaderni Musicali Marchigiani» – nota Lo sviluppo dell’editoria digitale, il crescente numero delle riviste online, l’allargamento del pubblico collegato a internet, la potenziale visibilità globale e non da ultimo l’abbattimento dei costi hanno spinto anche i «Quaderni Musicali Marchigiani» a trasformarsi in rivista online. Le direttrici che guidano la Rivista rimangono sostanzialmente le stesse: particolare attenzione alle fonti musicali presenti in Regione o collegabili alle Marche, rifiuto del campanilismo e ricerca delle connessioni tra storia locale e dimensione nazionale ed extra-nazionale, apertura verso le nuove tendenze di ricerca, impostazione scientifica dei lavori. -
Luciano Pavarotti Is Dead at 71
September 6, 2007 Luciano Pavarotti Is Dead at 71 By BERNARD HOLLAND Luciano Pavarotti, the Italian singer whose ringing, pristine sound set a standard for operatic tenors of the postwar era, died Thursday at his home near Modena, in northern Italy. He was 71. His death was announced by his manager, Terri Robson. The cause was pancreatic cancer. In July 2006 he underwent surgery for the cancer in New York, and he had made no public appearances since then. He was hospitalized again this summer and released on Aug. 25. Like Enrico Caruso and Jenny Lind before him, Mr. Pavarotti extended his presence far beyond the limits of Italian opera. He became a titan of pop culture. Millions saw him on television and found in his expansive personality, childlike charm and generous figure a link to an art form with which many had only a glancing familiarity. Early in his career and into the 1970s he devoted himself with single- mindedness to his serious opera and recital career, quickly establishing his rich sound as the great male operatic voice of his generation — the “King of the High Cs,” as his popular nickname had it. By the 1980s he expanded his franchise exponentially with the Three Tenors projects, in which he shared the stage with Plácido Domingo and José Carreras, first in concerts associated with the World Cup and later in world tours. Most critics agreed that it was Mr. Pavarotti’s charisma that made the collaboration such a success. The Three Tenors phenomenon only broadened his already huge audience and sold millions of recordings and videos. -
Qualestoria1 2018 Corretto.Pdf
1 EUT EDIZIONI UNIVERSITÀ DI TRIESTE ISTITUTO REGIONALE PER LA STORIA DELLA RESISTENZA E DELL’ETÀ CONTEMPORANEA NEL FRIULI VENEZIA GIULIA QUALESTORIA Rivista di storia contemporanea 1 qs Anno XLVI, N.ro 1, Giugno 2018 EUT EDIZIONI UNIVERSITÀ DI TRIESTE «QUALESTORIA» 1 2018 Rivista di storia contemporanea Periodico semestrale Realizzata con il contributo della Comitato di redazione Gorazd Bajc, Francesca Bearzatto, Fulvia Benolich, Irene Bolzon, Tullia Catalan, Franco Cecotti, Katja Hrobat Virlo- get, Patrick Karlsen, Giulio Mellinato, Gloria Nemec, Lorenzo Nuovo, Raoul Pupo, Roberto Spazzali, Fabio Todero, Fabio Verardo, Gianluca Volpi Comitato scientifico Giuseppe Battelli, Marco Bellabarba, Massimo Bucarelli, Andrea Di Michele, Marco Dogo, Gabriele D’Ottavio, Paolo Ferrari, Aleksej Kalc, Giorgio Mezzalira, Marco Mondini, Luciano Monzali, Egon Pelikan, Giovanna Procacci, Silvia Salvatici, Nevenka Troha, Marta Verginella, Rolf Wörsdörfer Direttore Gloria Nemec Direttore responsabile Roberto Spazzali Vicedirettore scientifico Raoul Pupo Redazione Francesca Bearzatto Direzione, redazione e amministrazione Istituto regionale per la storia della Resistenza e dell’Età contemporanea nel Friuli Venezia Giulia Salita di Gretta 38, 34136 Trieste telefono: 040.44004 fax: 0404528784 mail: [email protected] sito: http://www.irsml.eu/qualestoria/ «Qualestoria» è la rivista dell’Irsrec FVG, fondata nel 1973 come «Bollettino dell’Istituto regionale per la storia del movimento di liberazione nel Friuli Venezia Giulia». Ospita contributi di autori italiani e stranieri, promuovendo la pubblicazione di numeri monografici e miscellanei. La rivista propone tradizionalmente tematiche legate alla storia contemporanea dell’area alto-adriatica e delle zone di frontiera, rivolgendo particolare attenzione allo studio e alla storiografia dei paesi dell’Europa centro-orientale e balcanica. Le proposte di pubblicazione vanno inviate all’indirizzo e-mail della redazione. -
Metropolitan Opera 19-20 Season Press Release
Updated: November 12, 2019 New Productions of Porgy and Bess, Der Fliegende Holländer, and Wozzeck, and Met Premieres of Agrippina and Akhnaten Headline the Metropolitan Opera’s 2019–20 Season Yannick Nézet-Séguin, in his second season as Music Director, conducts the new William Kentridge production of Wozzeck, as well as two revivals, Met Orchestra concerts at Carnegie Hall, and a New Year’s Eve Puccini Gala starring Anna Netrebko Sunday matinee performances are offered for the first time From Roberto Alagna to Sonya Yoncheva, favorite Met singers return Debuting conductors are Karen Kamensek, Antonello Manacorda, and Vasily Petrenko; returning maestros include Valery Gergiev and Sir Simon Rattle New York, NY (February 20, 2019)—The Metropolitan Opera today announced its 2019–20 season, which opens on September 23 with a new production of the Gershwins’ classic American opera Porgy and Bess, last performed at the Met in 1990, starring Eric Owens and Angel Blue, directed by James Robinson and conducted by David Robertson. Philip Glass’s Akhnaten receives its Met premiere with Anthony Roth Costanzo as the title pharaoh and J’Nai Bridges as Nefertiti, in a celebrated staging by Phelim McDermott and conducted by Karen Kamensek in her Met debut. Acclaimed visual artist and stage director William Kentridge directs a new production of Berg’s Wozzeck, starring Peter Mattei and Elza van den Heever, and led by the Met’s Jeanette Lerman-Neubauer Music Director Yannick Nézet-Séguin. In another Met premiere, Sir David McVicar stages the black comedy of Handel’s Agrippina, starring Joyce DiDonato as the conniving empress with Harry Bicket on the podium. -
DE 3414 a Fool for Love Michael Spyres, Tenor
DE 3414 A Fool For Love Michael Spyres, tenor 1. Donizetti: La fille du régiment: “Ah! mes amis...Pour mon âme” (4:08) 2. Stravinsky: The Rake’s Progress: “Here I stand” (2:43) 3. Rossini: Il barbiere di Siviglia: “Cessa di più resistere” (7:44) 4. Donizetti: L’elisir d’amore: “Una furtiva lagrima” (4:34) 5. Mozart: Don Giovanni: “Il mio tesoro” (4:25) 6. Bizet: Les pêcheurs de perles: “Je crois entendre encore” (4:22) 7. Massenet: Werther: “Pourquoi me réveiller” (2:54) 8. Strauss: Der Rosenkavalier: “Di rigori armato il seno” (3:17) 9. Puccini: La Bohème: “Che gelida manina” (4:41) 10. Verdi: Rigoletto: “La donna è mobile” (2:15) 11. Donizetti: Lucia di Lammermoor: “Fra poco a me ricovero” (7:29) 12. Tchaikovsky: Eugene Onegin: “Kuda, kuda...” (6:16) 13. Cilea: L’Arlesiana: “È la solita storia...” (4:22) 14. Encore: Lehár: Das Land des Lächelns: “Dein ist mein ganzes Herz” (3:45) Total Playing Time: 63:04 Constantine Orbelian, conductor Moscow Chamber Orchestra of the Pavel Slobodkin Center for the Arts Executive Producer: Carol Rosenberger Recording Producer/Engineer: Vasiliy Sidenko Assistant Engineers: Alexander Mikhlin, Elena Klinova Editing: Matthew Snyder, Paul Stubblebine Mixing/Mastering: Mark Willsher Recorded November 2010, Pavel Slobodkin Center for the Arts, Moscow Cover Photo: Dan Taylor Cover Design: sigeldesign.com Graphic Design: Mark Evans 7 & W 2011 Delos Productions, Inc., P.O. Box 343, Sonoma, California 95476-9998 (707) 996-3844 • Fax (707) 320-0600 • (800) 364-0645 www.delosmusic.com NOTES ON THE PROGRAM ove, in all its many guises, is the most complex human emotion to define and express.