They were, however, happy to give nicknames—Brown Sauce and Grand Feen.
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Grand Feen recognizes that, quite accidentally their meme has created a community—a subculture even.
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Debbie Dingell (D-Mich.), Ana Gasteyer, Don Lemon, Jonathan Capehart, Steve Clemons, Andrew Oros, Margaret Carlson, James Alefantis, Jessica Williams, Gidon Feen, Josh and Ali Rogin and Max and Becky Weinberg (pic: http://bit.ly/2qi6uzq).
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Over the last few weeks of Grey's, fans have learned a series of bombshells about single teen mom Betty, the troubled girl Owen Hunt (episode director Kevin McKidd) and Amelia Shepherd (Caterina Scorsone) have been feen fostering since last season.
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Paul van der Feen (born 8 June 1978, in Middelburg), is a Dutch saxophonist.
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Wagner revised the score of Die Feen in 1834, when he hoped for a production. Among the changes in the 1834 version was the rewriting from scratch of Ada's grand scene Weh' mir, so nah' die fürchterliche Stunde. However, it remained unperformed during his lifetime. Wagner personally gave the original manuscript of Die Feen to King Ludwig II of Bavaria.
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Die Feen (, The Fairies) is an opera in three acts by Richard Wagner. The German libretto was written by the composer after Carlo Gozzi's La donna serpente. Die Feen was Wagner's first completed opera, but remained unperformed in his lifetime. It has never established itself firmly in the operatic repertory although it receives occasional performances, on stage or in concert, most often in Germany.
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As there appear to be some textual parallels with Die Feen, it is possible that substantial parts of this unfinished work may have been reused there.
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Ultimately, two pilots—Sameluck Raida and Lutia Feen—are chosen to perform a decisive attack on the main Thiima base: Kazumn, a satellite of the planet Darius.
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Feen-Calligan, H. (2008). Remembering Robert E. Ault. Art Therapy: Journal of the American Art Therapy Association, 25, 85-89. He was the youngest member ever allowed in.
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Maas van der Feen (1 February 1888 - 10 March 1973) was a Dutch tennis player. He competed in the men's singles and doubles events at the 1924 Summer Olympics.
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Die Feen was Wagner's first completed opera, composed in 1833, when he was 20 years old and working as a part-time chorus master in Würzburg.Morgan, S. (2005) Review of Die Feen Seen and Heard International Opera Review Link checked 2 September 2007. He gave it the description of Grosse romantische Oper (grand romantic opera). The year before he started composition, Wagner had abandoned his first attempt at writing an opera, Die Hochzeit (The Wedding).
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In 1828 Keightley published Fairy Mythology, 2 vols., illustrated by W. H. Brooke. A German translation by Mythologie der feen und elfen (1828) quickly appeared. Jacob Grimm is said to have praised the work.
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Trail to Sundås Fort. Hiking trails can be found at Trælsodden, Løke, Høgåsen, Grorudvannet, Feen, Furulund, Ramsum, and Borgeskogen. Coastal hiking paths make up a total of 14 km in former municipality.Larsen, Erlend (2011).
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Laki has recorded several little known works, including by composers such as Gottfried von Einem, Pal Esterhazy, Niccolò Jommelli, Josef Mysliveček, Giovanni Paisiello, Antonio Salieri (Lieder), parts in Singspiele by Ernst Theodor Amadeus Hoffmann and Felix Mendelssohn, and notably Zemina in Wagner's early opera Die Feen.
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In 1981 Meyer-Oertel staged Wagner early Die Feen, and in 1994 Schubert's Fierrabras, conducted by Peter Gülke. In the 21st century, Haydn's L'incontro improvviso was performed in a German translation under the title Unverhofft in Kairo on 8 January 2011, and Wolfgang Fortner's Bluthochzeit was revived in 2013.
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Die Feen was premiered in Munich on 29 June 1888 with a cast including several singers who had created roles in Wagner's later operas.Stanford University Opera Glass at . Link checked 29 August 2007. It is the only Wagner opera that has not been recorded for broadcast television or video.
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Upon his safe return, he continued his studies. He received a doctoral degree on November 3, 1832 with his thesis de Hippocratis doctrina a prognostice oriunda. He returned to his native city and practiced as a doctor. He married Barta Antonia van der Feen, with whom he had several children.
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In 1981 Friedrich Meyer-Oertel staged Die Feen at the Opernhaus Wuppertal. In 2009, the opera premiered in France at the Théâtre du Châtelet in Paris. The US staged premiere was held by Lyric Opera of Los Angeles on 11 June 2010, conducted by Robert Sage at the Pasadena Playhouse.
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Wagner altered and selected from Gozzi's plot, changing the names of Princess Cherestani to Ada, and Farruscad to Arindal. The influence of other sections of La donna serpente not used by Wagner in Die Feen on the second act of Wagner's Parsifal has also been noted.William Kinderman - Wagner's Parsifal 2018 0190623543 "As Syer observes, prominent features of the second act of Parsifal—a part of the drama lacking extensive models in medieval sources—evince Gozzi's aesthetic framework, involving transformations between two incompatible worlds: the incompatible worlds: the immortal realm of ... Ada in Die Feen), on the one hand, and the mortal realm of prince Farruscad (prototype for Wagner's Arindal), on the other..." Casella likewise changed the names of the protagonists to Miranda and Altidòr.
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Doctor Bernard And His Swing Orchestra consists of Berkhout (clarinet); Mirjam van Dam (voice); Erik van der Weijden, Hans Goemans, Kurt Schwab and Bert Brandsma (saxophone); Nanouk Brassers, Michael Varekamp, Koos van der Hout (trumpet); Jack Coenen, Marcus Glas (trombone); Mark van der Feen (piano); Hans Voogt(guitar); Frans Bouwmeester (bass); Barry Olthof (percussion).
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The trio also invited guests such as Guilhem Verger, Malik Mezzadri, Michael Moore, Juan Parra and Fredrik Ljungkvist. Harmen has his trio with Clemens van der Feen on bass and Flin van Hemmen on drums. They recorded the album ‘Avalonia’ for Challenge Records. The trio performed also in quartet with American saxophonist Tony Malaby.
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Harmen is also sideman in the Clemens van der Feen quartet and guest with the Pit Dahm trio. Harmen is in the faculty of the Conservatory of Amsterdam. And he’s frequently invited to give masterclasses and workshops at other conservatories. Classical music, Jazz, improvised music have had a big influence on Harmen’s music and compositions.
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Booklet for Die Feen recording (1984), Munich: Orfeo GmbH. The libretto also introduced a fantastic theme that was not in the original play. The libretto displays themes and patterns that were to recur in Wagner's more mature works. These include redemption, a mysterious stranger demanding that their lover not ask their name, and long expository narratives.
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The only printed version of the surviving musical score (Introduction, Chorus and Septet) is the edition by Michael Balling (1866–1925). Wagner (1912). Very little musicological study has been carried out relating to Die Hochzeit. 'Ada' and 'Arindal' were later used as the names of the two principal characters in Die Feen (The Fairies) (1833), Wagner's first completed opera.
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The opera is available on CD and in a heavily cut, adapted-for-children version, DVD. Although the music of Die Feen shows the influences of Carl Maria von Weber and other composers of the time, commentators have recognised embryonic features of the mature Wagnerian opera. The fantasy plot also anticipates themes such as redemption that were to reappear in his later works.
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The genre reached its apogee in the early works of Richard Wagner, specifically Die Feen, Das Liebesverbot, The Flying Dutchman and Tannhäuser, although these differed from their predecessors in not using spoken dialogue. His later operas developed the reminiscence motif into the more protean Leitmotif and gradually abandoned many of the themes of romantische Oper, while still largely focused on myths, legends and nature.
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There were a number of difficulties facing new German-language opera in the 1830s. First there was deemed to be a lack of good quality libretti to set. This may have influenced Wagner's decision to write the libretto for Die Feen himself. Second, there was a fear among the authorities in Germany and Austria that the performance of operas in German would attract nationalist and revolutionary followers.
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In 1882 he also got a small role in the Bayreuth premiere cast of Parsifal as a squire. Mikorey was awarded the title of Kammersänger for his outstanding services. Some of his most recognized achievements are Arnold, Lyonel, Stradella, Erik, Hüon, Walther von Stolzing, Tannhäuser, Don José, Manrico etc. In 1888 he sang Arindal in the posthumous premiere of Wagner's early work Die Feen.
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Being from a musical family, Paul not unexpectedly displayed an extraordinary love for music from a young age. He grew up playing with his brothers Mark, Matthijs and Clemens. Together, they released 2 albums under "van der Feen Brothers". Having switched from clarinet to altosax, Paul began his studying at age 16 at the Conservatorium van Amsterdam and concluded his education with Bob Mintzer in New York City.
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She also sang Die Feen by Wagner in Munich, and appeared in North America: Bellini's I puritani in Edmonton and Il barbiere di Siviglia in Seattle. In 1984, she performed her first Amina in Vincenzo Bellini's La sonnambula in Venice, opening 135 years to the day after Maria Malibran's final Amina in that same theatre. She also appeared as Marie in La fille du régiment by Donizetti in Parma.
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This would have added to the difficulties faced by a novice composer seeking an opportunity for his new opera to be performed.Danilo Prefumo notes to Die Feen (Dynamic recording booklet pp. 4–7. English translation pp. 7–10). Although Gozzi's La donna serpente (The Snake Woman) was the source for Wagner's plot, he took the names of Die Feen's two principal characters, Ada and Arindal, from Die Hochzeit.
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"Blyth, A (1984) Review of Sawallisch version of Die Feen Gramophone 7/1984, available at . Link checked 7 August 2007. In The New York Times, critic John Rockwell acknowledges the presence of passages imitative of Weber and Marschner but says that there are "wonderfully original passages too... Some of the instrumental writing is exquisite. And especially in the final two acts, there are ensembles and scenes of undeniable strength of personality.
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They had two other daughters. From Seelze the family moved to Würzburg in 1830, where both parents worked in the Royal Bavarian Theatre, father being an actor, singer and stage-manager. She received piano lessons from her mother, a Roman Catholic, and sang duets with the Landgräfin of Hessen, who took singing lessons from her father. Richard Wagner visited in 1833 (while composing Die Feen) and often accompanied her singing Carl Loewe's ballad "Edward".
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Leembruggen competed in four Wimbledon Championships between 1924 and 1934. He reached the second round of the singles event in 1924, 1925 and 1926. In the doubles he teamed up with Bylandt (1924), Marinus van der Feen (1925, 1926) and Joop Knottenbelt (1934) but did not make it past the first round in four attempts. His only participation in the mixed doubles, with Hilary Stebbing in 1924, also ended in the first round.
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Kaspar Bausewein (15 November 1838, Aub – 18 November 1903, Munich) was a German operatic bass who was active at the Bavarian State Opera from 1858 through 1900. While there, he notably portrayed several characters in the world premieres of operas composed by Richard Wagner. He created Pogner in Die Meistersinger von Nürnberg (June 21, 1868), Fafner in Das Rheingold (September 22, 1869), Hunding in Die Walküre (June 26, 1870), and Harald in Die Feen (June 29, 1888).
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This was followed by two more important roles the following summer: Irene in Wagner's Rienzi and Drola in Wagner's Die Feen, under the direction of Wolfgang Sawallisch at the Bavarian State Opera's Summer Music Festival. In 1984, Studer left the Staatstheater Darmstadt to become a permanent member of the Deutsche Oper Berlin ensemble. She stayed with the company for two full seasons. She made her US opera debut the same year with the Lyric Opera of Chicago as Micaëla in Carmen.
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For some years now Harmen and guitarist Anton Goudsmit co-lead a quartet with German bass clarinet player Rudi Mahall and drummer Samuel Rohrer from Switzerland. Further there is a collaboration with Martijn Vink (drums) and guitarist Reinier Baas. As a sideman Harmen performs with the Michael Moore quartet. This group with Michael Vatcher (drums) and Clemens van der Feen (bass) recorded 3 cd’s, all released by Michael Moore’s label Ramboy Records. In 2014 the quartet toured the in USA, also visiting Moore’s hometown Eureka.
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When Richard returned to the Bavarian State Opera in 1894, she became a principal singer there until her last opera performance in 1897. Roles she performed in Munich included, Agathe in Der Freischütz, Leonore in Fidelio, Donna Anna in Don Giovanni, and Ada in Wagner's Die Feen. Strauss with his wife and son, 1910 In 1897, the Strauuses only child, their son Franz, was born. After this De Ahna no longer performed in operas, but continued to sing in concerts of lieder with her husband as pianist.
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During these years, Paul explored several musical styles like hiphop/funk, classical and world music but was drawn back into jazz by rediscovering Coltrane and Shorter. Subsequently he started writing for his Quartet - the Paul van der Feen Quartet. In 2004, Paul was a prize winner at the world-renowned White Foundation World Sax Competition in London , during which he played with Geri Allen, Rob Hurst and Eric Harland. Paul has encountered a host of jazz musicians since and was featured by the Jazz Orchestra of the Concertgebouw.
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Gerard Leembruggen (26 February 1897 – 13 May 1980), was a Dutch male tennis player who represented The Netherlands in the Davis Cup and the Olympic Games. He competed in the singles and doubles events at the 1924 Summer Olympics. In the singles event he had a walkover in the first round and lost in the second round to Brian Gilbert in three straight sets. With compatriot Marius van der Feen he lost in the first round against the Czechoslovakian pair Ladislav Žemla and Jan Koželuh, also in straight sets.
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In 1973, she appeared in her first Wagner role, as Sieglinde in Die Walküre at the Zurich Opera. She appeared as Forzana in a performance of Wagner's Die Feen at the Münchner Opernfestspiele of 1983, conducted by Sawallisch and recorded. She also performed at festivals in Vienna, Bergen, the Ludwigsburg Festival and the Schwetzingen Festival, and at festivals and operas in the US, Australia and Japan. Løvaas has sung numerous operatic roles, including Euridice in Gluck's Orfeo ed Euridice, Micaela in Bizet's Carmen, Tatjana in Tchaikovsky's Eugen Onegin and Mimi in Puccini's La bohème.
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Wagner's earliest attempts at opera were often uncompleted. Abandoned works include a pastoral opera based on Goethe's Die Laune des Verliebten (The Infatuated Lover's Caprice), written at the age of 17, Die Hochzeit (The Wedding), on which Wagner worked in 1832, and the singspiel Männerlist größer als Frauenlist (Men are More Cunning than Women, 1837–38). Die Feen (The Fairies, 1833) was not performed in the composer's lifetime and Das Liebesverbot (The Ban on Love, 1836) was withdrawn after its first performance. Rienzi (1842) was Wagner's first opera to be successfully staged.
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Lyric Opera of Los Angeles is a small non-profit opera company in Los Angeles, California. It was founded in 2002 by Laura Sage and features lesser known opera works that have rarely been made into staged productions. LOLA (as it is also known) has since put on several premiere productions including Heinrich Marschner's Der Vampyr and Daniel Auber's Manon Lescaut. As part of their 2010/2011 season, Lyric Opera of Los Angeles presented the U.S. staged premiere of Wagner’s Die Feen (The Fairies)."Lyric Opera of Los Angeles Introduces Wagner’s First Opera to The U.S Stage", newswiretoday.
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Max Karl Schlosser Max Karl Schlosser (17 October 18352 September 1916) was a German opera singer. A tenor for most of his career, he later sang as a baritone and is remembered today for his character roles in Wagner's operas. He created the roles of David in Die Meistersinger von Nürnberg (1868), Mime in Das Rheingold (1869), and The Messenger in the posthumous premiere of Wagner's early opera Die Feen (1888). Schlosser also sang Mime at Bayreuth in the first complete performance of The Ring Cycle (1876) and in the cycle's first complete performance in London (1882).
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In September 1861, he turned over his Yreka studio to another photographer, S. T. Feen, and headed for Fort Jones outside San Francisco. On September 25, he was sworn into the service for three years and was assigned to Company M of the Second California Cavalry. For the next eight months, the regiment drilled and trained at Camp Alert near San Francisco. In December 1861, Private Beckwith was transferred to the regimental band as a Musician Third Class.Descriptive Book, Company M 2nd California Cavalry. Special Order #49, Headquarters, 2nd California Cavalry, Dec. 30, 1861. Special Order #66, January 18, 1862.
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Hagen and three Rhinemaidens in Götterdämmerung (Der Ring des Nibelungen) Richard Wagner was one of the most revolutionary and controversial composers in musical history and his innovations changed the course of opera, not just in Germany and Austria but throughout Europe. Wagner gradually evolved a new concept of opera as a Gesamtkunstwerk (a "complete work of art"), a fusion of music, poetry and painting. His earliest experiments followed the examples set by Weber (Die Feen) and Meyerbeer (Rienzi), but his most important formative influence was probably the symphonic music of Beethoven. Wagner believed his career truly began with Der fliegende Holländer (1843).
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He was also entered in the indoor doubles event (with Jaroslav Just) but did not play. In 1921 he was a member of the Czechoslovak team facing Belgium but lost both of his rubbers. In 1922 he was a part of a relief match for the Verdun Restoration Fund held at Wimbledon, in which he was defeated by Gerald Patterson in singles and again by Patterson and Rupert Wertheim in doubles with Friedrich Rohrer. The same year he played at the World Hard Court Championships but fell in the first round in singles but reached the quarterfinals of the consolation tournament but was beaten by Marius van der Feen.
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BBC studio recordings of Die Feen (Ada) and Das Liebesverbot (Isabella) by Richard Wagner have subsequently been issued commercially on DG. She also recorded the well- loved Holly and the Ivy LP with Alfred Deller and the Deller Consort. The sound track recording of the film The Music Lovers (rec 1969) includes Cantelo singing part of the letter scene from Eugene Onegin, with the LSO conducted by André Previn (United Artists) and she had previously recorded Metamorphosis on a Bed-time Theme by Alistair Sampson and Joseph Horovitz at the 1958 Hoffnung Festival, and Horrortorio (Dracula's daughter) at the 1961 Hoffnung Festival.Booklet notes accompanying CD CMS 7 63302-2, 1989.
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The fable was the basis for Wagner's Die Feen (1833) and Casella's La donna serpente (1932), but not - as sometimes incorrectly reported - Friedrich Heinrich Himmel's 1806 opera Die Sylphen which is based on another Gozzi fable, La Zobeide.Katherine Rae Syer Wagner's Visions: Poetry, Politics, and the Psyche in the Operas2014 1580464823 "Koch reiterates, for instance, the error found in Glasenapp's Wagner biography that Friedrich Heinrich Himmel's 1806 opera Die Sylphen is another operatic treatment of Gozzi's La donna serpente. It was in fact based on another Gozzi fable, La Zobeide." Wagner's interest in Gozzi was probably influenced by his uncle Adolph Wagner's translation of another Gozzi fable Il corvo in 1804.
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His most famous productions include Don Giovanni and Boris Godunov at the Finnish National Opera, Giuseppe Verdi's Don Carlo at the Royal Swedish Opera in Stockholm, Othello and Les vêpres siciliennes in Darmstadt. In 1981 he staged Wagner's early Die Feen at the Opernhaus Wuppertal. He also staged Wagner's Tannhäuser in Gothenburg, Der Ring des Nibelungen in Wuppertal and Mannheim, Weber's Der Freischütz at the Oper Köln, Richard Strauss' Elektra at the Opéra Royal de Wallonie, Johann Strauss's operetta Eine Nacht in Venedig at the Komische Oper Berlin, and Igor Stravinsky's The Rake's Progress in Barcelona. He staged in Mannheim also Schoenberg's Moses und Aron and the premiere of Wolfgang Rihm's Die Hamletmaschine in 1987.
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Anderson left New York City Opera in 1982 and embarked on a European career. Anderson's career in this decade was marked by numerous debuts in quintessential bel canto roles in major European opera houses. She also participated in the recording of operatic works rarely heard in this era, including: Rossini's Mosè in Egitto, Wagner's Die Feen, Bizet's La jolie fille de Perth, Adolphe Adam's Le postillon de Lonjumeau, Fromental Halévy's La Juive, and Daniel Auber's La muette de Portici. After being recommended to an Italian agent by Sherrill Milnes, she made her European performance debut in 1982 in the title role of Rossini's Semiramide in Rome. In 1983, Anderson debuted in Florence and Geneva in the title role of Lucia di Lammermoor by Donizetti, a part which became one of her most frequent portrayals.
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La donna serpente (The Snake Woman) is a 1932 opera by Alfredo Casella to a libretto by Cesare Vico Lodovici based on the fable, La donna serpente, by Carlo Gozzi.Giorgio Bagnoli The La Scala Encyclopedia of the Opera 1993 p 114 0671870424 "DONNA SERPENTE, LA (The Snake Woman) Fairy-tale opera in a prologue and three acts by Alfredo Casella (1883-1947) ... By avoiding the temptations of a realistic narrative, and being more concerned with music rather than dramatic effect, Casella displays in La donna serpente all his best qualities as a composer..." The same fable was the basis of Wagner's first opera, Die Feen. The plot concerns a king, Altidòr, who falls in love with a fairy, Miranda. The fairy's father curses Altidòr that if he curses Miranda, she shall turn into a snake.
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Nowadays he as well loves listening to traditional music from anywhere. His current favorites are recordings of Shona music from Rhodesia/Zimbabwe (Hakurotwi Mude), Mbenzele Pygmy music from Republic Central Africa and accordion music of the Masikoro Country in Madagascar. He also plays with musicians and bands like Mark Turner, Malik Mezzadri, Kenny Wheeler, Nelson Veras, Michael Moore, Philip Catherine, Hein van de Geyn, Mats Eilertsen,Toma Gouband, Cristina Branco, Brice Soniano, Stéphane Galland, Tony Malaby, Rick Margitza, Reggie Washington, John Ruocco, Han Bennink, Anton Goudsmit, Ernst Reijseger, Bert Joris, Jimmy Haslip, Jesse van Ruller, Flin van Hemmen, Clemens van der Feen, Enrico Rava, John Engels, Nils Ostendorf, Toots Thielemans, Dré Pallemaerts, Michael Vatcher, Charlie Dee, Joachim Badenhorst, Thomas Morgan, Martijn Vink, Olivier Steidle, Nils Wogram, Fredrik Ljungkvist, Alan ‘Gunga’ Purves, Mola Sylla, Luciano Biondini, Dick Oats, Igor Roma, Trygve Seim, Eirik Hegdal, Concordu e Tenore de Orosei, Werner Herzog, Samuel Rohrer, Rudi Mahall, Louis Moholo, Eyvind Kang, Ben van Gelder, Reinier Baas, Matiss Cudars, Groove Lélé from Reunion Islands, Jasper Stadhouders, Onno Govaert, Tristan Renfrow, Rónán Ó Snodaigh, Ferenc Kovács, Kálmán Balogh.
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This path has naturally led to later and later repertoire, favouring 19th century French music. It has participated in projects around Berlioz (Symphonie Fantastique, Nuit d'été, Harold en Italie) and Jacques Offenbach in particular (La Belle Hélène, La Grande Duchesse de Gérolstein), but also around Georges Bizet (Carmen and the music from L'Arlésienne) and Gabriel Fauré (Musique de Théâtre). The 2008–2009 season also saw even later composers such as Wagner, Pyotr Ilyich Tchaikovsky and Stravinski. Opera quickly took a major role in the orchestra's repertoire right from its foundation – they have won critical acclaim for their productions of Monteverdi ( The Coronation of Poppaea in 2000 at the Festival d'Aix-en-Provence), Gluck (Armide in 1992), Mozart (The Magic Flute at the Ruhr Triennale, The Abduction from the Seraglio at the Festival d'Aix-en- Provence, Mitridate in 2005 for their first Salzburg Festival appearance) but above all their productions of Iphigénie en Tauride by Gluck at the Opéra de Paris, Carmen by Bizet (May 2007), Die Feen by Wagner (March 2009) at the Théâtre du Châtelet and The Marriage of Figaro by Mozart at the Théâtre des Champs Elysées.
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