Robyn Archer 4-15 July
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
98Th ISPA Congress Melbourne Australia May 30 – June 4, 2016 Reimagining Contents
98th ISPA Congress MELBOURNE AUSTRALIA MAY 30 – JUNE 4, 2016 REIMAGINING CONTENTS ACKNOWLEDGEMENT OF PEOPLE & COUNTRY 2 MESSAGE FROM THE MINISTER FOR CREATIVE INDUSTRIES, 3 STATE GOVERNMENT OF VICTORIA MESSAGE FROM THE CHIEF EXECUTIVE OFFICER, ARTS CENTRE MELBOURNE 4 MESSAGE FROM THE DIRECTOR OF PROGRAMMING, ARTS CENTRE MELBOURNE 5 MESSAGE FROM THE CHAIR, INTERNATIONAL SOCIETY FOR THE PERFORMING ARTS (ISPA) 6 MESSAGE FROM THE CHIEF EXECUTIVE OFFICER, INTERNATIONAL SOCIETY FOR THE PERFORMING ARTS (ISPA) 7 LET THE COUNTDOWN BEGIN: A SHORT HISTORY OF ISPA 8 MELBOURNE, AUSTRALIA 10 CONGRESS VENUES 11 TRANSPORT 12 PRACTICAL INFORMATION 13 ISPA UP LATE 14 WHERE TO EAT & DRINK 15 ARTS CENTRE MELBOURNE 16 THE ANTHONY FIELD ACADEMY SCHEDULE OF EVENTS 18 THE ANTHONY FIELD ACADEMY SPEAKERS 22 CONGRESS SCHEDULE OF EVENTS 28 CONGRESS PERFORMANCES 37 CONGRESS AWARD WINNERS 42 CONGRESS SESSION SPEAKERS & MODERATORS 44 THE ISPA FELLOWSHIP CHALLENGE 56 2016 FELLOWSHIP PROGRAMS 57 ISPA FELLOWSHIP RECIPIENTS 58 ISPA STAR MEMBERS 59 ISPA OUT ON THE TOWN SCHEDULE 60 SPONSOR ACKNOWLEDGEMENTS 66 ISPA CREDITS 67 ARTS CENTRE MELBOURNE CREDITS 68 We are committed to ensuring that everyone has the opportunity to become immersed in ISPA Melbourne. To help us make the most of your experience, please ask us about Access during the Congress. Cover image and all REIMAGINING images from Chunky Move’s AORTA (2013) / Photo: Jeff Busby ACKNOWLEDGEMENT OF PEOPLE MESSAGE FROM THE MINISTER FOR & COUNTRY CREATIVE INDUSTRIES, Arts Centre Melbourne respectfully acknowledges STATE GOVERNMENT OF VICTORIA the traditional owners and custodians of the land on Whether you’ve come from near or far, I welcome all which the 98th International Society for the Performing delegates to the 2016 ISPA Congress, to Australia’s Arts (ISPA) Congress is held, the Wurundjeri and creative state and to the world’s most liveable city. -
Annual Report 2017–2018
Annual Report 2017–2018 LIVE PERFORMANCE AUSTRALIA Cover: 2018 Helpmann Awards Act II Finale - Funny Girl - The Musical Inside: 2018 Helpmann Award Winner - Mona Foma In 2017, the Australian live performance industry generated $1.88 billion in ticket sales with over 23 million attendances - that is more than the combined attendances at AFL, NRL, soccer, Super Rugby and cricket.* ( LPA Ticket Attendance and Revenue Survey 2017) *Australian Sporting Attendances 2017, Stadiums Australia ANNUAL REPORT 2017 – 2018 1 Contents About About Page 3 President & Chief Executive’s Report 4 Major Achievements 5 Industry Wide Initiatives 6 Workplace Relations 8 Live Performance Australia (LPA) is the peak body for Australia’s Policy & Programs 10 live performance industry. Established 101 years ago in 1917 Annual Ticket Attendance and registered as an employers’ organisation under the Fair and Revenue Report 11 Work (Registered Organisations) Act 2009, LPA has over 400 2017 Centenary Awards 12 Members nationally. We represent commercial producers, music 2018 Helpmann Awards 14 promoters, major performing arts companies, small to medium Member Services 18 companies, independent producers, major performing arts LPA Staff 20 centres, metropolitan and regional venues, commercial theatres, Financial Report 21 stadiums and arenas, arts festivals, music festivals, and service Executive Council 42 providers such as ticketing companies and technical suppliers. Members 44 Our membership spans from small to medium and not-for-profit Acknowledgements 46 organisations to large commercial entities. Current LPA Member Resources 48 LPA’s strategic direction is driven by our Members. LPA Members are leaders in our industry and their expertise is crucial to ensuring positive industry reform, whether by providing input to submissions or serving as a Member of LPA’s Executive Council. -
Dr Robyn Archer AO
Dr Robyn Archer AO Citation for conferral of Doctor of Music (honoris causa) Ceremony 10, Monday 4 May 2015, 11:00am Chancellor, I present to you Robyn Archer. The award of the Degree of Doctor of Music (honoris causa) acknowledges Robyn Archer’s contributions as a singer, writer, composer, stage and artistic director, and public advocate of the arts in Australia and internationally. Robyn Archer was born in 1948 in Prospect, South Australia. She graduated from The University of Adelaide with a Bachelor of Arts (Honours) and Diploma of Education, and took up a full-time singing career in blues, jazz, rock and cabaret. Robyn Archer sang in the Australian premiere of Bertolt Brecht/Kurt Weill’s The Seven Deadly Sins to open “The Space” at the Adelaide Festival Centre in 1974. She subsequently played Jenny in Weill’s Threepenny Opera. Since then her name has been linked with the German cabaret songs of Weill, Eisler and Paul Dessau. Her one-woman cabaret A Star is Torn (which toured throughout Australia 1979-83 and played for a year in London’s West End) and her 1981 show The Pack of Women both became successful books and recordings. Archer has written and devised many works for the stage from The Conquest of Carmen Miranda to Songs From Sideshow Alley and Cafe Fledermaus. Her ties to Adelaide have remained strong: In 2008 her play Architektin, on the life of Margarete Schütte-Lihotsky, premiered at the Dunstan Playhouse at the Adelaide Festival Centre and she gave the annual Hawke Lecture at the Adelaide Festival Centre in 2013. -
Journal of the Conductors Guild
Journal of the Conductors Guild Volume 32 2015-2016 19350 Magnolia Grove Square, #301 Leesburg, VA 20176 Phone: (646) 335-2032 E-mail: [email protected] Website: www.conductorsguild.org Jan Wilson, Executive Director Officers John Farrer, President John Gordon Ross, Treasurer Erin Freeman, Vice-President David Leibowitz, Secretary Christopher Blair, President-Elect Gordon Johnson, Past President Board of Directors Ira Abrams Brian Dowdy Jon C. Mitchell Marc-André Bougie Thomas Gamboa Philip Morehead Wesley J. Broadnax Silas Nathaniel Huff Kevin Purcell Jonathan Caldwell David Itkin Dominique Royem Rubén Capriles John Koshak Markand Thakar Mark Crim Paul Manz Emily Threinen John Devlin Jeffery Meyer Julius Williams Advisory Council James Allen Anderson Adrian Gnam Larry Newland Pierre Boulez (in memoriam) Michael Griffith Harlan D. Parker Emily Freeman Brown Samuel Jones Donald Portnoy Michael Charry Tonu Kalam Barbara Schubert Sandra Dackow Wes Kenney Gunther Schuller (in memoriam) Harold Farberman Daniel Lewis Leonard Slatkin Max Rudolf Award Winners Herbert Blomstedt Gustav Meier Jonathan Sternberg David M. Epstein Otto-Werner Mueller Paul Vermel Donald Hunsberger Helmuth Rilling Daniel Lewis Gunther Schuller Thelma A. Robinson Award Winners Beatrice Jona Affron Carolyn Kuan Jamie Reeves Eric Bell Katherine Kilburn Laura Rexroth Miriam Burns Matilda Hofman Annunziata Tomaro Kevin Geraldi Octavio Más-Arocas Steven Martyn Zike Theodore Thomas Award Winners Claudio Abbado Frederick Fennell Robert Shaw Maurice Abravanel Bernard Haitink Leonard Slatkin Marin Alsop Margaret Hillis Esa-Pekka Salonen Leon Barzin James Levine Sir Georg Solti Leonard Bernstein Kurt Masur Michael Tilson Thomas Pierre Boulez Sir Simon Rattle David Zinman Sir Colin Davis Max Rudolf Journal of the Conductors Guild Volume 32 (2015-2016) Nathaniel F. -
AMS/SMT Milwaukee 2014 Abstracts Thursday Afternoon
AMS/SMT American Musicological Society Society for Music Theory Program & Abstracts & Abstracts Program 2014 Milwaukee Milwaukee 6-9 November 2014 Abstracts g Abstracts of Papers Read at the American Musicological Society Eightieth Annual Meeting and the Society for Music Theory Thirty-seventh Annual Meeting 6–9 November 14 Hilton Hotel and Wisconsin Center Milwaukee, Wisconsin g AMS/SMT 2014 Annual Meeting Edited by Judy Lochhead and Richard Will Chairs, 14 SMT and AMS Program Committee Local Arrangements Committee Mitchell Brauner, Chair, Judith Kuhn, Rebecca Littman, Timothy Miller, Timothy Noonan, Gillian Rodger Performance Committee Catherine Gordon-Seifert, Chair, Mitchell Brauner, ex officio, David Dolata, Steve Swayne Program Committees AMS: Richard Will, Chair, Suzanne Cusick, Daniel Goldmark, Heather Hadlock, Beth E. Levy, Ryan Minor, Alejandro Planchart SMT: Judy Lochhead, Chair, Poundie Burstein, ex officio, Michael Klein, Sherry Lee, Alexander Rehding, Adam Ricci, Leigh VanHandel The AMS would like to thank the following people and organizations for their generous support: Calvary Presbyterian Church, Milwaukee Joan Parsley Charles Sullivan and Early Music Now Milwaukee Symphony Orchestra University of Wisconsin-Milwaukee Program and Abstracts of Papers Read (ISSN 9-1) is published annually for the An- nual Meeting of the American Musicological Society and the Society for Music Theory, where one copy is distributed to attendees free of charge. Additional copies may be purchased from the American Musicological Society for $1. per copy plus $. U.S. shipping and handling (add $. shipping for each additional copy). For international orders, please contact the American Musicological Society for shipping prices: AMS, 61 College Station, Brunswick ME 411-41 (e-mail [email protected]). -
Wilhelm Grosz Sinfonieorchester Der MUK Dirigent Und Moderation: Andreas Stoehr
Entente Musicale: Wilhelm Grosz Sinfonieorchester der MUK Dirigent und Moderation: Andreas Stoehr Gesprächskonzert Bänkel und Balladen: Donnerstag, 23. November 2017 19.30 Uhr Symposium Wilhelm Grosz: Wien — London — New York: Freitag, 24. November 2017 9.30—16.00 Uhr Arnold Schönberg Center Schwarzenbergplatz 6 Zaunergasse 1—3 (Eingang) 1030 Wien EINFÜHRUNG GESPRÄCHSKONZERT BÄNKEL UND BALLADEN Die im heutigen Konzert vorgestellten Werke verweisen auf einen Abschnitt der Moderne, der zwar um 1900 durch die Erweiterung der Tonalität (R. Strauss, A. Schönberg, G. Mahler, A. Scrjabin, C. Debussy u. a.) eine entscheidende Stoßrichtung erhalten hatte, jedoch durch die Grenzerfahrungen des Ersten Weltkriegs auf soziokultureller und kunstästhetischer Ebene entscheidende Veränderungen erfuhr. Dies betraf vor allem die Musik einer Generation, die – kurz vor der Jahrhundertwende geboren – bereits während der Zwanzigerjahre begonnen hatte, eine Gegenposition zum musikalischen Expressionismus der sogenannten Zweiten Wiener Schule um Arnold Schön- berg einzunehmen. Dazu gehören u. a. der in Leipzig geborene und in Wien aufgewachsene Hanns Eisler (1898– 1962) sowie der Schreker-Schüler Wilhelm Grosz (1894–1939). Während Hanns Eisler zumindest durch seine Studienzeit bei Schönberg (zwischen 1919 und 1923) dessen Kreis zugeordnet werden kann, nimmt das Werk von Wilhelm Grosz, das es in großem Umfang wieder zu entdecken gilt, eine entschieden andere Position ein: Denn weder die Abstraktion eines Schönberg wird von ihm aufgegriffen bzw. weitergedacht, noch orientiert sich Grosz’ Musik an der von Eisler geforderten Maxime, Kunst müsse auch politisch Position beziehen – und im günstigsten Falle dem Sozialismus huldigen. Letzteres war eine Forderung Eislers, die schon früh zu einem Konflikt mit seinem Lehrer führte. Schönberg nämlich quittierte Eislers politisches Engagement eher mit Herablassung: „Wissen Sie, Eisler, den Sozialismus kann ich Ihnen nicht abgewöhnen, aber die Zeit wird es Ihnen abgewöhnen. -
Christopher Hailey
Christopher Hailey: Franz Schreker and The Pluralities of Modernism [Source: Tempo, January 2002, 2-7] Vienna's credentials as a cradle of modernism are too familiar to need rehearsing. Freud, Kraus, Schnitzler, Musil, Wittgenstein, Klimt, Schiele, Kokoschka conjure up a world at once iridescent and lowering, voluptuously self-indulgent and cooly analytical. Arnold Schoenberg has been accorded pride of place as Vienna's quintessential musical modernist who confronted the crisis of language and meaning by emancipating dissonance and, a decade later, installing a new serial order. It is a tidy narrative and one largely established in the years after the Second World War by a generation of students and disciples intent upon reasserting disrupted continuities. That such continuities never existed is beside the point; it was a useful and, for its time, productive revision of history because it was fueled by the excitement of discovery. Revision always entails excision, and over the decades it became increasingly obvious that this narrative of Viennese modernism was a gross simplification. The re-discovery of Mahler was the first bump in the road, and attempts to portray him as Schoenberg's John the Baptist were subverted by the enormous force of Mahler's own personality and a popularity which soon generated its own self-sustaining momentum. In recent years other voices have emerged that could not be accommodated into the narrative, including Alexander Zemlinsky, Franz Schmidt, Egon Wellesz, Karl Weigl, Erich Wolfgang Korngold, and most vexing of all Franz Schreker. Long banished out of hand, Schreker was subsequently marginalized as a late Romantic and allotted a mini-orbit of his own. -
History of the Adelaide Festival of Arts
HISTORY OF THE ADELAIDE FESTIVAL OF ARTS Past Festivals and Posters Below is a collection of each Festival poster since its inception in 1960. The Adelaide Bank 2008 Festival of Arts was held from 29 February – 16 March, with Brett Sheehy as the Artistic Director for the second year in a row. One of the largest multi‐arts festivals in the world, the 2008 Adelaide Bank Festival of Arts attracted a 600,000‐strong audience and exceeded box office targets to achieve more than $2.5 million in ticket sales. Total income from the Festival and its associated events reached nearly $6 million. The event, which celebrated its 25th anniversary, featured 62 high quality international and national arts events and brought more than 700 of the world’s best artists to Adelaide, creating an unparalleled environment of cultural vibrancy, artistic endeavor and creativity. The Festival delivered to South Australia a total net economic benefit of $14.03 million in terms of income and ensured a positive social impact by enhancing the state’s reputation and image in the eyes of the event’s local, interstate and international attendees. There were a total of 300,000 free attendances of Northern Lights (up from150,000 in 2006). Northern Lights was funded by the Premier to continue an additional 2 weeks beyond it scheduled duration. 20,000 people attended the Northern Lights Opening Night – Ignition! 35,000 people attended Visual art exhibitions and 5000 attended Artists’ Week. The 2008 Adelaide Bank Festival of Arts achieved; • An increase of 8% over 2006 to create a direct net economic impact of $14.03million to the state • Interstate (8,025) and international (2,992) visitation increased by 105% to 11,017 over 2006. -
Robyn Archer AO
Ms Robyn Archer AO The honorary degree of Doctor of Letters was conferred upon Robyn Archer AO by the Chancellor the Hon Justice Kim Santow at the Faculty of Arts graduation ceremony held at 2.00pm on 6 May 2005. Citation Chancellor, I have the honour to present Ms Robyn Archer, AO for admission to the degree of Doctor of Letters (honoris causa). Over the last thirty years, Robyn Archer had made an outstanding contribution to the artistic and cultural life of Australia in a career that has involved many firsts and many new directions and challenges. A career, too, that is still far from over, though what she has already achieved is more than most of us could manage in two life times. Robyn Archer grew up in Adelaide, gaining a Bachelor of Arts with First Class Honours in English from the University of Adelaide, followed by a Diploma in Education. Thus suitably equipped, she spent two years working as an English teacher before her other life as a performer took over completely. She had been singing folk songs and playing guitar since her school days; as a teenager she was under contract to the TV show Bandstand. At university she sang jazz, folk and rock and roll, performed in revue, music hall and children’s theatre, and formed her first band (and still managed to gain First Class Honours). In 1974 she sang Annie I in the Brecht/Weill ballet The Seven Deadly Sins; the following year she performed in their The Threepenny Opera. Soon she had gained international recognition for her work as an interpreter of the music of Brecht/ Weill/ Eisler and Weimar Germany. -
An Acknowledged Exponent of Classic European Cabaret
ROBYN ARCHER BIOGRAPHY Robyn Archer AO is a singer, An acknowledged exponent of classic European cabaret, including writer, artistic director and early French cabaret songs, and specialising in the works of Brecht, public advocate for the arts. Weill and Eisler, which she recorded with the London Sinfonietta, She is currently Artistic Director Robyn won the prestigious Helpmann Award as Australia’s Best of The Light in Winter (which she Cabaret Performer of 2013. In 2014 she performs in Australia, and created for Federation Square, Hong Kong. Melbourne) and Strategic Advisor, Robyn is Deputy Chair of the Australia Council, a member of the Arts and Culture, for the Gold Council for Australian and Latin American Relations and of the Coast (Queensland) which hosts European House of Culture. the Commonwealth Games in 2018. She recently completed A collection of earlier addresses is published under Detritus (UWA 5 years as Creative Director of Press), and, in constant demand as speaker and writer on the arts, the Centenary of Canberra 2013 she was recently published in the Griffith Review , and has spoken (canberra100.com.au). this year at the Powerhouse (Brisbane – serach ABC Big Ideas), the Wheeler Centre (Melbourne) and the Sydney Writers Festival. In the second half of 2014, she speaks at the Edinburgh Festival’s Culture Summit, The Peking University, and the EFA Atelier in Poznan. SEE ALSO: Robyn is the former Artistic Director of the National Festival of Lowering the Tone – Don Featherstone’s Australian Theatre (Canberra), the Adelaide and Melbourne Festivals, TV biopic of Robyn is available for sale at ABC online: https://shop.abc.net.au/ and Ten Days on the Island (which she created for Tasmania). -
Singers Bio Press
The Hugo Kauder Society presents Merlin: A Fantastical Opera Composed by Hugo Kauder with a libretto by Rudolf Pannwitz To be performed in a staged concert on June 9 2013 in New Haven, CT Music Direction: Adrian Slywotzky Stage Direction: Beth Greenberg Contact: Rona Richter, Manager at [email protected] www.hugokauder.org PRESS MATERIALS Hugo Kauder (Composer), devoted his life (1888-1972) to composing, teaching, playing, and writing about music. Born June 9, 1888 in Tobitschau, Moravia, now Tovacov, Czech Republic, Kauder took violin lessons with the local teacher, who eventually dismissed him when he had “taught him everything he knew.” These lessons were his only formal training in music. In 1905, Kauder moved to Vienna to study engineering but often skipped school with classmate Egon Lustgarten to study scores in the Imperial Court Library. Of particular interest to him were several volumes of Denkmäler der Tonkunst in Österreich (Monuments of Music in Austria), mainly works of Flemish composers of the 15th and 16th centuries. From 1911 to 1917, Kauder played violin in the Wiener Tonkuenstler Orchester under such conductors as Ferdinand Loewe, Franz Schalk, Arthur Nikisch, and Richard Strauss. There he began a lifelong friendship with Dutch horn player Willem Valkenier (1887-1986), inspiring his numerous horn compositions. From 1917 to 1922, Kauder was the violist of the Gottesmann Quartet. In 1919, he met poet and philosopher Rudolf Pannwitz (1886- 1969). Though he could not play an instrument, Pannwitz composed settings of classic poems, following his idea — quite unconventional at the time — that composers should find and For the rest of his life, in Vienna reveal the music latent in texts, rather than creating the musical and later in New York, Kauder setting at will. -
Walk of Fame Artists
WALK OF FAME ARTISTS 1973 1976 1979 Ernie Sigley Joan Sutherland John Gaden Julie Anthony Cold Chisel Dame Edna Everage Peter Brook & Royal Merce Cunningham Gene Pitney Shakespeare Company 1977 1980 1974 Keith Michell Nick Enright Tristram Cary Ruth Cracknell Peter Allen Robert Helpmann Rudolf Nureyev June Bronhill Daddy Cool 1978 1981 1975 Dennis Olsen Janet Vernon Elizabeth Cameron Dalman Olivia Newton-John Peter Goers John Farnham Ella Fitzgerald Liza Minnelli Roy Orbison 1982 1986 1990 Mary Moore Nancye Hayes Paul Blackwell John Wood Robyn Archer Anne Wills Debbie Reynolds John Denver Eric Clapton 1983 1987 1991 David Williamson Gale Edwards Shaun Micallef Geoffrey Rush Garry McDonald Gary Sweet Joni Mitchell John Bell Jacki Weaver 1984 1988 1992 Thomas Edmonds Rosalba Clemente Jim Sharman Hugo Weaving Peter Combe Guy Pearce Richard Harris Georg Solti & Chicago Eartha Kitt 1985 Symphony Orchestra 1993 Bobby Limb 1989 Todd McKenney Anthony Warlow Marilyn Richardson Noni Hazlehurst Kiri Te Kanawa The Seekers Carmel Johnson Marcel Marceau 1994 1998 2002 Meryl Tankard Graeme Koehne Lucinda Dunn John Williamson Brian Gilbertson James Morrison Michael Nyman Lenny Henry Jimmy Little 1995 1999 2003 Douglas McNicol Benedict Andrews Nicholas Braithwaite Cate Blanchett Billy Connolly Clive James Slava Grigoryan Troy Cassar-Daley Graeme Murphy 1996 2000 2004 Patrick White Jane Peters Arvo Volmer Rhonda Burchmore Chrissy Amphlett Charles ‘Bud’ Tingwell Philippe Genty Bryn Terfel Elizabeth Campbell 1997 2001 2005 Richard Bonynge Andrew Bovell Ruby