Spofford, Charles Merville, (17 Nov. 1902–23 March 1991), lawyer (US); Trustee: Carnegie Corporation of New York; Juillard Musical Foundation; Director Emeritus: Council on Foreign Relations; Metropolitan Opera Association (Chairman Executive Committee, 1956–71, Member since 1971, President, 1946–50); Vice-Chairman and Director Emeritus, Lincoln Center for the Performing Arts, Inc

2007 ◽  
Keyword(s):  
New York ◽  
Executive Committee ◽  
Foreign Relations ◽  
Performing Arts ◽  
Vice Chairman ◽  
Metropolitan Opera ◽  
Carnegie Corporation ◽  
Lincoln Center

Dieter Hacker's Mask for Timon of Athens

1995 ◽  
Vol 36 (2) ◽  
pp. 89-90
Author(s):  
GJW
Keyword(s):  
New York ◽  
Performing Arts ◽  
Public Library ◽  
Cultural Center ◽  
Stage Design ◽  
York Public Library ◽  
New York Public Library ◽  
Lincoln Center ◽  
The One ◽  
Timon Of Athens

For the well-received 1990 Bochum Schauspielhaus production of Shakespeare's Timon of Athens, Dieter Hacker, one of Germany's leading artists and stage designers, created fifty-four masks, including the one on the opposite page for Timon himself (Figure I). This mask, Hacker's designs, and photographs of the production were seen in the recent exhibition “Contemporary Stage Design from German and Austria” at the New York Public Library for the Performing Arts, Lincoln Center, presented in collaboration with the Goethe House and German Cultural Center in New York.

Impressions After an Exhibition

Tempo ◽  
1972 ◽  
pp. 2-9
Author(s):  
Claudio Spies
Keyword(s):  
New York ◽  
Performing Arts ◽  
Public Library ◽  
Research Library ◽  
York Public Library ◽  
New York Public Library ◽  
Public Property ◽  
Positive Sense ◽  
90Th Anniversary ◽  
Lincoln Center

During these summer months the New York Public Library has been holding an exhibition at the Research Library of the Performing Arts, Lincoln Center, of manuscripts, drafts, annotations, letters, photographs, posters, objets, objets d'art, and other memorabilia selected from Stravinsky's legacy, and lent by his widow. The exhibition is unprecedented with respect to the collection of objects on display—since, for one thing, it is presumably only after so public a figure's demise that an assortment of this kind becomes open to the possibility of being thus exhibited—although a number of items had been familiar in published form. It is also, I conjecture, the first in a potential succession of exhibitions (depending, primarily, upon the eventual location of, and time at which, the entire legacy of these materials may become, as is to be hoped, in the most positive sense, public property), and it was mounted in conjunction with a Stravinsky Festival celebrating the 90th anniversary of the composer's birth.

Lincoln Center Commissions

Samuel Barber ◽  
2020 ◽  
pp. 451-469
Author(s):  
Barbara B. Heyman
Keyword(s):  
New York ◽  
Emotional Expression ◽  
Performing Arts ◽  
100Th Anniversary ◽  
Pulitzer Prize ◽  
Piano Concerto ◽  
Compositional Process ◽  
Antony And Cleopatra ◽  
Lincoln Center ◽  
Individual Style

For the opening week of the new Philharmonic Hall at New York’s Lincoln Center for the Performing Arts in 1962, Barber composed a piano concerto in honor of the 100th anniversary of his publisher. The concerto was tailored to the technical prowess and individual style of John Browning, reflecting the Russian influence of his piano teacher Rosina Lhévinne. The second movement was a reworking of an earlier piece, Elegy, written for Manfred Ibel, a young art student and amateur flute player, to whom Barber dedicated his piano concerto. This chapter details Barber’s compositional process and influences for each movement of the concerto and describes the enthusiastic reception of the debut performance. Nearing completion of the concerto, Barber was invited to Russia as the first American composer ever to attend the biennial Congress of Soviet Composers, where he freely discussed his compositional philosophy and methods. For the concerto, Barber won his second Pulitzer Prize and the Annual Award of the Music Critics Circle of New York. His second composition for the opening season of Lincoln Center was Andromache’s Farewell, for soprano and orchestra. Based on a scene from Euripides’s The Trojan Women, the piece displayed deep emotional expression and striking imagery. With a superior opera singer, Martina Arroyo, singing the solo part, the success of Andromache’s Farewell presaged Barber’s opera Antony and Cleopatra.

Somaticist in the dance archives: Exploring Jerome Robbins’ diaries through somatics

2020 ◽  
Vol 12 (2) ◽  
pp. 229-238
Author(s):  
Hiie Saumaa
Keyword(s):  
New York ◽  
Performing Arts ◽  
Public Library ◽  
Scholarly Work ◽  
York Public Library ◽  
New York Public Library ◽  
Short Piece ◽  
Lincoln Center

In this short piece, I highlight the question of how to bring somatics skills acquired in a somatics class to bear upon other life contexts. I use the example of scholarly work: I show how I use somatic methods as I conduct research in the archives of the choreographer Jerome Robbins (1918–98), housed at the Jerome Robbins Dance Division of the New York Public Library for the Performing Arts at Lincoln Center. I suggest that we need to pay more attention to the question of how students and practitioners could bring physical awareness into their various life scenarios and tasks. I propose that if we learn how to transfer our somatic knowledge into different life contexts, our lives can become more embodied and we can tap into the knowledge that emanates from the physical self.

scholarly journals American Christians for and against Parsifal: Debating the Holy Grail Opera in New York

2017 ◽  
Vol 51 (1) ◽  
Author(s):  
Frederick Hale
Keyword(s):  
New York ◽  
United Kingdom ◽  
Performing Arts ◽  
Historical Context ◽  
Public Controversy ◽  
Metropolitan Opera ◽  
The United Kingdom ◽  
Heated Debate ◽  
History Of ◽  
Opera House

The appropriateness of Christian themes in the performing arts has often been debated. Defenders have argued that various media, including drama, can serve as instruments of spiritual edification, while critics have contended that such efforts often eventuate in sacrilege and a vulgarising exploitation of the sacred for commercial and entertainment purposes. A heated debate took place in 1903 when Richard Wagner’s opera Parsifal, which since its première at Bayreuth in 1882 had been hailed as a magnificent representation of redemption and other themes central to Christianity, was staged at the Metropolitan Opera House in New York – its first performance as an opera outside its original venue. Numerous clergymen and lay people in several denominations sought to have the production banned and cautioned fellow Christians against seeing it. Others, generally of a theologically more liberal bent, defended the work. The heated public controversy is placed into historical context and compared with the history of Parsifal in the United Kingdom, where it was widely appreciated without noteworthy opposition.

Samuel Barber

2020 ◽  
Author(s):  
Barbara B. Heyman
Keyword(s):  
New York ◽  
Vocal Music ◽  
Pulitzer Prize ◽  
Antony And Cleopatra ◽  
Creative Processes ◽  
American Composers ◽  
Metropolitan Opera ◽  
Samuel Barber ◽  
Entire Career ◽  
Lincoln Center

Samuel Barber (1910–1981) was one of the most important and honored American composers of the twentieth century. Writing in a great variety of musical forms—symphonies, concertos, operas, vocal music, chamber music—he infused his works with poetic lyricism and gave tonal language and forms new vitality. His rich legacy includes such famous compositions as the Adagio for Strings, the orchestral song Knoxville: Summer of 1915, three concertos, and his two operas, the Pulitzer Prize–winning Vanessa and Antony and Cleopatra, a commissioned work that opened the new Metropolitan Opera House at Lincoln Center in New York. Generously documented by letters, sketchbooks, original musical manuscripts, and interviews with friends, colleagues, and performers with whom he worked, this book covers Barber’s entire career and all of his compositions. The biographical material on Barber is closely interspersed with a discussion of his music, displaying Barber’s creative processes at work from his early student compositions to his mature masterpieces. The book also provides the social context in which this major composer grew: his education; how he built his career; the evolving musical tastes of American audiences; his relationship with Gian Carlo Menotti and such musical giants as Serge Koussevitzky, Arturo Toscanini, Vladimir Horowitz; and the role of radio in the promotion of his music. A testament to the significance of neo-Romanticism, Samuel Barber stands as a model biography of an important American musical figure.

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