Orld of Music an 1 Fw

Total Page:16

File Type:pdf, Size:1020Kb

Orld of Music an 1 Fw -.m.rssmss. -.3 1^ e orld of Music an 1 fW I enor VarvinCIar frlaT.aa, I»U» ooh hvla'^a \n s (Spring Breeaes f'rlgp) Saturday Opera Uan Experienees tro? Jo, Jol (Ah, whj/T Ar. ay'i Aeolian Bt VI s.a1 aatalla taa'«:i rollgair dana the London ln the United States itna mai Danoe) Qua.rt«at for (st.rlnga Och fllckan lion fur 1 fla.n*»n 'A n One Day v.'n.a Danclng) Ai 1 I; .¦- ang i¦.-, af Vatc '. .. ICngltah group Morr of Leo Slezak's Anecdotes; Toscauini's A Pago'a R. Ld Bong.:..,-«., Tragic a m-i.-a.i.Ganz Metroj Thr on Tour; To Dalsloa; To tha Weatern Wlnd Sincerily; Opera w*Ojh<'ll<»"* in Hammond orchc Have Plty, Orlef.Tn '.-'.¦¦ Atlanla; Brains and the I enor Voice M ti rn andlnavla "¦.. lens Luatgard (Tha Seraglto Clarden) .SJ< riran 'i inln f. .rc! u il n .went gol marka dook loke Bul I I. E. Krehbiel wrong; tbe performance began My Bli Roturna Nol >. S -arta By after Itosor (Black Roaea).Sibollos FIgM '¦ '*< 10 o'cloek at r ¦, are . w more anecdotcs in night and cr.de,1 ». M I. rg (Mi row); Min 1:30, and Othello waa so tanl -r oi maegtlgt fjeld (My of remlnlscencea exhaustcd Mind Ia Like a -.-.¦,..-. ned tl al hc b '.,- Dcsdcmona (Mme. Orlag i American experlencea Rap- Music -Noies ng !"'ni to cl ib into bed and dio cf suf- Carnegie Hall, 8:30 p. m., concert by ;h are worth tran?!at!ng. Ho is catfon without hia help which sho the New York Philharmonic Orchestra: usl a i Mahli r'a No. 3 D Vladh ten or, w 111 'al in his franknesa of ;-'' ¦"' tl d. II' !. Ua ii talc cf a in min a concert ar.d does not performance of thc san.o opera in At- give thful, ppare Town 8 p. r»cital where a short 1'all, m., song by relief of fa - lanta, f. lie la enthusiastic in his timo before thcrc tenor: had been a raco P.udolpb Jung, men in Aeolia ' riot and hundreds of Conn r Toscanlni, and though Again, Bweat I.nve.r> - negroes had been shot down in tlie %',v'^i'tshXvi rlnk to Mo Oulj With 1 ne iv.-a.. - tho eonductu.-'a extrcmo street. -i'i English atr Mr. My Lo ra'a tn Arbu' u» (Ii %. A vv in r'.ain language, his «p- "Then came T with An anforrt my 'Othello.' As oaao, O Mv Had Hou!.r-,.. cn ce. A I waa i .* f. om . .,- of tbe artistic reaults which told.it :tempt Love Slc'n ss to Fl »tlOH subsequently had been li o LV,r 7io, JtfiHSOH. con cert is i kept a occret from mc in order > ha da risgiiw. -, Iittei ' curcd by dlnt of his not to vi T'. lef '-. of mo Nail. ., ration, pi.o h - ...:yy is so great that ho never i;i- fright.tho munlclpality, y u Sololl.Q orga Herbei t H when the rcpertory waa announced, had aSo vra no. .'an itlva froi Tannhauaer iby req .5 -.r. accu atli na .'f Injustico. Here. Wagner requcsted that thc opera be omittcd, or Dla Ziegeunerlledor (Qypsy u'.ra) hiv, tlie Brnh-na Rachmanlnotf been engaged ?* pcrformer of the titular - role bo rc- rhe Living e,nj. Hara for ': -. r v e J nt of Jan tho 1 upon every mis- questcd to play the part of thc Moor Proud.., r ni a Oriffoa hony white otherwise . ._.. r tn the most '.rivial. as a catas- face; the safety .Toy !!;.'! Thursda .-. of the artiat could not bc Con necra tion .Mai and then be was wont to give guaranteed. Besidcs, it was known from the news- Carnegls Hall, .1 p. m., conceri '¦;. ir.dlgnation in the papor the New York pj reporta that Mr. Slezak had a Syn ety: with orchestra. manner, and when any- peculiarly brutal of i:-.'*!.-.-. en pi ogram ost exalted conception Othello. '¦ m\ hn: y V '. -, '. ai d thc y: -. a crimo' it was in the local public would not flal 'committcd tolcrate nann Ulysses Ls wnd spectacl, of a .¦ !. degrce advisabla not to be negro kissing or kill- ny Vo. G. has been heard here the Chi. lgbe»t a white svoman. tween tbe act3. The ing cago opera itlceablj ¦ Friday "The Metropolitan Opera promlsed W, -tn "IzBolieine*. Aeolian Gir] of the G fompter ia a much moro that all »*x- Hall, 8:15 p. m. aong re¬ should be well in this cital Edith will make a lual in the Italian I respect, 'QMishkin. by Bennett, sopravo: Eportant 'but learned nothing about it until i Aria from "Alesaandro ""-li' In.;:-" on Wi stood Plcclnl pera than urs, because he gives black-faccd behind thc curtain. will sing o- .-. The Perduta, ho la Bperanza.Donaudj and brats time city officials had come the Qnel Ruacelletto . ;.. ian and a of :. caes gera upon FI group stage and gazed on me ; Helen Jeffi the i box. I:i Xew York with horror. and Mr. con- opera "Adrla na Lec< u here Reschillan, Bodanzky lt lurnelle .Chaminadi ¦: was « discussion ns to whether M'ama.y.. ... um of tho ducting. ome, b '.¦< from !'.: r, >le r' o '-.>:. ge Fall ln, Ouerre or not I a - should repa nt mj faci hut at Part li 1 .VI '.-¦» Ruiriea d'l Abbaye. Lazare ; ». i. on with ... 1 pali last il waa decided :: :,f "Tosca," Friday aftexmoon, ..... i.Rhena-Bato might rcmaln Mme. [)fl ...c. is Bi .Debu '.!.:'¦ at the end of as I Jeritza nnd Messra. Chamlee aml -:'.'. waa and risk it. With some I'own llali, ong ri . Wolf-l ¦¦:,.. trepi- ¦'- Metrop f ir- ed me in tone3 of dation 1 Scotti, Mr. Moranzoni conducting. Pral Senea Plante" appcared before thc 7,000 pcr- usan Motcalfo Casals, soprano: .1 v .'. .'! \«) no Mand Mill. nish t: sg a avete "Znza," vv ! idi <. ening, with Mmcs. -, ;ia, tenore, :led the gigantic Army Hall. Ombra mai fu,'* from Serse.Handel "'.¦. tl VIdl a Qu Canto A ..;,ar!r?' series arto Maestro e furi- Farrar, Howard, Tiffany, b^eaier aiui te.A, ;-'.!¦ a nan vv. pcvo .- pira ro" N'othing happened. Tho people fol¬ allons vol sl la -¦ 11 :>..:;... y ; '-.Looffloi Lil re \ a and " at Arden 3\Iessra. Martinelli and Doi "fc . miafortune, lowed the play with the greatest. inter¬ aa BOl ::: ''."' '.-... '1 '." Clark. Dean il r.oi one is i ever c illed Luea, with Mr. Moranzoni ::,;¦,'' .M, ¦rnlng.Manne- Pa est ai .: th< rcpresentation ran emooth- conducting. .1". rliubei .'.woin s cr morning, March :.. e Tcno to its "La Boheme" wi!l be sung nt popular t und Trnunie. .' '. ng thc iv in w ,man ly conclusion. A load was rolled ¦' Cadi ai Hotel at 1 ter :..o tc; the prices cn Saturday night by Mmes. .i ,;¦ tho American will sing off heart when 1 ,. hul npera "Shani my again had a white Caleiidar for the Current Week e two of Mr. c Bori and Rosello and Mcssrs. llarrold, - li rei.- :. Hall, 12:3 p. m., concer groups face. When approached my table com N'ew. I'oi b Phi vas in a pcrfoi mance Sco! 'v Rothicr and Didur, Mr. Papi harmoni v panions in thc hotel T was greetcd with .¦ :. .. I c.. 3 G i ngcr, waa abscnt- a ;- nducting. SUNDAY.Aeolian Hall, p, m. concert hy the New Vork Symphony Mahloi V .- 7 V. m I shout: 'Here m place An- colored u.l, "' .-i few " At concert" Pabio 3 blunder3. Pc- to-night's "opera Society; Carnegie Hall, p. in., (»nccrt by thc Ne-iv York Philhar- At 8:15 m. er.r.cert people!' p. by the Kev v Lalo's nionlc Town "' ¦a'.z.o in ini came on the Casala, cellist, wiil play vlolon- Orchestra; Hall, 3:30 p. ni., concert by lhe Friends of :1G p, m. oncei t ..' ." ctety. Repetition o . ;; 7 he .ui cello concerl 7.1' olos. M is^ Music; 8:30 p. ni., Bong reeital Elena Gorliardf. .¦ i pn rram. ¦bv ' group by soprano; Citj Orchesl ra: America Pr. von Pl ::i)^ ,'iu ;i ria from College, 4 p. ni., organ reeital by Samuel A. BaldAvin; Cooper l nlon, .Beethoven Biilow a ''¦' ng ertain ngcr -. '¦.(¦' es t a ".-- il 'b-' a group of 11 ;t v. S p. ni., song reeital by Cora Chase, r-iopr-irio, nnd John Campbell, Itl-srCAL BUREAU and JUUS1 announc Ih tl " ter, intct-i as if it '¦' '¦'.¦.. ¦¦ an 8:15 p. m.. Caruso Mcniorial Foundation I'oi ng aria tenor; llippodronio, concert; v ¦¦ vcre an r'Mch it was i, olitai :. ra [lou ¦¦'.' p. CARNEGIE SUNDAY P and a improinptu, not) ¦'rom "La < ioconda and S'erdi'i bo- Metropolitan Opera House, 8:30 p. nn, opera concert: National Thca- HALL, AFT., not glancc -" ¦"" ie: "But a te.. '<> not a man Com by 1 ..¦¦.. \ ork Ph: 1 OCRTH AMI LAST KI.' IT.M lero from "1 \ ;. a Siciliani.'' .i"- ter, 8:13 p. m., concert by Francis ('. Torro and assisting artist: ca !" ft is ah %miliar ii..- ic Ord *. iianr.es Sembach will sing an aria from Hall, 8:1.") p. concert lhe Now York witticisi without justificatioi 'ike MONDAY.Carnegie nn, gala by Mah on: So, 1, in D i, while 1 was "L'Africaine" and thc a; e r fi om Sjmphony Sovicty, the .New York Philliarnionic Orchcstra and the ,r, foi .:¦*, so -., .. ',- all it thal ha\ c b< en ::.'.
Recommended publications
  • Otello Program
    GIUSEPPE VERDI otello conductor Opera in four acts Gustavo Dudamel Libretto by Arrigo Boito, based on production Bartlett Sher the play by William Shakespeare set designer Thursday, January 10, 2019 Es Devlin 7:30–10:30 PM costume designer Catherine Zuber Last time this season lighting designer Donald Holder projection designer Luke Halls The production of Otello was made possible by revival stage director Gina Lapinski a generous gift from Jacqueline Desmarais, in memory of Paul G. Desmarais Sr. The revival of this production is made possible by a gift from Rolex general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON The 345th Metropolitan Opera performance of GIUSEPPE VERDI’S otello conductor Gustavo Dudamel in order of vocal appearance montano a her ald Jeff Mattsey Kidon Choi** cassio lodovico Alexey Dolgov James Morris iago Željko Lučić roderigo Chad Shelton otello Stuart Skelton desdemona Sonya Yoncheva This performance is being broadcast live on Metropolitan emilia Opera Radio on Jennifer Johnson Cano* SiriusXM channel 75 and streamed at metopera.org. Thursday, January 10, 2019, 7:30–10:30PM KEN HOWARD / MET OPERA Stuart Skelton in Chorus Master Donald Palumbo the title role and Fight Director B. H. Barry Sonya Yoncheva Musical Preparation Dennis Giauque, Howard Watkins*, as Desdemona in Verdi’s Otello J. David Jackson, and Carol Isaac Assistant Stage Directors Shawna Lucey and Paula Williams Stage Band Conductor Gregory Buchalter Prompter Carol Isaac Italian Coach Hemdi Kfir Met Titles Sonya Friedman Children’s Chorus Director Anthony Piccolo Assistant Scenic Designer, Properties Scott Laule Assistant Costume Designers Ryan Park and Wilberth Gonzalez Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes executed by Metropolitan Opera Costume Department; Angels the Costumiers, London; Das Gewand GmbH, Düsseldorf; and Seams Unlimited, Racine, Wisconsin Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department This production uses strobe effects.
    [Show full text]
  • Toscanini IV – La Scala and the Metropolitan Opera
    Toscanini IV – La Scala and the Metropolitan Opera Trying to find a balance between what the verbal descriptions of Toscanini’s conducting during the period of roughly 1895-1915 say of him and what he actually did can be like trying to capture lightning in a bottle. Since he made no recordings before December 1920, and instrumental recordings at that, we cannot say with any real certainty what his conducting style was like during those years. We do know, from the complaints of Tito Ricordi, some of which reached Giuseppe Verdi’s ears, that Italian audiences hated much of what Toscanini was doing: conducting operas at the written tempos, not allowing most unwritten high notes (but not all, at least not then), refusing to encore well-loved arias and ensembles, and insisting in silence as long as the music was being played and sung. In short, he instituted the kind of audience decorum we come to expect today, although of course even now (particularly in Italy and America, not so much in England) we still have audiences interrupting the flow of an opera to inject their bravos and bravas when they should just let well enough alone. Ricordi complained to Verdi that Toscanini was ruining his operas, which led Verdi to ask Arrigo Boïto, whom he trusted, for an assessment. Boïto, as a friend and champion of the conductor, told Verdi that he was simply conducting the operas pretty much as he wrote them and not allowing excess high notes, repeats or breaks in the action. Verdi was pleased to hear this; it is well known that he detested slowly-paced performances of his operas and, worse yet, the interpolated high notes he did not write.
    [Show full text]
  • Karel Burian and Hungary Research Director: Anna Dalos Phd Liszt Ferenc Academy of Music Doctoral School No
    DLA Theses Ferenc János Szabó Karel Burian and Hungary Research director: Anna Dalos PhD Liszt Ferenc Academy of Music Doctoral School No. 28 for the History of Art and Culture Budapest 2011 I. Antecedents of the research Karel Burian was one of the best tenors of the first two decades of the twentieth century. The authors of his biographies always mention his Wagner roles – mainly Tristan – and his long presence in New York, and primarily the world premiere of Salome by Richard Strauss, when he played the role of Herod to much acclaim. His reputation and popularity might be measured against those of Enrico Caruso. Burian was first engaged in Budapest as a young but already well- known Wagner-tenor, he worked there for one year as a member of the Opera House, then later as guest singer regularly until his death. He was likely the most influential operatic world star in Budapest at the beginning of the twentieth century, and was the founder and for many years the only intended representative of the Heldentenor role in Hungary. He primarily sang Wagner operas, but there was also a Hungarian opera on his repertoire in Budapest. A study of his activities in Hungary contributes to our knowledge of Hungarian opera life, and Burian’s whole career affected the cultural history of the period because of his frequent guest appearances in Budapest. Burian’s Budapest activity had a great influence on the young composers of that time, most notably on Béla Bartók and Zoltán Kodály as well. There is a relatively large amount of literature about Burian, mostly in Czech, English and German.
    [Show full text]
  • Karl Goldmark on Early Recordings Discography of the 78 Rpm Recordings of Goldmark’S Compositions
    SZABÓ, Ferenc János (Institute for Musicology, RCH, Hungarian Academy of Sciences) 1 September, 2017 Carl Goldmark on Early Recordings. Discography of the 78 rpm recordings of Goldmark’s compositions. OTKA/NKFIH K108.306 Ferenc János Szabó Institute for Musicology (Research Centre for the Humanities, Hungarian Academy of Sciences) Karl Goldmark on Early Recordings Discography of the 78 rpm recordings of Goldmark’s compositions This discography is the first attempt to compile a systematic list of early recordings of Karl Goldmark’s compositions. Up to now, these early recordings were not in the focus of the musicological research. There are only a few Goldmark monographies1 or bibliographies2 and they do not discuss the sound recordings, except the latest one, written by Johannes Hofer, which listed many recordings and their reissues, mainly from the second half of the 20th and the first years of the 21st century.3 Even Goldmark himself did not mention the sound recordings of his works in his memoires.4 The early recordings of Goldmark’s works are mostly unknown, except some famous ones, for example the recordings from Die Königin von Saba made in Vienna after the highly successful revival directed by Gustav Mahler,5 and, of course, the recordings of Enrico Caruso which were reissued many times on LP and CD because of the popularity of the performer. The rest of the recordings are part only of the knowledge of the specialized gramophone disc collectors and opera aficionados who are interested in the recordings of opera singers of the past.6 Based on the recording dates, two waves of recording activity of Goldmark’s oeuvre can be distinguished during the first half of the twentieth century.
    [Show full text]
  • VICTOR Good Concerts of Popular and London Next Attracted Sibyl Samrnis, We Now Have
    TTTR RTTXDAT OHEGONIAN. POTITL-AND-. NOVEMBER SO. 1913. Ida Lurig, who had retired and did not morrow. The giant tenor returns to accept any more pupils. But when she America for an extensive concert tour heard the young American girl, Madame under the management of Haensel & Lurig was bo Impressed with her voice Jones, of Aeolian Hall, New York. Be- that she offered to give Miss Samrnis tween the Fall and Spring tour of Sle- a daily lesson and direct all her studies, zak he will be featured by the Na- voice, language, diction stage deport- tional Opera Company, of Canada, as ment and acting tradition. the leading dramatic tenor, both on and To Melba Kubelik such brilliant achievement did this tour and. during the season in Montreal. young artist work and study that on This is the fourth season In America her return to New York she filled a tri- for Slezak. and the demand . for him umphant engagement at the huge Madison-- greatly exceeds the number of con- Square Garden as Wagnerian solo- cert dates allotted. make records ist with the great Metropolitan Opera-Hous- e Orchestra. Then came a concert A distinguished archaeologist and ex- exclusively for the tour, the Itinerary pretty well scattered plorer who for several months past has over the East and the Middle West, and been excavating the Temple of Sais. Including appearances with some of the ,ln Egypt, says that he has found In EDITED P.Y JOSEPH M. QUENTIN." great stars, such as Madame Nordica, scriptions on monuments which prove PORTLAND people should awake to Schumann-Heink "and Campanari and the ancient Egyptians had musical in other members of the Metropolitan struments 4000 years offered to enjoy Opera Company.
    [Show full text]
  • December 1946) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 12-1946 Volume 64, Number 12 (December 1946) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 64, Number 12 (December 1946)." , (1946). https://digitalcommons.gardner-webb.edu/etude/65 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. /frtvw in thy dark- sheets shm-ethTtis O lit-tle town of B«tti-U-hem! H hopes and fears of all the /ears bove thy deep and dream-less alvepTh arc met in thee to -ni PHILLIPS BROOKS Jlvihor* . merly of the New Friends of Music; Louis DR. SERGE KOUSSEVITZKY’S programs Fourestier, of the Paris Opera; and An- for the current season of the Boston tonio Votto, formerly assistant to Tos- Symphony Orchestra include five new canini at La Scala in Milan. which were com- symphonies, three of COMPANY, missioned by the Koussevitzky Music THE AMERICAN OPERA operatic venture, Foundation. One of these is by Oliver Philadelphia’s newest October 24 Messiaen, contemporary French com- had an auspicious opening on RUCTION Mozart’s comic opera, poser; another is Walter Piston’s Third when it presented the Harem,” under PIANO Symphony; the third is Aaron Copland’s “The Abduction from MODERN direction of Vernon Hammond, mu- NOTE Third Symphony.
    [Show full text]
  • ARSC Journal
    SCHUMANN AND BRAHMS: LIEDER ON RECORD, 1901-1952. HMV RLS 1547003, 8 discs. SCHUMANN: Der Nussbaum (Fritz Schrlidter, tenor); Ich grolle nicht (Felia Litvinne, soprano); Ich hab' im Traum geweinet (Nicolai Figner, tenor, in Russian); Er, der Herrlichste von allen (Marie Knilpfer-Egli, sopra­ no); Intermezzo (Lilli Lehmann, soprano); Wanderlied (Willi Birrenkoven, tenor); Die beiden Grenadiere (Vittorio Arimondi, basso, in Italian); Volksliedchen, Der Schatzgraber, Der Soldat (Therese Behr-Schnabel, mezzo-soprano); Die Lotosblume, Du bist wie eine Blume (Giuseppe Borgatti, tenor, in Italian); Die Lotosblume, (Leo Slezak, tenor); Friili­ lingsnacht, Die Rose, die Lilie (Lydia Lipkowska, soprano, in Russian); Ich grolle nicht (Erik Schmedes, tenor); Frauenliebe und -leben (Julia Kulp, contralto); Die beiden Grenadiere (Feodor Chaliapin, basso, in Russian); Widmung (Frieda Hempel, soprano); Wanderlied, Du bist wie eine Blume (Friedrich Schorr, baritone); An den Sonnenschein, Volksliedchen, (Ursula van Diemen, soprano); Unterm Fenster (Lucrezia Bori, soprano; John McCormack, tenor, in English); So wahr die Sonne scheinet (Jo Vincent, soprano, Louis van Tulder, tenor); Die beiden Grenadiere, Lied eines Schmiedes (Sir George Henschel, baritone); In der Fremde (Alice Raveau, contralto, in French); Aus den 8stlichen Rosen (Richard Tauber, tenor); Ich will meine Seele tauchen, Im Rhein, im heiligen Strome (Thom Denijs, baritone); Zum Schluss, Fruhlingsnacht, Wer machte dich so krank?, Alte Laute (Elena Gerhardt, mezzo-soprano); Der Nussbaum, In
    [Show full text]
  • September-2016-Auction.Pdf
    78 CLASSICAL GALLERY CLASSICAL RECORD AUCTION No. 2 CLOSING DATE: SEPTEMBER 30, 2016 NEW AUCTION AUCTION CLOSING DATE: SEPTEMBER 30, 2016 Here you will find a list of early 78 rpm recordings of interest to every level of collector. Most items are focused on Classical selections from the 1898- 1940 period, some a bit more common but of really nice condition. The condition of grading employed here is: CONDITION GRADING: 1: UNPLAYED 1-2: TOP CONDITION 2: VERY FINE COPY- A FEW RUBS OR MARKS, NO NEEDLE WEAR 2-3 SOME RUBS, NON-SOUNDING BLEMISHES, NO NEEDLE WEAR. 3: SOME HEAVIER RUBS, MARKS, NO-SOUNDING BLEMISHES. AN AVERAGE COPY 3-4: LIGHT-SOUNDING WEAR (GREYING), RUBS. 4: SOUNDING WEAR, RUBS, MARKS 4-5: WEAR, RUBS, MARKS 5: OBVIOUS SOUNDING WEAR, HEAVY RUBS, MARKS 5-6: HEAVY WEAR, RUBS, MARKS 6: A WRECK! ONLY LISTED FOR EXTREME RARITY. As you can see, I’ve used Larry Holdridge’s grading scale as it seems to be the most universally accepted and understood system. However, if there are any questions, please feel free to call or e-mail for more clarification. This list is also posted on my website: www.78classicalgallery.com. Please submit bids either electronically through the website, or via USPS mail. Either are welcome. In the meantime, enjoy your perusal of these items. Good luck! Best wishes, David Schmutz # Image Name Artist Selection Min. Bid CLYINDERS FRENCH PATHE #3496 AFFRE: HUGUENOTS- PLUS PATHE SALON BLANCHE (MEYERBEER).- 1902 BLACK WAX, WRITING ON CYLINDER: AFFRE- RIM A BIT FADED AND RUBBED. IN ORIGINAL CASE WITH 1 AFFRE $200.00 HUGUENOTS ARIA ORIGINAL LID.
    [Show full text]
  • The Evolution of the Heldentenor
    THE EVOLUTION OF THE HELDENTENOR : SIEGMUND, GRIMES, SAMSON, AND OTELLO by JAMES HENRY SEAY, III SUSAN CURTIS FLEMING, COMMITTEE CHAIR PAUL H. HOUGHTALING STEPHEN V. PELES LINDA PAGE CUMMINS AMANDA W. PENICK ELIZABETH S. AVERSA A DMA MANUSCRIPT Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the School of Music in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2014 Copyright James Henry Seay, III 2014 ALL RIGHTS RESERVED ABSTRACT The purpose of this manuscript is to set into context a recital which highlights the attributes of the Heldentenor. The recital was held on 11 March 2014 and was comprised of operatic excerpts from Wagner’s Die Walk üre (1870), Saints-Sa ëns’ Samson et Dalila (1877) , Britten’s Peter Grimes (1945), and Verdi’s Otello (1887). All four of these operas have become mainstays in the repertoire of the Heldentenor . The program from the recital appears in the appendix at the end of this manuscript, and the program includes translations of the operatic excerpts and the text of spoken introductions that were read as part of the recital. Since the mid-nineteenth century, the Heldentenor voice classification has played an integral role in popular opera theater. The origin of the Heldentenor classification can be traced back to the abrupt change in the performance practice of the upper register of the tenor voice with the now famous performance of the full-throated, chest high Cs in Rossini’s Guillame Tell sung by Gilbert-Louis Duprez (1806-1896) at the national opera in Paris in 1837.1 As the technique involving the upper register of the tenor voice changed, the vocal and dramatic demands placed on the voice type increased.
    [Show full text]
  • The Baritone to Tenor Transition
    The University of Southern Mississippi The Aquila Digital Community Dissertations Fall 2018 The Baritone to Tenor Transition John White University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Pedagogy Commons, and the Music Performance Commons Recommended Citation White, John, "The Baritone to Tenor Transition" (2018). Dissertations. 1586. https://aquila.usm.edu/dissertations/1586 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. THE TENOR TO BARITONE TRANSITION by John Charles White A Dissertation Submitted to the Graduate School, the College of Arts and Sciences and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved by: Dr. J. Taylor Hightower, Committee Chair Dr. Kimberley Davis Dr. Jonathan Yarrington Dr. Edward Hafer Dr. Joseph Brumbeloe ____________________ ____________________ ____________________ Dr. J. Taylor Hightower Dr. Richard Kravchak Dr. Karen S. Coats Committee Chair Director of School Dean of the Graduate School December 2018 COPYRIGHT BY John Charles White 2018 Published by the Graduate School ABSTRACT Many notable opera singers have been virtuosic tenors; Franco Corelli, Plácido Domingo, James King, José Carreras, Ramón Vinay, Jon Vickers, and Carlo Bergonzi. Besides being great tenors, each of these singers share the fact that they transitioned from baritone to tenor. Perhaps nothing is more destructive to the confidence of a singer than to have his vocal identity or voice type challenged.
    [Show full text]
  • New York As the Operatic Metropolis by Henry T
    NEW YORK AS THE OPERATIC METROPOLIS BY HENRY T. FINCK HETHER New York really is the rar and Caruso in the same opera, because W operatic center of the universe, as the fame of either alone fills the house. some critics and observers claim, is a ques­ Grau used to delight in arranging all-star tion worth considering. Doubtless the casts that took one's breath away. Once, Metropolitan has a larger number of great when he gave "Les Huguenots" with singers than any foreign opera-house; but Sembrich, Nordica, Jean and Edouard de it is also true that there have been years Reszke, besides Maurel, and Plangon, he when the number of first-class artists asked two dollars extra for parquet seats; gathered under its roof was greater than but often he provided casts nearly or quite it is now. This is particularly the case as remarkable without raising the prices. with the lowest voices. Among fourteen We recall, for instance, "Carmen," with mezzo-sopranos and contraltos, Louise Calve, Fames, Jean and Edouard de Homer alone upholds the high standards Reszke; "Tristan und Isolde" with Lilli of the past; and while Allen Hinckley, Lehmann (or Nordica), Schumann- Andrea de Segurola, and Herbert Wither- Heink, Jean and Edouard de Reszke, and spoon are good bas^s, they do not'rank Bispham (or Van Rooy). These cannot with Edouard de Reszke, Emil Fischer, be equaled to-day. Nevertheless, some of and Pol Plangon. Among the baritones, the present Metropolitan casts are not at however, there are no fewer than seven all to be sneered at.
    [Show full text]
  • German Videos Use the Find Function to Search This List
    German Videos Use the Find function to search this list Aguirre, The Wrath of God Director: Werner Herzog with Klaus Kinski. 1972, 94 minutes, German with English subtitles. A band of Spanish conquistadors travels into the Amazon jungle searching for the legendary city of El Dorado, but their leader’s obsessions soon turn to madness.LLC Library CALL NO. GR 009 Aimée and Jaguar DVD CALL NO. GR 132 Ali: Fear Eats the Soul Director: Rainer Werner Fassbinder. with Brigitte Mira, El Edi Ben Salem. 1974, 94 minutes, German with English subtitles. A widowed German cleaning lady in her 60s, over the objections of her friends and family, marries an Arab mechanic half her age in this engrossing drama. LLC Library CALL NO. GR 077 All Quiet on the Western Front DVD CALL NO. GR 134 A/B Alles Gute (chapters 1 – 4) CALL NO. GR 034-1 Alles Gute (chapters 13 – 16) CALL NO. GR 034-4 Alles Gute (chapters 17 – 20) CALL NO. GR 034-5 Alles Gute (chapters 21 – 24) CALL NO. GR 034-6 Alles Gute (chapters 25 – 26) CALL NO. GR 034-7 Alles Gute (chapters 9 – 12) CALL NO. GR 034-3 Alpen – see Berlin see Berlin Deutsche Welle – Schauplatz Deutschland, 10-08-91. [ Opening missing ], German with English subtitles. LLC Library Alpine Austria – The Power of Tradition LLC Library CALL NO. GR 044 Amerikaner, Ein – see Was heißt heir Deutsch? LLC Library Annette von Droste-Hülshoff CALL NO. GR 120 Art of the Middle Ages 1992 Studio Quart, about 30 minutes. Masterpieces of the Hermitage – Museum of St.
    [Show full text]