Richard Strauss Arabella (Arien Und Szenen) Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

Richard Strauss Arabella (Arien Und Szenen) Mp3, Flac, Wma Richard Strauss Arabella (Arien Und Szenen) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Arabella (Arien Und Szenen) Country: Germany Style: Opera, Romantic MP3 version RAR size: 1451 mb FLAC version RAR size: 1843 mb WMA version RAR size: 1869 mb Rating: 4.1 Votes: 312 Other Formats: AU VOX DXD FLAC VQF MMF AIFF Tracklist Arabella, Szenen, 1. Teil A1 Die Karten Fallen Besser Als Das Letzte Mal Ich Danke Fräulein...Ich Red' Im Ernst (...Aber Der Richtige, Wenn's Einen Gibt A2 Für Mich Auf Dieser Welt) A3 Darf Ich So Unbescheiden Sein... A4 Sie Sehn Nicht Aus Wie Jemand, Den Das Alles Da Interessiert... A5 Sie Woll'n Mich Heiraten... Arabella, Szenen, 2. Teil B1 Die Wiener Herrn Verstehn Sich Auf Die Astronomie... B2 Wo Ist Meine Tochter? Finale II. Aufzug B3 Vorspiel Zum III. Aufzug B4 Finale: Brautwerbung Kommt! B5 Das Wahr Sehr Gut, Mandryka, Da Sie Noch Nicht Fortgegangen Sind...ß Companies, etc. Manufactured By – TELDEC »Telefunken-Decca« Schallplatten GmbH Credits Baritone Vocals – Eberhard Wächter Baritone Vocals [Graf Waldner, Rittmeister a. D.] – Otto Edelmann (tracks: A3, B1, B2, B4) Baritone Vocals [Mandryka] – George London (tracks: A3 to A5, B1, B2, B4, B5) Chorus – Chor Der Wiener Staatsoper* (tracks: B1, B2) Composed By – Richard Strauss Conductor [Dirigent] – Georg Solti Contralto Vocals [Adelaide, Frau von Graf Waldner] – Ira Malaniuk (tracks: A1, B1, B2, B4) Liner Notes [German] – Dr. Joachim von Hecker* Orchestra – Wiener Philharmoniker Soprano Vocals [Arabella, Tochter von Adelaide] – Lisa Della Casa (tracks: A2, A4, A5, B4, B5) Soprano Vocals [Die Fiakermilli] – Mimi Coertse (tracks: B1, B2) Soprano Vocals [Eine Kartenaufschlägerin] – Judith Hellwig (tracks: A1) Soprano Vocals [Zdenka, Tochter von Adelaide] – Hilde Güden (tracks: A1, A2, B1, B4) Tenor Vocals – Waldemar Kmentt (tracks: A) Tenor Vocals [Matteo, Jägeroffizier] – Anton Dermota (tracks: B1) Written-By [Dichtung von, Text] – Hugo von Hofmannsthal Notes [On rear sleeve]: Die vollständige Aufnahme [...] Lyrische Komödie in 3 Aufzügen [...] Uraufgeführt in Dresden am 1. Juli 1933 -> LXT 5403/06 -> Stereo SXL 2050/53 __________ [On labels]: Hergestellt von der TELDEC »Telefunken-Decca« Schallplatten G.m.b.H. Richard Strauss (1864―1949) Barcode and Other Identifiers Rights Society (Boxed): BIEM Matrix / Runout (Label, side A): LPD 04 452 Matrix / Runout (Label, side B): LPD 04 453 Matrix / Runout (Runout, side B, etched): H-Su Matrix / Runout (Runout, side A, stamped): LPD-04452-IV-XR Manufactured in Germany Matrix / Runout (Runout, side B, stamped): LPD-04453-I-X-R Manufactured in Germany Other versions Category Artist Title (Format) Label Category Country Year Richard Strauss, Lisa Richard Strauss, Della Casa, Hilde Lisa Della Casa, Güden, George Hilde Güden, George London , Anton London , Anton Dermota, Chor Der 6.41645 Dermota, Chor Der Wiener Staatsoper*, Decca 6.41645 Germany 1976 Wiener Staatsoper*, Wiener Wiener Philharmoniker, Philharmoniker, Georg Solti - Arabella Georg Solti - Arien Und Szenen (LP) Richard Strauss, Richard Strauss, Lisa Lisa Della Casa, Della Casa, Hilde Hilde Güden, George Güden, George London , Anton London , Anton German Dermota, Eberhard Dermota, Eberhard Democratic 8 25 608 Wächter, Otto Wächter, Otto Eterna 8 25 608 Unknown Republic Edelmann, Edelmann, Waldemar (GDR) Waldemar Kmentt, Kmentt, Wiener Wiener Philharmoniker, Philharmoniker, Georg Solti - Arabella Georg Solti (LP) SXL 20 Arien Und Szenen Aus SXL 20 Richard Strauss Decca Germany Unknown 507-B Arabella (LP) 507-B Richard Strauss, Richard Strauss, Lisa Lisa Della Casa, Della Casa, Hilde Hilde Güden, George Güden, George London , Anton London , Anton German Dermota, Eberhard Dermota, Eberhard Democratic 8 20 608 Wächter, Otto Wächter, Otto ETERNA 8 20 608 1966 Republic Edelmann, Edelmann, Waldemar (GDR) Waldemar Kmentt, Kmentt, Wiener Wiener Philharmoniker, Philharmoniker, Georg Solti - Arabella Georg Solti (LP, Mono) SXL 20 Arien Und Szenen Aus SXL 20 Richard Strauss Decca Germany Unknown 507-B Arabella (LP) 507-B Related Music albums to Arabella (Arien Und Szenen) by Richard Strauss Wolfgang Amadeus Mozart, RIAS Symphonie-Orchester Berlin, Ferenc Fricsay - Die Zauberflöte Richard Strauss, Birgit Nilsson, Wiener Philharmoniker Dirigiert Von Georg Solti - Salome Richard Wagner, Georg Solti, Wiener Philharmoniker - Die Meistersinger Von Nürnberg Elisabeth Schwarzkopf, Otto Edelmann, Christa Ludwig, Eberhard Wächter, Teresa Stich-Randall, Ljuba Welitsch, Paul Kuen, Kerstin Meyer, Nicolai Gedda, Herbert von Karajan, Richard Strauss - Der Rosenkavalier Puccini, Milanov, Bjoerling, Warren, Erich Leinsdorf, Rome Opera House Orchestra And Chorus - Tosca - Arien Und Szenen Richard Strauss - Lisa Della Casa, Anneliese Rothenberger, Dietrich Fischer-Dieskau, Joseph Keilberth - Arabella Richard Strauss - Strauss: Famous Scenes Nico Dostal - Die Ungarische Hochzeit / Clivia (Querschnitte) Karl Böhm Dirigiert Opern Von Richard Strauss - Karl Böhm Dirigiert Opern Von Richard Strauss Wilhelm Furtwängler - Wilhelm Furtwängler dirigiert Opern von Richard Wagner.
Recommended publications
  • ARSC Journal
    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
    [Show full text]
  • Eberhard Waechter“
    DIPLOMARBEIT Titel der Diplomarbeit „Eberhard Waechter“ Verfasserin Mayr Nicoletta angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2011 Studienkennzahl: A 317 Studienrichtung: Theater-, Film- und Medienwissenschaft Betreuerin: Univ.-Prof.Dr. Hilde Haider-Pregler Dank Ich danke vor allem meiner Betreuerin Frau Professor Haider, dass Sie mir mein Thema bewilligt hat und mir mit Rat und Tat zur Seite stand. Ich danke der Familie Waechter und Frau Anneliese Sch. für die Bereitstellung des Materials. Ich danke meiner Schwester Romy und meiner „Seelenverwandten“ Sheila und all meinen Freunden für ihre emotionale Unterstützung und die zahlreichen motivierenden Gespräche. Ich danke meinem Bruder Florian für die Hilfe im Bereich der Computertechnik. Ein großer Dank gilt meiner Tante Edith, einfach dafür, dass es dich gibt. Außerdem danke ich meinen Großeltern, dass sie meine Liebe zur Musik und zur Oper stets enthusiastisch aufgenommen haben und mit mir Jahr für Jahr die Operettenfestspiele in Bad Ischl besucht haben. Ich widme meine Diplomarbeit meinen lieben Eltern. Sie haben mich in den letzten Jahren immer wieder finanziell unterstützt und mir daher eine schöne Studienzeit ermöglicht haben. Außerdem haben sie meine Liebe und Leidenschaft für die Oper stets unterstützt, mich mit Büchern, Videos und CD-Aufnahmen belohnt. Ich danke euch für eure Geduld und euer Verständnis für eure oft komplizierte und theaterbessene Tochter. Ich bin glücklich und froh, so tolle Eltern zu haben. Inhalt 1 Einleitung ..........................................................................................
    [Show full text]
  • Richard Strauss's Ariadne Auf Naxos
    Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails.
    [Show full text]
  • Central Reference CD List
    Central Reference CD List January 2017 AUTHOR TITLE McDermott, Lydia Afrikaans Mandela, Nelson, 1918-2013 Nelson Mandela’s favorite African folktales Warnasch, Christopher Easy English [basic English for speakers of all languages] Easy English vocabulary Raifsnider, Barbara Fluent English Williams, Steve Basic German Goulding, Sylvia 15-minute German learn German in just 15 minutes a day Martin, Sigrid-B German [beginner’s CD language course] Berlitz Dutch in 60 minutes Dutch [beginner’s CD language course] Berlitz Swedish in 60 minutes Berlitz Danish in 60 minutes Berlitz Norwegian in 60 minutes Berlitz Norwegian phrase book & CD McNab, Rosi Basic French Lemoine, Caroline 15-minute French learn French in just 15 minutes a day Campbell, Harry Speak French Di Stefano, Anna Basic Italian Logi, Francesca 15-minute Italian learn Italian in just 15 minutes a day Cisneros, Isabel Latin-American Spanish [beginner’s CD language course] Berlitz Latin American Spanish in 60 minutes Martin, Rosa Maria Basic Spanish Cisneros, Isabel Spanish [beginner’s CD language course] Spanish for travelers Spanish for travelers Campbell, Harry Speak Spanish Allen, Maria Fernanda S. Portuguese [beginner’s CD language course] Berlitz Portuguese in 60 minutes Sharpley, G.D.A. Beginner’s Latin Economides, Athena Collins easy learning Greek Garoufalia, Hara Greek conversation Berlitz Greek in 60 minutes Berlitz Hindi in 60 minutes Berlitz Hindi travel pack Bhatt, Sunil Kumar Hindi : a complete course for beginners Pendar, Nick Farsi : a complete course for beginners
    [Show full text]
  • Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
    (De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification.
    [Show full text]
  • Journal of the Conductors Guild
    Journal of the Conductors Guild Volume 32 2015-2016 19350 Magnolia Grove Square, #301 Leesburg, VA 20176 Phone: (646) 335-2032 E-mail: [email protected] Website: www.conductorsguild.org Jan Wilson, Executive Director Officers John Farrer, President John Gordon Ross, Treasurer Erin Freeman, Vice-President David Leibowitz, Secretary Christopher Blair, President-Elect Gordon Johnson, Past President Board of Directors Ira Abrams Brian Dowdy Jon C. Mitchell Marc-André Bougie Thomas Gamboa Philip Morehead Wesley J. Broadnax Silas Nathaniel Huff Kevin Purcell Jonathan Caldwell David Itkin Dominique Royem Rubén Capriles John Koshak Markand Thakar Mark Crim Paul Manz Emily Threinen John Devlin Jeffery Meyer Julius Williams Advisory Council James Allen Anderson Adrian Gnam Larry Newland Pierre Boulez (in memoriam) Michael Griffith Harlan D. Parker Emily Freeman Brown Samuel Jones Donald Portnoy Michael Charry Tonu Kalam Barbara Schubert Sandra Dackow Wes Kenney Gunther Schuller (in memoriam) Harold Farberman Daniel Lewis Leonard Slatkin Max Rudolf Award Winners Herbert Blomstedt Gustav Meier Jonathan Sternberg David M. Epstein Otto-Werner Mueller Paul Vermel Donald Hunsberger Helmuth Rilling Daniel Lewis Gunther Schuller Thelma A. Robinson Award Winners Beatrice Jona Affron Carolyn Kuan Jamie Reeves Eric Bell Katherine Kilburn Laura Rexroth Miriam Burns Matilda Hofman Annunziata Tomaro Kevin Geraldi Octavio Más-Arocas Steven Martyn Zike Theodore Thomas Award Winners Claudio Abbado Frederick Fennell Robert Shaw Maurice Abravanel Bernard Haitink Leonard Slatkin Marin Alsop Margaret Hillis Esa-Pekka Salonen Leon Barzin James Levine Sir Georg Solti Leonard Bernstein Kurt Masur Michael Tilson Thomas Pierre Boulez Sir Simon Rattle David Zinman Sir Colin Davis Max Rudolf Journal of the Conductors Guild Volume 32 (2015-2016) Nathaniel F.
    [Show full text]
  • Happy Birthday Mimi!
    DOCUMENTARY FOCUS I N KQ U B O - M BALI SE L O Our Mimi Compiled by CHEREZAAN BASADIEN the influence she had on Audiovisual Selector their lives. It includes artists such as Na- taniël, Hennie Aucamp, Pieter-Dirk Uys as n 12 June Mimi Coertse, one Evita Bezuidenhout, Pieter de Villiers, of South Africa’s living legends, DJ Opperman, and more. Ocelebrated her 80th birthday. Her De Wet, Wouter. Onse Mimi.- Perskor-Uitg., biography is called Onse Mimi and is a fitting 1976. (780.92 COE) description for all South African fans. She is This biography covers Mimi Coertse’s well known for her beautiful voice and opera life from the age of three. It is written in singing. Mimi is still active in promoting the Afrikaans and reads so much like a story careers of young South African singers, and that I could imagine myself growing up with serves on a variety of bodies set on further- her. It is a pity this is not available in English. ing the broad interest of music and culture in It covers her birth, growing up, her school South Africa. years, husbands, and life. The one thing that Although this column focuses on our inspired me in this book was Mimi’s dedica- DVD/film collection, I decided as an ap- tion and commitment to singing. She always petizer to her music, to include a few book believed she was going to become a singer titles as well. and even when she didn’t succeed in singing competitions at high school, she went over- Happy birthday seas for training and conquered the world.
    [Show full text]
  • Summer 2009 —Dir Werf’ Ich’S Zu— Volume 6, Number 3 Weisst Du Wie Das Wird? –Götterdämmerung
    Wagneriana Singe, Schwester, Summer 2009 —dir werf’ ich’s zu— Volume 6, Number 3 weisst du wie das wird? –Götterdämmerung From the Editor he May 23 Wagner and Strauss concert went spectacularly well. On the program were Strauss’s enchanting Vier letzte Lieder (Four Last Songs), as T well as his “Ruhe, meine Seele” (Rest, My Soul), “Wiegenlied” (Cradle Song), and “Zueignung” (Dedication). Excerpts from Wagner’s Tannhäuser and Die Walküre in the second half provided much enjoyment. In addition to his ex- pert accompaniment of soprano Julia Rolwing, pianist Lloyd Arriola performed Liszt’s powerful transcriptions of Tannhäuser. This concert offered a sophisti- cated sampling of some the best vocal German music. Rolwing, who sang the Strauss songs for only the second time in her career, demonstrated great agility, flexibility, and tonal accuracy as she swooped up and down the scales of these exquisite lieder. And in Wagner’s excerpts, she evinced a wonderful combina- tion of great sweetness and heroic flair, charming her audience with her sensitiv- Julia Rolwing beams ity, dramatization, and expressivity. Hers is a multicolored timbre that is very at the applause (Concert photos by pleasant to hear. Thomas Kwei) Arriola’s performance of the Tannhäuser piano transcriptions by Liszt elicited a standing ovation from the audience. And his accom- paniment was delicate and attentive, providing solid, artful support for Rolwing. Despite the holiday weekend (Memorial Day), attendance was good. The concert was featured in the Boston Globe three times in the days leading up to the event and was advertised on WGBH and WHRB.
    [Show full text]
  • Vienna Bifold.Indd
    Festivals February 21–March 16, 2014 Featuring the Vienna Philharmonic Orchestra and Vienna State Opera Music, Film, Art, Panel Discussions, and More Terry Linke Vienna Philharmonic Orchestra A glittering cultural jewel at the heart of Europe, Vienna has for centuries drawn artists, dreamers, and innovators from all corners of the continent to its dazzling intellectual and artistic life. With its famed art salons and co ee houses, Vienna supported a unique culture in which artists and scientists, fi rebrands and aesthetes, met and freely exchanged ideas. From this hothouse atmosphere emerged revolutionary breakthroughs in psychology, literature, art, and music, reverberating around Europe and indeed the world. Carnegie Hall salutes Vienna’s extraordinary artistic legacy with Vienna: City of Dreams, a three-week citywide festival that features symphonic and operatic masterpieces, chamber music, and lieder, as well as new sounds that are emerging from this historic cultural capital. The festival is bookended by seven concerts in Stern Auditorium / Perelman Stage by the renowned Vienna Philharmonic Orchestra and Vienna State Opera, led by esteemed conductors Franz Welser-Möst, Daniele Gatti, Andris Nelsons, and Zubin Mehta. The residency includes concert performances of both Alban Berg’s Wozzeck and Richard Strauss’s Salome, marking only the second time in their history that the Viennese musicians have performed opera in concert at Carnegie Hall. Other festival highlights include a Beethoven violin sonata cycle with Leonidas Kavakos and pianist Enrico Pace, Schubert’s great Die schöne Müllerin with baritone Matthias Goerne and pianist Christoph Eschenbach, a Discovery Day that focuses on Schubert’s fi nal years, and a Carnegie Hall–commissioned new work by Austrian composer Georg Friedrich Haas to be premiered by Ensemble ACJW.
    [Show full text]
  • 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.
    [Show full text]
  • PACO165 Front.Std
    [ill □§@ DIGITAL AUDIO PACO 165 Solti Richard Strauss: Salome strauss salome Audiences encountering Salome for the first time in the years following its 1905 premiere- came away ree ling. Not on ly was the subject matter (murder, eroticism and necrophilia) highly dubious for the worl d's opera houses, the music was also like nothing they had heard before. Before 1905 Strauss birgit nilsson salome was best known for his orchestral tone poems that showcased his abi lity to tell stories through music. gerhard stolze herod In Salome Strauss became musically more radical and distinctive, frequently using dissonance. Opera grace hoffman herodias composers since Strauss have gone far further to shock audiences, both musically and dramatically, and it is easy for modern listeners to overlook the huge musical impact this opera had in 1905. eberhard wachter jokanaan waldemar kmentt narraboth Th e ro le of Salome demands the impossible combinat ion of a large Wagne ri an voice capable of josephine veasey page soaring ove r Strau ss's thick orchestration in the body of a seductive you ng woman. Most sop ranos paul kuen first jew capable of singing the role are both physically larger and old er than the storyline desires. Recordings Stefan schwer second jew kurt equiluz third jew overcome this problem of course, with our menta l image being shaped by what we hear rather than aron gestner fourth jew what we see. Birgit Nil sson, the supreme Brunnh ilde, Isolde, Elektra and Turandot of he r day, gives us max proebstl fifth jew all the voca l power that the role requires, but also scales down her vo ice for the qu ieter more tom krause first nazarene intimate moments.
    [Show full text]
  • Welcome to Our 50Th Anniversary Special Edition of SAMRO Notes
    www.samro.org.za | 50th Special Edition Welcome to our From the desk 50th Anniversary of the CEO In December 1961, SAMRO held its first-ever Special Edition of board meeting and AGM and a few weeks later, SAMRO Notes in January 1962, it opened for business... At the time, SAMRO’s objective was to protect the intellectual property of composers and authors. It was also to make sure that composers’ and authors’ talents received proper credit both locally and internationally when the music they created was used. That commitment, first articulated and put into action in the Who would have thought that what started out as a small family- early 1960s, has not changed – and in the five decades since, SAMRO has become run organisation would still have such great relevance and impact the primary representative of music performing rights in Southern Africa. on the lives of over 12 000 members 50 years later? From the very beginning, there was an additional commitment by SAMRO’s founder, Dr Gideon Roos, Sr, and those who came after him. That was to ensure that SAMRO took the right business decisions to be financially robust and sustainable, and fully able to meet its commitments to members, no matter Yet here we are, celebrating five decades of unwavering service to the state of the external economic environment. you, our valued members. It’s on these foundations that we have been able to take SAMRO in new directions – directions that add value to our members and benefit the South African music industry as a whole.
    [Show full text]