Charles Gounod Videos
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2024-06-11
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Elisaveta Rimkevitch Charles Gounod 2022
"Ah! je ris de me voir" - Faust, Charles Gounod 1.4.2022 Elisaveta Rimkevitch, soprano Tuula Hällström, pianist
Norichika Iimori Gounod Jules Barbier 2021
Provided to YouTube by Space Shower FUGA 『ロミオとジュリエット』 より ジュリエットのアリア「私は夢に生きたい」 · Midori Umetsu · Norichika Iimori · Japan Century Symphony Orchestra · グノー · ジュール・バルビエ, ミシェル・カレ メルヘン ℗ 2021 Octavia Records Inc. Released on: 2021-05-26 Music Publisher: Copyright Control Composer: Gounod Lyricist: Jules Barbier, Michel Carre Auto-generated by YouTube.
Feodor Ivanovich Chaliapin Clarke Bourdon Dmitri Usatov Gounod Sergei Rachmaninoff Mussorgsky Boito Arturo Toscanini Sir Thomas Beecham Pabst Private Opera Bolshoi Theatre Scala Metropolitan Opera 1847 1872 1873 1894 1896 1899 1901 1907 1913 1914 1918 1921 1926 1927 1929 1931 1932 1933 1937 1938 1943 1984
Feodor Chaliapin sings - in English - 'The Blind Ploughman,' with orchestra conducted by Rosario Bourdon, recorded by Victor in the Church Building at Camden, New Jersey, on 18 March 1927. From Wikipedia: Feodor Ivanovich Chaliapin... February 13 [O.S. February 1] 1873 – April 12, 1938) was a Russian opera singer. Possessing a deep and expressive bass voice, he enjoyed an important international career at major opera houses and is often credited with establishing the tradition of naturalistic acting in his chosen art form... Feodor Chaliapin was born into a peasant family...His vocal teacher was Dmitri Usatov +••.••(...)). Chaliapin began his career at Tbilisi and at the Imperial Opera in Saint Petersburg in 1894. He was then invited to sing at the Mamontov Private Opera (1896–1899); he first appeared there as Mephistopheles in Gounod's Faust, in which role he achieved considerable success. At Mamontov Chaliapin met Sergei Rachmaninoff +••.••(...)), who was serving as an assistant conductor there and with whom he remained friends for life. Rachmaninoff taught him much about musicianship, including how to analyze a music score, and insisted that Chaliapin learn not only his own roles but also all the other roles in the operas in which he was scheduled to appear. With Rachmaninoff he learned the title role of Mussorgsky's Boris Godunov, which became his signature character. Chaliapin returned the favour by showing Rachmaninoff how he built each of his interpretations around a culminating moment or 'point.' Regardless of where that point was or at which dynamic within that piece, the performer had to know how to approach it with absolute calculation and precision; otherwise, the whole construction of the piece could crumble and the piece could become disjointed. Rachmaninoff put this approach to considerable use when he became a full-time concert-pianist after World War I. On the strength of his Mamontov appearances, the Bolshoi Theatre in Moscow engaged Chaliapin, and he appeared there regularly from 1899 until 1914. During the First World War of 1914-1918 Chaliapin also appeared regularly at the Zimin Private Opera in Moscow. In addition, from 1901, Chaliapin began touring in the West, making a sensational debut at La Scala that year as the devil in a production of Boito's Mefistofele, under the baton of one of the 20th century's most dynamic opera conductors, Arturo Toscanini. At the end of his career, Toscanini observed that the Russian bass was the greatest operatic talent with whom he had ever worked. The singer's Metropolitan Opera debut in the 1907 season was disappointing due to the unprecedented frankness of his stage acting; but he returned to the Met in 1921 and sang there with immense success for eight seasons, New York's audiences having grown more broad-minded since 1907. In 1913 Chaliapin was introduced to London and Paris by the brilliant entrepreneur Sergei Diaghilev +••.••(...)), at which point he began giving well-received solo recitals in which he sang traditional Russian folk-songs as well as more serious fare... Chaliapin toured Australia in 1926, giving a series of recitals which were highly acclaimed...[He remained] perpetually outside Russia after 1921. He still maintained, however, that he was not anti-Soviet. Chaliapin initially moved to Finland and later lived in France. Cosmopolitan Paris, with its significant Russian émigré population, became his base, and ultimately, the city of his death. He was renowned for his larger-than-life carousing during this period, but he never sacrificed his dedication to his art. Chaliapin's attachment to Paris did not prevent him from pursuing an international operatic and concert career in England, the United States, and further afield. In May 1931 he appeared in the Russian Season directed by Sir Thomas Beecham at London's Lyceum Theatre. His most famous part was the title role of Boris Godunov (excerpts of which he recorded 1929–31 and earlier)... Largely owing to his advocacy, Russian operas...became well known in the West. Chaliapin made one sound film for the director G. W. Pabst, the 1933 Don Quixote. The film was made in three different versions – French, English, and German, as was sometimes the prevailing custom. Chaliapin starred in all three versions, each of which used the same script, sets, and costumes, but different supporting casts... In 1932, Chaliapin published a memoir, Man and Mask: Forty Years in the Life of a Singer... Chaliapin's last stage performance took place at the Monte Carlo Opera in 1937, as Boris. He died the following year of leukaemia, aged 65, in Paris, where he was interred. In 1984, his remains were transferred from Paris to Moscow in an elaborate ceremony. They were re-buried in the Novodevichy Cemetery... I transferred this side from an Australian laminated pressing of HMV DA 993.
Kipras Petrauskas Herzog Shaliapin Rimsky Korsakov Gounod Mariinsky Theatre Scala Odeon 1885 1905 1911 1920 1928 1933 1936 1948 1949 1958 1968 2008
The great Lithuanian tenor Kipras Petrauskas +••.••(...)) received his musical education from his father (who was a woodworker by trade and also worked as organist for various churches) and his elder brother Mikas (who was a well-known music teacher and composer). His artistic career began in 1905 (and after many striking twists, ended!) in Vilnius where he began to sing in his brother‘s musical productions. Realizing that he needed further training, Petrauskas subsequently moved to St. Petersburg where he continued his vocal studies at the conservatory. During his four years there, he sang the leading tenor roles in many student productions, including Yevgeny Onegin, Faust and others. Upon leaving the Conservatory, then already a popular tenor Кипрiанъ Пiатровскiй was bombarded by contracts. He chose the Mariinsky theatre in St. Petergsburg where he debuted in the Herzog‘s role in Rigoletto in 1911. Petrauskas remained there for the next decade and developed more than 50 memorable roles, including those in La Traviata, Tosca, La Bohème, Manon, Faust and others. As Petrauskas matured, he began to take on more dramatic roles such as Don José in Carmen, Radames in Aida, Canio in Pagliacci, the title roles in Andrea Chénier, Lohengrin and even Otello. The handsome tenor swept along many beauties of St. Petersburg (the M. and K. Petrauskas‘ museum in Kaunas keeps some 400 their billets-doux). After returning to his native Lithuania in the early 1920s, the singer was instrumental in establishing the Lithuanian Opera Theatre in the town of Kaunas (the Opera was opened on December 31, 1920; after the WWII, it moved to Vilnius). In 1928 Petrauskas accompanied Fedor Shaliapin, his close friend since St. Peterburg days, on the Berlin stage. The next year and with the same company he took a long tour through Europe to the South America (a similar trip took place also in 1936). In 1933, the singer made his impressive La Scala debut as Grishka Kuterma in Rimsky-Korsakov’s opera The Legend of the Invisible City of Kitezh. Kipras Petrauskas is remembered for his charming lyricism, natural artistic restraint, good taste and his considerable musicianship which permeated every phrase he sang. He enjoyed an unusually long career (more than fifty years) and developed an impressive repertoire of over eighty roles. His final stage appearance was as Don José in Carmen in 1958 in Vilnius, at the age of 73. By that time, the elderly tenor was a Professor of Voice at the Vilnius Conservatory, a post he assumed in 1949. Most of his his ‘golden’ records were produced between 1920 and 1948 on the shellac disks. ‘The great Lithuanian tenor’ is a splendid set of two CDs (Lithuania, Prior Musica, 2008) containing Petrauskas’ remastered records from Algirdas Motieka collection and a 32-page booklet. The first CD is devoted to the operatic repertoire, the second one covers song repertoire. In this recording, Petrauskas offers a Russian language version of Faust‘s cavatine ‘Salut, demeure chaste et pure’ from the famous Gounod’s opera. The shellac record was published by Odeon.
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- Zeitleiste: Komponisten (Europa). Interpreten (Europa).
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