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Ulna VST 318 Beethot-en: FIDELIO KiV IPPERTSBUSCII, cond. Seda JURINAC Jan PEERCE Burin Mader Barra!! I/iel:ie Ia.(nr \eidlinqer De.zu F:rns(er Frederic Guthrie Geary Pnsl:adn 1'aul \eaner Bavarian Stale Opera Vrehesrrvi and ('haras NOW -A DEFINITIVE FIDELIO FOR THE SELECTIVE LISTENER-ON WESTMINSTER Westminster has assembled an internationally -renowned Scherchen conducting the Vienna State Opera Orchestra cast, including Jan Peerce and Sena Jurinac, for a truly with distinguished soloists and the Vienna Academy memorable recording of Beethoven's only opera, Fidelio, Chorus. A remarkable recording of Campra's Mass for the under the inspired direction of Hans Knappertsbusch. This Dead by a French ensemble under the direction of Louis set, which marks the first appearance together on records Frémaux rounds out the classical releases for this month. of Peerce and Jurinac, is a must for the selective listener. And -in a lighter vein -two albums of Viennese waltzes and This month's releases include 3 masterpieces of liturgical an album of Hungarian folk music played by a native en- music, Bach's St. John Passion and Haydn's Seven Last semble. This is the best in music -for the Selective Listener - Words of Christ, magnificently interpreted by Hermann on Westminster. Beethoven: Fidelio. Sena Jurinac, Jan Peerce, Soloists, Bavarian State Folklore from Hungary: Soloists, Orchestra and Chorus, "Duna" En- Opera Orchestra and Chorus conducted by Hans Knappertsbusch. (3- semble, Budapest conducted by Béla Vavrinecz. WST- 1'7008 (Stereo); record set) WST -318 (Stereo), $17.94; XWN -3318 (Monaural ), $14.94. XWN -19008 (Monaural). Bach: St. John Passion. ?hyllis Curtin, Soloists, Vienna State Opera Waltzing in Vienna: 20 waltzes played by the Vienna State Opera Orchestra and Vienna Academy Chorus conducted by Hermann Scher - Orchestra, Josef Leo Gruber conducting. WST-17010 (Stereo) XWN - chen. (3- record set) WST -319 (Stereo), $17.94; PARAMOUNT 19010 (Monaural). XWN -3319 (Monaural), $14.94. S 0 Waltzing to the Strains of Strauss: 20 waltzes played by Haydn: Seven Last Words of Christ. Soloists, Vienna the Vienna State Opera Orchestra, Josef Leo Gruber con- State Opera Orchestra and Vienna Academy Chorus ducting. WST -1701)9 (Stereo ); XWN- I 9009 t Monaural ). conducted by Hermann Scherchen. WST-17006 (Stereo); is the Selective Listener XWN -19006 (Monaural). The Westminster Listener Free . for the Westminster Listener -complete new Campra Requiem: (Messe des Morts), Soloists, Orches- VedLrnLnQ catalog. Write Dept. HF -5. Westminster Recording Co., tra Jean François Paillard, Chorales Philippe Caillard et Inc. A subsidiary of ABC -Paramount Records, Inc. Stephane Caillat conducted by Louis Frémaux. 1501 Broadway, New York 36, New York. WST -17007 (Stereo); XWN -19007 (Monaural). Stereo: $5.98- Monaural: $4.98. AVAILABLE AT YOUR RECORD DEALER AFTER MARCH 15TH. CIRCLE 98 ON READER -SERVICE CARD MARCH 1962 79 www.americanradiohistory.com.

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Der Rosenkavalier by Richard Strauss
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 Octavian and the Composer: Principal Male Roles in Opera Composed for the Female Voice by Richard Strauss Melissa Lynn Garvey Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC OCTAVIAN AND THE COMPOSER: PRINCIPAL MALE ROLES IN OPERA COMPOSED FOR THE FEMALE VOICE BY RICHARD STRAUSS By MELISSA LYNN GARVEY A Treatise submitted to the Department of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2010 The members of the committee approve the treatise of Melissa Lynn Garvey defended on April 5, 2010. __________________________________ Douglas Fisher Professor Directing Treatise __________________________________ Seth Beckman University Representative __________________________________ Matthew Lata Committee Member The Graduate School has verified and approved the above-named committee members. ii I’d like to dedicate this treatise to my parents, grandparents, aunt, and siblings, whose unconditional love and support has made me the person I am today. Through every attended recital and performance, and affording me every conceivable opportunity, they have encouraged and motivated me to achieve great things. It is because of them that I have reached this level of educational achievement. Thank you. I am honored to thank my phenomenal husband for always believing in me. You gave me the strength and courage to believe in myself. You are everything I could ever ask for and more. Thank you for helping to make this a reality.
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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.
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Simon O'neill ONZM
Simon O’Neill ONZM Tenor “Simon O'Neill made a tremendous debut in the title-role, giving notice that he is the best heroic tenor to emerge over the last decade.” Rupert Christiansen, The Telegraph, UK. A native of New Zealand, Simon O’Neill is one of the finest helden-tenors on the international stage. He has frequently performed with the Metropolitan Opera, the Royal Opera House, Covent Garden, Berlin, Hamburg and Bayerische Staatsopern, Teatro alla Scala and the Bayreuth, Salzburg, Edinburgh and BBC Proms Festivals, appearing with a number of illustrious conductors including Daniel Barenboim, Sir Simon Rattle, James Levine, Riccardo Muti, Valery Gergiev, Sir Antonio Pappano, Pietari Inkinen, Pierre Boulez, Sir Mark Elder, Sir Colin Davis, Simone Young, Edo de Waart, Fabio Luisi, Donald Runnicles, Sir Simon Rattle, Jaap Van Zweden and Christian Thielemann. Simon’s performances as Siegmund in Die Walküre at the Royal Opera House, Covent Garden with Pappano, Teatro alla Scala and Berlin Staatsoper with Barenboim, at the Metropolitan Opera with Runnicles in the celebrated Otto Schenk production returning with Luisi in the Lepage Ring Cycle and in the Götz Friedrich production at Deutsche Oper Berlin with Rattle were performed to wide critical acclaim. He was described in the international press as "an exemplary Siegmund, terrific of voice", "THE Wagnerian tenor of his generation" and "a turbo-charged tenor". During this season’s engagements Simon makes his debut at: Tanglewood with the Boston Symphony and Andris Nelsons and the Toronto Symphony with Sir Andrew Davis and Orquestra de la Comunitat Valenciana with Henrik Nánási as Siegmund in concert performances of Die Walküre.
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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.
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ARSC Journal
HISTORIC VOCAL RECORDINGS STARS OF THE VIENNA OPERA (1946-1953): MOZART: Die Entfuhrung aus dem Serail--Wer ein Liebchen hat gafunden. Ludwig Weber, basso (Felix Prohaska, conductor) ••.• Konstanze ••• 0 wie angstlich; Wenn der Freude. Walther Ludwig, tenor (Wilhelm Loibner) •••• 0, wie will ich triumphieren. Weber (Prohaska). Nozze di Figaro--Non piu andrai. Erich Kunz, baritone (Herbert von Karajan) •••• Voi che sapete. Irmgard Seefried, soprano (Karajan) •••• Dove sono. Elisabeth Schwarzkopf, soprano (Karajan) . ..• Sull'aria. Schwarzkopf, Seefried (Karajan). .• Deh vieni, non tardar. Seefried (Karajan). Don Giovanni--Madamina, il catalogo e questo. Kunz (Otto Ackermann) •••• Laci darem la mano. Seefried, Kunz (Karajan) • ••• Dalla sua pace. Richard Tauber, tenor (Walter Goehr) •••• Batti, batti, o bel Masetto. Seefried (Karajan) •.•• Il mio tesoro. Tauber (Goehr) •••• Non mi dir. Maria Cebotari, soprano (Karajan). Zauberfl.Ote- Der Vogelfanger bin ich ja. Kunz (Karajan) •••• Dies Bildnis ist be zaubernd schon. Anton Dermota, tenor (Karajan) •••• 0 zittre nicht; Der Holle Rache. Wilma Lipp, soprano (Wilhelm Furtwangler). Ein Miidchen oder Weibchen. Kunz (Rudolf Moralt). BEETHOVEN: Fidelio--Ach war' ich schon. Sena Jurinac, soprano (Furtwangler) •••• Mir ist so wunderbar. Martha Modl, soprano; Jurinac; Rudolf Schock, tenor; Gottlob Frick, basso (Furtwangler) •••• Hat man nicht. Weber (Prohaska). WEBER: Freischutz--Hier im ird'schen Jammertal; Schweig! Schweig! Weber (Prohaska). NICOLAI: Die lustigen Weiher von Windsor--Nun eilt herbei. Cebotari {Prohaska). WAGNER: Meistersinger--Und doch, 'swill halt nicht gehn; Doch eines Abends spat. Hans Hotter, baritone (Meinhard von Zallinger). Die Walkilre--Leb' wohl. Hotter (Zallinger). Gotterdammerung --Hier sitz' ich. Weber (Moralt). SMETANA: Die verkaufte Braut--Wie fremd und tot. Hilde Konetzni, soprano (Karajan). J. STRAUSS: Zigeuner baron--0 habet acht.
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95649 Digibooklet Lucerne Festival Vol
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Decca Discography
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Download Booklet
8.111348 bk Furtwangler_Wagner_EU 14-12-2009 10:25 Pagina 4 Great Conductors: Wilhelm Furtwängler WAGNER Richard WAGNER (1813-1883) Tannhäuser Tannhäuser • Lohengrin 1 Overture 14:02 Recorded at the Musikvereinssaal, Vienna, 2-3 December, 1952 Götterdämmerung First issued on Electrola WALP 534 UR M F TWÄ Lohengrin EL NG 2 Prelude (Act 1) 9:59 H L IL E Recorded at the Musikvereinssaal, Vienna, 4 March, 1954 R W First issued on HMV ALP 1220 Götterdammerung 3 Dawn and Siegfried’s Rhine Journey (Prologue) 12:04 Recorded at the Musikvereinssaal, Vienna, 8 March, 1954 First issued on HMV ALP 1016 4 Siegfried’s Funeral Music (Act 3) 9:17 Recorded at the Musikvereinssaal, Vienna, 2 March, 1954 First issued on HMV ALP 1016 Vienna Philharmonic Orchestra 19 gs 52 din - 1954 Recor 5 Starke Scheite schichtet mir dort (Brünnhilde’s Immolation, Act 3) 19:37 Kirsten Flagstad, Soprano Philharmonia Orchestra Kirsten Flagstad Recorded in Kingsway Hall, London, 23 June, 1952 Vienna Philharmonic Orchestra First issued on HMV ALP 1016 Philharmonia Orchestra Wilhelm Furtwängler Wilhelm Furtwängler Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn 8.111348 4 8.111348 bk Furtwangler_Wagner_EU 14-12-2009 10:25 Pagina 2 the music to move forward in an organic way. though, continue to give concerts and make recordings, Great Conductors: Wilhelm Furtwängler (1886-1954) The two orchestral excerpts from and between 1958 and 1960 she was director of WAGNER: Tannhäuser: Overture • Lohengrin: Prelude to Act 1 Götterdammerung, the final part of the tetralogy Der Norwegian National Opera. Ring des Nibelungen (The Ring), first heard complete Quite obviously, Flagstad and Furtwängler were Götterdämmerung: Dawn and Siegfried’s Rhine Journey, Siegfried’s Funeral in Wagner’s custom-built Bayreuth Festspielhaus in close as musicians over an extended period of time; and Music and Brünnhilde’s Immolation 1876, include Dawn and Siegfried’s Rhine Journey they also shared unfortunate experiences during or (from Act I), which opens in exploratory fashion and related to World War II.
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Cross Gender Roles in Opera
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FIDELIO KNAPPERTSRUSCII, Tond
,Thn WST 318 lleetItoreit: FIDELIO KNAPPERTSRUSCII, tond. Sena JURINAC Jan PEERCE Morin Rinder Murray tirkie Gusto \eidlinger 1es:o truster Frederic¿:uthrie Geory I'askudu Paul \euner Bavarian Slate Opera ¿Orchestra and Chorus NOW -A DEFINITIVE FIDELIO FOR THE SELECTIVE LISTENER-ON WESTMINSTER Westminster has assembled an internationally- renowned Scherchen conducting the Vienna State Opera Orchestra cast, including Jan Peerce and Sena Jurinac, for a truly with distinguished soloists and the Vienna Academy memorable recording of Beethoven's only opera, Fidelio, Chorus. A remarkable recording of Campra's Mass for the under the inspired direction of Hans Knappertsbusch. This Dead by a French ensemble under the direction of Louis set, which marks the first appearance together on records Frémaux rounds out the classical releases for this month. of Peerce and Jurinac, is a must for the selective listener. And -in a lighter vein -two albums of Viennese waltzes and This month's releases include 3 masterpieces of liturgical an album of Hungarian folk music played by a native en- music, Bach's St. John Passion and Haydn's Seven Last semble. This is the best in music -for the Selective Listener - Words of Christ, magnificently interpreted by Hermann on Westminster. Beethoven: Fidelio. Sena Jurinac, Jan Peerce, Soloists, Bavarian State Folklore from Hungary: Soloists, Orchestra and Chorus, "Duna" En- Opera Orchestra and Chorus conducted by Hans Knappertsbusch. (3- semble, Budapest conducted by Béla Vavrinecz. WST -17008 (Stereo); record set) WST-318 (Stereo), $17.94; XWN -3318 (Monaural), $14.94. XWN -19008 (Monaural). Bach: St. John Passion. Phyllis Curtin, Soloists, Vienna State Opera Waltzing in Vienna: 20 waltzes played by the Vienna State Opera Orchestra and Vienna Academy Chorus conducted by Hermann Scher- Orchestra, Josef Leo Gruber conducting.
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High-Fidelity-1964-0
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