Alexander von Bandrowski Videos
österreichisch-polnischer Theaterschauspieler, Opernsänger (Tenor) und Intendant
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2024-04-30
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Aleksander Bandrowski Massenet Salvi Teatro Scala Notre Dame Cathedral Metropolitan Opera 1860 1882 1884 1886 1894 1905 1907 1908 1909 1910 1913 1978
Aleksander Bandrowski, tenor – Elegia (Massenet), Pathé c. 1905 (sung in French) NOTE: Aleksander BANDROWSKI (b. 1860 in Lubaczów near Przemyśl – d. 1913 in Cracow, Poland) – Polish operatic tenor, librettist, actor. Born to a family of Polish official in the Austro-Hungarian empire, he studied law in the Jagiellonian University in Cracow. After studies, he turned towards a stage career as an actor and singer (primarily he used to be billed as “baritone”). He performed in Przemyśl, Łódź, Poznań and Cracow predominantly in the operetta repertoire. In 1882 he started serious operatic studies in Vienna and Milan, he studied with the renowned Italian teors Sangiovanni and Salvi. He was contracted afterwards at the opera theatres in Prague, Lwów and Warsaw, where he stayed from 1884 until 1907. From 1886 he toured in Germany (Berl;in, Cologne), Italy (Teatro alla Scala in Milan) and USA (Metropolitan Opera in New York). Between 1908-1909 he taught in the class of singing in the Cracow Conservatory. His last stage appearance was in Cracow in 1910. His recordings belong to the rarest gems in Polish operatic discoghraphy. The date of this recording is unknown (presumably 1905-08). His niece was Ewa BANDROWSKA_ TURSKA (b. 1894 in Cracow – d. 1978 in Warsaw, Poland) – one of the greatest dramatic sopranos in the history of operatic singing in Poland and Europe. I dedicate this pensive piece to all who mourn in France and elsewhere in the world after the devastating fire which turned into the ash and rumble the Notre-Dame Cathedral in Paris - one of the most precious gems of the world architecture as well as the Holy Sanctuary for all the Catholics in the world. We can only guess who cared that this monument to the Christian faith and object of the greatness of European culture, full of priceless relics and works of art, would disappear from the face of Europe. For now, in the painful mood of the end of Holy Week, let us join together in prayer for repentance of the madmen who have raised their hand to this jewel of our European-Christian identity, and for ourselves.
Ewa Bandrowska Turska Karol Szymanowski Fryderyk Chopin Alexander Skriabin Richard Wagner Richard Strauss Claude Debussy Maurice Ravel Aleksander Bandrowski Helena Zboińska Albert Roussel Opéra Comique Odeon 1882 1894 1918 1919 1921 1924 1926 1930 1934 1937 1960 1979
Born in 1882 Karol Szymanowski was one of the truly outstanding composers of the first half of the 20th Century. He was certainly the greatest and most influential Polish composer of that period. His works included four symphonies, two violin concertos, the operas „Hagith" „King Roger", the ballet-pantomime „Harnasie", the oratorio „Stabat Mater", as well as numerous piano, violin, vocal and choral compositions. His career as a composer can most easily be envisaged as being in three very distinct phases. Szymanowski's early works before the First World War display a strong affinity with the work of Fryderyk Chopin, Alexander Skriabin, Richard Wagner and Richard Strauss. The subsequent period of his development was characterised by a fascination with the Orient and with Mediterranean cultures during which he was clearly influenced by the French impressionists Claude Debussy and Maurice Ravel. This period produced many of his best known and loved compositions. From 1921 his music became increasingly distinctive as he drew upon Polish folk themes, especially from the Podhale mountain region around Zakopane, to define a specifically Polish music. This period produced much of his very greatest work. Afflicted by disease and financial concerns, Szymanowski effectively ceased to compose from 1934. He died in 1937 at the age of 57 leaving behind an outstanding collection of works that are today more loved, and more widely performed and recorded than ever before. One if his creations including homoerotic threads was opera „King Roger", composed within 1918-1924 and premiered in Warsaw, 1926. The scene of the drama is laid in the XII century Kingdom of Sicily, ruled by King Roger the 2nd, from a Norman line of kings. ............................. Ewa Bandrowska-Turska +••.••(...)), one of the most talented and versatile Polish soprano singers; she was a niece of the great Polish singer, Aleksander Bandrowski. First was taught by the singer Helena Zboińska-Ruszkowska who after six month lectures stated that Ewa should had already gone her own way. Her debut took place In 1919, soon she was performing in „Faustus" in the Warsaw Opera, being a soloist of the scene. Began to make her concerts outside Poland, in Germany, Austria and mainly France where she was invited by the group „jeunes musiciens polonais". Soon it turned out that Bandrowska-Turska had a special talent and predispositions for a modern and contemporary repertoire; started to sing songs by Maurice Ravel and Albert Roussel, having been accompanied by those composers. In Poland, she became one of the first interpreters of compositions made by Karol Szymanowski; from these times the present recording dates. She sang in Opéra Comique, Paris, Ostenda, Brussels, Nicea, various places in Italy, New York and Chicago. Her recitals were received with great enthusiasms in Soviet Russia, she became an important ambassador of Polish music and culture. She performed for the last time on the Warsaw Opera stage in 1960, died in 1979. The present record, from my collection, shows Bandrowska-Turska's vocal talent for the first time recorded in electrical system for the Polish Odeon in 1930: Aria of Roxana "King Roger" Symphony Orchester Conducted by Dr Weissmann 1930 Some audio traces of the steel needle once having been used, can be unfortunately heard.
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