Janis ian wikipedia
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Ian Burton Dramatist
Ian Burton was born in Yorkshire and graduated from the universities of Leeds and Bristol. He has worked in a variety of different genres as both a dramatist and a writer.
His opera librettos include Battistelli’s Richard III and CO2 (which premiered respectively at the Flanders Opera in 2005 and at Milan’s La Scala in 2015; The Duchess of Malfi for the English National Opera; Pop'pea at the Théâtre du Châtelet in 2012; and Philippe Fénelon’s JJR in Geneva in 2012). He also writes ballet scripts (Cinderella, Northern Ballet Theatre); stage dramas (Entering the Whirlpool, 1981, Deranging Angels, 1993, Mask, 1995, Between Two Worlds, 1996, a play on the life of Chikamatsu, in 1997, Men’s Doubles, 1998, The Foot of the Cross, or the Muzzle of a Gun, 2001…); stage musicals (Eduard Alexander’s The Wedding of the Moon and Sun); and anthologies (Dorset Street, Rouflaquettes).
He has been working with Robert Carsen for more than twenty years: Bernstein’s Candide at the Théâtre du Châtelet, Mi
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Ian Clarke (flautist)
British flutist and composer
Ian Clarke | |
|---|---|
Ian Clarke in May 2010 at Kirk of the Canongate, Edinburgh | |
| Born | (1964-02-04) 4 February 1964 (age 61) Broadstairs, Kent, UK |
| Instrument | Flute |
Musical artist
Ian Clarke (born 4 February 1964) is a British flutist and composer.
Biography
Clarke was born in Broadstairs to a chemist father (who played in the National Youth Orchestra of Great Britain) and a mother who gave private music lessons in cello and piano. His musical studies began on recorder at age six. He started piano lessons at age eight, and developed an interest in the flute by age 10, such that he began to teach himself how to play the flute. Following early private lessons from clarinet teachers, at age 16, he began private lessons with Simon Hunt and Averil Williams at the Guildhall School of Music and Drama.[1]
Whilst Clarke listened to classical music in his childhood, with time, he developed an increasing interest in rock music. Clarke read mathematics for a year at the London School of Economics, b
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Rupert Christiansen
Ian Bostridge must have got distinctly fed up with the label of ‘the thinking man’s tenor’ that has been tied to his career over the last fifteen years. But what can he expect? His branch of the profession is otherwise hardly noted for its exceptional intellectual achievements, and Dr Bostridge used to be a fellow at Oxford in the field of early modern history. His thesis on the decline of witchcraft was tutored by Keith Thomas and published by OUP. His Wikipedia biography also informs me that as a teenager he was mad about theoretical physics, and submitted a theory of gravity and electromagnetism to Roger Penrose.
The egghead thing may have stimulated a lot of sales-promoting press interest – few of today’s classical singers can boast such a fat book of profiles and interviews (to which I myself have contributed with pleasure and admiration) – but it hasn’t always helped his reputation as a
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