DOCSLIB.ORG

B% ¹C¼KBÀ/Flnwê

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
B% ¹C¼KBÀ/Flnwê 110140-41 bk Gounod EC 28|03|2003 2:30 PM Page 12 ADD Great Opera Performances 8.110140-41 Also available: 2 CDs GOUNOD Roméo et Juliette Eidé Norena • Charles Hackett • Angelo Bada • Giuseppe de Luca Chorus and Orchestra of the Metropolitan Opera, New York • Louis Hasselmans Recorded in 1935 8.110203-04 8.110140-41 12 110140-41 bk Gounod EC 28|03|2003 2:30 PM Page 2 Ward Marston Great Opera Performance In 1997 Ward Marston was nominated for the Best Historical Album Grammy Award for his production work on BMG’s Fritz Kreisler collection. According to the Chicago Tribune, Marston’s name is ‘synonymous with tender Charles loving care to collectors of historical CDs’. Opera News calls his work ‘revelatory’, and Fanfare deems him ‘miraculous’. In 1996 Ward Marston received the Gramophone award for Historical Vocal Recording of the Year, GOUNOD honouring his production and engineering work on Romophone’s complete recordings of Lucrezia Bori. He also (1818-1892) served as re-recording engineer for the Franklin Mint’s Arturo Toscanini issue and BMG’s Sergey Rachmaninov recordings, both winners of the Best Historical Album Grammy. Born blind in 1952, Ward Marston has amassed tens of thousands of opera classical records over the past four Romeo et Juliette decades. Following a stint in radio while a student at Williams College, he became well-known as a reissue producer Opera in Five Acts (1867) in 1979, when he restored the earliest known stereo recording made by the Bell Telephone Laboratories in 1932. In the past, Ward Marston has produced records for a number of major and specialist record companies. Now he Broadcast from the Metropolitan Opera House, New York City, 26 January 1935 is bringing his distinctive sonic vision to bear on works released on the Naxos Historical label. Ultimately his goal is to make the music he remasters sound as natural as possible and true to life by ‘lifting the voices’ off his old 78 rpm recordings. His aim is to promote the importance of preserving old recordings and make available the works of great Juliette . Eidé Norena musicians who need to be heard. Stéphano . Gladys Swarthout Gertrude . Henrietta Wakefield Roméo . Charles Hackett Tybal . Angelo Bada Benvolio . Max Altglass Mercutio . Giuseppe de Luca Paris . Millo Picco Gregorio . Paolo Ananian Capulet . Louis D’Angelo Friar Laurence . Léon Rothier Duke of Verona . Arthur Anderson Orchestra and Chorus of the Metropolitan Opera • Louis Hasselmans Note: In this performance, Gounod’s original Act 4 Scene 2 including the ballet is entirely omitted. Gounod’s original Act 5 therefore becomes Act 4 Scene 2. The Naxos historical label aims to make available the greatest recordings in the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings. 8.110140-41 2 11 8.110140-41 110140-41 bk Gounod EC 28|03|2003 2:30 PM Page 10 Producer’s Note CD 1 79:16 Almost anyone today who owns a cassette or VCR recorder has probably taped radio or television programs, for it 1 Prologue: Vérone vit jadis deux familles rivales… Act II 27:40 has become as simple as inserting a tape into the machine and pressing a button. Recording “off the air” was not (Chorus) 7:20 always such an easy matter. During the early 1930’s, one could purchase an apparatus for recording broadcasts that 9 Entr’acte et chœur: 3:37 attached to an ordinary record player and used pre-grooved discs. That method yielded almost unlistenable Act I 32:46 O nuit! sous tes ailes obscures… recordings of little value today. Fortunately a more sophisticated recording process was also developed which used 2 Introduction: L’heure s’envole… 9:56 (Roméo, Mercutio, Chorus) a lathe to cut grooves into highly polished aluminum discs. Radio networks began using the system to record (Chorus; Juliette, Paris, Tybalt, Capulet; selected broadcasts for their archives and the pleasure of a few prominent celebrities. Before long, studios began Mercutio, Roméo) 0 Cavatine: L’amour, l’amour!… 5:02 making custom recordings and for the first time one could pay to have a broadcast transcribed. Aluminum discs (Roméo) were soon supplanted by lacquer coated discs which yielded less noise and captured greater frequency response and 3 Ballade de la reine Mab: 2:42 dynamic range. This type of disc remained the standard format for “off the air” recording until the introduction of Mab, la reine des mensonges… ! Scène et chœurs: Hélas! moi, le haïr! 8:29 magnetic tape. (Mercutio) (Juliette, Roméo, Chorus, Gregorio, Gertrude) The Metropolitan Opera Company began its regular Saturday afternoon broadcasts in December 1931, but only a few fragments survive from the first years. By 1934 recording these broadcasts was becoming more common and 4 Récitatif et Scène: 3:37 @ Duo: Ô nuit divine! je t’implore! 10:33 a surprising number of complete or nearly-complete performances exist from the 1934-35 season. Unfortunately Eh bien! que l’avertissement me vienne de Mab… (Roméo, Juliette) most of the original aluminum discs on which these broadcasts were captured are no longer available; most (Roméo, Mercutio, Chorus; Juliette, Gertrude) transfers emanate from tape dubs which, more often than not, were poorly made years ago from the original discs. In the case of this performance of Gounod’s Roméo et Juliette, a complete set of 78 r.p.m. twelve inch 5 Ariette: Ah! Je veux vivre dans le rêve… 3:59 Act III 11:30 aluminum discs has been preserved by tenor Charles Hackett’s son. This transfer is made directly from those discs, (Juliette) and although the noise level is at times high, the sound quality is excellent for a broadcast transcription of this Scene 1 vintage. The distortion heard during forte passages is absolutely typical of recordings made on these early 6 Récitatif: Le nom de cette belle enfant? 0:52 aluminum discs. The outer edges of many of the discs have corroded, causing occasional but severe scraping (Roméo, Gregorio, Gertrude, Juliette) # Entr’acte et scène: 4:10 sounds which I have attempted to attenuate. In order to preserve as much of the original sound as possible, I have Mon père! Dieu vous garde! used no excessive filtering or digital noise reduction and have used CEDAR technology only to remove clicks, and 7 Madrigal: Ange adorable… 5:07 (Roméo, Fr. Laurence, Juliette) pops. Additionally, I found that each side varies in speed between its beginning and end from about 78 down to (Juliette, Roméo) 76.5 r.p.m. I have endeavored to adjust the speed to keep the pitch reasonably constant throughout the performance. $ Trio et quatuor: 7:20 8 Finale: 6:32 Dieu qui fis l’homme à ton image! Quelqu’un! C’est mon cousin Tybalt (Fr. Laurence, Juliette, Roméo, Gertrude) (Juliette, Roméo, Tybalt, Mercutio, Paris, Capulet) 8.110140-41 10 3 8.110140-41 110140-41 bk Gounod EC 28|03|2003 2:30 PM Page 4 CD 2 70:02 Act III families to keep the peace and banishes Romeo. Act III (concluded) 23:03 Act IV 46:59 Scene 1 Act IV Scene 2 Scene 1 21:18 # Romeo greets Friar Laurence in his cell, as dawn Scene 1 breaks. Juliet approaches, accompanied by her nurse, 1 Announcements 1:51 4 Duo: Va! Je t’ai pardonné… 10:59 and asks the friar to marry her to her lover. 4 It is night in Juliet’s chamber, and she forgives (Juliette, Roméo) Romeo for any injury to her family. They sing of their 2 Chanson: 4:28 $ With simple ceremony the friar pronounces the love on this, their wedding night. Romeo hears the lark, Depuis hier je cherche en vain mon maître! 5 Quatuor: Juliette!—Ah! le ciel soit loué! 3:50 words of marriage over the couple, and all join in heralding the dawn. Romeo seeks a kiss, before he must (Stéphano) (Gertrude, Capulet, Juliette, Fr. Laurence) seeking a blessing on their union. go, and climbs down from Juliet’s balcony. She remains gazing at his departure, praying that angels will guard 3 Finale: Ah! Ah! voici nos gens! 17:45 6 Scène: Mon père! Tout m’accable! 6:29 him. (Stéphano, Gregorio, Chorus, Mercutio, Tybalt, (Juliette, Fr. Laurence) CD 2 Roméo, Benvolio, Paris, Capulet, Duke) 5 Gertrude hurries in, anxious at Lord Capulet’s Scene 2 25:41 Act III approach. Capulet enters, accompanied by Friar Laurence, and announces Juliet’s proposed husband, 7 Announcements 5:08 Scene 2 Count Paris, Tybalt’s ineluctable choice. The four express their own reactions to this news. 8 Le sommeil de Juliette 2:50 2 In a square before the Capulets’ palace, the Montague page Stephano, seeks Romeo, regretting that 6 Alone with Friar Laurence, Juliet seeks his help. He 9 Scène et Duo: 17:43 Juliet, beautiful as she is, should be in such a nest of gives her a phial containing a drug that will induce in C’est là! Salut! Tombeau sombre et silencieux! vultures, a dove who will soon find freedom in love. her the appearance of death and allow her to escape. (Roméo, Juliette) 3 Gregorio emerges from the palace, seeing Stephano Scene 2 as one who had been among the intruders of the day before. Stephano taunts him and they fight, interrupted 8 Juliet is duly found dead and taken to the family by Mercutio and then by Tybalt, who draws on him.
Load more

Recommended publications
  • 029I-HMVCX1924XXX-0000A0.Pdf
    This Catalogue contains all Double-Sided Celebrity Records issued up to and including March 31st, 1924. The Single-Sided Celebrity Records are also included, and will be found under the records of the following artists :-CLARA Burr (all records), CARUSO and MELBA (Duet 054129), CARUSO,TETRAZZINI, AMATO, JOURNET, BADA, JACOBY (Sextet 2-054034), KUBELIK, one record only (3-7966), and TETRAZZINI, one record only (2-033027). International Celebrity Artists ALDA CORSI, A. P. GALLI-CURCI KURZ RUMFORD AMATO CORTOT GALVANY LUNN SAMMARCO ANSSEAU CULP GARRISON MARSH SCHIPA BAKLANOFF DALMORES GIGLI MARTINELLI SCHUMANN-HEINK BARTOLOMASI DE GOGORZA GILLY MCCORMACK Scorn BATTISTINI DE LUCA GLUCK MELBA SEMBRICH BONINSEGNA DE' MURO HEIFETZ MOSCISCA SMIRN6FF BORI DESTINN HEMPEL PADEREWSKI TAMAGNO BRASLAU DRAGONI HISLOP PAOLI TETRAZZINI BI1TT EAMES HOMER PARETO THIBAUD CALVE EDVINA HUGUET PATTt WERRENRATH CARUSO ELMAN JADLOWKER PLANCON WHITEHILL CASAZZA FARRAR JERITZA POLI-RANDACIO WILLIAMS CHALIAPINE FLETA JOHNSON POWELL ZANELLIi CHEMET FLONZALEY JOURNET RACHM.4NINOFF ZIMBALIST CICADA QUARTET KNIIPFER REIMERSROSINGRUFFO CLEMENT FRANZ KREISLER CORSI, E. GADSKI KUBELIK PRICES DOUBLE-SIDED RECORDS. LabelRed Price6!-867'-10-11.,613,616/- (D.A.) 10-inch - - Red (D.B.) 12-inch - - Buff (D.J.) 10-inch - - Buff (D.K.) 12-inch - - Pale Green (D.M.) 12-inch Pale Blue (D.O.) 12-inch White (D.Q.) 12-inch - SINGLE-SIDED RECORDS included in this Catalogue. Red Label 10-inch - - 5'676 12-inch - - Pale Green 12-inch - 10612,615j'- Dark Blue (C. Butt) 12-inch White (Sextet) 12-inch - ALDA, FRANCES, Soprano (Ahl'-dah) New Zealand. She Madame Frances Aida was born at Christchurch, was trained under Opera Comique Paris, Since Marcltesi, and made her debut at the in 1904.
    [Show full text]
  • Gli Esiliati in Siberia, Exile, and Gaetano Donizetti Alexander Weatherson
    Gli esiliati in Siberia, exile, and Gaetano Donizetti Alexander Weatherson How many times did Donizetti write or rewrite Otto mesi in due ore. No one has ever been quite sure: at least five times, perhaps seven - it depends how the changes he made are viewed. Between 1827 and 1845 he set and reset the music of this strange but true tale of heroism - of the eighteen-year-old daughter who struggled through snow and ice for eight months to plead with the Tsar for the release of her father from exile in Siberia, making endless changes - giving it a handful of titles, six different poets supplying new verses (including the maestro himself), with- and-without spoken dialogue, with-and-without Neapolitan dialect, with-and-without any predictable casting (the prima donna could be a soprano, mezzo-soprano or contralto at will), and with-and-without any very enduring resolution at the end so that this extraordinary work has an even-more-fantastic choice of synopses than usual. It was this score that stayed with him throughout his years of international fame even when Lucia di Lammermoor and Don Pasquale were taking the world by storm. It is perfectly possible in fact that the music of his final revision of Otto mesi in due ore was the very last to which he turned his stumbling hand before mental collapse put an end to his hectic career. How did it come by its peculiar title? In 1806 Sophie Cottin published a memoir in London and Paris of a real-life Russian heroine which she called 'Elisabeth, ou Les Exilés de Sibérie'.
    [Show full text]
  • SIBERIA Dramma in Tre Atti Libretto Di Luigi Illica
    Umberto Giordano SIBERIA Dramma in tre atti Libretto di Luigi Illica PERSONAGGI Stephana soprano Nikona Mezzosoprano La Fanciulla Soprano Vassili Tenore Glèby Baritono Il principe Alexis Tenore Ivan Tenore Il Banchiere Misklinsky Baritono Walinoff Basso Il Capitano Basso Il sergente Tenore Il cosacco Tenore Il Governatore Basso L’invalido Baritono L’Ispettore Basso Ufficiali, signori, Nobili, Contadini, Merciaie, Babe, Soldati, Condan- nati: uomini, donne, Soldati Prima rappresentazione Mialno, teatro alla Scala, 19 dicembre 1903 1 Giordano: Siberia - atto primo ATTO PRIMO La donna A Pietroburgo nella prima metà del secolo XIX. Nell’agosto all’alba della festa di S. Alessandro. Nella “Rotonda” della elegante palazzina, regalata IVAN dal principe Alexis Frouwor a Stephana «la Bella (sbadiglia, guarda, sorpreso, fuori) Orientale», Nikona veglia inquieta aspettando la sua padrona in compagnia di Ivan, uomo di fidu- Di già l’aurora!… cia, maggiordomo, cameriere, etc. Già, fuori, dalle Spegniamo!… chiese, le campane hanno preannunziato la immi- nente alba della «Festa di Sant’Alessandro». I trak- (nell’atto di spegnere si arresta e ascolta) tir hanno preparata la gran gioia russa tenendo can- Sulla rena tina aperta tutta la notte! I soldati dei reggimenti in dei passi… partenza per la Turchia hanno, ai melanconici canti del mugiki, ingombranti sempre fedelmente tutti i NIKONA traktir della capitale prima, durante e dopo ogni Guarda! festa, uniti i gloriosi canti di guerra. Stephana «la Bella Orientale» tarda più del con- IVAN sueto a rientrare, e la notte tumultuosa non è tale da rassicurare la povera e fedele Nikona, che ad ogni (alla balconata) momento si leva dalla poltrona per spiarne fuori Nessuno! dalla balconata il ritorno, finora sempre inutilmente.
    [Show full text]
  • Enrico Caruso
    NI 7924/25 Also Available on Prima Voce ENRICO CARUSO Opera Volume 3 NI 7803 Caruso in Opera Volume One NI 7866 Caruso in Opera Volume Two NI 7834 Caruso in Ensemble NI 7900 Caruso – The Early Years : Recordings from 1902-1909 NI 7809 Caruso in Song Volume One NI 7884 Caruso in Song Volume Two NI 7926/7 Caruso in Song Volume Three 12 NI 7924/25 NI 7924/25 Enrico Caruso 1873 - 1921 • Opera Volume 3 and pitch alters (typically it rises) by as much as a semitone during the performance if played at a single speed. The total effect of adjusting for all these variables is revealing: it questions the accepted wisdom that Caruso’s voice at the time of his DISC ONE early recordings was very much lighter than subsequently. Certainly the older and 1 CAVALLERIA RUSTICANA, Mascagni - O Lola ch’ai di latti la cammisa 2.50 more artistically assured he became, the tone became even more massive, and Rec: 28 December 1910 Matrix: B-9745-1 Victor Cat: 87072 likewise the high A naturals and high B flats also became even more monumental in Francis J. Lapitino, harp their intensity. But it now appears, from this evidence, that the baritone timbre was 2 LA GIOCONDA, Ponchielli - Cielo e mar 2.57 always present. That it has been missed is simply the result of playing the early discs Rec: 14 March 1910 Matrix: C-8718-1 Victor Cat: 88246 at speeds that are consistently too fast. 3 CARMEN, Bizet - La fleur que tu m’avais jetée (sung in Italian) 3.53 Rec: 7 November 1909 Matrix: C-8349-1 Victor Cat: 88209 Of Caruso’s own opinion on singing and the effort required we know from a 4 STABAT MATER, Rossini - Cujus animam 4.47 published interview that he believed it should be every singers aim to ensure ‘that in Rec: 15 December 1913 Matrix: C-14200-1 Victor Cat: 88460 spite of the creation of a tone that possesses dramatic tension, any effort should be directed in 5 PETITE MESSE SOLENNELLE, Rossini - Crucifixus 3.18 making the actual sound seem effortless’.
    [Show full text]
  • Staged Treasures
    Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio
    [Show full text]
  • Signerede Plader Og Etiketter Og Fotos Signed Records and Labels and Photos
    Signerede plader og etiketter og fotos Signed records and labels and photos Soprano Blanche Arral (10/10-1864 – 3/3-1945) Born in Belgium as Clara Lardinois. Studied under Mathilde Marchesi in Paris. Debut in USA at Carnegie Hall in 1909. Joined the Met 1909-10. Soprano Frances Alda (31/5-1879 – 18/9-1953) Born Fanny Jane Davis in New Zealand. Studied with Mathilde Marchesi in Paris, where she had her debut in 1904. Married Guilio Gatti-Casazza – the director of The Met – in 1910. Soprano Geraldine Farrar – born February 28, 1882 – in Melrose, Massachusetts – died March 11, 1967 in Ridgefield, Connecticut Was also the star in more than 20 silent movies. Amercian mezzo-soprano Zélie de Lussan – 1861 – 1949 (the signature is bleached) American tenor Frederick Jagel – June, 10, 1897 Brooklyn NY – July 5, 1982, San Francisco, California At the Met from 1927 - 1950 Soprano Elisabeth Schwartzkopf – Met radio transmission on EJS 176 One of the greatest coloratura sopranos. Tenor Benjamino Gigli (20/3-1890 – 30/11-1957) One of the greatest of them all. First there was Caruso, then Gigli, then Björling and last Pavarotti. Another great tenor - Guiseppe di Stefano (24/7-1921 – 3/3-2008) The Italian tenor Guiseppe Di Stefano’s carreer lasted from the late 40’s to the early 70’s. Performed and recorded many times with Maria Callas. French Tenor Francisco (Augustin) Nuibo (1/5-1874 Marseille – Nice 4.1948) The Paris Opéra from 1900. One season at The Met in 1904/05. Tenor Leo Slezak (18/8-1873 – 1/6-1946) born in what became Czeckoslovakia.
    [Show full text]
  • Festival Radio France
    Siberia Date Samedi 22 juillet 2017* Horaire 20:00 à 22:00* Durée 02:00 Lieu Montpellier [34] - Le Corum / Opéra Berlioz *Attention nous vous informons que les horaires sont à titre indicatifs et sont susceptibles de varier en fonction du ou des artistes, ainsi que du nombre de rappels. BILLETS DE 12 à 55 € RÉSERVER www.lefestival.eu 1/5 Infos/réservations: +334 67 02 02 01 DÉCOUVREZ LE PROGRAMME UMBERTO GIORDANO Siberia Opéra en 3 actes (1903, révision 1927) Version de concert Sonya Yoncheva, soprano Stephana Murat Karahan, ténor Vassili Gabriele Viviani, baryton Gleby Catherine Carby, mezzo-soprano Nikona Anaïs Constant, soprano La Fanciulla Marin Yonchev, ténor Ivan, il Cosacco Alvaro Zambrano, ténor Alexis, Il Sergente Jean Teitgen, basse Il Capitano, Walinoff, Il Governatore Jean-Gabriel Saint-Martin, baryton Il Banchiere Miskinsky, l'Invalido Laurent Sérou, basse l'Ispettore Choeur Opéra National Montpellier Occitanie Chef de choeur Noëlle Gény / Jacopo Facchini Choeur de la Radio Lettone Chef de choeur Sigvards Klava Orchestre National Montpellier Occitanie Domingo Hindoyan direction Chef de chant Anne Pagès-Boisset AVEC L'AIDE D'EY www.lefestival.eu 2/5 Infos/réservations: +334 67 02 02 01 « Horribles steppes ! » De la douzaine d'opéras achevés par Umberto Giordano (1867-1948), seuls trois connurent un succès durable : Andrea Chénier (1896), Fedora (1898) et Siberia (1903). Mais le dernier d'entre eux ne s'est pas maintenu au répertoire, bien qu'il ait été le préféré du compositeur et peut-être son oeuvre la plus ambitieuse. L'ouvrage avait pourtant bénéficié d'une création fastueuse à La Scala de Milan, le 19 décembre 1903, donnée à guichets fermés en présence de nombreuses personnalités artistiques (dont d'Annunzio) et par une distribution de choix qui avait été rassemblée en vue de Madama Butterfly de Puccini.
    [Show full text]
  • Understanding the Lirico-Spinto Soprano Voice Through the Repertoire of Giovane Scuola Composers
    UNDERSTANDING THE LIRICO-SPINTO SOPRANO VOICE THROUGH THE REPERTOIRE OF GIOVANE SCUOLA COMPOSERS Youna Jang Hartgraves Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2017 APPROVED: Jeffrey Snider, Major Professor William Joyner, Committee Member Silvio De Santis, Committee Member Stephen Austin, Chair of the Division of Vocal Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Hartgraves, Youna Jang. Understanding the Lirico-Spinto Soprano Voice through the Repertoire of Giovane Scuola Composers. Doctor of Musical Arts (Performance), August 2017, 53 pp., 10 tables, 6 figures, bibliography, 66 titles. As lirico-spinto soprano commonly indicates a soprano with a heavier voice than lyric soprano and a lighter voice than dramatic soprano, there are many problems in the assessment of the voice type. Lirico-spinto soprano is characterized differently by various scholars and sources offer contrasting and insufficient definitions. It is commonly understood as a pushed voice, as many interpret spingere as ‘to push.’ This dissertation shows that the meaning of spingere does not mean pushed in this context, but extended, thus making the voice type a hybrid of lyric soprano voice type that has qualities of extended temperament, timbre, color, and volume. This dissertation indicates that the lack of published anthologies on lirico-spinto soprano arias is a significant reason for the insufficient understanding of the lirico-spinto soprano voice. The post-Verdi Italian group of composers, giovane scuola, composed operas that required lirico-spinto soprano voices.
    [Show full text]
  • The Hyechra Club
    THE HYECHRA CLUB The narrator has had a lively interest in The Hyechka Club since its beginning and believes that its history merits recording and dmu- menting in The Chronicles of OkZuhoma, Members of the Club in the past have been interested and its members today are interested in building and supporting a city and a state as cultural centers in which to rear patriotic and Clod-fearing children worthy of the loftiest ideals. Instead of a brief history, this band of music lovers is entitled to a fdsized, two volume publication to report ad* quately all that they have given to the education of young people along cdtural lines and to the wealth of Tulsa and the State of Oklahoma as expressed in the leadership and influence of the known and unknown contributors. Looking over the names of world famous artists that have appeared on its early programs and in its annual Spring Festivals, the words of Warner Van Valkenburg are a fitting tribute and introduction even to this brief history of Tulsa's pioneer organization of music lovers :l "I AM MUSIC. "I am the hymns of the Christian Martyrs in the catacombs; I am the songs of thanksgiving of the kneeling Pilgrime; I am the fugues of Bach, and the oratorios of Handel and Haydn; I am the magic flute of Momrt; I am the immortal symphonies of Beethoven; I am the throbbing mee- sages of Schubert and Schumann; I am the nocturnes of Chopin and the folk melodies of Dvorak; I am the rhapsodies of Linzt and the music- dramas of Wagner; I am the voice of Peter Tchaikowski, crying in the wilderness; I am Brahms and Richard Straues, and Verdi, fulfilling the command of destiny; yea I have breathed upon the harps of MacDowell and Cadman, and have sung of a new world in the west.
    [Show full text]
  • 04-14-2018 Luisa Miller Mat.Indd
    GIUSEPPE VERDI luisa miller conductor Opera in three acts Bertrand de Billy Libretto by Salvadore Cammarano, production Elijah Moshinsky based on the play Kabale und Liebe by Friedrich von Schiller set and costume designer Santo Loquasto Saturday, April 14, 2018 lighting designer 12:30–4:00 PM Duane Schuler revival stage director Gregory Keller The production of Luisa Miller was made possible by a generous gift from Catherine and Ephraim Gildor The revival of this production is made possible by a gift from Rolex and Mrs. Jayne Wrightsman general manager Peter Gelb music director designate Yannick Nézet-Séguin 2017–18 SEASON The 91st Metropolitan Opera performance of GIUSEPPE VERDI’S This performance luisa miller is being broadcast live over The Toll Brothers– Metropolitan Opera conductor International Radio Bertrand de Billy Network, sponsored by Toll Brothers, in order of vocal appearance America’s luxury ® homebuilder , with miller generous long-term Plácido Domingo support from The Annenberg luisa Foundation, The Sonya Yoncheva Neubauer Family Foundation, the laura Vincent A. Stabile Rihab Chaieb** Endowment for Broadcast Media, rodolfo and contributions Piotr Beczała from listeners worldwide. wurm Dmitry Belosselskiy Visit List Hall at the first intermission for count walter the Toll Brothers- Alexander Vinogradov Metropolitan Opera Quiz. federica Olesya Petrova This performance is also being broadcast a peasant live on Metropolitan Patrick Miller Opera Radio on SiriusXM channel 75. Saturday, April 14, 2018, 12:30–4:00PM This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation.
    [Show full text]
  • Archivio Giuseppe De Luca 1892 - 1980
    Archivio Giuseppe De Luca 1892 - 1980 Progetto Musicisti italiani nel mondo Tipologia d'intervento riordino Estremi cronologici 2018 Descrizione Gruppo degli archivi di musiciti che hanno avuto importanti esperienze internazionali Soggetto conservatore Istituto Nazionale Tostiano - Ortona Condizione giuridica pubblico Macrotipologia ente di cultura, ricreativo, sportivo, turistico Cenni storico istituzionali L'Istituto Nazionale Tostiano costituito ad Ortona (CH) nel 1983 con Deliberazione del Consiglio Comunale di Ortona n. 161 del 21/03/1983; n. 198 del 27/04/83; n.225 25/07/83 e n. 159 del 14/11/1996, tutte esecutive, è una istituzione di impegno musicologico unica nella regione Abruzzo occupandosi statutariamente della vita e delle opere del compositore Francesco Paolo Tosti, degli altri musicisti abruzzesi e più in generale della musica vocale da camera ed altri settori della cultura musicale. Tale lavoro viene svolto attraverso il collegamento con istituzioni di cultura, editoria ed organizzazione musicale di rilevanza internazionale con un’intensa attività editoriale e discografica, l’attivazione di corsi di perfezionamento internazionali e l’organizzazione di mostre, seminari e convegni in Italia e all’estero. L'Istituto collabora per lo svolgimento delle proprie attività statutarie con diversi enti nazionali ed internazionali in particolare allo sviluppo di progetti di messa in rete di basi di dati e di banche dati. L'Isituto Nazionale Tostiano ha ottenuto il riconoscimento di Istituto culturale di rilevanza nazionale ai sensi della L. 534/96 (D.M. 17.11.2009). L’Istituto ha sede nel rinascimentale Palazzo Corvo di Ortona Collegamenti 1 di 67 http://www.istitutonazionaletostiano.it Soggetto produttore De Luca, Giuseppe Tipologia Persona Estremi cronologici Roma, 1876 dicembre 25 - New York, 1950 agosto 26 Profilo storico / Biografia Documentazione pervenuta grazie a Nicoletta Panni, figlia di Wally De Luca, figlia di Giuseppe e Giulia per donazione (16 settembre 1995).
    [Show full text]
  • Gigli's Non-Commercial Discography: Part 2—Soundtrack Recordings
    Gigli’s Non-Commercial Discography: Part 2—Soundtrack Recordings With his multiple appearances in the cinemas of Europe and the United States, Gigli succeeded in his aim of bringing classical music to the widest possible audience. Please note, where there is an accessible DVD of any of this material, I have tried to list them in the NOTES. An addendum with links to illustrate some of the items below is also included. 27.F01 4 April, the first public presentation was coupled with the premiere of the movie, “When a Man Loves,” at the Selwyn Theatre in New York City, 3 February 1927. The feature was recorded at the Manhattan Opera House, with the Metropolitan Opera chorus and the Vitaphone Symphony Orchestra conducted by Herman Heller. Vitaphone Varieties number 415. Rigoletto (Verdi) Cast: Marion Talley (Gilda); BG (Duca di Mantova); Giuseppe de Luca (Rigoletto); Jeanne Gordon (Maddalena); a) Act IV: Un di se ben … b) Act IV: Bella figlia LP: EJS 403 (a-c); CD: GOP 804 (a-b); CAMCD-1080 (a-b); URANIA URN 22.376 (a-b); NOTE: The above and all the 1927-28 recordings are part of the series of film shorts, Vitaphone Varieties, which were shown in cinemas with other feature films. These were among the first “talkie” (sound) films made. The initial date ascribed is the copyright date and not the recording date. Further information has been added where known. 27.F02 5 April, first shown at the Colony Theatre, New York. Recorded at the Manhattan Opera House, with the Metropolitan Opera chorus and the Vitaphone Symphony Orchestra conducted by Herman Heller.
    [Show full text]