.... The scores were composed by Guy Laramée and interpreted by Louise Simard. Marie Brassard played Lady Macbeth, Ariel, and Virgilia; Anne-Marie Cadieux a Witch and a Lady in Macbeth, Caliban, and Volumnia. Copyright © Theater 1993 1993 Borderlines: An Interview with Robert Lepage and Le ThGtre...

..., translated with miraculous speed and stamina. The participants are Amina Begovic (Alcestis 2 in Alkestis); Izudin Bajrovic (Hercules in Alkestis, Vladimir in Waiting for Godot); Sead Bejtovic (Admetus and the second Vladimir); Admir Glamocak (the second Death in Alkestis, Lucky); Mirza Halilovic (composer...

... exposed more people to live music. If the millions of people who see American musical theater each season are being exposed to lots of trash, it is not only the fault of most composers who presently write for the stage; it is also the fault of lhose who do not. Even...

..." July 18, 1971 Levin may be expressing a widely held view, but he has found the wrong Pathetic Fallacy. In order for any opera to make sense, it must be interpreted as a work for the theatre. A good composer can just as easily write an oratorio or a choral...

... behavior of the classical concert form is not a theatrical event,” says composer, musician, and instrument designer Paul Dresher. “Perhaps this is done to maintain some idea of ‘purity,’ of course implying quite emphatically that theatrical val- ues...

... composers who make theater works with music whose performances we run to with interest: Robert Ashley, Mikel Rouse, Elodie Lauten, Michael Gordon. Some of them even call their works operas. But even their fans don’t quite think of them as “music-theater...

... After On the eve of CBS’s broadcast of Kurt Weill’s 1940 radio cantata, The Ballad of Magna Carta, the New York Sun’s William G. King interviewed the composer. After settling into one of the Lotos Club’s larger chairs and getting his pipe...

... for the audience, not for the benefit of the author, composer or performer. His qualifications will differ according to the art he is criticizing. Generally they have to do with experience-experience in viewing or listening to the art in question, ideally, experience as both...

... composer and conductor Constant Lambert which stressed spectacle over text.4 'The Fairy Queen (London 16821, pp. 30,40,47,48ff. 'Purcell's The Fairy Queen as presented by the Sadler's Wells Ballet Company and &vent Garden Opera (London 1948),a full photographic...

...Heiner Goebbels © 2005 by Yale School of Drama/Yale Repertory Theatre 2005 Max Black, 1998. Photo: Klaus Grünberg Offerings Heiner Goebbels, Interviewed by Amy Strahler Holzapfel I met with director and composer Heiner Goeb bels in June 2004, at the Institute for Applied...

..., said, "I like to look at it." Along the same lines, the way to learn about new music is to listen to it. I have taken an ideological stand here, since, in the past twenty-five years, composers of serial music have undertaken the most rigorous attempt ever made to give...

... story in 1947 about the Broadway opera Street Scene and its “German composer,” Kurt Weill fired off a letter to the editor: “I have a gentle beef about one of your phrases. Although I was born in Germany, I do not consider myself...

... Salzman scious working of the mind and ear of a childlike genius is a complete romantic myth and has nothing to do with his real musical landscape or how his contemporaries per- ceived his music. Mozart was a highly eclectic composer who absorbed and reused all the musical styles...

.... Every That meant larger and more colorful orchestras, higher composer and every composition had to reinvent salaries for artists, bigger audiences, and, to pay for it the art of music...

... of that world “the two Weills,” as if the composer’s European beyond worlds to which all human souls and American careers could not be ascribed to a are related. No man belongs to any one single artistic persona, as if so wide-ranging a country really...

.... It was not the Metropolitan put on television. A completely new uersion was made which, in this particular case, did more than involve cutting. According to the composer's own correspondence and ideas, we put back some things. Queen of Spades was originally conceived by Tchaikovsky...

.... singer) can fill a hall with plaintive lyricism, but Great Whales centers on Nathan, an in a given piece he might also reach into coun- opera composer struggling daily to write his tertenor at a particularly ecstatic moment or great opus, an operatic...

.... Stanley Silverman is a prominent young American composer with a special interest in theatre music; he was for several seasons composer-in-residence at the Repertory Theatre of Lincoln Center. In collaboration with Richard Foreman, he has composed ELEPHANT STEPS, DR. SELAVY'S MAGIC CIRCUS...

... entity that had (as librettist, designer, and composer) altered theatrical history with productions of the Mahagonny “Songspiel,” the Threepenny Opera, and now the Mahagonny opera as well. Brecht’s “Notes on the Opera,” published that year in his Ver...

... Museum of Contemporary Art (in association with Washington-based Opera America and Montreal’s Festival de la Voix), NewOp8 was the first to emphasize North Ameri- can work. Composers, singers, librettists, producers, critics, and sound and technical...