DOCSLIB.ORG

094-Auyial 1956 51

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
094-Auyial 1956 51 Many artists have since sung in it, and how as Cavaradossi in "Tosca" last February; among the most familiar in the Met's really popular "La Bohème" is can be his only other appearance this year was as large company, often heard in "La Bo- judged from its 131 performances (the most Rodolfo, youthful but effective. Heidi hème." Conductor Fausto Cleva joined the any opera achieved) in the 1955-56 season Kra11 has yet to sing Musetta on the Met's Met in 1929, and since 1951 has directed by opera companies all over the Country. stage, though she has appeared in many many of the new productions and most of The cast for this new recording is a other operas. She is acoming singer, with the old ones as well. Chorus and orchestra familiar one. Lucine Amara, who was the a beautiful, securely-focussed voice, a are the regular Metropolitan aggravations. big hit of opening night last year in "Tales luminous quality, and sure theatrical The house is the same, and so to alarge of Hoffmann", has sung Mimi many times, sense, an eminently worthy successor to extent is the repertory. The singers are to great praise; she sang in the first per- the first Musetta, Fritzi Scheff. Frank different, and the style of singing. Record- formance of this past season. Her warm and Valentino has been a leading baritone ing technique has gone through a revolu- lovely voice gives her Mimi especial ap- with the company for many years, and has tion. But — plus ça change, plus c'est la peal. The Rodolfo, Daniele Barioni, is a been a frequent Marcello. Nicola Mos- mime chose — the world's première opera newcomer to the Met. The 26-year-old cona as Colline, Clifford Harvuot as house is once again recording its regular tenor made a somewhat sensational debut Schaunard, and Alessio de Paolis are repertory on its own premises. tunately, this viola version is not recorded. THE VIOLA monic. In this work the viola comes at last It has been good luck for the instru- to a full flowering, and seldom has any Continued from page 24 ment, also, that Paul Hindemith began his instrument received more expressive treat- in the high register, makes good use of the career as a viola player. Since turning his ment. Walton uses the woodwinds exten- upper regions of the top string, and even attention to composition, he has written sively and effectively to back up the in the last movement ventures to a point for it with faith and understanding. brooding voice of the solo; his telling melo- more than two octaves above middle C Which brings us to the present. Let us dies and his turbulent, jazz-like rhythms (an E flat in seventh or eighth position, for reach for the nearest LP catalogue. We dis- create apowerful orchestral scene. the technical-minded). At such an altitude cover there asplendid array of Hindemith Hindemith gives of his best in Der air is very thin for the violist, but he can sonatas — sonatas for flute, for trombone, Schwanendreher, awork for viola and small come through gloriously. There are several for trumpet, bassoon, clarinet, oboe, and orchestra in which many will find reflec- recordings of the masterpiece; it would be violin. But viola? Downright discrimina- tions of the symphony, Mathis der hard to beat the Nap de Klijn-Paul Godwin tion. Hindemith has composed at least five Maier. It is based on a series of old Ger- performance with the Vienna Symphony man folk melodies, and these dark-hued Orchestra, Paumgartner conducting, on themes are peculiarly compatible with the Epic. A Brief Viola Discography viola. So, too, is Hindemith's orchestra- Mozart further demonstrated affection tion, which concentrates upon woodwinds for his instrument in a pair of duos for Berlioz: Harold in Italy • Columbia ML-4542 Brahmin Viola Sonatas, Op. 120 • and brasses. This work appears on the over- violin and viola, two works which no ad- Westminster WN-18114 or SWN-18114 Hindemith: Der Schanendreher • side of the Walton — afortunate coupling mirer of the composer should miss. The Columbia ML-4905 indeed. Also available is Hindemith's first, K. 423 in G, is well performed by Trauermusik for Viola and Orchestra Stradivari 608 Trauermusik, the "Music of Mourning" for Goldberg and Riddle for Decca; No. 2 in Martina: Madrigals for Violin and Viola • Decca DL-8510 George V, written for the BBC within E flat, K. 424, is best presented by Joseph Mozart: Duo No. 1for Violin and Viola, K. 423 • twenty-four hours after the King's death. and Lillian Fuchs, also for Decca. Decca DL-8523 Duo No. 2 for Violin and Viola, K. 424. This short composition for viola and string Having taken into account Bach, Mo- Decca DL-8510 Sinfonia Concertante in E flot, K. 364 • orchestra contains some of Hindemith's zart, and Berlioz, and adding a grateful Epic LC-3194 most expressive melodic writing. Vaughan Williams: Flos Ca mpi (suite foryiola, bow to Brahms for his two sonatas, Op orchestra and voices) • Ralph Vaughan Williams has not ig- 120 (though to some of us these pieces Concert Hall Society CHS-1151 nored the viola, and in his suite Flos Campi Walton: Concerto for Viola • Columbia ML-4905 appear better tailored to the clarinet, presents it as solo in company with orches- which Brahms stipulated as alternate, than tra and chorus. Francis Tursi is the soloist to the viola) we may say, as potential in this work, recorded by Concert Hall record buyers: so far, so good; the viola sonatas for his maligned instrument — Society with the Cornell A Cappella has had afair hearing. Is there something three for viola and piano, and two for Chorus and Concert Hall Chamber Orches- else worth investigating? The answer is viola solo. Only one of these, the Op. 11, tra. yes. The best days of the "garrulous old No. 4 for viola and piano, is currently A set of three stunning non-vocal woman" were still to come. available; Francis Tursi is the violist in this Madrigals for violin and viola by the The instrument's limitations at the Concert Hall Society recording. Czech neo-polyphonist Martinu, put out by hands of broken-down violinists, and the Ernest Bloch makes agood showing on Decca, is superbly performed by Joseph and resulting caution of composers as to writ- the record market, but his suite for viola Lillian Fuchs. These pieces constitute a ing anything the least bit taxing for it, and piano, asolid piece of music once avail- really brilliant display of duet writing, ceased with the arrival of an English vir- able on 78's, still is absent from the micro- and as far as Iknow they stand alone of tuoso string player who became the first groove list. The same is true of Quincy their kind on the contemporary scene. They real champion of the viola's cause. This Porter's superb suite for the viola alone, are not profound, but they are stylish and pioneer is Lionel Tertis, today agentleman and Frederick Jacobi's Fantasy, with piano. remarkably durable. of eighty who has passed his mission on to And there are other sins of omission: the Acquaintance with any of these works the capable William Primrose. It was Terris Bax Concerto, the Bliss Sonata, and Holst's will perhaps suffice to show that the spirit who commissioned several of his British A Lyric Piece. of evangelism common to admirers of the contemporaries to write works for the However, let us count our blessings, viola is not without cause. Let me quote, viola, and who augmented this reportoire meager though they may be. Any .listener with becoming modesty, a proposition of by transcribing for the viola music orig- with an adventuresome spirit and an open the noted English critic Ernest Newman: inally written for other instruments. The heart will want to know about the first- -Is there something in the viola that de- Elgar Cello Concerto is one of the latter; the rate music for viola that can be heard on velops exceptional intelligence in its ex- arrangement received the composer's bless- LP's today. At the top of the list is Wil- ecutants, or is it just that when aman has ing, and Elgar himself conducted the first liam Walton's Concerto, recorded by Colum- exceptional intelligence he takes up the performance with Terris as soloist. Unfor- bia with Primrose and the Royal Philhar- viola as amatter of course?" 094-Auyial 1956 51 .
Load more

Recommended publications
  • Czech Romantic Opera Anna Moffo, the Complete RCA Recital Albums
    act starting from ‘Stride le vampa’ would still be around for the later with tender strength by Bořek Rujan, a through the duet with Manrico. However, ‘Björling performance’ where he does strikingly virile-sounding baritone new to I think her finest singing is in the first not sound a great deal different. Finally, I me—one of the set’s major satisfactions scene of the following act. Captured and cannot resist mentioning the very first is hearing some unfamiliar singers threatened by the Count’s soldiers, her voice we hear on these discs—not proving themselves the equals of better- initial response is quiet and Moscona’s, but rather that of Milton known contemporaries. contemplative, rising to an exciting Cross, the inimitable presenter of Met Having said which, the prime climax as she defies her captors and broadcasts for more than 40 years. musical attractions here come from the warns of divine vengeance. As ever with Immortal Performances usual suspects. Maria Tauberová Nicola Moscona as Ferrando and there are extras. One can take for granted delivers Liduška’s brief lyric from Francesco Valentino as Di Luna were the fine sound restoration and the beautiful Dvořák’s rarely-heard Král a uhlíř both at relatively early stages in their Met booklet. There is also a musical bonus—a (‘King and Collier’) with immaculate careers and Trovatore represented their 1952 Björling broadcast containing ease and beauty of line. It is thrilling to debuts in Live Met broadcasts. Moscona several songs starting with a gorgeous ‘If I have the 15-minute fragment of would go on to give a total of more than could tell you’ and just one operatic Smetana’s last opera Viola (some way 700 performances with the company; aria—‘Nessun dorma’, a performance after Twelfth Night) inspirationally driven Valentino a mere 450! Both offer solid, comparable with his superb 1944 by Karel Ančerl.
    [Show full text]
  • MARIO DEL MONACO Mario Del Monaco Belongs
    MARIO DEL MONACONACO – A CRITICAL APPROACH BY DANIELE GODOR, XII 2009 INTRODUCTION Mario del Monaco belongselongs to a group of singers whoho aare sacrosanct to many opera listeners.listene Too impressive are the existingexisti documents of his interpretationsations of Otello (no other tenor hasas momore recordings of the role of Otello than Del Monaco who claimed to haveha sung to role 427 times1), Radamdames, Cavaradossi, Samson, Don Josésé and so on. His technique is seenn as the non-plus-ultra by many singersgers aand fans: almost indefatigable – comparable to Lauritz Melchiorlchior in this regard –, with a solid twoo octaveocta register and capable of produciroducing beautiful, virile and ringing sound of great volume. His most importmportant teacher, Arturo Melocchi,, finallyfina became famous throughh DDel Monaco’s fame, and a new schoolscho was born: the so-called Melocchialocchians worked with the techniqueique of Melocchi and the bonus of the mostm well-established exponent of his technique – Mario del Monaco.naco. Del Monaco, the “Otello of the century”” and “the Verdi tenor” (Giancarlo del Monaco)2 is – as tthese attributes suggest – a singer almost above reproach and those critics, who pointed out someme of his shortcomings, were few. In the New York Times, the famous critic Olin Downes dubbed del MonacoM “the tenor of tenors” after del Monacoonaco’s debut as Andrea Chenier in New York.3 Forr manmany tenors, del Monaco was the great idoll and founder of a new tradition: On his CD issued by the Legato label, Lando Bartolini claims to bee a sinsinger “in the tradition of del Monaco”, and even Fabioabio ArmilA iato, who has a totally different type of voice,voi enjoys when his singing is put down to the “tradititradition of del Monaco”.4 Rodolfo Celletti however,wever, and in spite of his praise for Del Monaco’s “oddodd elelectrifying bit of phrasing”, recognized in DelDel MMonaco one of the 1 Chronologies suggest a much lower amount of performances.
    [Show full text]
  • La Fanciulla Del West La Fanciulla Del West La Fanciulla
    LIRICA 2001 COMUNE DI LUCCA TEATRO DEL GIGLIO CENTRO STUDI G. PUCCINI Teatro di Tradizione LIRICA 2001 LA FANCIULLA DEL WEST LA FANCIULLA DEL WEST LA FANCIULLA Progetto Puccini nel Novecento 1999-2002 TEATRO DEL GIGLIO LIRICA 2001 In collaborazione con Ministero per i Beni e le Attività Culturali Regione Toscana Amministrazione Provinciale di Lucca COMUNE DI LUCCA TEATRO DEL GIGLIO CENTRO STUDI G. PUCCINI LA FANCIULLA DEL WEST Progetto Puccini nel Novecento 1999-2002 AZIENDA TEATRO DEL GIGLIO Luigi Della Santa Presidente Gabriella Biagi Ravenni Angelo Fanucchi Mario Giannini Francesca Pardini Consiglio di Amministrazione Aldo Tarabella Direttore artistico Luigi Angelini Direttore TEATRO DEL GIGLIO - Teatro di Tradizione Lirica 2001: 22 settembre - 9 dicembre Pubblicazione del Teatro del Giglio Numero unico, settembre 2001 A cura del CENTRO STUDI GIACOMO PUCCINI Progetto grafico Marco Riccucci Stampa Nuova Grafica Lucchese - Lucca - settembre 2001 Sommario 7Introduzione del Sindaco di Lucca 9Premessa del Presidente del Teatro del Giglio 13 Virgilio Bernardoni Le ‘tinte’ della Fanciulla 25 Paola Massoni Giacomo Puccini e la messa in scena de La fanciulla del West 35 Gabriella Biagi Ravenni Puccini e La fanciulla del West, Lucca e il Teatro del Giglio. Cronaca di un amore 49 La fanciulla del West riproduzione in facsimile dell’edizione Ricordi del 1928 144 La fanciulla del West al Teatro del Giglio 147 Sergio Albertini La fanciulla del West, tra suoni e immagini Discografia e videografia Coproduzione dei Teatri di Tradizione: C.E.L. Teatro di Livorno, Teatro del Giglio di Lucca, Teatro di Pisa CEL - Teatro di Livorno Presidente Massimiliano Talini Direzione: Segreteria Isabella Bartolini, Paolo Demi, Antonella Peruffo Direttore artistico Alberto Paloscia CEL - Teatro di Livorno Via Goldoni, 83 - 57125 Livorno Tel.
    [Show full text]
  • Of Ferrara, in Collaboration with the Fondazione Teatro Comunale
    The Associazione Culturale “OPERiAMO” of Ferrara, in collaboration with The competition is structured as follows: Art. 11 – Expenses incurred for transport, board and lodging during the days the Fondazione Teatro Comunale “C. Abbado” of Ferrara, the Theater of the competition will be the participant’s responsibility. - The first preliminary round in which the candidate will perform 2 (two) “De Micheli” of Copparo, the “Città di Ferrara” Orchestra and the Club arias which he/she will have selected out of the 5 (five) presented. “V. Zamboni” is holding the Seventh International Opera Competition Art. 12 -PRIZES - The Semi-finals in which the candidate will be asked to perform 2 (two) ari- “Città di Ferrara”, with the aim of awarding the first and supporting roles The winners, at the discretion of the jury, will participate without remunera- as, as chosen by the panel of judges, out of the 5 (five) presented. for the operatic productions of Gaetano Donizetti’s “L’Elisir d’amore”. tion of the opera “L’Elisir d’amore” by Gaetano Donizetti - february 21st - The Finals in which the candidate will perform 2 (two) of the 5 (five) ari- The initiative aims to give young talents an important debut and the op- 2020 - at the Teatro “De Micheli” of Copparo we’ll cover the accommo- as presented, one of his/her own choice and one as chosen by the panel of portunity to participate in future exhibitions and concerts. The oppor- dation costs during the production. The panel of judges also aims to identify judges. tunity to debut will take place in the theatre “DE MICHELI” of Coppa- artists for the productions organized by the Teatro Comunale “C.
    [Show full text]
  • VAI 2005 Fall Catalog.Pmd
    2005 FALL CATALOGUE THE LEADER IN RECORDINGS OF HISTORIC PERFORMANCES AND RARE REPERTOIRE A-18 GEN TWO NEW DVDS IN ALICIA ALONSO ON VVVAI’sss BROADWAAAY SERIES Listing on page 2 Listings on page 3 New Compact Disc Releases on Page 22 These and other recent VAI DVD releases pp. 2-8! New Hardy & Kicco Classics DVDs on Page 21 A Tribute to the “Voice of an Angel” Listing on page 3 Listing on page 3 February 1, 1922 ••• December 20, 2004 Details of this 2-DVD retrospective on page 3 Listing on page 7 Listing on page 6 From the President of VAI Recently Released Dance & Orchestral DVDs from VAI Dear Friends, Our current listings feature some of HARDY CLASSICS DVD Broadway’s brightest stars. Most of this material derives from the rich archives of the Bell Telephone Hour which has provided us with performances by some of the greatest artists from the worlds of opera, dance and the concert stage. The Broadway offerings were no less luminous with star turns from such legendary greats as Ethel Merman, Barbara Cook, Robert Goulet, Alfred Drake, Carol Lawrence, Larry Kert, Dolores Gray John Raitt, Howard Keel and Gretchen Wyler. Highlighting our new releases are TWO NEW DANCE DVDS FROM VAI DVDs devoted to the art of Barbara Cook and Carol Lawrence. Both ladies ALICIA ALONSO – PRIMA BALLERINA ASSOLUTA This GISELLE are still very much in the public eye. compilation from 1958 to 1985 includes extracts from many of Alicia Miss Cook, a cabaret favorite, is about NUREYEV • FRACCI Alonso’s most celebrated roles.
    [Show full text]
  • 21.92 More Lps, Laser Discs. Pp 164-177
    LP SETS and SINGLES ALL IN EXCELLENT CONDITION (records and jackets) AND CONTAINING ORIGINAL PAPER MATERIALS, UNLESS OTHERWISE INDICATED, FOR SETS THAT ORIGINALLY INCLUDED THEM . MINIMUM BID AS INDICATED PER ITEM. A few have a small cut in the box usually on the right side. These were made by the dealer to indi- cate that the set was on sale. In some cases a small hole was punched in the upper right hand area instead. They are both indicated as “ small box cut ”. A few others have a neat plastic tape index label attached to the upper right cover and/or spine. “ Index lbl ” indicates such items. IN SUBMITTING YOUR BIDS FOR ITEMS IN THIS SECTION, PLEASE BE SURE TO INCLUDE THE CORRECT CATALOGUE NUMBER. OPERAS, OPERETTAS and EXTENDED VOCAL WORKS 5000. [FRANCO ALFANO ]. SAKUNTALA. Casapietra, Michele Molese, Tomleich, Mazzoli, dir. Ottavio Ziino. 2 LP boxed MRF 196. Factory sealed . $5.00. 5001. [ ALFANO] . CYRANO DE BERGERAC . Olivia Stapp, Johns, Blancas, dir. Maurizio Arenas. 2 2 LP boxed MRF 131. Factory sealed . $5.00. 5032. [ WILLIAM ALWYN ]. MISS JULIE . Jill Gomez, Benjamin Luxon, Della Jones, John Mitchinson, etc., dir. Vilem Tausky. 2 LP boxed Lyrita Stereo 121-2. Cover signed by Gomez, Jones and Luxon. $5.00. 5003. [DOMINICK ARGENTO ]. POSTCARDS FROM MOROCCO . 2 LP boxed set. Barbara Brandt, Barry Busse, Foreman, Hardy, Marshall, etc., dir. Philip Brunelle. 2 LP boxed Desto 7137/8. Factory sealed. $5.00. 5002. [ RAFFAELLO DE BANFIELD ] [libretto TENNESSEE WILLIAMS ]. LORD BYRON’S LOVE LETTER. Astrid Varnay, Gertrude Ribla, Carlin, Carrruba, dir. Nicola Rescigno. 1 LP.
    [Show full text]
  • LP RECORDS 12” UNLESS OTHERWISE INDICATED All LP Records and Jackets Are in 1-2 Condition Unless Otherwise Described
    LP RECORDS 12” UNLESS OTHERWISE INDICATED All LP records and jackets are in 1-2 condition unless otherwise described. Some may have minor cover index marks (numbers) top left rear corner. "Few lt. rubs" indicate superficial marks, usually related to early mono issues which were not originally issued with internal sleeves. "Factory sealed" indicates unopened copy. Mono unless described as Stereo. Most autographed records are in mint condition, and possibly never played. A few of the older LPs (not autographed) may have a bit of a musty odor, having been housed in a basement (not mine!) for a number of years. If at all offensive, the jackets can be left in the sun for a few hours (without the records enclosed!) and the odor should disappear. All autographs (signatures) here and elsewhere in this catalogue are guaranteed to be genuine. If you have any specific questions, please don’t hesitate to ask (as soon as is possible). ALL LP RECORDS CAN BE ASSUMED IN 1-2 CONDITION UNLESS OTHERWISE DESCRIBED. COVERS ARE AT LEAST 2. ANY DAMAGE DESCRIBED. LP - VOCAL COLLECTIONS and RECITALS 4243. MAURA MORIERA [c], assisted by EDITH MATHIS [s], CHRISTA LEHNERT [s], MARGARETE WITTE-WALDBAUER [c], ROBERT TITZE [bs], INNSBRUCH SYMP. ORCH. & CHO. dir. ROBERT WAGNER. WESENDONCK LIEDER (Wagner); RÜCKERT LIEDER (Mahler); REQUIEM FOR MIGNON (Schumann); ALTO RHAPSODY (Brahms). Vox PL 12.320. Minor cover rub. $10.00. 4263. DOROTHY KIRSTEN [s], JAMES MC CRACKEN [t], JULIE ANDREWS [s], VIC DAMONE [singer]. FIRESTONE’S “YOUR FAVORITE CHRISTMAS MUSIC”. Vol. 4. Orch. dir. Irwin Kostal. Cover signed by Kirsten and McCracken.
    [Show full text]
  • Maria Callas · Performance Annals 1934
    MARIA CALLAS PERFORMANCE ANNALS AND DISCOGRAPHY INTRODUCTION These annals began in 1988 as a few notes scribbled to a computer in Boulder Colorado when the first pirates of the live performances appeared on compact disc. The inconsistency of performance dates and other details on those early CDs prompted me to do further research that began with John Ardoin’s The Callas Legacy. Later, yearning to know what had been performed between all those recorded performances, I borrowed the book containing Arthur Germond’s performance annals from the University of Colorado Music School Library, and have continued to work on the project to this day. Performance annals allow us to comprehend the scope of an artist’s career, and knowing the programme of all participants in a recital is important. I realize that presenting entire programmes from the student years in Athens seems excessive, but I feel it enhances our understanding of the environment where Maria Callas lived and studied in her youth. This chronology is a compilation of the research of many people. The work of a few has been almost heroic in scope: Arthur Germond was the first to publish detailed annals representing all cast changes; John Ardoin was perhaps the first to compile annals and to comprehensively analyze the recorded performances, indeed these annals began their life as a tabular version of Legacy; Poly´vios Marsán was the first to present programme information from the Greek school days and early career in Athens; Níkos Petsális-Diomídis has published the most comprehensive analysis of any singer’s formative years ever undertaken, indeed one-thousand pages covering a seven year period 1938-1945 with emphasis on early musical experience and training, as well as the politics and the climate of the times.
    [Show full text]
  • Puccini's La Fanciulla Del West
    Puccini’s La fanciulla del West - A discographical survey by Ralph Moore There are sixty recordings in the catalogue but only four of those are studio-made. Discounting Puccini’s first, tentative efforts, the comparative neglect of La fanciulla del West is matched only by La rondine, which has also been given only four studio recordings and even fewer live performances. They were both composed in the middle of Puccini’s creative maturity after the premieres of the “Big Three”, yet have struggled to maintain a foothold in the operatic repertoire. There are reasons for that, but devotees of both operas are puzzled by their neglect. Fanciulla could hardly have a more auspicious premiere, being launched in 1910 on the stage of the Metropolitan Opera starring no less a lead singer than the greatest tenor of all time, Enrico Caruso, alongside the great dramatic soprano Emmy Destinn, both in roles created by Puccini especially for them – and for good measure, Pasquale Amato was Jack Rance, Toscanini conducting. Time machine, anybody? Although I do not share Puccini's belief that Fanciulla is his greatest work it contains a wealth of lovely music, not least big, well-known arias and some tender love music. It's true that the Americanisms - everyone bawling "Hello!" and randomly singing “Dooda day!” - and the rather ghastly, patronising depiction of Native Americans going "Ugh!" are rather grating and even embarrassing to a modern audience, and there is more than a hint of sentimentality about the plot, but it can be hugely enjoyable when performed by a great cast.
    [Show full text]
  • Booklet-GB1159-2.Pdf
    9 there is no doubt that Calaf's aria, taken from the unfinished Tlirandof, is to be considered the last great page of music for tenor of the entire operatic repertoire, wOlihy of competing for the public's favor against celebrated arias of the great composers, from Bellini to Verdi, from Donizetti to Mascagni. In actuality, "Nessun dorma" has found its way into operatic concerts and recorded recitals of the most famous tenors, and this fact testifies to the extent of its popularity. Not to mention that its regular inclusion in some megaconcerts broadcasted worldwide, has spread the fame of "Nessun donna" to heights unthinkable for any other opera aria, and comparable only to the world of pop music. * * * The anthology opens with the tenor Daniele Barioni who, in a live recording from 1966, dominates this aria by Puccini with a voice that is both stentorian and brilliant. The performance by Carlo Bergonzi (recorded live in 1974) once again reveals this tenor's intelligence and musicality: the vocal power indispensable to this aria is present, yet the singer manages equally to find an elegance in the vocal line, joined to a phrasing full of variety and nuance. The Swedish tenor Jussi Bioerling, protagonist of a famous complete edition of Tlirandof with Birgit Nilsson and Renata Tebaldi, does more than display a voice of great beauty: he finds just the right expression necessary to define the character of Calaf, dominating the high tessitura with security and brilliance. Note also the excellent Italian pronunciation. A live recording of 1982 presents the tenor Gianfranco Cecchele in what has become somewhat his theme song, since he has performed Turandof in the thea­ ters of half the world (including the production commemorating the fiftieth anni­ versary of La Scala in 1976).
    [Show full text]
  • Authorization to Copy
    AUTHORIZATION TO COPY I authorize Kenneth S. Schmidt to scan the book I coauthored entitled, TULSA OPERA CHRONICLES, for the purpose of making a digital copy for use on the internet in the interest of preserving the history of the Tulsa Opera. Further copies may be made from this digital copy provided they are for educational, historical, personal enjoyment, or the promotion of fine art, and for non-profit use. For any other intentions, the copyright statement below applies. Laven Sowell Jack Williams June 15, 2007 Copyright © 1992 by Jack A. Williams and Laven Sowell All rights reserved under International Copyright Law. Contents May not be reproduced in whole or in part in any form without The express written consent of the authors. Library of Congress Catalog Number 92-96949 1 2 Website produced in appreciation of Mr. Laven Sowell by Ken Schmidt, student of Mr. Sowell since September 1964, Edison Jr. High School Boys Glee Club, Edison High School Mixed Chorus, and proud alumnus of the Edison High School Concert Chorus during the 1969 / 1970 school year in Tulsa, Oklahoma. Thank you for teaching me about great music. 3 To compensate for the page numbering difference between the original book and this PDF file, please add 10 to the page number when referencing the Table of Contents and the Index, and then search or scroll in your PDF viewer. 4 5 This book is dedicated to the loyal and talented chorus members, who have for many years given unselfishly of their time and talent to help make opera possible in the city of Tulsa.
    [Show full text]
  • Puccini's La Rondine
    Puccini’s La rondine - A survey of the recordings by Ralph Moore Despite the continued popularity of “Il sogno di Doretta” and the magnificent quartet and chorus “Bevo al tuo fresco sorriso” in the finale of Act 2, La rondine remains something of a Cinderella among Puccini’s mature output, He himself was never entirely satisfied with it, revising it three times following the premiere in 1916 and providing two different endings; upon his death in 1924, it still wasn’t clear which version he preferred. It is supposedly a comic opera, in the sense that much of the action is light- hearted and no-one dies at the end, but the conclusion – whichever ending is adopted – is decidedly down-beat, with the lovers parting in shame and sorrow. Some even followed the lead provided by Puccini’s editor and publisher, Tito Ricordi, who dismissed it as “Bad Lehár”, and denigrate it as sub- standard fluff, but it is self-evidently weightier than the average operetta and contains some of Puccini’s loveliest music. The Act 2 crowd scenes in particular contain some of the most joyously uplifting music in his whole oeuvre. Thirty recordings are listed in the CLOR catalogue, although that has some omissions; I consider nine here, including one it does not include. There have been only four studio versions, the first of which is on two mono LPs and has never been released on CD. Fortunately, all three of the other stereo studio recordings are of high quality. One great singer who has made something of a speciality of the role of Magda in recent years is Angela Gheorghiu; my experience of hearing her perform it live at Covent Garden and the success of her studio recording with Alagna confirm her suitability for the part to which she brings great delicacy and allure; before her, other famous lyric sopranos who favoured it include Anna Moffo, Kiri Te Kanawa and two more Romanian divas, Ileana Cotrubas and Nelly Miricioiu.
    [Show full text]