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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. -
Shostakovich (1906-1975)
RUSSIAN, SOVIET & POST-SOVIET SYMPHONIES A Discography of CDs and LPs Prepared by Michael Herman Dmitri Shostakovich (1906-1975) Born in St. Petersburg. He entered the Petrograd Conservatory at age 13 and studied piano with Leonid Nikolayev and composition with Maximilian Steinberg. His graduation piece, the Symphony No. 1, gave him immediate fame and from there he went on to become the greatest composer during the Soviet Era of Russian history despite serious problems with the political and cultural authorities. He also concertized as a pianist and taught at the Moscow Conservatory. He was a prolific composer whose compositions covered almost all genres from operas, ballets and film scores to works for solo instruments and voice. Symphony No. 1 in F minor, Op. 10 (1923-5) Yuri Ahronovich/Moscow Radio Symphony Orchestra ( + Overture on Russian and Kirghiz Folk Themes) MELODIYA SM 02581-2/MELODIYA ANGEL SR-40192 (1972) (LP) Karel Ancerl/Czech Philharmonic Orchestra ( + Symphony No. 5) SUPRAPHON ANCERL EDITION SU 36992 (2005) (original LP release: SUPRAPHON SUAST 50576) (1964) Vladimir Ashkenazy/Royal Philharmonic Orchestra ( + Symphonies Nos. 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14 and 15, Festive Overture, October, The Song of the Forest, 5 Fragments, Funeral-Triumphal Prelude, Novorossiisk Chimes: Excerpts and Chamber Symphony, Op. 110a) DECCA 4758748-2 (12 CDs) (2007) (original CD release: DECCA 425609-2) (1990) Rudolf Barshai/Cologne West German Radio Symphony Orchestra (rec. 1994) ( + Symphonies Nos. 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14 and 15) BRILLIANT CLASSICS 6324 (11 CDs) (2003) Rudolf Barshai/Vancouver Symphony Orchestra ( + Symphony No. -
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. -
HAYDN RAWSTRON LIMITED Sergei Leiferkus
HAYDN RAWSTRON LIMITED Sergei Leiferkus gilt als einer der renommiertesten Opernsänger der Welt. Seine Fähigkeit, stimmlich und darstellerisch sowohl das Edle als auch das Böse vermitteln zu können, prädestiniert ihn für Partien wie Scarpia in Tosca, Jago in Otello, Rangoni in Boris Godunow, Telramund in Lohengrin und Alberich im Ring des Nibelungen. Sergei Leiferkus wurde in St. Petersburg geboren und absolvierte das dortige Konservatorium. Nach einem ersten Engagement am Maly Theater (heute: Mikhailovsky Theater) wurde er Mitglied des Ensembles am Mariinsky Theater in St. Petersburg. Sein Debüt mit den Berliner Philharmonikern unter Kurt Masur in den frühen 1980er Jahren bildete den Beginn seiner internationalen Karriere. Sergei Leiferkus Er ist an den weltweit führenden Opernhäusern zu Gast, darunter das Royal Opera Bariton House Covent Garden; die Wiener Staatsoper; die Opéra Bastille, Paris; La Scala, Mailand; die Deutsche Oper Berlin; San Francisco Opera; Metropolitan Opera, New York; Page 1/2 das Palau de les Arts, Valencia; die Nederlandse Opera, Amsterdam; das Teatro Colón, Buenos Aires und bei den Festspielen in Edinburgh, Bregenz, Salzburg und Glyndebourne. Auf dem Konzertpodium arbeitete er mit Orchestern wie dem London Symphony, Boston Symphony und Montreal Symphony Orchestra, der New York Philharmonic, dem National Symphony Orchestra Washington DC und dem Philadelphia Orchestra, unter Dirigenten wie Claudio Abbado, Valery Gergiev, Lorin Maazel, James Levine, Bernard Haitink, Vladimir Ashkenazy, Zubin Mehta, Riccardo Muti, Seiji Ozawa, Kent Nagano, Leonard Slatkin, Vladimir Jurowski, Kurt Masur und Sir Georg Solti. Das Repertoire des Sängers umfaßt an die fünfzig Opernpartien, unter ihnen Mazeppa, Fürst Igor, Ruprecht (Der feurige Engel), Nabucco, Macbeth, Simon Boccanegra, Amonasro, Jago, Don Giovanni, Telramund, Alberich und Klingsor. -
María Del Carmen Opera in Three Acts
Enrique GRANADOS María del Carmen Opera in Three Acts Veronese • Suaste Alcalá • Montresor Wexford Festival Opera Chorus National Philharmonic Orchestra of Belarus Max Bragado-Darman CD 1 43:33 5 Yo también güervo enseguía Enrique (Fuensanta, María del Carmen) 0:36 Act 1 6 ¡Muy contenta! y aquí me traen, como aquel GRANADOS 1 Preludio (Orchestra, Chorus) 6:33 que llevan al suplicio (María del Carmen) 3:46 (1867-1916) 2 A la paz de Dios, caballeros (Andrés, Roque) 1:28 7 ¡María del Carmen! (Pencho, María del Carmen) 5:05 3 Adiós, hombres (Antón, Roque) 2:27 8 ¿Y qué quiere este hombre a quien maldigo María del Carmen 4 ¡Mardita sea la simiente que da la pillería! desde el fondo de mi alma? (Pepuso, Antón) 1:45 (Javier, Pencho, María del Carmen) 4:10 Opera in Three Acts 9 5 ¿Pos qué es eso, tío Pepuso? ¡Ah!, tío Pepuso, lléveselo usted (Roque, Pepuso, Young Men) 3:04 (María del Carmen, Pepuso, Javier, Pencho) 0:32 Libretto by José Feliu Codina (1845-1897) after his play of the same title 0 6 ¡Jesús, la que nos aguarda! Ya se fue. Alégrate corazón mío Critical Edition: Max Bragado-Darman (Don Fulgencio, Pepuso, Roque) 1:49 (María del Carmen, Javier) 0:55 ! ¡Viva María el Carmen y su enamorao, Javier! Published by Ediciones Iberautor/Instituto Complutense de Ciencias Musicales 7 Una limosna para una misa de salud… (Canción de la Zagalica) (María del Carmen, (Chorus, Domingo) 5:22 @ ¡Pencho! ¡Pencho! (Chorus) ... Vengo a delatarme María del Carmen . Diana Veronese, Soprano Fuensanta, Don Fulgencio, Pepuso, Roque) 6:59 8 Voy a ver a mi enfermo, el capellán para salvar a esta mujer (Pencho, Domingo, Concepción . -
Boston Symphony Orchestra Concert Programs, Season 111, 1991-1992
BOSTON Symphony Orchestra SeijiOzawa MUSIC DIRECTOR One Hundred Eleventh Season EH HORN d Our 152" l/ear THE E.B. HORN COMPANY 429 WASHINGTON STREET, BOSTON, MA BUDGET TERMS ALL MAJOR CREDIT CARDS ACCEPTED AVAILABLE MAIL OR PHONE ORDERS (617) 542-3902 OPEN MON. AND THURS. 'TIL 7 ^^H^BH Seiji Ozawa, Music Director One Hundred and Eleventh Season, 1991-92 Trustees of the Boston Symphony Orchestra, Inc. Nelson J. Darling, Jr., Chairman Emeritus J.P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Dean Freed Mrs. August R. Meyer Peter A. Brooke Avram J. Goldberg Molly Millman James F. Cleary Francis W. Hatch Mrs. Robert B. Newman John F. Cogan, Jr. Julian T. Houston Peter C. Read Julian Cohen Mrs. Bela T. Kalman Richard A. Smith William M. Crozier, Jr. Mrs. George I. Kaplan Ray Stata Deborah B. Davis Harvey Chet Krentzman Nicholas T. Zervas Nina L. Doggett R. Willis Leith, Jr. Trustees Emeriti Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen Mrs. John L. Grandin Mrs. George Lee Sargent Allen G. Barry E. Morton Jennings, Jr. Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs. John M. Bradley Thomas D. Perry, Jr. John L. Thorndike Abram T. Collier Irving W. Rabb Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Michael G. McDonough, Assistant Treasurer Daniel R. Gustin, Clerk Administration Kenneth Haas, Managing Director Daniel R. -
The Fiery Angel Ognyenii Anghel Page 1 of 2 Opera Assn
San Francisco War Memorial 1994 The Fiery Angel Ognyenii Anghel Page 1 of 2 Opera Assn. Opera House This production is made possible by a generous gift from The Edward Meade Smith Trust The Fiery Angel (in Russian) Opera in five acts by Sergei Prokofiev Libretto by Sergei Prokofiev Based on the novel by Valery Bryusov Produced in association with the Royal Opera House, Covent Garden, and the Kirov Opera, St. Petersburg. The production is made possible, in part, with contributions from The Friends of Covent Garden and the British Council. Conductor CAST Alexander Polianichko (10/21)† Hostess of the Inn Donna Petersen Valery Gergiev Ruprecht Sergei Leiferkus Production Renata Galina Gorchakova David Freeman Peasant Scott Wilde Designer Fortuneteller Larissa Diadkova David Roger Jacob Glock Matthew Lord Lighting Designer Agrippa von Nettesheim Grier Hanedanyan Thomas J. Munn Konstantin Pluzhnikov (10/21) Assistant to David Freeman Count Heinrich Larry Henderson Robert Chevara† Mathias Eduardo del Campo Chorus Director Angelika, the Indian Abigail Crain Ian Robertson The Doctor Earle Patriarco Musical Preparation Mephistopheles Konstantin Pluzhnikov Valery Ryvkin Faust Daniel Sumegi Peter Grunberg Larissa Gergieva Cologne Innkeeper Steven Condy A Servant Boy Artem Malkov Prompter Jonathan Khuner Neighbor Chester Patton Assistant Stage Director Valery Portnov Paula Suozzi Scott Wilde Stage Manager Mother Superior Larissa Diadkova Jerry Sherk The Inquisitor Bulat Minzhilkiev Fight Consultant A Young Nun Kristin Clayton Larry Henderson Tatiana -
Concerts with the London Philharmonic Orchestra for Seasons 1946-47 to 2006-07 Last Updated April 2007
Artistic Director NEVILLE CREED President SIR ROGER NORRINGTON Patron HRH PRINCESS ALEXANDRA Concerts with the London Philharmonic Orchestra For Seasons 1946-47 To 2006-07 Last updated April 2007 From 1946-47 until April 1951, unless stated otherwise, all concerts were given in the Royal Albert Hall. From May 1951 onwards, unless stated otherwise, all concerts were given in The Royal Festival Hall. 1946-47 May 15 Victor De Sabata, The London Philharmonic Orchestra (First Appearance), Isobel Baillie, Eugenia Zareska, Parry Jones, Harold Williams, Beethoven: Symphony 8 ; Symphony 9 (Choral) May 29 Karl Rankl, Members Of The London Philharmonic Orchestra, Kirsten Flagstad, Joan Cross, Norman Walker Wagner: The Valkyrie Act 3 - Complete; Funeral March And Closing Scene - Gotterdammerung 1947-48 October 12 (Royal Opera House) Ernest Ansermet, The London Philharmonic Orchestra, Clara Haskil Haydn: Symphony 92 (Oxford); Mozart: Piano Concerto 9; Vaughan Williams: Fantasia On A Theme Of Thomas Tallis; Stravinsky: Symphony Of Psalms November 13 Bruno Walter, The London Philharmonic Orchestra, Isobel Baillie, Kathleen Ferrier, Heddle Nash, William Parsons Bruckner: Te Deum; Beethoven: Symphony 9 (Choral) December 11 Frederic Jackson, The London Philharmonic Orchestra, Ceinwen Rowlands, Mary Jarred, Henry Wendon, William Parsons, Handel: Messiah Jackson Conducted Messiah Annually From 1947 To 1964. His Other Performances Have Been Omitted. February 5 Sir Adrian Boult, The London Philharmonic Orchestra, Joan Hammond, Mary Chafer, Eugenia Zareska, -
BARITONE CV Sergei Leiferkus Is Considered One of The
SERGEI LEIFERKUS – BARITONE CV Sergei Leiferkus is considered one of the world’s most renowned performing artists. His ability to convey both nobility and evil makes him most noted for roles such as Scarpia in Tosca, Iago in Otello, Rangoni in Boris Godunov, Telramund in Lohengrin and Alberich in Der Ring des Nibelungen. He has appeared at opera houses throughout the world, among them the Royal Opera House Covent Garden; the Vienna State Opera; the Opéra Bastille, Paris; La Scala, Milan; Deutsche Oper Berlin; San Francisco Opera; the Metropolitan Opera, New York; Lyric Opera of Chicago; Palau de les Arts, Valencia; De Nationale Opera, Amsterdam; Teatro Colón, Buenos Aires; and at the Edinburgh, Bregenz, Salzburg and Glyndebourne Festivals. On the concert podium he has appeared with orchestras such as the London Symphony, Boston Symphony and Montreal Symphony, the New York Philharmonic, National Symphony Orchestra Washington DC and Philadelphia Orchestra under conductors including Claudio Abbado, Valery Gergiev, Lorin Maazel, James Levine, Bernard Haitink, Vladimir Ashkenazy, Zubin Mehta, Riccardo Muti, Seiji Ozawa, Kent Nagano, Leonard Slatkin, Vladimir Jurowski, Kurt Masur and Sir Georg Solti. The singer’s repertoire includes almost fifty opera roles, among them Eugene Onegin, Mazeppa, Prince Igor, Ruprecht (The Fiery Angel), Nabucco, Macbeth, Simone Boccanegra, Amonasro, Iago, Don Giovanni, Telramund, Alberich and Klingsor. Almost one third of Sergei Leiferkus’ repertoire comprises Russian music from the 19th and 20th centuries. Most recently he added several new roles to his repertoire. At the Hamburg State Opera, he sang his first Schigolch in the award-winning premiere of Lulu staged by Christoph Marthaler (three act version) and, also at the Hamburg State Opera, the role of L’uomo in the first staged production of Peter Eötvös’ Senza Sangue in Germany. -
Season 2013-2014
23 Season 2013-2014 Thursday, February 13, at 8:00 The Philadelphia Orchestra Friday, February 14, at 8:00 Saturday, February 15, at 8:00 Vladimir Jurowski Conductor Vsevolod Grivnov Tenor Alexey Zuev Piano Sherman Howard Speaker Tatiana Monogarova Soprano Sergei Leiferkus Baritone Westminster Symphonic Choir Joe Miller Director Rachmaninoff/ Songs orch. Jurowski I. “Christ Is Risen,” Op. 26, No. 6 II. “Dreams,” Op. 38, No. 5 III. “The Morn of Life,” Op. 34, No. 10 IV. “So Dread a Fate,” Op. 34, No. 7 V. “All Things Depart,” Op. 26, No. 15 VI. “Come Let Us Rest,” Op. 26, No. 3 VII. “Before My Window,” Op. 26, No. 10 VIII. “The Little Island,” Op. 14, No. 2 IX. “How Fair this Spot,” Op. 21, No. 7 X. “What Wealth of Rapture,” Op. 34, No. 12 (U.S. premiere of orchestrated version) Rachmaninoff Piano Concerto No. 4 in G minor, Op. 40 I. Allegro vivace II. Largo III. Allegro vivace Intermission 24 Rachmaninoff The Bells, Op. 35 I. Allegro, ma non tanto II. Lento—Adagio III. Presto—Prestissimo IV. Lento lugubre—Allegro—Andante— Tempo I This program runs approximately 1 hour, 45 minutes. These concerts are presented in cooperation with the Sergei Rachmaninoff Foundation. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details. 3 Story Title 25 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra community itself. His concerts to perform in China, in 1973 is one of the preeminent of diverse repertoire attract at the request of President orchestras in the world, sold-out houses, and he has Nixon, today The Philadelphia renowned for its distinctive established a regular forum Orchestra boasts a new sound, desired for its for connecting with concert- partnership with the National keen ability to capture the goers through Post-Concert Centre for the Performing hearts and imaginations of Conversations. -
Boston Symphony Orchestra Concert Programs, Summer, 1990
Tangtewqpd . urlake erform miracles They dissolve the stresses and strains of everyday living. The Berkshires' most successful 4-seasons hideaway, a gated private enclave with V^-mile lake frontage, golf and olympic pool, tennis, Fitness Center, lake lodge —all on the lake. Carefree 3 -and 4- Your bedroom country condominiums with luxury amenities and great skylights, fireplaces, decks. Minutes from Jiminy Peak, Brodie Berkshire Mountain, Tanglewood, Jacob's Pillow, Canyon Ranch. In the $200s. escape SEE FURNISHED MODELS, SALES CENTER TODAY. (413) 499-0900 or Tollfree (800) 937-0404 LAKECREST Dir: Rte. 7 to Lake Pontoosuc. Turn left at Lakecrest sign 7 DIRECTLY ON LAKE PONTOOSUC on Hancock Rd. /10 -mile to Ridge Ave. Right turn to Lakecrest gated entry. Ct££ h\> Prncfw Seiji Ozawa (TMC '60), Music Director Carl St. Clair (TMC '85) and Pascal Verrot, Assistant Conductors One Hundred and Ninth Season, 1989-90 Trustees of the Boston Symphony Orchestra, Inc. Nelson J. Darling, Jr., Chairman Emeritus President J. P. Barger, Chairman George H. Kidder, Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Mrs. Eugene B. Doggett Mrs. August R. Meyer Peter A. Brooke Avram J. Goldberg Mrs. Robert B. Newman James F. Cleary Mrs. John L. Grandin Peter C. Read John F. Cogan, Jr. Francis W Hatch, Jr. Richard A. Smith Julian Cohen Mrs. BelaT. Kalman Ray Stata William M. Crozier, Jr. Mrs. George I. Kaplan William F. Thompson Mrs. Michael H. Davis Harvey Chet Krentzman Nicholas T Zervas Trustees Emeriti Vernon R. -
Architecture As Frozen Music: Italy and Russia in the Context of Cultural Relations in the 18Th -19Th Centuries
Athens Journal of Humanities & Arts - Volume 4, Issue 2 – Pages 123-132 Architecture as Frozen Music: Italy and Russia in the Context of Cultural Relations in the 18th -19th Centuries By Tatiana Samsonova This article deals with the two kinds of art, architecture and music, in their stylistic mutual influence on the historical background of St. Petersburgʼs founding and developing as the new capital of the Russian Empire in the early 18th century. The author highlights the importance of Italian architects and musicians in the formation of modern culture in Russia and shows how the main features of Baroque and Classicism are reflected both in the architecture and music thanks to the influence of the Italian masters. For the first time the issue of the "Russian bel canto" formation resulted from the Italian maestros working in Russia in 18–19 centuries is revealed. Russian-Italian relations originated in the 18th century and covered various cultural phenomena. Their impact is vividly seen in architecture and music in St. Petersburg, which was founded in 1703 by the Russian Emperor Peter the Great whose strong desire was to turn Russia into Europe. As the famous Russian poet Alexander Pushkin wrote in his "The Bronze Horseman" (1834), "the Emperor cut a Europe window." For St. Petersburg construction as a new Russian capital outstanding Italian architects were invited. The first Italian architect, who came to St. Petersburg, was Domenico Trezzini (1670- 1734), a famous European urban designer and engineer. In the period of 1703- 1716 he was the only architect working in St. Petersburg and the Head of City Development Office.