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Brochure De La Saison 2021-2022
Les Talens Lyriques Les Talens Lyriques ont 30 ans ! ui, nous célébrerons cet anniversaire coûte que coûte. O Quelle longévité ! Je ne l’aurais moi-même jamais espé- rée. Comment m’imaginer diriger tant d’opéras, italiens et français, comment imaginer Les Talens à l’opéra de Sydney, de Versailles ou de Drottningholm, comment aurais-je pu me voir diriger du Berlioz, du Verdi, du Gounod ? Ma grande satisfaction est d’avoir tenu ma ligne entre la France et l’Italie, d’avoir pu éviter l’effet pour l’effet, d’avoir pris des risques avec les trompettistes mais aussi les cornistes et autres aventuriers du baroque pour retrouver les techniques et les sonorités « justes ». Je ne rougis d’aucune eau dans le vin que je respecte trop pour l’édulcorer. Cette saison marquera aussi nos 15 ans d’actions pédagogiques dans les écoles et les collèges. Aujourd’hui, les partenariats se transforment et se multiplient, de nou- veaux projets se développent dans ce souci de transmis- sion qui m’est si cher. Bien sûr, tous ces accomplissements ne seraient pos- sibles sans l’aide de nos partenaires qui nous soutiennent fidèlement depuis de nombreuses années. Sans eux, Les Talens Lyriques n’auraient pu mener à bien tous ces beaux projets. Qu’ils en soient ici très chaleureusement remerciés. Et merci à vous cher public pour votre présence pas- sionnée à nos côtés depuis toutes ces années. Vous me manquez, et j’ai hâte de vous retrouver ! Et maintenant : que la fête commence ! Cette saison justement rassemble ce qui est le cœur de notre vocation : 3 beaucoup d’opéras, surtout méconnus ; de la musique de chambre (car le claveciniste que je suis tient à rester aussi chambriste) ; des récitals de jeunes chanteurs (car découvrir de nouveaux talents est aussi notre marque de fabrique) ; et des incursions dans le romantisme. -
Don Juan Entire First Folio
First Folio Teacher Curriculum Guide Don Juan by Molière translated, adapted and directed by Stephen Wadsworth January 24—March 19, 2006 First Folio Teacher Curriculum Guide Table of Contents Page Number Welcome to the Shakespeare Theatre Company’s production ofDon Juan by Molière! A Brief History of the Audience…………………….1 Each season, the Shakespeare Theatre Company About the Playwright presents five plays by William Shakespeare and other classic playwrights. The Education Department Molière’s Life………………….…………………………………3 continues to work to deepen understanding, Molière’s Theatre…….……………………………………….4 appreciation and connection to classic theatre in 17th•Century France……………………………………….6 learners of all ages. One approach is the publication of First Folio: Teacher Curriculum Guides. About the Play Synopsis of Don Juan…………………...………………..8 In the 2005•06 season, the Education Department Don Juan Timeline….……………………..…………..…..9 will publish First Folio: Teacher Curriculum Guides for Marriage & Family in 17th•Century our productions ofOthello, The Comedy of Errors, France…………………………………………………...10 Don Juan, The Persiansand Love’s Labor’s Lost. The Guides provide information and activities to help Splendid Defiance……………………….....................11 students form a personal connection to the play before attending the production at the Shakespeare Classroom Connections Theatre Company. First Folio guides are full of • Before the Performance……………………………13 material about the playwrights, their world and the Translation & Adaptation plays they penned. Also included are approaches to Censorship explore the plays and productions in the classroom Questioning Social Mores before and after the performance.First Folio is Playing Around on Your Girlfriend/ designed as a resource both for teachers and Boyfriend students. Commedia in Molière’s Plays The Shakespeare Theatre Company’s Education Department provides an array of School, • After the Performance………………………………14 Community, Training and Audience Enrichment Friends Don’t Let Friends.. -
~'7/P64~J Adviser Department of S Vie Languages and Literatures @ Copyright By
FREEDOM AND THE DON JUAN TRADITION IN SELECTED NARRATIVE POETIC WORKS AND THE STONE GUEST OF ALEXANDER PUSHKIN DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By James Goodman Connell, Jr., B.S., M.A., M.A. The Ohio State University 1973 Approved by ,r-~ ~'7/P64~j Adviser Department of S vie Languages and Literatures @ Copyright by James Goodman Connell, Jr. 1973 To my wife~ Julia Twomey Connell, in loving appreciation ii VITA September 21, 1939 Born - Adel, Georgia 1961 .•..••. B.S., United States Naval Academy, Annapolis, Maryland 1961-1965 Commissioned service, U.S. Navy 1965-1967 NDEA Title IV Fellow in Comparative Literature, The University of Georgia, Athens, Georgia 1967 ••••.•. M.A. (Comparative Literature), The University of Georgia, Athens, Georgia 1967-1970 NDFL Title VI Fellow in Russian, The Ohio State University, Columbus, Ohio 1969 •.•••.• M.A. (Slavic Languages and Literatures), The Ohio State University, Columbus, Ohio 1970 .•...•. Assistant Tour Leader, The Ohio State University Russian Language Study Tour to the Soviet Union 1970-1971 Teaching Associate, The Ohio State University, Columbus, Ohio 1971-1973 Assistant Professor of Modern Foreign Languages, Valdosta State College, Valdosta, Georgia FIELDS OF STUDY Major field: Russian Literature Studies in Old Russian Literature. Professor Mateja Matejic Studies in Eighteenth Century Russian Literature. Professor Frank R. Silbajoris Studies in Nineteenth Century Russian Literature. Professors Frank R. Silbajoris and Jerzy R. Krzyzanowski Studies in Twentieth Century Russian Literature and Soviet Literature. Professor Hongor Oulanoff Minor field: Polish Literature Studies in Polish Language and Literature. -
DON GIOVANNI -...:: Ensemble San Felice
Produzione Opera Network Ensemble San Felice DON GIOVANNI Mozart Gazzaniga Teatrodante Carlo Monni Campi Bisenzio Giovedì 6 febbraio 2020 ore 21 Teatro Poliziano Montepulciano Domenica 1 marzo 2020 ore 17 in collaborazione con Cantiere Internazionale d’Arte Montepulciano Teatrodante Carlo Monni Campi Bisenzio Don Giovanni Mozart - Gazzaniga prima rappresentazione a cura di Luigi Cherubini, Parigi 1791 adattamento drammaturgico Carla Zanin direzione artistica Paolo Bellocci direttore Federico Bardazzi regia Andrea Bruno Savelli scenografie virtuali Ines Cattabriga, Carla Zanin costumista Giulia Gianni luci a cura degli allievi del Corso sound & light ENSEMBLE SAN FELICE 3 Personaggi e interpreti Mozart Don Giovanni Marcello Lippi baritono Leporello Claudio Ottino baritono Donna Anna Susanna Rigacci soprano Donna Elvira Letizia Dei soprano Zerlina Choi Seoyeon mezzosoprano Don Ottavio Chen Dalai tenore Masetto Umut Gurbuz Seydialioglu baritono Il Commendatore Ivan Volkov basso Personaggi e interpreti Gazzaniga Don Giovanni Enkebatu tenore Pasquariello Sandro Degl’Innocenti baritono Donna Elvira Oksana Maltseva soprano Donna Anna Doriana Tavano soprano Maturina Miao Jiao (6/2), Mira Dozio (1/3) soprano Donna Ximena Floriano D’Auria mezzosoprano Duca Ottavio Yuan Jianguang tenore Lanterna Francesco Marchetti tenore Biagio Umut Gurbuz Seydialioglu baritono Il Commendatore Jing Shuheng basso 4 Orchestra oboi Marco Del Cittadino, Cesare Pierozzi corni Andrea Mugnaini, Gianni Calonaci violini I Petru Ladislau Horvath*, Kevin Mucaj violini II Maurizio Cadossi, Ana Aline Valentim viola Anna Noferini violoncello Stefano Aiolli contrabbasso Pablo Escobar mandolino Andrea Benucci assistente musicale e clavicembalo Dimitri Betti assistente alla regia e direttore di scena Angelica Rindi disegni per le videoscenografie Elena Geppi elaborazione immagini e videoproiezioni Federico Orsini tecnici luci Claudio Barone, Andrea Cardelli, Anna Galeno, Ettore Mariotti. -
The Element of Self-Interest in Moliã¨Re's Characterisation
, I 'l'HE ELm1ENT OF SELF-INTEREST IN MOLIERE I S CHp,RAC'rERISNI'ION THE ELEMENT OF SELF-INTEREST IN MOLIERE'S CHARAC'I'ERISA'I'ION by Bola Sodipo, B.A. '(Manches ter) A Thesis Submitted to the Faculty of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMas'ter Uni vend ty October 1970 !-1ASTER OF ARTS (1970) Mcl!J:ASTER Ul'iilVERSITY (Romance Languages) Hamilton, Ontario TITLE: The Element of Self-Interest in Moliere's Characterisation AUTHOR: Bola Sodipo, B.A. (Manches"ter) SUPERVISOR: Dr. G. A. Warner NUMBER OF PAGES: iv I 99. SCOPE AND CONTENTS: A discussion of the na"ture of self~in·- terest and an analysis of how Moliere exploits this them.ein the creation of his comic types. ii ACKNmvLEDGEMENT I should.like to express my sincere gratitude to Professor G. l"larner, who gave me invaluable help and guidance during the course of this study. Indeed, I am indebted to him for suggesting the psychological r drcnnatic and comic terms in which the element of self-interest is examined. iii TAB LEO F CON TEN T S Page INTRODUCTION 1 CHAPTER I THE PSYCHOLOGY OF SELF-INTEP~ST 9 CHAPTER II THE DR~1ATIC EXPLOITATION OF SELF-IN'l'EREST 34 CHAPTER III THE COMIC EXPLOITATION OF SELF-INTEREST 60 CONCLUSION 90 BIBLIOGRA.PHY 94 iv INTRODUCTION Self-·interest is defined ln t,he Concise Oxford Dic'tionary as being II actua'ted or absorbed in what one con- ceives to be 'for one's interests Ii. -
"Don Juan". Nancy Clark Victory Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1998 "To Play With Fixities and Definites": Byron's Fanciful Real World Games in "Don Juan". Nancy Clark Victory Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Victory, Nancy Clark, ""To Play With Fixities and Definites": Byron's Fanciful Real World Games in "Don Juan"." (1998). LSU Historical Dissertations and Theses. 6766. https://digitalcommons.lsu.edu/gradschool_disstheses/6766 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Jonas Kaufmann: “No Me Interesa El Camino Fácil”
CONCURSOS: Los 30 años del Carlo Morelli año XVIII • número 6 noviembre-diciembre 2010 • cincuenta pesos ENTREVISTAS VERÓNICA MURÚA VÍCTOR RASGADO BATUTA LOS 40 AñOS DE JAMES LEVINE fRENTE AL MET Jonas Kaufmann: “No me interesa el camino fácil” CRÍTICA: pro opera¾ www.proopera.org.mx Dos farsasde de la Rossini UNAM en la Sala Covarrubias DIRECTORIO REVISTA índice COMITÉ EDITORIAL 2 Nuestros patronos Charles H. Oppenheim Ignacio Orendain Kunhardt 4 Cartas al editor José Sánchez Padilla Xavier A. Torresarpi 6 Ópera en México DIRECTOR GENERAL 10 México en el mundo Xavier A. Torresarpi CONCURSOS EDITOR 12 Los 30 años del Carlo Morelli Charles H. Oppenheim [email protected] 14 Ópera en los estados CORRECCIÓN DE ESTILO Darío Moreno CRÍTICA 20 16 Dos farsas de Rossini COLABORAN EN ESTE NÚMERO en la UNAM Alejandro Anaya Huerta Otto Cázares EFEMÉRIDES Carlos Fuentes y Espinosa Juan Carlos García Bazán 20 El bicentenario de Luis Gutiérrez Ruvalcaba La cambiale di matrimonio Ingrid Haas José Noé Mercado ANIVERSARIO Hugo Roca Joglar 23 El siglo de La fanciulla del West Gabriel Rangel Vladimiro Rivas Iturralde COMPOSITORES Arturo Rodríguez Torres José Octavio Sosa 26 Víctor Rasgado: Gonzalo Uribarri Carpintero Música y cuadrados mágicos www.proopera.org.mx. 29 Los 20 años de Anacleto Morones CORRESPONSALES EN ESTE NÚMERO Eduardo Benarroch Francesco Bertini ÓPERA Y JUSTICIA Jorge Binaghi 30 Pagliacci, de la commedia dell’arte Giosetta Guerra al homicidio Lorena Jiménez Daniel Lara 26 DOCENCIA Maria Nockin 34 Consideraciones para elegir Gustavo Gabriel Otero Mercedes Rodríguez el repertorio de canto Ximena Sepúlveda (segunda de tres partes) Massimo Viazzo BATUTA FOTOGRAFIA 38 Los 40 años de James Levine Ana Lourdes Herrera al frente del Met DISEÑO ORIGINAL Francis Xavie - Página Cinco ENSAYO 42 ¿Es posible DISEÑO GRAFICO la crítica de ópera? Ida Arellano (segunda de dos partes) DISEÑO PÁGINA WEB PORTADA Christiane Kuri – Espacio Azul 48 Jonas Kaufmann: IMPRESION “No me interesa el camino fácil” Servicios Profesionales de Impresión, S.A. -
Death in the Comedy of Molière
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 8-2003 Dying for a laugh : death in the comedy of Molière Clara Noëlle Wynne Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Recommended Citation Wynne, Clara Noëlle, "Dying for a laugh : death in the comedy of Molière. " PhD diss., University of Tennessee, 2003. https://trace.tennessee.edu/utk_graddiss/5211 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Clara Noëlle Wynne entitled "Dying for a laugh : death in the comedy of Molière." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy, with a major in Modern Foreign Languages. Sal DiMaria, Major Professor We have read this dissertation and recommend its acceptance: Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a dissertation written by Clara Noelle Wynne entitled "Dying for a Laugh: Death in the Comedy of Moliere". I have examined the final paper copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy, with a major in Modern Foreign Languages. -
Swr2 Programm Kw 48 / 27.11
SWR2 PROGRAMM - Seite 1 - KW 48 / 27.11. - 03.12.2017 5.00 Nachrichten, Wetter Und übrigens können auch Männer Montag, 27. November Sprache und Mimik von Babys intuitiv 5.03 ARD-Nachtkonzert erfassen. Das hatten Psychologen 0.05 SWR2 Spezial Samuel Scheidt: lange bezweifelt. Erst in den letzten 50. SWR NEWJazz Meeting Canzon aechiopicam aus “Ludi musici” Jahren interessiert sich die Forschung (Zeitversetzte Übertragung des Canadian Brass überhaupt für Väter und ihre Abschlusskonzerts aus dem Tollhaus Antonio Rosetti: Bedeutung für die emotionale und Karlsruhe) Sinfonie g-Moll kognitive Entwicklung der Kinder. Pratum Integrum Orchestra Mit dem 24-jährigen brasilianischen Leitung: Sergei Filchenko 8.58 SWR2 Programmtipps Gitarristen Pedro Martins hat im Jahr Francis Poulenc: 2017 erstmals ein Musiker aus Bransle de Champagne, Pavane und 9.00 Nachrichten, Wetter Südamerika das SWR NEWJazz Sicilienne aus der “Suite française” Meeting kuratiert. Für die Anne Queffélec (Klavier) 9.05 SWR2 Musikstunde Jubiläums-Ausgabe des legendären Gustave A. Kerker: Der Mann im Leuchtturm: Charles Klanglabors für improvisierte Musik ”The Belle of New York”, Koechlin (1) stellte er eine Wunsch-Band Orchestersuite Mit Thomas Rübenacker zusammen, die in dieser Besetzung NDR Radiophilharmonie noch nie zusammen gespielt hat. Leitung: Howard Griffiths An der Wende vom 19. zum 20. “Spider’s Egg” nennt er das Sextett mit Manuel Maria Ponce: Jahrhundert passierte viel in der Musik internationalen Improvisatorinnen und ”Estrellita” aus “Dos Canciones – und eine neue Kunstform etablierte Improvisatoren, die eine Woche lang mexicanes” sich, der Film. Damals wanderten im Studio 2 in Baden-Baden Sharon Kam (Klarinette) Hoffnungsvolle aus Oberschwaben und experimentierten und ein Programm Itamar Golan (Klavier) dem armen Elsass nach Kalifornien, erarbeiteten. -
UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title On Both Sides of the Atlantic: Re-Visioning Don Juan and Don Quixote in Modern Literature and Film Permalink https://escholarship.org/uc/item/66v5k0qs Author Perez, Karen Patricia Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE On Both Sides of the Atlantic: Re-Visioning Don Juan and Don Quixote in Modern Literature and Film A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Spanish by Karen Patricia Pérez December 2013 Dissertation Committee: Dr. James A. Parr, Chairperson Dr. David K. Herzberger Dr. Sabine Doran Copyright by Karen Patricia Pérez 2013 The Dissertation of Karen Patricia Pérez is approved: Committee Chairperson University of California, Riverside Acknowledgments I would like to express my deepest appreciation to my committer Chair, Distinguished Professor James A. Parr, an exemplary scholar and researcher, a dedicated mentor, and the most caring and humble individual in this profession whom I have ever met; someone who at our very first meeting showed faith in me, gave me a copy of his edition of the Quixote and welcomed me to UC Riverside. Since that day, with the most sincere interest and unmatched devotedness he has shared his knowledge and wisdom and guided me throughout these years. Without his dedication and guidance, this dissertation would not have been possible. For all of what he has done, I cannot thank him enough. Words fall short to express my deepest feelings of gratitude and affection, Dr. -
Don Giovanni Opera Box Lesson Plan Title Page with Related Academic Standards
Opera Box 620 North First Street, Minneapolis, MN 55401 Kevin Ramach, PRESIDENT AND GENERAL DIRECTOR Dale Johnson, ARTISTIC DIRECTOR Dear Educator, Thank you for using a Minnesota Opera Opera Box. This collection of material has been designed to help any educator to teach students about the beauty of opera. This collection of material includes audio and video recordings, scores, reference books and a Teacher’s Guide. The Teacher’s Guide includes Lesson Plans that have been designed around the materials found in the box and other easily obtained items. In addition, Lesson Plans have been aligned with State and National Standards. See the Unit Overview for a detailed explanation. Before returning the box, please fill out the Evaluation Form at the end of the Teacher’s Guide. As this project is new, your feedback is imperative. Comments and ideas from you – the educators who actually use it – will help shape the content for future boxes. In addition, you are encouraged to include any original lesson plans. The Teacher’s Guide is intended to be a living reference book that will provide inspiration for other teachers. If you feel comfortable, include a name and number for future contact from teachers who might have questions regarding your lessons and to give credit for your original ideas. You may leave lesson plans in the Opera Box or mail them in separately. Before returning, please double check that everything has been assembled. The deposit money will be held until I personally check that everything has been returned (i.e. CDs having been put back in the cases). -
The Liar As a Comic Figure in Plays by Ruiz De Alarcon, Corneille and Moliere
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-2006 The Liar as a Comic Figure in Plays by Ruiz de Alarcon, Corneille and Moliere Robert Matthew Patrick University of Tennessee, Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Modern Languages Commons Recommended Citation Patrick, Robert Matthew, "The Liar as a Comic Figure in Plays by Ruiz de Alarcon, Corneille and Moliere. " PhD diss., University of Tennessee, 2006. https://trace.tennessee.edu/utk_graddiss/4292 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Robert Matthew Patrick entitled "The Liar as a Comic Figure in Plays by Ruiz de Alarcon, Corneille and Moliere." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Modern Foreign Languages. Bryant Creel, Major Professor We have read this dissertation and recommend its acceptance: Edmund J. Campion, Salvatore Di Maria, Heather Hirschfeld Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a dissertation written by Robert Matthew Patrick entitled "The Liar as a Comic Figure in Plays by Ruiz de Alarcon, Corneille and Moliere." I have examined the final paper copy of this dissertation for formand content and recommend that it be accepted in partialfulfillment of the requirements for the degree of Doctor of Philosophy, with a major in Mode oreign Langua es.