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Comunicat Intern
LICEU A LA FRESCA - LA TRAVIATA Giuseppe Verdi Òpera en tres actes. Llibret de Francesco Maria Piave basat en La dame aux camélias d’Alexandre Dumas fill . Gran Teatre del Liceu. Temporada 2014/15 Dissabte 18 de juliol Inici espectacle a les 20h Inici retransmissió Liceu a la Fresca: 21:30h Òpera en texans. Programa sobre La traviata 22h Inici de la retransmissió de l’òpera Durada aproximada: 3h Violetta Valéry Anita Hartig Flora Bervoix Gemma Coma-Alabert Annina Miren Urbieta Vega Alfredo Germont Ismael Jordi Giorgio Germont, el seu pare Leo Nucci Gastone, vescomte de Letorières Jorge Rodríguez-Norton Baró Douphol Toni Marsol Marquès d’Obigny Marc Canturri Doctor Grenvil Fernando Radó Giuseppe, servent de Violetta José Luis Casanova Criat de Flora Miquel Rosales Comissionat Mariano Viñuales Direcció musical Evelino Pidò Direcció d’escena David McVicar Escenografia i vestuari Tanya McCallin Il·luminació Jennifer Tipton Coreografia Andrew George Assistents de la direcció d’escena Marie Lambert i Leo Castaldi Nova coproducció Gran Teatre del Liceu / Scottish Opera (Glasgow) Welsh National Opera (Cardiff) / Teatro Real (Madrid) Orquestra Simfònica i Cor del Gran Teatre del Liceu Direcció del Cor Conxita Garcia Municipis participants Arenys de Mar, Barcelona, Cervera, Girona, Igualada, Lleida, Martorell, Puigcerdà, Tordera, Tortosa, Valls, Vielha 1 ARGUMENT Per David McVicar, director d’escena de La traviata L’acció té lloc a París al segle XIX. ACTE I. A l’apartament de Violetta Violetta Valéry, una coneguda cortesana, ha organitzat una festa per celebrar la seva recuperació d’una greu malaltia. Gastone de Letorières presenta Alfredo Germont a la seva jove i tímida amiga, i assabenta Violetta que ha trucat cada dia interessant-se per la seva salut. -
17.2. Cylinders, Ed. Discs, Pathes. 7-26
CYLINDERS 2M WA = 2-minute wax, 4M WA= 4-minute wax, 4M BA = Edison Blue Amberol, OBT = original box and top, OP = original descriptive pamphlet. Repro B/T = Excellent reproduction Edison orange box and printed top. All others in clean, used boxes. Any mold on wax cylinders is always described. All cylinders not described as in OB (original box with generic top) or OBT (original box and original top) are boxed (most in good quality boxes) with tops and are standard 2¼” diameter. All grading is visual and refers to the cylinders rather than the boxes. Any major box problems are noted. CARLO ALBANI [t] 1039. Edison BA 28116. LA GIOCONDA: Cielo e mar (Ponchielli). Repro B/T. Just about 1-2. $30.00. MARIO ANCONA [b] 1001. Edison 2M Wax B-41. LES HUGUENOTS: Nobil dama (Meyerbeer). Announced by Ancona. OBT. Just about 1-2. $75.00. BLANCHE ARRAL [s] 1007. Edison Wax 4-M Amberol 35005. LE COEUR ET LA MAIN: Boléro (Lecocq). This and the following two cylinders are particularly spirited performances. OBT. Slight box wear. Just about 1-2. $50.00. 1014. Edison Wax 4-M Amberol 35006. LA VÉRITABLE MANOLA [Boléro Espagnole] (Bourgeois). OBT. Just about 1-2. $50.00. 1009. Edison Wax 4-M Amberol 35019. GIROLFÉ-GIROFLA: Brindisi (Lecocq). OBT. Just about 1-2. $50.00. PAUL AUMONIER [bs] 1013. Pathé Wax 2-M 1111. LES SAPINS (Dupont). OB. 2. $20.00. MARIA AVEZZA [s]. See FRANCESCO DADDI [t] ALESSANDRO BONCI [t] 1037. Edison BA 29004. LUCIA: Fra poco a me ricovero (Donizetti). -
VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item
VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just the slightest marks. For collectors searching top copies, you’ve come to the right place! The further we get from the time of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually with a translation of the text or similarly related comments. BESSIE ABOTT [s]. Riverdale, NY, 1878-New York, 1919. Following the death of her father which left her family penniless, Bessie and her sister Jessie (born Pickens) formed a vaudeville sister vocal act, accompanying themselves on banjo and guitar. Upon the recommendation of Jean de Reszke, who heard them by chance, Bessie began operatic training with Frida Ashforth. She subsequently studied with de Reszke him- self and appeared with him at the Paris Opéra, making her debut as Gounod’s Juliette. -
Carmen • Geor~Es Bizet I Vespri Siciliani • Gjuseppe Verdi Macbeth • Giuseppe Verdi Don Juan • Wolfgang A
~ran 'leeatro bel JLtceo (fmpresa:jfuan ~ . ~amtas Jlj}arcelona ~emporaba be ®pera 1974 "' 75 Falstaff • Giuseppe Verdi Anna Bolena • Gaetano Donizetti Otello • Giuseppe Verdi Don Pasquale • Gaetano Donizetti La Gioconda • Amilcare Ponchielli Guillermo Tell • Gioacchino Rossini La forza del destino • Giuseppe Verdi La juive • Jacob Fromenthal Halevy Tosca • Giacomo Puccini Carmen • Geor~es Bizet I vespri siciliani • GJUseppe Verdi Macbeth • Giuseppe Verdi Don Juan • Wolfgang A. Mozart Elektra • Richard Strauss Fidelio e Ludwig van Beethoven Billy Budd • Benjamin Britten El matrimonio secreto • Domenico Cimarosa Manon • Juies Massenet la Dolores • Tomas Bretón Siegfried • Richard Wagner Murtmi btra Dry. simplcmente solo, o .. on the rocks". con una poe! de limón. A~í disrrutarà su autèntico !mbor. Dondc esté. a la hora que este d¿jesc llevar por su suul y dclicado sabor. m...,.. --.. IAI..., toda el día, toda la noche tabaco souvenlrs lacoltmia foto-cine discos ~gusta cassettes postales ...,CI) regalar caramelos perfumeria o' revlstas llbreria regalos bar snack-cafeteria Mirador 1 ROYALE AMBREE J\GUA D E C'OLONIA RESTAURANTE INTERMEZZO famosa desde 1919 i a todas horas ! cuando saiga, le esperamos en CJRUSSTCRE LICEC Donde exista sincronizació~ donde ruwa una magnífica ejecució~ Primera representación de donde todo movimiento sea perfecto, allí estara siempre Banco Atlantico. CARMEN Drama lirico en cuatro actos libreto de MEILHAC y HALEVY inspirada en la obra de PROSPERO MERIMEE Música de GEORGES BIZET MIERCOLES 25 DE OICIEMBRE DE 1974 -
Fairfield Roundup: Karen Salicath Jamali Exhibition of Paintings At
Fairfield Roundup: Karen Salicath Jamali Exhibition of Paintings at... http://fairfieldroundup.blogspot.com/2014/11/karen-salicath-jamali-e... More Create Blog Sign In Fairfield Roundup Fairfield News: Local news for Fairfield, CT continually updated from thousands of sources monitored by the B Media Network. Home This Just In... Weather Search Fairfield Roundup And Everything That Saturday, November 22, 2014 Total Pageviews - Last 30 Days We Link To In Our Posts Search Karen Salicath Jamali Exhibition of Paintings at New Faust 607,920 Harrison... Contributors The Danish-American painter and sculptor, Karen Salicath Jamali, will debut new paintings and music in an BH FILE CABINET exhibition entitled Event Horizon - 7 Tones From Heaven, opening on Thursday, December 4th, 2014, 6:00-8:30 pm, at the new showroom of Faust Harrison Pianos in Fairfield, Connecticut In her most Robo Blogger comprehensive exhibition to date in the U.S. that runs through February, Karen will present an extraordinary body of work including 50 new paintings from her Event Horizon series, plus her piano compositions, 7 Tones From Heaven. "This exhibition, Event Horizon - 7 Tones From Heaven, started four The Fairfield Roundup News Archive years ago when I began to paint the Event Horizon pieces," said Karen. ► 2018 (2) ► 2017 (2) ► 2015 (4701) via Fairfield Newswire http://www.prweb.com/releases/KarenSalicathJamali/11/prweb12343386.htm ▼ 2014 (7443) ► December (482) Posted by Anonymous at 3:11 AM ▼ November (498) Preview of 'It's A Wonderful Life: A Labels: Fairfield Newswire Live Radio Pl... Sticks for Soldiers in Fairfield Sticks for Soldiers No comments: exit-arrow-visit|article- 5925648|mobile_simple_lis.. -
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. -
Télécharger Le Bulletin De Liaison N° 42
Bulletin de liaison N° 42 janvier 2008 Page: 1 ASSOCIATION NATIONALE HECTOR BERLIOZ Reconnue d’utilité publique Président : Gérard CONDÉ COMITÉ D’HONNEUR Gilbert AMY, Jacques CHARPENTIER, Pascal DUSAPIN, Henri DUTILLEUX, Betsy JOLAS, Noël LEE, Michaël LÉVINAS, Serge NIGG, de l’Institut. MEMBRES D’HONNEUR Serge BAUDO Colin DAVIS Alain LOMBARD Anne BONGRAIN Désiré DONDEYNE Jean-Pierre LORÉ David CAIRNS Jean FOURNET Hugh MACDONALD Sylvain CAMBRELING Brigitte FRANCOIS-SAPPEY Jean-Paul PENIN Jean-Claude CASADESUS Nicolaï GEDDA Michel PLASSON Gérard CAUSSÉ Yves GÉRARD Georges PRÊTRE Marie-Hélène COUDROY-SAGHAÏ CONSEIL D’ADMINISTRATION Président : Gérard CONDÉ Membres élus Dominique ALEX, Josiane BOULARD, Présidente adjointe : Arlette GINIER-GILLET Jacques CHAMBREUIL, Philippe Secrétaire général : Alain REYNAUD CHINKIRCH, Alain DURIAU, Patrick FAVRE-TISSOT-BONVOISIN, Marcelle Trésorière : Michèle CORRÉARD GIDON, Clarisse GUILMET, Gérard LEBRUN, Jean-Pierre MAASSAKKER, Membres de droit: Patrick MOREL, Hervé ROBERT, Alain M. le Président du Conseil général de l’Isère ROUSSELON, Pierre-René SERNA, M. le Conseiller général du canton de La Côte-Saint- Christian WASSELIN, Charles WOLFERS. André M. le Maire de La Côte-Saint-André Membres associés M. le Président de l’Agence iséroise de diffusion artistique Jean-Pierre ARNAUD, Gunther BRAAM, (AIDA) Lucile DUC, Marcelle GEORJON, Emma- Mme le Conservateur en chef du musée Hector-Berlioz nuel de MALEYZIEUX. DÉLÉGATIONS REGIONALES Alsace: Martine WEBER, Clarisse GUILMET Nord-Picardie : Dominique CATTEAU -
Nancy Opéra Passion, a Réservé Au Public Cette Surprise Renouant Avec Les Fastes D’Un Passé Pas Si Lointain
"Forum Opéra" Splendeurs à la Cour des Ducs de Lorraine La tradition lyrique de la Cité des Ducs de Lorraine est installée depuis des lustres et bien des Nancéiens se souviennent encore - et en conservent précieusement les programmes - de fabuleuses saisons lyriques des années 50, où un spectacle nouveau était monté chaque semaine ! Il n’était pas rare d’assiter alors, pour ne citer que deux titres, aussi bien au Postillon de Longjumeau d’Adolphe Adam, qu’à La Poupée d’Edmond Audran. Les années passant, la Ville n’a pu conserver un tel renouvellement dans la magie d’opéra qu’elle réservait à son public mais elle continua à le régaler de spectacles de grande qualité, servis par des artistes de renommée nationale et internationale. Il était en effet monnaie courante d’entendre ceux pour lesquels on ajoutait alors, après leur nom, « de l’Opéra », signifiant qu’ils étaient les glorieux pensionnaires de l’Opéra de Paris, comme Mado Robin, Jacqueline Brumaire, Régine Crespin, Guy Chauvet, Henri Legay, Michel Dens, Gabriel Baquier, Alain Vanzo… L’Opéra de Nancy s’ouvrit également aux grands noms internationaux et l’on retrouvait régulièrement Piero Cappuccilli, Rolando Panerai, Nicola Rossi Lemeni, Sesto Bruscantini, Paolo Montarsolo, Ruggero Raimondi, Fedora Barbieri, côtoyant des artistes venus d’Europe et même d’Asie. Quelques grands parmi les grands passèrent parfois à Nancy, comme Lucia Valentini Terrani et, pour dérouler un tapis rouge à José Cura, grand Interprète d‘aujourd’hui, ses illustres devanciers-ténors : Giacomo Lauri Volpi, Luis Mariano et Carlo Bergonzi. Il était temps que le public encourageât son Opéra et vers la fin des années 60, naissait la première association promouvant conférences et brochures destinées à présenter les ouvrages à l’affiche de la saison lyrique, ainsi que de sympathiques réceptions des artistes, approchés par tous. -
Carmen GRAN TEATRE DEL LICEU
Carmen GRAN TEATRE DEL LICEU Temporada 1992-93 CONSORCI DEL GRAN TEATRE DEL LICEU Generalitat de Catalunya Ajuntament de Barcelona Ministerio de Cultura Diputació de Barcelona Societat del Gran Teatre del Liceu .1 ® Carmen Òpera en tres actes Text d'Henri Meilhac i Ludovic Halévy basat en la novel·la de Prosper Mérimée Música de Georges Bizet (Amb sobretitulat) Estrenada el 3 de març de 1875 a l'Opéra Comique de París Estrenada el 26 de gener de 1888 al Gran Teatre del Liceu Funció de Gala Dimecres, 17 de març, 21 h. funció núm. 72, torn A Divendres, 19 de març, 21 h., funció núm. 73, fora d'abonament Dissabte, 20 de març, 21 h., funció núm. 74, torn C Dimarts, 23 de març, 21 h., funció núm. 75, torn B Dimecres, 24 de març, 21 h., funció núm. 76, torn E Dissabte, 27 de març, 21 h., funció núm. 78, fora d'abonament Diumenge, 28 de març, 17 h., funció núm. 79, torn T Dimecres, 31 de març, 21 h., funció núm. 82, torn D ® EL CONSORCI DEL GRAN TEATRE DEL LICEU agraeix a fundación �I TABACALERA el patrocini d'aquesta producció Es muy grato para la entidad que presido, estar presentes una vez más en el Gran Teatre del Liceu de Barcelona, con motivo del estreno de la producción de Carmen de G. Bizet, dirigida por Núria Espert. La colaboración con esta producción se remonta a 1991, cuando el Gran Teatre del Liceu nos propuso patrocinar lo que en aquel momento era un gran reto artístico: realizar una nueva versión de la famosa ópera en la ca-producción con The Royal Opera House-Covent Garden. -
ARSC Journal
THE MARKETPLACE HOW WELL DID EDISON RECORDS SELL? During the latter part of 1919 Thomas A. Edison, Inc. began to keep cumulative sales figures for those records that were still available. The documents were continued into 1920 and then stopped. While the documents included sales figures for all series of discs time allowed me to copy only those figures for the higher priced classical series. Thus the present article includes the 82,000 ($2.00); 82,500 ($2.50); 83,000 ($3.00) and 84,000 ($4.00) series. Should there be sufficient interest it may be possible to do the other series at a later date. While the document did list some of the special Tone-Test records pressing figures were included for only two of them. I have arbitrarily excluded them and propose to discuss the Edison Tone Tests at a later date. The documents also originally included supplementary listings, which, for the sake of convenience, have been merged into the regular listings. The type copy of the major portion of the listings has been taken from regular Edison numerical catalogs and forms the framework of my forthcoming Complete Edison Disc Numerical Catalog. Several things may be noted: 1) Many of the sales figures seem surprisingly small and many of the records must be classed as rarities; 2) Deletion was not always because of poor sales-mold damage also played a part; 3) Records were retained even with extremely disappointing sales. Without a knowledge of the reason for discontinuance we cannot assume anything concerning records that had already been discontinued. -
Purcell Choir Orfeo Orchestra György Vashegyi, Conductor
p h o t o © A t t i l a N Chantal Santon-Jeffery – Hébé, Zima a g y , M Katherine Watson – Émilie ü p a Véronique Gens – Phani B u d a p Reinoud Van Mechelen – Dom Carlos, Valère, Damon e s t Jean-Sébastien Bou – Osman, Adario Thomas Dolié – Bellone, Huascar, Dom Alvar purcell choir orfeo orchestra györgy vashegyi , conductor GH A co-production of Müpa Budapest, Centre de musique baroque de Versailles with the support of Francine and Arnoul Charoy, Institut français de Budapest and Orfeo Music Foundation, supported by EMMI, NKA and Municipality of Budavár. © 2018 note 1 music gmbh purcell choir orfeo orchestra dessus i hautes-contre basses concertmaster violoncelles bassons Aliz Ballabás Péter Bárány Ákos Borka Simon Standage Piroska Baranyay (basse continue) Dóra Király Eszter Halmos József Csapó Zoltán Csipes Anna Scholz Gergely Farkas Katinka Kemény József Gál Ádám Kresznerits violons 1 Csilla Vályi Kim Stockx Csilla Kovács Zoltán Gavodi László Mokán Enik o´´ Kiss Edit Szappanos Nigel Heavey Fülöp Tardos Róza Lachegyi contrebasses trompette Péter Mészáros Ildikó Lang György Janzsó (basse continue) Balázs Winkler dessus ii Bence Rábai Péter Tóth-Kiss Andrea Fekete tailles Marianna Sz u´´cs timbales & percussion Orsolya Jobbágy Lajos Fodré flûtes Zoltán Varga Ágnes Pintér Botond Józsa violons 2 Ildikó Kertész Anna Süt o´´ Márton Komáromi Ágnes Kertész Vera Balogh clavecin Zsuzsanna Weiszburg Rezs o´´ Kutik Ildikó Hadházy Kapolcs Kovács Flóra Fábri (basse continue) Gábor Pivarcsi Mária Jakubik Csenge Orgován piccolos Anna Magdolna Ottmár -
Il Trittico Pucciniano
GIACOMO PUCCINI IL TRITTICO PUCCINIANO Il trittico viene rappresentato per la prima volta al Teatro Metropolitan di New York il 14 dicembre 1918. Il tabarro - Luigi Montesanto (Michele); Giulio Crimi (Luigi), Claudia Muzio (Giorgetta); Suor Angelica - Geraldine Farrar (Suor Angelica), Flora Perini (Zia Principessa); Gianni Schicchi - Giuseppe de Luca (Gianni Schicchi), Florence Easton (Lauretta), Giulio Crimi (Rinuccio); direttore d'orchestra Roberto Moranzoni. La prima italiana ha luogo, meno d'un mese dopo, al Teatro Costanzi (odierno Teatro dell'opera di Roma) l'undici gennaio 1919, sotto la prestigiosa direzione di Gino Marinuzzi, fra gli interpreti principali: Gilda dalla Rizza, Carlo Galeffi, Edoardo de Giovanni, Maria Labia, Matilde Bianca Sadun. L'idea d'un "Trittico" - inizialmente Puccini aveva pensato a tre soggetti tratti dalla Commedia dantesca, poi a tre racconti di autori diversi - si fa strada nella mente del Maestro almeno un decennio prima, già a partire dal 1905, subito a ridosso di Madama Butterfly. Tuttavia, sia questo progetto sia quello d'una "fantomatica" Maria Antonietta (che, come si sa, non fu mai realizzata) vengono per il momento accantonati in favore della Fanciulla del West (1910). La fantasia pucciniana è rivisitata dall'immagine d'un possibile "trittico" nel 1913, proprio mentre proseguono - gli incontri con Gabriele D'Annunzio per una possibile Crociata dei fanciulli...... Infatti, proprio nel febbraio di quello stesso anno Puccini è ripreso dall'urgenza del "trittico": immediatamente avvia il lavoro sul primo dei libretti che viene tratto da La Houppelande, un atto unico, piuttosto grandguignolesco, di Didier Gold, cui il compositore aveva assistito, pochi mesi prima, in un teatro parigino: sarà Il tabarro, abilmente ridotto a libretto da Giuseppe Adami.