JUNE, 1969 60C WASHINGTON/ BALTIMORE EDITION
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Lucia Di Lammermoor Donizetti
LUCIA DI LAMMERMOOR DONIZETTI Fitxa La follia de Lucia 11 59 Juan Luis Linares Repartiment Una criatura inestable 12 65 Enedina Lloris Argument Cronologia 19 Teresa Lloret 74 Jordi Fernández M. English Synopsis Lucia di Lammermoor 31 81 al Liceu Jaume Tribó Sobre la producció Selecció discogràfica 39 Damiano Michieletto 91 Javier Pérez Senz Bogeria i romanticisme Bibliografia recomanada 43 Arturo Reverter 94 Aleix Pratdepàdua Ah, la bogeria! Biografies 55 Xavier Albertí 96 LUCIA DI LAMMERMOOR Òpera en tres actes de Gaetano Donizetti. Llibret de Salvatore Cammarano basat en la novel·la The Bride of Lammermoor de Walter Scott. Estrenes 26 de setembre de 1835: Teatro San Carlo de Nàpols 22 de setembre de 1838: Teatre de la Santa Creu de Barcelona 15 de setembre de 1849: Gran Teatre del Liceu 4 de desembre de 2006: última representació al Liceu Total de representacions en la programació del Liceu: 277 12 /2015 Torn 4 20.00 h E 5 20.00 h PB 7 20.00 h A 10 20.00 h PE 11 20.00 h - 12 18.00 h C 14 17.00 h H 15 20.00 h PC 17 20.00 h B 18* 20.00 h G 20 17.00 h T 23 20.00 h D 27 18.00 h F 29 20.00 h PA Durada aproximada: 2 h. 50 min. (*): Amb audiodescripció Amb el suport de liceubarcelona.cat 12 pàg. Repartiment 13 Temporada 2015/16 desembre 2015 Lord Enrico Ashton Marco Caria (4, 7, 11 ,14, 17, 20 ,23 desembre) / Direcció musical Marco Armiliato Giorgio Caoduro (5, 10 12, 15, 18, 27, 29 desembre) Direcció d’escena Damiano Michieletto Miss Lucia Elena Moşuc (4, 7, 11 ,14, 17, 20 ,23 desembre) / Reposició direcció d’escena Roberto Pizzuto María José -
Karl Schuricht Concerto En Ré Majeur - Op
Karl Schuricht Concerto En Ré Majeur - Op. 77 Pour Violon Et Orchestre mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Concerto En Ré Majeur - Op. 77 Pour Violon Et Orchestre Country: France Style: Romantic MP3 version RAR size: 1276 mb FLAC version RAR size: 1586 mb WMA version RAR size: 1954 mb Rating: 4.2 Votes: 930 Other Formats: XM AA APE FLAC AIFF ASF WAV Tracklist Concerto En Ré Majeur - Op. 77 Pour Violon Et Orchestre A1 Allegro Non Troppo (Cadence De Kreisler) B1 Adagio Allegro Giocoso, Ma Non Troppo Vivace (Cadence De B2 Kreisler) Companies, etc. Printed By – Dehon & Cie Imp. Paris Credits Liner Notes – Claude Rostand Barcode and Other Identifiers Rights Society: DP Other versions Category Artist Title (Format) Label Category Country Year Johannes Brahms, Johannes Brahms, Christian Ferras, Christian Ferras, Wiener Philharmoniker, LXT 2949 Wiener Carl Schuricht - Decca LXT 2949 UK Unknown Philharmoniker, Carl Concerto In D Major For Schuricht Violin And Orchestra Opus 77 (LP, Album) Carl Schuricht - Carl Schuricht - Christian Ferras - Christian Ferras - 6.42142 Johannes Brahms - 6.42142 Johannes Brahms - Decca Germany Unknown AF Wiener Philharmoniker - AF Wiener Violinkonzert D-Dur (LP, Philharmoniker Album) Carl Schuricht - Christian Ferras - Carl Schuricht - Johannes Brahms - Christian Ferras - Wiener Philharmoniker - LXT 2949 Johannes Brahms - Decca LXT 2949 Spain 1958 Concierto En "Re" Wiener Mayor Para Violín y Philharmoniker Orquesta Opus 71 (LP, Album, Mono) Johannes Brahms, Christian Ferras, Vienna Johannes Brahms, Philharmonic Christian Ferras, Orchestra*, Carl B 19018 Vienna Philharmonic Richmond B 19018 Mexico Unknown Schuricht - Concerto In Orchestra*, Carl D Major For Violin And Schuricht Orchestra Opus 77 (LP, Album) Carl Schuricht - Carl Schuricht - Christian Ferras - Christian Ferras - LW 50095 Johannes Brahms - Johannes Brahms - Decca LW 50095 Germany Unknown Wiener Wiener Philharmoniker - Philharmoniker Violinkonzert D-Dur (LP) Related Music albums to Concerto En Ré Majeur - Op. -
8.112023-24 Bk Menotti Amelia EU 26-03-2010 9:41 Pagina 16
8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 16 Gian Carlo MENOTTI Also available The Consul • Amelia al ballo LO M CAR EN N OT IA T G I 8.669019 19 gs 50 din - 1954 Recor Patricia Neway • Marie Powers • Cornell MacNeil 8.669140-41 Orchestra • Lehman Engel Margherita Carosio • Rolando Panerai • Giacinto Prandelli Chorus and Orchestra of La Scala, Milan • Nino Sanzogno 8.112023-24 16 8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 2 MENOTTI CENTENARY EDITION Producer’s Note This CD set is the first in a series devoted to the compositions, operatic and otherwise, of Gian Carlo Menotti on Gian Carlo the occasion of his centenary in 2011. The recordings in this series date from the mid-1940s through the late 1950s, and will feature several which have never before appeared on CD, as well as some that have not been available in MENOTTI any form in nearly half a century. The present recording of The Consul, which makes its CD début here, was made a month after the work’s (1911– 2007) Philadelphia première. American Decca was at the time primarily a “pop” label, the home of Bing Crosby and Judy Garland, and did not yet have much experience in the area of Classical music. Indeed, this recording seems to have been done more because of the work’s critical acclaim on the Broadway stage than as an opera, since Decca had The Consul also recorded Arthur Miller’s Death of a Salesman with members of the original cast around the same time. -
Digibooklet Antonio Janigro
ANTONIO JANIGRO & ZAGREG SOLOISTS Berlin, 1957-1966 ARCANGELO CORELLI (1653-1713) Concerto grosso in D major, Op. 6/4 I. Adagio – Allegro 2:32 II. Adagio 2:03 SOLOISTS III. Vivace 1:09 IV. Allegro – 1:58 V. Allegro 0:41 Gunhild Stappenbeck, Cembalo Continuo recording: 14-01-1957 GIOACHINO ROSSINI (1792-1868) Sonata for Strings No. 6 in D major I. Allegro spiritoso 6:32 II. Andante assai 2:39 ZAGREG III. Tempesta. Allegro 5:12 recording: 19-04-1964 & PAUL HINDEMITH (1895-1963) Trauermusik (Funeral Music) for Solo Viola and Strings I. Langsam 4:28 II. Ruhig bewegt 1:25 III. Lebhaft 1:32 IV. Choral „Für deinen Thron“ 2:24 Stefano Passaggio, solo viola recording: 12-03-1958 JANIGRO DMITRI SHOSTAKOVICH (1906-1975) Octet for Strings, Op. 11 II. Scherzo recording: 17-04-1964 SAMUEL BARBER (1910-1981) Adagio for Strings recording: 19-04-1964 ANTONIO ANTONIO MILKO KELEMEN (*1924) Concertante Improvisations for Strings I. Allegretto 2:20 II. Andante sostenuto – Allegro giusto 2:05 SOLOISTS III. Allegro scherzando 1:15 IV. Molto vivace quasi presto 2:05 recording: 12-03-1958 MAX REGER (1873-1916) Lyric Andante for String Orchestra5:18 recording: 16-03-1966 WOLFGANG AMADEUS MOZART (1756-1791) Divertimento in B-flat major, K. 137 ZAGREG I. Andante 4:10 II. Allegro di molto 2:44 & III. Allegro assai 2:17 recording: 19-03-1961 ROMAN HOFFSTETTER (1742-1815), former attrib. to JOSEPH HAYDN (1732-1809) Serenade in C major (from Op. 3/5) recording: 11-11-1958 ANTONIO VIVALDI (1678-1741) Concerto in D major, RV 230 (Cello Version) JANIGRO I. -
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. -
Portada 2 Vivaldi
Bajo el título “La Sombra de Vivaldi” ofrecemos esta mañana de Sábado un recorrido por diferentes países y estilos, un repertorio variado pero con un nexo común : El Concierto Solista y un punto de referencia claro : Venecia y Antonio Vivaldi . En 1712 publica Vivaldi en Amsterdam su Opus 3 “L'Estro Armonico” una de las obras más influyentes de la Historia de la Música, un grupo de 12 conciertos que, gracias al trabajo del editor Estienne Roger, consiguió tener una distribución -podríamos decir -masiva, dentro de las posibilidades del momento. Los Conciertos de Vivaldi llegan pues a gran parte de Europa y, aunque están dedicados a los músicos “ Diletantes” son también interpretados, estudiados, copiados o arreglados por la inmensa mayoría de los compositores, incluyendo a personalidades como Bach , Telemann, Handel, Leclair o Locatelli . Tomando como punto de partida el modelo de los “Concerti Grossi” de Arcangello Corelli, Vivaldi da un paso más y escribe, no solo para el grupo de “Concertino “ formado por dos violines y cello, sino que en 6 de los 12 conciertos que forman la colección, dedica el protagonismo a un único instrumento (en este caso el violín) sentando las bases de una nueva forma que tendrá su apogeo ya bien entrado el Siglo XIX . La primera obra del programa es el “Concerto a 8 “ del compositor alemán Johann David Heinichen. Atención a este nombre porque aunque para muchos puede no resultar familiar estamos ante uno de los compositores más solventes e inspirados de la escena Alemana . Aquí la herencia recibida de Vivaldi es seguramente directa, pues Heinichen pasó varios años en Venecia antes de ser contratado en la corte de Augusto II de Polonia en Dresde . -
Debussy's Pelléas Et Mélisande
Debussy’s Pelléas et Mélisande - A discographical survey by Ralph Moore Pelléas et Mélisande is a strange, haunting work, typical of the Symbolist movement in that it hints at truths, desires and aspirations just out of reach, yet allied to a longing for transcendence is a tragic, self-destructive element whereby everybody suffers and comes to grief or, as in the case of the lovers, even dies - yet frequent references to fate and Arkel’s ascribing that doleful outcome to ineluctable destiny, rather than human weakness or failing, suggest that they are drawn, powerless, to destruction like moths to the flame. The central enigma of Mélisande’s origin and identity is never revealed; that riddle is reflected in the wispy, amorphous property of the music itself, just as the text, adapted from Maeterlinck’s play, is vague and allusive, rarely open or direct in its expression of the characters’ velleities. The opera was highly innovative and controversial, a gateway to a new style of modern music which discarded and re-invented operatic conventions in a manner which is still arresting and, for some, still unapproachable. It is a work full of light and shade, sunlit clearings in gloomy forest, foetid dungeons and sea-breezes skimming the battlements, sparkling fountains, sunsets and brooding storms - all vividly depicted in the score. Any francophone Francophile will delight in the nuances of the parlando text. There is no ensemble or choral element beyond the brief sailors’ “Hoé! Hisse hoé!” offstage and only once do voices briefly intertwine, at the climax of the lovers' final duet. -
Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and -
BENJAMIN BRITTEN's USE of the Passacagt.IA Bernadette De Vilxiers a Thesis Submitted to the Faculty of Arts University of the Wi
BENJAMIN BRITTEN'S USE OF THE PASSACAGt.IA Bernadette de VilXiers A Thesis Submitted to the Faculty of Arts University of the Witwatersrand, Johannesburg for the Degree of Doctor of Philosophy Johannesburg 1985 ABSTRACT Benjamin Britten (1913-1976) was perhaps the most prolific cooposer of passaca'?' las in the twentieth century. Die present study of his use of tli? passac^.gl ta font is based on thirteen selected -assacaalias which span hin ire rryi:ivc career and include all genre* of his music. The passacaglia? *r- occur i*' the follovxnc works: - Piano Concerto, Op. 13, III - Violin Concerto, Op. 15, III - "Dirge" from Serenade, op. 31 - Peter Grimes, Op. 33, Interlude IV - "Death, be not proud!1' from The Holy Sonnets o f John Donne, Op. 35 - The Rape o f Lucretia, op. 37, n , ii - Albert Herring, Op. 39, III, Threnody - Billy Budd, op. 50, I, iii - The Turn o f the Screw, op . 54, II, viii - Noye '8 Fludde, O p . 59, Storm - "Agnu Dei" from War Requiem, Op. 66 - Syrrvhony forCello and Orchestra, Op. 68, IV - String Quartet no. 3, Op. 94, V The analysis includes a detailed investigation into the type of ostinato themes used, namely their structure (lengUi, contour, characteristic intervals, tonal centre, metre, rhythm, use of sequence, derivation hod of handling the ostinato (variations in length, tone colouJ -< <>e register, ten$>o, degree of audibility) as well as the influence of the ostinato theme on the conqposition as a whole (effect on length, sectionalization). The accompaniment material is then brought under scrutiny b^th from the point of view of its type (thematic, motivic, unrelated counterpoints) and its importance within the overall frarework of the passacaglia. -
DP - D 1-8 D 1-8 - Missionnaires
AHDP - D 1-8 D 1-8 - Missionnaires Prêtres, religieux, religieuses et laïcs originaires du diocèse de Poitiers A Aguillon, Bernard D 1-8 boîte 2-5 Albert, Marthe D 1-8 boîte 2-6 Alberteau, Yves D 1-8 boîte 2-5 Allain, Antoine-Marie D 1-8 boîte 2-11 Allard, Michel D 1-8 boîte 2-5 Archambaud, Eugène D 1-8 boîte 2-9 Audebert, Madeleine D 1-8 boîte 2-6 Audoux, Marie-Louise D 1-8 boîte 2-6 Augouard, Prosper D 1-8 boîte 2-13 Auneveux, Jean D 1-8 boîte 2-11 Auzanneau, Joseph D 1-8 boîte 2-3 B Barbier, Narcisse D 1-8 boîte 2-4 Barge, Jean D 1-8 boîte 2-9 Baron, Gérard D 1-8 boîte 2-13 Baron, Jean-Joseph D 1-8 boîte 2-9 Baron, Léone D 1-8 boîte 2-6 Baron, Odile D 1-8 boîte 2-6 Barrois, Louis D 1-8 boîte 2-4 Barré, Anne-Marie D 1-8 boîte 2-11 Baudin, Marie D 1-8 boîte 2-6 Baudu, Pierre D 1-8 boîte 2-5 Baufreton, Charles D 1-8 boîte 2-4 Bazin, Séraphin D 1-8 boîte 2-7 Beauregard Savary, Marthe (de) D 1-8 boîte 2-11 Bédin, Denise D 1-8 boîte 2-6 Bédin, Thérèse D 1-8 boîte 2-6 Beillerot, Joseph D 1-8 boîte 2-5 Beliveau, Annie D 1-8 boîte 2-11 Bellécullée, Marie-Pierre D 1-8 boîte 2-6 Bellenger, Marie-Joseph D 1-8 boîte 2-6 Belloc, Jean D 1-8 boîte 2-5 Bellouard, Joseph D 1-8 boîte 2-3 Benoist, Monique D 1-8 boîte 2-6 Berger, Marie-Adrien D 1-8 boîte 2-1 Bernier, Anne-Marie D 1-8 boîte 2-6 Bernier, Thérèse D 1-8 boîte 2-6 Bertaud, Anne-Marie D 1-8 boîte 2-6 Berthon, Jean-Baptiste D 1-8 boîte 2-9 Bertonneau, Michel D 1-8 boîte 2-5 Bertrand-Guicheteau, Miguel D 1-8 boîte 2-11 Besson, Georges D 1-8 boîte 2-5 Billaud, Agnès-Marie D 1-8 boîte 2-9 Billaud, -
Cecilia Bartoli 3 De Venècia a Sant Petersburg
Cecilia Bartoli 3 De Venècia a Sant Petersburg DIMARTS, 3 DE NOVEMBRE DE 2015 – 20.30 h Sala de Concerts Cecilia Bartoli, mezzosoprano I Barocchisti Diego Fasolis, director Programa I 54' II 40' Antonio Vivaldi (1678-1741) Baldassare Galuppi (1706-1785) Obertura en Do major, de Farnace (1727) Obertura d’Iphigenia in Tauride (1768) (Allegro) – Andante – Allegro “Gelosia, tu già rendi l’alma mia” Francesco Domenico Araia (1709-c. 1770) Ària de Caio, d’Ottone in villa (1713) “Pastor che a notte ombrosa” “Sol da te, mio dolce amore” Ària de Demetrio, de Seleuco (1744) Ària de Ruggiero, d’Orlando furioso (1727) Pier Luigi Fabretti, oboè Jean-Marc Goujon, flauta Johann Adolf Hasse (1699-1783) “Agitata da due venti” Ària de Costanza, de Griselda (1735) Obertura de La clemenza di Tito (1727) Concerto alla rustica, en Sol major, per a cordes, RV 151 “Se mai senti spirarti sul volto” Allegro – Adagio – Allegro Ària de Sesto, de La clemenza di Tito (1727) “Gelido in ogni vena” “Vò disperato a morte” Ària de Farnace, de Farnace (1727) Ària de Sesto, de La clemenza di Tito (1727) “Sventurata navicella” Ària de Leocasta, de Giustino (1724) Francesco Domenico Araia Hermann Raupach (1678-1741) Obertura de Bellerofonte (1750) Marxa d’Altsesta* (1758) Nicola Porpora (1686-1768) “Idu na smert”* Ària d’Altsesta, d’Altsesta (1758) “Nobil onda” Ària d’Adelaide, d’Adelaide (1723) “O placido il mare”* Ària de Laodice, de Siroe, re di Persia (1760) *La interpretació d’aquestes obres és possible gràcies a l’Arxiu Musical del Teatre Nacional Acadèmic Mariinski (Sant Petersburg), que ha posat a disposició les partitures originals. -
Numerical Listing
SEQ DISC NO LABEL CDN PRICE PERFORMER DESCRIPTION a a THREE FOR TWO! ON ALL ITEMS PRICED AT £5.00, ONE- THIRD (1/3) OFF ALL ORDERS FOR 3 OR MORE a a 23776 0 10 1441-3 Supraphon, blue m A1 £10.00 Talich, Vaclav Vol. 1. Suk: Serenade for Strings; Asrael; Ripening. Czech PO c 22047 1 11 1106 Supraphon s A1 £5.00 Vlach SQ Beethoven: Quartets, Opp.18-1; 18-6 bb 22524 1 11 1755 Supraphon s A1 £5.00 Prague SQ Lubomir Zelezny: Clt. Quintet; Wind Quintet; Piano Trio. Prague Wind Quintet, Smetana Trio bb 23786 10 Penzance, USA m A1 £8.00 Callas, Maria, s Wagner: Parsifal, Act 2. Baldelli, Modesti, Pagliughi, -Gui. Live, 20.xi.50. In Italian a 22789 1007831 VdsM, References m A1 £7.00 Kreisler, Fritz, vn Beethoven; Sonatas 5, "Spring"; 9, "Kreutzer". F. Rupp, pf bb 23610 101 Rara Avis, lacquer m A-1- £10.00 Ginsburg, Grigory, pf Liszt: Bells of Geneva, Campanella, Rigoletto, Spanish Rhapsody / Weber: Rondo brillante / Chopin: Etudes, Op.25, 1-3. From 78s, semi-private issue b 22800 12T 160 Topic m A1 £7.00 Folk Songs of Britain, 1 Child Ballads 1. Various artists (field recordings) e 22707 13029 AP DGG, Archiv, Ger., m A1 £40.00 Schneiderhan, Wolfgang, vn Bach: Partita 2, D minor, for solo violin. Sleeve: buff, gatefold 10" bb 22928 133 004 SLPE DGG, Ger., tulip, 10" s A1 £12.00 Bolechowska, Alina, s Chopin: Lieder. S. Nadgrizowski, pf a 22724 133 122 SLP DGG, Ger., red, tulip, s A1 £12.00 Markevitch, Igor, dir Mozart: Coronation Mass.