Gustav Mahler Jugendorchester
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Katalog EMI Classics Oraz Virgin Classics
Katalog EMI Classics oraz Virgin Classics Tytuł: Vinci L'Artaserse ICPN: 5099960286925 KTM: 6028692 Data Premiery: 01.10.2012 Data nagrania: styczeń 2012 Main Artists: Diego Fasolis/Philippe Jaroussky/Max Emanuel Cencic/Franco Fagioli/Valer Barna-Sabadus/Yuriy Mynenko/Daniel Behle/Coro della Radiotelevisione svizzera, Lugano/Concerto Köln Kompozytor: Leonardo Vinci 3 CD POLSKA PREMIERA Tytuł: Feelhermony ICPN:5099901770827 KRM:0177082 Data Premiery: 09.10.2012 Data Nagrania: 2012 Main Artists: KROKE, Sinfonietta Cracovia, Anna Maria Jopek, Sławek Berny Kompozytor: KROKE Aranżancje: Krzysztof Herdzin 1 CD Tytuł: Rodgers & Hammerstein at the Movies ICPN: 5099931930123 KTM: 3193012 Data Premiery: 01.10.2012 Data nagrania: styczeń 2012 Main Artists: John Wilson, John Wilson Orchestra, Sierra Boggess, Anna Jane Casey, Joyce DiDonato, Maria Ewing, Julian Ovenden, David Pittsinger, Maida Vale Singers Kompozytor: Rodgers & Hammerstein 1 CD Tytuł: Sound the Trumpet - Royal Music of Purcell and Handel ICPN: 5099944032920 KTM: 4403292 Data Premiery: 15.10.2012 Data nagrania: styczeń 2012 Main Artists: Alison Balsom, The English Concert, Pinnock Trevor Kompozytor: Purcell, Haendel 1 CD Tytuł: Dvorak: Symphony No.9 & Cello Concerto ICPN: 5099991410221 KTM: 9141022 Data Premiery: 08.10.2012 Data Nagrania: styczeń 2012 Main Artists: Antonio Pappano Kompozytor: Antonin Dvorak 2 CD Tytuł: Drama Queens ICPN: 5099960265425 KTM: 6026542 Data Premiery: 01.10.2012 Main Artists: Joyce DiDonato/Il Complesso Barocco/Alan Curtis Kompozytor: Various Artists 1 CD -
Vicent Alberola Cv
VICENT ALBEROLA CLARINET PROFESSOR Academic record His studies were done with Walter Boeykens at the Royal Conservatory of Antwerp, Belgium, and at the same time with George Pieterson (Royal Concertgebouw Orchestra) and Larry Combs (Chicago Symphony Orchestra). Professional experience Founder of the Alberola MMCV Valencia, Professor at the ESMAR Higher Music Degree School and guest conductor at the Perm Opera, Russia. At the same time, he is also the first clarinet of the Mahler Chamber Orchestra, World Orchestra for Peace (WOP) and Les Dissonances de Paris. Alberola was for more than 20 years the first clarinet of the Madrid Opera and the Galician Symphony. During the last decade he has been the first guest clarinet with the Vicent Alberola Royal Concertgebow Orchestra, New York Philarmonic Orchestra, Lucerne Festival Orchestra, Mahler Chamber Orchestra, Orchester Les He studied with Walter Boeykens at the Royal Conservatory of Antwerp, Dissonances and the MMCK Tokyo Orchestra, groups with which he has Belgium, and with George Pieterson had the opportunity to perform the great repertoire. symphonic under and Larry Combs. the baton of teachers such as Claudio Abbado, Mariss Jansons, Valery Gergiev, Riccardo Muti, Daniele Gatti, Daniel Harding, Andris Nelsons, He has played with orchestras such as Royal Concertgebow Orchestra, Gustavo Dudamel, Alan Gilbert and Nicola Luisotti, among others. New York Philarmonic Orchestra, Lucerne Festival Orchestra, Mahler In 2003 he was appointed conductor of the Young Orchestra of the Chamber Orchestra, Orchester Les Madrid Opera and in 2007 conductor of the Young Orchestra of Soria. Dissonances and the MMCK Tokyo Vicent Alberola has directed the following operas at the Teatro Real de Orchestra. -
GOERNE Bio E 2018 19 Short
Matthias Goerne Matthias Goerne is one of the most versatile and internationally sought-after vocalists and a frequent guest at renowned festivals and concert halls. He has collaborated with the world’s leading orchestras, conductors and pianists. Born in Weimar, he studied with Hans-Joachim Beyer in Leipzig, and later with Elisabeth Schwarzkopf and Dietrich Fischer-Dieskau. Matthias Goerne has appeared on the world’s principal opera stages including the Metropolitan Opera in New York, Royal Opera House Covent Garden, Teatro Real in Madrid, Paris National Opera, and the Vienna State Opera. His roles range from Wolfram, Amfortas, Wotan, Orest, and Jochanaan to the title roles in Béla Bartók’s Duke Bluebeard’s Castle and Alban Berg’s Wozzeck. Goerne’s artistry has been documented on numerous recordings, many of which have received prestigious awards, including four Grammy nominations, an ICMA Award, a Gramophone Award, the BBC Music Magazine Vocal Award 2017, and a Diapason d’or arte. After his legendary recordings with Vladimir Ashkenazy and Alfred Brendel for Universal Music, he recorded a series of selected Schubert songs on 12 CDs for harmonia mundi (The Goerne/Schubert Edition) with eminent pianists. His latest recordings of Brahms songs with Christoph Eschenbach, of Schumann songs with Markus Hinterhäuser, of Mahler songs with the BBC Symphony, and of Wagner arias with the Swedish Radio Symphony have received rave reviews. In addition to his residency with the New York Philharmonic further highlights of the 2018/19 season include concerts with other top orchestras in the U.S. (Pittsburgh, Houston, Los Angeles), Europe and Japan. -
PRESENTS Table of Contents
PRESENTS Table of Contents Welcome................................................................................................................. 3 Staff and Board of Directors..........................................................................6 About Pittsburgh Festival Opera.................................................................7 Cornetti’s Candid Concert and After-Party | July 10................................8 Marianne: Unstaged | July 11, 18, and 25.................................................10 Pit Crew: Singer-Free Sundays | July 12, 19, and 26..............................13 Leitmotif: Walking through Wagner | July 16..........................................17 I, Too, Sing | July 17...........................................................................................18 Composer Spotlight: Mark Adamo | July 23.............................................20 Putting it Together: Online Young Artists Program | July 24..........21 2020 OYAP Faculty........................................................................................... 26 Rusalka: A Mermaid’s Tale | July 25............................................................27 Contributions, Gifts, and Institutional Support................................. 29 Welcome from the President We need 20-20 vision to view the events of 2020. Much of what we took for granted, including the highest ever level of our economy and the lowest ever level of unemployment, suggested a bright future for the performing arts. We at Pittsburgh Festival Opera were especially -
Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
(De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification. -
Developing the Young Dramatic Soprano Voice Ages 15-22 Is Approved in Partial Fulfillment of the Requirements for the Degree Of
DEVELOPING THE YOUNG DRAMATIC SOPRANO VOICE AGES 15-22 By Monica Ariane Williams Bachelor of Arts – Vocal Arts University of Southern California 1993 Master of Music – Vocal Arts University of Southern California 1995 A dissertation submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas December 2020 Copyright 2021 Monica Ariane Williams All Rights Reserved Dissertation Approval The Graduate College The University of Nevada, Las Vegas November 30, 2020 This dissertation prepared by Monica Ariane Williams entitled Developing the Young Dramatic Soprano Voice Ages 15-22 is approved in partial fulfillment of the requirements for the degree of Doctor of Musical Arts School of Music Alfonse Anderson, DMA. Kathryn Hausbeck Korgan, Ph.D. Examination Committee Chair Graduate College Dean Linda Lister, DMA. Examination Committee Member David Weiller, MM. Examination Committee Member Dean Gronemeier, DMA, JD. Examination Committee Member Joe Bynum, MFA. Graduate College Faculty Representative ii ABSTRACT This doctoral dissertation provides information on how to develop the young dramatic soprano, specifically through more concentrated focus on the breath. Proper breathing is considered the single most important skill a singer will learn, but its methodology continues to mystify multitudes of singers and voice teachers. Voice professionals often write treatises with a chapter or two devoted to breathing, whose explanations are extremely varied, complex or vague. Young dramatic sopranos, whose voices are unwieldy and take longer to develop are at a particular disadvantage for absorbing a solid vocal technique. First, a description, classification and brief history of the young dramatic soprano is discussed along with a retracing of breath methodologies relevant to the young dramatic soprano’s development. -
1°Concerto Giovedì 15 Ottobre 2009 Ore 20.30 Venerdì 16 Ottobre 2009 Ore 21.00
1°CONCERTO GIOVEDÌ 15 OTTOBRE 2009 ORE 20.30 VENERDÌ 16 OTTOBRE 2009 ORE 21.00 Stefan Anton Reck direttore Bernarda Bobro soprano BEETHOVEN Klaus Maria Brandauer recitante Concerti 2009-2010 Auditorium Rai Arturo Toscanini - Torino GIOVEDÌ 15 OTTOBRE 2009 ORE 20.30 VENERDÌ 16 OTTOBRE 2009 ORE 21.00 Stefan Anton Reck direttore Bernarda Bobro soprano Klaus Maria Brandauer recitante Ludwig van Beethoven (1770-1827) Egmont, ouverture e musiche di scena op. 84 per la tragedia di Goethe Ouverture. Sostenuto ma non troppo - Allegro - Allegro con brio 1. Lied “Die Trommel gerühret” (Rulla il tamburo). Vivace 2. Interludio I. Allegro con brio 3. Interludio II. Larghetto 4. Lied “Freudvoll und Leidvoll” (Colma di gioia e di dolore). Andante con moto - Allegro assai vivace 5. Interludio III. Allegro - Allegretto - Marcia. Vivace 6. Interludio IV. Poco sostenuto e risoluto - Larghetto - Andante agitato 7. Clärchens Tod (Morte di Clärchen). Larghetto 8. Melologo “Süsser Schlaf” (Dolce sonno). Poco sostenuto - Poco vivace - Andante con moto - Allegro ma non troppo - Più allegro 9. Siegs-Sinfonie (Sinfonia di vittoria). Allegro con brio Durata 49’ circa Ultima esecuzione Rai a Torino: Ouverture: 16 marzo 2009, Pietro Mianiti, Teatro Carignano per “Italia 150”. Musiche di scena, 2 aprile 2005, Lü Jia, Anja Kampe, Giovanni Crippa, Mario Brusa. Ludwig van Beethoven Sinfonia n. 3 in mi bemolle maggiore op. 55 Eroica Allegro con brio Marcia funebre. Adagio assai Scherzo e Trio. Allegro vivace Finale. Allegro molto - Poco andante - Presto Durata 50’ circa Ultima esecuzione Rai a Torino: 29 gennaio 2006, Rafael Frühbeck de Burgos (per il Giorno della Memoria). -
Violin Concertos Orchestra Mozart Isabelle Faust Claudio Abbado Franz Liszt Violin Concertos
BERG • BEETHOVEN VIOLIN CONCERTOS ORCHESTRA MOZART ISABELLE FAUST CLAUDIO ABBADO FRANZ LISZT VIOLIN CONCERTOS ALBAN BERG (1885-1935) Violin Concerto ‘To the Memory of an Angel’ “À la mémoire d’un ange” / “Dem Andenken eines Engels” 1 | I. Andante - Allegretto 11’51 2 | II. Allegro - Adagio 16’07 LUDWIG VAN BEETHOVEN (1770-1827) Violin Concerto in D major op.61 Ré majeur / D-Dur 3 | I. Allegro ma non troppo - Adagio 22’55 4 | II. Larghetto 9’21 5 | III. Rondo allegro 8’34 Isabelle Faust, violin Orchestra Mozart Claudio Abbado Orchestra Mozart Flutes Chiara Tonelli, Mattia Petrilli Oboes Lucas Macias Navarro, Miriam Olga Pastor Burgos Clarinets Giammarco Casani, Maria Francesca Latella (Berg: bass clarinet) Erik Masera*, Manuela Vettori*” Alto saxophone* Alda Dalle Lucche Bassoons Guilhaume Santana, Zeynep Koyuoglu Contrabassoon Klaus Lohrer* Horns Alessio Allegrini, Giuseppe Russo, José Castello, Geremia Iezzi Trumpets Alexander Kirn, Jakob Gollien Trombones* Andrea Conti, Federico Gerato, Martin Schippers Tuba* Alessandro Fossi Timpani Robert Kendell Percussion* Giovanni Franco, Gabriele Lattuada Harp* Nabila Chajai Violins 1 Raphael Christ, Lorenza Borrani, Yunna Shevchenko, Henja Semmler Francesco Senese, Manuel Kastl, Giacomo Tesini, Tilman Büning Claudia Schmidt, Timoti Fregni, Andrea Mascetti, Gabrielle Shek Lavinia Morelli, Tim Summers Violins 2 Etienne Abelin, Gisella Curtolo, Michal Duris, Paolo Lambardi Nicola Bignami, Gian Maria Lodigiani, Jo Marie Sison, Federica Vignoni Jana Kuhlmann, Massimiliano Canneto, Gunilla Kerrich, -
Boston Symphony Orchestra Concert Programs, Season 124, 2004-2005
2004-2005 SEASON BOSTON SYM PHONY ORCHESTRA AMES LEVI N E *J**sN JAMES LEVINE MUSIC DIRECTOR BERNARD HAITINK CONDUCTOR EMERITUS SEIJI OZAWA MUSIC DIRECTOR LAUREATE Invite the entire string section for cocktails. With floor plans from 2,300 to over Phase One of this 5,000 square feet, you can entertain magnificent property is in grand style at Longyear. 100% sold and occupied. Enjoy 24-hour concierge service, Phase Two is now under con- single-floor condominium living struction and being offered by at its absolute finest, all Sotheby's International Realty & harmoniously located on Hammond Residential Real Estate an extraordinary eight- GMAC. Priced from $1,725,000. acre gated community atop prestigious Call Hammond at (617) 731-4644, Fisher Hill ext. 410. LONGYEAR. a/ Jisner Jiill BROOKLINE REASON #16 the better to see you with There are several reasons to consider Beth Israel Deaconess Medical Center for your major medical care. Like innovative radiology services that lead to more accurate diagnosis. From advancements in cardiology and gastroenterology, to organ transplantion and cancer care, see for yourself how we're advancing the art of healing. Visit www.bidmc.harvard.edu or call 800-667-5356. Beth Israel A teaching hospital of Deaconess Harvard Medical School Medical Center Affiliated with Joslin Clinic | A Research Partner of the Dana-Farber/Harvard Cancer Center | Official Hospital of the Boston Red Sox «#^ ii:!0Di:«: Pavilion at McLean Hospital ir premiere evaluative and residential sen 6 1 7/855-3535 www.mclean.harvard.edu/pav/ McLean Hospital is the largest psychiatric facility of Harvard Medical School, an affiliate of Massachusetts General Hospital and a member of Partners HealthCare. -
London's Symphony Orchestra
London Symphony Orchestra Living Music Tuesday 2 June 2015 7.30pm Barbican Hall LSO INTERNATIONAL VIOLIN FESTIVAL JANINE JANSEN Edward Rushton I nearly went, there (UK premiere) Mendelssohn Violin Concerto SundayINTERVAL 21 September 2014 7.30pm BarbicanMahler Symphony Hall No 5 London’s Symphony Orchestra MAKEDaniel HardingUP A TITLE conductor HERE Janine Jansen violin Composer Work ComposerConcert finishes Work approx 10pm Composer Work The LSO International Violin Festival is Namegenerously conductor supported by Jonathan Moulds CBE Name soloist Concert finishes approx ?.??pm International Violin Festival Media Partner 2 Welcome 2 June 2015 Welcome Living Music Kathryn McDowell In Brief Tonight we are delighted to welcome back the PANUFNIK COMPOSERS WORKSHOP 2015 LSO’s Principal Guest Conductor Daniel Harding, following a tour of Germany and Switzerland with Witness the fascinating process of putting together the Orchestra. This evening’s concert begins with and rehearsing a new orchestral piece as the LSO the UK premiere of a new work, I nearly went, there, works with six of the UK’s most promising emerging by British composer Edward Rushton, who first composers, under the guidance of Colin Matthews wrote for the LSO in 2008 when his piece Everything and conductor François-Xavier Roth. The workshops Goes So Fast, which Daniel Harding also conducted, take place on Friday 5 June at LSO St Luke’s. The was commissioned as part of the UBS Soundscapes: composers taking part are Michael Cryne, Michael Pioneers scheme. Cutting, Vitalija Glovackyte˙, Alex Roth, Jack Sheen and Michael Taplin. Tickets are free; to reserve your Our soloist is violin virtuoso Janine Jansen, a great place, phone the Box Office on 020 7638 8891. -
Mahler's Wunderhorn World of Sound
Mahler’s Wunderhorn World of Sound Mahler set fourteen poems from Des Knaben Wunderhorn for voice and orchestra over a period of almost ten years, composing them both simultaneously with his symphonies and also during breaks in his work on those symphonies. In doing so, he demonstrated his predilection for certain literary forms, while at the same time breathing life into a musical genre that had previously been relatively uncommon: the balladic and humorous song for voice and orchestra. Mahler discovered the linguistic basis of his vocal works at a very early date in his life, drawing his inspiration from a source that he claimed had become available to him in book form only after he had written his own words for his Lieder eines fahrenden Gesellen. The book in question was the three-volume collection of “folk songs” that the two Romantic poets Achim von Arnim and Clemens Brentano published between 1805 and 1808 and that enjoyed widespread popularity in the 19th century. At this date, then, Mahler drew exclusively on “old German” literature when casting round for poems to set to music. (“Old German Songs” is Des Knaben Wunderhorn’s original subtitle.) Mahler’s interventionist approach to the words he set went far beyond anything we normally understand by the term “word-setting” for he regularly rewrote not only individual phrases but even entire passages and verses, often replacing them with words or lines of his own. “These are blocks of rock from which each of us may form something uniquely his own,” he is said to have justified a procedure that sometimes extends to the point where it becomes a montage technique. -
MAHLER LORIN MAAZEL P2013 Philharmonia Orchestra C2013 Signum Records SYMPHONY NO
CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title Page Nos. Recorded at Southbank Centre’s Royal Festival Hall, London, 17 April 2011 Producer – Misha Donat Engineer – Jonathan Stokes, Classic Sound Ltd Design – With Relish (for the Philharmonia Orchestra) and Darren Rumney Cover image CLebrecht Music & Arts MAHLER LORIN MAAZEL P2013 Philharmonia Orchestra C2013 Signum Records SYMPHONY NO. 2, RESURRECTION 24 1 291.0mm x 169.5mm CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title Page Nos. “On Mahler” Mahler’s earlier symphonies frequently draw GUSTAV MAHLER on the world of his Wunderhorn songs – A century after his death, Mahler’s music settings of simple folk poems about birds and SYMPHONY NO. 2, RESURRECTION resonates more powerfully than ever. Its animals, saints and sinners, soldiers and their unique mix of passionate intensity and lovers. But this apparently naive, even childlike CD1 terrifying self-doubt seems to speak directly to tone is found alongside vast musical our age. One moment visionary, the next 1 I. Allegro maestoso 25.13 canvasses that depict the end of the world. In despairing, this is music that sweeps us up in quieter, more intimate movements, Mahler CD2 its powerful current and draws us along in its seems to speak intimately and directly to the 1 II. Andante moderato. Sehr gemächlich 11.25 drama. We feel its moments of ecstatic rapture listener, but the big outer movements are 2 III. Scherzo. In ruhig fliessender Bewegung 12.14 and catastrophic loss as if they were our own.