Franco Corelli: Prince of Tenors Pdf, Epub, Ebook
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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. -
CCF 18-27 RELEASE: September 24, 2018 The
COLLECTORS’ CORNER with HENRY FOGEL Broadcast Schedule - Fall 2018 PROGRAM #: CCF 18-27 RELEASE: September 24, 2018 The Art of Sergei Lemeshev – Program 1 A program of arias and songs sung by the great Russian tenor (1902‐1977). Please consult cue sheet for details. PROGRAM #: CCF 18-28 RELEASE: October 1, 2018 The Art of Sergei Lemeshev – Program 2 A program of arias and songs sung by the great Russian tenor (1902‐1977). Please consult cue sheet for details. PROGRAM #: CCF 18-29 RELEASE: October 8, 2018 Music by Josef Suk – Program 1 All pieces composed by Josef Suk. Please consult cue sheet for details. Fantasy for Violin and Orchestra (Pamela Frank, violin; Sir Charles Mackerras, conductor; Czech Philharmonic Orchestra) Meditation on Saint Wenceslas (Rafael Kubelik, conductor; Czech Philharmonic Orchestra) Minuet, Op.21 (Ignaz Friedman, piano) Praga (Libor Pesek, conductor; Royal Liverpool Philharmonic Orchestra) A Summer’s Tale (Jiri Belohlavek, conductor; BBC Symphony Orchestra) PROGRAM #: CCF 18-30 RELEASE: October 15, 2018 Music by Josef Suk – Program 2 All pieces composed by Josef Suk. Please consult cue sheet for details. Symphony in C Minor for large orchestra, Op. 27, “Asrael” (Vaclav Talich, conductor; Czech Philharmonic Orchestra) The Ripening, Symphonic Poem, Op. 34 (Vaclav Talich, conductor; Czech Philharmonic Orchestra) Four pieces for violin and piano, Op. 17, “Burleska” (Nathan Milstein, violin; Artur Balsam, piano) Pieces for Violin and Piano, Op. 17, no. 2, “Appassionata” (Ginette Neveu, violin; Bruno Seidler‐Winkler, piano) PROGRAM #: CCF 18-31 RELEASE: October 22, 2018 Music by Ernest Bloch – Program 1 All pieces composed by Ernest Bloch. -
Verdi Otello
VERDI OTELLO RICCARDO MUTI CHICAGO SYMPHONY ORCHESTRA ALEKSANDRS ANTONENKO KRASSIMIRA STOYANOVA CARLO GUELFI CHICAGO SYMPHONY CHORUS / DUAIN WOLFE Giuseppe Verdi (1813-1901) OTELLO CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI 3 verdi OTELLO Riccardo Muti, conductor Chicago Symphony Orchestra Otello (1887) Opera in four acts Music BY Giuseppe Verdi LIBretto Based on Shakespeare’S tragedy Othello, BY Arrigo Boito Othello, a Moor, general of the Venetian forces .........................Aleksandrs Antonenko Tenor Iago, his ensign .........................................................................Carlo Guelfi Baritone Cassio, a captain .......................................................................Juan Francisco Gatell Tenor Roderigo, a Venetian gentleman ................................................Michael Spyres Tenor Lodovico, ambassador of the Venetian Republic .......................Eric Owens Bass-baritone Montano, Otello’s predecessor as governor of Cyprus ..............Paolo Battaglia Bass A Herald ....................................................................................David Govertsen Bass Desdemona, wife of Otello ........................................................Krassimira Stoyanova Soprano Emilia, wife of Iago ....................................................................BarBara DI Castri Mezzo-soprano Soldiers and sailors of the Venetian Republic; Venetian ladies and gentlemen; Cypriot men, women, and children; men of the Greek, Dalmatian, and Albanian armies; an innkeeper and his four servers; -
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. -
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. -
MODELING HEROINES from GIACAMO PUCCINI's OPERAS by Shinobu Yoshida a Dissertation Submitted in Partial Fulfillment of the Requ
MODELING HEROINES FROM GIACAMO PUCCINI’S OPERAS by Shinobu Yoshida A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in The University of Michigan 2011 Doctoral Committee: Associate Professor Naomi A. André, Co-Chair Associate Professor Jason Duane Geary, Co-Chair Associate Professor Mark Allan Clague Assistant Professor Victor Román Mendoza © Shinobu Yoshida All rights reserved 2011 TABLE OF CONTENTS LIST OF FIGURES ...........................................................................................................iii LIST OF APPENDECES................................................................................................... iv I. CHAPTER ONE........................................................................................................... 1 INTRODUCTION: PUCCINI, MUSICOLOGY, AND FEMINIST THEORY II. CHAPTER TWO....................................................................................................... 34 MIMÌ AS THE SENTIMENTAL HEROINE III. CHAPTER THREE ................................................................................................. 70 TURANDOT AS FEMME FATALE IV. CHAPTER FOUR ................................................................................................. 112 MINNIE AS NEW WOMAN V. CHAPTER FIVE..................................................................................................... 157 CONCLUSION APPENDICES………………………………………………………………………….162 BIBLIOGRAPHY.......................................................................................................... -
Homage to Two Glories of Italian Music: Arturo Toscanini and Magda Olivero
HOMAGE TO TWO GLORIES OF ITALIAN MUSIC: ARTURO TOSCANINI AND MAGDA OLIVERO Emilio Spedicato University of Bergamo December 2007 [email protected] Dedicated to: Giuseppe Valdengo, baritone chosen by Toscanini, who returned to the Maestro October 2007 This paper produced for the magazine Liberal, here given with marginal changes. My thanks to Countess Emanuela Castelbarco, granddaughter of Toscanini, for checking the part about her grandfather and for suggestions, and to Signora della Lirica, Magda Olivero Busch, for checking the part relevant to her. 1 RECALLING TOSCANINI, ITALIAN GLORY IN THE TWENTIETH CENTURY As I have previously stated in my article on Andrea Luchesi and Mozart (the new book by Taboga on Mozart death is due soon, containing material discovered in the last ten years) I am no musicologist, just a person interested in classical music and, in more recent years, in opera and folk music. I have had the chance of meeting personally great people in music, such as the pianist Badura-Skoda, and opera stars such as Taddei, Valdengo, Di Stefano (or should I say his wife Monika, since Pippo has not yet recovered from a violent attack by robbers in Kenya; they hit him on the head when he tried to protect the medal Toscanini had given him; though no more in a coma, he is still paralyzed), Bergonzi, Prandelli, Anita Cerquetti and especially Magda Olivero. A I have read numerous books about these figures, eight about Toscanini alone, and I was also able to communicate with Harvey Sachs, widely considered the main biographer of Toscanini, telling him why Toscanini broke with Alberto Erede and informing him that, contrary to what he stated in his book on Toscanini’s letters, there exists one letter by one of his lovers, Rosina Storchio. -
KINGS HIGHWAY SAVINGS BANK Kings Highway Sheepshead Bay M:::Nhattan Nassau M Mber Fed Eral Deposit in Ur~ Nee Corporotron
2 BROO KLY N ACADEMY O F MUSIC ABRAHAMcf •"'..,. c: Cit Borders a Ia Russe Borders give coats a Zhivago twist that winds along hems ... snuggles-in to cuffs or muffles collars. Before the fur flies ... choose from many bordered coats at A&S now. BROO K LYN ACAD E M Y OF MU SIC 3 First night excitement 200 times each year! Grace knows the feeling. The electricity in 12 guests. And from the U.S. West Coast, our the air. The thrill of anticipation. The glo cargo Santas take passengers around Cape Horn rious confusion. The threshold of adventure. to Buenos Aires and Rio, or through the Canal A sailing! to the Caribbean. It's as glamorous and romantic as an open In one way, our sailings are more exciting ing night in the theatre. And we stage one than first nights. Because you are not just a with our Santa liners 200 times each year. spectator but a part of the play. And your great That's how many cruises we have sailing show is going to last for days. from New York to fabled Caribbean islands and fascinating South American lands. SAFETY I 'FORMATION: All Grace Line passen Cruises that last 13 days. Others of 19, 24, ger ships are registered in the United States and 26 days. Longer voyages of 40 and 47 and meet International Safety Standards for days. Great liners of two types designed to new ships developed in 1960 and meet the 1966 accommodate in luxury no more than 117 and fire safety requirements. -
10-06-2018 Aida Mat.Indd
Synopsis Act I Egypt, during the reign of the pharaohs. At the royal palace in Memphis, the high priest Ramfis tells the warrior Radamès that Ethiopia is preparing another attack against Egypt. Radamès hopes to command the Egyptian army. He is in love with Aida, the Ethiopian slave of Princess Amneris, the king’s daughter, and he believes that victory in the war would enable him to free and marry her. But Amneris also loves Radamès and is jealous of Aida, whom she suspects of being her rival for Radamès’s affection. A messenger brings news that the Ethiopians are advancing. The king names Radamès to lead the army, and all prepare for war. Left alone, Aida is torn between her love for Radamès and loyalty to her native country, where her father, Amonasro, is king. In the temple of Vulcan, the priests consecrate Radamès to the service of the god Ptah. Ramfis orders Radamès to protect the homeland. Act II Ethiopia has been defeated, and in her chambers, Amneris waits for the triumphant return of Radamès. Alone with Aida, she pretends that Radamès has fallen in battle, then says that he is still alive. Aida’s reactions leave no doubt that she loves Radamès. Amneris is certain that she will defeat her rival. At the city gates, the king and Amneris observe the victory celebrations and praise Radamès’s triumph. Soldiers lead in the captured Ethiopians, among them Amonasro, who signals his daughter not to reveal his identity as king. Amonasro’s eloquent plea for mercy impresses Radamès, and the warrior asks that the order for the prisoners to be executed be overruled and that they be freed instead. -
Lps-Vocal Recitals All Just About 1-2 Unless Otherwise Described
LPs-Vocal Recitals All just about 1-2 unless otherwise described. Single LPs unless otherwise indicated. Original printed matter with sets should be included. 4208. LUCINE AMARA [s]. RECITAL. With David Benedict [pno]. Music of Donaudy, De- bussy, de Falla, Szulc, Turina, Schu- mann, Brahms, etc. Cambridge Stereo CRS 1704. $8.00. 4229. AGNES BALTSA [ms]. OPERA RECITAL. From Cenerentola, Il Barbiere di Siviglia, La Favorita, La Clemenza di Tito , etc. Digital stereo 067-64-563 . Cover signed by Baltza . $10.00. 4209. ROLF BJÖRLING [t]. SONGS [In Swedish]. Music of Widéem, Peterson-Berger, Nord- qvist, Sjögren, etc. The vocal timbre is quite similar to that of Papa. Odeon PMES 552. $7.00. 3727. GRACE BUMBRY [ms]. OPERA ARIAS. From Camen, Sappho, Samson et Dalila, Dr. Frieder Weissmann and Don Carlos, Cavalleria Rustican a, etc. Sylvia Willink-Quiel, 1981 Deut. Gram. Stereo SLPM 138 826. Sealed . $7.00. 4213. MONTSERAAT CABALLÉ [s]. ROSSINI RARITIES. Orch. dir. Carlo Felice Cillario. From Armida, Tancredi, Otello, Stabat Mater, etc. Rear cover signed by Caballé . RCA Victor LSC-3015. $12.00. 4211. FRANCO CORELLI [t] SINGS “GRANADA” AND OTHER ROMANTIC SONGS. Orch. dir Raffaele Mingardo. Capitol Stereo SP 8661. Cover signed by Corelli . $15.00. 4212. PHYLLLIS CURTIN [s]. CANTIGAS Y CANCIONES OF LATIN AMERICA. With Ryan Edwards [pno]. Music of Villa-Lobos, Tavares, Ginastera, etc. Rear cover signed by Curtin. Vanguard Stereolab VSD-71125. $10.00. 4222. EILEEN FARRELL [s]. SINGS FRENCH AND ITALIAN SONGS. Music of Respighi, Castelnuovo-Tedesco, Debussy. Piano acc. George Trovillo. Columbia Stereo MS- 6524. Factory sealed. $6.00. -
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