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Frederica Von Stade
FREDERICA VON STADE Mezzo-soprano Described by the New York Times as "one of America's finest artists and singers," Frederica von Stade continues to be extolled as one of the music world's most beloved figures. Known to family, friends, and fans by her nickname "Flicka," the mezzo-soprano has enriched the world of classical music for three decades. Miss von Stade's career has taken her to the stages of the world's great opera houses and concert halls. She began at the top, when she received a contract from Sir Rudolf Bing during the Metropolitan Opera auditions, and since her debut in 1970 she has sung nearly all of her great roles with that company. In January 2000, the company celebrated the 30th anniversary of her debut with a new production of The Merry Widow specifically for her, and in 1995, as a celebration of her 25th anniversary, the Metropolitan Opera created for her a new production of Pelléas et Mélisande. In addition, Miss von Stade has appeared with every leading American opera company, including San Francisco Opera, Lyric Opera of Chicago, and Los Angeles Opera. Her career in Europe has been no less spectacular, with new productions mounted for her at Teatro alla Scala, Royal Opera Covent Garden, the Vienna State Opera, and the Paris Opera. She is invited regularly by the finest conductors, among them Claudio Abbado, Charles Dutoit, James Levine, Kurt Masur, Riccardo Muti, Seiji Ozawa, André Previn, Leonard Slatkin, and Michael Tilson Thomas, to appear in concert with the world's leading orchestras, including the Boston Symphony Orchestra, Chicago Symphony, Cleveland Orchestra, New York Philharmonic, Philadelphia Orchestra, San Francisco Symphony, London Symphony Orchestra, Washington's National Symphony, and the Orchestra of La Scala. -
Celebrating the American Spirit CD with Essential Voices USA, Kelli O’Hara and Ron Raines and Judith Clurman, Conductor
PRESS CONTACT Dan Dutcher Public Relations Dan Dutcher | 917.566.8413 | [email protected] Celebrating the American Spirit CD With Essential Voices USA, Kelli O’Hara and Ron Raines and Judith Clurman, Conductor CD TO BE RELEASED OCTOBER 23, 2012 FOR IMMEDIATE RELEASE, New York, NY Celebrating the American Spirit, performed by Essential Voices USA (EVUSA) and conducted by Judith Clurman along with guest artists, Broadway stars Kelli O’Hara and Ron Raines and composer-arranger Larry Hochman, represents an American songbook for the 21st century. The centerpiece of this CD is Sing Out, Mr. President, a song cycle of sixteen newly commissioned compositions set to quotations by American presidents from Washington to Obama. Originally performed at the Library of Congress and broadcast on National Public Radio, the cycle showcases the American composers Samuel Adler, Milton Babbitt, Robert Beaser, Jason Robert Brown, Thomas Cabaniss, Jake Heggie, Larry Hochman, Michael Gilbertson, Nora Kroll-Rosenbaum, Andrew Lippa, David Ludwig, Paul Moravec, Nico Muhly, Georgia Stitt, Zachary Wadsworth, and Jesse Wiener. The CD also includes individual new and newly arranged works by composers and writers such as Irving Berlin (It Gets Lonely In the White House and God Bless America), Leonard Bernstein (Take Care of This House), Sheldon Harnick (Reason to Be Thankful), Jennifer Higdon (A Quiet Moment), Larry Hochman (Two Paraphrases on American Anthems & American Dream) and Laurie Hochman (The Pledge of Allegiance and American Dream), David Ludwig (The New Colossus), Stephen Paulus (Hymn for America), Marc Shaiman (A Seed of Grain: Theme from The American President), and John Philip Sousa (Stars and Stripe Forever). -
Issue 3 November 2013 N E W S the Cause of Kairos Fever; Seniors Sign up in Record Numbers Lights Outs, School’S Out, a New Song By: Jennielittleton Mr
The Miegian Entertainment 2013 p. 8 & 9 Volume 57 Issue 3 November 2013 N E W S The Cause of Kairos Fever; Seniors Sign Up in Record Numbers Lights Outs, School’s Out, A New Song By: JennieLittleton Mr. Creach does, to advertise Kairos. comes from “grow(ing) in relation- institutions in twelve states, and inter- Thanks to this year’s unprecedented ships with other people and see(ing) estingly enough, has also been a part Fills the Halls Editor-in-Chief show of spirit and zeal for the pro- the good in everyone.” Summed up, of the prison ministry movement ever What’s the Reason for These Blackouts? gram, each retreat has more seniors her experience was “nice and refresh- since. than expected, and for the first time at ing.” Mr. Creach explained that By: MariaBaska Traditionally each year, three By: LouieLaFeve lunches for everyone and record pur- parents of our status. Most kids who three-day retreats are publicized, Miege, a fourth Kairos retreat was on- Miege’s history with Kai- sidered but was not able to be sched- ros started when, after the chases by hand, but that wasn’t an could drive left immediately, and we staff writer planned, and prepared for, waiting staff writer option. Some of the emergency flood corralled the rest up in the Commons for seniors to sign up. Kairos, a Greek uled. “Kairos is an amazing retreat had spread from lights had been drained of power, so to try and find rides. This day went Bishop Miege unveiled its term meaning “The Lord’s Not much is revealed about Catholic/Jesuit school to Many Miegians were treat- experience that I wish certain hallways were entirely dark,” on the record as a whole day since we new song “Spirit of Bishop Miege,” Time,” is the title used to Kairos until the retreat has school, five juniors were ed to a pleasant Halloween surprise he said. -
The State of Robin Thicke 6 Upvotes | 2 July, 2014 | by Soanxious
The State of Robin Thicke 6 upvotes | 2 July, 2014 | by SoAnxious What does Red Pill Think of the current state of Robin Thicke and Paula Patton's relationship and his debut of an Album named after her Paula while estranged from her. Did he go full blue pill? Example Archived from theredarchive.com www.TheRedArchive.com Page 1 of 2 Comments chill_geddy • 3 points • 2 July, 2014 11:33 PM Dude is doing the Hollywood shuffle I don't think it would be a good look for him to be 100 percent honest shit it is douche chill inducing though [deleted] • 3 points • 2 July, 2014 11:48 PM From "Lost Without You" to now, nothing has changed with this guy. It doesn't surprise me in the least. DENNIS_SYSTEM_PUA • 3 points • 3 July, 2014 01:01 AM It's really sick and sad to watch, particularly know what we know and how much we could help him. If I woke up with that cat's life, I'd put a gun in my mouth. TangoAlphaBravo • 2 points • 2 July, 2014 11:31 PM We think they should eat a lentil stew together. intrcept • 3 points • 3 July, 2014 01:44 AM Note to self: if I ever become I rock star, I will never dedicate music to a specific woman. If we broke up, I might be stuck performing it on tour for the rest of my life. note-to-self-bot • 3 points • 4 July, 2014 01:58 AM You should always rememeber: if I ever become I rock star, I will never dedicate music to a specific woman. -
The Story of a White Blackbird Alfred De Musset
The Story of a White Blackbird Alfred de Musset The Harvard Classics Shelf of Fiction, Vol. XIII, Part 3. Selected by Charles William Eliot Copyright © 2001 Bartleby.com, Inc. Bibliographic Record Contents Biographical Note Criticism and Interpretation By George Pellissier Chapter I Chapter II Chapter III Chapter IV Chapter V Chapter VI Chapter VII Chapter VIII Chapter XI Biographical Note LOUIS CHARLES ALFRED DE MUSSET was born in the heart of old Paris on November 11, 1810. His father, who held various important state offices, is remembered chiefly as the editor and biographer of Rousseau. Alfred was brought up in a literary atmosphere and his early experiments in poetry and the drama convinced Sainte Beuve that he possessed genius. When he was nineteen his “Contes d’Espagne et d’Italie” had a sensational success. Though he is reckoned a member of the romantic school, he was sufficiently detached and critical to be aware of its foibles, and in his “Ballade à la lune,” contained in this first volume, he poked fun at the romantic worship of the moon, comparing it as it shone above a steeple to the dot over an i. He had a strong admiration for certain elements in classicism, and it seemed at one time that he might found a new school combining the virtues of both the old and new. But his drama, “Une nuit vénitienne,” was a failure on the stage, and in the future he wrote only to be read and so missed much of the influence he might have had on the theatre of his day. -
MODELING HEROINES from GIACAMO PUCCINI's OPERAS by Shinobu Yoshida a Dissertation Submitted in Partial Fulfillment of the Requ
MODELING HEROINES FROM GIACAMO PUCCINI’S OPERAS by Shinobu Yoshida A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in The University of Michigan 2011 Doctoral Committee: Associate Professor Naomi A. André, Co-Chair Associate Professor Jason Duane Geary, Co-Chair Associate Professor Mark Allan Clague Assistant Professor Victor Román Mendoza © Shinobu Yoshida All rights reserved 2011 TABLE OF CONTENTS LIST OF FIGURES ...........................................................................................................iii LIST OF APPENDECES................................................................................................... iv I. CHAPTER ONE........................................................................................................... 1 INTRODUCTION: PUCCINI, MUSICOLOGY, AND FEMINIST THEORY II. CHAPTER TWO....................................................................................................... 34 MIMÌ AS THE SENTIMENTAL HEROINE III. CHAPTER THREE ................................................................................................. 70 TURANDOT AS FEMME FATALE IV. CHAPTER FOUR ................................................................................................. 112 MINNIE AS NEW WOMAN V. CHAPTER FIVE..................................................................................................... 157 CONCLUSION APPENDICES………………………………………………………………………….162 BIBLIOGRAPHY.......................................................................................................... -
Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated -
MEDIA RESOURCE NEWS Suffolk County Community College Libraries August 2014
MEDIA RESOURCE NEWS Suffolk County Community College Libraries August 2014 Ammerman Grant Eastern Rosalie Muccio Lynn McCloat Paul Turano 451-4189 851-6742 548-2542 [email protected] [email protected] [email protected] 8 Women/8 Femmes. A wealthy industrialist is found murdered in his home while his family gathers for the holiday season. The house is isolated and the phone lines have been found to be cut. Eight women are his potential murderers. Each is a suspect and each has a motive. Only one is guilty. In French with subtitles in English or Spanish and English captions for the hearing impaired. DVD 1051 (111 min.) Eastern A La Mar. "Jorge has only a few weeks before his five-year-old son Natan leaves to live with his mother in Rome. Intent on teaching Natan about their Mayan heritage, Jorge takes him to the pristine Chinchorro reef, and eases him into the rhythms of a fisherman's life. As the bond between father and son grows stronger, Natan learns to live in harmony with life above and below the surface of the sea."--Container. In Spanish, with optional English subtitles; closed-captioned in English. DVD 1059 (73 min.) Eastern Adored, The. "Maia is a struggling model. After suffering a major loss, her relationship with her husband is thrown into turmoil. She holds high hopes that a session with the prolific celebrity photographer, Francesca Allman, will rejuvenate her career and bring her out of her depression. However, Francesca suffers from severe OCD and has isolated herself in remote North West Wales in a house with an intriguing past. -
Die Lustige Witwe
Franz Lehár Franz Lehár Franz Die Die lustige Witwe lustige Witwe Frankfurter Opern- und Museumsorchester Chor der Oper Frankfurt Joana Mallwitz v OC 983 Franz Lehár (1870 – 1948) Die lustige Witwe Operette in drei Akten I Text von Victor Léon und Leo Stein nach der Komödie L’attaché d’ambassade (1861) von Henri Meilhac Uraufführung am 30. Dezember 1905, Theater an der Wien Live-Aufnahme der Premierenserie im Mai und Juni 2018 Oper Frankfurt Recording System Recording Producer: Teresa Kunz Oper Frankfurt Bernd Loebe, Intendant Sebastian Weigle, Generalmusikdirektor Besetzung | Cast Graf Danilo Danilowitsch Iurii Samoilov Frankfurter Opern- und Museumsorchester Hanna Glawari Marlis Petersen Chor der Oper Frankfurt Baron Mirko Zeta Barnaby Rea Dirigentin / conductor Joana Mallwitz Valencienne Kateryna Kasper Camille de Rosillon Martin Mitterrutzner Inszenierung / director Claus Guth Vicomte de Cascada Theo Lebow Bühnenbild & Kostüme / stage and costume Raoul de St. Brioche Michael Porter design Christian Schmidt Bogdanowitsch Gordon Bintner Dramaturgie / dramaturgy Konrad Kuhn Sylviane Elizabeth Reiter Chor / choir Tilman Michael Kromow Dietrich Volle Olga Maria Pantiukhova Pritschitsch Franz Mayer Dialoge in der Einrichtung Praskowia Margit Neubauer für die Inszenierung von Claus Guth, Njegus/Regisseur Klaus Haderer in gekürzter Form. Ein Pianist Mariusz Kłubczuk Ein Kameramann Stefan Biaesch Ein Scriptgirl Vanessa Schwab Tänzerinnen/Grisetten Gal Fefferman, Evie Poaros, Hannah Dewor, Madeline Ferricks-Rosevear, Marleen Jakob, Nami Miwa, Felicitas Hadzik, Kasia Kizior Tänzer Manuel Gaubatz, Rouven Pabst, Volodymyr Mykhatskyi, Christopher Basile, Robin Rohrmann, Joe Monaghan, Cristian Marlis Petersen – Hanna Glawari Arenas, Andrew Cummings Barnaby Rea – Baron Mirko Zeta Klaus Haderer – Njegus 2 CD 1 CD 2 ERSTER AKT [07] Nr. 6 Finale I: Damenwahl! (Hanna, ZWEITER AKT DRITTER AKT Danilo, St. -
Under the July Monarchy (1830-1848)
REPRESENTATIONS OF “LE TRAVAIL” UNDER THE JULY MONARCHY (1830-1848) by Rebecca Terese Powers A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland July, 2015 Representations of le travail under the July Monarchy ABSTRACT This project traces the definition of a social reality of labor under the July Monarchy. More specifically, it investigates how the ubiquitous but elusive term travail – understood as manual, non-agricultural work – operates at different levels of discourse in the 1830s and 1840s. To underline this specific cultural context, I employ the French travail rather than the English “work” or “labor.” French workers expected improved social conditions after their contribution to the 1830 Revolution, but were promptly denied this by the new Constitutional Monarchy. Their frustration came to a head in 1848, when they again revolted, demanding the right to work – le droit au travail. This moment is often considered the dawn of the French labor movement, but I contend that it is in the years leading up to 1848 that travail undergoes its most dramatic definition and consecration as a modern value. In order to better understand how the term took on such significance, I examine a variety of cultural documents, both literary and what we would today consider paraliterary. The corpus includes novels by Honoré de Balzac and George Sand; moralist inquiries by René Villermé and Honoré-Antoine Frégier; Jules Michelet’s historiography of the French people; and writings by the workers themselves, whose first-hand accounts of physical labor were becoming increasingly influential. -
185(~ If You Have Issues Viewing Or Accessing This File Contact Us at NCJRS.Gov
If you have issues viewing or accessing this file contact us at NCJRS.gov. .. 185(~ ........ ] ............................... 7 cOmpihtion of writings was produced by the National Campaign to Stop Violence. For T~ore information on the Campaigns programs and activities, please contact the Campaign at: National Campaign to Stop Violence 1120 G Street, NW,, Suite 990 Washington, D.C 20005 (202) 393-7583 (800) Z56-O23S ;. ,. ," ;, '~i 7 ,.-,' , t, ~t}+,,;~, .... j.,~.,.~.,. J~ ']0]; ,.'b.t..'"'~' Please do not reprint any part of this book without first obtaining permission from the National Campaign to Stop Violence. Table of Contents I. Do the Wn~e Th/ngChallenge 1 ",3 II. Participating Organizations 3 III. National Campaign to Stop Violence Board of Directors 5 IV. Do the WrRe ~ Challenge Program National Finalists 7 Atlanta 9 Taronda Gibbons 11 Leo L. Tolin 17 Chicago 21 Roberto Coney 23 Rominna Villasegor 27 Denver 31 Emily B royies 33 PhiUip Dorsey 37 Hartford 41 James Shurko 43 Jackie Strong 47 Houston 51 Devell Blanton 53 Bianca Flores 59 Las Vegas 67 Takara Green 69 Paul Scott 73 Los Angeles 77 Jasmina Aragon 79 Raul Perez 85 iii Miami 89 Vanessa Butler 91 John Kelley 101 Mississippi 105 Sioban Scott 107 Shad White 111 Newark 115 Darren Alvarez 117 Iesha W'~liams 123 New Orleans 129 Nakeisha Brown 131 Avery Thomas 137 New York 143 Daniel Houck 145 Juanita Ramos 149 Philadelphia 155 Nancy Loi 157 Sean Medcalf 161 Washington, D.C 167 Angela Brown 169 Elijah Huggins 175 V. National Guard ChalleNGe Program Finalists 185 Alaska ChalleNGe -
Music for Guitar
So Long Marianne Leonard Cohen A Bm Come over to the window, my little darling D A Your letters they all say that you're beside me now I'd like to try to read your palm then why do I feel so alone G D I'm standing on a ledge and your fine spider web I used to think I was some sort of gypsy boy is fastening my ankle to a stone F#m E E4 E E7 before I let you take me home [Chorus] For now I need your hidden love A I'm cold as a new razor blade Now so long, Marianne, You left when I told you I was curious F#m I never said that I was brave It's time that we began E E4 E E7 [Chorus] to laugh and cry E E4 E E7 Oh, you are really such a pretty one and cry and laugh I see you've gone and changed your name again A A4 A And just when I climbed this whole mountainside about it all again to wash my eyelids in the rain [Chorus] Well you know that I love to live with you but you make me forget so very much Oh, your eyes, well, I forget your eyes I forget to pray for the angels your body's at home in every sea and then the angels forget to pray for us How come you gave away your news to everyone that you said was a secret to me [Chorus] We met when we were almost young deep in the green lilac park You held on to me like I was a crucifix as we went kneeling through the dark [Chorus] Stronger Kelly Clarkson Intro: Em C G D Em C G D Em C You heard that I was starting over with someone new You know the bed feels warmer Em C G D G D But told you I was moving on over you Sleeping here alone Em Em C You didn't think that I'd come back You know I dream in colour