DOCSLIB.ORG

¡ Ds Santiago 2S^

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

£■ *"**' *^r^^ t— <—£■** •-■ í- . - a v - ;c SOO'íl \ :.\r U l Oí MU ko OiJ r^J o- i* •.., ¡ DS SANTIAGO_ 2S^ Q - . -></0 n perfume para toda época para toda ocasión y para lodo momento, a CXTSIACTO • IOC1QK • COLONIA • POLVOS « JABÓN « TALCO TEATRO MUNICIPAL - — SANTIAGO GRAN TEMPORADA LÍRICA OFICIAL la D. I. C. e I. Municipalidad. Bajo el patrocinio del Supremo Gobierno y auspiciada por SALVATI Dirección Artística y Administrativa: RENATO MAESTROS DIRECTORES: Milano Angelo Questa Teatro Scala, Colón Buenos THomas Mayer Teatro , Pino Donati Teatro Real, Roma REGISSEUR: Cario Piccinato Teatro Scala, Milano SOPRANOS: María Caniglia Teatro Scala, Milano Pia Tassinari Teatro Scala, Milano Hilde Reggiani Opera de Chicago Jeanne Palmer Metropolitan, New York Wanda Werninska Teatro de Varsovia Carmen Torres Civic Opera, Chicago MEZZO SOPRANOS: Gianna Pederzini . Teatro Scala, Milano Marión Matthaeus Metropolitan, New York TENORES: Kurt Baum Metropolitan, New York Torsten Ralph Metropolitan, New York Galliano Masini Teatro Scala, Milano Ferruccio Tagliavini . Teatro Scala, Milano Bruno Landi Gran Opera, San Francisco Koloman von Pataky Teatro Colón, Buenos Aires Carlos Giusti Teatro Colón, Buenos Aires BARÍTONOS: Gino Bechi Teatro Scala, Milano Carlos Morelli . Gran Opera de México Víctor Damiani Teatro Colón, Buenos Aires Frederic Destal . Metropolitan, New York BAJOS: Giacomo Vaghi Teatro Colón, Buenos Aires Deszo Ernster .. Metropolitan, New York BAJO CÓMICO: Gérard Pechner Metropolitan, New York Ballet del "Instituto de Extensión Musical'' Director: E. UTHOFF KUPFER el parquet de calidad f 11 Ti (MU/.. ADMIRAN SIEMPRE AL HOMBRE BIEN VESTIDO. ESTA ATRACCIÓN LA REALIZA iimiiiiiiiiiiiiiiiimiiiiiiiiiiH iiiiiiiimiiiiiiiiiiMiiuiimiiiiiiiimiiiiiiiiiiiiii ^afi Kaam La Boite de la supremacía artística, le invita de a presenciar los mejores espectáculos América en sus atrayentes programas de las horas del TE, APERITIVO y MEDIANOCHE ¡CU; "«!!'" .^. U ¿j ... d i-\ í lAC (ARGUMENTO) nr.de En el primer acto, los cortesanos del Duque que, aprisionado y b :íado per les cortesa: de Mantua celebran las aventuras amorosas de dirigidcs por Rigo'etto. el bufón de la Corto. su señor; el Duque se divierte y nada le de El Conde los maldice por su maía acción y tiene en su vida licenciosa; su última calavera Rigcletto .dente caer sobre sí la maldición. da es la reducción de la esposa del Conde En el segundo a< to aparece la casa de Ri- Ceprano; éste llega al palacio, insulta al Du- o-cletto; allí el bufón mantiene oculta del mun- dddd!dddM^dXdd^ddddd;ddd^ d .;. di. «tíífíctcícsc«Cí€íe«íCtc>LSC*'; v SASTRERÍA picadilly RUSSO Y TRISOTTI ESTADO 260 - 4? PISO - TELEFONO 3 3670 - SANTIAGO : GRAN SURTIDO EN TELAS INGLESAS ESPECIALIDADES EN TRAJES DE ETIQUETA SE RECIBEN HECHURAS FINAS 5 1 $#&&£PERSONALES, DE GUSTO EXQUISITO, RECIBE EN CADA VAPOR DE EUROPA Y ESTADOS UNIDOS. •!.•€€• y CÍA ESTADO 11 • SANTIAGO , ESMERALDA 1125'VALPARAISO </ fiestas oe Categoría TEATRO M O N I C I P A L Para darle ambiente "y prestigio a sus reuniones, solicite que nues tro Servicio de Atención a Domi GRAN TEMPORADA LÍRICA OFICIAL cilio se preocupe de solucionar \*J$k, fflAót&fL todos tos detalles de su próxima fiesta-. HOl Nuestra diaria experiencia y la • SANTA LUCIA 260 TELEFONO 31082 cuidadosa atención que ponemos SANTIAGO Maestro Director ANGELO QUESTA en todos los pormenores le brin darán la satisfacción de poder CARLO PICCINATO Regisseur ofrecer a sus invitados una fiesta Hotcí de categoría. >> RIGOLETTO Solicite detalles, sin compromiso, al teléfono 63201. Música de G. VERDI Opera en 4 actos. Libreto de Piavv- (ttiillon ' ':%>■ ..dAdSAAdír*'; Personajes: illlllllllllUIIIIIIIIMIUlUlUIMIllMlllIMfUIIIIIIIIIIIIIIIIIIIÍHIIIIIUnillllllHHIlllMMIlinllllllllllllliMIIMlMIUlltlIUllilllHIMIIIIIIIIIlllllllllllllMIIIM» El Duque de Mantua BRUNO LANDI '-'■ Rigoletto (bufón de la Corte) ...... GINO BECHI C Gilda (hija de Rigoletto) CARMEN TORRE'' | UN VIAJE ES UN PLACER... Sparafucile DESZO ERNSTEtá Magdalena (hermana de Sparafu I UD. ENCONTRARA ESE PLA- cile) Pina Cristofori sa Giovanna tí Tosca Malinconi : CER ENCARGANDO SU El Conde de Monterone Augusto Rescaglio ; Marullo (caballero de la Corte) ... Jorge Sicard | VIAJE A | Borsa Mateo (cortesano) Cario Giusti La condesa de Ceprano María Rodríguez !.í El paje del Duque H. Jara VIAJES LITVAK alabarderos. La escena en & Caballeros, damas, pajes y 1 se ciudad de Mantua (Italia). Época: siglo XVI j Empresa que encargará Gino Bechi de sus pasajes, hoteles y | todo lo necesario para que [ su viaje sea perfecto VERMOUTHIMARTINI - BANDERA 191 TELF. 62460 DE FAMA MUNDIAL ¡ CASILLA 553 """ ,l"1 «iiiiminiriiHiiim muí iiiiiiiiiiiui iimiii iiiiiMiiiiMiiiiMiiiutiiiiitiiiiiiriniiniiiii TEAT J N I C I P Á L GRAN TEMPORADA LÍRICA OFICIAL H O 1 — Maestro Director ANGELO QUESTA Regisseur CARLO PICCINATO "RIGOLETTO " Música de G. VERDI Opera en 4 actos. Libreto de Piav.-- Personajes: El Duque de Mantua BRUNO LANDI - Rigoletto (bufón de la Corte) GINO BECHI í Gilda (hija de Rigoletto) CARMEN TORRE'' Sparafucile DESZO ERNSTEE Magdalena (hermana de Sparafu cile) Pina Cristofori :" Giovanna Tosca Malinconi ¿^ El Conde de Monterone Augusto Rescaglio a Marullo (caballero de la Corte) ....Jorge Sicard Borsa Mateo (cortesano) Cario Giusti 3 La condesa de Ceprano María Rodríguez I* El paje del Duque H. Jara Caballeros, damas, pajes y alabarderos. La escena en ciudad de Mantua (Italia). Época: siglo XVI Gino Bechi M ¿qaj/LcUl IvKJLWUUM ac^ni incían * o bb o bíi*ca <Ditpenta \ ? CHANEL ?pc**:**:*:íc,c*:***c,c^^ PELUQUERÍA LOUBAT SAN 8 ANTONIO 208 l i CREMA DE BELLEZA LOUBAT i — PERMANENTES TINTURAS — APLICACIÓN DE 1 E N E O L ¥ ¥ PARA LAS CANAS ¥ ¥ En Venta en todas las farmacias del país ^3í3»3»3»3í3*3»3t3»3í3*^.^<^*3^ta« *3K*3t9r**3r*3t*33r^ Corte a su en brazo ¿o y especialmente de la Gilda, ganza; está casa dé Sparafucile, cuyo hija y su único amor de su vida. ha comprado para que asesine al Duque, que Rigoletto acaricia a su hija y recomienda a vendrá a la posada atraído por la hermosura Juana, su acompañante, que no reciba a na de Magdalena, su hermana. die en su casa. El Duque llega, Magdalena se enamora de no lo mate. Entre tanto el Duque ha visto a Gilda en él y ruega a su hermano que Spa ia Iglesia, se ha enamorado de ella, la ha se rafucile necesita una víctima que justifique el guido y sobornando a Juana ha logrado pe dinero que ha recibido y resuelve matar, en netrar en su casa. vez del Duque, a un joven viajero que llega a Los cortesanos, por orden del Duque, ven la posada en busca de alojamiento. dan los a a ojos Rigoletto y roban Gilda; el El joven viajero es Gilda que disfrazada de bufón se ve burlado el en y comprende rapto hombre va allí para salvar al Duque de la su terrible desesperación. venganza de su padre. En el tercer busca a su a su ca acto, Rigoletto hija Sparafucile asesina Gilda y entrega robada; sabe que está en palacio e increpa a dáver dentro de un saco a Rigoletto. ios cortesanos por su ruindad. El bufón ve su venganza cumplida y cuan- Gilda la voz su corre a ra oye de padre y que entona en el bosque vecino su canción en sus le su aventu arrojarse brazos y refiere que entona en el bosque becino su canción fa ra, pues está enamorada del Duque. vorita, lo hace sospechar un engaño; la luz de Rigoletto jura vengarse del seductor. un relámpago le muestra el rostro de su hija En el cuarto acto, el bufón prepara su ven y llora entonces con honda desesperación. CASA VÍCTOR ARAYA L. Fundada el año 1909 — - 1360 CASILLA 1711 TELEFONOS 69362 y 69802 COMPAÑÍA CABLE: ANEXO 87506 - ANEXO EN CARMEN N9 787 DIREC. VARAYA - - Recibe toda clase Remates y Consignaciones Venta privada permanente - las de muebles - Objetos de Arte Anticipa fondos sobre consignaciones R. - ALFREDO RECART S. VÍCTOR ARAYA L. - CARLOS SCHMIDT Martilieros de Hacienda !*3»3*3*9***3***3<3*3t3*3^^ <^ llllllIHHIIinillllimillllllllMIIIUIIIlllll lllllllllllllUlllllllllllllllllllllllll MrilllinillllllllllllllMllillllMlllllIHIIMIIHIIIlllMllllUlllllinilItlIlllllllllllillllllllllllllllllinillllMIUllllHIIIIUlMIIlllLItItlItnillMlllt CASINO MUNICIPAL DE VIÑA DEL MAR Gran centro de atracción continental i INICIO SU TEMPORADA EL 15 DE SEPTIEMBRE BOITE CABARET COMEDORES GRILL-ROOM EN LAS FESTIVIDADES PATRIAS, UN EXTRAORDINARIO PROGRAMA ARTÍSTICO VISITE EL CASINO DE VIÑA DEL MAR | iiijitjiinr iiiiitniiiiiiiiiiii[][:iii:t [iirijiíiiriiiiiiti innt iiiMii-iiiitiriiniJiiiitiii iiiiiiiiiilitiEMiiirMiiiriTitiiiiiiiiiiiiiiiitiiiitiiitiiiifiiiiirtrtitiiiiiiTiíiriiiiitiiiiiiiiiiiitriiiiiiiJiritiiiiitiiiiiijiiitititrtí^ imiiiMiiiiiiininimi : 1 1 1 1 j i n :n 1 1 1 ti i ti 1 1 n 1 1 1 11 1 1 n m 11 1 1 ■ mi i ti ni mi n i n 1 1 1 1 i ni ii 1 1 niniiiiiiinniii imiiiinr inin iimiirniMiimiiiinumii i iiHiiiMiitiinniiitiiiMi 2lrt ÍJilU MUEBLES DE CALIDAD | ALAMEDA B. O'HIGGINS 221 — FONO 32591 1 Niniiiiii:iniiniiiniMMniiiiiiiMiuitiiiiiiiiiiiiiiiMiiiiiii!iitiiiiiiiMiuiiii[iiiMi)inii!iHiNii[niMiinii[iiHiMniuiiniiiiMi!ini[iiiiiiiiiií iiiiii imiiiiiiHiiiHiiiiiHiiminnuiiiHiiiiiiiiiiiiiiiimntii "y*iSS5K!^ ~ :*?Si"3 m& í i- Xf* ■! Giacomo Vaghi Gianaa Pedcrzini Coloman v. Pataky REPERTORIO "AIDA", de Giuseppe Vcrc'i "MIGNON", dc Alberto Thomas "CARMEN", de George Bizet "TRAVIATA", de Giuseppe Verdi "MANON", de Giaccmo Puccini "EL BARBERO DE SEVILLA", de Gioacchino Rossinl "LA WALKYRIA", de Richard Wagner "LA BOHEME", de Giacomo Puccini "FIDELIO", de Ludvig van Beethoven "TOSCA", de Giacomo Puccini "ADRIANA LECOUVREUR", de G. Cilea "FEDORA", de Humberto Giordano "BALLO IN MASCHERA", de Giuseppe Verdi "MADAME BUTTERFLY", de Giacomo Puccini "ANDREA CHENIER", de Humberto Giordano "PAGLIACCI", de Ruggero Leoncavallo "CAVALLERIA RUSTICANA", de Pietro Mascagni Bruno Landi Hilde Reggiani Carlos Morelli * '—U^»lll i 1*1 ■'««wt '«mtb J 1*tm-mr ■»-» "S(M "^RANC/4 \X> ^ELVí A íW^* Sci me] or . Cognac: CHAB A N N H A U Su mejor Champagne: Louis R O E D L R le ti 7r&e<idab4- j£ x&Oxdd'fyZ'-J-- CASTELLA 7 GRAAJA.YC^l^t; HUÍ»**»©* 8 O €*«**:, JTMJ»»; pono ia*** -..¿,-^.,.'.^ ,**r-« *-*&i&mJ1fi¿ DWBMfw>-^ vi •"' O/' r. ■■*,<- • KUPFER el parquet de calidad.
Recommended publications
  • Libretto Nabucco.Indd

    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.
  • 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
  • [T] IMRE PALLÓ

    [T] IMRE PALLÓ

    VOCAL 78 rpm Discs FRANZ (FRANTISEK) PÁCAL [t]. Leitomischi, Austria, 1865-Nepomuk, Czechoslo- vakia, 1938. First an orchestral violinist, Pácal then studied voice with Gustav Walter in Vienna and sang as a chorister in Cologne, Bremen and Graz. In 1895 he became a member of the Vienna Hofoper and had a great success there in 1897 singing the small role of the Fisherman in Rossini’s William Tell. He then was promoted to leading roles and remained in Vienna through 1905. Unfor- tunately he and the Opera’s director, Gustav Mahler, didn’t get along, despite Pacal having instructed his son to kiss Mahler’s hand in public (behavior Mahler considered obsequious). Pacal stated that Mahler ruined his career, calling him “talentless” and “humiliating me in front of all the Opera personnel.” We don’t know what happened to invoke Mahler’s wrath but we do know that Pácal sent Mahler a letter in 1906, unsuccessfully begging for another chance. Leaving Vienna, Pácal then sang with the Prague National Opera, in Riga and finally in Posen. His rare records demonstate a fine voice with considerable ring in the upper register. -Internet sources 1858. 10” Blk. Wien G&T 43832 [891x-Do-2z]. FRÜHLINGSZEIT (Becker). Very tiny rim chip blank side only. Very fine copy, just about 2. $60.00. GIUSEPPE PACINI [b]. Firenze, 1862-1910. His debut was in Firenze, 1887, in Verdi’s I due Foscari. In 1895 he appeared at La Scala in the premieres of Mascagni’s Guglielmo Ratcliff and Silvano. Other engagements at La Scala followed, as well as at the Rome Costanzi, 1903 (with Caruso in Aida) and other prominent Italian houses.
  • RCA Victor LCT 1 10 Inch “Collector's Series”

    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.
  • Homage to Two Glories of Italian Music: Arturo Toscanini and Magda Olivero

    Homage to Two Glories of Italian Music: Arturo Toscanini and Magda Olivero

    HOMAGE TO TWO GLORIES OF ITALIAN MUSIC: ARTURO TOSCANINI AND MAGDA OLIVERO Emilio Spedicato University of Bergamo December 2007 [email protected] Dedicated to: Giuseppe Valdengo, baritone chosen by Toscanini, who returned to the Maestro October 2007 This paper produced for the magazine Liberal, here given with marginal changes. My thanks to Countess Emanuela Castelbarco, granddaughter of Toscanini, for checking the part about her grandfather and for suggestions, and to Signora della Lirica, Magda Olivero Busch, for checking the part relevant to her. 1 RECALLING TOSCANINI, ITALIAN GLORY IN THE TWENTIETH CENTURY As I have previously stated in my article on Andrea Luchesi and Mozart (the new book by Taboga on Mozart death is due soon, containing material discovered in the last ten years) I am no musicologist, just a person interested in classical music and, in more recent years, in opera and folk music. I have had the chance of meeting personally great people in music, such as the pianist Badura-Skoda, and opera stars such as Taddei, Valdengo, Di Stefano (or should I say his wife Monika, since Pippo has not yet recovered from a violent attack by robbers in Kenya; they hit him on the head when he tried to protect the medal Toscanini had given him; though no more in a coma, he is still paralyzed), Bergonzi, Prandelli, Anita Cerquetti and especially Magda Olivero. A I have read numerous books about these figures, eight about Toscanini alone, and I was also able to communicate with Harvey Sachs, widely considered the main biographer of Toscanini, telling him why Toscanini broke with Alberto Erede and informing him that, contrary to what he stated in his book on Toscanini’s letters, there exists one letter by one of his lovers, Rosina Storchio.
  • COLORATURA and LYRIC COLORATURA SOPRANO

    COLORATURA and LYRIC COLORATURA SOPRANO

    **MANY OF THESE SINGERS SPANNED MORE THAN ONE VOICE TYPE IN THEIR CAREERS!** COLORATURA and LYRIC COLORATURA SOPRANO: DRAMATIC SOPRANO: Joan Sutherland Maria Callas Birgit Nilsson Anna Moffo Kirstin Flagstad Lisette Oropesa Ghena Dimitrova Sumi Jo Hildegard Behrens Edita Gruberova Eva Marton Lucia Popp Lotte Lehmann Patrizia Ciofi Maria Nemeth Ruth Ann Swenson Rose Pauly Beverly Sills Helen Traubel Diana Damrau Jessye Norman LYRIC MEZZO: SOUBRETTE & LYRIC SOPRANO: Janet Baker Mirella Freni Cecilia Bartoli Renee Fleming Teresa Berganza Kiri te Kanawa Kathleen Ferrier Hei-Kyung Hong Elena Garanca Ileana Cotrubas Susan Graham Victoria de los Angeles Marilyn Horne Barbara Frittoli Risë Stevens Lisa della Casa Frederica Von Stade Teresa Stratas Tatiana Troyanos Elisabeth Schwarzkopf Carolyn Watkinson DRAMATIC MEZZO: SPINTO SOPRANO: Agnes Baltsa Anja Harteros Grace Bumbry Montserrat Caballe Christa Ludwig Maria Jeritza Giulietta Simionato Gabriela Tucci Shirley Verrett Renata Tebaldi Brigitte Fassbaender Violeta Urmana Rita Gorr Meta Seinemeyer Fiorenza Cossotto Leontyne Price Stephanie Blythe Zinka Milanov Ebe Stignani Rosa Ponselle Waltraud Meier Carol Neblett ** MANY SINGERS SPAN MORE THAN ONE CATEGORY IN THE COURSE OF A CAREER ** ROSSINI, MOZART TENOR: BARITONE: Fritz Wunderlich Piero Cappuccilli Luigi Alva Lawrence Tibbett Alfredo Kraus Ettore Bastianini Ferruccio Tagliavani Horst Günther Richard Croft Giuseppe Taddei Juan Diego Florez Tito Gobbi Lawrence Brownlee Simon Keenlyside Cesare Valletti Sesto Bruscantini Dietrich Fischer-Dieskau
  • Guild Gmbh Guild -Historical Catalogue Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 52 742 85 00 - E-Mail: Info@Guildmusic.Com CD-No

    Guild Gmbh Guild -Historical Catalogue Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 52 742 85 00 - E-Mail: [email protected] CD-No

    Guild GmbH Guild -Historical Catalogue Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 52 742 85 00 - e-mail: [email protected] CD-No. Title Composer/Track Artists GHCD 2201 Parsifal Act 2 Richard Wagner The Metropolitan Opera 1938 - Flagstad, Melchior, Gabor, Leinsdorf GHCD 2202 Toscanini - Concert 14.10.1939 FRANZ SCHUBERT (1797-1828) Symphony No.8 in B minor, "Unfinished", D.759 NBC Symphony, Arturo Toscanini RICHARD STRAUSS (1864-1949) Don Juan - Tone Poem after Lenau, op. 20 FRANZ JOSEPH HAYDN (1732-1809) Symphony Concertante in B flat Major, op. 84 JOHANN SEBASTIAN BACH (1685-1750) Passacaglia and Fugue in C minor (Orchestrated by O. Respighi) GHCD Le Nozze di Figaro Mozart The Metropolitan Opera - Breisach with Pinza, Sayão, Baccaloni, Steber, Novotna 2203/4/5 GHCD 2206 Boris Godounov, Selections Moussorgsky Royal Opera, Covent Garden 1928 - Chaliapin, Bada, Borgioli GHCD Siegfried Richard Wagner The Metropolitan Opera 1937 - Melchior, Schorr, Thorborg, Flagstad, Habich, 2207/8/9 Laufkoetter, Bodanzky GHCD 2210 Mahler: Symphony No.2 Gustav Mahler - Symphony No.2 in C Minor „The Resurrection“ Concertgebouw Orchestra, Otto Klemperer - Conductor, Kathleen Ferrier, Jo Vincent, Amsterdam Toonkunstchoir - 1951 GHCD Toscanini - Concert 1938 & RALPH VAUGHAN WILLIAMS (1872-1958) Fantasia on a Theme by Thomas Tallis NBC Symphony, Arturo Toscanini 2211/12 1942 JOHANNES BRAHMS (1833-1897) Symphony No. 3 in F Major, op. 90 GUISEPPE MARTUCCI (1856-1909) Notturno, Novelletta; PETER IILYICH TCHAIKOVSKY (1840- 1893) Romeo and Juliet
  • Where Have All the Great Voices Gone?

    Where Have All the Great Voices Gone?

    Click here for Full Issue of EIR Volume 16, Number 33, August 18, 1989 namely, His role as the Creator-is something entirely dif­ ferent than a mere cry for help in time of need. The mere repetition of the seventh line already makes it clear that the subject here is this other quality of emotion, since the only sense in repeating it, would be to express something other than what has come before. And that is precisely what is made explicit by the shift in register. Within this final word of the song, "beten," lies all the devotion of which man is capable, his humility before God­ a humility, however, in which he experiences at the same Where have all the time his greatest sense of elevation, because in his perfect concentration upon God, he comes to most resemble Him. great voices gone? When in this way, a person is immersed in perfect devotion to God, that person is consummating his capax Dei, his by Gino Bechi participation in God.If instead, this final word "beten" were sung without any clear register shift, as is oftenthe case when the singer does not use the belcanto method, then this deep Mr. Bechi, one o/the great Italian baritones o/the interwar meaning is, at the very least, only superficially rendered. era, offered the /ollowing comlnents to the conference "Giu­ It is no accident, that modem composers have such a seppe Verdi and the Scientific Tuning Fork," held on June difficult time creating works which can even approximate the 20, 1989 at the Cini Foundation in Venice, Italy.
  • The Pennsylvania State University Schreyer Honors College

    The Pennsylvania State University Schreyer Honors College

    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE SCHOOL OF MUSIC THE VOCAL TECHNIQUE OF THE VERDI BARITONE JOHN CURRAN CARPENTER SPRING 2014 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Music with honors in Music Reviewed and approved* by the following: Charles Youmans Associate Professor of Musicology Thesis Supervisor Mark Ballora Associate Professor of Music Technology Honors Adviser * Signatures are on file in the Schreyer Honors College. i ABSTRACT I wrote this thesis in an attempt to provide useful information about the vocal technique of great operatic singers, especially “Verdi baritones”—singers specializing in dramatic lead roles of this voice-type in Giuseppe Verdi’s operas. Through careful scrutiny of historical performances by great singers of the past century, I attempt to show that attentive listening can be a vitally important component of a singer’s technical development. This approach is especially valuable within the context of a mentor/apprentice relationship, a centuries-old pedagogical tradition in opera that relies heavily on figurative language to capture the relationship between physical sensation and quality of sound. Using insights gleaned from conversations with my own teacher, the heldentenor Graham Sanders, I analyze selected YouTube clips to demonstrate the relevance of sensitive listening for developing smoothness of tone, maximum resonance, legato, and other related issues. ii TABLE OF CONTENTS Acknowledgements .................................................................................................................
  • 12" Ejslp Issues

    12" Ejslp Issues

    VOCAL 78 rpm Discs JOHN O’SULLIVAN [t] 4390. 10” Red acous. Spanish Regal (Columbia) RS 5030 [70601/70694]. OTELLO: Esultate! / OTELLO: Niun mi tema (Verdi). Cons. 2. $25.00. 4290. 10” Maroon acous. Eng. Columbia D5372 [B514/B532]. WILLIAM TELL: O muto asil (Rossini) / CARMEN: Romanza del fiore (Bizet). Cons. 2. $25.00. 4403. 10: Red acous. Eng. Columbia D12458 [B541/B549]. LES HUGUENOTS: Stringe il periglio (Meyerbeer). Two sides. With DORA DE GIOVANNI [s]. O’Sullivan’s phenomenal top register heard here at full cry. Excellent surfaces. Few lightest mks., cons. 2. $35.00. 4264. 10” Red acous. Eng. Columbia D12459 [B518/B532]. HUGUENOTS: Bianca al par (Meyerbeer) / CARMEN: Romanza del fior (Bizet). Cons. 2. $25.00. 4953. 10” Blue elec. PW Eng. Columbia D1573 [WA3564/WA3562]. IL TROVATORE: Ah si, ben mio / IL TROVATORE: Di quella pira (Verdi). Just about 1-2. $15.00. MARIA PIA PAGLIARINI [s]. Modina, 1902-1935. A pupil of Vezzani and Boninsegna, Pagliarini made her debut in 1921 as Nedda in Pagliacci and retired in 1930 after marrying conductor Antonio Fugazzola. Her final performance seems to have been Leonora in Il Trovatore at Milan’s Teatro dal Verme. See: ALESSANDRO BONCI. ESTHER PALLISER (or PALLISSER) [s]. Germantown, PA, 1872 - ? , She was taught by her musician parents and then studied further in Europe. Her operatic debut was in Rouen as Marguerite in Faust. This was followed by work with the D’Oyly Carte Opera Company in 1890. Her career included other Gilbert and Sullivan performances and tours, concerts, music festivals and grand opera at Covent Garden and Drury Lane.
  • Giuseppe Verdi Aida - Seconda Parte Mp3, Flac, Wma

    Giuseppe Verdi Aida - Seconda Parte Mp3, Flac, Wma

    Giuseppe Verdi Aida - Seconda Parte mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Aida - Seconda Parte Country: Italy Released: 1993 Style: Opera, Classical MP3 version RAR size: 1200 mb FLAC version RAR size: 1290 mb WMA version RAR size: 1481 mb Rating: 4.3 Votes: 648 Other Formats: DMF AAC DXD VQF MMF MOD AHX Tracklist Atto III A1 Introduzione: Preghiera - Coro 4:04 A2 Aida: O Patria Mia 6:41 A3 Duetto: Aida, Amonasro 8:01 A4 Duetto: Aida, Radames 7:42 A5 Finale III 5:24 Atto IV B1 Introduzione 2:44 B2 Duetto: Amneris, Radames 6:25 B3 Scena Del Giudizio 10:31 B4 Duetto: Aida, Amneris - Finale Ultimo 10:22 Credits Choir, Orchestra – Orchestra e Coro del Teatro dell'Opera di Roma* Composed By – Giuseppe Verdi Conductor – Tullio Serafin Engineer [Sound] – David A. Contini Vocals [Aida] – Maria Caniglia Vocals [Amneris] – Ebe Stignani Vocals [Amonasro] – Gino Bechi Vocals [Radames] – Beniamino Gigli Vocals [Ramfis] – Tancredi Pasero Notes C&P 1993 Gruppo Editoriale Fabbri Originally recorded in 1952 Not for sale , enclosed with "Opera N.1" magazine. Barcode and Other Identifiers Rights Society: S.I.A.E. Related Music albums to Aida - Seconda Parte by Giuseppe Verdi Verdi, Caballé, Domingo, Cossotto, Cappuccilli, Ghiaurov, Riccardo Muti - Aida Verdi, Renata Tebaldi, Carlo Bergonzi, Giulietta Simionato, Cornell Mac Neil, Herbert von Karajan - Aïda Giuseppe Verdi, Maria Curtis Verna, Miriam Pirazzini, Franco Corelli, Gian Giacomo Guelfi, Giulio Neri, Athos Cesarini, Orchestra Sinfonica Di Torino Della RAI, Ruggero Maghini