DOCSLIB.ORG

Manon Lescaut

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Manon Lescaut MANON LESCAUT Entre las grabaciones completas de Manon Lescaut no En el listado siguiente ofrecemos las cerca noventa 1953 hay más que una que date de antes de la II Guerra grabaciones documentadas que están completas y cantadas Clara Petrella; Vasco Campagnano; Saturno Meletti; Mundial: la realizada por el Teatro alla Scala en 1931. en italiano, con los papeles principales presentados en Pier Luigi Latinucci; Tullio Panè; Ortensia Beggiato; Esta sala se reabrió el 11 de mayo de 1946 con un este orden: Manon Lescaut (soprano); Des Grieux (tenor); Mario Anselmi; Tommaso Soley; Piero Poldi; Tullio Panè; Mario Anselmi; coro y orquesta de la RAI Torino; evento que incluía también el tercer acto de la ópera Lescaut (barítono); Geronte (bajo); Edmondo (tenor); Una dir. Federico Del Cupolo. Cetra OLP C1243/1-3; Cetra de Puccini bajo la batuta de Arturo Toscanini, con voce sola (mezzosoprano); L’oste (bajo); Il maestro di 1243 (3 LP) (EEUU); Everest-Cetra S451-3 (3 LP); Mafalda Favero y Giovanni Malipiero, y que se conserva ballo (tenor); Un sergente degli arcieri (bajo); Lampionaio Warner Fonit 8573 87474-2 (2 CD) (2001). Grabación grabado. (tenor); Un comandante di Marina (bajo); y si aparecen en para una emisión radiofónica. La importancia de esta grabación (no repertoriada el reparto: Madrigalisti (voces femeninas). aquí por estar incompleta) deriva de la ocasión, por las necesidades sociales a que respondía, pero ¿cómo ▮Manon Lescaut en disco 1954 evaluar el registro de representaciones que tienen Renata Tebaldi; Mario Del Monaco; Mario Borriello; un fin en sí mismas? Si estuviéramos huérfanos de 1931 Fernando Corena; Piero De Palma; Luisa Ribacchi; criterios técnicos o profesionales, podríamos recurrir Maria Zamboni; Francesco Merli; Lorenzo Conati; Antonio Sacchetti; Adelio Zagonora; Antonio Sacchetti; a indicadores indirectos, como podría ser el número Attilio Bordonali; Giuseppe Nessi; Anna Masetti-Bassi; Angelo Mercuriali; Dario Caselli; coro y orquesta de de comentarios que suscitaron en las revistas Aristide Baracchi; Giuseppe Nessi; Aristide Baracchi; Santa Cecilia; dir. Francesco Molinari-Pradelli. Decca LXT 2995-2997 (3 LP) (1955); Decca Ace of Diamonds especializadas. Aunque contabilizar sistemáticamente Giuseppe Nessi; Natale Villa; coro y orquesta del Teatro GOS 607-608 (2 LP) (1971); London LLA 28 (3 LP) esos registros, basándonos en principios metodológicos alla Scala; dir. Lorenzo Molajoli. Columbia GQX 10119- (1955); London OSA 1317 (3 LP); Decca(London) adecuados, supondría un ingente trabajo bibliométrico, 31 (13 x 78 rps) (Italy); Columbia 33QCX 10076/77 (2 Grand Opera 430 253-2 (2 CD) (1991); Decca Rouge podemos aplicar lo que los anglófonos llaman a rule LP) (Italy); Columbia SL 111 (2 LP) (EEUU) (1951); Opéra 458 713-2 (France) (1997); Decca 473 045- of thumb, en referencia a la aplicación de una regla EMI 3 C153-00693/94 (2 LP); Italian Music Company 2 (12 CD) (2002); Great Opera Performances G.O.P. que sirve para evaluar empíricamente un asunto en la IMC 202001 (2 CD) (1994); Phonographe PH 5006/7; 66.318 (2 CD) (2004); Decca 4759385 (2008); Decca mayoría de los casos concretos. Nuova Era HMT 90022/90023; Arkadia 78014. 4781535 (66 CD) (2014). Grabación en estudio. En el caso de las disco y videografías, contamos las Grabación en estudio. referencias a estas publicaciones y, aplicando el Licia Albanese; Jussi Björling; Robert Merrill; Franco principio a la base de datos que manejamos para la Calabrese; Mario Carlin; Anna Maria Rota; Plinio elaboración de estos listados, llegamos al resultado 1949 Clabassi; Mario Carlin; Franco Calabrese; Mario Carlin; siguiente para las grabaciones de Manon Lescaut Dorothy Kirsten; Jussi Björling; Giuseppe Valdengo; Plinio Clabassi; coro y orquesta del Teatro dell’Opera realizadas hasta hace aproximadamente una década. Salvatore Baccaloni; Thomas Hayward; Jean Madeira; de Roma; dir. Ionel Perlea. RCA Victor LM 6116 (3 Aplicando la regla de oro, destacan cinco grabaciones George Cehanovsky; Alessio De Paolis; Clifford Harvuot; LP) (EEUU) (1955); RCA Victrola VIC 60267 (2 LP); entre las aproximadamente 80 realizadas entre 1930 Paul Franke; Osie Hawkins; coro y orquesta de la RCA Italiana C12R 0164/6 ; HMV ALP 1326-1328 (3 y 2005. Las ediciones en CD de 2000 y en DVD de Metropolitan Opera; dir. Giuseppe Antonicelli. Unique LP) (1956); RCA Victrola VIC 4027/1-2 (2 LP); RCA Victrola VL 43544 (2) (2 LP) (Italy) (1977); RCA Victor 2005 de las grabaciones realizadas en el Teatro de Opera Records Corporation UORC 207 (2 LP) (1974); Gold Seal GK 60573 (1991); RCA Victor Gold Seal GD la Scala en 1998 sobre las representaciones con Myto 2 MCD 931.73 (2 CD) (1993); Metropolitan Opera 60573 (2 CD) (1991); Opera d’Oro OPD 1428 (2 CD) dirección musical de Riccardo Muti, y con Maria Historic Broadcasting Soria Series MET 22CD (2 CD) (2005); Naxos Historical 8.111030-31 (2 CD) (2006); Guleghina y José Cura, son las que han provocado (1999); Naxos Historical 8.110123-24 (2 CD) (2001); alto ALC 2001 (2 CD) (2007); Opera d’Oro OPD 1428 la mayoría de los comentarios críticos. Siguen ex Myto Historical 2 CD 011 H 056 (2 CD) (2001); Cantus (2 CD) (2013). Grabación en estudio. aequo las interpretaciones de John Eliot Gardiner en Classics 500 320 (2 CD) (2003); Bensar OL 121049 el Glyndebourne Festival de 1997 con Adina Nitescu (BRO 125872) (2 CDR) (2005). Grabación en directo y Patrick Denniston, la de James Levine en 1992 en del 10 de diciembre. 1957 estudio con la compañía de la Metropolitan Opera y los Clara Petrella; Giuseppe di Stefano; Mario Borriello; Leo solistas Mirella Freni y Luciano Pavarotti, y la de Tullio Pudis; Mariano Caruso; Anna Di Stasio; Aldo Terrosi; Serafin en 1957 en estudio con la compañía del Teatro 1950 Mariano Caruso; Gerardo Gaudioso; Piero De Palma; alla Scala, presentando a Maria Callas y Giuseppe di Dorothy Kirsten; Richard Tucker; Giuseppe Valdengo; Giovanni Amodeo; coro y orquesta del Teatro di San Stefano como protagonistas. A poca distancia de estos Gerhard Pechner; Leslie Chabay; Margaret Roggero; Carlo de Nápoles; dir. Vincenzo Bellezza. Giuseppe tres se encuentra Francesco Molinari-Pradelli con su Lawrence Davidson; Alessio De Paolis; Clifford di Stefano GDS 21050 (2 CD); Live Opera Heaven C grabación en estudio de 1954, con la Academia de Harvuot; Paul Franke; Osie Hawkins; coro y orquesta 875 (2 CD); The Opera Lovers MANL 195701 (2 CDR) Santa Cecilia de Roma, y Renata Tebaldi y Mario Del de la Metropolitan Opera; dir. Fausto Cleva. Omega (Canada) (2006). Grabación en directo. Monaco como cantantes principales. Opera Archive 688 (& 506). Grabación en directo del Maria Callas; Giuseppe di Stefano; Giulio Fioravanti; Trabajando de esta manera con los listados que 18 de noviembre. Franco Calabrese; Dino Formichini; Fiorenza Cossotto; presentamos aquí, llegamos a reducir la información Carlo Forti; Vito Tatone; Giuseppe Morresi; Franco a un tamaño manejable para sentar una base desde Ricciardi; Franco Ventriglia; coro y orquesta del la que adquirir los criterios específicos para cada 1951 Clara Petrella; Mario Del Monaco; Carlo Morelli; Roberto Teatro alla Scala; dir. Tullio Serafin. Columbia 33CX caso. Desde este punto se pueden seguir varios 1583-1585 (1959); EMI RLS 737 (3 LP) (1980); Silva; José Mendieta; Guadalupe Luna; Humberto caminos para integrar tal información con nuestra EMI EX 290041-3 (EX 290041-1 - EX 290042-1) (2 Pazos; Carlos Sagarminaga; Carlos Sagarminaga; experiencia personal. Leer estos comentarios críticos LP) (1986); Angel 3564 C/L (3 LP) (1960); Seraphin publicados, adquirir los criterios estéticos y el lenguaje Christian Caballero; coro y orquesta del Palacio de las IC-6089; EMI EX 290041-5 (1986); EMI CDS 7 correspondiente en la literatura especializada es uno Bellas Artes; dir. Giuseppe Antonicelli. Unique Opera 47393-8 (2 CD) (1986); EMI CDS 5 56301-2 (2 CD) de ellos; escuchar las óperas e intentar captar la huella Records Corporation UORC 319 (2 LP) (1977); Great (1997); Angel CDCB 47392 (2 CD); Naxos Historical que dejan en nosotros es otro, más arriesgado quizá. Opera Performances G.O.P. 826 CD 2 (2 CD) (2001). Great Opera Recordings 8112031-32 (2 CD) (2010). Pero la aventura merece nuestros esfuerzos. Grabación en directo de junio. Grabación en estudio. 164 - ABAO-OLBE Fonografía y videografía Willem de Waal 1959 1965 Luisa Maragliano; Plácido Domingo; Alberto Rinaldi; Renata Tebaldi; Richard Tucker; Frank Guarrera; Gianna Galli; Angelo Mori; Renato Bruson; Silvio Carlo Badioli; Ermanno Lorenzi; Huguette Tourangeau; Fernando Corena; Charles Anthony; Helen Vanni; Maionica; Mario Guggia; Silvana Padoan; Giorgio Bernard Izzo; Bernard Izzo; Florindo Andreolli; Ronald George Cehanovsky; Alessio De Paolis; Calvin Marsh; Onesti; Mario Carlin; Umberto Frisaldi; Antonio Pietrini; Combs; coro y orquesta de la Chicago Lyric Opera; Robert Nagy; Osie Hawkins; coro y orquesta de la Gino Calò; coro y orquesta de la RAI Milano; dir. Arturo dir. Bruno Bartoletti. The Opera Lovers MANL 196801 Metropolitan Opera; dir. Fausto Cleva. Historical Basile. Premiere Opera (Italy) (2 CDR). Grabación de (2 CDR) (2007). Grabación en directo del 14 de Recording Enterprises HRE; Omega Opera Archive una emisión en la radio del 27 de octubre. diciembre. 226; Myto MCD 00250 (2 CD) (2010). Grabación en directo del 17 de enero. 1969 1966 Virginia Zeani; Richard Tucker; Walter Alberti; Mario Licia Albanese; Richard Tucker; Mario Sereni; Donald Hjördis Schymberg; Jussi Björling; Hugo Hasslo; Arne Rinaudo; los demás sin identificar; coro y orquesta del Tyrén; Lars Billengren; Margarita Bergström; Sven- Gramm; Charles Anthony; Marcia Baldwin; Russell Teatro dell’Opera de Roma; dir. Thomas Schippers. Erik Jacobsson; Arne Ohlson; Georg Svedenbrandt; Christopher; Andrea Velis; Robert Goodloe; Dan Marek; House of Opera ALD 3016; House of Opera CD 882 (2 Kolbjörn Höiseth; Bo Lundborg; coro y orquesta de Gene Boucher; coro y orquesta de la Metropolitan CDR); Opera Lovers MANL 196901 (2 CDR); Encore Kungliga Operan; dir. Nils Grevillius.
Load more

Recommended publications
  • 2010 AMTA Conference Promises to Bring You Many Opportunities to Network, Learn, Think, Play, and Re-Energize
    Celebrating years Celebrating years ofof musicmusic therapytherapy the past... t of k ou oc R re utu e F th to in with ll nd o Music a R Therapy official conference program RENAISSANCE CLEVELAND HOTEL Program Sponsored by: CLEVELAND, OHIO welcome ...from the Conference Chair elcome and thank you for joining us in Cleveland to celebrate sixty years of music Wtherapy. And there is much to celebrate! Review the past with the historical posters, informative presentations and the inaugural Bitcon Lecture combining history, music and audience involvement. Enjoy the present by taking advantage of networking, making music with friends, new and old, and exploring some of the many exciting opportunities available just a short distance from the hotel. The conference offers an extensive array of opportunities for learning with institutes, continuing education, and concurrent sessions. Take advantage of the exceptional opportunities to prepare yourself for the future as you attend innovative sessions, and talk with colleagues at the clinical practice forum or the poster research session. After being energized and inspired the challenge is to leave Cleveland with both plans and dreams for what we can accomplish individually and together for music therapy as Amy Furman, MM, MT-BC; we roll into the next sixty years. AMTA Vice President and Conference Chair ...from the AMTA President n behalf of the AMTA Board of Directors, as well as local friends, family and colleagues, Oit is my distinct privilege and pleasure to welcome you to Cleveland to “rock out of the past and roll into the future with music therapy”! In my opinion, there is no better time or place to celebrate 60 years of the music therapy profession.
    [Show full text]
  • PACO158 Front.Std
    [ill □§@ Pristine □ □ Pristine DIGITAL AUDIO PACO 158 Puccini XR XR Manon Lescaut PACO 158 Giacomo Puccini's third opera, Manon Lescaut, premiered at the Teatro Regio, Turin in 1893 and was the first of his operas to garner I I international acclaim. Musically the opera showed clear evidence of Puccini's growing mastery of tuneful lyricism and his ability to Rn~~t~u~ n evoke a sense of place. The story of a doomed heroine was one that Puccini would return to with even greater success in La Bohf?me (1896), Tosca (1900) and Madama Butterfly (1904). The New York premiere in 1907 featured Lina Cavalieri, Enrico Caruso and Antonio Scotti in the cast, and Puccini himself in the audience, but fell out of the repertoire in between 1929 and 1949. When a new Met production of Manon Lescaut was mounted in 1949 it featured Swedish t enor Jussi Bjbrllng as Des Grieux. Bjbrling learned only two new roles after branching out from his operatic home at the Royal Swedish Opera in the lat e 1930s. One was Don manon licia albanese Carlo, which opened Rudolf Bing's tenure as general manager of the Metropolitan Opera in November 1950, the other was Des Grieux in Manon Lescaut. Over ten years, between 1949 and 1959, Bjbrling sang the role just 25 times, but we have no less than four des grieux Jussi bjbrling complete recordings of him in this opera: the Met's first ever broadcast of the opera in 1949, a studio recording in 1954, this Met broadcast from 1956, and a bi-lingual broadcast from Stockholm in 1959.
    [Show full text]
  • 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.
    [Show full text]
  • [Collection Title]
    1 New Orleans Opera Association Archives 99 boxes/68 linear ft Special Collections & Archives J. Edgar & Louise S. Monroe Library Loyola University New Orleans Collection 74 2 Contents Collection Summary ....................................................................................................................... 3 Series Description .......................................................................................................................... 7 Container List ................................................................................................................................. 8 Series I: Administrative Files ..................................................................................................... 8 Subseries I-A: Artist Fees ...................................................................................................... 8 Subseries I-B: Awards and Grants ......................................................................................... 8 Subseries I-C: Board of Directors 1943-1999 ........................................................................ 9 Subseries I-D: Budgets ........................................................................................................ 10 Subseries I-E: Clubs and Guilds .......................................................................................... 10 Subseries I-F: Correspondence ............................................................................................ 10 Subseries I-G: Facilities and Sets ........................................................................................
    [Show full text]
  • First Glimpse 2018: Songs from the Great Room
    presents First Glimpse 2018: Songs from the Great Room World Premiere Songs rom e 17-19 omosers e oie series Composers & the Voice Artistic Director - Steven Osgood Musical Direction by Mila Henry & Kelly Horsted 2017-19 Composers & the Voice Composer and Librettist Fellows Laura Barati Pamela Stein Lynde Sokunthary Svay Matthew Browne Scott Ordway Amber Vistein Kimberly Davies Frances Pollock Alex Weiser 2017-18 Composers & the Voice Resident Singers Tookah Sapper, soprano Jennifer Goode Cooper, soprano Blythe Gaissert, mezzo-soprano* Blake Friedman, tenor Mario Diaz Moresco, baritone Adrian Rosas, bass-baritone *Songs written for mezzo-soprano will be performed tonight by Kate Maroney Resident Stage Manager - W. Wilson Jones May 19 & 20, 2018 - 7:30 PM SOUTH OXFORD SPACE, BROOKLYN FROM THE ARTISTIC DIRECTOR I always have mixed emotions when a cycle of Composers and the Voice arrives at the First Glimpse concerts. It is thrilling to FINALLY throw open the doors of this room and share some of the wonderful pieces that have been written since last Fall. But it also means that my time working so regularly and directly with a family of artists is drawing to a close. It takes a huge team of people to make a program like Composers and the Voice work, but I would like to thank two who have stepped into new and significantly larger roles this year. Mila Henry, C&V Head of Music, has overseen the musical organization of the entire season, while also preparing several pieces for each of our workshop sessions. Matt Gray, as C&V Head of Drama, has brought his insight into character and operatic narrative into every element of the program.
    [Show full text]
  • Newsletter • Bulletin Summer 2002 Été
    NATIONAL CAPITAL OPERA SOCIETY • SOCIÉTÉ D'OPÉRA DE LA CAPITALE NATIONALE Newsletter • Bulletin Summer 2002 Été P.O. Box 8347, Main Terminal, Ottawa, Ontario K1G 3H8 • C.P. 8347, Succursale principale, Ottawa (Ontario) K1G 3H8 A new Canadian star!!! by Renate Chartrand Opernglas’ featured a six-page interview with her on the occasion of her Covent Garden debut as Donna Anna with Bryn Terfel as Don Giovanni. (Perhaps while I am writing this, ‘Opera Canada’ is doing the same?) For several years she was based in Vienna, singing lead roles at the State Opera. Elsewhere in Europe she has had great success as Elsa, Arabella, Tatiana, Desdemona and Alice Ford in Munich, Paris, Glyndebourne and Milan. Four years ago in Hamburg she had already caught my at- tention as a great Ellen Orford in Peter Grimes. As is the custom in Europe we joined the fans wait- ing for her at the stage door and asked her whether she is thinking of doing Tosca. Yes, next year in San Francisco. This year she will sing her first Elisabetta (Don Carlo) in Salzburg, Ariadne in Barcelona and her Met debut as Lisa (Pique Dame) is planned for 2004. For us Ottawans of greatest interest will be her first Sieglinde in Toronto’s (continued on page 3) Adrianne Pieczonka Kat’a Kabanova During my trip to Germany in April I had the pleasure of witnessingBrian a Canadian star being born. Soprano Adrianne Pieczonka made the front page of the ‘Hamburger Abendblatt’Law with the comment “A star was born” follow- ing the opening night of Kat’a Kabanova by Janacek at the Hamburg State Opera.
    [Show full text]
  • 1 CRONOLOGÍA LICEÍSTA Se Incluye Un Listado Con Las
    CRONOLOGÍA LICEÍSTA Se incluye un listado con las representaciones de Aida, de Giuseppe Verdi, en la historia del Gran Teatre del Liceu. Estreno absoluto: Ópera del Cairo, 24 de diciembre de 1871. Estreno en Barcelona: Teatro Principal, 16 abril 1876. Estreno en el Gran Teatre del Liceu: 25 febrero 1877 Última representación en el Gran Teatre del Liceu: 30 julio 2012 Número total de representaciones: 454 TEMPORADA 1876-1877 Número de representaciones: 21 Número histórico: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21. Fechas: 25 febrero / 3, 4, 7, 10, 15, 18, 19, 22, 25 marzo / 1, 2, 5, 10, 13, 18, 22, 27 abril / 2, 10, 15 mayo 1877. Il re: Pietro Milesi Amneris: Rosa Vercolini-Tay Aida: Carolina de Cepeda (febrero, marzo) Teresina Singer (abril, mayo) Radamès: Francesco Tamagno Ramfis: Francesc Uetam (febrero y 3, 4, 7, 10, 15 marzo) Agustí Rodas (a partir del 18 de marzo) Amonasro: Jules Roudil Un messaggiero: Argimiro Bertocchi Director: Eusebi Dalmau TEMPORADA 1877-1878 Número de representaciones: 15 Número histórico: 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36. Fechas: 29 diciembre 1877 / 1, 3, 6, 10, 13, 23, 25, 27, 31 enero / 2, 20, 24 febrero / 6, 25 marzo 1878. Il re: Raffaele D’Ottavi Amneris: Rosa Vercolini-Tay Aida: Adele Bianchi-Montaldo Radamès: Carlo Bulterini Ramfis: Antoine Vidal Amonasro: Jules Roudil Un messaggiero: Antoni Majjà Director: Eusebi Dalmau 1 7-IV-1878 Cancelación de ”Aida” por indisposición de Carlo Bulterini.
    [Show full text]
  • 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
    [Show full text]
  • Biography: Fabio Armiliato
    Biography: Fabio Armiliato Internationally renewed tenor Fabio Armiliato is acclaimed by the public thanks to his unique vocal style, his impressive upper register and his dramatic abilities and charisma that infuses in his characters. He made his opera debut as Gabriele Adorno in Simon Boccanegra in his hometown Genoa, where he graduated at the Conservatory Niccolo Paganini, after which his career set off leading him to address many important roles for his register in the most prestigious theatres in the world. In 1993 debuted at the Metropolitan Opera House in New York with Il Trovatore, followed by Aida, Cavalleria Rusticana, Don Carlo, Simon Boccanegra, Tosca, Fedora, Madama Butterfly. Especially his performance of Andrea Chènier at the Met is considered one of his most iconic roles, receiving the proclamation from the critics of “best Chénier of our times”. Equally importance Fabio Armiliato gave to the role of Pinkerton in Madama Butterfly, sung amongst others at La Scala in Milan, at the Gran Teatre del Liceu and the New National Theatre in Tokyo. During the period from 1990 to 1996, he performed in the Opera of Antwerp on a cycle dedicated to Giacomo Puccini, in production directed by Robert Carsen interpreting Tosca, Don Carlo and Manon Lescaut. Armiliato is a refined interpreter of Mario Cavaradossi in Tosca with more than 150 performances of the title, he has been acclaimed in this role in the most prestigious Opera Houses including La Scala in Milan, conducted by Lorin Maazel, and the Royal Opera House at Covent Garden in London under the baton of Antonio Pappano in 2006.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1969
    THE MUSIC DIRECTOR music department he organizes the vocal lenufa, Aida, Parsifal, The flying Dutch- fellows' activities, which have been much When ERICH LEINSDORF relinquishes his man, Tristan und Isolde, Elektra and Son's extended during the last two seasons. post as Music Director of the Boston Sym- Codunov, to name only a few. He now Charles Wilson becomes principal resi- phony Orchestra at the end of the 1969 lives in Hamburg. dent conductor of the New York City Berkshire Festival, he will have made a Opera Company, beginning this coming significant contribution to American mu- SHERRILL MILNES, who made his first fall. sical life. Under his leadership the Or- appearance with the Boston Symphony chestra has presented many premieres and last summer here at Tanglewood, started revived many forgotten works. Among THE SOLOISTS his professional career as a member of the latter have been the complete Schu- Margaret Hiilis's Chicago Choir, and was mann Faust, the original versions of Twenty-three year old ANDRE WATTS soon taking solo parts when the chorus Beethoven's Fidelio and Strauss's Ariadne made his debut with the Boston Sym- appeared with the Chicago Symphony. auf Naxos, and the Piano concerto no. 1 phony Orchestra last winter. He started He won scholarships to the opera depart- of Xaver Scharwenka, while among the to study the piano with his mother when ment of the Berkshire Music Center for numerous world and American premieres he was seven. Two years later he won a two consecutive summers, then joined have been works like Britten's War competition to play a Haydn concert for Boris Goldovsky's company for several requiem and Cello symphony, the piano one of the Philadelphia Orchestra chil- tours.
    [Show full text]
  • 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.
    [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]