135 Sentences With "performance history" | Random Sentence Generator

It's a question someone with his performance history would field regularly.

An earlier version of this review mischaracterized André Sills's performance history at the Stratford Festival.

The Wallenda family's performance history dates back to the Austro-Hungarian Empire in the late 1700s.

Like that installation, this show, which opened on Thursday, turns Mr. Gordon's own performance history into a hall of mirrors.

WEEKEND ARTS A review on Friday about the opening of Paul Simon's farewell tour misstated the live performance history of two songs.

"The recent correction could be a buying opportunity," said one of the financial analysts with the best recommendation performance history in ThomsonReuters rankings.

Dominguez notes that investors have to look at more than just a fund's performance history when considering whether to invest with an active manager.

She was researching the performance history of an experimental 1967 text by Ferrari, who died in 2013, called "Palabras Ajenas" ("The Words of Others").

"The robot can also save into a database the performance history of each movement and record information about each of its components," Mr. Cavadini said.

But Korngold was Jewish, and it's no coincidence that "Die Tote Stadt" — according to the opera's performance history kept by his publisher, Schott — basically vanished after 1931.

The ESG version of the EAFE index fund has turned in virtually the same performance year-to-date, though it lacks performance history, having launched less than a year ago.

"Everyone else had a philosophical reaction," said Professor Duerfahrd, whose 2013 book, "The Work of Poverty," is about the performance history of "Waiting for Godot" in prisons and other stressed environments.

Mr. Domingo, now a baritone, adds yet another role to his performance history at the Met starting on Thursday night, accompanied by Sonya Yoncheva as Luisa and Piotr Beczala as Rodolfo.

Our asset assumptions may encompass relevant performance data from pre-EIP contracts, as EIP is a relatively new phenomenon and the minimum five years of performance history may not yet be available.

The supportive contract features, strong operating history, and favorable contract performance history between Transocean and Shell provide a level of confidence in the UDW rigs' ability to independently meet its annual debt service.

That is partly because of its troubled performance history: Donizetti wrote several versions of it for different voices after it was banned on the eve of its planned premiere in Naples, Italy, in 1834.

Universal may not have offered us any previews of the movie, but we've scraped together enough hints, supplemented by enough performance history, to guide even the most timid "Cats" initiate through the maelstrom that will descend on Dec. 20.

A dance review on Thursday about the L.A. Dance Project at the Joyce Theater in Manhattan, using information from the program, misstated the performance history of "Moon duet" and "Star duet" by Martha Graham, two of the works performed.

In Keates's words, the "inherent robustness and integrity" of the "Messiah" allowed the work not to be defeated entirely by a more than 220-year "tale of endurance": a disrespectful performance history and a dismissive view of the composer.

THE ARTS A dance review on Thursday about the L.A. Dance Project at the Joyce Theater in Manhattan, using information from the program, misstated the performance history of "Moon duet" and "Star duet" by Martha Graham, two of the works performed.

At the moment, however, it is a project with a skyrocketing budget, stalled progress, a developer with a checkered performance history in the region who has been accused of misusing $25 million in funds from a federal program, and contractors who recently went months without being paid.

Joe E. Jeffreys, a drag historian and videographer who teaches a course on drag performance history at the Tisch School of the Arts at New York University, traces the look's history straight to Leigh Bowery and the club kids of the 1980s, and to East Village drag performers like Flloyd.

The result is a show and performance that deal with heady themes of identity, sexual agency, gender, power, perspective, and freedom — all expressed through the comical tag-team and multimedia efforts of McCloughan and Rogers, whose performance history together lends them an air of a couple, able to pick up unspoken cues and tell the story of each other as easily as themselves.

Actually, when one looks at the entire performance history of the S&P 20163 going back to 1928 (which is available despite the fact that the index was technically created in 1957) one finds that out of the 19 years in which the market rose in the first, second and third quarters, a negative fourth quarter only followed five times.

The opera was apparently revived only once, in Prague in 1773. There is no known modern performance history.

A second e-book by the APGRD, Agamemnon, a performance history, which focuses on performances of Aeschylus' Agamemnon, is forthcoming (2020).

Macintosh has been at the forefront of exploring the potential of presenting research in interactive multimedia ebooks, publishing performance histories that showcase digitised archival material and newly commissioned films, art, audio and audio-visual material. The earliest fruit of this exploration has been the e-book Medea, a performance history, published by the APGRD in 2016. A second e-book, dedicated to the performance history of Aeschylus' Agamemnon, is forthcoming (2019).

" :""A Theatre Before the World: Performance History at the Intersection of Hebrew, Greek, and Roman Religious Processional" The Journal of Religion and Theatre, Vol. 5, No. 1, Summer 2006.

Häyrynen, Antti. Aarre Merikanto's Juha: The cornerstone of Finnish modern opera (Performance history). Accessed 13 April 2011. A new production was mounted at Helsinki Opera House in December 2011.

The centre also offers undergraduate, graduate, and postdoctoral fellowships. From 1976 to 2009, the performance history research and publishing project Records of Early English Drama (REED) was based at Victoria University.

In 1984 the album Le Trio lyrique chante Lionel Daunais was released; containing music from the ensemble's many radio broadcasts. All of the arrangements performed during the TL's performance history were by McIver.

For example, the purchaser may be attracted by a fund's star manager, performance history or strategy, whilst improving their counter-party risk and getting leverage, currency hedging or a capital guarantee via the derivative.

His repertoire then widened to include composers of the 19th and 20th centuries. In 2001 and 2003, he conducted the Vienna New Year's Concert. Harnoncourt was also the author of several books, mostly on subjects of performance history and musical aesthetics.

The early performance history of the play is unknown. The first recorded performance occurred at the Blackfriars Theatre on 25 April 1635;G. E. Bentley, "The Diary of a Caroline Theatergoer," Modern Philology Vol. 35 No. 1 (August 1937), pp. 61–72; see p. 66.

Free Library of Philadelphia: Folder: Philadelphia Opera Company 1938-1944 Highlights in the POC's performance history were the first staged production of Gian Carlo Menotti's The Old Maid and the Thief in February 1941, and the world premiere of Deems Taylor's Ramuntcho on February 10, 1942.

Instrumental technique and corresponding pedagogy is a topic of much interest to musicians and teachers and therefore has been subjected to personal opinions and differences in approach. Over the course of the saxophone’s performance history, notable saxophonists have contributed much to the literature on saxophone technique.

Performance history in vocal score of Fidelio. Boosey and Co, 19th century. In May 1836, appearing with Maria Malibran, he created the role of Synnelet in Balfe's The Maid of Artois at Drury Lane,Balfe's The Maid of Artois (1836) Victoria Opera Northwest. Retrieved 16 March 2018.

In 2014, a £2 million extension to this second campus was built, creating even more rehearsal spaces and improved facilities for the students. The Royal Conservatoire's extensive archive of historical papers and ephemera charts both its own institutional history and the wider performance history of Scotland.

In November 1968 she portrayed Mimì to the Rodolfo of John Stewart at the San Diego Opera.San Diego Opera performance history In 1974, Miss Verona appeared in the world premiere of Hans Werner Henze's Rachel, la cubana, for WNET Opera Theatre, opposite Susanne Marsee and Alan Titus, conducted by the composer.

The Lost Revival is an indie rock band from Columbus, Ohio. Formed in the Fall of 2005, membership changed several times before the band recorded its first album, Homemade Confetti, in the Summer of 2007.K. Collins, personal communication, March 18, 2009. Received press kits and performance history by e-mail.

Pryce in October 2007 In 1980, his performance in the title role of Hamlet at the Royal Court Theatre won him an Olivier Award, and was acclaimed by some critics as the definitive Hamlet of his generation."Performance history of Hamlet ". Royal Shakespeare Company. Retrieved 6 November 2007"Laurence Olivier Awards: Past winners ".

The play's date of authorship and its performance history are not known in detail; it was performed at the Blackfriars Theatre by the King's Men, and is plausibly dated to c. 1639-40.Perry, p. 110. The Country Captain was revived early in the Restoration period. Samuel Pepys saw it performed on 21 October 1661.

Firm data on the play's date of authorship and early performance history have not survived. "In the absence of evidence to the contrary, the year 1621 is a plausible date."G. E. Bentley, quoted in Logan and Smith, pp. 74-5. "No one has ever questioned Fletcher's sole authorship of this play...";Oliphant, p. 149.

Maria Hupfield (born 1975) is a Canadian artist, working in Brooklyn, New York. She is an Anishinaabe, specifically an Ojibwe and a member of the Wasauksing First Nation, located in Ontario, Canada. Hupfield works in a variety of media, including video and performance. Her performance practice references Anishinaabeg oral history and feminist performance history.

The race results are saved on a computer and are uploaded by the resort to the central NASTAR database each race day. Once the data is on the central database (typically by the end of a racing day), it is publicly accessible and racers can easily view their performance history from various dates and resorts at any time.

The composer admits being alarmed by the severity of its reception. Retrospectively, Adams finds that he is "impressed by its boldness". The piece has enjoyed a successful performance history, being one of his most popular works from that period. It has also been recorded by several different artists, two of them in the presence of the composer.

As Booth reflected on Barrett's leadership and management, he wrote: "Well, why should I not do good work, after all Barrett has done for me... Good work, eh? Well, I'll give him the best that's in me, he deserves it."Bloom, Arthur W. Edwin Booth: A Biography and Performance History. Jefferson, NC: McFarland & Company, 2013: 139.

This is a list of notable major productions of the ballet, Swan Lake. Throughout the long and complex performance history of Swan Lake the 1895 edition of Petipa, Ivanov, and Drigo has served as the definitive version from which nearly every staging has been based, having been mounted by many noted balletmasters and choreographers from the late 19th century until the present day.

Sources have varied the order of performances, and their number, with a great deal of confusion in some contemporary accounts, repeated in later reference works. This performance history is based on the data by Charles Nuitter, archivist of the Paris Opera, originally published in 1888 as the preface to Edition Nationale Victor Hugo, Costumes dessinés par Louis Boulanger pour La Esmeralda.

McNamara's research, writing, and curatorial pursuits resulted in numerous publications, exhibitions, productions, and archival collections. His life work spans the areas of theatre history, popular entertainments, public celebrations, and New York performance history. After retiring in 1996, McNamara remained professor emeritus of performance studies and director emeritus of the Shubert Archive. In later life, McNamara was diagnosed with sporadic cerebellar ataxia.

In 1983, Cantwell began to perform with Good Medicine and Company, founded by Carlos Ricardo Martinez and downtown actor/playwright Jeff Weiss. She performed in carlos ricardo martinez's Teddy and the Social Worker and Art the Rat.Peter Rose - performance history She starred with Jeff Weiss in his long-running, episodic show, . . . and That's How the Rent Gets Paid (Part IV).

The conductor was Mancinelli, and Zilli and Pini Corsi repeated their original roles. Falstaff was sung by Arturo Pessina; Maurel played the role at Covent Garden the following season."Performance History", programme booklet, Royal Opera House, Covent Garden, 6 December 1999, p. 43 On 4 February 1895 the work was first presented at the Metropolitan Opera, New York;Kimbell, p.

The front cover of Medea, a performance history Medea, a performance history (published 2016) is a multimedia/interactive e-book on the production history of Euripides’ Medea – an ancient Greek tragedy about a mother who, betrayed by her husband, exacts revenge by killing her children. The object-rich ebook draws on a unique collection of archival material and research at the APGRD and uses images, film, unique interviews and digital objects to tell the story of a play that has inspired countless interpretations, onstage and onscreen, in dance, drama and opera across the globe from antiquity to the present. The ebook is free to download and is available either as an iBook for Apple devices (via iTunes) or as an EPUB. The ebook is based upon and updates Medea in Performance, 1500-2000, edited by Edith Hall, Fiona Macintosh, and Oliver Taplin.

Logan and Smith, pp. 42–3. The play's early performance history is unknown; it had passed into the possession of the King's Men by 1641. Massinger, who served as a house dramatist for the King's Men through the mature phase of his career in the 1630s, may have done his revision of the play for a revival by that company, as he did for other Fletcher plays.

Wilder also left recordings of his routines.Marshall P. Wilder and Disability Performance History by Susan Schweik, University of California/Berkeley c.2010 At the end of each performance Wilder was known to seek out everyone involved in the show to shake their hand always with a generous tip in his palm. Wilder was until his final curtain call a headliner earning a five-figure annual income.

Jules Jacob replaced Huot in the early 1940s. Daunais recruited pianist and composer Allan McIver to serve as the group's accompanist and arranger. All of the arrangements performed during the TL's performance history were by McIver, including arrangements of many of Daunais's compositions. In 1933 the TL was engaged by CRBC for its network series One Hour with You, on which the group performed for 87 weeks.

On September 3, 2013 Hyperion Books published The Moth: 50 True Stories, a collection of stories from the group's performance history. In December 2013 it reached #22 on The New York Times Paperback Nonfiction Best-Seller List. A second book, All These Wonders: True Stories about Facing the Unknown, was released by Crown in March 2017. Michiko Kakutani of The New York Times called it "wonderful".

Though all pieces performed were written by Noy, the band's sound changed considerably during this period to become more strongly progressive and improvisational. This new sound resonated favorably with the university circuit and soon they had achieved a small measure of success, opening for big-name bands like Pink Floyd in November 1969Povey, Glenn & Russell, Ian. In the Flesh: The Complete Performance History. Macmillan, 1998. p.77.

Rossini relented for an 1820 revival. But in an 1827 letter, he asked people to accept the opera as he wrote it. Despite such an effort, the tradition of inserting an entrance aria into act 1 of Otello remained an integral part of the opera's performance history – the temptation to insert was simply too strong for most prima donnas to resist. The situation was different with Bellini.

City of London features in every programme Louise Cooper (Mon & Tue) or Mickey Clark (Wed-Fri) provides the shares news on the FTSE 100 Index, the commodities prices and currencies' markets, and has more knowledge of companies' financial performance, history, and corporate structure. Adam Parsons provides the personal finance (e.g. mortgages or insurance) knowledge. There is an element of (cheeky sarcasm) humour to the programme.

Alfred Schnittke by Reginald Gray The Royal College of Music Museum, forming part of the centre for performance history, houses a collection of more than 800 musical instruments and accessories from circa 1480 to the present. Included in the collection is a clavicytherium that is the world's oldest surviving keyboard instrument. The museum's displays include musical instruments, portraits, sculptures, photographs and engravings related to music. Admission is free.

After its supposed premiere in Mesmer's garden theater (that is only corroborated by an unverified account of Nissen), it was not revived again until 1890. It is not clear whether this piece was performed in Mozart's lifetime. The first known performance was on 2 October 1890 at Architektenhaus in Berlin.Bastien und Bastienne, performance history, Opera Glass, Stanford University The opera is written in both French and German manners.

It is unclear if Daniel Purcell had been engaged because of pressure to complete the score in time for the first performance or as a result of Henry Purcell's failing health and subsequent death.Robert King 1994 "Henry Purcell, a greater musical genius England never had" p.219. London: Thames and Hudson. The performance history of the piece is uncertain, and the first performance may have gone ahead without Daniel Purcell's contribution.

No definite evidence on the play's date of origin or early performance history has survived. Scholars have conjectured dates of authorship any time in the interval between 1608 and 1634. Critics who consider the play crude have favored an early date, and thought of the work as Webster's first venture into the genre of tragedy. Others have focused on the 1625–27 period as perhaps the most likely.

PAJ integrates theatre and visual arts in an expanded view of performance history. The journal publishes essays, interviews and artists' writings, reviews of new exhibitions, performances, and books, and also, plays and performance texts from the United States and abroad. The journal publishes a play in each issue. In recent years PAJ has featured new series on performance drawings; art, spirituality and religion; dialogues on crossovers in performance and visual arts.

202-203 The work was not in step with the times and no one would underwrite a full production. A later concert performance in 1960 (Blitzstein again at the piano) constitutes the entire performance history of the piece during Blitzstein's lifetime. Howard Taubman reviewing the 1960 production for The New York Times, said, "it bogs down in a swamp of pedestrian cliches."New York Times, April 19, 1960, p.

The duke (until 1776, the comte de Guines), an aristocrat Mozart came to despise, never paid the composer for this work, and Mozart instead was offered only half the expected fee for the lessons, through de Guines' housekeeper. But he refused it. (For his tutoring, Mozart was owed six Louis d'or.) Little is known of the work's early performance history, though it seems probable that father and daughter played it first.Horsley, Paul.

During his preparation for the 1968 RSC production John Barton commented that within the play "…the war [is] an image of a Vietnam situation, where both sides are inexorably committed".Barton, J. (1968) 'Director’s notes to the company at rehearsal' in Troilus and Cressida, Royal Shakespeare Company [Theatre programme], 1968. The whole performance history of Troilus and Cressida is filled with this large number of connections between the play and contemporary warfare.

Die Laune des Verliebten (The Mood of the One in Love) was Richard Wagner's first attempt at an opera project. Written in about 1830, when Wagner was 17, the libretto was based on a play of the same name by Johann Wolfgang von Goethe. Wagner wrote a scene for three female voices and a tenor aria before abandoning the project. There is no performance history for these fragments, and neither words nor music have survived.

Ariane has followed them, convinced that Bacchus is in fact Theseus, her unrequited love. In the end, Ariane sacrifices herself to save humanity and in doing so, Bacchus becomes a God. Although not a proper sequel, as Ariane dies in both pieces, Bacchus is a companion to Massenet's earlier opera, Ariane. Of Massenet's twenty-five operas, Bacchus is probably the least known, without a modern performance history or single modern recording of even an excerpt.

Adaptations of the play, not Shakespeare's original, dominated the performance history of The Tempest from the English Restoration until the mid-19th century. All theatres were closed down by the puritan government during the English Interregnum. Upon the restoration of the monarchy in 1660, two patent companies—the King's Company and the Duke's Company—were established, and the existing theatrical repertoire divided between them. Sir William Davenant's Duke's Company had the rights to perform The Tempest.

Performance History Schwartzman's appearances on the concert stage often centered on the performance of music by Jewish composers. He sang Ernest Bloch's Sacred Service at the Grant Park Concerts in Chicago and the Philharmonic Hall in New York in 1967 and appeared at Mexico City's Palacio de Bellas Artes for the Festival of Jewish Music (Festival de Música Judía) in 1969 and 1972.The Music Journal Volume 25 (1967) p. 84Revista de bellas artes, Issues 31-36 (1970) p.

The date of the play is not known with certainty, and its early performance history is largely a blank. The title page of the 1638 quarto states that the work was "sundry times acted at the Red Bull and other theaters, with general and good applause." Okes' dedication of the play to the guild of shoemakers also mentions the play's popularity, and states that "some twenty years agone, it was in the fashion." This suggests a date c.

William W. Lawrence, Shakespeare's Problem Comedies, New York, Macmillan, 1931; pp. 9–13 . The play has been intermittently popular, revived in productions in various forms and adaptations by some of the leading theatre practitioners in Shakespearean performance history, beginning after a long interval with David Garrick in his adaptation Florizel and Perdita (first performed in 1753 and published in 1756). The Winter's Tale was revived again in the 19th century, when the fourth "pastoral" act was widely popular.

Scientists can search, compare and request quotes from contract research organizations and other providers of contract services on Science Exchange’s online marketplace. Science Exchange vets the providers on their marketplace, contracts with them through a standardized agreement, and displays performance history and client ratings on the website. The researcher selects a bid, and Science Exchange facilitates communication, project management and payment via its platform. The company receives a service fee based on the value of the project.

Troilus and Cressida has little performance history prior to the 20th century. Cressida's character is as isolated from framing as the rest of the story—we never know how her life ends, there is no "ever after" for her, and even her beginning is mysterious to us. She appears a witty young girl, only to become a serious, thoughtful, and thought-provoking woman in moments of reflection. Carol Rutter explores the reasons why Cressida is so fascinating.

In 1941, the American representative of the Brazilian Society of Authors (SBAT) sought a larger share of the performance royalties for the music of Miranda and others, causing the music of SBAT composers to not be performed in the United States. This forced Miranda to rely on songs that came from the Brazilian SBAT catalog. As a result, "Rebola, Bola" is noted as one of the last original and authentic Brazilian exemplars in her performance history.

The 18th century performance history is sourced from Over 250 years of obscurity followed until 28 April 2006 when the opera received its first staging in modern times at the Opéra de Nancy directed and conducted by Christophe Rousset. The Nancy performances by the baroque orchestra Les Talens Lyriques with Karine Deshayes as Venus and Sébastien Droy as Adonis, were recorded live and released on CD in 2007.Brenesal, Barry (2007). Review: Desmarest: Vénus & Adonis (Rousset, Les Talens Lyriques).

Ribbon bars, badges and medals of an Iranian General. Islamic Republic of Iran Armed Forces awards and decorations are the collections of military awards which granted to Iranian military based on their performance history. One of the most common awards are Medals. The Medal is a symbol that, with the agreement of the Commander-in-Chief of the Iranian Armed Forces, is accorded to the armed forces in order to appreciate, encourage and strengthen the morale.

Electronic media publishers may choose advertisements based on location, time of day, day of week, demographics and performance history, ensuring that they maximize revenue earned from each advertising slot. The close attention to targeting is intended to minimize the number of irrelevant advertisements presented to consumers. They see advertisements for products and services that are likely to interest them. Although consumers often state that advertisements are irritating, in many situations they find the advertisement useful if they are relevant.

See also "The Collection" on the Folger site. The collection includes a wealth of items related to performance history: 250,000 playbills, 2,000 promptbooks, costumes, recordings and props. It also holds upwards of 90,000 paintings, prints, drawings, photographs, sculptures and other works of art. The Folger's first catalog of its collection began in 1935, when Edwin Willoughby, a scholar of library science and the First Folio, began to catalog the book collection based on Alfred W. Pollard and Gilbert Richard Redgrave's Short-Title Catalogue.

In October 2018, the Committee found that private equity funds have a well-established performance history that justifies expanding access to them. It recommends three ways to do so: # Legislative reforms to expand access to direct investments in private equity funds # SEC reforms to expand access to public closed-end funds that invest in private equity funds # Department of Labor reforms to facilitate the ability of 401(k) plans to offer investment options that provide exposure to private equity funds.

All of the arrangements performed during the TL's performance history were by McIver, including arrangements of many of Daunais's compositions. In 1933 the TL was engaged by CRBC for its network series One Hour with You, on which the group performed for 87 weeks. In the 1934 the TL released the LP album Chansons de Lionel Daunais for Radio Canada International. In 1936 the group performed for the CBS radio network in New York where McIver was also engaged as a staff arranger.

The play's date of authorship and early performance history is unknown. The events upon which the play is based occurred in 1610, so that the drama must post-date that year. Some critics have seen signs of influence from Ben Jonson's The Devil Is an Ass in Webster's play, and so have dated it soon after the autumn 1616 premier of Jonson's play; but other scholars have favoured a date after 1620, based on contemporary allusions in the text.Logan and Smith, p. 95.

The work's documented (?) recent performance history is brief, and consists of approximately three recordings: a 1989 studio recording by Bryden Thomson and the BBC Welsh Symphony Orchestranoted in the British Library Sound Archive Catalogue, the 1995 recording with Russell Keable conducting the Kensington Symphony Orchestra (above noted), and (later broadcast) performance by the BBC Symphony Orchestra under Nicholas Kok in May 2001. The 2001 performance was broadcast in 2007 as part of a complete Simpson Symphony cycle over BBC Radio 3.

Stories are preserved by memory through performance. These performances can be seen both in the archaeological record as well in modern enactments or rituals. The landscape itself is an integral portion of performance memory. Performance archaeology sets itself apart from performance history by directing focus not toward the past itself but instead toward what has become of the past by taking an ethnoarchaeological approach of analyzing the 'archaeology of present' cultures which allows for a richer interpretation of past performance.

Balint Vázsonyi (7 March 193617 January 2003) was a Hungarian-born naturalized American pianist, educator, international recitalist/soloist with leading orchestras, and political activist and journalist. He made performance history in playing chronological cycles of all 32 piano sonatas by Beethoven over two days in New York, Boston, and London.Balint Vazsonyi profile, The Concise Oxford Dictionary of Music (2004), pg. 761. Sweet Suffolk Owl During the last six years of his life, he became a commentator in Washington, D.C., on the state of American politics.

Participants benefit as well from the system due to faster posting of results, reduced error rates, and the ability to interface with the system in read-only mode to see current lap times, position, and other data. A racer's performance in an individual event gives that rider points, which are added to the rider's performance history. The aggregate number of points as well as a mathematically derived performance index are used by CCS to determine championship winners in RaceWurx as a given season progresses.

Seethi Sahib Memorial Polytechnic College, established in 1962, is the First Polytechnic in Kerala State under Private Sector(Aided), is one of the renowned technical institution in India, offering 3 year Engineering Diploma courses in Six disciplines namely Civil, Mechanical, Electrical, Electronics, Automobile and Computer Engineering. under the Directorate of Technical Education, Government of Kerala. In recognition to the unique performance history and outstanding academic excellence, this institution has been selected by Govt. for implementing Canada India Institutional Co-operation Project (CIICP), A joint venture by Govt.

In 1963, Bobby left Tucson for Los Angeles to further his music career. Quickly he called Linda to join him in LA.History of Band in Artistopia Linda agreed, together they formed The Stone Poneys with LA guitarist Kenny Edwards.Los Angeles Times - formation of bandBlogcritics review of First Album After a few months of rehearsal (including in the local laundromat which had great acoustics), the trio played an open mike gig at The Troubador in West Los Angeles.Troubador performance History of Band in Artistopia That one performance resulted in a multi—album contract with Capitol Records.

Lee Krähenbühl: A Theatre Before the World: Performance History at the Intersection of Hebrew, Greek, and Roman Religious Processional retrieved 9 November 2010 The schola cantorum (papal choir) in Rome may be the first recorded music school in history, when Gregory the Great (540–604) made permanent an existing guild dating from the 4th century (schola originally referred more to a guild rather than school). The school consisted of monks, secular clergy, and boys.Original Catholic Encyclopedia: Sistine Choir retrieved 9 November 2010 Wells Cathedral School, England founded as a Cathedral School in 909 a.d.

He is best remembered today as the composer of Achille in Sciro, the opera that was chosen to open the new Teatro di San Carlo in 1737. Of his many intermezzi, 'Dorina e Nibbio' or L'impresario delle Isole Canarie (1724) has had an extensive performance history. With a libretto by Pietro Metastasio (his only comic libretto), it was performed often and imitated internationally (with versions by Albinoni, Gasparini, Leo, Martini and others). In recent years it was performed in the State Theatre of Stuttgart, the Bochum Symphony as well as the Semperoper Dresden.

In the area of research, cataloging, storage and preservation of music, music libraries share many methods in common with ensemble libraries. Many ensemble librarians use a comprehensive computerized database such as OPAS that integrates information about the composer, instrumentation, and performance history of standard orchestral works. Use of the internet has provided librarians easier access to information, especially research and reference materials. The online forum of the Major Orchestra Librarians' Association (MOLA) has greatly increased communication between professional librarians and provided excellent opportunities for networking and exchange of information.

He was not urban, but he was our version of what cool could be." Other musical influences are Marvin Gaye, Stevie Wonder, Luther Vandross, Janet Jackson, Maze featuring Frankie Beverly, Al Green, and Boyz II Men. The boy band New Edition and its solo member Bobby Brown were childhood influences. Usher told ABC News, "I can remember as a kid attending a New Edition Concert", and called it "one of the greatest moments in my performance history" years later when he was invited on stage with the group to perform "N.

Poster advertising the premiere of Beatrice di Tenda Soprano Giuditta Pasta sang in the Venice premiere Bass Ignazio Marini sang in Palermo 19th centuryWeinstock 1971, pp. 225–228: Performance history to about 1970 Beatrice di Tenda received its first performance at the Teatro La Fenice in Venice on 16 March 1833 with Giuditta Pasta in the title role. The following year, it was staged at the Teatro Carolino in Palermo on 1 March with Marietta Alboni, Giovanni Basadonna, and Ignazio Marini in the major roles. There, it was well received.

Written in haste in a six-week period, L'elisir d'amore was the most often performed opera in Italy between 1838 and 1848 and has remained continually in the international opera repertory. Today it is one of the most frequently performed of all Donizetti's operas: it appears as number 13 on the Operabase list of the most-performed operas worldwide in the five seasons between 2008 and 2013. There are a large number of recordings. It contains the popular tenor aria "Una furtiva lagrima", a romanza that has a considerable performance history in the concert hall.

Rossini opera Festival performance history on rossinioperafestival.it It did not re-appear until 2011 when it was seen in a production by Graham Vick.Fred Cohn, "Rossini: Mosè in Egitto", Opera News, August 2013, Vol. 78, No. 2: Review of the DVD of the production There had, however, been concert performances of various versions of the opera in New York by the Collegiate Chorale and the Sacred Opera Society. Mosè had "remained virtually unheard in Britain since a concert in 1822"Opera (London), May 1965, until a production was staged by Welsh National Opera in the 1964/5 season in Cardiff, Llandudno and London.

Lola the Vamp performing at Miss Exotic World 2006 Lola the Vamp (born Lola Montgomery) is an Australian dancer and part of the neo-burlesque movement. She is the only burlesque performer in theatrical history to perform burlesque as part of her submission for a PhD.Student Becomes First To Get PhD For Burlesque Striptease Performance Retrieved on 12 July 2016 She completed a creative component PhD involving the production of creative product and thesis at Griffith University in Queensland.Burlesque For Your PhD Retrieved on 12 July 2016. Her performance history began at the Neo-Burlesque festival, Tease- o-rama, in 2002.

An 1804 print based on a Henry Fuseli painting of Act V, Scene II: Cressida and Diomedes flirt. Being composed around 1602, the play was most probably staged between 1602–1603, although no record of performance was saved. Taking into account previous information and the fact that the play was not published for 6 more years, it has been suggested that work was performed only once, or not at all. It is possible that the lack of performance history was caused by the play's very perplexing, contradictory nature: the tone of the play constantly moves from comedy action to tragedy.

The performance history of La Fille mal gardée came full circle in 1989, when the Ballet du Rhin of Mulhouse, France presented a revival of Dauberval's original production of 1789. The production was staged by Ivo Cramer, an expert in late 18th century and early 19th century dance theatre, and the Ballet du Rhin's artistic director, Jean Paul Gravier. They painstakingly researched the original production, locating a copy of the original score in Stockholm, which describes the 1789 production, including details of the original mime passages. The original score was restored and orchestrated by the conductor Charles Farncombe.

Weinstock 1963, Performance history, pp. 325–328. Confirmed in Osborne 1994, pp. 194–197 London was the first European capital to see the work; it was given at the King's Theatre on 8 July 1831. In regard to which operatic form Donizetti was to have the greater success, when the semi-seria work of 1828, Gianni di Calais, was given in Rome very soon after Anna Bolena had appeared, the Gazzetta privilegiata di Milano described the relationship between the two forms of opera and concluded that "in two classes—tragic and comic—very close together...the former wins incomparably over the latter".

Monteverdi by Bernardo Strozzi Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Seven excerpts from the work were reprinted in Canadian Musical Heritage Society (CMH), vol 10.Opera and Operetta Excerpts I, ed Dorith Cooper, 1991 Canadian Musical Heritage Society In recent years, the musical play has been performed in Canada, for example by the Toronto Operetta Theatre. For revivals, the opera was shortened from three acts into two and 8 of the 17 characters were eliminated.Jaggroup.ca site performance history Commandant Commodore William S. Truelove (Royal Roads Military College 1985), as Honorary Patron for Toronto Operetta Theatre's Leo, The Royal Cadet, attended on Opening Night with a contingent of cadets and alumni on February 19, 2010.

Hill was born in York and began to act as a child, in about 1861, in roles such as Mamilius in A Winter's Tale and Arthur in The Life and Death of King John, in the company of Samuel Phelps"King John: Performance History" . Internet Shakespeare Editions, accessed 26 April 2011 at Sadler's Wells Theatre. Later, she joined the company of J. B. Buckstone at the Haymarket Theatre, where she created original roles, earning critical praise. These included roles in The Favourite of Fortune (1866), Mary Warner (1869), The Palace of Truth (1870; Mirza) and Pygmalion and Galatea (1871; as Cynisca), the last two by W. S. Gilbert).

He is best known for producing and conducting of the complete Ring Cycle of Richard Wagner for the Boston Lyric Opera in Boston and New York City in 1982 and 1983. His extensive performance history includes works by Mozart, Wagner, Strauss, Puccini, and Verdi, as well as operas such as Dialogues of the Carmelites, Der Zigeunerbaron, Der Freischütz, The Rake's Progress, and Die Tote Stadt. As a pianist, Balme has accompanied many singers, including recital performances with singers such as Carlo Bergonzi, Nicholai Gedda, Jerome Hines, and Deborah Voigt. He has also served as production accompanist for singers such as Beverly Sills, Shirley Verrett, and John Vickers.

51, 151, 183, and 196 for Elizabeth I, Donne, Twain, and Whitman. These handwritten documents date from the 15th to the 21st century and cover a variety of subjects: documents related to performance history and literature, personal correspondences, wills, love letters, and other materials of daily life. Notable manuscripts include the earliest known staging diagram in England, a list of quotations George Eliot compiled while writing Middlemarch, the 18th-century Shakespeare forgeries of William Henry Ireland, and the papers of legendary 18th-century actor David Garrick. The Folger hosts Early Modern Manuscripts Online (EMMO), an IMLS-grant funded project to digitize and transcribe English manuscripts from the 16th and 17th centuries in a freely available digital collection.

Several hand copies of the concerto—the standard method of transmission—survive from the 18th century; for instance there are hand copies by Johann Friedrich Agricola around 1740, by Christoph Nichelmann and an unknown scribe in the early 1750s. Its first publication in print was in 1838 by the Kistner Publishing House. The performance history in the nineteenth century can be traced back to the circle of Felix Mendelssohn. In the first decade of the 19th century the harpsichord virtuoso and great aunt of Mendelssohn, Sara Levy, gave public performances of the concerto in Berlin at the Sing-Akademie, established in 1791 by the harpsichordist Carl Friedrich Christian Fasch and subsequently run by Mendelssohn's teacher Carl Friedrich Zelter.

Since 2005, musicians from the San Diego Symphony have performed as the pit orchestra for San Diego Opera.Preston Turegano (2006), "The opera's proving to be a boon for symphony's musicians", San Diego Union Tribune, 22 January 2006. Notable artists, in addition to those named above, who have performed with San Diego Opera include Ferruccio Furlanetto, Denyce Graves, Richard Bonynge, Richard Leech, Plácido Domingo, Renée Fleming, Jane Eaglen, Richard Margison, Jerry Hadley, Vivica Genaux, Isabel Bayrakdarian, James Westman and Carol Vaness."Performance History" , San Diego Opera website. Notable productions include the world premieres of Gian Carlo Menotti's La Loca (1979, written for and starring Beverly Sills), Myron Fink's The Conquistador (1993), and Alva Henderson's Medea.

The common area of performance is found in a "social phenomenon called litany," a form of prayer consisting of a series of invocations or supplications. The Journal of Religion and Theatre notes that among the earliest forms of litany, "Hebrew litany was accompanied by a rich musical tradition:""A Theatre Before the World: Performance History at the Intersection of Hebrew, Greek, and Roman Religious Processional" The Journal of Religion and Theatre, Vol. 5, No. 1, Summer 2006. :While Genesis 4.21 identifies Jubal as the "father of all such as handle the harp and pipe", the Pentateuch is nearly silent about the practice and instruction of music in the early life of Israel.

Huntington Library Quarterly is an official publication of the Huntington Library. It is a quarterly academic journal produced by the Huntington Library and published by University of Pennsylvania Press. The Huntington Library Quarterly publishes articles on the literature, history, and art of the sixteenth to eighteenth centuries in Britain and America, with special emphasis on the interactions of literature, politics, and religion; the social and political contexts of literary and art history; textual and bibliographical studies, including the history of printing and publishing; the history of science, American studies, through the early nineteenth century; and the performance history of drama and music. The journal also publishes book reviews and review articles on important work in early modern studies.

487 However, this account is vehemently disputed by both Frank Walker, who declares "but it is not true: it is fiction",Walker 1962, p. 51—56: in these pages he lays out a detailed performance history as well as biographer Gabriele Baldini, who states "that it is certain that Giuseppina was not Merelli's lover, that she had no sons by him ...".Baldini 1980, p. 145 Verdi's biographer, Mary Jane Phillips-Matz, in her account of Strepponi's life both before and after becoming Verdi's partner and then his wife, lays out in detail the singer's history up to the time of Nabucco and her investigations have produced no evidence of the accuracy of the early scenario.

He joined the Istanbul State Opera and Ballet in 2002. His Ballet of 2003, The Conquest was awarded the Special Jury Award at a National Composition Contest by the Ministry of Culture. In his work, Tevfik Akbasli opted for being comprehensible without lowering artistic and aesthetic levels and epitomized a lively, straightforward expression that embodies the indisputable reign of melody. Thanks to his three decades of performance history, he has observed that all masterpieces that are known to be classics this day are those that easily captivate the listener without being tiresome no matter how structurally complicated they are and that consist of small but perfect pieces that can be mumbled effortlessly.

The opera premiered on 26 September 1835 at the Teatro di San Carlo in Naples. However, John Black notes that "the surprising feature of its subsequent performance history is that it established so slowly in the Neapolitan repertoire", noting that while there were 18 performances in the rest of 1835, there were only four in 1836, 16 in 1837, two in 1838, and continuing in this manner with only two in each of 1847 and 1848.Black, pp. 34—35 London saw the opera on 5 April 1838 and, for Paris, Donizetti revised the score for a French version which debuted on 6 August 1839 at the Théâtre de la Renaissance in Paris.

The Records of Early English Drama (REED) is a performance history research project, based at the University of Toronto, Ontario, Canada. It was founded in 1976 by a group of international scholars interested in understanding “the native tradition of English playmaking that apparently flourished in late medieval provincial towns”Johnston 2006, p. 21. and formed the context for the development of the English Renaissance theatre, including the work of Shakespeare and his contemporaries. REED’s primary focus is to locate, transcribe, edit, and publish historical documents from England, Wales, and Scotland containing evidence of drama, secular music, and other communal entertainment and mimetic ceremony from the late Middle Ages until 1642, when the Puritans closed the London public theatres.

A critical edition of an opera has been defined by American musicologist Philip Gossett as "an edition that bases itself wherever possible on the very finest and most accurate sources for an opera. That means that it must study the entire performance history of a work." Gossett continues: :In some cases of course we have an autograph manuscript, and that helps us, but it is also where many of the problems start, because composers are known to have made mistakes in their autograph manuscripts. And therefore we are required—we feel it is necessary—to intervene and to correct errors that sometimes have been perpetrated on these works by printed editions from the beginning, so they are just mistakes in the old editions, simple mistakes.

Managed Futures performance history from 1980 to 2008 Managed futures have historically displayed very low correlations to traditional investments, such as stocks and bonds. Following modern portfolio theory, this lack of correlation builds the robustness of the portfolio, reducing portfolio volatility and risk, without significant negative impacts on return. This lack of correlation stems from the fact that markets tend to "trend" the best during more volatile periods, and periods in which markets decline tend to be the most volatile. From 1980 to 2010, the compound average annual return for managed futures was 14.52%, as measured by the CASAM CISDM CTA Equal Weighted Index, while the return for U.S. stocks was 7.04% (based on the S&P; 500 total return index).

As a result of the incident, six staff members at King-Harbor, including a nurse and two nursing assistants, received "letters of expectation" (a letter outlining how they should behave in the future and carrying no additional penalty) from the Los Angeles County Department of Health Services (DHS), taking into consideration previous performance history and their role in the event. In addition, the contract janitor was counseled verbally and the triage nurse (Linda Ruttlen) was placed on leave and later resigned. DHS placed most of the blame on Ruttlen, who pointedly refused requests to intervene, and she was referred to the state nursing board for investigation. The incident, including the actions of 911 operators, was under review by the Los Angeles County Sheriff's Department.

For a discussion of the piece, see The score of Tintamarre and its publication record are also available online via Library and Archives Canada/Bibliothèque et Archives Canada. See also Keillor (2000) and The early performance history of Tintamarre has not been established. Within a few years, the radical composer-pianist Leo Ornstein became one of the most famous figures in classical music on both sides of the Atlantic for his performances of cutting- edge work. In 1914, Ornstein debuted several of his own solo piano compositions: Wild Men's Dance (aka Danse Sauvage; 1913–14), Impressions of the Thames ( 1913–14), and Impressions of Notre Dame ( 1913–14) were the first works to explore the tone cluster in depth ever heard by a substantial audience.

La Fille mal gardée is one of the oldest and most important works in the modern ballet repertory, having been kept alive throughout its long performance history by way of many revivals. The work has undergone many changes of title and has had no fewer than six scores, some of which were adaptations of older music. Today La Fille mal gardée is normally presented in one of two different versions: many ballet companies feature productions which are derived from Alexander Gorsky's version to the music of Peter Ludwig Hertel, originally staged for the Bolshoi Theatre in Moscow in 1903. Gorsky's version was almost entirely based on Marius Petipa and Lev Ivanov's 1885 staging for the Imperial Ballet of St. Petersburg.

Although ion engines had been developed at NASA since the late 1950s, with the exception of the SERT missions in the 1960s, the technology had not been demonstrated in flight on United States spacecraft, though hundreds of Hall-effect engines had been used on Soviet and Russian spacecraft. This lack of a performance history in space meant that despite the potential savings in propellant mass, the technology was considered too experimental to be used for high-cost missions. Furthermore, unforeseen side effects of ion propulsion might in some way interfere with typical scientific experiments, such as fields and particle measurements. Therefore, it was a primary mission of the Deep Space 1 demonstration to show long-duration use of an ion thruster on a scientific mission.

Inspired by the COPO Camaros of the late 1960s, the Camaro LS7 Concept was built from the 2010 Camaro SS with the LS3 engine replaced with a GM Performance Parts 7.0-liter LS7 crate motor having a power output of . The heritage of COPO's performance history was reflected with the inclusion of a high-performance exhaust and improved headers, air intake system, and camshaft—all developed by GM Performance Parts. Other modifications included a Tremec six-speed manual transmission, Brembo brakes, Hurst short-throw shifter, 20-inch custom wheels, and a lowered ride height. The exterior of the car was finished in Victory Red with accents of matte black on the "LS7" badges, front grille slot, rear headlight panel, and hood.

All theatres were closed down by the Puritan government on 6 September 1642. Upon the restoration of the monarchy in 1660, two patent companies (the King's Company and the Duke's Company) were established, and the existing theatrical repertoire divided between them. And from the restoration until the mid-19th century the performance history of King Lear is not the story of Shakespeare's version, but instead of The History of King Lear, a popular adaptation by Nahum Tate. Its most significant deviations from Shakespeare were to omit the Fool entirely, to introduce a happy ending in which Lear and Cordelia survive, and to develop a love story between Cordelia and Edgar (two characters who never interact in Shakespeare) which ends with their marriage.

Bradley, p. 206. Agreeing with Lamb that the agony that Lear has undergone makes "a fair dismissal from the stage of life the only decorous thing for him", Bradley argues that "it is precisely this fair dismissal which we desire for him", not the renewed anguish which Shakespeare inflicts on him with the death of Cordelia. As Tate's Lear disappeared from the stage (except when revived as a historical curiosity), and as critics were no longer faced with the difficulties of reconciling a happy ending on the stage with a tragic ending on the page, the expressions of indignation and disgust became less frequent, and Tate's version, when mentioned at all by modern critics, is usually mentioned simply as an interesting episode in the performance history of one of Shakespeare's greatest works.

Vexations appears to have had no performance history before the idea gained ground that the piece was required to be played 840 times. The first of the marathon performances of the work in this way was produced by John Cage and Lewis Lloyd at the Pocket Theatre in Manhattan by the Pocket Theatre Piano Relay Team, organized by Cage. Pianists included: John Cage, David Tudor, Christian Wolff, Philip Corner, Viola Farber, Robert Wood, MacRae Cook, John Cale, David Del Tredici, James Tenney, Howard Klein (the New York Times reviewer, who coincidentally was asked to play in the course of the event) and Joshua Rifkin, with two reserves, on September 9, 1963. Cage set the admission price at $5 and had a time clock installed in the lobby of the theatre.

Betancourt began playing senior football at the age of 15, appearing in the Liga Nacional de Fútbol de Puerto Rico with High Performance FC. He took part in the first match in High Performance history on 26 July 2009, scoring a 52nd-minute goal in a 5–2 defeat against the Bayamón reserve team. While appearing at the senior level for the club, he continued to play for their U17 team and won two Puerto Rican national titles. After High Performance folded following the 2010 season, Betancourt joined Conquistadores de Guaynabo for the 2011 Liga Nacional de Fútbol de Puerto Rico season. He played for the senior and U17 team during the club's only season of existence, missing time due to national team call-ups before going to the United States to play in college.

On those occasions, the opera was adapted to suit Venetian taste as well as the strengths of the star singers, with fairly extensive cuts (particularly to the recitatives), the addition of new arias, and the expansion of some comic scenes. The Dance of the Moors was changed to The Dance of the Soldiers, and the prologue became an elaborate affair involving Apollo, Amor, and the personifications Inganno (Deception) and Invidia (Envy). The prologue for the performance in Vienna for Emperor Leopold I was even more elaborate and featured Mars, four Amazons, and the personification La Fama (Fame) all singing the praises of the emperor and his court. During the course of its performance history La Dori had at least 14 different prologues often devised to flatter the patron of the production or to suit local tastes.

Review – like an upmarket Royal Variety Show', Guardian, 24 April. In comparison to the performance history of other, more frequently performed plays, the delayed acceptance of Troilus and Cressida into the theatre also means that the claims of relevance become especially acute. When the play had been chosen for performance during the twentieth century, while being out of fashion before, it showed us that there was something about its themes and subject matter which was familiar to the soul of contemporary audience. Colin Chambers characterises the mood of that period in the following way : There were signs that British theatre was beginning to reconnect to its society, having previously failed, in [Peter] Hall’s words, "to take into account the fact that we have had a World War […] and that everything in the world has changed – values, ways of living, ideals, hopes and fears".

One of the features of his tenure at the company was the introduction of a Verdi Festival, with two operas presented each summer, one generally a late composition, the other an early work from the composer's "galley years". Beginning in 1976 with Otello as part of the regular season, the festival continued in the summers of 1978 with Verdi's Requiem and Aida; in 1979 with I Lombardi; in 1980 with Il trovatore and Giovanna d'Arco; in 1981 with Un giorno di regno plus the Requiem and 1982 saw stagings of Il corsaro and Un ballo in maschera. Capobianco left the company in 1983, but his successor was able to present I masnadieri (with Sutherland) along with Simon Boccanegra while the festival concept ended in March 1985 with Oberto (with Ferruccio Furlanetto and Susanne Marsee). San Diego Opera's "Performance History" page on sdopera.

Madigan has published a number of film reviews, usually on movies that treat themes that he, too, is interested in: the history of antisemitism, the Holocaust, the Second World War, the history of Christian thought, Christian defiance of evil in war, and the joy, motivations, and power of teaching. He has reviewed Michael Radford's filmic presentation of The Merchant of Venice, concentrating on the performance history of the play in Nazi Germany. His ongoing admiration for religiously motivated heroism in times of great risk, as well as his fondness for a well-told story of inspiration that is also based on fact, led him to compose an appreciative review of Marc Rothemund's Sophie Scholl: The Final Days. He paired this review with Sebastian Dehnhardt's heartbreaking Stalingrad, where we see Hitler's fanatical will is not enough to overcome poor planning, low supplies, weather, hubris or a determined Red Army.

Fibich's main achievement was Hippodamie (1888–1891), a trilogy of full-evening staged melodramas on the texts of Jaroslav Vrchlický with multiple actors and orchestra, composed in an advanced Wagnerian musical style. Josef Suk's main contributions at the turn of the century include melodramas for two-stage plays by Julius Zeyer: Radúz a Mahulena (1898) and Pod Jabloní (1901), both of which had a long performance history. Following the examples of Fibich and Suk, many other Czech composers set melodramas as stand-alone works based on poetry of the National Revival, among them Karel Kovařovic, Otakar Ostrčil, Ladislav Vycpálek, Otakar Jeremiáš, Emil Axman, and Jan Zelinka. Vítězslav Novák included portions of melodrama in his 1923 opera Lucerna, and Jaroslav Ježek composed key scenes for the stage plays of the Osvobozené divadlo as melodrama (most notably the opening prologue of the anti-Fascist farce Osel a stín (1933), delivered by the character of Dionysus in bolero rhythm).

Given that Gossett's musical interests focus on 19th-century Italian opera (especially the works of Rossini, Bellini, Donizetti, and Verdi), most of his career was devoted to being General Editor of two important projects while at the University of Chicago: the research for the preparation of critical editions of all the operas of both Rossini (some 70) and Verdi (some 33, in their various forms). These are being prepared and gradually published as The Works of Giuseppe Verdi (by the University of Chicago Press in collaboration with the Italian publishing house Casa Ricordi of Milan) and as Works of Gioachino Rossini (by Bärenreiter Verlag, Kassel). In an interview, Gossett explained what he means by the term "critical edition": > By critical edition of an opera I have always meant an edition that bases > itself wherever possible on the very finest and most accurate sources for an > opera. That means that it must study the entire performance history of a > work.

A guide to Toscanini's recording career can be found in Mortimer H. Frank's "From the Pit to the Podium: Toscanini in America" in International Classical Record Collector (1998, 15 8-21) and Christopher Dyment's "Toscanini's European Inheritance" in International Classical Record Collector (1998, 15 22-8). Frank and Dyment also discuss Maestro Toscanini's performance history in the 50th anniversary issue of Classic Record Collector (2006, 47) Frank with 'Toscanini - Myth and Reality' (10-14) and Dyment 'A Whirlwind in London' (15-21) This issue also contains interviews with people who performed with Toscanini - Jon Tolansky 'Licia Albanese - Maestro and Me' (22-6) and 'A Mesmerising Beat: John Tolansky talks to some of those who worked with Arturo Toscanini, to discover some of the secrets of his hold over singers, orchestras and audiences.' (34-7). There is also a feature article on Toscanini's interpretation of Brahms's First Symphony - Norman C. Nelson, 'First Among Equals [...] Toscanini's interpretation of Brahms's First Symphony in the context of others' (28-33) Mortimer Frank's Arturo Toscanini: The NBC Years (2002) contains an extensive discography as 'Appendix 8'.

During this period, he lived in nearby Sausalito, California and began to gravitate toward the incipient rock culture of the Haight-Ashbury district. In 1967, he began working as a session musician, specializing in electric bass, with a litany of notable blues, folk, and rock performers, including Mike Bloomfield, Nick Gravenites, Mississippi Fred McDowell, John Lee Hooker, Brewer & Shipley (a longstanding collaboration that encompassed their 1971 Top Ten hit "One Toke Over the Line"), Tom Fogerty, Maria Muldaur (who was in a relationship with Kahn for several years in the 1970s), Al Kooper, Jackie DeShannon, and Otis Rush.John Kahn Discography, Grateful Dead Family Discography. Retrieved April 14, 2105."John Kahn Live Performance History 1969", Lost Live Dead, December 4, 2010. Retrieved April 14, 2015. Kahn first played with Garcia in May 1970 as the bassist of a jazz rock group that coalesced around Garcia and organist Howard Wales (who facilitated their introduction) during Monday night jam sessions at The Matrix, a San Francisco nightclub of the era; this ensemble would go on to record Hooteroll? (1971; credited to Garcia and Wales).

Verdi around 1850 In the introduction to the critical editionGossett, pp. 134 – 135: He defines a critical edition as a work which "looks at the best texts that modern scholarship, musicianship, and editorial technique can produce" [.....] but "they do not return blindly to one 'original' source, [they] reconstruct the circumstances under which an opera was written, the interaction of the composer and librettist, the effect of imposed censorship, the elements that entered into the performance, the steps that led to publication, and the role the composer played in the subsequent history of the work." prepared in 2003 by Kathleen Hansell, she states quite clearly that "The performance history of Stiffelio as Verdi envisioned it literally began only in 1993." She might have added "21 October 1993", since this was the occasion when the Metropolitan Opera presented the work based on the discoveries which had been found in the composer's autograph manuscript by musicologist Philip Gossett the previous yearIn Gossett: He describes it as "the manuscript of an opera primarily or entirely in the hand of the composer", p. 606 and which were eventually included in the critical edition prepared by her for the University of Chicago in 2003.

The full-length Raymonda has been revived many times throughout its performance history, the most noted productions being staged by Mikhail Fokine for the Ballets Russes (1909); Anna Pavlova for her touring company (1914); George Balanchine and Alexandra Danilova for the Ballet Russe de Monte-Carlo (1946); Konstantin Sergeyev for the Kirov Ballet (1948); Rudolf Nureyev for American Ballet Theatre (1975) and for the Paris Opera Ballet (1983); Yuri Grigorovich for the Bolshoi Ballet (1984); Anna-Marie Holmes (in a 2-act reduction) for the Finnish National Ballet (2004), a version which was then staged for American Ballet Theatre (2004) and the Dutch National Ballet (2005). There have been many productions around the world of only extracts from the full-length Raymonda, for the most part taken from the Grand Pas Classique hongrois from the third act, which is considered to be among Marius Petipa's supreme masterpieces. The most noted of these productions have been staged by George Balanchine for the New York City Ballet (1955, 1961, 1973); Rudolf Nureyev for the Royal Ballet Touring Company (1964); and Mikhail Baryshnikov for American Ballet Theatre (1980, 1987). In 2005 the Australian Ballet Company performed a modern version of Raymonda set in the 1950s, where Raymonda is a Hollywood star who has filmed her last film before marrying a European prince.