DOCSLIB.ORG

Ideazione E Coordinamento Della Programmazione a Cura Di Massimo Di Pinto Con La Collaborazione Di Leonardo Gragnoli

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ideazione E Coordinamento Della Programmazione a Cura Di Massimo Di Pinto Con La Collaborazione Di Leonardo Gragnoli Ideazione e coordinamento della programmazione a cura di Massimo Di Pinto con la collaborazione di Leonardo Gragnoli gli orari indicati possono variare nell'ambito di 4 minuti per eccesso o difetto Sabato 17 settembre 2016 00:00 - 02:00 euroclassic notturno handel, georg frideric (1685-1759) ouverture dall'opera: faramondo les ambassadeurs dir. alexis kossenko (reg. varsavia, 22/02/2013) durata: 3.08 PLPR radio polacca brahms, johannes (1833-1897) warum ist das licht gegeben dem muhseligen, n. 1 da 2 mottetti per coro a cappella op. 74 grex vocalis dir. carl hogset durata: 5.12 HUMR radiotelevisione ungherese fauré, gabriel (1845-1924) pelleas et melisande, suite op. 80 prelude - entr'acte (la fileuse) - sicilienne - the death of melisande (molto adagio). BBC philharmonic dir. yan pascal tortelier (reg. 19/11/1999) durata: 16.25 GBBBC british broadcasting corporation lasso, orlando di (1532-1594) mottetto dulces exuviae currende dir. erik van nevel durata: 5.48 BERTBF radio televisione belga francofona bach, johann sebastian (1685-1750) chaconne dalla partita n. 2 BWV 1004 in re min per pf dall'orig per vl arr. brahms, johannes. linda nicholson, fortepiano (reg. herne, 21/11/2006) durata: 13.24 DEWDR radio della germania occidentale mendelssohn, felix (1809-1847) sinfonia n. 4 op. 90 in la mag "italiana" allegro vivace - andante con moto - con moto moderato - saltarello (presto). polish radio symphony orch dir. ruben silva (reg. varsavia, 22/04/2012) durata: 26.41 PLPR radio polacca schubert, franz (1797-1828) ständchen (serenata) per pf solo dal ciclo dei lieder schwanengesang D 957 trascr. per pf liszt, franz. simon trpceski, pf (reg. londra, 18/02/2002) durata: 6.11 GBBBC british broadcasting corporation mozart, wolfgang amadeus (1756-1791) ridente la calma K 152 per sopr e pf arr. di mozart dell'aria" il caro mio bene" di myslivecek. sally matthews, sopr; simon lepper, pf (reg. 07/10/2002) durata: 3.52 GBBBC british broadcasting corporation debussy, claude (1862-1918) quartetto per archi op. 10 in sol min animé et très décidé - assez vif et bien rhythmé - andantino doucement repressif - très modère. psophos quartet (reg. 07/11/2006) durata: 24.53 GBBBC british broadcasting corporation haydn, joseph (1732-1809) divertimento in do mag per 2 fl e vcl H 4 n. 1 "london trio" les ambassadeurs durata: 8.41 PLPR radio polacca 02:00 - 03:00 le piace... fauré? gabriel fauré 8 pieces breves per pf op. 84 capriccio in mi bem mag 2/10 1'49". fantasie in la bem mag 2/11 1'44". fuga in la min 2/12 2'01". adagietto in mi min 2/13 2'12". improvvisazione in do die min 2/13 1'18". fuga in mi min 2/14 2'24". allegro in do mag 2/15 1'24". notturno in re bem mag 2/16 2'25" roy howat, pf durata: 15.38 abc abc-476-3425 f 2 tr 10 dolly - suite op. 56 berceuse (allegretto moderato) 1/11 2'38". mi a ou (allegro vivo) 1/12 2'17". le jardin de dolly (andantino) 1/13 2'56". kitty valse (tempo di valse) 1/14 3'09". tendresse (andante) 1/15 4'24". la pas espagnol (allegro) 1/16 2'46" orch boston symphony dir. seiji ozawa durata: 18.13 grammophon 474-562-2 f 1 tr 11 quartetto in mi min per archi op. 121 allegro moderato 1/5 6'03". andante 1/6 8'34". allegro 1/7 8'19" quartetto d'archi dante: krysia osostowicz e giles francis, vl; judith busbridge, viola; bernard gregor smith, vcl durata: 23.00 hyperion cda67664 f 1 tr 5 fuori programma: muzio clementi moderato dalla suite di 5 pezzi in re min per pf da gradus ad parnassum op 44 libro III nn 51 - 55 danielle laval, pf durata: 1.11 accord 149191 f 1 tr 2 03:00 - 05:10 l'opera lirica giuseppe verdi la traviata, melodramma in 3 atti su libretto di francesco maria piave. prima rappresentazione: venezia, teatro la fenice, 6 marzo 1853. preludio e atto I 1/1 - 1/11 31'46". atto II 1/12 -1/24 e 2/1 - 2/8 59'51". atto III 2/9 - 2/15 31'15" personaggi e interpreti: violetta valery: maria callas, sopr; alfredo germont: alfredo kraus, ten; giorgio germont: mario sereni, br; flora bervoix: laura zanini, msopr; annina: maria cristina de castro, sopr; gastone: piero de palma, ten; barone douphol: alvaro malta, br; marchese d'obigny: vito susca, bs; dottor grenvil: alessandro maddalena, bs; orch sinf e coro del teatro nazionale di san carlos di lisbona dir. franco ghione - m° coro: mario pellegrini (reg. dal vivo: marzo 1958) durata: 122.21 emi 5-56331-2 f 2F tr 1 05:10 - 06:00 omaggio a maria callas vincenzo bellini norma: casta diva (atto 1°) maria callas, sopr; orch e coro dell'opéra di parigi dir. alfredo simonetto (reg. del 1958) durata: 6.47 memories hr-4294 f 2 tr 2 ambroise thomas hamlet: à vos jeux... partagez vous mes fleurs... et maintenant écoutez ma chanson (atto 4°) maria callas, sopr; philharmonia orch dir. nicola rescigno durata: 10.17 emi cdc-7-54105-2 f 2 tr 1 francesco cilea adriana lecouvreur: io son l'umile ancella (atto 1°) maria callas, sopr; philharmonia orch dir. tullio serafin (reg. del 1955) durata: 3.47 emi records 5-57899-2 f 2 tr 7 charles gounod faust: ah! je ris de me voir si belle (aria dei gioielli - atto 3°) maria callas, sopr; orch de la societé des concerts du conservatoire de paris dir. georges prêtre (reg. del 1963) durata: 5.30 emi records 5-57899-2 f 2 tr 10 alfredo catalani la wally: ebben ne andrò lontana (atto 1°) maria callas, sopr; philharmonia orch dir.tullio serafin (reg. del 1955) durata: 4.48 emi 4-71975-2 f 2 tr 16 giacomo puccini tosca: vissi d'arte (atto 2°) maria callas, sopr; orch royal opera house - covent garden dir. carlo felice cillario (reg dal vivo nel 1964) durata: 3.34 virtuoso 2697112 f 1 tr 7 fuori programma: wolfgang amadeus mozart larghetto, dal trio in si bem mag per vl vcl e pf k 502 trio wiener schubert vl boris kuschnir vcl martin hornstein pf claus christian schuster durata: 7.40 emi cdc-7-54115-2 f 1 tr 5 06:00 - 07:00 almanacco in musica hildegard von bingen (bermersheim vor der höhe, 1098 - bingen am rhein, 17/09/1179) o dulcis electe, responsorio per coro di voci femm a cappella sabine lutzenberger, voce solista; compl voc "sequentia" dir. benjamin bagby durata: 4.33 sony music 88765468642 f 1 tr 2 geminiani, francesco (lucca, 05/12/1687 - dublino, 17/09/1762) concerto grosso n. 6 in re min per orch d'archi e b. c. "la follia" (da corelli) tema (la follia) e variazioni I-XXIII sigiswald kuijken e françois fernandez, vl; staas swierstra, vla; richte van der meer, vcl; orch da camera "la petite bande" dir. sigiswald kuijken durata: 11.33 harmonia mundi gd77010 f 1 tr 10 bach, johann sebastian (1685-1750) was gott tut das ist wohlgetan, cantata per soli coro orch e b. c. BWV 99 prima esecuzione: lipsia, 17 settembre 1724. was gott tut (coro) 1/1 6'23". sein wort (recitativo - bs) 1/2 1'07". erschuttre dich nur nicht (aria - ten) 1/3 5'57". nun der von ewigkeit (recitativo - contr) 1/4 0'56". wenn des kreuzes bitterkeiten (duetto - sopr e contr) 1/5 2'54". was gott tut, das ist wohlgetan (corale) 1/6 0'59" wilhelm wiedl, voce bianca; paul esswood, contrten; kurt equiluz, ten; philippe huttenlocher, bs; concentus musicus wien e tölzer knabenchor dir. nikolaus harnoncourt - m° del coro: gerhard schmidt-gaden durata: 18.16 teldec 8-35443-1 f 1 tr 1 mercadante, saverio (altamura, 17/09/1795 - napoli, 17/12/1870) concerto in mi mag per fl e orch allegro maestoso 1/7 10'23". largo 1/8 5'05". polacca (brillante) 1/9 5'47" raffaele trevisani, fl; orch da camera di mosca dir. constantine orbelian durata: 21.16 delos de-3372 f 1 tr 7 fuori programma: ludwig van beethoven variazione n 2 da 12 variazioni in fa mag sopra " ein madchen oder weibchen " di mozart per vcl e pf op 66 mischa maisky, vcl; martha argerich, pf durata: 0.29 grammophon 453-749-2 f 1 tr 3 07:00 - 08:00 filomusica john field divertimento n. 2 per pf e archi in la mag pastorale (andante) 1/7 5'47". rondò (allegro moderato) 1/8 3'29" miceal o'rourke, pf; elem dell'orch london mozart players durata: 9.16 chandos chan-9534 f 1 tr 7 malcolm arnold suite bourgeoise, per fl cl e pf prelude 1/13 2'28". tango (elaine) 1/14 3'15". dance (censored) 1/15 2'07". ballad 1/16 1'55". valse (ugo) 1/17 2'18" elem del quintetto di fiati "east winds": judith tregor, fl; victoria soames samek, cl; paul chilvers, pf durata: 12.07 naxos 8-570294 f 1 tr 13 ludwig van beethoven bagatella per pf in la min "per elisa" WoO 59 alfred brendel, pf durata: 3.30 philips 456-031-2 f 1 tr 28 piotr ciajkovskij mozartiana, suite n. 4 per orch in sol mag op. 61 su temi di mozart giga (allegro) 1/5 1'38". minuetto (moderato) 1/6 3'48". preghiera (da una trascrizione di franz liszt) andante con moto 1/7 4'06". tema con variazioni (allegro giusto - adagio - allegro vivace - allegro giusto) 1/8 14'00". orch sinf della radio di berlino dir.
Load more

Recommended publications
  • Ideazione E Coordinamento Della Programmazione a Cura Di Massimo Di Pinto Con La Collaborazione Di Leonardo Gragnoli
    Ideazione e coordinamento della programmazione a cura di Massimo Di Pinto con la collaborazione di Leonardo Gragnoli gli orari indicati possono variare nell'ambito di 4 minuti per eccesso o difetto Martedì 17 gennaio 2017 00:00 - 02:00 euroclassic notturno cimarosa, domenico (1749-1801) concerto per ob (trba) e orch arr. di arthur benjamin geoffrey payne, trba; melbourne symphony orch dir. michael halasz durata: 10.41 ABC australian broadcasting corporation mozart, wolfgang amadeus (1756-1791) basta vincesti - ah, non lasciarmi, recit. e aria per sopr e orch K 486a(295a) rosemary joshua, sopr; freiburg baroque orch dir. rené jacobs (reg. herne, 12/11/2006) durata: 5.13 WDR radio della germania occidentale durante, francesco (1684-1755) concerto per archi n. 1 in fa min concerto köln durata: 13.30 WDR radio della germania occidentale respighi, ottorino (1879-1936) rossiniana, per orch barcarola e siciliana - lamento - intermezzo - tarantella. west australia symphony orch dir. jorge mester durata: 26.01 ABC australian broadcasting corporation verdi, giuseppe (1813-1901) di quella pira, dall'opera "il trovatore" carlo bergonzi, ten; coro e orch del teatro colón dir. oliviero de fabritiis (reg. teatro colón, buenos aires, 05/06/1969) durata: 2.18 EUR euroradio scarlatti, alessandro (1660-1725) sinfonia dalla serenata "al fragor di lieta tromba" (pace, amore e provvidenza) stavanger symphony orch dir. fabio biondi (reg. oslo, 23/02/2007) durata: 3.25 NRK radiodiffusione nazionale norvegese elgar, edward (1857-1934) in the south (alassio), ouverture op. 50 BBC symphony orch dir. ji?í bilohlávek (reg. canton, 25/05/2010) durata: 21.53 BBC british broadcasting corporation hasse, johann adolf (1699-1783) concerto in re mag per org e orch allegro - grave - allegro.
    [Show full text]
  • Opera Recordings: a Very Personal Guide by Ralph Moore
    “Untouchable” and ”Most Recommendable” Opera Recordings: a very personal guide by Ralph Moore My handful of regular readers might have noticed some glaring omissions in the list of thirty-seven major operas whose discographies I have surveyed over the last couple of years - operas whose quality and popularity are such that one might reasonably have expected me to have included them in my labours. There are, after all, probably around fifty truly first-rate operas which have been most often performed and recorded and I have by no means covered them all. I received requests to survey some of the following but on consideration, I realised that there were good reasons for my reluctance to do so. The most obvious omissions are these twelve operas: Verdi’s La traviata and Il trovatore; Wagner’s Lohengrin and Tannhäuser; Mozart’s Don Giovanni; Puccini’s La bohème, Tosca, Madama Butterfly and Turandot; Rossini’s Il barbiere di Siviglia; Donizetti’s Lucia di Lammermoor and Beethoven’s Fidelio. My reason for not having reviewed them collectively is that either the opera in question has received one or two recordings of such definitive quality that consideration of the others is otiose or there are so many good recordings of it in the catalogue that making a helpful or meaningful recommendation becomes difficult. I have therefore decided to circumvent the problem by making some brief, annotated recommendations and guidance for those major operas hitherto neglected. Obviously, my selections are highly subjective and controversial, and other collectors will be dismayed that I have ostensibly rejected their own candidates for recordings of classic status or nominated one they loathe but at the same time I think I may fairly claim that these are, in general, recordings which have stood the test of time.
    [Show full text]
  • Building a Library
    BUILDING A LIBRARY All selections were made from recordings available in the UK at the time of the broadcast and are full price unless otherwise stated. CD Review cannot guarantee that they have not subsequently been deleted. KEY: CD = compact disc c/w = coupled with SIS = a recording which is only available through EMI’s Special Import Service IMS = a recording which is only available through Universal Classics' Import Music Service CONTENTS September 1999 – July 2000 .................................................................................................................................................................................. 3 September 2000 – July 2001 ................................................................................................................................................................................ 24 September 2001 – July 2002 ................................................................................................................................................................................ 46 September 2002 – July 2003 ................................................................................................................................................................................ 74 September 2003 – July 2004 ................................................................................................................................................................................ 98 September 2004 – July 2005 .............................................................................................................................................................................
    [Show full text]
  • Franco Corelli
    FRANCO CORELLI THE PERFORMANCE ANNALS 1951-1981 EDITED BY Frank Hamilton © 2003 http://FrankHamilton.org [email protected] sources Gilberto Starone’s performance annals form the core of this work; they were published in the book by Marina Boagno, Fr anco Corelli : Un Uomo, Una Voce, Azzali Editori s.n.c., Parma, 1990, and in English translation Fr anco Corelli : A Man, A Voice, Baskerville Publishers, Inc., Dallas, 1996. They hav ebeen merged with information from the following sources: Richard Swift of New York and Michigan has provided dates and corrections from his direct correspodence with the theatres and other sources: Bologna (Letter from Teatro Comunale: 5/16/86); Bussetto (see Palermo); Catania (L: Teatro Massimo Bellini: 5/26/86); Enghien-les- Bains (see Napoli); Genoa (L: L’Opera de Genoa: 5/13/86); Hamburg (L: Hamburgische Staatsoper: 5/15/86); Lausanne (L: Theatre Municipal, Lausanne: 5/12/86); Lisbon (L: Teatro Nacional São Carlos: 1986); Livorno (L: Comune di Livorno: 5/31/87); Madrid (L: Teatro Nacional de La Zarzuela: 1/26/87); Modena (L: Comune di Modena: 10/16/87); Napoli (Il Mondo Lirico); Nice (L: Opera de Nice: 5/2/86, 8/5/88); Palermo (L: Teatro Massimo: 6/10/86, 10/13/88); Piacenza (L: Comune di Piacenza u. o. Teatro Municipale: 6/10/86); Rome (Opera Magazine); Rovigo (L: Accademia dei Concordi, Rovigo: 11/11/86, 2/12/87); San Remo (L: Comune di San Remo: 11/8/86); Seattle (Opera News 11/1967); Trieste (L: Teatro Comunale: 4/30/86). The following reference books are listed alphabetically by venue.
    [Show full text]
  • María Callas, Siempre Intensa Y Fascinante, Parece a Menudo Que Intenta Devorar a La Artista Que Era
    Nº1.qxp 11/12/2007 16:43 Página 11 La magia de la Callas es una cua- lidad que tienen pocos artistas, algo especial, diferente. Hay muchos artistas muy buenos, pero muy pocos que tengan este sexto sentido, esa cualidad extraordinaria. Es algo que los eleva de la tierra y los transfor- ma en semidioses. La Callas la tenía. Cuando María sube a un escenario o empieza a hablar de su trabajo o se pone a tara- rear una melodía, inmediata- mente adquiere esta cu“ ali- dad adicional. Para mí María es siempre un milagro. Franco Zeffirelli Nº1.qxp 11/12/2007 16:43 Página 12 CallasCallas 2007 vuelve a ser un año Callas. Esta vez el motivo es el 30 aniversario de su muerte. Por tal motivo, muchos son los actos y homenajes que tendrán lugar de aquí hasta final de año en distintos tea- tros del mundo. La vida de María Callas, siempre intensa y fascinante, parece a menudo que intenta devorar a la artista que era. Probablemente la más importante diva del siglo XX. Tal vez solo pueda explicarse la virtuosidad de su arte teniendo en cuen- ta, además, su apasionado carácter y una personalidad siempre atractiva. Capaz de despertar las pasiones más contradictorias. Rasgos estos que casi siempre han caracterizado a este tipo de personajes. Misterios como las verdaderas cau- sas de su muerte o el destino final de su herencia son incógnitas que aún quedan por despejar. Nº1.qxp 11/12/2007 16:43 Página 13 Cecilia Sophia Anna María barcan en el Pireo, es entonces cuan- sentaciones de Die Walküre y comen- Kalogeropoulos.
    [Show full text]
  • AUTOGRAPH AUCTION Sunday 27 November 2011 10:00
    AUTOGRAPH AUCTION Sunday 27 November 2011 10:00 International Autograph Auctions (IAA) Office address Foxhall Business Centre Foxhall Road NG7 6LH International Autograph Auctions (IAA) (AUTOGRAPH AUCTION) Catalogue - Downloaded from UKAuctioneers.com Lot: 877 beneath the quotation. VG ELGAR EDWARD: (1857-1934) English Composer. A good Estimate: £80.00 - £100.00 printed score signed for The Dream of Gerontius (Op.38, 1900), First Edition published by Novello and Company Ltd., London, 1900. The tall 8vo edition has been specially bound in half blue Lot: 883 morocco with gilt title ('Nesta') to cover and gilt lettering to COATES ERIC: (1886-1957) English Composer, composed the spine. Signed by Elgar in dark fountain pen ink to the famous main title march of the film score to The Dam Busters preliminary blank with an A.M.Q.S. in his hand, two bars with (1954). Vintage signed and inscribed 4 x 6 photograph, a head words ('Praise etc.') beneath his signature. Dated Hereford, and shoulders study of Coates. Signed in dark fountain pen ink 1924, in his hand. Bearing two ownership signatures of N[esta]. to a light area of the image and dated February 1933 in his J. R. Clarke of Gloucester and Chester, one to the title page. hand. VG Rare in this form. Some light discoloration to the head of the Estimate: £100.00 - £120.00 covers and the spine faded, about VG Estimate: £400.00 - £600.00 Lot: 884 BRITTEN BENJAMIN: (1913-1976) English Composer. Vintage Lot: 878 signed postcard photograph of Britten in a head and shoulders SULLIVAN ARTHUR: (1842-1900) English Composer.
    [Show full text]
  • Maria Callas
    IN SEARCH OF THE “TRUE” SOUND OF AN ARTIST: A STUDY OF RECORDINGS BY MARIA CALLAS Adriaan Fuchs Thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy (Music Technology) in the Faculty of Arts, Stellenbosch University. APRIL 2006 Supervisor: Mr. T Herbst Co-supervisor: Prof. HJ Vermeulen DECLARATION I, the undersigned, hereby declare that the work contained in this thesis is my own original work and that I have not previously, in its entirety or in part, submitted it at any university for a degree. …………………… …………………… Adriaan Fuchs Date ii ABSTRACT Modern digital signal processing, allowing a much greater degree of flexibility in audio processing and therefore greater potential for noise removal, pitch correction, filtering and editing, has allowed transfer and audio restoration engineers a diversity of ways in which to “improve” or “reinterpret” (in some cases even drastically altering) the original sound of recordings. This has lead to contrasting views regarding the role of the remastering engineer, the nature and purpose of audio restoration and the ethical implications of the restoration process. The influence of audio restoration on the recorded legacy of a performing artist is clearly illustrated in the case of Maria Callas (1923 - 1977), widely regarded not only as one of the most influential and prolific of opera singers, but also one of the greatest classical musicians of all time. EMI, for whom Callas recorded almost exclusively from 1953 - 1969, has reissued her recordings repeatedly,
    [Show full text]
  • The Operatic Bassoon: a Pedagogical Excerpt Collection
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
    [Show full text]
  • Decca Discography
    DECCA DISCOGRAPHY >>I ITALY & Monte Carlo Until the mid-1960s it was taken for granted that the place to record Italian opera was Italy. After a few sessions in Milan (lost to EMI in 1954) and a recording with the Turin Symphony Orchestra during a visit to London in 1947 (AR11722-47), Decca settled on Rome from 1950-70, plus Florence from 1955- 63, with an excursion to Naples in 1964. Monte Carlo followed from 1967-69 and Bologna from 1973-77, but by then London had become the world’s capital for recording operas, whether Italian, French, German or English. Del Monaco was the reigning tenor from 1952-69 and Tebaldi the reigning soprano from 1951-73. Their successors Pavarotti (1964-99) and Sutherland (1959-87) recorded mainly in London and regular sessions in Italy only resumed with Chailly, in Bologna from 1986-93 and Milan since 1995. In the twenty-first century opera recording in Italy has regained something of the status it enjoyed fifty years earlier, though both Bartoli (from 1988) and Flórez (from 1998) have also recorded extensively elsewhere. >RVI VENUES Thirty-eight different venues were used, but only four (those in bold ) hosted ten or more entries, whilst twenty-one were only visited once. Evidently finding satisfactory locations in Bologna and Milan proved difficult. AULA ABSIDALE DI SANTA LUCIA, BOLOGNA, Emilia Romagna (1988), a 300 seat hall set in the apse of a church (1659), was visited twice in 1991-92 to record the local chamber orchestra. Chiesa di SAN GIORGIO POGGIALE, BOLOGNA, Emilia Romagna (1633) was preferred to the opera house for four recordings from 1985-87.
    [Show full text]
  • Maria Callas · Performance Annals 1934
    MARIA CALLAS PERFORMANCE ANNALS AND DISCOGRAPHY INTRODUCTION These annals began in 1988 as a few notes scribbled to a computer in Boulder Colorado when the first pirates of the live performances appeared on compact disc. The inconsistency of performance dates and other details on those early CDs prompted me to do further research that began with John Ardoin’s The Callas Legacy. Later, yearning to know what had been performed between all those recorded performances, I borrowed the book containing Arthur Germond’s performance annals from the University of Colorado Music School Library, and have continued to work on the project to this day. Performance annals allow us to comprehend the scope of an artist’s career, and knowing the programme of all participants in a recital is important. I realize that presenting entire programmes from the student years in Athens seems excessive, but I feel it enhances our understanding of the environment where Maria Callas lived and studied in her youth. This chronology is a compilation of the research of many people. The work of a few has been almost heroic in scope: Arthur Germond was the first to publish detailed annals representing all cast changes; John Ardoin was perhaps the first to compile annals and to comprehensively analyze the recorded performances, indeed these annals began their life as a tabular version of Legacy; Poly´vios Marsán was the first to present programme information from the Greek school days and early career in Athens; Níkos Petsális-Diomídis has published the most comprehensive analysis of any singer’s formative years ever undertaken, indeed one-thousand pages covering a seven year period 1938-1945 with emphasis on early musical experience and training, as well as the politics and the climate of the times.
    [Show full text]
  • Il Barbiere Di Siviglia
    IL BARBIERE DI SIVIGLIA Con las grabaciones completas de Il barbiere di En el listado siguiente ofrecemos las cerca de ciento diez 1949 Siviglia de Rossini llegamos por fin a tiempos antes grabaciones documentadas que están completas y cantadas Enzo Mascherini; Giuseppe di Stefano; Giulietta en italiano, con los papeles principales presentados en este Simionato; Gerhard Pechner; Cesare Siepi; Concha de de la Segunda Guerra Mundial. No deberían haber orden: Figaro (barítono); Il Conte Almaviva (tenor); Rosina los Santos; los demás sin especificar; coro y orquesta del escaseado registros de esta ópera tan conocida desde (mezzosoprano); Dr. Bartolo (bajo); Don Basilio (bajo); Berta Palacio de las Bellas Artes; dir. Renato Cellini. Giuseppe la introducción de las nuevas tecnologías de grabación (soprano); Fiorello (bajo); Un Ufficiale (bajo). di Stefano GDS 105; Istituto Discografico Italiano IDIS en el mundo de la ópera, y así fue efectivamente. 347-348 (2 CD). Grabación en directo. en disco Aparte del registro de una retransmisión en directo por ▮Il barbiere di Siviglia la radio de una representación desde la Metropolitan 1918-1919 1950 Giuseppe Valdengo; Giuseppe di Stefano; Lily Pons; Opera en 1938, las demás grabaciones se realizaron Francesco Novelli; Fernando De Lucia; Maria Resemba; Giorgio Schottler; Stefano Valentino; Nina Sabatano; Salvatore Baccaloni; Jerome Hines; Hertha Glaz; George en los estudios discográficos o radiofónicos. Angelo di Tommaso; NN; coro y orquesta del Teatro di Cehanovsky; NN; coro y orquesta de la Metropolitan EL hecho de que las primeras grabaciones italianas San Carlo de Nápoles; dir. Salvatore Sassano. Phonotype Opera; dir. Alberto Erede. Cetra Opera Live LO 3/3 (3 LP); utilizan el italiano no extraña, pero sí es llamativo la alta (78 rpm) (1919); Rubini SJG 121 (2 LP) (1973); OASI 602; Gala GL 100.738 (2 CD) (2003).
    [Show full text]
  • Ideazione E Coordinamento Della Programmazione a Cura Di Massimo Di Pinto Con La Collaborazione Di Leonardo Gragnoli
    Ideazione e coordinamento della programmazione a cura di Massimo Di Pinto con la collaborazione di Leonardo Gragnoli gli orari indicati possono variare nell'ambito di 4 minuti per eccesso o difetto Sabato 19 marzo 2016 00:00 - 02:00 euroclassic notturno järnefelt, armas (1869-1958) kanteletar finnish radio symphony orch dir. ilpo mansnerus durata: 5.42 YLE radiotelevisione finlandese chaminade, cecile (1857-1944) concertino op. 107 maria filippova, fl; ekaterina mirzeava, pf (reg. praga, 2014) durata: 8.11 CR redio ceka debussy, claude (1862-1918) stampe, per pf pagodes - la soirée dans grenade - jardins sous la pluie. lars-david nilsson, pf (reg. stoccolma, 08/04/1995) durata: 14.32 SR radio svedese bloch, ernest (1880-1959) schelomo, rapsodia per vcl e orch adam krzeszowiec, vcl; polish radio symphony orch dir. lukasz borowicz (reg. varsavia, 21/04/13) durata: 22.12 PR radio polacca nowowiejski, felix (1877-1946) tre canti per coro la lince nella foresta - la quelcia colpita da un fulmine - danza col ventaglio. polish radio choir dir. marek kluza durata: 21.30 PR radio polacca jarzebski, adam 1590-1649) sentinella simon standage, vl; ensemble il tempo (reg. 1995) durata: 4.02 PR radio polacca bach, johann sebastian (1685-1750) suite per liuto solo in mi mag BWV 1006a prelude - loure - gavotte en rondeau - menuet I e II - bourrée - gigue. konrad junghänel, liuto (reg. eckenhagen, 25-27/09/1988) durata: 20.56 WDR radio della germania occidentale mozart, wolfgang amadeus (1756-1791) divertimento in re mag K 205 largo, allegro - menuetto e trio - (adagio) - menuetto - finale (presto). franz liszt chamber orch dir.
    [Show full text]