The People's Tenor

Total Page:16

File Type:pdf, Size:1020Kb

The People's Tenor THE PEOPLE’S TENOR LUCIANO PAVAROTTI On the tenth anniversary of his passing, this new collection celebrates the extraordinary voice and life of Luciano Pavarotti – “the people’s tenor” “I would like to be remembered as the man who brought the opera to the masses.” LUCIANO PAVAROTTI 1 82.46 1 NESSUN DORMA Turandot PUCCINI 3.00 John Aldis Choir · London Philharmonic Orchestra · Zubin Mehta 2 DONNA NON VIDI MAI Manon Lescaut PUCCINI 2.37 National Philharmonic Orchestra · Oliviero de Fabritiis 3 LA DONNA È MOBILE Rigoletto VERDI 2.24 London Symphony Orchestra · Richard Bonynge 4 AH! MES AMIS, QUEL JOUR DE FÊTE La fille du regiment DONIZETTI 1.44 Orchestra of the Royal Opera House, Covent Garden · Richard Bonynge 5 AU FOND DU TEMPLE SAINT (PEARL FISHERS’ DUET) 5.26 Les pêcheurs de perles BIZET. Nicolai Ghiaurov bass. National Philharmonic Orchestra · Robin Stapleton 6 CH’ELLA MI CREDA La Fanciulla del West PUCCINI 2.02 National Philharmonic Orchestra · Oliviero de Fabritiis 7 CHE GELIDA MANINA La Bohème PUCCINI 4.38 Berliner Philharmoniker · Herbert von Karajan 8 VESTI LA GIUBBA Pagliacci LEONCAVALLO 2.45 Wiener Volksopernorchester · Leone Magiera 9 LA FLEUR QUE TU M’AVAIS JETÉE (FLOWER SONG) Carmen BIZET 4.28 Wiener Volksopernorchester · Leone Magiera 10 CELESTA AIDA Aida VERDI 3.36 Wiener Volksopernorchester · Leone Magiera 11 O SOAVE FANCIULLA La Bohème PUCCINI 4.13 Mirella Freni soprano. Berliner Philharmoniker · Herbert von Karajan 12 UNA FURTIVA LAGRIMA L’elisir d’amore DONIZETTI 4.47 English Chamber Orchestra · Richard Bonynge 13 E LUCEVAN LE STELLE Tosca PUCCINI 3.09 National Philharmonic Orchestra · Nicola Rescigno 14 DI QUELLA PIRA Il Trovatore VERDI 2.14 Wiener Opernorchester · Nicola Rescigno 15 QUESTA O QUELLA Rigoletto VERDI 1.49 London Symphony Orchestra · Richard Bonynge 16 AMOR TI VIETA Fedora GIORDANO 1.48 National Philharmonic Orchestra · Oliviero de Fabritiis 17 O PARADISO L’Africaine MEYERBEER 3.29 National Philharmonic Orchestra · Oliviero de Fabritiis 18 M’APPARI Martha FLOTOW 3.31 New Philharmonia Orchestra · Richard Bonynge 19 TRA VOI BELLE Manon Lescaut PUCCINI 1.15 Metropolitan Opera Orchestra · James Levine 20 RECONDITA ARMONIA Tosca PUCCINI 2.58 National Philharmonic Orchestra · Nicola Rescigno 21 SPIRTO GENTIL La Favorita DONIZETTI 3.28 Orchestra del Teatro Comunale di Bologna · Richard Bonynge 22 INGEMISCO Requiem VERDI 3.36 Wiener Philharmoniker · Sir Georg Solti 23 BRINDISI VERDI 2.50 Joan Sutherland soprano. London Opera Chorus National PhilharmonicLa traviata Orchestra · Richard Bonynge 24 SUZEL, BUON DI MASCAGNI 7.51 Cecilia Bartoli mezzo-sopranoL’amico Fritz. London Voices · Orchestra Sinfonica di Milano Giuseppe Verdi · Riccardo Chailly 25 NESSUN DORMA (ORIGINAL THREE TENORS VERSION) 3.08 José Carreras, Plácido Domingo tenors. Orchestra del Teatro dell’Opera di Roma Orchestra del Maggio Musicale Fiorentino. Zubin Mehta 2 84.09 1 ‘O SOLE MIO DI CAPUA, MAZZUCHI · CAPURRO; arr. CHIARAMELLO 3.25 National Philharmonic · Giancarlo Chiaramello 2 TORNA A SURRIENTO DE CURTIS · DE CURTIS; arr. CHIARAMELLO 4.27 National Philharmonic · Giancarlo Chiaramello 3 A VUCCHELLA TOSTI · D’ANNUNZIO; arr. CHIARAMELLO 3.10 Orchestra del Teatro Comunale di Bologna · Anton Guadagno 4 FUNICULÌ, FUNICULÀ DENZA · TURCO; arr. CHIARAMELLO 2.45 Orchestra e Coro del Teatro Comunale di Bologna · Anton Guadagno 5 NEL BLU, DIPINTO DI BLU (VOLARE) MODUGNO · MIGLIACCI; arr. MANCINI 3.27 Orchestra del Teatro Comunale di Bologna · Henry Mancini 6 NON TI SCORDAR DI ME CURTIS · FURNO; arr. MANCINI 2.54 Orchestra and Chorus conducted by Henry Mancini 7 MAMMA BIXIO · CHERUBINI; arr. MANCINI 3.34 Orchestra conducted by Henry Mancini 8 CARO MIO BEN GIORDANI; orch. FARIS 3.04 Philharmonia Orchestra · Piero Gamba 9 MATTINATA LEONCAVALLO; orch. FARIS 1.58 Philharmonia Orchestra · Piero Gamba 10 PASSIONE VALENTE, TAGLIAFERRI · BOVIO; arr. CHIARAMELLO 3.46 Orchestra del Teatro di Bologna · Giancarlo Chiaramello 11 VIVERE BIXIO; arr. MANCINI 3.24 Orchestra conducted by Henry Mancini 12 LA DANZA ROSSINI; arr. GAMLEY 3.09 Orchestra del Teatro Comunale di Bologna · Richard Bonynge 13 LA SERENATA TOSTI · CESAREO; arr. GAMLEY 3.18 Orchestra del Teatro Comunale di Bologna · Richard Bonynge 14 CARUSO DALLA 3.55 15 SANTA LUCIA TRAD.; arr. COURAGE 1.32 David Romano baritone. Orchestra conducted by Emerson Buckley 16 MARECHIARE TOSTI · DI GIACOMO; arr. CHIARAMELLO 3.55 National Philharmonic Orchestra · Giancarlo Chiaramello 17 TU CHE M’HAI PRESO IL COR LEHÁR 3.36 (DEIN IST MEIN GANZES HERZ/YOU ARE MY HEART’S DELIGHT). HERZER, LÖHNER-BEDA; transl. PANZERI, RASTELLI. Royal Philharmonic Orchestra · Maurizio Benini 18 IL CANTO MUSUMARRA · BARBAROSSA 5.40 Alberto Bartoli percussion · Orchestra di Roma · Romano Musumarra 19 BUONGIORNO A TE CENTONZE, GIANNETTI, NANNI; orch. MATHES 4.15 Antonella Pepe soprano. Stefano “Tellus” Nanni piano. Fabio Sartoni drums. Royal Philharmonic Orchestra · Rob Mathes 20 CHITARRA ROMANA DI LAZZARO · CHERUBINI; arr. MANCINI 3.15 Orchestra conducted by Henry Mancini 21 PISCATORE ‘E PUSILLECO TAGLIAFERRI · MUROLO; arr. CHIARAMELLO 3.10 Orchestra del Teatro Comunale di Bologna · Anton Guadagno 22 LA MIA CANZONE AL VENTO BIXIO · CHERUBINI; arr. MANCINI 3.05 Orchestra conducted by Henry Mancini 23 RONDINE AL NIDO DE CRESCENZO · SICA; arr. MANCINI 3.24 Andrea Griminelli flute. Orchestra conducted by Henry Mancini 24 GRANADA LARA; arr. CHIARAMELLO 3.08 Royal Philharmonic Orchestra · Maurizio Benini 25 ‘O SOLE MIO (ORIGINAL THREE TENORS VERSION) DI CAPUA, MAZZUCCHI · CAPURRO 2.53 José Carreras, Plácido Domingo tenors. Orchestra del Teatro dell’Opera di Roma Orchestra del Maggio Musicale Fiorentino. Zubin Mehta This compilation P & C Decca Music Group Limited Design: Matt Read @ Combustion Ltd Mastering: Ben Wiseman @ Broadlake Studio Ltd Cover original photo: Decca / Christian Steiner Original Photos: page 2 - Sacha Gusov; page 3 - Terry O’Neil Publishers: Universal Music Publishing Ricordi Srl (CD1 – 1, 25); Universal Music Publishing (CD2 – 1, 4, 8, 12, 13, 16); Casa Ricordi-BMG Ricordi S.p.A, Milano (CD1 – 6); Casa Musicale Sonzogno di Piero Ostali, Milano (CD1 – 16, 24); Bideri Cevel (CD2 – 2); Edizionni Curci Srl (CD2 – 5); Beboton Verlag GmBH (Sikorski) (CD2 – 6); Edizione Bixio C.E.M.S.A (CD2 – 7, 11); Editrice Musicale Bottega dei Quattro (CD2 – 10); EMI Music Publishing Italia Srl, Edizioni BMG Ariola Music (CD2 -14) EMI United Partnership Ltd. (CD2 – 15) Glocken Verlag Vienna (CD2 – 17); Music For A Better World Ltd (CD2 – 18) Decca proudly supports the Luciano Pavarotti Foundation Brani Strani Edizioni Musicale Srl, Master Pig Songs di Michele Centonze (CD2 – 19); Casa Editrice Melodi Srl (CD2 – 20) http://www.lucianopavarottifoundation.com/ Emilio Gennarelli Casa Edizioni (CD2 – 21); Bizio S.A.M. Edizioni Musicali (CD2 – 22); Mauro V. Cardillo (CD2 – 23) Southern Inc. (CD2 -24); Bideri (CD2 – 25).
Recommended publications
  • Notiziario N. 21 Anno 2008-09
    ROTARY CLUB BOLOGNA SUD Il Presidente Internazionale DUNG KURN LEE Il Governatore del Distretto 2070 PIETRO TERROSI VAGNOLI L’Assistente del Governatore GIANCARLO VIVALDI Il Presidente del Club MARIO FEDRIGO documento costitutivo del Club datato 20 maggio 1975 Segreteria Via S.Stefano 43 – 40125 Bologna – tel. 051 260603 – Fax 051 224218 - E-mail : [email protected] Sito Internet : www.rotarybolognasud.it C.D. 2008-2009: Pres M.Fedrigo - V.Pres. L.Marchetti - Pres.Inc. A.Brath - Past Pres. G.Martorana Segr. G.L.Coltelli - Tesoriere M.Pedrazzi - Prefetto R.Nanetti - Consiglieri R.Corinaldesi, M.Boari BOLLETTINO N° 21 DEL 18 FEBBRAIO 2009 - RISERVATO AI SOCI PROSSIMA ATTIVITA’ DEL CLUB Mercoledì 25 Febbraio Martedì 3 Marzo Martedì 10 Marzo Rotary Day Piero Mioli Marco Guidi e Il Gruppo Felsineo festeggia “Una voce poco fa: nome, tipi, Leonardo Giardina l’anniversario del Rotary storie di voci del canto d’opera” “Bologna anni ’50 – tre librini da leggere in un’ora” Aula Absidale S. Lucia, ore 17,00 Nonno Rossi, ore 20,15 Nonno Rossi, ore 20,15 Con familiari e ospiti Con familiari ed ospiti Con familiari e ospiti LA SETTIMANA ROTARIANA Mercoledì 25 Febbraio, S. Lucia, 17,00 Mercoledì 25 Febbraio, S. Lucia, 17,00 Lunedì 23 Febbraio, Una Hotel, 20,15 BOLOGNA OVEST BO VALLE SAVENA BOLOGNA GALVANI Il Gruppo Felsineo festeggia il Il Gruppo Felsineo festeggia il Prof. Marco Zanello Rotary Day Rotary Day “I trapianti d’organo: passato, Segue aperitivo Segue aperitivo presente e futuro” Mercoledì 25 Febbraio, S. Lucia, 17,00 Mercoledì 25 Febbraio, S. Lucia, 17,00 Mercoledì 25 Febbraio, S.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 118, 1998-1999
    BOSTON SYMPHONY ORCHESTRA 1 I O Z AWA ' T W E N T Y- F I F 1 H ANNIVERSARY SEASO N 1 1 8th Season • 1 998-99 Bring your Steinway: < With floor plans from acre gated community atop 2,100 to 5,000 square feet, prestigious Fisher Hill you can bring your Concert Jointly marketed by Sotheby's Grand to Longyear. International Realty and You'll be enjoying full-service, Hammond Residential Real Estate. single-floor condominium living at Priced from $1,100,000. its absolutefinest, all harmoniously Call Hammond Real Estate at located on an extraordinary eight- (617) 731-4644, ext. 410. LONGYEAR at Jisner Jiill BROOKLINE Seiji Ozawa, Music Director 25TH ANNIVERSARY SEASON Bernard Haitink, Principal Guest Conductor One Hundred and Eighteenth Season, 1998-99 Trustees of the Boston Symphony Orchestra, Inc. R. Willis Leith, Jr., Chairman Nicholas T. Zervas, President Peter A. Brooke, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Harvey Chet Krentzman, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson Deborah B. Davis Edna S. Kalman Vincent M. O'Reilly Gabriella Beranek Nina L. Doggett George Krupp Peter C. Read James E Cleary Nancy J. Fitzpatrick Mrs. August R. Meyer Hannah H. Schneider John F. Cogan, Jr. Charles K. Gifford, Richard P. Morse Thomas G. Sternberg Julian Cohen ex-ojficio Mrs. Robert B. Stephen R. Weiner William F. Connell Avram J. Goldberg Newman Margaret Williams- William M. Crozier, Jr. Thelma E. Goldberg Robert P. O'Block, DeCelles, ex-qfficio Nader F Darehshori Julian T. Houston ex-ojficio Life Trustees Vernon R.
    [Show full text]
  • Freni Highlights - Puccini Tosca Mp3, Flac, Wma
    Freni Highlights - Puccini Tosca mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Highlights - Puccini Tosca Country: US Released: 1982 Style: Opera MP3 version RAR size: 1884 mb FLAC version RAR size: 1119 mb WMA version RAR size: 1130 mb Rating: 4.4 Votes: 953 Other Formats: ASF AAC WAV MP3 MP4 AHX MMF Tracklist A1 Santa Ampolle...Recondita Armonia 5:10 A2 Gente La Dentro...Mario! Mario! Mario!...Ora Stammi A Sentir 14:29 A3 Tre Sbirri, Una Carrozza...Finale Act 1 4:41 A4 Se La Giurata Fede...Vissi D'arte 7:12 B1 Lo Tenni La Promessa...End Of Act II 7:28 B2 Perlude...Lo De'Sospiri...E Lucevan Le Stelle 13:10 B3 Senti … L'ora E Vicina...Finale Act III 10:05 Companies, etc. Phonographic Copyright (p) – The Decca Record Company Limited Credits Composed By – Giacomo Puccini Liner Notes – Avril Bardoni Orchestra – National Philharmonic Orchestra Vocals [Cavaradossi] – Luciano Pavarotti Vocals [Scarpia] – Sherrill Milnes Vocals [Tosca] – Mirella Freni Notes Made In Holland. Related Music albums to Highlights - Puccini Tosca by Freni Puccini, Freni, Pavarotti, Ludwig, Kerns, Vienna Philharmonic Orchestra, Karajan - Madama Butterfly Highlights Puccini - Vaness, Giacomini, Zancanaro, Philadelphia Orchestra, Muti - Tosca Giacomo Puccini, Leontyne Price, Giuseppe di Stefano, Giuseppe Taddei, Herbert von Karajan, Wiener Philharmoniker, Wiener Staatsopernchor - Tosca (Highlights) Puccini / Miricioiu · Lamberti · Carroli / Slovak Philharmonic Chorus / Czecho-Slovak Radio Symphony Orchestra (Bratislava) / Alexander Rahbari - Tosca
    [Show full text]
  • Giacomo Puccini Madame Butterfly Mp3, Flac, Wma
    Giacomo Puccini Madame Butterfly mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Madame Butterfly Country: Germany Released: 1975 Style: Opera MP3 version RAR size: 1631 mb FLAC version RAR size: 1915 mb WMA version RAR size: 1924 mb Rating: 4.5 Votes: 894 Other Formats: WAV RA MMF MP2 VOX VOC DTS Tracklist A1 1. Akt 1:Teil 1:,,......E Soffitto...E Pareti...'' B1 1. Akt, Forts.:,,E Un Presente Del Mikado'' C1 2. Akt, Teil 1: ,,E Izaghi Ed Izanami'' D1 2. Akt, Forts.: ,,Che Tua Madre'' E1 3. Akt, Teil 1: ,,Oh Eh! Oh Eh!'' F1 3. Akt, Forts,: ,,Tu, Suzuki, Che Sei Tanto Buona'' Credits Choir – Chor Der Wiener Staatsoper* Chorus Master – Norbert Balatsch Composed By – Giacomo Puccini Conductor – Herbert von Karajan Orchestra – Wiener Philharmoniker Vocals [Cho Cho San] – Mirella Freni Vocals [Die Kusine] – Martha Heigl Vocals [Die Mutter] – Evamaria Hurdes Vocals [Die Tante] – Erna Maria Mühlberger Vocals [F. B. Linkerton] – Luciano Pavarotti Vocals [Furst Yamadori] – Giorgio Stendoro Vocals [Goro, Nakodo] – Michel Senechal* Vocals [Kaiserlicher Kommissar] – Hans Helm Vocals [Kate Linkerton] – Elke Schary Vocals [Onkel Bonze] – Marius Rintzler Vocals [Sharpless] – Robert Kerns Vocals [Standesbeamter] – Siegfried Rudolf Frese Vocals [Suzuki] – Christa Ludwig Vocals [Yakuside] – Wolfgang Scheider Notes Made in Germany Teldec Technology Direct metal mastering DMM Comes with 2 page inner Other versions Category Artist Title (Format) Label Category Country Year Freni*, Pavarotti*, Freni*, Ludwig*, Pavarotti*, Kerns*, Vienna Ludwig*,
    [Show full text]
  • A Culture of Recording: Christopher Raeburn and the Decca Record Company
    A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon.
    [Show full text]
  • David W. Spiro Conductor
    David W. Spiro Conductor Critics have called the conducting of David W. Spiro thrilling, vibrant, extraordinary, dramatic, noble, incisive, and energetic. Maestro Spiro recently led performances of La Traviata and Tosca during his enthusiastically received return to Bulgaria. He also made a significant departure from his core repertoire with his first Wagner opera, Der Fliegende Holländer. This season also saw several other firsts. He conducted his first French opera, Bizet's Carmen, in Saint Petersburg, Russia. Prior to that, Ruse saw Spiro lead Tchaikovsky’s Eugene Onegin, as well as a return to Mozart with Don Giovanni. Previously, his Aida and Rigoletto at the Ruse State Opera were hugely successful. He celebrated the Verdi Bicentennial with Un Ballo in Maschera and La Traviata at the Teatro Mancinelli in Orvieto. Opera di Verona hosted Spiro leading the Mozart/da Ponte operas Don Giovanni, Cosi fan Tutte and Le Nozze di Figaro in three consecutive seasons. Earlier in the decade saw his La Boheme at the North Czech Opera and also his Romanian debut in Bucharest with his signature piece, La Traviata. The Albanian-American conductor made his mark by leading members of the Boston Symphony Orchestra in a tribute to his mentor, Leonard Bernstein. Rossini‘s Stabat Mater featured Edda Moser, D’anna Fortunato, Gregory Kunde and Jerome Hines and was hailed as “a tribute worthy of Bernstein”. Specifically, Maestro Spiro’s interpretation was hailed as “the closest thing to heaven.” (The Boston Globe) An electric performance of Cherubini‘s Medea for the Boston Festival Opera featured Sylvia Sass, Rita Gorr, Franco Bonanome and John Macurdy.
    [Show full text]
  • David W. Spiro Conductor
    David W. Spiro Conductor Critics have called the conducting of David W. Spiro thrilling, exciting, vibrant, extraordinary, dramatic, noble, incisive, and energetic. This past season, Maestro Spiro was honored to return to Italy to celebrate the Verdi Bicentennial with Un Ballo in Maschera. During the previous season, Maestro Spiro conducted La Traviata at the Teatro Mancinelli in Orvieto and Le Nozze di Figaro at Opera di Verona. This marked his third consecutive year in Verona - previously he led Cosi fan Tutte and Don Giovanni to critical acclaim. The decade began with La Boheme at the North Czech Opera and also saw his Romanian debut in the Teatrul Masca conducting his signature piece, La Traviata. The Albanian-American conductor first made his mark by leading members of the Boston Symphony Orchestra in a tribute to his mentor, Leonard Bernstein. This gala performance of Rossini‘s Stabat Mater featured Edda Moser, D’anna Fortunato, Gregory Kunde and Jerome Hines and was hailed as “a tribute worthy of Bernstein”. Specifically, Maestro Spiro’s interpretation was hailed as “the closest thing to heaven.” (The Boston Globe) An electric performance of Cherubini‘s Medea for the Boston Festival Opera featured Sylvia Sass, Rita Gorr, Franco Bonanome and John Macurdy. Calling Spiro “a talent which seems to be seasoned well beyond his years”, critics noted that “it would also appear that the era of great interpreters of Italian opera did not die with Serafin or de Sabata - it simply skipped a generation.” (Review/Preview) A native of Boston, Spiro began piano studies at age four. His prodigious skills helped him gain admittance to the famed Longy School of Music where he refined his technique and strengthened his musical background.
    [Show full text]
  • 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.
    [Show full text]
  • YSL 0990 T Raymond Lewenthal Vol. 2
    YSL 0990 T Raymond Lewenthal Vol. 2 “Two different Raymond Lewenthal concerts are captured here, and the Dallas one needs some explanation. In the late 1960s Lewenthal teamed up with mezzo-soprano Shirley Verrett, and they offered a unique program together. On the first half Verrett sang operatic arias with the orchestra. Singer and pianist then joined for one piece, Mozart’s concert aria ‘Ch’io mi scordi di te’, scored for soprano, piano, and orchestra. On the second half Lewenthal played solo piano music. The present example, shorn of Verrett’s arias without Lewenthal, derives from a 1969 concert presented by the Dallas Opera, which at the time had the Dallas Symphony Orchestra playing in the pit. The conductor was the Dallas Opera’s co-founder, Nicola Rescigno. I don’t believe that Mozart was a particular strength of Verrett, and she does not sound comfortable here. Lewenthal and the orchestra are a bit more sensitive to the nuances of the music than Verrett, who is also not served well by somewhat distant recorded sound that fails to capture much of the color of her voice. The sound improves for the rest of the program; the piano might have been placed in a more favorable position once the orchestra cleared out. Lewenthal’s playing of the two Rossini fantasies by Sigismund Thalberg is all you could want. His technique is up to the demands of these showpieces, but more importantly the music sings under his fingers. Lewenthal was a serious opera lover, and in just about everything he played he turned the piano into a vocal instrument.
    [Show full text]
  • Ronald Davis Oral History Collection on the Performing Arts
    Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
    [Show full text]
  • CONCERTO VERDIANO 25 Aprile 2013 Teatro Bonci
    Faenza Lirica Via Laderchi 3 - FAENZA http://faenzalirica.racine.ra.it/ CONCERTO VERDIANO 18 Luglio 2013 Faenza Soprano: Raffaella Battistini Tenore: Mauro Pagano Baritono: Marzio Giossi Mezzosoprano: Christine Knorren Basso: F. Ellero D’Artegna Pianista: Angiolina Sensale RAFFAELLA BATTISTINI soprano Nata a Cesena (FC), dopo il conseguimento della Laurea in Economia e Commercio presso l’Università di Bologna ha iniziato lo studio di canto sotto la guida del Soprano Maria Parazzini, rilevando da subito grandi potenzialità ed un vocalità dalle caratteristiche assai interessanti che gli permette di spaziare da Verdi, Puccini, Leoncavallo, Boito e Cilea con grande facilità. Si è perfezionata con il M° Luciano Pavarotti e M° Leone Magiera, attualmente con il M° Angelo Bertacchi, approfondendo principalmente lo studio di Opere di Verdi e Puccini. Il suo primo debutto avviene il 15 Giugno del 2004 a Modena al "Music Village" nella Boheme di Giacomo Puccini nel ruolo di Mimì sotto la direzione del M° Magiera e la Regia di Luciano Pavarotti. La sua carriera si amplifica dando voce a Liù, Nedda, Tosca, Leonora, Aida, Traviata, Maria di Rohan, Butterfly, Manon, Amelia, Maddalena, Margherita, Abigaille e Santuzza, nei Teatri: Bellini di Catania, Rossini di Pesaro, Comunale di Bologna, Abbazia Calamari (Frosinone), Pala Fiera di Forlì, Carisport di Cesena, Regio di Torino, Ivrea, Verdi di Pisa, Verdi di Busseto, Opera House del Cairo, Teatro Manoel Malta, Teatro di Oradea, Teatro Modena di Genova, Teatro Municipal di Bucarest, Teatro Municipale di Constanza, Salisburgo Festival, Stoccolma Festival, Carnegie Hall New York. Sotto la direzione dei Maestri: Alberto Veronesi, Damiano Binetti, Leone Magiera, Claudio Micheli, Ivan Filev, Paolo Olmi, Cristian Sandu, Hirofumi Yoshida, Massimo De Bernard, Roberto Polastri, Giampaolo Mazzoli, Maurizio Arena, Bruno Bartoletti, Laurence Gilgore e registi quali: Massimo Pezzuti, Horacio Ballinth, Paolo Bosisio, Maurizio di Mattia, Habdalla Saad, Massimiliano Scaglione, Maestrini, Beppe de Tommasi.
    [Show full text]
  • 825646291885.Pdf
    Mad Scenes Gaetano Donizetti 1797–1848 Anna Bolena (Romani) 1 Piangete voi?…Al dolce guidami castel natio (Act II) 19.58 Monica Sinclair contralto · John Lanigan tenor Joseph Rouleau bass · Duncan Robertson tenor Ambroise Thomas 1811–1896 Hamlet (Barbier & Carré) 2 À vos jeux…Partagez-vous mes fleurs…Et maintenant, écoutez ma chanson (Act IV) 10.24 Vincenzo Bellini 1801–1835 Il pirata (Romani) 3 Oh! s’io potessi…Col sorriso d’innocenza (Act II) 17.10 Maria Callas soprano Philharmonia Orchestra and Chorus Nicola Rescigno 2 Mad Scenes Callas had already triumphed at La Scala with Anna Bolena and Il pirata (the first real success of Bellini’s early career) in 1958. She wanted to record both works complete, but the producer Walter Legge was not convinced that either was marketable and persuaded the soprano to settle for their final scenes – which he believed to contain the essence of both pieces. Callas followed his judgement. ‘We are the only two people who know what bel canto is,’ she was to tell Legge years later when attempting to persuade him to share the platform at her Juilliard masterclasses. Posthumously she was to get her wish when EMI took into its catalogue a live broadcast of each opera from La Scala. For this recital’s mixed repertoire Callas insisted (as she would for several similar ventures) on being accompanied by the Italian-American conductor Nicola Rescigno, with whom she had been working regularly since a Chicago Norma in 1954. Rescigno was an adventurous editor of opera scores for concerts and records.
    [Show full text]