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Richard Strauss's Ariadne Auf Naxos
Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails. -
Complete Catalogue 2006 Catalogue Complete
COMPLETE CATALOGUE 2006 COMPLETE CATALOGUE Inhalt ORFEO A – Z............................................................................................................................................................................................................................................................. 4 Recital............................................................................................................................................................................................................................................................................82 Anthologie ............................................................................................................................................................................................................................................................89 Weihnachten ....................................................................................................................................................................................................................................................96 ORFEO D’OR Bayerische Staatsoper Live ...................................................................................................................................................................................................99 Bayreuther Festspiele Live ...................................................................................................................................................................................................109 -
Everyman Classics
convincing. And:a's version enjoys the added should he sufficient to illustrate the point. Performance: First-rate advantage of being complete on one side. DGG's sound is excellent throughout both Recording: Stage realism without the annoying and unnecessary break sides of the disc. D. II. Munich is the Bayreuth of Richard Strauss- imposed by Mercury between the slow move- it honors him lavishly and with a proud ment and finale. and the recorded sound is OO OO RICHARD STRAUSS: Arabella. sense of ownership year :titer year. The cast both richer and better balanced in orchestral Karl Christian Kohn (bass), Graf Waldner; of this Ar.rhedl.t. in a stage performance sonority. This is for me the Schumann Piano Ira Malaniuk (mezzo-soprano). Adelaide; captured during the 1963 operatic season, Concerto recording to have for the present- Lisa della Casa (soprano). Ar.thella: Anne- typifies the festive excellence that is Strauss' and perhaps for a long time to come. liese Rothenberger (soprano). Zdenka; due in his natise city. As for the recording If Anda and Kuhelik had done as well Dietrich Fischer-Dieskau (baritone), Man- itself, it will considerably ads ance the cause by the Grieg Concerto, this disc would be dryka; Georg P.askuda (tenor). Matted: of perpetuating live performances. It has magnificent, but unhappily, the refinements Fritz Uhl (tenor). Elemer: Carl Hoppe been accomplished with great skill, and the of phrasing. dynamics. and attacks that are (tenor), Dominik; Horst Günter (baritone), sense of an actual performance is vividly apt for Schumann do not necessarily befit Inmoral; Eva Maria Rogner (soprano), preserved. -
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. -
A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina
University of South Carolina Scholar Commons Theses and Dissertations 2015 A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Amos, D. C.(2015). A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3642 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A SURVEY OF THE CAREER OF BARITONE, JOSEF METTERNICH: ARTIST AND TEACHER by Diana Carol Amos Bachelor of Music Oberlin Conservatory of Music, 1982 Master of Music University of South Carolina, 2011 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2015 Accepted by: Walter Cuttino, Major Professor Donald Gray, Committee Member Sarah Williams, Committee Member Janet E. Hopkins, Committee Member Lacy Ford, Senior Vice Provost and Dean of Graduate Studies ©Copyright by Diana Carol Amos, 2015 All Rights Reserved. ii ACKNOWLEDGEMENTS I gratefully acknowledge the help of my professor, Walter Cuttino, for his direction and encouragement throughout this project. His support has been tremendous. My sincere gratitude goes to my entire committee, Professor Walter Cuttino, Dr. Donald Gray, Professor Janet E. Hopkins, and Dr. Sarah Williams for their perseverance and dedication in assisting me. -
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. -
ARSC Journal
HISTORICAL VOCAL RECORDINGS ROSSINI: Le Comte Ory. Michel Roux, basso (Robert); Jeannette Sinclair, soprano (Alice); Juan Oncina, tenor (Count Ory); Monica Sinclair, con tralto (Ragonde); Ian Wallace, baritone (The Governor); Cora Canne Meijer, mezzo-soprano (Isolier); Sari Barabas, soprano (Countess Adele); Dermot Troy, tenor (A Young Nobleman); The Glyndebourne Festival Or chestra and Chorus; Vittorio Gui, conductor. EMI RLS 744. "The delicious Comte Ory," wrote Chorley in 1854, "has, with all the beauty of its music, never been a favorite anywhere. Even in the theater for which it was written, the Grand Oplra of Paris, where it still keeps its place - when Cinti-Damoreau was the heroine - giving to the music all the playfulness, finish, and sweetness which could possibly be given - the work was heard with but a tranquil pleasure ••• " He goes on to blame the libretto (by Scribe and Delaistre-Poirson) which in its day was indeed rather shocking, with Count Ory's "gang" gaining admission, disguised as nuns, to the castle of the Countess he is pursuing - male voices and all! The opera was rediscovered in the 1950's and enjoyed a real success at Glyndebourne in 1954. The recording was made two years later. The New York City Opera finally got around to Le Comte Ory a year or so ago. There are several obvious reasons for the neglect of this gem of an opera. Though the score is full of delights there is no Largo al facto tum or Una voce poco fa. The arias are brilliant but not sure fire. It is not a vehicle; the soprano and tenor roles call for virtuosity of a high order, but this is an ensemble opera and no one can take over the spotlight. -
Vplh 4Pr,G> Ir* by JAMES G
TURNTABLE TALK THE SUNDAY STAR E-5 tV'»*hltwnll, D q _ Sunday, Aran, is. is&s - Strauss 'Arabella' ; * iIBBIBkI * Makes Disc Debut 9B»T HI VPlh 4Pr,g> ir* By JAMES G. DEANE priately fill the eighth side. -Br /, v < % lL\ W —m '1 ¦Mr Itecord Critic Thf conductor here Is Karl W&7' Pi ’j, w MM ¦BL \fi|B H * <a >«r ¦¦•¦? A public which cut be »*- Boehm. ¦ *'* * * . ;•/ turned to have supposed until 'liffMp W IMHIT •4B Hr very recently that nothing STACK MUSIC W WW» r jfi v j/< Steam locomotives are A '• dHr ¦p- ' R| s M written by Richard Btrauac ¦ 4 bf'. I after 1910 (the year of “Der rare in the Eastern United Rosenkavaller”) could have States and are becoming m lltar IpJ BHLjfIHLO A much merit haa been learning rarer everywhere, a sad fact better. for rail enthusiasts. To the “Ariadne auf Naxos,’’ writ- initiate, the sound of pound- M ten in 1911, has been winning ing drive wheels and rushing recent favor on both side* steam Is music. iaaaißii& -1 of the Atlantic, Including Vinton Wright, a Western $& j» ft I tape .—«tJ- i *- here. "Die Schat- with a re- - IMHinr 1 > #^BHI >rau ohne rail fan LISA DELLA CASA ten," great, neglected corder and an eye to pos- v^--;"^>^^:^sk'-;^ff-; -: v^ the Sings "¦¦: 9* iTT operatic opus of 1919, re- terity, has been taking down Recorded Arabella cently created something of the sound of as many steam a sensation among record locomotives as possible for by Julie Andrews and Martyn few years. -
Philharmonic Hall Lincoln Center F O R T H E Performing Arts
PHILHARMONIC HALL LINCOLN CENTER F O R T H E PERFORMING ARTS 1968-1969 MARQUEE The Chamber Music Society of Lincoln Center is Formed A new PERFORMiNG-arts institution, The Chamber Music Society of Lincoln Center, will begin its first season of con certs next October with a subscription season of 16 concerts in eight pairs, run ning through early April. The estab lishment of a chamber music society completes the full spectrum of perform ing arts that was fundamental to the original concept of Lincoln Center. The Chamber Music Society of Lin coln Center will have as its home the Center’s new Alice Tully Hall. This intimate hall, though located within the new Juilliard building, will be managed by Lincoln Center as an independent Wadsworth Carmirelli Treger public auditorium, with its own entrance and box office on Broadway between 65th and 66th Streets. The hall, with its 1,100 capacity and paneled basswood walls, has been specifically designed for chamber music and recitals. The initial Board of Directors of the New Chamber Music Society will com prise Miss Alice Tully, Chairman; Frank E. Taplin, President; Edward R. Ward well, Vice-President; David Rockefeller, Jr., Treasurer; Sampson R. Field, Sec retary; Mrs. George A. Carden; Dr. Peter Goldmark; Mrs. William Rosen- wald and Dr. William Schuman. The Chamber Music Society is being organ ized on a non-profit basis and, like other cultural institutions, depends upon voluntary contributions for its existence. Charles Wadsworth has been ap pointed Artistic Director of The Cham ber Music Society of Lincoln Center. The Society is the outgrowth of an in tensive survey of the chamber music field and the New York chamber music audience, conducted by Mr. -
Inge Borkh – Sängerin Und Schauspielerin Elektra, Salome Und Was Kommt Noch?
Oktober 2011 Bock’s Music Shop e.U. Agentur–Handel–Produktion & Vertrieb 1130 Wien (Europe), Glasauergasse 14/3 Tel.- u. Fax: (+43-1)877-89-58 [email protected] www.bocksmusicshop.at Inge Borkh – Sängerin und Schauspielerin Elektra, Salome und was kommt noch? (Foto ©: Uwe Sickinger) Bock Productions und das Haus Hofmannsthal laden ein! ELEKTRA, SALOME UND WAS KOMMT NOCH? Ein Abend für und mit Frau Inge Borkh Inge Borkh im Gespräch mit Markus Vorzellner Weinverkostung vom Weingut Leopold Fürnkranz. Freitag, 21. Oktober 2011, 19:30 Uhr Haus Hofmannsthal 1030 Wien, Reisnerstraße 37 (Tel.: 01/714-85-33) Das Unglaubliche wird wahr: Inge Borkh , die faszinierende Sopranistin mit dunkler Timbrierung und erfri- schender Eloquenz wird einen ganzen Abend lang aus ihrem Leben erzählen. Begleitet von Ton- und Filmaufnahmen tauchen wir ein in eine vergangen geglaubte faszinierende Welt, die doch frischer und lebendiger zu sein scheint als so manche Retortenstars der unmittelbaren Gegenwart. Salome, Elektra, Tiefland und ... mehr sei nicht verraten. BOCK'S MUSIC SHOP Seite 1 Newsletter Inge Borkh CDs und Bücher von und mit Inge Borkh Borkh, Inge / Voigt, Thomas - Nicht nur Salome und Elektra (Inge Borkh im Gespräch mit Thomas Voigt) Sie gehört zu den großen Legenden der Oper. Ihre Aufnahmen sind Kult. In diesem Buch erzählt Inge Borkh ihre Geschichte: siebzig Theaterjahre, randvoll mit Erfolgen und Enttäuschungen, Herausforderungen und Schwierigkeiten. In Gesprächen mit dem Musikjournalisten Thomas Voigt schildert Inge Borkh ihr Leben als Schauspielerin, Sopranistin, Diseuse und Lehrerin. Ein Leben für das Theater, reflektiert von in- tensiver Beschäftigung mit Religion und Philosophie, kommentiert mit Selbstironie und Humor. -
COLORATURA and LYRIC COLORATURA SOPRANO
**MANY OF THESE SINGERS SPANNED MORE THAN ONE VOICE TYPE IN THEIR CAREERS!** COLORATURA and LYRIC COLORATURA SOPRANO: DRAMATIC SOPRANO: Joan Sutherland Maria Callas Birgit Nilsson Anna Moffo Kirstin Flagstad Lisette Oropesa Ghena Dimitrova Sumi Jo Hildegard Behrens Edita Gruberova Eva Marton Lucia Popp Lotte Lehmann Patrizia Ciofi Maria Nemeth Ruth Ann Swenson Rose Pauly Beverly Sills Helen Traubel Diana Damrau Jessye Norman LYRIC MEZZO: SOUBRETTE & LYRIC SOPRANO: Janet Baker Mirella Freni Cecilia Bartoli Renee Fleming Teresa Berganza Kiri te Kanawa Kathleen Ferrier Hei-Kyung Hong Elena Garanca Ileana Cotrubas Susan Graham Victoria de los Angeles Marilyn Horne Barbara Frittoli Risë Stevens Lisa della Casa Frederica Von Stade Teresa Stratas Tatiana Troyanos Elisabeth Schwarzkopf Carolyn Watkinson DRAMATIC MEZZO: SPINTO SOPRANO: Agnes Baltsa Anja Harteros Grace Bumbry Montserrat Caballe Christa Ludwig Maria Jeritza Giulietta Simionato Gabriela Tucci Shirley Verrett Renata Tebaldi Brigitte Fassbaender Violeta Urmana Rita Gorr Meta Seinemeyer Fiorenza Cossotto Leontyne Price Stephanie Blythe Zinka Milanov Ebe Stignani Rosa Ponselle Waltraud Meier Carol Neblett ** MANY SINGERS SPAN MORE THAN ONE CATEGORY IN THE COURSE OF A CAREER ** ROSSINI, MOZART TENOR: BARITONE: Fritz Wunderlich Piero Cappuccilli Luigi Alva Lawrence Tibbett Alfredo Kraus Ettore Bastianini Ferruccio Tagliavani Horst Günther Richard Croft Giuseppe Taddei Juan Diego Florez Tito Gobbi Lawrence Brownlee Simon Keenlyside Cesare Valletti Sesto Bruscantini Dietrich Fischer-Dieskau -
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.