DOCSLIB.ORG

479 8345 Mathis Ebklt Th171109.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

THE ART OF EDITH MATHIS 2 PART 1 GEORGE FRIDERIC HANDEL (1685–1759) ARR. WOLFGANG AMADEUS MOZART (1756–1791) JOHANN SEBASTIAN BACH (1685–1750) Der Messias K 572 Jauchzet Gott in allen Landen BWV 51 N “Ich weiß, dass mein Erlöser lebet” 6:48 A 1. Aria: “Jauchzet Gott in allen Landen” 4:37 O “Wie lieblich ist der Boten Schritt” 2:18 B 2. Recitative: “Wir beten zu dem Tempel an” 2:46 P “Er weidet seine Herde” 5:29 C 3. Aria: “Höchster, mache deine Güte” 4:48 Edith Mathis soprano D 4. Chorale: “Sei Lob und Preis mit Ehren” 3:26 E Symphonieorchester des Österreichischen Rundfunks (ORF) 5. Aria: “Alleluja” 2:13 Charles Mackerras F Mein Herze schwimmt im Blut BWV 199: “Wie freudig ist mein Herz” 2:38 JOSEPH HAYDN (1732–1809) G Meine Seel’ erhebt den Herren BWV 10: “Herr, der du stark und mächtig bist” 7:03 Die Jahreszeiten Hob. XXI:3 H Also hat Gott die Welt geliebt BWV 68: “Mein gläubiges Herze” 4:11 Q “O wie lieblich ist der Anblick” (Hanne, Lukas, chorus, Simon) 5:19 I Schmücke dich, o liebe Seele BWV 180: “Lebens Sonne, Licht der Sinnen” 4:37 R “Ein Mädchen, das auf Ehre hielt” (Hanne, chorus) 3:39 J Ich hatte viel Bekümmernis BWV 21: “Seufzer, Tränen, Kummer, Not” 4:40 Die Schöpfung Hob. XXI:2 Matthäus-Passion BWV 244 S “Nun beut die Flur das frische Grün” (Gabriel) 5:31 K “Ich will dir mein Herze schenken” (soprano) 4:04 T “Und Gott sprach: Es bringe das Wasser in der Fülle hervor … 7:43 L “So ist mein Jesus nun gefangen” (soprano, alto, chorus) 5:10 Auf starkem Fittiche schwinget sich der Adler stolz” (Gabriel) M “Aus Liebe will mein Heiland sterben” (soprano) 5:23 U “Holde Gattin, dir zur Seite” (Adam, Eva) 8:39 Edith Mathis soprano Edith Mathis Hanne, Gabriel, Eva Janet Baker alto · Pierre Thibaud trumpet (BWV 51) Siegfried Jerusalem Lukas · Dietrich Fischer-Dieskau Simon, Adam Regensburger Domspatzen · Georg Ratzinger chorus master Academy of St. Martin in the Fields Chorus Münchener Bach-Chor · Münchener Bach-Orchester Academy of St. Martin in the Fields Karl Richter Neville Marriner 3 WOLFGANG AMADEUS MOZART (1756–1791) GUSTAV MAHLER (1860–1911) V Requiem K 626: “Recordare, Jesu pie” 7:05 Symphony No. 8 “Symphony of a Thousand” Y “Gönn auch dieser guten Seele” … “Neige, neige, du Ohnegleiche” 5:11 Edith Mathis soprano · Julia Hamari alto (Magna Peccatrix, Mulier Samaritana, Maria Aegyptiaca, Una poenitentium, chorus) Wiesław Ochman tenor · Karl Ridderbusch bass Hans Haselböck organ Edith Mathis Una poenitentium Wiener Philharmoniker Martina Arroyo Magna Peccatrix Karl Böhm Julia Hamari Mulier Samaritana Norma Procter Maria Aegyptiaca ANTONÍN DVOŘÁK (1841–1904) Regensburger Domspatzen · Christoph Lickleder chorus master W Stabat Mater op. 58: “Fac ut portem Christi mortem” 5:28 Symphonieorchester des Bayerischen Rundfunks Rafael Kubelik Edith Mathis soprano · Wiesław Ochman tenor Elmar Schloter organ Symphony No. 2 “Resurrection” Symphonieorchester des Bayerischen Rundfunks a “Auferstehn, ja auferstehn wirst du” 13:32 Rafael Kubelik Edith Mathis soprano · Norma Procter alto Chor des Bayerischen Rundfunks · Wolfgang Schubert chorus master JOHANNES BRAHMS (1833–1897) X Symphonieorchester des Bayerischen Rundfunks Ein deutsches Requiem op. 45: “Ihr habt nun Traurigkeit” 9:08 Rafael Kubelik Edith Mathis soprano Edinburgh Festival Chorus · Arthur Oldham chorus master London Philharmonic Orchestra Daniel Barenboim 4 WOLFGANG AMADEUS MOZART (1756–1791) Ascanio in Alba K 111 b “Infelici affetti miei” (Silvia) 5:08 Lucio Silla K 135 c “Vieni ov’amor t’invita” (Cinna) 9:27 Edith Mathis soprano Mozarteum-Orchester Salzburg Leopold Hager Zaide K 344 (336b) d “Ruhe sanft, mein holdes Leben” (Zaide) 5:53 Edith Mathis soprano Walter Weih oboe Staatskapelle Berlin Bernhard Klee Idomeneo K 366 e “Se il padre perdei” (Ilia) 6:15 f “Solitudini amiche” (Ilia) 0:54 g “Zeffiretti lusinghieri” (Ilia) 6:03 Edith Mathis soprano Walter Taussig harpsichord Staatskapelle Dresden Karl Böhm Edith Mathis as Susanna in Le nozze di Figaro 5 h Ch’io mi scordi di te? … Non temer, amato bene K 505 9:58 Don Giovanni K 527 n “Batti, batti, o bel Masetto” (Zerlina) 4:02 Edith Mathis soprano o Mozarteum-Orchester Salzburg “Vedrai, carino” (Zerlina) 3:56 Leopold Hager piano & conductor Edith Mathis soprano Wiener Philharmoniker Le nozze di Figaro K 492 Karl Böhm i “Crudel! Perché finora farmi languir così?” (conte, Susanna) 2:52 Live recording j “Che soave zeffiretto” (contessa, Susanna) 3:33 k “Giunse alfin il momento” (Susanna) 1:23 p Vado, ma dove? o Dei! K 583 4:05 l “Deh vieni, non tardar” (Susanna) 3:37 q Alma grande e nobil core K 578 4:24 Edith Mathis Susanna Edith Mathis soprano Dietrich Fischer-Dieskau conte Mozarteum-Orchester Salzburg Gundula Janowitz contessa Leopold Hager Orchester der Deutschen Oper Berlin Karl Böhm La clemenza di Tito K 621 r “S’altro che lacrime” (Servilia) 2:48 Don Giovanni K 527 m “Reich mir die Hand fürs Leben” (Don Giovanni, Zerlina) 2:50 Edith Mathis soprano (German transl. Georg Schünemann) Staatskapelle Dresden Karl Böhm Edith Mathis Zerlina Hermann Prey Don Giovanni Gürzenich-Orchester Köln Wolfgang Sawallisch Live recording 6 LUDWIG VAN BEETHOVEN (1770–1827) FELIX MENDELSSOHN (1809–1847) Fidelio op. 72 Ein Sommernachtstraum op. 61 s “O wär ich schon mit dir vereint” (Marzelline) 4:15 x “Bunte Schlangen, zweigezüngt” 3:13 t “Mir ist so wunderbar (Marzelline, Leonore, Rocco, Jaquino) 4:58 Edith Mathis soprano Edith Mathis Marzelline Ursula Boese alto Gwyneth Jones Leonore Chor des Bayerischen Rundfunks · Wolfgang Schubert chorus master Peter Schreier Jaquino Symphonieorchester des Bayerischen Rundfunks Franz Crass Rocco Rafael Kubelik Staatskapelle Dresden Karl Böhm HECTOR BERLIOZ (1803–1869) La Damnation de Faust op. 24 CARL MARIA VON WEBER (1786–1826) y “Que l’air est étouffant” (Marguerite) 2:58 Der Freischütz z “Autrefois un roi de Thulé” (Marguerite) 4:33 u “Schelm! Halt fest! Ich will dich’s lehren!” (Ännchen, Agathe) 4:51 Ä “D’amour l’ardente flamme” (Marguerite) 8:43 v “Kommt ein schlanker Bursch gegangen” (Ännchen) 3:47 Edith Mathis soprano w “Einst träumte meiner sel’gen Base … 6:13 Boston Symphony Orchestra Trübe Augen, Liebchen, taugen einem holden Bräutchen nicht” (Ännchen) Seiji Ozawa Edith Mathis Ännchen Gundula Janowitz Agathe Staatskapelle Dresden Carlos Kleiber 7 RICHARD STRAUSS (1864–1949) Der Rosenkavalier op. 59 Å “Ein ernster Tag, ein großer Tag!” (Faninal, Leitmetzerin, Haushofmeister, Sophie, Chor) 5:16 Ç “Mir ist die Ehre widerfahren” (Octavian, Sophie) 7:03 É “Marie Theres’!” – “Hab’ mir’s gelobt” (Octavian, Marschallin, Sophie) 6:31 Ñ “Ist ein Traum, kann nicht wirklich sein” (Sophie, Octavian, Faninal, Marschallin) 6:09 Edith Mathis Sophie Tatiana Troyanos Octavian Christa Ludwig Marschallin Otto Wiener Faninal Kari Lövaas Leitmetzerin Siegfried Rudolf Frese Haushofmeister Chor der Wiener Staatsoper Wiener Philharmoniker Karl Böhm Live recording HANS WERNER HENZE (1926–2012) Der junge Lord Ö “Diese Benommenheit” (Luise) 6:38 Edith Mathis soprano Orchester der Deutschen Oper Berlin Christoph von Dohnányi 8 PART 2 Frauenliebe und Leben op. 42 Text: Adelbert von Chamisso ROBERT SCHUMANN (1810–1856) K 1. Seit ich ihn gesehen 2:35 from Myrthen op. 25 L 2. Er, der Herrlichste von allen 3:18 M A 4. Jemand: “Mein Herz ist betrübt, ich sag es nicht” 1:44 3. Ich kann’s nicht fassen 1:39 Text: Robert Burns, transl. Wilhelm Gerhard N 4. Du Ring an meinem Finger 3:16 B O 5. Helft mir, ihr Schwestern 1:50 9. Lied der Suleika: “Wie mit innigstem Behagen” 2:33 P Text: Marianne von Willemer & Johann Wolfgang von Goethe 6. Süßer Freund, du blickest 4:41 C Q 7. An meinem Herzen 1:21 10. Die Hochländer-Witwe: “Ich bin gekommen ins Niederland” 1:30 R Text: Robert Burns, transl. Wilhelm Gerhard 8. Nun hast du mir den ersten Schmerz getan 4:20 D 11. Lied der Braut I: “Mutter, Mutter, glaube nicht” 2:13 S Die Nonne op. 49/3: “Im Garten steht die Nonne” 2:20 Text: Friedrich Rückert Text: Abraham Emanuel Fröhlich E 12. Lied der Braut II: “Lass mich ihm am Busen hangen” 1:44 T Volksliedchen op. 51/2: “Wenn ich früh in den Garten geh’” 1:04 Text: Friedrich Rückert Text: Friedrich Rückert F 14. Hochländisches Wiegenlied: “Schlafe, süßer kleiner Donald” 2:07 U Liebeslied op. 51/5: “Dir zu eröffnen mein Herz verlangt mich” 1:53 Text: Robert Burns, transl. Wilhelm Gerhard Text: Johann Wolfgang von Goethe G 20. Weit, weit!: “Wie kann ich froh und munter sein” 3:08 V Die Soldatenbraut op. 64/1: “Ach, wenn’s nur der König auch wüßt’” 2:05 Text: Robert Burns, transl. Wilhelm Gerhard Text: Eduard Mörike H 23. Im Westen: “Ich schau über Forth, hinüber nach Nord” 1:10 W Das verlassne Mägdelein op. 64/2: “Früh, wann die Hähne krähn” 2:20 Text: Robert Burns, transl. Wilhelm Gerhard Text: Eduard Mörike X I Die Kartenlegerin op. 31/2: “Schlief die Mutter endlich ein” 2:35 Mein Garten op. 77/2: “Veilchen, Rosmarin, Mimosen” 2:02 Text: Adelbert von Chamisso Text: Hoffmann von Fallersleben Y J O ihr Herren op. 37/3 0:49 Stiller Vorwurf op. 77/4: “In einsamen Stunden drängt Wehmut sich auf” 2:25 Text: Friedrich Rückert Text: Oskar Ludwig Bernhard Wolff 9 from Liederalbum für die Jugend op. 79 l 14. Die Waise: “Der Frühling kehret wieder” 1:53 Text: Hoffmann von Fallersleben a 1. Der Abendstern: “Du lieblicher Stern” 1:32 Text: Hoffmann von Fallersleben m 19. Frühlingsankunft: “Nach diesen trüben Tagen” 1:19 Text: Hoffmann von Fallersleben b 2. Schmetterling: “O Schmetterling, sprich” 0:55 Text: Hoffmann von Fallersleben n 21. Kinderwacht: “Wenn fromme Kindlein schlafen gehn” 1:28 Text: Melchior von Diepenbrock c 3.
Recommended publications
  • Edith Mathis Mozart | Bartók | Brahms | Schumann | Strauss Selected Lieder Karl Engel Wolfgang Amadé Mozart (1756–1791) Robert Schumann (1810–1897) Das Veilchen K

    Edith Mathis Mozart | Bartók | Brahms | Schumann | Strauss Selected Lieder Karl Engel Wolfgang Amadé Mozart (1756–1791) Robert Schumann (1810–1897) Das Veilchen K

    HISTORIC PERFORMANCES Edith Mathis Mozart | Bartók | Brahms | Schumann | Strauss Selected Lieder Karl Engel Wolfgang Amadé Mozart (1756–1791) Robert Schumann (1810–1897) Das Veilchen K. 476 2:47 Nine Lieder from Myrthen, Op. 25 Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte K. 520 1:41 Widmung 2:11 Abendempfindung an Laura K. 523 4:45 Der Nussbaum 3:27 Dans un bois solitaire K. 308 (295b) 2:54 Jemand 1:36 Der Zauberer K. 472 2:48 Lied der Braut I («Mutter, Mutter, glaube nicht») 2:01 Lied der Braut II («Lass mich ihm am Busen hängen») 1:34 Béla Bartók (1881–1945) Lied der Suleika («Wie mit innigstem Behagen») 2:48 Village Scenes. Slovak Folksongs, Sz. 78 Im Westen 1:16 Was will die einsame Thräne 2:59 Heuernte 1:33 Hauptmanns Weib 1:55 Bei der Braut 1:57 Hochzeit 3:30 Wiegenlied 5:03 Richard Strauss (1864–1949) Burschentanz 2:47 Schlechtes Wetter, Op. 69 No. 5 2:29 Die Nacht, Op. 10 No. 3 2:55 Johannes Brahms (1833–1897) Ach, Lieb, ich muss nun scheiden, Op. 21 No. 3 2:08 Five Songs from 42 Deutsche Volkslieder, WoO 33 Meinem Kinde, Op. 37 No. 3 2:19 Hat gesagt – bleibt’s nicht dabei, Op. 36 No. 3 2:31 Erlaube mir, feins Mädchen 1:15 In stiller Nacht 3:12 encore announcement: Edith Mathis 0:10 Wie komm’ ich denn zur Tür herein? 2:19 Da unten im Tale 2:29 Hugo Wolf (1860–1903) Feinsliebchen, du sollst 4:14 Auch kleine Dinge können uns entzücken from the Italienisches Liederbuch 2:42 recorded live at LUCERNE FESTIVAL (Internationale Musikfestwochen Luzern) Edith Mathis soprano Previously unreleased Karl Engel piano The voice of music The soprano Edith Mathis According to an artist feature of the soprano Edith Mathis, published by the music maga- zine Fono Forum in 1968, an engagement at the New York Met was a “Pour le Mérite” for a singer.
  • The Inventory of the Deborah Voigt Collection #1700

    The Inventory of the Deborah Voigt Collection #1700

    The Inventory of the Deborah Voigt Collection #1700 Howard Gotlieb Archival Research Center Voigt, Deborah #1700 6/29/05 Preliminary Listing I. Subject Files. Box 1 A Chronological files; includes printed material, photographs, memorabilia, professional material, other items. 1. 1987-1988. [F. 1] a. Mar. 1987; newsletters of The Riverside Opera Association, Verdi=s AUn Ballo in Maschera@ (role of Amelia). b. Apr. 1987; program from Honolulu Symphony (DV on p. 23). c. Nov. 1987; program of recital at Thorne Hall. d. Jan. 1988; program of Schwabacher Debut Recitals and review clippings from the San Francisco Examiner and an unknown newspaper. e. Mar. 1988; programs re: DeMunt=s ALa Monnaie@ and R. Strauss=s AElektra@ (role of Fünfte Magd). f. Apr. 1988; magazine of The Minnesota Orchestra Showcase, program for R. Wagner=s ADas Rheingold@ (role of Wellgunde; DV on pp. 19, 21), and review clippings from the Star Tribune and the St. Paul Pioneer Press Dispatch. g. Sep. - Oct. 1988; programs re: Opera Company of Philadelphia and the International Voice Competition (finalist competition 3; DV on p. 18), and newspaper clippings. 2. 1989. [F. 2] a. DV=s itineraries. (i) For Jan. 4 - Feb. 9, TS. (ii) For the Johann Strauss Orchestra on Vienna, Jan. 5 - Jan. 30, TS, 7 p. b. Items re: California State, Fullerton recital. (i) Copy of Daily Star Progress clipping, 2/10/89. (ii) Compendium of California State, Fullerton, 2/13/89. (iii) Newspaper clipping, preview, n.d. (iv) Orange County Register preview, 2/25/89. (v) Recital flyer, 2/25/89. (vi) Recital program, program notes, 2/25/89.
  • Staged Treasures

    Staged Treasures

    Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio
  • Journal of the Conductors Guild

    Journal of the Conductors Guild

    Journal of the Conductors Guild Volume 32 2015-2016 19350 Magnolia Grove Square, #301 Leesburg, VA 20176 Phone: (646) 335-2032 E-mail: [email protected] Website: www.conductorsguild.org Jan Wilson, Executive Director Officers John Farrer, President John Gordon Ross, Treasurer Erin Freeman, Vice-President David Leibowitz, Secretary Christopher Blair, President-Elect Gordon Johnson, Past President Board of Directors Ira Abrams Brian Dowdy Jon C. Mitchell Marc-André Bougie Thomas Gamboa Philip Morehead Wesley J. Broadnax Silas Nathaniel Huff Kevin Purcell Jonathan Caldwell David Itkin Dominique Royem Rubén Capriles John Koshak Markand Thakar Mark Crim Paul Manz Emily Threinen John Devlin Jeffery Meyer Julius Williams Advisory Council James Allen Anderson Adrian Gnam Larry Newland Pierre Boulez (in memoriam) Michael Griffith Harlan D. Parker Emily Freeman Brown Samuel Jones Donald Portnoy Michael Charry Tonu Kalam Barbara Schubert Sandra Dackow Wes Kenney Gunther Schuller (in memoriam) Harold Farberman Daniel Lewis Leonard Slatkin Max Rudolf Award Winners Herbert Blomstedt Gustav Meier Jonathan Sternberg David M. Epstein Otto-Werner Mueller Paul Vermel Donald Hunsberger Helmuth Rilling Daniel Lewis Gunther Schuller Thelma A. Robinson Award Winners Beatrice Jona Affron Carolyn Kuan Jamie Reeves Eric Bell Katherine Kilburn Laura Rexroth Miriam Burns Matilda Hofman Annunziata Tomaro Kevin Geraldi Octavio Más-Arocas Steven Martyn Zike Theodore Thomas Award Winners Claudio Abbado Frederick Fennell Robert Shaw Maurice Abravanel Bernard Haitink Leonard Slatkin Marin Alsop Margaret Hillis Esa-Pekka Salonen Leon Barzin James Levine Sir Georg Solti Leonard Bernstein Kurt Masur Michael Tilson Thomas Pierre Boulez Sir Simon Rattle David Zinman Sir Colin Davis Max Rudolf Journal of the Conductors Guild Volume 32 (2015-2016) Nathaniel F.
  • FY13 Annual Report View Report

    FY13 Annual Report View Report

    ANNUAL REPORT 2012–13 3 Introduction 5 Metropolitan Opera Board of Directors 7 2012–13 Season Repertory & Events 14 2012–13 Artist Roster 15 The Financial Results 46 Patrons Introduction The Metropolitan Opera’s 2012–13 season featured an extraordinary number of artistic highlights, earning high praise for new productions, while the company nevertheless faced new financial challenges. The Met presented seven new stagings during the 2012–13 season, including the Met premieres of Thomas Adès’s The Tempest and Donizetti’s Maria Stuarda, the second of the composer’s trilogy of Tudor operas (with the third installment planned for a future season). All seven new productions, plus five revivals, were presented in movie theaters around the world as part of the Met’s groundbreaking Live in HD series, which continued to be an important revenue source for the Met, earning $28 million. Combined earned revenue for the Met (Live in HD and box office) totaled $117.3 million. This figure was lower than anticipated as the company continued to face a flat box office, complicated by the effects of Hurricane Sandy, the aftermath of which had a negative impact of approximately $2 million. As always, the season featured the talents of the world’s leading singers, conductors, directors, designers, choreographers, and video artists. Two directors made stunning company debuts: François Girard, with his mesmerizing production of Parsifal on the occasion of Wagner’s bicentennial, and Michael Mayer, whose bold reimagining of Verdi’s Rigoletto in 1960 Las Vegas was the talk of the opera world and beyond. Robert Lepage returned to direct the highly anticipated company premiere of Thomas Adès’s The Tempest, with the composer on the podium.
  • Opera Recordings: a Very Personal Guide by Ralph Moore

    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.
  • Oral History Center University of California the Bancroft Library Berkeley, California Frederica Von Stade Frederica Von Stade

    Oral History Center University of California the Bancroft Library Berkeley, California Frederica Von Stade Frederica Von Stade

    Oral History Center University of California The Bancroft Library Berkeley, California Frederica von Stade Frederica von Stade: American Star Mezzo-Soprano Interviews conducted by Caroline Crawford in 2011, 2012, 2014, 2015 Copyright © 2020 by The Regents of the University of California Oral History Center, The Bancroft Library, University of California, Berkeley ii Since 1954 the Oral History Center of The Bancroft Library, formerly the Regional Oral History Office, has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Frederica von Stade dated February 2, 2012. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley.
  • Strauss' Capriccio

    Strauss' Capriccio

    Richard Strauss’ Capriccio - A survey of the discography by Ralph Moore Strauss’ swansong opera Capriccio is not especially well represented in the catalogue; of the 22 complete recordings listed in the CLOR catalogue, only around a dozen have ever been available on CD and the rest were on video. Of those CD issues, several are no longer available and only three are studio recordings; two are radio broadcasts and the remainder are live or live composite stage performances. I consider here ten recordings, including all three of those studio accounts. The libretto was based on an original concept by Stefan Zweig, who had fled to the USA after the rise of the Nazis and committed suicide earlier in the year of the opera’s premiere, 1942. It was further developed by his successor as Strauss’ librettist, Josef Gregor, then Strauss himself took it over before passing it to his conductor friend Clemens Krauss – incidentally, possessor of one of the most blatant comb-overs in history - who completed it with continued input from the composer. The text is witty and more enjoyable if the libretto is to hand or you speak German. Like Strauss’ domestic comedy Intermezzo, Capriccio is wordy and conversational, but its intellectual and philosophical content is certainly higher and couched in some of the most sublime music Strauss ever penned. As a result, it is more popular and frequently performed than other of his late works. It is a vehicle for a supreme singer-actress with a creamy voice and a gift for enlivening text; noted performers who made recordings include Krauss’ second wife, Viorica Ursuleac, Lisa Della Casa, Elisabeth Schwarzkopf, Gundula Janowitz, Kiri Te Kanawa and, more recently, Renée Fleming.
  • 13895 Wagner News

    13895 Wagner News

    No: 218 July 2015 Wagner news Number 218 July 2015 CONTENTS 4 Report of the 2015 Wagner Society AGM Andrea Buchanan 5 From the Treasurer Neil King 6 RWVI Dessau Kongress Andrea Buchanan 7 Mythos und Utopie : The 2015 RWVI Kongress in Dessau Tom Empson 10 News of Young Artists Andrea Buchanan 12 Secret Opera: Die Walküre Katie Barnes 14 Die Walküre Act III in Cardiff Roger Lee 15 Die Walküre in Cardiff: A Wealth of Emotions Ann Massey 18 Parsifal in Berlin Peter Simpson 20 David Edwards / Mastersingers Event: Bayreuth or Bust Katie Barnes 22 Masterclasses with Dame Gwyneth Jones Katie Barnes 27 Parsifal in Birmingham Paul Dawson-Bowling 28 A Soprano’s Memories of Dame Gwyneth Jones Richard Hyland 30 A New Opera Guide to Die Meistersinger David Edwards 32 Longborough: Staging the Invisible Carmen Jakobi 34 Neal Cooper: Climbing Mount Tristan Roger Lee 37 Memories Dame Gwyneth Jones 40 Forthcoming Event: Time Becomes Space 41 Forthcoming Event: Wagner’s Shakespeare 42 Maria Radner and Oleg Bryjak Jeremy Rowe 44 Wagner Society Forthcoming Events Gillian Wyn-Thomas Cover picture: Dame Gwyneth Jones’ masterclass with Andrew Dickinson. Photo: Richard Carter Printed by Rap Spiderweb – www.rapspiderweb.com 0161 947 3700 EDITOR’S NOTE Our cover story tells of Dame Gwyneth Jones’ masterclasses with Andrew Dickinson and Mae Heydorn, winners of The President’s Award at the 2014 Wagner Society Singing Competition. Following these coaching sessions Dame Gwyneth was prompted to recall some of her own experiences as a young singer on pages 37 to 39. News on page 10 of five of the young artists who have received support from the Wagner Society / Mastersingers collaboration includes that of the arrival of a contract from Deutsche Opera for the 2014 Competition Winner Andrew Dickinson.
  • Per Bach Nissen Bass

    Per Bach Nissen Bass

    ! Per Bach Nissen Bass Danish bass, Per Bach Nissen is on the brink of a major international career. His deep, rich and voluminous voice, and commanding presence make him the perfect choice for the most demanding roles in the bass repertoire. In the 2017/18 season, Mr. Nissen will be performing Prince Gremin in Eugene Onegin with Sinfonia Selandia in Copenhagen, Zuniga in Carmen with the Danish National Opera, Cardinal Camillo in Berthold Goldschmidt’s Beatrice Cenci, and will sing in an autumn concert with the South Danish Symphony. Last season, he was seen in the title role in Boris Godunov with Undergrunden in Copenhagen, and with the Royal Danish Opera he sang Jeronimus in Maskarade and Antonio in Le nozze di Figaro. In recent seasons, Per Bach Nissen has performed Fafner in Das Rheingold and Siegfried with Opera Frankfurt, Osmin in Die Entführung aus dem Serail with The Opera Company of Philadelphia, Gremin in Eugene Onegin with Komische Oper Berlin, Il Re in Aida with Malmö Opera, Eremit in Der Freischütz and Lothario in Mignon at Holsteinisches Landestheater, Dr. Bartolo in Le Nozze di Figaro at the Concertgebouw with Opera Zuid, and The Chief of Police in Lady Macbeth of Mtsensk with the English National Opera. With Hannover State Opera, he has sung Veit Pogner in Die Meistersinger von Nürnberg, Sarastro in Die Zauberflöte, Theseus in A Midsummer Night’s Dream, Boris in Lady Macbeth from Mtsensk, and Il Gran Inquisitore in Don Carlos, Samuel in Un Ballo in Maschera, as well as Prince Gremin in Eugene Onegin. From 2007 to 2010 Mr.
  • Curriculum Vitae Ida Bieler

    Curriculum Vitae Ida Bieler

    Curriculum Vitae Ida Bieler Nationality: USA Languages spoken and written: English, German MAJOR POSITIONS Teaching Since 1993 – Robert Schumann Hochschule, Düsseldorf, Germany Full Professor for Violin and Chamber Music 1988 – 1993 Hochschule für Musik und Darstellende Kunst, Frankfurt am Main, Germany Full Professor for Violin and Director of Violin Pedagogic Department Since 2009 – Universität für Musik und Darstellende Kunst, Graz, Austria Adjunct Professor Since 2013 – University of North Carolina School of the Arts, Winston-Salem, North Carolina, USA Adjunct Professor 2005 – 2007 Guildhall School of Music and Drama, London, Great Britain Visiting Professor for Violin and Chamber Music 1983 – 1986 Hochschule für Musik Köln Abteilung Wuppertal, Germany Adjunct Faculty 1974 – 1978 Westminster Choir College, Princeton, New Jersey, USA Pre-College Violin Instructor Adjunct Faculty Orchestral 1982 – 1987 “Gürzenich-Orchester Köln”, Symphony and Opera Orchestra of Cologne, Germany Concertmaster MAJOR ENSEMBLES String Quartet 1993 – 2005 Melos Quartet, Stuttgart, Germany 2005 – 2010 Heine Quartet, Düsseldorf, Germany 1983 – 1993 van Hoven String Quartet, Cologne, Germany Piano Trio 2001 – 2015 Xyrion Piano Trio, Cologne, Germany 1985 – 1990 Mendelssohn Trio Berlin, Berlin, Germany Mixed Ensembles: Strings, Winds and Piano 2002 – 2018 Robert Schumann Ensemble, Düsseldorf, Germany 1995 – 2003 Ensemble Villa Musica, Rheinland-Pfalz, Germany 1993 – 2009 Ensemble Animabile, Düsseldorf, Germany INTERNATIONAL PERFORMING CAREER • Over 40 years
  • FY17 Annual Report View Report

    FY17 Annual Report View Report

    Annual Report 2016–17 1 2 4 Introduction 6 Metropolitan Opera Board of Directors 7 Season Repertory and Events 14 Artist Roster 16 The Financial Results 48 Our Patrons 3 Introduction In the 2016–17 season, the Metropolitan Opera continued to present outstanding grand opera, featuring the world’s finest artists, while maintaining balanced financial results—the third year running in which the company’s finances were balanced or very nearly so. The season opened with the premiere of a new production of Wagner’s Tristan und Isolde and also included five other new stagings, as well as 20 revivals. The Live in HD series of cinema transmissions brought opera to audiences around the world for the 11th year, with ten broadcasts reaching approximately 2.3 million people. Combined earned revenue for the Met (Live in HD and box office) totaled $111 million. Total paid attendance for the season in the opera house was 75%. All six new productions in the 2016–17 season were the work of distinguished directors who had previous success at the Met. The compelling Opening Night new production of Tristan und Isolde was directed by Mariusz Treliński, who made his Met debut in 2015 with the double bill of Tchaikovsky’s Iolanta and Bartók’s Bluebeard’s Castle. French-Lebanese director Pierre Audi brought his distinctive vision to Rossini’s final operatic masterpiece Guillaume Tell, following his earlier staging of Verdi’s Attila in 2010. Robert Carsen, who first worked at the Met in 1997 on his popular production of Tchaikovsky’s Eugene Onegin, directed a riveting new Der Rosenkavalier, the company’s first new staging of Strauss’s grand comedy since 1969.