DOCSLIB.ORG

DEL LICEO Empresa Juan M Estres Calvet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
DEL LICEO Empresa Juan M Estres Calvet GRAN TEATRO DEL LICEO Empresa Juan M estres Calvet Compañía de Ópera de Prianissimo Cartello Temporada de invierno 1923- 1924 INAUGURACION DE LA TEMPORADA JUE\ES D{A 22 DE NOVIEMBRE DE 1923 CON L<\ óPERA DE GRAN ESPECTACULO EL PRíNCIPE IcoR lllll lllllll lll lll llll lll lllllllm lll lllllll :ll llllllllllill lll llllllll~lll llllllllll lll llll lll lll llllllllllllllllllllllllllllll lll illlllllll lll lll llll ill llllllllll l ll l lll lll l lll lll lll l lll BJ\JO LA DIRECCION DEL EMINENTE MAESTRO ALBERT COATES DIRECCIÓN ESCÉNICA ALEX SANINE Y TOMANDO PARTE LOS CÉLEBRES ARTISTAS sEÑORAs SMlRNOVA, SADOVEN. SWETCHJ,\JSKAYA Y VOEDSK.A.YA sE::;oRF.S WASSELOWSKY. JURENIEFF, ZAPOROGETZ KAIDA:-.JOFF. POLIA KOFF v D'ARIAL ,PRII\IERA PAREJA DE BAlLE RUSO Jabón EGOROWA LUBOW : THEODOR WASSILIEFF CUERPO DE BAlLE, DE AMBOS SEXOS PROCEDENTE DEL TEATRO IMPERIAL DE PETROGRAOO ANU NCIOS N~W-YORK ~.~STRE Albert Coales E~oton Pollnk \ I <"t~<'Ílll·1 del ~Iem J J, 1 n •• 1 •,.... ••••• '»\ ...... ··-........ I).\ RC 1: Ll) 1\.\ ,_.,/IJ.._,."""'-...... ''••'r .,.,,,"···· .......... ............ , .. , ... TC'tl'······ • • • • • • Elenc o artístic o por on:len alfa bético :\IAE:;TROS DIRECTORES Y CO:\CERTADORES DE ORQCEST\ Coates, Albert: Falconi, Giulio : Morskoy-Frutz, Valentín Nedbal, Oskar : Pollak, Egon Sabater, josé : Weingartner, Félix SOPRANOS LíRICO-DRA\lÀTIC:\S Campiña-Alcaraz, Fidela : Concato, Augusta Hafgren Dinkela, Lilly : Kousnezzoff, María Miriowska, Lise : Hacicova, Anna Simanova, Dobrena : Schvarz, Vera : Stepanova, Bucena Smirnova, Helene : Wilbrunn, Helene : Zulodova, Marja SOPRANOS LIGERAS Giovannelli, Velia : Hidalgo, Elvira de : jokl, Fritz Rejholcova, fVlarie .\IEDIO ~OPRANOS-CONTRALTOS Oavydoff, Marie : Minarova. Marja : Sadoven, Helene I Serena, Bianca : Swetchinskaya, Antoinette. : Willer, Luise Oskar :\edbal • • ANUNC IOS NEW-YORK \!ex S.,n l" , JOYERIA PLATERÍA: RELOJERÍA LA ISLA DE CUBA pla<!.o 'Real, 12 : Calle del \7idrio, 3 : t:etéfono A-403 BARCELONA Gi rondes novedodes en Iodo cl~se de joyas y objetos de p\eto poro. regolos, q{elojes de las mils acredilt>das rnorcos PRECIO FIJO • • • • TENORES • Hubner, Roman : Horsky, Mirko : Hruska, Karl Palet, josé : Piccaluga. Filippo : Possemskosky, Georges Ritch, Theodor : Rosich, Juan : Schutz, Theodor Schubert, Richard : Stork, Iviirko T : rantoul, Antoine Wasselow1sky, Alex OTROS PRIMEROS TENORES D'Arial~Nanoboff, Michel: Kuhn, Paul BARÍTONOS Amato, Pasquale : Bohmm~Milan, René Darniani, Vittor : Groenen, josep : jurenieff, Georges Maurant, jean : Novak, Vaclav ': Redondo, Marco Polacek, Vitt : Stracciari, Riccardo Wiedemann, Hermann BAJOS Hulm, jirí : Journet, Marcel : Kaidanoff, Konstantin Lanskoy, Georges : Manowarda, joseph Markov, Zdenek : Pen.;), Josep I Torres de Luna, josé : Zaporogetz, Kapiton I • AN U NCIOS NEW- YORK Confecciones a medida PUENTE CASA EN PARÍS : 22, Rne Maubeuge Call, núm. 7 : BARCELONA Teléfono 4555- A Alex Wasselovisky • • • • • BAJO CÚMICO • Rebonato, Gaetano OTRAS SOPRANOS Y CONTRAL TOS Karl Hruska Fiori, Lina : Marchetti, Calli : Taboada, Purita : Velazquez, Conchita Juan R~ich Zanardi, Alexina : Cardenas. Carmen de : Vila, Carmen OTKOS TENORES Gallofré, Vicente : Rassy, Giovanni Roman Hubner OTR03 BAqíTONOS Boydaroff, Vladimir : Frau, Jorge OTROS BAJOS Armi, José : Giralt, Conrado COMPRIMARI0.3 Mirko Stork Mid1cl D' Arial-Nanoboff Roca, Josefina : Santmartí, Marcelina : Oliver, Antonio MAESTHOS SUBSTITUTOS Y CONCERTADORES Capdevila, Antonio: Minowky, Alex MAESTRO DEL cmo Filippo Piccalu¡¡a T erragnolo, Raffaele • ANUKCIOS NEW-YORK Theodor Schulz Antonin Trantoul Conchitn Yelazque2: Lise Miriows ka Cuerpo d• haile ruso E~tlllll TIJTIJSlllJS PllRlllS Profesora Lecciones en bailes para s eñoritas moderno s \'adav Novak de Salón IJrstel, 131 Vittor Damiani ............. ,. ,, .. ...... .. • • • • • MAESTROS APUNTAD RES • Pinilla, José : Hermann, Rossé Riccardo Stracciari DIRECTOR DE U 8.-\NDA EN ESCENA Hermann Wiedemann Hernandez, Angel f\.IAESTRO CRG:\NISTA Daniel Eusebio DIRECTORES DE ESCENA I Barterra, Gaspare (del Tea tro Scala de Milan) l Ludwig~ Hort, F ranz (del Teatro del Estado dc Berlin) Sanine, Alex (del ex Teatr.> lm¡:erial dc Pctrogrndo) K vapil, Jaroslav (Director Artistico del Te¡tlro Nacional de p, aga) DIRECTOR T!::CNICO DEL PALCO E':iCÉNICO Rcné Bohmm Rayer, Francisco PRIMERA" BAILARINA'3 Boronat, T eresita : Egorowa, Lubow : Allan, Eugenie PRIMER BAIURiN Y DIRECTOR DEL BAlLE RUSO Georges Ju reni e ff Theodor W assilieff " • Jean Maurant ANUNC IOS NEW- YORK José forres de Luna LA GENTE ELEGANTE BESE AGUA FOURNIER ADMINISTRACIÓN : • ..• • 11 • Maestra Directora del baile y de la Academia que sostiene esta Empresa Pauleta Pamias Orquelita y Banda del Sindicato Musical de Cataluña Coro de ambos sexos de la Sociedad de Coristas de Cataluña • • Orfeó de Nuria hajo la direcci6n de su maestro Clemente Lozano MAESTRO DEL BAl LE PARA LAS ÓPERAS CHECOESLOVACAS Viscusi, Achille Cuerpo de baile de la Academia del Gran Teatro del Liceo BUTTAFUORI PINTORES ESCENÓGRAFOS Puiggener, Francisco Alarma, Yilomara, junyent, Castells, Fernandez, Batile y Amig6 Cuerpo de baile del ex Teatro Imperial de Petrogrado y Manén La Muela SOLISTAS MAQUI"flSTA, lbañez PELUQUERÍA, Guma : SASTRERÍA, Malatesta SF.ÑORITAS M'J ec kows k a, Janme .. .· M ossky • E ugeme. S k : ma off, Muse ZAPATERÍA, Celda : ATREZO, ARMERÍA Y GUARDARROPÍA, Artigau O ulianowskaya, Emilie ELECTRICISTA, Cester : PLANTAS Y FLORES, Bonet SEÑORFS IgnatoH, Basil : Von Kremer, Emil n1oskalen~ ko, Pi erre Baykoff, Alex MUEBLES, Sams6 : PiAI\OS Y ARMONIUMS, Guarro • • • AN UNC IOS NEW- YORK • 11 F,EPERTORIO Au (orsef Elestanf WAGNER : PARSIFAL- TRISTAN E ISOLDA LA CASA DE LA GOMA WALKYRIA Primera y única que vende fajas lricOI goma a 1•1 pe:selas R. S'fRAus : EL CABALLERO DE LA ROSA y en seda a 25 peselas GOUNOD : FAUST l\IOUSSORSKY: BORIS CODOUNOFF Plaza Santa Ana, 4 Canuda, 28 PUCCINI : CA UT MANON LES BARCELONA VERDI: FALSTAFF - UN BALLO IN MASCHERA LA TRAVIATA- IL TROVATORE GIORDANO : ANDREA CHENIER WOLFF FERRAR!: IL SECRETO DI SUSANNA • • BRETÓN: LA DOLORES • • PAHISSA: MARIANELA • ABONO LEONCAVALLO : I PAGLIACCJ 0 Qucdn Al.ierto el ab.• no en la c~ntaduna del Teatro (calle San Pablo. 0. I, cntre- BORODINE : ICOR EL PRfNCIPE SUI'Io) en I a' sa¡;uÍtnl~S formas} condiciones: ROSSINI : EL BARBERO DE SEVILLA 1.• 1\ 70 funciones: 52 funciones de noche y 18 de tarde. Por primera vez se pondni en escena en es te Gran Tea tro la ópera 2.• A 52 52 3.• ,\ 18 18 • tarde. elias festÍ\OS, fantéÍstÍca en cua tro actos y cinco cuadros, del macs tro J. O ff en bach LOS CUENTOS DE HOFFMANN PREC IOS PARA EL ABONO a ïO a 52 a 18 a it) a ~2 a 1/l LOCALIDADES Pta.. Ptas. Ptas. Ptos. Ptas. Pt.ts. ESTRENO Pol cos de I.'. 1." ) 3." piso, a precios S---· y condiciones convencional es . .. Drama musical popular, en K O VAN CHT CRIN A J,Q70 3,447 1,9.¡; 5,715 3,819 2.2H 5 actos dc M .P. Mousorsky Pn leos platea s in entrada . ... ...... Sill ones palio o onfi tea tro con entrada .. 763 559 257 800 615 300 lll"iO LA NO VIA VENDIDA ópera cóm ica en tres Entrada 11 pn leo para señorcs abonados. 252 187 68 275 200 actos dc Karl Sabini, Lo• impuestos a cargo del público música del macs tro Bcdrich Smetana. ccoooccaooooooooooooooooooooao R U SALKA Ópera en b·es actos, libro dc Jaroslav Kvapil, J::.~tos uhonos dt•benin verificarsc en los siguientes días Y horns : música del macstro Ant Dvorak. oooooooooooo ,\)os~· ñnr~s nbanarlr,~ a I~ última temporada. a diari o o a funciones dr tnrde Y ~ochc, F-~l~s dos últimns ohrns ser n Ínlerprctad¡¡s por los principa!es nrtist.ls dc·l Tcatro Na­ se I e.< re<crvnroín sus loc,11idadc< has la el 4 de noviembre a I a~ once ~e I 11 ~oche. 1 rnns• rionnl dc Prnqa, y pu~sla• en escena hajo la dirccción del famosa dir~ctur del Teatro · 1 d' 1 Ja la Em"rc•n disoondni de la~ que no hubaesen .ado rellradas. curnt ü •e t~ P l 0 • · , . · • ... • b N11cional. y jcf.. dc !n ~ección del Ministerio ~e Bellas ,\rics, acñoa J.uosla" Kv. pil. 1 \ ) , ,rñorcr. ,. rles~cn abonarse a 70 funciones, del 'al li de novtcm r,. El dccc.rado, \'o·• tu nno.• llrezo y dem 's acce<ono; pcrlcncco:n al To·alro Nacional. ct'di- 0 1111 dos galantementc por el Gobicrno Cht·coc:.lo\' nco \los • a 52 " dell2al17de Las Ópcra•. Fa~ast v Los Cuentos de Hoffmann . <eran cantadas en francé<, Trist 'n A los a l'I dd J.¡al19 de l~olda Y \Val~na . en nleman • El Caballero de la Rosa . en vicnés, La novia vcn­ ol!da r. Rusal~.a :en ch<:c~slovaco. La Ool~res y :\lariànela • en español, El Prín• El despacho para d abono estaní abierlo todos los días 1 1 1 C:lpc ls:nr. BonJ Godounoff y I a Kovanchtchma . en ruso,} to:! as las ucmb "" italiano. (festi,os inclusiH) de 10 ~a I. de~ a 7 ~ yde 9 : J li • • • • ANUNC IOS ANU NCIOS NEW- YORK NeW-YO RK • IMPORTANTE ~ En las sc:manas en que solo haya como dia festivo el Domin!(o, se celebraran cuatro funciones de nochc: y la de tarde del Domingo. En las semaoas en que adcmas del Do- mingo hubiese otra fiesta, se celebnmin únicamente tres fuocic.n~ de noche y las de I tarde del Domiogd y del dia festivo. NOTAS & El ab:mo n 70 funciones tien~ prefer~nci, sobre los demib ~bonos, para las funcio­ nes de gala y para toda el ase de Funciones que se celebren duran te I o temporada. Los señores abonades debenin satisfacer t:>n el aclo de hncer el nbono el importe del timbre e impuestos correspondientcs. Es de cuenta de los señores ab::mados el consumo dc clectricidad pnr los uparnlos, nsí corno la conservaciòn que tengao en los anlepalcos. Cualquier nucvo impuesto que fuese creado serd de cuenlo de lo5 sd\orcs ubonndos.
Load more

Recommended publications
  • Comunicat Intern
    LICEU A LA FRESCA - LA TRAVIATA Giuseppe Verdi Òpera en tres actes. Llibret de Francesco Maria Piave basat en La dame aux camélias d’Alexandre Dumas fill . Gran Teatre del Liceu. Temporada 2014/15 Dissabte 18 de juliol Inici espectacle a les 20h Inici retransmissió Liceu a la Fresca: 21:30h Òpera en texans. Programa sobre La traviata 22h Inici de la retransmissió de l’òpera Durada aproximada: 3h Violetta Valéry Anita Hartig Flora Bervoix Gemma Coma-Alabert Annina Miren Urbieta Vega Alfredo Germont Ismael Jordi Giorgio Germont, el seu pare Leo Nucci Gastone, vescomte de Letorières Jorge Rodríguez-Norton Baró Douphol Toni Marsol Marquès d’Obigny Marc Canturri Doctor Grenvil Fernando Radó Giuseppe, servent de Violetta José Luis Casanova Criat de Flora Miquel Rosales Comissionat Mariano Viñuales Direcció musical Evelino Pidò Direcció d’escena David McVicar Escenografia i vestuari Tanya McCallin Il·luminació Jennifer Tipton Coreografia Andrew George Assistents de la direcció d’escena Marie Lambert i Leo Castaldi Nova coproducció Gran Teatre del Liceu / Scottish Opera (Glasgow) Welsh National Opera (Cardiff) / Teatro Real (Madrid) Orquestra Simfònica i Cor del Gran Teatre del Liceu Direcció del Cor Conxita Garcia Municipis participants Arenys de Mar, Barcelona, Cervera, Girona, Igualada, Lleida, Martorell, Puigcerdà, Tordera, Tortosa, Valls, Vielha 1 ARGUMENT Per David McVicar, director d’escena de La traviata L’acció té lloc a París al segle XIX. ACTE I. A l’apartament de Violetta Violetta Valéry, una coneguda cortesana, ha organitzat una festa per celebrar la seva recuperació d’una greu malaltia. Gastone de Letorières presenta Alfredo Germont a la seva jove i tímida amiga, i assabenta Violetta que ha trucat cada dia interessant-se per la seva salut.
    [Show full text]
  • 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.
    [Show full text]
  • [ News and Comment of Concert and Opera I To-Night
    NEWS AND ___-;-,1- . COMMENT OF AND I [ .=============^_-_-___^^^-:-1^5^----= =____-_ CONCERT OPERA cnt-day desolation and destruction in . -'.-" a uatanic fury. The artist will lccturo \Chicago Opera Co, on the exhibition of thrilling scenes, all of which wcro made in their natural Mme. to Sing colors a new Hempel by process. Tho former ' Last Week Minister of War, M. Millcrand, is the I Begins executive president of the Committee in 'Le Nozze di for tho Relief of the Wounded and Sick Figaro Presentation Will Include Soldiers. President Poincaró is chair¬ Two Operas man of tho honorary committee. Will- Caruso To Be Heard as Radames in New to New York Audiences: (iLeSau- Jam Saneloz was sent to this country aa a special commissioner in charge of and teriot," by Lazzari, and <(Isabeau,T the exhibition. "Aida," Lázaro, Spanish Tenor, Tho American executive committee is Will headed by Mrs. Robert Appear 'Again in "Rigoletto" fourth and la^t week of the Chi- Bacon and Mrs. The which Rosa LeRoy Edgar. Th« list of season at the Raisa, Giuseppi Gandcnzi, patronesses rneo Opera Company's Giacomo Rimini, Louise at tho French Theatre exhibition in¬ i Mme. Frieda lícmpcl will make lier will dance. Mr. Bodanzky will conduct. Theatre will include two op¬ Swartz Berat, Jcska Lexington and others of its former cast cludes over fifty prominent last appearance this season with the "Mrfrouf" will be the'Saturday mat¬ eras new to New York, which had their will society appear, with M. Charlier at women. Among them are Mrs.
    [Show full text]
  • La Traviata GIUSEPPE VERDI Temporada 2020-2021
    La traviata GIUSEPPE VERDI Temporada 2020-2021 Temporada Con la colaboración de: 1 La traviata - Giuseppe Verdi Patronato de la Fundación del Gran Teatre del Liceu Comisión ejecutiva de la Fundación del Gran Teatre del Liceu Presidente de honor Presidente President de la Generalitat de Catalunya Salvador Alemany Mas Presidente del patronato Vocales representantes de la Generalitat de Catalunya Salvador Alemany Mas Àngels Ponsa Roca, Lluís Baulenas Cases Vicepresidenta primera Vocales representantes del Ministerio de Cultura y Deporte Àngels Ponsa Roca Amaya de Miguel Toral, Antonio Garde Herce Vicepresidente segundo Vocales representantes del Ayuntamiento de Barcelona Andrea Gavela Llopis Joan Subirats Humet, Marta Clarí Padrós Vicepresidente tercero Vocal representant de la Diputació de Barcelona Joan Subirats Humet Joan Carles Garcia Cañizares Vicepresidenta cuarta Vocales representantes de la Societat del Gran Teatre del Liceu Núria Marín Martínez Javier Coll Olalla, Manuel Busquet Arrufat Vocales representantes de la Generalitat de Catalunya Vocales representantes del Consejo de Mecenazgo Lluis Baulenas Cases, Irene Rigau Oliver, Angels Barbara Fondevila Luis Herrero Borque, Elisa Durán Montolío Vocales representantes del Ministerio de Cultura y Deporte Secretario Javier García Fernández, Amaya de Miguel Toral, Joan Francesc Joaquim Badia Armengol Marco Conchillo, Santiago de Torres Sanahuja Director general Vocales representantes del Ayuntamiento de Barcelona Valentí Oviedo Cornejo Marta Clari Padrós, Josep Maria Vallès Casadevall
    [Show full text]
  • Here Is a PDF File of the First 14 Pp. from a Chapter
    The Metropolitan Opera Archives The Metropolitan 158 lauri-volpi vs. the verismo style FC: Old-style heroic tenors such as Giacomo Lauri-Volpi sang the center and bottom notes lightly and sweetly but let loose on top. Lauri-Volpi’s repertory was vast, but the operas that suited him best were Tell, Puritani, Poliuto, Turandot,a Luisa Miller and Ugonotti, heroic works where he could neglect the center notes and seek to display brilliance and high notes and where he could emphasize classical style and purity of tone over passion. In contrast verismo singers favor the center notes and sing with portamento and heart. In verismo the theatrical effect of the phrase is more important than purity of tone. Words sometimes are more important than music, and you have to use the center notes to interpret them. SZ: What are the characteristics of the verismo tenor? FC: The verismo tenor has a round, strong middle voice and push- es high notes with his guts. Caruso gave us this manner of singing. As a verismo tenor you do try to sing beautifully, lightly and sweet- ly, at moments. You must have this chiaroscuro, this contrast. But a In common with Iris Adami Corradetti, Gina Cigna, Magda Olivero, Rosa Raisa and Eva Turner Corelli always pronounced the name “Turando.” Opposite: Giacomo Lauri-Volpi as il Duca, Met, 1923. He called Rigoletto “the opera that made my fortune.” He made his Scala and Met debuts in it and sang it more than 300 times. 159 you can’t sing some notes in falsettoneb—no more of that!—you’ve got to sing with your real voice even when you sing softly.
    [Show full text]
  • 78Rpm to Sell !
    Beginning ! ! 78rpm to sell ! ! ! Albums : Lotte Lehmann : Schubert + Schumann + Brahms (3x) Columbia US Sir Charles Thomas Victor Grace Moore Lily Pons Mario Lanza Yves Thymaire Voices of the Golden age (volume 1 Victor) Gilbert & Sullivan Princess Ida HMV OA + HMS Pinafore Decca Vaughan Williams On wenlock wedge Pears Jeaette Mc Donald in songs Blanche Thebom Schumann Jennies Tourel Offenbach Dorothy Maynor Spirituals Hulda Lahanska Lieder recital Erna Sack Popular favorites Eileen Farrell Irish songs Paul Robeson Spirituals Josef Schmidt Lotte Lehmann Strauss Lotte Lehmann Song recital Maggie Teyte French art songs Gladys Swarthout pˆopular favorites Maggie Teyte Debussy with Cortot Lotte Lehmann Schumann with Bruno Walter Lotte Lehmann Brahms Index Ada ASLOP, 44 Alma GLUCK, 38, 51 Ada NORDENOVA, 96, 97 Amelita GALLI-CURCI, 27, 30, 32, 57, 63, 72 Adamo DIDUR, 99 Anne ROSELLE, 25 Adele KERN, 17, 18, 46, 74, 77 Anny SCHLEMM, 45 Alda NONI, 14, 17, 48, 60, 74 Anny von STOSCH, 91 Alessandro BONCI, 57 Antenore REALI, 40 Alessandro VALENTE, 58, 67 Antonio CORTIS, 58, 60 Alexander KIPNIS, 71, 72, 77 Antonio SCOTTI, 30 Alexander SVED, 47 Armand TOKATYAN, 65 Alexandra TRIANTI, 76 Arno SCHELLENBERG, 71 Alexandre KOUBITSKY, 49 Arthur ENDREZE, 61, 85, 86 Alexandre KRAIEFF, 23 Arthur PACYNA, 58 Alfons FUGEL, 40 Astra DESMOND, 41, 59 Alfred JERGER, 57 August SEIDER, 47 Alfred PICCAVER, 25, 26, 96 Augusta OLTRABELLA, 46, 87 Alina BOLECHOWSKA, 46 Aulikki RAUTAWAARA, 100 Barbara KEMP, 23 Cesare FORMICHI, 99 Bernardo de MURO, 32, 50 Cesare PALAGI, 78 Bernhard
    [Show full text]
  • Toscanini V – La Scala, New York and Bayreuth (1920-1930)
    Toscanini V – La Scala, New York and Bayreuth (1920-1930) After leaving the Metropolitan, Toscanini seemed oddly reluctant to find somewhere to work other than in leading Italian military bands to support the war effort. In his first biography of the conductor, Toscanini, Harvey Sachs finds this puzzling “because of his enthusiasm for the most senseless and awful of all senseless and awful wars,”1 but then explains it pretty well by explaining the conductor’s “rabid” nationalism in the following paragraph. Far more puzzling was his almost complete withdrawal from professional conducting, with sole exception of a “special” opera season at the Teatro Dal Verme in 1918 which included a memorial performance of Mefistofele after Arrigo Boito’s death. (He also conducted a Beethoven Ninth in 1919.) This was the performance in which he worked for the first and last time with tenor Beniamino Gigli. In rehearsals, Gigli apparently behaved himself and sang the music as written, but at the performance he reverted to his normal style of sobs, glots and chuckles that broke up the line of music. Toscanini called him a pig and never worked with him again. After the war, his nationalist tendencies clouded his judgment temporarily and led him to support Benito Mussolini’s Fascist Party, on which he ran as a senator and lost. One wonders what would have happened had he won: would he really have forfeited his musical career at age 52 to become a full-time politician? Nationalist or not, politics really weren’t in his blood; by his own admission, he knew little about them; and the fact that he turned against Mussolini a year before the Fascist dictator commandeered the government entirely for himself would certainly have been a major problem.
    [Show full text]
  • Zinka Milanov • Jussi Björling Fedora Barbieri • Leonard Warren • Boris Christoff
    111042-44 bk Aida EU 4/4/06 2:20 PM Page 16 the temple above, praying to great Phthà, a sad song, 3 Together they bid the earth farewell, while the Aida says, the triumph of the priests, their hymn of priests continue their chant, and Amneris, dressed in death. Radamès tries to move the stone that seals the mourning, appears in the temple, throwing herself upon chamber, but in vain. the stone that seals the underground vault. In the crypt VERDI below Aida dies in the arms of her lover, while Amneris prays to Isis for them and the priests still call on the great god Phthà. Aida Keith Anderson A MILA NK NO ZI V 1 955 Recording Zinka Milanov • Jussi Björling Fedora Barbieri • Leonard Warren • Boris Christoff The Naxos historical label aims to make available the greatest recordings in the history of recorded music, in the best Rome Opera House Chorus and Orchestra and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards Jonel Perlea in the field of historical recordings. 8.111042-44 16 111042-44 bk Aida EU 4/4/06 2:20 PM Page 2 Ethiopians, to be rewarded by the hand of Aida. At this Amneris, now alone, sits, in despair, wishing to save point Amneris, Ramfis, priests and guards emerge from Radamès and blaming herself for his capture. She turns the temple. Amneris declares Radamès a traitor, while and sees the priests crossing to enter the subterranean Aida recognises the power of her rival.
    [Show full text]
  • 17.5 Vocal Olivero-Z; Potpou.; Cho. 124-169
    VOCAL 78 rpm Discs MAGDA OLIVERO [s] 3181. 12” Orange Cetra BB 25049 [2-70329/2-70330-II]. MEFISTOFELE: L’altra notte (Boïto) / ADRIANA LECOUVREUR: Poveri fiori (Cilèa). Orch. dir. A. La Rosa Parodi. Just about 1-2. $35.00. BERNARDO OLSHANSKY [b]. Russia, 1885-Union City, NJ, 25 Jan. 1933. Olshansky left Russia around 1905 as a result of political persecution. He studied in New York City with Giacomo Ginsberg (name changed later to Giacomo Bourg) and subsequently with Louis Simions (?) and made his debut in Monza (Italy) in 1910 as Rigoletto. He appears to subsequently having sung in Torino, 1911, although there is some confusion here. A result of a recital in Boston upon his return (likely in 1910 but possibly 1911) was his being engaged by the Boston Opera for the 1911 season and being sent by a wealthy patroness to Paris for preliminary studies with André Caplet, the noted composer and a conductor with the Boston Opera. Olshansky appeared in Boston in about a dozen roles for two seasons (these including the Jailer in Tosca, Yakuside in Madama Butterfly and Valentin in Faust) and performed in a similar capacity with the Montreal Opera around the same time. After that experience, he seems to have left opera in favor of the recital stage and was heard in New York as a concert singer on a fairly regular basis, mainly at Aeolian and Town Halls. He also appeared successfully in various concert venues throughout the country. The last traced such program was at Town Hall, March 25, 1932.
    [Show full text]
  • Seth Riggs—His CCM Legacy
    POPULAR SONG AND MUSIC THEATER Robert Edwin, Associate Editor Seth Riggs—His CCM Legacy Darren Wicks [Associate Editor’s note: The following article originally appeared as a book chapter in So You Want to Sing CCM (Rowman & Littlefield 2018), edited by Matthew Hoch. It has been adapted for this column. Seth Riggs’s deep concern for healthy voice technique makes it a very appropriate piece for this Journal of Singing issue acknowledging and celebrating World Voice Day and its 2019 theme, “Be Kind With Your Voice.”] peech Level Singing™ (SLS) is an approach to singing developed by Los Angeles teacher, Seth Riggs. Few teachers can claim to have Darren Wicks Riggs’s track record and few pedagogies have been applied like SLS. Riggs’s students have achieved success at the highest levels of the Sindustry and across multiple musical genres. In his more than 60 years of teaching, Riggs has taught four winners of the Metropolitan Opera National Council Auditions (New York), some 120 Grammy Award winners, and countless Broadway performers.1 His television and movie credits include roles as voice consultant for Madonna (Dick Tracy, 1990), Val Kilmer (The Doors, 1991), Whoopi Goldberg (Sister Act, 1992), Michael Jackson (This Is It, 2009), and voice coaching for the American Idol television series. Riggs continues to operate a busy home studio in Hollywood, working with per- formers, actors, serious amateurs, producers, and teachers. In addition, he maintains an international profile as a voice consultant, teacher educator, and workshop presenter. Riggs’s contribution to CCM singing and pedagogy has been immense, and any publication on current CCM practice would be incomplete without considering his legacy.
    [Show full text]
  • A. Michailowa, 19 Ada Alsop, 6 Adele Kern, 11 Adrijenko, 18 Alda Noni
    Index A. Michailowa, 19 Berndhard Sonnersted, 17 Diana Eustrati, 7 Erna Sack, 11, 16, 22, 26, 27 Gabirella Besanzoni, 22 Ada Alsop, 6 Bernhard Sonnerberg, 20 Dora Labette, 18 Erna Spoorenberg, 7, 18 Gabriella Besanzoni, 12, 22, 23 Adele Kern, 11 Blanche Thebom, 27 Dorothy Kirsten, 8, 12 Ernestine Schumann-Heink, 12, Gabriella Gatti, 10 Adrijenko, 18 Borgioli / Bettore, 23 Dorothy Manski, 6 21 Galiano Masini, 20 Alda Noni, 11, 21 BotelL, 25 Dorothy Maynor, 7, 27 Eugenia Bronskaya, 5 Galliano Masini, 17 Alessandro Valente, 17, 19 Brita Herzberg, 6 Dusolina Giannini, 10, 21 Eugenia Burzio, 22 Georges Thill, 14, 17, 23 Alexander Sved, 20 Evan Williams, 4 Georgi Boue, 6 C. Kulmann / E. Storm, 21 Edith Oldrup, 4 Alfons F¨ugel, 8 Ezio Pinza, 16 Gertrud R¨unger, 11 Carel Butter, 25 Edith Oldrup / Otte Svendsen, 4 Alma Gluck, 11, 22 Gertrude Wettergren, 21 Carl Gunther, 19 Edward Johnson, 20 F. de Lucia / G. Huguet, 8 Althouse / Reimers, 9 Giacomo Lauri-Volpi, 12, 21 Carl Joken, 20 Edwig von Debicka, 5 Fanny Heldy, 6 Annelier Kupper, 15 Gianna Pederzini, 10 Carla Martinis, 9 Eide Norena, 7 Fedor Shaliapin, 5, 14, 15, 24 Anny Schlemm / Hans Braun, 8 Gianni Poggi, 23 Carlo Galeffi, 13 Eileen Farrell, 27 Felicie Huni-Mihacsek, 22 Anny von Stosch, 6 Giovanni Malipiero, 5, 8 Carlo Tagliabue, 13 Einar Andersson, 19 Felicie Lyne, 6 Antenore Reali, 10 Giuseppe Campanari, 26 Carol Brice, 20 Einar Beyron, 20 Fernando de Lucia, 23 Antonio Cortis, 19 Giuseppe Danise, 13, 17 Celestina Boninsegna, 5 Einar Norby, 4, 19, 20 Florence Austral, 22 Antonio Scotti, 13
    [Show full text]
  • Do Meters Procreate? About 10 UWM Students and Despite Promises from Alder­ Last Week
    .V .v.v.v.w Bomb Hoax Mars King Talk; J* Heavy Security Tactics Used An anonymous bomb threat ed outside the Union and in student ushers were to inform UW President Fred Harring­ last week put the finishing front of Mitchell hall, an ex­ them of any suspicious actions. ton's suite. touches on weeks of work de­ pected number of police and These ushers were given a run­ The audience was particularly nouncing the appearance of plain clothesmen were station­ down of what to do in case of attentive and enthusiastic, she Martin Luther King, Nov. 23. ed throughout the building. an emergency. said. Noting a particular tense­ The call was phoned in about The police department decides Police had King's complete ness, she said more students 7 p.m., about an hour before what precautions are to be itinerery from the time of the^ than people outside the Univer­ King was scheduled to appear. taken regarding speakers, Miss press conference at the airport/ sity attended. The audience was The building was cleared, Kay Ettla said. We just cooperate to where he was going, and who about 25% Negro. Ettla, Union coordinator, saia, with the authorities. We provide would be driving the cars. We really didn't expect much but nothing was found. some security for all controver­ Detectives stood guard in and to happen, she stressed, except Necessary precautions had sial speakers, she added, but outside the open booth at the perhaps at the door. Many irate been made because the threat those we're not sure of, are re­ airport where a special press people were outraged that they had been anticipated, Miss ferred to police judgment.
    [Show full text]