Saadya's Portrayal of the Messiah Ben Joseph
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Moses Hayim Luzzatto's Quest for Providence
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 'Like Iron to a Magnet': Moses Hayim Luzzatto's Quest for Providence David Sclar Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/380 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] “Like Iron to a Magnet”: Moses Hayim Luzzatto’s Quest for Providence By David Sclar A Dissertation Submitted to the Graduate Faculty in History in Partial Fulfillment of the Requirement for the Degree of Doctor of Philosophy The City University of New York 2014 © 2014 David Sclar All Rights Reserved This Manuscript has been read and accepted by the Graduate Faculty in History in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy Prof. Jane S. Gerber _______________ ____________________________________ Date Chair of the Examining Committee Prof. Helena Rosenblatt _______________ ____________________________________ Date Executive Officer Prof. Francesca Bregoli _______________________________________ Prof. Elisheva Carlebach ________________________________________ Prof. Robert Seltzer ________________________________________ Prof. David Sorkin ________________________________________ Supervisory Committee iii Abstract “Like Iron to a Magnet”: Moses Hayim Luzzatto’s Quest for Providence by David Sclar Advisor: Prof. Jane S. Gerber This dissertation is a biographical study of Moses Hayim Luzzatto (1707–1746 or 1747). It presents the social and religious context in which Luzzatto was variously celebrated as the leader of a kabbalistic-messianic confraternity in Padua, condemned as a deviant threat by rabbis in Venice and central and eastern Europe, and accepted by the Portuguese Jewish community after relocating to Amsterdam. -
A Countertenor's Reference Guide to Operatic Repertoire
A COUNTERTENOR’S REFERENCE GUIDE TO OPERATIC REPERTOIRE Brad Morris 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 May 2019 Committee: Christopher Scholl, Advisor Kevin Bylsma Eftychia Papanikolaou © 2019 Brad Morris All Rights Reserved iii ABSTRACT Christopher Scholl, Advisor There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide. iv I dedicate this thesis to all of the music educators who encouraged me on my countertenor journey and who pushed me to find my own path in this field. v PREFACE One of the hardships while working on my Master of Music degree was determining the lack of resources available to countertenors. While there are opera repertoire books for sopranos, mezzo-sopranos, tenors, baritones, and basses, none is readily available for countertenors. Although there are online resources, it requires a great deal of research to verify the validity of those sources. -
On Being a Jewish Author: the Trace of the Messiah in Elie Wiesel's Novels
On Being a Jewish Author: The Trace of the Messiah in Elie Wiesel’s Novels David Patterson University of Texas at Dallas n Somewhere a Master (1982), Elie Wiesel invokes a teaching from Pinchas of Koretz, a disciple of the Baal Shem Tov, founder Iof Hasidism: “To be Jewish is to link one’s fate to that of the Messiah—to that of all who are waiting for the Messiah” (23). To link one’s fate to that of the Messiah is not only to await but also to work for the coming of the Messiah, even though he may tarry— even though, if one may speak such words, he may never come. To be sure: the Messiah is the one who has forever yet to come , so that to be Jewish is to forever be engaged with an eternal yet to be . To live is to live on the edge of the yet to be . Or, for Wiesel, to live is to live in the midst of the and yet . There abides the Messiah: in the and yet . For Wiesel, to link one’s fate to that of the Messiah is to link one’s fate to the and yet , particularly after the Shoah. The Shoah al - tered forever the meaning of the Twelfth of Maimonides’ Thirteen Principles of Faith, the belief in the coming of the Messiah, even though he may tarry—a belief that would recur throughout the works and the life of Elie Wiesel. Bearing witness to the truth and the wisdom of the Jewish mes - sianic tradition was, for Wiesel, the tie that most profoundly bound L&B 38.1 2018 2 / Literature and Belief him to the Jewish tradition and therefore to Jewish life: for Wiesel the tie to Jewish tradition was his post-Holocaust connection to life, and that bond lay most profoundly in his link to the Messiah. -
Handel Rinaldo Tuesday 13 March 2018 6.30Pm, Hall
Handel Rinaldo Tuesday 13 March 2018 6.30pm, Hall The English Concert Harry Bicket conductor/harpsichord Iestyn Davies Rinaldo Jane Archibald Armida Sasha Cooke Goffredo Joélle Harvey Almirena/Siren Luca Pisaroni Argante Jakub Józef Orli ´nski Eustazio Owen Willetts Araldo/Donna/Mago Richard Haughton Richard There will be two intervals of 20 minutes following Act 1 and Act 2 Part of Barbican Presents 2017–18 We appreciate that it’s not always possible to prevent coughing during a performance. But, for the sake of other audience members and the artists, if you feel the need to cough or sneeze, please stifle it with a handkerchief. Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. If anything limits your enjoyment please let us know The City of London during your visit. Additional feedback can be given Corporation is the founder and online, as well as via feedback forms or the pods principal funder of located around the foyers. the Barbican Centre Welcome Tonight we welcome back Harry Bicket as delighted by the extravagant magical and The English Concert for Rinaldo, the effects as by Handel’s endlessly inventive latest instalment in their Handel opera music. And no wonder – for Rinaldo brings series. Last season we were treated to a together love, vengeance, forgiveness, spine-tingling performance of Ariodante, battle scenes and a splendid sorceress with a stellar cast led by Alice Coote. -
The Time Is Now Thethe Timetime Isis Nownow Music Has the Power to Inspire, to Change Lives, to Illuminate Perspective, 20/21 SEASON and to Shift Our Vantage Point
20/21 SEASON The Time Is Now TheThe TimeTime IsIs NowNow Music has the power to inspire, to change lives, to illuminate perspective, 20/21 SEASON and to shift our vantage point. featuring FESTIVAL Your seats are waiting. Voices of Hope: Artists in Times of Oppression An exploration of humankind’s capacity for hope, courage, and resistance in the face of the unimaginable PERSPECTIVES Rhiannon Giddens “… an electrifying artist …” —Smithsonian PERSPECTIVES Yannick Nézet-Séguin “… the greatest generator of energy on the international podium …” —Financial Times PERSPECTIVES Jordi Savall “… a performer of genius but also a conductor, a scholar, a teacher, a concert impresario …” —The New Yorker DEBS COMPOSER’S CHAIR Andrew Norman “… the leading American composer of his generation ...” —Los Angeles Times Left: Youssou NDOUR On the cover: Mirga Gražinytė-Tyla carnegiehall.org/subscribe | 212-247-7800 Photos: NDOUR by Jack Vartoogian, Gražinytė-Tyla by Benjamin Ealovega. Box Office at 57th and Seventh Rafael Pulido Some of the most truly inspiring music CONTENTS you’ll hear this season—or any other season—at Carnegie Hall was written in response to oppressive forces that have 3 ORCHESTRAS ORCHESTRAS darkened the human experience throughout history. Perspectives: Voices of Hope: Artists in Times of Oppression takes audiences Yannick Nézet-Séguin on a journey unique among our festivals for the breadth of music 12 these courageous artists employed—from symphonies to jazz to Debs Composer’s popular songs and more. This music raises the question of why, 13 Chair: Andrew Norman no matter how horrific the circumstances, artists are nonetheless compelled to create art; and how, despite those circumstances, 28 Zankel Hall Center Stage the art they create can be so elevating. -
This Is Normal Text
AN EXAMINATION OF WORKS FOR SOPRANO: “LASCIA CH’IO PIANGA” FROM RINALDO, BY G.F. HANDEL; NUR WER DIE SEHNSUCHT KENNT, HEISS’ MICH NICHT REDEN, SO LASST MICH SCHEINEN, BY FRANZ SCHUBERT; AUF DEM STROM, BY FRANZ SCHUBERT; SI MES VERS AVAIENT DES AILES, L’ÉNAMOURÉE, A CHLORIS, BY REYNALDO HAHN; “ADIEU, NOTRE PETITE TABLE” FROM MANON, BY JULES MASSENET; HE’S GONE AWAY, THE NIGHTINGALE, BLACK IS THE COLOR OF MY TRUE LOVE’S HAIR, ADAPTED AND ARRANGED BY CLIFFORD SHAW; “IN QUELLE TRINE MORBIDE” FROM MANON LESCAUT, BY GIACOMO PUCCINI by ELIZABETH ANN RODINA B.M., KANSAS STATE UNIVERSITY, 2006 A REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2008 Approved by: Major Professor Dr. Jennifer Edwards Copyright ELIZABETH ANN RODINA 2008 Abstract This report consists of extended program notes and translations for programmed songs and arias presented in recital by Elizabeth Ann Rodina on April 22, 2008 at 7:30 p.m. in All Faith’s Chapel on the Kansas State University campus. Included on the recital were works by George Frideric Handel, Franz Schubert, Reynaldo Hahn, Jules Massenet, Clifford Shaw, and Giacomo Puccini. The program notes include biographical information about the composers and a textual and musical analysis of their works. Table of Contents List of Figures ................................................................................................................................ vi List of Tables .............................................................................................................................. -
Così Fan Tutte Cast Biography
Così fan tutte Cast Biography (Cahir, Ireland) Jennifer Davis is an alumna of the Jette Parker Young Artist Programme and has appeared at the Royal Opera, Covent Garden as Adina in L’Elisir d’Amore; Erste Dame in Die Zauberflöte; Ifigenia in Oreste; Arbate in Mitridate, re di Ponto; and Ines in Il Trovatore, among other roles. Following her sensational 2018 role debut as Elsa von Brabant in a new production of Lohengrin conducted by Andris Nelsons at the Royal Opera House, Davis has been propelled to international attention, winning praise for her gleaming, silvery tone, and dramatic characterisation of remarkable immediacy. (Sacramento, California) American Mezzo-soprano Irene Roberts continues to enjoy international acclaim as a singer of exceptional versatility and vocal suppleness. Following her “stunning and dramatically compelling” (SF Classical Voice) performances as Carmen at the San Francisco Opera in June, Roberts begins the 2016/2017 season in San Francisco as Bao Chai in the world premiere of Bright Sheng’s Dream of the Red Chamber. Currently in her second season with the Deutsche Oper Berlin, her upcoming assignments include four role debuts, beginning in November with her debut as Urbain in David Alden’s new production of Les Huguenots led by Michele Mariotti. She performs in her first Ring cycle in 2017 singing Waltraute in Die Walküre and the Second Norn in Götterdämmerung under the baton of Music Director Donald Runnicles, who also conducts her role debut as Hänsel in Hänsel und Gretel. Additional roles for Roberts this season include Rosina in Il barbiere di Siviglia, Fenena in Nabucco, Siebel in Faust, and the title role of Carmen at Deutsche Oper Berlin. -
Handel's Messiah
Handel’s Messiah THE COMBINED VOICES OF ABERDEEN BACH CHOIR & ABERDEEN CHORAL SOCIETY Conductor: Peter Parfitt Aberdeen Sinfonietta Leader: Bryan Dargie Handel’s Messiah Soprano: Judith Howarth Counter-Tenor: Nicholas Spanos Tenor: Nicholas Mulroy Bass: Dominic Barberi Sunday 15 December 2019 at 7.00pm The Music Hall Aberdeen www.aberdeenbachchoir.com Charity Number: SC008609 www.aberdeenchoral.org.uk Charity number: SCO05414 PB 1 Handel’s Messiah Handel’s Messiah And is it true? And is it true, this most tremendous tale of all? A baby in an ox’s stall? The maker of the stars and sea, become a child, on Earth, for me? Sir John Betjeman O Virgin of virgins, how shall this be? For neither before Thee was any like unto Thee, nor shall there be any after. Daughters of Jerusalem, why marvel ye at me? The thing which ye behold is a divine mystery. Antiphon for Christmas Eve MESSIAH Messiah is a biblical oratorio by George Frideric Handel (1685-1759) for SATB soloists, SATB chorus, orchestra and continuo. It was written during a three-week period in August/September 1741, and given its first performance in Dublin, on April 13th 1742 at the New Music Hall in Fishamble Street. The first London performance was a year later in Covent Garden at Easter in 1743. Originally intended as an Easter offering, Messiah these days is as bound up with Christmas as tinsel and mince pies. It is one of only two oratorios by Handel where the entire text is taken from the bible, the other being Israel in Egypt, written in 1739. -
Judaism and Jesus
1 JUDAISM AND JESUS Zev Garber and Kenneth L. Hanson Out of Series Monograph Series No.1 2019 Contents Preface - Kenneth Hanson Introduction - Zev Garber SECTION I Chapter 1. “Teaching Jewish Studies” - Zev Garber Chapter 2. “Jesus in the Trenches” - Kenneth Hanson SECTION II Chapter 3. “One in Christ” - Zev Garber Chapter 4. “Jewish Jesus: Partisan’s Imagination” - Zev Garber Chapter 5. “Jesus, the Pharisees and the Sages” - Kenneth Hanson Chapter 6. The Shema, the Historical Jesus and Messianic Judaism - Kenneth Hanson Chapter 7. “Threading the Needle: The Ḥasidim and the Nazarene” - Kenneth Hanson SECTION III 2 Chapter Number Chapter 8. “Perpetual Dilemma” - Zev Garber Chapter 9. “Sitting at a Common Table” - Kenneth Hanson 3 PREFACE When Albert Schweitzer wrote The Quest of the Historical Jesus (1906), he was hardly producing the last word on the subject, whatever his original intention may have been. Indeed, the quest of which Schweitzer wrote has continued unabated, and is in many respects more diffuse and nuanced than ever before.1 Of approaches and angles to evaluating the great Galilean there is no end, and understanding his place, not only in the culture of his day, but as an image-bearer of hope and humanistic values in contemporary society is eternally challenging. What fresh perspectives can yet another short volume of scholarly reflections add to the already dense collection of tomes on Jesus the Jew? However fashionable to consider Jesus in terms of his own piously religious, Jewish culture, this subject by itself is no particular guarantor of academic merit. It has after all been the habit of a good many scholars and critics to produce commentary regarding the “Jewish Jesus,” as if such a moniker were in some way insightful. -
'Theological Studies
T'he Journal 'Theological Studies VOLUME XXVII OXFORD AT THE CLARENDON PRESS COMMITTEE OF DIRECTION: Rev. DR BARNES, Hulsean Professor of Divinity, Cambridge. F. C. BuRKITT, D.D., Norrisian Professor of Divinity, Cambridge. Rev. DR CooKE, Regius Professor of Hebrew, Oxford. Rev. DR KENNETT, Regius Professor of Hebrew, Cambridge. Very Rev. DR KIRKPATRicK, Dean of Ely. Rev. DR LocK, Lady Margaret Professor of Divinity, Oxford. Rev. DR MASON, Canon of Canterbury. Very Rev. DR J. ARMITAGE RoBINSON, Dean of Wells. Right Rev. DR STRONG, Bishop of Oxford. EDITORS: Rev. DR BETHUNE-BAKER, 23 Cranmer Road, Cambridge. Rev. F. E. BRIGHTMAN, Magdalen College, Oxford. Printed in England At the OXFORD UNIVERSITY PRESS By John J ohnson Printer to the University I INDEX OF WRITERS PAGE BARNES, W. E. Dezetero-Isatah (R. Levy) • 4I7 Ecclesz"astes and the Early Greek Wz"sdom Literature (H. Ranston) 204 The Heart of Israel (G. W. Thorn) 4I6 Mz'cah, Obadiah,joel, andjonah (G. W. Wade). 205 Sacrifice z"n the Old Testament (G. B. Gray) 4I4 Zez'tschr.j. die alttestamentliche Wz"ssenschajt (N.F.) ii I, 2 207 BATIFFOL, P. D'UNE PRETENDUE REPRESENTATION DE LA CA THEDRA PETRI SUR UN SARCOPHAGE DU MUSEE DU LATRAN 396 BINNS, L. E. jeremz"ah and the New Covenant (W. E. Lofthouse) 418 BOUQUET, A. C. ST JOHN iii 25-A SUGGESTION . I8I BROOKE, A. E. REVIEWS OF WORKS ON THE NEW TESTAMENT 63, 297 BURKITT, F. C. Early Latin Hymns (A. S. Walpole). 220 PISTIS SOPHIA AND THE COPTIC LANGUAGE 148 ST SAMSON OF DOL . 42 Sol Salutis (]. -
On Saints, Sinners, and Sex in the Apocalypse of Saint John and the Sefer Zerubbabel
The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Theology & Religious Studies College of Arts and Sciences 12-30-2016 On Saints, Sinners, and Sex in the Apocalypse of Saint John and the Sefer Zerubbabel Natalie Latteri Follow this and additional works at: https://repository.usfca.edu/thrs Part of the Christianity Commons, History of Religion Commons, Jewish Studies Commons, and the Social History Commons Apocalypse of St. John and the Sefer Zerubbabel On Saints, Sinners, and Sex in the Apocalypse of St. John and the Sefer Zerubbabel Natalie E. Latteri, University of New Mexico, NM, USA Abstract The Apocalypse of St. John and the Sefer Zerubbabel [a.k.a Apocalypse of Zerubbabel] are among the most popular apocalypses of the Common Era. While the Johannine Apocalypse was written by a first-century Jewish-Christian author and would later be refracted through a decidedly Christian lens, and the Sefer Zerubbabel was probably composed by a seventh-century Jewish author for a predominantly Jewish audience, the two share much in the way of plot, narrative motifs, and archetypal characters. An examination of these commonalities and, in particular, how they intersect with gender and sexuality, suggests that these texts also may have functioned similarly as a call to reform within the generations that originally received them and, perhaps, among later medieval generations in which the texts remained important. The Apocalypse of St. John and the Sefer Zerubbabel, or Book of Zerubbabel, are among the most popular apocalypses of the Common Era.1 While the Johannine Apocalypse was written by a first-century Jewish-Christian author and would later be refracted through a decidedly Christian lens, and the Sefer Zerubbabel was probably composed by a seventh-century Jewish author for a predominantly Jewish audience, the two share much in the way of plot, narrative motifs, and archetypal characters. -
The Legend of Armilus.Pdf
Who is Armilus? Rabbi Levi bar Ido / B’nai Avraham NOTE: This is not intended to be a teaching directly from Scripture concerning the Anti-Messiah. This teaching merely reveals the ancient Jewish tradition of Armilus and how it plays into Jewish eschatology. Many are unaware of this ancient character in Jewish tradition and how this tradition has fashioned the Jewish view of the end of days. “And when the ish hamufkarut (man of lawlessness-Anti-Messiah) will be revealed, whom HaAdon will destroy by the Ruach of His mouth...” 2 Thess.2:8a ARMILUS is the person in Jewish eschatology and tradition known as the anti-Moshiach. Armilus appears frequently in the later Apocalyptic Midrashim , such as Midrash Va-Yosha, Sefer Zerubbavel , and Nistarot shel R. Shimon b. Yohai . He is also mentioned in the Targum pseudo-Jonathan, Yeshayahu 11:14 and in the Targum Yerushalmi A (Devarim 34:3 ). Armilus 1 is first mentioned in Saadiah Gaon's (b.892, d.942) Emunot ve-De'ot (Ma'amar 8), apparently under the influence of Sefer Zerubbavel . The ancient tradition of Armilus thus originated not earlier than the beginning of this period at the latest. Its basis, however, is the Talmudic legend of Moshiach the Son of Yosef, who would be slain in the war between the nations prior to the redemption that would come through Moshiach the Son of David ( Suk. 52a ). In Otot ha-Mashi'ah (Midreshei Ge'ullah, p. 320 ), there is reference to "Ha Satan” Armilus whom the Goyim (nations) call Anti-Messiah. • Talmud - Mas.