Leoš Janáček Fate (Osud) Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Leoš Janáček Fate (Osud) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Fate (Osud) Country: Czechoslovakia Released: 1978 Style: Opera MP3 version RAR size: 1733 mb FLAC version RAR size: 1539 mb WMA version RAR size: 1880 mb Rating: 4.5 Votes: 207 Other Formats: WMA RA APE AU AUD ASF MP3 Tracklist A1 Act 1 B1 Act 1 (Continued) B2 Act 2 C1 Act 2 (Continued) C2 Act 3 D1 Act 3 (Continued) Companies, etc. Marketed By – Rediffusion Records Distributed By – Rediffusion Records Credits Baritone Vocals – Jaroslav Souček, Richard Novák Chorus – Brno Janáček Opera Chorus Composed By, Libretto By – Leoš Janáček Conductor – František Jílek Mezzo-soprano Vocals – Jarmila Palivcová Orchestra – Brno Janáček Opera Orchestra Soprano Vocals – Anna Barová, Jindra Pokorná, Magdaléna Hajóssyová Tenor Vocals – Vilém Přibyl, Vladimír Krejčík Notes Recorded 14 & 15 June 1975 and 23-25 March 1976 in Stadion-BRNO Studio. Discs made in Czechoslovakia Box concept/libretto printed in England 1978 Booklet with Czech libretto & English translation. Category on spine & cover is SUP 2011/2 on labels it is 1112 2011 & 1112 2012 Other versions Category Artist Title (Format) Label Category Country Year 1 12 2011-12 Leoš Janáček Osud (2xLP) Supraphon 1 12 2011-12 Czechoslovakia 1976 1 12 2011-12 Leoš Janáček Osud (Fate) (2xLP) Supraphon 1 12 2011-12 Czechoslovakia Unknown Related Music albums to Fate (Osud) by Leoš Janáček Leoš Janáček, Rundfunk-Sinfonieorchester Berlin, Heinz Rögner - Janacek Sinfonietta Taras Bulba Leoš Janáček, Böhmová | Domanínská | Asmus | Prague National Theatre Chorus and Prague National Theatre Orchestra | Václav Neumann - Příhody Lišky Bystroušky (The Cunning Little Vixen) Leoš Janáček - Bavarian Radio Symphony Orchestra / Rafael Kubelik - Sinfonietta / Taras Bulba Janáček, Simon Rattle / City Of Birmingham Symphony Orchestra / Felicity Palmer / Ameral Gunson / John Mitchinson / Malcolm King - Glagolitic Mass Leoš Janáček, Orchestr Národního Divadla V Praze, Jaroslav Krombholc - Káťa Kabanová Leoš Janáček, Jiří Zahradníček, Ivo Žídek, Václav Zítek, Vienna State Opera Chorus, Vienna Philharmonic Orchestra, Sir Charles Mackerras - From The House Of The Dead • Aus Einem Totenhaus • Souvenirs De La Maison Des Morts • Z Mrtvého Domu Leoš Janáček - Josef Lada - Říkadla Wolfgang Amadeus Mozart, Bruno Walter - The Magic Flute Various - The Unbearable Lightness Of Being (Original Soundtrack Recording) Janáček - Tikalová, Blachut, Komancová / Prague National Theatre, Jaroslav Krombholc - Katya Kabanova Leoš Janáček - From The House Of The Dead - Festival Aix-en-Provence 2007 Foerster, Eva Děpoltová, Anna Barová, Leo Marian Vodička, Jaroslav Souček, Prague Radio Chorus, Prague Radio Symphony Orchestra, František Vajnar - Eva: Opera In Three Acts, Op.50.

Copy Link

Recommended publications

178 Chapter 6 the Closing of the Kroll: Weimar
Chapter 6 The Closing of the Kroll: Weimar Culture and the Depression The last chapter discussed the Kroll Opera's success, particularly in the 1930-31 season, in fulfilling its mission as a Volksoper. While the opera was consolidating its aesthetic identity, a dire economic situation dictated the closing of opera houses and theaters all over Germany. The perennial question of whether Berlin could afford to maintain three opera houses on a regular basis was again in the air. The Kroll fell victim to the state's desire to save money. While the closing was not a logical choice, it did have economic grounds. This chapter will explore the circumstances of the opera's demise and challenge the myth that it was a victim of the political right. The last chapter pointed out that the response of right-wing critics to the Kroll was multifaceted. Accusations of "cultural Bolshevism" often alternated with serious appraisal of the strengths and weaknesses of any given production. The right took issue with the Kroll's claim to represent the nation - hence, when the opera tackled works by Wagner and Beethoven, these efforts were more harshly criticized because they were perceived as irreverent. The scorn of the right for the Kroll's efforts was far less evident when it did not attempt to tackle works crucial to the German cultural heritage. Nonetheless, political opposition did exist, and it was sometimes expressed in extremely crude forms. The 1930 "Funeral Song of the Berlin Kroll Opera", printed in the Neue Zeitschrift für Musik, may serve as a case in point.
[Show full text]
TURANDOT Cast Biographies
TURANDOT Cast Biographies Soprano Martina Serafin (Turandot) made her San Francisco Opera debut as the Marshallin in Der Rosenkavalier in 2007. Born in Vienna, she studied at the Vienna Conservatory and between 1995 and 2000 she was a member of the ensemble at Graz Opera. Guest appearances soon led her to the world´s premier opera stages, including at the Vienna State Opera where she has been a regular performer since 2005. Serafin´s repertoire includes the role of Lisa in Pique Dame, Sieglinde in Die Walküre, Elisabeth in Tannhäuser, the title role of Manon Lescaut, Lady Macbeth in Macbeth, Maddalena in Andrea Chénier, and Donna Elvira in Don Giovanni. Upcoming engagements include Elsa von Brabant in Lohengrin at the Opéra National de Paris and Abigaille in Nabucco at Milan’s Teatro alla Scala. Dramatic soprano Nina Stemme (Turandot) made her San Francisco Opera debut in 2004 as Senta in Der Fliegende Holländer, and has since returned to the Company in acclaimed performances as Brünnhilde in 2010’s Die Walküre and in 2011’s Ring cycle. Since her 1989 professional debut as Cherubino in Cortona, Italy, Stemme’s repertoire has included Rosalinde in Die Fledermaus, Mimi in La Bohème, Cio-Cio-San in Madama Butterfly, the title role of Manon Lescaut, Tatiana in Eugene Onegin, the title role of Suor Angelica, Euridice in Orfeo ed Euridice, Katerina in Lady Macbeth of Mtsensk, the Countess in Le Nozze di Figaro, Marguerite in Faust, Agathe in Der Freischütz, Marie in Wozzeck, the title role of Jenůfa, Eva in Die Meistersinger von Nürnberg, Elsa in Lohengrin, Amelia in Un Ballo in Machera, Leonora in La Forza del Destino, and the title role of Aida.
[Show full text]
January 19, 2020 Luc De Wit 3:00–4:40 PM
ALBAN BERG wozzeck conductor Opera in three acts Yannick Nézet-Séguin Libretto by the composer, based on the production William Kentridge play Woyzeck by Georg Büchner co-director Sunday, January 19, 2020 Luc De Wit 3:00–4:40 PM projection designer Catherine Meyburgh New Production set designer Sabine Theunissen costume designer Greta Goiris The production of Wozzeck was made possible lighting designer Urs Schönebaum by a generous gift from Robert L. Turner A co-production of the Metropolitan Opera; Salzburg Festival; the Canadian Opera Company, Toronto; and Opera Australia general manager Peter Gelb jeanette lerman-neubauer music director Sunday matinee performances at the Met are Yannick Nézet-Séguin sponsored by the Neubauer Family Foundation 2019–20 SEASON The 75th Metropolitan Opera performance of ALBAN BERG’S wozzeck conductor Yannick Nézet-Séguin in order of vocal appearance the captain the fool Gerhard Siegel Brenton Ryan wozzeck a soldier Peter Mattei Daniel Clark Smith andres a townsman Andrew Staples Gregory Warren marie marie’s child Elza van den Heever Eliot Flowers margret Tamara Mumford* puppeteers Andrea Fabi the doctor Gwyneth E. Larsen Christian Van Horn ac tors the drum- major Frank Colardo Christopher Ventris Tina Mitchell apprentices Wozzeck is stage piano solo Richard Bernstein presented without Jonathan C. Kelly Miles Mykkanen intermission. Sunday, January 19, 2020, 3:00–4:40PM KEN HOWARD / MET OPERA A scene from Chorus Master Donald Palumbo Berg’s Wozzeck Video Control Kim Gunning Assistant Video Editor Snezana Marovic Musical Preparation Caren Levine*, Jonathan C. Kelly, Patrick Furrer, Bryan Wagorn*, and Zalman Kelber* Assistant Stage Directors Gregory Keller, Sarah Ina Meyers, and J.
[Show full text]
Music and Theatre in Eastern Europe: Understanding Historical Perspectives and Igniting Passion
Music and Theatre in Eastern Europe: Understanding Historical Perspectives and Igniting Passion January 7 – January 31, 2016 Hosted by Dr. Scott Johnson, Jayna Gearhart Fitzsimmons and Brad Heegel Program Inclusions v Experience the musical enrichment and fellowship traveling as part of a community under the leadership of Dr. Scott Johnson, Co-Chair of the College Department of Music who is both an accomplished musician and mentor; Jayna Gearhart Fitzsimmons, artistic director and experienced director of theater and Brad Heegel, Administrative Director of Performing and Visual Arts at Augustana who is both a seasoned traveler and energetic lead organizer for this program. v Be inspired by the culture and art of the Czech Republic with Prague’s royal palaces and museums; the beauty and music of Austria with the Vienna Boys Choir and Opera Houses; the grace and history of Slovakia with it’s amazing Slovak National Theatre; the vibrancy and heritage of Hungary in Budapest with collections of Art Nouveau and gypsy music; and lastly the history and open arms of Croatia in the town of Zagreb. v Attend eight concerts/performances and visit over forty famous sights and theatres in Europe. v Travel from Sioux Falls with connecting service into Prague and from Zagreb via United Airlines, Lufthansa Airlines and Croatian Airlines. v Stay for twenty-three nights in select Moderate First Class hotels described in the itinerary or similar, based on sharing a room. v Journey throughout Europe by private, deluxe motorcoach for all transfers and touring or by 2nd class rail. v Enjoy included daily buffet breakfast and six dinners.
[Show full text]
Austria & Hungary
AUSTRIA & HUNGARY June 17 -23 2018 A UNIQUE PERSPECTIVE OF THE MUSICAL, CULTURAL AND HISTORICAL HERITAGE OF VIENNA AND BUDAPEST Most of us have been to Austria and Hungary of course. But this Jaderin tour to Vienna, Eisenstadt, Graz, Salzburg and Budapest will be one with a big difference. We will be led by Maestro Mak Ka Lok who had studied, lived and actively conducted all over Austria, Russia and other parts of Europe for 30 years. The Maestro will be returning to Vienna in June with the Global Symphony Orchestra of Hong Kong, to receive the prestigious Austria Music and Theatre award for his contribution in music between Austria and China/Hong Kong. He will share his passion for music and the places he called home for many years on this special Jaderin tour covering Vienna : The beautiful capital of Austria that inspired so many composers. The visit includes the most celebrated river in Europe, Danube River,” the Wachau”, the Schönbrunn Palace where Mozart performed when he was a child. Enjoy an opera at the Vienna State Opera House Salzburg : In visiting the birthplace of Mozart, we will pass by the beautiful lake region “Salzkammergut” Eisenstadt : Pay homage to Haydn Graz: Attend Maestro’s Mak’s special “Austrian Music Theater Award” ceremony at the Opera House in Graz Budapest : Vienna and Budapest were the capitals of the Austrian Hungarian Empire from 1867 to 1918. Not only will you visit the Hungarian capital’s modern and historical sites, you will also ‘feel’ the flavors of Hungary, and taste authentic Hungarian Goulash.
[Show full text]
The History of Europe — Told by Its Theatres
THE HISTORY OF EUROPE — TOLD BY ITS THEATRES Exhibition magazine CONTENT 4 Introductions We live in Europe, and it is therefore our task to make this part of the world work, in a peaceful way and for the best of all people liv - 6 Mediterranean experience ing here. To achieve this, we have to cooperate across borders, be - 10 religious impact cause only together we can solve the challenges we are facing together. For this, institutions are necessary that make cooperation 14 Changing society – possible on a permanent basis. For this, it is necessary to jointly changing building create an idea of how Europe shall develop now and in the future. 18 The Theatre royal, drury lane For this, it is necessary to remember where we come from – to remember our common history in Europe. 22 Max littmann For this, the touring exhibition The history of Europe – told by and the democratisation its theatres proposes a unique starting point: our theatres. And this of the auditorium is not a coincidence. Since the first ancient civilisations developed 24 Aesthetics and technology in Europe 2500 years ago, the history of Europe has also been the 28 The nation history of its theatre. For 2500 years, theatre performances have been reflecting our present, past and possible future. For the per - 34 Spirit of the nation set ablaze formances, this special form of a joint experience and of joint re - 38 To maintain the common flection, Europeans have developed special buildings that in turn identity – the Teatr Wielki mirror the development of society. And thus today we find theatre in Warsaw buildings from many eras everywhere in Europe.
[Show full text]
Betriebszelle) State Opera to the Managing Comittee (Vereinsführung
Oliver Rathkolb From the Organization Cell Group (Betriebszelle) State Opera to the Managing Comittee (Vereinsführung) To this day, there has been no successful assessment of the exact percentage of "Nazification" of the Vienna Philharmonic Orchestra. Clemens Hellsberg has in 1992 addressed the fact that at the end of the war 42% were NSDAP-members, and he also pointed out that this rate rises to 47% if affiliated organisations are included.1 He has further calculated the "group differences" of the formal Nazification at the time of 1938 – and found differences between string players with 30% NSDAP members, woodwind players with 45%, as well as brass players and percussion with 43%. I myself, on the basis of Austrian and US- American documents, arrived in 1991 at a rate of 40% former NSDAP-members in the orchestra – about 20% of these were "illegal" members2, i.e. those who during the prohibition of the NSDAP between "July 1, 1933 and March 13, 1938, after attaining the age of 18, have at one point belonged to the NSDAP or one of its paramilitary forces (Wehrverbände, SA, SS, NSKK, NSFK)" – so the wording in §10 of the Prohibitive Law (Verbotsgesetz) of May 8, 1945. The core group of NSDAP sympathisers in the Vienna Philharmonic Orchestra had in 1931/32 already organized themselves in the framework of the NSBO – the NS Organization Cell Group State Opera. The NSBO did not do the classic work of a labour union, but rather as a political organisation caused agitation for the NSDAP in the labour force of an enterprise.
[Show full text]
Richard Strauss and Vienna.Pdf
Arabella 2018 insert.qxp_Arabella 2018 10/3/18 3:36 PM Page 4 B Y P AUL T HOMASON man, not an Austrian. For many Americans today that can seem like a distinction without much of a difference, but a century ago it was ichard trauss enough to make Strauss’ tenure at the Vienna State Opera a night- R S mare, rather than the dream job he had hoped it would be. Strauss stepped foot in Vienna for the first time in December 1882. ienna He wrote back home to his parents in Munich with all the savoir faire &V of a typical 18-year-old boy that it was “… just an ordinary city like Munich, only the houses are bigger, more palaces than inhabitants. t is natural we should equate Richard Strauss with Vienna. The girls aren’t any prettier than they are in Munich.” His weeklong After all, he wrote the quintessential Viennese opera, Der stay was designed to introduce himself to prominent musicians and Rosenkavalier, a glittering yet poignant work shot through with to make his music known. Toward that end he and his cousin, the vio- waltzes that seems to define the soul of the 18th-century city. The linist Benno Walter, gave a concert on the fifth of December in the old Ifact that Rosenkavalier is so much more than a nostalgic Neverland Bösendorfer concert rooms. On the program was the premiere of of an opera is what keeps its characters and their situations so Strauss’ Violin Concerto with the composer at the piano in place of an alive and makes it meaningful to listeners today.
[Show full text]
The Pearl Fishers – Pp
Pearl Fishers.indd 1 10/10/2017 4:12:18 PM LYRIC OPERA OF CHICAGO Table of Contents ELISE BAKKETUN/SEATTLE OPERA BAKKETUN/SEATTLE ELISE IN THIS ISSUE The Pearl Fishers – pp. 20-38 6 From the General Director 23 Cast 43 Aria Society 8 From the Chairman 24 Artist Profiles 52 Breaking New Ground 10 Board of Directors 30 Opera Notes 53 Look to the Future 11 Women’s Board/Guild Board/Chapters’ 34 Director's Note 54 Major Contributors – Special Events Executive Board/Young Professionals/ and Project Support Ryan Opera Center Board 35 After the Curtain Falls 55 Lyric Unlimited Contributors 12 Administration/Administrative Staff/ 36 Musical Staff/Orchestra/Chorus Production and Technical Staff 57 Ryan Opera Center 37 Backstage Life 14 An Opera-tunity to Remember: 58 Ryan Opera Center Alumni 38 Lyric's Interns Artistic Roster Around the World 39 20 Tonight’s Performance Lyric and Social Media 59 Ryan Opera Center Contributors 21 Synopsis 40 Patron Salute 60 Planned Giving: The Overture Society ALL ABOUT LYRIC’S INTERNS pp. 14-18 61 Commemorative Gifts 62 Corporate Partnerships 63 Matching Gifts, Special Thanks and Acknowledgements 64 Annual Individual and Foundation Support 71 Facilities and Services/Theater Staff On the cover: photo © Suranga Weetunga 2 | November 19 - December 10, 2017 Since 1991 www.performancemedia.us | 847-770-4620 3453 Commercial Avenue, Northbrook, IL 60062 Gail McGrath Publisher & President Sheldon Levin Publisher & Director of Finance A. J. Levin Director of Operations Account Managers Rand Brichta - Arnie Hoffman - Greg Pigott Executive Editor Southeast Michael Hedge 847-770-4643 Southwest Betsy Gugick & Associates 972-387-1347 Lisa Middleton East Coast Manzo Media Group 610-527-7047 Marketing and Sales Consultant David L.
[Show full text]
Supraphon Classical Music Catalogue 2019
s cla ssical music cat alogue 2020 Pavel Haas Quarte t 2 # Gramophone Award, 2007 # BBC Music Magazine Award, 2007 # BBC Radio 3 Disc of the Week, 2006 # Supersonic Award of Pizzicato, 2006 SU 3877-2 # BBC Music Magazine Chamber Choice, 2008 # BBC Radio 3 Disc of the Week, 2007 # Gramophone Editor’s Choice, 2008 # Cannes Classical Award, MIDEM 2009 SU 3922-2 # Gramophone Disc of the Month, 2010 # BBC Radio 3 Disc of the Week, 2010 # Caecilia, 2010 # Diapason d’Or de l’Année, 2010 # Choc de Classica, 2011 SU 3957-2 # Gramophone Award, Recording of the Year, 2011 # BBC Music Magazine Disc of the Month, 2010 # Sunday Times Album of the Week, 2010 # ClassicsToday Disc of the Month, 2011 SU 4038-2/1 # Gramophone Award, 2014 SU 4110-2 # Gramophone Award, 2015 # BBC Music Magazine Award, 2016 # Presto Classical Recordings of the Year, 2016 # Sinfini Best Chamber Album of the Year, 2015 # BBC Radio 3 Disc of the Week, 2015 # MusicWeb International Recording of the Month, 2015 SU 4172-2/1 SU 3877-2 SU 3922-2 SU 3957-2 SU 4038-2/1 # Gramophone Award, 2018 # Presto Classical Recordings of the Year, 2017 # Gramophone Editor’s Choice, 2017 # BBC Music Magazine Disc of the Month, 2017 # Sunday Times Album of the Week, 2017 # Diapason d’Or, 2018 SU 4195-2/1 # Presto Classical Recording of the Week, 2019 # Europadisc Disc of the Week, 2019 # The Times 100 Best Records of the Year, 2019 SU 4110-2 SU 4172-2/1 SU 4195-2/1 SU 4271-2 SU 4271-2 tomáš NetoPil co ndu ctor 3 You hear everything and yet not a single note obtrudes.
[Show full text]
Antonin Matzner 4 Czech Opera Today Graham Melville-Mason 2006 Janáček’S Operas Free with the Next Issue
czech music quarterly magazine Antonin Matzner 4 Czech Opera Today Graham Melville-Mason 2006 Janáček’s Operas Free with the next issue ºßØäÙÜé ÄìêàÚ ÂæÝéæy ÑÜäÜâ ÄÜÛÜâ KëæÚßã ÊäæãâØ ¾éØßØä czech music contents 4/2006 editorial Waiting for Stravinsky to go out to the Pharmacy Interview with Antonín Matzner DITA HRADECKÁ Page 2 Report on the Condition of Opera in the Czech Republic The theme of this issue is opera in the Czech Republic. An article by leading opera critic and HELENA HAVLIKOVÁ journalist Helena Havlíková provides a detailed Page 7 account of the Czech opera scene today and may perhaps inspire you to go to a performance when you visit the Czech Czech Music – a Lifetime’s Passion Republic. It is with this possibility in mind that Interview with Graham Melville-Mason we have added an overview of all our opera MARKÉTA VEJVODOVÁ companies including their current repertoire, Page 20 and we shall certainly be returning to opera in future issues of Czech Music. In this issue, don’t miss M. Štědroň’s article on Janáček’s Klangspuren 2006 operas! PETR BAKLA You will also find one more interview than is usual. Apart from the title interview with Page 23 Antonín Matzner and the regular interview in which we present the best musicians of the Young bassonist Václav Vonášek: coming generation (in this case the bassoonist Václav Vonášek), we have also included a Taking Things from Elsewhere conversation with Professor Graham Melville- IVA OPLIŠTILOVÁ Mason, president of Britainęs Dvořák Society Page 25 for Czech and Slovak Music on the occasion of his acceptance of a prize for lifelong promotion of Czech music.
[Show full text]
000000015 1.Pdf
THE BOHUSLAV MARTINŮ FOUNDATION THE BOHUSLAV MARTINŮ INSTITUTE THE INTERNATIONAL MARTINŮ CIRCLE CLOSING OF MARTINŮ REVISITED ’ HUMOUR IN MARTINŮ S MUSIC JANUARY—APRIL 2011 VOL.XI NO.1 HISTORIC LPs AUTOGRAPHS IN THE MÉDIATHÈQUE MUSICALE MAHLER NEW PUBLICATIONS & CDs NEW CD MARTINŮ. THE 6 SYMPHONIES contents Recorded Live 3 highlights / events BBC Symphony Orchestra, Jiří Bělohlávek (Conductor) 4 incircle news Onyx Classics, ONYX4061 3CD (due for release in June 2011) 6 news International Martinů Circle Founding Members Closing Concert of the Martinů PEEPH●●LE Revisited Project 8 Martinů Revisited 2009–2010 INTO THE BOHUSLAV MARTINŲ CENTER IN POLIČKA ALEŠ BŘEZINA 10 Historic Recordings for the Library of the Bohuslav Martinů Foundation ZOJA SEYČKOVÁ 11 special series List of Martinů’s Works XI 12 festivals Martinů as a Source of Inspiration CHRISTINE FIVIAN & CECILE PIERBURG 14 research Humour in Martinů’s Music from the 1920s EVA VELICKÁ MARTINŮ OWNED a Kopecký & Co. piano that he kept at his music school in today’s Masary kova Street in Polička and on which he wrote a number of compositions. We do not know exactly 17 research when and from whom he bought the instrument, yet from 1919 he endeavoured to sell it. New Martinů Autographs in Paris When in 1932 the piano was bought by his friend, the Polička-based builder Bohuslav Šmíd, ALEŠ BŘEZINA Martinů expressed his gratitude by writing several minor piano pieces for his children bearing the dedication “To Božánek and Sonička Šmíd“. Martinů was delighted that the piano was in good hands, as is evident from the letter he wrote to Šmíd in Paris on 16 May 1932: 18 events / news “You understand that I parted with it with regret, since it is a friend that collaborated with me on my things, and it cost me a lot of effort to acquire it – I had to write a good few notes to pay for it.
[Show full text]