About Hawaii Performing Arts Festival GENETTE FREEMAN
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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. -
Dame Emma Kirkby Soprano
Dame Emma Kirkby Soprano Originally, Emma Kirkby had no In 2009 BIS issued a compilation entitled expectations of becoming a professional "The Artistry of Emma Kirkby", drawing on singer. As a classics student at Oxford and nine CDs in all. then a schoolteacher she sang for pleasure in choirs and small groups, In 1999 Emma was voted Artist of the Year always feeling most at home in by Classic FM Radio listeners; in 2000 she Renaissance and Baroque repertoire. She received the Order of the British Empire, joined the Taverner Choir in 1971 and in and 2007 saw her appointed a Dame 1973 began her long association with the Commander of the Order of the British Consort of Musicke. Emma took part in the Empire. She was delighted in June 2008 to early Decca Florilegium recordings with return to her alma mater, Oxford both the Consort of Musicke and the University, and receive an Honorary Academy of Ancient Music, at a time when Doctorate of Music. Most surprisingly of most college-trained sopranos were not all, BBC Music Magazine, April 2007, in a seeking a sound appropriate for early survey of critics to find “The twenty instruments. She therefore had to find her greatest sopranos”, placed Emma at own approach, with enormous help from number 10. While such media flurries Jessica Cash in London, and from the can be discounted as parochial, partial, directors, fellow singers and controversial, and outdated as soon as instrumentalists with whom she has they appear, she was pleased at the worked over the years. recognition this implied for an approach to singing where ensemble, clarity and Emma feels privileged to have been able to stillness are valued alongside the more build further long-term relationships with usual features of volume and display. -
English Translation of the German by Tom Hammond
Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p. -
Donizetti Operas and Revisions
GAETANO DONIZETTI LIST OF OPERAS AND REVISIONS • Il Pigmalione (1816), libretto adapted from A. S. Sografi First performed: Believed not to have been performed until October 13, 1960 at Teatro Donizetti, Bergamo. • L'ira d'Achille (1817), scenes from a libretto, possibly by Romani, originally done for an opera by Nicolini. First performed: Possibly at Bologna where he was studying. First modern performance in Bergamo, 1998. • Enrico di Borgogna (1818), libretto by Bartolomeo Merelli First performed: November 14, 1818 at Teatro San Luca, Venice. • Una follia (1818), libretto by Bartolomeo Merelli First performed: December 15, 1818 at Teatro San Luca,Venice. • Le nozze in villa (1819), libretto by Bartolomeo Merelli First performed: During Carnival 1820-21 at Teatro Vecchio, Mantua. • Il falegname di Livonia (also known as Pietro, il grande, tsar delle Russie) (1819), libretto by Gherardo Bevilacqua-Aldobrandini First performed: December 26, 1819 at the Teatro San Samuele, Venice. • Zoraida di Granata (1822), libretto by Bartolomeo Merelli First performed: January 28, 1822 at the Teatro Argentina, Rome. • La zingara (1822), libretto by Andrea Tottola First performed: May 12, 1822 at the Teatro Nuovo, Naples. • La lettera anonima (1822), libretto by Giulio Genoino First performed: June 29, 1822 at the Teatro del Fondo, Naples. • Chiara e Serafina (also known as I pirati) (1822), libretto by Felice Romani First performed: October 26, 1822 at La Scala, Milan. • Alfredo il grande (1823), libretto by Andrea Tottola First performed: July 2, 1823 at the Teatro San Carlo, Naples. • Il fortunate inganno (1823), libretto by Andrea Tottola First performed: September 3, 1823 at the Teatro Nuovo, Naples. -
The Films of Raoul Walsh, Part 1
Contents Screen Valentines: Great Movie Romances Screen Valentines: Great Movie Romances .......... 2 February 7–March 20 Vivien Leigh 100th ......................................... 4 30th Anniversary! 60th Anniversary! Burt Lancaster, Part 1 ...................................... 5 In time for Valentine's Day, and continuing into March, 70mm Print! JOURNEY TO ITALY [Viaggio In Italia] Play Ball! Hollywood and the AFI Silver offers a selection of great movie romances from STARMAN Fri, Feb 21, 7:15; Sat, Feb 22, 1:00; Wed, Feb 26, 9:15 across the decades, from 1930s screwball comedy to Fri, Mar 7, 9:45; Wed, Mar 12, 9:15 British couple Ingrid Bergman and George Sanders see their American Pastime ........................................... 8 the quirky rom-coms of today. This year’s lineup is bigger Jeff Bridges earned a Best Actor Oscar nomination for his portrayal of an Courtesy of RKO Pictures strained marriage come undone on a trip to Naples to dispose Action! The Films of Raoul Walsh, Part 1 .......... 10 than ever, including a trio of screwball comedies from alien from outer space who adopts the human form of Karen Allen’s recently of Sanders’ deceased uncle’s estate. But after threatening each Courtesy of Hollywood Pictures the magical movie year of 1939, celebrating their 75th Raoul Peck Retrospective ............................... 12 deceased husband in this beguiling, romantic sci-fi from genre innovator John other with divorce and separating for most of the trip, the two anniversaries this year. Carpenter. His starship shot down by U.S. air defenses over Wisconsin, are surprised to find their union rekindled and their spirits moved Festival of New Spanish Cinema .................... -
Donizetti's Gemma Di Vergy in London
Donizetti’s Gemma di Vergy in London Russell Burdekin, March, 2018 Donizetti’s Gemma di Vergy is probably best known today for the recording featuring Montserrat Caballé in a concert performance at Carnegie Hall, New York, on March 14, 1976 that stemmed from a production the previous December in Naples. It has since been staged at Bergamo in 1987 and 2011. The Society’s website recently received an email from a singer considering staging it in London and enquiring about its past performance history in the UK. In fact it has only been staged here once, in 1842, but the reactions to that throw an interesting light on performance priorities and on attitudes to Donizetti in mid-19th century Britain. In the decade or so following its premiere at La Scala, Milan, on December 26, 1834, Gemma was one of Donizetti’s most successful operas in Italy and was staged in several other countries. It fell out of favour along with so many bel canto operas in the latter half of the 19th century and was not revived until the 1975 Naples production. Its British production was at Her Majesty’s Theatre, London, on March 12, 1842 where it continued to be performed for the best part of a month. Gemma was Adelaide Moltini, Ida di Greville – Madame Bellini, Conte di Vergy – Signor Santi, Tomas – Signor Guasco, Rolando – Signor Galli and Guido - Signor Panzini. The cast was not well known in Britain, only Madame Bellini and Signor Galli having appeared here previously. Benjamin Lumley, who was Her Majesty’s Theatre manager at the time, wrote that the opera was the choice of the singers rather than his and reflects how singers were the main force in opera at this time (Reminiscences of the opera. -
EARLY MUSIC NOW with SARA SCHNEIDER Broadcast Schedule — Winter 2019
EARLY MUSIC NOW WITH SARA SCHNEIDER Broadcast Schedule — Winter 2019 PROGRAM #: EMN 18-27 RELEASE: December 24, 2018 Gaudete! Music for Christmas This week's program features Christmas music from several centuries to help get you in the holiday spirit, with hymns and carols by Michael Praetorius and Johannes Brassart, a Christmas concerto by Francesco Manfredini, and a traditional German carol sung by Emma Kirkby. Other performers include La Morra and the Gabrieli Consort and Players. PROGRAM #: EMN 18-28 RELEASE: December 31, 2018 To Drive the Cold Winter Away This week, Early Music Now presents songs to usher out the old year, and welcome the new; plus ditties and dances to bring some cheer to the cold winter days! Our performers include Pomerium, Ensemble Gilles Binchois, and The Dufay Collective. PROGRAM #: EMN 18-29 RELEASE: January 7, 2019 La Serenissima The 16th century Venetian School influenced composers all over Europe- from the polychoral masterpieces of Gabrieli to the innovative keyboard music of Merulo. We'll also hear selections from the Odhecaton: the earliest music collection printed using movable type, published by Petrucci in Venice in 1501. PROGRAM #: EMN 18-30 RELEASE: January 14, 2019 Music at the court of Emperor Maximilian I Maximilian I of Austria employed some of the finest artists and musicians of his time to glorify his reign and create a permanent legacy. He was known for wanting music in his environment constantly, even when he was alone. We'll hear from the composers who served him, like Isaac and Senfl, plus some of the music that shaped his young adulthood at the Burgundian court. -
Roland Böer Orchestra E Coro Del Teatro Regio
visual cover st1819.pdf 19/10/2018 15:40:07 I CONCERTI 2018-2019 ROLAND BÖER DIRETTORE ORCHESTRA E CORO DEL TEATRO REGIO GIOVEDÌ 18 APRILE 2019 – ORE 20.30 TEATRO REGIO C M Y CM MY CY CMY K Roland Böer (foto Carlo Cofano) e l’Orchestra e il Coro del Teatro Regio (foto Edoardo Piva) Roland Böer direttore Celine Byrne soprano La vedova, Un angelo e Soprano I Marina Comparato contralto Un angelo, La regina e Contralto I Carlo Allemano tenore Obadia, Acab e Tenore I Adrian Eröd basso Elias e Basso I Maria de Lourdes Rodrigues Martins soprano Soprano II Roberta Garelli contralto Contralto II Matteo Pavlica tenore Tenore II Enrico Bava basso Basso II Valentina Escobar voce bianca Il fanciullo Andrea Secchi maestro del coro Orchestra e Coro del Teatro Regio Felix Mendelssohn-Bartholdy (1809-1847) Elias oratorio in due parti su parole dell’Antico Testamento per soli, coro e orchestra op. 70 (1845-1847) Restate in contatto con il Teatro Regio: f T Y p Felix Mendelssohn-Bartholdy Elias op. 70 In Germania, nella prima metà dell’Ottocento, la pratica amatoriale del canto si sviluppò anche come fattore di aggregazione sociale per una borghe- sia in piena ascesa: si moltiplicarono così Singvereine (associazioni corali) e festival musicali cittadini i cui cavalli di battaglia erano Il Messia di Händel, Le Stagioni e La Creazione di Haydn, la Nona sinfonia di Beethoven. I fe- stival promuovevano anche la composizione di nuovi oratori: una schiera di epigoni si rifece spontaneamente ai modelli della tradizione attingendo a soggetti biblici, davvero popolari nei paesi di religione protestante, dove gli ascoltatori conoscevano a memoria le Scritture. -
Francis Poulenc
CHAN 3134(2) CCHANHAN 33134134 WWideide bbookook ccover.inddover.indd 1 330/7/060/7/06 112:43:332:43:33 Francis Poulenc © Lebrecht Music & Arts Library Photo Music © Lebrecht The Carmelites Francis Poulenc © Stephen Vaughan © Stephen CCHANHAN 33134(2)134(2) BBook.inddook.indd 22-3-3 330/7/060/7/06 112:44:212:44:21 Francis Poulenc (1899 – 1963) The Carmelites Opera in three acts Libretto by the composer after Georges Bernanos’ play Dialogues des Carmélites, revised English version by Joseph Machlis Marquis de la Force ................................................................................ Ashley Holland baritone First Commissioner ......................................................................................James Edwards tenor Blanche de la Force, his daughter ....................................................... Catrin Wyn-Davies soprano Second Commissioner ...............................................................................Roland Wood baritone Chevalier de la Force, his son ............................................................................. Peter Wedd tenor First Offi cer ......................................................................................Toby Stafford-Allen baritone Thierry, a valet ........................................................................................... Gary Coward baritone Gaoler .................................................................................................David Stephenson baritone Off-stage voice ....................................................................................... -
The 2009 Lotte Lenya Competition First Round
The 2009 Lotte Lenya Competition Lauren Worsham’s recent credits include Sophie in Master Class (Pa- permill Playhouse), Clara in The Light in the Piazza (Chamber Version - Kilbourn Hall, Eastman School of Music Weston Playhouse), Cunegonde in Candide (New York City Opera), Jerry Springer: The Opera (Carnegie Hall), Olive in The 25th Annual Putnam Saturday, 18 April 2009 County Spelling Bee (First National Tour). New York workshops/readings: Mermaid in a Jar, Le Fou at New Georges, The Chemist's Wife at Tisch, Mir- ror, Mirror at Playwright's Horizons, and Now I Ask You at Provincetown First Round Playhouse. Graduate of Yale University, 2005. Thanks for all the love and support from Bryan and Management 101. Most importantly, I owe it all to my amazing family. Proud member AEA! www.laurenworsham.com The Kurt Weill Foundation for Music, Inc. administers, promotes, and perpetuates the legacies of Kurt Weill and Lotte Lenya. It encourages broad dissemination and appreciation of Weill’s music through support of performances, productions, recordings, and scholarship; it fosters understanding of Weill’s and Lenya’s lives and work within diverse cultural contexts; and, building upon the legacies of both, it nurtures talent, particularly in the creation, performance, and study of musical theater in its various manifestations and media. Established in 1998 by the Kurt Weill Foundation for Music, the Lotte Lenya Competition provides a unique opportunity for talented young singer/actors to show their versatility in musical theater repertoire ranging from opera/operetta to contemporary Broadway, with Competition Administration, for the Kurt Weill Foundation: a focus on the varied works of Kurt Weill. -
Kristin K. Vogel "The Title Role Was Radiantly Sung and Played by Soprano Kristin K
Kristin K. Vogel "The title role was radiantly sung and played by soprano Kristin K. Vogel” American Record Guide Roles Donna Anna Don Giovanni Asheville Lyric Opera April 2014 Marguerite Faust Boheme Opera New Jersey 2013 Rosalinda Die Fledermaus Meany Studio Opera UW 2012 Donna Elvira Don Giovanni Natchez Festival of Music 2012 Pamina The Magic Flute Boheme Opera New Jersey 2012 Lady Billows Albert Herring Meany Studio Opera UW 2012 Old Sally (speaking role) Oliver! Utah Festival Opera & Mus. Th. 2011 Donna Elvira cv. Don Giovanni Utah Festival Opera & Mus. Th. 2011 Filippa Piazza Navona Opera Manhattan 2011 Katherine The Vagabond King Light Opera of New York 2011 Mimì cv. La Boheme Natchez Festival of Music 2010 Marietta Naughty Marietta Light Opera of New York 2010 Fifi Mlle. Modiste Light Opera of New York 2010 Micaёla cv. Carmen Natchez Festival of Music 2009 Mimì cv. La Boheme Opera Manhattan 2009 Donna Elvira Don Giovanni Opera Manhattan 2008 Birdie cv./ Featured Dancer Regina Des Moines Metro Opera 2008 Grisette/ cv. Hanna The Merry Widow Liederkranz Opera Theater 2008 Cecile de Volanges The Dangerous Liaisons Dicapo Opera Theater 2008 First Lady/ cv. Pamina Die Zauberflöte Eugene Opera 2007 Frasquita Carmen (outreach) Dicapo Opera Theater 2007 Edith/ cv. Mabel The Pirates of Penzance Eugene Opera 2006 Suor Genovieffa Suor Angelica Dicapo Opera Theater 2006 Valencienne The Merry Widow Village Light Opera Group 2006 Frasquita Carmen (BYOB Opera) Opera Company of Brooklyn 2006 Ida Princess Ida Village Light Opera Group 2005 Concerts & Oratorio Soloist Ravel’s Shéhérazade Southeastern Pennsylvania SO 2014 Featured Soloist “Pace, pace” & “Dich, teure Halle” AIMS Symphony Orchestra 2013 Soprano Soloist Mahler’s 2nd Symphony UW Symphony Orchestra 2013 Soprano Soloist Beethoven’s 9th Symphony Tacoma Symphony & UWSO 2013 Soloist Copland’s 8 Poems of Emily Dickinson, Seattle Chamber Orch. -
Roberto Devereux
GAETANO DONIZETTI roberto devereux conductor Opera in three acts Maurizio Benini Libretto by Salvadore Cammarano, production Sir David McVicar after François Ancelot’s tragedy Elisabeth d’Angleterre set designer Sir David McVicar Saturday, April 16, 2016 costume designer 1:00–3:50 PM Moritz Junge lighting designer New Production Paule Constable choreographer Leah Hausman The production of Roberto Devereux was made possible by a generous gift from The Sybil B. Harrington Endowment Fund The presentation of Donizetti’s three Tudor queen operas this season is made possible through a generous grant from Daisy Soros, general manager in memory of Paul Soros and Beverly Sills Peter Gelb music director James Levine Co-production of the Metropolitan Opera principal conductor Fabio Luisi and Théâtre des Champs-Élysées 2015–16 SEASON The seventh Metropolitan Opera performance of GAETANO DONIZETTI’S This performance roberto is being broadcast live over The Toll Brothers– devereux Metropolitan Opera International Radio Network, sponsored by Toll Brothers, conductor America’s luxury Maurizio Benini homebuilder®, with generous long-term in order of vocal appearance support from sar ah (sar a), duchess of not tingham The Annenberg Elīna Garanča Foundation, The Neubauer Family queen eliz abeth (elisabet ta) Foundation, the Sondra Radvanovsky* Vincent A. Stabile Endowment for lord cecil Broadcast Media, Brian Downen and contributions from listeners a page worldwide. Yohan Yi There is no sir walter (gualtiero) r aleigh Toll Brothers– Christopher Job Metropolitan Opera Quiz in List Hall robert (roberto) devereux, e arl of esse x today. Matthew Polenzani This performance is duke of not tingham also being broadcast Mariusz Kwiecien* live on Metropolitan Opera Radio on a servant of not tingham SiriusXM channel 74.