DIE FLEDERMAUS De Johann Strauss

Total Page:16

File Type:pdf, Size:1020Kb

DIE FLEDERMAUS De Johann Strauss DIE FLEDERMAUS de Johann Strauss MARIO BRELL GUNDULA JANOWITZ ANDREA MARTIN YVONNE MINTON SIEGFRIED JERUSALEM (14) RICHARD KARCZYKOWSCKY (17 i 20) WOLFGANG SCHONE MELANIE HOLLIDAY WILFRIED PLATE Director d'orquestra: LEOPOLD HAGER Director d'escena: EDGARD KELLING Producció: OPERA ROYAL DE VALONIE Dijous, 14 de juny de 1984, a les 21 h., torn NIT Diumenge, 17 de juny de 1984, a les 17 h., torn TARDA Funció de GaZa Dimecres, 20 de juny de 1984, a les 21 h., torn NIT ORQUESTRA SIMFÒNICA r COR DEL GRAN TEATRE DEL LICEU Director del cor: ROMANO GANDOLFI Director adjunt del cor: VITTORIO SICURI • �g� pro mUSICa 8'�®o 1 e Presenta � JO yero de ° J ROCA° ciones° as Crea las últlTn o, conJun- 84 ' 1e cCloh SU CO ., n\as'perfectoo Clon del calldad con la disen-o 'a o me dO1terrane estética XXVI TEMPORADA MUSICAL IV FESTIVAL D'ÒPERA 475, 476 i 478 sessions ¡ LA FILLE DU REGIMENT J de Gaetano Donizetti DIUMENGE, 10 DE JUNY DE 1984, A LES 17 H. 13 DIMECRES, DE JUNY DE 1984, A LES 21 H. Funció de Gala o �g1'ri:SI (Gerona), 8'pJ)�S' ¡\gara. \ GavIna ]6 DE Hasta La DISSABTE, JUNY DE 1984, A LES 21 H. o 18 de Gracla, Paseo 7 Barcelona, GRAN TEATRE DEL LICEU * BARCELONA C/Jrholofie GRAN TEATRE DEL LICEU CONSORCI DEL GRAN TEATRE DEL LICEU GENERALITAT DE CATALUNYA AJUNTAMENT DE BARCELONA SOCI ETAT DEL GRAN TEATRE DEL LICEU PATRONAT DEL CONSORCI I PRESIDENT: Molt Honorable Sr. Jordi Pujol [ VICE-PRESIDENT: ExceHentíssim Sr. Pasqual Maragall GERENT: Sr. Lluís Portabella I I VOCALS: Antoni Sàbat (Generalitat de Catalunya) t Montserrat Albet Generalitat de I ( Catalunya) ¡ Hlma. Sra. M." Aurèlia Capmany (Ajuntament de Barcelona) Jordi Vallverdú (Ajuntament de Barcelona) HIm. Sr. Germà Vidal (Ajuntament de Barcelona) Josep M." Bricall (Ajuntament de Barcelona) Manuel Bertrand (Societat del G. T. del Liceu) Fèlix M." Millet (Societat del G. T. del Liceu) mUSICa Josep M." Coronas (Societat del G. T. del Liceu) pro Maria Vilardell (Societat del G. T. del Liceu) Carles Mir (Societat del G. T. del Liceu) -_. �.... SECRETARI: Adrià Alvarez A la portada, La famosa cantatriu sueca lenny Lind en una interpretació de "La Filie du Régiment" Dep. Leg.1 B. 558 - ,.10 I§! publilternpo J - LLORET. INDUSTRIAS GRAFICAS BADALON.6 ADMINISTRADOR: Lluís Andreu DIRECTOR D'ESCENARI: Dídac Monjo ASSISTENTS MUSICALS: Jordi Giró Miguel Ortega Lolita Poveda Shari Rhoads APUNTADOR: Jaume Tribó CAP DE PREMSA I RELACIONS PÚBLIQUES: Adelita Rocha CAP D'ABONAMENT I TAQUILLES: Josefina Carbonell CAP D'ADMINISTRACIÚ: Joan Antich SERVEI MÈDIC: Dr. Enric Bosch SECRETARIA: Josep Delgado Maria Antònia Claramunt María José García CAP DE MAQUINISTES: Constancio Anguera CAP D'ELECTRICISTES: Francesc Tuset CAP D'UTILLATGE: Jaume Payet CAP DE SASTRERIA: Remei Mollor CAP DE MAQUILLATGE: Martha Vázquez PERRUQUERIA: «Damaret » SABATERIA: «Valldeperas » Assistència tècnica: JORQUERA HNOS., pianos PUBLICITAT I PROGRAMES: Publi-Tempo NOTES IMPORTANTS: Un cop començada la funció, no serà permesa l'entrada a la sala, així com verificar enregistraments, fotografies o filmar escenes de qualsevol tipus. Les funcions començaran puntualment a l'hora indicada. El Patronat Pro Música, si les circumstàncies ho reclamen, podrà alterar les dates, els programes o els intèrprets anun­ ciats en aquest programa. En compliment d'allò que disposa l'Article 92 del Reglament d'Espectacles, és prohibit de fumar als passadissos; hom ha d'utilitzar el Saló del ler. pis i el vestíbul de l'entrada. 6. Accés pel carrer St. Pau núm. 1 bis PATRONAT "PRO MÚSICA" DE BARCELONA Asistencia técnica del Palau de la Música Catalana JUNTA DIRECTIVA PRESIDENT Don Luis Porta bella Ráfols VICE-PRESIDENT Don Ramón Negra Valls SECRETARI Don Juan Pujadas Obradors TRESORER Don Francisco Samaranch Torelló VOCAL Don Pedro Mir Amorós VOCAL Don Carlos Mir Amorós VOCAL Doña Montserrat Mombrú de Balañá VOCAL Don Esteban Molist Pol VOCAL Don Rogelio Roca Salamanca socrs ADHERITS Doña Carmen Aguilera de Daurella Doña Nuria Fábregas de Sarrias Excmo. Sr. de Alella Marqués Doña Magdalena Ferrer Dalmau Don Carlos Andreu Batlló Doña M.' Antonia Ferrer de Thomas Don Jordi Argenté i Giralt Excma. Sra. Condesa, Vda. de Fígols Don Daniel Argimón Llofriu Doña Joaquina Fina, Vda. de Rosa Don Jordi Balañá Albiñá Don Santiago Fisas Mulleras Profesor D. Joaquín Barraquer Moner Don Antonio Folcrá Folcrá Don José Bel Font Sra. Maria Font de Carulla Doña Irene A., Vda. de Bertrán Don Buenaventura Garriga Brutau Don Eusebio Bertrand Mata Excmo. Sr. Conde de Godó Don Manuel Bertrand Vergés Don Jaume Graell Massana Don Blanch Cubiñé Jorge Don Joan A. Grau Cuadrada Don José Serra Botey Don Hans Hartmann Doña M.' Bracons Esperança Tatché Don Wolfgang A. Hartmann Don Emilio Brillas Saguer Doña Petra Huarte, Vda. de Vila Don Buxeres Pons Alejo Don José Manuel Infiesta Monteverde Doña María Josefa Casacuberta, Doña Pilar Jaraiz Franco, Vda. de Lago Vda. de Soler Mauri Don Alexander Konta Don Castella Mandos Joaquín Excmo. Sr. Conde de Lacambra Don Agustín Ca talán Baulenas Don Miguel Lerín Seguí Don José Colomer Ametller Don Félix Llonch Salas Doña María Soledad Córdoba Gabaraín Doña Elvira Madroñero Don Enrique Corominas Vila Don Manuel MaJagrida Pons Don MarceHí Curell i Suñol Don Axel Malowan Tejcira Doña Josefina Cusí Fortunet Doña Ginette Manry Bernaille Don Ricardo Defarges Ibáñez Don Enrique Mañosas Barrera Don José Descartín Don Joan A. i e instrumentos. Maragall Noble división electrónica: órganos Don José Ensesa división pianos: Montsalvatge Doña M.' Teresa Marca de Salvat Don Juan Esquirol Pedragosa Don Juan March Delgado Cambó 10 Via Laietana, 32-34 Don Jacinto Esteva Vendrell Av. Francisco (Av. Catedral), Doña Francisca Marcet, Vda. de Torredemer . 3 Tels. 3196096 3106912. Barcelona, 3 Tels. 3196096 3106912. Barcelona, Precisión. Habilidad. Control. Rolex, Don José Sala Amat Don José M.' Mas Casals Don Juan Salvat Don Jaime Mercadé Bertrán Don Manuel Salvat Don Jorge Miarnau Banús Don Eusebio Sans Coll Don Joan Millà Francolí Doña Verónica Santalla Blavi Don Félix M.' Millet i Tusell Don Francisco A. Sensat Don Jesús Mir Amorós Alemany. Don Gerardo Sensat Estrada Don Horacia Miras Giner Don José Serra Roca Don Federico Mitjans Martínez Don Jesús Serra Santamans Don Joaquín Monzó i Bergé Don Antoni Serra Santamans Don Antonio Negre Villavecchia Doña M.' Teresa Serra, Vda. de Soler-Cabot Don Sebastián Noguera Vives Don José Soldevila Armenteras Don Gaspar Núñez Simón Doña María Soldevila, Vda. de Gamis Don Josep Oliveres Baulenas Excma. Sr. José Suñer Martínez Don Antonio Olmos Miró Don José Ildcfonso Suñol Soler Doña M.' Teresa Orellana, Vda. de Bricall Don Geza Tolnay Don Antonio Paricio Don Salvador Torrents Don Gabriel Paricio Larrea Doña María Do'ores Torres de Andreu Don Raimon Patau Iglesias Don Antoni Torres Alvarez Don Joan del Peso Don Rodolfo Tovar Don Mateo Pla Elías Faja Don Joan Trias i Bertran Don Jorge Pla Martí Don Juan Uriach Don José Pons Cardener Tey Dol'ia Asunción Valls de Pi Figueras Don Antonio Pons Llibre Don Joan Vallvé i Creus Don Javier Portabella Córdoba Excmo. Sr. Marqués de la Vega Inclán Don Luis Portabella Córdoba En el mundo del Don Ventosa Polo, hay ciertas características que Doña M.' Teresa Puig de Riera Ignacio Despujol distinguen Don Vernis Bonet a los auténticos Don Pedra Puig Massana Domingo campeones. Don Salvador Vidal Nunell Doña Carmen Puig de Viladomiu Son las cualidades hacen destacar a los Don Vila Basté que mejores del resto. Don Jordi Pujadas Hostench Ignacio Don de Villalonga Gusta Precisión. Habilidad. Dominio del Don Andreu Pujol i Mir Santiago tiempo. Doña Marta O. de Villavecchia Doña Teresa Ráfols, Vda. de Jover Características cada uno de los Rolex Don Wolf Zantop compartidas por Don Rafael Rifá Puget Oyster. Orfeó Català Por esta no es de extrañar tantos líderes Don Leopolda Rodés Castañé razón, que del deporte, Fòrum Musical Doña Elvira Rosell de Santigosa confíen a los el control del Musicals de Barcelona expertos perfecto tiempo. Don Martín Rossell Barbé Joventuts Hnos., Un Rolex únicamente en el Don Francesc Rubiralta Vilaseca Jorquera pianos Oyster. Adquiéralo ,\II, Radio Ambiente Musical, S. A Doña M: Josefa Rusiñol, Vda. de Valls Taberner Concesionario Oficial Rolex. � Doña Gloria Sacrest Recolons ROLEX of Geneva ADMINISTRADOR ARTíSTIC Don Carles Caballé Folch DEL IV FESTIVAL D'OPERA Ro/ex Day-Dale. Cronometro. En oro de /8 qui/ales con brazalete ajuego. , . oberta la llista d'inscripció pel ., Tel continua A la Secretaria de "Pro Música» (Ba Imes, 26 ,r.,1 la 3186208) al Patronat. a tots els qui desitgin adherir-se - Joyero Paseo de Gracia, 18 - BARCELONA-7 BOll)Jttiiqll)J� Diagonal, 580- BARCELONA - 21 RUTH WELTING Ruth Welting debutà professionalment als vint-i-dos anys en el paper de Blonde de El rapte del Serrall amb la New York City Opera. Tot seguit, actuà al Metropolitan de Nova York en el paper de Zerbinetta, a l'ò­ en en el de a pera de Chicago el d'Olympia, al Covent Garden Rosina, a en el de l'Òpera de Dallas en el de Titania, l'Òpera d'Hamburg Blonde,. a Washington en el de Lucia, i al Teatro Colón en el de Fiorella. de Ruth Welting cantà per primera vegada Lakme a Ràdio Nacional França i l'interpretà altra vegada l'any 1980 a l'Òpera de Chicago. Gilda de Ri­ El seu repertori inclou, entre d'altres òperes, el paper de goletto (Festival d'Ottava), Norina de Don Pasquale (Òpera de San Fran­ cisco) i Olympia al Metropolitan i a l'Òpera de Chicago. El paper de Zer­ binetta, l'ha interpretat a Chicago, San Francisco, Covent Garden, Me­ tropolitan, Festival de Salzburg i, recentment, a l'Òpera d'Hamburg i París. Enguany cantarà a Chicago la seva primera Constanza.
Recommended publications
  • Nini, Bloodshed, and La Marescialla D'ancre
    28 Nini, bloodshed, and La marescialla d’Ancre Alexander Weatherson (This article originally appeared in Donizetti Society Newsletter 88 (February 2003)) An odd advocate of so much operatic blood and tears, the mild Alessandro Nini was born in the calm of Fano on 1 November 1805, an extraordinary centre section of his musical life was to be given to the stage, the rest of it to the church. It would not be too disrespectful to describe his life as a kind of sandwich - between two pastoral layers was a filling consisting of some of the most bloodthirsty operas ever conceived. Maybe the excesses of one encouraged the seclusion of the other? He began his strange career with diffidence - drawn to religion his first steps were tentative, devoted attendance on the local priest then, fascinated by religious music - study with a local maestro, then belated admission to the Liceo Musicale di Bologna (1827) while holding appointments as Maestro di Cappella at churches in Montenovo and Ancona; this stint capped,somewhat surprisingly - between 1830 and 1837 - by a spell in St. Petersburg teaching singing. Only on his return to Italy in his early thirties did he begin composing in earnest. Was it Russia that introduced him to violence? His first operatic project - a student affair - had been innocuous enough, Clato, written at Bologna with an milk-and-water plot based on Ossian (some fragments remain), all the rest of his operas appeared between 1837 and 1847, with one exception. The list is as follows: Ida della Torre (poem by Beltrame) Venice 1837; La marescialla d’Ancre (Prati) Padua 1839; Christina di Svezia (Cammarano/Sacchero) Genova 1840; Margarita di Yorck [sic] (Sacchero) Venice 1841; Odalisa (Sacchero) Milano 1842; Virginia (Bancalari) Genova 1843, and Il corsaro (Sacchero) Torino 1847.
    [Show full text]
  • JOS-075-1-2018-007 Child Prodigy
    From the Bel Canto Stage to Reality TV: A Musicological View of Opera’s Child Prodigy Problem Peter Mondelli very few months, a young singer, usually a young woman, takes the stage in front of network TV cameras and sings. Sometimes she sings Puccini, sometimes Rossini, rarely Verdi or Wagner. She receives praise from some well meaning but uninformed adult Ejudge, and then the social media frenzy begins. Aunts and uncles start sharing videos, leaving comments about how talented this young woman is. A torrent of blog posts and articles follow shortly thereafter. The most optimistic say that we in the opera world should use this publicity as a means to an end, to show the world at large what real opera is—without ever explaining how. Peter Mondelli The sentiment that seems to prevail, though, is that this performance does not count. This is not real opera. Opera was never meant to be sung by such a voice, at such an age, and under such conditions. Two years ago, Laura Bretan’s performance of Puccini’s “Nessun dorma” on America’s Got Talent evoked the usual responses.1 Claudia Friedlander responded admirably, explaining that there are basic physiological facts that keep operatic child prodigies at a distance from vocally mature singers.2 More common, however, are poorly researched posts like the one on the “Prosporo” blog run by The Economist.3 Dubious claims abound—Jenny Lind, for exam- ple, hardly retired from singing as the post claims at age twenty-nine, the year before P. T. Barnum invited her to tour North America.
    [Show full text]
  • Archivi Delle Donne, Vol. 2
    pp I-VI tomo II.qxp:pp 1-6.qxd 12/03/12 16.33 Pagina 1 pp I-VI tomo II.qxp:pp 1-6.qxd 12/03/12 16.33 Pagina 2 pp I-VI tomo II.qxp:pp 1-6.qxd 12/03/12 16.33 Pagina 3 MEMORIA E SCRITTURA DELLE DONNE LOMBARDIA pp I-VI tomo II.qxp:pp 1-6.qxd 12/03/12 16.33 Pagina 4 Questo volume è stato realizzato con il contributo di Dipartimento di Scienze della Storia e della Documentazione Storica Università degli Studi di Milano Regione Lombardia Provincia di Milano Comune di Milano Fondazione Cariplo Istituto Lombardo di Storia Contemporanea Centro di Studi per la Storia dell’Editoria e del Giornalismo con il patrocinio di Ministero per i Beni e le Attività Culturali Ministero per le Pari Opportunità Soprintendenza Archivistica per la Lombardia Istituto per la Storia del Risorgimento Italiano Comitato di Milano pp I-VI tomo II.qxp:pp 1-6.qxd 12/03/12 16.33 Pagina 5 SUSSIDI ERUDITI 85 SERIE “MEMORIA E SCRITTURA DELLE DONNE” LOMBARDIA GLI ARCHIVI DELLE DONNE 1814-1859 REPERTORIO DELLE FONTI FEMMINILI NEGLI ARCHIVI MILANESI a cura di MARIA CANELLA ePAOLA ZOCCHI Prefazione di MARIA LUISA BETRI Tomo secondo ROMA 2012 EDIZIONI DI STORIA E LETTERATURA pp I-VI tomo II.qxp:pp 1-6.qxd 12/03/12 16.33 Pagina 6 Il progetto Gli archivi delle donne è promosso dal Dipartimento di Scienze della Storia e della Documentazione Storica dell’Università degli Studi di Milano Comitato scientifico: Maria Luisa Betri (coordinatrice) Letizia Arcangeli, Marina Benedetti, Marco Bologna, Elena Brambilla, Maria Canella, Elvira Cantarella, Luisa Dodi, Ada Gigli Marchetti, Daniela Maldini, Susanna Peyronel, Emma Scaramuzza, Paola Vismara, Paola Zocchi.
    [Show full text]
  • Les Contes D'hoffmann
    Jacques Offenbach Les Contes d’Hoffmann CONDUCTOR Opera in three acts, a prologue, James Levine and an epilogue PRODUCTION Libretto by Jules Barbier and Michel Carré Bartlett Sher based on stories by E.T.A. Hoffmann SET DESIGNER Michael Yeargan Saturday, December 19, 2009, 1:00–4:40 pm COSTUME DESIGNER Catherine Zuber New Production LIGHTING DESIGNER James F. Ingalls CHOREOGRAPHER Dou Dou Huang The production of Les Contes d’Hoffmann was made possible by generous gifts from the Hermione Foundation and the Gramma Fisher Foundation, Marshalltown, Iowa. Additional funding was received from the Estate of Helen F. Kelbert and Mr. and Mrs. William R. Miller. GENERAL MANAGER Peter Gelb MUSIC DIRECTOR James Levine 2009–10 Season The 245th Metropolitan Opera performance of This performance is being Jacques Offenbach’s broadcast live over The Toll Brothers– Metropolitan Les Contes Opera International Radio Network, d’Hoffmann sponsored by Toll Brothers, America’s luxury c o n d u c t o r homebuilder®, James Levine with generous long-term support from Hoffmann, a poet Olympia, a doll The Annenberg Joseph Calleja Kathleen Kim Foundation, the The Muse of Poetry Antonia, a young singer Vincent A. Stabile Nicklausse, Hoffmann’s friend Stella, a prima donna Endowment for Kate Lindsey * Anna Netrebko Broadcast Media, and contributions Lindorf Giulietta, a courtesan from listeners Coppélius, an optician Ekaterina Gubanova worldwide. Dr. Miracle Dapertutto This performance Alan Held is also being broadcast live on Metropolitan Andrès Nathanaël, a student Opera Radio Cochenille Rodell Rosel on SIRIUS Frantz channel 78 and Pitichinaccio Spalanzani, a physicist XM channel 79.
    [Show full text]
  • Horne-Part-Ii-A-L.Pdf
    J & J LUBRANO MUSIC ANTIQUARIANS Marilyn Horne in Norma by John Foote: National Portrait Gallery, Washington D.C. Autographs, Prints, & Memorabilia from the Collection of Marilyn Horne Part 2: A-L 6 Waterford Way, Syosset, NY 11791 USA Telephone 516-922-2192 [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). Please note that all material is in good antiquarian condition unless otherwise described. All items are offered subject to prior sale. We thus suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper right of our homepage. We ask that you kindly wait to receive our invoice to insure availability before remitting payment. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. New York State sales tax will be added to the invoices of New York State residents. We accept payment by: - Credit card (VISA, Mastercard, American Express) - PayPal to [email protected] - Checks in U.S. dollars drawn on a U.S. bank - International money order - Electronic Funds Transfer (EFT), inclusive of all bank charges (details at foot of invoice) - Automated Clearing House (ACH), inclusive of all bank charges (details at foot of invoice) All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full.
    [Show full text]
  • Introspecţiuni Interpretative
    CODRUŢA MARA LUISA GHENCEAN INTROSPECŢIUNI INTERPRETATIVE Cluj-Napoca 2019 Referenți: Conf. univ. dr. Veronica Negreanu Prof. univ. dr. Gabriel Banciu Descrierea CIP a Bibliotecii Naţionale a României GHENCEANU, CODRUŢA Introspecţiuni interpretative / Codruţa Ghenceanu. - Cluj-Napoca : MediaMusica, 2019 ISMN 979-0-9009871-4-3 ; ISBN 978-606-645-048-5 78 Design coperta: Ciprian Gabriel Pop © Copyright, 2019, Editura MediaMusica Toate drepturile asupra acestei ediţii sunt rezervate. Reproducerea integrală sau parţială pe orice suport, fără acordul scris al editurii, este interzisă. Editura MediaMusica 400079 – Cluj Napoca, str. I.C Brătianu nr. 25 tel. / fax 264 598 958 2 CUPRINS: DON GIOVANNI de W. A. MOZART ................................................ 4 Mozart şi opera ................................................................................ 4 Opera Don Giovanni privit ă din perspectiva acompaniamentului 11 BELCANTOUL ŞI REPREZENTAN ŢII S ĂI DE SEAM Ă: ROSSINI, DONIZETTI, BELLINI .................................................... 62 Aspecte stilistice ale belcanto-ului italian ..................................... 62 GIOACCHINO ROSSINI (1792-1868) Crea ţia rossinian ă privit ă din perspectiva acompaniamentului .......... 66 GAETANO DONIZETTI (1797-1848) Crea ţia donizettian ă privit ă din perspectiva acompaniamentului .... 118 VINCENZO BELLINI (1801-1835) Crea ţia bellinian ă privit ă din perspectiva acompaniamentului ........ 132 GIUSEPPE VERDI (1813-1901) Crea ţia verdian ă privit ă din perspectiva acompaniamentului .........
    [Show full text]
  • Radio 3 Listings for 31 March – 6 April 2012 Page 1 of 9 SATURDAY 31 MARCH 2012 D.919 Fruhlingslied (Geoffnet Sind) [Vers
    Radio 3 Listings for 31 March – 6 April 2012 Page 1 of 9 SATURDAY 31 MARCH 2012 D.919 Fruhlingslied (Geoffnet sind) [vers. 2] (D.919) BBC Radio 3 unravels the spirit of this prolific composer. Juliane Banse (soprano) Graham Johnson (piano) SAT 01:00 Through the Night (b01f1khs) Throughout the day at 1100, 1400 and 1745 Tom Service The Spirit of Schubert D.902 3 Gesange fur Bassstimme mit Klavier (D.902) presents The Schubert Lab - exploring the issues of the day and Gerald Finley (baritone) Graham Johnson (piano) answering questions about Schubert's life and music. Who Is Schubert? 5.13AM Today we consider Schubert's last year. He died at the age of 31 John Shea continues BBC Radio 3's celebration of The Spirit of Quartet for strings (D.68) in B flat major in 1828 having written almost a thousand works. He'd Schubert with a selection of Schubert's songs from the last years Leipzig String Quartet contracted syphillis fives years before his death and the works of his life, and a series of Landler for violin. Plus a of those final years reached an immediacy and intensity he'd not performance of the oratorio Lazarus which he composed aged 5.32AM before discovered. His was a brief life that burned bright, and just 23 to a text by Protestant poet and theologian August Gesang der Geister uber den Wassern (D.705) it's impossible to call these works - when many other composers Niemayer. Schubert subtitled the work Easter Cantata. Like so The London Schubert Chorale (director Stephen Layton) would just be establishing themselves - a late period.
    [Show full text]
  • JULES MASSENET – His Life and Works by Nick Fuller I
    JULES MASSENET – His Life and Works By Nick Fuller I. Introduction Jules Massenet’s operas made him one of the most popular composers of the late nineteenth century, his works performed throughout Europe, the Americas and North Africa. After World War I, he was seen as old- fashioned, and nearly all of his operas, apart from Werther and Manon , vanished from the mainstream repertoire. The opera-going public still know Massenet best for Manon , Werther , and the Méditation from Thaïs , but to believe, as The Grove Dictionary of Opera wrote in 1954, that ‘to have heard Manon is to have heard all of him’ is to do the composer a gross disservice. Massenet wrote twenty-seven operas, many of which are at least as good as Manon and Werther . Nearly all are theatrically effective, boast beautiful music and display insightful characterisation and an instinct for dramatic and psychological truth. In recent decades, Massenet’s work has regained popularity. Although he Figure 1 Jules Massenet, drawing by Ernesto Fontana (Source: is not the household name he once http://artlyriquefr.fr/personnages/Massenet%20Jules.html) was, and many of his operas remain little known, he has been winning new audiences. Conductors like Richard Bonynge, Julius Rudel and Patrick Fournillier have championed Massenet, while since 1990 a biennial Massenet festival has been held in his birthplace, Saint-Étienne, in the Auvergne-Rhône-Alpes, its mission to rediscover Massenet’s operas. His work has been performed in the world’s major opera houses under the baton of conductors Thomas Beecham, Colin Davis, Charles Mackerras, Michel Plasson, Riccardo Chailly and Antonio Pappano, and sung by Joan Sutherland, José van Dam, Frederica von Stade, Nicolai Gedda, Roberto Alagna, Renée Fleming, Thomas Hampson and Plácido Domingo.
    [Show full text]
  • Un Giorno Di Regno/Verdi 15.8
    http://www.bloggione.com/parma/un-giorno-di-regno/297/admin • Cantiere Montepulciano ’10: Un Giorno di Regno/Verdi 15.8. Mit “Un Giorno di Regno ossia il finto Stanislao” (König für einen Tag oder Der falsche Stanislaus kam beim 35.Cantiere eine frühe (die 2.) Verdi-Oper haraus. Bemerkenswert an diesem Werk ist, daß sie die einzige Buffo-Oper in Verdis Oevre ist, wenn man mal vom großen Opernfinale mit Falstaff absieht. Verdi verarbeitet hier verschiedene Einflüsse, besonders Donizetti und Rossini. Von ersterem haben wir einige Episoden, die zu Beginn des 19.Jahrhunderts en voge waren. Die Buffo-Elemente haben natürlich ihre großen Vorbilder in Rossini, dem Großmeister in diesem Genre. In den Belcanto-Stellen hat Vincenzo Bellini seine Eindrücke hinterlassen. Wir finden hier aber auch achon Verdi, der auf eigenen Füßen steht, neben volkstümlichen Stellen, die auf Verdis Faible für die italien.Banda (Straßenkapelle) fußen, blitzt bereits seine Meisterschaft in der Behandlung der Solisten-Ensembles besonders bei Aktschlüssen auf, die sich in den späteren Opern weiter perfektionierte. Dieser ‘Giorno di Regno ist also eine vergessene Perle und Bindeglied zwischen frühem und mittlerem musikalischen 19.Jahrh. Bei der UA in Mailand fiel er beim Publikum durch, was aber wohl der schlechten Interpretation geschuldet war, danach konnte die Oper in Italien nur wenige Erfolge verbuchen und wurde in Mailand erst 2001 wieder aufgenommen. An einem polnischen Hof soll eine Doppelhochzeit gehalten werden, in die auch der ‘falsche’Stanislaus involviert ist. Es handelt sich dabei aber um arrangierte Hochzeiten und es bedarf einiger komplizierter Verwicklungen und Aktionen auch von seiten des Noch- Regenten, um letztendlich die Hochzeit mit den richtigen Liebespaaren halten zu können.
    [Show full text]
  • Cvjosepha Gayer
    CURRICULUM VITAE Josepha Gayer 1512 Spruce Street-#2308 BarrettVantage Management Philadelphia, PA 19102 505 Eighth Avenue-Suite 601 267-687-8275 New York, NY 10018 610-585-1509(cell) (212) 245-3530 [email protected] www.barrettvantage.com Higher Education Bachelor of Fine Arts (Vocal Performance), Carnegie-Mellon University; 1964 Teaching Specialization Private Voice Instruction Professional Vocal and Dramatic Coaching Language Diction for Singing Master Classes Academic Experience Philadelphia High School for the Creative and Performing Arts, Vocal Consultant; 1979-1984 Non-Academic Experience Professional Operatic and Concert Performing Career; 1976-Present (See Addendum 1) Private Voice Studio; 1978-Present Master Classes-1988-present Demonstration of Students’ Success Singers in my studio who have achieved professional careers include: Kathleen Hegierski, New York City Opera, Dallas Opera, L’Opera de Montreal, Milwaukee Florentine Opera Jane Gilbert, Pavarotti Competition Winner, Washington Opera, Opera Company of Philadelphia, many regional companies and awards Jami Rogers, New York City Opera, Santa Fe Opera, Opera Theater of St. Louis, Hawaii Opera Theater, Cleveland Opera, Sarasota Opera Kevin Anderson, Lyric Opera of Chicago, Canadian Opera Center, Nancy, France, Opera Theater of St. Louis, Hawaii Opera Theater, numerous symphony orchestras Josepha Gayer: Curriculum Vitae, Page Pamela Dillard, Opera Theater of St. Louis, Boston Lyric Opera, San Francisco Opera, soloist on Armistad soundtrack ( John Williams, composer) Cheri Rose Katz, Gerda Lissner Foundation Encouragement Award Winner 2000, NYC regional winner Macallister Awards, Finalist Palm Beach Opera National Vocal Competition, Finalist Young Patronesses of the Opera Florida Grand Opera Bi-Annual Voice Competition, 2nd Place Winner National Society of Arts and Letters, NJ,.
    [Show full text]
  • Cendrillon Program 2018
    MASSENET 1819-Cover-CINDERELLA.indd 1 10/23/18 1:28 PM LYRIC OPERA OF CHICAGO Table of Contents JOHAN JACOBS / LA MONNAIE DE MUNT IN THIS ISSUE Cendrillon – pp. 20-34 6 From the General Director 20 Title Page 40 Patron Salute 8 From the Chairman 21 Synopsis 42 Production Sponsors 10 Board of Directors 23 Cast 43 Aria Society 11 Women’s Board/Guild Board/Chapters’ 24 Artist Profiles 53 Supporting Our Future – Executive Board/Young Professionals/Ryan Endowments at Lyric 30 Opera Notes Opera Center Board 54 Major Contributors – Special Events and 34 After the Curtain Falls 12 Administration/Administrative Staff/ Project Support Production and Technical Staff 36 Musical Staff/Orchestra/Chorus 55 Lyric Unlimited Contributors 14 Expanind the Bounds of Opera: 37 Backstage Life 56 Commemorative Gifts Kamaria Morris 38 Artistic Roster 57 Ryan Opera Center 58 Ryan Opera Center Alumni Around the World 59 Ryan Opera Center Contributors 60 Planned Giving: e Overture Society PHOTO CREDIT NEEDED 62 Corporate Partnerships 63 Matching Gifts, Special anks, and Acknowledgements 64 Annual Individual and Foundation Support 70 Facilities and Services/eater Staff On the cover: Cinderella illustration by THE IMPACT OF LYRIC UNLIMITED – pp. 14-18 Gustave Doré (1832-1883). 2 | December 1, 2018 - January 20, 2019 Since 1991 www.performancemedia.us | 847-770-4620 3453 Commercial Avenue, Northbrook, IL 60062 Gail McGrath Publisher & President Sheldon Levin Publisher & Director of Finance A. J. Levin Director of Operations Account Managers Rand Brichta - Arnie Hoffman Executive Editor Southeast Michael Hedge 847-770-4643 Southwest Betsy Gugick & Associates 972-387-1347 L M East Coast Manzo Media Group 610-527-7047 Marketing and Sales Consultant David L.
    [Show full text]
  • Study Guide Cinderella
    Cinderella GIOACCHINO ROSSINI & JULES MASSENET Study Guide The performances this school year will take place from November 8 – December 3, 2010. Book a performance at your school or community centre now! Call Prologue to the Performing Arts at 416-591-9092 for dates and availability. Sung in English and French Table of Contents Page Content 3 Opera 101 20 Lesson 1: Intro to Opera and Cinderella 4 Voice Types 22 Lesson 2: Bullying/Drama 5 Synopsis 26 Lesson 3: French Design & Props 6 Meet the Composers 30 Lesson 4: Character Analysis/Creating a Set 7 Meet the Cast & Crew 34 Lesson 5: Compose an Aria 11 Glossary 36 Lesson 6: Culminating Activity 13 What to Look For 14 Spotlight on Ashlie Corcoran 16 Cinderella Around the World 18 Online Cinderella Resources The 2009/11 Cinderella Study Guide The Xstrata Ensemble is an update of the 2010/11 Study EXPLORE & LEARN Studio School Tour is Guide, and is produced by the COC’s coc.ca 416-306-2392 booked through Education and Outreach Department. 2 Opera 101 HISTORY OF OPERA... in two minutes or less! OPERA TERMS Opera started in the late 16th century in Florence, Italy, A capella ...........vocal music without instrumental at the beginning of the Baroque period of music. The accompaniment first opera composers took many of their ideas from the Aria ......................a song for one singer, often reflective in nature ancient Greeks, who combined music and drama to tell a Arioso .................aria-like, lyrical and expressive passage story more effectively. The Greeks also used a chorus to Bel Canto ..........Italian for “beautiful singing” (also a style of further the plot and comment on the action of the story.
    [Show full text]