DOCSLIB.ORG

Il Barbiere Di Siviglia

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Il Barbiere Di Siviglia IL BARBIERE DI SIVIGLIA Con las grabaciones completas de Il barbiere di En el listado siguiente ofrecemos las cerca de ciento diez 1949 Siviglia de Rossini llegamos por fin a tiempos antes grabaciones documentadas que están completas y cantadas Enzo Mascherini; Giuseppe di Stefano; Giulietta en italiano, con los papeles principales presentados en este Simionato; Gerhard Pechner; Cesare Siepi; Concha de de la Segunda Guerra Mundial. No deberían haber orden: Figaro (barítono); Il Conte Almaviva (tenor); Rosina los Santos; los demás sin especificar; coro y orquesta del escaseado registros de esta ópera tan conocida desde (mezzosoprano); Dr. Bartolo (bajo); Don Basilio (bajo); Berta Palacio de las Bellas Artes; dir. Renato Cellini. Giuseppe la introducción de las nuevas tecnologías de grabación (soprano); Fiorello (bajo); Un Ufficiale (bajo). di Stefano GDS 105; Istituto Discografico Italiano IDIS en el mundo de la ópera, y así fue efectivamente. 347-348 (2 CD). Grabación en directo. en disco Aparte del registro de una retransmisión en directo por ▮Il barbiere di Siviglia la radio de una representación desde la Metropolitan 1918-1919 1950 Giuseppe Valdengo; Giuseppe di Stefano; Lily Pons; Opera en 1938, las demás grabaciones se realizaron Francesco Novelli; Fernando De Lucia; Maria Resemba; Giorgio Schottler; Stefano Valentino; Nina Sabatano; Salvatore Baccaloni; Jerome Hines; Hertha Glaz; George en los estudios discográficos o radiofónicos. Angelo di Tommaso; NN; coro y orquesta del Teatro di Cehanovsky; NN; coro y orquesta de la Metropolitan EL hecho de que las primeras grabaciones italianas San Carlo de Nápoles; dir. Salvatore Sassano. Phonotype Opera; dir. Alberto Erede. Cetra Opera Live LO 3/3 (3 LP); utilizan el italiano no extraña, pero sí es llamativo la alta (78 rpm) (1919); Rubini SJG 121 (2 LP) (1973); OASI 602; Gala GL 100.738 (2 CD) (2003). Grabación en directo del 16 de diciembre. cantidad de registros en alemán. Entre 1929 y 1972 Standing Room Only SRO 819-1 (CD). Grabación en estudio. hubo doce ediciones discográficas en esta lengua, lo Giuseppe Taddei; Luigi Infantino; Giulietta Simionato; que destaca en comparación con las seis en francés Carlo Badioli; Antonio Cassinelli; Renata Broilo; Piero 1919 entre 1954 y 1974, y las sueltas en ruso de 1953, Poldi; NN; coro y orquesta de la RAI Milano; dir. Fernando Ernesto Badini; Edoardo Taliani; Malvina Pereira; Previtali. Cetra OLPC 1211/1-3 (3 LP); D.G.G. 18170-72 húngaro de 1963, e inglés de 1994. Lo que llama aún Abele Carnevali; Umberto Di Lelio; Agnese Mometti; LPM (3 LP); Cetra-Soria 1211 (3 LP); Balkanton BOA más la atención es que la misma situación se puede Francesco Festa; Francesco Festa; coro y orquesta del 1649-1651 (3 LP); Cetra CDO 6 (2 CD) (1994); Preiser observar con la misma cronología en los registros de Teatro alla Scala; dir. Carlo Sabajno. Società Nazionale Records 20009 (2 CD) (2001); Aura LRC 1128 (2 CD) del Grammofono La Voce del Padrone S 5110-5128 (2003); Warner Fonit 5046 71224-2 (2 CD) (2004). Le nozze di Figaro de Mozart. El hecho de que las (números pares) (78 rpm); Mike Richter - Audio grabaciones en alemán de las dos óperas dejan de Encyclopedia 301 (From Which We Came - CD-ROM) producirse en los mismos años, en la primera mitad (1999). Grabación en estudio en abril de 1919. 1952 Gino Bechi; Cesare Valletti; Dora Gatta; Melchiorre de los años setenta del siglo XX, podría ser indicativo Luise; Nicola Rossi-Lemeni; Anna Maria Canali; Paolo de que en el ámbito de habla alemán se percibió 1929 Pedani; Giuseppe Nessi; coro y orquesta del Teatro alla una relación especial entre estas obras de Mozart y Riccardo Stracciari; Dino Borgioli; Mercedes Capsir; Scala; dir. Victor de Sabata. Memories HR 4525-26 (2 de Rossini. Es de suponer que los germanoparlantes Salvatore Baccaloni; Vincenzo Bettoni; Cesira Ferrari; CD); Urania URN 22.212 (2 CD) (2002); Walhall Eternity Attilio Bordonali; NN; coro y orquesta del Teatro alla Series WLCD 0061 (2 CD) (2004); Regis RRC 2069 (2 pensaron que lo que pareció lícito para Mozart como Scala; dir. Lorenzo Molajoli. Columbia D 14564-14579 CD) (2004). Grabación en directo. autor austríaco, la traducción del italiano al alemán, se (78 rpm); Columbia Set MOP 8 (67932 D - 67947 podría aplicar también a Rossini, aunque de manera D) (78 rpm) (USA); Columbia Entré E-1 (3 LP) (USA) Gino Bechi; Nicola Monti; Victoria de los Ángeles; Melchiorre Luise; Nicola Rossi-Lemeni; Anna Maria menos justificada. (1953); Columbia 33QCX 10115-10116 (2 LP) (Italy); Arabesque 8029-3L (3 LP) (USA) (1980); Classical Canali; Erminio Benatti; NN; coro sin identificar; Las pocas grabaciones en francés merecen nuestro Collector 150 102 (3 CD); Arkadia 2CD 78008 (2 CD); Orchestra Sinfonica di Milano; dir. Tullio Serafin. HMV interés por la recepción idiosincrásica de la ópera de Grammofono 2000 AB 78722-23 (2 CD). Grabaciones ALP 1022-1024 (3 LP) (1952); La Voz de su Amo LALP Rossini en Francia. Si las primeras grabaciones en en estudio del 24 de noviembre de 1927 (obertura) y del 107-109 (3 LP); RCA Victor LM 6104 (3 LP) (1953); Capitol-EMI GCR 7138 (3 LP) (1959); Testament SBT Italia, Alemania y Rusia se realizaron en las lenguas 24 de junio al 8 de julio de 1929. 2166 (2 CD) (1998); Regis RRC 2069 (2 CD) (2005); nacionales correspondientes, el caso francés no se Membran 231132 (2 CD) (2007). Grabación en estudio. diferencia, y detrás del título Le barbier de Séville se 1938 esconde una problemática muy peculiar. La grabación John Charles Thomas; Bruno Landi; Lily Pons; Pompilio Malatesta; Ezio Pinza; Irra Petina; Wilfred Engelman; 1956 bajo Jules Gressier con la compañía de la Opéra- Giordano Paltrinieri; coro y orquesta de la Metropolitan Tito Gobbi; Luigi Alva; Maria Callas; Melchiorre Luise; Comique de 1954-1955 en estudio presenta sólo las Opera; dir. Gennaro Papi. Unique Opera Records Nicola Rossi-Lemeni; Anna Maria Canali; Pier Luigi Latinucci; Giuseppe Nessi; coro y orquesta del Teatro arias en francés, o sea, parece ser una grabación del Corporation UORC 129 (2 LP) (1972); Bensar OL 12238 alla Scala; dir. Carlo Maria Giulini. Robin Hood Records arreglo de Castil-Blaze, que combina las arias con los (BRO 125889) (2 CDR) (2005). Grabación en directo del 22 de enero. RHR 507 (3 LP); Bismark Beane MRF 101 (3 LP); Estro diálogos hablados en el escenario, y no de una mera Armonico EA 015 (3 LP); Cetra Opera Live LO 34 (3 traducción del libreto italiano al francés, aunque no LP); Melodram MEL 422 (3 LP); Charles Handelman - Live Opera 00321; Melodram 26020 (2 CD); Golden se hace mención del arreglista en las carátulas. La 1941 John Charles Thomas; Bruno Landi; Josephine Tuminia; Melodram GM 2.0038 (2 CD) (1999); DiVa 1103-1104 grabación de los Concerts Pasdeloup bajo Jean Alain Salvatore Baccaloni; Ezio Pinza; Irra Petina; Wilfred (2 CD) (2000); Opera d’Oro OPD 1264 (2 CD); Istituto realizada en los mismo años podría presentar también Engelman; NN; coro y orquesta de la Metropolitan Opera; Discografico Italiano IDIS 6479-6480 (2 CD) (2006); en arreglo de Castil-Blaze, aunque resulta difícil dir. Gennaro Papi. E.J. Smith The Golden Age of Opera Myto 2 MCD 062 H113 (2 CD) (2006); Profil Medien PH 08015 (2 CD) (2007); Hänssler Classic 8015 (2 confirmarlo por estar poco documentada. El caso de EJS 139 (2 LP) (1958); Guild Immortal Performances GHCD 2296-97 (2 CD) (2004); Omega Opera Archive CD) (2008); Bravissimo BRV 9803 (14 CD) (2010); una grabación bajo Jésus Etcheverry de finales de los 393. Grabación en directo del 1 de marzo. Bravissimo Legendary Performances BRV 9914 (14 CD) años 50 tiene las mismas características. Está seguro, (2012); Opera d’Oro OPD 1264 (2 CD) (2013); Profil por lo contrario, que Jean Fournier presentó la ópera Medien PH14006 (6 CD) (2014). Grabación en directo 1943 del 16 de febrero. de Rossini en el arreglo francés en 1955. John Brownlee; Nino Martini; Bidù Sayão; Salvatore Jean-Pierre Marty rescató la versión de Castil-Blaze en Baccaloni; Ezio Pinza; Irra Petina; Mack Harrell; NN; coro Ettore Bastianini; Luigi Alva; Antonietta Pastori; Leo 1970 en París, con la ayuda de los cantantes Mady y orquesta de la Metropolitan Opera; dir. Frank St.Leger. Pudis; Andrea Mongelli; Rina Corsi; Gerardo Gaudioso; Operatic Archives OPA 1021 (2 LP); Phonographe PH Renato Ercolani; coro y orquesta del Teatro di San Carlo Mesplé, Charles Burles y Matteo Manuguerra. Annick 5033-5034 (2 CD); The Forties FTO 307-308 (2 CD). de Nápoles; dir. Francesco Molinari-Pradelli. Andromeda Massis interpretó a Rosina en 1995, en un proyecto de Grabación en directo de10 de abril en Cleveland. La ANDRCD 5060 (2 CD) (2006). Grabación en directo del la Opéra-Comique presentado en la Salle-Favart. lección de canto con “Bel raggio lusinghier”. 18 de agosto en la Arena Flegrea. 228 - ABAO-OLBE Fonografía y videografía Willem de Waal Ettore Bastianini; Alvino Misciano; Giulietta Simionato; Renato Capecchi; Nicola Monti; Gianna D’Angelo; 1964 Fernando Corena; Cesare Siepi; Rina Cavallari; Arturo Giorgio Tadeo; Carlo Cava; Gabriella Carturan; Giorgio Sesto Bruscantini; Luigi Alva; Fiorenza Cossotto; Carlo La Porta; NN; coro y orquesta del Maggio Musicale Giorgetti; NN; Coro dell’Opera Nazionale; Orchester Badioli; Nicolai Ghiaurov; Stefania Malagù; Virgilio Fiorentino; dir. Alberto Erede. Decca LXT 5283-5285 (3 des Bayerischen Rundfunks; dir. Bruno Bartoletti. Carbonari; NN; coro y orquesta del Teatro alla Scala; LP) (1957); Decca D38D3 (3 LP) (1977); London XLLA D.G.G. LPM 18665-18667 (2 LP) (1961); D.G.G. SLPM dir. Gabriele Santini. Charles Handelman - Live Opera 51 (3 LP) (1957); London A 4327 (3 LP); Richmond RS 08055; Opera d’Oro OPD 1133 (2 CD) (1997); Opera 63011 (3 LP); Decca 443 536-2 (2 CD) (1995); Decca 138665-138667 (3 LP) (1961); DG Privilege 2728 005 (3 LP); DG Double 449 390-2 (2 CD) (1996); DG 459 d’Oro Grand Tier OPD 7072 (2 CD) (2013).
Load more

Recommended publications
  • UNITEL PROUDLY REPRESENTS the INTERNATIONAL TV DISTRIBUTION of Browse Through the Complete Unitel Catalogue of More Than 2,000 Titles At
    UNITEL PROUDLY REPRESENTS THE INTERNATIONAL TV DISTRIBUTION OF Browse through the complete Unitel catalogue of more than 2,000 titles at www.unitel.de Date: March 2018 FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CONTENT BRITTEN: GLORIANA Susan Bullock/Toby Spence/Kate Royal/Peter Coleman-Wright Conducted by: Paul Daniel OPERAS 3 Staged by: Richard Jones BALLETS 8 Cat. No. A02050015 | Length: 164' | Year: 2016 DONIZETTI: LA FILLE DU RÉGIMENT Natalie Dessay/Juan Diego Flórez/Felicity Palmer Conducted by: Bruno Campanella Staged by: Laurent Pelly Cat. No. A02050065 | Length: 131' | Year: 2016 OPERAS BELLINI: NORMA Sonya Yoncheva/Joseph Calleja/Sonia Ganassi/ Brindley Sherratt/La Fura dels Baus Conducted by: Antonio Pappano Staged by: Àlex Ollé Cat.
    [Show full text]
  • PACO158 Front.Std
    [ill □§@ Pristine □ □ Pristine DIGITAL AUDIO PACO 158 Puccini XR XR Manon Lescaut PACO 158 Giacomo Puccini's third opera, Manon Lescaut, premiered at the Teatro Regio, Turin in 1893 and was the first of his operas to garner I I international acclaim. Musically the opera showed clear evidence of Puccini's growing mastery of tuneful lyricism and his ability to Rn~~t~u~ n evoke a sense of place. The story of a doomed heroine was one that Puccini would return to with even greater success in La Bohf?me (1896), Tosca (1900) and Madama Butterfly (1904). The New York premiere in 1907 featured Lina Cavalieri, Enrico Caruso and Antonio Scotti in the cast, and Puccini himself in the audience, but fell out of the repertoire in between 1929 and 1949. When a new Met production of Manon Lescaut was mounted in 1949 it featured Swedish t enor Jussi Bjbrllng as Des Grieux. Bjbrling learned only two new roles after branching out from his operatic home at the Royal Swedish Opera in the lat e 1930s. One was Don manon licia albanese Carlo, which opened Rudolf Bing's tenure as general manager of the Metropolitan Opera in November 1950, the other was Des Grieux in Manon Lescaut. Over ten years, between 1949 and 1959, Bjbrling sang the role just 25 times, but we have no less than four des grieux Jussi bjbrling complete recordings of him in this opera: the Met's first ever broadcast of the opera in 1949, a studio recording in 1954, this Met broadcast from 1956, and a bi-lingual broadcast from Stockholm in 1959.
    [Show full text]
  • Lucia Di Lammermoor Donizetti
    LUCIA DI LAMMERMOOR DONIZETTI Fitxa La follia de Lucia 11 59 Juan Luis Linares Repartiment Una criatura inestable 12 65 Enedina Lloris Argument Cronologia 19 Teresa Lloret 74 Jordi Fernández M. English Synopsis Lucia di Lammermoor 31 81 al Liceu Jaume Tribó Sobre la producció Selecció discogràfica 39 Damiano Michieletto 91 Javier Pérez Senz Bogeria i romanticisme Bibliografia recomanada 43 Arturo Reverter 94 Aleix Pratdepàdua Ah, la bogeria! Biografies 55 Xavier Albertí 96 LUCIA DI LAMMERMOOR Òpera en tres actes de Gaetano Donizetti. Llibret de Salvatore Cammarano basat en la novel·la The Bride of Lammermoor de Walter Scott. Estrenes 26 de setembre de 1835: Teatro San Carlo de Nàpols 22 de setembre de 1838: Teatre de la Santa Creu de Barcelona 15 de setembre de 1849: Gran Teatre del Liceu 4 de desembre de 2006: última representació al Liceu Total de representacions en la programació del Liceu: 277 12 /2015 Torn 4 20.00 h E 5 20.00 h PB 7 20.00 h A 10 20.00 h PE 11 20.00 h - 12 18.00 h C 14 17.00 h H 15 20.00 h PC 17 20.00 h B 18* 20.00 h G 20 17.00 h T 23 20.00 h D 27 18.00 h F 29 20.00 h PA Durada aproximada: 2 h. 50 min. (*): Amb audiodescripció Amb el suport de liceubarcelona.cat 12 pàg. Repartiment 13 Temporada 2015/16 desembre 2015 Lord Enrico Ashton Marco Caria (4, 7, 11 ,14, 17, 20 ,23 desembre) / Direcció musical Marco Armiliato Giorgio Caoduro (5, 10 12, 15, 18, 27, 29 desembre) Direcció d’escena Damiano Michieletto Miss Lucia Elena Moşuc (4, 7, 11 ,14, 17, 20 ,23 desembre) / Reposició direcció d’escena Roberto Pizzuto María José
    [Show full text]
  • Musica Lirica
    Musica Lirica Collezione n.1 Principale, in ordine alfabetico. 891. L.v.Beethoven, “Fidelio” ( Domingo- Meier; Barenboim) 892. L.v:Beethoven, “Fidelio” ( Altmeyer- Jerusalem- Nimsgern- Adam..; Kurt Masur) 893. Vincenzo Bellini, “I Capuleti e i Montecchi” (Pavarotti- Rinaldi- Aragall- Zaccaria; Abbado) 894. V.Bellini, “I Capuleti e i Montecchi” (Pavarotti- Rinaldi- Monachesi.; Abbado) 895. V.Bellini, “Norma” (Caballé- Domingo- Cossotto- Raimondi) 896. V.Bellini, “I Puritani” (Freni- Pavarotti- Bruscantini- Giaiotti; Riccardo Muti) 897. V.Bellini, “Norma” Sutherland- Bergonzi- Horne- Siepi; R:Bonynge) 898. V.Bellini, “La sonnanbula” (Sutherland- Pavarotti- Ghiaurov; R.Bonynge) 899. H.Berlioz, “La Damnation de Faust”, Parte I e II ( Rubio- Verreau- Roux; Igor Markevitch) 900. H.Berlioz, “La Damnation de Faust”, Parte III e IV 901. Alban Berg, “Wozzeck” ( Grundheber- Meier- Baker- Clark- Wottrich; Daniel Barenboim) 902. Georges Bizet, “Carmen” ( Verret- Lance- Garcisanz- Massard; Georges Pretre) 903. G.Bizet, “Carmen” (Price- Corelli- Freni; Herbert von Karajan) 904. G.Bizet, “Les Pecheurs de perles” (“I pescatori di perle”) e brani da “Ivan IV”. (Micheau- Gedda- Blanc; Pierre Dervaux) 905. Alfredo Catalani, “La Wally” (Tebaldi- Maionica- Gardino-Perotti- Prandelli; Arturo Basile) 906. Francesco Cilea, “L'Arlesiana” (Tassinari- Tagliavini- Galli- Silveri; Arturo Basile) 907. P.I.Ciaikovskij, “La Dama di Picche” (Freni- Atlantov-etc.) 908. P.I.Cajkovskij, “Evgenij Onegin” (Cernych- Mazurok-Sinjavskaja—Fedin; V. Fedoseev) 909. P.I.Tchaikovsky, “Eugene Onegin” (Alexander Orlov) 910. Luigi Cherubini, “Medea” (Callas- Vickers- Cossotto- Zaccaria; Nicola Rescigno) 911. Luigi Dallapiccola, “Il Prigioniero” ( Bryn-Julson- Hynninen- Haskin; Esa-Pekka Salonen) 912. Claude Debussy, “Pelléas et Mélisande” ( Dormoy- Command- Bacquier; Serge Baudo). 913. Gaetano Doninzetti, “La Favorita” (Bruson- Nave- Pavarotti, etc.) 914.
    [Show full text]
  • Fabulously Tidal — Issue 117, 1 January 2018
    Fabulously Tidal — Issue 117, 1 January 2018 SPONSORED FEATURE — PHILIP SAWYERS' THIRD SYMPHONY Alice McVeigh: 'This is a fabulously tidal symphony, with wild expanses of differing moods, but it begins with a ripple of unease. We in the cello section were told to play the opening with as much stillness as possible, allowing the first theme to grow as it weaves into violins and violas, into threads of flute and oboe, and — from there — into a tempestuous section of interweaving themes. The argument descends into a woodwind quarrel, resolved by flute and oboe, decorated by horns — while the strings continue to niggle and churn away at any sense of calm. 'Then solo bassoon ignites a new, still tenser, section. The violins take over, lightly but resolutely, answered by middle strings conveying a sense of tenderness — but with a bitter aftertaste. (This is incidentally one of Sawyers' most characteristic strengths: a tenderness, never saccharine, often undermined by subtle discontent.) From the brass comes the first glimpse of escape: the powerful broken octave theme over which the other themes furiously contend. 'The cellos at the recapitulation, now deepened and enriched, are twisted by Sawyers into something passionate and grounded in lower brass, reinforced by timpani. The movement ends with the heavy brass seemingly triumphant over the strings' stubborn reiteration of the theme. Still, the lower strings' pessimism prevails. 'Tutti violins kick-start the second movement with a dramatic leap from their richest register, only yielding to keening solo oboe. 'The sobered strings leave the solo winds to mourn, yet, with characteristic Sawyers intensity, something is brewing at subterranean depths: eventually, the violas' chuntering is answered by full insistent brass, in a stormily ecstatic tantrum.
    [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]
  • Richard Strauss's Ariadne Auf Naxos
    Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails.
    [Show full text]
  • RENATA TEBALDI Soprano
    1958 Eightieth Season 1959 UNIVERSITY MUSICAL SOCIETY THE UNIVERSITY OF MICHIGAN Charles A. Sink, President Gail W. Rector, Executive Director Lester McCoy, Conductor Fourth Concert Thirteenth Annual Extra Series Complete Series 3252 RENATA TEBALDI Soprano GIORGIO F AVARETTO at the Piano TUESDAY EVENING, FEBRUARY 1 0 , 1959, AT 8:30 HILL AUDITORIUM, ANN ARBOR, M ICHIGAN PROGRAM Aria, "Ab! spietato" from Amadigi HANDEL 1Jna ragazza che non e pazza GALUPPI Caldo sangue SCARLATTI Canzonetta SCARLATTI Ridente la calma MOZART 1J n mota di gioia MOZART La Regata Veneziana ROSSINI Anzoleta prima della regata Anzoleta durante la regata Anzoleta dopo Ia regata Vaga luna che inargenti BELLINI Per pieta bell' idol mio BELLINI INTERMISSION M'ama, non m'ama MASCAGNI Notte RESPIGHI Ninna nanna di 1Jliva . PIZZETTI o luna cbe fa' lume DAVICO A vuccbella TOSTI "Salce, salce" "Ave Maria" } from Otello VERDI London Ifrr Records The Steinway is the official piano of the U11iversity Musical Society A R S LON G A V I T A BREVIS PROGRAM NOTES "Ah, spietato," from Amadigi HANDEL Ah, cruel one, are you not moved by the constant affection that makes me languish for you! Una ragazza che non e pazza GALUPPI A girl who is not crazy knows not to let her chance pass. You know it and you will understand me. Even the little ewe lamb and dove would look for a companion. Why would not a girl! Caldo sangue SCARLATTI Hot hlood, hot blood, that flows over my breast, give testimony of my love and devotion to my father as I die.
    [Show full text]
  • The Tenor and Pianist Miloš Bulajić Was Born 1989 in Bonn, Germany to a Musical Family
    The tenor and pianist Miloš Bulajić was born 1989 in Bonn, Germany to a musical family. As a Belcanto-tenor (tenore di grazia) especially singing the works of Rossini, Donizetti, Bellini and Mozart he is one of the most promising young singers of his generation, so he allready sung lots of the leading roles from this repertoire in numerous operahouses and festivals across europe. Recently he was awarded with the prestigious Italian prize “Premio Arca d´oro Giovani Talenti” which is sponsored by the region of Piemonte and the City of Turin to outstanding young talents. At age seven Miloš Bulajić received piano lessons with Srboljub Dinić, then going on to study Piano at the Hans Eisler University of Music in Berlin and the Julius-Stern Institut in Berlin, graduating with his Concert-Diploma at the University of Music in Würzburg in 2014. He was particularly inspired by Professor Georg Sava (HfM Berlin). Between 1999 and 2002 he was a member of the Domchoir Berlin as well as a member of the children’s choir at the Staatsoper Unter den Linden, Berlin. During his time at the Staatsoper-childrenchoir he had performed as a soloist in numerous productions including TOSCA and LA BOHEME, working with conductors such as Philippe Jordan and Daniel Barenboim. Miloš Bulajić has studied singing with the late Professor Leandra Overmann at the University of Music in Würzburg. His roles there included Ferrando COSI FAN TUTTE, Fenton FALSTAFF and the dancing master ARIADNE AUF NAXOS (directed by Cheryl Studer). He has also taken part in masterclasses at “Accademia della Voce di Torino” with Mariella Devia and Luciana d´Intino.
    [Show full text]
  • Atada ^J Inca ^Y^Iaat
    WM. C ¿W*¿*^~*S I l ¿#p#ryr~ V.etttyatada ^J inca ^y^iaat 19 4 3 DBt<té ■JJlftestros (Españolas A- "LA MANTILLA BLANCA" de Julio Moisés Fernández de Villosonte se destaca por otmós- su técnica clora y brillante y por la naturalidad y fera que envuelven a la modelo. maestras como Es, en realidad, una de las obras españolas, lo son también los Vinos Finos y Coñacs de PEDRO DOMECQ, S. A., f . GONZÁLEZ. BYASS Y CÍA. JEREZ DE LA FRONTERA ESPAÑA Chile Agentes generales y distribuidores poro DANIEL BILBAO, URIARTE Y CÍA. LTDA. SAN DIEGO 1177 - CASILLA 1372 TELEFONO 53005 SANTIAGO TEMPORADA UJfygA DPIDÜAI * ■ h,í? ■' s *■/' -A ¿' \ Bajo el patrocinio de la I. Municipalidad y del Instituto ds Extensión Mu- sical de la Universidad de Chile. ' • X. ^- X-RÍ- '"~t rrmitr dirrrtivr %'-;'",, POR LA I. MUNICIPALIDAD. Héctor Pacheco, Rene Frías Ojedo, Osear Dahm, Administrador del T. Municipal, Renato Salvati, Asesor Artístico del Teatro Municipal. POR EL INSTITUTO DE EXTENSIÓN MUSICAL. Arturo Aletsandri Rodríguez, Delegado de la Universidad de Chile en la Junta Directiva del I. de E. M., Armando Carvajal, Director Artístico del I. de E. M. y Director de la Orquesta Sinfónica de Chile. wipemnrüfiii© G. VERDI "AIDA", "RIGOLETTO", "TRAVIATA" R. WAGNER "LOHENGRIN", "LA WALKYRIA" PUCCINI "TOSCA" GIORDANO "ANDREA CHÉNIER" ROSSINI "EL BARBERO DE SEVILLA" BIZET _l "CARMEN" THOMAS "MIGNON" MASSENET "MANON" BISQUERTT "SAYEDA" AURA A SANTIAGO (CHILE) Dirección Telegráfica: "Hueto" - (od. ABC 5.a Ed Méj. PRODUCTORES Y DISTRIBUIDORE S OFICINA CENTRAL:,: ^M^fc_ CASILLA N." 4700 S»LEX N A T A N I E L 21 ~^C—^ TELEF.
    [Show full text]
  • TEATRO SOLVAY SPETTACOLI LIRICI Direzione Artistica Dino Lessi
    TEATRO SOLVAY SPETTACOLI LIRICI Direzione Artistica Dino Lessi 1940 Rigoletto baritono Mario Basiola, soprano Lina Aimaro, tenore Carlo Merino, direttore Arturo Lucon 1941 La Traviata soprano Magda Olivero, tenore Mario Filippeschi, baritono Gino Vanelli, direttore Arturo Lucon Andrea Chenier tenore Galliano Masini, soprano Fernanda Ciani, baritono Luigi Borgonovo, direttore Arturo Lucon 1942 Il Barbiere di Siviglia baritono Carlo Galeffi, soprano Emilia Carlino, tenore Vladimiro Badiali, basso Andrea Mongelli, direttore Arturo Lucon Madama Butterfly soprano Iris Adami Corradetti, tenore Mario Del Monaco, baritono Afro Poli, direttore Antonino Votto 1943 La Sonnambula soprano Emilia Carlino, tenore Francesco Albanese, basso Italo Taio, direttore Federico Del Cupolo 1947 Tosca soprano Carla Castellani, tenore Gianni Poggi, baritono Raimondo Torres, direttore Umberto Berrettoni 1948 Un Ballo in Maschera soprano Franca Sacchi, tenore Antonio Latino, mezzo soprano Miriam Pirazzini, baritono Raimundo Torres 1949 Rigoletto baritono Aldo Protti, soprano Hilde Reggiani, tenore Giuseppe Savio, direttore Federico Del Cupolo L’Amico Fritz tenore Bruno Landi, soprano Rosetta Noli, baritono Gino Vanelli, direttore Federico del Cupolo Mefistofele basso Cesare Siepi, soprano Rosetta Noli, tenore Glauco Scarlin, direttore Umberto Berrettoni 1950 La Traviata soprano Rosetta Noli, tenore Giuseppe Campora, baritono Carlo Tagliabue, direttore Umberto Berrettoni Manon soprano Mafalda Favero, tenore Agostino Lazzari, baritono Leo Piccioli, direttore Umberto
    [Show full text]
  • Enzo Dara - Legenda Komické Opery
    JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra zpěvu Sólový zpěv Enzo Dara - legenda komické opery Diplomová práce Autor práce: David Szendiuch Vedoucí práce: doc. Mgr. MgA. Monika Holá Ph.D. Oponent práce: PhDr. Alena Borková Brno 2015 Bibliografický záznam Szendiuch, David: Enzo Dara - legenda komické opery (Enzo Dara - legend of comic opera). Brno: Janáčkova akademie múzických umění v Brně, Hudební fakulta, Katedra zpěvu, 2015, s. 49. Vedoucí magisterské práce doc. Mgr. MgA. Monika Holá Ph.D. Anotace Diplomová práce na téma „Enzo Dara - legenda komické opery“ pojednává o italském operním pěvci Enzo Darovi. V práci je dokumentován vývoj jeho bohaté pěvecké kariéry, která od počátku 70. let minulého století nevyhnutelně mířila k světovým operním jevištím. Cílem je představit a vyzdvihnout tohoto výjimečného operního pěvce, který dokázal v průběhu své kariéry zvládnout téměř všechny basové komické role na nejvyšší mistrovské úrovni. Nemalou měrou tak přispěl k obohacení hudební kultury, která si zasluhuje podrobnější prezentaci v českém hudebním prostředí. V nejlepších letech svého života, zužitkoval své životní zkušenosti v pozici režiséra a pedagoga. Annotation This Master's Thesis, with the subject "Enzo Dara- the legend of comical opera", deals about Italian singer Enzo Dara. In the master's thesis it is described his rich singing career, which was, inevitable, since the beginning of seventies of last century, heading to the worlds’ opera stages. The aim of the master's thesis is to introduce as well as to emphasize this extraordinary opera singer who managed during his career to deal with all his bass comical roles at the most possible highest masterly level.
    [Show full text]