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029I-HMVCX1924XXX-0000A0.Pdf
This Catalogue contains all Double-Sided Celebrity Records issued up to and including March 31st, 1924. The Single-Sided Celebrity Records are also included, and will be found under the records of the following artists :-CLARA Burr (all records), CARUSO and MELBA (Duet 054129), CARUSO,TETRAZZINI, AMATO, JOURNET, BADA, JACOBY (Sextet 2-054034), KUBELIK, one record only (3-7966), and TETRAZZINI, one record only (2-033027). International Celebrity Artists ALDA CORSI, A. P. GALLI-CURCI KURZ RUMFORD AMATO CORTOT GALVANY LUNN SAMMARCO ANSSEAU CULP GARRISON MARSH SCHIPA BAKLANOFF DALMORES GIGLI MARTINELLI SCHUMANN-HEINK BARTOLOMASI DE GOGORZA GILLY MCCORMACK Scorn BATTISTINI DE LUCA GLUCK MELBA SEMBRICH BONINSEGNA DE' MURO HEIFETZ MOSCISCA SMIRN6FF BORI DESTINN HEMPEL PADEREWSKI TAMAGNO BRASLAU DRAGONI HISLOP PAOLI TETRAZZINI BI1TT EAMES HOMER PARETO THIBAUD CALVE EDVINA HUGUET PATTt WERRENRATH CARUSO ELMAN JADLOWKER PLANCON WHITEHILL CASAZZA FARRAR JERITZA POLI-RANDACIO WILLIAMS CHALIAPINE FLETA JOHNSON POWELL ZANELLIi CHEMET FLONZALEY JOURNET RACHM.4NINOFF ZIMBALIST CICADA QUARTET KNIIPFER REIMERSROSINGRUFFO CLEMENT FRANZ KREISLER CORSI, E. GADSKI KUBELIK PRICES DOUBLE-SIDED RECORDS. LabelRed Price6!-867'-10-11.,613,616/- (D.A.) 10-inch - - Red (D.B.) 12-inch - - Buff (D.J.) 10-inch - - Buff (D.K.) 12-inch - - Pale Green (D.M.) 12-inch Pale Blue (D.O.) 12-inch White (D.Q.) 12-inch - SINGLE-SIDED RECORDS included in this Catalogue. Red Label 10-inch - - 5'676 12-inch - - Pale Green 12-inch - 10612,615j'- Dark Blue (C. Butt) 12-inch White (Sextet) 12-inch - ALDA, FRANCES, Soprano (Ahl'-dah) New Zealand. She Madame Frances Aida was born at Christchurch, was trained under Opera Comique Paris, Since Marcltesi, and made her debut at the in 1904. -
About the Exhibition Tenorissimo! Plácido Domingo in Vienna
Tenorissimo! Plácido Domingo in Vienna May 17th, 2017 - January 8th, 2018 Lobkowitzplatz 2, 1010 Wien [email protected] T +43 1 525 24 5315 About the exhibition An unmistakable dark timbre, highly dramatic expressiveness, an impressive, vast repertoire – all this enraptures the fans of the Spanish crowd-pleaser with waves of enthusiasm. The Theatermuseum celebrates Plácido Domingo on the anniversary of his stage debut: He has been singing at the Vienna State Opera for 50 years. When the Tenor, then still considered as insider tip, made his debut at the State Opera in the title role of Verdi‘s Don Carlo, not only he took stage and cast in storm, but also the hearts of the Viennese audience – a true love relationship, unbroken till today. This performance contributed to an unparalleled career, taking him to the world‘s leading opera houses. Vienna has always been a very special “home port“ for the opera star. Here he performed 30 different roles in 300 shows and was awarded the title Austrian Kammersänger. The exhibition at the Theatermuseum documents the most important appearances of the “Tenorissimo“ in Vienna with original costumes and props, photographs and memorabilia, video and audio samples. The presentation portrays him also as baritone, the role fach on which he concentrated almost exclusively in the past 10 years, and refers to his activities as conductor, taking him regularly to the orchestra pit of the Vienna State Opera since the end of the 1970s. Without hesitation Plácido Domingo can be described as one of the most versatile, curious and longest serving representative of his musical genre. -
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. -
Interpreting Freddie Mercury and Montserrat Caballé's Barcelona
7 When Divas and Rock Stars Collide: Interpreting Freddie Mercury and Montserrat Caballé’s Barcelona Eve Klein Mamma mia, what’s this? Freddie Mercury, the man who perpetrated heavy-metal opera in ‘Bohemian Rhapsody,’ shrieking alongside an actual opera star? In 1987 Mercury somehow conned a world-class diva, Montserrat Caballé, to slum with him for an entire album. The result apparently was deemed too flaky to be released in the U.S., but in the wake of Queen’s commercial resurgence (and Mercury’s death last November from AIDS), any curio is up for grabs. (Farber 1992) Introduction This chapter considers Freddie Mercury and Montserrat Caballé’s operatic- rock album Barcelona (1988) as a logical extension of Mercury’s fascination with operatic musical devices, narrative structures and iconography. With this album, two global superstars from divergent musical genres met and brought their musical perspectives into genuine collaboration. However, Barcelona, like other popular explorations of opera, has remained largely 115 POPULAR MUSIC, STARS AND STARDOM unexamined because it sits somewhat uncomfortably across art and popular music, agitating anxieties and authenticities as they operate in both terrains. This chapter will investigate how such anxieties became established by unpacking the circulation of opera within popular recording cultures as elite reproductions of operatic repertory, as ‘crossover’ music and through its appropriation by popular musicians. This chapter will then conduct an analysis of the Barcelona collaboration that situates its creation in the context of Mercury’s musical trajectory. Special consideration will be paid to the musical style established in ‘Bohemian Rhapsody’ (1975). Comparing previous performances to the Barcelona album indicates that Mercury and Caballé largely did not attempt to emulate each other’s vocal style, but reproduced their existing vocal technique. -
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. -
Alumni Concert, Reunion '98: "A Little Night Music" Marti Rideout
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 5-29-1998 Concert: Alumni Concert, Reunion '98: "A Little Night Music" Marti Rideout Glenn Guiles Diane Birr Debra Moree James Wallenberg See next page for additional authors Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Rideout, Marti; Guiles, Glenn; Birr, Diane; Moree, Debra; Wallenberg, James; and Pickering, Patrice, "Concert: Alumni Concert, Reunion '98: "A Little iN ght Music"" (1998). All Concert & Recital Programs. 5336. https://digitalcommons.ithaca.edu/music_programs/5336 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Authors Marti Rideout, Glenn Guiles, Diane Birr, Debra Moree, James Wallenberg, and Patrice Pickering This program is available at Digital Commons @ IC: https://digitalcommons.ithaca.edu/music_programs/5336 . ' *- ·· A8'-~ Etleltlfil o/Mt«~ . Ir!tuH)f/ &Melt · e~ to;i '88 . ALrttle N~!tt M"'1& ~deoJM, fl~ ~tAHt Ntltiv OrttM/, 8dtco!of M t«h Choral op. 3 7, no. 4 Joseph Jon (1873-19 / Chorales des Orgelbiichlein Johann Sebastian Bach (1685-1750) Herr Gott, der ein'ge Gottessohn, ·BWV 601 Vom Himmel kam der Engel Schar, BWV 607 Erstanden ist der heilge Christ, BWV 628 Wenn wir in hochsten Noten sein, BWV 641 Wer nur den lieben Gott lasst walten, BWV 642 Toccata Theodore Dubois (1837-1924) Marti Rideout '70, organ Three Dances • Michael Head· (1900-76) Gavotte Elegiac Dance Presto Sonata for Oboe and Piano Camille Saint-Saens (1835-1921) Andantino Allegretto Molto Allegro Glenn Guiles '75, oboe Diane Birr, piano ·o in G Major, K. -
Luciano Pavarotti 1 PHILLIP GEORGE
21ST CENTURY MUSIC NOVEMBER 2007 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. ISSN 1534-3219. Subscription rates in the U.S. are $84.00 per year; subscribers elsewhere should add $36.00 for postage. Single copies of the current volume and back issues are $10.00. Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. email: [email protected]. Typeset in Times New Roman. Copyright 2007 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Typescripts should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors with access to IBM compatible word-processing systems are encouraged to submit a floppy disk, or e-mail, in addition to hard copy. -
MAFALDA FAVERO Is) from What in Total Amounts to a Very Short Span of Listening-Time
NI 7918 had the opera in her repertoire but does not mention it in her recollections of the various rarities. The recording, too, was a one-off, coupled on the original 78 disc with Tancredi Pasero singing Mephistopheles’ serenade from Gounod’s Faust. Another one-off is the ‘Ave Maria’ from Otello — she never sang the role of Desdemona on stage. It seems odd that there should be this and yet nothing on records of her Violetta, which was her major role in Verdi. The absence of her Massenet Manon is still more regrettable. But there it is: we are used to ‘learning’ our singers (pre-LP, that MAFALDA FAVERO is) from what in total amounts to a very short span of listening-time. The wonder is that they come across to us so vividly, the individuality so distinct. Those who know Favero simply from her duet with Tito Schipa probably know a great deal about her after all — think of those lovely, many-coloured inflections and the thrill of that unmistakably old-fashioned Italian vibrancy. With this present collection they will certainly be able to learn more — and perhaps some of them will share with the writer a certain perverse satisfaction in the thought that there was in fact more to our singer than our own ears will ever tell us. It leaves something to the imagination. © 2004 John Steane 8 NI 7918 NI 7918 and very new Renata Tebaldi to lead the Quartet in the prayer from Mosè in Egitto, the MAFALDA FAVERO 1903-1981 other the still reigning lyric soprano and link with Toscanini’s time at the theatre sixteen years earlier, Mafalda Favero. -
Oral History Center University of California the Bancroft Library Berkeley, California Frederica Von Stade Frederica Von Stade
Oral History Center University of California The Bancroft Library Berkeley, California Frederica von Stade Frederica von Stade: American Star Mezzo-Soprano Interviews conducted by Caroline Crawford in 2011, 2012, 2014, 2015 Copyright © 2020 by The Regents of the University of California Oral History Center, The Bancroft Library, University of California, Berkeley ii Since 1954 the Oral History Center of The Bancroft Library, formerly the Regional Oral History Office, has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Frederica von Stade dated February 2, 2012. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. -
Forgotten Splendour
FORGOTTEN SPLENDOUR A Chronology of the North Shore Music Festival 1909 to 1939 by Andrew Cottonaro Beginning in 1909 and lasting until 1939, the North Shore Music Festival of Northwestern University was a significant musical and social event in the Chicago area. For a few days each Spring, the campus hosted a diverse body of performers in a series of grand concerts. Naturally, some of that era’s most eminent singers could be heard there. Their presence certainly helped to sell tickets and their artistry helped to sustain the festival as a popular and critical success. Now, sixty years later, the festival hardly even counts as a faded memory. To date, two books (in part), offer a general outline of the festival’s history, but both lack any detailed analysis of who appeared and what was actually sung. This is the first attempt to present a chronology of the vocal offerings (quite distinct from the orchestral offerings) at the festival. Northwestern University, the official sponsor of the festival, is located in Evanston, Illinois (USA). The town is a suburb of Chicago, directly north of the city and on the banks of Lake Michigan. Because of this geographic position, Evanston and the other cities of the area are called the North Shore, hence the origin of the festival’s name. Northwestern University was incorporated in 1850 and gradually won recognition for its academic excellence. The establishment of musical studies, however, was a tangled web of many failed efforts. In a final and desperate attempt to salvage musical education, the university’s board of trustees in 1891 appointed Peter Christian Lutkin (1858-1931) to direct musical studies, a post that he held until his death. -
Full Tail Credits
Music Music Supervisor Christine Woodruff KIJANA MWANA MWALI written by Idylio Cortini/Roberto Marini, performed by Gonda Traditional Entertainers courtesy Tropical Recording and Promotion Pty Ltd Verdi, LA TRAVIATA - “PARIGI, O CARA” performed by Joan Carden and Richard Greager, The Elizabethan Sydney Orchestra conducted by Carlo Felice Cillario, courtesy The Australian Opera Georgy Sviridov, THREE CHORUSES TO THE PLAY, “TSAR FEODOR IOANNOVICH” used by permission Boosey & Hawkes Music Publishers Ltd performed by Gloriae Dei Cantores, courtesy Gloriae Dei Cantores Mahler, SYMPHONY NO. 5 IN C SHARP MINOR performed by Royal Concertgebouw Orchestra of Amsterdam, conducted by Bernard Haitink courtesy Philips Classics distributed by PolyGram Pty Limited Barber, ADAGIO FOR STRINGS used by permission G. Schirmer (Australia) Pty Ltd performed by City of London Sinfonia, conducted by Richard Hickox, courtesy Virgin Classics Ltd performed by Philharmonia Virtuosi, conducted by Richard Kapp, courtesy Sony Music Pty Ltd Barber, ANGUS DEI used by permission G. Schirmer (Australia) Pty Ltd, performed by the Corydon Singers, conducted by Matthew Best, courtesy Hyperion Records Limited Bellini, NORMA - CASTA DIVA performed by Maria Callas, Orchestra and Chorus of La Scala Opera House, Milan, conducted by Tullio Serafin, courtesy EMI Records Ltd Bellini, NORMA - Introduction to Act II Orchestra of La Scala Opera House, Milan, conducted by Tullio Serafin, courtesy EMI Records Ltd Marcello, A., OBOE CONCERTO IN D MINOR performed by Malcolm Messiter with the -
Finding Aid to the Historymakers ® Video Oral History with Rodrick Dixon
Finding Aid to The HistoryMakers ® Video Oral History with Rodrick Dixon Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Dixon, Rodrick Title: The HistoryMakers® Video Oral History Interview with Rodrick Dixon, Dates: August 20, 2013 Bulk Dates: 2013 Physical 10 uncompressed MOV digital video files (4:40:05). Description: Abstract: Opera singer Rodrick Dixon (1966 - ) has appeared as a soloist in a number of operas, as well as performing with the tenor group, Cook, Dixon & Young and his wife, concert artist, Alfreda Burke. Dixon was interviewed by The HistoryMakers® on August 20, 2013, in Chicago, Illinois. This collection is comprised of the original video footage of the interview. Identification: A2013_230 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Opera singer Rodrick Dixon was born on June 22, 1966 in Queens, New York. Dixon attended the Mannes School of Music and graduated with his B.M. degree in 1989 and his M.M. degree in 1991. During each summer while at the Mannes School, Dixon also studied at L’Academia Musicale Ottorino in Assisi, Italy and l’Ecole d’Art Americain-Palais de Fontainebleau, France. Dixon trained in the Lyric Opera Center for American Artists, where he appeared in many productions, most notably as the Prince in the 1992 world premiere of Bright Sheng’s The Song of Majnun. Other notable operatic debuts were with the Portland Opera Les Contes d’Hoffmann (1995); the Columbus Opera’s world premiere of Vanqui as Prince (2000); the Virginia Opera as Sportin’ Life in Porgy & Bess (2000); the Michigan Opera Theater as Tonio in La Fille Du Regiment (2005); and the Todi Music Festival as Lenski in Eugene Onegin (2007).