Tristan Und Isolde
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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. -
Time 1925 1930 1935 1940 1945 1950 1955 1960 1965 1970 1975 1980 1985 1990 1995 2000 2005 2010
Giulio Gatti Casazza 1926 Director, Metropolitan Opera Arturo Toscanini Leopold Stokowski 1926 1930 Conductor Conductor Pietro Mascagni Lucrezia Bori James Cæsar Petrillo 1926 1930 1948 Composer Singer Head, American Federation of Musicians Richard Strauss Alfred Hertz Sergei Koussevitsky Helen Traubel Charles Munch 1938 1927 1930 1946 1949 Composer and conductor Conductor Conductor Singer Conductor Ignace J Paderewski Geraldine Farrar Joseph Deems Taylor Marian Anderson Cole Porter 1939 1927 1931 1946 1949 Kirsten Flagstad Pianist, politician Singer Composer, critic Singer Composer 1935 Lauritz Melchior Giulio Gatti-Casazza Ignace Jan Paderewski Yehudi Menuhin Singer Artur Rodziński Gian Carlo Menotti Maria Callas 1940 1923 1928 1932 1947 1950 1956 Artur Rubinstein Edward Johnson Singer Director, Metropolitan Opera Pianist, politician Violinist; 16 years old Conductor Composer Singer 1966 1936 Leopold Stokowski Pianist Johann Sebastian Bach Nellie Melba Mary Garden Lawrence Tibbett Singer Arturo Toscanini Mario Lanza & Enrico Caruso Leonard Bernstein 1940 1968 1927 1930 1933 1948 1951 1957 Jean Sibelius Conductor Dmitri Shostakovich Composer (1685–1750) Singer Singer Singer Conductor Singers Composer, conductor 1937 1942 Beverly Sills Richard Strauss Rosa Ponselle Arturo Toscanini Composer Composer Benjamin Britten Patrice Munsel Renata Tebaldi Rudolf Bing Luciano Pavarotti 1971 1927 1931 1934 1948 1951 1958 1966 1979 Sergei Koussevitsky Sir Thomas Beecham Leontyne Price Singer Georg Solti Composer, conductor Singer Conductor Composer -
05-11-2019 Gotter Eve.Indd
Synopsis Prologue Mythical times. At night in the mountains, the three Norns, daughters of Erda, weave the rope of destiny. They tell how Wotan ordered the World Ash Tree, from which his spear was once cut, to be felled and its wood piled around Valhalla. The burning of the pyre will mark the end of the old order. Suddenly, the rope breaks. Their wisdom ended, the Norns descend into the earth. Dawn breaks on the Valkyries’ rock, and Siegfried and Brünnhilde emerge. Having cast protective spells on Siegfried, Brünnhilde sends him into the world to do heroic deeds. As a pledge of his love, Siegfried gives her the ring that he took from the dragon Fafner, and she offers her horse, Grane, in return. Siegfried sets off on his travels. Act I In the hall of the Gibichungs on the banks of the Rhine, Hagen advises his half- siblings, Gunther and Gutrune, to strengthen their rule through marriage. He suggests Brünnhilde as Gunther’s bride and Siegfried as Gutrune’s husband. Since only the strongest hero can pass through the fire on Brünnhilde’s rock, Hagen proposes a plan: A potion will make Siegfried forget Brünnhilde and fall in love with Gutrune. To win her, he will claim Brünnhilde for Gunther. When Siegfried’s horn is heard from the river, Hagen calls him ashore. Gutrune offers him the potion. Siegfried drinks and immediately confesses his love for her.Ð When Gunther describes the perils of winning his chosen bride, Siegfried offers to use the Tarnhelm to transform himself into Gunther. -
Musical Landmarks in New York
MUSICAL LANDMARKS IN NEW YORK By CESAR SAERCHINGER HE great war has stopped, or at least interrupted, the annual exodus of American music students and pilgrims to the shrines T of the muse. What years of agitation on the part of America- first boosters—agitation to keep our students at home and to earn recognition for our great cities as real centers of musical culture—have not succeeded in doing, this world catastrophe has brought about at a stroke, giving an extreme illustration of the proverb concerning the ill wind. Thus New York, for in- stance, has become a great musical center—one might even say the musical center of the world—for a majority of the world's greatest artists and teachers. Even a goodly proportion of its most eminent composers are gathered within its confines. Amer- ica as a whole has correspondingly advanced in rank among musical nations. Never before has native art received such serious attention. Our opera houses produce works by Americans as a matter of course; our concert artists find it popular to in- clude American compositions on their programs; our publishing houses publish new works by Americans as well as by foreigners who before the war would not have thought of choosing an Amer- ican publisher. In a word, America has taken the lead in mu- sical activity. What, then, is lacking? That we are going to retain this supremacy now that peace has come is not likely. But may we not look forward at least to taking our place beside the other great nations of the world, instead of relapsing into the status of a colony paying tribute to the mother country? Can not New York and Boston and Chicago become capitals in the empire of art instead of mere outposts? I am afraid that many of our students and musicians, for four years compelled to "make the best of it" in New York, are already looking eastward, preparing to set sail for Europe, in search of knowledge, inspiration and— atmosphere. -
SM358-Voyager Quartett-Book-Lay06.Indd
WAGNER MAHLER BOTEN DER LIEBE VOYAGER QUARTET TRANSCRIPTED AND RECOMPOSED BY ANDREAS HÖRICHT RICHARD WAGNER TRISTAN UND ISOLDE 01 Vorspiel 9:53 WESENDONCK 02 I Der Engel 3:44 03 II Stehe still! 4:35 04 III Im Treibhaus 5:30 05 IV Schmerzen 2:25 06 V Träume 4:51 GUSTAV MAHLER STREICHQUARTETT NR. 1.0, A-MOLL 07 I Moderato – Allegro 12:36 08 II Adagietto 11:46 09 III Adagio 8:21 10 IV Allegro 4:10 Total Time: 67:58 2 3 So geht das Voyager Quartet auf Seelenwanderung, überbringt klingende BOTEN DER LIEBE An Alma, Mathilde und Isolde Liebesbriefe, verschlüsselte Botschaften und geheime Nachrichten. Ein Psychogramm in betörenden Tönen, recomposed für Streichquartett, dem Was soll man nach der Transkription der „Winterreise“ als Nächstes tun? Ein Medium für spirituelle Botschaften. Die Musik erhält hier den Vorrang, den Streichquartett von Richard Wagner oder Gustav Mahler? Hat sich die Musikwelt Schopenhauer ihr zugemessen haben wollte, nämlich „reine Musik solle das nicht schon immer gewünscht? Geheimnisse künden, die sonst keiner wissen und sagen kann.“ Vor einigen Jahren spielte das Voyager Quartet im Rahmen der Bayreuther Andreas Höricht Festspiele ein Konzert in der Villa Wahnfried. Der Ort faszinierte uns über die Maßen und so war ein erster Eckpunkt gesetzt. Die Inspiration kam dann „Man ist sozusagen selbst nur ein Instrument, auf dem das Universum spielt.“ wieder durch Franz Schubert. In seinem Lied „Die Sterne“ werden eben diese Gustav Mahler als „Bothen der Liebe“ besungen. So fügte es sich, dass das Voyager Quartet, „Frauen sind die Musik des Lebens.“ das sich ja auf Reisen in Raum und Zeit begibt, hier musikalische Botschaften Richard Wagner versendet, nämlich Botschaften der Liebe von Komponisten an ihre Musen. -
Wagner's Der Ring Des Nibelungen
The Pescadero Opera Society presents Wagner’s Der Ring des Nibelungen Summer Season 2012 June 9th and 23rd, July 7th and 21th, August 4th The Pescadero Opera Society is extending its 2012 opera season by offering a summer course on Wagner’s Ring Cycle. This is the fourth time this course has been offered; previous courses were given rave reviews. The Ring consists of four operas: Das Rheingold, Die Walküre, Siegfried and Gotterdämmerung, an opera mini-series which are connected to each other by storyline, characters and music. It is considered to be the greatest work of art ever written with some of the most extraordinary music on earth. The operas will be presented in two-week intervals throughout the summer; a fifth week is added to offer “A Tribute to Wagner,” a special event you won't want to miss. The format for presenting these four operas will be a bit different than during the regular season. Because this work is so complex and has so many layers, both in story and in music, before each opera there will a PowerPoint presentation. Listen to the wonderful one-hour introduction of “The Ring and I: The Passion, the Myth, the Mania” to find out what all the fuss is about: http://www.wnyc.org/articles/music/2004/mar/02/the-ring-and-i-the-passion-the-myth-the- mania/. Der Ring des Nibelungen is based on Ancient German and Norse mythology. Das Rheingold begins with the creation of the world and Gotterdammerung ends with the destruction of the gods. It includes gods, goddesses, Rhinemaidens, Valkyries, dwarfs, a dragon, a gold ring, a magic sword, a magic Tarnhelm, magic fire, and much more. -
January 1946) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 1-1-1946 Volume 64, Number 01 (January 1946) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 64, Number 01 (January 1946)." , (1946). https://digitalcommons.gardner-webb.edu/etude/199 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. 7 A . " f ft.S. &. ft. P. deed not Ucende Some Recent Additions Select Your Choruses conceit cuid.iccitzt fotidt&{ to the Catalog of Oliver Ditson Co. NOW PIANO SOLOS—SHEET MUSIC The wide variety of selections listed below, and the complete AND PUBLISHERS in the THE AMERICAN SOCIETY OF COMPOSERS, AUTHORS BMI catalogue of choruses, are especially noted as compo- MYRA ADLER Grade Pr. MAUDE LAFFERTY sitions frequently used by so many nationally famous edu- payment of the performing fee. Christmas Candles .3-4 $0.40 The Ball in the Fountain 4 .40 correspondence below reaffirms its traditional stand regarding ?-3 Happy Summer Day .40 VERNON LANE cators in their Festival Events, Clinics and regular programs. BERENICE BENSON BENTLEY Mexican Poppies 3 .35 The Witching Hour .2-3 .30 CEDRIC W. -
ARSC New York Chapter MARCH 2014 Meeting
ARSC New York Chapter MARCH 2014 Meeting !!NOTE CHANGE OF DATE!! 7 P. M. Thursday, 3/27/14 at the CUNY Sonic Arts Center West 140th Street & Convent Avenue, New York or, enter at 138th Street off Convent Avenue Shepard Hall (the Gothic building) – Recital Hall (Room 95, Basement level) An elevator is located in the center of the building ARSCNY is again pleased to present “The Two Gary’s” (Galo and Thalheimer, respectively) …reprising their gala presentations of recordings by Lauritz Melchior (“The Great Dane: Lauritz Melchior – A 40th Anniversary Tribute”) and German singers in Verdi roles. Both are expanded versions of presentations given at the ARSC national conference in Kansas City, MO in May 2013. Danish tenor Lauritz Melchior (1890-1973) was arguably the greatest Wagnerian tenor in the history of that species. Melchior began his career as a baritone, making his operatic debut as Sivlio in Leoncavallo’s Pagliacci at the Royal Opera, Copenhagen in 1913. On the advice of Mme. Charles Cahier, Melchior restudied as a tenor with Vilhelm Herold, and made a second debut in 1918 in the title role of Wagner’s Tannhäuser. After further studies with Anna Bahr-Mildenburg, Melchior began his international career at the Royal Opera House, Covent Garden in 1924 as Siegmund in Wagner’s Die Walküre, followed by a Bayreuth debut later that year, and a Metropolitan Opera debut in 1926. Melchior combined a voice of unrivalled power with a true bel canto production, allowing him to remain virtually unchallenged in the heldentenor repertoire until his retirement from the stage in 1950. -
Cligès by Chrétien De Troyes
Cligès by Chrétien de Troyes Translated by W. W. Comfort For your convenience, this text has been compiled into this PDF document by Camelot On-line. Please visit us on-line at: http://www.heroofcamelot.com/ Cligès Table of Contents Acknowledgments......................................................................................................................................3 PREPARER'S NOTE: ...............................................................................................................................4 SELECTED BIBLIOGRAPHY: ...............................................................................................................4 The Translation..........................................................................................................................................5 Part I: Vv. 1 - Vv. 2278..........................................................................................................................5 Part II: Vv. 2279 - Vv. 4574...............................................................................................................31 Part III: Vv. 4575 - Vv. 6784...............................................................................................................58 Endnotes...................................................................................................................................................84 2 Chrétien de Troyes Acknowledgments Cligès was written by the French poet Chrétien de Troyes in the twelfth century. Chrétien is a well-known poet -
VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item
VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just the slightest marks. For collectors searching top copies, you’ve come to the right place! The further we get from the time of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually with a translation of the text or similarly related comments. BESSIE ABOTT [s]. Riverdale, NY, 1878-New York, 1919. Following the death of her father which left her family penniless, Bessie and her sister Jessie (born Pickens) formed a vaudeville sister vocal act, accompanying themselves on banjo and guitar. Upon the recommendation of Jean de Reszke, who heard them by chance, Bessie began operatic training with Frida Ashforth. She subsequently studied with de Reszke him- self and appeared with him at the Paris Opéra, making her debut as Gounod’s Juliette. -
HANS WERNER HENZE: TRISTAN (1973) for Thomas Christopher Downes Hans Werner Henze: Tristan (1973)
HANS WERNER HENZE: TRISTAN (1973) For Thomas Christopher Downes Hans Werner Henze: Tristan (1973) STEPHEN DOWNES University of Surrey, UK First published 2011 by Ashgate Publishing Published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 711 Third Avenue, New York, NY 10017, USA Routledge is an imprint of the Taylor & Francis Group, an informa business Copyright © 2011 Stephen Downes Stephen Downes has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage orretrieval system, without permission in writing from the publishers. Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing in Publication Data Downes, Stephen C., 1962– Hans Werner Henze – Tristan (1973). – (Landmarks in music since 1950) 1. Henze, Hans Werner, 1926– Tristan. 2. Wagner, Richard, 1813-1883–Influence. I. Title II. Series 780.9’2-dc22 Library of Congress Cataloging-in-Publication Data Downes, Stephen C., 1962– Hans Werner Henze : Tristan (1973) / Stephen Downes. p. cm. – (Landmarks in music since 1950) Includes bibliographical references and index. ISBN 978-0-7546-6655-4 (hardcover : alk. paper) 1. Henze, Hans -
What Cant Be Coded Can Be Decorded Reading Writing Performing Finnegans Wake
ORBIT - Online Repository of Birkbeck Institutional Theses Enabling Open Access to Birkbecks Research Degree output What cant be coded can be decorded Reading Writing Performing Finnegans Wake http://bbktheses.da.ulcc.ac.uk/198/ Version: Public Version Citation: Evans, Oliver Rory Thomas (2016) What cant be coded can be decorded Reading Writing Performing Finnegans Wake. PhD thesis, Birkbeck, University of London. c 2016 The Author(s) All material available through ORBIT is protected by intellectual property law, including copyright law. Any use made of the contents should comply with the relevant law. Deposit guide Contact: email “What can’t be coded can be decorded” Reading Writing Performing Finnegans Wake Oliver Rory Thomas Evans Phd Thesis School of Arts, Birkbeck College, University of London (2016) 2 3 This thesis examines the ways in which performances of James Joyce’s Finnegans Wake (1939) navigate the boundary between reading and writing. I consider the extent to which performances enact alternative readings of Finnegans Wake, challenging notions of competence and understanding; and by viewing performance as a form of writing I ask whether Joyce’s composition process can be remembered by its recomposition into new performances. These perspectives raise questions about authority and archivisation, and I argue that performances of Finnegans Wake challenge hierarchical and institutional forms of interpretation. By appropriating Joyce’s text through different methodologies of reading and writing I argue that these performances come into contact with a community of ghosts and traces which haunt its composition. In chapter one I argue that performance played an important role in the composition and early critical reception of Finnegans Wake and conduct an overview of various performances which challenge the notion of a ‘Joycean competence’ or encounter the text through radical recompositions of its material.