MARCIN BRONIKOWSKI - Baritone
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Libretto Nabucco.Indd
Nabucco Musica di GIUSEPPE VERDI major partner main sponsor media partner Il Festival Verdi è realizzato anche grazie al sostegno e la collaborazione di Soci fondatori Consiglio di Amministrazione Presidente Sindaco di Parma Pietro Vignali Membri del Consiglio di Amministrazione Vincenzo Bernazzoli Paolo Cavalieri Alberto Chiesi Francesco Luisi Maurizio Marchetti Carlo Salvatori Sovrintendente Mauro Meli Direttore Musicale Yuri Temirkanov Segretario generale Gianfranco Carra Presidente del Collegio dei Revisori Giuseppe Ferrazza Revisori Nicola Bianchi Andrea Frattini Nabucco Dramma lirico in quattro parti su libretto di Temistocle Solera dal dramma Nabuchodonosor di Auguste Anicet-Bourgeois e Francis Cornu e dal ballo Nabucodonosor di Antonio Cortesi Musica di GIUSEPPE V ERDI Mesopotamia, Tavoletta con scrittura cuneiforme La trama dell’opera Parte prima - Gerusalemme All’interno del tempio di Gerusalemme, i Leviti e il popolo lamen- tano la triste sorte degli Ebrei, sconfitti dal re di Babilonia Nabucco, alle porte della città. Il gran pontefice Zaccaria rincuora la sua gente. In mano ebrea è tenuta come ostaggio la figlia di Nabucco, Fenena, la cui custodia Zaccaria affida a Ismaele, nipote del re di Gerusalemme. Questi, tuttavia, promette alla giovane di restituirle la libertà, perché un giorno a Babilonia egli stesso, prigioniero, era stato liberato da Fe- nena. I due innamorati stanno organizzando la fuga, quando giunge nel tempio Abigaille, supposta figlia di Nabucco, a comando di una schiera di Babilonesi. Anch’essa è innamorata di Ismaele e minaccia Fenena di riferire al padre che ella ha tentato di fuggire con uno stra- niero; infine si dichiara disposta a tacere a patto che Ismaele rinunci alla giovane. -
CD-Liste Dirigenten ABC... Paolo Vaglieri Name
CD-Liste Dirigenten ABC... Name ab: Paolo Vaglieri 19.02.12 - - Vaglieri Giovanni Paisiello - La serva padrona1991 15.05.1991 Anna Victoria Banks, Gian Luca Ricci, 1 CD - - - Cremona , , , , , , - Paolo Vaglieri (1740 - 1816) - - - Die Magd als Herrin - Orchestra da Camera di Milano Oper 11 - O - - Vajnar Friedrich Smetana - Hubitcka 1980 Eva Depoltová, Eduard Haken, Libuse CD - - - Brünn Márová, Leo Marian Vodicka, Václav - (1824 - 1884) - Frantisek Vajnar Zitek, , , , - - Der Kuß - Chor und Orchester der Brünner Staat op. 30 - O - - Valcuha Domenico Alaleona - Mirra2003 21.11.2003 Denia Mazzola-Gavazzeni, Julia VHS-A - - - Paris Gertseva, Hanna Schaer, Mario - (1881 - 1928) - Juraj Valcuha Malagnini, Franck Ferrari, , , , - - - Orchestre National de France Ur 901 - O - - Valcuha Gaetano Donizetti - L'Elisir d'amore2009 01.12.2009 Nino Machaidze, Giuseppe Filianoti, CD - - - München Fabio Maria Capitanucci, Ambrogio - (1797 - 1848) - Juraj Valcuha Maestri, Lana Kos, , , , - - Der Liebestrank - Bayerisches Staatsorchester Oper 41 - O - - Válek Jules Massenet - Marie - Magdaleine2003 29.04.2003 Eva Drízgova-Jirusová, Jana Sýkorová, CD - - - Prag Jaroslav Brezina, Gustáv Belácek, , , , , - Vladimir Válek (1842 - 1912) - - - - Prager Radio-Sinfonieorchester W 902 - O - - Varviso Gaetano Donizetti - Anna Bolena Soliutis, Horne, , , , , , , VHS-A - - - Wien 51,07 - Silvio Varviso (1797 - 1848) - - - - Staatsoper W 35,0101 - OS - - Varviso Gaetano Donizetti - Anna Bolena Alexander, , , Nicolai Ghiaurov, , , , , VHS-A - - - Wien 57,02 - Silvio -
Susanne M. Winterling
Susanne M. Winterling Born 1970, Rehau/Oberfranken, DE Meisterschülerin, 2005 Fine Art Academy, Hamburg and Braunschweig Akademie Isotrop MA, Philosophy and Art History, 1995 Lives and works in Berlin and Oslo Solo Exhibitions 2016 In Search for Radical Incomplete #3 Black Hole Hunters (two person show with A. Navratil), curated by Övul O. Durmuşoğlu, Kunstverein Lagenhagen, Lagenhagen, Germany 2015 Space Elevator: Streetbodies and Donkeydreams, The Cologne Room, Los Angeles, CA 2014 Drift, Parrotta Contemporary Art, Stuttgart, Germany Luminous Bodies, Hiromi Yoshii Roponggi, Tokyo Empathetic Vision, Dinos, and the Tamer of Horses, Ludlow 38, New York, US Complicity, Kunstverein, Amsterdam, The Netherlands Faces, Surfaces, and Interfaces—Communities and the Commons, Ludlow 38, New York, US 2013 Shelter (Lighthouse of Fragility), part of artSOUTH: collaborations, Keyhaven Nature Reserve, New Forest, Lymington, UK pocketpark, Lüttgenmeijer, Berlin Game Heart Matter, Jessica Silverman Gallery, San Francisco, CA 2012 Susanne M. Winterling, Kunstlerhaus Bregenz Vertigo, Parrotta Contemporary, Stuttgart, DE The Inscribable Surface, Kunstverein Salzburger, Salzburg, DE Nox and Shelter (with Nadira Husain), Tempo Rubato, Tel Aviv, IL 2011 The Inscribable Surface, Frieze Frame, Silverman Gallery, London, UK Complement for Company (Skyline and Skin), Fotogalleriet, Oslo, NO 2010 They Called Each Other Horses, Centre d’Edition Contemporaine, Geneva, CH Prototyp 2 (Neue Bude) (w/ Ruth May), Kunsthalle Lingen, Lingen, DE Kunstpreis der Stadt Nordhorn -
Sources for Genealogical Research at the Austrian War Archives in Vienna (Kriegsarchiv Wien)
SOURCES FOR GENEALOGICAL RESEARCH AT THE AUSTRIAN WAR ARCHIVES IN VIENNA (KRIEGSARCHIV WIEN) by Christoph Tepperberg Director of the Kriegsarchiv 1 Table of contents 1. The Vienna War Archives and its relevance for genealogical research 1.1. A short history of the War Archives 1.2. Conditions for doing genealogical research at the Kriegsarchiv 2. Sources for genealogical research at the Kriegsarchiv 2. 1. Documents of the military administration and commands 2. 2. Personnel records, and records pertaining to personnel 2.2.1. Sources for research on military personnel of all ranks 2.2.2. Sources for research on commissioned officers and military officials 3. Using the Archives 3.1. Regulations for using personnel records 3.2. Visiting the Archives 3.3. Written inquiries 3.4. Professional researchers 4. Relevant publications 5. Sources for genealogical research in other archives and institutions 5.1. Sources for genealogical research in other departments of the Austrian State Archives 5.2. Sources for genealogical research in other Austrian archives 5.3. Sources for genealogical research in archives outside of Austria 5.3.1. The provinces of the Austro-Hungarian Monarchy and its “successor states” 5.3.2. Sources for genealogical research in the “successor states” 5.4. Additional points of contact and practical hints for genealogical research 2 1. The Vienna War Archives and its relevance for genealogical research 1.1. A short history of the War Archives Today’s Austrian Republic is a small country, but from 1526 to 1918 Austria was a great power, we can say: the United States of Middle and Southeastern Europe. -
Shostakovich (1906-1975)
RUSSIAN, SOVIET & POST-SOVIET SYMPHONIES A Discography of CDs and LPs Prepared by Michael Herman Dmitri Shostakovich (1906-1975) Born in St. Petersburg. He entered the Petrograd Conservatory at age 13 and studied piano with Leonid Nikolayev and composition with Maximilian Steinberg. His graduation piece, the Symphony No. 1, gave him immediate fame and from there he went on to become the greatest composer during the Soviet Era of Russian history despite serious problems with the political and cultural authorities. He also concertized as a pianist and taught at the Moscow Conservatory. He was a prolific composer whose compositions covered almost all genres from operas, ballets and film scores to works for solo instruments and voice. Symphony No. 1 in F minor, Op. 10 (1923-5) Yuri Ahronovich/Moscow Radio Symphony Orchestra ( + Overture on Russian and Kirghiz Folk Themes) MELODIYA SM 02581-2/MELODIYA ANGEL SR-40192 (1972) (LP) Karel Ancerl/Czech Philharmonic Orchestra ( + Symphony No. 5) SUPRAPHON ANCERL EDITION SU 36992 (2005) (original LP release: SUPRAPHON SUAST 50576) (1964) Vladimir Ashkenazy/Royal Philharmonic Orchestra ( + Symphonies Nos. 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14 and 15, Festive Overture, October, The Song of the Forest, 5 Fragments, Funeral-Triumphal Prelude, Novorossiisk Chimes: Excerpts and Chamber Symphony, Op. 110a) DECCA 4758748-2 (12 CDs) (2007) (original CD release: DECCA 425609-2) (1990) Rudolf Barshai/Cologne West German Radio Symphony Orchestra (rec. 1994) ( + Symphonies Nos. 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14 and 15) BRILLIANT CLASSICS 6324 (11 CDs) (2003) Rudolf Barshai/Vancouver Symphony Orchestra ( + Symphony No. -
EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES from The
EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES From the 19th Century To the Present A Discography Of CDs And LPs Prepared by Michael Herman Composers K-P MILOSLAV KABELÁČ (1908-1979, CZECH) Born in Prague. He studied composition at the Prague Conservatory under Karel Boleslav Jirák and conducting under Pavel Dedeček and at its Master School he studied the piano under Vilem Kurz. He then worked for Radio Prague as a conductor and one of its first music directors before becoming a professor of the Prague Conservatoy where he served for many years. He produced an extensive catalogue of orchestral, chamber, instrumental, vocal and choral works. Symphony No. 1 in D for Strings and Percussion, Op. 11 (1941–2) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 2, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 2 in C for Large Orchestra, Op. 15 (1942–6) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 3 in F major for Organ, Brass and Timpani, Op. 33 (1948-57) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 2, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Libor Pešek/Alena Veselá(organ)/Brass Harmonia ( + Kopelent: Il Canto Deli Augei and Fišer: 2 Piano Concerto) SUPRAPHON 1110 4144 (LP) (1988) Symphony No. 4 in A major, Op. 36 "Chamber" (1954-8) Marko Ivanovic/Czech Chamber Philharmonic Orchestra, Pardubice ( + Martin·: Oboe Concerto and Beethoven: Symphony No. 1) ARCO DIVA UP 0123 - 2 131 (2009) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos. -
O P E R a E X P L a I N
OPERA EXPLAINED An Introduction to… VERDI Aida written by Thomson Smillie narrated by David Timson 8.558009D Opera Explained: Aida An Introduction to… VERDI Aida written by Thomson Smillie narrated by David Timson 1 Introduction 3:50 2 Verdi’s three periods in a sixty-year span 1:38 3 The political backround 2:19 4 Aida – the beginnings 3:36 5 The Prelude and Act I 16:48 6 Act II 6:07 7 The Grand March 9:38 8 Act III 6:37 9 Act IV 4:52 0 The death scene 7:44 A complete recording of Verdi’s Aida is available as a 2CD set from Naxos. Maria Dragoni / Kristjan Johannsson / National Symphony Orchestra of Ireland / Rico Saccani Naxos 8.660033–34 2 8.558009 Opera Explained: Aida Giuseppe Verdi: Aida Opera – the word means ‘the works’ – is a synthesis of all the other arts: drama, vocal and orchestral music, dance, light, design; consequently, when it works it delivers an emotional impact none of the other arts can match. The only one of the arts whose origins can be precisely dated, it was ‘invented’ in Italy in 1597 as part of the Renaissance – the re-birth of interest in classical values. The name is Latin but the art form is truly international and crosses all linguistic and cultural barriers. It is probably the one art form whose audience continues to expand, not in spite of, but because of developments in entertainment technology. From its early origins in Italy, opera spread across Europe establishing individual and distinctive schools in a number of countries. -
Miroslav Tichý Kyjov, Moravia, Czech Republic
MIROSLAV TICHÝ Kyjov, Moravia, Czech Republic. 1926-2011 Miroslav Tichy was born in 1926 in what is today the Czech Republic. After studying at the Academy of Fine Arts in Prague, he withdrew to his native city of Kyjov. At the end of the 1950’s, he gave up painting and embarked on personal journey. At the end of the 1960’s, he began taking photographs, particularly of local women, using handmade cameras he had made himself. He later added to the photos with a pencil and placed them in handmade frames, creating a style somewhere between photography and drawing. The result is a body of work with formal qualities that surprises due to its unusual nature, ignoring the rules of conventional photography. His images form an extensive oeuvre with a poetic vision of female beauty. Ivorypress inaugurated Space I with an exhibition of Tichy’s work in 2009. It was his first exhibition in Spain. SOLO EXHIBITIONS (SELECTION) 2016 Miroslav Tichý o la Celebración del Proceso Fotográfico, Museo del Romanticismo, Madrid, Spain 2015 Miroslav Tichý: Women and women, Moravian Gallery, Brno, Czech Republic Drawings and Photographs - Miroslav Tichy, Delmes & Zander, Köln, Germany Piège pour un voyeur, Galerie Christophe Gaillard, Paris, France 2014 Click Click: Raphael Danke & Miroslav Tichý, Van Horn, Dusseldorf, Germany Miroslav Tichý, WestLicht, Wien, Austria 2013 City of the Women, Zephyr, Mannheim, Germany Homage to Miroslav Tichy, Prague Biennale, Prague, Czech Republic 2012 L’Homme a la Mauvaise Caméra, Pascal Polar Gallery, Brussels, Belgium The Artist -
The Italian Girl in Algiers
Opera Box Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Gioachino Rossini – a biography .............................45 Catalogue of Rossini’s Operas . .47 2 0 0 7 – 2 0 0 8 S E A S O N Background Notes . .50 World Events in 1813 ....................................55 History of Opera ........................................56 History of Minnesota Opera, Repertoire . .67 GIUSEPPE VERDI SEPTEMBER 22 – 30, 2007 The Standard Repertory ...................................71 Elements of Opera .......................................72 Glossary of Opera Terms ..................................76 GIOACHINO ROSSINI Glossary of Musical Terms .................................82 NOVEMBER 10 – 18, 2007 Bibliography, Discography, Videography . .85 Word Search, Crossword Puzzle . .88 Evaluation . .91 Acknowledgements . .92 CHARLES GOUNOD JANUARY 26 –FEBRUARY 2, 2008 REINHARD KEISER MARCH 1 – 9, 2008 mnopera.org ANTONÍN DVOˇRÁK APRIL 12 – 20, 2008 FOR SEASON TICKETS, CALL 612.333.6669 The Italian Girl in Algiers Opera Box Lesson Plan Title Page with Related Academic Standards lesson title minnesota academic national standards standards: arts k–12 for music education 1 – Rossini – “I was born for opera buffa.” Music 9.1.1.3.1 8, 9 Music 9.1.1.3.2 Theater 9.1.1.4.2 Music 9.4.1.3.1 Music 9.4.1.3.2 Theater 9.4.1.4.1 Theater 9.4.1.4.2 2 – Rossini Opera Terms Music -
Architecture and Space Our Congress Centre in Pictures and Figures Culture Meets Congress and Finds Him Devastatingly Good Looking
Architecture and Space Our congress centre in pictures and figures Culture meets Congress and finds him devastatingly good looking Mrs Culture and Mr Congress appear from opposite sides of the plaza in front of Bregenz Festival House. She is very elegantly dressed, he has more of a sporty look. Both of them are presumably on their way to an event taking place in the centre. As they approach one another it is clear how glad they are to meet again. Culture: Hello! Well now, you look damn good. Congress: You’re not the first person to say so. Culture (a little taken aback): And you’re pretty self-confident with it. Congress: Did I just adopt the wrong tone? Culture : The right tone is more my domain. Congress: In the figurative sense, yes. But technically speaking it’s mine. Sound, lighting, stage set are my responsibilities, and I feel equal to them all. Culture : There seem to be developments in your life which I have never gone through. Congress: That’s right. I’m doing a lot of sport at the moment. Culture: Please don’t do too much. I’m not too keen on muscle-bound types. Congress: Don’t worry, I’m mainly building up my stamina. The body is my house, it’s got to be solid. Culture : The body is the house in which your soul and mind dwell. Congress: Yeah, them too. But without a strong body... Culture : The body matters a lot to me, too, but not in the sense of what’s external. -
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. -
|What to Expect from L'elisir D'amore
| WHAT TO EXPECT FROM L’ELISIR D’AMORE AN ANCIENT LEGEND, A POTION OF QUESTIONABLE ORIGIN, AND THE WORK: a single tear: sometimes that’s all you need to live happily ever after. When L’ELISIR D’AMORE Gaetano Donizetti and Felice Romani—among the most famous Italian An opera in two acts, sung in Italian composers and librettists of their day, respectively—joined forces in 1832 Music by Gaetano Donizetti to adapt a French comic opera for the Italian stage, the result was nothing Libretto by Felice Romani short of magical. An effervescent mixture of tender young love, unforget- Based on the opera Le Philtre table characters, and some of the most delightful music ever written, L’Eli s ir (The Potion) by Eugène Scribe and d’Amore (The Elixir of Love) quickly became the most popular opera in Italy. Daniel-François-Esprit Auber Donizetti’s comic masterpiece arrived at the Metropolitan Opera in 1904, First performed May 12, 1832, at the and many of the world’s most famous musicians have since brought the opera Teatro alla Cannobiana, Milan, Italy to life on the Met’s stage. Today, Bartlett Sher’s vibrant production conjures the rustic Italian countryside within the opulence of the opera house, while PRODUCTION Catherine Zuber’s colorful costumes add a dash of zesty wit. Toss in a feisty Domingo Hindoyan, Conductor female lead, an earnest and lovesick young man, a military braggart, and an Bartlett Sher, Production ebullient charlatan, and the result is a delectable concoction of plot twists, Michael Yeargan, Set Designer sparkling humor, and exhilarating music that will make you laugh, cheer, Catherine Zuber, Costume Designer and maybe even fall in love.