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Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr. -
RSTD OPERN Nov Dez 212X476 15.10.12 17:48 Seite 1
RSTD OPERN_Nov_Dez_212x476 15.10.12 17:48 Seite 1 Opernprogramm November 2012 November Franz Liszt Legende der heiligen Elisabeth 20.00 - 22.35 Hermann: Kolos Kováts, Sophie: Éva Farkas, Ludwig: Sándor Sólyom-Nagy, Elisabeth: Éva Marton, 1 Friedrich II. von Hohenstaufen: József Gregor, Ungarischer Magnat: István Gáti, Seneschal: István Gáti. Donnerstag Ungarische Nationalphilharmonie, Leitung: Árpád Joó, 1984. November Léo Delibes Lakmé 20.00 - 21.55 Nilakantha: Clifford Grant, Lakmé: Joan Sutherland, Mallika: Huguette Tourangeau, Hadji: Graeme Ewer, 3 Gerald: Henri Wilden, Frederick: John Pringle, Ellen: Isobel Buchanan. Samstag Australian Opera Chorus, Elizabethan Sydney Orchestra, Leitung: Richard Bonynge, 1976. November Bedrichˇ Smetana Die verkaufte Braut 20.00 - 22.25 Marenka: Dana Burešová, Jenik: Tomáš Juhás, Kecal: Jozef Benci, Vašek: Aleš Vorácek, 6 Mícha: Gustáv Belácek, Háta: Lucie Hilscherová, Krušina: Svatopluk Sem, Ludmila: Stanislava Jirku. Dienstag BBC Singers, BBC Symphony Orchestra, Leitung: Jirí Belohlávek, 2011. November Wolfgang Amadé Mozart Le nozze di Figaro 20.00 - 23.00 Almaviva: Tom Krause, Gräfin: Anna Tomowa-Sintow, Susanna: Ileana Cotrubas, Figaro: José van Dam, Cherubino: Frederica 8 von Stade, Bartolo: Jules Bastin, Marcellina: Jane Berbié, Basilio: Heinz Zednik, Don Curzio: Kurt Equiluz. Donnerstag Chor und Orchester der Wiener Staatsoper, Leitung: Herbert von Karajan, 1977. November Christoph Willibald Gluck Alceste 20.00 - 22.25 Admete: Paul Groves, Alceste: Anne Sofie von Otter, Oberpriester: Dietrich Henschel, Euandros: Yann Beuron, 10 Herakles: Dietrich Henschel, Herold: Ludovic Tézier, Orakel: Nicolas Testé, Apollo: Ludovic Tézier. Samstag Monteverdi Choir, English Baroque Soloists, Leitung: Sir John Eliot Gardiner, 1999. November Christoph Willibald Gluck Paride ed Elena 20.00 - 22.30 13 Paride: Magdalena Kožená, Elena: Susan Gritton, Amore: Carolyn Sampson, Pallade: Gillian Webster. -
Bellini's Norma
Bellini’s Norma - A discographical survey by Ralph Moore There are around 130 recordings of Norma in the catalogue of which only ten were made in the studio. The penultimate version of those was made as long as thirty-five years ago, then, after a long gap, Cecilia Bartoli made a new recording between 2011 and 2013 which is really hors concours for reasons which I elaborate in my review below. The comparative scarcity of studio accounts is partially explained by the difficulty of casting the eponymous role, which epitomises bel canto style yet also lends itself to verismo interpretation, requiring a vocalist of supreme ability and versatility. Its challenges have thus been essayed by the greatest sopranos in history, beginning with Giuditta Pasta, who created the role of Norma in 1831. Subsequent famous exponents include Maria Malibran, Jenny Lind and Lilli Lehmann in the nineteenth century, through to Claudia Muzio, Rosa Ponselle and Gina Cigna in the first part of the twentieth. Maria Callas, then Joan Sutherland, dominated the role post-war; both performed it frequently and each made two bench-mark studio recordings. Callas in particular is to this day identified with Norma alongside Tosca; she performed it on stage over eighty times and her interpretation casts a long shadow over. Artists since, such as Gencer, Caballé, Scotto, Sills, and, more recently, Sondra Radvanovsky have had success with it, but none has really challenged the supremacy of Callas and Sutherland. Now that the age of expensive studio opera recordings is largely over in favour of recording live or concert performances, and given that there seemed to be little commercial or artistic rationale for producing another recording to challenge those already in the catalogue, the appearance of the new Bartoli recording was a surprise, but it sought to justify its existence via the claim that it authentically reinstates the integrity of Bellini’s original concept in matters such as voice categories, ornamentation and instrumentation. -
Verdi's Rigoletto
Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered. -
Integrales Discográficas De Las Sinfonías De Gustav Mahler
MAHLER INTEGRALES DISCOGRÁFICAS DE LAS SINFONÍAS DE GUSTAV MAHLER Índice de contenidos Página Policarbonato y maheriana — Integrales: 03 Integrales de un director y una orquesta: 06 Integrales de un director y más de una orquesta: 54 Integrales de más de un director y una orquesta: 72 Integrales de más de un director y más de una 78 orquesta: Policarbonato y mahleriana su música no sonó en Alemania ni en prácticamente todos los territorios que había anexionado el nazismo. Pocos eran los directores, de la generación que dominó Iniciada la década de los años 60 del siglo XX, había la primera mitad del siglo XX, que verdaderamente creían transcurrido medio siglo desde el fallecimiento de Gustav en su obra. Destacan los casos del Willem Mengelberg, Mahler; cincuenta años en los que el mundo de la Bruno Walter y Otto Klemperer. El primero de ellos logró fonografía, y paralelamente a esta las salas de concierto, en Amsterdam, como director titular de dedicaban aún una exigua —relativa— o nula presencia la Concertgebouworkest, que la ciudad desarrollase una de la obra de Mahler. A lo largo de esa década ese singular y profunda tradición mahleriana. Los otros dos parcial oscurantismo iba a llegar a su fin; el nombrado directores, judíos alemanes ambos, siempre fueron fieles a “boom Mahler" incrementó la presencia, en todos los la obra de su mentor; tanto en Europa, durante los años ámbitos, de la obra del compositor bohemio, que llevaron que pudieron interpretarla, como en su forzado exilio en desde aquellas fechas hasta nuestros días, pocos años los Estados Unidos, principalmente. -
Contents Price Code an Introduction to Chandos
CONTENTS AN INTRODUCTION TO CHANDOS RECORDS An Introduction to Chandos Records ... ...2 Harpsichord ... ......................................................... .269 A-Z CD listing by composer ... .5 Guitar ... ..........................................................................271 Chandos Records was founded in 1979 and quickly established itself as one of the world’s leading independent classical labels. The company records all over Collections: Woodwind ... ............................................................ .273 the world and markets its recordings from offices and studios in Colchester, Military ... ...208 Violin ... ...........................................................................277 England. It is distributed worldwide to over forty countries as well as online from Brass ... ..212 Christmas... ........................................................ ..279 its own website and other online suppliers. Concert Band... ..229 Light Music... ..................................................... ...281 Opera in English ... ...231 Various Popular Light... ......................................... ..283 The company has championed rare and neglected repertoire, filling in many Orchestral ... .239 Compilations ... ...................................................... ...287 gaps in the record catalogues. Initially focussing on British composers (Alwyn, Bax, Bliss, Dyson, Moeran, Rubbra et al.), it subsequently embraced a much Chamber ... ...245 Conductor Index ... ............................................... .296 -
Download Booklet
MONTEVERDI © Lebrecht Music & Arts Photo Library ???????????? Claudio Monteverdi (1567 – 1643) The Coronation of Poppea Dramma musicale in a Prologue and two acts Libretto by Giovanni Francesco Busenello, English translation by Geoffrey Dunn Prologue Fortune Barbara Walker soprano Virtue Shirley Chapman soprano Love Elizabeth Gale soprano Opera Ottone, most noble lord Tom McDonnell baritone Poppea, most noble lady, mistress of Nero, Janet Baker mezzo-soprano raised by him to the seat of empire Nero, Roman emperor Robert Ferguson tenor Ottavia, reigning empress, repudiated by Nero Katherine Pring mezzo-soprano Drusilla, lady of the court, in love with Ottone Barbara Walker soprano Seneca, philosopher, preceptor to Nero Clifford Grant bass Arnalta, aged nurse and confidante of Poppea Anne Collins mezzo-soprano Lucano, poet, intimate of Nero, nephew of Seneca Emile Belcourt tenor Valletto, page of the empress John Brecknock tenor Damigella, lady-in-waiting to the empress Iris Saunders soprano Liberto, Captain of the praetorian guard Norman Welsby baritone First soldier Robin Donald tenor Second soldier John Delaney tenor Lictor, officer of imperial justice Anthony Davey bass Pallas Athene, goddess of wisdom Shirley Chapman soprano Chorus of Sadler’s Wells Opera Orchestra of Sadler’s Wells Opera Raymond Leppard 3 compact disc one Time Page Act I 1 Sinfonia 2:55 p. 30 Prologue 2 ‘Virtue, go hide yourself away’ 7:16 p. 30 Fortune, Virtue, Love Scene 1 3 ‘Again I’m drawn here’ 8:32 p. 31 Ottone, Soldier 2, Soldier 1 4 ‘My lord, do not go yet!’ 9:54 p. 32 Poppea, Nero Scene 2 5 ‘At last my hopes have ended’ 6:38 p. -
CHAN 3045 Bookcover.Qxd 9/7/07 1:21 Pm Page 1
CHAN 3045 bookcover.qxd 9/7/07 1:21 pm Page 1 CHANDOS O PERA IN ENGLISH CHAN 3045(4) PETE MOO ES FOUNDATION CHAN 3045 BOOK.qxd 13/7/07 3:15 pm Page 2 Richard Wagner (1813–1883) AKG Siegfried Second Day of the Festival Play The Ring of the Nibelung Music drama in three acts Poem by Richard Wagner English translation by Andrew Porter Siegfried ......................................................................................................................Alberto Remedios tenor Mime ..........................................................................................................................Gregory Dempsey tenor Wanderer..............................................................................................................Norman Bailey bass-baritone Alberich ......................................................................................................Derek Hammond-Stroud baritone Fafner ................................................................................................................................Clifford Grant bass Erda ..............................................................................................................................Anne Collins contralto Brünnhilde........................................................................................................................Rita Hunter soprano Voice of the Woodbird ..............................................................................................Maurine London soprano Sadler’s Wells Opera Orchestra Barry Tuckwell -
No. 90, December 2002
No. 90, December 2002 PRESIDENT'S REPORT Dear Members For many of us, this Newsletter and Barbara McNulty's President's Reports have long been synonymous. Only now, writing my first report as president, do I realise how much of Barbara's personality was infused in her reports, making them much more than a hard act to follow. Those of you who were lucky enough to attend our AGM in July will remember the warmth and affection of the spontaneous ovation we gave Barbara when she stepped down as president. This expressed more than words could our gratitude for her tireless work on our behalf over many years on the committee, which Barbara continues in the role of secretary and as vice president "ex officio". Most of you, I suspect, think of AGMs as events you're lucky to avoid, but ours in July was very different. Our Society makes regular donations to support young talented Australians studying overseas, such as our support of the Bayreuth Scholarship, and we sponsor artists in local productions. Prior to the AGM, we had the chance to hear, in the glorious and intimate setting of the Paddington Uniting Church, the depth of talent we have helped in a small way to foster, when Lisa Harper-Brown and Stuart Skelton gave a recital, with Francis Greep and Michael Black. It was a delight to hear and see such bright, young talent, and the committee will be looking over the next few months at other ways we may be able to help singers and musicians starting out in their careers. -
Classical Masterpieces Distribution Partner
MUSIC LIVE MUSIC DIVERSE MIN. VERSIONS Only music (69 x Diverse) Introduction in English (08 x Diverse) 60 2586 | 61-64, 76-79 RIGHTS Not available worldwide. Please contact your regional Classical Masterpieces distribution partner. ORDER NUMBER The series Classical Masterpieces presents a rich repertoire ranging from symphonies, instru- 60 2586 | Diverse mental concertos and masses to chamber music and small solo works. Though the main emphasis is on the classical period, all other epochs in the history of music are represented as well. The orchestras featured are almost exclusively German, and the conductors and soloists are artists of international standing. Chamber Music Baroque Music 08 Wolfgang Amadeus Mozart 32 Johann Sebastian Bach 20 min. 23 min. Sonata in D major for two pianos, K 525 Suite No 1 in C major, for two oboes, Piano: Marie-José Billard and Julien Azais bassoon, string orchestra and continuo, BWV 1066 36 Ludwig van Beethoven Cologne Chamber Orchestra 11 min. Oboe: Hans-Peter Westermann Variations for cello and piano from Bassoon: Ensemble Michael McCraw Mozart’s opera “The Magic Flute” Conductor: Helmut Müller-Brühl Piano: Nerine Barrett, Cello: Claus Kanngiesser 76 Johann Sebastian Bach 29 min., Introduction in English 37 Frederic Chopin Suite No 1 in C major, for two oboes, 25 min. bassoon, strings and basso continuo, Sonata in G minor, op. 65 for cello and BWV 1066 piano Cologne Chamber Orchestra Piano: Nerine Barrett, Oboe: Hans-Peter Westermann Cello: Claus Kanngiesser Bassoon: Ensemble Michael McCraw Introduction: Marioara Trifan 98 Franz Liszt Conductor: Helmut Müller-Brühl 45 min. Works for piano: Mephisto Waltz 33 Johann Sebastian Bach Liebestraum No 3 21 min. -
CHAN 9836 Front.Qxd 30/8/07 1:02 Pm Page 1
CHAN 9836 Front.qxd 30/8/07 1:02 pm Page 1 CHAN 9836 CHANDOS MAHLER Symphony No. 4 Eva Johansson soprano Danish National Radio Symphony Orchestra Leif Segerstam CHAN 9836 BOOK.qxd 30/8/07 1:03 pm Page 2 Gustav Mahler (1860–1911) AKG Symphony No. 4 in G major . G-Dur . sol majeur 1 I Bedächtig 18:11 2 II In gemächlicher Bewegung. Ohne Hast 10:34 3 III Ruhevoll 22:39 4 IV Sehr behaglich 10:10 TT 61:42 Eva Johansson soprano Danish National Radio Symphony Orchestra Leif Segerstam Gustav Mahler 2 3 CHAN 9836 BOOK.qxd 30/8/07 1:03 pm Page 4 begun until mid-July of 1899, shortly after St John’s lamb is chased by Herod and Mahler: Symphony No. 4 the composition of the song Revelge slaughtered for the celestial banquet, while (Reveille). Much changed in appearance, it St Luke kills the oxen. The pathos of was completed in draft the following summer Mahler’s music at this point is hardly In his Fourth Symphony Mahler returned to 5 Die Welt ohne Schwere (The world without (on 5 August) but in neither year was its oppressive, although the cries of the animals the scale of the First and to the conventional weight) composition easy. Mahler continued to revise are distinctly heard in the orchestra. But he scheme of four movements. From the epic 6 Das himmlische Leben (Heavenly life) it in the winter of 1900–01 and worked on introduced a darker note in his ghostly world of the Second and Third Mahler That Mahler may have first imagined the aspects of its orchestration long after the first scherzo, which at the Amsterdam retained a single soprano soloist for the finale. -
919X Auto Reverse Stereo Cassette Deck PEMOTE SENSOR Marlboro Red Or Longhorn 1110'S- You Get a Lot to Like
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