2019 Concert 2 Program (Website)
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Student Recital
Student Recital Room 106 Schaefer Fine Arts Center Gustavus Adolphus College Saturday, July 21st, 2007 9:00:AM Program » Quintet Op. 77 in G Major Antonin Dvorak (1841-1904) Angela Xie, violin Julia Johnson, violin Elizabeth Johnson, violin Bjorn Hovland, cello Matt Minteer, bass Bourrie 1 from Suite 43 inC Major Johann Sebastian Bach (1685-1750) John Sholund, bass guitar . Preguntale a Las Estrellas Latin American Folk Song Arr, Edward Kilenyi Christine Hoffman, mezzo-soprano Galina Zisk, piano Intorno all’idol mio Marco Antonio Cesti z (1623-1669) Christine Mennicke, soprano Galina Zisk, piano a a i a We ask that all members of the audience refrain from photographing or recording the performance. Please be sure that a all cell phones, beepers, alarms, and similar devices are turned off. cm A high-fidelity recording of this performance may be ordered. A @ brochure will be available following the performance. = You are invited to attend the next events of a The 2007 Lutheran Summer Music Festival: = Student Recitals a Christ Chapel & Room 214, and Room 106 Schaefer Fine Arts Center = Gustavus Adolphus College = Saturday, July 21st, 2007 10:30 AM, 12:00 PM, and 2:30 PM | al Jazz Ensemble Concert Bjérling Recital Hall «a Schaefer Fine Arts Center e Gustavus Adolphus College Saturday, July 21st, 2007 ea 1:00 PM e Festival Orchestra Concert e Christ Chapel a Gustavus Adolphus College Saturday, July 21st, 2007 e 7:00 PM = e This concert is the thirty-eighth event of = Lutheran Summer Music Festival 2007 = = «a «= ee se «= LUTHERAN. UMIME Ro ~~__ACADEMY & FESTIVAL Collegium Musicum S. -
Kronos Quartet Prelude to a Black Hole Beyond Zero: 1914-1918 Aleksandra Vrebalov, Composer Bill Morrison, Filmmaker
KRONOS QUARTET PRELUDE TO A BLACK HOLE BeyOND ZERO: 1914-1918 ALeksANDRA VREBALOV, COMPOSER BILL MORRISon, FILMMAKER Thu, Feb 12, 2015 • 7:30pm WWI Centenary ProJECT “KRONOs CONTINUEs With unDIMINISHED FEROCity to make unPRECEDENTED sTRING QUARtet hisTORY.” – Los Angeles Times 22 carolinaperformingarts.org // #CPA10 thu, feb 12 • 7:30pm KRONOS QUARTET David Harrington, violin Hank Dutt, viola John Sherba, violin Sunny Yang, cello PROGRAM Prelude to a Black Hole Eternal Memory to the Virtuous+ ....................................................................................Byzantine Chant arr. Aleksandra Vrebalov Three Pieces for String Quartet ...................................................................................... Igor Stravinsky Dance – Eccentric – Canticle (1882-1971) Last Kind Words+ .............................................................................................................Geeshie Wiley (ca. 1906-1939) arr. Jacob Garchik Evic Taksim+ ............................................................................................................. Tanburi Cemil Bey (1873-1916) arr. Stephen Prutsman Trois beaux oiseaux du Paradis+ ........................................................................................Maurice Ravel (1875-1937) arr. JJ Hollingsworth Smyrneiko Minore+ ............................................................................................................... Traditional arr. Jacob Garchik Six Bagatelles, Op. 9 ..................................................................................................... -
Music for Charles Darwin Richard Einhorn: the Origin
Richard Einhorn: The Origin Music for Charles Darwin 2 3 Mittwoch, 15. Februar, 20 Uhr, großer Saal der Glocke (Bremen) Dieses Programmheft wurde vom Seminar „M4all - Musik für alle (Teil von Culture4all)“ geschrieben, das UMD Dr. Susanne Gläß im Wintersemester 2011/12 an der Universität Bremen gehalten hat. Das Seminar hat in der ersten Arbeitsphase das Werk analysiert und im zweiten Europäische Erstaufführung von Schritt das vorliegende Programmheft geschrieben, das Libretto übersetzt und Bilder zur Illustration gesucht und ausgewählt. Außerdem haben alle, die am Seminar teilgenommen haben, am Dienstag, den 14. Februar um 19 Uhr gemeinsam einen öffentlichen Einführungsvortrag im Haus der Wissenschaft/Sandstraße gehalten. Richard Einhorn: ”The Origin - An opera/oratorio inspired by Charles Darwin‘s life and work for soprano, baritone, Balkan female choir, chorus, and orchestra“ Das Libretto ist von Richard Einhorn und Catherine Barnett ausschließlich aus den Schriften von Charles Darwin zusam- mengestellt worden. Komposition: 2008 Uraufführung: New York 2009 Ausführende Mezzosopran: Alison Browner Bassbariton: Michael Dries Orchester, großer Chor & Frauenchor der Universität Bremen Dirigentin: Susanne Gläß Korrepetition Chorproben: Stefanie Adler Coaching Streichinstrumente: Reinhold Heise (Bremer Philharmoniker) Coaching Holzblasinstrumente: Dirk Ehlers (Bremer Philharmoniker) Impressum Coaching Blechblasinstrumente: Thomas Ratzek (Bremer Philharmoniker) Redaktion: Maike Fiedler, Nadin Freyhoff, Susanne Gläß, Yuko Nakamura Titelfoto: Tamsyn Adams. Das Titelfoto ist bereits für das Cover der CD „Spectroscope“ (2011) von Diese Aufführung wird in Teilen durch den Förderverein Chris Letcher verwendet worden. Wir danken beiden für die Erlaubnis, das Foto zu verwenden. Universitätsmusik an der Universität Bremen e.V. unterstützt. Gestaltung und Produktion: Wolfgang Zimmermann © 2012 4 5 Charles Darwin Charles Robert Darwin wurde 1809 in Shrewsbury/England als Sohn einer Akademikerfamilie geboren. -
German Arias Concert Program
Graduate Vocal Arts Program Bard College Conservatory of Music OPERA WORKSHOP Stephanie Blythe and Howard Watkins, instructors “Thank you, do you have anything in German?” Friday, March 5 at 8pm Wo bin ich? Engelbert Humperdinck (1854 - 1921) from Hänsel und Gretel Diana Schwam, soprano Ryan McCullough, piano Nimmermehr wird mein Herze sich grämen Friedrich von Flotow (1812 - 1883) from Martha Joanne Evans, mezzo-soprano Elias Dagher, piano Glück, das mir verblieb Erich Wolfgang Korngold (1897 - 1957) from Die tote Stadt Jardena Gertler-Jaffe, soprano Diana Borshcheva, piano Einst träumte meiner sel’gen Base Carl Maria von Weber (1786 - 1826) from Der Freischütz Kirby Burgess, soprano Gwyyon Sin, piano Witch’s Aria Humperdinck from Hänsel und Gretel Maximillian Jansen, tenor Diana Borshcheva, piano Da Anagilda sich geehret… Ich bete sie an Reinhard Kaiser (1674 - 1739) from Die Macht der Tugend Chuanyuan Liu, countertenor Ryan McCullough, piano Arabien, mein Heimatland Weber from Oberon Micah Gleason, mezzo-soprano Gwyyon Sin, piano Da schlägt die Abschiedsstunde Wolfgang Amadeus Mozart (1756 - 1791) from Der Schauspieldirektor Meg Jones, soprano Sung-Soo Cho, piano Mein Sehnen, mein Wähnen Korngold from Die tote Stadt Louis Tiemann, baritone Diana Borshcheva, piano Wie du warst Richard Strauss (1864 - 1949) from Der Rosenkavalier Melanie Dubil, mezzo-soprano Elias Dagher, piano Presentation of the Rose Strauss from Der Rosenkavalier Samantha Martin, soprano Elias Dagher, piano Arie des Trommlers Viktor Ullman (1898 - 1944) from Der Kaiser von Atlantis Sarah Rauch, mezzo-soprano Gwyyon Sin, piano Weiche, Wotan, weiche! Richard Wagner (1813 - 1883) from Das Rheingold Pauline Tan, mezzo-soprano Sung-Soo Cho, piano Nun eilt herbei! Otto Nicolai (1810 - 1849) from Die lustigen Weiber von Windsor Alexis Seminario, soprano Elias Dagher, piano SYNOPSES: Wo bin ich? Hänsel und Gretel Engelbert Humperdinck, Adelheid Wette, 1893 Gretel has just awakened from a deep sleep in the forest. -
HOWARD COLLEGE MUSIC FALL 2018 RECITAL Monday November 5, 2018 Hall Center for the Arts Linda Lindell, Accompanist
HOWARD COLLEGE MUSIC FALL 2018 RECITAL Monday November 5, 2018 Hall Center for the Arts Linda Lindell, Accompanist Makinsey Grant . Bb Clarinet Fantasy Piece No. 1 by Robert Schumann Fantasy Piece No. 1 by Robert Schumann (1810 – 1856) was written in 1849. It is the first movement of three pieces written to promote the creative notion of the performer. It allows the performer to be unrestricted with their imagination. Fantasy Piece No. 1 is written to be “Zart und mit Ausdruck” which translates to tenderly and expressively. It begins in the key of A minor to give the audience the sense of melancholy then ends in the key of A major to give resolution and leave the audience looking forward to the next movements. (M. Grant) Tony Lozano . Guitar Tu Lo Sai by Giuseppe Torelli (1650 – 1703) Tu lo sai (You Know It) This musical piece is emotionally fueled. Told from the perspective of someone who has confessed their love for someone only to find that they no longer feel the same way. The piece also ends on a sad note, when they find that they don’t feel the same way. “How much I do love you. Ah, cruel heart how well you know.” (T. Lozano) Ruth Sorenson . Mezzo Soprano Sure on this Shining Night by Samuel Barber Samuel Barber (1910 – 1981) was an American composer known for his choral, orchestral, and opera works. He was also well known for his adaptation of poetry into choral and vocal music. Considered to be one of the composers most famous pieces, “Sure on this shining night,” became one of the most frequently programmed songs in both the United States and Europe. -
Conference Abstracts
Society for Seventeenth-Century Music A SOCIETY DEDICATED TO THE STUDY AND PERFORMANCE OF 17THCENTURY MUSIC Abstracts of Presentations at the Fifth Annual Conference 1013 April 1997, Florida State University, Tallahassee Index of Presentations Program and Abstracts Program Committee Index of Presentations: Candace Bailey, A Reassessment of Matthew Locke's Keyboard Suites Gregory Barnett, Corrente da piedi, Corrente da orecchie: Two Faces of the Sonata da camera Jennifer Williams Brown, "Innsbruck, ich muss dich lassen": Tracing Orontea's Footprints Joanna Carter, Selle as Music Tutor: A Model for Music Education at Lateinschulen in Northern Germany Stewart Carter, Instructions for the Violin from an Overlooked Source: Bartolomeo Bismantova's Compendio musicale (1677) Tim Carter, ReReading Poppea: Some Thoughts on Music and Meaning in Early Seventeenth Century Italian Opera Georgia Cowart, Carnival, Commedia dell'arte and the Paris Opéra in the Late Years of the Sun King Michael Robert Dodds, Transposition in OrganChoir Antiphony in the Mid and Late Seicento Frederick K. Gable, Eine so viel als die Andere: Rhythm and Tempo in SeventeenthCentury German Chant Beth L. Glixon, Vettor Grimani Calergi as Consumer and Patron of Opera Akira Ishii, ReEvaluation of Minoriten 725 as a Source for the Works of Johann Jacob Froberger YouYoung Kang, Revisiting SeventeenthCentury Counterpoint Kathryn Lowerre, The Sweets of Peace: Reconstructing and Interpreting Europe's Revels (London, 1697) Stephen R. Miller, On the Significance of 'Stile antico' Catherine Moore, Thundering Vortex: The 1631 Eruption of Vesuvius Commemorated in Madrigal Poetry Christopher Mossey, Characteristics of Roles and the Role of Character in Librettos by Giovanni Faustini Janet Pollack, Parthenia: The "Maydenhead of Musicke" as an Epithalamion Kerala J. -
12-04-2018 Traviata Eve.Indd
GIUSEPPE VERDI la traviata conductor Opera in three acts Yannick Nézet-Séguin Libretto by Francesco Maria Piave, production Michael Mayer based on the play La Dame aux Camélias by Alexandre Dumas fils set designer Christine Jones Tuesday, December 4, 2018 costume designer 8:00–11:00 PM Susan Hilferty lighting designer New Production Premiere Kevin Adams choreographer Lorin Latarro DEBUT The production of La Traviata was made possible by a generous gift from The Paiko Foundation Major additional funding for this production was received from Mercedes T. Bass, Mr. and Mrs. Paul M. Montrone, and Rolex general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON The 1,012th Metropolitan Opera performance of GIUSEPPE VERDI’S la traviata conductor Yannick Nézet-Séguin in order of vocal appearance violet ta valéry annina Diana Damrau Maria Zifchak flor a bervoix giuseppe Kirstin Chávez Marco Antonio Jordão the marquis d’obigny giorgio germont Jeongcheol Cha Quinn Kelsey baron douphol a messenger Dwayne Croft* Ross Benoliel dr. grenvil Kevin Short germont’s daughter Selin Sahbazoglu gastone solo dancers Scott Scully Garen Scribner This performance Martha Nichols is being broadcast live on Metropolitan alfredo germont Opera Radio on Juan Diego Flórez SiriusXM channel 75 and streamed at metopera.org. Tuesday, December 4, 2018, 8:00–11:00PM MARTY SOHL / MET OPERA Diana Damrau Chorus Master Donald Palumbo as Violetta and Musical Preparation John Keenan, Yelena Kurdina, Juan Diego Flórez Liora Maurer, and Jonathan -
Hoirup Presents Study
Hoirup Presents Study Symphony· Guild Holds First Night Meeti~g Donald Hoirup, instructor in voice at Wake Forest Leading roles will be taken by three.singers new to local University, presented the pre-concert study of Bizet's audiences. Dorothy Krebift, mezzo soprano will portray "Carmen" for members of the Winston-Salem Symphony the gypsy, Carmen; James McCray, tenor, will be the cor- Guild Thursday night in the lower auditorium of Centenary poral, Don Jose; and Thomas Palmer, baritone, will sing Uriit«I Methodist Church. the role of the bullfighter, Escamillo. 1he public was invited to this first night meeting of the David Partington is chorus master, and John Iuele, con- G~ild, which was preceded by a social hour. · ductor. Beverly Culbreath, Steve Wellman, Lewis Turner, Stqdents from the N.C. School of the Arts, Debbie Smith, Andrew Beattie, [?eborah Smith and Martha Lindsey will sopr$10, and Martha Sizemore, mezzo soprano, joined be in the supporting cast. Mrs. Sandy Rushing is also train- Hoir11P in his presentation. One of his own voice students, ing a children's chorus which will sing in addition to the Mar~ne Hyatt, mezzo soprano, and Mrs. Margaret Kolb, chorus of Symphony Chorale members. pianiat, also took part in the program of excerpts from the Hoirup, who joined the Wake Forest faculty in 1972, holds popular opera. · degrees from Juilliard School of Music and has studied in Carmen", to be presented March 7 and 8 at Reynolds Frankfurt, Germany. A bass-baritone, he sang last year in ~nald Hoirup, Wake Forest faculty member gives a Audi&orium, will be sung in English this time. -
Bio 4-23-09 JM
RICHARD EINHORN COMPOSER Richard Einhorn's unique music has been described as "hauntingly beautiful,” "sensational,” and "overwhelming in its emotional power.” He has become one of a small handful of living composers who not only reaches a large worldwide audience but whose music receives widespread critical praise for its integrity, emotional depth, and craft. In February 2009, Einhorn premiered The Origin, an opera/oratorio based on the work and life of Charles Darwin. Performed to packed houses and standing ovations, the Syracuse Post-Standard wrote, “Einhorn has created an imaginative work layered with profound insight…” Einhorn's "opera with silent film,” Voices of Light, has been hailed in reviews as "a great masterpiece of contemporary music" and "a work of meticulous genius.” After selling out its New York City premiere engagements at the Brooklyn Academy of Music Next Wave Festival, Voices of Light has had over 150 performances throughout the US and the world including sold- out performances at Avery Fisher Hall; the Kennedy Center and Wolf Trap with the National Symphony; the Cabrillo Festival with Marin Alsop; the Sydney Opera House in Australia and during two extremely successful national tours featuring the medieval vocal group Anonymous 4. The Sony Classical CD of Voices of Light was a Billboard classical bestseller, earning Einhorn the distinction of being one of only a few composers to have made "the charts." Voices of Light has attracted national media attention including articles in the Wall Street Journal, segments on All Things Considered and Performance Today, and an extended profile on CBS television network's magazine show, CBS Sunday Morning. -
Winged Feet and Mute Eloquence: Dance In
Winged Feet and Mute Eloquence: Dance in Seventeenth-Century Venetian Opera Author(s): Irene Alm, Wendy Heller and Rebecca Harris-Warrick Source: Cambridge Opera Journal, Vol. 15, No. 3 (Nov., 2003), pp. 216-280 Published by: Cambridge University Press Stable URL: http://www.jstor.org/stable/3878252 Accessed: 05-06-2015 15:05 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/3878252?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Cambridge University Press is collaborating with JSTOR to digitize, preserve and extend access to Cambridge Opera Journal. http://www.jstor.org This content downloaded from 128.112.200.107 on Fri, 05 Jun 2015 15:05:41 UTC All use subject to JSTOR Terms and Conditions CambridgeOpera Journal, 15, 3, 216-280 ( 2003 CambridgeUniversity Press DOL 10.1017/S0954586703001733 Winged feet and mute eloquence: dance in seventeenth-century Venetian opera IRENE ALM (edited by Wendy Heller and Rebecca Harris-Warrick) Abstract: This article shows how central dance was to the experience of opera in seventeenth-centuryVenice. -
Contrapuntally Crafted, Harmonically Eloquent : Corelli's Sonatas and the Compositional Process in the Late 17Th Century
Contrapuntally crafted, harmonically eloquent : Corelli's sonatas and the compositional process in the late 17th century Autor(en): Sanna, Alberto Objekttyp: Article Zeitschrift: Basler Jahrbuch für historische Musikpraxis : eine Veröffentlichung der Schola Cantorum Basiliensis, Lehr- und Forschungsinstitut für Alte Musik an der Musik-Akademie der Stadt Basel Band (Jahr): 37 (2013) PDF erstellt am: 10.10.2021 Persistenter Link: http://doi.org/10.5169/seals-868876 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte -
26556 BOU Progam.Pdf
Bourbon Baroque Founded in the summer of 2007, Louisville-based Bourbon Baroque specializes in the historically informed performance of 17th and 18th-century music, inspired by the art and culture of the royal House of Bourbon. Led by historical keyboardist John Austin Clark and violinist Alice Culin-Ellison, the ensemble varies in size based on a given programme, performing chamber music to full operatic spectacles throughout the year in a variety of venues. Through music, Bourbon Baroque holds collaboration and outreach as its mission. John Austin Clark, Co-Artistic Director Director of Music and keyboardist John Austin Clark serves as founding Producing Artistic Director for Bourbon Baroque. Mr. Clark operates a private piano studio (#musicbox1532), is an active accompanist, recit- alist, vocal coach, and directs/produces musical theatre and opera including work with Louisville Ballet (Louisville, Kentucky), CenterStage (Louisville, Kentucky), Music Theater of Louisville (Louisville, Kentucky), Pandora Productions (Louisville, Kentucky), and Gulf- shore Playhouse (Naples, Florida). Mr. Clark made his debut at Commonwealth Theatre Center this Fall directing William Finn's "25th Annual Putnam County Spelling Bee" and will direct Kander and Ebb's "Cabaret" this Spring. He enjoys the musical rendezvous of the Baroque and Broadway and finds great influence between the two genres. Alice Culin-Ellison, Co-Artistic Director Alice Culin-Ellison, violinist and co-Artistic Director of Bourbon Baroque, is a versatile historical performer with training in over 400 years of repertoire. As concertmaster, Alice has led productions of Handel’s Acis and Galatea and Purcell’s King Arthur, and soloed with various ensembles. Other professional engagements include Indianapolis Baroque Orchestra, Chatham Baroque, Apollo’s Fire, and Les Délices.