Boito Mefistofele Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Boito Mefistofele mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Mefistofele Country: Germany Released: 1985 Style: Romantic, Opera MP3 version RAR size: 1373 mb FLAC version RAR size: 1830 mb WMA version RAR size: 1769 mb Rating: 4.2 Votes: 703 Other Formats: AC3 MP3 AUD FLAC VOX MPC MP2 Tracklist CD1 Prologo / Atto Primo : La Domenica Da Pasqua - Il Patto 55:12 CD2 Atto Secondo : Il Giardino - La Notte Del Sabba / Atto Terzo : La Morte Di Margherita 54:07 CD3 Atto Quarto : La Notte Del Sabba Classico - Epilogo - La Morte Di Faust 37:21 Credits Bass Vocals – Nicolai Ghiaurov Choir – London Opera Chorus, Trinity Boys Choir Chorus Master – David Squibb, Terry Edwards Conductor – Oliviero de Fabritiis Mezzo-soprano Vocals – Della Jones Orchestra – National Philharmonic Orchestra Soprano Vocals – Mirella Freni, Montserrat Caballé, Nucci Condò Tenor Vocals – Luciano Pavarotti, Piero de Palma, Robin Leggate Notes Rec. Walthamstow Town Hall, London - August 1980 & January 1982. This Recording is dedicated to the memory of Maestro Oliviero de Fabritiis. Barcode and Other Identifiers Barcode: 0 28941 01752 9 Other versions Category Artist Title (Format) Label Category Country Year LDR Mefistofele (3xLP + London LDR Boito* Netherlands 1984 73010 Box) Records 73010 Boito*, Ghiaurov*, Boito*, Ghiaurov*, Pavarotti*, Freni*, Pavarotti*, Freni*, Caballé*, National Caballé*, National Philharmonic D270D1 3 Decca D270D1 3 UK 1984 Philharmonic Orchestra, De Orchestra, De Fabritiis* - Fabritiis* Mefistofele (3xLP + Box) Boito*, Ghiaurov*, Boito*, Ghiaurov*, Pavarotti*, Freni*, Pavarotti*, Freni*, Caballé*, National Caballé*, National Philharmonic 475 6666 Philharmonic Decca 475 6666 Europe 2005 Orchestra, Oliviero Orchestra, De Fabritiis - Oliviero De Mefistofele (2xCD, Fabritiis Album, RE + Box) Boito*, Ghiaurov*, Boito*, Ghiaurov*, Pavarotti*, Freni*, Pavarotti*, Freni*, Caballé*, National Decca, Caballé*, National Philharmonic Istituto 424 752-2 424 752-2 Germany Unknown Philharmonic Orchestra, De Geografico Orchestra, De Fabritiis* - De Agostini Fabritiis* Mefistofele (CD, Album, RP) Related Music albums to Mefistofele by Boito Puccini, Sutherland, Pavarotti, Caballé, Ghiaurov, Krause, Pears, London Philharmonic Orchestra, Mehta - Turandot Highlights Sir Colin Davis, The London Symphony Orchestra - Verdi - Otello Bellini, Sutherland, Pavarotti, Cappuccilli, Ghiaurov, London Symphony Orchestra, Bonynge - I Puritani Puccini, Sutherland, Caballé, Pavarotti, Ghiaurov, London Philharmonic Orchestra, Zubin Mehta - Turandot - Highlights Verdi, Bonynge, National Philharmonic Orchestra, Pavarotti, Sutherland, Horne, Wixell, Ghiaurov - Il Trovatore Verdi, Pavarotti, Caballé, Milnes, Giaiotti, Reynolds, Van Allan, Maag, National Philharmonic - Luisa Miller Luciano Pavarotti - Bravo Pavarotti Bellini / Sutherland • Pavarotti • Ghiaurov - National Philharmonic Orchestra, Bonynge - La Sonnambula Luciano Pavarotti - Lucia Di Lammermoor / Rigoletto Giuseppe Verdi, Placido Domingo, Montserrat Caballé, Ruggero Raimondi, Shirley Verrett, Sherrill Milnes, Giovanni Foiani, Simon Estes, Orchestra Of The Royal Opera House, Covent Garden, The Ambrosian Opera Chorus, Carlo Maria Giulini - Don Carlos.

Copy Link

Recommended publications

Voice Types in Opera
Voice Types in Opera In many of Central City Opera’s educational programs, we spend some time explaining the different voice types – and therefore character types – in opera. Usually in opera, a voice type (soprano, mezzo soprano, tenor, baritone, or bass) has as much to do with the SOUND as with the CHARACTER that the singer portrays. Composers will assign different voice types to characters so that there is a wide variety of vocal colors onstage to give the audience more information about the characters in the story. SOPRANO: “Sopranos get to be the heroine or the princess or the opera star.” – Eureka Street* “Sopranos always get to play the smart, sophisticated, sweet and supreme characters!” – The Great Opera Mix-up* A soprano is a woman’s voice type. There are many different kinds of sopranos within the general category: coloratura, lyric, and spinto are a few. Coloratura soprano: Diana Damrau as The Queen of the Night in The Magic Flute (Mozart): https://youtu.be/dpVV9jShEzU Lyric soprano: Mirella Freni as Mimi in La bohème (Puccini): https://youtu.be/yTagFD_pkNo Spinto soprano: Leontyne Price as Aida in Aida (Verdi): https://youtu.be/IaV6sqFUTQ4?t=1m10s MEZZO SOPRANO: “There are also mezzos with a lower, more exciting woman’s voice…We get to be magical or mythical characters and sometimes… we get to be boys.” – Eureka Street “Mezzos play magnificent, magical, mysterious, and miffed characters.” – The Great Opera Mix-up A mezzo soprano is a woman’s voice type. Just like with sopranos, there are different kinds of mezzo sopranos: coloratura, lyric, and dramatic.
[Show full text]
OPERA-AIDA-2019-Presentation-Перетворено.Pdf
The conductor Oksana Lyniv ⚫ She is considered one of the world’s great female conductors. ⚫ She frequently conducts at opera houses, symphony orchestras, and music festivals—including the Bavarian State Opera and Barcelona’s Gran Teatre del Liceu—throughout Europe. ⚫ She was recently named director of the Graz Opera in Austria, being the first woman to hold that position. sae-kyung rim <Aida> ◆ She is the great adventurer of modern sopranos: a voice to die for, but coupled with absurd creative ambition and tremendous humor. ◆ she studied singing at the Giuseppe Verdi Conservatory in Milan and at the Teatro alla Scala Academy with Leyla Gencer. ◆ Rim's inclusion as one of six sopranos to play the role Aida at Arena Di Verona Italy. ◆ she has performed Aida at Arena di Verona, Seoul, Klagenfurt, Munich and Tokyo. Mickeal Spadaccini <Radames> ⚫ The combination of being tall, dark and handsome and in possession of a superlative tenor voice is rare in the opera world, but Spadaccini had it all. ⚫ Mickael Spadaccini was born on 1984 in Charleroi, Belgium. he studied singing at the “Verdi Accademia” in Busetto with Carlo Bergonzi and at the “Universita del bel canto” in Modena with Mirella Freni. ⚫ Mickael Spadaccini has won the Prize of Nicolai Ghiaurov (2006), 1st Prize at the opera competition at Théâtre de Spa (2007) ⚫ Marvelous purity of tone and breathtaking virtuosity make his singing irresistible, coupled with good looks and delight in performance. Aris Argiris Aris Argiris will play the role of Amonasro, the King of Ethiopia in our performance. Aris Argiris was born in Greece, studied in Munich and is Professor at Akademie der Schönen Künste in Berlin.
[Show full text]
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.
[Show full text]
April 1 & 3, 2021 Walt Disney Theater
April 1 & 3, 2021 Walt Disney Theater FAIRWINDS GROWS MY MONEY SO I CAN GROW MY BUSINESS. Get the freedom to go further. Insured by NCUA. OPERA-2646-02/092719 April 16, 2021 - May 7, 2021 Available via a private link on YouTube $25 per household Access via www.operaorlando.org/carmen Opera Orlando’s Carmen On the MainStage at Dr. Phillips Center | April 2021 Dear friends, Carmen is finally here! Although many plans have changed over the course of the past year, we have always had our sights set on Carmen, not just because of its incredible music and compelling story but more because of the unique setting and concept of this production in particular - 1960s Haiti. So why transport Carmen and her friends from 1820s Seville to 1960s Haiti? Well, it all just seemed to make sense, for Orando, that is. We have a vibrant and growing Haitian-American community in Central Florida, and Creole is actually the third most commonly spoken language in the state of Florida. Given that Creole derives from French, and given the African- Carribean influences already present in Carmen, setting Carmen in Haiti was a natural fit and a great way for us to celebrate Haitian culture and influence in our own community. We were excited to partner with the Greater Haitian American Chamber of Commerce for this production and connect with Haitian-American artists, choreographers, and academics. Since Carmen is a tale of survival against all odds, we wanted to find a particularly tumultuous time in Haiti’s history to make things extra difficult for our heroine, and setting the work in the 1960s under the despotic rule of Francois Duvalier (aka Papa Doc) certainly raised the stakes.
[Show full text]
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
[Show full text]
Ritorna Vincitor!
CG1009 Degree Project, Bachelor, Classical Music, 15 credits 2014/15 Degree of Bachelor in Music Department of Classical Music Supervisor: David Thyrén Examiner: Peter Berlind Carlson Armi Harinen Ritorna vincitor! Interpretation of an aria in the opera Aida by Verdi The recorded element of this thesis is available at the library of the Royal College of Music in Stockholm. Summary This examination essay is a study of the aria Ritorna vincitor! from the opera Aida by composer Giuseppe Verdi. The aim of this study is to address the vocal and interpretational questions that may arise while learning the aria. My work with this essay has included searching for information about Verdi, the opera Aida and the cultural, political and musical climate wherein the opera was born. I have also watched the opera and listened to several versions of the aria. I concentrated especially on the interpretations of Mirella Freni, Leontyne Price and Maria Callas. I also created a musical analysis of the aria. Throughout the process of writing this essay I have kept in my mind my own perspective as a singer. I have formed my study from the information I find useful in the process of approaching a new piece of music. The process of writing this essay has provided me with a lot of insight into the musical ideals and ideas behind Verdi’s work. Writing this essay made me aware of the dilemma of fulfilling the vocal expectations of the tradition and at the same time interpreting the drama convincingly. I have found a lot of useful material for a singer’s artistic development and all that I have learned will certainly come into use in my future vocal studies.
[Show full text]
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.
[Show full text]
La Bohème Puccini
LA BOHÈME PUCCINI 11 Fitxa 12 Repartiment Argument 17 Teresa Lloret 31 English Synopsis Sobre la producció 37 Jonathan Miller Bohèmia pucciniana nald Cooper. 39 Jaume Radigales La bohème: entre el positivisme i 49 l’idealisme romàntic Aina Vega Cronologia 62 Jordi Fernández M. Testimoni 75 Mirella Freni La bohème al Liceu 79 Jaume Tribó Selecció discogràfica 87 Javier Pérez Senz Bibliografia recomanada 90 Aleix Pratdepàdua de la producció de Jonathan Miller per a l’English National Opera. Foto: Do Biografies 94 Aina Vega La bohème Escena del segon quadre de LA BOHÈME Òpera en quatre quadres. Llibret de Giuseppe Giacosa i Luigi Illica, basat en Scènes de la vie de bohème d’Henri Murger. Estrenes 1 de febrer de 1896: Teatro Regio de Torí 10 d’abril de 1898: Gran Teatre del Liceu 19 de març de 2012: darrera representació al Liceu Total de representacions en la programació del Liceu: 257 06 /2016 Torn 07 /2016 Torn 18 20.00 h C 1 20.00 h E 19 18.00 h PD 2* 18.00 h F 20 20.00 h A 3 17.00 h T 21 20.00 h PC 6 20.00 h D 22 20.00 h PA 7 20.00 h PE 27 20.00 h H 8 20.00 h PB 28 20.00 h G 30 20.00 h B Durada aproximada: 2 h. i 20 min. (*): Amb audiodescripció liceubarcelona.cat 12 pàg. Repartiment 13 Temporada 2015/16 juny/juliol 2016 Direcció musical Marc Piollet M i m ì Tatiana Monogarova (18, 20, 22, 28 de juny, 1, 3 i 7 de juliol) Direcció d’escena i coreografia Jonathan Miller Eleonora Buratto (19, 21, 27, 30 de juny, 2, 6 i 8 de juliol) Directora de reposició Natascha Metherell Musetta Nathalie Manfrino (18, 20, 22, 28 de juny, 1, 3 i 7 de juliol)
[Show full text]
Opera up Close Youtube Playlist Bit.Ly/Operaupclosecco
Opera Up Close YouTube Playlist bit.ly/operaupcloseCCO All answers to the “what language are they singing?” questions are at the bottom of this list. 1. “What Happens Just Before Show Time At The Met Opera” https://youtu.be/GdUScE7VZq8 The American Ballet Theater shows us what happens before their performance of WHIPPED CREAM at the Met. Notice how many people it takes to put on a show! Make sure to read all the fun pop-up text as the camera zooms through the opera house. Pay close attention to the wigs and makeup, scene shop, and wardrobe (costume) departments. Did you know that wigs and facial hair are made out of real human hair? WOW! And look at how big that stage is. It’s so big that a set as big as a building can fit on it. What’s your favorite thing or person that you spot backstage? 2. COLORATURA SOPRANO - The Queen of the Night from THE MAGIC FLUTE – Diana Damrau https://youtu.be/YuBeBjqKSGQ You will hear a wonderful example of “coloratura soprano” singing in this video. A coloratura soprano sings high, light, and fast notes and has the highest voice of all sopranos and treble voices. This is German soprano Diana Damrau as The Queen of the Night in Mozart’s THE MAGIC FLUTE. Notice how her upper body fully engages (moves) when she sings the high and fast notes. Can you sing this high? What language is Diana Damrau singing? 3. LYRIC SOPRANO - Mimi from LA BOHÈME – Angel Blue https://youtu.be/XacspEL_3Zk Another kind of soprano is a “lyric soprano.” A lyric soprano sings high notes, too, but these voices are not comfortable singing as high for as long of a time period as coloratura sopranos, and the color of the voice is different.
[Show full text]
Manon Lescaut
July 9, 2020 – Giacomo Puccini’s Manon Lescaut A spoiled teenager gets her just desserts, dying in a desert in this week’s Thursday Night Opera House: Giacomo Puccini’s Manon Lescaut. The composer’s first commercially successful opera, it had its premiere in Turin, Italy, on February 1, 1893. The story is based on the 1731 novel L’histoire du chevalier des Grieux et de Manon Lescaut by Antoine François Prévost, better known as the Abbé Prévost. The libretto, while more faithful to Prévost than Jules Massenet’s Manon (1884), sentimentalizes Manon and Des Grieux. The story begins in eighteenth-century France and ends a few years later in the Louisiana territory that President Thomas Jefferson would purchase for America. The teenaged Manon (soprano Mirella Freni), accompanied by her brother Lescaut (baritone Renato Bruson), is on her way to a convent. She meets and falls in love with the Chevalier des Grieux (tenor Plácido Domingo) and, taking the coach of the elderly Geronte (bass Kurt Rydl)—who had himself hoped to use it to abduct Manon—the couple go to Paris. After a while, Manon is seduced by the wealth offered by Geronte and leaves Des Grieux. They are later reunited and decide to go away together; but, before leaving, Manon stops to pick up her jewelry, the gift of Geronte. This delay leads to their arrest by agents hired by Geronte, and Manon is sentenced to deportation to New Orleans. Des Grieux gains permission to accompany her, helps Manon escape in America, and they go in search of an English colony.
[Show full text]
The Verdi Requiem - a Partial Survey of the Discography by Ralph Moore
The Verdi Requiem - A Partial Survey of the Discography by Ralph Moore The circumspect title of my survey arises from the fact that although over eighty recordings are listed in the Wikipedia discography (see also MWI Masterwork Index) it is not complete and there are probably many more circulating in the form of private recordings on what used to be called “pirate” labels. For instance, in my own comparatively modest collection of thirty-five recordings are a live Karajan performance from 1970 on the “Gala” label, the Naxos release conducted by Morandi and the LSO Live recording conducted by Colin Davis, none of which is included in that Wiki list. The Karajan recording is superb but, unfortunately, in muddy mono sound and while the Naxos double CD makes a good super-bargain “starter suggestion”, it is not as good as many of the recordings discussed below. Furthermore, I have discarded some dozen or so which I came to regard as “shelf-cloggers”, insofar as I had no desire to play them again, so I am able to venture an opinion and express some preferences but am by no means in any position to make definitive statements about “best” recordings, even if I desired to do so. Besides, individual taste in performers and personal convictions regarding how this work should be approached and sound will govern others’ choices; all I propose to do is provide some assessment of those recordings with which I am familiar. I have often encountered fellow music-lovers who have no taste for Verdi’s operas but still enjoy the Requiem, which is amusing as the work surely merits what some construe as the derogatory label of “Verdi’s greatest opera”.
[Show full text]
A Much Loved Opera: La Bohème
A MUCH LOVED OPERA: LA BOHÈME Presented by George Kurti Plohn The title of this opera is not meant to be translated, we simply call it by its French name La bohème. Granted, in English it would be The bohemian. But what is its meaning? In our context, certainly it is not about somebody in the region of Bohemia, in the Czech Republic - I hasten to say - but rather people who practice an unconventional lifestyle, often in the company of like-minded people, with few permanent ties, and practicing free love. It involves musical, artistic, literary or spiritual pursuits. Puccini, the composer of La bohème, in his own private life was also a sort of bohemian himself. In his twenties, he went to Milan from his hometown, Lucca, and he studied hard there, while he was penniless and hungry most of the time. And he was also a great womanizer, which reached its highest point in the autumn of 1884, when at 36, he began a relationship with a 24 year old married woman named Elvira Gemignani. Elvira's husband, Narciso Gemignani, was himself an unrepentant philanderer, and Elvira's marriage was not a happy one. Elvira became pregnant by Puccini, and a son, Antonio, resulted from this affair. Elvira, Antonio and Elvira's daughter by Narciso, Fosca, began to live with Puccini shortly afterwards, when Narciso was killed by the husband of a woman that Narciso had an affair with. Only then, in early 1904, were Puccini and Elvira able to marry, and to legitimize Antonio. But the marriage between Puccini and Elvira was also troubled by infidelity, as Puccini had frequent parallel affairs himself, including with well-known singers such as the famous Austrian soprano Maria Jeritza, the Czech operatic legend Emmy Destinn, the Italian soprano Cesira Ferrani who was to sing Mimi’s role in La bohème at its premiere, and the outstanding Romanian-born soprano Hariclea Darclée.
[Show full text]