DOCSLIB.ORG

Złg Z˛Ƒع 5¯ُÏ×Rlçُšˇ¶ Hjü\

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Złg Z˛Ƒع 5¯ُÏ×Rlçُšˇ¶ Hjü\ 110773 bk ItalianSongs2 EU 5/16/06 12:26 PM Page 5 6 GENI SADERO (1886-1961): Fa la nana, bambin’ 2:48 ^ GAETANO ENRICO PENNINO (1859-1918): Pecchè? 2:55 ADD Sung by Tito Schipa Sung by Enrico di Mazzei ITALIAN POPULAR SONGS • 2 Recorded in Milan, 18th December 1929; mat. BM 1346-2, cat. HMV 1088 Recorded 19th December 1928; mat. KI 2061; cat. Odeon 188.624 8.110773 7 EDUARDO DI CAPUA (1864-1917): I’te vurria vasà! 3:42 & ERNESTO TAGLIAFERRI (1889-1937): Piscatore ’e Pusilleco 2:52 Sung by Giuseppe di Stefano Sung by Joseph Schmidt Recorded 15th June 1953; mat. OBA 8395; cat. HMV DA 11347 Recorded 22 April 1932; mat. 133505; cat. Decca 23049 Addio a Napoli • Aprile 8 ARTURO BUZZI-PECCIA (1868-1943): Lolita 3:10 * ERNESTO DE CURTIS (1875-1937): Senza nisciuno 2:53 Sung by Armand Tokatyan Sung by Tito Schipa Stornelli marini • Malia Recorded 25th March 1930; mat. CVE-59724-1; Cat. Victrola 7318 Recorded 22nd April 1932; mat. OM 493-2; cat. HMV DA 1271 9 FRANCESCO PAOLO TOSTI (1846-1916): Malia 3:20 ( SALVATORE GAMBARDELLA (1873-1913): Serenata a Surriento 3:42 and many more Sung by Tito Schipa Sung by Tito Schipa Recorded 15th September 1938; mat. OBA 2741-1; cat. HMV DA 5358 Recorded 27th April 1938; mat. OBA 2473-1; cat. HMV DA 5353 Mario Del Monaco • Giuseppe Di Stefano 0 GIOVANNI D’ANZI (1906-1974): Malinconia d’amore 3:03 ) PIETRO MASCAGNI (1863-1945): Stornelli marini 1:42 Sung by Mario Del Monaco Sung by Beniamino Gigli Beniamino Gigli • Tito Schipa • Aureliano Pertile Recorded 1948; mat. OBA 6648; cat. HMV HN 2378 Recorded in New York, 9th December 1926; mat. BVE-37118-2; cat. Victor 1403 ! AUGUSTO ROTOLI (1847-1904): Mia sposa sarà la mia bandiera 3:55 ¡ EVEMERO NARDELLA (1879-1950): Surdate 2:39 Sung by Aureliano Pertile Sung by Tito Schipa Recorded 20th May 1927; mat. Ph 5942-1; Cat. Odeon N 6573 Recorded 27th April 1938; mat. OBA 2471-2; cat. HMV DA 5353 @ PASQUALE MARIO COSTA (1858-1933): Napulitanata (Uocchie de suonno) 3:25 ™ VINCENZO DE CRESCENZO (1875-1964): Tarantella sincera 2:39 Sung by Tito Schipa Sung by Joseph Schmidt Recorded in Camden, 10th September 1928; mat. BVE-27116-5; cat. Victrola 1415 Recorded 15th December 1934; mat. 85249-2; cat. Odeon O-4720 # FRANCESCO PAOLO TOSTI (1846-1916): Non t’amo più 3:25 £ ITALIAN FOLKSONG (arr. MAY-NEUBACH): Tiritomba 2:40 Sung by Aureliano Pertile Sung by Joseph Schmidt Recorded in Milan, 8th November 1928; mat. BF-2457-3; cat. HMV DA 1008 Recorded March 1934; mat. 85243-2; cat. Decca 23035 $ ERNESTO TAGLIAFERRI (1889-1937): Nun me scetà 3:15 ¢ LUIGI DENZA (1846-1922): Vieni 2:26 Sung by Joseph Schmidt Sung by Aureliano Pertile Recorded 22nd April 1932; mat. 133506; cat. Decca 23049 Recorded 23rd May 1927; mat. Pho 5961-1; cat. Fonotopia M 6029 % STEFANO DONAUDY (1879-1925): O bei nidi d’amore 3:31 Sung by Beniamino Gigli Recorded 4th October 1927; mat. BVE-36927-4; cat. Victor 1292 Historical Recordings 1926-1953 8.110773 5 6 8.110773 110773 bk ItalianSongs2 EU 5/16/06 12:26 PM Page 2 Italian Popular Songs • 2 in 1880 on his appointment as singing-teacher to the famously featured and recorded by Gigli and Giuseppe Neapolitan, the poet, and song festival director Ernesto market, which found its first flowering in a succession English Royal Family. Naturalised British in 1906, he Di Stefano. Murolo (1876-1939), most notably the expressly- of musical films, flimsy in storyline and of varying The Italian canzone popolare, or canzonetta, has long 1904), whose Mia sposa sarà la mia bandiera enjoyed was knighted by Edward VII in 1908. A celebrity in his While the song-publishing houses in Italy (Bideri, composed Nun me scetà and his otherwise much- calibre, which starred Lauri-Volpi, Piccaver, Gigli, held its place in the global market. Its clichéd and the distinction of having been sung by Cotogni and own lifetime, as a composer and stylish and influential Poliphon, Ricordi and others) flourished and street- recorded Piscatore ’e Pusilleco (1925), sung here by Tauber and a host of other tenor icons of the period. predominantly Neapolitan overtones of sunshine and Battistini among the baritones, and by Caruso and performer and promoter of his own songs, Tosti enjoyed vendors sold copies of their latest sheet music the Romanian Joseph Schmidt (1904-1942). The romance distinguish the genre from the more formal Pertile among the tenors, the Sicilian Stefano Donaudy a réclame equalled only by Thomas Moore (in the publications (copielle) in large amounts in major Italian Kiepura film signalled the start of a new transatlantic Peter Dempsey aria antica of the seventeenth and eighteenth centuries, (1879-1925), whose anthology 36 Arie di Stile Antico United States) and Reynaldo Hahn (in Paris). cities and towns, on records the songs were popularised which has now earned the rather more scholarly label of includes the charming O bei nidi d’amore, and Geni Like his contemporary Tosti, the Naples-born on the Fonotipia label by, among others, the Neapolitan bel canto. The selections in this CD programme are Sadero (alias Eugenia Scarpa (1886-1961), an Italian conductor and vocal pedagogue Luigi Denza (1846- tenor Fernando De Lucia (1960-1925). A similarly mostly survivors from the last Golden Age of the folk-song collector, aspiring opera-singer and vocal 1922) was a pupil of Mercadante at the Naples eager market for such music was also found among popular genre, which spanned a century-or-so prior to pedagogue, whose songs, of which the lullaby Fa la Conservatory. He too settled in London where, in 1898, immigrant Italian and Neapolitan populations in the the Piedigrotta and San Remo festivals of the mid- nana, bambin’ is among the best known, were he was appointed a professor of singing at the Royal United States, who rushed out to purchase the latest 1950s. The best known of these have the advantage of popularised by Schipa, Rosa Ponselle, Ferruccio Academy. Denza also inaugurated a noted singing Neapolitan song discs of Caruso, among numerous melodies which, having been re-recorded over several Tagliavini and Tito Gobbi. competition and reputedly penned some 500-600 songs others. decades by famous singers (and, most usually, by By the late nineteenth century the canzonetta’s (including several English drawing-room ballads in the The turn of the twentieth century also saw a tenors), have acquired familiarity and permanence in kindred creation, the melodia or canzone da camera, style of Pinsuti). Nowadays, however, if he is massive increase in the production of Italian song the public memory. Popular Italian songs also had also become fashionable in the salons of Europe remembered at all it is by only two: Occhi di fata and reflecting the spread of new technologies. Songs were traditionally had certain features in common: cast in an and English-speaking countries. A miniaturising of the the now hackneyed Funiculì, funiculà. now tailored to suit various media, first the gramophone impassioned, ballad-style, they called for the sustaining Italian operatic aria, its style evolved principally From the closing decades of the nineteenth century then, soon afterwards, radio, and were often composed Italian Popular Songs • 2 lyric tenor calibre of an Enrico Caruso or a Beniamino through a number of Italian composers who by mid- onwards, the production of the more specific genre of with specific singers in mind. A prime mover in verismo Gigli (1890-1957) in performance, and their viability century had settled in London. These included the Neapolitan song underwent a huge expansion through opera Leoncavallo, one of the first composers to exploit 1 TEODORO COTTRAU (1827-1879): Addio a Napoli 3:01 was further aided by a duration tailored to suit a three Neapolitan Michael (Michele) Costa (1806-1884) and the work of several acclaimed exponents of local origin the commercial possibilities of the gramophone, in 1904 Sung by Mario del Monaco or four-minute recording, although many were long- the Tuscan Ciro Pinsuti (1829-1888), a one-time pupil whose fame, in several instances, would later spread to accompanied Caruso in the creator recording of his Recorded ca. 1953; mat. IDR 771; cat. London P 18212 established favourites well before the advent of that of Rossini and noted vocal coach who taught for many America. Prolific among its major exponents were: Mattinata, that most time-honoured and durable of medium. years at the London Royal Academy. The Pasquale Mario Costa (1858-1933), whose canzonette, which he dedicated ‘to the Gramophone & 2 FRANCESCO PAOLO TOSTI (1846-1916): Aprile 4:01 Chronologically, the oldest song in the anthology is acknowledged master of the genre, however, was collaborators included the renowned local poet and Typewriter Company’. Another seminal verismo figure, Sung by Beniamino Gigli Addio a Napoli. Famously recorded by Caruso (in Francesco Paolo Tosti (1846-1916), well represented folk-song researcher Salvatore Di Giacomo (1860- Pietro Mascagni (1863-1945) also wrote a number of Recorded in London, 12th May 1939; mat. 2EA 7902-2; cat. HMV DB 3815 1919) it is the work of the Neapolitan Teodoro Cottrau here by the affecting Aprile (Milan, 1882) and two of 1934); Eduardo Di Capua (1864-1917), whose popular songs, including Stornelli marini, which dates (1827-79), the composer of Santa Lucia (1850). First the most affecting examples from his London period, I’ te vurria vasà (1900), with lyrics by fellow- from 1906. 3 COLOMBINO ARONA (1885-?): La campana di San Giusto 4:14 published in Naples in 1868, like its more famous Non t’amo più (1884), sung by the Venetian Aureliano Neapolitan Vincenzo Russo (1876-1904), capitalised on By the early 1930s the new boom-industries of Sung by Tito Schipa precursor, it was among the first popular Italian Pertile (1885- 1952) and Malia (1887), one of several his 1898 success ’O sole mio; Salvatore Gambardella radio and the film-musical had given rise to a seemingly Recorded in Camden, 8th September 1926; mat.
Load more

Recommended publications
  • Now It's Official: C Olne Valley to Take Part in Llangollen Celebrations!
    Now it’s Official: Colne Valley to take part in Llangollen Celebrations! Colne Valley Male Voice Choir is to take part in this year’s Llangollen International Music Festival. 2017 will see the 70th Festival and - in advance of the competition – a spectacular Gala Concert is to be held. Back last October, the organisers contacted the Choir and asked us to be part of it – but we’ve been unable to reveal the news until now. Colne Valley was the first male voice choir to take the stage, way back in the ‘Peace Festival in 1947’ and since that time the Choir has performed many times, winning the competition more times than any other male voice choir. We’ve kept up our links with Llangollen – but, nonetheless, it came as something of a surprise to Choir officials when we were approached. The organisers wanted to gather three great male voice choirs with long associations with the Festival to Llangollen’s famous tent to launch the 2017 70th Anniversary. This grand opening concert will feature ‘Canoldir’ ‘Froncysyllte’ and ‘Rhos’ male voice choirs alongside ourselves under the baton of the great conductor, Owain Arwel Hughes. We’ll all be performing with Wales’ premier ‘Cory’ Brass Band and other special guests on Monday July 3rd Choir Chairman, Peter Denby, said, “I am delighted that Colne Valley has been invited to participate in this major show-piece engagement and with the enthusiasm the Choir has shown for the idea. We look forward to being part of a spectacular milestone celebration.” Funiculi Funicula Those, like the Editor, who can vaguely recall Latin lessons (or English lessons come to that) may see this song title and ponder about ropes, cables and hillside railways - and quite right, too! funicular ADJECTIVE 1 (of a railway, especially one on a mountainside) operating by cable with ascending and descending cars counterbalanced.
    [Show full text]
  • We Are Proud to Offer to You the Largest Catalog of Vocal Music in The
    Dear Reader: We are proud to offer to you the largest catalog of vocal music in the world. It includes several thousand publications: classical,musical theatre, popular music, jazz,instructional publications, books,videos and DVDs. We feel sure that anyone who sings,no matter what the style of music, will find plenty of interesting and intriguing choices. Hal Leonard is distributor of several important publishers. The following have publications in the vocal catalog: Applause Books Associated Music Publishers Berklee Press Publications Leonard Bernstein Music Publishing Company Cherry Lane Music Company Creative Concepts DSCH Editions Durand E.B. Marks Music Editions Max Eschig Ricordi Editions Salabert G. Schirmer Sikorski Please take note on the contents page of some special features of the catalog: • Recent Vocal Publications – complete list of all titles released in 2001 and 2002, conveniently categorized for easy access • Index of Publications with Companion CDs – our ever expanding list of titles with recorded accompaniments • Copyright Guidelines for Music Teachers – get the facts about the laws in place that impact your life as a teacher and musician. We encourage you to visit our website: www.halleonard.com. From the main page,you can navigate to several other areas,including the Vocal page, which has updates about vocal publications. Searches for publications by title or composer are possible at the website. Complete table of contents can be found for many publications on the website. You may order any of the publications in this catalog from any music retailer. Our aim is always to serve the singers and teachers of the world in the very best way possible.
    [Show full text]
  • Luciano Pavarotti Is Dead at 71
    September 6, 2007 Luciano Pavarotti Is Dead at 71 By BERNARD HOLLAND Luciano Pavarotti, the Italian singer whose ringing, pristine sound set a standard for operatic tenors of the postwar era, died Thursday at his home near Modena, in northern Italy. He was 71. His death was announced by his manager, Terri Robson. The cause was pancreatic cancer. In July 2006 he underwent surgery for the cancer in New York, and he had made no public appearances since then. He was hospitalized again this summer and released on Aug. 25. Like Enrico Caruso and Jenny Lind before him, Mr. Pavarotti extended his presence far beyond the limits of Italian opera. He became a titan of pop culture. Millions saw him on television and found in his expansive personality, childlike charm and generous figure a link to an art form with which many had only a glancing familiarity. Early in his career and into the 1970s he devoted himself with single- mindedness to his serious opera and recital career, quickly establishing his rich sound as the great male operatic voice of his generation — the “King of the High Cs,” as his popular nickname had it. By the 1980s he expanded his franchise exponentially with the Three Tenors projects, in which he shared the stage with Plácido Domingo and José Carreras, first in concerts associated with the World Cup and later in world tours. Most critics agreed that it was Mr. Pavarotti’s charisma that made the collaboration such a success. The Three Tenors phenomenon only broadened his already huge audience and sold millions of recordings and videos.
    [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]
  • RCA Victor LCT 1 10 Inch “Collector's Series”
    RCA Discography Part 28 - By David Edwards, Mike Callahan, and Patrice Eyries. © 2018 by Mike Callahan RCA Victor LCT 1 10 Inch “Collector’s Series” The LCT series was releases in the Long Play format of material that was previously released only on 78 RPM records. The series was billed as the Collector’s Treasury Series. LCT 1 – Composers’ Favorite Intepretations - Vienna Philharmonic Orchestra [195?] Rosca: Recondita Amonia – Enrico Caruso/Madama Butterfly, Entrance of Butterfly – G. Farrar/Louise: Depuis Le Jour – M. Garden/Louise: Depuis Longtemps j’Habitais – E Johnson/Tosca: Vissi D’Arte – M. Jeritza/Der Rosenkavailier Da Geht ER Hin and Ich Werd Jetzt in Die Kirchen Geh’n – L Lehmann/Otello: Morte d’Otello – F. Tamagno LCT 2 – Caruso Sings Light Music – Enrico Caruso and Mischa Elman [195?] O Sole Mio/The Lost Chord/For You Alone/Ave Maria (Largo From "Xerxes")/Because/Élégie/Sei Morta Nella Vita Mia LCT 3 – Boris Goudnoff (Moussorgsky) – Feodor Chalipin, Albert Coates and Orchestra [1950] Coronation Scene/Ah, I Am Suffocating (Clock Scene)/I Have Attained The Highest Power/Prayer Of Boris/Death Of Boris LCT 4 LCT 5- Hamlet (Shakespeare) – Laurence Olivier with Philharmonia Orchestra [1950] O That This Too, Too Solid Flesh/Funeral March/To Be Or Not To Be/How Long Hast Thou Been Gravemaker/Speak The Speech/The Play Scene LCT 6 – Concerto for Violin and Orchestra No. 2 in G Minor Op. 63 (Prokofieff) – Jascha Heifetz and Serge Koussevitzky and the Boston Symphony Orchestra [1950] LCT 7 – Haydn Symphony in G Major – Arturo Toscanini and the NBC Symphony Orchestra [195?] LCT 8 LCT 9 LCT 10 –Rosa Ponselle in Opera and Song – Rosa Ponselle [195?] La Vestale: Tu Che Invoco; O Nume Tutelar, By Spontini/Otello: Salce! Salce! (Willow Song); Ave Maria, By Verdi/Ave Maria, By Schubert/Home, Sweet Home, By Bishop LCT 11 – Sir Harry Lauder Favorites – Harry Lauder [195?] Romin' In The Gloamin'/Soosie Maclean/A Wee Deoch An' Doris/Breakfast In Bed On Sunday Morning/When I Met Mackay/Scotch Memories LCT 12 – Concerto for Piano and Orchestra No.
    [Show full text]
  • A Pedagogical Analysis of Ten Francesco Paolo Tosti Songs
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2016 A Performance Guide for Lyric Tenor: A Pedagogical Analysis of Ten Francesco Paolo Tosti Songs Mark Aaron Kano University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.192 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Kano, Mark Aaron, "A Performance Guide for Lyric Tenor: A Pedagogical Analysis of Ten Francesco Paolo Tosti Songs" (2016). Theses and Dissertations--Music. 59. https://uknowledge.uky.edu/music_etds/59 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • Otello Di Giuseppe Verdi Prima Rappresentazione Milano, Teatro Alla Scala, 5 Febbraio 1887
    STAGIONE LIRICA E DI BALLETTO 2013 L’OPERA NELLA MEMORIA: LE EDIZIONI CAGLIARITANE DEL PASSATO Otello di Giuseppe Verdi prima rappresentazione Milano, Teatro alla Scala, 5 febbraio 1887 Teatro Civico Stagione di Carnevale 1898 25 dicembre interpreti Pietro Nobilini (Otello), Michele De Padova (Jago), Michele Olivieri (Cassio), Giacinto Pinna (Roderigo), Ettore Conti (Lodovico), Giuseppe Sorgi (Montano), Augusta Crux (Desdemona), Maria Galliano (Emilia) maestro concertatore e direttore d’orchestra Lorenzo Malajoli maestro del coro Virginia Mariani Politeama Regina Margherita Stagione lirica 1914 Politeama Regina Margherita Stagione lirica 1928-1929 Politeama Regina Margherita Stagione lirica 1941 interpreti Francesco Merli (Otello), Luigi Montesanto (Jago), Fernanda Ciani (Desdemona) maestro concertatore e direttore d’orchestra Giuseppe Podestà maestro del coro Gennaro D’Angelo Teatro Giardino Stagione lirica estiva 1951 18 agosto - 5 settembre (13 recite) interpreti Emilio Marinescu (Otello), Antonio Manca Serra (Jago), Salvatore Di Tommaso (Cassio), Ezio Achilli (Roderigo), Umberto Frisaldi (Lodovico), Silvio Loddo (Montano), Rosetta Noli (Desdemona), Fernanda Cadoni (Emilia) maestro concertatore e direttore d’orchestra Oliviero De Fabritiis regia Carlo Acly Azzolini Ufficio Stampa via Sant’Alenixedda, 09128 Cagliari - Italia telefono +39 0704082 232-261-209 - fax +39 0704082216 [email protected] www.teatroliricodicagliari.it Teatro Massimo Stagione lirica 1956 18, 20, 22, 25 marzo interpreti Charles Guichandut (Otello),
    [Show full text]
  • Enrico Caruso
    NI 7924/25 Also Available on Prima Voce ENRICO CARUSO Opera Volume 3 NI 7803 Caruso in Opera Volume One NI 7866 Caruso in Opera Volume Two NI 7834 Caruso in Ensemble NI 7900 Caruso – The Early Years : Recordings from 1902-1909 NI 7809 Caruso in Song Volume One NI 7884 Caruso in Song Volume Two NI 7926/7 Caruso in Song Volume Three 12 NI 7924/25 NI 7924/25 Enrico Caruso 1873 - 1921 • Opera Volume 3 and pitch alters (typically it rises) by as much as a semitone during the performance if played at a single speed. The total effect of adjusting for all these variables is revealing: it questions the accepted wisdom that Caruso’s voice at the time of his DISC ONE early recordings was very much lighter than subsequently. Certainly the older and 1 CAVALLERIA RUSTICANA, Mascagni - O Lola ch’ai di latti la cammisa 2.50 more artistically assured he became, the tone became even more massive, and Rec: 28 December 1910 Matrix: B-9745-1 Victor Cat: 87072 likewise the high A naturals and high B flats also became even more monumental in Francis J. Lapitino, harp their intensity. But it now appears, from this evidence, that the baritone timbre was 2 LA GIOCONDA, Ponchielli - Cielo e mar 2.57 always present. That it has been missed is simply the result of playing the early discs Rec: 14 March 1910 Matrix: C-8718-1 Victor Cat: 88246 at speeds that are consistently too fast. 3 CARMEN, Bizet - La fleur que tu m’avais jetée (sung in Italian) 3.53 Rec: 7 November 1909 Matrix: C-8349-1 Victor Cat: 88209 Of Caruso’s own opinion on singing and the effort required we know from a 4 STABAT MATER, Rossini - Cujus animam 4.47 published interview that he believed it should be every singers aim to ensure ‘that in Rec: 15 December 1913 Matrix: C-14200-1 Victor Cat: 88460 spite of the creation of a tone that possesses dramatic tension, any effort should be directed in 5 PETITE MESSE SOLENNELLE, Rossini - Crucifixus 3.18 making the actual sound seem effortless’.
    [Show full text]
  • 10-06-2018 Aida Mat.Indd
    Synopsis Act I Egypt, during the reign of the pharaohs. At the royal palace in Memphis, the high priest Ramfis tells the warrior Radamès that Ethiopia is preparing another attack against Egypt. Radamès hopes to command the Egyptian army. He is in love with Aida, the Ethiopian slave of Princess Amneris, the king’s daughter, and he believes that victory in the war would enable him to free and marry her. But Amneris also loves Radamès and is jealous of Aida, whom she suspects of being her rival for Radamès’s affection. A messenger brings news that the Ethiopians are advancing. The king names Radamès to lead the army, and all prepare for war. Left alone, Aida is torn between her love for Radamès and loyalty to her native country, where her father, Amonasro, is king. In the temple of Vulcan, the priests consecrate Radamès to the service of the god Ptah. Ramfis orders Radamès to protect the homeland. Act II Ethiopia has been defeated, and in her chambers, Amneris waits for the triumphant return of Radamès. Alone with Aida, she pretends that Radamès has fallen in battle, then says that he is still alive. Aida’s reactions leave no doubt that she loves Radamès. Amneris is certain that she will defeat her rival. At the city gates, the king and Amneris observe the victory celebrations and praise Radamès’s triumph. Soldiers lead in the captured Ethiopians, among them Amonasro, who signals his daughter not to reveal his identity as king. Amonasro’s eloquent plea for mercy impresses Radamès, and the warrior asks that the order for the prisoners to be executed be overruled and that they be freed instead.
    [Show full text]
  • THE Song of a LIFE · Volume 2
    TOSTI the song of a life · volume 2 Malinconia · Due melodie · Altre pagine d’album · Quattro melodie FRANCESCO PAOLO TOSTI 1846-1916 The Song of a Life Complete performance of songs for voice and piano by Francesco Paolo Tosti on the occasion of the first centenary of the composer’s death. 1. Apri!..., serenata popolare (1886 – versi di Lorenzo Stecchetti, CS81) 5’40 11. Love Ties (1887 – versi di Henry Brougham Farnie, CS91) 4’24 2. At the Convent Gate, song (1886 – versi di Frederic E. Weatherly, CS82) 4’59 12. Malìa, melodia (1887 – versi di Rocco Emanuele Pagliara, CS92) 2’48 3. In mare, melodia (1886 – versi di Lorenzo Stecchetti, CS83) 4’38 13. Segreto, melodia (1887 – versi di Lorenzo Stecchetti, CS93) 4’56 4. Prière (1886 – versi di Théophile Gautier, CS84) 5’04 14. Vieni…, piccola barcarola (1887 – versi di Carmelo Errico, CS94) 2’28 5. Sogno, melodia (1886 – versi di Lorenzo Stecchetti, CS85) 3’05 15. We Have Loved, song (1887 – versi di John Muir, CS95) 4’15 6. Marechiare, canto napolitano (1886 – versi di Salvatore di Giacomo, CS86) 3’31 7. Pepìta, vecchia canzone spagnuola (1887 – versi di Enrico “Malinconia” (melodie) (1887 – versi di Gabriele d’Annunzio, CS96) Panzacchi, CS87) 4’12 16. I. Dorme la selva 2’12 8. Lutto, melodia (1886 – versi di Lorenzo Stecchetti, CS88) 4’49 17. II. Quand’io ti guardo 1’24 9. L’ultimo bacio, romanzetta (1887 – versi di Emilio Praga, CS89) 2’19 18. III. L’ora è tarda 1’49 10. Chanson de Fortunio (1887 – versi di Alfred de Musset, CS90) 4’31 19.
    [Show full text]
  • Luciano Pavarotti 1 PHILLIP GEORGE
    21ST CENTURY MUSIC NOVEMBER 2007 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. ISSN 1534-3219. Subscription rates in the U.S. are $84.00 per year; subscribers elsewhere should add $36.00 for postage. Single copies of the current volume and back issues are $10.00. Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. email: [email protected]. Typeset in Times New Roman. Copyright 2007 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Typescripts should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors with access to IBM compatible word-processing systems are encouraged to submit a floppy disk, or e-mail, in addition to hard copy.
    [Show full text]
  • Lps-Vocal Recitals All Just About 1-2 Unless Otherwise Described
    LPs-Vocal Recitals All just about 1-2 unless otherwise described. Single LPs unless otherwise indicated. Original printed matter with sets should be included. 4208. LUCINE AMARA [s]. RECITAL. With David Benedict [pno]. Music of Donaudy, De- bussy, de Falla, Szulc, Turina, Schu- mann, Brahms, etc. Cambridge Stereo CRS 1704. $8.00. 4229. AGNES BALTSA [ms]. OPERA RECITAL. From Cenerentola, Il Barbiere di Siviglia, La Favorita, La Clemenza di Tito , etc. Digital stereo 067-64-563 . Cover signed by Baltza . $10.00. 4209. ROLF BJÖRLING [t]. SONGS [In Swedish]. Music of Widéem, Peterson-Berger, Nord- qvist, Sjögren, etc. The vocal timbre is quite similar to that of Papa. Odeon PMES 552. $7.00. 3727. GRACE BUMBRY [ms]. OPERA ARIAS. From Camen, Sappho, Samson et Dalila, Dr. Frieder Weissmann and Don Carlos, Cavalleria Rustican a, etc. Sylvia Willink-Quiel, 1981 Deut. Gram. Stereo SLPM 138 826. Sealed . $7.00. 4213. MONTSERAAT CABALLÉ [s]. ROSSINI RARITIES. Orch. dir. Carlo Felice Cillario. From Armida, Tancredi, Otello, Stabat Mater, etc. Rear cover signed by Caballé . RCA Victor LSC-3015. $12.00. 4211. FRANCO CORELLI [t] SINGS “GRANADA” AND OTHER ROMANTIC SONGS. Orch. dir Raffaele Mingardo. Capitol Stereo SP 8661. Cover signed by Corelli . $15.00. 4212. PHYLLLIS CURTIN [s]. CANTIGAS Y CANCIONES OF LATIN AMERICA. With Ryan Edwards [pno]. Music of Villa-Lobos, Tavares, Ginastera, etc. Rear cover signed by Curtin. Vanguard Stereolab VSD-71125. $10.00. 4222. EILEEN FARRELL [s]. SINGS FRENCH AND ITALIAN SONGS. Music of Respighi, Castelnuovo-Tedesco, Debussy. Piano acc. George Trovillo. Columbia Stereo MS- 6524. Factory sealed. $6.00.
    [Show full text]