Richard Strauss Le Bourgeois gentilhomme, Op. 60 Videos
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2024-04-16
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Elizabeth Harwood Kathleen Ferrier Lina Pagliughi Rossini Joan Sutherland Richard Strauss Scottish Opera Covent Garden Scala 1912 1916 1918 1933 1935 1938 1960 1961 1967 1969 1970 1971 1972 1975 1982 1990
~The "Glass Shatterers!" series focuses on sopranos who sustain High F, or sing higher. THE SONGBIRD: Elizabeth Harwood +••.••(...)) was raised in Yorkshire by musical parents / her mother was a professional soprano, Constance Read, and gave Harwood voice lessons. Harwood studied at the Royal Manchester College of Music and at the age of 21, she won the Kathleen Ferrier Memorial Scholarship and spent a year in Milan studying with Lina Pagliughi. Her professional debut came as Second Boy in "The Magic Flute" at Glyndebourne in 1960. She became a member of the Sadler's Wells company in 1961 where she sang Manon, Gilda, Rossini's Adele, Konstanze, Countess Rosina, Fiakermilli, and Zerbinetta. After a tour of Australia with Joan Sutherland's company in 1967, Harwood's regular appearances at the Scottish Opera began with Fiordiligi and continued with Sophie, Lucia, Rosalinde, and Eva (her only Wagner role). At Covent Garden in the 1960s and 1970s she sang Fiakermilli, Gilda, Oscar, Donna Elvira, Norina, Arabella, and Manon. For Glyndebourne, she was Fiordiligi, Countess Rosina, and, in 1982, the Marschallin. Appearances abroad included Aix-en-Provence (Donna Elvira in 1967, Galatea in 1969); Salzburg (Konstanze and Fiordiligi in 1970, Countess Rosina in 1972); The Met (Fiordiligi in 1975); and La Scala (Konstanze in 1971). Harwood died of cancer at age 52. This recording of the original 1912 version of Zerbinetta's aria from the BBC, with Norman Del Mar conducting, only exists in poor audio. I have long searched for a better quality file, and even had a contact who works in the audio archives of the BBC search for it there, but to no avail / so for now, this is the best we have. THE MUSIC: Richard Strauss's opera "Ariadne auf Naxos" premiered twice. The first was in 1912 in Stuttgart where it was conceived as a short opera to accompany a new adaption of Moliere's play, "Le Bourgeois gentilhomme." This version was performed in other cities over the next year (Zurich, Munich, Prague, and London), but the play/opera hybrid concept proved ineffective (and way too long at over six hours). Working with his librettist/partner Hugo von Hofmannsthal, Strauss refashioned the opera as a stand-alone work with a newly added prologue, which premiered in this new form to success in Vienna in 1916. This version of the opera was quickly embraced by critics, artists, and the public / it has since been recorded commercially many times and is performed regularly around the world. Only rarely have there been staged or even concert productions of the earlier 1912 version of the opera and there is only one commercial recording. One of the changes Strauss made for the 1916 score was to lower the key and cut or alter about four minutes of music from Zerbinetta's grand aria "Grossmächtige Prinzessin." (In this video, I have roughly marked the three sections of deleted or altered music). Both versions are insane, but this original version is incomprehensibly difficult at nearly 15 minutes in length and with a gruelingly high tessitura, including two High F-sharps. In either version, the scene demands a level of virtuosic musicianship and theatrical flair that is simply unmatched. Zerbinetta is a coloratura soubrette on steroids! In this scene and role, Strauss invented an entirely new musical language to exploit the unique glories of the coloratura soprano voice. He revisited this proprietary mode of highly gymnastic vocalism a few other times afterwards: in the art song "Amor" (1918), with Fiakermilli in "Arabella" (1933), and for Aminta in "Die schweigsame Frau" (1935).
Burger Edelmann Daniel Sepec Richard Strauss 2004
Provided to YouTube by NAXOS of America Le Bourgeois Gentilhomme (Der Burger als Edelmann) Suite, Op. 60, TrV 228c: I. Ouverture (Overture) · Daniel Sepec Strauss, R.: Der Burger Als Edelmann / Duett-Concertino / Capriccio ℗ 2004 PentaTone Released on: 2004-01-01 Artist: Daniel Sepec Conductor: Paavo Jarvi Orchestra: Bremen German Chamber Philharmonic Orchestra Composer: Richard Strauss Auto-generated by YouTube.
Thomas Mohr Sumi Jo Brigitte Fournier Fournier Doris Lamprecht Lamprecht Kent Nagano Sauer Virginie Pochon Pochon Richard Strauss Opéra National Lyon 1912 1997
Provided to YouTube by Warner Classics Ariadne auf Naxos: Ach, wir sind es eingewöhnet (Najade/Dryade/Echo) · Thomas Mohr · Sumi Jo R. Strauss - Ariadne auf Naxos (1912 version) / Le Bourgeois Gentilhomme (1912 version) ℗ 1997 Erato/Warner Classics, Warner Music UK Ltd Boy Soprano: Brigitte Fournier Lead Vocals: Brigitte Fournier Soprano Vocals: Brigitte Fournier Boy Soprano: Doris Lamprecht Lead Vocals: Doris Lamprecht Mezzo-soprano Vocals: Doris Lamprecht Librettist: Hugo von Hofmannsthal Conductor: Kent Nagano Lead Vocals: Kent Nagano Producer: Martin Sauer Orchestra, Vocals: Orchestre de l'Opéra National de Lyon Boy Soprano: Virginie Pochon Lead Vocals: Virginie Pochon Soprano Vocals: Virginie Pochon Composer: Richard Strauss Auto-generated by YouTube.
Deborah Cook Henze David Atherton Hammond Richard Strauss Philadelphia Lyric Opera Company Covent Garden 1912 1916 1918 1933 1935 1938 1965 1976 1985 2019
~The "Glass Shatterers!" series focuses on sopranos who sustain High F, or sing higher. THE SONGBIRD: Although born in Philadelphia, coloratura soprano Deborah Cook +••.••(...)) primarily based her singing career out of Germany. She studied at Temple University and made her professional debut with the Philadelphia Lyric Opera Company in 1965. In the 1970s and 1980s, Cook sang coloratura and soubrette roles in opera houses and concert halls across Europe and the UK, including Zerbinetta at Glyndebourne and Fiakermilli at Covent Garden. She was featured in the world premiere of Henze's opera "We Come to the River" at Covent Garden in 1976. After returning to the U.S. in 1985, Cook became the executive secretary for the head of oncology at Children’s Hospital in Philadelphia, while teaching voice at Haverford College and Bryn Mawr College. She was the Cantor of several synagogues in Pennsylvania and later in Maine where she moved in the late 1990s. This recording of the original 1912 version of Zerbinetta's aria is from a BBC Studio broadcast performance with David Atherton conducting, sung in an English translation by Tom Hammond. THE MUSIC: Richard Strauss's opera "Ariadne auf Naxos" premiered twice. The first was in 1912 in Stuttgart where it was conceived as a short opera to accompany a new adaption of Moliere's play, "Le Bourgeois gentilhomme." This version was performed in other cities over the next year (Zurich, Munich, Prague, and London), but the play/opera hybrid concept proved ineffective (and way too long at over six hours). Working with his librettist/partner Hugo von Hofmannsthal, Strauss refashioned the opera as a stand-alone work with a newly added prologue, which premiered in this new form to success in Vienna in 1916. This version of the opera was quickly embraced by critics, artists, and the public / it has since been recorded commercially many times and is performed regularly around the world. Only rarely have there been staged or even concert productions of the earlier 1912 version of the opera and there is only one commercial recording. One of the changes Strauss made for the 1916 score was to lower the key and cut or alter about four minutes of music from Zerbinetta's grand aria "Grossmächtige Prinzessin." (In this video, I have roughly marked the three sections of deleted or altered music). Both versions are insane, but this original version is incomprehensibly difficult at nearly 15 minutes in length and with a gruelingly high tessitura, including two High F-sharps. In either version, the scene demands a level of virtuosic musicianship and theatrical flair that is simply unmatched. Zerbinetta is a coloratura soubrette on steroids! In this scene and role, Strauss invented an entirely new musical language to exploit the unique glories of the coloratura soprano voice. He revisited this proprietary mode of highly gymnastic vocalism a few other times afterwards: in the art song "Amor" (1918), with Fiakermilli in "Arabella" (1933), and for Aminta in "Die schweigsame Frau" (1935).
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