Sep. 2017, Vol. 17, No. 3 Frontmatter
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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. -
ARSC Journal
HISTORIC VOCAL RECORDINGS STARS OF THE VIENNA OPERA (1946-1953): MOZART: Die Entfuhrung aus dem Serail--Wer ein Liebchen hat gafunden. Ludwig Weber, basso (Felix Prohaska, conductor) ••.• Konstanze ••• 0 wie angstlich; Wenn der Freude. Walther Ludwig, tenor (Wilhelm Loibner) •••• 0, wie will ich triumphieren. Weber (Prohaska). Nozze di Figaro--Non piu andrai. Erich Kunz, baritone (Herbert von Karajan) •••• Voi che sapete. Irmgard Seefried, soprano (Karajan) •••• Dove sono. Elisabeth Schwarzkopf, soprano (Karajan) . ..• Sull'aria. Schwarzkopf, Seefried (Karajan). .• Deh vieni, non tardar. Seefried (Karajan). Don Giovanni--Madamina, il catalogo e questo. Kunz (Otto Ackermann) •••• Laci darem la mano. Seefried, Kunz (Karajan) • ••• Dalla sua pace. Richard Tauber, tenor (Walter Goehr) •••• Batti, batti, o bel Masetto. Seefried (Karajan) •.•• Il mio tesoro. Tauber (Goehr) •••• Non mi dir. Maria Cebotari, soprano (Karajan). Zauberfl.Ote- Der Vogelfanger bin ich ja. Kunz (Karajan) •••• Dies Bildnis ist be zaubernd schon. Anton Dermota, tenor (Karajan) •••• 0 zittre nicht; Der Holle Rache. Wilma Lipp, soprano (Wilhelm Furtwangler). Ein Miidchen oder Weibchen. Kunz (Rudolf Moralt). BEETHOVEN: Fidelio--Ach war' ich schon. Sena Jurinac, soprano (Furtwangler) •••• Mir ist so wunderbar. Martha Modl, soprano; Jurinac; Rudolf Schock, tenor; Gottlob Frick, basso (Furtwangler) •••• Hat man nicht. Weber (Prohaska). WEBER: Freischutz--Hier im ird'schen Jammertal; Schweig! Schweig! Weber (Prohaska). NICOLAI: Die lustigen Weiher von Windsor--Nun eilt herbei. Cebotari {Prohaska). WAGNER: Meistersinger--Und doch, 'swill halt nicht gehn; Doch eines Abends spat. Hans Hotter, baritone (Meinhard von Zallinger). Die Walkilre--Leb' wohl. Hotter (Zallinger). Gotterdammerung --Hier sitz' ich. Weber (Moralt). SMETANA: Die verkaufte Braut--Wie fremd und tot. Hilde Konetzni, soprano (Karajan). J. STRAUSS: Zigeuner baron--0 habet acht. -
Luciano Pavarotti GRAN TEATRE DEL LICEU
GRAN TEATRE DEL LICEU Luciano Pavarotti GRAN TEATRE DEL LICEU Recital extraordinari Luciano Pavarotti Amb el patrocini de GRUPO TABACALERA f Dijous, 8 de juny de 1989, a les 21 '30 h. CONSORCI DEL GRAN TEATRE DEL liCEU El CONSORCI DEL GRAN TEATRE DEL LICEU agraeix a GRUPO TABACALERA el patrocini d'aquest recital Luciano Pavarotti Luciano Pavarotti va néixer a Mòdena el 12 d'octubre de 1935. Enceta l'estudi del cant sota el guiatge del tenor conciutadà Arrigo Pola, el qual cantà al Liceu La fiarnma i La Bohème l'any 1951. Dos anys des prés continua els estudis amb Ettore Campogalliani a Màntua. El1961 par ticipa al Concurs Internacional «Achille Peri» per a cantants lírics joves debuta en ciutat a Reggio Emilia i, en haver-se classificat primer, aquella a la seva com a Rodolfo de La Bohème. Tot seguit fa la mateixa òpera ciutat, Mòdena, amb la direcció de Leone Magiera. Després d'aquest debut té contractes amb els teatres de Venècia, Gènova, Florència, Palerm i dife rents teatres emilians. Amplia el repertori amb La Traviata, Rigoletto, Madama Butterfly i algun oratori. El 1963 debuta amb Lucia di Lammermoor a Amsterdam i a les principals ciutats d'Holanda. Canta a diferents teatres italians i estrangers (Dublín, Viena, Zuric, etc.). El setembre del mateix any debuta al Covent Garden Di de Londres, com a Rodolfo de La Bohème, en substitució de Stefano, una transmissió tele i com a conseqüència de l'èxit aconseguit participa en tornarà amb visiva i fa un concert al Royal Albert Hall (al Covent Garden del òperes com La Sonnambula, La Traviata, La figlia reggimento, Rigo letto, Lucia di Lammermoor, etc.). -
Inhalt Bandl Vorwort XXVII Einleitung I Vorspiel Auf Dem Theater — Eine Stimme Zur Rechten Zeit ...I Vollendung Und Ende
Inhalt Bandl Vorwort XXVII Einleitung i Vorspiel auf dem Theater — Eine Stimme zur rechten Zeit .... i Vollendung und Ende des Belcanto: Enrico Caruso 3 Vom Erbe — über das Erben 9 I. Kapitel Dialog mit der Ewigkeit 19 In der Welt der Erinnerung zählt die Zeit nicht 19 Auf der Suche nach der verlorenen Zeit 26 Sänger und Schallplatte 28 Von Treue und Untreue 34 II. Kapitel Belcanto 39 Goldenes Zeitalter 39 Heiliger Geist - Hermaphrodit - Modern Heroe - Die übernatürlich schöne Stimme 46 Paradigma: Farinelli 48 Das Ende der Gesangskunst? 55 III. Kapitel Der ferne Klang oder: Die alte Schule 59 Nachtigall: Adelina Patti 59 • Auf Flügeln des Gesanges: Marcella Sembrich 67 Exkurs: Die Schule der Mathilde Marchesi 73 Assoluta: Lilli Lehmann 76 • Yankee-Diva: Lillian Nordica 83 • Der letzte Rokoko-Tenor: Fernando de Lucia 88 • La voix unique du monde: Fran cesco Tamagno 99 • Exkurs: Die Zerstörung des Helden: Francesco Tamagno und die Otello-Tradition 104 • Magisches Wispern: Victor Maurel 112 • La Gloria d'Italia: Mattia Batristini 115 • Der vollkommene Sänger: Pol Plancon 122 IV. Kapitel Richard Wagner: Die menschliche Stimme ist die Grundlage aller Musik 127 Der Darsteller ist der wahre Künstler 127 Die Oper oder: Das Narrenhaus für allen Wahnsinn der Welt . 129 Kesting, Jürgen digitalisiert durch: Die grossen Sänger IDS Luzern 2010 Der dramatische Gesang 132 Paradigma I - Die Utopie von der vollkommenen Tenorstimme oder: Joseph Tichatschek 137 Paradigma II - Das Gesangsgenie ohne Stimme oder: Wilhelmine Schröder-Devrient 139 Wenn sich die Theorie der Wirklichkeit nicht fügt 144 Gesang als Handlung 147 Die Frage des Belcanto 149 Gesang und Sprache: Wagner, der Lautkomponist 159 Entwicklungen des Wagner-Gesangs 163 V. -
Various Мастера Bel Canto Mp3, Flac, Wma
Various Мастера Bel Canto mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Мастера Bel Canto Country: USSR MP3 version RAR size: 1454 mb FLAC version RAR size: 1330 mb WMA version RAR size: 1275 mb Rating: 4.2 Votes: 280 Other Formats: WMA FLAC AUD APE DXD VOC MIDI Tracklist Hide Credits Кавантина Нормы A1 –Adelina Patti Composed By – Vincenzo Bellini Серенада A2 –Adelina Patti Composed By – Francesco Paolo Tosti Поцелуй A3 –Adelina Patti Composed By – Luigi Arditi Гимн A4 –Francesco Tamagno Composed By – Giacomo Meyerbeer Сцена И Смерть Отелло A5 –Francesco Tamagno Composed By – Giuseppe Verdi Колыбельная Лотарио B1 –Francesco Navarrini Composed By – Ambroise Thomas Песня Плюмкета B2 –Francesco Navarrini Composed By – Friedrich von Flotow Песня Азучены B3 –Louise Kirkby-Lunn Composed By – Giuseppe Verdi Стретта Манрико B4 –Antonio Paoli Composed By – Giuseppe Verdi Ария B5 –Fernando De Lucia Composed By – Alessandro Stradella Ария Генриха C1 –Mattia Battistini Composed By – Gaetano Donizetti Ария Вертера C2 –Mattia Battistini Composed By – Jules Massenet Ария Вильгельма C3 –Mattia Battistini Composed By – Gioacchino Rossini Ария Макбета И Дуэт Джильды И Риголетто C4 –Mattia Battistini Composed By – Giuseppe Verdi Сцена Лючии D1 –Marcella Sembrich Composed By – Gaetano Donizetti Дуэт Джидьи И Риголетто D2 –Marcella Sembrich Composed By – Giuseppe Verdi Ария Яго И Ария Риголетто D3 –Giuseppe Mario Sammarco Composed By – Giuseppe Verdi Монолог Риголетто E1 –Antonio Magini-Coletti Composed By – Giuseppe Verdi Дуэт Малатесты -
VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item
VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just slight marks. For collectors searching top copies, you’ve come to the right place! The further we get from the era of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. Also featured are many “Z” shellac Victors, their best quality surface material (later 1930s) and PW (Pre-War) Victor, almost as good surface material as “Z”. Likewise laminated Columbia pressings (1923- 1940) offer particularly fine sound. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-‘14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually featuring translations of the text or similarly related comments. VERTICALLY CUT RECORDS. There were basically two systems, the “needle-cut” method employed by Edison, which was also used by Aeolian-Vocalion and Lyric and the “sapphire ball” system of Pathé, also used by Rex. and vertical Okeh. -
Versão Integral Disponível Em Digitalis.Uc.Pt 2017 12 ÍNDICE
ISSN 0870-8584 Copia omaggio Arquitectos italianos em Portugal Nuno Grande, Vittorio Gregotti e Álvaro Siza. Afinidades electivas entre dois arquitectos contemporâneos Jorge Figueira, Fragmentos rossianos na arquitectura portuguesa José Miguel Rodrigues, Giorgio Grassi e a arquitectura portuguesa Luís Miguel Correia, Il Duce à secretária de Salazar. Lição sobre o lugar da história no Nuovo Stato Elisa Pegorin, Architettura e regime tra Italia e Portogallo. Relazioni nelle Nova Série Nº 12 2017 opere pubbliche dello Estado Novo Francisco Pato de Macedo, Arquitetura e espiritualidade dos Franciscanos nos primórdios em Portugal Rafael Moreira, Andrea Sansovino em Lisboa (1492-1501). Entre a Batalha e Toledo, e de Benavente a Azeitão e Sintra José Ferrão Afonso, Francisco de Cremona, arquiteto italiano na Foz do Douro e em Viseu no terceiro quartel do século XVI Jorge Correia, ‘… determino mandar um destes italianos […] para melhor poderdes efectuar essa fortificação’ Domingos Tavares, De Andrea Sansovino a Filippo Terzi. Hesitações da casa real portuguesa João Cabeleira, Andrea Pozzo. Difusão científica e alinhamento do imaginário arquitectónico Rui Lobo, Giuseppina Raggi, O Seminário de Jesus, Maria e José de Coimbra. Um projeto de Giuseppe Antonio Landi Pedro Miguel Gomes Januário, Giovanni Carlo Sicinio Galli Bibiena (1717-1760) Estudos Italianos em Portugal José Camões, Antinori–Avondano. A Ópera da Estrela ou fracasso de uma empresa teatral luso-italiana Teresa Cunha Ferreira, Ville e villini. Casas de arquitectos italianos no Portugal de Oitocentos Joana Cunha Leal, Giuseppe Cinatti. Pequeno roteiro de grandes obras Walter Rossa, Juvarra. Cenografia e urbanística para uma capital do 12 Iluminismo Giuseppina Raggi, Dalla scuola romana di Carlo Fontana ai circuiti europei 2017 dei Galli Bibiena: architetti italiani in Portogallo nel XVIII secolo Francesco Marconi, Traiettorie Michele Cannatà, Vivere e lavorare a Porto. -
Inhalt Bandi Einleitung I Vorspiel Auf Dem Theater — Eine Stimme Zur Rechten Zeit ...I Vollendung Und Ende Des Belcanto
Inhalt Bandi Vorwort XXVII Einleitung i Vorspiel auf dem Theater — Eine Stimme zur rechten Zeit .... i Vollendung und Ende des Belcanto: Enrico Caruso 3 Vom Erbe — über das Erben 9 I. Kapitel Dialog mit der Ewigkeit 19 In der Welt der Erinnerung zählt die Zeit nicht 19 Auf der Suche nach der verlorenen Zeit 26 Sänger und Schallplatte 28 Von Treue und Untreue 34 II. Kapitel Belcanto 39 Goldenes Zeitalter 39 Heiliger Geist — Hermaphrodit — Modern Heroe — Die übernatürlich schöne Stimme 46 Paradigma: Farinelli 48 Das Ende der Gesangskunst? 55 III. Kapitel Der ferne Klang oder: Die alte Schule 59 Nachtigall: Adelina Patti 59 • Auf Flügeln des Gesanges: Marcella Sembrich 67 Exkurs: Die Schule der Mathilde Marchesi 73 Assoluta: Lilli Lehmann 76 • Yankee-Diva: Lillian Nórdica 83 • Der léate Rokoko-Tenor: Fernando de Lucia 88 • La voix unique du monde: Fran- cesco Tamagno 99 • Exkurs: Die Zerstörung des Helden: Francesco Tamagno und die Otello-Tradition 104 • Magisches Wispern: Victor Maurel 112 • La Gloria d'Italia: Mattia Battistini 115 • Der vollkommene Sänger: Pol Plançon 122 IV. Kapitel Richard Wagner: Die menschliche Stimme ist die Grundlage aller Musik 12.7 Der Darsteller ist der wahre Künstler 127 Die Oper oder: Das Narrenhaus für allen Wahnsinn der Welt . 129 Inhalt VII Bibliografische Informationen digitalisiert durch http://d-nb.info/1008288748 Der dramatische Gesang 132 Paradigma I — Die Utopie von der vollkommenen Tenorstimme oder: Joseph Tichatschek 137 Paradigma II - Das Gesangsgenie ohne Stimme oder: Wilhelmine Schröder-Devrient 139 Wenn sich die Theorie der Wirklichkeit nicht fügt 144 Gesang als Handlung 147 Die Frage des Belcanto 149 Gesang und Sprache: Wagner, der Lautkomponist 159 Entwicklungen des Wagner-Gesangs 163 V. -
ARSC Journal
THE YALE COLLECTION OF HISTORICAL SOUND RECORDINGS by Karol Berger Since about the turn of the century newly invented methods of sound recording began to be used regularly to document the activities of performing artists in many fields. In the last eighty years or so many ex amples of musical and theatrical performances, and also of literary readings and political oratory, have been preserved through the medium of recorded sound. The academic world's recognition of the educational and scholarly value of this material has been slow, and even today it is by no means universal. Yale University was one of the first institutions of higher learning and research in this country to per ceive this value and, as· the result of this percep tion, the Yale Collection of Historical Sound Record ings (HSR for short) was established as a part of the University Library in 1961. The Collection's purpose, which was formulated at its inception and which continues to guide its activities, is to collect, preserve, and make avail able for study sound recordings in the fields of the Western classical music and theater, poetry and literature, history and politics. It was decided initially not to collect jazz, popular, folk, or non Western music, because the University did not offer courses in these fields and also because they were represented in fine archives already in existence. Recently however, the Collection has accepted gifts of jazz and ethnographic records, since courses are now offered at Yale which may use such material. The man to whom HSR mostly owes its conception and continuing existence is Laurence C. -
ESTUDOS ITALIANOS 12 Bx.Pdf
ÍNDICE Editorial 3-6 Dossiê – Arquitectos italianos em Portugal 7-12 Artigos Nuno Grande, Vittorio Gregotti e Álvaro Siza. Afinidades electivas entre dois arquitectos contemporâneos 15 Jorge Figueira, Fragmentos rossianos na arquitectura portuguesa 35 José Miguel Rodrigues, Giorgio Grassi e a arquitectura portuguesa 49 Luís Miguel Correia, Il Duce à secretária de Salazar. Lição sobre o lugar da história no Nuovo Stato 69 Elisa Pegorin, Architettura e regime tra Italia e Portogallo. Relazioni nelle opere pubbliche dello Estado Novo 83 Francisco Pato de Macedo, Arquitetura e espiritualidade dos Fran- ciscanos nos primórdios em Portugal 97 Rafael Moreira, Andrea Sansovino em Lisboa (1492-1501). Entre a Batalha e Toledo, e de Benavente a Azeitão e Sintra 111 José Ferrão Afonso, Francisco de Cremona, um arquiteto italiano na Foz do Douro e em Viseu no terceiro quartel do século XVI 131 Jorge Correia, ‘… determino mandar um destes italianos […] para melhor poderdes efectuar essa fortificação’ 149 Domingos Tavares, De Andrea Sansovino a Filippo Terzi. Hesita- ções da casa real portuguesa 165 João Cabeleira, Andrea Pozzo. Difusão científica e alinhamento do imaginário arquitectónico 177 Rui Lobo, Giuseppina Raggi, O Seminário de Jesus, Maria e José de Coimbra. Um projeto de Giuseppe Antonio Landi 193 Pedro Miguel Gomes Januário, Giovanni Carlo Sicinio Galli Bi- biena (1717-1760) 213 José Camões, Antinori–Avondano. A Ópera da Estrela ou fracasso de uma empresa teatral luso-italiana 225 Teresa Cunha Ferreira, Ville e villini. Casas de arquitectos italianos no Portugal de Oitocentos 237 Joana Cunha Leal, Giuseppe Cinatti. Pequeno roteiro de grandes obras 255 Desenvolvimentos Walter Rossa, Juvarra. -
Antonio Cotogni Un Vistazo Al Pasado
NOSTALGIA Antonio Cotogni Un vistazo al pasado por Carlos Fuentes y Espinosa lo largo de siglos y siglos, cada generación de seres humanos ha vivido, en su juventud, la incomprensión y el escándalo de los predecesores por sus nuevas formas, y, en su etapa final, la incomprensión y el desdén, cuando no el desconocimiento, de los noveles. Y cada una está A convencida de su supremacía, lo que impulsa sus realizaciones, idealmente. Es un proceso inveterado y un comportamiento revelador de la psicología de nuestra especie, de la sociedad en su conjunto, y es responsable de significativos cambios estilísticos, del nacimiento de períodos artísticos, de interpretaciones, tratamientos y concepciones de realidades, en pocas palabras, del caminar del Hombre a través de una renovación general. Y precisamente, la falta de esta distancia generacional supondría un estancamiento fatal en el buscado progreso. Las más altas manifestaciones humanas de la creación son especialmente afectadas —podría decirse favorablemente— por estas revoluciones cíclicas que las encauzan y aprovechan en novedosas posibilidades. En un análisis de las condiciones actuales de nuestro mundo, ¿qué influjo jercee el contraste con normas pasadas?, ¿la llamada “brecha generacional” se manifiesta como siempre o realmente vivimos una decadencia? Indudablemente, nuestro momento es único en muchos aspectos y nuestra manera de enfrentarlo es igualmente única. Sin embargo, puede afirmarse que cuando los ideales esenciales presentes en cada época dejan de ser el Antonio “Toto” Cotogni -
17.3 Vocal A-G Only. Pp 27-87
VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just slight marks. For collectors searching top copies, you’ve come to the right place! The further we get from the era of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks acquired years ago and others the result of having improved copies in my own collection via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this catalogue are excellent pressings from that era. Also featured are many “Z” shellac Victors, their best quality surface material (produced in the later 1930s) and PW (Pre-War) Victor, almost as good surface material as “Z”. Likewise laminated PW Columbia pressings (1923- 1940) offer similarly fine sound. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to many collectors. These figures do not indicate the “value” of the records but rather the lowest minimum bid I can accept. Some will sell for much more, although bids at any figure from the minimum on up are welcomed and appreciated. To avoid possible tie winning bids (which would otherwise be assigned to the earlier received bid), I’d suggest adding a cents amount to your bid.