DOCSLIB.ORG

Download Booklet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Booklet 570300-02 bk Haydn Tobia US 9/14/07 1:46 PM Page 28 3 CDs Also available HAYDN Il ritorno di Tobia Invernizzi • Karthäuser • Hallenberg Dahlin • Borchev VokalEnsemble Köln • Capella Augustina Andreas Spering 8.557380-81 8.557600-01 8.570300-02 28 570300-02 bk Haydn Tobia US 9/14/07 1:46 PM Page 2 Also available Franz Joseph HAYDN (1732-1809) Il ritorno di Tobia Oratorio in Two Parts, Hob. XXI/1 (1775/1784) Text by Giovanni Gastone Boccherini Raffaelle . Roberta Invernizzi, Soprano Sara . Sophie Karthäuser, Soprano Anna . Ann Hallenberg, Alto Tobia . Anders J. Dahlin, Tenor Tobit . Nikolay Borchev, Bass VokalEnsemble Köln (Chorus Master: Max Ciolek) 8.554416 Capella Augustina • Andreas Spering Recorded by Deutschlandfunk, Sendesaal des Funkhauses Köln, Germany in September 2006 A co-production with DeutschlandRadio Producer: Wolfgang Mitlehner • Editing: Claudia Pohl This recording was made possible by the generous support of the Kunststiftung NRW and the Deutsche Leasing AG 8.557958 8.570300-02 227 8.570300-02 570300-02 bk Haydn Tobia US 9/14/07 1:46 PM Page 26 Sara, Anna, Tobia, Tobit ! 17. Coro CD 1 55:28 CD 2 58:16 Ah, perdono, pietà, guerrier celeste! Ebrei 1 (S’inginochiano e si coprono il volto.) Io non oso alzar le ciglia Parte prima 6a. Recitativo: Nell’angeliche sembianze. 1 Sinfonia 6:58 Sara, mia dolce sposa 0:59 Raffaelle (Alzandosi a poco a poco.) (Tobia, Sara) Non paventate, udite: Innanzi al trono 2 1. Coro: 5:31 2 6b. Aria: Del Re de’ Regi, esposi a un tempo istesso Tobit Pietà d’un’infelice Quando mi dona un cenno 12:05 I vostri giusti prieghi: e l’infinita Oh stupore! (Anna, Tobit, Ebrei) Bontà scender m’impose (Tobia) 3 2a. Recitativo: 5:40 A difender Tobia, Anna 3 7a. Recitativo: A concedergli Sara, e a render l’uso Oh meraviglia! Né comparisce Somme grazie ti rendo 0:24 A’ lumi di Tobit. Addio! Seguite (Anna, Tobit) (Sara) Fidi a servir l’eterno Ben; voi siete Sara, Tobia 4 2b. Aria: 4 7b. Aria: I cari figli suoi: soffrite in pace Ei qual nube al Ciel sen va. Sudò il guerriero 7:11 La dura prigionia; tornate pronti Del caro sposo 9:42 A soggiornar col pio Raguel. Lontana Ebrei (Anna) (Sara) L’ora non è, che Ninive superba Decantiam quel Dio pastore, 5 3a. Recitativo: 5 8. Recitativo: Sovvertita sarà; ma i vostri degni Che con noi, sua gregge eletta Deh modera il dolor 0:52 Rivelarti a Dio piacque 5:01 Pronipoti vedranno Non fu Dio della vendetta, (Tobit) D’oro lucente e di preziose gemme (Raffaelle, Tobit, Sara, Anna, Tobia) Ma fu Dio della pietà. 6 3b. Aria: Rifabbricata un dì Gerusalemme. E seguiam quai vere agnelle 6 9. Coro: (Scende una nuvola dal Ciel della compagna: lo Umilmente il santo amore; Ah tu m’ascolta 4:45 Odi le nostre voci 6:46 ricopre, e lo trasporta in alto.) Otterem gloria maggiore (Tobit) (Ebrei, Tobia, Anna, Tobit, Sara, Raffaelle) E maggior felicità. 7 4a. Recitativo: Non è quello Azaria 4:07 Parte seconda (Anna, Raffaelle) 8 4b. Aria: 7 10a. Recitativo: Anna, m’ascolta! 7:49 Oh della santa fé stupendi effetti! 3:19 (Raffaelle) (Anna, Sara, Raffaelle) 9 5a. Recitativo: 8 10b. Aria: Che disse? 1:19 Come se a voi parlasse 7:33 (Anna) (Raffaelle) 0 5b. Aria: 9 11a. Recitativo: Ah gran Dio 7:47 Ad Azaria nel volto 1:19 (Anna) (Anna, Sara) ! 5c. Coro: 0 11b. Aria: Ah gran Dio! 3:30 Non parmi esser fra gl’uomini 11:08 (Ebrei) (Sara) 8.570300-02 26 3 8.570300-02 570300-02 bk Haydn Tobia US 9/14/07 1:46 PM Page 4 CD 3 55:20 7 14b. Aria: Sara Tobit Egli s’appressa. Olà, recate 1 12a. Recitativo: Invan lo chiedi, amico 6:35 (Tobit) (Tobit correndo franco ad occhi aperti e detti; Coro Parte ugual del tesor giunto col figlio Che soave parlar! 1:07 d’Ebrei lo seguita.) E i miei più ricchi arredi. 8 (Anna, Tobia) 15a. Recitativo: (Agli Ebrei che partono e tornano un bacili d’oro 2 12b. Aria: Che fulmine improvviso! 1:59 Tobit scrigni e vasi preziosi.) Gloria al divin Benefattor! Consorte, Quel felice nocchier 6:52 (Tobia, Anna) 9 Pur ti riveggo alfine! (Raffaelle e detti.) (Tobia) 15b. Duetto: 3 13a. Recitativo: Dunque, oh Dio 7:22 Anna Raffaelle Giusta brama l’affretta 3:14 (Tobia, Anna) Oh contentezza! A chieder vengo 0 (Anna) 16. Recitativo: Congedo e libertà. Tobit 4 13b. Aria: Qui di morir si parla 8:33 (Sara, Anna, Tobia, Tobit, Raffaelle) Anna, la tua bellezza Tobit Come in sogno un stuol m’apparve 3:57 Non sofferse in ott’anni oltraggio alcuno. L’opere tue ! (Anna) 17. Coro: Esigono di più. Tutti presenti 5 13c. Coro: Io non oso alzar 6:36 Anna Abbiam gl’obblighi nostri; e la mercede Guarda, qual crebbe... A te promessa è pronta; e quello è l’oro, Svanisce in un momento 5:03 (Sara, Anna, Tobia, Tobit, Ebrei) (Accennando Tobia.) Ch’io ti destino in dono; e se, di quanto (Ebrei) In mio poter rimiri, altro t’aggrada, 6 14a. Recitativo: Tobit Prendilo. Ognun di noi grato per uso Ah dove corri, oh padre? 4:01 Ah figlio, a te degg’io T’offre tutto che vuoi. (Tobia, Tobit, Raffaelle) Ed alla sposa tua sì dolce vista; Ma negar non poss’io parte maggiore Raffaelle Del merto ad Azaria: premiarlo bramo. Tutto ricuso. Dimmi or qual premio... Tobit Tobia Perché? Ah padre, Donagli ancor quanto possiedi; ah mai, Raffaelle Mai donargli potrai Mortal non son. Quant’egli meritò. Deggio a quest’uomo Io due volte la vita. Anna Ma chi sei? Sara Io deggio a lui Raffaelle L’onor di viver moglie. Raffaelle son io, l’un di quei sette Angioli eletti a presentare a Dio Anna Le più sante richieste. Ah, noi dobbiamo Tutto a lui solo. Tobia Ei viene. 8.570300-02 4 25 8.570300-02 570300-02 bk Haydn Tobia US 9/14/07 1:46 PM Page 24 Tobia Anna Franz Joseph Haydn (1732-1809) Che trambusto fatal! È giusto il pianto. Il ritorno di Tobia Anna Anna, Tobia Joseph Haydn’s place in the history of the oratorio has it had been set to music dozens of times. Che fier tormento! Io son pronta/o a pianger tanto, been secured by his great vocal masterpieces The This story was employed for the libretto in Tobia Che si plachi Iddio sdegnato. Creation (1798) and The Seasons (1801), which are a accordance with every rule of the classical Italian Mi sento inorridir! Oh, si versi dal mio ciglio, considerable contribution to the genre and are well tradition by Giovanni Gastone Boccherini, who plied his L’alma mia disciolta in pianto. enough known. His first appearance, however, on the trade as poet to the court theatre in Vienna; he was a Anna Ah sarà mia gran ventura, Mount Parnassus of oratorio a good quarter of a century brother of the famous composer for the cello, Luigi Morir mi sento! Se di duolo avvien ch’io moia beforehand is among the better-kept secrets of music Boccherini. First and foremost Boccherini reduced the Quel momento, che di gioia history. Unlike The Creation and the almost equally number of characters involved: the parents Anna and 9 15b. Duetto Dubitai dover morir. popular The Seasons, both of which are still widely Tobit (the father, originally also called ‘Tobias’, is Tobia performed nowadays, Tobia did not establish itself in the renamed here to distinguish him from his son) find their Dunque, oh Dio, quando sperai 0 16. Recitativo (Sara e detti.) repertoire following the first performance in 1775. place opposite their son Tobias and his wife Sarah; the Di provar le gioie estreme: Sara Il ritorno di Tobia had a promising enough start: in only additional character is Tobias’s travelling È perduta ogni mia speme, Qui di morir si parla, e tutto esulta April 1775 Haydn directed the first two performances of companion Asaria, who reveals himself as the E schernita è la mia fé! Il popol d’Israel. his work, written for the Vienna Tonkünstler-Societät, at Archangel Raphael at the end of the piece. The plot is two benefit concerts “for the upkeep of their widows and also considerably curtailed so that the fourteen, at times, Anna Anna orphans”, which brought the society a remarkable highly dramatic chapters of the extensive story of Tobias Dunque, oh Dio, de’ nostri lai Perché? financial profit of 1712 gulden together with are reduced in Boccherini’s version to his return from Gl’infedeli esulteranno, considerable artistic success for the composer. On 6th abroad and the curing of his blind father. We hear about E confusi rimarranno Tobia April 1775 the Viennese Realzeitung reported that in Tobias’s journey and the numerous adventures that he Quanti, oh Dio, fidaro in te! Che dici? this work, the “famous kapellmeister Hayden” had has to endure on it, as well as his joyful marriage to “shown the ability for which he is famous to best Sarah only from retrospective accounts. Whereas this Tobia Sara advantage once more. Expression, Nature and Art were paring down admittedly leads to a loss of dramatic Oh, che orror! All’afflitto Tobit, che pria l’ardente so skilfully finely combined throughout his work that opportunity, it does, however, allow for the Aristotelian Foco sofferto avria del dì lucente, the audience was compelled to enjoy and wonder at all principal of the unity of time, place and action: the Anna Per cenno d’Azaria of these.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Private Musiksammlung Archiv CD/DVD
    Private Musiksammlung Aktualisierung am: 04.09.15 Archiv CD/DVD - Oper Sortierung nach: in CD - mp3 / DVD - MEGP- Formaten 1. Komponisten 2. Werk-Nummer (op.Zahl etc) TA und TR: Daten sind bei „alne“ vorhanden 3. Aufnahmejahr Auskünfte über Mail [email protected] Diese Datei erreichen Sie unter: T und TR: Daten sind bei „EO“ vorhanden http://www.euro-opera.de/T-TA-TR.pdf Auskünfte über Mail in Kürze auch unter: [email protected] http://www.cloud-de.de/~Alne_Musik/ Haas Haas Die heilige Elisabeth - 1 München Maria Venuti - Wolf Bruno Weil Ch-O - BR 4 Euba - - - - - - - Elmar Schloter, Joseph Haas (1879 - - Orgel - 1960) - Münchener 21.03.2004 - Rundfunkorchester op. 84 - cda403 T- VHS-Audi CD o Haas Die heilige Elisabeth - 1990 München Maria Venuti - Wolf Bruno Weil Ch - 26.11.1990 BR 4 Euba - - - - - - - - 1659,01 Joseph Haas (1879 - - 1960) - Münchner 31.03.2010 - Rundfunkorchester op. 84 - cda1003 T- Dok 409 2 CD 2 Haas Scharlatan - 1997 Prag Vladimir Chmelo - Anda-Louise Israel Yinon O - BR 4 Bogza - Miroslav Svejda - Leo 529,01 Pavel Haas (1899 - - MarianVodicka - Ladislav Mlejnek - 1944) - Orchester der Prager 22.06.1999 - Jan Jezek - - - - Staatsoper Oper 1 - T- VHS-Audio Haas Scharlatan - 2009 Gera Andreas Scheibner - Franziska Rauch - Jens Troester O - 06.03.2009 MDR Figaro Peter-Paul Haller - Konrad 1355,01 Pavel Haas (1899 - - Zorn - - - - - Kay Kuntze - Duncan 1944) - Sarlatán Opernchor und 07.03.2009 - Hayler Philharmonisches Oper 1 - cda1601 T- Dok 124 CD 6 Haas Bluthaus - 2011 Schwetzingen Sarah Wegener - Ruth Hartmann
    [Show full text]
  • The Return of Handel's Giove in Argo
    GEORGE FRIDERIC HANDEL 1685-1759 Giove in Argo Jupiter in Argos Opera in Three Acts Libretto by Antonio Maria Lucchini First performed at the King’s Theatre, London, 1 May 1739 hwv a14 Reconstructed with additional recitatives by John H. Roberts Arete (Giove) Anicio Zorzi Giustiniani tenor Iside Ann Hallenberg mezzo-soprano Erasto (Osiri) Vito Priante bass Diana Theodora Baka mezzo-soprano Calisto Karina Gauvin soprano Licaone Johannes Weisser baritone IL COMPLESSO BAROCCO Alan Curtis direction 2 Ouverture 1 Largo – Allegro (3:30) 1 2 A tempo di Bourrée (1:29) ATTO PRIMO 3 Coro Care selve, date al cor (2:01) 4 Recitativo: Licaone Imbelli Dei! (0:48) 5 Aria: Licaone Affanno tiranno (3:56) 6 Coro Oh quanto bella gloria (3:20) 7 Recitativo: Diana Della gran caccia, o fide (0:45) 8 Aria: Diana Non ingannarmi, cara speranza (7:18) 9 Coro Oh quanto bella gloria (1:12) 10 Aria: Iside Deh! m’aiutate, o Dei (2:34) 11 Recitativo: Iside Fra il silenzio di queste ombrose selve (1:01) 12 Arioso: Iside Vieni, vieni, o de’ viventi (1:08) 13 Recitativo: Arete Iside qui, fra dolce sonno immersa? (0:23) 14 Aria: Arete Deh! v’aprite, o luci belle (3:38) 15 Recitativo: Iside, Arete Olà? Chi mi soccorre? (1:39) 16 Aria: Iside Taci, e spera (3:39) 17 Arioso: Calisto Tutta raccolta ancor (2:03) 18 Recitativo: Calisto, Erasto Abbi, pietoso Cielo (1:52) 19 Aria: Calisto Lascia la spina (2:43) 20 Recitativo: Erasto, Arete Credo che quella bella (1:23) 21 Aria: Arete Semplicetto! a donna credi? (6:11) 22 Recitativo: Erasto Che intesi mai? (0:23) 23 Aria: Erasto
    [Show full text]
  • Human Requiem (U.S
    Sunday, October 16, 2016, at 7:30 pm Tuesday–Wednesday, October 18–19, 2016, at 7:30 pm Post-performance discussion on Tuesday, October 18 with Simon Halsey, Jochen Sandig, and Patrick Castillo human requiem (U.S. premiere) Rundfunkchor Berlin Simon Halsey , Conductor Marlis Petersen , Soprano Konrad Jarnot , Baritone Angela Gassenhuber , Piano Philip Mayers , Piano Nicolas Fink , Co-Conductor Jochen Sandig , Concept and Scenic Realization Brad Hwang , Spatial Concept Jörg Bittner , Lighting BRAHMS Ein deutsches Requiem for soloists, chorus, and piano four hands (1868/2004) Arranged by Phillip Moll from the original transcription by Brahms Selig sind, die da Leid tragen Denn alles Fleisch, es ist wie Gras Herr, lehre doch mich Wie lieblich sind deine Wohnungen Ihr habt nun Traurigkeit Denn wir haben hie keine bleibende Statt Selig sind die Toten This performance is approximately 70 minutes long without intermission. Please join the artists for a White Light Lounge immediately following the performance. These performances are made possible in part by the Josie Robertson Fund for Lincoln Center. Steinway Piano Please make certain all your electronic devices Synod House, are switched off. Cathedral of St. John the Divine WhiteLightFestival.org MetLife is the National Sponsor of Lincoln Center. UPCOMING WHITE LIGHT FESTIVAL EVENTS: Artist Catering provided by Zabar’s and Zabars.com Friday, October 21 at 7:30 pm in the Church of St. Mary the Virgin American Airlines is the Official Airline of Lincoln Immortal Bach Center Rundfunkchor Berlin
    [Show full text]
  • Georg Friedrich Händel (1685-1759)
    Georg Friedrich Händel (1685-1759) Sämtliche Werke / Complete works in MP3-Format Details Georg Friedrich Händel (George Frederic Handel) (1685-1759) - Complete works / Sämtliche Werke - Total time / Gesamtspielzeit 249:50:54 ( 10 d 10 h ) Titel/Title Zeit/Time 1. Opera HWV 1 - 45, A11, A13, A14 116:30:55 HWV 01 Almira 3:44:50 1994: Fiori musicali - Andrew Lawrence-King, Organ/Harpsichord/Harp - Beate Röllecke Ann Monoyios (Soprano) - Almira, Patricia Rozario (Soprano) - Edilia, Linda Gerrard (Soprano) - Bellante, David Thomas (Bass) - Consalvo, Jamie MacDougall (Tenor) - Fernando, Olaf Haye (Bass) - Raymondo, Christian Elsner (Tenor) - Tabarco HWV 06 Agrippina 3:24:33 2010: Akademie f. Alte Musik Berlin - René Jacobs Alexandrina Pendatchanska (Soprano) - Agrippina, Jennifer Rivera (Mezzo-Soprano) - Nerone, Sunhae Im (Soprano) - Poppea, Bejun Mehta (Counter-Tenor) - Ottone, Marcos Fink (Bass-Bariton) - Claudio, Neal Davis (Bass-Bariton) - Pallante, Dominique Visse (Counter-Tenor) - Narciso, Daniel Schmutzhard (Bass) - Lesbo HWV 07 Rinaldo 2:54:46 1999: The Academy of Ancient Music - Christopher Hogwood Bernarda Fink (Mezzo-Sopran) - Goffredo, Cecilia Bartoli (Mezzo-Sopran) - Almirena, David Daniels (Counter-Tenor) - Rinaldo, Daniel Taylor (Counter-Tenor) - Eustazio, Gerald Finley (Bariton) - Argante, Luba Orgonasova (Soprano) - Armida, Bejun Mehta (Counter-Tenor) - Mago cristiano, Ana-Maria Rincón (Soprano) - Donna, Sirena II, Catherine Bott (Soprano) - Sirena I, Mark Padmore (Tenor) - Un Araldo HWV 08c Il Pastor fido 2:27:42 1994: Capella
    [Show full text]
  • Ariadne Auf Naxos
    La natura és l'origen de totes les coses bones. Yoghourts, flams, cremes, formatges. —aliments frescos i naturals— GRAN TEATRE DEL LICEU Temporada d'òpera 1983/84 CONSORCI DEL GRAN TEATRE DEL LICEU CENERALHAT DE CATALUNYA AJUNTAMENT DE BARCELONA SOCIETAT DEL GRAN TEATRE DEL LICEU Ptas.1,949.480PRECIO: decirfaltahaceNomás dynamicThecar BRITISH Tels. Tels. S.A.MOTORS, 46-48Gervasio.SanP.»VENTAS:YEXPOSICION Q38211373124797- 36Calabna,RECAMBIOS:YTALLERES BARCELONA242922314-- ARIADIME AUF IMAXOS òpera en 1 pròleg i 1 acte Llibret d'Hugo von Hofmannsthal Miisica de Richard Strauss Funció de Gala Dijous, 12 de gener de 1984, a les 21 h., funció núm. 23, torn B Diumenge, 15 de gener de 1984, a les 17 h., funció núm. 24, torn T Dimecres, 18 de gener de 1984, a les 21 h., funció núm. 25, torn A GRAN TEATRE DEL LICEU Barcelona HïïVÜS ^ROSSO^ fWlW^ATI martini & ROSSI Un Martini invitaavivir [martini ARIADNE AUF NAXOS El majordom (part parlada): Hans Christian Un mestre de miisica: Ernst Gutstein El compositor: Alicia Nafé Bacchus: Klaus Koening Un oficial: Alfredo Heilbron Un mestre de ball: Wolf Appel Un perruquer: Steven Kimbrough Un lacai: Alfred Werner Zerbinetta: Celina Lindsley Ariadne: Montserrat Caballé Arlequí: Georg Tichy Scaramuccio: Ernst Dieter Suttheimer Truffaldin: Ude Krekow Brighella: Wolf Appel Echo: Downing Whitesell Najade: Agnes Habereder Dryade: Ingrid Mayr Director d'orquestra: János Kulka Director d'escena: Mario Kriiger Violí concertino: Josep M." Alpiste Producció: Staatstheater - Braunschweig (R.F.A.) ORQUESTRA SIMFÒNICA DEL GRAN TEATRE DEL LICEU Comentaris a càrrec dels Drs. Roger Alier, Xosé Aviñoa i Oriol Martorell, del Departament d'Art de la Universitat de Barcelona.
    [Show full text]
  • Die Tote Stadt
    DIE TOTE STADT Erich Wolfgang Korngold Productie / Production DE MUNT / LA MONNAIE Nieuwe productie, gebaseerd op de oorspronkelijke coproductie met / Nouvelle production, basée sur la coproduction initiale avec TEATR WIELKI – POLISH NATIONAL OPERA Nieuwe orkestratie, in opdracht van / Nouvelle orchestration, commande conjointe de DE MUNT / LA MONNAIE & THEATER AN DER WIEN Met de steun van / Avec le soutien de NATIONALE LOTERIJ / LOTERIE NATIONALE In coproductie met Shelter Prod en Prospero MM Productions met de steun van taxshelter.be en ING met de steun van de tax shelter van de Belgische federale overheid En coproduction avec Shelter Prod et Prospero MM Productions avec le soutien de taxshelter.be et ING avec le soutien du tax shelter du gouvernement fédéral de Belgique DIE TOTE STADT Oper in drei Bildern Libretto von Paul Schott frei nach Georges Rodenbachs Roman „Bruges-la-Morte“ Musik von Erich Wolfgang Korngold Nieuwe orkestratie van / Nouvelle orchestration par Leonard Eröd Creatie / Création Staatsoper Hamburg & Oper der Stadt Köln, 4.12.1920 LOTHAR KOENIGS Muzikale leiding / Direction musicale MARIUS TRELIŃSKI Regie / Mise en scène BORIS KUDLIČKA Decor / Décors MAREK ADAMSKI Kostuums / Costumes MARC HEINZ Belichting / Éclairages BARTEK MACIAS Video / Vidéo TOMASZ JAN WYGODA Choreografie / Chorégraphie MARCIN CECKO Dramaturgie Reductie van de orkestpartituur / LEONARD ERÖD Réduction de la partition orchestre ROBERTO SACCÀ Paul MARLIS PETERSEN Marietta / Die Erscheinung Mariens DIETRICH HENSCHEL Frank BERNADETTA GRABIAS Brigitta MARTINA RUSSOMANNO Juliette LILLY JØRSTAD Lucienne FLORIAN HOFFMANN Gaston / Victorin NIKOLAY BORCHEV Pierrot MATEUSZ ZAJDEL Graf Albert SYMFONIEORKEST VAN DE MUNT / ORCHESTRE SYMPHONIQUE DE LA MONNAIE KINDER-EN JEUGDKOREN & KOORACADEMIE VAN DE MUNT o.l.v.
    [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]
  • Radio 3 Listings for 4 – 10 July 2009 Page 1 of 20
    Radio 3 Listings for 4 – 10 July 2009 Page 1 of 20 SATURDAY 04 JULY 2009 Ipavec, Benjamin (1829-1908): Maria the Gypsy Baltimore Symphony Orchestra Ana Pusar Jeric (soprano) David Zinman (conductor) SAT 01:00 Through the Night (b00ldxzw) Natasa Valant (piano) ARGO 440 639 2 Tr 1 1.00am Martinu, Bohuslav (1890-1959): Frescoes of Piero della 4.39am Poulenc: Improvisations Nos 1-3 Francesca Rachmaninov, Sergey (1873-1943): Caprice bohemien, Op 12 Pascal Roge (piano) Slovak Radio Symphony Orchestra in Bratislava Queensland Symphony Orchestra DECCA 417 4382 Trs 20-22 Robert Stankovsky (conductor) Vladimir Verbitsky (conductor) Vivaldi: Concerto in D minor, RV127 1.22am 5.01am Venice Baroque Orchestra Lehar, Franz (1870-1948): Overture (Zigeunerliebe) Mendelssohn, Felix (1809-1847): Overture (Ruy Blas), Op 95 Andrea Marcon (director) Saarbrucken Radio Symphony Orchestra Netherlands Radio Philharmonic ARCHIV 474 5092 Trs 7-9 Franz Lehar (conductor) Hiroyuki Iwaki (conductor) Nat King Cole: Get Your Kicks on Route 66 1.31am 5.09am Nat King Cole (vocals) Strauss, Johann II (1825-1899), arr Schoenberg, Arnold Purcell, Henry (1659-1695): Timon of Athens, the man-hater - PRESTIGE CDSGP097 Tr 8 (1874-1951): Kaiser-Walzer, Op 437 (1888) incidental music, Z632 Canadian Chamber Ensemble Lynne Dawson, Gillian Fisher (soprano) Mozart: Serenade in E flat, K375 (Allegro) Raffi Armenian (conductor) Rogers Covey-Crump, Paul Elliott (tenor) Netherlands Wind Ensemble Michael George, Stephen Varcoe (bass) CHANDOS CHAN 9284 Tr 6 1.43am Monteverdi Choir and English
    [Show full text]
  • Francis Poulenc
    Francis Poulenc Stabat Mater | Les Biches Marlis Petersen Soprano SWR Vokalensemble Stuttgart | NDR Chor | Radio-Sinfonieorchester Stuttgart des SWR | Stéphane Denève 02 Francis Poulenc (1899 – 1963) Stabat Mater 03 Stabat Mater [30:38] Les Biches [34:09] 1 Stabat Mater dolorosa Christi Mutter stand mit At the cross her station keeping, Für Sopran, gemischten Chor Ballett mit Gesang in einem Akt Juxta crucem lacrimosa Schmerzen Stood the mournful Mother, und Orchester für Chor und Orchester Dum pendebat filius. Bei dem Kreuz und weint’ von weeping, Herzen, Close to Jesus at the last. 1 Stabat Mater dolorosa. Très calme [03:29] 13 Nr. 1: Ouverture. Tranquillo [03:06] Als ihr lieber Sohn da hing. 2 Cujus animam gementem. 14 Nr. 2: Rondeau. Largo [03:34] 2 Cuius animam gementem, Durch die Seele voller Trauer, Through her soul, of joy Allegro molto (très violent) [01:05] 15 Nr. 3: Chanson dansée [04:37] Contristatam et dolentem, Seufzend unter Todesschauer bereaved, 3 Pertransivit gladius. Jetzt das Schwert des Leidens Bowed with anguish, deeply O quam tristis. Très lent [02:43] 16 Nr. 4: Adagietto [03:55] ging. grieved, 4 Quae moerebat. Andantino [01:29] 17 Nr. 5: Jeu [03:44] Now at length the sword hath 5 Quis est homo. Allegro molto [01:28] 18 Nr. 6: Rag-Mazurka [05:54] passed. 6 Vidit suum. Andante [03:25] 19 Nr. 7: Andantino [03:11] 3 O quam tristis et afflicta Welch ein Weh der Auserkornen, O, that blessed one, grief-laden, 7 Eja Mater. Allegro [01:13] 20 Nr. 8: Petite chanson dansée [02:01] Fuit illa benedicta Da sie sah den Eingebornen, Blessed Mother, blessed Maiden, 8 Mater unigeniti! Wie er mit dem Tode rang! Mother of the all-holy One.
    [Show full text]
  • Die Edition Zum 80. Geburtstag
    PETER SCHREIER DIE EDITION ZUM 80. GEBURTSTAG »Ich genieße es, keine Zeitnot mehr zu haben« als Kompensation für das, was im echten Salzburg an Freizeit nicht möglich war? Nach sei- nem Debüt 1967 als Tamino in Mozarts Zauber öte war Schreier ein Vierteljahrhundert lang ununterbrochen bei den Salzburger Festspielen engagiert. Sprich: in jedem Sommer sechs bis eter Schreier steht auf dem Balkon seines Landhauses und genießt den weiten Blick acht Wochen gebunden. »Im Grunde bedeutete das, 25 Jahre lang keinen Urlaub zu haben.« gen Süden, das Erwachen der Natur an diesem milden, freundlichen Tag. Er lauscht Peter Schreier sagt es nachdenklich, mit etwas Wehmut. Nur wenige müssen Salzburg mit dem Gesang der Vögel, der nun immer stimmreicher und lebha er wird. Der Früh- harter Arbeit verbinden – hier au retende Künstler schon. Die physischen und psychischen Pling erreicht Lungkwitz etwas später als das nahe Elbtal. »In ein paar Tagen ist dort Grenzen seines Berufs spürte er bereits als junger Sänger, als er 19-jährig mit der Evangelis- alles weiß«, weiß Peter Schreier und zeigt auf die san ansteigenden Hänge gegenüber, wo die tenpartie von Bachs Matthäus-Passion in der Dresdner Kreuzkirche einbrach. Eine wichtige ersten Obstbäume blühen. Erfahrung für einen Lebensweg, der Selbstvertrauen benötigt, Selbstüberschätzung dagegen Hinter diesem Höhenrücken liegt Maxen. Von seinem Haus aus kann Peter Schreier den nicht. Das Niveau, auf dem Peter Schreier sang, hält sich nicht von alleine. Ort nicht sehen. Doch »aus dem Auge« heißt nicht »aus dem Sinn« und Maxen wird ihn, Acht CDs soll die Sammlung zum runden Geburtstag umfassen? Dem baldigen Jubilar ebenso wie Kreischa, stets an einen Komponisten erinnern, der ihm nahe am Herzen liegt, in scheint das zunächst zu viel, dann ist er gespannt auf die Auswahl.
    [Show full text]
  • Associació Wagneriana. Apartat Postal 1159. Barcelona 08080 Http
    WAGNERIANA CATALANA Nº 32 ANY 2010 TEMA10: ALTRES TEMES TÍTOL: URFASSUNG (VERSIÓ ORIGINAL) ÒPERA ROMÀNTICA ALEMANYA EN VÍDEO / DVD (PRIMERA PART) AUTOR: Josep Maria Rota i Aleu ______________________ Aquest treball constitueix una bona guia de l’òpera romàntica alemanya des de Beethoven a Wagner, que el seu autor ha desitjat compartir amb tots els lectors de WAGNERIANA. Un article interessant i ben documentat que agradarà i interessarà sens dubte, als nostres lectors aficionats a les produccions d’obres originals respectuoses amb les indicacions dels seus autors. Per a completar la informació seguirà una segona part sobre el mateix tema d’autors posteriors a Wagner. L'aparició i, sobre tot, la difusió del DVD ha restituït els enregistraments d'òpera a la seva veritable dimensió. La placa de 78 rpm. va permetre les primeres audicions de fragments, que passaren al disc de 45 rpm. i després a l'LP de 33 rpm. La irrupció del CD digital va revolucionar el món de l'audiòfil, que es va gastar tot el que tenia en refer el seu arxiu en aquest nou format. Això servia per a la música de recital i concert, des d'una sonata de Beethoven a una simfonia de Bruckner, però no per a l'òpera o el ballet: escoltar una òpera en CD és com seguir un partit de futbol per la ràdio. Una òpera només escoltada transmet només una part del seu valor artístic; això que acabo de dir afecta de manera gradual, des de molt poc en determinats repertoris ( Bel canto ) fins a molt o moltíssim en d'altres (Wagner).
    [Show full text]