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Complete Catalogue 2006 Catalogue Complete
COMPLETE CATALOGUE 2006 COMPLETE CATALOGUE Inhalt ORFEO A – Z............................................................................................................................................................................................................................................................. 4 Recital............................................................................................................................................................................................................................................................................82 Anthologie ............................................................................................................................................................................................................................................................89 Weihnachten ....................................................................................................................................................................................................................................................96 ORFEO D’OR Bayerische Staatsoper Live ...................................................................................................................................................................................................99 Bayreuther Festspiele Live ...................................................................................................................................................................................................109 -
Liner Notes, Visit Our Web Site: Recording: March 22, 2012, Philharmonie in Berlin, Germany
21802.booklet.16.aas 5/23/18 1:44 PM Page 2 CHRISTIAN WOLFF station Südwestfunk for Donaueschinger Musiktage 1998, and first performed on October 16, 1998 by the SWF Symphony Orchestra, conducted by Jürg Wyttenbach, 2 Orchestra Pieces with Robyn Schulkowsky as solo percussionist. mong the many developments that have transformed the Western Wolff had the idea that the second part could have the character of a sort classical orchestra over the last 100 years or so, two major of percussion concerto for Schulkowsky, a longstanding colleague and friend with tendencies may be identified: whom he had already worked closely, and in whose musicality, breadth of interests, experience, and virtuosity he has found great inspiration. He saw the introduction of 1—the expansion of the orchestra to include a wide range of a solo percussion part as a fitting way of paying tribute to the memory of David instruments and sound sources from outside and beyond the Tudor, whose pre-eminent pianistic skill, inventiveness, and creativity had exercised A19th-century classical tradition, in particular the greatly extended use of pitched such a crucial influence on the development of many of his earlier compositions. and unpitched percussion. The first part of John, David, as Wolff describes it, was composed by 2—the discovery and invention of new groupings and relationships within the combining and juxtaposing a number of “songs,” each of which is made up of a orchestra, through the reordering, realignment, and spatial distribution of its specified number of sounds: originally between 1 and 80 (with reference to traditional instrumental resources. -
Télécharger Le Bulletin De Liaison N° 42
Bulletin de liaison N° 42 janvier 2008 Page: 1 ASSOCIATION NATIONALE HECTOR BERLIOZ Reconnue d’utilité publique Président : Gérard CONDÉ COMITÉ D’HONNEUR Gilbert AMY, Jacques CHARPENTIER, Pascal DUSAPIN, Henri DUTILLEUX, Betsy JOLAS, Noël LEE, Michaël LÉVINAS, Serge NIGG, de l’Institut. MEMBRES D’HONNEUR Serge BAUDO Colin DAVIS Alain LOMBARD Anne BONGRAIN Désiré DONDEYNE Jean-Pierre LORÉ David CAIRNS Jean FOURNET Hugh MACDONALD Sylvain CAMBRELING Brigitte FRANCOIS-SAPPEY Jean-Paul PENIN Jean-Claude CASADESUS Nicolaï GEDDA Michel PLASSON Gérard CAUSSÉ Yves GÉRARD Georges PRÊTRE Marie-Hélène COUDROY-SAGHAÏ CONSEIL D’ADMINISTRATION Président : Gérard CONDÉ Membres élus Dominique ALEX, Josiane BOULARD, Présidente adjointe : Arlette GINIER-GILLET Jacques CHAMBREUIL, Philippe Secrétaire général : Alain REYNAUD CHINKIRCH, Alain DURIAU, Patrick FAVRE-TISSOT-BONVOISIN, Marcelle Trésorière : Michèle CORRÉARD GIDON, Clarisse GUILMET, Gérard LEBRUN, Jean-Pierre MAASSAKKER, Membres de droit: Patrick MOREL, Hervé ROBERT, Alain M. le Président du Conseil général de l’Isère ROUSSELON, Pierre-René SERNA, M. le Conseiller général du canton de La Côte-Saint- Christian WASSELIN, Charles WOLFERS. André M. le Maire de La Côte-Saint-André Membres associés M. le Président de l’Agence iséroise de diffusion artistique Jean-Pierre ARNAUD, Gunther BRAAM, (AIDA) Lucile DUC, Marcelle GEORJON, Emma- Mme le Conservateur en chef du musée Hector-Berlioz nuel de MALEYZIEUX. DÉLÉGATIONS REGIONALES Alsace: Martine WEBER, Clarisse GUILMET Nord-Picardie : Dominique CATTEAU -
Nancy Opéra Passion, a Réservé Au Public Cette Surprise Renouant Avec Les Fastes D’Un Passé Pas Si Lointain
"Forum Opéra" Splendeurs à la Cour des Ducs de Lorraine La tradition lyrique de la Cité des Ducs de Lorraine est installée depuis des lustres et bien des Nancéiens se souviennent encore - et en conservent précieusement les programmes - de fabuleuses saisons lyriques des années 50, où un spectacle nouveau était monté chaque semaine ! Il n’était pas rare d’assiter alors, pour ne citer que deux titres, aussi bien au Postillon de Longjumeau d’Adolphe Adam, qu’à La Poupée d’Edmond Audran. Les années passant, la Ville n’a pu conserver un tel renouvellement dans la magie d’opéra qu’elle réservait à son public mais elle continua à le régaler de spectacles de grande qualité, servis par des artistes de renommée nationale et internationale. Il était en effet monnaie courante d’entendre ceux pour lesquels on ajoutait alors, après leur nom, « de l’Opéra », signifiant qu’ils étaient les glorieux pensionnaires de l’Opéra de Paris, comme Mado Robin, Jacqueline Brumaire, Régine Crespin, Guy Chauvet, Henri Legay, Michel Dens, Gabriel Baquier, Alain Vanzo… L’Opéra de Nancy s’ouvrit également aux grands noms internationaux et l’on retrouvait régulièrement Piero Cappuccilli, Rolando Panerai, Nicola Rossi Lemeni, Sesto Bruscantini, Paolo Montarsolo, Ruggero Raimondi, Fedora Barbieri, côtoyant des artistes venus d’Europe et même d’Asie. Quelques grands parmi les grands passèrent parfois à Nancy, comme Lucia Valentini Terrani et, pour dérouler un tapis rouge à José Cura, grand Interprète d‘aujourd’hui, ses illustres devanciers-ténors : Giacomo Lauri Volpi, Luis Mariano et Carlo Bergonzi. Il était temps que le public encourageât son Opéra et vers la fin des années 60, naissait la première association promouvant conférences et brochures destinées à présenter les ouvrages à l’affiche de la saison lyrique, ainsi que de sympathiques réceptions des artistes, approchés par tous. -
The 2017/18 Season: 70 Years of the Komische Oper Berlin – 70 Years Of
Press release | 30/3/2017 | acr | Updated: July 2017 The 2017/18 Season: 70 Years of the Komische Oper Berlin – 70 Years of the Future of Opera 10 premieres for this major birthday, two of which are reencounters with titles of legendary Felsenstein productions, two are world premieres and four are operatic milestones of the 20 th century. 70 years ago, Walter Felsenstein founded the Komische Oper as a place where musical theatre makers were not content to rest on the laurels of opera’s rich traditions, but continually questioned it in terms of its relevance and sustainability. In our 2017/18 anniversary season, together with their team, our Intendant and Chefregisseur Barrie Kosky and the Managing Director Susanne Moser are putting this aim into practice once again by way of a diverse program – with special highlights to celebrate our 70 th birthday. From Baroque opera to operettas and musicals, the musical milestones of 20 th century operatic works, right through to new premieres of operas for children, with works by Georg Friedrich Handel through to Philip Glass, from Jacques Offenbach to Jerry Bock, from Claude Debussy to Dmitri Shostakovich, staged both by some of the most distinguished directors of our time as well as directorial newcomers. New Productions Our 70 th birthday will be celebrated not just with a huge birthday cake on 3 December, but also with two anniversary productions. Two works which enjoyed great success as legendary Felsenstein productions are returning in new productions. Barrie Kosky is staging Jerry Brock’s musical Fiddler on the Roof , with Max Hopp/Markus John and Dagmar Manzel in the lead roles, and the magician of the theatre, Stefan Herheim, will present Jacques Offenbach’s operetta Barbe- bleue in a new, German and French version. -
Marco Polo – the Label of Discovery
Marco Polo – The Label of Discovery Doubt was expressed by his contemporaries as to the truth of Marco Polo’s account of his years at the court of the Mongol Emperor of China. For some he was known as a man of a million lies, and one recent scholar has plausibly suggested that the account of his travels was a fiction inspired by a family dispute. There is, though, no doubt about the musical treasures daily uncovered by the Marco Polo record label. To paraphrase Marco Polo himself: All people who wish to know the varied music of men and the peculiarities of the various regions of the world, buy these recordings and listen with open ears. The original concept of the Marco Polo label was to bring to listeners unknown compositions by well-known composers. There was, at the same time, an ambition to bring the East to the West. Since then there have been many changes in public taste and in the availability of recorded music. Composers once little known are now easily available in recordings. Marco Polo, in consequence, has set out on further adventures of discovery and exploration. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again. In addition to pioneering recordings of the operas of Franz Schreker, Der ferne Klang (The Distant Sound), Die Gezeichneten (The Marked Ones) and Die Flammen (The Flames), were three operas by Wagner’s son, Siegfried. Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich and Schwarzschwanenreich (The Kingdom of the Black Swan) explore a mysterious medieval world of German legend in a musical language more akin to that of his teacher Humperdinck than to that of his father. -
A Walt Whitman Sampler LEON BOTSTEIN, Conductor
Wednesday Evening, October 17, 2018, at 8:00 Isaac Stern Auditorium / Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00 presents A Walt Whitman Sampler LEON BOTSTEIN, Conductor OTHMAR SCHOECK Trommelschläge, Op. 26 BARD FESTIVAL CHORALE JAMES BAGWELL, Director KURT WEILL Four Walt Whitman Songs Beat! Beat! Drums! Oh Captain! My Captain! Come up from the Fields, Father Dirge for Two Veterans EDWARD NELSON, Baritone FRANZ SCHREKER Vom ewigen Leben (From Eternal Life) ANGEL BLUE, Soprano Intermission RALPH VAUGHAN A Sea Symphony (Symphony No. 1) WILLIAMS I. A Song for All Seas, All Ships II. On the Beach at Night Alone III. The Waves IV. The Explorers ANGEL BLUE, Soprano EDWARD NELSON, Baritone BARD FESTIVAL CHORALE JAMES BAGWELL, Director This performance is dedicated to the memory of Susana Meyer, long-time artistic consultant of the American Symphony Orchestra, respected colleague and friend. This evening’s concert will run approximately 2 hours and 20 minutes including one 20-minute intermission. This program has been made possible due in part to the Kurt Weill Foundation for Music, Inc., New York, NY. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. FROM THE Music Director Whitman and Democracy comprehend the English of Shakespeare by Leon Botstein or even Jane Austen without some reflection. (Indeed, even the space Among the most arguably difficult of between one generation and the next literary enterprises is the art of transla- can be daunting.) But this is because tion. Vladimir Nabokov was obsessed language is a living thing. There is a about the matter; his complicated and decided family resemblance over time controversial views on the processes of within a language, but the differences transferring the sensibilities evoked by in usage and meaning and in rhetoric one language to another have them- and significance are always developing. -
Harry Belafonte the Greatest Hits of Harry Belafonte Full Album Zip Updated
Harry Belafonte, The Greatest Hits Of Harry Belafonte Full Album Zip Updated Harry Belafonte, The Greatest Hits Of Harry Belafonte Full Album Zip Updated 1 / 2 Harry Belafonte, The Greatest Hits Of Harry Belafonte Full Album Zip Updated -- http://ssurll.com/10smgq f40e7c8ce2 SMASH HITS LOVE IS .... Harry Belafonte Best Of Rara; Harry Belafonte Albums; Harry Belafonte Best Of Rarely; Harry Belafonte Greatest Hits Rar. Lego rock raiders free download full .... Harry Belafonte, The Greatest Hits Of Harry Belafonte full album zip ... Harry Belafonte's profile including the latest music, albums, songs, music .... Characters think and dream and act and, most of all, speak through song. ... An opera is not an opera unless there is death, a great profusion of dead. ... The latest “first” is A Man Dies, an early 1960s attempt to stage the New Testament for the ... Cribbing from the Beatles, Roy Orbison, Elvis, and Harry Belafonte, A Man Dies .... And now offered at a low-price, this is one of the young year's best offerings. ... POP HARRY BELAFONTE- Belafonte/The Warm Touch. ... In" and this album's title song, should hit the overdue commercial heights as a performer ... tunes, and is especially effective on "Zip-a-Dee Doo-Dah," "Whispering" and "Mississippi Mud.. HOLLYWOOD — Singer Me] Torme will record a new version of his ... In the extreme ranges of highs and lows, these heads will not record the full sound that the ... is currently conducting a contest on Harry Belafonte's waxing of the same tune. ... However, he has switched the song's thinking somewhat, and is looking for the ... -
Guild Gmbh Guild -Historical Catalogue Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 52 742 85 00 - E-Mail: [email protected] CD-No
Guild GmbH Guild -Historical Catalogue Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 52 742 85 00 - e-mail: [email protected] CD-No. Title Composer/Track Artists GHCD 2201 Parsifal Act 2 Richard Wagner The Metropolitan Opera 1938 - Flagstad, Melchior, Gabor, Leinsdorf GHCD 2202 Toscanini - Concert 14.10.1939 FRANZ SCHUBERT (1797-1828) Symphony No.8 in B minor, "Unfinished", D.759 NBC Symphony, Arturo Toscanini RICHARD STRAUSS (1864-1949) Don Juan - Tone Poem after Lenau, op. 20 FRANZ JOSEPH HAYDN (1732-1809) Symphony Concertante in B flat Major, op. 84 JOHANN SEBASTIAN BACH (1685-1750) Passacaglia and Fugue in C minor (Orchestrated by O. Respighi) GHCD Le Nozze di Figaro Mozart The Metropolitan Opera - Breisach with Pinza, Sayão, Baccaloni, Steber, Novotna 2203/4/5 GHCD 2206 Boris Godounov, Selections Moussorgsky Royal Opera, Covent Garden 1928 - Chaliapin, Bada, Borgioli GHCD Siegfried Richard Wagner The Metropolitan Opera 1937 - Melchior, Schorr, Thorborg, Flagstad, Habich, 2207/8/9 Laufkoetter, Bodanzky GHCD 2210 Mahler: Symphony No.2 Gustav Mahler - Symphony No.2 in C Minor „The Resurrection“ Concertgebouw Orchestra, Otto Klemperer - Conductor, Kathleen Ferrier, Jo Vincent, Amsterdam Toonkunstchoir - 1951 GHCD Toscanini - Concert 1938 & RALPH VAUGHAN WILLIAMS (1872-1958) Fantasia on a Theme by Thomas Tallis NBC Symphony, Arturo Toscanini 2211/12 1942 JOHANNES BRAHMS (1833-1897) Symphony No. 3 in F Major, op. 90 GUISEPPE MARTUCCI (1856-1909) Notturno, Novelletta; PETER IILYICH TCHAIKOVSKY (1840- 1893) Romeo and Juliet -
Schreker's Die Gezeichneten
"A Superabundance of Music": Reflections on Vienna, Italy and German Opera, 1912-1918 Robert Blackburn I Romain Rolland's remark that in Germany there was too much music 1 has a particular resonance for the period just before and just after the First World War. It was an age of several different and parallel cultural impulses, with the new forces of Expressionism running alongside continuing fascination with the icons and imagery ofJugendstil and neo-rornanticism, the haunting conservative inwardness of Pfitzner's Palestrina cheek by jowl with rococo stylisation (Der Rosenkavalier and Ariadne auf Naxos) and the search for a re- animation of the commedia dell'arte (Ariadne again and Busoni's parodistic and often sinister Arlecchino, as well es Pierrot Lunaire and Debussy's Cello Sonata). The lure of new opera was paramount and there seemed to be no limit to the demand and market in Germany. Strauss's success with Salome after 1905 not only enable him to build a villa at Garmisch, but created a particular sound-world and atmosphere of sultriness, obsession and irrationalism which had a profound influence on the time. It was, as Strauss observed, "a symphony in the medium of drama, and is psychological like all music". 2 So, too, was Elektra, though this was received more coolly at the time by many. The perceptive Paul Bekker (aged 27 in 1909) was among the few to recognise it at once for the masterpiece it is.3 In 1911 it was far from clear that Del' Rosenkavalier would become Strauss' and Hofinannsthal's biggest commercial success, nor in 1916 that Ariadne all! Naxos would eventually be described as their most original collaboration.' 6 Revista Musica, Sao Paulo, v.5, n. -
5178 Bookl:Layout 1 06.05.2013 12:03 Uhr Seite 1 5178 Bookl:Layout 1 06.05.2013 12:03 Uhr Seite 2
5178 bookl:Layout 1 06.05.2013 12:03 Uhr Seite 1 5178 bookl:Layout 1 06.05.2013 12:03 Uhr Seite 2 FRANZ SCHREKER (1878-1934) DER FERNE KLANG Oper in drei Aufzügen / Opera in 3 Acts Text: Franz Schreker - Gesamtaufnahme / Complete Recording - Grete GABRIELE SCHNAUT Fritz THOMAS MOSER Der alte Graumann VICTOR VON HALEM Frau Graumann BARBARA SCHERLER Der Wirt JOHANN WERNER PREIN Altes Weib JULIA JUON Ein Schauspieler HANS HELM Dr. Vigelius SIEGMUND NIMSGERN Milli / Kellnerin: Barbara Hahn · Mizzi / Ein Mädchen: Gudrun Sieber · Mary / Choristin: Gertrud Ottenthal Ein Individuum: Rolf Appel · Erster Chorist: Peter Haage · Der Graf: Roland Hermann Der Chevalier: Robert Wörle · Der Baron / Zweiter Chorist / Der Polizist: Gidon Saks · Rudolf: Claudio Otelli RIAS KAMMERCHOR · RUNDFUNKCHOR BERLIN (Einstudierung / Chorus Master: Dietrich Knothe) RADIO-SYMPHONIE-ORCHESTER BERLIN GERD ALBRECHT (Dirigent / conductor) Co-Produktion: RIAS Berlin - CAPRICCIO ©+P 1991 / 2013 CAPRICCIO, 1010 Vienna, Austria Made in Austria www.capriccio.at 3 5178 bookl:Layout 1 06.05.2013 12:03 Uhr Seite 3 CD 1 ERSTER AUFZUG / ACT ONE [1] Vorspiel …………………………………………………………………………………………………………. 4:02 1. SZENE / SCENE 1 [2] „Du willst wirklich fort, Fritz“ (Grete, Fritz) …………………………………………………………………. 2:10 [3] „Ein hohes, hehres Ziel schwebt mir vor Augen“ (Grete, Fritz) …………………………………………. 5:37 [4] „Hörst du, wie sie toben“ (Grete, Fritz) …………………………………………………………………….. 2:06 2. SZENE / SCENE 2 [5] „Frau Mama zu Hause?“ (Die Alte, Grete) ………………………………………………………………… 2:10 3. SZENE / SCENE 3 [6] „Was weinst denn?“ (Mutter, Grete) ………………………………………………………………………. 1:36 4. SZENE / SCENE 4 [7] „Nur herein, meine Herren“ ………………………………………………………………………………….. 7:23 (Graumann, Wirt, Schauspieler, Grete, Vigelius, Mutter, Chor) 5. SZENE / SCENE 5 [8] „Fräulein sollten sich‘s überlegen“ (Wirt, Mutter, Grete) …………………………………………………. -
L'œuvre À L'affiche
L'œuvre à l'affiche Recherches : Jean-Louis Dutronc, Christian Merlin et Germain Fauquet Calendrier des premières représentations de La Damnation de Paris, Th.Sarah Bernhardt 1903 Faust, de 1893 à 1937, d'après A. Loewenberg, Annals of Opera Buenos Aires 1903 (en italien) 1597-1940, Londres 1978. Barcelone 1903 (en italien) Budapest 1904 (en hongrois) CREATION : En concert, le 6 décembre 1846 au Théâtre de l’Opéra- Rio de Janeiro 1904 (en italien) Comique sous la direction de Berlioz lui-même. Lisbonne 1906 (en italien) Création scénique : le 18 février 1893 à l’Opéra de Monte-Carlo. Bruxelles 1906 (en français) New York 1906 (en français) PREMIERES SCENIQUES Alexandrie 1907 (en italien) Milan, T.dal Verme 1893 (en italien) Berlin, Komische Oper 1907 (en allemand) Strasbourg 1893 (en français) Berlin, Opernhaus 1907 (en français) Liverpool 1894 (en anglais) Genève 1908 (en français) Moscou 1894 (en italien) et 1907 (en russe) Londres Covent <garden 1933 (en italien) New Orleans 1894 (en français) Stockholm 1936 (en suédois) Hambourg 1902 (en allemand) Riga 1937 (en letton) La carrière de l’œuvre Le 20 décembre une nouvelle audition est proposée. Salle aux trois-quarts vide. Le ténor Roger refuse de chanter l’Invocation C’est le 6 décembre 1846 que La Damnation de Faust était à la Nature. Le Charivari ironise : « La Chanson du Rat va passer créée en concert au Théâtre de l’Opéra-Comique sous la direc- inaperçue, puisqu’il n’y a pas un chat dans la salle » ! tion de Berlioz lui-même. La distribution comprenait Hortense Ces deux exécutions de la Damnation achèvent de ruiner Ber- Duflot-Maillard (Marguerite), Roger (Faust), Hermann-Leon (Mé- lioz qui doit s’expatrier un temps.