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English Translation of the German by Tom Hammond
Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p. -
Albert-Lortzing-Gesellschaft E. V. Februar 2009
Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 Albert-Lortzing-Gesellschaft e. V. gegründet 2001 Lortzings Wohnhaus, die Große Funkenburg, in Leipzig Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 2 Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 Liebe Mitglieder, endlich halten Sie wieder einen Rundbrief in den Händen. Ich freue mich, daß auch diesmal zwei Mitglieder unserer Gesellschaft Beiträge verfasst haben, die den wesentlichen Teil dieses Rundbriefes ausmachen. Darüber hinaus finden Sie erneut Original-Rezensionen einiger Aufführungen durch Mitglieder unserer Gesellschaft sowie weitere Informationen, die hoffentlich Ihr Interesse finden. Das wichtigste Ereignis 2009 ist sicherlich das Mitgliedertreffen in Leipzig und die aus diesem Anlass stattfindende Fachtagung der Musikwissenschaftlichen Abteilung der Hochschule für Musik Felix Mendelssohn Bartholdy. Wir danken Herrn Prof. Dr. Schipperges sehr herzlich für die inhaltliche Planung und Organisation dieser Tagung. Ich wünsche allen einen schönen Frühling und freue mich, Sie bei dem Treffen in Leip- zig persönlich begrüßen zu können. Mit herzlichen Grüßen im Namen des ganzen Vorstands Ihre Irmlind Capelle Detmold, Ende Februar 2009 Impressum: Herausgeber: Albert-Lortzing-Gesellschaft e. V. c/o Prof. Dr. Bodo Gotzkowsky, Leipziger Straße 96, D – 36037 Fulda, Tel. 0661 604104 e-Mail: [email protected] Redaktion: Dr. Irmlind Capelle (V.i.S.d.P.) (Namentlich gezeichnete Beiträge müssen nicht unbe- dingt der Meinung des Herausgebers entsprechen.) © Lortzing-Gesellschaft e. V., 2009 Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 Info Nr. 8 Albert-Lortzing-Gesellschaft e. V. Februar 2009 Rosina Regina Lortzing geb. Ahles Die Suche nach ihrem Grab Ein Bericht von Petra Golbs Regina Rosina (geb. -
Reviews of This Artist
Rezension für: Hertha Klust Pilar Lorengar: A portrait in live and studio recordings from 1959-1962 Vincenzo Bellini | Giacomo Puccini | Georg Friedrich Händel | Enrique Granados | Alessandro Scarlatti | Wolfgang Amadeus Mozart | Giuseppe Verdi | Joaquín Rodrigo | Joaquín Nin | Jesús García Leoz | Jesús Guridi | Eduardo Toldrà | _ Anonym | Jacobus de Milarte | Esteban Daza | Juan Bermudo | Luis de Narváez | Juan Vásquez | Alonso Mudarra | Luis de Milán | Diego Pisador | Enríquez de Valderrábano 3CD aud 21.420 operafresh.blogspot.de Tuesday, May 20, 2014 ( - 2014.05.20) Pilar Lorengar Live and Studio Recordings 1959-1962 Berlin In addition to the live opera recordings on this release, is the famous studio recording of songs with guitar featuring Siegfried Behrend available for the first time on CD outside of Japan. Full review text restrained for copyright reasons. Das Opernglas Juni 2014 (J. Gahre - 2014.06.01) CD News Ihre Stimme [strahlt] in diesen um 1960 gemachten Aufnahmen Wärme und Weiblichkeit aus, die den modernen Hörer durchaus gefangen nehmen können. Full review text restrained for copyright reasons. page 1 / 96 »audite« Ludger Böckenhoff • Tel.: +49 (0)5231-870320 • Fax: +49 (0)5231-870321 • [email protected] • www.audite.de http://theaterpur.net Juni 2014 (Christoph Zimmermann - 2014.06.01) Tenorales Gruppenbild mit Damen Pilar Lorengars klares, sonnenhelles Organ lässt nirgends falsche Sentimentalität aufkommen. [...] Neuerlich bezaubert die Natürlichkeit der Darstellung ohne ein demonstratives Ausstellen vokaler Raffinessen. Full review text restrained for copyright reasons. Der Tagesspiegel 22.07.2014 (Frederik Hanssen - 2014.07.22) Klassik-CD der Woche: Pilar Lorengar Spanische Nächte Die Norma wie auch „Piangerò la sorte mia“ aus Händels „Giulio Cesare“ meistert sie mit Eleganz, jugendlicher Strahlkraft und schier endlosem Atem Full review text restrained for copyright reasons. -
Preliminary Pages [PDF]
THE SUBSTANCE OF STYLE HOW SINGING CREATES SOUND IN LIEDER RECORDINGS, 1902-1939 A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Rebecca Mara Plack May 2008 © 2008 Rebecca Mara Plack THE SUBSTANCE OF STYLE HOW SINGING CREATES SOUND IN LIEDER RECORDINGS, 1902-1939 Rebecca Mara Plack, Ph. D. Cornell University 2008 In this dissertation, I examine the relationship between vocal technique and performance style through 165 audio clips of early Lieder recordings. I proceed from the starting point that many stylistic gestures are in fact grounded in a singer’s habitual vocalism. Vibrato, tempo and rubato are directly affected by a singer’s voice type and his physical condition, and portamento has long been a technical term as well as a stylistic one. If we consider these technical underpinnings of style, we are inevitably moved to ask: how do a singer’s vocal habits affect what we perceive to be his style? Does a singer’s habitual vocalism result in his being more likely to make certain style gestures, or even unable to make others? To address these questions, I begin by defining a vocabulary that draws on three sources: the language of vocal pedagogy, data derived from voice science, and evidence drawn from recordings themselves. In the process, I also consider how some Lieder singers distorted the word “technique,” using it to signify emotional detachment. Next, I examine the ways in which a recording represents the performer, addressing how singers are affected by both changing aesthetics and the aging process; both of these lead to a discussion of how consistently some performers make certain stylistic gestures throughout their recordings. -
573824 Itunes Lortzing
LORTZING Opera Overtures Der Waffenschmied Undine Der Wildschütz Hans Sachs Malmö Opera Orchestra Jun Märkl Albert Lortzing (1801–1851) though, sketched out a plan for an opera on the subject as wrong Peter. Ivanov hands it to the Tsar, thereby obtaining early as 1845, and he was certainly aware of Lortzing’s the latter’s blessing for his union with Marie. Van Bett was Opera Overtures work. Set in 1517, when Sachs would have been 23 and a yet another of Lortzing’s richly comic bass creations, and Gustav Albert Lortzing was a multifaceted man of the staged work, first produced the evening before his death. young cobbler, Lortzing’s opera centres on Sachs’s Lortzing himself created the tenor role of Peter Ivanov. theatre – actor, singer, librettist, composer and conductor. The relatively brief and sprightly overture sets the scene courtship of his first wife, Kunigunde, daughter of goldsmith Andreas Hofer is, like Der Weihnachtsabend , a one-act Though international currency of his operas has been for a behind-the-scenes one-act piece in the tradition of Steffen (the counterpart of Wagner’s Pogner). Steffen has piece composed in 1832. It features real and imaginary limited, on German stages he was for some 150 years the Cimarosa’s Il maestro di capella , Mozart’s Der offered Kunigunde’s hand as the prize in a singing contest, episodes of the life of the innkeeper and drover who in 1809 most performed composer after Mozart and Verdi. While Schauspieldirektor and similar works. In the castle of a but has arranged that the winner should be Eoban Hesse, led the Tyrolean rebellion against occupation by Bavarian the pace of productions there has slackened over the past Count (another of those comic bass roles), the household an alderman from Augsburg. -
'Let US Go Back to the Golden Age of Italian Opera'
Click here for Full Issue of EIR Volume 15, Number 17, April 22, 1988 Renata Tebaldi 'Let US go back to the golden age of Italian opera' The foLLowing excerpts have been translatedfrom the Italian of the instruments came out better. So things went on, but transcript of Miss Tebaldi's speech to the Milan Schiller their ears adapted to the change of tuning, and hence also in Institute conference on April 9. Renata Tebaldi, a "spinto" performing operas they kept the brilliant sound which they soprano, particularly celebrated for her Verdi roles such as liked so much; without thinking about the problems which Desdemona, Aida, and Violetta, performed regularly at La both instrumentalists and singers would have. I remember Scala of Milan, and the Metropolitan Opera of New York. that in Naples, during rehearsals of the Gioconda, as I was talking to an oboist who had won the San Carlo competition, I am happy to be invited to speak on this subject because I we realized that the pitch had risen. think it is very important. The constant increase in the tuning Now La Gioconda is a hard opera, and a voice with body pitch brings on enormous difficulties for singers. Both in the has trouble adapting to a rise in pitch. I was supposed to sing conservatory and afterward, during the entire arc of one's four acts, one tougher than the other; not only that: At the operatic career, we study constantly to keep the "passage" of end, in the fourth act, there are ornamented passages which the voice in order, because this is what allows us to sing high have some problems. -
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. -
Let Evening Come: American Songs Old &
Let Evening Come: American Songs Old & New Emily Martin, soprano | Ariana Wyatt, soprano | Richard Masters, piano Acknowledgments Recorded March 7-9, 2019 in Rooke Recital Hall, Bucknell University Recording Engineer: Paul Smith Editing and Mastering Engineer: Denver Nuckolls Producer: Ariana Wyatt Acknowledgments: Bucknell University Cover Art: Kathryn Simpson WWW.ALBANYRECORDS.COM TROY1806 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2020 ALBANY RECORDS MADE IN THE USA DDD WORKS BY ROBERT SPILLMAN | FRANK LA FORGE | LORI LAITMAN WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. Martin_1806_book.indd 1-2 12/18/19 3:42 PM The Composers The Performers Robert Spillman (b. 1936) was chair of the piano faculty and music director of the opera program at the American soprano Emily Martin has regularly received acclaim for her “enchanting University of Colorado at Boulder until his retirement in 2004. Prior to joining the faculty at CU Boulder, he iridescence,” and has been called “dramatically energetic and skillful” for her per- taught piano and accompanying at the Eastman School of Music. Mr. Spillman worked throughout the United forming in opera houses across the US including The Santa Fe Opera, Palm Beach States as accompanist for artists such as Jan DeGaetani, Sylvia Rosenberg, Yehuda Hanani, Paul Sperry, and Opera, Nevada Opera and the Chautauqua Opera. Emily has graced numerous Lucy Shelton, and performed as a soloist with numerous orchestras. His recordings appear on the Bridge, Vox, concert stages around the United States, and has presented solo recitals across Pro Arte, Musical Heritage and Mercury labels. -
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. -
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. -
[T] IMRE PALLÓ
VOCAL 78 rpm Discs FRANZ (FRANTISEK) PÁCAL [t]. Leitomischi, Austria, 1865-Nepomuk, Czechoslo- vakia, 1938. First an orchestral violinist, Pácal then studied voice with Gustav Walter in Vienna and sang as a chorister in Cologne, Bremen and Graz. In 1895 he became a member of the Vienna Hofoper and had a great success there in 1897 singing the small role of the Fisherman in Rossini’s William Tell. He then was promoted to leading roles and remained in Vienna through 1905. Unfor- tunately he and the Opera’s director, Gustav Mahler, didn’t get along, despite Pacal having instructed his son to kiss Mahler’s hand in public (behavior Mahler considered obsequious). Pacal stated that Mahler ruined his career, calling him “talentless” and “humiliating me in front of all the Opera personnel.” We don’t know what happened to invoke Mahler’s wrath but we do know that Pácal sent Mahler a letter in 1906, unsuccessfully begging for another chance. Leaving Vienna, Pácal then sang with the Prague National Opera, in Riga and finally in Posen. His rare records demonstate a fine voice with considerable ring in the upper register. -Internet sources 1858. 10” Blk. Wien G&T 43832 [891x-Do-2z]. FRÜHLINGSZEIT (Becker). Very tiny rim chip blank side only. Very fine copy, just about 2. $60.00. GIUSEPPE PACINI [b]. Firenze, 1862-1910. His debut was in Firenze, 1887, in Verdi’s I due Foscari. In 1895 he appeared at La Scala in the premieres of Mascagni’s Guglielmo Ratcliff and Silvano. Other engagements at La Scala followed, as well as at the Rome Costanzi, 1903 (with Caruso in Aida) and other prominent Italian houses. -
Ywwwww Boston • Chicago • Dallas • Los Angeles '
V S5685 O LORD MOST HOLY <Bread of Holy Heaven; (Panis AngelicusJ from "Messe Solennelle" High in Ab Franck-Scott .50 MUSIC SONGS WITH PIANO ACCOMPANIMENT FAURE, JEAN B. The Palms (Les Rameaux). High voice in C (S4858). Medium voice in Bb (S4859). Low voice _n Ab (S4860) (English and French text) . @ .40 FRANCK, CESAR O Lord Most Holy (Bread of Holy Heaven) (Panis An- gelicus) from "Messe Solennelle." High voice in Ab (_5<W) Medium voice in F (S5686). Low voice in Db (S5687) (English and Latin text). Piano or Organ accom paniment @ .50 GOUNOD, CHARLES Ave Maria (adapted to the First Prelude of J. S. Bach). High voice in G (S5681). Medium voice in F (S5682). Low voice in Eb (S5683) (English and Latin text) @ .35 There is a Green Hill Far Away (Le Calvaire). High voice in Fm (S5413) (English and French text) 40 GRANIER, JULES Hosanna (Easter Song). High voice in Db (S5415). Low voice in A (S5416) (English and French Text) @ .40 JAFFA, SIEGMUND Protection. High voice in Ab (V838). Low voice in F (V839) ^ @ .50 MOZART, W. A. Alleluja (from the Motet "Exsultate, Jubilate"). High voice in F (S5721). Medium voice in Eb (S5726). Low voice in C (.5727)....-.' ® .40 VAN DYKE, MAY Consider the Lilies. High voice in Eb (V1039). Low voice in C (V1040) » -50 KINGSLEY, RUTHERFORD Immortality. Medium Voice in E (V}15): fe .50 CARL FISCHER, INC. COOPER SQUARE, NEW YORK 3 ywwwww Boston • Chicago • Dallas • Los Angeles ' S 5685 O Lord Most Holy Pan is Angelicus from "Messe Solennelle" Solo for general use High Voice Alternate text for communion i¥^£ CESAE FEANCK Arranged by Charles P.