Opera I Scenes Program, December 8, 1997

This is the concert program of the Opera I Scenes Program performance on Monday, December 8, 1997 at 7:15 p.m., at Room 171, 855 Commonwealth Avenue. Scenes performed were Le Nozze di Figaro, Act III, Scene I by Wolfgang Amadeus Mozart, L'elisir d'amore, duet from Act I, Scene II by Gaetano Donizetti, Carmen, Act I, Scene II by Georges Bizet, The Medium, Act II, Scene I by Gian Carlo Menotti, and La Cenerentola, Act I, Scene I by Gioacchino Rossini. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

A Winter Scenes Program, January 25, 1995

This is the concert program of the A Winter Scenes Program performance on Wednesday, January 25, 1995 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Le Nozze di Figaro by Wolfgang Amadeus Mozart, Der Freischütz by Carl Maria von Weber, Cenerentola by Gioacchino Rossini, Don Pasquale by Gaetano Donizetti, Carmen by Georges Bizet, The Rake's Progress by Igor Stravinsky, and Manon by Jules Massenet. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

William Henry Fry’s Leonora: the Italian connection

On 7 June 1845, the New York Herald published a letter by an ‘occasional correspondent’ from Philadelphia concerning William Henry Fry's first grand opera, Leonora, which premiered three days before at the Chestnut Street Theatre. The letter contained the following remark:All were delighted with the music, it was so much like an old acquaintance in a new coat; indeed some of ‘the cognoscenti’ said that it was a warm ‘hash’ of Bellini, with a cold shoulder of ‘Rossini,’ and a handful of ‘Auber’ salt – whilst others congratulated Mr. Fry upon his opera being so much like Norma

Opera Scenes, November 24, 1997

This is the concert program of the Opera Scenes performance on Monday, November 24, 1997 at 3:30 p.m., at the Studio Theatre, Room 104, 855 Comnonwealth Avenue. Scenes performed were Scene I from "The Old Maid and the Thief" by Gian Carlo Menotti, 'Glitter and Be Gay' from "Candide" by Leonard Bernstein, Act III, Scene I from "Le nozze di Figaro," K. 492 by Wolfgang Amadeus Mozart, Act II, Finale (part one) from "The Magic Flute," K. 620 by W. A. Mozart, Act. I, No. 7 from "Don Giovanni" by W. A. Mozart, Act II, Scene I from "The Medium" by G. C. Menotti, and Act I, Scene I from "La Cenerentola" by Gioachino Rossini. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Sextets and Other Encounters

Program listing performers and works performe

Owen Wingrave, February 21-24, 2013

This is the concert program of the Owen Wingrave performance on Thursday, February 21, 2013 at 8:00 p.m., at the Boston University Theater, 264 Commonwealth Avenue, Boston, Massachusetts. The work performed was Own Wingrave by Benjamin Britten. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Dalla tradizione orale ad una versione letteraria: il motivo dell'inumazione in due «Cunti» di G. Basile.

Sin resume

Owen Wingrave, February 21-24, 2013

This is the concert program of the Owen Wingrave performance on Thursday, February 21, 2013 at 8:00 p.m., at the Boston University Theater, 264 Commonwealth Avenue, Boston, Massachusetts. The work performed was Own Wingrave by Benjamin Britten. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Three organ quartets by António Soares: a study in part distribution for the organs in the basilica of Mafra, Portugal

Mestrado em MúsicaResumo - O arranjo de peças para os históricos seis órgãos da Basílica de Mafra requer que se determine as partes que cada órgão toca. Este é um problema não-trivial, já que os órgãos são referidos nos manuscritos como Órgão 1, Órgão 2, etc, embora sejam conhecidos pelos seus nomes: Evangelho, Epístola, Conceição, Santa Bárbara, Sacramento, e São Pedro de Alcântara. É preciso então responder à pergunta "qual dos órgãos é o Órgão 1?" Nesta tese procuramos responder a esta pergunta de uma forma sistemática. Para isso, olhamos para três peças para quatro dos órgãos de Mafra, escritas pelo compositor António José Soares (1783-1865). Começamos por determinar a comunicação musical evidente a partir das partituras e, depois, analisamos o posicionamento dos órgãos de tal forma que estes possam comunicar de forma efectiva e eficiente. Também se tem em conta o nome dos registos que as peças requerem, e a própria história dos instrumentos. A disposição final é testada em ensaio, a que se seguirá um concerto público. Deste modo, estas peças serão tocadas novamente pela primeira vez em quase 200 anos.Abstract - When preparing to play pieces written for the historic six organs in the Basilica of Mafra, the first practical problem that arises is the question of which organ should play which part. This is because although the organs themselves are designated by actual names (Evangelho, Epístola, Conceição, Santa Bárbara, Sacramento, and São Pedro de Alcântara), in the manuscripts of music written for these organs they are simply known as Organ 1, Organ 2, etc. This begs the question, which organ is Organ 1? This thesis aims to answer this question in a systematic way, by looking at the musical communications evident in the scores of three pieces written for four organs by the Portuguese composer António José Soares (1783-1865). The organs are then placed in positions which allow them to communicate and play effectively together. Consideration is also given to the stop names asked for in the pieces, and the history of the instruments themselves. The resulting placement is then tested in rehearsal, and will culminate in a public concert; the works will be heard again for the first time in almost 200 years.N/