RCA Victor LCT 1 10 Inch “Collector's Series”

Total Page:16

File Type:pdf, Size:1020Kb

RCA Victor LCT 1 10 Inch “Collector's Series” RCA Discography Part 28 - By David Edwards, Mike Callahan, and Patrice Eyries. © 2018 by Mike Callahan RCA Victor LCT 1 10 Inch “Collector’s Series” The LCT series was releases in the Long Play format of material that was previously released only on 78 RPM records. The series was billed as the Collector’s Treasury Series. LCT 1 – Composers’ Favorite Intepretations - Vienna Philharmonic Orchestra [195?] Rosca: Recondita Amonia – Enrico Caruso/Madama Butterfly, Entrance of Butterfly – G. Farrar/Louise: Depuis Le Jour – M. Garden/Louise: Depuis Longtemps j’Habitais – E Johnson/Tosca: Vissi D’Arte – M. Jeritza/Der Rosenkavailier Da Geht ER Hin and Ich Werd Jetzt in Die Kirchen Geh’n – L Lehmann/Otello: Morte d’Otello – F. Tamagno LCT 2 – Caruso Sings Light Music – Enrico Caruso and Mischa Elman [195?] O Sole Mio/The Lost Chord/For You Alone/Ave Maria (Largo From "Xerxes")/Because/Élégie/Sei Morta Nella Vita Mia LCT 3 – Boris Goudnoff (Moussorgsky) – Feodor Chalipin, Albert Coates and Orchestra [1950] Coronation Scene/Ah, I Am Suffocating (Clock Scene)/I Have Attained The Highest Power/Prayer Of Boris/Death Of Boris LCT 4 LCT 5- Hamlet (Shakespeare) – Laurence Olivier with Philharmonia Orchestra [1950] O That This Too, Too Solid Flesh/Funeral March/To Be Or Not To Be/How Long Hast Thou Been Gravemaker/Speak The Speech/The Play Scene LCT 6 – Concerto for Violin and Orchestra No. 2 in G Minor Op. 63 (Prokofieff) – Jascha Heifetz and Serge Koussevitzky and the Boston Symphony Orchestra [1950] LCT 7 – Haydn Symphony in G Major – Arturo Toscanini and the NBC Symphony Orchestra [195?] LCT 8 LCT 9 LCT 10 –Rosa Ponselle in Opera and Song – Rosa Ponselle [195?] La Vestale: Tu Che Invoco; O Nume Tutelar, By Spontini/Otello: Salce! Salce! (Willow Song); Ave Maria, By Verdi/Ave Maria, By Schubert/Home, Sweet Home, By Bishop LCT 11 – Sir Harry Lauder Favorites – Harry Lauder [195?] Romin' In The Gloamin'/Soosie Maclean/A Wee Deoch An' Doris/Breakfast In Bed On Sunday Morning/When I Met Mackay/Scotch Memories LCT 12 – Concerto for Piano and Orchestra No. 1 in B Flat Minor, Op. 23 (Tchaikovsky) –Vladimir Horowitz, Arturo Toscanini and NBC Symphony Orchestra [195?] LCT 13 LCT 14 – Schelomo: Herbrew Rhapsody for Cello and Orchestra – Emanuel Feuemann, Leopold Stokowski and Philadelphia Orchestra [195?] LCT 15 1 LCT 16 – Operetta Favorites - Jeanette MacDonald and Nelson Eddy [195?] Naughty Marietta: I'm Falling In Love With Someone/Rose Marie: Rose Marie, Indian Love Call/Maytime: Will You Remember?, Farewell To Dreams/Naughty Marietta: Ah! Sweet Mystery Of Life/Rose Marie: The Mounties/Naughty Marietta: Tramp, Tramp, Tramp Along The Highway RCA Victor LCT 1000 12 Inch “Collector’s Series” LCT 1000 – Genius at the Keyboard – Jan Paderewski, Albert Schweitzer [195?] Chopin Third Movement: Marche Funebre – Vladimir de Pachmann/Chopin Etude in G Flat Op. 10, No. 5 – Ignace Jan Paderewski/Beethoven Sonata in C Sharp Minor Op. 27 No. 2 Moonlight First Movement – Ignace Jan Paderewski/Paderewski Minuet in G Op. 14 No. 1 – Ignace Jan Paderwski/ProkofieffVisions Fugitives Op. 22 No. 9, 3, 17, 18 – Serge Prokofieff/Rachmaninoff Etude Tableau No. 6 in A Minor, Op. 39 – Sergei Rachmaninoff/Schubert Impromptu in A Flat Op. 90, No. 4 – Sergei Rachmaninoff/Rachmaninoff Prelude in C Sharp Minor Op. 3 No. 2 –Sergei Rachmaninoff/Chopin Waltz in C Sharp Minor Op. 64, No. 2 – Moriz Rosenthal/Bach Prelude and Fugue in E Minor – Albert Schweitzer/Debussy Reflections on the Water – Ignace Jan Paderewski LCT 1001 – Operas Selections – Various Artists [195?] Die Walküre: Du Bist Der Lenz - Vienna Philharmonic Orchestra/Parsifal: Ich Sah' Das Kind - London Symphony Orchestra/Tannhäuser: Dich Teure Halle - Berlin State Opera Orchestra/Die Meistersinger: Wahn! Wahn! Überall Wahn! Ein Kobold Half Wohl Da! - Berlin State Opera Orchestra/Die Meistersinger: Was Duftet Doch Der Flieder Kein' Regel Wollte Da Passen - London Symphony Orchestra/Das Rheingold: Weiche, Wotan, Weiche! - H. Witherspoon; With Orchestra/The Flying Dutchman: Wie Aus Der Ferne - Berlin State Opera Orchestra/Die Walküre: Ho-Jo-To-Ho - J. Gadski With Orchestra LCT 1002 – Magic Strings – Pablo Casals, Mischa Elman [1950] Carnival Of The Animals: The Swan (Saint Sae@ns) -P. Casals/Toccata In C: Adagio (J.S. Bach) - P. Casals/Komm Su@sser Tod (J. S. Bach) - P. Casals/Tra@umerei (Schumann) -M. Elman/Zigeunerweisen, Op. 20 (Sarasate) -M. Elman/Liebesfreud (Kreisler) - F. Kreisler/Liebesleid (Kreisler) - F. Kreisler/The Old Refrain (Brandl) - F. Kreisler/Tremolo Study (Tarrega) - A. Segovia LCT 1003 – Golden Age Ensembles – Enrico Caruso and Metropolitan Opera [195?] Lucia di Lammermoor: Act II, Chi Mi Frena (Donizetti) – Amelita Calli-Curci, Minnie Egener and Enrico Caruso/Rigoletto: Act IV, Bella Figlia Dell’ Amore (Verdi) – Enrico Caruso and Giuseppe de Luca/The Masked Ball: Act 1, E Scherzo Od E Folia (Verdi) – Enrico Caruso Leon Rothier and Andres de Segurola/La Forza del Destino, Act II: La Vergine Degli Angeli (Verdi) – Rosa Ponselle and Ezio Pinza/Die Meistersinger Act III: Selig Wie Die Sonne Meines Gluckes Lacht (Wagner) – Gladys Parr and Elisabeth Schumann, Lauritz Melchior and Ben Williams/Il Trovatore: Act IV, Miserere (Verdi) – Frances Alda and Enrico Caruso/Samson Et Dalila: Act 1, Je Viens Celebrer La Victoire (Saint-Saens) – Louise Homer and Enrico Caruso/La Boheme: Act III, Mimi Son Io (Puccini) – Geraldine Farrar and Antonio Scotti LCT 1004 – Golden Duets – Various Artists [195?] La Boheme: O Soave Fanciulla (Puccini) - L. Bori, Soprano, J. McCormack, Tenor/Otello: Si Pel Ciel (Verdi) - E. Caruso, Tenor, T. Ruffo, Baritone/La Forza Del Destino: Solenne In Quest'ora (Verdi) - E. Caruso, Tenor, A. Scotti, Baritone/Faust: Lasse-Moi: Duet From Garden Scene (Gounod) - G. Farrar, Soprano; E. Caruso, Tenor/Norma: Act III. Mira Norma (Hear Me, Norma (Bellini) - R. Ponselle, Soprano; M. Telva, Contralto/La Gioconda: Enzo Grimaldo (Ponchielli) - B. Gigli, Tenor, T. Ruffo, Baritone/Aida: Act IV. La Fatal Pietra; Morir! Si Pura E Bella!, O Terra Addio (Verdi) - R. Ponselle, Soprano, G. Martinelli, Tenor 2 LCT 1005 – Sacred Songs – Enrico Caruso, John McCormack, others [1950] Panis Angelicus (Franck) - J. McCormack/Angel’s Serenade (Braga) - J. McCormack/Agnus Dei (Bizet) - E. Caruso/Now Let Us Depart - Strokin/Open To Me The Gates Of Repentance (Wedel) -F. Chaliapin/Messiah: He Shall Feed His Flock (Handel)/Elijah: Oh Rest In The Lord (Mendelssohn) -M. Matzenauer/Ave Maria (Bach-Gounod) -R. Ponselle/Stille Nacht, Heilige Nacht (Gruber)/St. Paul: But The Lord Is Mindful Of His Own (Mendelssohn) -E. Schumann-Heink LCT 1006 – Golden Age at the Metropolitan – Elisabeth Rethberg with Berlin State Opera Orchestra [195?] La Boheme: Mi Chiamano Mimi - L. Bori, Soprano/Carmen: Habanera - E. Calve, Soprano/Rigoletto: Questa O Quella - E. Caruso, Tenor/Tosca: Vissi D'arte - G. Farrar, Soprano/Rigoletto: Caro Nome - A. Galli-Curci, Soprano/Louise: Berceuse - M. Journet, Bass/Les Huguenots: Bianca Al Par Di Neve Alpina - E. Caruso, Tenor/Ernani: Ernani Involami - R. Ponselle, Soprano/Andrea Chenier: Nemico Della Patria? - T. Ruffo, Baritone/Don Giovanni: Dalla Sua Pace - T. Schipa, Tenor/La Sonnambula: Ah! Non Giunge - L. Tetrazzini, Soprano/The Barber Of Seville: La Calunnia - F. Chaliapin, Bass/Aida: O Patria Mia - E. Rethberg, Soprano/Don Giovanni: Il Mio Tesoro - J. McCormack, Tenor LCT 1007 – Operatic Arias – Enrico Caruso [1950] Una Furtiva Lagrima (A Furtive Tear)/Cielo E Mar (Heaven And Ocean)I/O Paradiso! (Oh, Paradise!)/Che Gelida Manina (Your Tiny Hand Is Frozen)/Rachel! Quand Du Seigneur La Grace Tutelair/Celeste Aida (Heavenly Aida)/Je Crois Entendre Endore (I Hear As In A Dream)/Air De La Fleur (Flower Song)/Vesti La Giubba (On With The Play)/La Donna E Mobile LCT 1008 – Golden Voices Sing Light Music – Alma Gluck, Lucrezia Bori [195?] Blue Danube/Bluebird Of Happiness/Home, Sweet Home/Bacio/Kiss/Carry Me Back To Old Virginny/Abide With Me/Macushla/Solvejg's Song/Lost Chord/Danny Boy/None But The Lonely Heart/Czardas LCT 1009 – Concerto for Piano and Orchestra No. 3 in C Minor Op. 37 (Beethoven) – Artur Rubinstein, Arturo Toscanini and NBC Symphony Orchestra [195?] LCT 1010 – Concerto in D, Op. For Violin and Orchestra (Beethoven) – Jascha Heifetz, Arturo Toscanini and the NBC Symphony Orchestra [195?] LCT 1011 – Sir Harry Lauder Favorties – Sir Harry Lauder [195?] LCT 1012 Concerto No. 1 Piano in B Flat Minor Op 23 (Tchaikovsky) – Vladimir Horowitz with Arturo Toscanini and NBC Symphony Orchestra, Arturo Toscanini [195?] LCT 1013 – Arturo Toscanini Conducting the Philharmonic Symphony Orchestra of New York – Philharmonic Symphony Orchestra of New York [195?] Symphony No. 7 in A, Op. 92 (Beethoven)/Variations on a Theme by Haydn Op. 56a St. Antoni Chorale (Brahms) LCT 1014 – Rachmaninoff Piano Concerto No. 2 – Serge Rachmaninoff, Leopold Stokowski and the Philadelphia Orchestra [1954] LCT 1015 – Concerto for Piano and Orchestra No. 5 in E-Flat, Op. 73 –Artur Schnabel and Chicago Symphony [1950] LCT 1016 – Concerto in A Minor for Violin, Cello and Orchestra (Brahms) – Jascha Heifetz, Emanuel Feurmann, Phildelphia Orchestra [195?] LCT 1017 – Trio for Piano, Violin and Cello No. 1 in B-Flat Op 99 (Schubert) – Jascha Heifetz, Emanuel Feurmann and Artur Rubinstein [195?] 3 LCT 1018 – Grieg Concerto in A Minor – Sergei Rachmaninoff, Leopold Stokowski and the Philadelphia Orchestra [1954] LCT 1019 – Concerto for Piano and Orchestra No. 4 in G Minor, Op 40 (Rachmaninoff) – Sergei Rachmaninoff with Eugene Ormandy and Philadelphia Orchestra [195?] LCT 1020 - Trio No. 7 in B-Flat, Op. 97 (Beethoven) – Artur Rubinstein, Jascha Heifetz, Emanuel Fuermann [195?] LCT 1021 – Divertimento in E-Flat Major, K. 563 for Violin, Viola and Cello Mozart (Mozart) – Jascha Heifetz, Emanuel Feurmann, William Primrose [195?] LCT 1022 – Trio for Piano, Violin and Cello No. 1 in B, Op. 8 (Brahms) – Artur Rubinstein, Jascha Heifetz, Emanuel Feuermann [195?] LCT 1023 – Symphnoy No.
Recommended publications
  • Libretto Nabucco.Indd
    Nabucco Musica di GIUSEPPE VERDI major partner main sponsor media partner Il Festival Verdi è realizzato anche grazie al sostegno e la collaborazione di Soci fondatori Consiglio di Amministrazione Presidente Sindaco di Parma Pietro Vignali Membri del Consiglio di Amministrazione Vincenzo Bernazzoli Paolo Cavalieri Alberto Chiesi Francesco Luisi Maurizio Marchetti Carlo Salvatori Sovrintendente Mauro Meli Direttore Musicale Yuri Temirkanov Segretario generale Gianfranco Carra Presidente del Collegio dei Revisori Giuseppe Ferrazza Revisori Nicola Bianchi Andrea Frattini Nabucco Dramma lirico in quattro parti su libretto di Temistocle Solera dal dramma Nabuchodonosor di Auguste Anicet-Bourgeois e Francis Cornu e dal ballo Nabucodonosor di Antonio Cortesi Musica di GIUSEPPE V ERDI Mesopotamia, Tavoletta con scrittura cuneiforme La trama dell’opera Parte prima - Gerusalemme All’interno del tempio di Gerusalemme, i Leviti e il popolo lamen- tano la triste sorte degli Ebrei, sconfitti dal re di Babilonia Nabucco, alle porte della città. Il gran pontefice Zaccaria rincuora la sua gente. In mano ebrea è tenuta come ostaggio la figlia di Nabucco, Fenena, la cui custodia Zaccaria affida a Ismaele, nipote del re di Gerusalemme. Questi, tuttavia, promette alla giovane di restituirle la libertà, perché un giorno a Babilonia egli stesso, prigioniero, era stato liberato da Fe- nena. I due innamorati stanno organizzando la fuga, quando giunge nel tempio Abigaille, supposta figlia di Nabucco, a comando di una schiera di Babilonesi. Anch’essa è innamorata di Ismaele e minaccia Fenena di riferire al padre che ella ha tentato di fuggire con uno stra- niero; infine si dichiara disposta a tacere a patto che Ismaele rinunci alla giovane.
    [Show full text]
  • Reine Männersache?
    Landeshauptstadt Dresden Straßennamen in Dresden – Reine Männersache? Teil II Impressum Herausgeber: Landeshauptstadt Dresden Der Oberbürgermeister Gleichstellungsbeauftragte für Frau und Mann Telefon: (0351) 4 88 22 67 Telefax: (0351) 4 88 31 09 [email protected] Amt für Presse- und Öffentlichkeitsarbeit Telefon: (0351) 4 88 23 90 Telefax: (0351) 4 88 22 38 [email protected] Postfach 12 00 20 01001 Dresden www.dresden.de Redaktion: Frauenstadtarchiv Dresden, Nicole Schönherr (Träger: FrauenBildungsHaus Dresden e. V.) Gesamtherstellung: Union Druckerei Dresden GmbH November 2004 Kein Zugang für elektronisch signierte und verschlüsselte Dokumente. Verfahrens- anträge oder Schriftsätze können elektronisch, insbesondere per E-Mail, nicht rechtswirksam eingereicht werden. Dieses Informationsmaterial ist Teil der Öffentlichkeitsarbeit der Landeshauptstadt Dresden. Es darf nicht zur Wahlwerbung benutzt werden. Parteien können es jedoch zur Unterrichtung ihrer Mitglieder verwenden. www.dresden.de 1 Inhalt 1 Vorwort 3 2 Straßennamen in Dresden – Reine Männersache? Teil II 4 Biogramm Marie Hankel 6 Biogramm Dr. med. Mildred Scheel 7 3 Dresden ehrt Dr. med. Mildred Scheel – 8 Straßenbenennung nach der Gründerin der „Deutschen Krebshilfe“ e. V. 4 Vorschlagsliste für Straßenbenennungen und Biogramme 10 5 Danksagung 30 6 Bildnachweis, Literaturverzeichnis 31 3 1 Vorwort Liebe Leserinnen und Leser, bei Neu- und Umbenennungen von Straßen vordergründig verdienstvolle Frauen zu be- die im vergangenen Jahr erstmalig erschie- rücksichtigen sind. nene Broschüre „Straßennamen in Dresden – Der nun vorliegende 2. Teil entstand in Reine Männersache?“ fand große Resonanz enger Kooperation mit dem Frauenstadt- – sowohl unter den geschichtsinteressierten archiv Dresden, der AG Straßennamen und Bürgerinnen und Bürgern Dresdens, als auch dem Stadtarchiv Dresden. Auch in dieser bei den regional Verantwortlichen.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 118, 1998-1999
    BOSTON SYMPHONY ORCHESTRA 1 I O Z AWA ' T W E N T Y- F I F 1 H ANNIVERSARY SEASO N 1 1 8th Season • 1 998-99 Bring your Steinway: < With floor plans from acre gated community atop 2,100 to 5,000 square feet, prestigious Fisher Hill you can bring your Concert Jointly marketed by Sotheby's Grand to Longyear. International Realty and You'll be enjoying full-service, Hammond Residential Real Estate. single-floor condominium living at Priced from $1,100,000. its absolutefinest, all harmoniously Call Hammond Real Estate at located on an extraordinary eight- (617) 731-4644, ext. 410. LONGYEAR at Jisner Jiill BROOKLINE Seiji Ozawa, Music Director 25TH ANNIVERSARY SEASON Bernard Haitink, Principal Guest Conductor One Hundred and Eighteenth Season, 1998-99 Trustees of the Boston Symphony Orchestra, Inc. R. Willis Leith, Jr., Chairman Nicholas T. Zervas, President Peter A. Brooke, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Harvey Chet Krentzman, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson Deborah B. Davis Edna S. Kalman Vincent M. O'Reilly Gabriella Beranek Nina L. Doggett George Krupp Peter C. Read James E Cleary Nancy J. Fitzpatrick Mrs. August R. Meyer Hannah H. Schneider John F. Cogan, Jr. Charles K. Gifford, Richard P. Morse Thomas G. Sternberg Julian Cohen ex-ojficio Mrs. Robert B. Stephen R. Weiner William F. Connell Avram J. Goldberg Newman Margaret Williams- William M. Crozier, Jr. Thelma E. Goldberg Robert P. O'Block, DeCelles, ex-qfficio Nader F Darehshori Julian T. Houston ex-ojficio Life Trustees Vernon R.
    [Show full text]
  • Carmen: the Complete Opera Free
    FREE CARMEN: THE COMPLETE OPERA PDF Georges Bizet,Clinical Professor at the College of Medicine William Berger MD,David Foil | 144 pages | 15 Dec 2005 | Black Dog & Leventhal Publishers Inc | 9781579125080 | English | New York, United States Complete Opera (Carmen) by G. Bizet - free download on MusicaNeo Sheet music file Free. Sheet music file 4. Sheet music file 1. Sheet music file Sheet music file including a license for an unlimited number of performances, limited to one year. Read license 1. Sheet music file 7. Upload Sheet Music. Publish Sheet Music. En De Ru Pt. Georges Bizet. Piano score. Look inside. Sheet music file Free Uploader Library. PDF, Arrangement for piano solo of the opera "Carmen" written by Bizet. If you have any question don't hesitate to contact us at olcbarcelonamusic gmail. Act I. Act II. Act III. Act IV. PDF, 8. Act II No. Act III No. PDF, 9. Act IV No. PDF, 5. Act I, Piano-vocal score. Act II, Piano-vocal score. Act III, Piano-vocal score. Piano-vocal score. Act IV, Piano-vocal score. Overture and Act I. PDF, 2. Overture, for sextet, Op. PDF, 1. Overture, for piano four hands. Overture, for piano. Entr'acte to Act IV, for string quartet. Orchestral harp part. Orchestral Harp. Orchestral cello part. PDF, 4. Orchestral part of Celli. Orchestral contrabasses part. Orchestral part of Contrabasses. Orchestral violin I part. Orchestral Violin I. Orchestral violin II part. Orchestral parts of Violini Carmen: The Complete Opera. Orchestral viola part. Carmen: The Complete Opera part of Viola. Orchestral clarinet I part.
    [Show full text]
  • Luciano Pavarotti Is Dead at 71
    September 6, 2007 Luciano Pavarotti Is Dead at 71 By BERNARD HOLLAND Luciano Pavarotti, the Italian singer whose ringing, pristine sound set a standard for operatic tenors of the postwar era, died Thursday at his home near Modena, in northern Italy. He was 71. His death was announced by his manager, Terri Robson. The cause was pancreatic cancer. In July 2006 he underwent surgery for the cancer in New York, and he had made no public appearances since then. He was hospitalized again this summer and released on Aug. 25. Like Enrico Caruso and Jenny Lind before him, Mr. Pavarotti extended his presence far beyond the limits of Italian opera. He became a titan of pop culture. Millions saw him on television and found in his expansive personality, childlike charm and generous figure a link to an art form with which many had only a glancing familiarity. Early in his career and into the 1970s he devoted himself with single- mindedness to his serious opera and recital career, quickly establishing his rich sound as the great male operatic voice of his generation — the “King of the High Cs,” as his popular nickname had it. By the 1980s he expanded his franchise exponentially with the Three Tenors projects, in which he shared the stage with Plácido Domingo and José Carreras, first in concerts associated with the World Cup and later in world tours. Most critics agreed that it was Mr. Pavarotti’s charisma that made the collaboration such a success. The Three Tenors phenomenon only broadened his already huge audience and sold millions of recordings and videos.
    [Show full text]
  • Catalogo Delle Opere a Stampa E Una Cartolina Con Firma Autografa, Il Primo 24 Pp
    Lim Antiqua s.a.s - Studio bibliografico Via della Chiesa IX, 44 Loc. Monte San Quirico 55100 LUCCA Telefono e Fax +39 0583 34 2218 (dalle 9 alle 13) +39 333 2551758 www.limantiqua.com/it email: [email protected] P. IVA 01286300460 Dati per bonifico: C/C postale n. 11367554 IBAN: IT 67 Q 07601 13700 000011367554 BIC: BPPIITRRXXX Orario di apertura Lunedì – Venerdì ore 9.00/14.00 Gli ordini possono essere effettuati per telefono, email o via fax. Il pagamento può avvenire tramite contrassegno, bollettino postale, bonifico sul conto postale o PayPal. Le spese di spedizione sono a carico del destinatario. I prezzi indicati sono comprensivi di IVA. Gli ordini saranno ritenuti validi e quindi evasi anche in caso di disponibilità parziale dei pezzi richiesti. Compositori p. 2 Direttori d’orchestra p. 26 Strumentisti e pianisti p. 38 Cantanti d’opera p. 43 5. Pierre Boulez Compositori 1. Franco Alfano (Napoli 1875 – Sanremo 1954) Lettera autografa firmata del compositore napoletano noto per aver completato Turandot di Puccini, indirizzata al giornalista Giorgio Pillon. Dat. 12 gennaio 1946: “Chiarissimo Professore, la notizia della morte di Romualdo Pantini, mio vecchio caro amico, mi è giunta di sorpresa …Io devo a Pantini innumerevoli consigli se non altrettante reali collaborazioni. “Eliana” datosi al Teatro Reale di Roma, dopo l’estero, due anni fa, appartiene a queste ultime. Anche per “Sakuntala” egli mi è stato largo di suggerimenti”. Franco Alfano rivestì prestigiosi incarichi tra i quali ricordiamo l'insegnamento al Liceo di Bologna, nel 1918 la direzione del Conservatorio di Bologna e dal 1923 la direzione del conservatorio "Giuseppe Verdi" di Torino che mantenne sino al 1939.
    [Show full text]
  • 28Apr2004p2.Pdf
    144 NAXOS CATALOGUE 2004 | ALPHORN – BAROQUE ○○○○ ■ COLLECTIONS INVITATION TO THE DANCE Adam: Giselle (Acts I & II) • Delibes: Lakmé (Airs de ✦ ✦ danse) • Gounod: Faust • Ponchielli: La Gioconda ALPHORN (Dance of the Hours) • Weber: Invitation to the Dance ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Slovak RSO / Ondrej Lenárd . 8.550081 ■ ALPHORN CONCERTOS Daetwyler: Concerto for Alphorn and Orchestra • ■ RUSSIAN BALLET FAVOURITES Dialogue avec la nature for Alphorn, Piccolo and Glazunov: Raymonda (Grande valse–Pizzicato–Reprise Orchestra • Farkas: Concertino Rustico • L. Mozart: de la valse / Prélude et La Romanesca / Scène mimique / Sinfonia Pastorella Grand adagio / Grand pas espagnol) • Glière: The Red Jozsef Molnar, Alphorn / Capella Istropolitana / Slovak PO / Poppy (Coolies’ Dance / Phoenix–Adagio / Dance of the Urs Schneider . 8.555978 Chinese Women / Russian Sailors’ Dance) Khachaturian: Gayne (Sabre Dance) • Masquerade ✦ AMERICAN CLASSICS ✦ (Waltz) • Spartacus (Adagio of Spartacus and Phrygia) Prokofiev: Romeo and Juliet (Morning Dance / Masks / # DREAMER Dance of the Knights / Gavotte / Balcony Scene / A Portrait of Langston Hughes Romeo’s Variation / Love Dance / Act II Finale) Berger: Four Songs of Langston Hughes: Carolina Cabin Shostakovich: Age of Gold (Polka) •␣ Bonds: The Negro Speaks of Rivers • Three Dream Various artists . 8.554063 Portraits: Minstrel Man •␣ Burleigh: Lovely, Dark and Lonely One •␣ Davison: Fields of Wonder: In Time of ✦ ✦ Silver Rain •␣ Gordon: Genius Child: My People • BAROQUE Hughes: Evil • Madam and the Census Taker • My ■ BAROQUE FAVOURITES People • Negro • Sunday Morning Prophecy • Still Here J.S. Bach: ‘In dulci jubilo’, BWV 729 • ‘Nun komm, der •␣ Sylvester's Dying Bed • The Weary Blues •␣ Musto: Heiden Heiland’, BWV 659 • ‘O Haupt voll Blut und Shadow of the Blues: Island & Litany •␣ Owens: Heart on Wunden’ • Pastorale, BWV 590 • ‘Wachet auf’ (Cantata, the Wall: Heart •␣ Price: Song to the Dark Virgin BWV 140, No.
    [Show full text]
  • 1St Connection Between Baseball and Opera
    Baseball & Opera (compiled by Mark Schubin, this version posted 2014 April 14) 1849 : 1 st connection between baseball and opera: Fans of American actor Edwin Forrest, who is playing Macbeth in New York, hire thugs from among ballplayers at Elysian Fields in Hoboken, New Jersey (1 st famous ball field) to disrupt performances of British actor William Macready, also playing Macbeth in New York at what had been Astor Opera House. Deadly riot ensues; Macready is rescued by ex-Astor Opera House impresario Edward Fry, who later (1880) invents electronic home entertainment (and probably headphones) by listening to live opera by phone. 1852: Opera-house exclusivity dispute with composer’s niece Johanna Wagner forms legal basis of baseball’s reserve clause. 1870 : Tony Pastor’s Opera House baseball team is covered by The New York Times (they won). 1875 : San Francisco Chronicle reports on that city’s opera-house baseball team. 1879 : Pirate King role created for Signor Brocolini, who, as John Clark, played first base for the Detroit Base Ball Club. 1881 : Dartmouth College opera group performs to raise money for college’s baseball team. 1884 : Three telegraph operators, James U. Rust, E. W. Morgan, and A. H. Stewart, present live games remotely. One sends plays from ballpark, second receives and announces, third moves cards with players’ names around backdrop. Starting in Nashville’s 900-seat Masonic Theater, they soon move to 2,500-seat Grand Opera House, beginning half-century of remote baseball game viewing at opera houses (also Augusta, GA Grand Opera House starting 1885). 1885 : The Black Hussar is probably 1 st opera with baseball mentioned in its libretto (in “Read the answer in the stars”).
    [Show full text]
  • Chronology 1916-1937 (Vienna Years)
    Chronology 1916-1937 (Vienna Years) 8 Aug 1916 Der Freischütz; LL, Agathe; first regular (not guest) performance with Vienna Opera Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Miller, Max; Gallos, Kilian; Reichmann (or Hugo Reichenberger??), cond., Vienna Opera 18 Aug 1916 Der Freischütz; LL, Agathe Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Gallos, Kilian; Betetto, Hermit; Marian, Samiel; Reichwein, cond., Vienna Opera 25 Aug 1916 Die Meistersinger; LL, Eva Weidemann, Sachs; Moest, Pogner; Handtner, Beckmesser; Duhan, Kothner; Miller, Walther; Maikl, David; Kittel, Magdalena; Schalk, cond., Vienna Opera 28 Aug 1916 Der Evangelimann; LL, Martha Stehmann, Friedrich; Paalen, Magdalena; Hofbauer, Johannes; Erik Schmedes, Mathias; Reichenberger, cond., Vienna Opera 30 Aug 1916?? Tannhäuser: LL Elisabeth Schmedes, Tannhäuser; Hans Duhan, Wolfram; ??? cond. Vienna Opera 11 Sep 1916 Tales of Hoffmann; LL, Antonia/Giulietta Hessl, Olympia; Kittel, Niklaus; Hochheim, Hoffmann; Breuer, Cochenille et al; Fischer, Coppelius et al; Reichenberger, cond., Vienna Opera 16 Sep 1916 Carmen; LL, Micaëla Gutheil-Schoder, Carmen; Miller, Don José; Duhan, Escamillo; Tittel, cond., Vienna Opera 23 Sep 1916 Die Jüdin; LL, Recha Lindner, Sigismund; Maikl, Leopold; Elizza, Eudora; Zec, Cardinal Brogni; Miller, Eleazar; Reichenberger, cond., Vienna Opera 26 Sep 1916 Carmen; LL, Micaëla ???, Carmen; Piccaver, Don José; Fischer, Escamillo; Tittel, cond., Vienna Opera 4 Oct 1916 Strauss: Ariadne auf Naxos; Premiere
    [Show full text]
  • Sir John in Love
    REAM.2122 MONO ADD RALPH VAUGHAN WILLIAMS Sir John in Love (1924-28) An Opera in Four Acts Libretto by the composer, based on Shakespeare’s (in order of appearance) Shallow, a country Justice Heddle Nash Sir Hugh Evans, a Welsh Parson Parry Jones Slender, a foolish young gentleman, Shallow’s cousin Gerald Davies Peter Simple, his servant Andrew Gold, Page, a citizen of Windsor Denis Dowling, Sir John Falstaff Roderick Jones Bardolph John Kentish Nym Sharpers attending on Falstaff Denis Catlin Pistol } Forbes Robinson Anne Page, Page’s daughter April Cantelo Mrs Page, Page’s wife Laelia Finneberg Mrs Ford, Ford’s wife Marion Lowe Sir John in Love Fenton, a young gentleman of the Court at Windsor James Johnston Dr. Caius, a French physician Francis Loring Rugby, his servant Ronald Lewis Mrs Quickly, his housekeeper Pamela Bowden The Host of the ‘Garter Inn’ Owen Brannigan Ford, a citizen of Windsor John Cameron The BBC wordmark and the BBC logo are trade marks of the British Broadcasting Corporation and are used under licence. BBC logo © BBC 1996 c © Of all the musical forms essayed by Ralph Vaughan Williams (1872-1958), his operas have received the least recognition or respect. His propensity to write without commissions and to encourage amateur or student groups to premiere his stage pieces 3 EVANS As we sat down in Papylon 4’36” has perhaps played a part in this neglect. Yet he was incontestably a man of the theatre. 4 HOST Peace, I say! 3’04” He produced an extensive, quasi-operatic score of incidental music for Aristophanes’ , for the Cambridge Greek Play production in 1909.
    [Show full text]
  • NI 7927-8 Book
    NI 7927/8 NI 7927/8 Regiment of Sambre et Meuse should have been delayed until two months after the war had ended I do not know, but there is no gainsaying thepanache with which he trumpets forth his tribute to those intrepid military men. A comparison of these later recordings of Caruso’s with those made back in 1902 and 1903 PALESTRINA makes it evident how his voice had darkened and grown more massive over the years. The M I S S A O S A C R U M C O N V I V I U M advances in the recording process naturally emphasise this change, but in any case such was Caruso’s technical mastery that even when his voice was at its heaviest it never became unwieldy. His very last stage appearance was in a role which had been a favourite from his earliest days, Nemorino in L’elisir d’amore, which calls for great vocal dexterity; and anyone who doubts Caruso’s ability to sing rapidcoloratura in his latter days should listen to the cadenza at the end of his recording ofMia Piccirella from the operaSalvator Rosa, made in September 1919. I would like to end these reflections, though, with a glance at one more track from the current selection. This is the duet entitledCrucifix, written by the eminent French baritone Jean-Baptiste Faure, in which Caruso is partnered by Marcel Journet, one of the most celebrated basses of the day. Journet’s is the first voice that we hear, and very fine it is too; but when Caruso enters the sound is one of incomparable beauty, rich and majestic but astonishingly gentle too.
    [Show full text]
  • 2017-04-02 Messiah
    OLDHAM CHORAL SOCIETY PATRON: Jeffrey Lawton CHAIRMAN: Fred Jones Vice-Chair: Margaret Hood Vice-President: Nancy Murphy Hon. Secretary: Ray Smith Hon. Treasurer: John Price Music Director: Nigel P. Wilkinson Accompanist: Angela Lloyd-Mostyn Conductor Emeritus: John Bethell MBE Librarian: Tricia Golden / Janeane Taylor Ticket Sec.: Margaret Hallam Patrons’ Sec.: Sylvia Andrew Uniform Co-ordination: Val Dawson Webmaster: David Baird Concert Manager: Gerard Marsden Promotions Group: David Baird, Edna Gill, Margaret Hood, Fred Jones, Maggs Martin, Sue Morris, June O’Grady, Brenda Roberts, LIFE MEMBERS Eva Dale, Fred Jones, Margaret Hood, Alan Mellor, Nancy Murphy, Peter Quan, Eric Youd A MESSAGE FROM THE CHAIR One of the joys of being in a choir is that from time to time you get to sing your favourite work. That is my pleasure this evening. I have loved the "Messiah" for many years (not saying how many!). To my mind it is a pity that it is usually confined to the busy period of Christmas, so I am particularly pleased to have a Lenten performance. The emotion and drama of the Easter story are something quite special, and deserve to be savoured. Our wonderful soloists and the East Lancs Sinfonia will, I am sure, join with the choir to produce a magical musical experience. We will not be having our usual lighter-themed concert at Middleton Arena this year. Instead we will be holding a Choir "At Home" evening on Friday, 16th June in our regular rehearsal venue - the beautiful Ballroom of Chadderton Town Hall, from 7.30 to 10.30pm. You are invited to join us for a short concert, followed by some time for social and fund-raising activities.
    [Show full text]