It's Obvious! Surely, to Make Her Contribution Worth- 1925 -35 Period, When His Voice Had While
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'Let US Go Back to the Golden Age of Italian Opera'
Click here for Full Issue of EIR Volume 15, Number 17, April 22, 1988 Renata Tebaldi 'Let US go back to the golden age of Italian opera' The foLLowing excerpts have been translatedfrom the Italian of the instruments came out better. So things went on, but transcript of Miss Tebaldi's speech to the Milan Schiller their ears adapted to the change of tuning, and hence also in Institute conference on April 9. Renata Tebaldi, a "spinto" performing operas they kept the brilliant sound which they soprano, particularly celebrated for her Verdi roles such as liked so much; without thinking about the problems which Desdemona, Aida, and Violetta, performed regularly at La both instrumentalists and singers would have. I remember Scala of Milan, and the Metropolitan Opera of New York. that in Naples, during rehearsals of the Gioconda, as I was talking to an oboist who had won the San Carlo competition, I am happy to be invited to speak on this subject because I we realized that the pitch had risen. think it is very important. The constant increase in the tuning Now La Gioconda is a hard opera, and a voice with body pitch brings on enormous difficulties for singers. Both in the has trouble adapting to a rise in pitch. I was supposed to sing conservatory and afterward, during the entire arc of one's four acts, one tougher than the other; not only that: At the operatic career, we study constantly to keep the "passage" of end, in the fourth act, there are ornamented passages which the voice in order, because this is what allows us to sing high have some problems. -
Luciano Pavarotti Is Dead at 71
September 6, 2007 Luciano Pavarotti Is Dead at 71 By BERNARD HOLLAND Luciano Pavarotti, the Italian singer whose ringing, pristine sound set a standard for operatic tenors of the postwar era, died Thursday at his home near Modena, in northern Italy. He was 71. His death was announced by his manager, Terri Robson. The cause was pancreatic cancer. In July 2006 he underwent surgery for the cancer in New York, and he had made no public appearances since then. He was hospitalized again this summer and released on Aug. 25. Like Enrico Caruso and Jenny Lind before him, Mr. Pavarotti extended his presence far beyond the limits of Italian opera. He became a titan of pop culture. Millions saw him on television and found in his expansive personality, childlike charm and generous figure a link to an art form with which many had only a glancing familiarity. Early in his career and into the 1970s he devoted himself with single- mindedness to his serious opera and recital career, quickly establishing his rich sound as the great male operatic voice of his generation — the “King of the High Cs,” as his popular nickname had it. By the 1980s he expanded his franchise exponentially with the Three Tenors projects, in which he shared the stage with Plácido Domingo and José Carreras, first in concerts associated with the World Cup and later in world tours. Most critics agreed that it was Mr. Pavarotti’s charisma that made the collaboration such a success. The Three Tenors phenomenon only broadened his already huge audience and sold millions of recordings and videos. -
ARSC Journal
TOSCANINI LIVE BEETHOVEN: Missa Solemnis in D, Op. 123. Zinka Milanov, soprano; Bruna Castagna, mezzo-soprano; Jussi Bjoerling, tenor; Alexander Kipnis, bass; Westminster Choir; VERDI: Missa da Requiem. Zinka Milanov, soprano; Bruna Castagna, mezzo-soprano; Jussi Bjoerling, tenor; Nicola Moscona, bass; Westminster Choir, NBC Symphony Orchestra, Arturo Toscanini, cond. Melodram MEL 006 (3). (Three Discs). (Mono). BEETHOVEN: Symphony No. 9 in D Minor, Op. 125. Vina Bovy, soprano; Kerstin Thorborg, contralto; Jan Peerce, tenor; Ezio Pinza, bass; Schola Cantorum; Arturo Toscanini Recordings Association ATRA 3007. (Mono). (Distributed by Discocorp). BRAHMS: Symphonies: No. 1 in C Minor, Op. 68; No. 2 in D, Op. 73; No. 3 in F, Op. 90; No. 4 in E Minor, Op. 98; Tragic Overture, Op. 81; Variations on a Theme by Haydn, Op. 56A. Philharmonia Orchestra. Cetra Documents. Documents DOC 52. (Four Discs). (Mono). BRAHMS: Symphony No. 1 in C Minor, Op. 68; Concerto for Piano and Orchestra, No. 2 in B Flat, Op. 83. Serenade No. 1 in D, Op. 11: First movement only; Vladimir Horowitz, piano (in the Concerto); Melodram MEL 229 (Two Discs). BRAHMS: Symphony No. 1 in C Minor, Op. 68. MOZART: Symphony No. 40 in G Minor, K. 550. TCHAIKOVSKY: Romeo and Juliet (Overture-Fantasy). WAGNER: Lohengrin Prelude to Act I. WEBER: Euryanthe Overture. Giuseppe Di Stefano Presenta GDS 5001 (Two Discs). (Mono). MOZART: Symphony No. 35 in D, K. 385 ("Haffner") Rehearsal. Relief 831 (Mono). TOSCANINI IN CONCERT: Dell 'Arte DA 9016 (Mono). Bizet: Carmen Suite. Catalani: La Wally: Prelude; Lorelei: Dance of the Water ~· H~rold: Zampa Overture. -
111082 Bk Callaseu 15/03/2005 11:26Am Page 5
111082 bk CallasEU 15/03/2005 11:26am Page 5 BELLINI: Norma: DONIZETTI: Lucia di Lammermoor: VERDI: La traviata: WAGNER: Tristan und Isolde: ADD 1 Casta Diva (Act I) 7:27 [Mad Scene, Act III] ! Libiamo ne’ lieti calici (Act I) 3:16 & Liebestod (Sung in Italian) 7:44 GREAT SINGERS • CALLAS Orchestra of Teatro alla Scala, Milan 5 Il dolce suono 3:01 with Francesco Albanese, Tenor Turin Italian Radio Symphony Orchestra 8.111082 Tullio Serafin, Conductor and Chorus Arturo Basile, Conductor Recorded in the Cinema Metropol, Milan, 1954 6 Ohimè! Sorge il tremendo 3:20 Recorded by CETRA on 8th November 1949 (From Naxos 8.110325-27) @ E’ strano! E’ strano! (Act I) 1:27 Matrix 2-71294/5; Cat. No. CB 20841 7 Ardon gli incensi; splendon le sacre faci 5:26 (From Naxos 8.110302-04) with Gino Sarri, Tenor # Ah, fors’è lui (Act I) 3:01 Maria BELLINI: I Puritani: Raffaele Arié, Bass Turin Italian Radio Symphony Orchestra 2 O rendetemi la speme (Act II) 1:47 and Chorus Gabriele Santini, Conductor with Nicola Rossi-Lemeni, Bass 8 Spargi d’amaro pianto 3:46 Recorded at the Auditorium RAI, Turin, 1953 CALLAS and Rolando Panerai, Baritone with Raffaele Arié, Bass (From Naxos 8.110300-01) Tito Gobbi, Baritone 3 Qui la voce sua soave (Act II) 8:41 and Chorus with Nicola Rossi-Lemeni, Bass PUCCINI: Tosca: and Rolando Panerai, Baritone Chorus and Orchestra of the Maggio Musicale $ Mario! Mario! Mario!... Son qui! (Act I) 2:07 A Portrait Fiorentino with Giuseppe Di Stefano, Tenor 4 Son vergin vezzosa (Act I) 3:46 Andrea Morosini, Chorus Master with Aurora Cattelani, -
Marie Collier: a Life
Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family. -
Verdi Otello
VERDI OTELLO RICCARDO MUTI CHICAGO SYMPHONY ORCHESTRA ALEKSANDRS ANTONENKO KRASSIMIRA STOYANOVA CARLO GUELFI CHICAGO SYMPHONY CHORUS / DUAIN WOLFE Giuseppe Verdi (1813-1901) OTELLO CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI 3 verdi OTELLO Riccardo Muti, conductor Chicago Symphony Orchestra Otello (1887) Opera in four acts Music BY Giuseppe Verdi LIBretto Based on Shakespeare’S tragedy Othello, BY Arrigo Boito Othello, a Moor, general of the Venetian forces .........................Aleksandrs Antonenko Tenor Iago, his ensign .........................................................................Carlo Guelfi Baritone Cassio, a captain .......................................................................Juan Francisco Gatell Tenor Roderigo, a Venetian gentleman ................................................Michael Spyres Tenor Lodovico, ambassador of the Venetian Republic .......................Eric Owens Bass-baritone Montano, Otello’s predecessor as governor of Cyprus ..............Paolo Battaglia Bass A Herald ....................................................................................David Govertsen Bass Desdemona, wife of Otello ........................................................Krassimira Stoyanova Soprano Emilia, wife of Iago ....................................................................BarBara DI Castri Mezzo-soprano Soldiers and sailors of the Venetian Republic; Venetian ladies and gentlemen; Cypriot men, women, and children; men of the Greek, Dalmatian, and Albanian armies; an innkeeper and his four servers; -
1. Early Years: Maria Before La Callas 2. Metamorphosis
! 1. EARLY YEARS: MARIA BEFORE LA CALLAS Maria Callas was born in New York on 2nd December 1923, the daughter of Greek parents. Her name at birth was Maria Kalogeropoulou. When she was 13 years old, her parents separated. Her mother, who was ambitious for her daughter’s musical talent, took Maria and her elder sister to live in Athens. There Maria made her operatic debut at the age of just 15 and studied with Elvira de Hidalgo, a Spanish soprano who had sung with Enrico Caruso. Maria, an intensely dedicated student, began to develop her extraordinary potential. During the War years in Athens the young soprano sang such demanding operatic roles as Tosca and Leonore in Beethoven’s Fidelio. In 1945, Maria returned to the USA. She was chosen to sing Turandot for the inauguration of a prestigious new opera company in Chicago, but it went bankrupt before the opening night. Yet fate turned out to be on Maria’s side: she had been spotted by the veteran Italian tenor, Giovanni Zenatello, a talent scout for the opera festival at the Verona Arena. Callas made her Italian debut there in 1947, starring in La Gioconda by Ponchielli. Her conductor, Tullio Serafin, was to become a decisive force in her career. 2. METAMORPHOSIS After Callas’ debut at the Verona Arena, she settled in Italy and married a wealthy businessman, Giovanni Battista Meneghini. Her influential conductor from Verona, Tullio Serafin, became her musical mentor. She began to make her name in grand roles such as Turandot, Aida, Norma – and even Wagner’s Isolde and Brünnhilde – but new doors opened for her in 1949 when, at La Fenice opera house in Venice, she replaced a famous soprano in the delicate, florid role of Elvira in Bellini’s I puritani. -
A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina
University of South Carolina Scholar Commons Theses and Dissertations 2015 A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Amos, D. C.(2015). A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3642 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A SURVEY OF THE CAREER OF BARITONE, JOSEF METTERNICH: ARTIST AND TEACHER by Diana Carol Amos Bachelor of Music Oberlin Conservatory of Music, 1982 Master of Music University of South Carolina, 2011 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2015 Accepted by: Walter Cuttino, Major Professor Donald Gray, Committee Member Sarah Williams, Committee Member Janet E. Hopkins, Committee Member Lacy Ford, Senior Vice Provost and Dean of Graduate Studies ©Copyright by Diana Carol Amos, 2015 All Rights Reserved. ii ACKNOWLEDGEMENTS I gratefully acknowledge the help of my professor, Walter Cuttino, for his direction and encouragement throughout this project. His support has been tremendous. My sincere gratitude goes to my entire committee, Professor Walter Cuttino, Dr. Donald Gray, Professor Janet E. Hopkins, and Dr. Sarah Williams for their perseverance and dedication in assisting me. -
Il Trovatore
Synopsis Act I: The Duel Count di Luna is obsessed with Leonora, a young noblewoman in the queen’s service, who does not return his love. Outside the royal residence, his soldiers keep watch at night. They have heard an unknown troubadour serenading Leonora, and the jealous count is determined to capture and punish him. To keep his troops awake, the captain, Ferrando, recounts the terrible story of a gypsy woman who was burned at the stake years ago for bewitching the count’s infant brother. The gypsy’s daughter then took revenge by kidnapping the boy and throwing him into the flames where her mother had died. The charred skeleton of a baby was discovered there, and di Luna’s father died of grief soon after. The gypsy’s daughter disappeared without a trace, but di Luna has sworn to find her. In the palace gardens, Leonora confides in her companion Ines that she is in love with a mysterious man she met before the outbreak of the war and that he is the troubadour who serenades her each night. After they have left, Count di Luna appears, looking for Leonora. When she hears the troubadour’s song in the darkness, Leonora rushes out to greet her beloved but mistakenly embraces di Luna. The troubadour reveals his true identity: He is Manrico, leader of the partisan rebel forces. Furious, the count challenges him to fight to the death. Act II: The Gypsy During the duel, Manrico overpowered the count, but some instinct stopped him from killing his rival. The war has raged on. -
La Gioconda (Review) William Ashbrook
La Gioconda (review) William Ashbrook The Opera Quarterly, Volume 18, Number 1, Winter 2002, pp. 128-129 (Review) Published by Oxford University Press For additional information about this article https://muse.jhu.edu/article/25455 [ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ] 128 recordings La Gioconda. Amilcare Ponchielli La Gioconda: Giannina Arangi-Lombardi Isepo/Singer: Giuseppe Nessi Laura: Ebe Stignani Zuane/Singer: Aristide Baracchi La Cieca: Camilla Rota Orchestra and Chorus of La Scala, Milan Enzo Grimaldo: Alessandro Granda Lorenzo Molajoli, conductor Barnaba: Gaetano Viviani Naxos Historical 8.110112–14 (3 CDs) Alvise Badoero: Corrado Zambelli This is the complete Gioconda from 1931, recorded by Italian Columbia, but never issued in the United States during the 78 r.p.m. era. Here it is, vividly remastered by Ward Marston, with bonus tracks consisting of eight arias and two duets featuring the soprano Giannina Arangi-Lombardi, whom Max de Schauensee always referred to as “the Ponselle of Italy.” I have a special aVection for La Gioconda, as it was my first opera, seen when I was seven. Three things made an unforgettable impression on me. Hearing big voices live had quite an impact, since before then I had heard opera only on acoustic records (I still think that Julia Claussen, the Laura of that occasion, could sing louder than anyone I have heard since); although the plot made no sense to me, the Dance of the Hours seemed perfectly logical; and I got cold chills from the moment the big ensemble was launched at the end of act 3. -
El Camino De Verdi Al Verismo: La Gioconda De Ponchielli the Road of Verdi to Verism: La Gioconda De Ponchielli
Revista AV Notas, Nº8 ISSN: 2529-8577 Diciembre, 2019 EL CAMINO DE VERDI AL VERISMO: LA GIOCONDA DE PONCHIELLI THE ROAD OF VERDI TO VERISM: LA GIOCONDA DE PONCHIELLI Joaquín Piñeiro Blanca Universidad de Cádiz RESUMEN Con Giuseppe Verdi se amplificaron y superaron los límites del Bel Canto representado, fundamentalmente, por Rossini, Bellini y Donizetti. Se abrieron nuevos caminos para la lírica italiana y en la evolución que terminaría derivando en la eclosión del Verismo que se articuló en torno a una nutrida generación de autores como Leoncavallo, Mascagni o Puccini. Entre Verdi y la Giovane Scuola se situaron algunos compositores que constituyeron un puente entre ambos momentos creativos. Entre ellos destacó Amilcare Ponchielli (1834-1886), profesor de algunos de los músicos más destacados del Verismo y autor de una de las óperas más influyentes del momento: La Gioconda (1876-1880), estudiada en este artículo en sus singularidades formales y de contenido que, en varios aspectos, hacen que se adelante al modelo teórico verista. Por otra parte, se estudian también cuáles son los elementos que conserva de los compositores italianos precedentes y las influencias del modelo estético francés, lo que determina que la obra y su compositor sean de complicada clasificación, aunque habitualmente se le identifique incorrectamente con el Verismo. Palabras clave: Ponchielli; Verismo; Giovane Scuola; ópera; La Gioconda; Italia ABSTRACT With Giuseppe Verdi, the boundaries of Bel Canto were amplified and exceeded, mainly represented by Rossini, Bellini and Donizetti. New paths were opened for the Italian lyric and in the evolution that would end up leading to the emergence of Verismo that was articulated around a large generation of authors such as Leoncavallo, Mascagni or Puccini. -
RCA Victor LCT 1 10 Inch “Collector's Series”
RCA Discography Part 28 - By David Edwards, Mike Callahan, and Patrice Eyries. © 2018 by Mike Callahan RCA Victor LCT 1 10 Inch “Collector’s Series” The LCT series was releases in the Long Play format of material that was previously released only on 78 RPM records. The series was billed as the Collector’s Treasury Series. LCT 1 – Composers’ Favorite Intepretations - Vienna Philharmonic Orchestra [195?] Rosca: Recondita Amonia – Enrico Caruso/Madama Butterfly, Entrance of Butterfly – G. Farrar/Louise: Depuis Le Jour – M. Garden/Louise: Depuis Longtemps j’Habitais – E Johnson/Tosca: Vissi D’Arte – M. Jeritza/Der Rosenkavailier Da Geht ER Hin and Ich Werd Jetzt in Die Kirchen Geh’n – L Lehmann/Otello: Morte d’Otello – F. Tamagno LCT 2 – Caruso Sings Light Music – Enrico Caruso and Mischa Elman [195?] O Sole Mio/The Lost Chord/For You Alone/Ave Maria (Largo From "Xerxes")/Because/Élégie/Sei Morta Nella Vita Mia LCT 3 – Boris Goudnoff (Moussorgsky) – Feodor Chalipin, Albert Coates and Orchestra [1950] Coronation Scene/Ah, I Am Suffocating (Clock Scene)/I Have Attained The Highest Power/Prayer Of Boris/Death Of Boris LCT 4 LCT 5- Hamlet (Shakespeare) – Laurence Olivier with Philharmonia Orchestra [1950] O That This Too, Too Solid Flesh/Funeral March/To Be Or Not To Be/How Long Hast Thou Been Gravemaker/Speak The Speech/The Play Scene LCT 6 – Concerto for Violin and Orchestra No. 2 in G Minor Op. 63 (Prokofieff) – Jascha Heifetz and Serge Koussevitzky and the Boston Symphony Orchestra [1950] LCT 7 – Haydn Symphony in G Major – Arturo Toscanini and the NBC Symphony Orchestra [195?] LCT 8 LCT 9 LCT 10 –Rosa Ponselle in Opera and Song – Rosa Ponselle [195?] La Vestale: Tu Che Invoco; O Nume Tutelar, By Spontini/Otello: Salce! Salce! (Willow Song); Ave Maria, By Verdi/Ave Maria, By Schubert/Home, Sweet Home, By Bishop LCT 11 – Sir Harry Lauder Favorites – Harry Lauder [195?] Romin' In The Gloamin'/Soosie Maclean/A Wee Deoch An' Doris/Breakfast In Bed On Sunday Morning/When I Met Mackay/Scotch Memories LCT 12 – Concerto for Piano and Orchestra No.