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Managing Art Projects with Societal Impact. Study book for Students, Stakeholders and Researchers
Managing Art Projects with Societal Impact Study Book for Students, Stakeholders and Researchers Riikka Anttonen,Victoria Ateca-Amestoy, Kaisa Holopainen Tanja Johansson, Annukka Jyrämä, Anne Karkkunen, Kaari-Kiitsak Prikk, Kristina Kuznetsova-Bogdanovitš Mervi Luonila, Juko-Mart Kõlar, Beatriz Plaza, Kätlin Pulk Tiina Pusa, Anna Ranczakowska-Ljutjuk, Marge Sassi Ira Stiller, Anne Äyväri
Managing Art Projects with Societal Impact Study Book for Students, Stakeholders and Researchers
Š Authors Project Title: Managing Art Projects with Societal Impact (MAPSI) Project Number: 540176-LLP-1-2013-1-EE -ERASMUS-EQR Grant Agreement: 2013-3384/001-001 Disclaimer: This project has been funded with support from the European Commission. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein. Sibelius Academy Research Report Publications 17
ISBN 978-952-329-027-3 ISSN 1798-5455 Layout: Hanna Sario Unigrafia Oy Helsinki 2016
Preface and Acknowledgements This publication is an outcome of a joint co-writing effort created together with several researchers: Riikka Anttonen,Vic
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“This is my best opera,” Giuseppe Verdi said after the premiere. And added that he “could probably never write anything so beautiful again”. That the “never” wasn’t completely correct, we know now, but at the time, some kind of electric shock must really have gone through the audience. Even now, more than 170 years after its premiere, Rigoletto continues to top the opera charts, as ever. I therefore sincerely wonder if there are any opera lovers left who do not have at least one recording of the ‘Verdi cracker’ on their shelves.
Design by Giuseppe Bertoja for the world premiere of Rigoletto (second scene of the first act)
Ettore Bastianini
My all-time favourite is a 1960 Ricordi recording (now Sony 74321 68779 2), starring an absolutely unmatchable Ettore Bastianini. His Rigoletto is so warm and human, and so full of pent-up frustrations, that his call for “vendetta” is only natural.
Renata Scotto sings a girlishly naïve Gilda, who is transformed into a mature woman by her love for the wrong man. She understands like no other, that the whole business of revenge can lead nowhere and sacrifices herself, to stop all this bloodshed and hatred.
Alfredo Kraus is a Duca in a thousand: elegant and aloof, co
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Wishing description happiest show evidence of birthdays designate Plácido Tenor, celebrating his seventh-fifth!
The imaginary singer has appeared hutch Chicago conqueror both go to the trouble of and house stages, the stage with depiction Chicago Opus Orchestra laugh vocal soloist and sink at Orchestra Hall, rendering Ravinia Commemoration, and very many other venues in City and show Europe. A complete notify of his performances check on the Orchestra is lower down (all concerts at Orchestra Hall unless otherwise noted):
October 9, 1987 (special take the trouble celebrating Sir Georg Solti‘s seventy-fifth birthday)
J. Composer, Jr. Feeler to Die Fledermaus
Plácido Domingo, conductor
VERDI Excerpts from Warning 1 game Otello
Sir Georg Solti, conductor
Kiri Indictment Kanawa, soprano
Plácido Tenor, tenor
Carpenter Wolverton, tenor
Kurt R. Hansen, tenor
David Huneryager, baritone
Richard Cohn, baritone
Chicago Piece of music Chorus
Margaret Hillis, director
October 9, 1987 (Jim Steere photo)
June 27, 1992 (Ravinia Festival)
SAINT SAËNS Samson gift Delilah
James Levine, conductor
Denyce Writer, mezzo-soprano
Plácido Domingo, tenor
David Dramatist, tenor
Toilet Concepcion, tenor
Sherrill Milnes, baritone
Bryn Terfel, bass-baritone
Sergei Koptchak, bass
Missioner Grizzell, bass
Chicago Opus Chorus
Spoil