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DTSTART;TZID=America/New_York:20261112T183000
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SUMMARY:The End as Beginning
DESCRIPTION:Every work of Wagner’s maturity is unique and self-contained\, and yet Parsifal stands apart from the others. In a way\, the composer steps back from his world-changing musical innovations\, his constant dramatic and philosophical preoccupations\, and asks “suppose all that is now settled or transcended; what then?” The “stage-consecration festival play” is less a summation of his life’s work than the opening of a new pilgrimage that one life could never be sufficient to complete. \nAbout the speaker: Will Crutchfield has divided his opera career between conducting\, musicology\, and education. As Director of Opera for the Caramoor International Music Festival from 1997 to 2017\, he conducted over 30 titles by Rossini\, Donizetti\, Bellini and Verdi with the Orchestra of St. Luke’s and soloists including Lawrence Brownlee\, Angela Meade\, Vivica Genaux\, Hao Jiang Tian\, Ewa Podleś\, Sumi Jo\, Jennifer Larmore\, Georgia Jarman\, John Osborn\, Michael Spyres\, and Hei-Kyung Hong. He has also held posts as Music Director with the Opera de Colombia (Bogota) and Principal Guest Conductor of the Polish National Opera (Warsaw)\, and has made guest appearances with many theaters\, including the Rossini Opera Festival (Pesaro)\, the Canadian Opera Company\, the Washington National Opera\, and the Minnesota Opera among others. For Ricordi and the Fondazione Rossini he prepared the critical edition of Aureliano in Palmira\, also conducting the production at Pesaro that won first place as “Best Rediscovered Work” in the 2015 International Opera Awards. In the same year he was named a Fellow of the Guggenheim Foundation in recognition of his operatic work\, and in 2017 he was named as one of Musical America’s 30 “Movers and Shapers” for his leadership in innovative training and performance. In 2020 he was featured in The New York Times for his first-ever reconstruction of Beethoven’s sketches for the lost tenor aria from the1805 opera Leonore. His other reconstructions include Donizetti’s unfinished Symphony in E Minor\, the only known full-scale concert symphony by a major Italian composer of the 19th century. He has contributed articles on historical performance practice to the New Grove Dictionary of Music and Musicians and numerous scholarly journals\, and is currently completing a book on the same subject for Oxford University Press. \nThe event will be followed by a social hour with refreshments. \n\nWSNY Members receive livestream link automatically by e-mail; no need to pre-register. Livestream/re-stream viewable up to 36 hours after the start of the event.
URL:https://wagnersocietyny.org/event/the-end-as-beginning/
LOCATION:National Opera Center\, 330 Seventh Avenue\, 7th Floor\, New York\, NY\, 10001\, United States
CATEGORIES:Lecture
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DTSTART;TZID=America/New_York:20261203T183000
DTEND;TZID=America/New_York:20261203T203000
DTSTAMP:20260921T125804Z
CREATED:20260916T165042Z
LAST-MODIFIED:20260921T125804Z
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SUMMARY:Wagner’s Theater Innovations
DESCRIPTION:Many Wagnerians are drawn to Wagner primarily because of his contributions to theatre\, rather than music. Many modern theatrical practices were introduced by Wagner. This program traces the development of Western theater up to the early 19th Century\, and shows how Wagner – both in theory and in practice – was a critical figure in presaging modern theatrical production. \nAbout the presenter: Peter Phillips is an attorney specializing in mediation\, arbitration and dispute resolution.  He serves as Distinguished Adjunct Professor of Law and Director of the ADR Skills program at New York Law School.  He is a cum laude graduate of Dartmouth College and trained as an actor at the Royal Academy of Dramatic Art.  Classmates during his training included Imelda Stanton\, Ciaran Hinds\, Alan Rickman\, Kenneth Brannagh and Kevin R. McNally.  He subsequently appeared in many productions on and off Broadway\, in regional theaters\, and on film and television\, including Henry V with Meryl Streep; Equus with Anthony Perkins; Stone Pillow with Lucille Ball; Macbeth with Nicol Williamson; Caucasian Chalk Circle with Robert Prosky and Christine Esterbrook; a recurring role in All My Children with Susan Lucci; Hamlet with John Glover; Cherry Orchard with Irene Worth and Raul Julia; Eccentricities of a Nightingale with Jill Eickenberry; Playing for Time with Vanessa Redgrave; and Winter’s Tale with Brian Murray.  He directed productions of La Boheme at Brooklyn Opera; Sweeney Todd at the University of Michigan; Company in London; Wisteria Trees at the York Theatre; and several other stage productions off-Broadway and in college theaters. He is a magna cum laude graduate of New York Law School and is a member of both Actor’s Studio and Ensemble Studio Theatre.  \n  \nThe event will be followed by a social hour with refreshments. \n\nWSNY Members receive livestream link automatically by e-mail; no need to pre-register. Livestream/re-stream viewable up to 36 hours after the start of the event.
URL:https://wagnersocietyny.org/event/wagners-theater-innovations/
LOCATION:National Opera Center\, 330 Seventh Avenue\, 7th Floor\, New York\, NY\, 10001\, United States
CATEGORIES:Lecture
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DTSTART;TZID=America/New_York:20270113T183000
DTEND;TZID=America/New_York:20270113T203000
DTSTAMP:20260921T131138Z
CREATED:20260921T131138Z
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SUMMARY:From Boito to Berio: the Influence of Richard Wagner on Italian opera // Annual Meeting
DESCRIPTION:The lecture will examine the influence of Wagnerism in Italian opera.  First used as a pejorative cudgel against the late works of Verdi\, it was explored in earnest through the experiments of Arrigo Boito and Franco Faccio. Through the verismo period\, and especially among the Giovane Scuola (Young School) composers\, Wagner’s music and dramaturgy became openly embraced. In the 20th century\, Italian composers continued to grapple with the implications of Wagner’s music. The late 20th century “azioni musicali” (“musical actions”) of Luciano Berio manage to synthesize some of the more radical aspects of Wagner’s philosophy in surprising ways. \nThis presentation will be preceded by a brief Annual Membership Meeting. \n About the Speaker: Anthony Barrese has earned accolades as both a composer and conductor in North America and Italy.  Mr. Barrese is the recipient of numerous composition awards including a NEC Contemporary Ensemble Composition Competition Award for his Madrigale a 3 voci femminili\, and two BMI Student Composers Awards. As a musicologist\, Mr. Barrese rediscovered\, prepared\, and edited the critical edition of Franco Faccio’s opera Amleto\, in conjunction with Casa Ricordi. As Artistic Director and Principal conductor of Opera Southwest he has conducted Rossini’s Otello with the American staged premiere of the “finale lieto\,” (happy end) and in 2014 he lead the World Premiere of Amleto\, not heard anywhere since 1871. He also notably led productions of Wagner’s Lohengrin (2019)\, a new world premiere of Bottesini’s Alì Babà (2019)\, and a company premiere of Debussy’s Pelléas et Mélisande (2021).  As Music Director of Opera Delaware he conducted the west coast premiere of Amleto in 2016\, and the company premiere of Rossini’s Semiramide in 2017. In the 2026 season he conducted a new productions of Andrea Chénier\, Boris Godunov (Opera Southwest)\, and Tosca (Opera Tampa). \nThe event will be followed by a social hour with refreshments. \n\nWSNY Members receive livestream link automatically by e-mail; no need to pre-register. Livestream/re-stream viewable up to 36 hours after the start of the event.
URL:https://wagnersocietyny.org/event/from-boito-to-berio-the-influence-of-richard-wagner-on-italian-opera-annual-meeting/
LOCATION:National Opera Center\, 330 Seventh Avenue\, 7th Floor\, New York\, NY\, 10001\, United States
CATEGORIES:Lecture
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DTSTART;TZID=America/New_York:20270217T183000
DTEND;TZID=America/New_York:20270217T203000
DTSTAMP:20260921T132259Z
CREATED:20260921T132259Z
LAST-MODIFIED:20260921T132259Z
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SUMMARY:Liszt's Tone Poems as Musical Realizations of Ideas from Opera and Drama and Their Influence on Wagner's Musical Language
DESCRIPTION:Is it possible that Wagner found in Liszt’s tone poems practical applications of theoretical concepts articulated in Opera and Drama (1849)? There Wagner argues that multiple changes of key—each possessing its own characteristic qualities and each related to the others—are necessary for the proper musical expression of poetic ideas. The combination of distinct musical sections\, or poetic-musical periods\, gives rise to an overarching poetic conception that forms the basis of an entire music drama. Only by coupling tonality with dramatic action and poetic intent\, Wagner believed\, could music as an art form continue to develop\, for without an extra-musical foundation the continued expansion of chromaticism risks leading to harmonic aimlessness. Liszt’s revolutionary harmonic language\, the resulting attenuation of the diatonic system\, and his treatment of form—especially the combination of several movements into a single whole—may represent the practical means by which these aesthetic ideals found musical realization. This presentation examines the techniques that distinguish Liszt’s compositional language from that of the First Viennese School\, considers their affect on tonal structure and form\, and explores their possible reflection in Wagner’s music dramas\, where they become inseparable from dramatic action and poetic meaning\, both before and after the Siegfried hiatus. More broadly\, it asks whether Liszt’s tone poems may have furnished Wagner not merely with new harmonic procedures\, but with compositional solutions to problems he had himself articulated in Opera and Drama. \n  \nAbout the Speaker: Chris Park is a part-time associate teaching professor in the Techniques of Music department at the Mannes School of Music at The New School. Originally trained as a violinist\, he later studied Schenkerian analysis with Carl Schachter. He teaches courses ranging from freshman music theory to advanced analysis\, as well as seminars on Beethoven\, Wagner’s Ring\, Mahler\, and the nineteenth-century tone poem. Drawing on Schenkerian analysis\, his research explores the interaction of tonal structure\, musical form\, and extra-musical meaning in the eighteenth- and nineteenth-century repertoire. His current work brings together three longstanding interests: musical form\, tonal structure\, and drama. Underlying much of his scholarship is a central question: How does tonal structure create or support musical meaning? His recent work on Beethoven’s Ninth Symphony traces the long-range preparation of climactic moments in the Finale\, including one of particular social and political significance. He completed his dissertation\, Mozart’s Harmonization Exercises for Barbary Ployer\, in 1999. Park’s opera\, Phedra and Hippolytus\, based on Euripides’ Hippolytus\, was fully staged in Belo Horizonte\, Brazil\, in 2013. He is the reed organist at the New Boston Congregational Church in Sandisfield\, Massachusetts\, and the drummer for Otto’s German Band in Berkshire County. \nThe event will be followed by a social hour with refreshments. \n\nWSNY Members receive livestream link automatically by e-mail; no need to pre-register. Livestream/re-stream viewable up to 36 hours after the start of the event.
URL:https://wagnersocietyny.org/event/liszts-tone-poems-as-musical-realizations-of-ideas-from-opera-and-drama-and-their-influence-on-wagners-musical-language/
LOCATION:National Opera Center\, 330 Seventh Avenue\, 7th Floor\, New York\, NY\, 10001\, United States
CATEGORIES:Lecture
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