FIDEL IO Guitarists Offers a Well -Paced Program of Birgit Nilsson, James Mccracken, Tom Krause, Hermann Prey, Kurt Boehme, Duos and Solos -All of High Caliber

Total Page:16

File Type:pdf, Size:1020Kb

FIDEL IO Guitarists Offers a Well -Paced Program of Birgit Nilsson, James Mccracken, Tom Krause, Hermann Prey, Kurt Boehme, Duos and Solos -All of High Caliber Schubert, Gallès, Fauré. Debussy): Manuel López Ramos, guitar (in the Tárrega, Gomez -Crespo, Albéniz. Ponce); Beethoven's Masterpiece Alirio Diaz, guitar (in the Rodrigo). RCA VICTOR LM 2717. LP. $4.98. , .. a memorable cast ...a brilliant conductor RCA VICTOR LSC 2717. SD. $5.98. RCA Victor's second volume of perform- ances by a number of the best of today's FIDEL IO guitarists offers a well -paced program of Birgit Nilsson, James McCracken, Tom Krause, Hermann Prey, Kurt Boehme, duos and solos -all of high caliber. The Graziella Sciutti, Chorus of The Vienna State Opera, The Vienna Philharmonic Pomponio -Zarate team has plenty of vi- Orchestra -Lorin Maazel. tality and isn't in the least cautious in,de-,u,k, Reg Stereo OSA -1259 U 5 Pot OR Mono A -4259 in unleashing it. Even in a piece like the Carulli Duo, which lays emphasis on Acoxon natural melody more than obvious vir- tuosity, there's a vigor in the humming Full FREQUENCY RANGE RECORD /NG rhythmic accompaniment that sets the music going apace; and the quick sinu- ousness of the Gallès one -movement so- nata is turned out with deftness. But the team isn't committed to sparkle alone: the Schubert Nail's and Trifunie is projected with a veiled and rounded tone that allows the changing harmonies to glide past like a slow -flowing river. On Side 2. Manuel Ramos (an Argen- tinian) brings out the innate grace of l a traditional piece such as the Tárrega with effortless technical skill, and re- veals what is perhaps the guitarist's most essential gift -the capacity for rhythmic flexibility -in the free -moving Ponce Scherzino. The single contribution of Alirio Diaz (horn in Venezuela) reveals Rodrigo in a less traditional vein than he appears in his concertos. The Invo- i cation opens with notes that sound like the chime of a distant clock, and moves on to rather cryptic interludes spaced with more usual fare. The recorded A new world of sound ... on sound is so good in both versions that is 4 TRACK choice between them purely an indi- vidual matter. S.F. STEREO TAPE 7'12 /PS PHILADELPHIA WOODWIND u QUINTET: "Pastorales" Grainger: Walking Tune. Wailly: Auhade. Persichetti: Pastoral, Op. 21. Schubert: Rosamunde: Hirtenlied. Stra- vinsky: Pastorales: for Voice and Four Wind Instruments; for Violin and Four Wind Instruments. Pierné: Album pour nies petits amis, Op. 14: Pastorale. Jolivet: Pastorales de Noel. Milhaud: Two Sketches for Woodwind Quintet. Judith Biegen, soprano (in the Stravin- sky): various instrumentalists : Phila- The World's First Stereo Scored Orchestra delphia Woodwind Quintet. UNPARALLELED COLUMBIA ML 5984. LP. $4.98. Every program preference - from popular to classical. Broadway Dimension and Fidelity COLUSIRIA MS 6584. SD. $5.98. shows to travel is satisfied in AUDIO- SPECTRUM TAPES. The mag. - . even in the favorite nificence and stereo depth of 101" Strings is due to unusual scoring concepts. The listener will note that neither the melody line nor the Classical Works. This is not quite so innocent a collec- full counter line is sacrificed. In addition, the original performances The classics represent a chal- as the title might lead you to were recorded by finest of Europe's musicians under the most exact. tion ing engineering standards. lenge to recording engineers expect: there is quite a bit more to working with conductors to many of these pieces than sunshine and produce the composers' con- fresh breezes. The Jolivet, for instance of sound The - cepts balances. technicians and artists a four -movement. thirteen- minute com- / WRITE working on AUDIO- SPECTRUM position for flute. bassoon, and harp- FOR sessions maintain the high- is as spare. cool. and distant as an est standards of perfection example of medieval organum, yet in- CAT to give you such a faithful creasingly absorbing as it uses a single interpretation. motive in each movement to weave its texture layer by layer. The Pierné MILLER INTERNATIONAL CO., DEPT. HF864 RUNNEMEDE, N.J. Continued on page 92 CIRCLE 44 ON READER -SERVICE CARD 90 HIGH FIDELITY MAGAZINE www.americanradiohistory.com _. .
Recommended publications
  • 11-03-2018 Carmen Eve.Indd
    GEORGES BIZET carmen conductor Opera in four acts Omer Meir Wellber Libretto by Henri Meilhac and production Sir Richard Eyre Ludovic Halévy, based on the novella by Prosper Mérimée set and costume designer Rob Howell Saturday, November 3, 2018 lighting designer 1:00–4:25 PM Peter Mumford choreographer Christopher Wheeldon revival stage director Paula Williams The production of Carmen was made possible by a generous gift from Mrs. Paul Desmarais Sr. general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON The 1,012th Metropolitan Opera performance of GEORGES BIZET’S carmen conductor Omer Meir Wellber in order of vocal appearance mor alès le dancaïre Adrian Timpau** Javier Arrey micaël a le remendado Guanqun Yu Scott Scully don josé Yonghoon Lee solo dancers Maria Kowroski zuniga Martin Harvey Richard Bernstein carmen Clémentine Margaine fr asquita Sydney Mancasola mercédès Sarah Mesko escamillo Kyle Ketelsen Saturday, November 3, 2018, 1:00–4:25PM MARTY SOHL / MET OPERA Clémentine Margaine Chorus Master Donald Palumbo in the title role of Musical Preparation Derrick Inouye, Liora Maurer, and Bizet’s Carmen Bénédicte Jourdois* Fight Director J. Allen Suddeth Assistant Stage Directors Sara Erde and Jonathon Loy Stage Band Conductor Jeffrey Goldberg Met Titles Sonya Friedman Children’s Chorus Director Anthony Piccolo Movement Coach Sara Erde Associate Costume Designer Irene Bohan Scenery, properties, and electrical props constructed and painted by Metropolitan Opera Shops Costumes executed by Art for Art Theater Service GmbH, Vienna; Justo Algaba S.L., Madrid; Carelli Costumes, New York, and Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department This production uses gunshot effects.
    [Show full text]
  • The Inventory of the Phyllis Curtin Collection #1247
    The Inventory of the Phyllis Curtin Collection #1247 Howard Gotlieb Archival Research Center Phyllis Curtin - Box 1 Folder# Title: Photographs Folder# F3 Clothes by Worth of Paris (1900) Brooklyn Academy F3 F4 P.C. recording F4 F7 P. C. concert version Rosenkavalier Philadelphia F7 FS P.C. with Russell Stanger· FS F9 P.C. with Robert Shaw F9 FIO P.C. with Ned Rorem Fl0 F11 P.C. with Gerald Moore Fl I F12 P.C. with Andre Kostelanetz (Promenade Concerts) F12 F13 P.C. with Carlylse Floyd F13 F14 P.C. with Family (photo of Cooke photographing Phyllis) FI4 FIS P.C. with Ryan Edwards (Pianist) FIS F16 P.C. with Aaron Copland (televised from P.C. 's home - Dickinson Songs) F16 F17 P.C. with Leonard Bernstein Fl 7 F18 Concert rehearsals Fl8 FIS - Gunther Schuller Fl 8 FIS -Leontyne Price in Vienna FIS F18 -others F18 F19 P.C. with hairdresser Nina Lawson (good backstage photo) FI9 F20 P.C. with Darius Milhaud F20 F21 P.C. with Composers & Conductors F21 F21 -Eugene Ormandy F21 F21 -Benjamin Britten - Premiere War Requiem F2I F22 P.C. at White House (Fords) F22 F23 P.C. teaching (Yale) F23 F25 P.C. in Tel Aviv and U.N. F25 F26 P. C. teaching (Tanglewood) F26 F27 P. C. in Sydney, Australia - Construction of Opera House F27 F2S P.C. in Ipswich in Rehearsal (Castle Hill?) F2S F28 -P.C. in Hamburg (large photo) F2S F30 P.C. in Hamburg (Strauss I00th anniversary) F30 F31 P. C. in Munich - German TV F31 F32 P.C.
    [Show full text]
  • News Release
    Press Release For immediate release Contact: Adrienne Allen, Executive Director (785) 823-8309, [email protected] Salina Symphony Concert to Feature Rebecca Copley and Tatiana Tessman Jan. 31 at the Stiefel Theatre JANUARY 11, 2016, SALINA, KAN.— The Salina Symphony will usher the new year in with “Expressive Virtuosity” Jan. 31 at 4 p.m. at the Stiefel Theatre. Two international virtuosos will return to the Stiefel stage for this thrilling concert. Tatiana Tessman will perform Liszt’s Piano Concerto No. 2 and Rebecca Copley will perform selections from Puccini’s Tosca and Turandot. The Symphony will also perform Pines of Rome, a symphonic poem by Respighi. A Russian-born pianist, Tessman’s career is studded with accomplishments and awards that firmly distinguish her as an artist of international stature. She has performed as soloist with orchestras across three continents, including the World Symphony in Cincinnati, Shreveport Symphony, Bach’s Festival Orchestra, Manhattan School of Music Philarmonia, Uruguay Philharmonic Symphony, Panama Philharmonic Symphony, Korea W. Philharmonic, and the Russian Philharmonic Symphony Orchestra. Currently residing in Salina, Tessman serves as director of keyboard studies at Kansas Wesleyan University. Singing the most demanding repertoire for soprano, Copley has triumphed in opera and symphonic works throughout North and South America, Europe, Asia and South Africa. Her critically acclaimed professional debut was as Desdemona opposite James McCracken in Verdi’s Otello with the New Jersey State Opera. Soon after, she debuted in Verdi’s Requiem with the Paris Opera, at New York City Opera as Puccini’s Turandot, Carnegie Hall with New Jersey Symphony as Wagner’s Isolde, and the Metropolitan Opera as Amelia in Verdi’s Un Ballo in Maschera.
    [Show full text]
  • The Audio Beat • Nothing on This Site May Be Reprinted Or Reused Without Permission
    Music Reviews Bizet • Carmen Marilyn Horne; James McCracken; Metropolitan Opera Orchestra, Children’s Chorus and Manhattan Opera Chorus, Leonard Bernstein conducting Deutsche Grammophon/Speakers Corner DGG 2709 043 Three 180-gram LPs 1972/2014 Music Sound by Roy Gregory | February 22, 2015 our first opera has always been a loaded decision and one that, if you are wrong, might make it your last opera too. That has made it a classic question and the center of much debate, but as far as I’m concerned, you could do far, far worse than Bizet’s Carmen. Based on the novel by Prosper Mérimée, it features a plot that is both straightforward and plausible, devoid of operatic artifice, mistaken identity and long-lost brothers or sisters. At heart a tragedy with its players circling to their inevitable doom, it adds drama with its narrative and settings. Desertion, love, loss, jealousy, smuggling, bull-fighting and murder all play their parts. Combine all that with action, rich characters, excitement, and memorable (and in many cases familiar) tunes, and this has to be one of the most accessible operas there is. If you don’t get Carmen, then you probably won’t get opera. All of which helps explain why Speakers Corner would opt for this work as one of its rare opera reissues. But in turn that raises the question, which performance? The answer is far from simple. First, with just about every major star and label having recorded the work at least once, there are plenty of well-regarded performances to choose from: Karajan on RCA, with Price’s conventional, brooding sexuality; or Beecham on HMV, with the more subtly nuanced and seductive De Los Angeles in the title role; or how about Solti with Troyanos and Domingo, with the subtlest Carmen of all and a fatally weak Don Jose? Then there are the variations in the versions performed.
    [Show full text]
  • The Baritone to Tenor Transition
    The University of Southern Mississippi The Aquila Digital Community Dissertations Fall 2018 The Baritone to Tenor Transition John White University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Pedagogy Commons, and the Music Performance Commons Recommended Citation White, John, "The Baritone to Tenor Transition" (2018). Dissertations. 1586. https://aquila.usm.edu/dissertations/1586 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. THE TENOR TO BARITONE TRANSITION by John Charles White A Dissertation Submitted to the Graduate School, the College of Arts and Sciences and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved by: Dr. J. Taylor Hightower, Committee Chair Dr. Kimberley Davis Dr. Jonathan Yarrington Dr. Edward Hafer Dr. Joseph Brumbeloe ____________________ ____________________ ____________________ Dr. J. Taylor Hightower Dr. Richard Kravchak Dr. Karen S. Coats Committee Chair Director of School Dean of the Graduate School December 2018 COPYRIGHT BY John Charles White 2018 Published by the Graduate School ABSTRACT Many notable opera singers have been virtuosic tenors; Franco Corelli, Plácido Domingo, James King, José Carreras, Ramón Vinay, Jon Vickers, and Carlo Bergonzi. Besides being great tenors, each of these singers share the fact that they transitioned from baritone to tenor. Perhaps nothing is more destructive to the confidence of a singer than to have his vocal identity or voice type challenged.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer
    Tanglewqpd SEIJI OZAWA HALL Wednesday, July 10, at 8:30 Florence Gould Auditorium, Seiji Ozawa Hall CHANTICLEER Texts and Translations I. GUILLAUME DUFAY (c. 1400-1 474) Gloria ad modum tubae Gloria ad modum tubae Trumpet Gloria Gloria in excelsis Deo. Glory to God in the highest. Et in terra pax hominibus bonae And on earth, peace to men of good will. voluntatis. Laudamus te, benedicimus te, We praise You, we bless You, adoramus te, glorificamus te. we worship You, we glorify You. Gratias agimus tibi propter magnam We give You thanks for Your great glory. gloriam tuam. Domine Deus, Rex caelestis, Lord God, Heavenly King, Deus Pater omnipotens. God the Father Almighty. Domine Fili unigenite Jesu Christe. Lord the only begotten Son, Jesus Christ. Domine Deus, Agnus Dei, Filius Patris. Lord God, Lamb of God, Son of the Father. Qui tollis peccata mundi, You who take away the sins of the world, miserere nobis. have mercy on us. Qui tollis peccata mundi, You who take away the sins of the world, suscipe deprecationem nostram. receive our prayer. Qui sedes ad dexteram patris, You who sit at the right hand of the Father, miserere nobis. have mercy on us. Quoniam tu solus sanctus, tu solus For You alone are holy, You alone are the Dominus, Lord, tu solus altissimus, Jesu Christe. You alone are most high, Jesus Christ. Cum Sancto Spiritu in gloria Dei Patris. With the Holy Spirit in the glory of God the Father. Amen. Amen. Please turn the page quietly. Design Team for Seiji Ozawa Hall: William Rawn Associates, Architect Lawrence Kirkegaard & Associates, Acousticians Theatre Projects Consultants, Inc., Theatrical Consultant Week 2 mm II.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1990
    Tangtewqpd . urlake erform miracles They dissolve the stresses and strains of everyday living. The Berkshires' most successful 4-seasons hideaway, a gated private enclave with V^-mile lake frontage, golf and olympic pool, tennis, Fitness Center, lake lodge —all on the lake. Carefree 3 -and 4- Your bedroom country condominiums with luxury amenities and great skylights, fireplaces, decks. Minutes from Jiminy Peak, Brodie Berkshire Mountain, Tanglewood, Jacob's Pillow, Canyon Ranch. In the $200s. escape SEE FURNISHED MODELS, SALES CENTER TODAY. (413) 499-0900 or Tollfree (800) 937-0404 LAKECREST Dir: Rte. 7 to Lake Pontoosuc. Turn left at Lakecrest sign 7 DIRECTLY ON LAKE PONTOOSUC on Hancock Rd. /10 -mile to Ridge Ave. Right turn to Lakecrest gated entry. Ct££ h\> Prncfw Seiji Ozawa (TMC '60), Music Director Carl St. Clair (TMC '85) and Pascal Verrot, Assistant Conductors One Hundred and Ninth Season, 1989-90 Trustees of the Boston Symphony Orchestra, Inc. Nelson J. Darling, Jr., Chairman Emeritus President J. P. Barger, Chairman George H. Kidder, Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Mrs. Eugene B. Doggett Mrs. August R. Meyer Peter A. Brooke Avram J. Goldberg Mrs. Robert B. Newman James F. Cleary Mrs. John L. Grandin Peter C. Read John F. Cogan, Jr. Francis W Hatch, Jr. Richard A. Smith Julian Cohen Mrs. BelaT. Kalman Ray Stata William M. Crozier, Jr. Mrs. George I. Kaplan William F. Thompson Mrs. Michael H. Davis Harvey Chet Krentzman Nicholas T Zervas Trustees Emeriti Vernon R.
    [Show full text]
  • Menus for State Dinners During the Carter Administration
    Menus for State Dinners during the Carter Administration President Jose Lopez Portillio of Mexico February 14, 1977 Dinner: Shrimp Gumbo Soup Corn Sticks Paul Mason Rare Sherry Supreme of Capon in White Grape Sauce Saffron Rice Asparagus Tips in Butter Charles Krug Gamay Beaujolais Hearts of Lettuce Salad Trappist Cheese Schramsberg Blanc de Blanc Burnt Almond Ice Cream Ring Butterscotch Sauce Cookies Demitasse Entertainment: Rudolf Serkin Program Prelude and Fugue in E minor, Felix Mendelssohn Sonata in F minor, Op. 57, Ludwig van Beethoven (“Appassionata”) Allegro assai Andante con moto (variazioni); Allegro ma non troppo-Presto Prime Minister Pierre Trudeau of Canada February 21, 1977 Dinner: Alaskan King Crab in Herb Sauce Saint Michelle Chenin Blanc Roast Stuffed Saddle of Lamb Timbale of Spinach Glazed Carrots Louis Martini Cabernet Sauvignon Watercress and Mushroom Salad Wisconsin Blue Cheese Beaulieu Extra Dry Orange Sherbet Ambrosia Cookies Demitasse Entertainment: The Young Columbians (19 Students from the Columbia School of Theatrical Arts, Inc., in Columbia Maryland) In 30 minutes, they cause American History to unfold through classic songs and dances from colonial days to the present. U.S. Marine Band will play selections from American Broadway musicals and movies in the foyer during dinner. U.S. Army Strings will stroll through the Dining Room during dessert. A Marine Corps harpist will provide music in the Diplomatic Reception Room where guests arrive. Prime Minister Rabin of Israel March 7, 1977 Dinner: Cold Cucumber Soup Bread Sticks Baked Stripped Bass Eggplant Braised Celery Charles Krug Johannisberg Riesling Hearts of Palm and Watercress Vinaigrette Almaden Blanc de Blancs Macedoine of Fresh Fruit Macaroons Entertainment: The Alexandria Quartet will perform a brief musical interlude in the Dining Room following the toast.
    [Show full text]
  • Cavalleria Rusticana Pagliacci
    cavalleriaPIETRO MASCAGNI rusticana AND pagliacciRUGGERO LEONCAVALLO conductor Cavalleria Rusticana Fabio Luisi Opera in one act production Libretto by Giovanni Targioni-Tozzetti Sir David McVicar and Guido Menasci, based on a story set designer and play by Giovanni Verga Rae Smith Pagliacci costume designer Moritz Junge Opera in a prologue and two acts lighting designer Libretto by the composer Paule Constable Saturday, April 25, 2015 choreographer 12:30–3:45 PM Andrew George vaudeville consultant New Production (pagliacci) Emil Wolk The productions of Cavalleria Rusticana and Pagliacci were made possible by generous gifts from M. Beverly and Robert G. Bartner, Mr. and Mrs. Paul M. Montrone, and the Estate of Anne Tallman general manager Peter Gelb Major funding was received from Rolex music director James Levine Additional funding was received from John J. Noffo Kahn principal conductor and Mark Addison, and Paul Underwood Fabio Luisi The 675th Metropolitan Opera performance of PIETRO MASCAGNI’S This performance cavalleria is being broadcast live over The rusticana Toll Brothers– Metropolitan Opera International Radio Network, sponsored conductor by Toll Brothers, Fabio Luisi America’s luxury in order of vocal appearance homebuilder®, with generous long-term turiddu support from Marcelo Álvarez The Annenberg santuzz a Foundation, The Eva-Maria Westbroek Neubauer Family Foundation, the mamma lucia Vincent A. Stabile Jane Bunnell Endowment for Broadcast Media, alfio and contributions George Gagnidze from listeners lol a worldwide. Ginger Costa-Jackson** There is no pe asant woman Toll Brothers– Andrea Coleman Metropolitan Opera Quiz in List Hall today. This performance is also being broadcast live on Metropolitan Opera Radio on SiriusXM channel 74.
    [Show full text]
  • REGION AUDITIONS SATURDAY, FEBRUARY 13, 2021 the 2020 National Council Finalists Photo: Fay Fox / Met Opera
    NATIONAL COUNCIL 2020–21 SEASON EASTERN REGION AUDITIONS SATURDAY, FEBRUARY 13, 2021 The 2020 National Council Finalists photo: fay fox / met opera CAMILLE LABARRE NATIONAL COUNCIL AUDITIONS chairman The Metropolitan Opera National Council AuDitions program cultivates young opera CAROL E. DOMINA singers and assists in the development of their careers. The AuDitions are held annually president in 39 districts and 12 regions of the United States, CanaDa, and Mexico—all aDministered MELISSA WEGNER by deDicated National Council members and volunteers. Winners of the region auDitions executive director advance to compete in the national semifnals. National fnalists are then selected and BRADY WALSH compete in the Grand Finals Concert. During the 2020–21 season, the auDitions are being administrator held virtually via livestream. Singers compete for prize money and receive feeDback from LISETTE OROPESA juDges at all levels of the competition. national advisor Many of the worlD’s greatest singers, among them Lawrence Brownlee, Anthony Roth Costanzo, Renée Fleming, Lisette Oropesa, Eric Owens, anD FreDerica von StaDe, have won National Semifnals the AuDitions. More than 100 former auDitioners appear appear on the Met roster each season. SunDay, May 9, 2021 The National Council is grateful to its donors for prizes at the national level and to the Tobin Grand Finals Concert Endowment for the Mrs. Edgar Tobin Award, given to each frst-place region winner. SunDay, May 16, 2021 Support for this program is generously proviDed by the Charles H. Dyson National Council For up to date auDitions results, alumni AuDition Program EnDowment Fund at the Metropolitan Opera. news, and other general information, follow @MONCAuDitions on Facebook and Instagram.
    [Show full text]
  • James Meena Conductor
    James Meena Conductor James Meena consistently earns critical acclaim for his artistic vision and dynamic presence on the podium in concert, opera and ballet. Mo. Meena serves as Artistic Director for Opera Carolina (Charlotte) and Artistic Director for Opera Grand Rapids. Recent engagements include acclaimed performances of Turandot in the Teatro Antiche Taormina and Teatro Greco Siracusa, Tosca at the Luglio Festivale Trapani in Sicilia, a double- bill of Rachmaninoff’s rarely-performed Aleko paired with Pagliacci as well as La fanciulla del West, both with New York City Opera; Le nozze di Figaro for Teatro Sociale Rovigo Italy, La Fanciulla del West for five prestigious Italian theaters: Teatro del Giglio, Lucca Italy, Teatro Verdi in Pisa, Teatro Alighieri di Ravenna, Teatro Pavarotti di Modena and Teatro Goldoni di Livorno, plus Rigoletto, The Magic Flute, Carmen and Yvgeny Onegin with Opera Carolina and Opera Grand Rapids, a Gala concert with Renee Fleming and the Toledo Symphony Orchestra; Porgy & Bess with Margaret Island Open-Air Theatre in Budapest for their Summer Festival, and La bohème with the prestigious Puccini Festival in Torre del Lago, La bohème with Opéra de Montréal, and Masterworks Concerts with Memphis Symphony Orchestra. Next season, Mo. Meena makes his debut with the Shanghai Opera. A guest conductor, Maestro Meena has lead performances in opera houses throughout North America, including Madama Butterfly,Pagliacci/Gianni Schicchi, Le nozze di Figaro,and La traviata for L’Opera de Montreal; Michigan Opera Theatre for Die Zauberflöte; Edmonton Opera for Falstaff,Otello,Macbethand Eugene Onegin;an exciting new co-production of Roméo et Juliettewith Virginia Opera and Toledo Opera;and Manitoba Opera, where he conducted the première of Transit of Venusby the Canadian team of composer Victor Davies and librettist Maureen Hunter, recorded for national broadcast on the CBC.
    [Show full text]
  • Leoncavallo's Pagliacci
    Leoncavallo’s Pagliacci - A survey of the major studio recordings by Ralph Moore Given the continued popularity of this most enduring of operatic warhorses, it is surprising how few studio recordings it has received compared with other major crowd-pleasers. I have restricted my survey to studio-made, post-war recordings in Italian on the grounds that the average modern collector will want fair (mono) to excellent (digital) sound in the original language; there are only fourteen of those, plus a radio broadcast and two film soundtracks featuring names so famous I thought it best to include them, and, finally, a live concert performance which was a prime recommendation from ‘Gramophone’, the ‘Penguin Guide’ and the ‘Classical Good CD Guide’, so I could hardly ignore it - making eighteen recordings in total. The most recent studio recording in Italian was made nearly thirty years ago in 1992; perhaps that points to a continuing shortage of singers able to do justice to the brief but very demanding role of Canio. All the great tenors of the 50’s and 60’s – Del Monaco, Björling, Tucker, Corelli and Bergonzi - recorded it in the studio, sometimes twice, each of the “The Three Tenors” made his recording in the 70’s, and there is a handful of mostly lesser accounts before Rahbari conducted that final studio version – and that’s it. Doubtless there are other, worthy, live recordings but, as I always say when doing these surveys, I can consider only a sampling of approximately 140 available and have to start – or rather finish – somewhere, so I use studio provenance and quality of singers and sound combined as my criteria for inclusion and mostly exclude live versions, which still permits me to consider five recordings from the 50’s in fair mono sound.
    [Show full text]