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Toscanini IV – La Scala and the Metropolitan Opera
Toscanini IV – La Scala and the Metropolitan Opera Trying to find a balance between what the verbal descriptions of Toscanini’s conducting during the period of roughly 1895-1915 say of him and what he actually did can be like trying to capture lightning in a bottle. Since he made no recordings before December 1920, and instrumental recordings at that, we cannot say with any real certainty what his conducting style was like during those years. We do know, from the complaints of Tito Ricordi, some of which reached Giuseppe Verdi’s ears, that Italian audiences hated much of what Toscanini was doing: conducting operas at the written tempos, not allowing most unwritten high notes (but not all, at least not then), refusing to encore well-loved arias and ensembles, and insisting in silence as long as the music was being played and sung. In short, he instituted the kind of audience decorum we come to expect today, although of course even now (particularly in Italy and America, not so much in England) we still have audiences interrupting the flow of an opera to inject their bravos and bravas when they should just let well enough alone. Ricordi complained to Verdi that Toscanini was ruining his operas, which led Verdi to ask Arrigo Boïto, whom he trusted, for an assessment. Boïto, as a friend and champion of the conductor, told Verdi that he was simply conducting the operas pretty much as he wrote them and not allowing excess high notes, repeats or breaks in the action. Verdi was pleased to hear this; it is well known that he detested slowly-paced performances of his operas and, worse yet, the interpolated high notes he did not write. -
General Index
Cambridge University Press 0521780098 - The Cambridge Companion to Twentieth-Century Opera Edited by Mervyn Cooke Index More information General index Abbate, Carolyn 282 Bach, Johann Sebastian 105 Adam, Fra Salimbene de 36 Bachelet, Alfred 137 Adami, Giuseppe 36 Baden-Baden 133 Adamo, Mark 204 Bahr, Herrmann 150 Adams, John 55, 204, 246, 260–4, 289–90, Baird, Tadeusz 176 318, 330 Bala´zs, Be´la 67–8, 271 Ade`s, Thomas 228 ballad opera 107 Adlington, Robert 218, 219 Baragwanath, Nicholas 102 Adorno, Theodor 20, 80, 86, 90, 95, 105, 114, Barbaja, Domenico 308 122, 163, 231, 248, 269, 281 Barber, Samuel 57, 206, 331 Aeschylus 22, 52, 163 Barlach, Ernst 159 Albeniz, Isaac 127 Barry, Gerald 285 Aldeburgh Festival 213, 218 Barto´k, Be´la 67–72, 74, 168 Alfano, Franco 34, 139 The Wooden Prince 68 alienation technique: see Verfremdungse¤ekt Baudelaire, Charles 62, 64 Anderson, Laurie 207 Baylis, Lilian 326 Anderson, Marian 310 Bayreuth 14, 18, 21, 49, 61–2, 63, 125, 140, 212, Andriessen, Louis 233, 234–5 312, 316, 335, 337, 338 Matthew Passion 234 Bazin, Andre´ 271 Orpheus 234 Beaumarchais, Pierre-Augustin Angerer, Paul 285 Caron de 134 Annesley, Charles 322 Nozze di Figaro, Le 134 Ansermet, Ernest 80 Beck, Julian 244 Antheil, George 202–3 Beckett, Samuel 144 ‘anti-opera’ 182–6, 195, 241, 255, 257 Krapp’s Last Tape 144 Antoine, Andre´ 81 Play 245 Apollinaire, Guillaume 113, 141 Beeson, Jack 204, 206 Appia, Adolphe 22, 62, 336 Beethoven, Ludwig van 87, 96 Aquila, Serafino dall’ 41 Eroica Symphony 178 Aragon, Louis 250 Beineix, Jean-Jacques 282 Argento, Dominick 204, 207 Bekker, Paul 109 Aristotle 226 Bel Geddes, Norman 202 Arnold, Malcolm 285 Belcari, Feo 42 Artaud, Antonin 246, 251, 255 Bellini, Vincenzo 27–8, 107 Ashby, Arved 96 Benco, Silvio 33–4 Astaire, Adele 296, 299 Benda, Georg 90 Astaire, Fred 296 Benelli, Sem 35, 36 Astruc, Gabriel 125 Benjamin, Arthur 285 Auden, W. -
Goldmark's Wild Amazons Drama and Exoticism in the Penthesilea Overture
Goldmark’s Wild Amazons Drama and Exoticism in the Penthesilea Overture Jane ROPER Royal College of Music, Prince Consort Road, London E-mail: [email protected] (Received: June 2016; accepted: March 2017) Abstract: Goldmark was the first of several composers to write a work based on Heinrich von Kleist’s controversial play, Penthesilea. Early critical opinion about the overture was divided. Hanslick found it distasteful, whereas others were thrilled by Goldmark’s powerful treatment of the subject. Composed in 1879, during the 1880s Penthesilea became established in orchestral repertoire throughout Europe and Amer- ica. The overture represents the conflict of violence and sexual attraction between the Queen of the Amazons and Achilles. Exoticism in the play is achieved by contrasting brutal violence, irrational behaviour and extreme sensual passion. This is recreated musically by drawing on topics established in opera. Of particular note is the use of dissonance and unexpected modulations, together with extreme rhythmic and dy- namic contrast. A key feature of the music is the interplay between military rhythms representing violence and conflict, and a legato, rocking theme which suggests desire and sensuality. Keywords: Goldmark, Exoticism, Penthesilea Overture The Penthesilea Overture, op. 31, is arguably Carl Goldmark’s most controversial work. Its content is provocative. Consider first of all the subject matter: Goldmark transports us to the battlefield of Troy in the twelfth century BC. Penthesilea, Queen of the Amazons, a terrifying, ferocious warrior tribe of women, gallops onto the scene with her retinue. The Amazons are bloodthirsty and hungry for sex, anticipating the men they will capture to enact their fertility ritual. -
Hansel and Gretel Lighting Designer Biography
Hansel and Gretel Lighting Designer Biography Making her San Francisco Opera debut with Hansel and Gretel, Lucy Carter trained in dance and drama at the Roehampton Institute, University of Surrey, and in lighting design at Central School of Speech and Drama. An international lighting designer for more than twenty years, Carter has worked with ballet companies throughout the world including American Ballet Theatre, Alvin Ailey American Dance Theater, San Francisco Ballet, New York City Ballet, Australian Ballet, Paris Opera Ballet, the Bolshoi Ballet, National Ballet of Canada, Royal Danish Ballet, Scottish Ballet, Stuttgart Ballet, Boston Ballet and the Joffrey Ballet. Recent productions with her long-term collaborator Wayne McGregor include Autobiography, Multiverse, Woolf Works, Tetractys and Raven Girl. Carter’s opera lighting credits include Fiddler on the Roof with Grange Park Opera, La Finta Giardiniera with Glyndebourne Festival and Milan's Teatro alla Scala, Peter Grimes on the Beach with Aldeburgh Festival, Elektra with the Göteborg Opera, Penthesilea with La Monnaie, Brussels and Lohengrin with Welsh National Opera and the Polish National Opera. Her theater work includes Everybody’s Talking About Jamie; Home, I’m Darling; Husbands and Sons; Medea; Emil and the Detectives and Oil. She received the Knight of Illumination Award for Dance for Chroma (2008) and for Woolf Works (2015). Future opera plans include Katya Kabanova with Royal Opera, Covent Garden and Werther in Bergen. . -
Opera Vocal Scores 76 Opera Full Scores 78 Opera Librettos 81 Opera Chorus Parts
61 MUSICOpera DISPATCH 62 The Orchestra Accompaniment Series 63 Opera Aria Collections 67 Cantolopera Series 68 Opera Vocal Scores 76 Opera Full Scores 78 Opera Librettos 81 Opera Chorus Parts 2006 62 THE ORCHESTRA ACCOMPANIMENT SERIES Recorded in Prague with the Czech Symphony Orchestra. The CDs in these packs contain two versions of each selection: one with a singer, and one with orchestra accompaniment only. All books in the series contain historical and plot notes about each opera, operetta or show, and piano/vocal reductions of the music. The singers heard on these recordings are top professionals from Covent Garden, English National Opera, and other main stages. 3 ARIAS FOR BARITONE/BASS Includes “Largo al foctotum” from Il barbiere di siviglia, “Votre toast, je peux vous le rendre (Toreador Song)” from Carmen, and “Madamina! Il catologo e questo” from Don Giovanni. ______00740061 Book/CD Pack .................................................................................$14.95 3 FAMOUS TENOR ARIAS Includes “Che gelida manina” from La Boheme, “La donna e mobile” from Rigoletto, and “Nessun dorma!” from Turandot. ______00740060 Book/CD Pack ..................................................................................$14.95 3 PUCCINI ARIAS FOR SOPRANO Includes “Quando men vo,” from La Boheme, “O mio babbino caro,” from Gianni Schicchi, and “Un bel di vedremo,” from Madama Butterfly. ______00740058 Book/CD Pack ..................................................................................$14.95 3 SEDUCTIVE ARIAS FOR MEZZO-SOPRANO Includes “Habanera” and “Seguidilla” from Carmen and “Mon coeur s’ouvre a ta voix” from Samson et dalila. ______00740059 Book/CD Pack ..................................................................................$14.95 BROADWAY – FULL DRESS PERFORMANCE Includes: Cabaret • If I Loved You • You’ll Never Walk Alone • People Will Say We’re in Love • Can’t Help Lovin’ Dat Man • Climb Ev’ry Mountain • Edelweiss • The Sound of Music • I’m Gonna Wash That Man Right Outa My Hair. -
“De La Obra Literaria a La Escena En La Danza Española. El Sombrero De Tres Picos Y Medea”
“De la obra literaria a la escena en la danza española. El Sombrero de Tres Picos y Medea” Autora: Inés Hellín Rubio Director: Eduardo Blázquez Mateos Universidad Rey Juan Carlos 1 2 INFORME. TESIS DOCTORAL. INÉS HELLÍN RUBIO. TÍTULO; DE LA LITERATURA A LA ESCENA EN DANZA ESPAÑOLA. “EL SOMBRERO DE TRES PICOS” Y “MEDEA”. DIRECTOR: EDUARDO BLÁZQUEZ MATEOS 3 La doctoranda Inés Hellín Rubio ha cumplido y ha realizado con rigor científico la tesis doctoral, cuenta con el visto bueno del director de la tesis, al cumplir con los requisitos necesarios para poder defender la innovadora tesis doctoral sobre dos ballets narrativos, definiendo el cuerpo de una metodología de estudio de los ballets dramáticos. Las obras analizadas se enmarcan en la Historia del Espectáculo, desde un enfoque integrador, uniendo las artes se amplía la visión de la danza. El sentido didáctico y moralizante de las Artes, tiene en el marco devocional un Santuario convertido en Laboratorio de interpretación creativa. La tesis doctoral es un reflejo de la relación existente entre el texto y la escena, los ballets narrativos reflejan la idea de arte total, centrada y enriquecida en el método de transducción literaria del texto al lenguaje plástico-artístico de Danza Española. Desde Tespis, uno de los padres del Teatro, a la tríada del teatro clásico, Sófocles, Esquilo y Eurípides, la elección de un tema como Medea, que remite a la historia del Vellocino de Oro, se explica desde la fusión y la relación entre las artes, desde la integración de teatro y danza; los apoyos se conforman desde la unión de la pintura y la poesía, para ir plasmando un itinerario estudiado y analizado con minuciosidad por parte de la doctoranda. -
ADIRONDACK LIFE May/June 2016 in the United States; People Hummed Wagner’S “Wedding March” and “Pil- Grims’ Chorus.” German Productions Sold out at the Met
YESTERYEARS by Ann Breen Metcalfe Adirondack Intermezzo When German opera stars ocked to Schroon Lake SOME OF THE GREATEST German opera stars of all time spent summers during World PHOTOGRAPHS COURTESY OF THE LIBRARY CONGRESS (3) War I in the Adirondack Moun- tains. Shut out of American opera houses by anti-German sentiment, they were aston- ishingly indiscreet in their public statements and activi- ties. Yet in the mountains they did what everyone else does— they relaxed and had fun. The big opera stars of the early 20th century were equiv- Clockwise from alent to the celebrities of our day. Everyone followed their love above: German lives, where they were appearing, where they dined, what they superstars bari- tone Otto Goritz wore, what they said and what scandals surrounded them. In and soprano the pre-TV and social-media world, the public depended on Johanna Gadski. newspapers to report the doings of the German superstars Oscar Seagle, of the famed Seagle Johanna Gadski and Otto Goritz. Music Colony, in Gadski was the world’s leading interpreter of Richard Wag- Schroon Lake. ner’s operas. She commanded huge fees and traveled with an impressive retinue. Gor itz was a versatile baritone who created the role of Baron Ochs in Der Rosenkavalier at the Metropolitan Opera and for many years appeared in Wagnerian productions at the Met. Like Gadski, he performed internationally, and his every move and utterance were described in the press. In the early 1900s German opera was immensely popular 54 ADIRONDACK LIFE May/June 2016 in the United States; people hummed Wagner’s “Wedding March” and “Pil- grims’ Chorus.” German productions sold out at the Met. -
Hugo Wolf's Penthesilea
UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ Hugo Wolf’s Penthesilea: An Analysis Using Criteria from his own Music Criticism A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of MASTER OF MUSIC in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music 2007 by Jennifer Ann Griswold-Nickel B.A., University of Cincinnati, 2003 Committee Chair: Dr. Mary Sue Morrow ABSTRACT Hugo Wolf’s music criticism in the Wiener Salonblatt (1884–1887) was published while he was actively composing his own symphonic poem Penthesilea, based on the play by Heinrich von Kleist. This criticism, along with comments in his letters (1887–1897) to friend Melanie Köchert, reveals that Wolf placed a high regard on works exhibiting originality, proper orchestration, form and compositional technique. After briefly tracing the history of music criticism in late nineteenth-century Vienna, this thesis establishes Wolf’s compositional aesthetic derived from his critical opinions about instrumental music. A structural analysis of Wolf’s Penthesilea, his only complete programmatic instrumental work, concentrates on thematic material, form, and texture and orchestration and establishes the methods by which he composed his own music. A comparison of Wolf’s aesthetic criteria to his music shows that he adhered to his own compositional aesthetic in concept, but not always in execution. -
Cavalleria Rusticana Pagliacci
cavalleriaPIETRO MASCAGNI rusticana AND pagliacciRUGGERO LEONCAVALLO conductor Cavalleria Rusticana Fabio Luisi Opera in one act production Libretto by Giovanni Targioni-Tozzetti Sir David McVicar and Guido Menasci, based on a story set designer and play by Giovanni Verga Rae Smith Pagliacci costume designer Moritz Junge Opera in a prologue and two acts lighting designer Libretto by the composer Paule Constable Saturday, April 25, 2015 choreographer 12:30–3:45 PM Andrew George vaudeville consultant New Production (pagliacci) Emil Wolk The productions of Cavalleria Rusticana and Pagliacci were made possible by generous gifts from M. Beverly and Robert G. Bartner, Mr. and Mrs. Paul M. Montrone, and the Estate of Anne Tallman general manager Peter Gelb Major funding was received from Rolex music director James Levine Additional funding was received from John J. Noffo Kahn principal conductor and Mark Addison, and Paul Underwood Fabio Luisi The 675th Metropolitan Opera performance of PIETRO MASCAGNI’S This performance cavalleria is being broadcast live over The rusticana Toll Brothers– Metropolitan Opera International Radio Network, sponsored conductor by Toll Brothers, Fabio Luisi America’s luxury in order of vocal appearance homebuilder®, with generous long-term turiddu support from Marcelo Álvarez The Annenberg santuzz a Foundation, The Eva-Maria Westbroek Neubauer Family Foundation, the mamma lucia Vincent A. Stabile Jane Bunnell Endowment for Broadcast Media, alfio and contributions George Gagnidze from listeners lol a worldwide. Ginger Costa-Jackson** There is no pe asant woman Toll Brothers– Andrea Coleman Metropolitan Opera Quiz in List Hall today. This performance is also being broadcast live on Metropolitan Opera Radio on SiriusXM channel 74. -
Symphony Hall. Boston Huntington and Massachusetts Avenues
SYMPHONY HALL. BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephones Ticket Office j ]^^^^ g ' 1492 Branch Exchange | Administration Unices ) THIRTY- THIRD SEASON. 1913 AND 1914 Dr. KARL MUCK. Conductor etiKeaif^;'SJ(SIH. Q£)(BJ icer WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON. DECEMBER 26 . AT 2.30 O'CLOCK SATURDAY EVENING. DECEMBER 27 AT 8.00 O'CLOCK COPYRIGHT, 1913, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS. MANAGER " u S>P teir the Symplhoiiy Concert a prolonging of musical pleasure by home-firelight awaits the owner of a " Baldw^in. The strongest impressions of the concert season are linked with Baldwintone, exquisitely exploited by pianists eminent in their art. Schnitzer, Pugno, Scharwenka, Bachaus — De Pachmann! More than chance attracts the finely-gifted amateur to this keyboard. Among people who love good music, w^ho have a culti- vated knowledge of it, and who seek the best medium for producing it, the Baldwin is chief. In such an atmosphere it is as happily "at home" as are the Preludes of Chopin, the Liszt Rhapsodies upon a virtuoso's programme. THE BOOK OF THE BALDWIN free upon request. 366 FIFTH AVENUE. NEW YORK CITY 614 Thirty-third Season, 1913-1914 Dr. KARL MUCK. Conductor PEEf lEL Violins. Witek, A. Roth, 0. Concert-master. Kuntz, D. Noack, S. ^ •16g-TREM0?{T-3T- • • D05T0?lMfl5S- The leadership of the Chlckering Piano has never been better exemplified than in our Anniversary Grand, here shown. Its moderate size but serves to impress the user with its power and brilliancy of tone, while the de- sign and finish of the case fit it to a niche in any home. -
Amy Emm the Legacy of Kleist's Language in Music
Amy Emm The Legacy of Kleist’s Language in Music: Schoeck, Wolf, Bachmann, and Henze Although Kleist’s oeuvre has inspired many musical works, few have made a lasting contribution to the repertoire. This essay examines the extent to which Kleist’s celebrated language has hindered successful musical adaptation. It sur- veys some better-known Kleist adaptations from orchestral music and opera, in order to explore the role Kleist’s language has played for composers and libret- tists from the late eighteenth to the early twenty-first centuries. In 2007 Hans Neuenfels directed an acclaimed revival of Othmar Schoeck’s one act opera, Penthesilea (1927),1 based on Heinrich von Kleist’s play of the same name. Culture and music critic Peter Hagmann’s laudatory review summarizes the problems surrounding Kleist’s reception in music: Penthesilea by Othmar Schoeck does not exactly belong among the pillars of the repertoire, but the one-act opera from 1927 is not entirely unknown. And again and again, the piece came to a curiously armored, unpleasantly loud tone, which left Heinrich von Kleist’s well-formed sentences incomprehensible over long passages and drove the listener to exhaustion. The case is completely and agreeably different in this first-class production from the Theater Basel, which commemorates not only the 50th anniversary of the composer’s death, but also attends exemplarily to the 20th century repertoire.2 First, although Kleist has a substantial and diverse legacy in music, it has mostly been forgotten. Kleist’s plays, short stories, anecdotes, poems, epi- grams, and even his letters have inspired a range of musical works, from 1 Othmar Schoeck, Penthesilea (Zürich: Musikhaus Hüni, 1927). -
Troy Chromatic Concerts Performers 1894-2007
Troy Chromatic Concerts 110 Seasons of Classical Music Excellence 1894-2007 1ST SEASON - 1894-1895 Raoul Pugno, piano, & Maude MacCarthy, violin Henry E. Krehbiel, lecturer, with Thomas Impett, tenor Marcella Sembrich, soprano Edward A. MacDowell, piano Bendix String Quartet & Augusta Cottlow, piano Mr. & Mrs. Max Heinrich 10TH SEASON - 1903-1904 Kneisel Quartet Jacques Thibaud, cello 2ND SEASON - 1895-1896 Lillian Nordica, soprano Louis C. Elson Ernestine Schumann-Heink, mezzo soprano Fannie Bloomfield Zeisler, piano Arbos String Quartet & Alfred Reisenauer, piano Plunket Greene, bass-baritone 11TH SEASON - 1904-1905 Kneisel Quartet Kneisel Quartet & Augusta Cottlow, piano 3RD SEASON - 1896-1897 Eugen d'Albert, piano Corrine Moore-Lawson Johanna Gadski, soprano Albert Lockwood, piano Louise Homer, contralto, & Emilio de Gogorza, baritone Kneisel Quartet 12TH SEASON - 1905-1906 Plunket Greene, bass-baritone Harold Bauer, piano 4TH SEASON - 1897-1898 Johanna Gadski, soprano Georg Henschel, baritone, & Mrs. Georg Henschel, Marie Nichols, violin, & Elsa Ruegger, cello soprano Herbert Witherspoon, bass Henri Marteau, violin 13TH SEASON - 1906-1907 David Bispham, baritone Ernestine Schumann-Heink, mezzo soprano Kneisel Quartet Josef Lhevinne, piano 5TH SEASON - 1898-1899 Alexandre Petschnikoff, violin, & Rudolf Ganz, piano In a Persian Garden Victor Harris, conductor George Hamlin, tenor David Bispham, baritone 14TH SEASON - 1907-1908 Emil Sauer, piano Susan Metcalfe, soprano Kneisel Quartet Emilio de Gogorza, baritone 6TH SEASON - 1899-1900