Iasa-Phonographic-Bulletin-4.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Marie Collier: a Life
Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family. -
The Making of Disgrace Kelly: Dragging the Diva Through Cabarets, Pubs and Into the Recital Hall
Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2013 The making of Disgrace Kelly: Dragging the diva through cabarets, pubs and Into the recital hall Caitlin Cassidy Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Other Theatre and Performance Studies Commons, and the Performance Studies Commons Recommended Citation Cassidy, C. (2013). The making of Disgrace Kelly: Dragging the diva through cabarets, pubs and Into the recital hall. https://ro.ecu.edu.au/theses/545 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/545 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). -
Toscanini IV – La Scala and the Metropolitan Opera
Toscanini IV – La Scala and the Metropolitan Opera Trying to find a balance between what the verbal descriptions of Toscanini’s conducting during the period of roughly 1895-1915 say of him and what he actually did can be like trying to capture lightning in a bottle. Since he made no recordings before December 1920, and instrumental recordings at that, we cannot say with any real certainty what his conducting style was like during those years. We do know, from the complaints of Tito Ricordi, some of which reached Giuseppe Verdi’s ears, that Italian audiences hated much of what Toscanini was doing: conducting operas at the written tempos, not allowing most unwritten high notes (but not all, at least not then), refusing to encore well-loved arias and ensembles, and insisting in silence as long as the music was being played and sung. In short, he instituted the kind of audience decorum we come to expect today, although of course even now (particularly in Italy and America, not so much in England) we still have audiences interrupting the flow of an opera to inject their bravos and bravas when they should just let well enough alone. Ricordi complained to Verdi that Toscanini was ruining his operas, which led Verdi to ask Arrigo Boïto, whom he trusted, for an assessment. Boïto, as a friend and champion of the conductor, told Verdi that he was simply conducting the operas pretty much as he wrote them and not allowing excess high notes, repeats or breaks in the action. Verdi was pleased to hear this; it is well known that he detested slowly-paced performances of his operas and, worse yet, the interpolated high notes he did not write. -
Enrico Caruso
NI 7924/25 Also Available on Prima Voce ENRICO CARUSO Opera Volume 3 NI 7803 Caruso in Opera Volume One NI 7866 Caruso in Opera Volume Two NI 7834 Caruso in Ensemble NI 7900 Caruso – The Early Years : Recordings from 1902-1909 NI 7809 Caruso in Song Volume One NI 7884 Caruso in Song Volume Two NI 7926/7 Caruso in Song Volume Three 12 NI 7924/25 NI 7924/25 Enrico Caruso 1873 - 1921 • Opera Volume 3 and pitch alters (typically it rises) by as much as a semitone during the performance if played at a single speed. The total effect of adjusting for all these variables is revealing: it questions the accepted wisdom that Caruso’s voice at the time of his DISC ONE early recordings was very much lighter than subsequently. Certainly the older and 1 CAVALLERIA RUSTICANA, Mascagni - O Lola ch’ai di latti la cammisa 2.50 more artistically assured he became, the tone became even more massive, and Rec: 28 December 1910 Matrix: B-9745-1 Victor Cat: 87072 likewise the high A naturals and high B flats also became even more monumental in Francis J. Lapitino, harp their intensity. But it now appears, from this evidence, that the baritone timbre was 2 LA GIOCONDA, Ponchielli - Cielo e mar 2.57 always present. That it has been missed is simply the result of playing the early discs Rec: 14 March 1910 Matrix: C-8718-1 Victor Cat: 88246 at speeds that are consistently too fast. 3 CARMEN, Bizet - La fleur que tu m’avais jetée (sung in Italian) 3.53 Rec: 7 November 1909 Matrix: C-8349-1 Victor Cat: 88209 Of Caruso’s own opinion on singing and the effort required we know from a 4 STABAT MATER, Rossini - Cujus animam 4.47 published interview that he believed it should be every singers aim to ensure ‘that in Rec: 15 December 1913 Matrix: C-14200-1 Victor Cat: 88460 spite of the creation of a tone that possesses dramatic tension, any effort should be directed in 5 PETITE MESSE SOLENNELLE, Rossini - Crucifixus 3.18 making the actual sound seem effortless’. -
ARSC Journal
HISTORIC VOCAL RECORDINGS STARS OF THE VIENNA OPERA (1946-1953): MOZART: Die Entfuhrung aus dem Serail--Wer ein Liebchen hat gafunden. Ludwig Weber, basso (Felix Prohaska, conductor) ••.• Konstanze ••• 0 wie angstlich; Wenn der Freude. Walther Ludwig, tenor (Wilhelm Loibner) •••• 0, wie will ich triumphieren. Weber (Prohaska). Nozze di Figaro--Non piu andrai. Erich Kunz, baritone (Herbert von Karajan) •••• Voi che sapete. Irmgard Seefried, soprano (Karajan) •••• Dove sono. Elisabeth Schwarzkopf, soprano (Karajan) . ..• Sull'aria. Schwarzkopf, Seefried (Karajan). .• Deh vieni, non tardar. Seefried (Karajan). Don Giovanni--Madamina, il catalogo e questo. Kunz (Otto Ackermann) •••• Laci darem la mano. Seefried, Kunz (Karajan) • ••• Dalla sua pace. Richard Tauber, tenor (Walter Goehr) •••• Batti, batti, o bel Masetto. Seefried (Karajan) •.•• Il mio tesoro. Tauber (Goehr) •••• Non mi dir. Maria Cebotari, soprano (Karajan). Zauberfl.Ote- Der Vogelfanger bin ich ja. Kunz (Karajan) •••• Dies Bildnis ist be zaubernd schon. Anton Dermota, tenor (Karajan) •••• 0 zittre nicht; Der Holle Rache. Wilma Lipp, soprano (Wilhelm Furtwangler). Ein Miidchen oder Weibchen. Kunz (Rudolf Moralt). BEETHOVEN: Fidelio--Ach war' ich schon. Sena Jurinac, soprano (Furtwangler) •••• Mir ist so wunderbar. Martha Modl, soprano; Jurinac; Rudolf Schock, tenor; Gottlob Frick, basso (Furtwangler) •••• Hat man nicht. Weber (Prohaska). WEBER: Freischutz--Hier im ird'schen Jammertal; Schweig! Schweig! Weber (Prohaska). NICOLAI: Die lustigen Weiher von Windsor--Nun eilt herbei. Cebotari {Prohaska). WAGNER: Meistersinger--Und doch, 'swill halt nicht gehn; Doch eines Abends spat. Hans Hotter, baritone (Meinhard von Zallinger). Die Walkilre--Leb' wohl. Hotter (Zallinger). Gotterdammerung --Hier sitz' ich. Weber (Moralt). SMETANA: Die verkaufte Braut--Wie fremd und tot. Hilde Konetzni, soprano (Karajan). J. STRAUSS: Zigeuner baron--0 habet acht. -
Signerede Plader Og Etiketter Og Fotos Signed Records and Labels and Photos
Signerede plader og etiketter og fotos Signed records and labels and photos Soprano Blanche Arral (10/10-1864 – 3/3-1945) Born in Belgium as Clara Lardinois. Studied under Mathilde Marchesi in Paris. Debut in USA at Carnegie Hall in 1909. Joined the Met 1909-10. Soprano Frances Alda (31/5-1879 – 18/9-1953) Born Fanny Jane Davis in New Zealand. Studied with Mathilde Marchesi in Paris, where she had her debut in 1904. Married Guilio Gatti-Casazza – the director of The Met – in 1910. Soprano Geraldine Farrar – born February 28, 1882 – in Melrose, Massachusetts – died March 11, 1967 in Ridgefield, Connecticut Was also the star in more than 20 silent movies. Amercian mezzo-soprano Zélie de Lussan – 1861 – 1949 (the signature is bleached) American tenor Frederick Jagel – June, 10, 1897 Brooklyn NY – July 5, 1982, San Francisco, California At the Met from 1927 - 1950 Soprano Elisabeth Schwartzkopf – Met radio transmission on EJS 176 One of the greatest coloratura sopranos. Tenor Benjamino Gigli (20/3-1890 – 30/11-1957) One of the greatest of them all. First there was Caruso, then Gigli, then Björling and last Pavarotti. Another great tenor - Guiseppe di Stefano (24/7-1921 – 3/3-2008) The Italian tenor Guiseppe Di Stefano’s carreer lasted from the late 40’s to the early 70’s. Performed and recorded many times with Maria Callas. French Tenor Francisco (Augustin) Nuibo (1/5-1874 Marseille – Nice 4.1948) The Paris Opéra from 1900. One season at The Met in 1904/05. Tenor Leo Slezak (18/8-1873 – 1/6-1946) born in what became Czeckoslovakia. -
Problems of Tempo in Puccini's Operas
Problems of Tempo in Puccini's Arias Author(s): Mei Zhong Source: College Music Symposium, Vol. 40 (2000), pp. 140-150 Published by: College Music Society Stable URL: https://www.jstor.org/stable/40374404 Accessed: 22-08-2018 17:38 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms College Music Society is collaborating with JSTOR to digitize, preserve and extend access to College Music Symposium This content downloaded from 129.105.215.146 on Wed, 22 Aug 2018 17:38:20 UTC All use subject to https://about.jstor.org/terms Problems of Tempo in Puccini's Arias Mei Zhong problems of tempo in Puccini's soprano arias are surprisingly vexing for per- formers, given that the composer provided many indications in his scores, including many metronome markings, and supervised the preparation of several singers who went on to make early phonograph recordings of his arias. The difficulties arise from the lack of markings in some cases, ambiguous or impractical markings in others (with some evidence that at times Puccini himself was not reliable in this matter), doubts about the authorship of some markings, and wide variations in tempo among recorded perfor- mances. -
Phonographic Bulletin
iasa Intern<Jtional Association of Sound Archives Association Internationale d'Archives Sonores Internation~le Vereinigung derSchallarchive phonographic bulletin no.35/March 1983 PHONOGRAPHIC BULLETIN Journal of the International Association of Sound Archives IASA Organe de 1 'Association Internationa1e d'Archives Sonores IASA Zeitschrift der Internationa1en Vereinigung der Schallarchlve IASA Editor: Ann Brieg1eb. Ethnomusico1ogy Archives. Mlisic Department. U.C.L.A .• ·Los Angeles, California 90024, USA. Editorial board: Technical Editor, Dr.Dietrich SchUl1er. Phonogrammarchiv der Osterreichischen Akademie der Wissenschaften, Wien, Austria; Review and Recent Publication Editor, Joe1 Gardner, 1011 Forge Ave., Baton Rouge. LA 70808" USA; News and Notes Editor, Peter Burgis, Sound Recording Collection, National Library of Australia, Canberra, A.T.C., Australia 2618. ------~-------------------------------~--------------------------------------------~----------- The PHONOGRAPHIC BULLETIN is published three times a year and is sent to all members of IASA. Applications for membership in IASA should be senfto the Membership Secretary (see 1i.st of officers below). The annual dues are at the moment 25.-Deutsche Mark for individual members and 60.-Deutsche Mark for institutional members. Back copies of the PHONOGRAPHIC BULLETIN from 1971 are available at lS.-Deutsche Mark for each year's issue, .inc1uding postage. Subscriptions to the current year's issues of the PHONOGRAPHIC BULLETIN . are also available to non-members at a cost of about 25.-Deutsche Mark. '. ' . Le Journal de 1 'Association internationale d'archives sonores,' le PHONOGRAPHIC BUtLETIN;est pub1ie trois fois 1 'an et distribue a tous les members. Veui1lez envoyer vos demandesd ' adhesion au secretaire dont vous trouverez 1 'adresse ci-dessous. Les cotisations annuel1es sont en ce moment de 25.-Deutsche Mark pour 1es membres individue1s et 60.-Deutsche Mark Dour 1es membres institutionnels. -
Catalogue 1926
This (1926) edition of the 'Vocalion' Record Catalogue in its new and simplified form will it is hoped, enable the Public to select to the best advantage from the wide and representative range of records enumerated therein. The present edition contains all Records issued up to and including November, 1925. The five distinct Sections into which the Catalogue is divided enable the customer to find any required record at a glance. Key to Indices. (a) Alphabetical List Artists: of - gives the page numbers on which will be found the works recorded by individual Artists. Alphabetical List of Titles :- shows all titles other than Dance numbers, the latter appearing separately at the end of the Catalogue, on tinted paper. In giving this general list of titles, the reverse side of each Record is shown in italics, excepting where various works appear under Subject Headings, in which case the reverse side will be found under the name of the piece itself. (continued overleaf (c) Artists and their Records :- This Section is sub-divided into five parts :- 1. Operatic, Oratorio, Songs and Ballads 2. Instrumental 3. Band 4. Orchestral 5. Miscellaneous Each part being arranged alphabetically under the names of the Artists and in the order of Solos, Duets, Trios, Quartettes, etc. (d) Composers' List :- To enable the customer to select from the works of well known composers, a simple list has been inserted, giving the page number on which such works will be found. (e) Dance Section:- The very great demand for Dance Music has prompted us to arrange this Section distinct from the main part of the Catalogue, and in alphabetical headings Fox-trots, order of titles under the respective of Highland Reels, Lancers, One-steps, Tangos and Waltzes, the reverse side being shown in italics. -
Curly on the Rack
TJ __ DT T DT TT T A. 1'..T Dy 1.,U C U L,Ltft l ~ I • · ..11 ~'F .lu \'- Th e Australian Elizabethan Th eatre Trus t PATRON : HER MAJESTY THE QUEE N PRESIDE T The Rt. H o n . Sir J o hn Latham , G .C. M.G ., Q .C. C HAIRi\lA Dr . H . C . Coo m bs EXECUT IVE DIR ECTO R Hugh Hunt HO N. SECRETARY i\l a uri cc Par ker ST A TE REPRESENTATIVES: Ne w South W ales i\l r. C. J. A. i\loses, C. B.E . Q uee n sland P ro fessor f . J. Schone ll Wes tern Au str a lia P ro fessor f . Alexander Victor ia Mr A . H . L. Gibson South A 11str a lia i\l r . L. C. ,~late rman Tas mani a Mr. G. f . Davies ive are proud lo introduce yet another Australian play . CURLY ON THE RA CK. Th is is the third to be produced al the Elizabethan Th eatre and we commend it to Enioy yo ur favourite melodies yott in the hope that it may f ollow in the line of its dis tinguished predecessors, THE DOLL and THE SHIFTING with a PI ANO ACCORDION! HEA RT (incide111ally, THE SHIFTI N G HEAR T is complet ing a tour of Victoria. Ade laide (I/Id Tasmania, a11d THE Play just for fun-or capture admiration and popul arity in rumpus room, bunkhouse, at dances or barbecues , with the stirring notes of DOL L is playing i11 the co11111rycentres of Q11eemland). -
21 November 2008 Page 1 of 38
Radio 3 Listings for 15 – 21 November 2008 Page 1 of 38 SATURDAY 15 NOVEMBER 2008 Marta Boberska (soprano), Kai Wessel (alto), Krzystof Szmyt (tenor), Dirk Snellings (bass), Il Tempo Baroque Ensemble, SAT 01:00 Through the Night (b00fd322) Agata Sapiecha (director) 01:01AM Schumann, Robert (1810-1856) 04:52AM Overture – from the incidental music to Manfred (Op.115) Handel, Georg Frideric (1685-1759) Meine Seele hört im Sehen (HWV.207) – No.6 from Deutsche 01:14AM Arien Rimsky-Korsakov, Nikolai (1844-1908) Hélène Plouffe (violin), Louise Pellerin (oboe), Dom André Capriccio Espagnol (Op.34) Laberge (organ) 01:31AM 05:00AM Shostakovich, Dmitry (1906-1975) Pezel, Johann Christoph (1639-1694) Violin Concerto No.1 in A minor Sonatina No.69 for 2 Trumpets and organ Sonatina for 2 Trumpets and organ in B major Oleg Kogan (violin), Sofia Philharmonic Orchestra, Vassil Ivan Hadliyski & Roman Hajiyski (trumpets), Velin Iliev (organ) Kazandjiev (conductor) 05:06AM 02:08AM Sibelius, Jean (1865-1957) Janácek, Leos (1854-1928) Sonatina No.3 for piano (Op.6) in B flat minor Po zarostlem chodnicku (On an overgrown path) – book 1 Eero Heinonen (piano) György Sándor (piano) 05:13AM 02:35AM Papandopulo, Boris (1906-1991) Vanhal, Johann Baptist (1739-1813) Rapsodia concertante Symphony in A minor Monica Leskhovar (cello), Ivana Schwartz (piano) Capella Coloniensis, Hans-Martin Linde (conductor) 05:27AM 02:54AM Lortzing, Albert (1801-1851) Beethoven, Ludwig van (1770-1827) Heiterkeit und Fröhlichkeit – from Der Wildschütz Act 3 Symphony No.9 (Op.125) in D -
THE RECORD COLLECTOR MAGAZINE Given Below Is the Featured Artist(S) of Each Issue (D=Discography, B=Biographical Information)
PRINTED MATERIAL DISCOGRAPHICAL & REFERENCE BOOKS, BIOGRAPHIES; RECORD CATALOGUES & SUPPLEMENTS Books are all in good, used condition (no damage unless described). DJ = includes Paper Dust Jacket This year’s book list includes a number of important and desirable items. The minimum bids have been kept very low, considering the scarcity of some items and the cost of others which still might be in print. While bargains are indeed possible, I’d suggest, as usual, to bid realistically for those items of particular interest. Bids of any amount are, of course, welcomed. MUSICIAN BIOGRAPHIES/AUTOBIOGRAPHIES 3574. [FRANCES ALDA]. MEN, WOMEN AND TENORS. Autobiography. Riverside Press, Cambridge, MA. 1937. 307 pp. Illustrated. Quite candid jottings for the period. Fun and informative reading. Blank front page removed. Cons. 2. $7.00. 3622. MARIAN ANDERSON – A PORTRAIT (Kosti Vehanen). Whittlesey House, NY. 1941. 270 pp. Blank book plate on inside cover. Just about 1-2. $10.00. 3535. [MARIAN ANDERSON]. MY LORD, WHAT A MORNING. Autobiography. Viking Press, NY. 1956. DJ. Illustrated. 312 pp. Light DJ wear. Book gen. 1-2. $7.00. 3581. MARIAN ANDERSON – A SINGER’S JOURNEY (Allan Keiler). Scribner, NY. 2000. 447 pp. DJ. Just about 1-2. $10.00. 3542. [Sir THOMAS] BEECHAM – A CENTENARY DISCOGRAPHY (Michael Gray). Duckworth, Norwich. 1979. DJ. 129 pp. Light signs of use on DJ. Book is just about 1-2 except for numerous pencil check marks. $6.00. 3550. THE ACCOMPANIST – AN AUTOBIOGRAPHY OF ANDRÉ BENOIST (ed. John Anthony Maltese). Paganiniana Pub., Neptune City, NJ. 1978. 383 pp. Profusely illustrated. A fascinating and extremely candid look at dozens of the vocal and instrumental celebrities with whom Benoist was associated.