VERDI: Rigoletto
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® I GRAN TEATRE DEL LICEU , Temporada 1996-97 CONSORCI DEL GRAN TEATRE DEL LICEU GENERALITAT DE CATALUNYA � AJUNTAMENT DE BARCELONA MINISTERIO DE CULTURA AJORlCA DIPUTACIÓ DE BARCELONA Joyas y Perlas Jewellery & Pearls ® II harhiere di Siviglia Òpera còmica en dos actes Llibret de Cesare Sterhini, sobre el text de Pierre-Augustin Caron de Beaumarchais Música de Gioacchino Rossini (amb sobretitulat) Teatre Victòria Dilluns, 16 de juny, 21 h, funció núm. 25, torn A Dijous, 19 de juny, 21 h, funció núm. 26, torn E Diumenge, 22 de juny, 17 h, funció núm. 27, torn T Dimecres, 25 de juny, 21 h, funció núm. 28, torn D Dissabte, 28 de juny, 21 h, funció núm. 29, torn e Dilluns, 30 de juny, 21 h, funció núm. 30, torn B GRAN TEATRE DEL LICEU - 150e Aniversari El Liceu fa 150 anys. Moltes felicitats a tothom que ho ha fet possible. junts en farem molts més! Societat, Consorci i Fundació del Gran Teatre del Liceu. IL·LUSIONATS AMB EL NOU LICEU. 1 8 4 7 / 1 997 IL·LUSIONATS AMB EL NOU LICEU. Generalitat de Catalunya, Ministerio de Cultura, Ajuntament de Barcelona, Diputació de Barcelona, Societat del Gran Teatre del Liceu i Consell de Mecenatge Autopistas C.E.SA II BILBAO BANCO VIZCAYA ARGENTARIA � w w w # BANCACATI'JANA u u u Banco II ...J Santander ...J ...J fiii· Central Hispano � BanesfQ Borsa de Barcelona ::J ::J ::J O O Cambra Oficial O de Comerç Z z Indústria i Navegació Z - de Barcelona ...J ...J ...J : R w w W ctlV[ •••• lli!�IJf!YA TURISME DE �f� RIJiO - BARCELONA i VINSA - , �Dragados .- w � Erkimia gasNajural l l l e( e( e( 11 z winterthur Z Z e PHILIPS Grupo Endesa O O O de Barcelona c� j\igües Telefónica ...J ...J ...J A Thvssen Boettlcher ...J ...J ...J MANTENIMIENTOS ESPECIALES IIHELLI WAAGNE�1ïl RUBENS, S.A. -
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. -
Jo April 2019.PPP
An alphabetical listing of her studio recordings, including recording dates, matrix numbers and, when known, dates first issued. Compiled by Jim Marshall, and updated April 2019 I first produced a Jo Stafford discography ‘way back in 1995, encouraged by the late Tom Colborn who probably knew more about Jo’s career than the lady herself. Tom had already done much of the groundwork and, knowing that I’d acquired a computer - an early Amstrad - suggested that I take over the task. I was well into my research when the indispensable "In Tune" magazine started publishing its own in-depth listing of Jo’s huge catalogue of recordings. The work put into that by Brian Henson, Colin Morgan, Robert W. Rice and others was an immeasurable help. My thanks also go to Ken Seavor, John Ridgeway, Lucas Tuinstra, Jeff Lasbury and Ray Purslow plus, of course Jo Stafford and Paul Weston , all of whom contributed to Tom’s original research. More recently I’ve had important help from Michel Ruppli, Tim Weston, Robert Rice, Richard Weize and Adam Daff resulting in what I like to think is an almost “complete" alphabetical listing of Jo’s commercial recordings, including her work with the Pied Pipers and her alter egos, Cinderella G. Stump and Darlene Edwards, not forgetting Jonathan! (Apologies if I’ve forgotten anyone!) Apart from a handful of never-ever issued Capitol and Columbia tracks, almost all Jo’s studio recordings seem to have been reissued on CD and are probably still in print. In fact, the seemingly relentless reissue of Stafford CDs, mainly in the UK, is proof, if proof was needed, of the lady’s long-lasting popularity. -
Verdi's Rigoletto
Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered. -
Ambassador Auditorium Collection ARS.0043
http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf194 No online items Guide to the Ambassador Auditorium Collection ARS.0043 Finding aid prepared by Frank Ferko and Anna Hunt Graves This collection has been processed under the auspices of the Council on Library and Information Resources with generous financial support from the Andrew W. Mellon Foundation. Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] 2011 Guide to the Ambassador Auditorium ARS.0043 1 Collection ARS.0043 Title: Ambassador Auditorium Collection Identifier/Call Number: ARS.0043 Repository: Archive of Recorded Sound, Stanford University Libraries Stanford, California 94305-3076 Physical Description: 636containers of various sizes with multiple types of print materials, photographic materials, audio and video materials, realia, posters and original art work (682.05 linear feet). Date (inclusive): 1974-1995 Abstract: The Ambassador Auditorium Collection contains the files of the various organizational departments of the Ambassador Auditorium as well as audio and video recordings. The materials cover the entire time period of April 1974 through May 1995 when the Ambassador Auditorium was fully operational as an internationally recognized concert venue. The materials in this collection cover all aspects of concert production and presentation, including documentation of the concert artists and repertoire as well as many business documents, advertising, promotion and marketing files, correspondence, inter-office memos and negotiations with booking agents. The materials are widely varied and include concert program booklets, audio and video recordings, concert season planning materials, artist publicity materials, individual event files, posters, photographs, scrapbooks and original artwork used for publicity. -
SILVANA SINTOW Roberto Scandiuzzi Bass
Silvana Sintow Classicalia International Promotions & Management Schleibingerstrasse 8 - 81669 München - Germany • Tel: + 49-89- 44 21 89 00 e-mail: [email protected] • www.classicalia-international.com • Fax: + 49-89- 44 21 89 03 Roberto Scandiuzzi Bass Roberto Scandiuzzi studied with Anna Maria Bicciato in his native Treviso and made his debut at La Scala in Milan in 1982 with „Le nozze di Figaro“ under the direction of Riccardo Muti. Shortly thereafter he achieved his first great international success as Fiesco in „Simon Boccanegra“ at the Royal Opera House Covent Garden conducted by Georg Solti. Today he is one of the most renowned singers of the operatic world and enthuses the audience with his vocal beauty, his round and noble timbre and his electrifying stage presence. He is often compared with famous basses such as Ezio Pinza and Cesare Siepi, by whom he was strongly influenced. Roberto Scandiuzzi frequently appears at the most prestigious opera houses worldwide: at the Metropolitan Opera, the Opéra-Bastille in Paris, Royal Opera House Covent Garden, State Operas of Vienna and Munich, the San Francisco Opera and Zürich Opera House as well as with the leading symphonic orchestras such as the Berlin and Vienna Philharmonic, Royal Philharmonic Orchestra, London Philharmonic Orchestra, the Orchestras of Chicago, San Francisco, Philadelphia, Boston and Los Angeles, the Orchestra Filarmonica della Scala, Maggio Musicale Fiorentino, the Accademia Nazionale di Santa Cecilia, Orchestre National de Paris and Orchestre National de France, the Symphony Orchestra of Bavarian Radio and the Munich Philharmonic. The vast list of conductors he worked with includes celebrities such as Claudio Abbado, Sir Colin Davis, Valéry Gergiev, Christoph Eschenbach, Gian Luigi Gelmetti, James Levine, Fabio Luisi, Lorin Maazel, Zubin Mehta, Riccardo Muti, Seiji Ozawa, Myung Whun Chung, Giuseppe Sinopoli, Georges Prêtre, Marcello Viotti and Wolfgang Sawallisch. -
NEW YORK CRITICS REVIEW MARIA CALLAS and RENATA TEBALDI: a Study in Critical Approaches to the Inter-Relationship of Singing
NEW YORK CRITICS REVIEW MARIA CALLAS AND RENATA TEBALDI: A Study in Critical Approaches to the Inter-relationship of Singing and Acting in Opera by MarikolVan Campen B. A., University orBritish Columbia, 1968 A Thesis Submitted in Partial Fulfillment of The Requirements for the Degree of Master of Arts in The Faculty of Graduate Studies Department of Theatre, Faculty of Arts, University of British Columbia We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October, 1977 1977 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of THEATRE The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 Date Oct. 5, 1977 i ABSTRACT The following study is an analysis of New York reviews of performances of Maria Callas and Renata Tebaldi which attempts to discover what opera critics feel to be the most effective artistic balance between singing and acting in opera. Callas and Tebaldi have been chosen as the subjects of the reviews because of their renown as singers, the closely coinciding cir• cumstances of their careers and the polarities which they represented in the issue of acting versus singing in operatic performance. -
COLORATURA and LYRIC COLORATURA SOPRANO
**MANY OF THESE SINGERS SPANNED MORE THAN ONE VOICE TYPE IN THEIR CAREERS!** COLORATURA and LYRIC COLORATURA SOPRANO: DRAMATIC SOPRANO: Joan Sutherland Maria Callas Birgit Nilsson Anna Moffo Kirstin Flagstad Lisette Oropesa Ghena Dimitrova Sumi Jo Hildegard Behrens Edita Gruberova Eva Marton Lucia Popp Lotte Lehmann Patrizia Ciofi Maria Nemeth Ruth Ann Swenson Rose Pauly Beverly Sills Helen Traubel Diana Damrau Jessye Norman LYRIC MEZZO: SOUBRETTE & LYRIC SOPRANO: Janet Baker Mirella Freni Cecilia Bartoli Renee Fleming Teresa Berganza Kiri te Kanawa Kathleen Ferrier Hei-Kyung Hong Elena Garanca Ileana Cotrubas Susan Graham Victoria de los Angeles Marilyn Horne Barbara Frittoli Risë Stevens Lisa della Casa Frederica Von Stade Teresa Stratas Tatiana Troyanos Elisabeth Schwarzkopf Carolyn Watkinson DRAMATIC MEZZO: SPINTO SOPRANO: Agnes Baltsa Anja Harteros Grace Bumbry Montserrat Caballe Christa Ludwig Maria Jeritza Giulietta Simionato Gabriela Tucci Shirley Verrett Renata Tebaldi Brigitte Fassbaender Violeta Urmana Rita Gorr Meta Seinemeyer Fiorenza Cossotto Leontyne Price Stephanie Blythe Zinka Milanov Ebe Stignani Rosa Ponselle Waltraud Meier Carol Neblett ** MANY SINGERS SPAN MORE THAN ONE CATEGORY IN THE COURSE OF A CAREER ** ROSSINI, MOZART TENOR: BARITONE: Fritz Wunderlich Piero Cappuccilli Luigi Alva Lawrence Tibbett Alfredo Kraus Ettore Bastianini Ferruccio Tagliavani Horst Günther Richard Croft Giuseppe Taddei Juan Diego Florez Tito Gobbi Lawrence Brownlee Simon Keenlyside Cesare Valletti Sesto Bruscantini Dietrich Fischer-Dieskau -
Opera Recordings: a Very Personal Guide by Ralph Moore
“Untouchable” and ”Most Recommendable” Opera Recordings: a very personal guide by Ralph Moore My handful of regular readers might have noticed some glaring omissions in the list of thirty-seven major operas whose discographies I have surveyed over the last couple of years - operas whose quality and popularity are such that one might reasonably have expected me to have included them in my labours. There are, after all, probably around fifty truly first-rate operas which have been most often performed and recorded and I have by no means covered them all. I received requests to survey some of the following but on consideration, I realised that there were good reasons for my reluctance to do so. The most obvious omissions are these twelve operas: Verdi’s La traviata and Il trovatore; Wagner’s Lohengrin and Tannhäuser; Mozart’s Don Giovanni; Puccini’s La bohème, Tosca, Madama Butterfly and Turandot; Rossini’s Il barbiere di Siviglia; Donizetti’s Lucia di Lammermoor and Beethoven’s Fidelio. My reason for not having reviewed them collectively is that either the opera in question has received one or two recordings of such definitive quality that consideration of the others is otiose or there are so many good recordings of it in the catalogue that making a helpful or meaningful recommendation becomes difficult. I have therefore decided to circumvent the problem by making some brief, annotated recommendations and guidance for those major operas hitherto neglected. Obviously, my selections are highly subjective and controversial, and other collectors will be dismayed that I have ostensibly rejected their own candidates for recordings of classic status or nominated one they loathe but at the same time I think I may fairly claim that these are, in general, recordings which have stood the test of time. -
02-19-2020 Nozze Eve.Indd
WOLFGANG AMADEUS MOZART le nozze di figaro conductor Opera in four acts Cornelius Meister Libretto by Lorenzo Da Ponte, production Sir Richard Eyre based on the play La Folle Journée, ou Le Mariage de Figaro by Pierre-Augustin set and costume designer Rob Howell Caron de Beaumarchais lighting designer Wednesday, February 19, 2020 Paule Constable 7:30–11:00 PM choreographer Sara Erde revival stage director Jonathon Loy The production of Le Nozze di Figaro was made possible by generous gifts from Mercedes T. Bass, and Jerry and Jane del Missier The revival of this production is made possible by a gift from the Metropolitan Opera Club general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2019–20 SEASON The 507th Metropolitan Opera performance of WOLFGANG AMADEUS MOZART’S le nozze di figaro conductor Cornelius Meister in order of vocal appearance figaro antonio Adam Plachetka Paul Corona susanna barbarina Hanna-Elisabeth Müller Maureen McKay dr. bartolo don curzio Maurizio Muraro Tony Stevenson* marcellina MaryAnn McCormick continuo harpsichord cherubino Howard Watkins* Marianne Crebassa cello David Heiss count almaviva Etienne Dupuis don basilio Keith Jameson countess almaviva Amanda Woodbury Wednesday, February 19, 2020, 7:30–11:00PM This performance is dedicated to Dr. and Mrs. Stephen D. Prystowsky in grateful recognition of their generosity to the Metropolitan Opera as members of the Council for Artistic Excellence. KEN HOWARD / MET OPERA A scene Chorus Master Donald Palumbo from Mozart’s Fight Director Thomas Schall Le Nozze di Figaro Assistant to the Set Designer Rebecca Chippendale Assistant to the Costume Designer Irene Bohan Musical Preparation Howard Watkins*, J. -
OPERA NEWS (Mailto:[email protected]?Subject=Website%20Feedback)
Features May 2013 — Vol. 77, No. 11 (http://www.operanews.org/Opera_News_Magazine/2013/5/May_2013.html) The Lion Speaks For decades, Ferruccio Furlanetto has exemplified the highest performing standard in opera. As he prepares to sing Filippo in Covent Garden's Don Carlo, the Italian bass speaks to BARRY SINGER about maintaining that standard — and where he fears the opera world is heading. Portrait photographed by James Salzano at Maserati of Manhattan, New York City Grooming by Affan Malik / Jacket: Hickey Freeman / Watch: Rolex © James Salzano 2013 View More Images Massenet's Don Quichotte at the Mariinsky with Andrei Serov as Sancho Pança © N. Razina 2013 (http://www.operanews.org/uploadedImages/Opera_News_Magazine/2013/5/Features/LionSpeaksQuichottelg513.jpg) As Thomas Becket in Assassinio nella Cattedrale at La Scala, 2009 Marco Brescia/© Teatro alla Scala 2013 (http://www.operanews.org/uploadedImages/Opera_News_Magazine/2013/5/Features/LionSpeaksAssassiniolg513.jpg) As Thomas Becket in Assassinio nella Cattedrale at La Scala, 2009 Marco Brescia/© Teatro alla Scala 2013 As Fiesco in Simon Boccanegra at Lyric Opera of Chicago, 2012 © Dan Rest 2013 (http://www.operanews.org/uploadedImages/Opera_News_Magazine/2013/5/Features/LionSpeaksInBoccanegralg513.jpg) As Fiesco in Simon Boccanegra at Lyric Opera of Chicago, 2012 © Dan Rest 2013 "I belong to a generation that is almost gone now," says Ferruccio Furlanetto, who turns sixty-four this month. "When we started — when I started — I was in a position to learn daily from these amazing directors, from these amazing conductors. It was splendid. And a young kid could really grow and learn and gain a clear idea of each new role, and that role was then marked forever." Epic vocal brilliance and an eloquent sensitivity to character have marked virtually every role undertaken by this esteemed bass from Sacile, Italy, over a thirty-nine-year professional career. -
A Welcome for Warenskjold the Soviet's Gilels /^AH the Mazurkas Kleiber's Beethoven No. 5
59 A Welcome for Warenskjold young man with a style made to order It is absorbing to note that the for the late works of Prokofiev, Shos purity, grace, and rhythmic accent of takovich, etc. Rubinstein’s playing is constant in Grieg and Dvorak: Songs. Dorothy Warenskjold, soprano, with the Con However, since he is playing Liszt the little as well as the much-played certs Arts Orchestra conducted by and Saint Saens, those abilities are Mazurkas, that his concern for the George Greeley. (Capitol P 8247, not altogether relevant. Of his ability second of Opus 33 is no more than his $5.70.) to play glissandi like glass, runs like attention to Opus 50, No. 1. In both— rivets, and arpeggios as glittering as as in the many between—the piano AS CONCERTGOERS and radio lis- arctic ice, there can be no question. sound is of this artist’s own distinctive -'1 teners (also operagoers in San But the kind of artistry that distin sonority, and though the sequence Francisco) on the West Coast know, guishes between effects must have involved phys Dorothy Warenskjold is one of the and expression is hard to ical effort spread over most accomplished American sopranos find in these perform many weeks’ time, it can of the day. That she is content, thus ances. There is a sugges be heard straight through far, with regional celebrity is a trib tion of it in the opening as the expression of a ute to her modesty. Also it reflects movement of the Saint- single underlying im the sensible view that there are other Saëns, but the invitation pulse which few could ways to make a career than by coming to charm in the allegro muster on any given oc to New York prematurely.