Lotta Madden

Total Page:16

File Type:pdf, Size:1020Kb

Lotta Madden April 5, 1919 > 'M ' U SICAL AMERICA .9 GANZ AND MIDDLETON ELMANA NDSH ATTUCK ~ - ,. ' STIR MINNEAPOLIS Reveals H of-mann as Skilled Machinist CONQUER BUFFALO [rJ and Inventor of Shock-Absorber ~ As Soloists with Oberhoffer Forces Russian Violinist and American and Elks Glee Club, Two Pianist App~ar in Two Artists Score Attractive Recitals MIN NEAPOLIS, MINN., Mar ch 21.-The BUFFALO, March 27.-Before a large Minneapolis Lodge of Elks presented its audience among w)'lom his own country­ Glee Club in its third annual concertin men figured largely, Mischa Elman gave the Auditorium before an audience of a con~ert in ;Elm-&rood Music Hall the generous proportions., which was lavish evening'o:f the 1 8th,· Since Mr. Elman last in expressions of appreciation. In tone . played here, two)} ears or more ago, he quality, balance and response this bod:/ · has taken his p1ace' among the elect. :His of thirty men has r eached in the three program pres~te!l no musical novelties years of its existence a degree of excel­ bu t it was inte~esti ng a'nd gave him 4; lence which might· befit an older and ample scope to display a luminous tone; more pretentious musical organization, unerr ingly true f r om its most delicate arid which is greatly due to the work of its leader, Dr. Rhys Herbert. The pr o­ pianissimo to its most sweeping fortis­ gram contained twenty-nine numbers, simo. In Joseph Bonime the Russian and so many were the r epetitions and violinist had a worthy co-worker and additions as to extend the number by valuable assist ant. ~' half. Under the local directipn of Dr. E d­ Arthur Middleton, bass-baritone, was ward Durney, Arthur Shattuck gave a the assisting soloist. His numbers were r ecital in the Twentieth Centur y Club properly fitting to the occasion, and . H all t he evening.,,of the '24th, before a were presented by a very beautiful and good-sized audie'tl,ce. Mr . Shattuck pre­ highly trained organ. sented a program of unusual merit, which The program arr anged by Emil Ober­ contained as its novelties Prelude and hoffer for Sunday's popular concer t F ugue in D Minor, Glazounoff; Sonata in brought Hazel Fleener, contralto, before G Major, Tchai~nv,skY; ; ·"Rain," Emer­ the audience f or her fi rst appearance son Whithorne: '"': lrSaint-Saens-Gluck, fiith the orchestra, although as a local Brahms, Poldini and Liszt were the ot her ~ inger she has been favorably -heard in composers represented on his program. recital, concert and church. _Her appear­ In his performance of these widely dif ­ anee with Mr. Oberhoffer marked one fer ing numbers Mr. Shattuck displayed more successful step for this sincere rar e virtuosity. He is a virile player, his musician. 'fhe Bruch Ar ia, "Andro­ technical equipment is ample and in addi­ mache's Lament," from " Achilleus," wa8 tion he has a finely developed sense of sung in English. The voice was r ich and musical proportions and values. It was pleasant thr oughout, and was used with a thoroughly enjoyable program and Mr. intelligence and dramatic effect in a more Shattuck was obliged to add several extra than satisfact or y appearance. A second numbers. Aria, "Amour viens aider" from Saint­ The Rubinstein Club, under the direc­ Saens' "Samson and Delilah" was dra­ t ion of Mary M. Howard, gave a con­ matically given as were the two encores, cert at the Iroquois H otel the morning Elgar's "Where Corals Lie" and a of the 13th, before a large audience, "Faust" aria. manifestly pleased with the musical of­ Of the orchestral numbers, three stood ferings. Two choral numbers, Elgar's out in exceptional beauty, Grieg's Lyric "The Snow," with its lovely violin obbli­ Suite from Opus 54; Rhein'berger's gato delightfully played by Franz Wis­ "Vision" for string orchestra (arranged Josef H ofmann, Photogra phed During Hi·s Re ce nt V isit to C a liforn ia ter, and Miss Howard's arrangement in by A. Walter Kr amer ), and Br·uneau 's four parts, for women's voices, of her symphonic poem, "The Sleeping Beauty Los Ange les, Cal., March 19, 1919. ·has already been applied to automobiles, pretty waltz song, "Love Leads t he airplanes and even str etchers. in the Woods." The opening number A S master pianist, Josef Hofmann is, Way," were especially enjoyable. Mr. was Gaston Borch's Festival March; the Speaking on the subject of pneumatics, Wister played some violin solos and Clar a last, Massenet's Overture to "Phedre." of course, known to everybody every­ during a recent concert visit to Los M. Diehl accompanied the soloist and the Altogether the program and t he per - where, but that he is also t rained in Angeles, Mr. Hofmann said, "Since the chorus admirably. formance was an allur ing one. , - mechanics is probably known to very few earliest civilization, mankind has mar­ The last chr onological progr am pre­ veled at the wonders the four winds could The symphony concert on the preced­ persons, especially in America. His play­ sented by the Chromatic Club, repre~ ing Friday evening was one of the most perform, but the unrestrained antics of sented moder n French and English com­ successful of the season. A large au­ ing has charmed and enthralled millions, J'Eolus must yield the place of honor to posers. Rebecca Cutter-Howe, soprano, dience responded t o the announcement of but it is doubtful if one out of a thou- t he ultra-practical devices of our modern sang a group of French and a group of the program and the appear ance of sand Amer icans who listen spellbound to civilization. How wonderful, for in­ English songs, making her best effect in stance, is the work of the pneumatic drill, Rudolph Ganz as soloist . Mozart's G the exquisite tones his fingers coax from the latter. She was sympathetically ac­ Minor Symphony, Beethoven 's C Minor with the aid of which America built ships comp•mied by Ethyol McMullen. F lor­ Concerto, No. 3, for piano and or chestra ; the piano knows that these same hands in her great eme:rgency! More wonder­ ence Wescott, in violin numbers, displayed Dukas' "The Sorcer er 's Apprentice," and are likewise capable of complicated lathe ful still, in this Hl'fe, is t he player-piano, some excellent musicianly traits. She Cesar Franck's Symphonic Variat ions work. In Europe he had fourteen ye'ar·s· · undoubtedly the Highest application of was accompanied by Alice Trot t of for Piano and Orchest ra wer e used. Mr . of pract ical machinist's experience, very the science of pneumatics. This mecha­ Niagara Falls. · Oberhoffer and Mr . Ganz shar ed honors, largely in the operation of the .lathe. Of nism, with its t iny pneumatic fingers, is The free municipal concert of the after- · the audience bestowing upon both of them course this was prior to his becoming a bringing joy to thousands of homes. noon of t he 23rd was a gala affair. John its expression of gratification. world-famous pianist. With pneumatics recognized as a great Lund, the musical dir ector, presented a F .. L. C. B. More than t his, Hofmann is an inven­ force in the' manufacturing world, the program of more than usual inter est. tor . His invention, which has been same principles applied to the artistic re­ Fritzi Scheff, who had been in town dur­ pat ented abroad and is of comparatively product ion of the work of our modern ing the week, singing in her new light Paulist Choristers Give Program in recent dat e, is a shock-absorber which is concert pianists and possibly new comfort opera "Venture Gloriana" was the so­ Newark, N. J. said to be applicable to use in many dif­ brought to travelers through my shock­ loist, having graciously offered her serv­ ferent ways. Developed in Europe, the absorbei;,_who can say that my faith in ices in compliment to Mr. Lund, who f or NEWARK, N. J., March 22.-The Paul­ invent ion has not yet reached this coun­ the possibilities of the science of pneu- nine years was her musical director in ist Choristers, under the dir ection of try, but, having proved so successful matics is unfounded?" · light oper a . H er nam,e packed Elmwood Rev. William Finn, gave a concert in the there, it is t o be introduced here soon. It CHARLES ALMA BYERS. Music Hall, and her song offering, "Kiss Broad Street Theater last Sun day eve­ !t Me Again," by Victor H erbert, had to be ning. The audien~e was sm all, owing to r epeated. Organ solos were played by bad weather and the car strike, but the Imposing Program Given by Russian Saltan" suite. The soloist was Wassily · W. J. Gomph wtih h is accustomed author- performance was quite meritorious. The Symphony in East Oran ge, N. J. Besekirsky, concert master of t he orches­ ity. F . H. H. program ranged from Bach to Brahms, tra, who played Saint-Saens's "Ha,va­ and the soloists included Mark Black, EAST ORANGE, N. J., March 24.---<An naise." Both soloist and ol'Chestra were tenor ; J oseph McManus, Hallet Dolan enterpr ising feat of musical management ·' encored, which demonstrated the inter­ At the Octave Club in Norristown, P a ., and Billy Probst. was undertaken by Mrs. W. S. Nelson est and appreciation of an audience that an ·inter esting ·program was presented Last Tuesday afternoon t he annual .
Recommended publications
  • Advance Program Notes New York Gilbert & Sullivan Players H.M.S
    Advance Program Notes New York Gilbert & Sullivan Players H.M.S. Pinafore Friday, May 5, 2017, 7:30 PM These Advance Program Notes are provided online for our patrons who like to read about performances ahead of time. Printed programs will be provided to patrons at the performances. Programs are subject to change. Albert Bergeret, artistic director in H.M.S. Pinafore or The Lass that Loved a Sailor Libretto by Sir William S. Gilbert | Music by Sir Arthur Sullivan First performed at the Opera Comique, London, on May 25, 1878 Directed and conducted by Albert Bergeret Choreography by Bill Fabis Scenic design by Albère | Costume design by Gail Wofford Lighting design by Benjamin Weill Production Stage Manager: Emily C. Rolston* Assistant Stage Manager: Annette Dieli DRAMATIS PERSONAE The Rt. Hon. Sir Joseph Porter, K.C.B. (First Lord of the Admiralty) James Mills* Captain Corcoran (Commanding H.M.S. Pinafore) David Auxier* Ralph Rackstraw (Able Seaman) Daniel Greenwood* Dick Deadeye (Able Seaman) Louis Dall’Ava* Bill Bobstay (Boatswain’s Mate) David Wannen* Bob Becket (Carpenter’s Mate) Jason Whitfield Josephine (The Captain’s Daughter) Kate Bass* Cousin Hebe Victoria Devany* Little Buttercup (Mrs. Cripps, a Portsmouth Bumboat Woman) Angela Christine Smith* Sergeant of Marines Michael Connolly* ENSEMBLE OF SAILORS, FIRST LORD’S SISTERS, COUSINS, AND AUNTS Brooke Collins*, Michael Galante, Merrill Grant*, Andy Herr*, Sarah Hutchison*, Hannah Kurth*, Lance Olds*, Jennifer Piacenti*, Chris-Ian Sanchez*, Cameron Smith, Sarah Caldwell Smith*, Laura Sudduth*, and Matthew Wages* Scene: Quarterdeck of H.M.S. Pinafore *The actors and stage managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
    [Show full text]
  • The Mikado Program
    GENEVA CONCERTS presents TheThe MikadoMikado Albert Bergeret, Artistic Director Saturday, September 24, 2011 • 7:30 p.m. Smith Opera House 1 GENEVA CONCERTS, INC. 2011-2012 SEASON Saturday, 24 September 2011, 7:30 p.m. New York Gilbert & Sullivan Players The Mikado Sunday, 11 December 2011, 3:00 p.m. Imani Winds A Christmas Concert This tour engagement of Imani Winds is funded through the Mid Atlantic Tours program of Mid Atlantic Arts Foundation with support from the National Endowment for the Arts. Friday, 2 March 2012, 7:30 p.m. Rochester Philharmonic Orchestra Christoph Campestrini, conductor Juliana Athayde, violin Music of Barber and Brahms Friday, 30 March 2012, 7:30 p.m. Brian Sanders’ JUNK Patio Plastico Plus Saturday, 28 April 2012, 7:30 p.m. Cantus On the Shoulders of Giants Performed at the Smith Opera House, 82 Seneca Street, Geneva, New York These concerts are made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and a continuing subscription from Hobart and William Smith Colleges. 2 GENEVA CONCERTS, INC. Saturday, September 24, 2011 at 7:30 p.m. The Mikado or, The Town of Titipu Libretto by Sir William S. Gilbert Music by Sir Arthur Sullivan First Performed at the Savoy Theatre, London, England, March 14, 1885 Stage Direction: Albert Bergeret & David Auxier Music Director: Albert Bergeret; Asst. Music Director: Andrea Stryker-Rodda Conductor: Albert Bergeret Scenic Design: Albère Costume Design: Gail J. Wofford & Kayko Nakamura Lighting Design: Brian Presti Production Stage Manager: David Sigafoose* Assistant Stage Manager: Annette Dieli DRAMATIS PERSONAE The Mikado of Japan .....................................................................Quinto Ott* Nanki-Poo (His son, disguised as a wandering minstrel) .
    [Show full text]
  • The Mikado the Articles in This Study Guide Are Not Meant to Mirror Or Interpret Any Productions at the Utah Shakespeare Festival
    Insights A Study Guide to the Utah Shakespeare Festival The Mikado The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to be an educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. Insights is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2011, Utah Shakespeare Festival. Please feel free to download and print Insights, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: Erin Annarella (top), Carol Johnson, and Sarah Dammann in The Mikado, 1996 Contents Information on the Play Synopsis 4 CharactersThe Mikado 5 About the Playwright 6 Scholarly Articles on the Play Mere Pish-Posh 8 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Synopsis: The Mikado Nanki-Poo, the son of the royal mikado, arrives in Titipu disguised as a peasant and looking for Yum- Yum. Without telling the truth about who he is, Nanki-Poo explains that several months earlier he had fallen in love with Yum-Yum; however she was already betrothed to Ko-Ko, a cheap tailor, and he saw that his suit was hopeless.
    [Show full text]
  • Chronology 1916-1937 (Vienna Years)
    Chronology 1916-1937 (Vienna Years) 8 Aug 1916 Der Freischütz; LL, Agathe; first regular (not guest) performance with Vienna Opera Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Miller, Max; Gallos, Kilian; Reichmann (or Hugo Reichenberger??), cond., Vienna Opera 18 Aug 1916 Der Freischütz; LL, Agathe Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Gallos, Kilian; Betetto, Hermit; Marian, Samiel; Reichwein, cond., Vienna Opera 25 Aug 1916 Die Meistersinger; LL, Eva Weidemann, Sachs; Moest, Pogner; Handtner, Beckmesser; Duhan, Kothner; Miller, Walther; Maikl, David; Kittel, Magdalena; Schalk, cond., Vienna Opera 28 Aug 1916 Der Evangelimann; LL, Martha Stehmann, Friedrich; Paalen, Magdalena; Hofbauer, Johannes; Erik Schmedes, Mathias; Reichenberger, cond., Vienna Opera 30 Aug 1916?? Tannhäuser: LL Elisabeth Schmedes, Tannhäuser; Hans Duhan, Wolfram; ??? cond. Vienna Opera 11 Sep 1916 Tales of Hoffmann; LL, Antonia/Giulietta Hessl, Olympia; Kittel, Niklaus; Hochheim, Hoffmann; Breuer, Cochenille et al; Fischer, Coppelius et al; Reichenberger, cond., Vienna Opera 16 Sep 1916 Carmen; LL, Micaëla Gutheil-Schoder, Carmen; Miller, Don José; Duhan, Escamillo; Tittel, cond., Vienna Opera 23 Sep 1916 Die Jüdin; LL, Recha Lindner, Sigismund; Maikl, Leopold; Elizza, Eudora; Zec, Cardinal Brogni; Miller, Eleazar; Reichenberger, cond., Vienna Opera 26 Sep 1916 Carmen; LL, Micaëla ???, Carmen; Piccaver, Don José; Fischer, Escamillo; Tittel, cond., Vienna Opera 4 Oct 1916 Strauss: Ariadne auf Naxos; Premiere
    [Show full text]
  • February 28, 1947 No
    »f» See Editorial, Read Qualifications, "Another Election" Then Vote! -MADISON COLLEGE- Vol. XXIII Madison ColIege^HarrisonburR, Virginia, Friday, February 28, 1947 No. 25 Sophomores Celebrate Class" Orchestra Concert Students To Elect Minor Day In Exercises Wednesday Fine Stage Setting Highlight Assembly Officers During Week Sophomore Class Presents Set in one of the elaborate stagings Alice- Mercer Jones and Jo Garber have been selected by the nom- Monologuist In Assembly for which Mr. Clifford T. Marshall is inating convention to run for vice-president of SGA in elections to be The sophomore class will present noted, the orchestra concert was pre- held next week. Other candidates for Student Government are: sented in Wednesday assembly. The Miss Dorothy Crawford as guest secretarey-treasurer, Cora Jean White and Margaret Hoggard; recorder orchestra chimes heralded the program artist in assembly Wednesday, in and "The Star Spangled Banner" play- of points, Nan Creel and Rose Marie Mitchell; and for editor of the conjunction with Sophomore class day. ed by the wrxhestra opened the con- handbook, B«ty Miller Cox and Ruth Thompson. ' Miss Crawford has scored a succession cert. YWCA nominees are Betty Wilkins and Mary Edwards for vice-presi- of triumphs all over America, in Can- The first number on the' program Registrar Sets dent; Mary Frances Shuler and Eliza- ada and England, and is universally was Wagner's "An Album Leaf," so beth Peak for secretary; and June acknowledged as one of our greatest called because it was written as if it Hardy and Gladys Farmer for treas- monologuists. , were part of an album.
    [Show full text]
  • I Have a Song to Sing O! Program.Pdf
    Musical Numbers With Cat-like Tread, Upon Our Prey We Steal (The Pirates of Penzance) ...........................Ensemble I Have a Song to Sing, O! (The Yeomen of the Guard) ..................... James Mills and Sarah Caldwell Smith Am I Alone and Unobserved? (Patience)............................................... James Mills A British Tar (H.M.S. Pinafore) ................................Alex Corson, Albert Bergeret, Artistic Director Matthew Wages, David Wannen I’m Called Little Buttercup Wand’ring Minstrels (H.M.S. Pinafore) .............. Angela Christine Smith in We’re Called Gondolieri (The Gondoliers) ...................................Alex Corson and Matthew Wages Take a Pair of Sparkling Eyes (The Gondoliers) ...................................Alex Corson Oh, Better Far to Live and Die (The Pirates of Penzance) ................. Matthew Wages and Men Director: James Mills When All Night Long a Chap Remains (Iolanthe) ..........................................David Wannen Music Director & Conductor: Albert Bergeret Executive Producer: David Wannen Three Little Maids From School are We (The Mikado) .............................Rebecca Hargrove, Editor: Danny Bristoll Angela Christine Smith, Sarah Caldwell Smith Sarah Caldwell Smith, Soprano The Sun, Whose Rays are All Ablaze Rebecca Hargrove, Soprano (The Mikado) ..............................Rebecca Hargrove Angela Christine Smith, Contralto Here’s a How-de-do! Alex Corson, Tenor (The Mikado) ......................................Alex Corson, James Mills, Comic Baritone James
    [Show full text]
  • Krantz [email protected] Phi Mu Alpha Sinfonia + Delta Omicron = Sinfonicron G&S Works, with Date and Length of Original London Run • Thespis 1871 (63)
    Sinfonicron Light Opera presents Ruddigore, or The Witch’s Curse January 23-26, 2020 Kimball Theatre Osher Lifelong Learning Institute November 15, 2019 Ken Krantz [email protected] Phi Mu Alpha Sinfonia + Delta Omicron = Sinfonicron G&S Works, with date and length of original London run • Thespis 1871 (63) • Trial by Jury 1875 (131) • The Sorcerer 1877 (178) • HMS Pinafore 1878 (571) • The Pirates of Penzance 1879 (363) • Patience 1881 (578) • Iolanthe 1882 (398) G&S Works, Continued • Princess Ida 1884 (246) • The Mikado 1885 (672) • Ruddigore 1887 (288) • The Yeomen of the Guard 1888 (423) • The Gondoliers 1889 (554) • Utopia, Limited 1893 (245) • The Grand Duke 1896 (123) Elements of Gilbert’s stagecraft • Topsy-Turvydom (a/k/a Gilbertian logic) • Firm directorial control • The typical issue: Who will marry the soprano? • The typical competition: tenor vs. patter baritone • The Lozenge Plot • Literal lozenge: Used in The Sorcerer and never again • Virtual Lozenge: Used almost constantly Ruddigore: A “problem” opera • The horror show plot • The original spelling of the title: “Ruddygore” • Whatever opera followed The Mikado was likely to suffer by comparison Ruddigore Time: Early 19th Century Place: Cornwall, England Act 1: The village of Rederring Act 2: The picture gallery of Ruddigore Castle, one week later Ruddigore Dramatis Personae Mortals: •Sir Ruthven Murgatroyd, Baronet, disguised as Robin Oakapple (Patter Baritone) •Richard Dauntless, his foster brother, a sailor (Tenor) •Sir Despard Murgatroyd, Sir Ruthven’s younger brother
    [Show full text]
  • Social Discourse in the Savoy Theatre's
    SOCIAL DISCOURSE IN THE SAVOY THEATRE’S PRODUCTIONS OF THE NAUTCH GIRL (1891) AND UTOPIA LIMITED (1893): EXOTICISM AND VICTORIAN SELF-REFLECTION William L. Hicks, B.M. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS August 2003 APPROVED: John Michael Cooper, Major Professor Margaret Notley, Committee Member Mark McKnight, Committee Member James C. Scott, Dean of the College of Music C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Hicks, William L, Social Discourse in the Savoy Theatre’s Productions of The Nautch Girl (1891) and Utopia Limited (1893): Exoticism and Victorian Self-Reflection. Master of Music (Musicology), August 2003, 107 pp., 4 illustrations, 12 musical examples, references, 91 titles. As a consequence to Gilbert and Sullivan’s famed Carpet Quarrel, two operettas with decidedly “exotic” themes, The Nautch Girl; or, The Rajah of Chutneypore, and Utopia Limited; or, The Flowers of Progress were presented to London audiences. Neither has been accepted as part of the larger Savoy canon. This thesis considers the conspicuous business atmosphere of their originally performed contexts to understand why this situation arose. Critical social theory makes it possible to read the two documents as overt reflections on British imperialism. Examined more closely, however, the operettas reveal a great deal more about the highly introverted nature of exotic representation and the ambiguous dialogue between race and class hierarchies in late nineteenth-century British society. Copyright, 2003 by William L. Hicks ii ACKNOWLEDGEMENTS Because of the obscurity of The Nautch Girl and Utopia Limited, I am greatly indebted to the booksellers Christopher Browne and Wilfred M.
    [Show full text]
  • Carmel Music Society
    Musical Excellence Since 1927 carmel music society PERFORMANCE HISTORY 1927-2013 with support from the Monterey County Board of Supervisors Carmel Music Society Post Office Box 22783 Carmel, California 93922 831-625-9938 831-625-6823 FAX www.carmelmusic.org [email protected] printed on recycled paper 2008-09 2011-12 The Romeros Guitar Quartet Nobuyuki Tsujii, Pianist Adaskin Trio & Gryphon Trio Carmel Music Society Tom Gallant, Oboist Astrid Schween, Cellist & Board of Directors Takâcs Quartet Gary Hammond, Pianist Hans Boepple, Pianist Frederica von Stade, Mezzo-Soprano & Voices of London Kristin Pankonin, Pianist Anne Thorp, President Bennewitz String Quartet Israeli Chamber Project Victoria Davis, First Vice President Triple Helix & Garrick Ohlsson, Pianist Rudolf Schroeter, Second Vice President Paul Hersh, Violist Nadja Salerno-Sonnenberg, Violinist & Yefim Bronfman, Pianist Anne-Marie McDermott, Pianist Larry Davidson, Third Vice President Dana Booher, Saxophonist* Pavel Haas Quartet Peter Thorp, Treasurer Jae-in Shin, Violinist* Greta Alexander, Secretary 2009-10 Academy of Saint Martin in the Fields Chamber Ensemble Tim Brown Kate Kluetmeier Alexander Quartet & Eli Eban, Clarinetist Doris Cobb Jim Rotter Susan Graham, Beverly Dekker-Davidson Barbara Ruzicka Mezzo-Soprano & Erik Dyar Kumi Uyeda Malcolm Martineau, Pianist Menachem Pressler, Pianist & American String Quartet Gustavo Romero, Pianist Advisors Albers String Trio David Gordon, Renée Bronson Timothy Fain, Violinist & Cory Smythe, Pianist Bert Ihlenfeld, Ginna
    [Show full text]
  • Guild Gmbh Guild -Historical Catalogue Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 52 742 85 00 - E-Mail: [email protected] CD-No
    Guild GmbH Guild -Historical Catalogue Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 52 742 85 00 - e-mail: [email protected] CD-No. Title Composer/Track Artists GHCD 2201 Parsifal Act 2 Richard Wagner The Metropolitan Opera 1938 - Flagstad, Melchior, Gabor, Leinsdorf GHCD 2202 Toscanini - Concert 14.10.1939 FRANZ SCHUBERT (1797-1828) Symphony No.8 in B minor, "Unfinished", D.759 NBC Symphony, Arturo Toscanini RICHARD STRAUSS (1864-1949) Don Juan - Tone Poem after Lenau, op. 20 FRANZ JOSEPH HAYDN (1732-1809) Symphony Concertante in B flat Major, op. 84 JOHANN SEBASTIAN BACH (1685-1750) Passacaglia and Fugue in C minor (Orchestrated by O. Respighi) GHCD Le Nozze di Figaro Mozart The Metropolitan Opera - Breisach with Pinza, Sayão, Baccaloni, Steber, Novotna 2203/4/5 GHCD 2206 Boris Godounov, Selections Moussorgsky Royal Opera, Covent Garden 1928 - Chaliapin, Bada, Borgioli GHCD Siegfried Richard Wagner The Metropolitan Opera 1937 - Melchior, Schorr, Thorborg, Flagstad, Habich, 2207/8/9 Laufkoetter, Bodanzky GHCD 2210 Mahler: Symphony No.2 Gustav Mahler - Symphony No.2 in C Minor „The Resurrection“ Concertgebouw Orchestra, Otto Klemperer - Conductor, Kathleen Ferrier, Jo Vincent, Amsterdam Toonkunstchoir - 1951 GHCD Toscanini - Concert 1938 & RALPH VAUGHAN WILLIAMS (1872-1958) Fantasia on a Theme by Thomas Tallis NBC Symphony, Arturo Toscanini 2211/12 1942 JOHANNES BRAHMS (1833-1897) Symphony No. 3 in F Major, op. 90 GUISEPPE MARTUCCI (1856-1909) Notturno, Novelletta; PETER IILYICH TCHAIKOVSKY (1840- 1893) Romeo and Juliet
    [Show full text]
  • Princess Ida Or, Castle Adamant
    Since 1976, we have been spreading the joys of G&S through Annual Grand Productions • Musicales Educational/Community Outreach Musical Scholarships • Newsletters Gilbert & Sullivan Austin holds nonprofit status under 501(c)(3) of the IRS code. GSA Office: 310 West 43rd Street, Austin, TX 78751 Mailing Address: P. O. Box 684542, Austin, TX 78768-4542 Phone: (512) 472-4772 Our web site: www.gilbertsullivan.org E-mail: [email protected] Artistic Director Ralph MacPhail, Jr. Music Director Jeffrey Jones-Ragona Board of Directors Libby Weed President Diane Radin Vice President Dave Wieckowski Treasurer and CFO Michael Meigs Secretary and Bursar Sue Ricket Caldwell Scholarships Coordinator Leann Fryer Musicale Coordinator David Little Publicist Robert L. Schneider Wand’ring Minstrels Coordinator Sarah Slaughter Volunteer Coordinator Charles Smaistrla Legal Counsel David Treadwell Donor Outreach Michelle Vanecek Historian, Office Manager This project is funded and supported in part by a grant from the Texas Commission on the Arts and in part by the Cultural Arts Division of the City of Austin Economic Development Department. Visit Austin at NowPlayingAustin.com 2 Gilbert & Sullivan Austin presents Princess Ida or, Castle Adamant IN CONCERT Worley Barton Theater at Brentwood Christian Church September 14, 2019, 7:30 pm and September 15, 2019, 2 pm Written by Composed by W. S. Gilbert Arthur Sullivan Stage Director Music Director Michelle Haché Jeffrey Jones-Ragona Producer Libby Weed Production Manager Bill Hatcher Assistant Production
    [Show full text]
  • GILBERT and SULLIVAN: Part 1
    GILBERT AND SULLIVAN: Part 1 GILBERT AND SULLIVAN Part 1: The Correspondence, Diaries, Literary Manuscripts and Prompt Copies of W. S. Gilbert (1836-1911) from the British Library, London Contents listing PUBLISHER'S NOTE CONTENTS OF REELS CHRONOLOGY 1836-1911 DETAILED LISTING GILBERT AND SULLIVAN: Part 1 Publisher's Note "The world will be a long while forgetting Gilbert and Sullivan. Every Spring their great works will be revived. … They made enormous contributions to the pleasure of the race. They left the world merrier than they found it. They were men whose lives were rich with honest striving and high achievement and useful service." H L Mencken Baltimore Evening Sun, 30 May 1911 If you want to understand Victorian culture and society, then the Gilbert and Sullivan operas are an obvious starting point. They simultaneously epitomised and lampooned the spirit of the age. Their productions were massively successful in their own day, filling theatres all over Britain. They were also a major Victorian cultural export. A new show in New York raised a frenzy at the box office and Harper's New Monthly Magazine (Feb 1886) stated that the "two men have the power of attracting thousands and thousands of people daily for months to be entertained”. H L Mencken's comments of 1911 have proved true. Gilbert & Sullivan societies thrive all over the world and new productions continue to spring up in the West End and on Broadway, in Buxton and Harrogate, in Cape Town and Sydney, in Tokyo and Hong Kong, in Ottawa and Philadelphia. Some of the topical references may now be lost, but the basis of the stories in universal myths and the attack of broad targets such as class, bureaucracy, the legal system, horror and the abuse of power are as relevant today as they ever were.
    [Show full text]