DOCSLIB.ORG

CURRICULUM DE Placldo DOMINGO EMBIL Plácido Domingo

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

CURRICULUM DE PLAClDO DOMINGO EMBIL Plácido Domingo nació en 1941 en Madrid, hijo de los cantantes de zarzuela Plácido Domingo y Josefa Embil Echániz. En 1949 su familia se trasladó a la Ciudad de México para trabajar en teatro musical y pronto destaCÓ en las lecciones de piano. para luego esrudiar en la Escuela Nacional de Artes y en el Conservatorio Nacional de Música de la capital mexicana. estudiando piano y dirección de orquesta. Se casó en 1957 con la pianista Ana María Guerra Cué, con quien tuvo a su primogénito. José Plácido Domingo Guerra. En el 1%2 contrajo segundas nupcias con la soprano veracruzana Mana Omelas. En el mes de marm de 2008, un jurado de 16 críticos de especial reconocimiento y valía. convocado por la revista BBC Music Magazine, eligió a 1}lácido Domingo como el más grande tenor de todos los tiempos. Michael Tanner. crítico de la revista británica "TIte Spectator", ha dicho "Desde los sesenta, el mundo de la ópera parece inconcebible sin Domingo. y el enorme tesoro de sus grabaciones dará testimonio de su grandeza a futuras generaciones y en una época en el que la ''fama'' se ha convertido en una palabra casi despreciable. la obtenida por Domingo es un ejemplo de una gran reputación construida sobre cimientos sólidos". CARRERA PROFESIONAL Comenzó como barítono debutando en escena el 12 de mayo de 1959 en el teatro Degollado, de Guadalajara, México, como Pascual, en Marina. Le siguió el papel de Borsa en Rigolello, Padre Confesor en Diálogos de carmelitas, etc. Más tarde ya como tenOr interpretó a Alfredo en la Traviata en la Ciudad de Monterrey en el Teatro María Teresa Montoya en 1959. A la vez seguía interpretando zarzuela con sus padres. En 1962 se incorpora a la Ópera de Tel Aviv, Ópera Nacional de Israel, en la cual nacería su fama. Pasó allí dos años y medio y participó en 280 representaciones. Para la Copa del Mundo Espai'1a 1982, grab6el Tema Oficial de dicha Copa FIFA de Fútbol. 2 El 19 de septiembre de 1985, el mayor terremoto en la historia de México que devastó pane de la capital, fallecieron su tia, su tío, un sobrino y el hijo de éste. El propio Plácido Domingo intervino en las labores de rescate. A lo largo del año siguiente, dio conciertos benéficos para las víctimas. Uno de los más imponantes fUe el 23 de agosto de 1986, "P16cido y sus Amigos" en el Amphítheater de los Ángeles, donde participaron Frank Sinalnl, Julie Andrews. John Denver y el grupo Pandora de México. El 21 de agosto de 2007. en reconocimiento a su labor artística y a su ayuda a las víctimas del terremoto de 1985, fue homenajeado en la capital mexicana con una eSlalua en su honor, fundida a partir de llaves donadas por la población. La estatua es obra de la escultora Alejandra Zúñiga. El 18 de diciembre de 2009, fue declarado Huésped distinguido de la Ciudad de México por parte del jefe de gobierno capitalino Marcelo Ebrard. El 13 de septiembre de 2010. el Congreso del Estado de Guerrero te entregó la presea Sentimienlos de la Nación. máxima condecoración que olorga el Congreso del Estado a personalidades distinguidas, dentro del marco del Primer Congreso de Anáhuac o Congreso de Chilpancingo. Placido Domingo se hizo acreedor de esta medalla por su gran labor desinteresada en los desastres naturales como el Terremoto de 1985 en la ciudad de México y el Huracán Paulina en el puerto de Acapulco; en estos dos desaslres el tenor donó sus ganancias de todo un año. El 21 de enero de 2011, día de su 70 cumpleaños, se le rindió un homenaje en el Tealro Real de Madrid. I'ROYECCIÓN INTERNACIONAL En 1966 cantó el papel titular en el estreno estadounidense de DOII Rodrigo, de Alberto Ginastera, en la New York City Opera, con gran éxito. Pero se dio a conocer internacionalmente con su debut en Hamburgo en 1967. Interpretó par primera vez en el Metropolitan Opera de Nueva York el 28 de septiembre de 1968, en Adriana Lccouvrcur, de Francesco Cnea. cantando con Renata Tebaldi. Desde entonces, ha abierto la temporada de este teatro en veintiuna ocasiones, superando el récord anlerior, que eSlaba en poder de Enrico Caruso, en cuatro. Durante los años sesenta realizó numerosoS debuts en los Estados Unidos, sobre todo en Nueva York y San Francisco. como también en numerosas ciudades de Europa. Debutó en la Ópera Estalal de Viena en 1967. en la Ópera Lírica de Chicago en 1968. Sus presentaciones en La Seala, Teatro Municipal de Santiago y en la Ópera de San Francisco son de 1969. en el Covent Garden en 1971 yen el Teatro Colón de Buenos Aires en el 1972 con La For=a del Deslino de Verdi jW110 a M3rtina Arroyo. Volvió al Teatro Colón en 1979 p3J'3 La FanciulJa dellVesl, 1981 con OtelJo junIo a Renato Brusoo y Teresa Zylis·Gara y en 1982 con Tosca 3 junto a Eva Marton. en 1997 para Samsón y Dalila y en 1998 con Fedora de Giordano junto a Mirella Freni y Sherrill Milnes. Ha cantado en prácticamente todos los teatros importantes de ópera del mundo. y en los principales festivales. En 2005 se estrenó en los PROMS londinenses, con el personaje de Siegmund (La Valquiria), obteniendo un gran éxito. Ha trabajado. entre otros directores de orquesta., con lIerbert von Karajan. Zubin Mehla James Levine y Carlos Kleiber. QuizA sea el más versátil de todos los tenores vivos. Su repenorio es muy variado y ha cantado en italiano, francés, alemán. español. inglés y ruso. Ila interpretado desde obras de Handel y Mozart hasta Alberto Ginastcra. Gustav Mahler y Tan Dun. En escena ha canlado más de 140 papeles diferentes. Su principal repertorio, no obstante. es italiano, francés y alemán. En italiano ha interpretado 1/ Tro"'alore, Don Carlos, Otella, Tosca y Turandot. En francés ha sido Faust, Werrher. Don José en Carmen. Samson en Si/mson el Dalila y Les Cantes d'l-Ioffmann de Offenbach. Ha representado con éxito papeles wagnerianos, tanto en el Festival de Bayreulh como en OlfOS teatros de ópera. en particular en Lohcngrin y Parsifal (destacadísima representación la de 1991), y Siegmund en Die Walküre (La Valqlliria). Añade nuevas óperas a su repertorio, como la reciente obra de Franco Alfana, Cyrano de Bergerac en el Metropolilan Opera y la Royal Opera House en landres. O la ópera El Primer Emperador de China (Qin Shihuang), de Tan Dun (2006), con puesta en escena del director de cine chino Zhang Yimou. La ópera barroca también forma parte de su repertorio, al debutar en este género el 26 de marzo de 2008 interprctando el papel de Bajazet en la obra Tamerlano, de Georg Friedrich Handel (Teatro Real de Madrid). En 2008 participó en la ceremonia de clausura de los Juegos Olímpicos de Pekín. Después de siete de años de ausencia en la ciudad de México, ofreció el 19 de diciembre de 2009 un concierto al aire libre al pie del monumento de a la Independencia de dicha ciudad, en el quc se hizo acompañar por primcra vez dc su hijo Plácido Jr. y las interpretes mexicanas Eugenia Gana. María Alejandres y Olivia Gorra, cantando arias de ópera. zarzuela, poemas, música ranchera y tradicionales canciones navideñas. OTROS LOGROS • En los primeros años del siglo XXI ha intensificado su labor como director de orquesta y artista, tanto de óperdS romo. ocasionalmemc. de orquestas sinfÓ¡úcas. 4 • Dirigió por primera vez el 7 de octubre de 1973 La TraviQla, en la New York City Opera. Obtuvo un gran éxito con Carmen para la inauguración de la Exposición Universal de Sevilla en 1992. Dirigió la Orquesta sinfónica de Montreal el 8 de noviembre de 2005. • Desde 1996 es director aníslico de la Ópera acianal de Washington, radicada en el Kctulcdy Ccntcr. dentro de la capital estadounidense. En 1998 fue nombrado director anislico de la Ópera de Los Ángeles, de la que se convinió en director general en 2003. • Su grabación en 1981 de la canción Perhaps Lave en un dúo con el popular cantante de folk y pop estadounidense John Denvcr contribuyó más que ningún otro a aumentar la popularidad del teoor fuera del mundo operistico. En 1987, Plácido Domingo y Denver se unieron a Julie Andrews para un especial de televisión. ganador de un premio Emmy. llamado The Sound 01 Christmas, grabado en Salzburgo. Austria. Grabó dúos con muchos otros cantantes como José Maria Cano, Mocedades. Alejandro Femándcz, Carlos Santana., Luis Cabos, Cactano Vcloso o Patricia Kaas. • En 1992. asociado con el productor teatral británico Cameron Mackintosh y el director y productor español José Tamayo. trae a España (Madrid) el musical Los Miserables. que se estrena el 16 de Septiembre en el teatro Nuevo Apolo y que marca un antes y un despuás en el mundo de los musicales en el país. • En 1993 fundó Operalia, concurso para jóvenes cantantes de ópera. • Entre sus récords está, cn csta época, asimismo, el haber recibido una hora de aplausos en la Opera de Viena después de cantar La hoheme. wm marca rec02ida incluso por el Libro Guinness, o haber reunido en un concierto a 400.000 personas cn el Central Park neoyorquino, pese a la lluvia. • Con José Carreras y Luciano Pavarotti, fonnó en 1990 la célebrc socicdad artística de Los Tres Tenores en Roma, con motivo del Mundial de fútbol Italia 1990. El evento fuc concebido, originariamente, para reunir dinero para la Fundación Internacional contra la Leucemia José Carreras. Posterionnentc, se ha repetido en tos tres siguientes mundiales: 1994, Los Ángeles; 199&, París; y 2002, Yokohama.
Recommended publications
  • Lectures and Community Engagement 2017­–18 About the Metropolitan Opera Guild

    Lectures and Community Engagement 2017­–18 About the Metropolitan Opera Guild

    Lectures and Community Engagement 2017 –18 About the Metropolitan Opera Guild The Metropolitan Opera Guild is the world’s premier arts educa- tion organization dedicated to enriching people’s lives through the magic and artistry of opera. Thanks to the support of individuals, government agencies, foundations, and corporate sponsors, the Guild brings opera to life both on and off the stage through its educational programs. For students, the Guild fosters personal expression, collaboration, literacy skills, and self-confidence with customized education programs integrated into the curricula of their schools. For adults, the Guild enhances the opera-going experience through intensive workshops, pre-performance talks, and community outreach programs. In addition to educational activities, the Guild publishes Opera News, the world’s leading opera magazine. With Opera News, the Guild reaches a global audience with the most insightful and up-to-date writing on opera available anywhere, helping to maintain opera as a thriving, contemporary art form. For more information about the Metropolitan Opera Guild and its programs, visit metguild.org. Additional information and archives of Opera News can be found online at operanews.com. How to Use This Booklet This brochure presents the 2017–18 season of Lectures and Community Programs grouped into thematic sections—programs that emphasize specific Met performances and productions; courses on opera and its history and culture; and editorial insights and interviews presented by our colleagues at Opera News. Courses of study are arranged chronologically, and learners of all levels are welcome. To place an order, please call the Guild’s ticketing line at 212.769.7028 (Mon–Fri 10AM–4PM).
  • All Strings Considered a Subjective List of Classical Works

    All Strings Considered a Subjective List of Classical Works

    All Strings Considered A Subjective List of Classical Works & Recordings All Recordings are available from the Lake Oswego Public Library These are my faves, your mileage may vary. Bill Baars, Director Composer / Title Performer(s) Comments Middle Ages and Renaissance Sequentia We carry a lot of plainsong and chant; HILDEGARD OF BINGEN recordings by the Anonymous 4 are also Antiphons highly recommended. Various, Renaissance vocal and King’s Consort, Folger Consort instrumental collections. or Baltimore Consort Baroque Era Biondi/Europa Galante or Vivaldi wrote several hundred concerti; try VIVALDI Loveday/Marriner. the concerti for multiple instruments, and The Four Seasons the Mandolin concerti. Also, Corelli's op. 6 and Tartini (my fave is his op.96). HANDEL Asch/Scholars Baroque For more Baroque vocal, Bach’s cantatas - Messiah Ensemble, Shaw/Atlanta start with 80 & 140, and his Bach B Minor Symphony Orch. or Mass with John Gardiner conducting. And for Jacobs/Freiberg Baroque fun, Bach's “Coffee” cantata. orch. HANDEL Lamon/Tafelmusik For an encore, Handel's “Music for the Royal Water Music Suites Fireworks.” J.S. BACH Akademie für Alte Musik Also, the Suites for Orchestra; the Violin and Brandenburg Concertos Berlin or Koopman, Pinnock, Harpsicord Concerti are delightful, too. or Tafelmusik J.S. BACH Walter Gerwig More lute - anything by Paul O'Dette, Ronn Works for Lute McFarlane & Jakob Lindberg. Also interesting, the Lute-Harpsichord. J.S. BACH Bylsma on period cellos, Cello Suites Fournier on a modern instrument; Casals' recording was the standard Classical Era DuPre/Barenboim/ECO & HAYDN Barbirolli/LSO Cello Concerti HAYDN Fischer, Davis or Kuijiken "London" Symphonies (93-101) HAYDN Mosaiques or Kodaly quartets Or start with opus 9, and take it from there.
  • Children in Opera

    Children in Opera

    Children in Opera Children in Opera By Andrew Sutherland Children in Opera By Andrew Sutherland This book first published 2021 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2021 by Andrew Sutherland Front cover: ©Scott Armstrong, Perth, Western Australia All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-6166-6 ISBN (13): 978-1-5275-6166-3 In memory of Adrian Maydwell (1993-2019), the first Itys. CONTENTS List of Figures........................................................................................... xii Acknowledgements ................................................................................. xxi Chapter 1 .................................................................................................... 1 Introduction What is a child? ..................................................................................... 4 Vocal development in children ............................................................. 5 Opera sacra ........................................................................................... 6 Boys will be girls .................................................................................
  • Verdi Week on Operavore Program Details

    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.
  • RENATA TEBALDI Soprano

    RENATA TEBALDI Soprano

    1958 Eightieth Season 1959 UNIVERSITY MUSICAL SOCIETY THE UNIVERSITY OF MICHIGAN Charles A. Sink, President Gail W. Rector, Executive Director Lester McCoy, Conductor Fourth Concert Thirteenth Annual Extra Series Complete Series 3252 RENATA TEBALDI Soprano GIORGIO F AVARETTO at the Piano TUESDAY EVENING, FEBRUARY 1 0 , 1959, AT 8:30 HILL AUDITORIUM, ANN ARBOR, M ICHIGAN PROGRAM Aria, "Ab! spietato" from Amadigi HANDEL 1Jna ragazza che non e pazza GALUPPI Caldo sangue SCARLATTI Canzonetta SCARLATTI Ridente la calma MOZART 1J n mota di gioia MOZART La Regata Veneziana ROSSINI Anzoleta prima della regata Anzoleta durante la regata Anzoleta dopo Ia regata Vaga luna che inargenti BELLINI Per pieta bell' idol mio BELLINI INTERMISSION M'ama, non m'ama MASCAGNI Notte RESPIGHI Ninna nanna di 1Jliva . PIZZETTI o luna cbe fa' lume DAVICO A vuccbella TOSTI "Salce, salce" "Ave Maria" } from Otello VERDI London Ifrr Records The Steinway is the official piano of the U11iversity Musical Society A R S LON G A V I T A BREVIS PROGRAM NOTES "Ah, spietato," from Amadigi HANDEL Ah, cruel one, are you not moved by the constant affection that makes me languish for you! Una ragazza che non e pazza GALUPPI A girl who is not crazy knows not to let her chance pass. You know it and you will understand me. Even the little ewe lamb and dove would look for a companion. Why would not a girl! Caldo sangue SCARLATTI Hot hlood, hot blood, that flows over my breast, give testimony of my love and devotion to my father as I die.
  • A Listening Guide for the Indispensable Composers by Anthony Tommasini

    A Listening Guide for the Indispensable Composers by Anthony Tommasini

    A Listening Guide for The Indispensable Composers by Anthony Tommasini 1 The Indispensable Composers: A Personal Guide Anthony Tommasini A listening guide INTRODUCTION: The Greatness Complex Bach, Mass in B Minor I: Kyrie I begin the book with my recollection of being about thirteen and putting on a recording of Bach’s Mass in B Minor for the first time. I remember being immediately struck by the austere intensity of the opening choral singing of the word “Kyrie.” But I also remember feeling surprised by a melodic/harmonic shift in the opening moments that didn’t do what I thought it would. I guess I was already a musician wanting to know more, to know why the music was the way it was. Here’s the grave, stirring performance of the Kyrie from the 1952 recording I listened to, with Herbert von Karajan conducting the Vienna Philharmonic. Though, as I grew to realize, it’s a very old-school approach to Bach. Herbert von Karajan, conductor; Vienna Philharmonic (12:17) Today I much prefer more vibrant and transparent accounts, like this great performance from Philippe Herreweghe’s 1996 recording with the chorus and orchestra of the Collegium Vocale, which is almost three minutes shorter. Philippe Herreweghe, conductor; Collegium Vocale Gent (9:29) Grieg, “Shepherd Boy” Arthur Rubinstein, piano Album: “Rubinstein Plays Grieg” (3:26) As a child I loved “Rubinstein Plays Grieg,” an album featuring the great pianist Arthur Rubinstein playing piano works by Grieg, including several selections from the composer’s volumes of short, imaginative “Lyrical Pieces.” My favorite was “The Shepherd Boy,” a wistful piece with an intense middle section.
  • Developing the Young Dramatic Soprano Voice Ages 15-22 Is Approved in Partial Fulfillment of the Requirements for the Degree Of

    Developing the Young Dramatic Soprano Voice Ages 15-22 Is Approved in Partial Fulfillment of the Requirements for the Degree Of

    DEVELOPING THE YOUNG DRAMATIC SOPRANO VOICE AGES 15-22 By Monica Ariane Williams Bachelor of Arts – Vocal Arts University of Southern California 1993 Master of Music – Vocal Arts University of Southern California 1995 A dissertation submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas December 2020 Copyright 2021 Monica Ariane Williams All Rights Reserved Dissertation Approval The Graduate College The University of Nevada, Las Vegas November 30, 2020 This dissertation prepared by Monica Ariane Williams entitled Developing the Young Dramatic Soprano Voice Ages 15-22 is approved in partial fulfillment of the requirements for the degree of Doctor of Musical Arts School of Music Alfonse Anderson, DMA. Kathryn Hausbeck Korgan, Ph.D. Examination Committee Chair Graduate College Dean Linda Lister, DMA. Examination Committee Member David Weiller, MM. Examination Committee Member Dean Gronemeier, DMA, JD. Examination Committee Member Joe Bynum, MFA. Graduate College Faculty Representative ii ABSTRACT This doctoral dissertation provides information on how to develop the young dramatic soprano, specifically through more concentrated focus on the breath. Proper breathing is considered the single most important skill a singer will learn, but its methodology continues to mystify multitudes of singers and voice teachers. Voice professionals often write treatises with a chapter or two devoted to breathing, whose explanations are extremely varied, complex or vague. Young dramatic sopranos, whose voices are unwieldy and take longer to develop are at a particular disadvantage for absorbing a solid vocal technique. First, a description, classification and brief history of the young dramatic soprano is discussed along with a retracing of breath methodologies relevant to the young dramatic soprano’s development.
  • She Graduates in Singing at the Conservatory of Her City

    She Graduates in Singing at the Conservatory of Her City

    Nana Miriani Born in Tbilisi (Georgia), she graduates in singing at the Conservatory of her city. In Italy she attended the Chigiana Academy and the Course of Training and Improvement of the Academy of Singing "Arturo Toscanini" in Parma, under the guidance of Maestro Tenor Carlo Bergonzi, obtaining certificates of merit and scholarships. In 2000-2001 she attended the Specialization Course of Vocal Interpretation "Verdi Opera Studio", "Foundation Verdi Festival" at the Theatre Regio in Parma, under the guidance of Soprano Renata Scotto. She made her debut in 1998 inBusseto, playing the role of Abigaille in Nabucco by G. Verdi, conducted by Maestro Romano Gandolfi, with the Symphony Orchestra of Emilia Romagna "Arturo Toscanini" and Chorus of the Theatre Regio of Parma, in the presence of the President of the French Republic. In 2001, she sang in the Festival "Radio France", for the Opera Berlioz in Montpellier, in Cavalleria Rusticana by D. Monleone and in Resurrezione by F. Alfano, conducted by Maestro Friedemann Layer, with CD recording. During her career she played the roles of: Tosca in Tosca by G. Puccini, engaged at the Teatro alla Scala in Milan, conducted by Maestro Lorin Maazel and directed by Luca Ronconi (2006), and at the National Theatre in Bratislava (2002, 2003, 2004) Abigaille in Nabucco by G. Verdi, at the Teatro Lirico in Cagliari, conducted by Maestro Antonello Allemandi and directed by Daniele Abbado, at Theatre Bielefeld, Germany (2006), at the Wielki Theatre in Poznan, Poland (2006), at the State Opera Z. Paliashvili of Tbilisi, alongside bass Paata Burchuladze and baritone Lado Ataneli (2009), at the Festival Steinbruch Rohrdorf of Munich, Germany (2009), at the National State Opera A.
  • Carl Maria Von Weber: Der Freischütz – Overture

    Carl Maria Von Weber: Der Freischütz – Overture

    Carlos Kleiber_Booklet.qxp:Booklet 24.04.2008 8:32 Uhr Seite 1 Carl Maria von Weber: Der Freischütz – Overture Rehearsal 1 Part 1 15:59 2 Part 2 15:02 3 Part 3 15:19 4 Concert 10:17 5 Credits 1:10 Johann Strauß: Die Fledermaus – Overture Rehearsal 1 Part 1 15:52 2 Part 2 19:02 3 Concert 7:51 4 Credits 1:17 Camera: Hugo Jehle / Franz Brandeis / Bernd Fähse / Adolf Härtl / Peter Rühle Sound: Wolfgang Albrecht / Erich Prümmer / Frank Richter Vision Engineering: Kurt Reim Editing: Isolde Rinker / Helga Haussner Produced by Gerald Weinkopf Directed by Dieter Ertel Recorded in 1970 A SDR Production © 1970 SDR Worldwide distributed by Euroarts International Music GmbH Design: Kristina Kutsch Carlos Kleiber_Booklet.qxp:Booklet 24.04.2008 8:32 Uhr Seite 3 REHEARSAL AND PERFORMANCE PROBE UND AUFFÜHRUNG OVERTURES / OUVERTÜREN CARL MARIA VON WEBER: DER FREISCHÜTZ JOHANN STRAUSS: DIE FLEDERMAUS SÜDFUNK-SINFONIEORCHESTER Carlos Kleiber_Booklet.qxp:Booklet 24.04.2008 8:32 Uhr Seite 4 CARLOS KLEIBER – FLAMBOYANT STAR, ENIGMATIC GENIUS When Carlos Kleiber made these recordings of the rehearsals and concert performance of the overtures to Die Fledermaus and Der Freischütz with the Südfunk-Sinfonieorchester in the spring of 1970 – a documentary made at Stuttgart’s Villa Berg for the SDR television series Bei der Arbeit beobachtet – he was already one of the most sought-after conductors of his day. He had earned an international reputation as the most gifted – as well as the most difficult – conductor of his generation, with successes such as Alban Berg’s Wozzeck, directed by Günther Rennert, at the Württembergische Staatsoper (1966), Carl Maria von Weber’s Freischütz, with Walter Felsenstein (1967), and Richard Wagner’s Tristan und Isolde, not to mention a whole string of triumphs at the Bavarian State Opera from 1968 onwards.
  • Giuseppe Verdi Otello Highlights Mp3, Flac, Wma

    Giuseppe Verdi Otello Highlights Mp3, Flac, Wma

    Giuseppe Verdi Otello Highlights mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Otello Highlights Country: UK Released: 1961 Style: Opera MP3 version RAR size: 1718 mb FLAC version RAR size: 1609 mb WMA version RAR size: 1339 mb Rating: 4.1 Votes: 537 Other Formats: DXD MPC XM TTA VOX FLAC WMA Tracklist A1 Act 1: Una Vela! Una Vela!..Esultate! Gia Nella Notte Densa Act 2: Vanne, La Tua Meta Gia Vedo... Credo En Un Dio Crudel Desdemona Rea!...Ora E Per A2 Sempre Addio B1 Act 2: Era La Notte... Si Pel Siel B2 Act 3: Dio! Mi Potevi B3 Act 4: Mia Madre Aveva Una Povera Aneclia...Piangea Cantando...Ave Maria...Niun Me Tema Credits Conductor – Herbert von Karajan Orchestra – Wiener Philharmoniker Soprano Vocals – Renata Tebaldi Tenor Vocals – Mario del Monaco Other versions Category Artist Title (Format) Label Category Country Year LP 025 LP 025 Szenen aus Othello Decca, 674, SXL Giuseppe Verdi 674, SXL Germany Unknown (LP) Decca 20 523-B 20 523-B Il 467 273-2 Giuseppe Verdi Otello (CD, Comp) 467 273-2 Italy 2000 Giornale Herbert von Karajan, Herbert von Karajan, Giuseppe Verdi, The Giuseppe Verdi, The Chorus Of The Vienna Chorus Of The Vienna London OS 25701 State Opera*, Wiener OS 25701 UK Unknown State Opera*, Wiener Records Philharmoniker, Mario Philharmoniker, del Monaco - Otello Mario del Monaco Highlights (LP) Herbert Von Karajan Herbert Von Karajan Conducts The Vienna Conducts The Vienna Philharmonic Philharmonic Orchestra* With Orchestra* With London 5701 Roberto Benaglio 5701 1962 Roberto Benaglio Records Conducting
  • The Blake Collection in Memory of Nancy M

    The Blake Collection in Memory of Nancy M

    The Blake Collection In Memory of Nancy M. Blake BELLINI’S NORMA featuring CECILIA BARTOLI This tragic opera is set in Roman-occupied, first-century Gaul, features a title character, who although a Druid priestess, is in many ways a modern woman. Norma has secretly taken the Roman proconsul Pollione as her lover and had two children with him. Political and personal crises arise when the locals turn against the occupiers and Pollione turns to a new paramour. Norma “is a role with emotions ranging from haughty and demanding, to desperately passionate, to vengeful and defiant. And the singer must convey all of this while confronting some of the most vocally challenging music ever composed. And if that weren't intimidating enough for any singer, Norma and its composer have become almost synonymous with the specific and notoriously torturous style of opera known as bel canto — literally, ‘beautiful singing’” (“Love Among the Druids: Bellini's Norma,” NPR World of Opera, May 16, 2008). And Bartoli, one of the greatest living opera divas, is up to the challenges the role brings. (New York Public Radio’s WQXR’s “OperaVore” declared that “Bartoli is Fierce and Mercurial in Bellini's Norma,” Marion Lignana Rosenberg, June 09, 2013.) If you’re already a fan of this opera, you’ve no doubt heard a recording spotlighting the great soprano Maria Callas (and we have such a recording, too), but as the notes with the Bartoli recording point out, “The role of Norma was written for Giuditta Pasta, who sang what today’s listeners would consider to be mezzo-soprano roles,” making Bartoli more appropriate than Callas as Norma.
  • NEW YORK CRITICS REVIEW MARIA CALLAS and RENATA TEBALDI: a Study in Critical Approaches to the Inter-Relationship of Singing

    NEW YORK CRITICS REVIEW MARIA CALLAS and RENATA TEBALDI: a Study in Critical Approaches to the Inter-Relationship of Singing

    NEW YORK CRITICS REVIEW MARIA CALLAS AND RENATA TEBALDI: A Study in Critical Approaches to the Inter-relationship of Singing and Acting in Opera by MarikolVan Campen B. A., University orBritish Columbia, 1968 A Thesis Submitted in Partial Fulfillment of The Requirements for the Degree of Master of Arts in The Faculty of Graduate Studies Department of Theatre, Faculty of Arts, University of British Columbia We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October, 1977 1977 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of THEATRE The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 Date Oct. 5, 1977 i ABSTRACT The following study is an analysis of New York reviews of performances of Maria Callas and Renata Tebaldi which attempts to discover what opera critics feel to be the most effective artistic balance between singing and acting in opera. Callas and Tebaldi have been chosen as the subjects of the reviews because of their renown as singers, the closely coinciding cir• cumstances of their careers and the polarities which they represented in the issue of acting versus singing in operatic performance.