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Il Barbiere Di Siviglia

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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).
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    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.
  • Atada ^J Inca ^Y^Iaat

    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.
  • TEATRO SOLVAY SPETTACOLI LIRICI Direzione Artistica Dino Lessi

    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
  • Enzo Dara - Legenda Komické Opery

    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.