DOCSLIB.ORG

VOCAL 78 Rpm Discs LINA PAGLIUGHI [S] 2192

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
VOCAL 78 Rpm Discs LINA PAGLIUGHI [S] 2192 VOCAL 78 rpm Discs LINA PAGLIUGHI [s] 2192. 12” Green Cetra 25093 [2.70628/2.70629]. IL RE: O Colombello sposarti (Gior- dano) / FALSTAFF: Sul fil d’un soffio (Verdi). Side one particularly lovely music beautifully sung. Just about 1-2. $12.00. LUELLA PAIKIN [s]. 1896-New York City, 1969. Collectors will hopefully have read Michael Bott’s recent valuable research on Miss Paikin (Mrs. Joseph Bernham) in The Record Collector magazine. It was Mr. Bott who, through much effort, managed to find a death date for Miss Paikin. She was a pupil of Marie Brema in England and is described in one article dating from 1925 as a protégée of Luisa Tetrazzini. A popular artist in England during the 1920s and ‘30s both in concert and opera, Paikin recorded acoustically for Aeolian-Vocalion and electrically for HMV, her records all quite uncommon. She emigrated to the U.S. prior to W.W. II, but a career here failed to take hold. 2102. 12” PW Red HMV DB 1057 [Cc8588-V/Cc10847-III]. ABDUCTION FROM THE SERAGLIO: Ah, I Loved Him (Mozart) / AIR AND VARIATIONS (Mozart). In English/Italian. Couple rubs, one small LSS, cons. 2. $12.00. JOSÉ PALET [t] 2918. 10” Red acous. Victrola 927. LUCREZIA BORGIA: Di pescatore ignobile (Donizetti) / LA DOLORES: Di que es verdad (Bretón). Cons. 2. $10.00. 1705. 12” Red acous. Victrola 6384. LA DOLORES: Jota (Bretón) / MARINA: Duo de Marina Jorge (Arrieta). With MERCEDES FARRY [s]. Valencian soprano Farry had a notable career in Spain in major zarzuela and operatic roles (such as Ophelia in Thomas’ Hamlet). She made her U.S. debut in 1922 in concert at Aeolian Hall, NYC. One critic indicated that the coloratura arias were “exceedingly well sung” and that “Mme. Farry exhibited coloratura abilities of a high order. Her scales were sung with admirable clarity”. Scarce. As new Just about 1-2. $15.00. IMRE PALLÓ [b] 2247. 12” Plum PW Czech HMV AN 453 [CV757- II/CV758-I]. BALLO IN MASCHERA: Eri tu (Verdi) / FAUST: Avant de quitter (Gounod). In Hungarian. Just about 1-2. $15.00. ROLANDO PANERAI [ms] 2760. 12” Parlo.-Odeon R.30033 [2-21276/ 2-21277]. SAMSON ET DALILA: Act II Duet (Saint-Saëns). Two sides. With LUISA RIBACCHI [ms]. In Italian. Orch. dir. Arturo Basile. Just about 1-2. $12.00. CHARLES PANZÉRA [b] 3535. 10” Blk. elec. Disque Gram. P-723 [BFR65-I/BRF80-II]. CHANSON TRISTE (Duparc)/ NOËL DES ENFANTS QUI N’ONT PLUS DE MAISON (Debussy). Orch. dir. Piero Coppola. Just about 1- 2. $12.00. 1612. 10” Blk. elec. Disque Gram. P-724 [BFR- 110-I/115-II]. CHANSON POUR LE PE- TIT CHEVAL (de Sévérac)/LES BER- CEAUX (Fauré). Piano acc. Mme. Panzéra-Baillot. Excellent later ‘30s IMRE PALLÓ in his creator role of Háry János laminated pressing. MGT side one, (Kódaly) otherwise just about 1-2. $12.00. 3739. 10” Red Disque Gram. DA-4913 [OLA-1446-2/OLA-1449-1]. EXTASE / AURORE (both Fauré). Piano acc. Mme. Panzéra-Baillot. Just about 1-2. $12.00. 3459. 12” Blk. acous. Disque Gram. W-652 [CL41-II/CL42-II]. ORFEO: Plaintes d’Orfeo (Monteverdi) / AMADIS: Bois épais (Lully). Side one 2. Side two 2-3. $10.00. 2217. 12” Blk. elec. Disque Gram. W-990 [CT4023-II/CTR3150-I]. KADDISH / CHANSON HÉBRAÏQUE (both Ravel). Piano acc. Side one 2. Tiny rim flake side two far from grooves, IMs, lt. rubs, 2-3. $12.00. 175 VOCAL 78 rpm Discs 1013. 12” Red PW Disque Gram. DB 5009 [2LA1332-1/2LA1333-1]. L’HORIZON CHIMÉR- IQUE (Faure). Piano acc. Mme Panzéra-Baillot. Few light rubs, cons. 2. $12.00. ANTONIO PAOLI [t]. 1871-Ponce, PR- 1946. Judging from remarks by colleagues who heard him (as quoted in the 1972 article on Paoli by Jesus M. López in The Record Collector, Vol. XXII, Nos. 1-2), Paoli must have been the great dramatic tenor of his era: “Paoli was one of the greatest dramatic tenors in the world of his time – and of this time, too” (Lazaro). “Paoli was one of the greatest singing actors I have ever seen in my life” (Piccaluga). [After “O Paradiso” in l’Africana] “sounded the most stupendous ovation I have heard in my fifty years [as a chorister] at La Scala” [Enrico Neni]. “I sang with Paoli several times. His high notes … sounded so loud that to sing with him you had to know the music well, as otherwise you had no chance to hear the orchestra” [Manfredo Polverosi]. “Let me tell you that during my long life I have not heard a better Otello than his and believe me I have heard a lot of Otellos” (Elvira de Hidalgo). 3347. 10” Red SR HMV 54340 [10519b]. TROVATORE: Di geloso amor (Verdi). With CLARA JOANNA [s], FRANCESCO CIGADA [b]. Tiny lbl. stkr. Just about 1-2. $20.00. 3575. 10” Red Vinyl Victor press. of Gram. 2-52811 [1302ah]. OTELLO: Tu? Indietro: Fuggi! (Verdi). Just about 1-2. $30.00. 3221. 10” Mauve HMV AGSA 22 ANTONIO PAOLI 1180ah]/ 12521b]. DÉJANIRE: Viens, o toi/ SAMSON ET DALILA: Figli miei (both Saint-Saëns). Just about 1-2. $15.00. 1933. 12” Red PW HMV DB 469 [1210c/1211½c]. PAGLIACCI: Vesti la giubba / PAGLIAC- CI: No, pagliaccio non son (Leoncavallo). From the complete 1907 series supervised by the composer, side one was never issued on Victor. Just about 1-2. $35.00. 2283. 12” White lbl. Victrola 92032 [1182c]. TROVATORE: Di quella pira (Verdi). With La Scala Chorus. Excellent pressing. Couple small mks., cons. 2. $15.00. 1174. 12” Red ’12 Pats. Victrola 92035. CARMEN: Mia tu sei (Bizet). With GIUSEPPINA HUGUET [s], INES SALVADOR [ms], FRANCESCO CIGADA [b]. Inez Salvador (Barcelona, 1878-London, 1910) was first heard at the Milan Teatro Lirico in 1902. Her career included a number of Italian houses, as well as South America and Eng- land, where her sudden death occurred at the age of 32. Just about 1-2. $15.00. 2404. 12” Red ’12 Pats. “A” plate Victrola 92048 [1186c]. WILLIAM TELL: Che finger tanto (Rossini). With FRANCESCO CIGADA [b]. IMs and lt. NR on lbl. Cons. 2. $12.00. 1652. 12” Red vinyl While lbl. Victrola 92050 [1257c]. CARMEN: Final Scene (Bizet). With MARIA PASSARI [ms]. RCAVr Bk. Just about 1-2. $15.00. ISABELLA PAOLI [s]. Firenze, 1863?–Bologna, 1903. Paoli began her career in 1878 in operetta. Blessed with both beauty and vocal talent, she quickly became a great success. She subsequently appeared in opera, an early performance having been in Valencia, 1889, as Elsa in Lohengrin. Heard in a number of Italian theaters, including the Politeama in Genoa, the Dal Verme in Milano, and the Mercadante in Naples, Paoli gained considerable attention, both for her on stage performances and her prima donna behavior with related scandals and eccentricities. She died as a result of complications following surgery while engaged to sing Gioconda at the Duse Theater in Bologna. Judging from her records, she was one of the great dramatic sopranos of her era. Her four extremely rare records (four Zonophones) were recorded the year of her death. How fascinating it is that we are able to recall through records a voice stilled for over 100 years! 176 1425. 10” Blk. Disco Zonofono X-1842 (take 2]. GIOCONDA: Suicidio! (Ponchielli). Clicks from very lt. scr. disappear in from about an 8th of an inch (following her first “Suicidio!”), otherwise a remarkable. 2. $2500.00. VOCAL 78 rpm Discs GRAZIELLA PARETO [s]. Barcelona, 1889-Rome, 1973. Making her debut at the age of sixteen in Barcelona as Micaela in Carmen, Pareto gained quick success. In 1908 she appeared at the Teatro Regio, Parma, as Amina in Bellini’s Sonnambula and also made her first recordings. Heard in other Italian houses, she subsequently appeared in Buenos Aires and Havana. Her La Scala debut was in 1914 and she first sang at Covent Garden in 1920, in both instances as Gilda in Rigoletto. New venues in the 1920s included the Chicago Opera and Monte Carlo. She was married to composer Gabriele Sibella. The five 10” very late (1926) Spanish acoustical recordings below, all excellent Spanish pressings, were Pareto’s personal copies. Each has a white semi-label over the trademark area rubber stamped “no vendible”. 1885. 10” Red Dog Gram. Con. 53522 [11100b]. SONNAMBULA: Ah non giunge (Bellini). Slightest gilt fade on label. Surface without problems. Just about 1-2. $35.00. 1886. 10” Red Dog Gram. Con. 53521 [11099b]. SONNAMBULA: Sovra il sen (Bellini). Slightest gilt fade on label. Surface without problems. Just about 1-2. $35.00. 1458. 10” acous. VdeSA DA 772 [BS2252-I/BS2260-I]. MI NIÑA (Guetaris) / ESTRELLITA (Ponce). Piano acc. Federico Longás. Few lightest mks., cons. 2. $150.00. GRAZIELLA PARETO 1459. 10” acous. VdeSA DA 773 [BS2243-I/BS2259-I]. DOLOR DE AMAS (Gabironco-Longás) / LA PIEL DE MI AMADA (Mata-Longás). Piano acc. Federico Longás. Few lightest mks., cons. 2. $150.00. 1460. 10” acous. VdeSA DA 774 [BS2244-II/BS2258-I]. LA GUINDA (Mata-Longás) / MUÑEQUITA (Zaragoza-Longás). Piano acc. Federico Longás. Few lightest mks., cons. 2. $150.00. 1461. 10” acous. VdeSA DA 775 [BS2241-1/BS2242-1]. CANÇO DE BRESSOL (Arús- Longás) / PENSANT AMB TU (Vendrell-Longás). Piano acc. Federico Longás. Lt. NS last ½” side one, few lt. mks., cons. 2. $150.00. 1462. 10” acous. VdeSA DA 781 [BS2250-II/BS2251-I]. LA PAS- TORATA [Canço de Nada] / L’HEREU RIERA; BON CAS- SADOR (Canciones catalanas). Piano acc. Federico Longás. Few lt. mks., cons.
Load more

Recommended publications
  • Comunicat Intern
    LICEU A LA FRESCA - LA TRAVIATA Giuseppe Verdi Òpera en tres actes. Llibret de Francesco Maria Piave basat en La dame aux camélias d’Alexandre Dumas fill . Gran Teatre del Liceu. Temporada 2014/15 Dissabte 18 de juliol Inici espectacle a les 20h Inici retransmissió Liceu a la Fresca: 21:30h Òpera en texans. Programa sobre La traviata 22h Inici de la retransmissió de l’òpera Durada aproximada: 3h Violetta Valéry Anita Hartig Flora Bervoix Gemma Coma-Alabert Annina Miren Urbieta Vega Alfredo Germont Ismael Jordi Giorgio Germont, el seu pare Leo Nucci Gastone, vescomte de Letorières Jorge Rodríguez-Norton Baró Douphol Toni Marsol Marquès d’Obigny Marc Canturri Doctor Grenvil Fernando Radó Giuseppe, servent de Violetta José Luis Casanova Criat de Flora Miquel Rosales Comissionat Mariano Viñuales Direcció musical Evelino Pidò Direcció d’escena David McVicar Escenografia i vestuari Tanya McCallin Il·luminació Jennifer Tipton Coreografia Andrew George Assistents de la direcció d’escena Marie Lambert i Leo Castaldi Nova coproducció Gran Teatre del Liceu / Scottish Opera (Glasgow) Welsh National Opera (Cardiff) / Teatro Real (Madrid) Orquestra Simfònica i Cor del Gran Teatre del Liceu Direcció del Cor Conxita Garcia Municipis participants Arenys de Mar, Barcelona, Cervera, Girona, Igualada, Lleida, Martorell, Puigcerdà, Tordera, Tortosa, Valls, Vielha 1 ARGUMENT Per David McVicar, director d’escena de La traviata L’acció té lloc a París al segle XIX. ACTE I. A l’apartament de Violetta Violetta Valéry, una coneguda cortesana, ha organitzat una festa per celebrar la seva recuperació d’una greu malaltia. Gastone de Letorières presenta Alfredo Germont a la seva jove i tímida amiga, i assabenta Violetta que ha trucat cada dia interessant-se per la seva salut.
    [Show full text]
  • Vocal Wisdom
    CD 129015 -< /saom vcai nisaom Maxims of GIOVANNI BATTISTA LAMPERTI Master of MARCELLA SEMBRICH, STAGNO, HASTREITEK. and OTHER FAMOUS SINGERS Kfcorded and Explained by HIS PUPIL and ASSISTANT WILLIAM EARL BROWN Copyright, MCMXXXl by WILLIAM EARL BROWN New York Printed in the U. S. A. DEDICATION To the memory of my Master, Cavaliere Giovanni Battista Lamperti, the last great master of the old Italian manner of singing. WM. EARL BROWN. PREFACE our an- | strengthen own idea when we find other agreeing with us. Nevertheless, I consider it unwise, nay, even fatal, to be over-influenced by another's opinion, unless we are prepared to take it in understanding^ When it coincides with, or completes our own reason- ing, we have found a feather of truth. It is wise, however, to take note of things we do not agree with, without antagonism. To-morrow, or in two seconds, they may be just the ideas we have sought so long. Life is too brief to work out a problem of art alone. "We should profit through another's experience and research, avoiding his faults while emulating his virtues. All roads lead to Rome. A fact can be approached from all sides. Listen and learn, but trust yourself, for you must go your path and not another's. Select from the topics in the book any subject of interest to you personally. My deductions and explanations may help you to find your voice. W. E. B. INTRODUCTION HERE was a Golden of This | Age Song. period produced the greatest singers of all time, re- reflecting the art of the greatest masters of any period, These teachers made few rules, but in- sisted on obedience to natural laws, which were physi- cal, not anatomical.
    [Show full text]
  • Karel Burian – the Guest of Budapest (1913–1924)
    100 Ferenc János Szabó Institute of Musicology, Research Centre for the Humanities Hungarian Academy of Sciences, Budapest Karel Burian – the Guest of Budapest (1913–1924) Abstract | In the present article the last third of Karel Burian’s career is discussed, not only because it is perhaps a less known period of Burian’s biography, but also because it is close- ly connected with Hungarian culture. In these years he appeared in Budapest as a regular guest of the Royal Hungarian Opera mainly as a Wagner singer but also in French, Italian and Hungarian operas, and celebrated his thirty-year jubilee as an opera singer also in Bu- dapest. After a chronological overview, certain special aspects of Burian’s Hungarian activity are examined, e. g. his Hungarian naturalization (the so called ‘Hungarian divorce’) and the political context of his appearances at the end of the First World War. Keywords | Karel Burian – First World War – Hungarian divorce – Hungary – Naturalization – Opera, Scandals – Richard Wagner 1 Introduction1 Even today, the name of the Czech Heldentenor Karel Burian sounds familiar not only in his na- tive land, but also among the opera lovers in Hungary. Despite the fact that it was required to sing in Hungarian on the stage of the Royal Hungarian Opera, the most successful Wagner tenor of the fi rst quarter of the 20th century in Budapest was a foreign singer: Karel Burian. In the present article I discuss the last ten years of his career, not only because it is perhaps a less known period of Burian’s biography, but also because it is closely connected with Hungarian musical culture.
    [Show full text]
  • Corso Di Dottorato Di Ricerca in Storia Delle Arti Tesi Di Ricerca
    Corso di Dottorato di ricerca in Storia delle Arti ciclo XXI Tesi di Ricerca «THE PHENOMENAL CONTRALTO» Vita e carriera artistica di Eugenia Mantelli SSD: L-ART/07 Musicologia e storia della musica Coordinatore del Dottorato ch. prof. Piermario Vescovo Supervisore ch. prof. Paolo Pinamonti Dottorando Federica Camata Matricola 808540 «THE PHENOMENAL CONTRALTO». VITA E CARRIERA ARTISTICA DI EUGENIA MANTELLI INDICE Introduzione p. 3 1. Biografia di Eugenia Mantelli p. 7 1.1. L’infanzia e gli studi p. 9 1.2. Il debutto al Teatro de São Carlos p. 13 1.3. La carriera internazionale p. 16 1.3.1. 1886: prima tournée in Sudamerica p. 17 1.3.2. 1887: seconda tournée in Sudamerica p. 24 1.3.3. 1889: terza tournée in Sudamerica p. 26 1.3.4. Eugenia Mantelli-Mantovani p. 28 1.3.5. Dal Bolshoi al Covent Garden p. 31 1.3.6. ¡Que viva Chile! Ultime tournée in Sudamerica p. 33 1.4. New York, il Metropolitan e le tournée negli Stati Uniti p. 36 1.4.1. Eugenia Mantelli-De Angelis p. 47 1.5. «Madame Mantelli has gone into vaudeville» p. 51 1.6. Mantelli Operatic Company p. 66 1.7. Attività artistica in Italia p. 69 1.8. Le ultime stagioni portoghesi e il ritiro dalle scene p. 81 1.9. Gli anni d’insegnamento p. 91 1.10.Requiem per Eugenia p. 99 1 2. Cronologia delle rappresentazioni p. 104 2.1. Nota alla consultazione p. 105 2.2. Tabella cronologica p. 107 3. Le fonti sonore p. 195 3.1.
    [Show full text]
  • Gianni Schicchi Puccini Il Trittico 2000-2001
    3 COMUNE DI LUCCA TEATRO DEL GIGLIO CENTRO STUDI G. PUCCINI Teatro di Tradizione in coproduzione con FONDAZIONE ORCHESTRA REGIONALE TOSCANA PUCCINI IL TRITTICO 2000-2001 GIANNI SCHICCHI PUCCINI IL TRITTICO 2000-2001 direttore DONATO RENZETTI ORT - ORCHESTRA DELLA TOSCANA Progetto Puccini nel Novecento 1999-2002 Progetto Puccini nel Novecento 1999-2002 COMUNE DI LUCCA TEATRO DEL GIGLIO CENTRO STUDI G. PUCCINI in coproduzione con FONDAZIONE ORCHESTRA REGIONALE TOSCANA Teatro Verdi, Firenze - giovedì 3 maggio 2001 - ore 21.00 TEATRO DEL GIGLIO, LUCCA - venerdì 4 maggio 2001 - ore 21.00 GIANNI SCHICCHI in forma di concerto direttore DONATO RENZETTI ORT - ORCHESTRA DELLA TOSCANA IL TRITTICO 2000-2001 Teatro Verdi, Firenze - giovedì 3 maggio 2001 - ore 21.00 TEATRO DEL GIGLIO, LUCCA - venerdì 4 maggio 2001 - ore 21.00 GIANNI SCHICCHI in forma di concerto opera in un atto di Giovacchino Forzano musica di GIACOMO PUCCINI Edizioni Casa Ricordi, Milano personaggi e interpreti Gianni Schicchi Bruno De Simone Lauretta Anna Carnovali Zita Adele Cossi Rinuccio Roberto Iuliano Gherardo Carlo Bosi Nella Daniela Schillaci Gherardino Matteo Ciccone Betto di Signa Giovanni Mele Simone Marco Spotti Marco Arturo Cauli La Ciesca Dionisia Di Vico Maestro Spinelloccio Armando Gabba Ser Amantio di Nicolao Fabio Bonavita Pinellino Marco Pauluzzo Guccio Daniele Tonini Direttore DONATO RENZETTI ORT - ORCHESTRA DELLA TOSCANA Mise en space di GILBERTO TOFANO in collaborazione con ROSANNA MONTI - luci UGO BENEDETTI Fin dalla mia elezione a Sindaco della città di Lucca, ho manifestato il mio impegno personale e quello dell’Amministrazione a porre al centro del programma culturale la figura e l’opera di Giacomo Puccini.
    [Show full text]
  • OPERA, COMIC OPERA, MUSICAL Box 4/1
    Enid Robertson Theatre Programme Collection MSS 792 T3743.R OPERA, COMIC OPERA, MUSICAL Box 4/1 Artist Date Venue, notes Melba, Dame Nellie, with Frederic Griffith 12.11.1902 Direction Mr George (Flute), Llewela Davies (Piano) M. (Second Musgrove Bensaude (Vocal) Signorina Sassoli Concert:15.11) Town Hall, Adelaide (Harp)Louis Arens, (Vocal)Dr. F. Matthew Ennis (Piano) Handel, Thomas, Arditi. Melba, Dame Nellie with, Tom Burke 15.6.1919 Royal Albert Hall, (Tenor), Bronislaw Huberman (Violin) London Frank St. Leger (Piano) Arthur Mason (Organ) Verdi, Puccini, etc. Melba, Dame Nellie 4.10.1921 Manager, John Lemmone, With Una Bourne (Piano), W.F.G.Steele (Second Concert Town Hall, Adelaide (Organ), John Lemmone (Flute) Mozart, 6.10.21) Verdi Melba, Dame Nellie & J.C. Williamson 26.9.1924 Direction, Nevin Tait Grand Opera Season , Aida (Verdi) Theatre Royal Adelaide Conductor Franco Paolantonio, with Augusta Concato, Phyllis Archibald, Nino Piccaluga, Edmondo Grandini, Gustave Huberdeau, Oreste Carozzi Melba, Dame Nellie & J.C. Williamson, 4.10.1924 Direction, Nevin Tait Grand Opera Season, Andrea Chenier, Theatre Royal Adelaide (Giordano) First Adelaide Performance, Franco Paolantonio (Conductor) Nino Piccaluga, Apollo Granforte, Doris McInnes, Antonio Laffi, Oreste Carozzi, Gaetano Azzolini, Luigi Cilla, Luigi Parodi, Antonio Venturi, Alfredo Muro, Vanni Cellini Melba, Dame Nellie & J.C. Williamson, 6.10.1924 Direction, Nevin Tait Grand Opera Season, DonPasquale, Theatre Royal, Adelaide (Donizetti) First Performance in Adelaide, Arnaldo
    [Show full text]
  • Giovanni Marchisio
    Giovanni Marchisio Il balen del suo sorriso C’era una volta il baritono Carlo Tagliabue 02_Il_Balen_del_sorriso_edizione_2015_interni.indd 1 17/09/15 15:31 2014 INDICE Prefazione ............................................................................................................................. VII Nota dell’Autore .................................................................................................................... IX 1 - Scusatemi se da sol mi presento ........................................................................ 1 Un nido di memorie ............................................................................................................................. 3 ...che di studi ancor poco mi manca .................................................................................................... 8 Andiam, incominciate! ....................................................................................................................... 11 Verso America il mare solcava ........................................................................................................... 13 Il debutto all’Arena e alla Scala .......................................................................................................... 31 Al Metropolitan .................................................................................................................................. 45 Il secondo conflitto mondiale: lo spartiacque ................................................................................... 55 Il dopoguerra:
    [Show full text]
  • 1 CRONOLOGÍA LICEÍSTA Se Incluye Un Listado Con Las
    CRONOLOGÍA LICEÍSTA Se incluye un listado con las representaciones de Aida, de Giuseppe Verdi, en la historia del Gran Teatre del Liceu. Estreno absoluto: Ópera del Cairo, 24 de diciembre de 1871. Estreno en Barcelona: Teatro Principal, 16 abril 1876. Estreno en el Gran Teatre del Liceu: 25 febrero 1877 Última representación en el Gran Teatre del Liceu: 30 julio 2012 Número total de representaciones: 454 TEMPORADA 1876-1877 Número de representaciones: 21 Número histórico: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21. Fechas: 25 febrero / 3, 4, 7, 10, 15, 18, 19, 22, 25 marzo / 1, 2, 5, 10, 13, 18, 22, 27 abril / 2, 10, 15 mayo 1877. Il re: Pietro Milesi Amneris: Rosa Vercolini-Tay Aida: Carolina de Cepeda (febrero, marzo) Teresina Singer (abril, mayo) Radamès: Francesco Tamagno Ramfis: Francesc Uetam (febrero y 3, 4, 7, 10, 15 marzo) Agustí Rodas (a partir del 18 de marzo) Amonasro: Jules Roudil Un messaggiero: Argimiro Bertocchi Director: Eusebi Dalmau TEMPORADA 1877-1878 Número de representaciones: 15 Número histórico: 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36. Fechas: 29 diciembre 1877 / 1, 3, 6, 10, 13, 23, 25, 27, 31 enero / 2, 20, 24 febrero / 6, 25 marzo 1878. Il re: Raffaele D’Ottavi Amneris: Rosa Vercolini-Tay Aida: Adele Bianchi-Montaldo Radamès: Carlo Bulterini Ramfis: Antoine Vidal Amonasro: Jules Roudil Un messaggiero: Antoni Majjà Director: Eusebi Dalmau 1 7-IV-1878 Cancelación de ”Aida” por indisposición de Carlo Bulterini.
    [Show full text]
  • Volume 70, Number 11 (November 1952) Guy Mccoy
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 11-1-1952 Volume 70, Number 11 (November 1952) Guy McCoy Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation McCoy, Guy. "Volume 70, Number 11 (November 1952)." , (1952). https://digitalcommons.gardner-webb.edu/etude/123 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. IN THE FINEST HOMES ••. ON THE LeTTeRS CONCERT STAGE ~~ T o T B E E D I T o R ITS liL1ristmasShopping &Juide . ~ ; ¢=.<- ~ am going to try and start one of INSTRUMENTS IN MINIATURE Articles these libraries for my few pupils as Piano, Violin, Cornet, Cello, Banjo, Trom- LYREAND WREATH PIN bone, Guitar, Drum, Saxophone. Sir: I would like to express a the benefit her students receive well deserved compliment to the from this library must be too nu- J-70 reads Music J_22A Gold Plated (Pin Back Only). .60 tJ-228 Sterling Pin or Chorm ETUDE Magazine. I think the Au- merous to mention. .75 J-71 reads Choir (Specify which instrument) gust issue is one of the best ever Roger Warren Roszell J-72 Plain Bar or Engraving *BRACElET WITH NINE CHA.RMS published.
    [Show full text]
  • Catalogo Delle Opere a Stampa E Una Cartolina Con Firma Autografa, Il Primo 24 Pp
    Lim Antiqua s.a.s - Studio bibliografico Via della Chiesa IX, 44 Loc. Monte San Quirico 55100 LUCCA Telefono e Fax +39 0583 34 2218 (dalle 9 alle 13) +39 333 2551758 www.limantiqua.com/it email: [email protected] P. IVA 01286300460 Dati per bonifico: C/C postale n. 11367554 IBAN: IT 67 Q 07601 13700 000011367554 BIC: BPPIITRRXXX Orario di apertura Lunedì – Venerdì ore 9.00/14.00 Gli ordini possono essere effettuati per telefono, email o via fax. Il pagamento può avvenire tramite contrassegno, bollettino postale, bonifico sul conto postale o PayPal. Le spese di spedizione sono a carico del destinatario. I prezzi indicati sono comprensivi di IVA. Gli ordini saranno ritenuti validi e quindi evasi anche in caso di disponibilità parziale dei pezzi richiesti. Compositori p. 2 Direttori d’orchestra p. 26 Strumentisti e pianisti p. 38 Cantanti d’opera p. 43 5. Pierre Boulez Compositori 1. Franco Alfano (Napoli 1875 – Sanremo 1954) Lettera autografa firmata del compositore napoletano noto per aver completato Turandot di Puccini, indirizzata al giornalista Giorgio Pillon. Dat. 12 gennaio 1946: “Chiarissimo Professore, la notizia della morte di Romualdo Pantini, mio vecchio caro amico, mi è giunta di sorpresa …Io devo a Pantini innumerevoli consigli se non altrettante reali collaborazioni. “Eliana” datosi al Teatro Reale di Roma, dopo l’estero, due anni fa, appartiene a queste ultime. Anche per “Sakuntala” egli mi è stato largo di suggerimenti”. Franco Alfano rivestì prestigiosi incarichi tra i quali ricordiamo l'insegnamento al Liceo di Bologna, nel 1918 la direzione del Conservatorio di Bologna e dal 1923 la direzione del conservatorio "Giuseppe Verdi" di Torino che mantenne sino al 1939.
    [Show full text]
  • La Bohème Opera in Four Acts Music by Giacomo Puccini Italian Libretto by Giuseppe Giacosa and Luigi Illica Afterscènes Da La Vie De Bohème by Henri Murger
    ____________________ The Indiana University Opera Theater presents as its 395th production La Bohème Opera in Four Acts Music by Giacomo Puccini Italian Libretto by Giuseppe Giacosa and Luigi Illica AfterScènes da la vie de Bohème by Henri Murger David Effron,Conductor Tito Capobianco, Stage Director C. David Higgins, Set Designer Barry Steele, Lighting Designer Sondra Nottingham, Wig and Make-up Designer Vasiliki Tsuova, Chorus Master Lisa Yozviak, Children’s Chorus Master Christian Capocaccia, Italian Diction Coach Words for Music, Supertitle Provider Victor DeRenzi, Supertitle Translator _______________ Musical Arts Center Friday Evening, November Ninth Saturday Evening, November Tenth Friday Evening, November Sixteenth Saturday Evening, November Seventeenth Eight O’Clock Two Hundred Eighty-Fourth Program of the 2007-08 Season music.indiana.edu Cast (in order of appearance) The four Bohemians: Rodolfo, a poet. Brian Arreola, Jason Wickson Marcello, a painter . Justin Moore, Kenneth Pereira Colline, a philosopher . Max Wier, Miroslaw Witkowski Schaunard, a musician . Adonis Abuyen, Mark Davies Benoit, their landlord . .Joseph “Bill” Kloppenburg, Chaz Nailor Mimi, a seamstress . Joanna Ruzsała, Jung Nan Yoon Two delivery boys . Nick Palmer, Evan James Snipes Parpignol, a toy vendor . Hong-Teak Lim Musetta, friend of Marcello . Rebecca Fay, Laura Waters Alcindoro, a state councilor . Joseph “Bill” Kloppenburg, Chaz Nailor Customs Guard . Nathan Brown Sergeant . .Cody Medina People of the Latin Quarter Vendors . Korey Gonzalez, Olivia Hairston, Wayne Hu, Kimberly Izzo, David Johnson, Daniel Lentz, William Lockhart, Cody Medina, Abigail Peters, Lauren Pickett, Shelley Ploss, Jerome Sibulo, Kris Simmons Middle Class . Jacqueline Brecheen, Molly Fetherston, Lawrence Galera, Chris Gobles, Jonathan Hilber, Kira McGirr, Justin Merrick, Kevin Necciai, Naomi Ruiz, Jason Thomas Elegant Ladies .
    [Show full text]
  • Progrmne the DURABILITY Of
    PRoGRmnE The DURABILITY of PIANOS and the permanence of their tone quality surpass anything that has ever before been obtained, or is possible under any other conditions. This is due to the Mason & Hamlin system of manufacture, which not only carries substantial and enduring construction to its limit in every detail, but adds a new and vital principle of construc- tion— The Mason & Hamlin Tension Resonator Catalogue Mailed on Jtpplication Old Pianos Taken in Exchange MASON & HAMLIN COMPANY Establishea;i854 Opp. Institute of Technology 492 Boylston Street SYMPHONY HALL, BOSTON HUNTINGTON 6-MASSACHUSETTS AVENUES , ( Ticket Office, 1492 J Telephones_, , Back^ ^ Bay-d \ Administration Offices. 3200 \ TWENTY-NINTH SEASON, 1909-1910 MAX FIEDLER, Conductor prngramm^ of % Nineteenth Rehearsal and Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, MARCH 18 AT 2.30 O'CLOCK SATURDAY EVENING, MARCH 19 AT 8.00 O'CLOCK COPYRIGHT, 1909, BY C. A. ELLIS PUBLISHED BY C. A.ELLIS, MANAGER 1417 Mme. TERESA CARRENO On her tour this season will use exclusively j^IANO. THE JOHN CHURCH CO. NEW YORK CINCINNATI CHICAGO REPRESENTED BY 6. L SGHIRMER & CO., 338 Boylston Street, Boston, Mass. Boston Symphony Orchestra PERSONNEL |J.M.^w^^w^»l^^^R^^^^^^^wwJ^^w^J^ll^lu^^^^wR^^;^^;^^>^^^>u^^^g,| Perfection in Piano Makinrf THE -^Mamtin Qaartcr Grand Style V, in figured Makogany, price $650 It is tut FIVE FEET LONG and in Tonal Proportions a Masterpiece of piano building^. It IS Cnickering & Sons most recent triumpLi, tke exponent of EIGHTY-SEVEN YEARS experience in artistic piano tuilding, and tlie lieir to all tne qualities tkat tke name of its makers implies.
    [Show full text]