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Microfilms International 300 N
INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)” . If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. -
The Court Theatres of the Farnese from 1618 to 1690
This dissertation has been microfilmed exactly as received 68—2969 COBES, John Paul, 1932- THE COURT THEATRES OF THE FARNESE FROM 1618 TO 1690. [Figures I-V also IX and X not microfilmed at request of author. Available for consultation at The Ohio State University Library], The Ohio State University, Ph.D., 1967 Speech-Theater University Microfilms, Inc., Ann Arbor, Michigan (S) Copyright by- John Paul Cobes 1968 THE COURT THEATRES OF THE FARNESE FROM 1618 TO 1690 DISSERTATION Presented In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio S tate U niversity By John Paul Cobes, B.S., M.A. ******** The Ohio State University 1967 Approved by Z. Adviser Department of Speech PLEASE NOTE: Figures I-V also IX and X not microfilmed at request of auth or. Available for consultation at The Ohio State University Library. UNIVERSITY MICROFILMS. The author wishes to acknowledge, with dee nest gratitude, the assistance, suggestions, and guidance of the following persons, all of whom were instrumental in the camnletion of this study; Dr. Row H. Bowen, adviser to this study, and all the nersonnel of the Theatre Division of the Deonrtment of Speech at the Ohio State University. Dr. John ft. McDowell and Dr. John q . Morrow, advisers to this study, a".d nil +V> -•ersonnel of the Theatre Collection of the Ohio State Universit.w, D r. A l^ent M ancini of th e I t a l i a n D iv isio n o f th e Romance La.-wn.aTes Department of the Ohio State University’. -
VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item
VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just the slightest marks. For collectors searching top copies, you’ve come to the right place! The further we get from the time of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually with a translation of the text or similarly related comments. BESSIE ABOTT [s]. Riverdale, NY, 1878-New York, 1919. Following the death of her father which left her family penniless, Bessie and her sister Jessie (born Pickens) formed a vaudeville sister vocal act, accompanying themselves on banjo and guitar. Upon the recommendation of Jean de Reszke, who heard them by chance, Bessie began operatic training with Frida Ashforth. She subsequently studied with de Reszke him- self and appeared with him at the Paris Opéra, making her debut as Gounod’s Juliette. -
TURANDOT Cast Biographies
TURANDOT Cast Biographies Soprano Martina Serafin (Turandot) made her San Francisco Opera debut as the Marshallin in Der Rosenkavalier in 2007. Born in Vienna, she studied at the Vienna Conservatory and between 1995 and 2000 she was a member of the ensemble at Graz Opera. Guest appearances soon led her to the world´s premier opera stages, including at the Vienna State Opera where she has been a regular performer since 2005. Serafin´s repertoire includes the role of Lisa in Pique Dame, Sieglinde in Die Walküre, Elisabeth in Tannhäuser, the title role of Manon Lescaut, Lady Macbeth in Macbeth, Maddalena in Andrea Chénier, and Donna Elvira in Don Giovanni. Upcoming engagements include Elsa von Brabant in Lohengrin at the Opéra National de Paris and Abigaille in Nabucco at Milan’s Teatro alla Scala. Dramatic soprano Nina Stemme (Turandot) made her San Francisco Opera debut in 2004 as Senta in Der Fliegende Holländer, and has since returned to the Company in acclaimed performances as Brünnhilde in 2010’s Die Walküre and in 2011’s Ring cycle. Since her 1989 professional debut as Cherubino in Cortona, Italy, Stemme’s repertoire has included Rosalinde in Die Fledermaus, Mimi in La Bohème, Cio-Cio-San in Madama Butterfly, the title role of Manon Lescaut, Tatiana in Eugene Onegin, the title role of Suor Angelica, Euridice in Orfeo ed Euridice, Katerina in Lady Macbeth of Mtsensk, the Countess in Le Nozze di Figaro, Marguerite in Faust, Agathe in Der Freischütz, Marie in Wozzeck, the title role of Jenůfa, Eva in Die Meistersinger von Nürnberg, Elsa in Lohengrin, Amelia in Un Ballo in Machera, Leonora in La Forza del Destino, and the title role of Aida. -
Genre Interprete Chant Avec Orchestre AL
Disques 78 Tours Septembre 2006 Genre Interprete Chant avec orchestre AL. JOLSON Fox trot ALIBERT Slow fox ALSTONE AMBROSE AND HIS ORCHESTRA Opera ANDRE BAUGE Operette ANDRE BAUGE Operette ANDRE BAUGE ANDRE BAUGE & FANELY REVOIL Operette ANDRE BAUGE & GERMAINE FERALDY ANDRE GOAVAC ET ROSE CARDAY ARMANDINO Slow fox & valse BARNABAS VON GECZY Fox trot BEN BERNIE and his hotel Roosevelt orchestra Fox trot CALOFORNIA RAMBLERS & GEO HALL4S ORCHESTRE Fox CAMILLE SAUVAGE ET SON ORCHESTRE JAZZ CHARLES TRENET Valse CLEVELAND ORCHESTRA Slow fox COMEDIANS HARMONISTS DON AZPIAZU AND HIS HAVANA CASINO ORCH & WAYNE KINQ DUKE ELLINGTON AND HIS FAMOUS ORCHESTRA Fox trot EDDY DUCHIN AND HIS CENTRAL PARK CASINO ORCHESTRA Tango argentin Francisco Canaro et son orchestre argentin Fox trot Franck Black and his orchestra Fox trot FRANKIE MASTERS & PAUL WHITEMAN AND THEIR ORCHESTRA Fox trot FREDDIE MARTIN AND HIS ORCHESTRA Fox trot GEORGES OLSON ET SON ORCHESTRE Fox trot GEORGES OLSON ET SON ORCHESTRE Valses GRAND ORCHESTRE BOHEMIEN Valse GRAND ORCHESTRE BOHEMIEN GRAND ORCHESTRE SYMPHONIQUE Melodie & Valse lente GUY BERRY HENRY GARAT Valse & fox trot HENRY GARAT Fox trot & tango J. VIARD, J. VAISSADE et P. GRIGAUT Fox trot Jack Hylton et son orchestre Valse & fox trot Jack Hylton et son orchestre Fox trot Jack Hylton et son orchestre Valse Jack Hylton et son orchestre Fox trot Jack Hylton et son orchestre Fox trot Jack Hylton et son orchestre Fox trot Jack Hylton et son orchestre Fox trot Jack Hylton et son orchestre Fox trot Jack Hylton et son orchestre Fox trot Jack Hylton et son orchestre Fox trot Jack Hylton et son orchestre Fox trot Jack Hylton et son orchestre Fox trot Jack Hylton et son orchestre JACQUES PILLS ET GEORGES TABET JAN KIEPURA Melodie fox JEAN CLEMENT ET LE TRIO PIERRE CHAGNON Page 1 Disques 78 Tours Septembre 2006 JEAN CYRANO Fox trot JEAN WIENER ET CLEMENT DOUCET Fox trot JEAN WIENER ET CLEMENT DOUCET JEANNE GAUTIER JESSE CRAWFORD JESSE CRAWFORD Tango milonga JOSE M. -
CHAN 3000 FRONT.Qxd
CHAN 3000 FRONT.qxd 22/8/07 1:07 pm Page 1 CHAN 3000(2) CHANDOS O PERA IN ENGLISH David Parry PETE MOOES FOUNDATION Puccini TOSCA CHAN 3000(2) BOOK.qxd 22/8/07 1:14 pm Page 2 Giacomo Puccini (1858–1924) Tosca AKG An opera in three acts Libretto by Giuseppe Giacosa and Luigi Illica after the play La Tosca by Victorien Sardou English version by Edmund Tracey Floria Tosca, celebrated opera singer ..............................................................Jane Eaglen soprano Mario Cavaradossi, painter ..........................................................................Dennis O’Neill tenor Baron Scarpia, Chief of Police................................................................Gregory Yurisich baritone Cesare Angelotti, resistance fighter ........................................................................Peter Rose bass Sacristan ....................................................................................................Andrew Shore baritone Spoletta, police agent ........................................................................................John Daszak tenor Sciarrone, Baron Scarpia’s orderly ..............................................Christopher Booth-Jones baritone Jailor ........................................................................................................Ashley Holland baritone A Shepherd Boy ............................................................................................Charbel Michael alto Geoffrey Mitchell Choir The Peter Kay Children’s Choir Giacomo Puccini, c. 1900 -
L'opera I (Seicento E Settecento)
L’opera I (Seicento e Settecento) (modulo 103) Luca Zoppelli Università di Lecce e di Friburgo Ultima modifica 24 Febbraio 2003 ICoN – Italian Culture on the Net Luca Zoppelli – L’opera I (Seicento e Settecento) Presentazione Il modulo è dedicato al teatro musicale italiano e alla sua diffusione come sistema europeo, a partire dall’invenzione del genere operistico nella Firenze di fine Cinquecento, sino agli eventi storici di fine Settecento, che ne alterano largamente la fisionomia. La trattazione segue il mutare dei caratteri drammaturgici e stilistici del genere in relazione ai contesti ed agli ambienti produttivi che hanno visto svilupparsi dapprima la favola per musica cortigiana, poi l’opera pubblica di tipo veneziano, infine - nel Settecento - l’opera seria e quella comica. Si prendono in considerazione, inoltre, alcune delle più rilevanti questioni di ordine estetico sollevate dagli osservatori contemporanei a proposito del teatro musicale. Nel modulo si citano alcune scene tratte da opere di particolare rilievo storico ed artistico per individuare e descrivere alcuni procedimenti drammatici, letterari e musicali. Sebbene il modulo non sia concepito come una galleria di monografie dedicate a singoli compositori, questi esempi consentono anche di tracciare brevi profili stilistici di alcune figure particolarmente importanti, come Monteverdi, Händel o Mozart. 2 ICoN – Italian Culture on the Net Luca Zoppelli – L’opera I (Seicento e Settecento) Guida al modulo Scopo del modulo Il modulo intende fornire una conoscenza generale dello sviluppo dell’opera italiana, anche nel suo spazio europeo, durante i secoli XVII e XVIII. L’esame delle condizioni sociali e produttive spiegherà i caratteri e i mutamenti estetici e drammaturgici del genere. -
[T] IMRE PALLÓ
VOCAL 78 rpm Discs FRANZ (FRANTISEK) PÁCAL [t]. Leitomischi, Austria, 1865-Nepomuk, Czechoslo- vakia, 1938. First an orchestral violinist, Pácal then studied voice with Gustav Walter in Vienna and sang as a chorister in Cologne, Bremen and Graz. In 1895 he became a member of the Vienna Hofoper and had a great success there in 1897 singing the small role of the Fisherman in Rossini’s William Tell. He then was promoted to leading roles and remained in Vienna through 1905. Unfor- tunately he and the Opera’s director, Gustav Mahler, didn’t get along, despite Pacal having instructed his son to kiss Mahler’s hand in public (behavior Mahler considered obsequious). Pacal stated that Mahler ruined his career, calling him “talentless” and “humiliating me in front of all the Opera personnel.” We don’t know what happened to invoke Mahler’s wrath but we do know that Pácal sent Mahler a letter in 1906, unsuccessfully begging for another chance. Leaving Vienna, Pácal then sang with the Prague National Opera, in Riga and finally in Posen. His rare records demonstate a fine voice with considerable ring in the upper register. -Internet sources 1858. 10” Blk. Wien G&T 43832 [891x-Do-2z]. FRÜHLINGSZEIT (Becker). Very tiny rim chip blank side only. Very fine copy, just about 2. $60.00. GIUSEPPE PACINI [b]. Firenze, 1862-1910. His debut was in Firenze, 1887, in Verdi’s I due Foscari. In 1895 he appeared at La Scala in the premieres of Mascagni’s Guglielmo Ratcliff and Silvano. Other engagements at La Scala followed, as well as at the Rome Costanzi, 1903 (with Caruso in Aida) and other prominent Italian houses. -
MASSENET and HIS OPERAS Producing at the Average Rate of One Every Two Years
M A S S E N E T AN D HIS O PE RAS l /O BY HENRY FIN T. CK AU THO R O F ” ” Gr ie and His Al y sia W a ner and H W g , g is or ks , ” S uccess in Music and it W How is on , E ta , E tc. NEW YO RK : JO HN LANE CO MPANY MCMX LO NDO N : O HN L NE THE BO DLEY HE D J A , A K N .Y . O MP NY N E W Y O R , , P U B L I S HE R S P R I NTI N G C A , AR LEE IB R H O LD 8 . L RA Y BRIGHAM YO UNG UNlVERS lTW AH PRO VO . UT TO MY W I FE CO NTENTS I MASSENET IN AMER . ICA. H . B O GRAP KET H II I IC S C . P arents and Chi dhoo . At the Conservatoire l d . Ha D a n R m M rri ppy ys 1 o e . a age and Return to r H P a is . C oncert a Successes . In ar Time ll W . A n D - Se sational Sacred rama. M ore Semi religious m W or s . P ro e or and Me r of n i u k f ss be I st t te . P E R NAL R D III SO T AITS AN O P INIO NS . A P en P ic ure er en ne t by Servi es . S sitive ss to Griti m h cis . -
IV. Sweet Sleep: Rituals and Aids
IV. Sweet Sleep: Rituals and Aids By Rabbi Elie Kaplan Spitz Rituals and Aids Before: Overview of Ritual and Sleep Aids Hashkeveinu Forgiveness Before Sleep Reciting Sh’ma on the Bed Caster of Sleep Aids for Better Sleep Optimal Temperature Jacob’s Monumental Pillow Lullaby as “Lillith Bye” Hebrew Lullabies Yiddish Lullabies Angels by My Side English Prayers and Lullabies Guided Meditations for Relaxation and Restful Sleep After: Lazybones Awaking with Gratitude: Modeh Ani A Woman’s Modeh Ani A Pure Soul The Miracle of a Functional Body Conclusion Overview: Rituals and Aids for Sleep Intentionality matters. The words we recite before sleep sets the path for our night journey. The words we utter upon awaking create awareness that shapes our wakefulness. Rituals and aids surrounding sleep have content that ripples inwardly and outwardly. Many of our small children at bedtime clutch a teddy bear or stroke a “blankie,” often while sucking a finger. Psychologist Donald Winnicott labeled such items of comfort “transitional objects.” For him the “transition” was from feeling merged with the mother to an awareness of separateness. The object was a substitute for the mother’s comforting presence and yet, not her. Some would reduce the rituals of nighttime to a transitional object, failing to value a ritual’s content. By analogy, although all love may be tied back to our initial love of mother, in our lives we mature and our love choices are marked by intervening relationships, psychological predisposition, and commitment. Rituals do offer constancy and evoke feelings of comfort and the words recited before and after sleep have their own inherent significance. -
2020 Spr:Sum Mailchimp.Pdf
WELCOME We continue our season in 2020 with another great offereing of shows for you to enjoy. We have lots of exciting shows to suit all tastes and ages for you to laugh, sing, dance and enjoy starting with Total Pop Party. A new tribute to some of pops recent pop legends and a great way for younger fans to experience a pop BOOKING concert. For fans of comedy we have local icon CALL THE BOX OFFICE Billy Pearce performing at what will be a 01977 664566 sell out show, followed by Lee Lard with his tribute to Peter Kay. BOOK ONLINE www.castlefordphoenixtheatre.co.uk The students in the CAST return with their production of Our House - The EMAIL Musical. Packed with the music of [email protected] MADNESS this is a fresh, modern, romantic, musical sure to delight fans of POP IN (TERM-TIME ONLY) musicals. TUE, THU, FRI 4:30PM - 8:30PM SAT 10:00AM - 12:30PM Thank you to everyone who has liked and follows us on social media as we head The box office is also open from 1 hour before towards 3000 likes. We post the lastest every performance news, offers and info on social media so if you use Facebook, Twitter or Instagram Make a donation when booking tickets. A small just search for us, like and follow if you donation will help our ongoing fundraising. haven't already. KEEP UP TO DATE We hope you enjoy the seasons shows, Join our email list to receive regular updates please tell your friends and family if they with event information, special offers and more. -
ARSC Journal
HISTORIC VOCAL RECORDINGS STARS OF THE VIENNA OPERA (1946-1953): MOZART: Die Entfuhrung aus dem Serail--Wer ein Liebchen hat gafunden. Ludwig Weber, basso (Felix Prohaska, conductor) ••.• Konstanze ••• 0 wie angstlich; Wenn der Freude. Walther Ludwig, tenor (Wilhelm Loibner) •••• 0, wie will ich triumphieren. Weber (Prohaska). Nozze di Figaro--Non piu andrai. Erich Kunz, baritone (Herbert von Karajan) •••• Voi che sapete. Irmgard Seefried, soprano (Karajan) •••• Dove sono. Elisabeth Schwarzkopf, soprano (Karajan) . ..• Sull'aria. Schwarzkopf, Seefried (Karajan). .• Deh vieni, non tardar. Seefried (Karajan). Don Giovanni--Madamina, il catalogo e questo. Kunz (Otto Ackermann) •••• Laci darem la mano. Seefried, Kunz (Karajan) • ••• Dalla sua pace. Richard Tauber, tenor (Walter Goehr) •••• Batti, batti, o bel Masetto. Seefried (Karajan) •.•• Il mio tesoro. Tauber (Goehr) •••• Non mi dir. Maria Cebotari, soprano (Karajan). Zauberfl.Ote- Der Vogelfanger bin ich ja. Kunz (Karajan) •••• Dies Bildnis ist be zaubernd schon. Anton Dermota, tenor (Karajan) •••• 0 zittre nicht; Der Holle Rache. Wilma Lipp, soprano (Wilhelm Furtwangler). Ein Miidchen oder Weibchen. Kunz (Rudolf Moralt). BEETHOVEN: Fidelio--Ach war' ich schon. Sena Jurinac, soprano (Furtwangler) •••• Mir ist so wunderbar. Martha Modl, soprano; Jurinac; Rudolf Schock, tenor; Gottlob Frick, basso (Furtwangler) •••• Hat man nicht. Weber (Prohaska). WEBER: Freischutz--Hier im ird'schen Jammertal; Schweig! Schweig! Weber (Prohaska). NICOLAI: Die lustigen Weiher von Windsor--Nun eilt herbei. Cebotari {Prohaska). WAGNER: Meistersinger--Und doch, 'swill halt nicht gehn; Doch eines Abends spat. Hans Hotter, baritone (Meinhard von Zallinger). Die Walkilre--Leb' wohl. Hotter (Zallinger). Gotterdammerung --Hier sitz' ich. Weber (Moralt). SMETANA: Die verkaufte Braut--Wie fremd und tot. Hilde Konetzni, soprano (Karajan). J. STRAUSS: Zigeuner baron--0 habet acht.