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ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
Sinfonie Inedite Sinfonie
THE UNPUBLISHED SYMPHONIES UNPUBLISHED THE SINFONIE INEDITE SINFONIE Fondazione Benefica Kathleen Foreman Casali, Fondazione De Claricini Dornpacher Claricini De Fondazione Casali, Foreman Kathleen Benefica Fondazione Fondazione Ada e Antonio Giacomini, Fondazione CRTrieste, CRTrieste, Fondazione Giacomini, Antonio e Ada Fondazione Provincia di Trieste, Comune di Trieste – Museo Revoltella, Revoltella, Museo – Trieste di Comune Trieste, di Provincia Con il sostegno di: sostegno il Con who have supported in this effort. this in supported have who Very grateful to Federica Galli Foundation and to Lorenza Salamon, Salamon, Lorenza to and Foundation Galli Federica to grateful Very Motta di Livenza, 1741 - Bonn, 1801 Bonn, - 1741 Livenza, di Motta che ci hanno aiutato in questa iniziativa. questa in aiutato hanno ci che Grazie alla Fondazione Federica Galli e a Lorenza Salamon, Lorenza a e Galli Federica Fondazione alla Grazie Studio Bertin, Milan Bertin, Studio project: Graphic Jean Suzanne Chaloux Suzanne Jean by: Translated Bruno Belli Bruno notes: Booklet Bacino di San Marco, 1984/85 (Courtesy Salamon Gallery, Milan) Gallery, Salamon (Courtesy 1984/85 Marco, San di Bacino Federica Galli, Venezia, Venezia, Galli, Federica image: Cover Gattuso Claudio and Caldara Federico engineer: sound and Recording 2014 2014 7 , 6 January recording: of Date th th Bottenicco di Moimacco (Cividale del Friuli) Friuli) del (Cividale Moimacco di Bottenicco Villa De Claricini, De Villa at: Recorded Production for Concerto: Concerto: for Production Andrea Maria -
“Lucrezia Borgia”
PROGRAMACIÓN LÍRICA DE A CORUÑA 2017 ÓPERA (en versión de concierto) “Lucrezia Borgia” Gaetano Donizetti Teatro Colón, 23 de septiembre (20.00 h.) PROGRAMACIÓN LÍRICA DE A CORUÑA 2017 EDITA Amigos de la Ópera de A Coruña DISEÑO Y MAQUETACIÓN Lamarck Publicidad TRADUCCIÓN Roxelio Xabier García Romero IMPRIME Imprenta da Deputación da Coruña Gaetano Donizetti Lucrezia Borgia Ópera en un prólogo y dos actos, con libreto de Felice Romani, basado en el drama Lucrèce Borgia de Víctor Hugo, y música de Gaetano Donizetti, estrenada en el Teatro alla Scala de Milán el 26 de diciembre de 1833. REPARTO Lucrezia Borgia Mariella Devia, soprano Gennaro Celso Albelo, tenor Don Alfonso Luiz-Ottavio Faria, bajo Maffio Orsini Elena Belfiore, mezzosoprano Rustighello Francisco Corujo, tenor Astolfo Axier Sánchez, barítono Jacoppo Liverotto Enrique Alberto Martínez, tenor Apostolo Gazella David Sánchez, bajo Oloferno Vitellozzo Ramón Farto, tenor Ascanio Petrucci Pedro Martínez Tapia, barítono Gubetta Jeroboám Tejera, bajo Coro Gaos Fernando Briones, director Orquesta Sinfónica de Galicia Andriy Yurkevych, director 6 Lucrezia Borgia Ópera en só un prólogo e dous actos, con libreto de Felice Romani, baseado no drama Lucrèce Borgia de Víctor Hugo, e música de Gaetano Donizetti, estreada no Teatro alla Scala de Milán o 26 de decembro de 1833. REPARTO Lucrezia Borgia Mariella Devia, soprano Gennaro Celso Albelo, tenor Don Alfonso Luiz-Ottavio Faria, baixo Maffio Orsini Elena Belfiore, mezzosoprano Rustighello Francisco Corujo, tenor Astolfo Axier Sánchez, barítono Jacoppo Liverotto Enrique Alberto Martínez, tenor Apostolo Gazella David Sánchez, baixo Oloferno Vitellozzo Ramón Farto, tenor Ascanio Petrucci Pedro Martínez Tapia, barítono Gubetta Jeroboám Tejera, baixo Coro Gaos Fernando Briones, director Orquestra Sinfónica de Galicia Andriy Yurkevych, director 7 ARGUMENTO El prólogo se desarrolla en Venecia, y el drama en Ferrara, a comienzos del siglo XVI. -
Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr. -
Mihailo Arsenski, Tenor
Mihailo Arsenski TENOR Mobil 0176 7086 5780 [email protected] www.arsenski.de REPETOIRE The French- Macedonian tenor Mihailo Arsenski made his debut at the Macedonian National Opera in the roles of Alfredo (La Traviata), Almaviva (Il Barbiere di Siviglia), Beppe (I Pagliacci), Camille (Die Lustige Witwe) and Homonay (Der Zigeunerbaron). He obtained the «Artist Diploma» from the Oberlin Conservatory, USA, in the class of Richard Miller and until 2001 was part of the Opera Studio «Centre de Formation Lyrique» at the Paris National Opera. In Paris he performed regularly in concerts and productions at the Amphitheatre of Opera Bastille, including Nemorino (L'Elisir d'Amore), Fenton (Falstaff), Roméo (Roméo et Juliette), coached by Janine Reiss (Opéra de Paris), Robert Kettelson (La Scala di Milano) and Joan Dornemann (Metropolitan Opera, NY). He also sang a number of roles at the Paris National Opera, at the Opéra Bastille and Palais Garnier, including Matteo Borsa in Rigoletto, Abdallo in Nabucco, Uldino in Attila, Gastone in La Traviata, Thibault in Vêpres Siciliennes, Dritter Jude in Salome, Haushofmeister bei Faninal in Rosenkavalier and Solo Tenor in Les Noces by Stravinski, with conductors such as Daniel Oren, Pinchas Steinberg, Gary Bertini, Renato Palumbo, Paolo Carignani, Nicola Luisotti, Ulf Schirmer, Dietrich Henchel, James Conlon, Philippe Jourdain, Vladimir Jurowski, Jesus Lopez-Cobos and Arturo Tamaio. Concerts in Paris at the Opéra Comique, Théatre de Champs Elysées, Salle Pleyel and Salle Gavot. Mihailo took part in the Master Classes with Alain Vanzo, Michel Sénechal and Christa Ludwig. He represented Macedonia at the BBC «Cardiff Singer of the World» 2001 competition. -
Musica E Teatro in Un Archivio Di Frammenti Del Sette E Ottocento
BUGANI FABRIZIO Musica e teatro in un archivio di frammenti del Sette e Ottocento Estratto da QE, I - 2009/0 http://www.archivi.beniculturali.it/ASMO/QE Fabrizio Bugani - Musica e teatro in un archivio di frammenti del Sette e Ottocento 1. Introduzione L’indagine sulle fonti musicali e sulle relative fonti bibliografiche - uno dei risvolti del- la biblioteconomia musicale - consente di rendere nuovamente fruibili dati ed informa- zioni del passato attraverso la ricostruzione della rete di relazioni culturali a cui le fonti erano riconducibili e la loro adeguata contestualizzazione storica. La relazione illustra sinteticamente il risultato di un lavoro di ricerca che ha impegnato chi scrive dal 2002 al 2004, nell’esame di uno dei fondi musicali meno indagati tra quelli custoditi presso la Biblioteca Estense Universitaria di Modena; esame svolto du- rante un tirocinio in Biblioteca e concretizzatosi nella tesi di laurea Frammenti di musi- ca del Sette e Ottocento nella Biblioteca Estense Universitaria di Modena. L’indagine compiuta attraverso l’analisi dei manoscritti e la consultazione delle fonti d’archivio ha permesso di individuare i legami diretti e indiretti del fondo con le vicen- de della famiglia Austria-Este e della città di Modena, e di determinare l’articolazione del fondo identificando i nuclei originari di appartenenza. Fondamentale, nel lavoro di attribuzione dei manoscritti ad ambiti di provenienza inequivocabili, lo studio dei cata- loghi e degli inventari storici posseduti dalla Biblioteca e di pertinenti cataloghi e inven- tari relativi sia alle biblioteche musicali degli elettori di Colonia sia ai fondi archivistici delle realtà musicali e teatrali modenesi dell’Ottocento, oltre agli archivi della Direzione degli spettacoli e della Società Filarmonica Modenese, custoditi presso l’Archivio di Stato e l’Archivio Storico Comunale di Modena. -
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas GEORGES BIZET EMI 63633 Carmen Maria Stuarda Paris Opera National Theatre Orchestra; René Bologna Community Theater Orchestra and Duclos Chorus; Jean Pesneaud Childrens Chorus Chorus Georges Prêtre, conductor Richard Bonynge, conductor Maria Callas as Carmen (soprano) Joan Sutherland as Maria Stuarda (soprano) Nicolai Gedda as Don José (tenor) Luciano Pavarotti as Roberto the Earl of Andréa Guiot as Micaëla (soprano) Leicester (tenor) Robert Massard as Escamillo (baritone) Roger Soyer as Giorgio Tolbot (bass) James Morris as Guglielmo Cecil (baritone) EMI 54368 Margreta Elkins as Anna Kennedy (mezzo- GAETANO DONIZETTI soprano) Huguette Tourangeau as Queen Elizabeth Anna Bolena (soprano) London Symphony Orchestra; John Alldis Choir Julius Rudel, conductor DECCA 425 410 Beverly Sills as Anne Boleyn (soprano) Roberto Devereux Paul Plishka as Henry VIII (bass) Royal Philharmonic Orchestra and Ambrosian Shirley Verrett as Jane Seymour (mezzo- Opera Chorus soprano) Charles Mackerras, conductor Robert Lloyd as Lord Rochefort (bass) Beverly Sills as Queen Elizabeth (soprano) Stuart Burrows as Lord Percy (tenor) Robert Ilosfalvy as roberto Devereux, the Earl of Patricia Kern as Smeaton (contralto) Essex (tenor) Robert Tear as Harvey (tenor) Peter Glossop as the Duke of Nottingham BRILLIANT 93924 (baritone) Beverly Wolff as Sara, the Duchess of Lucia di Lammermoor Nottingham (mezzo-soprano) RIAS Symphony Orchestra and Chorus of La Scala Theater Milan DEUTSCHE GRAMMOPHON 465 964 Herbert von -
CHAN 3160 Gioachino Rossini (1792 –1868 ) The
CHAN 3160 Gioachino Rossini (1792 –1868 ) THE © Lebrecht Music & Arts Photo Library Photo & Arts Music © Lebrecht ItaliaN GIRL IN AlgiERS Highlights Dramma giocoso in two acts to a libretto substantially derived from Angelo Anelli’s libretto for Luigi Mosca’s L’italiana in Algeri English translation by David Parry Mustafà, Bey of Algiers Alastair Miles bass Elvira, Mustafà’s wife Sarah Tynan soprano Zulma, slave, and Elvira’s confidante Anne Marie Gibbons mezzo-soprano Haly, Captain of the Algerian Corsairs David Soar bass Lindoro, Mustafà’s favourite slave Barry Banks tenor Isabella, Italian lady Jennifer Larmore mezzo-soprano Taddeo, Isabella’s companion Alan Opie baritone Geoffrey Mitchell Choir Philharmonia Orchestra Martin Fitzpatrick assistant conductor Brad Cohen Gioachino Rossini 3 Time Page Time Page 1 Overture 8:13 [p. 32] 9 ‘Please tell me where my niece is’ – 2:08 [p. 36] Taddeo, Haly, Mustafà, Isabella Act I 10 from ‘Though we must part from you’ – 3:47 [p. 37] 2 No 2, Cavatina: ‘In dreams of endless pleasure’ 7:16 [p. 32] Elvira, Zulma, Lindoro, Isabella, Haly, Taddeo Lindoro 11 ‘Tell me, who is this woman?’ 5:27 [p. 38] 3 No 3, Duet: ‘When I choose a girl to marry’ 4:13 [p. 32] Isabella, Mustafà, Elvira, Zulma, Lindoro, Taddeo, Haly, Chorus Lindoro, Mustafà 4 from No 4, Cavatina: ‘Fate is cruel!’ 4:46 [p. 33] from Act II Isabella, Chorus 12 No 10, Aria: ‘All this shouting makes my head ache’ 3:45 [p. 39] 5 No 5, Duet: ‘From the buffets of misfortune’ 7:34 [p. 34] Taddeo, Chorus Isabella, Taddeo 13 No 11a, Cavatina: ‘Sweetest treasure, dearest pleasure’ 7:27 [p. -
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. -
Agnes Baltsa Angela Gheorghiu Grace Bumbry
A VoceVista Study: Formant Boosting and Vowel Modification, Adapting Resonance Techniques of Professionals to the Voice Studio Kathryn Hansen Department of Music, Carthage College, 2001 Alford Park Drive, Kenosha, WI 53140 Results and Discussion: AGNES BALTSA PAS6, The Conference on the Physiology and Acoustics of Singing At right is the spectral evidence of my attempt (Spectogram (A)) to re-create Agnes Baltsa’s Abstract: approach (Spectogram (B)) to the F#5 pitch on the French word “garde.” The spectral images can never be an exact match as the two vocalists have biologically different instruments and one This investigation analyzes VoceVista (VV) spectral evidence for formant boosting and vowel modification in Las Vegas, October 17 - 20, 2012 set of data is performed live into the VoceVista system while the other is a recording. However, recordings of mezzo-sopranos singing the final measures (“si je t’aime prends garde à toi”) of the “Habanera” from by means of formant tracking and vowel modification, I was able to get a spectral image (as well Carmen by Georges Bizet. With these findings, I further explore matching these resonance strategies to feel the Data: as a sound) that is much closer to that of Agnes Baltsa than my original approach. differences in sensation and sound. With these differences recognized, I can discover which best suits my instrument Below is the spectral evidence of each of six professional, traditionally trained vocalists, performing the final phrase of Georges Bizet’s at this time. “Habenera” from his Opera, Carmen (“si je t’aime, prends garde à toi”) lined up above (Spectogram (A)) is spectral evidence of my original ANGELA GHEORGHIU approach to the same passage. -
BLOCK ASSOCIATION NEWSLETTER MAY 4, 2011 Editor: Nancy Lian
West 104th Street BLOCK ASSOCIATION NEWSLETTER MAY 4, 2011 Editor: Nancy Lian A Young Resident helps Block improvements Plant Summer Flowers Many thanks to the planters who have provided our tulips and To provide the block with more trees, new tree guards, pansies: Barbara Bryan, Jane and enlarged tree pits, the Block Association plans to Cohen, Kay Cynamon, Teresa partner with MillionTreesNYC and the Tree Trust. Through Elwert, Joe Franklin and son Noah MillionTreesNYC—a public-private program--the Block (pictured), Lisa Granatstein and son Gabriel, Joyce and Martin Association has scheduled the planting of two trees in the Mann, their daughter Stephanie fall. The Program will provide the trees at no cost to the Honig and grandchildren Rai and block, but cannot guarantee an exact date for planting. Judah, Steve Pred, Katherine Randall, Joe Rappaport, Marsha Tantleff and coordinator of all planting activity, Bonnie Dry. A not-for-profit entity established by the City, the Tree Trust would install three-sided tree guards with protective Attention Local Philanthropists posts facing the street and would increase most of the tree pits to an eight-foot length running parallel to the curb. Prepare NOW for Our 2011 Yard Sale Because of subsurface conditions or sidewalk clearances, it is unable to enlarge some pits. Don’t be surprised by the arrival of our Yard Sale on September 24. Start soon to collect your expendable While the Tree Trust would lower costs for the Block collectibles, neglected household items, and used books. Association, it will not cover all expenses. Block residents Watch for our flyers with instructions on how to make your would be able to make tax deductible contributions similar donation. -
Decca Discography
DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982.