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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. -
Boston Symphony Orchestra Concert Programs, Season 118, 1998-1999
BOSTON SYMPHONY ORCHESTRA 1 I O Z AWA ' T W E N T Y- F I F 1 H ANNIVERSARY SEASO N 1 1 8th Season • 1 998-99 Bring your Steinway: < With floor plans from acre gated community atop 2,100 to 5,000 square feet, prestigious Fisher Hill you can bring your Concert Jointly marketed by Sotheby's Grand to Longyear. International Realty and You'll be enjoying full-service, Hammond Residential Real Estate. single-floor condominium living at Priced from $1,100,000. its absolutefinest, all harmoniously Call Hammond Real Estate at located on an extraordinary eight- (617) 731-4644, ext. 410. LONGYEAR at Jisner Jiill BROOKLINE Seiji Ozawa, Music Director 25TH ANNIVERSARY SEASON Bernard Haitink, Principal Guest Conductor One Hundred and Eighteenth Season, 1998-99 Trustees of the Boston Symphony Orchestra, Inc. R. Willis Leith, Jr., Chairman Nicholas T. Zervas, President Peter A. Brooke, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Harvey Chet Krentzman, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson Deborah B. Davis Edna S. Kalman Vincent M. O'Reilly Gabriella Beranek Nina L. Doggett George Krupp Peter C. Read James E Cleary Nancy J. Fitzpatrick Mrs. August R. Meyer Hannah H. Schneider John F. Cogan, Jr. Charles K. Gifford, Richard P. Morse Thomas G. Sternberg Julian Cohen ex-ojficio Mrs. Robert B. Stephen R. Weiner William F. Connell Avram J. Goldberg Newman Margaret Williams- William M. Crozier, Jr. Thelma E. Goldberg Robert P. O'Block, DeCelles, ex-qfficio Nader F Darehshori Julian T. Houston ex-ojficio Life Trustees Vernon R. -
Lauryna Bendžiūnaitė Soprano
LAURYNA BENDŽIŪNAITĖ SOPRANO BIOGRAPHY LONG VERSION Lauryna Bendžiūnaitė is a Lithuanian soprano who was a member of the ensemble of Staatstheater Stuttgart from 2014 - 2018. Her roles in Stuttgart have included Musetta, Ännchen, Zerlina, Susanna and Karolka. She also sang Dalinda in Handel’s Ariodante, appeared in Bieito’s new production of Purcell’s Fairy Queen conducted by Curnyn, as well as, in die Dirne Boesmans’s Reigen. Last season she performed Susanna at the Opera National du Rhin where she will return to sing Despina in Mozart’s Cosi fan tutte. Ms. Bendžiūnaitė studied at the Royal Academy of Music, London with Joy Mammen, winning the Pavarotti prize before moving on to further studies with Dennis O’Neil and Kiri te Kanawa. Prior to attending the Royal Academy, Ms. Bendžiūnaitė had studied with professor R. Maciutė at the Lithuanian Academy of Music and Theatre gaining the first prize in the International XXI Century Art Contest (Ukraine). She has since been a member of the Vilnius City Opera where her roles have included Pamina, Despina, Musetta, Sophie (Werther) and Johanna (Sweeney Todd). With the Lithuanian National Opera she sang Xenia (Boris Godunov). In 2012 Ms. Bendžiūnaitė sang Musetta at the Royal Swedish Opera where she was invited to repeat the role in 2013. In concert Ms. Bendžiūnaitė has performed with the Lithuanian National Philharmonic Orchestra regularly performs with the State Symphony Orchestra and the National Chamber Orchestra. She appeared in gala concerts with Kiri Te Kanawa in London and Dublin. She toured with the Kammerorchester Basel conducted by Trevor Pinnock with music from Purcell’s Fairy Queen and Mendelssohn’s Midsummer Nights Dream, which she also sang at the Teatro Massimo in Palermo in 2017. -
Freni Highlights - Puccini Tosca Mp3, Flac, Wma
Freni Highlights - Puccini Tosca mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Highlights - Puccini Tosca Country: US Released: 1982 Style: Opera MP3 version RAR size: 1884 mb FLAC version RAR size: 1119 mb WMA version RAR size: 1130 mb Rating: 4.4 Votes: 953 Other Formats: ASF AAC WAV MP3 MP4 AHX MMF Tracklist A1 Santa Ampolle...Recondita Armonia 5:10 A2 Gente La Dentro...Mario! Mario! Mario!...Ora Stammi A Sentir 14:29 A3 Tre Sbirri, Una Carrozza...Finale Act 1 4:41 A4 Se La Giurata Fede...Vissi D'arte 7:12 B1 Lo Tenni La Promessa...End Of Act II 7:28 B2 Perlude...Lo De'Sospiri...E Lucevan Le Stelle 13:10 B3 Senti … L'ora E Vicina...Finale Act III 10:05 Companies, etc. Phonographic Copyright (p) – The Decca Record Company Limited Credits Composed By – Giacomo Puccini Liner Notes – Avril Bardoni Orchestra – National Philharmonic Orchestra Vocals [Cavaradossi] – Luciano Pavarotti Vocals [Scarpia] – Sherrill Milnes Vocals [Tosca] – Mirella Freni Notes Made In Holland. Related Music albums to Highlights - Puccini Tosca by Freni Puccini, Freni, Pavarotti, Ludwig, Kerns, Vienna Philharmonic Orchestra, Karajan - Madama Butterfly Highlights Puccini - Vaness, Giacomini, Zancanaro, Philadelphia Orchestra, Muti - Tosca Giacomo Puccini, Leontyne Price, Giuseppe di Stefano, Giuseppe Taddei, Herbert von Karajan, Wiener Philharmoniker, Wiener Staatsopernchor - Tosca (Highlights) Puccini / Miricioiu · Lamberti · Carroli / Slovak Philharmonic Chorus / Czecho-Slovak Radio Symphony Orchestra (Bratislava) / Alexander Rahbari - Tosca -
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. -
Richard Strauss's Ariadne Auf Naxos
Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails. -
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. -
The English Concert – Biography
The English Concert – Biography The English Concert is one of Europe’s leading chamber orchestras specialising in historically informed performance. Created by Trevor Pinnock in 1973, the orchestra appointed Harry Bicket as its Artistic Director in 2007. Bicket is renowned for his work with singers and vocal collaborators, including in recent seasons Lucy Crowe, Elizabeth Watts, Sarah Connolly, Joyce DiDonato, Alice Coote and Iestyn Davies. The English Concert has a wide touring brief and the 2014-15 season will see them appear both across the UK and abroad. Recent highlights include European and US tours with Alice Coote, Joyce DiDonato, David Daniels and Andreas Scholl as well as the orchestra’s first tour to mainland China. Harry Bicket directed The English Concert and Choir in Bach’s Mass in B Minor at the 2012 Leipzig Bachfest and later that year at the BBC proms, a performance that was televised for BBC4. Following the success of Handel’s Radamisto in New York 2013, Carnegie Hall has commissioned one Handel opera each season from The English Concert. Theodora followed in early 2014, which toured West Coast of the USA as well as the Théâtre des Champs Elysées Paris and the Barbican London followed by a critically acclaimed tour of Alcina in October 2014. Future seasons will see performances of Handel’s Hercules and Orlando. The English Concert’s discography includes more than 100 recordings with Trevor Pinnock for Deutsche Grammophon Archiv, and a series of critically acclaimed CDs for Harmonia Mundi with violinist Andrew Manze. Recordings with Harry Bicket have been widely praised, including Lucy Crowe’s debut solo recital, Il caro Sassone. -
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. -
Handel Rinaldo Tuesday 13 March 2018 6.30Pm, Hall
Handel Rinaldo Tuesday 13 March 2018 6.30pm, Hall The English Concert Harry Bicket conductor/harpsichord Iestyn Davies Rinaldo Jane Archibald Armida Sasha Cooke Goffredo Joélle Harvey Almirena/Siren Luca Pisaroni Argante Jakub Józef Orli ´nski Eustazio Owen Willetts Araldo/Donna/Mago Richard Haughton Richard There will be two intervals of 20 minutes following Act 1 and Act 2 Part of Barbican Presents 2017–18 We appreciate that it’s not always possible to prevent coughing during a performance. But, for the sake of other audience members and the artists, if you feel the need to cough or sneeze, please stifle it with a handkerchief. Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. If anything limits your enjoyment please let us know The City of London during your visit. Additional feedback can be given Corporation is the founder and online, as well as via feedback forms or the pods principal funder of located around the foyers. the Barbican Centre Welcome Tonight we welcome back Harry Bicket as delighted by the extravagant magical and The English Concert for Rinaldo, the effects as by Handel’s endlessly inventive latest instalment in their Handel opera music. And no wonder – for Rinaldo brings series. Last season we were treated to a together love, vengeance, forgiveness, spine-tingling performance of Ariodante, battle scenes and a splendid sorceress with a stellar cast led by Alice Coote. -
Prey – Stille Meine Liebe Dokumentarfilm / Documentary / Dokumentation / Feature / Doku / Portrait / Biography /Biographic
Prey – Stille meine Liebe Dokumentarfilm / Documentary / Dokumentation / Feature / Doku / Portrait / biography /biographic /Bio ueber Hermann Prey, seine Leidenschaft, sein Leben und seine Musik. 70 min. DVD mit zusaetzlichen 60 min. Bonus Sprache Deutsch Untertitel Englisch Produktion – Vision Factory Medienproduktion GmbH und tryharder tvnetwork Inhalt Der Dokumentarfilm PREY – STILLE MEINE LIEBE taucht ein in das aussergewoehnliche Leben, die Leidenschaft und Sehnsuechte des weltberühmten Saengers Hermann Prey. Sein Beruf war seine Berufung und sein Leben widmete er seiner Bestimmung – der Musik. Mit allen wunderbaren, aber auch mit allen dramatischen Konsequenzen. Sicht- und Hoerbar gemacht durch private Super 8 Aufnahmen, bisher unveroeffentlichten Fernsehaufzeichnungen und durch sehr persönliche Interviews. Mit Thomas Hampson, Jonas Kaufmann und anderen Menschen, die Hermann Prey sehr nahe standen. Der Film enthaelt private unveroeffentlichte Super 8 Aufnahmen, unveroeffentlichte Musikaufnahmen und unveroeffentlichte Fernsehaufzeichnungen. Die DVD zum Film enthaelt den Hauptfilm, ein umfangreiches Booklet mit exklusicen Fotos und Informationen über die Entstehung des Films sowie zusaetzliche Bonusmaterialien. U.a. mit einer jeweils persönlichen HOMMAGE AN HERMANN PREY von Thomas Hampson, Jonas Kaufmann, Florian Uhlig, Helmut Deutsch, Michael Endres, Florian Prey und Rico Gulda. Kontakt via http://fuenfundsiebzig.net/tinc?key=4V8ktS6J Links zum Film www.stille-meine-liebe.de www.hermannprey.de www.hermann-prey.com www.stille-meine-liebe.de -
Wolfgang Sawallisch Wolfgang Sawallisch
WOLFGANG SAWALLISCH Conductor Laureate Wolfgang Sawallisch became conductor laureate of The Philadelphia Orchestra in September 2003, following the culmination of his celebrated, decade-long tenure as the Orchestra’s sixth music director. Acclaimed as one of the greatest living exponents of the Germanic musical tradition, Mr. Sawallisch enriched and expanded upon the Orchestra’s century-old tradition of excellence, leaving an enduring legacy of artistic achievements with the ensemble. As music director, Mr. Sawallisch encouraged the exploration of new ways to present music to American audiences. In April 1997 he led the Philadelphians in the first live internet concert “cybercast” made by a major American orchestra, attracting listeners from more than 40 countries around the world. He presented season-long focuses on the works of Schumann, Haydn, Beethoven, and Brahms, and an ongoing overview of the works of Richard Strauss (including a concert presentation of the opera Ariadne auf Naxos ). Through a series of commissions, Mr. Sawallisch re-affirmed the Orchestra’s commitment to new music; and his vision for the Orchestra’s 100th Anniversary Season in 1999-2000, made up exclusively of music written since the ensemble’s creation in 1900, resulted in record ticket sales and critical praise. During his tenure, Mr. Sawallisch led The Philadelphia Orchestra each year in concerts outside Philadelphia, helping to build upon the ensemble’s long tradition of touring. He appeared annually with the Orchestra in a series of concerts at Carnegie Hall and conducted the Orchestra in major concert halls throughout the world on eight international tours (three to Europe, four to Asia, and one to Central and South America).