Biography Alfredo Kraus
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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. -
Cantantes Líricos Italianos Y Españoles
Cantantes Líricos Italianos y Españoles Teatro de la Ópera de París Autores: Guidotti Gabaldón, Maria Riansares Marqués Verchili, Antonio Vallés Soler, Cristóbal Curso 2012-2013 de 1º de Postgrado : Manifestaciones de la cultura contemporánea Índice Introducción…………………………………… 2 Cantantes Italianos: Tenores: Farinelli (Castrati) .................. 4 Caruso, Enrico ........................ 6 Gigli, Beniamino ...................... 7 Mónaco, Mario del ..................... 9 Di Stefano, Giuseppe .................. 11 Pavarotti, Luciano .................... 13 Gobbi, Tito (Bajo) .................... 16 Sopranos: Muzio, Claudia ........................ 18 Tebaldi, Renata ....................... 19 Scotto, Renata ........................ 23 Otras nacionalidades: Callas, María ............................ 25 Sutherland, Joan ......................... 30 Kiri Te Kanawa ..............................31 Cantantes Españoles: Sopranos Malibrán, María ........................ 34 Hidalgo, Elvira ........................ 42 De los Angeles, Victoria ............... 43 Lorengar, Pilar ........................ 45 Caballé, Monserrat ..................... 46 Berganza, Teresa (mezzosoprano) ........ 48 Tenores Gayarre, Julián ........................ 49 Redondo, Marcos ........................ 51 Kraus, Alfredo ......................... 53 Domingo, Plácido ....................... 54 Carreras, José ......................... 59 Bibliografía ............................................................ 61 1 Introducción En este trabajo hemos resumido los más -
Verdi's Rigoletto
Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered. -
CONDUCTOR Rico Saccani
如 • 歌 • 文 • 化 Ruge Artists Management 扫描关注微信订阅号 CONDUCTOR Rico Saccani ARTISTIC ACHIEVEMENTS Rico Saccani is the most recently served as Music Director/Artistic Adviser of the Budapest Philharmonic Orchestra and was principal guest conductor of the Hungarian State Opera. He won top prize in the Herbert von Karajan International Conducting Competition in Berlin. He was immediately engaged to perform with the Berlin and Stuttgart Radio Orchestras, the Royal Danish Philharmonic and the Spoleto Festival. His opera debut came in 1985 in Verdi’s Un Giorno di Regno at the Teatro Filarmonico di Verona. La Traviata at the Paris Opera and the Vienna State Opera, Il Turco in Italia at the Rossini Festival in Pesaro plus La Bohème at the Philadelphia Opera with Luciano Pavarotti for the PBS American television network immediately followed. PERFORMANCES He has returned on numerous occasions as a guest conductor with the most important symphony orchestras around the globe, such as Bavarian Radio Orchestra, Czech Philharmonic Orchestra, Cologne Gurzenisch Symphony and Opera Orchestras, Houston Symphony, Oslo Philharmonic, Royal Philharmonic of Denmark, Tokyo Philharmonic, Yomiuri Symphony Orchestra. He has also worked with many of the world’s greatest solo artists, such as Alicia De Larrocha, Stephen Isserlis, Denis Matsouev, Sabine Meyer, Kun Woo Paik, Dimitri Sitkovetsky, Maxim Vengerov, Julian Lloyd-Weber, Pinchas Zuckerman, etc, as well renowned Beaux Arts Trio. Maestro Saccani has also appeared at the Hamburg State Opera, the Lyon Opera, the Monte-carlo Opera, the Arena de Nimes Festival, the Paris Opera Comique, Rome, Dresden and Cologne Operas. He made his Metropolitan Opera debut in Il Trovatore and re- engaged for the first international radio broadcast of Traviata and Aida. -
Montserrat Caballé En El Teatro De La Zarzuela
MONTSERRAT CABALLÉ EN EL Comedia musical en dos actos TEATRO DE LA ZARZUELA Victor Pagán Estrenada en el Teatro Bretón de los Herreros de Logroño, el 12 de junio de 1947, y en el Teatro Albéniz de Madrid, el 30 de septiembre de 1947 Teatro de la Zarzuela Con la colaboración de ontserrat Caballé M en el Teatro de la Zarzuela1 1964-1992 1964 1967 ANTOLOGÍA DE LA TONADILLA Y LA VIDA BREVE LA TRAVIATA primera temporada oficial de ballet y teatro lírico iv festival de la ópera de madrid 19, 20, 21, 22, 24 de noviembre de 1964 4 de mayo de 1967 Guión de Alfredo Mañas y versión musical de Cristóbal Halffter Música de Giuseppe Verdi Libreto de Francesco Maria Piave, basado en Alexandre Dumas, hijo compañía de género lírico Montserrat Caballé (Violetta Valery) La consulta y La maja limonera (selección) Aldo Bottion (Alfredo Germont), Manuel Ausensi (Giorgio Germont), Textos y música de Fernando Ferrandiere y Pedro Aranaz Ana María Eguizabal (Flora Bervoix), María Santi (Annina), Enrique Suárez (Gastone), Juan Rico (Douphol), Antonio Lagar (Marquese D’Obigny), Silvano Pagliuga (Dottore Grenvil) Mari Carmen Ramírez (soprano), María Trivó (soprano) Ballet de Aurora Pons Coro de la Radiotelevisión Española La vida breve Orquesta Sinfónica Municipal de Valencia Música de Manuel de Falla Dirección musical Carlo Felice Cillario, Alberto Leone Libreto de Carlos Fernández Shaw Dirección de escena José Osuna Alberto Lorca Escenografía Umberto Zimelli, Ercole Sormani Vestuario Cornejo Montserrat Caballé (Salud) Coreografía Aurora Pons Inés Rivadeneira (Abuela), -
N E W S R E L E a S E
N E W S R E L E A S E CONTACT: Katherine Blodgett/The Philadelphia Orchestra Director of Public/Media Relations phone: 215.893.1939 e-mail: [email protected] FOR IMMEDIATE RELEASE DATE: December 19, 2008 THE PHILADELPHIA ORCHESTRAORCHESTRA,, WITH CHRISTOPH ESCHENBACHESCHENBACH CONDUCTING, TOURS EUROPE AND THE CANARY ISLANDS ThreeThree----weekweek tour includes visits to the Canary Islands, Spain, Portugal, Luxembourg, Hungary, and Austria ––– violinist Leonidas Kavakos joins tour as soloist (Philadelphia, December 19, 2008) – The Philadelphia Orchestra embarks on its 2009 Tour of Europe and the Canary Islands on January 26, 2009. Under the leadership of Christoph EschenbachEschenbach, the Orchestra visits nine cities in five countries making first visits to Santa Cruz de TenerifeTenerife, Las Palmas de Gran CanariaCanaria, LuxembourgLuxembourg, and BudapestBudapest. The three-week tour, which concludes February 14, also includes performances in BarcelonaBarcelona, LisbonLisbon, MadridMadrid, ValenciaValencia, and ViennaVienna. Violinist Leonidas Kavakos joins The Philadelphia Orchestra for eight of the tour’s concerts. ToToTourTo ur Repertoire and Artists On the 2009 tour, The Philadelphia Orchestra performs Prokofiev’s Fifth Symphony, Schubert’s Symphony in C major (“Great”), Pintscher’s Osiris , Bruckner’s Sixth Symphony, Schoenberg’s Chamber Symphony No. 1, and Beethoven’s Overture to Egmont . Guest soloist Leonidas Kavakos performs Bartók’s Violin Concerto No. 2 with the Orchestra on concerts in Santa Cruz de Tenerife, Las Palmas de Gran Canaria, and Luxembourg, and performs Sibelius’s Violin Concerto on concerts in Lisbon, Madrid, Valencia, Budapest, and Vienna. Conductor Christoph EschenbachEschenbach, music director of The Philadelphia Orchestra from 2003 to 2008, leads the 2009 Tour of Europe and the Canary Islands. -
Le Comte Ory: C’Est Charmant! C’Est Divine!
MONOGRAFÍA Le comte Ory: C’est charmant! C’est divine! por Ingrid Haas Los comienzos de Le comte Ory lo contrario: solamente el dueto entre el Conde y la Condesa Adèle El 20 de agosto de 1828 Gioachino Rossini estrenó la que sería está tomado del dueto entre Corina y el Cavalier Belfiore deIl su última ópera cómica: Le comte Ory. Basada en un libreto viaggio... El resto de la música es original, compuesta ex profeso de Eugéne Scribe y Charles-Gaspard Delestre-Poirson, narra para Le comte Ory. Tenemos en este acto el famoso y bellísimo las aventuras amorosas de un libidinoso conde medieval en la trío entre Adèle, Isolier y Ory llamado ‘À la faveur de cette nuit época de las Cruzadas y cómo, en su afán por conquistar a la obscure’, tal vez el número más hermoso de esta ópera. condesa Adèle de Formoutiers, acaba disfrazándose de monja para adentrarse en el castillo de la bella joven. Descubierto el El resurgimiento de Le comte Ory plan por su paje, el joven Isolier, que también está enamorado de (1954 - 2003) la condesa, Ory tiene que huir del castillo ante el regreso de los Luego de su estreno en 1828, Le comte Ory permaneció en el caballeros cruzados. repertorio operístico francés por una veintena de años. Hacia mediados del siglo XIX el estilo belcantista había ya cedido su Las aventuras del conde Ory fueron narradas en una balada lugar al romanticismo, y costaba trabajo encontrar cantantes medieval que luego fue adaptada y publicada por Pierre-Antoine que pudieran con la tesitura y coloratura que exigen las óperas de la Place en 1785. -
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 -
Plácido Domingo Del Gran Teatre Del Liceu
ORQUESTRA SIMFÒNICA CONCERT PLÁCIDO DOMINGO DEL GRAN TEATRE DEL LICEU Plácido Domingo Primera part: 50 min. · Pausa: 25 min. Airam Hernández Segona part: 30 min. Ana María Martínez Violí I Violoncel Trompeta Durada total aproximada: 1 hora 45 min Liviu Morna Concertino Peter Thiemann * Francesc Colomina * Olga Aleshinsky * Mathias Weinmann Danel Morales Orquestra Simfònica del Eva Pyrek * Esther Clara Braun Gran Teatre del Liceu Diumenge 20 de maig de 2018, 18.00h Oksana Solovieva Carme Comeche Trombó Renata Tanollari Òscar Alabau Jordi Berbegal * Ramón Tebar Director Oleg Shport Juan Manuel Stacey Alejandro Cantos Yana Tsanova Irma Bau Luis Bellver * Sergey Maiboroda Nico Cobo Raúl Suárez Tuba Paola Caballero Contrabaix Jose Miguel Bernabeu * PRIMERA PART SEGONA PART Ariadna Torner Cristian Sandu * Helena Muñoz Francesc Lozano Timpani Gerónimo Giménez (1854 – 1923) Manuel de Falla (1876 – 1946) Paula Banciu Alfredo Fajardo Artur Sala * Intermedio (La boda de Luis Alonso) “Farruca” (El sombrero de tres picos) Natalia Brzewska Joan Cantallops Felipe Contreras Percussió Reveriano Soutullo (1880 – 1932) i Joan Vert Federico Moreno Torroba (1891 – 1982) Jordi Mestres (1890 – 1931) “En mi tierra extremeña” (Luisa Fernanda) Violí II Flauta Salva Soler “Quiero desterrar” (La del soto del Parral) Plácido Domingo Christo Kasmetski * Albert Mora * Mario García Plácido Domingo Ana María Martínez Rodica Monica Harda Joan J. Renart Liu Jing Sandra Luisa Batista (picc) * Arpa Ernesto Lecuona (1895 – 1963) “De este apacible rincón de Madrid” (Luisa Fernanda) -
Decca Discography
DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982. -
Scrpt Listening Program II
Non-Directed Music Listening Program Series II Non-Directed Music Listening Program Script Series II Week 1 Composer: Reinhold Glière (1875 – 1926) Composition: Russian Sailors’ Dance Performance: Saint Louis Symphony Orchestra Recording: Telarc Sampler, Volume 1 Telarc CD 80001 Day 1: Our music this week is by Reinhold Glière (RINE-hold Glee YAIR), a Russian composer from the Ukraine. This music is the Russian Sailors’ Dance. The Russian Sailors’ Dance is from the ballet “The Red Poppy”. The story takes place on a Chinese waterfront where Russian sailors, Chinese coolies (or workers), and a beautiful young Chinese woman all take turns dancing. It ends with the Russian sailors dancing to a rousing finish. Day 2: This week’s music is the Russian Sailors’ Dance from the ballet, “The Red Poppy” composed by Reinhold Glière. This music was written in 1927. The story is set in a Chinese seaport where a group of Chinese dock workers have been half-starved and brutally over-worked. A Russian captain comes to their rescue, and a young Chinese woman offers him a bouquet of flowers. The bouquet includes red poppies which are the symbol of liberty in China. Other workers gather to watch and then to join in the dancing. Listen to the melody as it is repeated in different styles. Can you picture the style of dancing for each repetition of the theme? Day 3: This week we are listening to the Russian Sailors’ Dance from “The Red Poppy” ballet by Reinhold Glière. We will be hearing an introduction which crescendos to a climax followed by the theme which is presented in very low bass tones. -
Concierto Cátedra De Canto “Alfredo Kraus” Fundación Ramón Areces
CONCIERTO CÁTEDRA DE CANTO “ALFREDO KRAUS” FUNDACIÓN RAMÓN ARECES Miriam Silva, soprano Maylin Cruz, soprano Annya Pinto, soprano Paola Leguizamón, mezzosoprano Olga Syniakova, mezzosoprano Yeraldín León, mezzosoprano Agustín Gómez, tenor Jorge Luis Puerta, tenor Gabriel Alonso, barítono Ihor Voievodin, bajo-barítono Madalit Lamazares, piano , piano Lunes 21 de junio de 2021 19:30 horas Auditorio Sony, Madrid ara la Fundación Ramón Areces es una gran satisfacción ver nuestro nombre asociado a la Cátedra de Canto de la Escuela Superior de Música Reina Sofía y Pal de quien fue su profesor fundador, el inolvidable maestro Alfredo Kraus. Es un testimonio de la apuesta de la Fundación por acompañar a la Escuela en su apoyo a las jóvenes voces y en su esfuerzo por acercar la música a todos. Nos enorgullece haber hecho posible el magisterio de cantantes de primer orden mundial, como el citado Kraus, Teresa Berganza, Tom Krause, Ryland Davies y Francisco Araiza. Como cada año, esperamos con ilusión este concierto que recoge el trabajo realizado por la Cátedra. Quiero agradecer a la Escuela, y especialmente a su Presidenta Fundadora, Paloma O’Shea, haber hecho posible este proyecto admirable. Marta Álvarez Guil Presidenta de la Fundación Ramón Areces l apoyo continuado que la Fundación Ramón Areces viene prestando a la Escuela Reina Sofía nos ha permitido lanzar al mundo cantantes de la importancia de EAquiles Machado, Milagros Poblador, Iwona Sobotka, Ismael Jordi, Francisco Corujo, Gabriel Bermúdez o Celso Albelo, entre otros muchos, que caminen con nosotros en esta fascinante aventura. El concierto de hoy mostrará la categoría artística de los actuales componentes de la Cátedra «Alfredo Kraus» Fundación Ramón Areces que, dirigidos por el maestro Araiza, harán un atractivo recorrido por duetos y tercetos de grandes óperas del repertorio, de Mozart a Richard Strauss, para culminar en el sexteto de "Lucia de Lammermoor", de Donizetti.