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Subject: Re: Halloween: Operas to Chill Your Blood By
From: donald kane <[log in to unmask]>
Reply-To:donald kane <[log in to unmask]>
Date:Wed, 1 Nov 2017 11:27:16 -0400
Content-Type:text/plain
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Parts/Attachments

text/plain (253 lines)


Schwanda Der Dudelsackpfeiffer!

I always loved the Overture, Polka, & Fugue; so I bought the first ever
complete
recording of Weinberger's opera and played it once: listening, in vain, for
the excellent
cast - Hermann prey and Lucia Popp, no less - to bring it to life. Multiple
lp sets like
that don't justify their considerable shelf space, so I'm satisfied with
O,P,& F.

dtmk

On Wed, Nov 1, 2017 at 12:51 AM, Tom Frey <[log in to unmask]> wrote:

> I may be entirely wrong, but years ago the Cincinnati Opera presented
> Schwanda the Bagpiper which, if I remember correctly, had the devil and
> hell all over it. Vivid staging of hades. If you ever have a chance to see
> it, pass it by . Outside of the overture and dances. the opera is a lesson
> in mundane.
> ----- Original Message -----
> From: Donald S <[log in to unmask]>
> To: [log in to unmask]
> Sent: Tue, 31 Oct 2017 23:17:49 -0400 (EDT)
> Subject: Re: Halloween: Operas to Chill Your Blood By
>
> Another opera with great spooky music is Gounod's Faust. The complete
> Church Scene and of course the Walpurgisnacht. Lets us not forget
> Saint-Saens vocal version of Danse Macabre.
>
> Diggy diggy dig......
>
> Donald.
>
> Sent from my iPad
>
> > On Oct 31, 2017, at 19:09, DK Conn <[log in to unmask]>
> wrote:
> >
> > The two Debussy operas were given their world premiere as a double-bill
> in
> > Goettingen four years ago.  (Orledge's completion of "Usher" had been
> > premiered on its own in Bregenz in 2006, followed by the premiere of "Le
> > diable" in Montreal in 2012.)  The Goettingen performances have since
> been
> > released as a 2-CD set by PAN.
> >
> > From the broadcast notes:
> >
> > World premiere performances in the original composition combination, 11
> > December 2013, Stadthalle Göttingen.  Broadcast 11 January 2014,
> > deutschlandradiokultur.de.
> >
> > Claude Debussy
> > La chûte de la maison Usher/Der Untergang des Hauses Usher/The Fall of
> the
> > House of Usher
> > Unvollendete Oper L 112 (komplettiert und orchestriert von Prof. Robert
> > Orledge von 2001-2004)
> >
> > Linlin Fan, soprano (Madeline)
> > William Dazeley, baritone (Roderick)
> > Eugene Villanueva, baritone (a friend)
> > Virgil Hartinger, tenor (the doctor)
> > Kammerchor St. Jacobi
> > Göttinger Knabenchor
> > Göttinger Symphonie Orchester
> > Leitung: Christoph-Mathias Mueller
> > Video-installations by Lyoudmila Milanova
> >
> > Claude Debussy
> > Le diable dans le beffroi/Der Teufel im Glockenturm/The Devil in the
> Belfry
> > Unvollendete Oper L 106 (101) (komplettiert und orchestriert von Prof.
> > Robert Orledge 2010)
> >
> > Linlin Fan, soprano (Jeanette, the Mayor’s daughter)
> > William Dazeley, Baritone (the Devil)
> > Eugene Villanueva, baritone (the Mayor)
> > Virgil Hartinger, tenor (Jean, son of the bell-ringer)
> > Michael Dries, bass (the Hunchback)
> > Kammerchor St. Jacobi
> > Göttinger Knabenchor
> > Göttinger Symphonie Orchester
> > Concertmaster Natalie Kundirenko
> > Leitung: Christoph-Mathias Mueller
> > Video-installations by Lyoudmila Milanova
> >
> > Eine spektakuläre Weltpremiere lenkt im Dezember die Aufmerksamkeit von
> > Fachwelt und Publikum nach Göttingen: Zum ersten Mal werden zwei
> > Meisterwerke Claude Debussys, die beiden unvollendeten Opern „La chûte
> de la
> > maison Usher" (Der Untergang des Hauses Usher) und „Le diable dans le
> > beffroi" (Der Teufel im Glockenturm) in ihrer von Debussy selbst
> gewünschten
> > musikalischen Form zu hören sein.
> > Beide Werke kommen gemeinsam an einem Abend zur Aufführung. Mit
> > herausragenden Solisten, Chor und großem Orchester werden die beiden
> > brillanten Vertonungen von Werken des amerikanischen Erzählers Edgar
> Allan
> > Poe in Göttingen konzertant auf die Bühne gebracht.
> > Christoph-Mathias Mueller, der Dirigent der Aufführung, sagte u.a. dazu:
> > "Das Faszinierende und auch das Außergewöhnliche an diesem Projekt ist,
> dass
> > wir die Möglichkeit in die Hand bekommen, etwas Realität werden zu
> lassen,
> > was Claude Debussy als Konzept in seinem Kopf hatte. Er hatte den Auftrag
> > der Metropolitan Opera in New York, zwei Kurzopern basierend auf Texten
> von
> > Edgar Allan Poe zu schreiben, und das hat ihn bis zu seinem Lebensende
> > beschäftigt.
> > Uns gelingt es nun das erste Mal, diese zwei Kurzopern so aufzuführen,
> wie
> > Debussy das ursprünglich konzipiert hatte. Wir können jetzt zwar nur
> > spekulieren, ob Debussy seinerzeit wirklich so empfunden hat, aber ich
> > glaube wir können uns mit diesem Projekt Debussys Ideen und seiner
> > Geisteswelt nähern, als er 1908 diesen Auftrag der Met bekam, diese zwei
> > Kurzopern zu komponieren....
> > Da sich Claude Debussy schon sehr früh mit den Texten von Edgar Allan Poe
> > beschäftigt hat, ist es vielleicht etwas irreführend, hier von
> Spätwerken zu
> > sprechen. Mit Poes Kurzgeschichte 'Untergang des Hauses Usher' hat sich
> > Debussy schon seit den 1890ern befasst, an der Komposition vom 'Teufel im
> > Glockenturm', dem zweiten Stück, hat er von 1902 bis 1912 bearbeitet. Für
> > den 'Usher' hat er die Kompositionsskizzen dann von 1908 bis 1917, also
> bis
> > kurz vor seinem Tod angefertigt."
> >
> >
> > DK
> >
> >
> > On Tue, 31 Oct 2017 13:36:59 -0400, G. Paul Padillo
> > <[log in to unmask]> wrote:
> >> Unlikethe old days of the list, I don’t think I’ve seen much in the way
> of
> > talking about
> >> spooky or otherwise appropriate operas for Halloweentide.  I always
> like to
> > change up my
> >> listening at this time of year to add a bit of “horror” to my operatic
> > listening and viewing list
> >> and wonder what, if any, anyone else still finds themselves spending
> time with.
> >>
> >> Always at or near the top for me is Britten’s “Turn of the Screw,” which
> > seems to have
> >> become more popular than ever over the past decade.  As often as I turn
> to
> > it, it never fails
> >> to give me the heebie jeebies.
> >>
> >> Also right up there; Bartok’s Bluebeard’s Castle – which has one of the
> > most atmospheric,
> >> creepily beautiful scores in the entire canon.
> >>
> >> Some other favorites include:
> >>
> >> Prokofiev:  “The Fiery Angel”
> >>
> >> Sondheim:  “Sweeney Todd”
> >>
> >> Weber:  “Der Freischütz”
> >>
> >> Strauss:  “Salome” – it doesn’t start out that way, but it sure creeps
> me
> > out by the end!
> >>
> >> Menotti:  “The Medium” and “Martin’s Lie” (those who don’t know the
> latter,
> > really should!)
> >>
> >> Picker:  “Dolores Claiborne”
> >>
> >> Puccini:  “Il Tabarro”
> >>
> >> Also up there is Debussy's two uncompleted horror operas "La chute de la
> > maison Usher"
> >> and "Le Diable dans le Beffroi" each based on a tale by Edgar Allen Poe.
> > It was Debussy's
> >> hope that the two one acts would premiere at the Metropolitan Opera.  I
> > smell a movie in
> >> the works!  For anyone unfamiliar with these, here is an excerpt of the
> > former with realized
> >> orchestrations by Juan Allende Blin working from Debussy's manuscript.
> >>
> >> https://www.youtube.com/watch?v=twdviZpvvfg
> >>
> >>
> >> There are, of course, many more, but I’d like to hear what others are
> going
> > for this time of
> >> year!
> >>
> >> p.
> >>
> >
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