Verdi Messa Da Requiem / Quattro Pezzi Sacri Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

Verdi Messa Da Requiem / Quattro Pezzi Sacri Mp3, Flac, Wma Verdi Messa Da Requiem / Quattro Pezzi Sacri mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Messa Da Requiem / Quattro Pezzi Sacri Country: UK & Europe Released: 1997 Style: Classical MP3 version RAR size: 1870 mb FLAC version RAR size: 1942 mb WMA version RAR size: 1921 mb Rating: 4.3 Votes: 511 Other Formats: TTA MP1 ASF AUD AA AC3 APE Tracklist Messa da Requiem 1-1 Requiem æternam 5:36 1-2 Kyrie Eleison 3:54 1-3 Dies Iræ 2:11 1-4 Tuba Mirum - Mors Stupebit 3:03 1-5 Liber Scriptus - Dies Iræ 5:08 1-6 Quid Sum Miser 3:52 1-7 Rex Tremendæ 3:58 1-8 Recordare 4:16 1-9 Ingemisco 3:49 1-10 Confutatis Maledictis - Dies Iræ 5:30 1-11 Lacrimosa 6:37 1-12 Domine Jesu Christe 4:54 1-13 Hostias Et Preces 6:01 1-14 Sanctus 2:48 1-15 Agnus Dei 5:19 2-1 Lux Aeterna 6:53 2-2 Libera Me 13:41 Quattro Pezzi Sacri 2-3 Ave Maria 5:57 2-4 Stabat Mater 13:24 2-5 Laudi Alla Vergine 5:49 2-6 Te Deum 15:42 Companies, etc. Phonographic Copyright (p) – EMI Records Ltd. Copyright (c) – EMI Records Ltd. Credits Chorus – Philharmonia Chorus Chorus Master – Wilhelm Pitz Composed By – Giuseppe Verdi Conductor – Carlo Maria Giulini Orchestra – Philharmonia Orchestra Vocals – Christa Ludwig (tracks: 1-1 - 1-14 + 2-1 - 2-2), Elisabeth Schwarzkopf (tracks: 1-1 - 1-14 + 2-1 - 2-2), Janet Baker (tracks: 2-3 - 2-6), Nicolai Gedda (tracks: 1-1 - 1-14 + 2-1 - 2-2), Nicolai Ghiaurov (tracks: 1-1 - 1-14 + 2-1 - 2-2) Notes Original recordings 1964 (Requiem) & 1963 (Quattro Pezzi Sacri) Re-release "EMI 1897-1997 100 Years Of Great Music" Barcode and Other Identifiers Barcode (scanned): 724355625021 Other versions Category Artist Title (Format) Label Category Country Year Verdi*, Schwarzkopf*, Verdi*, Ludwig*, Gedda*, Schwarzkopf*, Ghiaurov*, Baker*, Ludwig*, Gedda*, Philharmonia Chorus & 7243 5 EMI 7243 5 Ghiaurov*, Baker*, Orchestra*, Carlo Maria UK 2001 67560 2 1 Classics 67560 2 1 Philharmonia Chorus Giulini - Messa Da & Orchestra*, Carlo Requiem / Quattro Pezzi Maria Giulini Sacri (2xCD, Album, RM) Verdi*, Philharmonia Verdi*, Philharmonia Orchestra, Orchestra, Philharmonia Philharmonia Chorus, Chorus, Carlo Maria Carlo Maria Giulini, Giulini, Elisabeth Elisabeth Schwarzkopf, 79 623 Parnass 79 623 Germany Unknown Schwarzkopf, Christa Ludwig, Nicolai Christa Ludwig, Gedda, Nicolai Nicolai Gedda, Ghiaurov, Janet Baker - Nicolai Ghiaurov, Requiem / Quattro Pezzi Janet Baker Sacri (3xLP + Box) Verdi*, Elisabeth Verdi*, Elisabeth Schwarzkopf, Christa Schwarzkopf, Ludwig, Nicolai Gedda, Christa Ludwig, Nicolai Ghiaurov, Janet Nicolai Gedda, 50999 0 Baker, Philharmonia EMI 50999 0 Nicolai Ghiaurov, Europe 2011 85219 2 7 Chorus & Orchestra*, Classics 85219 2 7 Janet Baker, Carlo Maria Giulini - Philharmonia Chorus Messa Da Requiem / & Orchestra*, Carlo Quattro Pezzi Sacri Maria Giulini (2xCD, Comp, RE, RM) Verdi*, Elisabeth Verdi*, Elisabeth Schwarzkopf, Christa Schwarzkopf, Ludwig, Nicolai Gedda, Christa Ludwig, Nicolai Ghiaurov, Janet Warner 50999 0 Nicolai Gedda, Baker, Philharmonia 50999 0 Classics, 85219 2 7, Nicolai Ghiaurov, Chorus & Orchestra*, 85219 2 7, Europe Unknown Warner 0 85219 2 Janet Baker, Carlo Maria Giulini - 0 85219 2 Classics Philharmonia Chorus Messa Da Requiem • & Orchestra*, Carlo Quattro Pezzi Sacri Maria Giulini (2xCD, Comp, Enh, RE, RM) Verdi* - Carlo Maria Verdi* - Carlo Maria Giulini, Schwarzkopf*, Giulini, Ludwig*, Gedda*, Schwarzkopf*, Ghiaurov* / Baker*, 7243 5 EMI 7243 5 Ludwig*, Gedda*, Philharmonia Chorus & US 2001 67563 2 8 Classics 67563 2 8 Ghiaurov* / Baker*, Orchestra* - Messa Da Philharmonia Chorus Requiem / Quattro Pezzi & Orchestra* Sacri (2xCD, Comp, RM) Related Music albums to Messa Da Requiem / Quattro Pezzi Sacri by Verdi Verdi, Elisabeth Schwarzkopf, Christa Ludwig, Nicolai Gedda, Nicolai Ghiaurov, Philharmonia Orchestra, Philharmonia Chorus, Carlo Maria Giulini - Requiem Giuseppe Verdi / Herbert Von Karajan / Berliner Philharmoniker / Mirella Freni / Christa Ludwig / Wiener Singverein / Nicolai Ghiaurov / Carlo Cossutta - Messa Da Requiem Verdi / The Philharmonia Chorus, Philharmonia Orchestra, Carlo Maria Giulini - Four Sacred Pieces (Quattro Pezzi Sacri) Wolfgang Amadeus Mozart - Philharmonia Chorus & Orchestra, Carlo Maria Giulini, Lynne Dawson, Jard Van Nes, Keith Lewis , Simon Estes - Requiem Mozart - Edith Mathis, Grace Bumbry, George Shirley, Marius Rintzler, New Philharmonia Orchestra And Chorus, Rafael Frühbeck De Burgos - Requiem D-Moll KV 626 Giuseppe Verdi - Messa Da Requiem Verdi, Boston Symphony Orchestra, Leinsdorf - Requiem Wolfgang Amadeus Mozart - Requiem Verdi, Claudio Abbado, Katia Ricciarelli, Shirley Verrett, Placido Domingo, Nicolai Ghiaurov, Coro E Orchestra Del Teatro Alla Scala, Romano Gandolfi - Requiem Gabriel Fauré / Antonín Dvořák - Les Chefs-d'œuvre De La Musique Sacrée : Requiem.
Recommended publications
  • 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]
  • A Culture of Recording: Christopher Raeburn and the Decca Record Company
    A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon.
    [Show full text]
  • 07 – Spinning the Record
    VI. THE STEREO ERA In 1954, a timid and uncertain record industry took the plunge to begin investing heav- ily in stereophonic sound. They were not timid and uncertain because they didn’t know if their system would work – as we have seen, they had already been experimenting with and working the kinks out of stereo sound since 1932 – but because they still weren’t sure how to make a home entertainment system that could play a stereo record. Nevertheless, they all had their various equipment in place, and so that year they began tentatively to make recordings using the new medium. RCA started, gingerly, with “alternate” stereo tapes of monophonic recording sessions. Unfortunately, since they were still uncertain how the results would sound on home audio, they often didn’t mark and/or didn’t file the alternate stereo takes properly. As a result, the stereo versions of Charles Munch’s first stereo recordings – Berlioz’ “Roméo et Juliette” and “Symphonie Fanastique” – disappeared while others, such as Fritz Reiner’s first stereo re- cordings (Strauss’ “Also Sprach Zarathustra” and the Brahms Piano Concerto No. 1 with Ar- thur Rubinstein) disappeared for 20 years. Oddly enough, their prize possession, Toscanini, was not recorded in stereo until his very last NBC Symphony performance, at which he suf- fered a mental lapse while conducting. None of the performances captured on that date were even worth preserving, let alone issuing, and so posterity lost an opportunity to hear his last half-season with NBC in the excellent sound his artistry deserved. Columbia was even less willing to pursue stereo.
    [Show full text]
  • Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
    (De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification.
    [Show full text]
  • Charles Gounod Faust Mp3, Flac, Wma
    Charles Gounod Faust mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Faust Country: Yugoslavia Released: 1981 Style: Opera MP3 version RAR size: 1390 mb FLAC version RAR size: 1293 mb WMA version RAR size: 1202 mb Rating: 4.5 Votes: 795 Other Formats: ADX DXD APE DTS MP4 VOC MP2 Tracklist Side 1 Introduction & Act I 23:22 Side 2 Act II 27:03 Side 3 Act III (Beginning) 23:45 Side 4 Act III (Conclusion) 24:49 Side 5 Act IV (Beginning) 21:38 Side 6 Act IV (Conclusion) 21:45 Side 7:1 Act V, Scene I 10:46 Side 7:2 Act V, Scene II 16:31 Side 8 Appendi: Ballet Music 17:50 Notes booklet Other versions Category Artist Title (Format) Label Category Country Year Charles Gounod, Charles Gounod, Placido Domingo, Placido Domingo, Mirella Freni, Nicolai Angel SZDX-3868 Mirella Freni, SZDX-3868 US 1979 Ghiaurov, Georges Records Nicolai Ghiaurov, Prêtre - Faust (4xLP, Georges Prêtre Album) Charles Gounod, Charles Gounod, Placido Domingo, Placido Domingo, SLS 5170, EMI, His SLS 5170, Mirella Freni, Mirella Freni, Nicolai ASD Master's ASD UK 1979 Nicolai Ghiaurov, Ghiaurov, Thomas 3765/6/7/8 Voice 3765/6/7/8 Thomas Allen, Allen, Georges Prêtre Georges Prêtre - Faust (4xLP, Album) Charles Gounod, Charles Gounod, Placido Domingo, Placido Domingo, 1C 157-03 Mirella Freni, Mirella Freni, Nicolai 1C 157-03 EMI Germany 1979 574/77 Nicolai Ghiaurov, Ghiaurov, Thomas 574/77 Thomas Allen, Allen, Georges Prêtre Georges Prêtre - Faust (4xLP, Album) Pathé 2C Marconi 2C Gounod* Faust (4xLP) France 1979 165-03574/7 EMI, 165-03574/7 Chatou Gounod* - Georges
    [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]
  • 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]
  • Decca Discography
    DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982.
    [Show full text]
  • Verdi's Simon Boccanegra: a Survey of the Discography
    Verdi’s Simon Boccanegra: A survey of the discography by Ralph Moore I think of Simon Boccanegra as something of a connoisseur’s opera, insofar as it surely contains some of Verdi’s most inspired music, yet has from its premiere rightly been criticised for its labyrinthine plot – a caricature of typically operatic complications – and its consequent lack of accessibility for audiences. For that reason, the first version soon fell out of favour after its 1857 premiere, but Verdi, no doubt with justification, thought highly enough of the music to undertake a revision twenty-three years later with the help of Arrigo Boito, and the result, the 1881 version, is the one almost invariably performed today. The most important addition was the Council Chamber Scene; the opera would be much the poorer without it, but Verdi also revised a good deal of the music to render it far more ductile and atmospheric. The opera presents an admixture of personal and political turmoil such as we encounter in other mature operas like Les vêpres siciliennes and Don Carlos, but also capitalises on two archetypal themes very prevalent in Verdi’s operas and to which he frequently returned, both of which prompted the best of his music: the depiction of a loving but tortured father-daughter relationship of the kind we also see in Luisa Miller, Rigoletto and Aida and his concern for statesmanship, as exhibited in the appeals for peace, patriotism and brotherhood, rallying calls stretching right back to his earliest operas, such as Nabucco, I Lombardi, Attila and La battaglia di Legnano.
    [Show full text]
  • Giuseppe Verdi Macbeth (Arien Und Szenen) Mp3, Flac, Wma
    Giuseppe Verdi MacBeth (Arien Und Szenen) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: MacBeth (Arien Und Szenen) Country: Germany Released: 1971 MP3 version RAR size: 1786 mb FLAC version RAR size: 1923 mb WMA version RAR size: 1871 mb Rating: 4.3 Votes: 120 Other Formats: VOC AC3 MP2 AA MMF APE MPC Tracklist A1 Nel Di Della Vittoria ... Vieni! T'affreta! Accender Ti Vó A2 Regna Il Sonno Su Tutti... Fatal Mia Donna! Un Murmure A3 La Luce Langue A4 Studia Il Passo, O Mio Figlio... Come Dal Ciel Precipita A5 Che Ti Scosta, O Re Mio Sposo B1 Finchè Appelli, Silenti M'attendete B2 Patria Opressa! B3 O Figli, O Figi Miei!.... Ah La Paterna Mano B4 Vegliamo Invan Due Notti B5 Una Macchia È Qui Tuttora B6 Pietà, Rispetto, Amore B7 Vittoria! Vittoria! Companies, etc. Manufactured By – TELDEC »Telefunken-Decca« Schallplatten GmbH Credits Baritone Vocals – Dietrich Fischer-Dieskau, Peter Marsland Bass Vocals – Nicolai Ghiaurov, Raymond Myers Chorus – Ambrosian Opera Chorus* Chorus Master – John McCarthy Composed By – Giuseppe Verdi Conductor – Lamberto Gardelli Liner Notes – Hans Christoph Worbs Mezzo-soprano Vocals – Helen Lawrence Orchestra – London Philharmonic Orchestra* Soprano Vocals – Andrew Dance, Elena Suliotis*, John Noble Tenor Vocals – Luciano Pavarotti, Ricardo Cassinelli Other versions Category Artist Title (Format) Label Category Country Year Verdi*, Souliotis*, Fischer- Verdi*, Souliotis*, Dieskau*, Pavarotti*, Fischer-Dieskau*, Ghiaurov*, The Ambrosian Pavarotti*, Ghiaurov*, The SET 539 Opera Chorus, London
    [Show full text]
  • La Dolce Vita
    The class of 2006 at the Solti Accademia La dolce vita During an intense fortnight on the Tuscan coast, budding opera stars from all over the of the Accademia to potential End Opera, does two days of drama sponsors, but Lady Solti herself is coaching, and Italian language is world discover that in Italy bel canto is more very involved, taking a personal polished by the precise, organised interest in the progress of the Pepi Ferrari and the livewire Cor- than a style of singing – it’s a way of life. singers and appearing in public to radina Caporello, a teacher at the Amanda Holloway drops in on the participants promote the course. A highlight of Juilliard and Curtis Schools. this year’s session has been a day Singers this year come from as they are put through their paces… of relaxation for the singers in the China, Japan, Mexico, Sweden, swimming pool and grounds of Poland, Canada, Russia and Great the Solti villa. Britain, and pianists from South t’s a late August afternoon in the much for their resilience as their If it sounds luxurious, the Accad- Africa and New Zealand. According Iseaside town of Castiglione della wonderful voices (‘that goes with- emia is actually run on a shoestring, to the coaches, each nationality has Pescaia, Tuscany. Light streams out saying,’ Jonathan Papp reminds reliant on goodwill and the energy its own problems with Italian. For through the window of the small me). An international pianist and of chief executive Candice Wood. A some it’s the pronunciation of the library where Mirella Freni, one of accompanist and vocal coach at the charming, tenacious English consonants – Chinese speakers can’t the world’s greatest bel canto Royal Academy of Music, Papp set brunette married to an Italian, hear the ‘l’ and the ‘r’, the Dutch and sopranos, is giving a masterclass to up the Accademia with Italian lan- Wood is adept at cutting through Russians sing from halfway down a group of young singers.
    [Show full text]
  • Simon Boccanegra
    Giuseppe Verdi Simon Boccanegra CONDUCTOR Opera in a prologue and three acts James Levine Libretto by Francesco Maria Piave and Arrigo PRODUCTION Boito after the play by Antonio García Gutiérrez Giancarlo del Monaco Saturday, February 6, 2010, 1:00–4:20 pm SET AND COSTUME DESIGNER Michael Scott Last time this season LIGHTING DESIGNER Wayne Chouinard STAGE DIRECTOR The production of Simon Boccanegra is made Peter McClintock possible by a generous gift from the estate of Anna Case Mackay. Additional funding was received from the Metropolitan Opera Club, the Annie Laurie Aitken Charitable Trust, The Eleanor Naylor Dana Charitable Trust, and Mr. and Mrs. Paul M. Montrone. The revival of this production was made possible by a gift from Barbara Augusta Teichert. GENERAL MANAGER Peter Gelb MUSIC DIRECTOR James Levine 2009–10 Season The 134th Metropolitan Opera performance of Giuseppe Verdi’s Simon This performance is being broadcast Boccanegra live over The Toll Brothers– Metropolitan Opera Conductor International James Levine Radio Network, sponsored by in o r d e r o f v o c a l a p p e a r a n c e Toll Brothers, America’s luxury Paolo Albiani Gabriele Adorno ® homebuilder , Stephen Gaertner Marcello Giordani with generous long-term Pietro Amelia’s lady-in-waiting support from Richard Bernstein Joyce El-Khoury* The Annenberg Foundation, the Simon Boccanegra A captain Vincent A. Stabile Plácido Domingo Adam Laurence Endowment for Herskowitz Broadcast Media, Jacopo Fiesco, also and contributions known as Andrea from listeners James Morris worldwide. Maria, daughter of Simon Boccanegra, This performance also known as Amelia is also being Grimaldi broadcast live Adrianne Pieczonka on Metropolitan Opera Radio on SIRIUS channel 78 and XM channel 79.
    [Show full text]