TITO SCHIPA Jr
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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. -
The Singing Telegram
THE SINGING TELEGRAM Happy almost New Year! Well, New Year from the perspective of LOON’s season, at any rate! As we close out this season with the fun and shimmer of our Summer Sparkler, we reflect back on the year while we also look forward to the season to come. Thanks to all who made Don Giovanni such a success! Host families, yard sign posters, volunteer painters, stitchers, poster-hangers, ushers, and donors are a part of the success of any production, right along with the singers, designers, orchestra, and tech crew. Thanks to ALL for bringing this imaginative and engaging produc- tion to the stage! photos by: Michelle Sangster IT’S THE ROOKIE HUDDLE! offered to a singer who can’t/shouldn’t sing a certain role. What The Fach?! Let’s break that down a little more! Character What if we told you that SOPRANO, ALTO, TENOR, BASS Opera is all about telling stories. Sets, costumes, and lights is just the beginning of the types of voices wandering this give us information about time and place. The narrative planet. There are SO MANY VOICES! In this installation of and emotional details of the story are found in the music the Rookie Huddle we’ll talk about how opera singers – and as interpreted by the orchestra and singers. The singers are the people who hire them – rely on a system of transformed with wigs, makeup, and costumes, but their classification called Fach, which breaks those categories into characters are really found in the voice. many more specific parts. -
Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and -
Závěrečné Práce
JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra zpěvu Studijní program zpěv Fenomén Tři tenoři Diplomová práce Autor práce: BcA. Jiří Ullrich Vedoucí práce: doc. MgA. Mgr. Monika Holá, Ph.D. Oponent práce: PhDr. MgA. Alena Borková Brno 2018 Bibliografický záznam ULLRICH, Jiří. Fenomén Tři tenoři [The Three Tenors phenomenon]. Brno: Janáčkova akademie múzických umění v Brně, Hudební fakulta, Katedra zpěvu, 2018 54 s. Vedoucí diplomové práce, doc. MgA. Mgr. Monika Holá, Ph.D. Anotace Diplomová práce „Fenomén Tři tenoři“ pojednává o historii a vývoji tenorového hlasu, o životech a kariérách tenorů José Carrerase, Plácida Dominga a Luciana Pavarottiho, triu, které vytvořili a jeho vlivu na další hudební vývoj a vznik podobných uskupení. Annotation Diploma thesis „The Three Tenors phenomenon” deals with history and development of the tenor voice, lives and careers of the tenors José Carreras, Plácido Domingo and Luciano Pavarotti, the trio they created and it´s influence on further musical development and the creation of the similar groups. Klíčová slova Tři tenoři, José Cerreras, Plácido Domingo, Luciano Pavarotti, fenomén, tenor. Keywords The Three Tenors, José Carreras, Plácido Domingo, Luciano Pavarotti, phenomenon, tenor. Prohlášení Prohlašuji, že jsem předkládanou práci zpracoval samostatně a použil jen uvedené prameny a literaturu. V Brně, dne 12. května 2018 Jiří Ullrich Poděkování Na tomto místě bych rád poděkoval paní doc. MgA. Mgr. Monice Holé, Ph.D. za trpělivé vedení diplomové práce. Obsah ÚVOD ......................................................................................................................... -
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. -
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. -
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. -
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 -
An Analysis and Discussion of Zwischenfach Voices by Jennifer
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ASU Digital Repository An Analysis and Discussion of Zwischenfach Voices by Jennifer Allen A Research Paper Presented in Partial Fulfillment of the Requirements of the Degree Doctor of Musical Arts Approved April 2012 by the Graduate Supervisory Committee: Carole FitzPatrick, Co-Chair Kay Norton, Co-Chair Dale Dreyfoos Russell Ryan Robert Barefield ARIZONA STATE UNIVERSITY May 2012 ABSTRACT Zwischen in the German language means ‘between,’ and over the past century, as operatic voices have evolved in both range and size, the voice classification of Zwischenfach has become much more relevant – particularly to the female voice. Identifying whether nineteenth century composers recognized the growing opportunities for vocal drama, size, and range in singers and therefore wrote roles for ‘between’ singers; or conversely whether, singers began to challenge and develop their voices to sing the new influx of romantic, verismo and grand repertoire is difficult to determine. Whichever the case, teachers and students should not be surprised about the existence of this nebulous Fach. A clear and concise definition of the word Fach for the purpose of this paper is as follows: a specific voice classification. Zwischenfach is an important topic because young singers are often confused and over-eager to self-label due to the discipline’s excessive labeling of Fachs. Rushing to categorize a young voice ultimately leads to misperceptions. To address some of the confusion, this paper briefly explores surveys of the pedagogy and history of the Fach system. To gain insights into the relevance of Zwischenfach in today’s marketplace, I developed with my advisors, colleagues and students a set of subjects willing to fill out questionnaires. -
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 -
Spring 2011 KILMER AWARD Exploring the Soubrette Roles of the Mozart-Da Ponte Operas: Defining Susanna, Zerlina and Despina
1 Spring 2011 KILMER AWARD Exploring the Soubrette Roles of the Mozart-Da Ponte Operas: Defining Susanna, Zerlina and Despina Soubrette roles emerge with varying prominence Mozart and Da Ponte were part of a select few who throughout comic operas and opera buffa of the 17th were caught in between these two dichotomous and 18th centuries. Characterized as “the clever but lifestyles. These men were supported by the noble impertinent servant girl who comments wryly on the patrons of the city. Both men, in their own way, met behaviour of the ladies and gentlemen of the their demise after years of struggling to maintain their household,” these typically lighter female roles are aristocratic posts; Mozart dying as a pauper in Vienna often treated as second-tier, superficial characters.1 (1791), and Da Ponte finally fleeing the city after the The three soubrette heroines of the Mozart-Da Ponte death of his patron Emperor Joseph II in 1790. Da operas are Susanna (Le Nozze di Figaro), Zerlina (Don Ponte had fallen out of favor with the remaining Giovanni) and Despina (Così fan tutte). These Viennese nobility and was victim to intense police characters are similar in many ways, yet they possess investigations. Many debaucheries—including chasing stunning differences that merit further exploration. after women and cavorting with rebellious political factions—caused Portrait of Lorenzo Da Ponte, by In order to more clearly understand these characters, Viennese law Samuel F. Morse, American the social context in which these works were created officials to grow inventor. must first be considered. This brings us to the lively suspicious of his metropolitan city Vienna during the latter half of the “sharp pen.”6 18th century.