17.7. Lps, Scores, Books, Catalogues. 193-204
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Libretto Nabucco.Indd
Nabucco Musica di GIUSEPPE VERDI major partner main sponsor media partner Il Festival Verdi è realizzato anche grazie al sostegno e la collaborazione di Soci fondatori Consiglio di Amministrazione Presidente Sindaco di Parma Pietro Vignali Membri del Consiglio di Amministrazione Vincenzo Bernazzoli Paolo Cavalieri Alberto Chiesi Francesco Luisi Maurizio Marchetti Carlo Salvatori Sovrintendente Mauro Meli Direttore Musicale Yuri Temirkanov Segretario generale Gianfranco Carra Presidente del Collegio dei Revisori Giuseppe Ferrazza Revisori Nicola Bianchi Andrea Frattini Nabucco Dramma lirico in quattro parti su libretto di Temistocle Solera dal dramma Nabuchodonosor di Auguste Anicet-Bourgeois e Francis Cornu e dal ballo Nabucodonosor di Antonio Cortesi Musica di GIUSEPPE V ERDI Mesopotamia, Tavoletta con scrittura cuneiforme La trama dell’opera Parte prima - Gerusalemme All’interno del tempio di Gerusalemme, i Leviti e il popolo lamen- tano la triste sorte degli Ebrei, sconfitti dal re di Babilonia Nabucco, alle porte della città. Il gran pontefice Zaccaria rincuora la sua gente. In mano ebrea è tenuta come ostaggio la figlia di Nabucco, Fenena, la cui custodia Zaccaria affida a Ismaele, nipote del re di Gerusalemme. Questi, tuttavia, promette alla giovane di restituirle la libertà, perché un giorno a Babilonia egli stesso, prigioniero, era stato liberato da Fe- nena. I due innamorati stanno organizzando la fuga, quando giunge nel tempio Abigaille, supposta figlia di Nabucco, a comando di una schiera di Babilonesi. Anch’essa è innamorata di Ismaele e minaccia Fenena di riferire al padre che ella ha tentato di fuggire con uno stra- niero; infine si dichiara disposta a tacere a patto che Ismaele rinunci alla giovane. -
Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr. -
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas GEORGES BIZET EMI 63633 Carmen Maria Stuarda Paris Opera National Theatre Orchestra; René Bologna Community Theater Orchestra and Duclos Chorus; Jean Pesneaud Childrens Chorus Chorus Georges Prêtre, conductor Richard Bonynge, conductor Maria Callas as Carmen (soprano) Joan Sutherland as Maria Stuarda (soprano) Nicolai Gedda as Don José (tenor) Luciano Pavarotti as Roberto the Earl of Andréa Guiot as Micaëla (soprano) Leicester (tenor) Robert Massard as Escamillo (baritone) Roger Soyer as Giorgio Tolbot (bass) James Morris as Guglielmo Cecil (baritone) EMI 54368 Margreta Elkins as Anna Kennedy (mezzo- GAETANO DONIZETTI soprano) Huguette Tourangeau as Queen Elizabeth Anna Bolena (soprano) London Symphony Orchestra; John Alldis Choir Julius Rudel, conductor DECCA 425 410 Beverly Sills as Anne Boleyn (soprano) Roberto Devereux Paul Plishka as Henry VIII (bass) Royal Philharmonic Orchestra and Ambrosian Shirley Verrett as Jane Seymour (mezzo- Opera Chorus soprano) Charles Mackerras, conductor Robert Lloyd as Lord Rochefort (bass) Beverly Sills as Queen Elizabeth (soprano) Stuart Burrows as Lord Percy (tenor) Robert Ilosfalvy as roberto Devereux, the Earl of Patricia Kern as Smeaton (contralto) Essex (tenor) Robert Tear as Harvey (tenor) Peter Glossop as the Duke of Nottingham BRILLIANT 93924 (baritone) Beverly Wolff as Sara, the Duchess of Lucia di Lammermoor Nottingham (mezzo-soprano) RIAS Symphony Orchestra and Chorus of La Scala Theater Milan DEUTSCHE GRAMMOPHON 465 964 Herbert von -
07 – Spinning the Record
VI. THE STEREO ERA In 1954, a timid and uncertain record industry took the plunge to begin investing heav- ily in stereophonic sound. They were not timid and uncertain because they didn’t know if their system would work – as we have seen, they had already been experimenting with and working the kinks out of stereo sound since 1932 – but because they still weren’t sure how to make a home entertainment system that could play a stereo record. Nevertheless, they all had their various equipment in place, and so that year they began tentatively to make recordings using the new medium. RCA started, gingerly, with “alternate” stereo tapes of monophonic recording sessions. Unfortunately, since they were still uncertain how the results would sound on home audio, they often didn’t mark and/or didn’t file the alternate stereo takes properly. As a result, the stereo versions of Charles Munch’s first stereo recordings – Berlioz’ “Roméo et Juliette” and “Symphonie Fanastique” – disappeared while others, such as Fritz Reiner’s first stereo re- cordings (Strauss’ “Also Sprach Zarathustra” and the Brahms Piano Concerto No. 1 with Ar- thur Rubinstein) disappeared for 20 years. Oddly enough, their prize possession, Toscanini, was not recorded in stereo until his very last NBC Symphony performance, at which he suf- fered a mental lapse while conducting. None of the performances captured on that date were even worth preserving, let alone issuing, and so posterity lost an opportunity to hear his last half-season with NBC in the excellent sound his artistry deserved. Columbia was even less willing to pursue stereo. -
Bellini's Norma
Bellini’s Norma - A discographical survey by Ralph Moore There are around 130 recordings of Norma in the catalogue of which only ten were made in the studio. The penultimate version of those was made as long as thirty-five years ago, then, after a long gap, Cecilia Bartoli made a new recording between 2011 and 2013 which is really hors concours for reasons which I elaborate in my review below. The comparative scarcity of studio accounts is partially explained by the difficulty of casting the eponymous role, which epitomises bel canto style yet also lends itself to verismo interpretation, requiring a vocalist of supreme ability and versatility. Its challenges have thus been essayed by the greatest sopranos in history, beginning with Giuditta Pasta, who created the role of Norma in 1831. Subsequent famous exponents include Maria Malibran, Jenny Lind and Lilli Lehmann in the nineteenth century, through to Claudia Muzio, Rosa Ponselle and Gina Cigna in the first part of the twentieth. Maria Callas, then Joan Sutherland, dominated the role post-war; both performed it frequently and each made two bench-mark studio recordings. Callas in particular is to this day identified with Norma alongside Tosca; she performed it on stage over eighty times and her interpretation casts a long shadow over. Artists since, such as Gencer, Caballé, Scotto, Sills, and, more recently, Sondra Radvanovsky have had success with it, but none has really challenged the supremacy of Callas and Sutherland. Now that the age of expensive studio opera recordings is largely over in favour of recording live or concert performances, and given that there seemed to be little commercial or artistic rationale for producing another recording to challenge those already in the catalogue, the appearance of the new Bartoli recording was a surprise, but it sought to justify its existence via the claim that it authentically reinstates the integrity of Bellini’s original concept in matters such as voice categories, ornamentation and instrumentation. -
Il Trovatore
Synopsis Act I: The Duel Count di Luna is obsessed with Leonora, a young noblewoman in the queen’s service, who does not return his love. Outside the royal residence, his soldiers keep watch at night. They have heard an unknown troubadour serenading Leonora, and the jealous count is determined to capture and punish him. To keep his troops awake, the captain, Ferrando, recounts the terrible story of a gypsy woman who was burned at the stake years ago for bewitching the count’s infant brother. The gypsy’s daughter then took revenge by kidnapping the boy and throwing him into the flames where her mother had died. The charred skeleton of a baby was discovered there, and di Luna’s father died of grief soon after. The gypsy’s daughter disappeared without a trace, but di Luna has sworn to find her. In the palace gardens, Leonora confides in her companion Ines that she is in love with a mysterious man she met before the outbreak of the war and that he is the troubadour who serenades her each night. After they have left, Count di Luna appears, looking for Leonora. When she hears the troubadour’s song in the darkness, Leonora rushes out to greet her beloved but mistakenly embraces di Luna. The troubadour reveals his true identity: He is Manrico, leader of the partisan rebel forces. Furious, the count challenges him to fight to the death. Act II: The Gypsy During the duel, Manrico overpowered the count, but some instinct stopped him from killing his rival. The war has raged on. -
Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
(De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification. -
LA SCALA ACADEMY of LYRIC OPERA Academic Years 2021-2023
CALL FOR APPLICATIONS LA SCALA ACADEMY OF LYRIC OPERA academic years 2021-2023 Photo: Mario Wurzburger AT SCHOOL WITH LA SCALA LA SCALA ACADEMY he La Scala Academy provides thorough, in-depth OF LYRIC OPERA training to professional figures involved in the ounded by Riccardo Muti in 1997 under the artistic performing arts through its four departments: T direction of Leyla Gencer (and later of her successors Music, Dance, Stagecraft, Management. Its broad FMirella Freni and Renato Bruson), the La Scala Academy curriculum ranges from basic and core training courses of Lyric Opera carries forward the legacy of the “Cadetti to specialization courses and professional workshops. della Scala” school instituted in 1950 by Arturo Toscanini to The highest level of instruction is ensured by Teatro conserve and transmit the Italian operatic tradition to the alla Scala professionals, acclaimed performers, and new generations. renowned experts in the performing arts. The Academy provides young opera singers with a solid The teaching method derives from the philosophy of background in voice and music, honing their technical and learning by doing and prepares students for their future interpretive skills in a two-year program to prepare them for career through intense daily exposure to the performing a successful professional career. arts in a real world context. The teaching staff is composed of artists of the highest caliber who are able to transmit their stage experience to the students. They are led by Luciana D’Intino, head instructor, in charge of vocal and interpretive technique. Among her colleagues are the opera coaches Vincenzo Scalera, Umberto FOUNDING PARTNERS Finazzi, James Vaughan, Nelson Guido Calzi, and Michele D’Elia for role studies, and the director Marina Bianchi, who teaches stage arts. -
Eugene Ormandy Commercial Sound Recordings Ms
Eugene Ormandy commercial sound recordings Ms. Coll. 410 Last updated on October 31, 2018. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2018 October 31 Eugene Ormandy commercial sound recordings Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 4 Administrative Information........................................................................................................................... 5 Related Materials........................................................................................................................................... 5 Controlled Access Headings..........................................................................................................................6 Collection Inventory...................................................................................................................................... 7 - Page 2 - Eugene Ormandy commercial sound recordings Summary Information Repository University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts Creator Ormandy, Eugene, 1899-1985 -
Staged Treasures
Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio -
1Ere De Couv Mise En Page 1
Nouveautés Février 2016 Labels distribués: Tél.: 01 42 59 33 28 Amati, Ambitus, Ars Producktion, ATMA Classique, Bayer Records, Black Line/StarsLine, Budapest Music Center, Champs Hill Records, Compass, Continuo Classics, Daphne, Doron music, Euphonia, Europ&Art, Farao Classics, Feel Good Music, FNM, Fra Bernardo, Harp&Co, Fax : 09 72 47 72 96 Hortus, ICA CLassics, Jazzwerkstatt, Jean-François Production, Lodia, MA Recordings, Maguelone, Marcal classics, Maxanter, Melba Recordings, Membran, Metronome, Odradek records, OUR Recordings, Phaia music, Premiers Horizons, PROFIL, Prova Records, Relief, Scoville, Signum Classics, Skarbo, STUNT Sundance, Suoni e Colori, Sonarti, Troba Vox, Tudor, Tuxedo, Urtext, West Wind, WW1 Music [email protected] En magasin le : 19 Février 2016 Ferdinando Bertoni (1725-1813) : Orphée et Euridyce Opéra en 3 actes sur un livret de Ranieri de Calzabigi Premier enregistrement sur instruments d’époques Vivica Genaux, Mezzosoprano Francesca Lombardi-Mazzulli, soprano Jan Petryka, ténor Roberto Zarpellon, direction Ensemble Lorenzo da Pontes Les 70 opéras de Ferdinando Bertoni sont presque tous oubliés, sauf son Orphée. Il a écrit aussi des Oratorios, des sonates pour clavecin et de la musique de chambre. La première représentation de l’opéra fut le 3 janvier 1776 à Venise au théâtre San Benedetto. Il est basé sur le même livret que l’Orphée et Euridice de Gluck, et a été également composé pour le même castrat, Gaetano Guadagni. Contrairement à Gluck, Bertoni a créé un véritable opéra-seria, dont nous célèbrons sa redécouverte ici grâce à ce nouvel enregistrement avec la grande et talentueuse Vivica Genaux. L’opera seria est un opéra de tradition et de langue italienne pratiqué au xviiie siècle. -
Toscanini in Stereo a Report on RCA's "Electronic Reprocessing"
Toscanini in Stereo a report on RCA's "electronic reprocessing" MARCH ERS 60 CENTS FOR STEREO FANS! Three immortal recordings by Arturo Toscanini and the NBC Symphony have been given new tonal beauty and realism by means of a new RCA Victor engineering development, Electronic Stereo characteristics electronically, Reprocessing ( ESR ) . As a result of this technique, which creates stereo the Toscanini masterpieces emerge more moving, more impressive than ever before. With rigid supervision, all the artistic values have been scrupulously preserved. The performances are musically unaffected, but enhanced by the added spaciousness of ESR. Hear these historic Toscanini ESR albums at your dealer's soon. They cost no more than the original Toscanini monaural albums, which are still available. Note: ESR is for stereo phonographs only. A T ACTOR records, on the 33, newest idea in lei RACRO Or AMERICA Ask your dealer about Compact /1 CORPORATION M..00I sun.) . ., VINO .IMCMitmt Menem ILLCr sí1.10 ttitis I,M MT,oMC Mc0001.4 M , mi1MM MCRtmM M nm Simniind MOMSOMMC M Dvoìtk . Rn.psthI SYMPHONY Reemergáy Ravel RRntun. of Rome Plue. of Rome "FROM THE NEW WORLD" Pictures at an Exhibition TOSCANINI ARTURO TOSCANINI Toscanini NBC Symphony Orchestra Arturo It's all Empire -from the remarkable 208 belt- driven 3 -speed turntable -so quiet that only the sound of the music distinguishes between the turntable at rest and the turntable in motion ... to the famed Empire 98 transcription arm, so perfectly balanced that it will track a record with stylus forces well below those recommended by cartridge manufacturers. A. handsome matching walnut base is pro- vided.