A page dedicated to Oscar Wilde and Music, compiled by Tine Englebert.

Issue no 51: March 2010

__________

We also look at some of the other music of the period, or inspired by it; and include research material.

To go to previous pages of Mad, Scarlet Music, click as appropriate. Note: for the time being only the pages since February 2007 are posted at www.oscholars.com. Earlier pages are at www.irishdiaspora.net, but will be transferred over as time permits. There is difficulty in accessing these directly, which is why we are transferring them.

May/June 2009	December 2007	October 2003	February 2003
March/April 2009	November 2007	September 2003	January 2003
January/February 2009	April-October 2007	August 2003	December 2002
November/December 2008	March 2007	July 2003	November 2002
September/October 2008	February 2007	June 2003	October 2002
July/August 2008	January 2007	May 2003	September 2002
May /June 2008	November/December 2006	April 2003	August 2002
January 2008	November 2003/October 2006	March 2003	July 2002

Before July 2002, ‘Mad, Scarlet Music’ was incorporated in the Editorial pages of THE OSCHOLARS.

For a list by Erica Scettro of musical references in the work of Oscar Wilde, click

For the Table of Contents, click | To hub page | To THE OSCHOLARS home page

Click in the Table of Contents for direct access to the information about each item.

TABLE OF CONTENTS
THE HAPPY PRINCE
charles Fussell’s wilde
WILDE NIGHTS AT THE OPERA & BALLET
Salome / Strauss
DISCOGRAPHY
Wilde recordings
BEYOND THE WILDERNESS
Carmen / Bizet after Merimée
Lulu / Berg after Wedekind
Tosca / Puccini after Sardou
La Traviata / Verdi after Dumas Fils
RESEARCH
Research into the music of the period; conferences; calls for papers; publications
Journals
Conferences & Calls for Papers
Doctoral research
Publications
Resources
CODA
A few musical notes

The happy prince

Elizabeth Esris writes

Please excuse my pride; I am sending this new animation of the duet from Act II, scene1 of Elegy For a Prince so that you can look, listen, and hopefully send it along to as many people as you know who might like to hear the beautiful voices of Julianne Borg and James Bobick in the roles of Swallow and the Prince.

http://www.youtube.com/watch?v=BN_UpaXHyd4

As many of you know, I wrote the libretto to this opera in collaboration with composer Sergio Cervetti. It is adapted from “The Happy Prince” by Oscar Wilde. In the opera, the Swallow and Prince from the fairy tale are transformed into compelling human characters who discover compassion and love. Elegy For a Prince was performed in excerpts at New York City Opera’s VOX Showcase of American Composers in 2007. If you look at the gray box to the right of the YouTube screen, you can read some additional information about the opera.

In an attempt to create buzz, we asked a very talented young artist, Michael Stern, to create this animation for the duet. In a world where the visual is so important, we wanted the opportunity to reach lovers of new opera in a way that is compelling and easy to access . We very much want Elegy For a Prince to breathe life in its entirety upon a stage. It is our hope that Michael’s beautiful animation will help move it closer to that dream.

Please listen. Comment, if you feel moved to. And do send it along to others.

Charles Fussell and his Wilde Symphony

Charles Fussell (b. 1938) has been an important figure in the musical life of Boston for over twenty years. Beginning in the mid-1980s, he served on the composition faculty of Boston University, was artistic director of Boston’s first citywide festival of contemporary music, New Music Harvest, and was co-founder, with James Yannatos, of the New England Composers Orchestra. Many of his works have been premiered and recorded by Boston ensembles including the The Boston Modern Orchestra Project, the Cantata Singers, Collage New Music, and Lydian String Quartet. Recordings may be found on the labels Albany, BMOP/sound, Koch International Classics, and Neuma. His music is published by G. Schirmer, Peer Southern, Lawson-Guild, and Fallen Leaf Press.

A native of Winston-Salem, North Carolina, the American composer and conductor Charles Fussell studied piano in Winston-Salem and was taught composition by Thomas Canning, Wayne Barlow and Bernard Rogers, piano by J. Echaniz and conducting with H. Gerhart at the Eastman School of Music in Rochester, New York. 1962 he continued his studies in Germany with Boris Blacher at the Berlin Hochschule für Musik and Bayreuth Masterclasses with Friedelind Wagner. He later was assistant to and close friend of composer Virgil Thomson. Fussell taught theory and compositon at the University of Massachusetts, 1966-76, was teacher of composisiton at the North Carolina School for Arts, Winston-Salem, 1976-77, and has served on the faculty of Boston University and Rutgers University. In addition to advanced degrees in composition and conducting from Eastman, Mr. Fussell has received Fulbright, Ford, and Copland Foundation grants; grants from the Massachusetts Council on the Arts and Humanities; and numerous commissions. Fussell currently lives in Woodside, New York City and is active as vice president of the Virgil Thomson Foundation.

Major works include six symphonies and three operas. Symphonies No. 3 and 6 are choral symphonies – Symphony No. 3, Landscapes, based on the work of four American poets, and Symphony No. 6, High Bridge, setting five poems from Hart Crane’s late 1920s epic, The Bridge. Of his three operas, two are chamber operas: Cymbeline (After Shakespeare), and The Astronomer’s Tale, with libretto by Jack Larson. Julian, based on a short story by Flaubert, is a full evening’s liturgical drama ) for chorus, soloists, and orchestra. Other work is Northern Lights (2 portraits for chamber orch. of Janáček and Munch) ( 1977 – 9 ); Virgil Thomson Sleeping, chamber orch. ( 1981 ); Greenwood Sketches, str. qt. ( 1976 ); several vocal works incl. Specimen Days Days (based on the writings of Walt Whitman, libretto by Will Graham) for baritone solo, chorus, and orchestra. Wilde, a symphony for baritone and orchestra, was runner-up for the 1991 Pulitzer Prize. In 1992, he received a citation and award from the American Academy of Arts and Letters. Among the writers whose works have inspired Fussell are Hart Crane, Gustave Flaubert, William Shakespeare, Walt Whitman, and Oscar Wilde.

Wilde, Symphony for Baritone and Orchestra (1990/1995)

Charles Fussell's Wilde is the result of considering the live of Oscar Wilde as possible operatic subject. Filled with complex and dramatic emotional references, the work is a musical expose of the instability and disquiet that plagued this celebrated literary figure. Wilde is a extended operatic reflection on the writer's tragic life.

Libretto by Will Graham (1990)

Source: http://www.dramonline.org/content/notes/bmop/BMOP1005.pdf

PART I London (1895)

Wilde plans a letter he will write to Lord Alfred Douglas, late February 1895.

I am out walking as I await your return.

Our storm has passed. The snow and wind that shook all London on the night of Earnest’s premiere crept guiltily from the town, no doubt embarrassed at the play’s superior force.

Outside the Avondale I dodge the dungy puddles and broken trees. No cab will have me.

I amble on determined to collect my thoughts and engage the eyes of everyone I meet.

On such a dreary day the dandies and the destitute need dazzling.

INTERLUDE

Wilde remembers his Algerian holiday with Douglas.

Not long ago we walked together in Algiers, followed by the boys that you call brides-maids. How they surged around us like a tide. They were our buffer from the world, all glistening in that scarlet sun.

Such a sun appeared today, caught the wet edges of skyline, framed the city in silver.

In that light I can breathe again.

INTERLUDE

Wilde visits the West End.

I hear so much in easy walking. Vendors shuffle baskets over frosty cobblestones.

Buskers mock new vaudevilles, steaming the twilight with their songs. My winter blood applauds this bacchanal.

My muse is rich with bawdy rhymes and poignant ballads for the music halls.

“She was ever such a lady

With her airs and fancy dress

But her skirts were always dirty

And her knickers in distress.

She could dinner with Disraeli

She could breakfast with the Pope

But there’s nothing pure about her

And she’ll stay that way, we hope.

My century still lies asleep.

But I have a promise to keep.

I’ll shock the old girl into waking

To look at herself and weep.”

Wilde explores London’s night life.

Nothing speeds me like the lack of sun. Shadows pull me to a dangerous lane, a corridor of quickening pulse and careful stop. Alley of darkness blessing eyes with clearest seeing, Alhambra at last. Shadows drifting in duets. Slow supper of worship. Knees in frosted leaves. The murmur of monks, the salty and exalting sacraments. Angels move among us with their mighty winds, locked in a dance to keep the world away. Only the stars may see our kiss.

INTERLUDE

Wilde returns to his family.

Walk home. Calm yourself and plan the day. Find boats from Holland filled with hyacinths for Constance. See that her rooms are fragrant with spring.

“And when wind and winter harden

All the loveless land

It will whisper of the garden,

You will understand.”

Outline fables for my sons, my Cyril, my Vyvyan. The light of their eyes leaves no shadow I can hide in. One look from them and all my laurels burn away, all public adulation melts, and I am only Papa of the strong arms, Papa with pretty stories.

“He did not hate the winter now, for he knew that it was merely Spring asleep, and that flowers were resting. Suddenly he rubbed his eyes in wonder at a marvelous sight — a tree quite covered with lovely white blossoms. Underneath it stood the little boy the selfish giant had loved, and the child smiled at him and said, ‘You let me play once in your garden. Today you shall come with me to my garden, which is paradise.’”

PART II “In the South” (1897–98)

Released from prison, Wilde tries to resume his life in France and Italy.

[orchestra only]

PART III Paris (1900)

Wilde plans his last letter to Douglas.

I had in mind to make my death a work of art, but nature defeats me with corruption.

My flesh transforms itself to soil. My mind still writes but cannot summon a hand to steer the pen. I ride again today the river of pain. At best I skim above it, then dive once unwillingly, now with resignation beneath its surface into agony. Time has become that pain, the sun — my sun going down and the rattle of teacups.

Reggie is here, Robbie comes and goes — their drawn faces and deep voices deter- \mined to keep me with them in this world. Behind my eyes I often see your face, but further on I see another face, a young man darker and more serious. I know it is the Christ — only Giotto got him right. He calls me from my river in an unfamiliar voice. I will go as I have done before when any handsome stranger beckoned. I should be grateful for the company. I am afraid, alone, once more an offering in the dark.

Take me, kind stranger, to your home.

Cop. 1990 Will Graham

Fussell has called Wilde a symphony that wants to be an opera, as it is operatic both in scope and construction. Librettist Will Graham, a frequent collaborator, crafted a text that weaves together excerpts of Wilde's writings, letters, and poetry along with original material. It is in the format of letters to his lover, Lord Alfred Douglas, a device which not only gives access to Wilde's thoughts but also allows Wilde to narrate his own actions. It also allows the many facets of Wilde's life to be telescoped into a single day in the first movement.

Wilde opens with the sounds of a bustling London softly muted by the freshly fallen snow. The music reflects Wilde's varying moods -- his ebullience and vanity, his nostalgia as he recalls a vacation to Algiers with Douglas. Fussell conjures up a Victorian music-hall stage band as Wilde tosses off a bawdy song. This buskers' tune becomes more introspective as one gets a brief glimpse of Wilde behind his façade, and his 'duty' to shock the staid Victorian sensibilities and hold up a mirror to society's complacency and hypocrisy ... Ordering flowers for Constance's room, Wilde quotes a fragment of one of his most beautiful poems, 'To My Wife,' accompanied by the buskers' tune, now transformed into a romantic ballad. But when he speaks of his sons, the orchestra drops away and Wilde continues a cappella ... There is an extended quotation from his fairy tale 'The Selfish Giant,' written for his sons. In the story, the child whom the giant loved is a Christ figure who ultimately takes him to paradise. But Fussell uses the same musical phrase to introduce the child as he used to introduce Wilde's sons. It was his sons, like the child in the story, who broke down the walls that Wilde had erected around himself and taught him how to love. [...]

The second movement In the South (1897-98) is set for orchestra only. It opens with dramatically ominous music, punctuated by drumbeats played on the rims of the drums, recalling the pounding of the judge's gavel and the slamming of prison doors. The music soon becomes agitated, almost frenetic, mirroring Wilde's restless wandering as he desperately tries to resume his life. The agitated music is interrupted by a Neapolitan waltz ... and finally gives way to even more agitated music. The music calms at the end, as if Wilde has finally exhausted himself and accepted his fate.

The final movement, Paris (1900) opens with the same musical phrase which closed the preceding movement. Wilde is on his deathbed, unable to summon his customary bravado, worn down by pain and resigned to death. His thoughts have turned to religion, but as he did in all things in life, he meets religion on his own terms. He sees Christ as a young man beckoning him, and he will go with him as he has gone with other handsome strangers. In a wonderful symmetry with the first movement, Wilde ends by asking now for the same gift that the child gave the selfish giant. The music ends with a widely spaced 12-tone chord for the winds, neither consonant nor dissonant, a fitting ending, perhaps, for a man who embodied so many contradictory elements in his life.

Cop. Michael Moore (2008)

Source: http://www.dramonline.org/content/notes/bmop/BMOP1005.pdf

Listen to the complete piece: http://artofthestates.org/cgi-bin/piece.pl?pid=378

The recording of the work epitomizes Fussell's musical language, which is rich in extended tonalities and lyrical textures, and is beautifully rendered by the Boston Modern Orchestra Project and Sanford Sylvan (baritone).

Charles Fussell: Wilde Label: BMOP/sound Catalog Number: BMOP1005 Running Time: 45:32

WILDE NIGHTS AT THE OPERA & BALLET

Salome

Paris – Opera Bastille: 7th, 10th, 13th, 16th, 19th, 22nd, 25th November 2009

www.operadeparis.fr

Salome	Camilla Nylund
Herodes	Thomas Moser
Herodias	Julia Juon
Jochanaan	Vincent Le Texier
Narraboth	Xavier Mas
Ein Page der Herodias	Varduhi Abrahamyan
Musical direction	Alain Altinoglu
Production design	Lev Dodin
Costume and Stage	David Borovsky
Lighting design	Jean Kalman
Choreography	Jourii Vassilkov
Orchestre de l’Opéra national de Paris

Berlin – Staatsoper unter den Linden 1st, 9th, 23rd October 2009; 10th, 17th, 23rd April 2010

www.staatsoper-berlin.de

Salome	Evelyn Herlitzius / Angela Denoke 10|17|23 April 2010
Herodes	Reiner Goldberg
Herodias	Rosemarie Lang / Daniela Denschlag 01|09|23 October 2009
Iokanaan	Mark Doss /James Rutherford 10|17|23 April 2010
Narraboth	Stephan Rügamer / N.N. 10|17|23 April 2010
Page	Simone Schröder / Andrea Bönig 09 October 2009
Stage Director	Harry Kupfer
Musical direction	Philippe Jordan / Pedro Halffter 10|17|23 April 2010
Costume & stage design	Wilfried Werz
Staatskapelle Berlin

Dresden – Semperoper, premiered 27th February 2005; 5th, 9th, 13th October 2009

www.semperoper.de

Salome	Nadja Michael
Herodes	Wolfgang Schmidt
Herodias	Doris Soffel
Iokanaan	Markus Marquardt
Narraboth	Martin Homrich
Ein Page der Herodias	Angela Liebold
Musical direction	Sebastian Weigle
Production & stage design	Peter Mussbach
Costume design	Andrea Schmidt-Futterer
Lighting design	Alexander Koppelmann
Dramaturgy	Ilsedore Reinsberg, Axel Bott
Sächsische Staatskapelle Dresden

Duisburg & Düsseldorf – Deutsche Oper am Rhein
Duisburg 19th, 22nd, 25th, 29th September; 3rd, 6th, 9th, 11th, 25th October 2009
Düsseldorf 8th, 13th, 15th, 25th November 2009

www.rheinoper.de

Salome	Morenike Fadayomi
Herodes	Wolfgang Schmidt
Herodias	Renée Morloc
Iokanaan	Markus Marquardt
Narraboth	Norbert Ernst
Ein Page der Herodias	Theresa Kronthaler
Musical direction	Michael Boder
Production	Tatjana Gürbaca
Costume design	Silke Willrett
Lighting & stage design	Klaus Grünberg
Dramaturgy	Anne do Paço
Duisburger Philharmoniker

Vienna – Staatsoper 4th, 6th, 10th November 2009; 24th, 27th May 2010

www.wiener-staatsoper.at

Salome	Ulf Schirmer
Herodes	John Easterlin
Herodias	Elisabeth Kulman
Iokanaan	Wolfgang Koch
Musical direction	Ulf Schirmer
Production	Boleslaw Barlog
Costume & stage design	Jürgen Rose

Amsterdam – De Nederlandse Opera: Het Muziektheater Amsterdam. Premiere 10th November 2009; performances 13th, 16th, 19th, 22nd*, 25th, 28th October; 1st November; 5th* December 2009. Starting time 20.00/*13.30, ending time ±21.45/*15.15.

www.dno.nl

Salome	Annalena Persson
Herodes	Gabriel Sadé
Herodias	Doris Soffel
Iokanaan	Albert Dohmen
Narraboth	Marcel Reijans
Page	Barbara Kozelj
Musical direction	Stefan Soltesz
Production	Peter Konwitschny
Costume & stage design	Johannes Leiacker
Lighting design	Manfred Voss
Dramaturgy	Bettina Bartz
Nederlands Philharmonisch Orkest

San Francisco – Opera 18th, 21st, 24th, 27th, 30th October; 1st November 2009. Co-production with Opera Theatre of Saint Louis and L'Opéra de Montréal.

www.sfopera.com

Salome	Nadja Michael
Herodes	Kim Begley
Herodias	Doris Soffel
Iokanaan	Greer Grimsley
Narraboth	Garrett Sorenson
Conductor	Nicola Luisotti
Director	Seán Curran
Design	Bruno Schwengl
Lighting design	Manfred Voss
Dramaturgy	James Robinson

¯ The Metropolitan Opera House, New York, 2008 production of Salome can be downloaded.
Click here.

A NOTE ON SALOME IN TURIN

Giulia Gozzelino

Salomé was performed at the Teatro Regio in 2008.

26/02/2008 h 20

01/03/08 h 20

05/03/08 h 20

27/02/08 h 15

02/03/08 h 15

08/03/08 h 20

28/02/08 h 20

04/03/08 h 20

09/03/08 h 15

The first time Salomé was represented in Turin was in 1906, with 14 representations at that time, and Strauss directed those from 22nd to 30th December. Giuseppe Sturani directed the others. To the Opera was added the ballet called Coppelia, directed by Luigi Battaglini. The tenor Mariani had the role of Herod, and the first singer, Gemma Bellincioni, was not there for the rehearsals, and Strauss substituted her! Strauss in fact wanted her to relax before the premiere. The costume for the first night was eccentric and created by the best dress designer of the time. The "scandal" connected with the rehearsals of the drama was that Arturo Toscanini, director of the Scala in Milan, jealous because he could not be the first to represent Salomé in Turin, invited journalists and subscribers to his general rehersals before the drama was represented in Turin. The representation in Turin was anyway a great succes s, most of all for Strauss, because for the first time he proposed his work in a language different from German. Moreover, the Salome played by Bellincioni was declared artistically superior to the interpretation of Salomea Krusceniski, who played Salome in Milan. Bellincioni had in fact an extraordinary dramatic instinct and charisma, and was not doubled by anyone in performing the dance of the seven veils. She repeatedly told journalists that the character of Salomé had penetrated deep inside her, and that in her performances she tried to convey to the public what she intensely felt.

Salomé was then reinterpreted by the American Grace Bumbry, the English Josephine Barstow and the German Anja Silja: all three performed Salomé at the Teatro Regio on 2nd May 1979 and the following days.

Discography

Over the many issues of ‘Mad, Scarlet Music’, many recordings of works based on Wilde have been noticed. We are now undertaking the task of bringing these together in a Discography, compiled by Tine Englebert, where new recordings will be added as they are published. Here too we will add information about L.P.s, 78s and tape recordings. We began in March 2008 with a list of recordings of Zemlinsky’s Florentine Tragedy and Birthday of the Infanta (also known as The Dwarf / Der Zwerg). The latest (August 2009) is for The Ballad of Reading Gaol. Click the gramophone.

BEYOND THE WILDERNESS

A glance at some of the other operas with which Wilde’s contemporaries (and sometimes Wilde himself) would have been familiar; and those that derive from the works of the period.

La Bohème / Puccini after Mürger. Libretto by Luigi Illica and Giuseppe Giacosa

Berlin – Komische Oper 7th, 25th, 30th October; 13th, 20th, 23rd, 29th November 2009

Leipzig – Oper 14th, 20th 2009

www.komische-oper-berlin.de

www.oper-leipzig.de

Berlin – Staatsoper unter den Linden 19th, 24th, 28th November 2009

Metz – Opéra-Théâtre 2nd, 4th (m), 6th, 8th October 2009

www.staatsoper-berlin.de

www.opera.ca2m.com

Frankfurt am Main – Opera 24th, 30th October; 14th, 20th, 30th November 2009

Paris – Opera Bastille 29th, 31st October; 3rd, 9th, 15th, 21st, 27th November 2009. Co-production avec le Maggio Musicale , Florence

www.oper-frankfurt.de

www.operadeparis.fr

Hamburg – Staatsoper 6th, 9th September 2009

Vienna – Staatsoper 8th, 12th, 15th October 2009

www.staatsoper-hamburg.de

www.wiener-staatsoper.at

Köln – Oper Köln 30th October; 5th, 8th, 12th, 21st, 27th November

Zürich – Opernhaus 18th, 22nd, 25th October; 3rd November 2009

www.operkoeln.de

www.opernhaus.ch

Carmen / Bizet AFTER MERIMÉE

Berlin - Deutsche Oper: 25th, 30th September; 4th October 2009

London – The Royal Opera 6th, 10th, 13th, 21st, 24th October 2009

www.deutscheoperberlin.de

www.roh.org.uk

Copenhagen – Det Kongelige Teater 8th, 11th, 14th November 2009

München – Bayerische Staatsoper 4th, 7th, 10th October 2009

www.kglteater.dk

www.bayerische.staatsoper.de

Helsinki – Finnish National Opera 5th, 7th, 12th, 14th, 19th, 21st, 26th November 2009

Strasbourg – Opéra national du Rhin 27th, 29th (m) November 2009

www.operafin.fi

www.operanationaldurhin.eu

Köln – Oper Köln 25th, 27th, 30th September; 3rd, 11th, 16th, 23rd October 2009

www.operkoeln.de

Louise – Gustave Charpentier

Strasbourg & Mulhouse – Opéra national du Rhin

www.operanationaldurhin.eu

Strasbourg: 18 (m), 20th, 22th, 24th, 31st October 2009

Mulhouse: 8th, 10th November

Lulu / Berg AFTER WEDEKIND

Libretto adapted by Berg himself from Frank Wedekind's plays Erdgeist (Earth Spirit, 1895) and Die Büchse der Pandora (Pandora's Box, 1904). The opera was first performed by the Zurich Opera in an incomplete form in 1937. Friedrich Cerha made a new completed version. Published in 1979, this version premiered on 24th February of the same year at the Opera Garnier and was conducted by Pierre Boulez.

Basel – Theater Basel: 4th, 7th, 10th, 16th, 23th, 30th May; 16th June 2009

www.theater-basel.ch

Der katalanische Regisseur Calixto Bieito, der am Theater Basel in der Spielzeit 2006/2007 mit seiner fesselnden Interpretation von Verdis «Don Carlos» Furore machte, wird diese Neuproduktion inszenieren. Für ihn ist «Lulu» auch ein Stück über eine dekadente Gesellschaft, in der den Menschen das Verhältnis zu ihrer Sexualität abhanden gekommen und der Respekt füreinander verloren gegangen ist. Basierend auf dem Material von Bergs als Fragment hinterlassener und von Friedrich Cerha vollendeter dreiaktiger Fassung wird er eine eigene Schlussversion des Werkes erarbeiten. Der Dirigent Gabriel Feltz, neuer 1. Gastdirigent am Theater Basel, wird mit «Lulu» sein Debüt in Basel geben.

Lulu	Marisol Montalvo
Gräfin Geschwitz	Tanja Ariane Baumgartner
Theatergarderobiere/Gymnasiast/Ein Groom	Aurea Marston
Der Medizinalrat / Der Professor	Hendrik J. Köhler
Der Maler / Der Neger	Rolf Romei
Dr. Schön	Claudio Otelli
Alwa, Dr. Schöns Sohn	Erin Caves
Ein Tierbändiger / Rodrigo	Andrew Murphy
Schigolch	Allan Evans
Der Prinz/Ein Kammerdiener/Der Marquis	Karl-Heinz Brandt
Der Thea	Eckhardt Otto
Eine Fünzehnjährige	Emilie Pictet
Ihre Mutter	Waltraud Danner-Herrmann
Eine Kunstgewerblerin	Lili Küttel
Ein Journalist	Martin Krämer
Ein Diener	Eung Kwang Lee
Gabriel Feltz	Conductor
Calixto Bieito	Direction
Alfons Flores	Sets
Ingo Krügler	Costumes
Hermann Münzer	Lighting
Ute Vollmar	Dramaturg
Sinfonieorchester Basel

Madrid –Teatro Real

www.teatro-real.com

28th, 30th September; 2nd, 5th, 8th, 10th, 12th, 14th, 16th October 2009

DiE LUSTIGE WiTWE / THE MERRY WIDOW / LEHAR

Operette in drei Akten (1905). Text von Victor Léon und Leo Stein

Genova –Teatro Carlo Felice

www.carlofelice.it

27th, 29th November 2009

Hamburg –Staatsoper

www.staatsoper-hamburg.de

19th, 25th, 26th November 2009

Pelléas et Mélisande – Claude Debussy after Maeterlinck

Opera in five acts. First produced: Paris, April 30, 1902.

Roma – Teatro dell’Opera

www.operaroma.it

2nd, 3rd, 4th, 6th, 7th, 8th, 9th October 2009

Tannhäuser und der Sängerkrieg auf Wartburg – Richard Wagner

Romantic opera in three acts. Libretto by Richard Wagner. First performed on 19th October, 1845 in Dresden

Berlin – Deutsche Oper

Roma – Teatro dell’Opera

www.deutscheoperberlin.de

www.operaroma.it

20th, 26th September 2009

29th, 30th, 31st October; 3rd, 4th, 5th, 6th November 2009

Tosca / Puccini after Sardou

Berlin – Deutsche Oper: 20th, 24th June 2009

www.deutscheoperberlin.de

‘TOSCA is an absorbing triangular history around a big woman's figure. Scarpia, Tosca and Cavaradossi claim freedom in every personal variation: as dynamic-subjective claim to power [Scarpia], as rebellious ethos aiming on change [Cavaradossi], as simple, limitless love [Tosca]. And everybody pays with death. Puccini’s musical gesture is as crude as affectionate, intelligent as sentimentally, exactly like dreamy.’

Tosca	Violeta Urmana
Cavaradossi	Yonghoon Lee
Scarpia	Marco Vratogna
Angelotti	Krzysztof Szumanski
Sacristan	Roland Schubert
Spoletta	Thomas Blondelle
Sciarrone	Hyung-Wook Lee
Turnkey	Tomislav Lucic
Emmanuel Villaume	Conductor
Boleslaw Barlog	Direction
Filippo Sanjust	Sets
Filippo Sanjust	Costumes
Orchester der Deutschen Oper Berlin; Chor der Deutschen Oper Berlin; Knabe des Staats- und Domchores Schöneberger Sängerknaben

Paris – Opéra Bastille 20th, 22nd, 25th, 26th, 27th, 29th, 30th May; 2nd, 3rd, 5th June 2009

www.operadeparis.fr

Tosca	Adina Nitescu / Elena Zelenskaya
Cavaradossi	Aleksandr Antonenko / Mikhail Agafonov
Scarpia	James Morris / Scott Hendricks
Angelotti	Wojtek Smilek
Sacristan	Matteo Peirone
Spoletta	Christian Jean
Sciarrone	Yuri Kissin
Turnkey	Christian Tréguier
Stefan Solym	Conductor
Werner Schroeter	Direction
Alberte Barsacq	Sets
Alberte Barsacq	Costumes
André Diot	Lighting
Alessandro Di Stefano	Choirmaster
Orchestre et Choeurs de l’Opéra national de Paris; Maîtrise des Hauts-de-Seine/Choeur d’enfants de l’Opéra national de Paris

San Francisco – Opera: 2nd, 5th, 1lth, 14th, 17th, 20th, 23rd, 26th June 2009

www.sfopera.com

Tosca	Adrianne Pieczonka
Cavaradossi	Carlo Ventre
Scarpia	Lado Ataneli
Marco Armiliato	Conductor
Jose Maria Condemi	Direction
Thierry Bosquet	Sets
Thierry Bosquet	Costumes

Chicago – Lyric Opera

Massy – Opéra

www.lyricopera.org

www.opera-massy.com

26th, 30th September; 3rd, 7th, 10th, 13th October 2009

6th, 8th November 2009

Dresden –Semperoper

Oviedo (Spain) – Opera

www.semperoper.de

www.operaoviedo.com

3rd, 9th October 2009

8th, 11th, 14th, 16th, 17th October 2009

Hamburg –Staatsoper

Wien – Staatsoper

www.staatsoper-hamburg.de

www.wiener-staatsoper.at

17th, 22nd, 26th September; 14th, 17th, 21st October 2009

17th October 2009

Duisburg – Deutsche Oper am Rhein: 17th June 2009

www.rheinoper.de

Die tote Stadt / Korngold after Rodenbach

Opera in three acts. Libretto by Paul Schott, freely adapted from Bruges-la-Morte (1892)

First performed December 4th 1920, Stadttheater Hamburg and Opernhaus Köln

Frankfurt am Main – Opera

Paris – Opéra Bastille

www.oper-frankfurt.de

www.operadeparis.fr

22th, 26th, 29th November 2009

3rd, 9th, 13th, 16th, 19th, 22nd, 24th, 27th October 2009

La traviata / Verdi AFTER DUMAS FILS

Lyon – Opera National: 23rd, 25th, 27th, 29th June ; 1st, 3rd, 5th, 7th July

www.opera-lyon.com

Violetta	Ermonela Jaho
Alfredo	Edgaras Montvidas
Giorgio	Lionel Lhote
Gaston	Tansel Akzeybek
Flora	Christina Daletska
Annina	Anna Steiger
Marquis d'Obigny	Nabil Suliman
Gerard Korsten	Conductor
Klaus Michael Grüber	Direction
Lucio Fanti	Sets
Rudy Sabounghi	Costumes
Dominique Borrini	Lighting
Giuseppe Frigeni	Choreographer
Alan Woodbridge	Choirmaster
Orchestre et Chœurs de l'Opéra de Lyon

London – Royal Opera House, Covent Garden: 19th, 22nd, 25th, 27th, 30th June; 3rd, 6th July 2009

www.roh.org.uk

Violetta	Renée Fleming
Alfredo	Joseph Calleja
Giorgio	Thomas Hampson
Gaston	Haoyin Xue
Flora	Monika-Evelin Liiv
Annina	Sarah Pring
Marquis d'Obigny	Kostas Smoriginas
Antonio Pappano	Conductor
Richard Eyre / Patrick Young	Direction
Bob Crowley	Sets
Jean Kalman	Lighting

Los Angeles – Opera: 21st, 27th, 30th May; 3rd, 6th, 10th, 13th, 14th, 19th, 21st June 2009

www.losangelesopera.com

Violetta	Marina Poplavskaya / Elizabeth Futral
Alfredo	Massimo Giordano / Aleksei Dolgov
Giorgio	Andrzej Dobber / Stephen Powell
Gaston	Hak Soo Kim
Flora	Margaret Thompson
Annina	Erica Brookhyser
Marquis d'Obigny	Daniel Armstrong
Grant Gershon	Conductor
Marta Domingo	Direction
Giovanni Agostinucci	Sets
Kitty McNamee	Choreographer

München – Bayerische Staatsoper: 9th, 12th, 15th June

www.staatsoper.de

Violetta	Angela Gheorghiu
Alfredo	Jonas Kaufmann
Giorgio	Simon Keenlyside
Gaston	Kevin Conners
Flora	Anaïk Morel
Annina	Tara Erraught
Marquis d'Obigny	Rüdiger Trebe
Keri-Lynn Wilson	Conductor
Günter Krämer	Direction
Andreas Reinhardt	Sets
Carlo Diappi	Costumes
Wolfgang Göbbel	Lighting
Bayerisches Staatsorchester; Chor der Bayerischen Staatsoper

San Francisco – Opera: 13th, 16th, 19th, 25th, 28th, 29th June; 1st, 2nd, 5th July 2009

www.sfopera.com

Violetta	Anna Netrebko / Elizabeth Futral / Ailyn Pérez
Alfredo	Charles Castronovo / David Lomelí
Giorgio	Dwayne Croft / Stephen Powell
Donald Runnicles	Conductor
Marta Domingo	Direction
Marta Domingo	Sets

Berlin - Komische Oper www.komische-oper-berlin.de

Conductor Carl St. Clair; Director Hans Neuenfels (in German, German text version by Walter Felsenstein)

12th, 16th, 28th May; 14th, 23th June; 1st, 8th, 16th July.

Berlin – Deutsche Oper

Hamburg –Staatsoper

www.deutscheoperberlin.de

www.staatsoper-hamburg.de

18th September; 4th, 7th December 2009

7th, 10th, 24th October; 28th November 2009

Berlin – Staatsoper unter den Linden

Köln – Oper Köln

www.staatsoper-berlin.de

www.operkoeln.de

6th, 10th, 13th, 20th, 27th September; 10th October 2009

28th November 2009

Copenhagen – Det Kongelige Teater

Torino – Teatro Regio

www.kglteater.dk

www.teatroregio.torino.it

21st, 22nd October 2009

14th, 16th, 17th, 18th, 20th, 21th, 22th, 23rd, 24th, 25th, 27th, 28th October 2009

Dresden – Semperoper

Venezia – Teatro La Fenice

www.semperoper.de

www.teatrolafenice.it

2nd, 4th, 6th, 10th, 13th, 15th October 2009

6th, 8th, 9th, 10th, 11th, 12th, 13th, 15th, 16th, 17th, 18th, 19th, 20th, 22nd September 2009

Firenze – Teatro del maggio Musicale Fiorentino

Hamburg –Staatsoper

www.maggiofiorentino.com

www.staatsoper-hamburg.de

8th, 11th, 14th, 16th October 2009

7th, 10th, 24th October; 28th November 2009

Tristan und Isolde – Richard Wagner

Opera in 3 acts. Libretto by Richard Wagner. First performed on 10th June, 1865 in Munich

Berlin – Deutsche Oper

London – The Royal Opera

www.deutscheoperberlin.de

www.roh.org.uk

22, 28 November 2009

29 September; 2, 5, 9, 15, 18 October 2009

RESEARCH, publications, conferences

I. JOURNALS

Musical Quarterly

The Fall-Winter 2008; Vol. 91, No. 3-4 issue of The Musical Quarterly is available online, and the Table of Contents is available online at: http://mq.oxfordjournals.org/content/vol91/issue3-4/index.dtl. There is nothing of fin-de-siècle interest.

The Opera Critic

This useful newsletter can be found at http://www.theoperacritic.com/index.php

THE WAGNER JOURNAL

We are pleased to announce the November 2009 issue (vol.3, no.3) of The Wagner Journal, which contains the following articles:

Hans von Bülow on Richard Wagner’s Faust Overture, translated, introduced and annotated by Thomas Grey

Mark Berry : Is it Here that Time becomes Space? Hegel, Schopenhauer, History and Grace in Parsifal

Philippe Olivier (translated by Roland Matthews) : The Ring in France 1911–2006

The issue also contains reviews of Wagner performances in Bayreuth, Valencia, Copenhagen and Aix; reviews by Roger Allen of Semyon Bychkov's Lohengrin and by David Breckbill of a newly released Klemperer Fliegender Holländer; and by Mark Berry of the Weimar Ring on DVD. Also a review by Barry Emslie of: Robert Sollich, Clemens Risi, Sebastien Reus and Stephan Jöris (eds). Angst vor der Zerstörung: Der Meister Künste zwischen Archiv und Erneuerung, Recherchen 52 (Theater der Zeit: Berlin, 2008).

Individual copies of, and annual subscriptions to, The Wagner Journal are available in both printed and electronic form. Individual articles and reviews are also available in electronic form. Full details on www.thewagnerjournal.co.uk.

Barry Millington, Editor, The Wagner Journal

II. CONFERENCES & CALLS FOR PAPERS

Music on stage

The third international, interdisciplinary conference at Rose Bruford College, Sidcup, Kent

October 23rd and 24th, 2010

This conference topic is intentionally wide in its appeal as it is hoped papers will cover all aspect of performance as well as genres and composers. The following strands are anticipated: historic performance practices; design; production; individual composers and works, the musical, opera and abstract music.

Papers are invited of 20 minutes duration and abstracts of 300 words should be sent to Dr F Jane Schopf <Fiona.schopf at bruford.ac.uk> or Rose Bruford College, Burnt Oak Lane, Sidcup, Kent DA15 9DF, England. Deadline 31st March 2010

Subject to peer review, papers will be published in the journal Studies in Musical Theatre (Intellect Press)

North American Opera Journal

OPERA America invites submissions to the North American Opera Journal, a new peer-reviewed, semi-annual online journal for scholarship about North American opera that features high-quality research with multimedia elements. The Journal is the first to support scholarly work specific to the field of opera in the United States, Canada and Mexico.

Submissions are invited from all scholars regardless of nationality or academic affiliation. Although length of submissions should not exceed 8,000 words plus other media, more concise articles are welcomed.

While the journal will cover all aspects of opera production in North America, topics should be centered on composition and performance histories of North American operas. The Journal will be targeted at readers interested in musicological and historical issues, and singers and other professionals involved in opera production. Articles may engage in issues of: history, aesthetics, cultural/interdisciplinary studies, business of opera, music and libretto composition, production, reception history and performance practice.

Consulting editor of the Journal is Michael Pisani, professor of music, Vassar College. The review committee consists currently of Ralph P. Locke, professor of musicology, Eastman School of Music; John Dizikes, author of Opera in America and professor emeritus, University of California, Santa Cruz; Elise K. Kirk, author of American Opera; Michael McKelvey, associate professor and coordinator of music, St. Edward's University; Howard Pollack, professor of music, University of Houston; and Sean David Cooper, assistant professor of voice, Bowling Green State University.

The deadline for submissions is April 30, 2010. Submissions should be sent via e-mail attachment to Education at operaamerica.org in Microsoft Word format with minimal formatting. Supplemental materials can be sent to the attention of Evan Wildstein, OPERA America, 330 Seventh Avenue, 16th Floor, New York, NY 10001.

More information can be found at http://www.operaamerica.org/content/pubs/journal.aspx

scholarly papers on operatic subjects

The National Opera Association is pleased to announce its Twenty-Sixth Scholarly Papers Competition, 2010, for outstanding scholarly papers on operatic subjects.

Eligibility

The competition is open to any interested author. Membership in NOA is not required. No registration fee is required. Deadline for submission: June 1, 2010. Author notification: after September 1, 2010.

Previous winners of this competition may not re-apply, but are strongly encouraged to submit articles for consideration to "The Opera Journal," a NOA publication.

Guidelines

The scholarly paper should explore an operatic subject, present significant research and conclusions, and include an extensive bibliography citing primary, secondary and, if applicable, tertiary sources. .Authors should follow these guidelines.

The paper must be typewritten, double-spaced, no more than 3000 words in length.

The paper's title and the name of its author should be provided on a detachable title page. The author's name should not appear on subsequent pages.

Only one submission per person is admissible and must be accompanied by a statement confirming that the paper is not under copyright by any party other than the author and that it has not been previously published.

Papers previously presented orally are eligible as long as they have not or will not be published in any proceedings.

Papers will be judged particularly for significant advances in research and conclusions that shed new light on an operatic topic dealing with music drama, the libretto, the history of the genre, etc.

Topics may be as broad as the field of opera itself, which includes historical and theoretical analysis of the music and libretto (along lines of current and past critical theory and translation thereof), singing, acting, costuming, stagecraft, theater, etc.

The jury will consider the clarity and quality of the writing, judge the acceptability of the paper for publication in "The Opera Journal," and will also rate papers on their overall suitability to be read in an abridged version of no more than twenty minutes length at the convention's Scholarly Papers Session.

Awards

The winner will be invited to read her/his paper during the Scholarly Papers Session at the annual convention, early January, 2011, at San Antonio, Texas. The Leland Fox Scholarly Paper Stipend of $500 will be awarded to the reader of a winning paper at the annual convention.

The winning paper will be published in "The Opera Journal."

Copies of papers not selected, accompanied by the committee's critiques, will be forwarded to the editor of the journal for possible consideration for publication.

Submission Procedure

There is no application fee for the competition. Submission may be by mail or email attachment. Papers will not be returned. Submit entries and any inquiries about the competition to: Dr. Robert Hansen, National Opera Association, PO Box 60869,Canyon, TX 79016-0001. rhansen@mail.wtamu.edu

Deadline for the submission of scholarly papers: 1st June 2010. Author notification: after 1st September, 2010.

Song Stage Screen V ^— Interdisciplinary Approaches to Voice in Music, Theatre and Film

3rd September - 5th September 2010 ^— University of Winchester, England

Keynote Speakers to include: Claudia Gorbman (Unheard Melodies) and Steven Connor (Dumbstruck: A Cultural History of Ventriloquism)

Conference Organised by Millie Taylor and Ben Macpherson

CALL FOR PAPERS

The University of Winchester, Department of Performing Arts invites submissions for the fifth annual international and interdisciplinary 'Song, Stage and Screen' conference, with the focus this year on 'voice' in its many forms.

The performance of voice in opera, music theatre, musical theatre or film might be interpreted as the voice of a performer using singing, extended voice, narration or speech, but it might also include the voice of composers, authors, film-makers, orchestras and so on in the works they create.

Papers, performances, panels or presentations of 20 minutes, on any topic relating to 'Voice' in Music, Theatre and Film are welcomed.

Suggested topics might include:

Narrative voices in film, opera & music theatre ^— · The Director's Voice ^— · The Composer's Voice ^— · Performing Voice ^— · Orchestral Voices ^— · Approaches to vocal reception ^— · Extended and experimental vocal practices ^— · Vocal pedagogies ^— · Vocal aesthetics ^— · Musical theatre voices ^— · Unheard voices

Please send abstracts of no more than 200 words to Benjamin Macpherson: Benjamin.Macpherson@winchester.ac.uk. Deadline for proposals: January 31st 2010

www.songstagescreen.co.uk

any aspect of music and related fields during the long nineteenth century

The Sixteenth Annual Conference on Nineteenth-Century Music will take place at the University of Southampton between 8th and 11th July 2010.

The Programme Committee (Michael Beckerman (New York University); Rachel Cowgill (University of Leeds / Liverpool Hope University); Mark Everist (University of Southampton; chair); Bryan Gilliam (Duke University); Francesco Izzo (University of Southampton) is pleased to issue a formal call for papers, performances and complete sessions on any aspect of music and related fields during the long nineteenth century (c1789-c1914). We are not identifying any specific themes, but welcome proposals for individual papers and also invite possible session convenors (see below) to contact the chair of the Programme Committee with a view to submitting a proposal for a complete themed session.

Papers should be between 20 and 30 minutes long, and should be designed to fit into a 45-minute slot, including questions and turnaround. Complete sessions should consist of four papers of the same dimensions with a nominated convenor. Abstracts for papers, proposals and descriptions of performances should consist of no more than one side of A4 / US letter with font size no smaller than 11, and should include the name, institutional affiliation, mailing address and email address of the individual concerned. Descriptions of possible performances should make reference to the availability of sound files, and include them if necessary. Proposals for complete sessions should consist of four such abstracts with a rationale from the convenor (no longer than a single abstract).

Abstracts and proposals for sessions should be sent by email as attachments (either *.doc or *.pdf) to Francesco Izzo at the University of Southampton. f.izzo@soton.ac.uk

Deadline for submissions is 2nd November 2009 @ 5.00 p.m. UTC/GMT. The subsequent schedule for the conference is planned as follows: Notification of submission outcomes: c 27th November 2009. Publication of Draft Programme and opening of website: 11th January 2010. Registration opens: 1st February 2010. Early registration deadline: 1st July 2010. Conference: 8th-11th July 2010.

Worlds to Conquer, the travelling virtuoso in the long 19th century

CHOMBEC (Centre for the History of Music in Britain, the Empire and the Commonwealth), University of Bristol

Victoria Rooms, Bristol, England, 5th-7th July 2010.

An Italian troupe arrives in Macao from Chile in 1833 and mounts seven Rossini operas over the summer before moving on to Calcutta; a renowned French harpist, bigamist and forger, dies in Sydney in 1856 after a reunion with a musical fellow-criminal from his London days; a Canadian diva sings 'Home, sweet home' to British sailors in the middle of The Barber of Seville at her debut in Malta, while nearly a hundred years earlier another young singer loses her life, her daughter and her fabulous Indian fortune on the voyage home. Many other musicians, remembered or forgotten, move around the world, often unconcerned with national spheres of influence, amassing debts or fortunes and acquiring or abandoning spouses as careers and reputations are made, lost or reinvented.

Stories of such musical adventurers abound, especially from the 19th century in the era of steamships and gold rushes, and for every colourful rogue or genius such as Richard Wagner and Franz Liszt who conquered Europe there was another who travelled the world. The glamour and the tedium, journeys and repertoires, tribulations and triumphs, stamina and stardom pertaining to such characters can be savoured for their own sake or framed within the contexts of travel literature. Yet they can also be invoked to challenge the musical histories in which they have all too seldom appeared.

Why did they go? How did they or their agents manage their tours? Was their repertoire tailored to national communities; was it old or new? Were touring networks and remittances a crucial part of the international musical economy? How do we assess the standard of performance in peripheral contexts (and when were they peripheral)? What were the patronage networks and the national distinctions and tensions? What was the significance of the virtuoso group, the virtuoso family? How and why were institutional careers overseas sought, sustained, endured? Was the visiting examiner a new type of virtuoso?

The posing or--even better--the answering of these and related research questions in 30-minute slots is invited and encouraged. Emphasis is on the world beyond Europe, on translocality and transnationality, on musical provision and consumption, on case studies involving individuals, groups, genres, places, institutions and repertoires, and on the interrelationships between music and politics, geography, economics, technology and material culture in the 'long' 19th century, a portion of whose global musical history we may thereby begin writing. It is hoped that an edited book will be based on selected conference proceedings.

Programme Committee: Benjamin Walton (University of Cambridge), Esmeralda Rocha (student member, University of Western Australia), Kerry Murphy (University of Melbourne), Stephen Banfield (University of Bristol).

MUSIC AND THE WRITTEN WORD

A Graduate Conference, University of California, Santa Barbara 16th-17th January, 2010

The UCSB Center for the Interdisciplinary Study of Music (CISM) is seeking submissions for the 2010 “Music and the Written Word” Graduate Conference to be held at the University of California, Santa Barbara, on 16-17 January 2010. Run by and geared towards graduate students, this interdisciplinary conference will focus on music, the written word, and their convergence. We welcome submissions covering the full spectrum of methodologies, disciplinary approaches, and all genres of music.

Topics include, but are not limited to: * Relationship between music and text; * Text setting * Musical criticism; * Representations of music in literature and poetry; * Notation and transcription; * Music inspired by literature or poetry; * Music in print media; * Musical poetics; * Music as language/language as music; * Rhetoric and musical practice; * Musical analogy; * Music and grammar; * Music and worship/liturgy; * Language in performance practice; * Concrete words, “ineffable” music; * Music and political speech; * Music and code (C Sound, etc.)
Details regarding travel, accommodations, and the keynote address posted on our website:
http://www.music..ucsb.edu/projects/musicwrittenword/. For questions, suggestions, or other communication, please write to: musicandthewrittenword@gmail.com

Verdi Forum

Verdi Forum invites the submission of articles on all aspects of music and culture related to the life and works of Giuseppe Verdi. The editor welcomes not only traditional source, analytical, and performance practice studies but also interdisciplinary contributions.

Under the sponsorship of the American Institute for Verdi Studies, Verdi Forum has published essays, documents, and conference proceedings, which have contributed meaningfully to the scholarly literature on Verdi. The journal is a peer-reviewed publication, edited by Roberta Montemorra Marvin, with associate editors Andreas Giger and Steven Huebner, assistant editor Francesco Izzo, and reviews editor, Denise Gallo, as well as an editorial board of international scholars who, along with external readers, review articles under consideration.

Submissions to Verdi Forum may be made electronically (as an e-mail attachment in a word-processing file readable by Microsoft Word for Windows) or (if necessary) in paper copy (three copies) and should include full contact information, including an e-mail address. The editor will also be happy to receive offers to review books, editions, and recordings of exceptional historic or aesthetic interest. Questions may be directed to the editor: Roberta Marvin (roberta-marvin at uiowa.edu). The address for submissions is Roberta M. Marvin, University of Iowa, University Capitol Centre 1111-53, Iowa City, Iowa 52242. For information about subscribing, visit the AIVS website ? www.nyu.edu/projects/verdi

Music Research Forum

Music Research Forum is currently accepting submissions from outstanding graduate students and young professionals.

Now in its twenty-fifth year, Music Research Forum is an internationally distributed and indexed peer-reviewed journal published annually by the Graduate Student Association of the University of Cincinnati College-Conservatory of Music. We consider articles in any area of music scholarship, including musicology, theory, performance practice, ethnomusicology, music and culture, and criticism. Faculty are encouraged to pass this information along to their students.

Articles should be word-processed on 8.5x11-inch paper. All materials, including example captions, should be double-spaced and conform to the footnote guidelines found in The Chicago Manual of Style. Contributions should be between twelve and thirty pages. A cover sheet listing the author's name, address, telephone number, email address, and academic affiliation (if applicable) must precede articles. Articles will not be returned.

The postmark deadline for submissions for Volume 25 (Summer 2010) is 15th January 2010. Authors must submit three hard copies of each article to:

Carissa Pitkin, Editor, Music Research Forum, College-Conservatory of Music, University of Cincinnati, P.O. Box 210003, Cincinnati OH 45221-0003

For additional information, visit us online at http://www.ccm...uc.edu/comp_theory_hist/mrf.

Music Research Forum is currently accepting submissions from outstanding graduate students and young professionals.

III. Doctoral research

In our October 2007 edition, for the first time, we listed some of the doctoral research on the music of the period being undertaken at British Universities; and are very grateful to Dr Katherine Ellis for drawing this to our attention. The first resort for Great Britain is http://www.rma.ac.uk/register/register.asp. Looking again in November 2008, we had nothing to add, but in November 2009 we list the following:

Alan Bartley

School of Arts and Humanities, Oxford Brookes University

Subject:

The repertoire, performance and reception of chamber music in the suburbs of Edwardian London, 1895-1915

Giles Brightwell

Department of Music, Durham University

Subject:

'In search of a nation's music': The role of the Royal College of Music in re-establishing Britain's musical identity, 1883-1924

Liz Cooper

School of Music, Humanities and Media, University of Huddersfield

Subject:

Opera in Manchester in the Victorian Era, 1837-1901

Rosemary Golding

Department of Music, Royal Holloway, University of London

Subject:

'What shall we do with Music?': Music and Academia in Victorian Britain.

Corissa Gould

Department of Music, Royal Holloway, University of London

Subject:

Aspiring to Manliness: Issues of Masculinity and Imperialism in the Life and Works of Edward Elgar

Jo Hicks

Faculty of Music, University of Oxford

Subject:

Mapping the high-low debate in Erik Satie’s circle: A case study of modernism, entertainment and suburbia in early twentieth-century Paris

Maximilian (Max) Holzner

Faculty of Music, University of Cambridge

Subject:

French Grand Opéra in Nineteenth-Century London

Claire Mabilat (née Walsh)

Department of Music, Durham University

Subject:

British representations of non-European musicians in the other popular arts in the long nineteenth century, with a focus on H. Rider Haggard and issues of orientalism, gender and sexuality

Helen Julia Minors

Department of Music, LancasterUniversity

Subject:

La Péri, poème dansé (1911, Paul Dukas) in its cultural, historical and interdisciplinary contexts

Website:

http://www.roehampton.ac.uk/staff/helenminors

Mike Reynolds

Music Department, Goldsmiths College, University of London

Subject:

Assessment of the collaboration between Richard Strauss, Hugo von Hofmannsthal and Harry Kessler in stage works prior to 1914

Hugo Shirley

Department of Music, King's College, University of London

Subject:

Richard Strauss's Die Frau ohne Schatten and the Collapse of Hugo von Hofmannsthal's Operatic Project

IV. publications

Phaidon announce the publication of Jessica Duchen: Gabriel Fauré. A comprehensive overview of the life and career of French composer.

Paperback; 156 x 220 mm, 6 1/8 x 8 5/8 in. 240 pp. 80 black and white illustrations

ISBN 9780714839325 0714839329

‘Gabriel Fauré (1845-1924) is one of the best-loved French composers of his era: works such as the Requiem, Pavane and the Cantique de Jean Racine are perennial favourites.

Fauré has often been thought of as a somewhat unworldly individual; this book, however, clearly reveals his ambition and decisiveness. Born in southern France and educated at the Ecole Niedermeyer rather than the powerful Paris Conservatoire, he struggled to achieve recognition from France's musical establishment, which deemed him a dangerous outsider. His music, with its unique blend of vigour and restraint, sensuality and purity, served to inspire a new generation of French composers.

This stimulating biography is the first ever to give equal weight to Fauré's private and public lives: while professionally he eventually achieved recognition as a composer and as an influential composition teacher, in his personal life he struggled against depression, an unsatisfactory marriage and, later, devastating deafness.’

¯ Jessica Duchen is a freelance music journalist whose work appears frequently in the Guardian and BBC Music Magazine, among other publications. Founding editor of Piano magazine, she is the author of Erich Wolfgang Korngold, also in the 20th-Century Composers series.

The publication is announced of Nineteenth-Century Music Review Volume 6/2 (2009). Its contents include five essays, plus a review article:

¯ Emma Sutton : Too Close for Comfort: Henry James, Richard Wagner and The Sacred Fount

¯ Rosemary Golding : Musical Chairs: The Construction of ‘Music’ in Nineteenth-Century British Universities

¯ Andrew H. Weaver : Poetry, Music, and Fremdartigkeit in Robert Schumann’s Hans Christian Andersen Songs, op. 4

¯ E. Douglas Bomberger : Putting Words in the Master’s Mouth: Anton Strelezki’s Personal Recollections of Chats with Liszt

¯ Peter Dayan : Truth in Art, and Erik Satie’s Judgement

¯ Heather Platt : New Paths to Understanding Brahms’s Music: Recent Analytic Studies

Completing the issue are book reviews by Benjamin McKay Ayotte, Laura Hedden, Jonathan Kregor, Christa Pehl, Kenneth Stilwell and Leanne Wood, CD reviews by Douglass Seaton, Julian Horton, Jan Smaczny, Christopher Mark, James William Sobaskie, Laura Bassini and Patrick Zuk, and lists of Books and CDs Received, plus a letter to the Editor from Marcia J. Citron.

For more information, see: <http://www.ashgate.com/default.aspx?page=2695>http://www.ashgate.com/default.aspx?page=2695

‘The Condition of Music: Wagnerism and Printmaking in France and Britain’ by Rachel Sloan, Department of Drawings at the J. Paul Getty Museum. Art History, Volume 32 Issue 3, Pages 545 – 577. Published Online: 22nd June 2009 © 2009 The Association of Art Historians.

ABSTRACT

Scholarship on the impact of Richard Wagner's music and aesthetic theories has traditionally concentrated on fin-de-siècle France. Aubrey Beardsley's Wagnerian prints have recently been the subject of several significant studies, but they have been examined in a British context with little reference to earlier or concurrent developments in France. This article serves as a case study of Anglo-French artistic exchange at the fin-de-siècle, examining some points of interaction between Beardsley and two key French Wagnerian artists, Henri Fantin-Latour and Odilon Redon, in order to throw more light on the complex mixture of political, social and aesthetic discourses that informed all three artists' interest in the intersection of music and the visual arts, as well as their Wagnerian pictorial languages.

V. RESOURCES

Institute of Musical Research

The Institute of Musical Research, School of Advanced Studies, University of London, exists to facilitate research in music of all traditions and eras, and to support freelance and affiliated scholars alike. The IMR runs a busy events schedule, host visiting fellows at our London base, support research projects and groups, and administer a national research training centre and information gateway.

Royal Opera House Collections Online

Royal Opera House Collections' Catalogue and Performance Database are now online at www.rohcollections.org.uk. These resources, the result of many years of dedicated work, are an important milestone in an ambitious, ongoing project to open up ROH Collections to as wide and diverse an audience as possible.

The website provides an overview of ROH Collections and brief introductions to each collection in the archive. The Collections Catalogue contains individual catalogue records, with images, for the Frank Sharman Photographic Collection and a section of the Costume Collection. Over the coming months, additional catalogue records will be made available online.

The Performance Database has three levels: work (creators and premieres), production (director and design team), and performance (dancers, singers, and music staff). Currently online are all the works performed by The Royal Opera and The Royal Ballet (and their earlier names) since 1946, as well as all new productions and first night casts of each production. Similar data for The Birmingham Royal Ballet will be available in April, and nightly performance records will be added on a regular basis. The database can be searched by title, person, company, character, and date. Records are linked to items in the Collections Catalogue, such as costumes worn in a certain production, and therefore searches can be undertaken across both sets of information.

In addition, the website offers interactive 'Highlights from the Collections', allowing users to focus in detail on certain items, through magnifying images, brief textual explanations, and audio clips. The website launched with three highlights: the costume for Turandot worn by Amy Shuard and Birgit Nilsson, designed by Cecil Beaton in 1963; Constant Lambert’s score for Frederick Ashton’s ballet Dante Sonata (1940); and an architectural detail of the theatre, normally quite difficult to view.

Coda

¯ We regret to report the death of Hildegard Behrens on 18th August 2009. For her Salomé, click here.

¯ The Richard Strauss Society lists all performances of Strauss’ operas (and much else Strauss material) on its website.

¯ The Elgar Society maintains an extensive website, including a link to the Elgar Birthplace Museum.

¯ Call for Submissions: Alan Walker Book Award. $2000 Prize from the American Liszt Society. Deadline: 1st September 2010. For detailed information, visit: www.americanlisztsociety.net/AlanWalkerBookPrize.php

¯ Announcement of a Forum for Modern Language Studies prize for an essay on music and literature. Full details can be found at www.oxfordjournals.org/our_journals/formod/forum_prize.html. Please do forward this on to anyone else you think might be interested.

¯ For a video clip of the Covent Garden production of La Bohème, click here.

¯ The Virtual Library of Musicology (ViFaMusik). ViFaMusik, the central portal for music and musicology, allows access an extensive digital library containing the latest scholarly research and online resources. Using a single search engine you can find bibliographical data, entries to experts and research projects as well as current events to your search topic. The currently available realms are listed in the navigation bar on the left side. VifaMusik is funded by the German Research Foundation (Deutsche Forschungsgemeinschaft). The project has been developed over the course of a two-year construction phase since July 2005 at the Bavarian State Library in partnership with the State Institute for Musicological Research in Berlin and the German Musicological Society.

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