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Doctor Atomic
John Adams Doctor Atomic CONDUCTOR Opera in two acts Alan Gilbert Libretto by Peter Sellars, PRODUCTION adapted from original sources Penny Woolcock Saturday, November 8, 2008, 1:00–4:25pm SET DESIGNER Julian Crouch COSTUME DESIGNER New Production Catherine Zuber LIGHTING DESIGNER Brian MacDevitt CHOREOGRAPHER The production of Doctor Atomic was made Andrew Dawson possible by a generous gift from Agnes Varis VIDEO DESIGN and Karl Leichtman. Leo Warner & Mark Grimmer for Fifty Nine Productions Ltd. SOUND DESIGNER Mark Grey GENERAL MANAGER The commission of Doctor Atomic and the original San Peter Gelb Francisco Opera production were made possible by a generous gift from Roberta Bialek. MUSIC DIRECTOR James Levine Doctor Atomic is a co-production with English National Opera. 2008–09 Season The 8th Metropolitan Opera performance of John Adams’s Doctor Atomic Conductor Alan Gilbert in o r d e r o f v o c a l a p p e a r a n c e Edward Teller Richard Paul Fink J. Robert Oppenheimer Gerald Finley Robert Wilson Thomas Glenn Kitty Oppenheimer Sasha Cooke General Leslie Groves Eric Owens Frank Hubbard Earle Patriarco Captain James Nolan Roger Honeywell Pasqualita Meredith Arwady Saturday, November 8, 2008, 1:00–4:25pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from the Neubauer Family Foundation. Additional support for this Live in HD transmission and subsequent broadcast on PBS is provided by the Alfred P. Sloan Foundation. Ken Howard/Metropolitan Opera Gerald Finley Chorus Master Donald Palumbo (foreground) as Musical Preparation Linda Hall, Howard Watkins, Caren Levine, J. -
RUSSIAN, SOVIET & POST-SOVIET SYMPHONIES Composers
RUSSIAN, SOVIET & POST-SOVIET SYMPHONIES A Discography of CDs and LPs Prepared by Michael Herman Composers A-G KHAIRULLO ABDULAYEV (b. 1930, TAJIKISTAN) Born in Kulyab, Tajikistan. He studied composition at the Moscow Conservatory under Anatol Alexandrov. He has composed orchestral, choral, vocal and instrumental works. Sinfonietta in E minor (1964) Veronica Dudarova/Moscow State Symphony Orchestra ( + Poem to Lenin and Khamdamov: Day on a Collective Farm) MELODIYA S10-16331-2 (LP) (1981) LEV ABELIOVICH (1912-1985, BELARUS) Born in Vilnius, Lithuania. He studied at the Warsaw Conservatory and then at the Minsk Conservatory where he studied under Vasily Zolataryov. After graduation from the latter institution, he took further composition courses with Nikolai Miaskovsky at the Moscow Conservatory. He composed orchestral, vocal and chamber works. His other Symphonies are Nos. 1 (1962), 3 in B flat minor (1967) and 4 (1969). Symphony No. 2 in E minor (1964) Valentin Katayev/Byelorussian State Symphony Orchestra ( + Vagner: Suite for Symphony Orchestra) MELODIYA D 024909-10 (LP) (1969) VASIF ADIGEZALOV (1935-2006, AZERBAIJAN) Born in Baku, Azerbaijan. He studied under Kara Karayev at the Azerbaijan Conservatory and then joined the staff of that school. His compositional catalgue covers the entire range of genres from opera to film music and works for folk instruments. Among his orchestral works are 4 Symphonies of which the unrecorded ones are Nos. 1 (1958) and 4 "Segah" (1998). Symphony No. 2 (1968) Boris Khaikin/Moscow Radio Symphony Orchestra (rec. 1968) ( + Piano Concertos Nos. 2 and 3, Poem Exaltation for 2 Pianos and Orchestra, Africa Amidst MusicWeb International Last updated: August 2020 Russian, Soviet & Post-Soviet Symphonies A-G Struggles, Garabagh Shikastasi Oratorio and Land of Fire Oratorio) AZERBAIJAN INTERNATIONAL (3 CDs) (2007) Symphony No. -
Top Attractions
LOS ANGELES L.A. LIVE 901 West Olympic Boulevard, Los Angeles, CA 90015 COURTYARD | 213.443.9222 | Marriott.com.com/LAXLD RESIDENCE INN | 213.443.9200 | Marriott.com/LAXRI 5 ATTRACTIONS 34 1 Arts District (2.8 mi) BURBANK 2 Bunker Hill (1.3 mi) 3 Chinatown (2.8 mi) 4 Dodger Stadium 5 Dolby Theater (7.5 mi) 18 101 6 Financial District (0.7 mi) PASADENA 7 Griffith210 Observatory/LA Zoo (8.3 mi) 8 Hollywood Bowl (8.3mi) 22 9 LACMA (6.2 mi) 10 LA LIVE (1 minute walk) 101 STAPLEs Center (less than 5 minute walk) Microsoft Theater (less than 5 minute walk) 7 11 Grammy Museum (less than 5 minute walk) 12 Little Tokyo (2.8 mi) 21 13 Los Angeles Coliseum/LA Rams Stadium (3 mi) 14 Los Angeles Convention Center (0.7 mi, 14 minute walk) 8 Los Angeles Music Center (1.8 mi) HOLLYWOOD 2. BUNKER HILL Dorothy Chandler Pavilion (1.8 mi) 25 32 5 3. CHINATOWN Ahmanson Theater (1.8 mi) 5 6. FINANCIAL DISTRICT Mark Taper Forum (1.8 mi) BEVERLY HILLS 12. LITTLE TOKYO Walt Disney Concert Hall (1.8 mi) 17. OLIVERA STREET 15 Los Angeles Public Library (0.9 mi) 4 28. GRAND CENTRAL 10 30. THE BLOC/MACY’S 16 OUE Skyspace LA (1.1 mi) 9 3 35. 7TH ST/METRO CENTER STATION 17 Olivera Street (2.6 mi) 36 36. UNION STATION 18 Rose Bowl Stadium (11.5 mi) 20 17 28 19 Santa Monica Pier (15.2 mi) 6 30 12 20 The Broad (1.6 mi) 21 16 35 2 27 The Getty (14.7 mi) 22 Universal Studios Hollywood/Universal60 City Walk (10 mi) 10 L.A. -
The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat
Tue, Jan 26, 2021 - The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 10:39 Mozart Adagio in B minor, K. 540 Mitsuko Uchida 00264 Philips 412 616 028941261625 00:13:3945:17 Dvorak Cello Concerto in B minor, Op. du Pre/Swedish Radio 07040 Teldec 85340 685738534029 104 Symphony/Celibidache 01:00:2631:11 Beethoven String Quartet No. 9 in C, Op. Tokyo String Quartet 04508 Harmonia 807424 093046742362 59 No. 3 Mundi 01:32:3708:09 Mozart Adagio & Fugue in C minor for Berlin 06660 DG 0005830 028947759546 Strings K. 546 Philharmonic/Karajan 01:42:1618:09 Telemann Paris Quartet No. 11 Kuijken 04867 Sony 63115 074646311523 Bros/Leonhardt 02:01:5529:22 Mozart Sinfonia Concertante in E flat, Frang/Rysanov/Arcang 12341 Warner 08256462 825646276776 K. 364 elo/Cohen Classics 76776 02:32:1726:39 Brahms Clarinet Trio in A minor, Op. Stoltzman/Ax/Ma 02937 Sony 57499 074645749921 114 Classical 03:00:2611:52 Liszt Mephisto Waltz No. 1 Evgeny Kissin 06623 RCA 58420 828765842020 03:13:1834:42 Strauss, R. Symphony in D minor Hong Kong 03667 Marco Polo 8.220323 73009923232 Philharmonic/Scherme rhorn 03:49:0009:52 Schubert Overture to Rosamunde, D. Leipzig Gewandhaus 00217 Philips 412 432 028941243225 797 Orchestra/Masur 04:00:2215:04 Haydn Piano Sonata No. 50 in D Julia Cload 02053 Meridian 84083 N/A 04:16:2628:32 Mozart Symphony No. 29 in A, K. 201 Prague Chamber 05596 Telarc 80300 089408030024 Orch/Mackerras 04:45:58 12:20 Webern In the Summer Wind Philadelphia 10424 Sony 88725417 887254172024 Orchestra/Ormandy 202 04:59:4806:23 Lehar Merry Widow Waltz Richard Hayman 08261 Naxos 8.578041- 747313804177 Symphony 42 05:07:11 21:52 Rachmaninoff Rhapsody on a Theme of Entremont/Philadelphia 04207 Sony 46541 07464465412 Paganini, Op. -
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. -
Gold Medal 2018
Thursday 10 May 7pm, Barbican Hall Gold Medal 2018 Finalists Ljubica Stojanovic Dan-Iulian Drut¸ac Joon Yoon Guildhall Symphony Orchestra James Judd conductor Guildhall School of Music & Drama Barbican Founded in 1880 by the Gold Medal 2018 City of London Corporation Please try to restrain from coughing until the normal breaks in the performance. Chairman of the Board of Governors Thursday 10 May 2018 If you have a mobile phone or digital watch, Deputy John Bennett 7pm, Barbican Hall please ensure that it is turned off during the Principal performance. The Gold Medal, the Guildhall School’s premier Lynne Williams In accordance with requirements of the award for musicians, was founded and endowed Vice–Principal and Director of Music licensing authority, sitting or standing in in 1915 by Sir H. Dixon Kimber Bt MA Jonathan Vaughan any gangway is not permitted. No cameras, tape recorders, other types of Please visit our website at gsmd.ac.uk Finalists recording apparatus may be brought into the auditorium. It is illegal to record any Ljubica Stojanovic piano performance unless prior arrangements Dan-Iulian Drut¸ac violin have been made with the Managing Director Joon Yoon piano and the concert promoter concerned. No eating or drinking is allowed in the The Jury auditorium. Smoking is not permitted Donagh Collins anywhere on the Barbican premises. Kathryn Enticott Paul Hughes Barbican Centre James Judd Silk St, London EC2Y 8DS Jonathan Vaughan (Chair) Administration: 020 7638 4141 Box Office Telephone Bookings: Guildhall Symphony Orchestra 020 7638 8891 (9am-8pm daily: booking fee) James Judd conductor barbican.org.uk The Guildhall School is part of Culture Mile: culturemile.london The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation Gold Medal winners since 1915 Gold Medal 2018 Singers 1979 Patricia Rozario 1947 Mary O White Ljubica Stojanovic piano 1915 Lilian Stiles-Allen 1981 Susan Bickley 1948 Jeremy White Prokofiev Piano Concerto No. -
Navigating, Coping & Cashing In
The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings. -
By Messenger and E-Mail
Victor De la Cruz || 1^1 Iclll Manatt, Phelps & Phillips, LLP manatt | phelps | phillips Direct Dial. (310)312-4305 E-mail: [email protected] October 21, 2014 Client-Matter: 45860-031 BY MESSENGER AND E-MAIL President Patsaouras and Honorable Commissioners Board of Recreation and Parks Commissioners City of Los Angeles 221 N. Figueroa Street, Room 1510 Los Angeles, CA 90012 Re: The Greek Theatre Concession Award - Response to Mayer Brown Letters of October 8, 2014 and October 20, 2014 Dear President Patsaouras and Honorable Commissioners: On behalf of Live Nation Worldwide, Inc. ("Live Nation"), we write in response to the October 8, 2014 and October 20, 2014 letters from Nederlander-AEG's legal counsel. Unfortunately, these letters are nothing more than additional attempts to confuse and delay the process after your staff and a five person independent panel of experts (the "Evaluation Panel") unanimously found that Live Nation by far delivered the superior proposal to operate the Greek Theatre for the next 20 years. Live Nation scored a total of 455 points out of a possible 500, whereas Nederlander-AEG only scored 396. Live Nation delivered a vastly superior proposal - it is that simple. This letter will demonstrate, and even the most cursory review of the two proposals will confirm, that Nederlander-AEG's proposal - like Nederlander's current operation of the Greek Theatre - leaves much to be desired. Whether it's the Nederlander-AEG proposal's inappropriate use of Patina Group venue photographs (Patina Group is not Nederlander's, but Live Nation's food and beverage partner), a capital improvement contribution that isn't even half of Live Nation's, or a misleading pro forma projecting revenue from up to 80 shows when the proposal guarantees 50 shows elsewhere, the 40-year incumbent's proposal was so flawed that it could only have come from a company with a self-entitled belief that it, and not the people of Los Angeles, own the Greek Theatre. -
Report on the Foreign Policy of the Czech Republic 2007
CONTENTS INTRODUCTION......................................................................................................................6 I. MULTILATERAL COOPERATION ................................................................................. 14 1. The Czech Republic and the European Union ........................................................ 14 The Czech Republic and the EU Common Foreign and Security Policy ............. 33 The Czech Republic and European Security and Defence Policy ........................ 42 2. The Czech Republic and the North Atlantic Treaty Organisation (NATO) ............ 48 3. The Czech Republic and Regional Cooperation ..................................................... 74 Visegrad cooperation ............................................................................................. 74 Central European Initiative (CEI) .......................................................................... 78 Regional Partnership .............................................................................................. 80 Stability Pact for South East Europe ..................................................................... 82 4. The Czech Republic and other European international organisations and forums .. 84 The Czech Republic and the Organisation for Security and Cooperation in Europe (OSCE)................................................................................................................... 84 Council of Europe ................................................................................................. -
Fire and Ice from Album the Unforgiving
Fire and Ice From album The Unforgiving Originally composed by Within Temptation Arrangement for piano and voice by Tommaso Murgia = 72 Cm Voce 4 Piano 4 4 Fm CMaj 4 E very wordyou're say ing is a li e. Run a wa Cm Fm CMaj 7 y mydear but e very sign will say your heart is deaf All rights go to Within Temptation, songwriters Sharon den Adel, Robert Westerholt, Martijn Spierenburg, Producer Daniel Gibson and labels Dragnet/Sony (Europe) and Roadrunner (US and Japan) 10 Cm Cm Gm Bu ry all the me mories, cover themwithdirt 13 Fm D♯Maj where's thelove weonce had? Our de sti ny's un sure. Why Cm 15 Gm can't you see what we had? Let the fi re burn the ice. All rights go to Within Temptation, songwriters Sharon den Adel, Robert Westerholt, Martijn Spierenburg, Producer Daniel Gibson and labels Dragnet/Sony (Europe) and 2 Roadrunner (US and Japan) 17 Fm D♯Maj GMaj G♯Maj Where'sthelove weoncehad? Is it all a lie And I still won A♯Maj Cm Gm G♯Maj 20 der why ourhea ven has died theskiesare all fal ling -
Ojai North Music Festival
CAL PERFORMANCES PRESENTS Thursday–Saturday, June 19–21, 2014 Hertz Hall Ojai North Music Festival Jeremy Denk Music Director, 2014 Ojai Music Festival Thomas W. Morris Artistic Director, Ojai Music Festival Matías Tarnopolsky Executive and Artistic Director, Cal Performances Robert Spano, conductor Storm Large, vocalist Timo Andres, piano Aubrey Allicock, bass-baritone Kim Josephson, baritone Dominic Armstrong, tenor Ashraf Sewailam, bass-baritone Rachel Calloway, mezzo-soprano Peabody Southwell, mezzo-soprano Keith Jameson, tenor Jennifer Zetlan, soprano The Knights Eric Jacobsen, conductor Brooklyn Rider Uri Caine Ensemble Hudson Shad Ojai Festival Singers Kevin Fox, conductor Ojai North is a co-production of the Ojai Music Festival and Cal Performances. Ojai North is made possible, in part, by Patron Sponsors Liz and Greg Lutz. Cal Performances’ – season is sponsored by Wells Fargo. CAL PERFORMANCES 13 FESTIVAL SCHEDULE Thursday–Saturday, June 19–21, 2014 Hertz Hall Ojai North Music Festival FESTIVAL SCHEDULE Thursday, June <D, =;<?, Cpm Welcome : Cal Performances Executive and Artistic Director Matías Tarnopolsky Concert: Bay Area première of The Classical Style: An Opera (of Sorts) plus Brooklyn Rider plays Haydn Brooklyn Rider Johnny Gandelsman, violin Colin Jacobsen, violin Nicholas Cords, viola Eric Jacobsen, cello The Knights Aubrey Allicock, bass-baritone Dominic Armstrong, tenor Rachel Calloway, mezzo-soprano Keith Jameson, tenor Kim Josephson, baritone Ashraf Sewailam, bass-baritone Peabody Southwell, mezzo-soprano Jennifer Zetlan, soprano Mary Birnbaum, director Robert Spano, conductor Friday, June =;, =;<?, A:>;pm Talk: The creative team of The Classical Style: An Opera (of Sorts) —Jeremy Denk, Steven Stucky, and Mary Birnbaum—in a conversation moderated by Matías Tarnopolsky PLAYBILL FESTIVAL SCHEDULE Cpm Concert: Second Bay Area performance of The Classical Style: An Opera (of Sorts) plus Brooklyn Rider plays Haydn Same performers as on Thursday evening. -
Director's Foreword Statement of the Board International Support ISGIES
p. 4 Director’s Foreword p. 9 Statement of the Board p. 12 International Support p. 40 ISGIES p. 42 Visitors p. 54 International Residencies p. 62 Programme p. 65 p. Publications p. 69 Office for Contemporary Art Norway Annual Report 2015 Project: Staging Three. “Incidental Insurgents” p. 72 Project: Staging Two. “They Went Away to Stay” p. 76 Norway at the Venice Biennale p. 83 OCA in the Press p. 103 Key Figures 2015 p. 122 Organisation and the Board Office for Contemporary Art Norway 3 “Norway has always been a place in which the while reflecting upon the history of sound as a boundaries of the world have been questioned. force of repression, emancipation and excitation, Director’s Foreword As early as 1075, Bishop Adam of Bremen noted as well as contemporary concepts of consonance Norway’s position on the edge of the world thus: and dissonance, and the water, glass and light ‘Beyond Norway, which is the farthermost northern of Venice. Weaving together architectural and country, you will find no human habitation, nothing sculptural interventions in the space of the pavilion, but ocean, terrible to look upon and limitless, Norment developed a new composition for the glass encircling the whole world.’ Inevitably, a nation at armonica – a legendary 18th-century instrument the edge of the world is also one from which the that creates ethereal music from glass and water very frontiers of reason can be questioned. From – and a chorus of female voices, as well as the a historic perspective, it was along those northern resonances of the pavilion itself.