Verdi Verdi Requiem Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

Verdi Verdi Requiem Mp3, Flac, Wma Verdi Verdi Requiem mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Verdi Requiem Country: US Released: 1975 MP3 version RAR size: 1461 mb FLAC version RAR size: 1516 mb WMA version RAR size: 1347 mb Rating: 4.5 Votes: 510 Other Formats: AAC AU MP3 VOX MOD MIDI MPC Tracklist A1 Requiem And Kyrie 9:54 A2 Dies Irae (Beginning) 13:34 B1 Dies Irae (Conclusion) 22:35 C1 Offertorio 10:15 C2 Sanctus 2:39 C3 Agnus Dei 4:31 D1 Lux Aeterna 6:45 D2 Libera Me 14:05 Companies, etc. Record Company – London Records Credits Baritone Vocals – Hans Sotin Choir – The London Philharmonic Choir Conductor – Carlos Païta Directed By [Choir] – John Alldis Mezzo-soprano Vocals – Josephine Veasey Soprano Vocals – Heather Harper Tenor Vocals – Carlo Bini Notes Full size 12 page booklet insert. Other versions Category Artist Title (Format) Label Category Country Year Verdi* - Carlos Paita*, Verdi* - Carlos Harper*, Veasey*, Paita*, Harper*, Bini*, Sotin*, Royal OPFS 5-6, Veasey*, Bini*, Decca, OPFS 5-6, Philharmonic OPFS 5, Sotin*, Royal Decca, OPFS 5, UK 1975 Orchestra*, London OPFS 6 Philharmonic Decca OPFS 6 Philharmonic Choir* - Orchestra*, London The Verdi Requiem Philharmonic Choir* (2xLP + Box) Verdi* - Carlos Païta - Verdi* - Carlos Païta - Harper*, Veasey*, Harper*, Veasey*, Bini*, Sotin* - Royal Bini*, Sotin* - Royal LOD 772/3 Philharmonic Lodia LOD 772/3 Europe 1975 Philharmonic Orchestra*, London Orchestra*, London Philharmonic Choir* - Philharmonic Choir* Requiem (2xLP + Box) Verdi* - Heather Verdi* - Heather Harper, Josephine Harper, Josephine Veasey, Hans Sotin, Veasey, Hans Sotin, Carlo Bini, The Royal Carlo Bini, The Royal Phase 4 SPC-21140/1 Philharmonic SPC-21140/1 UK 1975 Philharmonic Stereo Orchestra, The London Orchestra, The Philharmonic Choir, London Philharmonic Carlos Païta - Verdi Choir, Carlos Païta Requiem (2xLP) Related Music albums to Verdi Requiem by Verdi Giuseppe Verdi, Gian Carlo Menotti / Boston Symphony Orchestra, Erich Leinsdorf - Messa da Requiem, The Death of the Bishop of Brindisi Carlos Païta Dirige Royal Philharmonic Orchestra - Oberturas De Rossini Carlos Païta / Royal Philharmonic Orchestra / Rossini - Semiramide / Guillaume Tell / L' Italiana In Algeri / La Cenerentola / Il Barbiere Di Siviglia Joan Sutherland, Marilyn Horne, Luciano Pavarotti, Martti Talvela, The Vienna State Opera Chorus, Wilhelm Pitz, Vienna Philharmonic Orchestra, Georg Solti - Verdi Requiem Orchestre Philharmonique De Vienne, Chœur De La Société Des Amis De La Musique De Vienne - Verdi - Requiem Verdi, Elena Filipova, Gloria Scalchi, César Hernández , Carlo Colombara, Hungarian State Opera Chorus And Orchestra, Pier Giorgio Morandi - Requiem (Quattro Pezzi Sacri) Verdi - Elisabeth Schwarzkopf / Christa Ludwig / Nicolai Gedda / Nicolai Ghiaurov / Philharmonia Orchestra / Philharmonia Chorus / Carlo Maria Giulini - Requiem Verdi - Requiem Mass.
Recommended publications
  • ARSC Journal
    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
    [Show full text]
  • Jonathan Summers B) CATEGORY: Opera Singer / Baritone C) POSITION: Freelance
    1a) NAME: Jonathan Summers b) CATEGORY: Opera singer / baritone c) POSITION: Freelance 2a) PERSONAL DETAILS: date of birth / place / country 2nd October, 1946; Melbourne; Australia b) MARITAL STATUS: date of marriage / name of spouse / number of children 29th March 1969, Melbourne Australia; Lesley; 3 children 3) PREVIOUS OCCUPATIONS: dates / occupation 1965-1974 Freelance singer/concert artist 1970-1974 Technical operator/recording engineer Australian Broadcasting Commission, Melbourne 4) EDUCATION: dates / institution / city / teacher Secondary : Melbourne; Macleod High School Tertiary : Melbourne; Prahran Technical College (Art School) 1964-1974 Melbourne; Bettine McCaughan, voice teacher 1972-1973 Melbourne;National Theatre Opera School 1974-1980 London; Otakar Kraus, voice teacher 5) PROFESSIONAL DEBUT: date / opera company / role / opera / cast Nov 1975; Kent Opera; title role in Verdi's Rigoletto; Congress Theater, Eastbourne, UK; producer: Jonathan Miller; conductor: Roger Norrington; David Hillman (Duke), Meryl Drower (Gilda), Sarah Walker (Maddalena), Malcolm King (Sparafucile) 6) EARLY CAREER WITH BRIEF RESUME: dates / opera house or company / role / opera Feb 1976; University College London Opera; title role in Macbeth (orig. 1847 version); producer: John Moody; conductor: George Badachoni Sep 1976; Glyndebourne Touring Opera; title role in Falstaff; producer: Jean-Pierre Ponnelle; conductor: Kenneth Montgomery Oct 1976; joined the Royal Opera House, Covent Garden, London, as a company principal Nov 1976; English National Opera
    [Show full text]
  • Peter Grimes Page 1 of 2 Opera Assn
    San Francisco War Memorial 1976 Peter Grimes Page 1 of 2 Opera Assn. Opera House New production made possible in 1973 through a generous gift from the Gramma Fisher Foundation of Marshalltown, Iowa, made jointly to the Chicago Lyric and San Francisco Operas. Peter Grimes (in English) Opera in three acts by Benjamin Britten Libretto by Montagu Slater Based on a poem by George Crabbe Conductor CAST John Pritchard Hobson Paul Geiger Production Swallow Alexander Malta Geraint Evans Peter Grimes Jon Vickers Set Designer Mrs. Sedley Donna Petersen Carl Toms Ellen Orford Heather Harper Chorus Director A fisherman John Del Carlo Robert Jones Auntie Sheila Nadler Lighting Designer Bob Boles Paul Crook Thomas J. Munn Captain Balstrode Geraint Evans Musical Preparation Rev. Horace Adams Joseph Frank Thomas Fulton First Niece Claudia Cummings Costume Designer Second Niece Pamela South Tanya Moiseiwitsch Ned Keene Wayne Turnage Boy Steven Cohen Edward Lampe (10/22) A lawyer John Duykers Dr. Thorpe Janusz Offstage voice Luana De Vol Janice Aaland *Role debut †U.S. opera debut PLACE AND TIME: The Borough, a small fishing town on the east coast of England, towards 1830 Wednesday, October 6 1976, at 8:00 PM PROLOGUE -- A room inside Moot Hall Saturday, October 9 1976, at 8:00 PM Act I, Scene 1 -- The Borough beach and street Wednesday, October 13 1976, at 8:00 PM Scene 2 -- Inside "The Boar" Sunday, October 17 1976, at 2:00 PM INTERMISSION Friday, October 22 1976, at 8:00 PM Act II, Scene 1 -- The Borough beach and street Scene 2 -- Peter Grimes's hut INTERMISSION Act III, Scene 1 -- The Borough beach and street Scene 2 -- Later that night San Francisco War Memorial 1976 Peter Grimes Page 2 of 2 Opera Assn.
    [Show full text]
  • Debussy's Pelléas Et Mélisande
    Debussy’s Pelléas et Mélisande - A discographical survey by Ralph Moore Pelléas et Mélisande is a strange, haunting work, typical of the Symbolist movement in that it hints at truths, desires and aspirations just out of reach, yet allied to a longing for transcendence is a tragic, self-destructive element whereby everybody suffers and comes to grief or, as in the case of the lovers, even dies - yet frequent references to fate and Arkel’s ascribing that doleful outcome to ineluctable destiny, rather than human weakness or failing, suggest that they are drawn, powerless, to destruction like moths to the flame. The central enigma of Mélisande’s origin and identity is never revealed; that riddle is reflected in the wispy, amorphous property of the music itself, just as the text, adapted from Maeterlinck’s play, is vague and allusive, rarely open or direct in its expression of the characters’ velleities. The opera was highly innovative and controversial, a gateway to a new style of modern music which discarded and re-invented operatic conventions in a manner which is still arresting and, for some, still unapproachable. It is a work full of light and shade, sunlit clearings in gloomy forest, foetid dungeons and sea-breezes skimming the battlements, sparkling fountains, sunsets and brooding storms - all vividly depicted in the score. Any francophone Francophile will delight in the nuances of the parlando text. There is no ensemble or choral element beyond the brief sailors’ “Hoé! Hisse hoé!” offstage and only once do voices briefly intertwine, at the climax of the lovers' final duet.
    [Show full text]
  • Giuseppe Verdi
    GIUSEPPE VERDI CARLO COLOMBARAAIDA | ANITA RACHVELISHVILI | KRISTIN LEWIS | FABIO SARTORI CONDUCTED BY ZUBIN MEHTA | STAGED BY PETER STEIN GIUSEPPE VERDI Giuseppe Verdi’s masterpiece AIDA at La Scala in Milan is an experience in itself. Consequently, a new production of AIDA is an event barely to be surpassed, especially when performed before a notoriously critical audience of la La Scala. AIDA With his unpretentious and lucid new interpretation of the opera, directorial legend Peter Stein succeeds in delivering a production acclaimed in equal measure by the Orchestra Orchestra and Chorus press and public: “a perfect coup de theatre” (Giornale della musica). of the Teatro alla Scala Conductor Zubin Mehta Indeed, he breathes new life into Giuseppe Verdi’s romantic drama about power, Stage Director Peter Stein passion, jealousy and death: the Nubian Princess Aida, who is unfortunate enough to find herself in prison in Egypt, is secretly in love with the leader of the army, The King Carlo Colombara Radamès. He however has been promised in marriage to the Egyptian king's Amneris Anita Rachvelishvili daughter Amneris, who also loves him. The secret love affair between Aida and Aida Kristin Lewis Radamès is uncovered and fate takes its course ... Radamès Fabio Sartori A “stellar cast” (La Stampa) contributes to the production’s success Ramfis Matti Salminen under the musical direction of Verdi specialist Zubin Mehta. Amonasro George Gagnidze “The entire ensemble is brilliant in its portrayal of the A Messenger Azer Rza-Zada characters” (Die Presse), especially the American soprano The High Priestess Chiara Isotton Kristin Lewis in the title role.
    [Show full text]
  • 1 CRONOLOGÍA LICEÍSTA Se Incluye Un Listado Con Las
    CRONOLOGÍA LICEÍSTA Se incluye un listado con las representaciones de Aida, de Giuseppe Verdi, en la historia del Gran Teatre del Liceu. Estreno absoluto: Ópera del Cairo, 24 de diciembre de 1871. Estreno en Barcelona: Teatro Principal, 16 abril 1876. Estreno en el Gran Teatre del Liceu: 25 febrero 1877 Última representación en el Gran Teatre del Liceu: 30 julio 2012 Número total de representaciones: 454 TEMPORADA 1876-1877 Número de representaciones: 21 Número histórico: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21. Fechas: 25 febrero / 3, 4, 7, 10, 15, 18, 19, 22, 25 marzo / 1, 2, 5, 10, 13, 18, 22, 27 abril / 2, 10, 15 mayo 1877. Il re: Pietro Milesi Amneris: Rosa Vercolini-Tay Aida: Carolina de Cepeda (febrero, marzo) Teresina Singer (abril, mayo) Radamès: Francesco Tamagno Ramfis: Francesc Uetam (febrero y 3, 4, 7, 10, 15 marzo) Agustí Rodas (a partir del 18 de marzo) Amonasro: Jules Roudil Un messaggiero: Argimiro Bertocchi Director: Eusebi Dalmau TEMPORADA 1877-1878 Número de representaciones: 15 Número histórico: 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36. Fechas: 29 diciembre 1877 / 1, 3, 6, 10, 13, 23, 25, 27, 31 enero / 2, 20, 24 febrero / 6, 25 marzo 1878. Il re: Raffaele D’Ottavi Amneris: Rosa Vercolini-Tay Aida: Adele Bianchi-Montaldo Radamès: Carlo Bulterini Ramfis: Antoine Vidal Amonasro: Jules Roudil Un messaggiero: Antoni Majjà Director: Eusebi Dalmau 1 7-IV-1878 Cancelación de ”Aida” por indisposición de Carlo Bulterini.
    [Show full text]
  • Dorset-Opera-News-Christmas-2008
    News Issue No: 7 Christmas 2008 Audience numbers And for 2009 it’s… Artistic Director, Roderick Kennedy, has chosen two unashamedly double in 2 years! popular works for Dorset Opera’s 2009 presentation: the most famous twins in all opera, Mascagni’s Cavalleria rusticana and Leoncavallo’s I pagliacci. Dorset Opera audience numbers have officially doubled over the last two years! Leonardo Capalbo as Nadir We might only operate on a small scale, but in a sparsely populated county like Dorset, such an increase is no mean feat. Opera companies around the world can only dream of such a marketing success. However, if audience numbers continue to increase at this rate, it is estimated that the demand for tickets will require us to present at least six performances by 2012. This would be extremely difficult to schedule, so from 2009 onwards, tickets could be in short supply. Ticket shortage There is already evidence that regular audience-goers are aware of a possible ticket shortage. More and more supporters are joining Cav and Pag as they are affectionately known, contain a mass of our Friends’ organisation in order to take advantage of priority well-known tunes for our chorus to get their teeth in to, and for our booking arrangements. loyal audiences to savour. The Easter Hymn, the Internezzo, and Santuzza’s aria Voi lo sapete… from Cav; the Prologue from Pag is The Pearl Fishers: we can dance, as well as sing! in every baritone’s repertoire, and the heart-rending tenor aria Vesti la giubba translated as On with the Motley, is sure to leave a tear in the eye.
    [Show full text]
  • Berlioz's Les Nuits D'été
    Berlioz’s Les nuits d’été - A survey of the discography by Ralph Moore The song cycle Les nuits d'été (Summer Nights) Op. 7 consists of settings by Hector Berlioz of six poems written by his friend Théophile Gautier. Strictly speaking, they do not really constitute a cycle, insofar as they are not linked by any narrative but only loosely connected by their disparate treatment of the themes of love and loss. There is, however, a neat symmetry in their arrangement: two cheerful, optimistic songs looking forward to the future, frame four sombre, introspective songs. Completed in 1841, they were originally for a mezzo-soprano or tenor soloist with a piano accompaniment but having orchestrated "Absence" in 1843 for his lover and future wife, Maria Recio, Berlioz then did the same for the other five in 1856, transposing the second and third songs to lower keys. When this version was published, Berlioz specified different voices for the various songs: mezzo-soprano or tenor for "Villanelle", contralto for "Le spectre de la rose", baritone (or, optionally, contralto or mezzo) for "Sur les lagunes", mezzo or tenor for "Absence", tenor for "Au cimetière", and mezzo or tenor for "L'île inconnue". However, after a long period of neglect, in their resurgence in modern times they have generally become the province of a single singer, usually a mezzo-soprano – although both mezzos and sopranos sometimes tinker with the keys to ensure that the tessitura of individual songs sits in the sweet spot of their voices, and transpositions of every song are now available so that it can be sung in any one of three - or, in the case of “Au cimetière”, four - key options; thus, there is no consistency of keys across the board.
    [Show full text]
  • ANDREA BOCELLI at Last, a Legend at Last, a Legend for the New
    ANDREA BOCELLI At last, a legend At last, a legend for the new millennium. A myth in the Homeric sense, “story delivered by word of mouth”, which blossomed through singing, just like Caruso, Gigli, Del Monaco, Corelli… A legend of Andrea Bocelli’s caliber cannot be artificially designed: not even the most astute marketing plan would be able to come up with such a result. People simply recognize his talent and choose him. This is what happened, in an apparently well-matched but perfect context, the Italian singing competition Sanremo in 1994, because the childhood of a legend follows a course that breaks tradition. Since then, the tone of his voice has brought gentleness to the world and his fame has increased exponentially. “If God could sing, He would sound a lot like Andrea Bocelli”: even Celine Dion’s famous comment is a clear, unadorned testament to the artist’s legendary status, as well as the perception of a God given gift. That voice, that melancholic and at the same time radiant tone, unrivalled in interpreting the love song of a lover or a father, a matchless expression of earthly desire or heavenly love. We are about to celebrate the first twenty years of his career, supported by the sale of 80 million records. With talent comes responsibility “I don’t think one decides to become a singer, it is decided for you by the reactions of the people around you”. Andrea Bocelli has had to come to terms with having two all-encompassing gifts. The first is a specific timbre, which has become his signature, full and powerful, versatile to the point that he can range from the belcanto to the furor of verismo, from the sacred repertoire to the popular ballads.
    [Show full text]
  • Bellini's Norma
    Bellini’s Norma - A discographical survey by Ralph Moore There are around 130 recordings of Norma in the catalogue of which only ten were made in the studio. The penultimate version of those was made as long as thirty-five years ago, then, after a long gap, Cecilia Bartoli made a new recording between 2011 and 2013 which is really hors concours for reasons which I elaborate in my review below. The comparative scarcity of studio accounts is partially explained by the difficulty of casting the eponymous role, which epitomises bel canto style yet also lends itself to verismo interpretation, requiring a vocalist of supreme ability and versatility. Its challenges have thus been essayed by the greatest sopranos in history, beginning with Giuditta Pasta, who created the role of Norma in 1831. Subsequent famous exponents include Maria Malibran, Jenny Lind and Lilli Lehmann in the nineteenth century, through to Claudia Muzio, Rosa Ponselle and Gina Cigna in the first part of the twentieth. Maria Callas, then Joan Sutherland, dominated the role post-war; both performed it frequently and each made two bench-mark studio recordings. Callas in particular is to this day identified with Norma alongside Tosca; she performed it on stage over eighty times and her interpretation casts a long shadow over. Artists since, such as Gencer, Caballé, Scotto, Sills, and, more recently, Sondra Radvanovsky have had success with it, but none has really challenged the supremacy of Callas and Sutherland. Now that the age of expensive studio opera recordings is largely over in favour of recording live or concert performances, and given that there seemed to be little commercial or artistic rationale for producing another recording to challenge those already in the catalogue, the appearance of the new Bartoli recording was a surprise, but it sought to justify its existence via the claim that it authentically reinstates the integrity of Bellini’s original concept in matters such as voice categories, ornamentation and instrumentation.
    [Show full text]
  • Winter 2020 NEWSLETTER : BULLETIN Hiver 2020
    Société d' Opéra National Capital de la Capitale Nationale Opera Society Winter 2020 NEWSLETTER : BULLETIN Hiver 2020 Frankenstein - The Opera, 2019 by Shelagh Williams How did you celebrate Hallowe’en? You should have actually done! In his work he is supported by his been enjoying Andrew Ager’s Frankenstein: The Op- fiancée Elizabeth, sung by soprano Bronwyn Thies- era, 2019! Thompson, his friend Clerval, sung by baritone James Composer Ager himself adapted the novel Fran- Coole-Stevenson, and his brother William, sung by kenstein for his original production, sung in English, 12-year old Elliott Mennier, head chorister of Christ and for this Ottawa premier adjusted some of the voice Church Cathedral. parts for this cast, just as Mozart would do! The result The charming mountain interlude was animated was a fully-staged production directed by Suzanne by baritone Gary Dahl, who sang the sympathetic blind Bassett and featuring excellent Canadian and Ottawa old DeLacey, and soprano Carmen Harris and tenor singers. The composer himself was on one of the two Jeffrey Boyd, who portrayed the young couple. pianos playing the score, with Ian Bevell on the thun- But the centre of the opera is the Creature created dering organ for the ex- by Victor Frankenstein: a citing events, and Zac very large figure with a Pulak on percussion. complex nature. For this Set designer Mark role, Ager had carefully Shulist supplied the selected huge bass Con- electrical machine to stantine Meglis, whom “awaken” the Creature, he had introduced at the and it was quite impres- Opera Launch this sum- sive, with umpteen cop- mer.
    [Show full text]
  • 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
    [Show full text]