Demos FLEMOTOMOS Tenor

Total Page:16

File Type:pdf, Size:1020Kb

Demos FLEMOTOMOS Tenor Demos FLEMOTOMOS Tenor Demos Flemotomos was born in Greece, he started his voice studies as baritone at the conservatory of Athens with Dionisios Troussas and continued his studies as a tenor with Despina Kalafatis, he finished his studies with distinction and continued to work for two years with KS Kostas Paskalis. He won the „Maria Callas" scholarship and continued to study at the academy of music in Munich with Daphne Evangelatos. He won the Zarzuela prize, the audience prize and the second prize at Placido Domingo’s „Operalia“, and the Zarzuela prize and the third prize at the “Vinas” competition in Barcelona. Demos Flemotomos sang the role of Paco in „La vida breve“ at the National Theatre in Athens (stage master Christopher Olden) as well as the role of Junger Diener in „Elektra“ (stage master Michael Hampe ) at the concert hall in Athens with Agnes Baltsa and Inga Nielsen. At Prinzregententheater in Munich he was heard in the role of Graf Zedlau in „Wiener Blut“ and as Rodolfo in „Boheme“ with Mo. Ulf . Schirmer . He made his successful debut at Gran Teatro Liceu in Barcelona with Poulenc’s „Les Mamelles de Tiresias“ as well as at Teatro Municipal in Santiago de Chile in the production of „Macbeth“. He was heard in a „Boheme“ production at the theatre in Ulm , in a gala in the Royal Albert Hall in London together with K. Kanawa, B. Frittoli, B. Terfel and J. Carreras, with an aria concert at Festival Verbier and with the Philharmonic Orchestra Stuttgart , he made his successful debut as Don José in a new production „Carmen“ at the Festival in St. Margarethen . He was engaged at Staatsoper Vienna , where he made his debut as Cassio followed by Ismaele. Recent and future contracts until 2021/22 include concerts in Tokyo , Cassio in Athens , new productions of "Tosca" in Graz , of "Macbeth" at Festival Heidenheim and in Basel and of "Carmen" in Klagenfurt , he is heard with concerts in Taiwan and Thessaloniki and as Ismaele in St. Gallen and in Athens. In summer 2021 he will sing Jacopo Foscari in “Due Foscari” at Festival Heidenheim . .
Recommended publications
  • ARSC Journal
    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
    [Show full text]
  • Macbeth.Qxd:Mise En Page 1 26/04/11 14:43 Page 2
    Programmemacbeth.qxd:Mise en page 1 26/04/11 14:43 Page 2 Saison 2010 - 2011 / Opéra MACBETH GIUSEPPE VERDI Sa 7, Ma 10, Je 12, Me 18, Sa 21, Ma 24 & Ve 27 mai à 20h Di 15 mai à 16h Programmemacbeth.qxd:Mise en page 1 26/04/11 14:43 Page 3 MACBETH — Séance de répétition, avril 2011 : Le Chœur de l’Opéra de Lille, Susan Maclean (Lady Macbeth). Photo : Frédéric Iovino. Programmemacbeth.qxd:Mise en page 1 26/04/11 14:44 Page 4 Durée : 3h avec entracte Opéra MACBETH GIUSEPPE VERDI Opéra en quatre actes. Livret de Francesco Maria Piave, d’après William Shakespeare. Créé à Florence en 1847. Version révisée créée à Paris en 1865. Chanté en italien, surtitré en français. Avec Direction musicale Roberto Rizzi Brignoli Dimitris Tiliakos Macbeth Mise en scène Richard Jones, Susan Maclean Lady Macbeth Danseurs reprise à Lille Geof Dolton Dimitry Ivashchenko Banco Rohanna Eade, Khamlane Halsackda, Scénographie et costumes Ultz David Lomeli Macduff Matthew Hawksworth, Laura Hyde, Lumières Wolfgang Göbbel, Bruno Ribeiro Malcolm David John, Shelby Williams reprise à Lille Paul Hastie Miriam Murphy, Julie Pasturaud Chorégraphie Linda Dobell, Suivantes de Lady Macbeth orchestre national de lille reprise à Lille Anjali Mehra Patrick Schramm Médecin, Serviteur, Héraut jean-claude casadesus/région nord-pas de calais Assistant à la mise en scène Vincent Vantyghem Un Assassin Chœur de l’Opéra de Lille, Richard Gerard Jones Irène Candelier, Isabelle Rozier, direction Yves Parmentier Chef de chant Nathalie Steinberg Jérôme Savelon Apparitions Répétiteur d’italien Susanna Poddighe Diego Ruiz Marmolejo Duncan Luke Owen Fléance Claudine Gamand Hécate Production 2007 du Festival de Glyndebourne, reprise à l’Opéra de Lille avec une nouvelle distribution.
    [Show full text]
  • 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.
    [Show full text]
  • DIMITRIS PAKSOGLOU – Tenor Born in Greece. Dimitris Paksoglou First Embarked on a Career As an Actor and Studied at the National Superior School of Drama
    DIMITRIS PAKSOGLOU – Tenor Born in Greece. Dimitris Paksoglou first embarked on a career as an actor and studied at the National Superior School of Drama. As an actor he went on to appear in important Greek theatres, including the ancient theatre of Epidaurus, the Greek National Theatre and the Athens Megaron. He then decided to make a career change and studied singing at the Athens National Conservatory under the guidance of the famous baritone Kostas Paskalis and Marina Krilovici, graduating with distinction. He moved to France where he appeared with several opera companies and his success lead Greek National Opera to offer him a contract as a principal tenor. He continues to appear in leading roles with the company, which he combines with guest appearances abroad. Greek Dimitris Paksoglou does not sing Cavaradossi with the usual slightly emotional Mediterranean glow. His tenor is more powerfully virile, but also with beautiful splashes of tenderness. He makes his famous song for life with considerable intensity. AFTONBLADET – Lennart Bromander - Monday 10th February 2020 Dimitris Paksoglou who sang Cavaradossi is a real Italian tenor (although he is Greek) with plenty of power and clear tone up to the highest register. Capriccio - Lars-Erik Larsson – 23rd December 2019 Roles: AIDA: Radames ~ Stade de France UN BALLO IN MASCHERA: Gustavo III ~ Greek National Opera CARMEN: Don José ~ Odeon of Herodes Atticus CAVALLERIA RUSTICANA: Turiddu ~ Opéra de Saint-Étienne; Greek National Opera EDIPO RE: Creonte ~ Opera of Thessaloniki DIE FLEDERMAUS: Eisenstein ~ Greek National Opera INNO DELLE NAZIONE VERDI: Tenor Solo ~ Opera of Thessaloniki JENUFA: Števa ~ Greek National Opera APA Artists’ Management / Alexandra Mercer Mobile: +44 (0)7710 378719 - Tel: +44 (0)189 686 0276 Email: [email protected] - www.apaartistsmanagement.com Hillslap Tower - Langshaw - By Galashiels - Scotland TD1 2PA, United Kingdom Vat Registration No.
    [Show full text]
  • Agnes Baltsa Angela Gheorghiu Grace Bumbry
    A VoceVista Study: Formant Boosting and Vowel Modification, Adapting Resonance Techniques of Professionals to the Voice Studio Kathryn Hansen Department of Music, Carthage College, 2001 Alford Park Drive, Kenosha, WI 53140 Results and Discussion: AGNES BALTSA PAS6, The Conference on the Physiology and Acoustics of Singing At right is the spectral evidence of my attempt (Spectogram (A)) to re-create Agnes Baltsa’s Abstract: approach (Spectogram (B)) to the F#5 pitch on the French word “garde.” The spectral images can never be an exact match as the two vocalists have biologically different instruments and one This investigation analyzes VoceVista (VV) spectral evidence for formant boosting and vowel modification in Las Vegas, October 17 - 20, 2012 set of data is performed live into the VoceVista system while the other is a recording. However, recordings of mezzo-sopranos singing the final measures (“si je t’aime prends garde à toi”) of the “Habanera” from by means of formant tracking and vowel modification, I was able to get a spectral image (as well Carmen by Georges Bizet. With these findings, I further explore matching these resonance strategies to feel the Data: as a sound) that is much closer to that of Agnes Baltsa than my original approach. differences in sensation and sound. With these differences recognized, I can discover which best suits my instrument Below is the spectral evidence of each of six professional, traditionally trained vocalists, performing the final phrase of Georges Bizet’s at this time. “Habenera” from his Opera, Carmen (“si je t’aime, prends garde à toi”) lined up above (Spectogram (A)) is spectral evidence of my original ANGELA GHEORGHIU approach to the same passage.
    [Show full text]
  • Staged Treasures
    Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio
    [Show full text]
  • Overture Opera Guides
    overture opera guides in association with We are delighted to have the opportunity to work with Overture Publishing on this series of opera guides and to build on the work English National Opera did over twenty years ago on the Calder Opera Guide Series. As well as reworking and updating existing titles, Overture and ENO have commissioned new titles for the series and all of the guides will be published to coincide with repertoire being staged by the company at the London Coliseum. We hope that these guides will prove an invaluable resource now and for years to come, and that by delving deeper into the history of an opera, the poetry of the libretto and the nuances of the score, read- ers’ understanding and appreciation of the opera and the art form in general will be enhanced. John Berry Artistic Director, ENO The publisher John Calder began the Opera Guides series under the editorship of the late Nicholas John in association with English National Opera in 1980. It ran until 1994 and eventu- ally included forty-eight titles, covering fifty-eight operas. The books in the series were intended to be companions to the works that make up the core of the operatic repertory. They contained articles, illustrations, musical examples and a complete libretto and singing translation of each opera in the series, as well as bibliographies and discographies. The aim of the present relaunched series is to make available again the guides already published in a redesigned format with new illustrations, some newly commissioned articles, updated reference sections and a literal translation of the libretto that will enable the reader to get closer to the intentions and meaning of the original.
    [Show full text]
  • Ian France - Opera Favourites from the Romantic Era
    Ian France - Opera Favourites from the Romantic Era With suggestions of what versions to search out Bellini’s “Norma” “Mira, o Norma” Norma & Adalgisa, rivals in love, come to an understanding in this poignant duet CD: Montseratt Caballe &Fiorenzo Cossotto, cond.Cillario/LPO/RCA Caballe and Cossotto sing with great control and mostly softly (unlike Callas) YouTube: Anna Netrebko & Elina Garance Adalgisa (Garanca) pleads for Norma’s children to stay with her. In this concert version we don’t have to worry about Norma’s boys acting sensitively-our focus is on the heavenly music. As was customary in Italian operas at the time there is a fast, joyous cabaletta to round off the scene with Norma and Adalgisa promising to be lifelong “comrades”. Donizetti’s “Lucia di Lammermoor” “Sulla tomba” Edgar reflects on the tombs of his ancestors, Lucia joins him (turning his solo into a duet) and then the “big tune” is sung 3 times (listen out for a celebratory “wiggle” in the orchestra as they finish singing!) CD : Pavarotti & Sutherland cond.Bonynge/ROH/Decca Pavarotti and Sutherland were at their best in the Bel Canto repertoire. YouTube: Beczala & Netrebko In this extended scene Edgardo (Beczala) sings of his impending journey to France in the Stuart cause. Lucia (Netrebko) begs him to keep their love secret from her brother Enrico. Edgardo has sworn by his father’s grave to gain vengeance, but the music softens, the lovers kiss (cue applause!) Lucia sings “Verrano a te sull’aure” which Edgardo takes up and after her maid warns them to be on their way, both sing the “big tune” in unison.
    [Show full text]
  • Carmengeorges BIZET
    Carmen GEORGES BIZET THEATER 15/16 Five Hundred Twenty-Second Program of the 2015-16 Season _______________________ Indiana University Opera Theater presents as its 447th production Carmen Opéra Comique in Four Acts Music by Georges Bizet Libretto by Henri Meilhac and Lucovic Halévy Based on the novel by Prosper Mérimée David Effron, Conductor Jeffrey Buchman, Stage Director Robert O’Hearn, Set and Costume Designer Dana Tzvetkov, Costumer Patrick Mero, Lighting Designer Walter Huff, Chorus Master Brent Gault, Children’s Chorus Master Rosa Mercedes, Dance Choreographer Matt Herndon, Fight Choreographer Gary Arvin, Diction Coach Daniela Siena, Supertitles Author _________________ Musical Arts Center Friday Evening, February Twenty-Sixth Saturday Evening, February Twenty-Seventh Friday Evening, March Fourth Saturday Evening, March Fifth Seven-Thirty O’Clock music.indiana.edu Cast of Characters Friday, February 26 Saturday, February 27 Saturday, March 5 Friday, March 4 Don José . Trey Smagur Justin Stolz Carmen . Courtney Bray Patricia Illera Micaëla . Yuji Bae Claire Lopatka Escamillo . Ross Coughanour Jianan Huang Zuniga . Andrew Richardson Jeremy Gussin Moralès . Mark Billy Teofil Munteanu Frasquita . Emma Donahue Madeline Ley Mercédès . Marianthi Hatzis Chelsea DeLorenz Le Dancaïre . Benjamin Seiwert Andres Acosta Le Remendado . Max Zander Darian Clonts Supernumeraries . Zach Decker, Kara Dual-Fowler, Norm Holy Antonio Houck, Moses Mayabilo, Ben Monticue Jim Nelson, Andrew Nine, Tod Wicks Opera Chorus Walter Huff, Chorus Master Women Women
    [Show full text]
  • Verdi's La Forza Del Destino
    Verdi’s La forza del destino - A survey of the studio and selected live recordings by Ralph Moore Despite its musical quality, variety and sophistication, La forza del destino is something of an Ugly Duckling among Verdi’s mature works, and it is for that reason that I did not survey it when I previously covered most of Verdi’s major and most popular operas. It suffers from a sprawling structure whereby succeeding scenes can seem disjointed, some peculiar motivation, an excess of disguise, an uncertain tone resulting from an uneasy admixture of the tragic and the would-be comical, and the presence of two characters with whom, for different reasons, it is difficult to empathise. Don Carlo suffers from a pathological obsession with revenge resulting in his stabbing his own sister as an “honour killing”; his implacable bloodlust is both bizarre and deeply repugnant, while Preziosilla must be one of the most vapid and irritating cheerleaders in opera. “Rataplan, rataplan” – rum-ti-tum on the drum, indeed; it takes a special singer to transcend the banality of her music but it can be done. Although it is just about possible to argue that guilt and shame are at the root of their behaviour, it is mostly inexplicable to modern audiences that Alvaro and Leonora separate after her father’s accidental death and never again try to reunite until they meet again by chance – or fate - in the last scene set five years later. Verdi attempts to lighten the relentlessly grim mood by the inclusion of a supposedly comic character in Fra Melitone who often isn’t very funny – and what is the point of Trabuco, a superfluous peddler? Finally, what the heck is an Incan prince doing in Seville, anyway? While fully aware of its failings, I have returned to La forza del destino because it contains some marvellous music and the kinds of emotional turmoil and dramatic confrontation which lie at the heart of opera.
    [Show full text]
  • Soprano Isabel REY, Soprano
    Isabel Rey soprano OUTUMURO © Fidelio Artist Isabel REY, soprano Dedicated body and soul to her vocation: singing, music and theatre, the soprano Isabel Rey, who hails from Valencia, Spain, is internationally recognized for her exquisite vocal technique and her sensitive acting skills. She is one of the few Spanish artists to have had the honour of performing regularly in the Salzburg Festival and her distinguished career has taken her to the most important opera capitals, performing in Vienna, Munich, Hamburg, Berlin, Zurich, London, Edinburg, Madrid, Barcelona, Valencia, Paris, Los Angeles, Washington, Stockholm, New York, Brussels, Moscow, Tokyo, Osaka, Kobe, Rome, Venice and Amsterdam. Having mastered a wide repertoire, ranging from Monteverdi to Stravinsky, this very versatile singer and actress has sung the lead roles in more than 55 different operas over the last three decades, the most notable being Le nozze di Figaro, Die Zauberflöte, Cosi fan tutte, Idomeneo, Don Giovanni, La Finta Giardiniera, Lucia di Lammermoor, Don Pasquale, L'Elisir d'amore, La Fille du Règiment, King Arthur, Alcina, Die Fledermaus, Die Königskinder, Rigoletto, Falstaff, Simone Boccanegra, Otello, Faust, Les Contes de Hoffmann, Les pêcheurs de perles, Carmen, Der Rosenkavalier, La Bohème, Dialogues des carmelites, Pelléas et Mélisande and The Rake’s Progress, always working with conductors of the importance of Nikolaus Harnoncourt, Gianandrea Noseda, Nello Santi, Jesús López Cobos, Ramón Tebar, Franz Welser-Möst, Ton Koopman, Rafael Frühbeck de Burgos, Michel Plasson, Marcello Viotti, Adam Fischer, Neville Marriner, Alain Lombard, Alberto Zedda, Leopold Hager, Michel Corboz, William Christie, Marc Minkowski, Fabio Biondi, Fabio Luisi and Lorin Maazel. As Susanna in Le nozze di Figaro / Teatro Real de Madrid .
    [Show full text]
  • The Verdi Requiem - a Partial Survey of the Discography by Ralph Moore
    The Verdi Requiem - A Partial Survey of the Discography by Ralph Moore The circumspect title of my survey arises from the fact that although over eighty recordings are listed in the Wikipedia discography (see also MWI Masterwork Index) it is not complete and there are probably many more circulating in the form of private recordings on what used to be called “pirate” labels. For instance, in my own comparatively modest collection of thirty-five recordings are a live Karajan performance from 1970 on the “Gala” label, the Naxos release conducted by Morandi and the LSO Live recording conducted by Colin Davis, none of which is included in that Wiki list. The Karajan recording is superb but, unfortunately, in muddy mono sound and while the Naxos double CD makes a good super-bargain “starter suggestion”, it is not as good as many of the recordings discussed below. Furthermore, I have discarded some dozen or so which I came to regard as “shelf-cloggers”, insofar as I had no desire to play them again, so I am able to venture an opinion and express some preferences but am by no means in any position to make definitive statements about “best” recordings, even if I desired to do so. Besides, individual taste in performers and personal convictions regarding how this work should be approached and sound will govern others’ choices; all I propose to do is provide some assessment of those recordings with which I am familiar. I have often encountered fellow music-lovers who have no taste for Verdi’s operas but still enjoy the Requiem, which is amusing as the work surely merits what some construe as the derogatory label of “Verdi’s greatest opera”.
    [Show full text]