DOCSLIB.ORG

Lithographs and Photographs

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lithographs and Photographs lithographs and photographs bcs = Bel Canto Society Archive par = PARS Media FED = Fedora Barbieri pho = PhotoFest GIG = Gigliola Frazzoni rad = James-Daniel Radiches lin = Linda Seay reg = Regina Kraft met = The Metropolitan Opera Archives rob = Robert M. Connolly Collection min = Charles Mintzer 4 Franco Corelli as Ernani (Met), 1962 (met) 20 Gilbert-Louis Duprez (BCS) 24 Gilbert-Louis Duprez and Caroline Duprez (BCS) 27 Caricature of Duprez in Guillaume Tell (BCS) 30 Duprez (BCS) 34 Il Teatro del Giglio di Lucca (lin) 37 Duprez (BCS) 39 Léon Escalaïs (BCS) 41 Beniamino Gigli (BCS) 43 Beniamino Gigli as Faust in Boito’s Mefistofele (BCS) 46 Farinelli, the most famous castrato (BCS) 51 Giovanni Battista Velluti, the last castrato to appear in opera 59 Gioacchino Rossini 65 Castrato Alessandro Moreschi (rob) 66 Alessandro Moreschi (rob) 67 Alessandro Moreschi, Antonio Cotogni, Giovanni Cesari, Giovanni Catocci, Filippo Mattoni and Salvatore Fonerico (rob) 68 Giovanni David (bcs) 75 Giovanni Battista Rubini in Il pirata (bcs) 76 Rubini (bcs) 85 Vincenzo Bellini (bcs) 92 Corelli and Birgit Nilsson in Turandot (met) 96 Giulietta Simionato and Corelli in Carmen (bcs) 98 Corelli as Don Carlo (met) 100 Corelli and Maria Callas in Pirata, La Scala, 1958 (bcs) 102 Callas and Corelli in Poliuto, La Scala, 1960 (bcs) 104 Olivero and Corelli in Adriana, San Carlo, 1959 (bcs) 105 Olivero in Adriana, San Carlo, 1959 (bcs) 106 Nilsson as Turandot (met) 107 Corelli as Calàf (met) 108 Corelli as Dick Johnson in Fanciulla, La Scala, 1964 (bcs) 110 Corelli, Renata Tebaldi and Renata Scotto in Bohème (met) 111 Corelli and Tebaldi, Gioconda, September 1966 (met) 113 Corelli as Radamès (bcs) 115 Corelli and Callas in Norma (bcs) 116 Corelli as Raul in Gli Ugonotti, La Scala, 1962 (bcs) 117 Corelli and Callas in Fedora, La Scala, 1956 (bcs) 121 Corelli and Joan Sutherland (bcs) 122 Corelli as Cavaradossi (bcs) 124 Corelli as Roméo, Mirella Freni as Juliette, 1967 (met) 126 Corelli and Callas in Tosca, her Met return, March 19, 1965 (met) 127 Corelli and Callas in Tosca, Met, March 19, 1965 (met) 128 Corelli and Callas in Tosca, Met, March 19, 1965 (met) 129 Corelli, Callas, Gobbi and unidentified supers inTosca, Act II (met) 131 Corelli as Manrico in Trovatore, La Scala, 1959 (bcs) 135 Corelli bowing at a Werther, Met (bcs) 136 Corelli as Turiddu and Richard Tucker as Canio in Cavalleria rusticana (met) 140 Corelli as Manrico, La Scala, May 1959 (bcs) 144 Corelli as Canio (met) 147 Corelli in Chénier (bcs) 149 Corelli and Price as Alvaro and Leonora, 1972 (met) 152 Corelli in 1953 (bcs) 157 Corelli and Callas in Poliuto (bcs) 158 Corelli as Enzo in La Gioconda, 1962 (bcs) 161 Corelli as Calàf (bcs) 165 Corelli as Werther (met) 166 Corelli as Loris in Fedora, La Scala, 1956 (bcs) 168 Margherita Roberti and Corelli in Tosca, 1962 (met) 171 Anselmo Colzani and Corelli in Tosca, 1962 (met) 172 Lauri-Volpi as Alim in Le Roi de Lahore (met) 176 Licia Albanese and Corelli in Tosca, 1962 (met) 179 Lauri-Volpi as Chénier (met) 180 Lauri-Volpi and his wife, Maria Ros, with Franco and Loretta Corelli (bcs) 183 Lauri-Volpi as Alfredo in Traviata (met) 185 Soprano Maria Ros, Lauri-Volpi’s wife (bcs) 192 Corelli as Enzo (met) 196 Tebaldi and Corelli in Adriana (met) 197 Tebaldi, Corelli, Bing and Callas (met) 199 Lauri-Volpi (min) 200 Lauri-Volpi as Radamès (bcs) 202 Lauri-Volpi (bcs) 207 Martinelli and Corelli (bcs) 208 Loretta and Franco (met) 211 Max Lorenz, Rudolf Laubenthal, Armand Tokatyan, Jan Kiepura and Richard Tauber (bcs) 215 Lauri-Volpi (bcs) 217 Lauri-Volpi as Radamès (bcs) 220 Facsimile of Corelli’s last letter to Lauri-Volpi, March 7, 1973 (bcs) 221 Facsimile of Corelli’s last letter to Lauri-Volpi, March 7, 1973, continued (bcs) 223 Grace Bumbry and Franco Corelli in Cavalleria (met) 224 Facsimile of Callas’s letter to Lauri-Volpi, March 26, 1969 (bcs) 226 Corelli as Manrico. La Scala, 1959 (bcs) 228 Franco as Dick Johnson in Fanciulla, 1965 (met) 230 Loretta and Franco Corelli at a Met party in the early 60s (met) 233 Franco enchanted by a fan (bcs) 235 Franco and Loretta on the gangplank of a ship (pho) 236 Franco Corelli (bcs) 240 Franco Corelli as Ernani (met) 244 Corelli as Don Alvaro in Forza (met) 251 Corelli as Canio (met) 252 Corelli as Canio, La Scala, 1957 (bcs) 258 Beverly Sills, Diana Fanizza and Justino Diaz in L’assedio di Corinto, Met, 1974 260 Franco and Birgit in Tosca (met) 263 Franco as Roméo, Mirella Freni as Juliette (bcs) 264 Simionato and Corelli in a rehearsal for Cavalleria, La Scala, December 1963 (bcs) 268 Teresa Zylis-Gara: “She was my great love.”—Franco Corelli (met) 273 Casei as Carmen (met) 274 Gigliola Frazzoni and Corelli in Fanciulla (GIG) 276 Boris Christoff as Padre Guardiano inForza, San Carlo, March 1958 (bcs) 278 Fedora Barbieri as Azucena in Trovatore (fed) 279 Gobbi as Iago, 1967 (met) 280 Corelli, Barbieri, Tebaldi and author Bruno Tosi (bcs) 282 Corelli as Werther (met) 284 Corelli and Frazzoni in Chénier, La Scala, January 1960 (gig) 286 Franco and Loretta (bcs) 288 Franco and Loretta out shopping (met) 291 Corelli on an exercycle (bcs) 293 Franco and Loretta (bcs) 295 Franco and Loretta (bcs) 298 Stefan Zucker and Franco, New York City, June 5, 1991 (reg) 299 Franco with fans (bcs) 300 Corelli as Cavaradossi (MET) 302 Rudolf Bing, 1960 or ’61 (MET) 305 Del Monaco as il duca in Rigoletto, Met (MET) 306 Del Monaco as Otello (MET) 310 Corelli as Manrico, La Scala, 1959 (bcs) 312 Corelli as Turiddu in Cavalleria rusticana, Met 1970 (MET) 314 Del Monaco (bcs) 318 Corelli as Don José (bcs) 319 Del Monaco (bcs) 320 Del Monaco as Ernani, Met, 1956 (MET) 322 Corelli as Ernani, July 15, 1972 (bcs) 324 Del Monaco as Alvaro in Forza (MET) 330 Corelli and Eileen Farrell in Chénier (MET) .
Load more

Recommended publications
  • Cds by Composer/Performer
    CPCC MUSIC LIBRARY COMPACT DISCS Updated May 2007 Abercrombie, John (Furs on Ice and 9 other selections) guitar, bass, & synthesizer 1033 Academy for Ancient Music Berlin Works of Telemann, Blavet Geminiani 1226 Adams, John Short Ride, Chairman Dances, Harmonium (Andriessen) 876, 876A Adventures of Baron Munchausen (music composed and conducted by Michael Kamen) 1244 Adderley, Cannonball Somethin’ Else (Autumn Leaves; Love For Sale; Somethin’ Else; One for Daddy-O; Dancing in the Dark; Alison’s Uncle 1538 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 1 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 2 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 1 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 2 Aebersold, Jamey: Jazz Improvisation (vol 1) 1270 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 1 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 2 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 1 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 2 Aebersold, Jamey: The II-V7-1 Progression (vol 3) 1271 Aerosmith Get a Grip 1402 Airs d’Operettes Misc. arias (Barbara Hendricks; Philharmonia Orch./Foster) 928 Airwaves: Heritage of America Band, U.S. Air Force/Captain Larry H. Lang, cond. 1698 Albeniz, Echoes of Spain: Suite Espanola, Op.47 and misc. pieces (John Williams, guitar) 962 Albinoni, Tomaso (also Pachelbel, Vivaldi, Bach, Purcell) 1212 Albinoni, Tomaso Adagio in G Minor (also Pachelbel: Canon; Zipoli: Elevazione for Cello, Oboe; Gluck: Dance of the Furies, Dance of the Blessed Spirits, Interlude; Boyce: Symphony No. 4 in F Major; Purcell: The Indian Queen- Trumpet Overture)(Consort of London; R,Clark) 1569 Albinoni, Tomaso Concerto Pour 2 Trompettes in C; Concerto in C (Lionel Andre, trumpet) (also works by Tartini; Vivaldi; Maurice André, trumpet) 1520 Alderete, Ignacio: Harpe indienne et orgue 1019 Aloft: Heritage of America Band (United States Air Force/Captain Larry H.
    [Show full text]
  • Children in Opera
    Children in Opera Children in Opera By Andrew Sutherland Children in Opera By Andrew Sutherland This book first published 2021 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2021 by Andrew Sutherland Front cover: ©Scott Armstrong, Perth, Western Australia All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-6166-6 ISBN (13): 978-1-5275-6166-3 In memory of Adrian Maydwell (1993-2019), the first Itys. CONTENTS List of Figures........................................................................................... xii Acknowledgements ................................................................................. xxi Chapter 1 .................................................................................................... 1 Introduction What is a child? ..................................................................................... 4 Vocal development in children ............................................................. 5 Opera sacra ........................................................................................... 6 Boys will be girls .................................................................................
    [Show full text]
  • 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.
    [Show full text]
  • April 1 & 3, 2021 Walt Disney Theater
    April 1 & 3, 2021 Walt Disney Theater FAIRWINDS GROWS MY MONEY SO I CAN GROW MY BUSINESS. Get the freedom to go further. Insured by NCUA. OPERA-2646-02/092719 Opera Orlando’s Carmen On the MainStage at Dr. Phillips Center | April 2021 Dear friends, Carmen is finally here! Although many plans have changed over the course of the past year, we have always had our sights set on Carmen, not just because of its incredible music and compelling story but more because of the unique setting and concept of this production in particular - 1960s Haiti. So why transport Carmen and her friends from 1820s Seville to 1960s Haiti? Well, it all just seemed to make sense, for Orando, that is. We have a vibrant and growing Haitian-American community in Central Florida, and Creole is actually the third most commonly spoken language in the state of Florida. Given that Creole derives from French, and given the African- Carribean influences already present in Carmen, setting Carmen in Haiti was a natural fit and a great way for us to celebrate Haitian culture and influence in our own community. We were excited to partner with the Greater Haitian American Chamber of Commerce for this production and connect with Haitian-American artists, choreographers, and academics. Since Carmen is a tale of survival against all odds, we wanted to find a particularly tumultuous time in Haiti’s history to make things extra difficult for our heroine, and setting the work in the 1960s under the despotic rule of Francois Duvalier (aka Papa Doc) certainly raised the stakes.
    [Show full text]
  • 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.
    [Show full text]
  • 1 CRONOLOGÍA LICEÍSTA Se Incluye Un Listado Con Las
    CRONOLOGÍA LICEÍSTA Se incluye un listado con las representaciones de Aida, de Giuseppe Verdi, en la historia del Gran Teatre del Liceu. Estreno absoluto: Ópera del Cairo, 24 de diciembre de 1871. Estreno en Barcelona: Teatro Principal, 16 abril 1876. Estreno en el Gran Teatre del Liceu: 25 febrero 1877 Última representación en el Gran Teatre del Liceu: 30 julio 2012 Número total de representaciones: 454 TEMPORADA 1876-1877 Número de representaciones: 21 Número histórico: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21. Fechas: 25 febrero / 3, 4, 7, 10, 15, 18, 19, 22, 25 marzo / 1, 2, 5, 10, 13, 18, 22, 27 abril / 2, 10, 15 mayo 1877. Il re: Pietro Milesi Amneris: Rosa Vercolini-Tay Aida: Carolina de Cepeda (febrero, marzo) Teresina Singer (abril, mayo) Radamès: Francesco Tamagno Ramfis: Francesc Uetam (febrero y 3, 4, 7, 10, 15 marzo) Agustí Rodas (a partir del 18 de marzo) Amonasro: Jules Roudil Un messaggiero: Argimiro Bertocchi Director: Eusebi Dalmau TEMPORADA 1877-1878 Número de representaciones: 15 Número histórico: 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36. Fechas: 29 diciembre 1877 / 1, 3, 6, 10, 13, 23, 25, 27, 31 enero / 2, 20, 24 febrero / 6, 25 marzo 1878. Il re: Raffaele D’Ottavi Amneris: Rosa Vercolini-Tay Aida: Adele Bianchi-Montaldo Radamès: Carlo Bulterini Ramfis: Antoine Vidal Amonasro: Jules Roudil Un messaggiero: Antoni Majjà Director: Eusebi Dalmau 1 7-IV-1878 Cancelación de ”Aida” por indisposición de Carlo Bulterini.
    [Show full text]
  • 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;
    [Show full text]
  • Verdi Aïda (Highlights) Mp3, Flac, Wma
    Verdi Aïda (Highlights) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical / Stage & Screen Album: Aïda (Highlights) Country: UK Released: 1962 Style: Opera MP3 version RAR size: 1594 mb FLAC version RAR size: 1121 mb WMA version RAR size: 1506 mb Rating: 4.5 Votes: 405 Other Formats: DXD AA AU ADX WMA AC3 DTS Tracklist Act I A1 Si: Corre Voce / Celeste Aida A2 Ritorna Vincitori Act III A3 Qui Radamès Verra / O Patria Mia / Cieli Mio Padre / Pur Ti Riveggo Act III B1 Nel Fiero Adunansi Act IV B2 Già I Sacerdoti Adunansi B3 La Fatal Pietra Companies, etc. Copyright (c) – Radio Corporation Of America Copyright (c) – The Decca Record Company Limited Credits Baritone Vocals [Amonasro] – Giorgio Tozzi, Robert Merrill Chorus – Rome Opera House Chorus* Chorus Master – Giuseppe Conca Composed By – Verdi* Conductor – Georg Solti Liner Notes – Francis Robinson Mezzo-soprano Vocals [Amneris] – Rita Gorr Orchestra – Rome Opera House Orchestra* Soprano Vocals [Aida] – Leontyne Price Tenor Vocals [Radamès] – Jon Vickers Notes Stereo release of RB-6531 Barcode and Other Identifiers Matrix / Runout (Label side A): N2RY-2713 Matrix / Runout (Label side B): N2RY-2714 Matrix / Runout (Runout side A): N2RY-2713-1G Matrix / Runout (Runout side B): N2RY-2714-2G Other versions Category Artist Title (Format) Label Category Country Year Verdi*, Solti* RCA Verdi*, Solti* Conducting Rome Victor Conducting Rome Opera House Red Opera House LSC 2616, Orchestra* And Seal, LSC 2616, Orchestra* And US 1962 LSC-2616 Chorus*, Price*, RCA LSC-2616 Chorus*, Price*,
    [Show full text]
  • 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.
    [Show full text]
  • [T] IMRE PALLÓ
    VOCAL 78 rpm Discs FRANZ (FRANTISEK) PÁCAL [t]. Leitomischi, Austria, 1865-Nepomuk, Czechoslo- vakia, 1938. First an orchestral violinist, Pácal then studied voice with Gustav Walter in Vienna and sang as a chorister in Cologne, Bremen and Graz. In 1895 he became a member of the Vienna Hofoper and had a great success there in 1897 singing the small role of the Fisherman in Rossini’s William Tell. He then was promoted to leading roles and remained in Vienna through 1905. Unfor- tunately he and the Opera’s director, Gustav Mahler, didn’t get along, despite Pacal having instructed his son to kiss Mahler’s hand in public (behavior Mahler considered obsequious). Pacal stated that Mahler ruined his career, calling him “talentless” and “humiliating me in front of all the Opera personnel.” We don’t know what happened to invoke Mahler’s wrath but we do know that Pácal sent Mahler a letter in 1906, unsuccessfully begging for another chance. Leaving Vienna, Pácal then sang with the Prague National Opera, in Riga and finally in Posen. His rare records demonstate a fine voice with considerable ring in the upper register. -Internet sources 1858. 10” Blk. Wien G&T 43832 [891x-Do-2z]. FRÜHLINGSZEIT (Becker). Very tiny rim chip blank side only. Very fine copy, just about 2. $60.00. GIUSEPPE PACINI [b]. Firenze, 1862-1910. His debut was in Firenze, 1887, in Verdi’s I due Foscari. In 1895 he appeared at La Scala in the premieres of Mascagni’s Guglielmo Ratcliff and Silvano. Other engagements at La Scala followed, as well as at the Rome Costanzi, 1903 (with Caruso in Aida) and other prominent Italian houses.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]