J2P and P2J Ver 1
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
10-26-2019 Manon Mat.Indd
JULES MASSENET manon conductor Opera in five acts Maurizio Benini Libretto by Henri Meilhac and Philippe production Laurent Pelly Gille, based on the novel L’Histoire du Chevalier des Grieux et de Manon Lescaut set designer Chantal Thomas by Abbé Antoine-François Prévost costume designer Saturday, October 26, 2019 Laurent Pelly 1:00–5:05PM lighting designer Joël Adam Last time this season choreographer Lionel Hoche revival stage director The production of Manon was Christian Räth made possible by a generous gift from The Sybil B. Harrington Endowment Fund general manager Peter Gelb Manon is a co-production of the Metropolitan Opera; jeanette lerman-neubauer Royal Opera House, Covent Garden, London; Teatro music director Yannick Nézet-Séguin alla Scala, Milan; and Théâtre du Capitole de Toulouse 2019–20 SEASON The 279th Metropolitan Opera performance of JULES MASSENET’S manon conductor Maurizio Benini in order of vocal appearance guillot de morfontaine manon lescaut Carlo Bosi Lisette Oropesa* de brétigny chevalier des grieux Brett Polegato Michael Fabiano pousset te a maid Jacqueline Echols Edyta Kulczak javot te comte des grieux Laura Krumm Kwangchul Youn roset te Maya Lahyani an innkeeper Paul Corona lescaut Artur Ruciński guards Mario Bahg** Jeongcheol Cha Saturday, October 26, 2019, 1:00–5:05PM This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation. Digital support of The Met: Live in HD is provided by Bloomberg Philanthropies. The Met: Live in HD series is supported by Rolex. -
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. -
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas GEORGES BIZET EMI 63633 Carmen Maria Stuarda Paris Opera National Theatre Orchestra; René Bologna Community Theater Orchestra and Duclos Chorus; Jean Pesneaud Childrens Chorus Chorus Georges Prêtre, conductor Richard Bonynge, conductor Maria Callas as Carmen (soprano) Joan Sutherland as Maria Stuarda (soprano) Nicolai Gedda as Don José (tenor) Luciano Pavarotti as Roberto the Earl of Andréa Guiot as Micaëla (soprano) Leicester (tenor) Robert Massard as Escamillo (baritone) Roger Soyer as Giorgio Tolbot (bass) James Morris as Guglielmo Cecil (baritone) EMI 54368 Margreta Elkins as Anna Kennedy (mezzo- GAETANO DONIZETTI soprano) Huguette Tourangeau as Queen Elizabeth Anna Bolena (soprano) London Symphony Orchestra; John Alldis Choir Julius Rudel, conductor DECCA 425 410 Beverly Sills as Anne Boleyn (soprano) Roberto Devereux Paul Plishka as Henry VIII (bass) Royal Philharmonic Orchestra and Ambrosian Shirley Verrett as Jane Seymour (mezzo- Opera Chorus soprano) Charles Mackerras, conductor Robert Lloyd as Lord Rochefort (bass) Beverly Sills as Queen Elizabeth (soprano) Stuart Burrows as Lord Percy (tenor) Robert Ilosfalvy as roberto Devereux, the Earl of Patricia Kern as Smeaton (contralto) Essex (tenor) Robert Tear as Harvey (tenor) Peter Glossop as the Duke of Nottingham BRILLIANT 93924 (baritone) Beverly Wolff as Sara, the Duchess of Lucia di Lammermoor Nottingham (mezzo-soprano) RIAS Symphony Orchestra and Chorus of La Scala Theater Milan DEUTSCHE GRAMMOPHON 465 964 Herbert von -
Anna Moffo Tra Lirica, Cinema, Televisione Paologiovanni Maione Conservatorio Di Musica San Pietro a Majella Di Napoli
e-ISSN 2385-2720 ISSN 0394-4298 Venezia Arti Nuova serie 1 – Vol. 28 – Dicembre 2019 Le eclissi di una stella: Anna Moffo tra lirica, cinema, televisione Paologiovanni Maione Conservatorio di Musica San Pietro a Majella di Napoli Abstract In the fifties and sixties Anna Moffo built up a very transgressive career. She might herself have thought that it had gone far beyond any limits if she tried to ‘purify’ it for the future generations by manipulating her earnest biographers. She used her own image in a very generous way, facing a ‘new’ world that was undergoing dramatic changes. She accepted all challenges and abandoned herself to them, without really considering the consequences. No other belcanto star ever risked so much: over the last decades many fascinating talented sing- ers have emerged, but only the pioneering spirit, both experimental and shameless, of that age could give way to thoughtless acts and uncontrolled contaminations. Keywords Anna Moffo. Soprano. Film. Opera. Television. Sommario 1 Incontri. – 2 Verso la maschera. – 3 Finzioni letali. – 4 Intorno a Cadaqués. – 5 A Parigi. Io faccio solo quello che mi diverte, perché solo quello faccio bene e io voglio fare tutto bene. (Anna Moffo, dall’intervista di August Everding per la trasmissione Da capo, 3sat, 1990) «Scusate mi dicono che la Moffo sia morta ieri 9 ‘vita’ una delle più discusse stelle del melodram- marzo [2006]. Vi risulta?»1 L’innocua domanda, ma del secolo breve. emersa da un silenzio assordante e postata in un La ‘resurrezione’ della temeraria artista dava accorsato blog di melomani, innesta un fitto di- linfa a sopite ‘guerre’ e faceva emergere ‘fanta- battito che evapora solo, apparentemente, dopo smi’ inquietanti da tempo rinchiusi e seppelliti da sei giorni. -
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. -
The Rita Williams Popular Song Collection a Handlist
The Rita Williams Popular Song Collection A Handlist A wide-ranging collection of c. 4000 individual popular songs, dating from the 1920s to the 1970s and including songs from films and musicals. Originally the personal collection of the singer Rita Williams, with later additions, it includes songs in various European languages and some in Afrikaans. Rita Williams sang with the Billy Cotton Club, among other groups, and made numerous recordings in the 1940s and 1950s. The songs are arranged alphabetically by title. The Rita Williams Popular Song Collection is a closed access collection. Please ask at the enquiry desk if you would like to use it. Please note that all items are reference only and in most cases it is necessary to obtain permission from the relevant copyright holder before they can be photocopied. Box Title Artist/ Singer/ Popularized by... Lyricist Composer/ Artist Language Publisher Date No. of copies Afrikaans, Czech, French, Italian, Swedish Songs Dans met my Various Afrikaans Carstens- De Waal 1954-57 1 Afrikaans, Czech, French, Italian, Swedish Songs Careless Love Hart Van Steen Afrikaans Dee Jay 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Ruiter In Die Nag Anton De Waal Afrikaans Impala 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Van Geluk Tot Verdriet Gideon Alberts/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs Wye, Wye Vlaktes Martin Vorster/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs My Skemer Rapsodie Duffy -
Star Wars Episode Tunes: Live Performances Attack on the Score Around the Globe
v7n4cov 5/31/02 11:44 AM Page c1 ORIGINAL MUSIC SOUNDTRACKS FOR MOTION PICTURES AND TV VOLUME 7, NUMBER 4 TV Music page 10 SUMMER MOVIESHOWDOWN THEAMAZING ELF-MAN Our friendly neighborhood super-scorer ATTACK ON THE CLONES John Williams’ score goes BOOM! LEGEND-ARY GOLDSMITH The lost fantasy returns on DVD ARTISTIC DEVOLUTION The indie life of Mark Mothersbaugh PLUS Lots of the latest CDs reviewed 04> 7225274 93704 $4.95 U.S. • $5.95 Canada v7n4cov 5/31/02 11:44 AM Page c2 The Symphony had almost no budget to design and produce a newsletter, but we thought it was important to publish one for subscribers and donors. Joe set up an attractive, versatile template for us and provided basic trainingFSMCD in Vol. Quark 5, No.and 7newsletter • Golden designAge Classics so that now we're able to produce a quarterly newsletter in-house.We get lots of compliments on our newsletter,On The and we Beach/The love having the tools Secret to do it ourselves. of Santa Vittoria by Ernest Gold FSM presents a film composer gravely unrepresented on CD with a doubleheader by Ernest Gold: On the Beach (1959) and The Secret of Santa Vittoria (1969), both films directed by Stanley Kramer, with whom Gold shared his most fruitful collaboration. On the Beach is an “event” picture dealing with the deadly aftermath of a nuclear war: Gregory Peck, Ava Gardner, Anthony Perkins and Fred Astaire star as among the last survivors of humanity, waiting for a radioactive cloud to engulf them on the Southern coast of Australia. -
COLORATURA and LYRIC COLORATURA SOPRANO
**MANY OF THESE SINGERS SPANNED MORE THAN ONE VOICE TYPE IN THEIR CAREERS!** COLORATURA and LYRIC COLORATURA SOPRANO: DRAMATIC SOPRANO: Joan Sutherland Maria Callas Birgit Nilsson Anna Moffo Kirstin Flagstad Lisette Oropesa Ghena Dimitrova Sumi Jo Hildegard Behrens Edita Gruberova Eva Marton Lucia Popp Lotte Lehmann Patrizia Ciofi Maria Nemeth Ruth Ann Swenson Rose Pauly Beverly Sills Helen Traubel Diana Damrau Jessye Norman LYRIC MEZZO: SOUBRETTE & LYRIC SOPRANO: Janet Baker Mirella Freni Cecilia Bartoli Renee Fleming Teresa Berganza Kiri te Kanawa Kathleen Ferrier Hei-Kyung Hong Elena Garanca Ileana Cotrubas Susan Graham Victoria de los Angeles Marilyn Horne Barbara Frittoli Risë Stevens Lisa della Casa Frederica Von Stade Teresa Stratas Tatiana Troyanos Elisabeth Schwarzkopf Carolyn Watkinson DRAMATIC MEZZO: SPINTO SOPRANO: Agnes Baltsa Anja Harteros Grace Bumbry Montserrat Caballe Christa Ludwig Maria Jeritza Giulietta Simionato Gabriela Tucci Shirley Verrett Renata Tebaldi Brigitte Fassbaender Violeta Urmana Rita Gorr Meta Seinemeyer Fiorenza Cossotto Leontyne Price Stephanie Blythe Zinka Milanov Ebe Stignani Rosa Ponselle Waltraud Meier Carol Neblett ** MANY SINGERS SPAN MORE THAN ONE CATEGORY IN THE COURSE OF A CAREER ** ROSSINI, MOZART TENOR: BARITONE: Fritz Wunderlich Piero Cappuccilli Luigi Alva Lawrence Tibbett Alfredo Kraus Ettore Bastianini Ferruccio Tagliavani Horst Günther Richard Croft Giuseppe Taddei Juan Diego Florez Tito Gobbi Lawrence Brownlee Simon Keenlyside Cesare Valletti Sesto Bruscantini Dietrich Fischer-Dieskau -
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. -
Opera Recordings: a Very Personal Guide by Ralph Moore
“Untouchable” and ”Most Recommendable” Opera Recordings: a very personal guide by Ralph Moore My handful of regular readers might have noticed some glaring omissions in the list of thirty-seven major operas whose discographies I have surveyed over the last couple of years - operas whose quality and popularity are such that one might reasonably have expected me to have included them in my labours. There are, after all, probably around fifty truly first-rate operas which have been most often performed and recorded and I have by no means covered them all. I received requests to survey some of the following but on consideration, I realised that there were good reasons for my reluctance to do so. The most obvious omissions are these twelve operas: Verdi’s La traviata and Il trovatore; Wagner’s Lohengrin and Tannhäuser; Mozart’s Don Giovanni; Puccini’s La bohème, Tosca, Madama Butterfly and Turandot; Rossini’s Il barbiere di Siviglia; Donizetti’s Lucia di Lammermoor and Beethoven’s Fidelio. My reason for not having reviewed them collectively is that either the opera in question has received one or two recordings of such definitive quality that consideration of the others is otiose or there are so many good recordings of it in the catalogue that making a helpful or meaningful recommendation becomes difficult. I have therefore decided to circumvent the problem by making some brief, annotated recommendations and guidance for those major operas hitherto neglected. Obviously, my selections are highly subjective and controversial, and other collectors will be dismayed that I have ostensibly rejected their own candidates for recordings of classic status or nominated one they loathe but at the same time I think I may fairly claim that these are, in general, recordings which have stood the test of time. -
Georges Bizet Carmen Mp3, Flac, Wma
Georges Bizet Carmen mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Carmen Country: Italy Style: Opera MP3 version RAR size: 1346 mb FLAC version RAR size: 1907 mb WMA version RAR size: 1489 mb Rating: 4.6 Votes: 200 Other Formats: MMF APE VOC AUD ASF XM VQF Tracklist A Preludio - Atto 1 - Parte 1 26:20 B Atto 1 - Parte 2 23:54 C Intermezzo - Atto 2 - Parte 1 21:28 D Atto 2 - Parte 2 - Intermezzo - Atto 3 Parte 1 26:00 E Atto 3 - Parte 2 26:25 F Intermezzo - Atto 4 20:46 Companies, etc. Recorded By – Eurodisc Credits Baritone Vocals [Dancaire] – Jean-Christophe Benoit (tracks: C, D, E) Baritone Vocals [Escamillo] – Piero Cappuccilli (tracks: C, E, F) Baritone Vocals [Morales] – Barry McDaniel (tracks: A) Bass Vocals [Zuniga] – José van Dam (tracks: A, B, C, D, F) Chorus – Chor der Deutschen Oper Berlin Chorus Master – Gerhard Hellwig (tracks: A) Composed By – Georges Bizet Conductor – Lorin Maazel Orchestra – Orchester Der Deutschen Oper Berlin Soprano Vocals [Carmen] – Anna Moffo (tracks: A-F) Soprano Vocals [Frasqita] – Arleen Auger (tracks: C, D, E, F) Soprano Vocals [Mercedes] – Jane Berbié (tracks: C, D, E, F) Soprano Vocals [Micaela] – Helen Donath (tracks: A, B, E) Tenor Vocals [Don Jose] – Franco Corelli (tracks: A, B, D, E, F) Tenor Vocals [Remendado] – Karl-Ernst Mercker (tracks: C, D, E) Notes Like Georges Bizet, Anna Moffo, Helen Donath, Franco Corelli, Piero Cappuccilli, Orchester Der Deutschen Oper Berlin, Chor der Deutschen Oper Berlin, Lorin Maazel - Carmen but black labels. Barcode and Other Identifiers -
Bio Long Vai Dacapo
Colin Eaton has been lauded as ‘a commanding tenor that sings with great aplomb’ (Washington Post) and ‘a young tenor whose name you shall not soon forget’ with ‘the ability to dazzle audiences with ease’ (Baltimore Sun). He was most recently featured as the tenor soloist for the 38th Annual Kennedy Centre Messiah Sing-Along, where he also collaborated as a featured soloist in master classes with Martina Arroyo and Curtis Rayam at the National Opera Association convention. Having grown up with his grandparents 'listening to Nat King Cole' Colin was eventually drawn towards the power of opera and soon understood that "when something is right, its right … and if you have the passion, you can overcome every obstacle”. His numerous oratorio solo performances have included Mendelssohn's St. Paul (National Philharmonic), Carl Orff's Carmina Burana , Rossini's Stabat Mater , Bruckner's Te Deum , and Mozart's Requiem , while his impressive opera credits include Mingo, Robbins and Sportin' Life in Porgy & Bess and Don Basilio and Don Curzio in Le Nozze di Figaro . As a member of the world-renowned United States Army Chorus, Colin had the honor of serving as a featured soloist at President Ronald Reagan's interment ceremony in 2004 and has performed before his nation's highest ranking government and military officials, as well as visiting dignitaries from around the globe. Over the last 5 years, he has also been specially selected to sing for U.S. and Allied Forces deployed in areas of combat including in Kuwait, Iraq and Afghanistan. As well as enjoying the prospect of ‘opening the world to Opera’ he believes that Vai DaCapo presents a great opportunity to show that music is a universal language, no matter what kind of music it is.