Frederica Von Stade
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Mozart Magic Philharmoniker
THE T A R S Mass, in C minor, K 427 (Grosse Messe) Barbara Hendricks, Janet Perry, sopranos; Peter Schreier, tenor; Benjamin Luxon, bass; David Bell, organ; Wiener Singverein; Herbert von Karajan, conductor; Berliner Mozart magic Philharmoniker. Mass, in C major, K 317 (Kronungsmesse) (Coronation) Edith Mathis, soprano; Norma Procter, contralto...[et al.]; Rafael Kubelik, Bernhard Klee, conductors; Symphonie-Orchester des on CD Bayerischen Rundfunks. Vocal: Opera Così fan tutte. Complete Montserrat Caballé, Ileana Cotrubas, so- DALENA LE ROUX pranos; Janet Baker, mezzo-soprano; Nicolai Librarian, Central Reference Vocal: Vespers Vesparae solennes de confessore, K 339 Gedda, tenor; Wladimiro Ganzarolli, baritone; Kiri te Kanawa, soprano; Elizabeth Bainbridge, Richard van Allan, bass; Sir Colin Davis, con- or a composer whose life was as contralto; Ryland Davies, tenor; Gwynne ductor; Chorus and Orchestra of the Royal pathetically brief as Mozart’s, it is Howell, bass; Sir Colin Davis, conductor; Opera House, Covent Garden. astonishing what a colossal legacy F London Symphony Orchestra and Chorus. Idomeneo, K 366. Complete of musical art he has produced in a fever Anthony Rolfe Johnson, tenor; Anne of unremitting work. So much music was Sofie von Otter, contralto; Sylvia McNair, crowded into his young life that, dead at just Vocal: Masses/requiem Requiem mass, K 626 soprano...[et al.]; Monteverdi Choir; John less than thirty-six, he has bequeathed an Barbara Bonney, soprano; Anne Sofie von Eliot Gardiner, conductor; English Baroque eternal legacy, the full wealth of which the Otter, contralto; Hans Peter Blochwitz, tenor; soloists. world has yet to assess. Willard White, bass; Monteverdi Choir; John Le nozze di Figaro (The marriage of Figaro). -
Voice Types in Opera
Voice Types in Opera In many of Central City Opera’s educational programs, we spend some time explaining the different voice types – and therefore character types – in opera. Usually in opera, a voice type (soprano, mezzo soprano, tenor, baritone, or bass) has as much to do with the SOUND as with the CHARACTER that the singer portrays. Composers will assign different voice types to characters so that there is a wide variety of vocal colors onstage to give the audience more information about the characters in the story. SOPRANO: “Sopranos get to be the heroine or the princess or the opera star.” – Eureka Street* “Sopranos always get to play the smart, sophisticated, sweet and supreme characters!” – The Great Opera Mix-up* A soprano is a woman’s voice type. There are many different kinds of sopranos within the general category: coloratura, lyric, and spinto are a few. Coloratura soprano: Diana Damrau as The Queen of the Night in The Magic Flute (Mozart): https://youtu.be/dpVV9jShEzU Lyric soprano: Mirella Freni as Mimi in La bohème (Puccini): https://youtu.be/yTagFD_pkNo Spinto soprano: Leontyne Price as Aida in Aida (Verdi): https://youtu.be/IaV6sqFUTQ4?t=1m10s MEZZO SOPRANO: “There are also mezzos with a lower, more exciting woman’s voice…We get to be magical or mythical characters and sometimes… we get to be boys.” – Eureka Street “Mezzos play magnificent, magical, mysterious, and miffed characters.” – The Great Opera Mix-up A mezzo soprano is a woman’s voice type. Just like with sopranos, there are different kinds of mezzo sopranos: coloratura, lyric, and dramatic. -
Samuel Ramey
welcome to LOS i\Ilgeles upera http://www.losangelesopera.comlproduction/index.asp?... •• PURCHASE TICKETS • 2003/2004 SEASON LA AMNATION DE FAD T La damnation de Faust The damnation of Faust / Hector Berlioz Nicholas and In French with English Supertitles Ticket Information Alexandra Lucia di Samuel Ramey, Synopsis Lammermoor r-----------.., Program Notes Denyce Graves and Photo Gallery Orfeo ed Euridice Paul Groves star in a spectacular new Recital: production by Achim Ask an Expert Hei-Kyung Hong Forward to a Freyer with Kent Friend Recital: Cecilia Nagano conducting. Bartoli Generously Madama Europe's master Underwritten by: Butterfly theatre artist Achim Freyer matches his New production Die Frau ohne made possible by a Schatten painterly visual imagery with Hector generous gift from Mr. and Mrs. Recital: Dmitri Berlioz's vivid musical imagination in the premiere of Hvorostovsky Milan Panic this new production featuring a cast of more than Le nozze di 100 singers and dancers. The legend of Faust, which Figaro tells the story of the man who sold his soul to the II trovatol'"e Devil, has captivated great imaginations for centuries. Marlowe, Goethe, Gounod, Schumann, Liszt, Mahler and Stravinsky all found inspiration in SEASON G!J1]) the Faust tale, which continues to reverberate in SPONSOR Audt today's modern world. Originally conceived as an oratoriO, Hector Berlioz's dramatic La damnation de Faust is now a mainstay of opera houses around the world. Haunting melodies and startling orchestrations flood the score and illustrate the beWitching tale of Faust's desperate struggle for power, riches, youth and, ultimately, redemption. PRODUCTION DATES: Wednesday September 10, 20036:30 p.m. -
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. -
Celebrating the American Spirit CD with Essential Voices USA, Kelli O’Hara and Ron Raines and Judith Clurman, Conductor
PRESS CONTACT Dan Dutcher Public Relations Dan Dutcher | 917.566.8413 | [email protected] Celebrating the American Spirit CD With Essential Voices USA, Kelli O’Hara and Ron Raines and Judith Clurman, Conductor CD TO BE RELEASED OCTOBER 23, 2012 FOR IMMEDIATE RELEASE, New York, NY Celebrating the American Spirit, performed by Essential Voices USA (EVUSA) and conducted by Judith Clurman along with guest artists, Broadway stars Kelli O’Hara and Ron Raines and composer-arranger Larry Hochman, represents an American songbook for the 21st century. The centerpiece of this CD is Sing Out, Mr. President, a song cycle of sixteen newly commissioned compositions set to quotations by American presidents from Washington to Obama. Originally performed at the Library of Congress and broadcast on National Public Radio, the cycle showcases the American composers Samuel Adler, Milton Babbitt, Robert Beaser, Jason Robert Brown, Thomas Cabaniss, Jake Heggie, Larry Hochman, Michael Gilbertson, Nora Kroll-Rosenbaum, Andrew Lippa, David Ludwig, Paul Moravec, Nico Muhly, Georgia Stitt, Zachary Wadsworth, and Jesse Wiener. The CD also includes individual new and newly arranged works by composers and writers such as Irving Berlin (It Gets Lonely In the White House and God Bless America), Leonard Bernstein (Take Care of This House), Sheldon Harnick (Reason to Be Thankful), Jennifer Higdon (A Quiet Moment), Larry Hochman (Two Paraphrases on American Anthems & American Dream) and Laurie Hochman (The Pledge of Allegiance and American Dream), David Ludwig (The New Colossus), Stephen Paulus (Hymn for America), Marc Shaiman (A Seed of Grain: Theme from The American President), and John Philip Sousa (Stars and Stripe Forever). -
TEM Issue 16 Cover and Front Matter
TEMPSUMMER O1950 CONTENTS • NOTES AND NEWS SERGE KOUSSEVITZKY * MUSIC FESTIVALS BRITISH FESTIVALS : SOME COMMENTS ON THEIR CUSTOMS Donald Mitchell THE NORDIC MUSIC FESTIVALS : 1888-1938 Jiirgen Balzer ITALIAN MUSIC FESTIVALS Guido M. Gatti MUSICAL LIFE IN GERMANY SINCE THE WAR Walther Harth TANGLEWOOD AFTER TEN YEARS Ralph Hawkes * PRODUCING ELEKTRA Stephen Beinl BOOK GUIDE NUMBER QUARTERLY 16TWO SHILLINGS Downloaded from https://www.cambridge.org/core. IP address: 170.106.40.40, on 24 Sep 2021 at 10:17:38, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S0040298200043369 His Masters Voice" Special lAst €€€€- The contents of the " Special List" are of great interest to the serious record buyer, for they represent the best of international recorded art that is not included in the General Record Catalogue. In many cases " Special List" recordings are the only versions available. They explore the high- ways and byways of music with fascinating results. Available from " His Master's Voice" Dealers to Special Order. Here are the latest additions:— RAVEL SCHONBERG Quartet in F Major Verklarte Nacht, Op. 4 Paganini Quartet - DB 9452-5 St. Louis Symphony Orchestra cond. by Vladimir Golschmann JANACEK DB 9280-3 Sinfonietta Czech Philharmonic Orchestra SCHUBERT conducted by Rafael Kubelik Quartet in G Major — Op. 161 C 7671-3 Hungarian String Quartet BRAHMS DB 9331-5 Concerto No. 1 in D Minor STRAVINSKY Claudia Arrau and The Rite of Spring The Philharmonia Orchestra San Francisco Symphony Orch. HIS MASTERS VOICE conducted by Basil Cameron conducted by Pierre Monteux DB 9250-55 DB 9409-12 All records in Automatic Couplings only THE GRAMOPHONE COMPANY LIMITED. -
San Francisco Symphony 2019–2020 Season Concert Calendar
Contact: Public Relations San Francisco Symphony (415) 503-5474 [email protected] www.sfsymphony.org/press FOR IMMEDIATE RELEASE / UPDATED OCTOBER 29, 2019 SAN FRANCISCO SYMPHONY 2019–2020 SEASON CONCERT CALENDAR PLEASE NOTE: Single tickets for the San Francisco Symphony’s 2019–20 season concerts go on sale MONDAY, July 22 at 8 am at the box office and are available online & by phone at 10am. Single tickets and subscription packages for the San Francisco Symphony’s 2019–20 season will be available at https://www.sfsymphony.org/MTT25, (415) 864-6000, and at the Davies Symphony Hall Box Office, located on Grove Street between Franklin and Van Ness. All concerts are at Davies Symphony Hall, 201 Van Ness Avenue, San Francisco, unless otherwise noted. OPENING NIGHT GALA IN HONOR OF MICHAEL TILSON THOMAS and JOSHUA ROBISON Wednesday, September 4, 2019 at 8:00 pm Michael Tilson Thomas conductor Susanna Phillips soprano Jennifer Johnson Cano mezzo-soprano Jonathan Tetelman tenor Ryan McKinny bass-baritone San Francisco Symphony Chorus, Ragnar Bohlin director San Francisco Symphony Luke Kritzeck lightning design GLINKA Overture to Ruslan and Ludmila COPLAND “The Dodger” from Old American Songs Gordon GETTY Shenandoah COPLAND “Golden Willow Tree” from Old American Songs BRITTEN Variations and Fugue on a Theme by Purcell, Opus 34 BEETHOVEN IV. Finale: Ode, “To Joy” from Symphony No. 9 in D minor, Opus 125 San Francisco Symphony 2019-20 Season Calendar – Page 2 of 38 ALL SAN FRANCISCO CONCERT, CONDUCTED BY MICHAEL TILSON THOMAS Thursday, -
September 10, 2020 Please Review The
September 10, 2020 Please review the following additions to the San Francisco Symphony’s roster for the upcoming 2020–21 season. This season, Mark Almond joins the San Francisco Symphony as Associate Principal Horn. He joined the San Francisco Opera Orchestra as Co-Principal Horn in 2016 and before that held the position of 3rd Horn with the Philharmonia Orchestra of London. Growing up in Bolton, England, Almond was taught to play horn primarily by Christopher Wormald, his local high school music teacher, and subsequently won principal horn positions with the National Youth Orchestra of Great Britain and the European Union Youth Orchestra. He made his professional debut playing with the London Symphony Orchestra, at age 19, and has since performed as guest principal with numerous ensembles including the Los Angeles Philharmonic, Philharmonia Orchestra, City of Birmingham Symphony Orchestra, and the Royal Philharmonic Orchestra. In addition to playing the horn, Almond is an experienced hospital physician and has a PhD in immunology and virology from Imperial College, London. He is currently researching COVID-19 as a Post-Doctoral Research Scholar at UCSF. Bryce Leafman joins the San Francisco Symphony as Assistant Principal Timpani/Section Percussion. Previously, he was Principal Percussion of the Billings Symphony Orchestra during the 2019–20 season, and he has performed with the Omaha, Berkeley, Marin, and New World symphonies; the Boston Philharmonic; and Symphony New Hampshire. In 2017 he was the first percussionist to win a solo concerto competition at the Aspen Music Festival, and he returned to the Aspen Music Festival in 2019 as the Charles Owen Memorial Percussion Fellow. -
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. -
A Career Filled with High Notes
A Career Filled With High Notes Michael Tilson Thomas, now in the final season of his 25 years at the helm of the San Francisco Symphony, has left a profound imprint on both the orchestra and the city. By David Mermelstein March 3, 2020 Michael Tilson Thomas, music director of the San Francisco Symphony, in 2018 When Michael Tilson Thomas became music director of this city’s estimable but not very exciting or forward-looking symphony orchestra in 1995, he had been working in London and needed an American career boost, and the ensemble was looking for an energetic maestro who would elevate its profile and maybe even lend it “buzz.” A quarter-century later, their partnership stands as one of the great success stories in U.S. musical history, thanks in large part to Mr. Thomas’s searching intellect, fierce curiosity, and supreme repertorial fluency. His direct connection to musical history, unmatched in our time, hasn’t hurt, either. As a result, the 109-year-old San Francisco Symphony is now widely regarded as among this country’s finest orchestras—right up there with East Coast titans like the New York Philharmonic, the Boston Symphony Orchestra and the Philadelphia Orchestra. West of Chicago, only the Los Angeles Philharmonic challenges San Francisco’s dominance. But nothing lasts forever, and Mr. Thomas, who turned 75 just before Christmas, is midway through his last season at the helm. Fittingly, the exit music, as it were, hearkens back to past triumphs. On Friday, Mr. Thomas and the orchestra will perform Mahler’s Symphony No. -
About the San Francisco Symphony Long Biography
About the San Francisco Symphony Long biography The San Francisco Symphony is widely considered to be among the most artistically adventurous and innovative arts institutions in the United States, celebrated for its artistic excellence, creative performance concepts, active touring, award-winning recordings, and standard-setting education programs. In the 2020–21 season, the San Francisco Symphony welcomes conductor and composer Esa-Pekka Salonen as its twelfth Music Director and embarks on a new vision for the present and future of the orchestral landscape. In their inaugural season together, Esa-Pekka Salonen and the San Francisco Symphony introduce a groundbreaking artistic leadership model anchored by eight Collaborative Partners from a variety of cultural disciplines: Nicholas Britell, Julia Bullock, Claire Chase, Bryce Dessner, Pekka Kuusisto, Nico Muhly, Carol Reiley, and Esperanza Spalding. This group of visionary artists, thinkers, and doers joins with Salonen and the San Francisco Symphony to embark on a future of experimentation by collaborating on new ideas, breaking conventional rules, and creating unique and powerful experiences. This exciting artistic future builds on the remarkable 25-year tenure of Michael Tilson Thomas as the San Francisco Symphony’s Music Director. Tilson Thomas continues his relationship with the Symphony as its first Music Director Laureate. The San Francisco Symphony presents more than 220 concerts and presentations annually for an audience of nearly 450,000 in its home of Davies Symphony Hall and through its active national and international touring. A cornerstone of the organization’s mission, the San Francisco Symphony’s education programs are the most extensive offered by any American orchestra today, providing free comprehensive music education to every first- through fifth-grade student in the San Francisco public schools, and serving more than 75,000 children, students, educators, and families annually. -
A List of Recommended Recordings (Weeks 1 Through 4)
A List of Recommended Recordings (Weeks 1 Through 4) Week One: France François-Joseph Gossec Selected Symphonies Matthias Bamert conducts the London Mozart Players, on Chandos Hector Berlioz Symphonie fantastique Michael Tilson Thomas conducts the San Francisco Symphony, on RCA Victor Charles Munch conducts the Boston Symphony Orchestra, on RCA Victor Harold in Italy Charles Munch conducts the Boston Symphony Orchestra, on RCA Victor Symphonie Funèbre et Triomphale Colin Davis conducts the London Symphony, on Philips Romeo et Juliette Carlo Maria Giulini conducts the Chicago Symphony, on DGG Camille Saint-Saëns Symphony No. 3 in C Minor, Op. 78 (Organ) Christoph Eschenbach conducts the Philadelphia Orchestra, on Ondine Edo De Waart conducts the San Francisco Symphony, on Philips César Franck Symphony in D Minor Pierre Monteux conducts the Chicago Symphony, on RCA Victor Vincent d’Indy Symphony on a French Mountain Air Charles Munch conducts the Boston Symphony, on RCA Victor Symphony No. 2, Op. 57 Pierre Monteux conducts the San Francisco Symphony, on Sony Classical (Pierre Monteux Edition, available from ArkivMusic.com as a low-cost reprint CD.) Ernest Chausson Symphony in B-flat Major, Op. 20 Pierre Monteux conducts the San Francisco Symphony, on Sony Classical (Pierre Monteux Edition, available from ArkivMusic.com as a low-cost reprint CD.) Olivier Messiaen Turangalîla Symphony Riccardo Chailly conducts the Concertgebouw Orchestra, on Decca Week Two: Bohemia The Symphonies of Antonin Dvořák Istvan Kertesz conducts the London Symphony Orchestra, on Decca Witold Rowicki conducts the London Symphony Orchestra, on Decca Individual Symphonies: Symphony No. 7 in D Minor Iván Fischer conducts the Budapest Festival Orchestra, on Channel Classics Symphony No.