Olga Peretyatko Arabesque Mp3, Flac, Wma

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Olga Peretyatko Arabesque mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Arabesque Country: Europe Released: 2013 Style: Classical, Romantic MP3 version RAR size: 1423 mb FLAC version RAR size: 1471 mb WMA version RAR size: 1940 mb Rating: 4.6 Votes: 594 Other Formats: AUD ADX AIFF APE AUD VOC DXD Tracklist Hide Credits Ah Se In Ciel, Benigne Stelle 1 7:54 Composed By – Wolfgang Amadeus Mozart Crudele? Non Mi Dir Bel Idol Mio (Don Giovanni) 2 7:02 Composed By – Wolfgang Amadeus Mozart Deh Vieni, Non Tardar (Le Nozze Di Figaro) 3 5:10 Composed By – Wolfgang Amadeus Mozart Ah Non Potrian Resistere (Le Nozze Di Teti E Di Peleo) 4 9:45 Composed By – Gioacchino Rossini Son Vergin Vezzosa (I Puritani) 5 4:25 Composed By – Vincenzo Bellini O Rendetemi La Speme - Qui La Voce Sua Soave (I Puritani) 6 10:00 Composed By – Vincenzo Bellini Mercè, Dilette Amiche (I Vespri Siciliani) 7 3:56 Composed By – Giuseppe Verdi O Légère Hirondelle (Mireille) 8 3:10 Composed By – Charles Gounod Ouvre Ton Coeur (Vasco Da Gama) 9 2:42 Composed By – Georges Bizet Villanelle 10 4:50 Composed By – Eva Dell'Acqua Il Bacio 11 4:40 Composed By – Luigi Arditi Spiel Ich Die Unschuld Vom Lande (Die Fledermaus) 12 4:46 Composed By – Johann Strauss* Die Nachtigall (Solovej) 13 6:45 Composed By – Alexander Alabieff* Credits Conductor – Enrique Mazzola Orchestra – NDR Sinfonieorchester Soprano Vocals – Olga Peretyatko Notes Made in the EU Related Music albums to Arabesque by Olga Peretyatko Maria Callas, Verdi, Bellini, Donizetti, Cherubini, Gluck, Spontini - Maria Callas: La Donna, La Voce, La Diva; Nrs. 11 - 20 Wolfgang Amadeus Mozart - As Obras Primas de Mozart Wolfgang Amadeus Mozart - Leopold Mozart, Wolfgang Amadeus Mozart, Wolfgang Amadeus Mozart, The Younger - Three Generations Of Mozart Alain Vanzo - Airs Et Duos D'Opéras Francais Wolfgang Amadeus Mozart, Peter Schreier, Staatskapelle Dresden, Herbert Blomstedt - Konzertarien Wolfgang Amadeus Mozart - Wolfgang Amadeus Mozart Wolfgang Amadeus Mozart, Carl Stamitz - Violin-Viola Duos Various - High Tech Oper Ezio Pinza - Выдающиеся Певцы Cristina Deutekom - Een Avond Belcanto Met Cristina Deutekom Verdi, Mozart, Ezio Pinza - Bass-Arien.

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Boston Symphony Orchestra Concert Programs, Summer, 2001, Tanglewood
SEMI OIAWA MUSIC DIRECTOR BERNARD HAITINK PRINCIPAL GUEST CONDUCTOR • i DALE CHIHULY INSTALLATIONS AND SCULPTURE / "^ik \ *t HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE ELM STREET, STOCKBRIDGE, MA 01262 . ( 41 3.298.3044 www. holstenga I leries * Save up to 70% off retail everyday! Allen-Edmoi. Nick Hilton C Baccarat Brooks Brothers msSPiSNEff3svS^:-A Coach ' 1 'Jv Cole-Haan v2^o im&. Crabtree & Evelyn OB^ Dansk Dockers Outlet by Designs Escada Garnet Hill Giorgio Armani .*, . >; General Store Godiva Chocolatier Hickey-Freeman/ "' ft & */ Bobby Jones '.-[ J. Crew At Historic Manch Johnston & Murphy Jones New York Levi's Outlet by Designs Manchester Lion's Share Bakery Maidenform Designer Outlets Mikasa Movado Visit us online at stervermo OshKosh B'Gosh Overland iMrt Peruvian Connection Polo/Ralph Lauren Seiko The Company Store Timberland Tumi/Kipling Versace Company Store Yves Delorme JUh** ! for Palais Royal Phone (800) 955 SHOP WS »'" A *Wtev : s-:s. 54 <M 5 "J* "^^SShfcjiy ORIGINS GAUCftV formerly TRIBAL ARTS GALLERY, NYC Ceremonial and modern sculpture for new and advanced collectors Open 7 Days 36 Main St. POB 905 413-298-0002 Stockbridge, MA 01262 Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship Bernard Haitink, Principal Guest Conductor One Hundred and Twentieth Season, 2000-2001 SYMPHONY HALL CENTENNIAL SEASON Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman Dr. Nicholas T. Zervas, President Julian Cohen, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Deborah B. Davis, Vice-Chairman Vincent M. O'Reilly, Treasurer Nina L. Doggett, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson John F. Cogan, Jr. Edna S.
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Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
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WAGNER Die Walküre
660172-74 bk Walküre US 17/7/06 10:28 Page 16 3 CDs Recorded at the Staatsoper Stuttgart, Germany, WAGNER on 29th September 2002 and 2nd January 2003. General Director: Prof. Klaus Zehelein Die Walküre Executive Producers: Dr Reinhard Ermen (SWR Radio), Gambill • Jun • Rootering • Denoke • Behle • Vaughn Dr Dietrich Mack (SWR TV) and Paul Smaczny (EuroArts) Staatsoper Stuttgart • Staatsorchester Stuttgart Producer: Thomas Angelkorte Editor: Irmgard Bauer Lothar Zagrosek Engineers: Brigitte Hermann and Karl-Heinz Runde This performance of Die Walküre is the second part of Wagner’s Ring cycle recorded live during Stuttgart Opera’s 2002/2003 season. For the first time in the history of the Ring cycle each of the four operas was staged with separate producers and casts. A production of EuroArts Music International GmbH and Südwestrundfunk in co-operation with ARTE Gefördert von der Medien- und Filmgesellschaft Baden-Württemberg 8.660172-74 16 660172-74 bk Walküre US 17/7/06 10:28 Page 2 Die Walküre Stuttgart Staatsorchester (The Valkyrie) Established in 1589 as the Court Orchestra of Württemberg, the Württemberg Stuttgart State Orchestra has a history The First Day of over four hundred years. Over the generations there have been collaborations with musicians of distinction, among them Leonhard Lechner, the Frobergers, Niccolò Jommelli, Johann Rudolf Zumsteeg, Konradin Kreutzer, of Johann Nepomuk Hummel and Carl Maria von Weber. Berlioz praised the orchestra, when he appeared with it as Der Ring des Nibelungen conductor, and in the 1880s Stuttgart was one of the first to stage the complete Ring cycle, conducted by the then (The Ring of the Nibelung) General Music Director Herman Zumpe, who had assisted Wagner at the first Bayreuth Festival.
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07 – Spinning the Record
VI. THE STEREO ERA In 1954, a timid and uncertain record industry took the plunge to begin investing heav- ily in stereophonic sound. They were not timid and uncertain because they didn’t know if their system would work – as we have seen, they had already been experimenting with and working the kinks out of stereo sound since 1932 – but because they still weren’t sure how to make a home entertainment system that could play a stereo record. Nevertheless, they all had their various equipment in place, and so that year they began tentatively to make recordings using the new medium. RCA started, gingerly, with “alternate” stereo tapes of monophonic recording sessions. Unfortunately, since they were still uncertain how the results would sound on home audio, they often didn’t mark and/or didn’t file the alternate stereo takes properly. As a result, the stereo versions of Charles Munch’s first stereo recordings – Berlioz’ “Roméo et Juliette” and “Symphonie Fanastique” – disappeared while others, such as Fritz Reiner’s first stereo re- cordings (Strauss’ “Also Sprach Zarathustra” and the Brahms Piano Concerto No. 1 with Ar- thur Rubinstein) disappeared for 20 years. Oddly enough, their prize possession, Toscanini, was not recorded in stereo until his very last NBC Symphony performance, at which he suf- fered a mental lapse while conducting. None of the performances captured on that date were even worth preserving, let alone issuing, and so posterity lost an opportunity to hear his last half-season with NBC in the excellent sound his artistry deserved. Columbia was even less willing to pursue stereo.
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Bellini's Norma
Bellini’s Norma - A discographical survey by Ralph Moore There are around 130 recordings of Norma in the catalogue of which only ten were made in the studio. The penultimate version of those was made as long as thirty-five years ago, then, after a long gap, Cecilia Bartoli made a new recording between 2011 and 2013 which is really hors concours for reasons which I elaborate in my review below. The comparative scarcity of studio accounts is partially explained by the difficulty of casting the eponymous role, which epitomises bel canto style yet also lends itself to verismo interpretation, requiring a vocalist of supreme ability and versatility. Its challenges have thus been essayed by the greatest sopranos in history, beginning with Giuditta Pasta, who created the role of Norma in 1831. Subsequent famous exponents include Maria Malibran, Jenny Lind and Lilli Lehmann in the nineteenth century, through to Claudia Muzio, Rosa Ponselle and Gina Cigna in the first part of the twentieth. Maria Callas, then Joan Sutherland, dominated the role post-war; both performed it frequently and each made two bench-mark studio recordings. Callas in particular is to this day identified with Norma alongside Tosca; she performed it on stage over eighty times and her interpretation casts a long shadow over. Artists since, such as Gencer, Caballé, Scotto, Sills, and, more recently, Sondra Radvanovsky have had success with it, but none has really challenged the supremacy of Callas and Sutherland. Now that the age of expensive studio opera recordings is largely over in favour of recording live or concert performances, and given that there seemed to be little commercial or artistic rationale for producing another recording to challenge those already in the catalogue, the appearance of the new Bartoli recording was a surprise, but it sought to justify its existence via the claim that it authentically reinstates the integrity of Bellini’s original concept in matters such as voice categories, ornamentation and instrumentation.
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Cristina Deutekom 80 VAN KOUSENSTOPSTER TOT KONINGIN VAN DE NACHT Tekst René Seghers Fotografie Archief Cristina En Jacob Deutekom
interview ALS ASTRIFIAMMANTE AKS DIE KÖNIGIN DER NACHT IN MOZARTS DIE ZaUBERFLÖTE, TEATRO LA FENICE, 1969 Cristina Deutekom 80 VAN KOUSENSTOPSTER TOT KONINGIN VAN DE NACHT TEKST RENÉ SEGHErs FOTOGRAFIE ARCHIEF CRISTINA EN JACOB DEUTEKOM Als Stientje Engel werd ze op 31 augustus 1931 geboren in de Spaarn- dammerbuurt te Amsterdam. Als Cristina Deutekom opende ze in 1974 het seizoen aan de Metropolitan Opera New York, iets dat geen enkele Neder- landse sopraan haar heeft nagedaan. Op 26 oktober wordt haar tachtigste verjaardag groots gevierd met een tribute in Koninklijk Theater Carré. Stientje Engel, als vijfjarige blèrde ze al mee met grammofoon- de muzieklessen, waarbij ze boven alles en iedereen uit zong. platen van Amsterdamse volksmuziek. Als kleuterjuf Koster tij- Ze was naar eigen zeggen een ijverige leerling: ‘Ik had goede dens de ritmische gymnastieklessen stukjes liet opvoeren, hing rapporten, maar toen het laatste jaar voor de deur stond zeiden ze parmantig de mini-vedette uit. Veel te vroeg in dat onbekom- ze dat ik te jong was om over te gaan. Achteraf realiseerde ik merde kinderleven werd het jonge gezinnetje bestaande uit va- mij dat dit laatste jaar je voorbereidde op een vervolgstudie. Ik der, moeder, Cristina en haar pianospelende broer Co, overval- was maar een arbeiderskind, dus dat had voor mij geen zin. Ik len door de Tweede Wereldoorlog. Gelukkig werkte vader Engel moest aan het werk.’ Haar droom om etaleur te worden werd op de Westersuikerfabriek. ‘Dat was mazzel, want de fabriek evenmin verwezenlijkt. Cristina: ‘Het werd kousen stoppen voor betaalde deels uit in suiker, wat tijdens de oorlogsjaren een fan- de chique madammen van de Rosse Buurt.’ tastisch ruilmiddel was.’ Cristina’s grote passie op school waren ALS LUCIA DI LaMMERMOOR IN DE ARENA DI VERONA VILLA D'ARTE 46 VILLA D'ARTE 47 interview interview MET ECHTGENOOT JaCOB EN DOCHTER IRMA ALS ROSSINI’S ARMIda ALS ORTLINDE IN WAGNER’S DIE WALKÜRE (STadSSCHOUWBURG 1963) SCHLAGERZANGERES het operakoor.
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Cristina Deutekom Singt Bellini, Rossini, Verdi Mp3, Flac, Wma
Cristina Deutekom Cristina Deutekom singt Bellini, Rossini, Verdi mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Cristina Deutekom singt Bellini, Rossini, Verdi Country: Netherlands Released: 1970 Style: Opera MP3 version RAR size: 1718 mb FLAC version RAR size: 1148 mb WMA version RAR size: 1708 mb Rating: 4.9 Votes: 979 Other Formats: MP4 WAV VQF AIFF APE MP1 MPC Tracklist Hide Credits Attila : Scene and Romance of Odabella (Act 1) A1 Chorus – Monte Carlo Opera ChorusComposed By – G. Verdi*Conductor – Carlo FranciOrchestra – The Monte Carlo Opera Orchestra* I Lombardi alla prima Crocciata : Rondo of Giselda (Act 2, Finale) Baritone Vocals – Alessandro MaddalenaChorus – Monte Carlo Opera ChorusComposed By – G. A2 Verdi*Conductor – Carlo FranciOrchestra – The Monte Carlo Opera Orchestra*Soprano Vocals – Sona ArdontzTenor Vocals – Guido Fabbris La Battaglia di Legnano : Scene and Cavatina of Lida (Act 1) Baritone Vocals – Alessandro MaddalenaChorus – Monte Carlo Opera ChorusComposed By – G. A3 Verdi*Conductor – Carlo FranciOrchestra – The Monte Carlo Opera Orchestra*Soprano Vocals – Sona Ardontz La Traviata : Scene and Aria of Violetta (Act 1, Finale B1 Chorus – Monte Carlo Opera ChorusComposed By – G. Verdi*Conductor – Carlo FranciOrchestra – The Monte Carlo Opera Orchestra*Tenor Vocals – William McKinney Armida : Scene and Aria of Armida (Act 3, Finale) B2 Chorus – Monte Carlo Opera ChorusComposed By – G. Rossini*Conductor – Carlo FranciOrchestra – The Monte Carlo Opera Orchestra*Tenor Vocals – William McKinney I Puritani
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Lucia Di Lammermoor
2 La Fenice prima dell’Opera 2011 2 2011 Fondazione Stagione 2011 Teatro La Fenice di Venezia Lirica e Balletto Gaetano Donizetti LuciaDi ammermoor l Lammermoor ucia di ucia di l onizetti d aetano aetano G FONDAZIONE TEATRO LA FENICE DI VENEZIA foto © Michele Crosera Visite a Teatro Eventi Gestione Bookshop e merchandising Teatro La Fenice Gestione marchio Teatro La Fenice® Caffetteria Pubblicità Sponsorizzazioni Fund raising Per informazioni: Fest srl, Fenice Servizi Teatrali San Marco 4387, 30124 Venezia Tel: +39 041 786672 - Fax: +39 041 786677 [email protected] - www.festfenice.com FONDAZIONE AMICI DELLA FENICE STAGIONE 2011 Incontro con l’opera lunedì 24 gennaio 2011 ore 18.00 ANGELA IDA DE BENEDICTIS Intolleranza 1960 martedì 22 febbraio 2011 ore 18.00 LUCA MOSCA La bohème martedì 22 marzo 2011 ore 18.00 GIORGIO PESTELLI Rigoletto lunedì 16 maggio 2011 ore 18.00 LORENZO ARRUGA Lucia di Lammermoor venerdì 17 giugno 2011 ore 18.00 GIORGIO PESTELLI Das Rheingold martedì 5 luglio 2011 ore 18.00 GIANNI GARRERA Sogno di una notte di mezza estate mercoledì 31 agosto 2011 ore 18.00 PAOLO COSSATO Il barbiere di Siviglia martedì 13 settembre 2011 ore 18.00 GIOVANNI BIETTI Don Giovanni martedì 11 ottobre 2011 ore 18.00 GIORGIO PESTELLI Clavicembalo francese a due manuali copia dello strumento di Goermans-Taskin, costruito attorno Le nozze di Figaro alla metà del XVIII secolo (originale presso la Russell lunedì 24 ottobre 2011 ore 18.00 Collection di Edimburgo). MICHELE DALL’ONGARO Opera del M° cembalaro Luca Vismara di Seregno Acis and Galatea (MI); ultimato nel gennaio 1998.
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Decca Discography
DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982.
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Lucia Di Lammermoor - Gaetano Donizetti
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Parola Scenica: Towards Realism in Italian Opera Etdhendrik Johannes Paulus Du Plessis
Parola Scenica: Towards Realism in Italian Opera ETDHendrik Johannes Paulus du Plessis A thesis submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of PhD by Thesis Abstract This thesis attempts to describe the emergence of a realistic writing style in nine- teenth-century Italian opera of which Giuseppe Verdi was the primary architect. Frequently reinforced by a realistic musico-linguistic device that Verdi would call parola scenica, the object of this realism is a musical syntax in which nei- ther the dramatic intent of the text nor the purely musical intent overwhelms the other. For Verdi the dramatically effective depiction of a ‘slice of a particular life’—a realist theatrical notion—is more important than the mere mimetic description of the words in musical terms—a romantic theatrical notion in line with opera seria. Besides studying the device of parola scenica in Verdi’s work, I also attempt to cast light on its impact on the output of his peers and successors. Likewise, this study investigates how the device, by definition texted, impacts on the orchestra as a means of realist narrative. My work is directed at explaining how these changes in mood of thought were instrumental in effecting the gradual replacement of the bel canto singing style typical of the opera seria of Rossini, Donizetti, and Bellini, by the school of thought of verismo, as exemplified by Verdi’s experiments. Besides the work of Verdi and the early nineteenth-cen- tury Italian operatic Romanticists, I touch also briefly on the œuvres of Puccini, ETDGiordano and the other veristi.
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