DOCSLIB.ORG

Don Giovanni Resources

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Don Giovanni Resources DON GIOVANNI RESOURCES Books Don Giovanni (Cambridge Opera Handbooks) Author: Julian Rushton. Notes: Book includes detailed synopsis, bibliography, discography and essays on Mozart and de Ponteʼs masterwork. English/Italian. 165 pages. Cambridge University Press. 1981. Don Giovanni (Dover Opera Libretto Series) Author: Wolfgang Amadeus Mozart. Notes: Translated by Ellen H. Bleiler. English/Italian. 121 pages. Dover Publications. 1985. Don Giovanni: Libretto Author: Wolfgang Amadeus Mozart. Italian/English. 80 pages. G. Schirmer, Inc. 1986. Don Giovanni: Vocal Score (Dover Vocal Scores) Author: Wolfgang Amadeus Mozart. Italian/English. 320 pages. Dover Publications. 2004. Mozart: Don Giovanni (Overture Opera Guides) Author: Wolfgang Amadeus Mozart. Notes: A guide to one of Mozart's most significant and popular operas is presented alongside critical commentary and a rare glimpse into Mozart's personal letters. English. 172 pages. Oneworld Classics. 2011. Mozartʼs Don Giovanni: Opera Classics Library Series Author: Burton D. Fisher. Notes: A comprehensive guide featuring commentary and analysis with synopsis discography, videography, dictionary of opera and musical terms, along with the complete translated libretto with Italian and English side-by-side. Italian/English. 132 pages. Opera Journeys Publishing. 2005. The Don Giovanni Book: Seduction and Betrayal Author: Jonathan Miller. English. 80 pages. Shocken. 1990. The Don Giovanni Moment: Essays on the Legacy of an Opera (Columbia Themes in Philosophy, Social Criticism and the Arts) Author: Lydia Goehr. Editor: Daniel Herwitz. Notes: Collection of essays by scholars from the domains of musicology, history, literary studies, philosophy and aesthetics exploring the history of the reception of Don Giovanni. English. 264 pages. Columbia University Press. 2008. SAN FRANCISCO OPERA Education Materials DON GIOVANNI Resources Films/DVDs Mozart: Don Giovanni / Finley, Pisaroni, Samuil, Burden, Royal, Glyndebourne Opera (2010) Actors: Gerald Finley, Luca Pisaroni, Anna Samuil, William Burden, Kate Royal. Conductor: Vladimir Jurowski. Language: Italian. DVD. 2011. Mozart: Don Giovanni / Maltman, Dasch, Polenzani, Wiener Philharmoniker (2008) Actors: Christopher Maltman, Annette Dasch, Matthew Polenzani. Conductor: Bertrand de Billy. Language: Italian. DVD. 2010. Mozart: Don Giovanni / Keenlyside, Ketelsen, Haverson, Poplavskaya, Didonato Vargas, Persson, Gleadow, The Royal Opera Orchestra and Chorus (2008) Actors: Simon Keenlyside, Kyle Ketelsen, Eric Haverson, Marina Poplavskaya, Joyce Didonato, Ramon Vargas, Miah Persson, Robert Gleadow. Conductor: Charles Mackerras. Language: Italian. DVD. 2009. Mozart: Don Giovanni / Schrott, Persson, Finlay, The Royal Opera (2008) Actors: Erwin Schrott, Miah Persson, Gerald Finley, Dorothea Röschmann, Rinat Shaham. Conductor: Antonio Pappano. Language: Italian. DVD. 2008. Mozart: Don Giovanni / Álvarez, Bayo, Bros, Ganassi, Regazzo, Pasqual, Pérez, Teatro Real Madrid (2005) Actors: Carlos Alvarez, Maria Bayo, Jose Bros, Sonia Ganassi, Lorenzo Regazzo, Luis Pasqual. Conductor: Victor Pablo Pérez. Language: Italian. DVD. 2006. Mozart: Don Giovanni / Mattei, Cachemaille, Berg, Padmore, Deshorties, Delunsch, Larsson, Oskarsson, Harding, Mahler Chamber Orchestra (2002) Actors: Peter Mattei, Giles Cachemaille, Nathan Berg, Mark Padmore, Alexandra Deshorties, Mireille Delunsch, Lisa Larsson, Gudjon Oskarsson. Conductor: Daniel Harding. Language: Italian. DVD. 2007. Mozart: Don Giovanni / Allen, Gruberova, Murray, Araiza, Desderi, Mentzer, Muti, Zurich Opera (2002) Actors: Thomas Allen, Edita Gruberova, Ann Murray, Francisco Araiza, Claudio Desderi, Natale De Carolis, Susanne Mentzer. Conductor: Ricardo Muti. Language: Italian. DVD. 2004. Mozart: Don Giovanni / Gilfry, Polgar, Bartoli, Rey, Nikiteanu, Salminen, Widmer, Sacca, Harnoncourt, Zurich Opera (2002) Actors: Rodney Gilfrey, Laszlo Polgar, Cecilia Bartoli, Isabel Rey, Liliana Nikiteanu, Matti Salimen, Oliver Widmer, Roberto Sacca. Conductor: Nikolaus Harnoncourt. Language: Italian. DVD. 2002 Mozart: Don Giovanni / Terfel, Fleming, Kringelborn, Furlanetto, Groves, Metropolitan Opera Orchestra and Chorus (2000) Actors: Bryn Terfel, Renee Fleming, Solveig Kringelborn, Ferruccio Furlanetto, Paul Groves. Conductor: James Levine. Language: Italian. DVD. 2000. Mozart: Don Giovanni / Perry, Perry, Labelle, Hunt, Freeman, Zhu, James, Patteron, Weiner Symphoniker (1990) Actors: Herbert Perry, Eugene Perry, Dominique Labelle, Lorraine Hunt, Carroll Freeman, Ai Lan Zhu, Elmore James, James Patterson. Director: Peter Sellars. Conductor: Craig Smith. Language: Italian. DVD. 2005. Mozart: Don Giovanni / Raimondi, Macurdy, Moser, Te Kanawa, Riegel. Paris Opera (1979) Actors: Ruggero Raimondi, John Macurdy, Edda Moser, Kiri Te Kanawa, Kenneth Riegel. Director: Joseph Losey. Language: Italian. DVD. 2002. Mozart: Don Giovanni / Edelmann, Grümmer, Siepi, Ernster, Wiener Philharmoniker (1954) Actors: Otto Edelmann, Elisabeth Grümmer, Cesare Siepi, Dezsõ Ernster. Conductor: Wilhelm Furtwangler. Language: Italian. DVD. 2001. Herbert von Karajan – His Legacy for Home Video - Mozart: Don Giovanni / Ramey, Tomawa-Sintow, Winbergh, Burchuladze, Varady – Berlin Philharmonic (1987) Actors: Samuel Ramey, Anna Tomowa-Sintow, Gösta Winbergh, Paata Burchuladze, Julia Varady. Conductor: Herbert von Karajan. Language: German. DVD. 1984. SAN FRANCISCO OPERA Education Materials DON GIOVANNI Resources CDs Mozart: Don Giovanni Composer: Wolfgang Amadeus Mozart. Performers: Anton Dermota, Cesare Siepi, Fernando Corena, Hilde Gueden, Kurt Böhme. Language: Italian. Conductor: Josef Krips, Vienna Philharmonic Orchestra. 2009. Mozart: Don Giovanni Composer: Wolfgang Amadeus Mozart. Performers: Elisabeth Schwarzkopf, Elisabeth Grummer, Anton Dermota, Cesare Siepi. Language: Italian. Conductor: Wilhelm Furtwangler, Vienna Philharmonic Orchestra. 2009. Mozart: Don Giovanni Composer: Wolfgang Amadeus Mozart. Performers: Walter Taussig, Anna Tomowa-Sintow, Dale Duesing, Edith Mathis, John Macurdy. Language: Italian. Conductor: Karl Böhm, Vienna Philharmonic Orchestra. 2006. Mozart: Don Giovanni Composer: Wolfgang Amadeus Mozart. Performers: Edith Mathis, Peter Schreier, Karl Böhm, Sherrill Milnes, Anna Tomowa-Sintow. Language: Italian. Conductor: Karl Böhm, Wiener Philharmoniker. 2006. Mozart: Don Giovanni Composer: Wolfgang Amadeus Mozart. Performers: Ruggero Raimondi, Kiri Te Kanawa, Jose Van Dam, Edda Moser, Teresa Berganza. Language: Italian. Conductor: Lorin Maazel, Orchstre de l’Opera de Paris. 2006. Mozart: Don Giovanni Composer: Wolfgang Amadeus Mozart. Performers: Bryn Terfel, Renée Fleming, Herbert Lippert, Michele Pertusi, Ann Murray, Roberto Scaltriti, Monica Groop. Language: Italian. Conductor: Sir George Solti, London Philharmonic Orchestra. 1997. Mozart: Don Giovanni Composer: Wolfgang Amadeus Mozart. Performers: Eberhard Waechter, Joan Sutherland, Elisabeth Schwarzkopf, Graziella Sciutti, Luigi Alva. Language: Italian. Conductor: Carlo Maria Giulini, London Philharmonia Orchestra. 1990. Mozart: Don Giovanni (Highlights) Composer: Wolfgang Amadeus Mozart. Performers: Eberhard Wächter, Giuseppe Taddei, Piero Cappuccilli, Elisabeth Schwarzkopf, Graziella Sciutti. Language: Italian. Conductor: Carlo Maria Giulini, London Philharmonia Orchestra. 1989. SAN FRANCISCO OPERA Education Materials DON GIOVANNI Resources .
Load more

Recommended publications
  • Repetiteurs Masterclasses
    www.georgsoltiaccademia.org Repetiteurs Masterclasses The Georg Solti Accademia announces LWV¿IWK6ROWL3HUHWWL5pSpWLWHXUV0DVWHUFODVVHV in Barcelona, 2 | 10 April 2013 The Georg Solti Accademia Répétiteur’s Masterclasses are unique in the music world, and have become the go-to intensive course for aspiring répétiteurs internationally. Featured last year on BBC 2’s series Maestro at the Opera, the course offers an immersion in preparing singers for operatic performance, with an incomparable faculty of teachers including Sir Richard Bonynge, Pamela Bullock, Jonathan Papp and Audrey Hyland. This year the President of the Nando and Elsa Peretti Foundations, Ms Elsa Peretti (the pre-eminent designer for Tiffany), has made it possible for the course to be run in Elsa’s elective city of Barcelona, in collaboration with the Theatre Akademia, where WKHUpSpWLWHXU¶V¿QDOFRQFHUWZLOOWDNHSODFHRQ$SULODW Six outstanding young pianists, from $XVWUDOLD)UDQFH*UHHFH6SDLQDQGWKH8., will gather in Barcelona in April with six talented singers, all alumni of the Georg Solti Accademia’s Bel Canto course, to focus on this vital, but often hidden, craft. A répétiteur is the singer’s key ally in achieving their performance, and essential to any opera production. They are the ultimate multi-taskers of the opera world, and must be constantly alert to vocal performance, musicality, language, style and nuance, while bringing the whole orchestral score alive at the piano. No wonder so many of them go on to become great opera conductors – Georg Solti, Riccardo Muti, Valery Gergiev and Sir Antonio Pappano to name but four. This year the faculty includes the legendary 6LU5LFKDUG%RQ\QJH3DPHOD%XOORFN from Chicago Lyric Opera, -RQDWKDQ3DSS, Director of the Georg Solti Accademia di Bel Canto, $XGUH\+\ODQG from the Royal Academy of Music.
    [Show full text]
  • 18400 Cmp.Pdf
    ® 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.
    [Show full text]
  • 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.
    [Show full text]
  • CHAN 10110 BOOK.Qxd 20/4/07 4:19 Pm Page 2
    CHAN 10110 Front.qxd 20/4/07 4:19 pm Page 1 CHAN X10110 CHANDOS CLASSICS CHAN 10110 BOOK.qxd 20/4/07 4:19 pm Page 2 John Ireland (1879–1962) 1 Vexilla Regis (Hymn for Passion Sunday)* 11:54 2 Greater Love Hath No Man† 6:51 3 These Things Shall Be‡ 22:12 Lebrecht Collection Lebrecht 4 A London Overture 13:36 5 The Holy Boy (A Carol of the Nativity) 2:43 6 Epic March 9:13 TT 67:11 Paula Bott soprano*† Teresa Shaw contralto* James Oxley tenor* Bryn Terfel bass-baritone*†‡ Roderick Elms organ* London Symphony Chorus*†‡ John Ireland London Symphony Orchestra Richard Hickox 3 CHAN 10110 BOOK.qxd 20/4/07 4:19 pm Page 4 and Friday before Easter – and what we cannot sketch was ready during April. Ireland Ireland: Orchestral and Choral Works have – the ceremonies on the Saturday before remarked that he felt the words were ‘an Easter as practised by the Roman Church – expression of British national feeling at the something absolutely agelong & from present time’. In fact he had earlier made a John Nicholson Ireland was born near nineteen-year-old Ireland was then still a everlasting – the rekindling of Fire – Lumen quite different setting of these words for Manchester and spent most of his life in student of Stanford’s, and was assistant Christi. The Motherland Song Book published in London, though with interludes in the Channel organist at Holy Trinity Church, Sloane Square, 1919. The composer made a few adjustments Islands and Sussex. His was a life of restricted London.
    [Show full text]
  • 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.
    [Show full text]
  • The Psychiatry of Opera
    Psychiatric Bulletin (1990), 14,417-421 The psychiatry ofopera Don Giovanni MARK J?NES, Registrar, Department ofPsychological Medicine, St Bartholomew's HospItal, London EC3 In the second ofthis occasional series, Mark Jones looks at his composer father, the move to Vienna came in Mozartand his 1788 masterpiece, DonGiovanni and inter­ 178~/81 and was accompanied by a blossoming ofhis views Tom Sutcliffe, opera critic ofThe Guard;m; about his portra~al genIus. It was here that the vital meeting with the views on this problematical work and its on the powerful poet and intellectual, Lorenzo da Ponte stage. ~rred in 1782, and so began probably the most In these articles different aspects of our under­ Important collaboration of librettist and composer standing ofhuman nature as illustrated in opera will to date. Interestingly, da Ponte was a political exile tx: looked ~t. ~he title ~The Psychiatry ofOpera' you from Italy and had come to Vienna in 1782 with a tnlght feel IS shghtly mIsleading when you look at the letter of recommendation to Salieri! Mozart was a content of the articles. Yet I only intend it to be Germancomposer anxious to write Italian opera in a a broad blanket description for what I hope will city already dominated by Paisiello, Salieri and be thought-provoking pieces encompassing both the Cimarosa. These composers had far more success in 'hard' and 'soft' aspects ofpsychiatry. It is after all a their day and on 'home ground' than Mozart. complex discipline which must now take account of Certainly he was viewed with suspicion and seen as sociological and philosophical thought.
    [Show full text]
  • Delius Monument Dedicatedat the 23Rd Annual Festival by Thomas Hilton Gunn
    The Delius SocieQ JOUrnAtT7 Summer/Autumn1992, Number 109 The Delius Sociefy Full Membershipand Institutionsf 15per year USA and CanadaUS$31 per year Africa,Australasia and Far East€18 President Eric FenbyOBE, Hon D Mus.Hon D Litt. Hon RAM. FRCM,Hon FTCL VicePresidents FelixAprahamian Hon RCO Roland Gibson MSc, PhD (FounderMember) MeredithDavies CBE, MA. B Mus. FRCM, Hon RAM Norman Del Mar CBE. Hon D Mus VernonHandley MA, FRCM, D Univ (Surrey) Sir CharlesMackerras CBE Chairman R B Meadows 5 WestbourneHouse. Mount ParkRoad. Harrow. Middlesex HAI 3JT Ti,easurer [to whom membershipenquiries should be directed] DerekCox Mercers,6 Mount Pleasant,Blockley, Glos. GL56 9BU Tel:(0386) 700175 Secretary@cting) JonathanMaddox 6 Town Farm,Wheathampstead, Herts AL4 8QL Tel: (058-283)3668 Editor StephenLloyd 85aFarley Hill. Luton. BedfordshireLul 5EG Iel: Luton (0582)20075 CONTENTS 'The others are just harpers . .': an afternoon with Sidonie Goossens by StephenLloyd.... Frederick Delius: Air and Dance.An historical note by Robert Threlfall.. BeatriceHarrison and Delius'sCello Music by Julian Lloyd Webber.... l0 The Delius Monument dedicatedat the 23rd Annual Festival by Thomas Hilton Gunn........ t4 Fennimoreancl Gerda:the New York premidre............ l1 -Opera A Village Romeo anrl Juliet: BBC2 Season' by Henry Gi1es......... .............18 Record Reviews Paris eIc.(BSO. Hickox) ......................2l Sea Drift etc. (WNOO. Mackerras),.......... ...........2l Violin Concerto etc.(Little. WNOOO. Mackerras)................................22 Violin Concerto etc.(Pougnet. RPO. Beecham) ................23 Hassan,Sea Drift etc. (RPO. Beecham) . .-................25 THE HARRISON SISTERS Works by Delius and others..............26 A Mu.s:;r1/'Li.fe at the Brighton Festival ..............27 South-WestBranch Meetinss.. ........30 MicllanclsBranch Dinner..... ............3l Obittrary:Sir Charles Groves .........32 News Round-Up ...............33 Correspondence.......
    [Show full text]
  • 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.
    [Show full text]
  • 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]
  • Myung-Whun Chung
    如 • 歌 • 文 • 化 Ruge Artists Management 扫描关注微信订阅号 CONDUCTOR / Myung-Whun Chung PERFORMANCES He was Music Director of the Saarbrücken Radio Symphony Orchestra from 1984 to 1990, Principal Guest Conductor of the TeatroComunale of Florence from 1987 to 1992, Music Director of the Opéra de Paris-Bastille from 1989 to 1994 and Principal Conductor atthe Santa Cecilia Orchestra in Rome from 1997 to 2005. In 1995, Myung-Whun Chung founds the Asia Philharmonic, an orchestra made up of the best musicians from 8 Asian countries. In 2005,he was appointed Music Director of the Seoul Philarmonic Orchestra. He has been Music Director of the Orchestre Philharmonique deRadio France since 2000. Myung-Whun Chung has conducted virtually all the world’s leading orchestras, including the Berlin and Vienna Philharmonic, theConcertgebouw, all the major London and Parisian Orchestras, Filharmonica della Scala, Bayerisch Rundfunk, Dresden Staatskapelle,Boston and Chicago Symphony, the Metropolitan Opera, the New York Philharmonic and the Cleveland and Philadelphia Orchestras. RECORDINGS An exclusive recording artist for Deutsche Grammophon since 1990, many of his numerous recordings have won international prizes and awards. These include Messiaen's TurangalîlaSymphony and Eclairs sur l’Au-Delà, Verdi's Otello, Berlioz'sSymphonie Fantastique, Shostakovich's Lady Macbeth with the Orchestre de l'Opéra Bastille; a series of Dvorák's symphonies and serenades with the Vienna Philharmonic Orchestra and a series dedicated to the great sacred music with the Orchestra dell'Accademia Nazionale di Santa Cecilia, including the award-winning recording of Duruflé’s and Fauré’s Requiems with Cecilia Bartoli and Bryn Terfel. Recent releases include Messiaen’s La transfiguration de Notre Seigneur Jésus-Christ and Des Canyons aux étoiles with the Orchestre Philharmonique de Radio France as well as works by Debussy and Ravel with the Seoul Philharmonic Orchestra.
    [Show full text]
  • 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.
    [Show full text]
  • Interstellar Music - by Mike Overly
    Interstellar Music - by Mike Overly Let's imagine that you could toss a message in a bottle faster than a speeding bullet into the cosmic ocean of outer space. What would you seal inside it for anyone, or anything, to open some day in the distant future, in a galaxy far, far away from our solar system? Well, imagine no more because it's been done! Thirty-five years ago, NASA launched two Voyager spacecraft carrying earthly images and sounds toward the Stars. Voyager 1 was launched on September 5, 1977, from Cape Canaveral, Florida and Voyager 2 was sent on its way August 20 of that same year. Voyager 1 is now 11 billion miles away from earth and is the most distant of all human-made objects. Everyday, it flies another million miles farther. In fact, Voyager 1 and 2 are so far out in space that their radio signals, traveling at the speed of light, take 16 hours to reach Earth. These radio signals are captured daily by the big dish antennas of the Deep Space Network and arrive at a strength of less than one femtowatt, a millionth of a billionth of a watt. Wow! Both Voyagers are headed towards the outer boundary of the solar system, known as the heliopause. This is the region where the Sun's influence wanes and interstellar space waxes. Also, the heliopause is where the million-mile-per-hour solar winds slow down to about 250,000 miles per hour. The Voyagers have reached these solar winds, also known as termination shock, and should cross the heliopause in another 10 to 20 years.
    [Show full text]