DOCSLIB.ORG

Everyman Classics

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Everyman Classics convincing. And:a's version enjoys the added should he sufficient to illustrate the point. Performance: First-rate advantage of being complete on one side. DGG's sound is excellent throughout both Recording: Stage realism without the annoying and unnecessary break sides of the disc. D. II. Munich is the Bayreuth of Richard Strauss- imposed by Mercury between the slow move- it honors him lavishly and with a proud ment and finale. and the recorded sound is OO OO RICHARD STRAUSS: Arabella. sense of ownership year :titer year. The cast both richer and better balanced in orchestral Karl Christian Kohn (bass), Graf Waldner; of this Ar.rhedl.t. in a stage performance sonority. This is for me the Schumann Piano Ira Malaniuk (mezzo-soprano). Adelaide; captured during the 1963 operatic season, Concerto recording to have for the present- Lisa della Casa (soprano). Ar.thella: Anne- typifies the festive excellence that is Strauss' and perhaps for a long time to come. liese Rothenberger (soprano). Zdenka; due in his natise city. As for the recording If Anda and Kuhelik had done as well Dietrich Fischer-Dieskau (baritone), Man- itself, it will considerably ads ance the cause by the Grieg Concerto, this disc would be dryka; Georg P.askuda (tenor). Matted: of perpetuating live performances. It has magnificent, but unhappily, the refinements Fritz Uhl (tenor). Elemer: Carl Hoppe been accomplished with great skill, and the of phrasing. dynamics. and attacks that are (tenor), Dominik; Horst Günter (baritone), sense of an actual performance is vividly apt for Schumann do not necessarily befit Inmoral; Eva Maria Rogner (soprano), preserved. The stereo serves as a faithful Grieg's more rugged muse, despite the ob- Fiakermilli: Bavarian State Opera Chorus mirror of staging elasticity, and the audible vious surface similarities between the two and Orchestra, Joseph Keilherth cond. DEUT- marks of the performance-background mur- scores. A single hearing of the Solomon SCHE GRAMMOI'HON SI.PM 138883/4/5 murs. rushing feet. clinking and breaking of reading on Capitol (which is coupled too three I2 -inch discs S17.98, LPM 18883/4/5 glasses-are presented in a realistic perspec- with the Schumann) or Rubinstein's on RCA S17.98. tive seldom equaled by studio simulation. With so much going for this project. I suppose it borders on ingratitude to point out that the end result falls short of an earlier C-11 studio recording (London OSA 1404). For- C FOR THE FIRST TIME IN RECORD HISTORY tunately. the two sets share the same Arahella `;\"1 NOW ONE PRICE- -I.isa della Casa-whose portrayal is again 1 FOR MONO AND STEREO! distinguished by elegance. poignancy, and 5198 innate nobility. Occasional traces of effort and a tendency to waver from tonal center EVERYMAN CLASSICS disclose that her command of vocal resources (0) is no longer what it was, but she can still and ,a11 Vanguard Demonstration Discs float tones of rare loveliness and limpidity. Distinguished recordings meeting .the highest standards of engineering excellence: Her cherishable interpretation is brilliantly Wide-ranging repertory of masterpieces from the Baroque to the 20th century. paired with the radiant Zdenka of Anneliese Rothenherger. who offers :as much character- ization as her absurd role permits and as "Everyman Classics... stereo recordings that are low-priced and superb." Cleveland Plain Dealer much tonal beauty as we have a right to Three of the first five Everyman Classics releases were cited as the best available -recordings of these works at any price, by Martin Bookspan in HiFi/Stereo, June, 1964. expect. "Looking for bargains, Vanguard's Demonstration Disc series has it all over everything else in the Dietrich Fischer-Dieskau attacks Man- book. The engineering is the highest of high fidelity...The performances and the sound make them worth even the most jaded listener's attention." San Francisco Chronicle dryka's frequently awkward and unyielding music with :all the enormous art at his com- EVERYMAN CLASSICS Vanguard mand. hut with only intermittent success. He New Demonstration Discs is too great :tn artist ever to he less than Releases adequate. but George London in the com- RIMSKY-KORSAKOV: Scheher- SIBELIUS: Symphony No. 5 & Pohjola's Daughter petitive set offers a weightier sound and Barbirolli cond.) SRV-137 & SRV-137 SD azade (Rossi cond.) BEETHOVEN: Piano Concerto No. 5, "Emperor" SRV-103 & SRV-103 SD darker tone quality that are more appropriate (Mindru Katz, piano; Barbirolli. cond.) LISZT: Hungarian Rhapsodies to the role, and London can deal more effec- SRV-128 & SRV-128 SD Nos. 1-4 (Fistoulari cond.) TCHAIKOWSKY: Symphony No. 5 & Marche Slave SRV-108 & SRV-108 SD tively with the part's unreasonable vocal (Barbirolli cond.) SRV-t39 & SRV-139 SD LISZT: Hungarian Rhapsodies demands. Similarly. DGG's Christian Kohn, MOZART: Piano Concertos No. 20 in D minor, K. 466 Nos. 5. 6 & ENESCO: Rumanian & No. 24 in C minor, K. 491 (Denis Matthews, piano: Rhapsodies Nos. 1, 2 (Fistoulari certainly competent as Graf Waldner, cannot Swarowsky, cond.) SRV-142 & SRV-142 SD & Golschmann cond.) match Otto Edelm:ann's inventive and flavor- VIVALDI: L'Estro Armonico, Op. 3-Complete (To- SRV-119 & SRV-I 19 SD masow & Boskowsky, violins; Rossi, cond.) 3 discs HAYDN: Symphony No: 100. ful characterization, which is one of the boxed. SRV-143/5 & SRV-143/5 SD "Military" & No. 101, "Clock" London set's most impressive assets. Ira (Wdldike cond.) Recent Releases SRV-109 & SRV-109 SD NLtlaniuk appears as the Countess in both -IAYDN: Symphony No. 103, performances, hut the signs of vocal deterior- Symphonies Nos. 102 "Drum Roll" & No. 104, "Lon- HAYDN: 99 in E fiat & No. in in the set. B fiat (Wbldikc cond.) SRV-129 & SRV-129 SD don" (Wiildike cond.) ation are clearly evident newer HAYDN: The Creation (WSldike cond.) 2 discs SRV-126 & SRV-126 SD DGG's supporting singers are acceptable. KHACHATURIAN: Gayne Suite SRV-130/1 though the Matte() (another vocally ungrate- SIBELIUS: Symphony No. I (Barbirolli cond.) & KABALEVSKY: The Comedi- SRV-132 & SRV-132 SD ans (Golschmann cond.) ful role) is disappointing. Symphony No. 4 SRV-113 & SRV-113 SD DVORAK: & Scherzo Capriccioso There are several in the Munich per- (Barbirolli cond.) SRV-133 & SRV-133 SD MUSSORGSKY: Pictures at an cuts VAUGHAN WILLIAMS: London Symphony (Barbi- Exhibition (Ravel orchestration) formance. and the Prelude to Act Ill is given rolli cond.) SRV-134 & SD and A Night On Bald Mountain SRV-l34 as an interlude between acts. I do not find TCHAIKOWSKY: Symphony No. 4 (Barbirolli cond.) (Golschmann cond.) SRV-135 & "SRV-135 SD SRV-117 & SRV-117 SD these cuts particularly damaging in this gen- BRAHMS: Double Concerto & Academic Festival Over- BERLIOZ: Symphonic Fantas- padded opera, and I even welcome ture (Campoli, violin; Navarra, cello: Barbirolli, cond.) tique, Golschmann cond.) erously SRV-136 & SRV-136 SD SRV-I20 & SRV-120 SD the ahhres i:()ion of Fiakermilli's silly music. MENDELSSOHN: Italian Sym- particularly since what has not been left out phony & Midsummer Nights Forthcoming soon Dream Music (Golschmann cond.) is sung so unattractively by Miss Rogner. On BACH: Cantata No. 4. "Christ lag in Todesbanden" & SRV-122 & SRV-122 SD the other hand. Arahel l:t's tender "Zde nkevl. No. 140, "Wachet auf" (Prohaska cond.) SRV-152 DVORAK: Slavonic. Dances Op, HAYDN: Mass In Time of War (WSldike cond.) 46 & 72 (Rossi cond.) du birt die Berr're z on liar _wet, n" toward SRV-153 & SRV-153 SD SRV-121 & SRV-12I SD the end of the opera should have been re- BACH Easter Oratorio (Prohaska cond.) SRV-156 TCHAIKOWSKY: Nutcracker Ballet tained. The London set is uncut- but it A BOUQUET OF TARTINI ' ND NARDINI CON- - Complete (Abravanel CERTOS (Tomasow, violin) SRV-154 & SRV-154 SD cond.) 2 discs. requires four discs against DGG's three. PURCELL: Four Suites-Abdelazer, The Gordian Knot SRV-123/4 & SRV-123/4 SD Untied, The Married Beau, The Virtuous Wife (Mahler THE SOUNJ3 OF FOLK MUSIC London also offers sharper and more bril- cond.) SRV-155 & SRV-i55 SD SRV-125 liant sound, :and Georg Solti's conducting VIVALDI: Four Violin Concertos from "La Cetra" BEETHOVEN Symphony No. 3, (Makanowitzky, violin; Golschmann, cond.) "Eroica" (Boult cond.) is distinctly more incisive and illuminating. SRV-159 & SRV-159 SD SRV-127 & SRV-127 SD ioseph Keilberth demonstrates a relaxed MADRIGALS MORLEY BACH: Great Choruses and Ar- OF AND WILBYE (Dealer mastery the score. hut lacks Solti's propul- Consort) SRV-t57 & SRV-157 SD ias from the "St. Matthew Pas- of ALBUM OF BELOVED SONGS (Oehler Consort) sion" (Wbldike cond.) sive energy and keen ear for telling orchestral SRV-l41 & SRV-128 & SRV-128 SD Stereo SRV-141 SD detail. The DGG album is elegantly pack- includes libretto EVERYMAN CLASSICS A Division of Vanguard Recording Society, Inc.. New York aged, and it the complete (Coununed on p.i e 135) 132 CIRCLE NO. 73 ON READER SERVICE CARD I-III'I/STEREO REVIEW CIRCLE NO. 79 ON READER SERVICE CARD-. .
Load more

Recommended publications
  • Vplh 4Pr,G> Ir* by JAMES G
    TURNTABLE TALK THE SUNDAY STAR E-5 tV'»*hltwnll, D q _ Sunday, Aran, is. is&s - Strauss 'Arabella' ; * iIBBIBkI * Makes Disc Debut 9B»T HI VPlh 4Pr,g> ir* By JAMES G. DEANE priately fill the eighth side. -Br /, v < % lL\ W —m '1 ¦Mr Itecord Critic Thf conductor here Is Karl W&7' Pi ’j, w MM ¦BL \fi|B H * <a >«r ¦¦•¦? A public which cut be »*- Boehm. ¦ *'* * * . ;•/ turned to have supposed until 'liffMp W IMHIT •4B Hr very recently that nothing STACK MUSIC W WW» r jfi v j/< Steam locomotives are A '• dHr ¦p- ' R| s M written by Richard Btrauac ¦ 4 bf'. I after 1910 (the year of “Der rare in the Eastern United Rosenkavaller”) could have States and are becoming m lltar IpJ BHLjfIHLO A much merit haa been learning rarer everywhere, a sad fact better. for rail enthusiasts. To the “Ariadne auf Naxos,’’ writ- initiate, the sound of pound- M ten in 1911, has been winning ing drive wheels and rushing recent favor on both side* steam Is music. iaaaißii& -1 of the Atlantic, Including Vinton Wright, a Western $& j» ft I tape .—«tJ- i *- here. "Die Schat- with a re- - IMHinr 1 > #^BHI >rau ohne rail fan LISA DELLA CASA ten," great, neglected corder and an eye to pos- v^--;"^>^^:^sk'-;^ff-; -: v^ the Sings "¦¦: 9* iTT operatic opus of 1919, re- terity, has been taking down Recorded Arabella cently created something of the sound of as many steam a sensation among record locomotives as possible for by Julie Andrews and Martyn few years.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • Strauss' Capriccio
    Richard Strauss’ Capriccio - A survey of the discography by Ralph Moore Strauss’ swansong opera Capriccio is not especially well represented in the catalogue; of the 22 complete recordings listed in the CLOR catalogue, only around a dozen have ever been available on CD and the rest were on video. Of those CD issues, several are no longer available and only three are studio recordings; two are radio broadcasts and the remainder are live or live composite stage performances. I consider here ten recordings, including all three of those studio accounts. The libretto was based on an original concept by Stefan Zweig, who had fled to the USA after the rise of the Nazis and committed suicide earlier in the year of the opera’s premiere, 1942. It was further developed by his successor as Strauss’ librettist, Josef Gregor, then Strauss himself took it over before passing it to his conductor friend Clemens Krauss – incidentally, possessor of one of the most blatant comb-overs in history - who completed it with continued input from the composer. The text is witty and more enjoyable if the libretto is to hand or you speak German. Like Strauss’ domestic comedy Intermezzo, Capriccio is wordy and conversational, but its intellectual and philosophical content is certainly higher and couched in some of the most sublime music Strauss ever penned. As a result, it is more popular and frequently performed than other of his late works. It is a vehicle for a supreme singer-actress with a creamy voice and a gift for enlivening text; noted performers who made recordings include Krauss’ second wife, Viorica Ursuleac, Lisa Della Casa, Elisabeth Schwarzkopf, Gundula Janowitz, Kiri Te Kanawa and, more recently, Renée Fleming.
    [Show full text]
  • Decca Discography
    DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982.
    [Show full text]
  • Studyguidegiovanni.Pdf
    DON GIOVANNI Opera in two acts by Mozart, text by Lorenzo da Ponte First performance at the National Theatre, Prague, October 28, 1787 THE PATRICIA & RODES HART PRODUCTION October 6 & 8, 2016 Andrew Jackson Hall, Tennessee Performing Arts Center Directed by John Hoomes • Conducted by Dean Williamson Featuring the Nashville Opera Orchestra CAST & CHARACTERS The Commendatore Peter Volpe* Donna Anna, his daughter Karen Slack* Don Ottavio, her betrothed Yi Li* Don Giovanni, a young nobleman David Adam Moore* Leporello, his servant Donovan Singletary* Donna Elvira, a lady of Burgos Alyson Cambridge* Zerlina, a country girl Laura Krumm* Masetto, betrothed to Zerlina Jose Rubio* * Nashville Opera debut TICKETS Nashville Opera, 615.832.5242, nashvilleopera.org Available at all Ticketmaster outlets or at 615.255.ARTS MORE INFORMATION Contact Nashville Opera at 615.832.5242 or visit nashvilleopera.org. Study Guide Contributors Anna Young, Education Director Cara Schneider, Creative Director THE STORY ACT I ACT II At night, outside the Commendatore’s palace, Leporello Under Elvira’s balcony, Leporello exchanges cloaks with his grumbles about his duties as servant to Don Giovanni, a master to allow Giovanni to woo Elvira’s maid in disguise. dissolute nobleman. Soon the masked Don appears, pur - Leporello leads Elvira off. When Masetto passes with a sued by Donna Anna, the Commendatore’s daughter, whom band of armed peasants bent on punishing Giovanni, he has tried to seduce. The Commendatore himself answers Giovanni gives them false directions. After the armed peas - Anna’s cries. Don Giovanni kills him in a duel and then ants exit, Giovanni takes great pleasure in beating up escapes.
    [Show full text]
  • Lisa Della Casa
    90 Jahre Salzburger Festspiele, 60 Jahre Großes Festspielhaus – wie nähert man sich diesem © Wien Fayer, Jubiläum in einer Zeit an, die nach Superlativen ruft? Noch einmal die historischen Anfänge feiern? Zum x-ten Male alles Revue passieren lassen? Noch einmal Erfolge, glänzende Premieren und mitreißende musikalische Triumphe bebildern? lisa della casa 90 years of the Salzburg Festival, 60 years of the Great Festival Hall – how do you acknowledge these anniversaries in a time which calls for superlatives? Celebrate their historical beginnings once again? Look back on the past for the umpteenth time? Relive successes, glittering premieres and thrilling musical triumphs yet again? TExT: dEREk wEbER PhoToS: ARchiv dER SAlZbuRGER FESTSPiElE/ARchivE SAlZbuRG FESTivAl 120 salon Salon10_02_LisaDellaCasa_050710.indd 120 14.07.10 14:31 Der Rosenkavalier, 1960 Salon10_02_LisaDellaCasa_050710.indd 121 14.07.10 14:31 © Fayer, © Wien Fayer, unter den vielen Namen, welche die Festspiele prägten, gibt es einen, der ihre Geschichte auf besondere weise erzählt, authentisch, durch sich selbst, durch einen stillen Glanz, den man den „wahren“ nennen möchte, weil er ohne Glamour- Seitenblicke auskam. Noch heute steht dieser Name, der sich auch auf dem besetzungszettel der Eröffnungspremiere im Großen Festspielhaus vom Sommer 1960 findet, für schlichte Eleganz, stimmige bühnenpräsenz und eine gesangliche Perfektion, der zugleich menschliche wärme eigen war. „die leibhaftige Poesie“ hat ein kritiker sie einmal genannt. lisa della casa ist heute über 90 Jahre alt. ihr letzter bühnen- auftritt liegt mehr als 35 Jahre zurück; sie lebt zurückgezo - gen mit ihrer Familie auf jenem Schweizer Schloss in der Nähe des bodensees, das sie zusammen mit ihrem Mann vor 60 Jahren erwarb.
    [Show full text]
  • THE MUNICH OPERA FESTIVAL Six Major Performances Tuesday, July 3Rd Through Thursday, July 12Th
    THE MUNICH OPERA FESTIVAL Six Major Performances Tuesday, July 3rd through Thursday, July 12th Nationaltheater, home of Bavarian State Opera “Munich’s Opera Festival , a mix of brand-new productions, stag - s in most recent years, Munich’s traditional summer Opera ings from the past season and immaculately cast revivals, has become Festival in 2018 will offer an undeniable richness of six perhaps the most dependably, densely exciting presentation of opera major performances within a compact eight-night pe - in the world… Opera is hardly ever perfect. But in Munich these days riod . Instead of Munich’s new RING, we are excited by the su - it comes closer, consistently, than anywhere else I know. ” NY Times A perlative casts in a varied repertory of other operas, especially the combination of Nina Stemme and Jonas Kaufmann in Jonas Kaufmann: “Almost certainly the greatest tenor in Parsifal , this writer’s favorite soprano Anja Harteros the world right now, a dashingly handsome German with for two evenings, and Angela Gheorghiu as Tosca. an extraordinary voice, whose career is reaching new peaks with each year.” The Telegraph In chronological order, the operas on our program will be Donizetti’s L’Elisir d’Amore , Richard Wagner’s Par - Anja Harteros in Munich’s ‘Arabella’: “A complete em - sifal , Giacomo Puccini’s Tosca , and Richard’ Strauss’s bodiment of the title role… She glows as Arabella, able to Arabella . A fifth vocal performance will be the sold-out float a note as the greatest Strauss sopranos have done” Recital by Munich’s beloved ‘prima donna assoluta’, Anja NY Times Harteros .
    [Show full text]
  • Die Meistersinger Von Nürnberg
    RICHARD WAGNER die meistersinger von nürnberg conductor Opera in three acts James Levine Libretto by the composer production Otto Schenk Saturday, December 13, 2014 12:00–6:00 PM set designer Günther Schneider-Siemssen costume designer Rolf Langenfass lighting designer Gil Wechsler choreographer The production of Die Meistersinger von Nürnberg Carmen De Lavallade is made possible by a generous gift from stage director Mrs. Donald D. Harrington Paula Suozzi The revival of this production is made possible by a gift from Mr. and Mrs. Corbin R. Miller and Mr. and Mrs. Charles Scribner III, in honor of Father Owen Lee general manager Peter Gelb music director James Levine principal conductor Fabio Luisi The 413th Metropolitan Opera performance of RICHARD WAGNER’S This performance die meistersinger is being broadcast live over The von nürnberg Toll Brothers– Metropolitan Opera International Radio Network, sponsored by Toll Brothers, conductor America’s luxury James Levine ® homebuilder , with in order of vocal appearance generous long-term support from walther von stol zing, konr ad nachtigall, tinsmith The Annenberg a knight from fr anconia John Moore* Johan Botha° Foundation, The fritz kothner, baker Neubauer Family eva, pogner’s daughter Martin Gantner Foundation, the Annette Dasch Vincent A. Stabile hermann ortel, soap-maker Endowment for magdalene, her at tendant David Crawford Broadcast Media, Karen Cargill balthasar zorn, pew terer and contributions David Cangelosi from listeners david, apprentice to sachs worldwide. Paul Appleby* augustin moser, tailor veit pogner, goldsmith Noah Baetge Visit List Hall at the Hans-Peter König second intermission ulrich eisslinger, grocer Tony Stevenson* for the Toll Brothers– six tus beckmesser, Metropolitan Opera town clerk hans foltz, coppersmith Quiz.
    [Show full text]
  • 16 NI 7964 an N Y Sc H Le M M T H O M a S H E M S Le Y B E N N O K
    Thomas Hemsley Thomas Anny Schlemm Anny Benno Kusche Benno Harshaw Margaret 16 NI 7964 NI 7964 1 Don Giovanni Ossia Il dissoluto Punito Opera in due Atti Poesia di Lorenzo Da Ponte Musica di W. A. Mozart Leporello Servant to Don Giovanni Benno Kusche Donna Anna, Daughter of the Commendatore and betrothed to Don Ottavio Margaret Harshaw ames Pease ames Hervey Alan Hervey Don Giovanni a Young and Licentious Nobleman James Pease J The Commendatore Hervey Alan Don Ottavio Léopold Simoneau Donna Elvira a Lady from Burgos, abandoned by Don Giovanni Sena Jurinac Zerlina a Peasant Girl Anny Schlemm Masetto a Peasant, betrothed to Zerlina Thomas Hemsley Conductor Georg Solti The Royal Philharmonic Orchestra Continuo played by the Conductor The Glyndebourne Festival Chorus éopold Simoneau éopold L Jurinac Sena 2 NI 7964 NI 7964 15 Aldeburgh, Hemsley created the role of Demetrius in Britten's A Midsummer Night's Dream. His Solti conducted Don Giovanni in nine performances during the 1954 Covent Garden debut in 1970 was as Mangus in Tippett's The Knot Garden. Glyndebourne season : on July 7, 9, 11, 14, 17, 21, 23, 25, 27. The BBC In the latter part of his career, Hemsley taught at the Guildhall School of Music and Drama, televised it, compressing the opera into 90 minutes and cutting three London and also ran the opera programme at the Dartington International Summer School. He of the most popular arias - ‘Batti, batti’, ‘Deh vieni alla fenestra’ and was awarded the CBE in the 2000 Queen's Millennium Honors List for his services to Music.
    [Show full text]
  • VAI 2005 Fall Catalog.Pmd
    2005 FALL CATALOGUE THE LEADER IN RECORDINGS OF HISTORIC PERFORMANCES AND RARE REPERTOIRE A-18 GEN TWO NEW DVDS IN ALICIA ALONSO ON VVVAI’sss BROADWAAAY SERIES Listing on page 2 Listings on page 3 New Compact Disc Releases on Page 22 These and other recent VAI DVD releases pp. 2-8! New Hardy & Kicco Classics DVDs on Page 21 A Tribute to the “Voice of an Angel” Listing on page 3 Listing on page 3 February 1, 1922 ••• December 20, 2004 Details of this 2-DVD retrospective on page 3 Listing on page 7 Listing on page 6 From the President of VAI Recently Released Dance & Orchestral DVDs from VAI Dear Friends, Our current listings feature some of HARDY CLASSICS DVD Broadway’s brightest stars. Most of this material derives from the rich archives of the Bell Telephone Hour which has provided us with performances by some of the greatest artists from the worlds of opera, dance and the concert stage. The Broadway offerings were no less luminous with star turns from such legendary greats as Ethel Merman, Barbara Cook, Robert Goulet, Alfred Drake, Carol Lawrence, Larry Kert, Dolores Gray John Raitt, Howard Keel and Gretchen Wyler. Highlighting our new releases are TWO NEW DANCE DVDS FROM VAI DVDs devoted to the art of Barbara Cook and Carol Lawrence. Both ladies ALICIA ALONSO – PRIMA BALLERINA ASSOLUTA This GISELLE are still very much in the public eye. compilation from 1958 to 1985 includes extracts from many of Alicia Miss Cook, a cabaret favorite, is about NUREYEV • FRACCI Alonso’s most celebrated roles.
    [Show full text]
  • R. STRAUSS Liederalbum Arthur Rother, Direttore (1) ACANTA D
    COMPOSITORE TITOLO INTERPRETI CASA COLLOCAZIONE DISCOGRAFICA R. STRAUSS Liederalbum Arthur Rother, direttore (1) ACANTA D. Joseph Keilberth, direttore (2) STR. 4 Michael Raucheisen, 1 pianoforte Orchestra della Deutsches Opernhaus di Berlino R. STRAUSS Richard Strauss Lieder Lucia Popp, soprano EMI HMV D. Wolfgang Sawallisch, piano STR. 4 2 R. STRAUSS Klemperer dirige Richard Orchestra Philharmonia di EMI HMV D. Strauss Londra STR. 4 Don Giovanni, Op. 20 - Otto Klemperer, direttore Poema sinfonico 3 Danza dei sette veli (da “Salomè”) I tiri burloni di Till Eulenspiegel R. STRAUSS Also sprach Zarathustra, The Vienna Philarmonic DECCA D. symphonic poem opus 30 Orchestra STR. 4 Clemens Krauss, direttore 4 R. STRAUSS Symphonia domestica The Vienna Philarmonic DECCA D. Opus 53 Orchestra STR. 4 Clemens Krauss, direttore 5 R. STRAUSS Il cavaliere della rosa, Jean Hubeau, pianista ΣRATO D. Op. 59 Burleske, Op. 11 Orchestra Sinfonica di STR. 4 Bamberg Fanfare für die Wiener 6 Philharmoniker Theodor Guschlbauer, direttore R. STRAUSS Tod und Verklärung Op. NBC Symphony orchestra RCA D. 24 Arturo Toscanini, direttore STR. 4 Don Juan Op. 20 7 Till Eulenspiegels lustige Streiche Op. 28 R. STRAUSS Four last songs and five Elisabeth Schwarzkopf, EMI Angel D. other songs with soprano orchestra STR. 4 Berlin Radio Symphony Orchestra 8 George Szell, direttore R. STRAUSS Salome Vienna Symphony Orchestra Philips D. Rudolf Moralt, conduttore STR. 4 9 R. STRAUSS Arabella Elisabeth Schwarzkopf, EMI Electrola D. soprano Josepf Metternich, baritono STR. 4 Nicolai Gedda, tenore 10 Anny Felbermayer, soprano Walter Berry, baß Philarmonia Orchestra London Lovro von Matacic, direttore R. STRAUSS Arabella Lisa Della Casa, soprano DECCA Ace of D.
    [Show full text]