The Ghosts of Versailles
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The Transformation of Pushkin's Eugene Onegin Into Tchaikovsky's Opera
THE TRANSFORMATION OF PUSHKIN'S EUGENE ONEGIN INTO TCHAIKOVSKY'S OPERA Molly C. Doran A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2012 Committee: Eftychia Papanikolaou, Advisor Megan Rancier © 2012 Molly Doran All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Since receiving its first performance in 1879, Pyotr Il’yich Tchaikovsky’s fifth opera, Eugene Onegin (1877-1878), has garnered much attention from both music scholars and prominent figures in Russian literature. Despite its largely enthusiastic reception in musical circles, it almost immediately became the target of negative criticism by Russian authors who viewed the opera as a trivial and overly romanticized embarrassment to Pushkin’s novel. Criticism of the opera often revolves around the fact that the novel’s most significant feature—its self-conscious narrator—does not exist in the opera, thus completely changing one of the story’s defining attributes. Scholarship in defense of the opera began to appear in abundance during the 1990s with the work of Alexander Poznansky, Caryl Emerson, Byron Nelson, and Richard Taruskin. These authors have all sought to demonstrate that the opera stands as more than a work of overly personalized emotionalism. In my thesis I review the relationship between the novel and the opera in greater depth by explaining what distinguishes the two works from each other, but also by looking further into the argument that Tchaikovsky’s music represents the novel well by cleverly incorporating ironic elements as a means of capturing the literary narrator’s sardonic voice. -
“Thoughts on the Idiot by Dostoevsky”1 Hermann Hesse
“Thoughts on The Idiot by Dostoevsky”1 Hermann Hesse 1919 DOSTOEVSKY'S "Idiot", Prince Leo Myshkin, is often compared to Jesus. This is easy enough to do. You can compare to Jesus anyone who has been touched by one of the magical truths, who no longer separates thinking from living and thereby isolates himself in the midst of his surroundings and becomes the opponent of all. Beyond that, the comparison between Myshkin and Jesus seems to me not exactly apt. Only one characteristic in Myshkin, an important one to be sure, strikes me as Jesus-like - his timid chastity. The concealed fear of sex and procreation is a characteristic that could not be wanting in the "historical" Jesus, the Jesus of the Gospels, a trait that is clearly part of his world and is not neglected in even so superficial a portrait of Jesus as Renan's. But it is strange - little though I sympathize with the constant comparison between Myshkin and Christ - that I too see the two images unconsciously related to each other. It only occurred to me belatedly and in connection with a tiny matter. One day when I was thinking about the "idiot" I realized that my first thought of him always seems to be an apparently insignificant one. In the first flash of my imagination I always see him in one particular secondary scene of no importance in itself. I have exactly the same experience with the Savior. Whenever an association calls up the image of Jesus or I hear or see the word "Jesus," what leaps into my mind first is not Jesus on the cross, or Jesus in the wilderness, or Jesus the miracle worker, or Jesus risen from the dead, but Jesus in the garden of Gethsemane, tasting the last cup of loneliness, his soul torn by the woes of impending death and a higher rebirth. -
Music 3003 – Music of the Classic Era, Spring 2020 Prof
Music 3003 – Music of the Classic Era, Spring 2020 Prof. David Smey Class 11 – Tuesday, March 3 In this session we dove into Mozart’s first “all-time great” opera, Le Nozze di Figaro (The Marriage of Figaro, 1786). First, we did a little background: Mozart and Opera In the 18th Century opera is the most glamorous and potentially lucrative area of music- making. Mozart and his father are sophisticated members of the industry, so from childhood onwards Mozart frequently tries his hand at making operas. It is difficult to get a good count of how many opera projects Mozart tries, because some are left incomplete and others are one-act miniatures that don’t seem to “count,” but it looks like you could say that he writes about 22 of them. Wikipedia list Collaboration with Lorenzo da Ponte Mozart’s first big success in the opera house comes early in his Vienna years, with Die Entführung aus dem Serail in 1783. (This is the “Turkish” opera we were looking at last week.) For his next big project he teams up with a new librettist in town, an Italian named Lorenzo da Ponte. Da Ponte is a fascinating figure. He was born in the Jewish ghetto of Ceneda, Italy, and when he was a young boy his father decided that the whole family should convert to Christianity. (At this time there were many rules that limited the way Jews could participate in society, so converting was a common strategy. Later in history Felix Mendelssohn’s family will do the same thing.) The Catholic priests recognized Lorenzo’s talent, and he eventually became a priest himself and a poet who had a deep love for the Italian language. -
Network Notebook
Network Notebook Fall Quarter 2018 (October - December) 1 A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more. -
Verdi Falstaff
Table of Opera 101: Getting Ready for the Opera 4 A Brief History of Western Opera 6 Philadelphia’s Academy of Music 8 Broad Street: Avenue of the Arts Con9tOperae Etiquette 101 nts 10 Why I Like Opera by Taylor Baggs Relating Opera to History: The Culture Connection 11 Giuseppe Verdi: Hero of Italy 12 Verdi Timeline 13 Make Your Own Timeline 14 Game: Falstaff Crossword Puzzle 16 Bard of Stratford – William Shakespeare 18 All the World’s a Stage: The Globe Theatre Falstaff: Libretto and Production Information 20 Falstaff Synopsis 22 Meet the Artists 23 Introducing Soprano Christine Goerke 24 Falstaff LIBRETTO Behind the Scenes: Careers in the Arts 65 Game: Connect the Opera Terms 66 So You Want to Sing Like an Opera Singer! 68 The Highs and Lows of the Operatic Voice 70 Life in the Opera Chorus: Julie-Ann Whitely 71 The Subtle Art of Costume Design Lessons 72 Conflicts and Loves in Falstaff 73 Review of Philadelphia’s First Falstaff 74 2006-2007 Season Subscriptions Glossary 75 State Standards 79 State Standards Met 80 A Brief History of 4 Western Opera Theatrical performances that use music, song Music was changing, too. and dance to tell a story can be found in many Composers abandoned the ornate cultures. Opera is just one example of music drama. Baroque style of music and began Claudio Monteverdi In its 400-year history opera has been shaped by the to write less complicated music 1567-1643 times in which it was created and tells us much that expressed the character’s thoughts and feelings about those who participated in the art form as writers, more believably. -
There's Even More to Explore!
Background artwork: SPECIAL COLLECTIONS UCHICAGO LIBRARY Kaplan and Fridkin, Agit No. 2 MUSIC THEATER ART MUSIC THEATER LECTURE / CLASS MUSIC MUSIC MUSIC / FILM LECTURE / CLASS MUSIC University of Chicago Presents University Theater/Theater and Performance Studies The University of Chicago Library Symphony Center Presents Goodman Theatre University of Chicago Presents Roosevelt University Rockefeller Chapel University of Chicago Presents TOKYO STRING QUARTET THEATER 24 PLAY SERIES: GULAG ART Orchestra Series CHEKHOv’S THE SEAGULL LECTURE / DEmoNSTRATioN PAciFicA QUARTET: 19TH ANNUAL SILENT FiLM LECTURE / DEmoNSTRATioN BY MARiiNskY ORCHESTRA FRIDAY, OCTOBER 1, 2010 A CLOUD WITH TROUSERS THROUGH DECEMBER 2010 OCTOber 16 – NOVEMBER 14, 2010 BY PACIFICA QUARTET SHOSTAKOVICH CYCLE WITH ORGAN AccomPANimENT: MAsumi RosTAD, VioLA, AND (FORMERLY KIROV ORCHESTRA) Mandel Hall, 1131 East 57th Street SATURDAY, OCTOBER 2, 2010, 8 PM The Joseph Regenstein Library, 170 North Dearborn Street SATURDAY, OCTOBER 16, 2 PM SUNDAY OCTOBER 17, 2010, 2 AND 7 PM AELITA: QUEEN OF MARS AMY BRIGGS, PIANO th nd chicagopresents.uchicago.edu, 773.702.8068 First Floor Theater, Reynolds Club, 1100 East 57 Street, 2 Floor Reading Room Valery Gergiev, conductor Goodmantheatre.org, 312.443.3800 Fulton Recital Hall, 1010 East 59th Street SUNDAY OCTOBER 31, 2010, 2 AND 7 PM Jay Warren, organ SATURDAY, OCTOBER 30, 2 PM 5706 South University Avenue Lib.uchicago.edu Denis Matsuev, piano Chicagopresents.uchicago.edu, 773.702.8068 FRIDAY, OCTOBER 29, 2010, 8 PM Fulton Recital Hall, 1010 East 59th Street Mozart: Quartet in C Major, K. 575 As imperialist Russia was falling apart, playwright Anton SUNDAY JANUARY 30, 2011, 2 AND 7 PM ut.uchicago.edu TUESDAY, OCTOBER 12, 2010, 8 PM Rockefeller Chapel, 5850 South Woodlawn Avenue Chicagopresents.uchicago.edu, 773.702.8068 Lera Auerbach: Quartet No. -
Island Holiday Livestream Performance Sunday, December 20, 2020, 3Pm Island Holiday Sunday, December 20, 2020 | Youtube Live
2020 VIRTUAL PERFORMANCE ISLAND HOLIDAY LIVESTREAM PERFORMANCE SUNDAY, DECEMBER 20, 2020, 3PM ISLAND HOLIDAY SUNDAY, DECEMBER 20, 2020 | YOUTUBE LIVE with Special Guests Kronos Quartet David Harrington, violin John Sherba, violin Hank Dutt, viola Sunny Yang, cello Kronos Quartet appears courtesy of Kronos Performing Arts Association Sean San José, stage director Joan Osato, video designer Florante Aguilar, ukulele and guitar Robert Huw Morgan, organ The Smithsonian National Museum of Natural History Sirkhane Social Circus School, Turkey 2 PROGRAM CHORUS SCHOOL LEVEL II Monica Covitt, director; Astghik Sakanyan, piano Addison Li, Madison Chow, Giovanna Barroso, soloists ¡Ay, Mi Palomita! (Oh! My Little Dove) Traditional Lullaby from the Dominican Republic and other Latin American Countries arr. Juan Tony Guzmán CHORUS SCHOOL LEVEL IV Anne Hege, director; Level IV Sectional Leaders, body percussion Son de Camaguey Cuban folk song, arr. with additional music by Stephen Hatfield CHORUS SCHOOL TRAINING CHORUS, in collaboration with BAYVIEW OPERA HOUSE Othello Jefferson, Christopher Street, directors Othello Jefferson, piano Bassez Down (Dance Low Down) West Indian Folk Song, arr. Othello Jefferson CHORUS SCHOOL PREP CHORUS, in collaboration with BAYVIEW OPERA HOUSE Christopher Street, director Three Little Birds Bob Marley, arr. Christopher Street PREMIER ENSEMBLE Valérie Sainte-Agathe, Artistic Director Seven Principles Bernice Johnson Reagon 3 CHORUS SCHOOL LEVEL III Terry Alvord, director; Angela Rey, piano Selections from Cinq Chansons Folkloriques d’Haiti arr. Electo Silva Feill’ oh Dodo Titit PREMIER ENSEMBLE Valérie Sainte-Agathe, Artistic Director Chesley Mok, piano; Maggie Lu, flute Mi Zeh Hidlik Yiddish Traditional, arr. Elliot Z. Levine Deck the Hall Traditional Welsh Carol, arr. -
GUEST ARTIST RECITAL ANTHONY DEAN GRIFFEY, Tenor RICHARD
GUEST ARTIST RECITAL ANTHONY DEAN GRIFFEY, Tenor RICHARD BADO, Pianist Monday, November 8, 2010 8:00 p.m. Lillian H Duncan Recital Hall Q l975 -20l0 Celebrating ? r Years T H E SHEPHERD SCHOOL OF MUSIC RICE UNIVERSITY PROGRAM A Simple Song Leonard Bernstein from Mass (1918-1990) The Boatmen's Dance Aaron Copland The Dodger (1900-1990) Simple Gifts Early in the Morning NedRorem I am Rose (b. 1923) It's about the way people is made Carlisle Floyd from Susannah (b. 1926) Sleep now Samuel Barber I hear an army (1910-1981) INTERMISSION On Wenlock Edge Ralph Vaughan Williams 1. On Wenlock Edge (1872-1958) 2. From far, from eve and morning 3. 'Is my team ploughing 4. Oh, when I was in love with you 5. Bredon Hill 6. Clun Kathleen Winkler, violin Heather Kufchak, violin Ivo-Jan van der Werff, viola Matthew Kufchak, cello Tonight's performance is made possible by The Aleko Endowed Fund. The reverberative acoustics of Duncan Recital Hall magnify the slightest sound made by the audience. Your care and courtesy will be appreciated. The taking ofphotographs and use of recording equipment are prohibited. BIOGRAPHY Four-time Grammy Award Winning American tenor ANTHONY DEAN GRIFFEY has captured critical and popular acclaim on opera, concert and recital stages around the world. The combination of his beautiful and power ful lyric tenor voice, gift of dramatic interpretation and superb musicianship have earned him the highest praise from critics and audiences alike. He has performed leading roles at the great international opera houses including The Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Houston Grand Opera, Glyndebourne, the Opera National de Paris, and the Teatro Comunale di Firenze to name a few. -
Arlo Parks - Black Dog Episode 210
Song Exploder Arlo Parks - Black Dog Episode 210 Hrishikesh: You’re listening to Song Exploder, where musicians take apart their songs, and piece by piece, tell the story of how they were made. My name is Hrishikesh Hirway. Before this episode starts, I want to let you know that the song being discussed is about someone who is alive and well today, but was going through a period of depression and anxiety. Both the song and the interview allude to suicide, so please be careful before listening. If you’re thinking about suicide, or if you have a friend who is, or if you just need someone to talk to right now, you can get support by calling the National Suicide Prevention Lifeline at 1-800-273-TALK (8255) or by texting HOME to 741-741, which is the Crisis Text Line. If you’re outside of the U.S., check out the list of international hotlines at suicide.org. I’ll link to all of this on the Song Exploder website and in the episode show notes. (“Black Dog” by Arlo Parks) Hrishikesh: Arlo Parks is a singer and songwriter from London. In January 2021, she released her debut album, Collapsed in Sunbeams. It hit number three on the UK charts, and she won this year’s BRIT award for Breakthrough Artist. Last year, NME called her song “Black Dog” the year’s “most devastating song.” In this episode, she breaks down “Black Dog,” which she made with producer Gianluca Buccellati. Arlo: But I call him Luca. Hrishikesh: Here’s Arlo Parks on Song Exploder. -
The American Opera Series May 16 – November 28, 2015
The American Opera Series May 16 – November 28, 2015 The WFMT Radio Network is proud to make the American Opera Series available to our affiliates. The American Opera Series is designed to complement the Metropolitan Opera Broadcasts, filling in the schedule to complete the year. This year the American Opera Series features great performances by the Lyric Opera of Chicago, LA Opera, San Francisco Opera, Glimmerglass Festival and Opera Southwest. The American Opera Series for 2015 will bring distinction to your station’s schedule, and unmatched enjoyment to your listeners. Highlights of the American Opera Series include: • The American Opera Series celebrates the Fourth of July (which falls on a Saturday) with Lyric Opera of Chicago’s stellar production of George Gershwin’s Porgy and Bess. • LA Opera brings us The Figaro Trilogy, including Mozart’s The Marriage of Figaro, Rossini’s The Barber of Seville, and John Corigliano’s The Ghosts of Versailles. • The world premiere of Marco Tutino’s Two Women (La Ciociara) starring Anna Caterina Antonacci, based on the novel by Alberto Moravia that became a classic film, staged by San Francisco Opera. • Opera Southwest’s notable reconstruction of Franco Faccio’s 1865 opera Amleto (Hamlet), believed lost for over 135 years, in its American premiere. In addition, this season we’re pleased to announce that we are now including multimedia assets for use on your station’s website and publications! You can find the supplemental materials at the following link: American Opera Series Supplemental Materials Please note: If you have trouble accessing the supplemental materials, please send me an email at [email protected] Program Hours* Weeks Code Start Date Lyric Opera of Chicago 3 - 5 9 LOC 5/16/15 LA Opera 2 ½ - 3 ¼ 6 LAO 7/18/15 San Francisco Opera 1 ¾ - 4 ¾ 10 SFO 8/29/15 Glimmerglass Festival 3 - 3 ½ 3 GLI 11/7/15 Opera Southwest Presents: Amleto 3 1 OSW 11/28/15 Los Angeles Opera’s Production of The Ghosts of Versailles Credit: Craig Henry *Please note: all timings are approximate, and actual times will vary. -
Prince Myshkin As a Tragic Interpretation of Don Quixote Slav N
Marshall University Marshall Digital Scholar Modern Languages Faculty Research Modern Languages 2015 Prince Myshkin as a Tragic Interpretation of Don Quixote Slav N. Gratchev PhD Marshall University, [email protected] Follow this and additional works at: http://mds.marshall.edu/languages_faculty Part of the Modern Languages Commons, and the Modern Literature Commons Recommended Citation Gratchev, Slav N. "Prince Myshkin as a Tragic Interpretation of Don Quixote." Cervantes: Bulletin of the Cervantes Society of America, vol. 35, no. 1, 2015, pp. 137-51. This Article is brought to you for free and open access by the Modern Languages at Marshall Digital Scholar. It has been accepted for inclusion in Modern Languages Faculty Research by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. Prince Myshkin as a Tragic Interpretation of Don Quixote _______________________________________S!"# N. G$"%&'(# )$*$+,+-.!/, 0'+!( #+$%)"!!/ -1 one doubts Fyodor Dostoevsky’s profound and direct indebtedness to Miguel de Cervantes in !e Idiot, manifested in the obvious connection between Don Quixote Sand Prince Myshkin, no one yet has fully analyzed both how and why Myshkin—a character more dialogically elaborate and versatile than Don Quixote—turned out to be more limited in literary expressivity than his more “monological” counterpart. 2e essay seeks to remedy this analytical absence but focusing on just how the realness of Dostoevsky’s hero became a weakened version of Cervantes’s monologic character, and thus how this weakened realness negatively a3ects Myshkin’s literary an- swerability. When the 45-year-old Prince Myshkin returns to Russia after spend- ing several years at a Swiss sanatorium, he 6nds himself at the center of attention, an attention that he never intended to have. -
11-03-2018 Carmen Eve.Indd
GEORGES BIZET carmen conductor Opera in four acts Omer Meir Wellber Libretto by Henri Meilhac and production Sir Richard Eyre Ludovic Halévy, based on the novella by Prosper Mérimée set and costume designer Rob Howell Saturday, November 3, 2018 lighting designer 1:00–4:25 PM Peter Mumford choreographer Christopher Wheeldon revival stage director Paula Williams The production of Carmen was made possible by a generous gift from Mrs. Paul Desmarais Sr. general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON The 1,012th Metropolitan Opera performance of GEORGES BIZET’S carmen conductor Omer Meir Wellber in order of vocal appearance mor alès le dancaïre Adrian Timpau** Javier Arrey micaël a le remendado Guanqun Yu Scott Scully don josé Yonghoon Lee solo dancers Maria Kowroski zuniga Martin Harvey Richard Bernstein carmen Clémentine Margaine fr asquita Sydney Mancasola mercédès Sarah Mesko escamillo Kyle Ketelsen Saturday, November 3, 2018, 1:00–4:25PM MARTY SOHL / MET OPERA Clémentine Margaine Chorus Master Donald Palumbo in the title role of Musical Preparation Derrick Inouye, Liora Maurer, and Bizet’s Carmen Bénédicte Jourdois* Fight Director J. Allen Suddeth Assistant Stage Directors Sara Erde and Jonathon Loy Stage Band Conductor Jeffrey Goldberg Met Titles Sonya Friedman Children’s Chorus Director Anthony Piccolo Movement Coach Sara Erde Associate Costume Designer Irene Bohan Scenery, properties, and electrical props constructed and painted by Metropolitan Opera Shops Costumes executed by Art for Art Theater Service GmbH, Vienna; Justo Algaba S.L., Madrid; Carelli Costumes, New York, and Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department This production uses gunshot effects.