Ennio Porrino Videos
italienischer Komponist
- Oper
- Italien, Königreich Italien
- Komponist, Dirigent
Letzte Aktualisierung
2024-04-30
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Frédéric Chopin Kawasaki Liszt Ennio Porrino Grieg Kazuko Yasukawa Messiaen Debussy Leonid Kreutzer Kreutzer Ligeti Schäfer Jacques Rouvier Voskresensky Steen Susumu Aoyagi Rohm Ritter Gasteig 1100 1810 1812 1847 1927 2005 2013 2014 2016 2017 2021
Frédéric Chopin (1810 – 1847) 12 Études Op 25 00:10 No 1 in A flat major "Aeolian Harp" 02:44 No 2 in F minor 04:21 No 3 in F major 06:08 No 4 in A minor 07:41 No 5 in E minor 11:00 No 6 in G sharp minor 13:04 No 7 in C sharp minor 18:12 No 8 in D flat major 19:27 No 9 in G flat major "Butterfly" 20:32 No 10 in B minor 24:42 No 11 in A minor "Winter Wind" 28:14 No 12 in C minor The Études by Frédéric Chopin are three sets of études (solo studies) for the piano published during the 1830s. There are twenty-seven compositions overall, comprising two separate collections of twelve, numbered Op. 10 and Op. 25, and a set of three without opus number. ——————————————————— The Japanese pianist Shoko Kawasaki impressed with nobility and precision." (Süddeutsche Zeitung) "The exceptional Japanese pianist Shoko Kawasaki brings the audience to rapturous applause." (DEWEZET) shoko-kawasaki.info Shoko Kawasaki was born in Tokyo, Japan. She won prizes at international piano competitions, like “Ennio Porrino” in Cagliari, “Massarosa International Piano Competition” in Italy, “Wettbewerb um den Musikpreis des Kulturkrei Gasteig” in Germany. She was awarded the diploma prize in international competitions, like the “Geneva International Competition” and “Grieg International Competition” in Norway. In Japan, she won prizes at the Music Competition of Japan, at the Kazuko Yasukawa Memorial International Piano Competition. In addition, Shoko has won first prizes in many other prestigious competitions in Japan, including one where she participated as a composer. She has performed many important solo-recitals, concerts with orchestra as soloist and chamber music concerts (f.e. Italy, Spain, Norway, Belgium, Austria, Switzerland, Slovakia, Poland, Korea, U.S.A. and Cuba), as well as multiple music festivals. For example, “Winners & Masters”(Gasteig/Munich), “Klaviersoiree”(Stadttheater/Passau), “Kammerkonzerte”(Mozart-Säle/Hamburg), “Embassy-Konzerte” (Japanese Embassy/Berlin), “XXIX Festival de la Habana” (Habana/Cuba), “Japan-Korea Freindship Festival 2005” (KBS Hall/Seoul), “International Keyboard Festival” (New York), “Spring Festival in Tokio”, “O. Messiaen-Project”, “F. Chopin Festival”, “C. Debussy Anniversary Festival” (Tokio) Her performances are often broadcasted by various radio and TV channels in Japan, Germany, Italy and other countries. Many of her recitals in Germany have received popular reviews from many German newspapers such as Süddeutsche Zeitung, Muenchener Merkur, WAZ. 2013, She received the Grazia Music Prize, which was made to honor and support young excellent artists. Shoko was the first person who received this prestigious prize. In 2017 Shoko released first solo-album “VISIONS I -DREAM-”with Studio N.A.T. It was selected by “The Record Geijutsu” special selection board for an award, and received praise from many other newspapers and music magazines. She graduated at the Tokyo National University of Arts (Geidai) and received the prestigious Leonid Kreutzer Prize as a top honor in her master’s degree at graduate school. In 2014 she then obtained her doctoral degree there. Her dissertation is based on the piano etudes of G. Ligeti. It is the first analysis of this important work from the point of view of an active pianist. In 2016 she completed her master’s degree in modern music and postgraduate program “Meisterklasse” at the University of Music and Performing Arts Munich. She studied under many famous teachers such as Michael Schäfer, Jacques Rouvier. Shoko obtained further important artistic impulses from Gabriel Tacchino, Mihail Voskresensky, Vladimir Tropp, Einar Steen-Nøkleberg, Andrea Bonatta, Susumu Aoyagi and Michiko Ohno. She was a scholar of the Rohm Music Foundation, Honjo International Scholarship Foundation, Deutschland Stipendium and Oscar und Vera-Ritter Stiftung. Currently, residing in Germany, she serves as a piano lecturer at The University of Music and Performing Arts Munich and Ludwig-Maximilians-University / Theater Akademie. She was selected by G.Henle Verlag to be the promotion manager for the Henle App. She holds performances not only In Japan, but also across Europe. ——————————————————-
Ennio Porrino Hamelin Angelo Villari Gianpiero Ruggeri Ruggeri Teatro Lirico Teatro Lirico Cagliari 2013
“The greatest Italian opera of this second post-war” (Felix Karlinger). A 20th Century grand opera, I Shardana (The Sherden, an ancient Sea-people) takes place in Sardinia in the Nuragic era, around 3000 years ago. A great teamwork of director Davide Livermore, with the sets of GiòForma production design, D-WOK videodesign, Marco Nateri (Costume designer) and Loic Hamelin (Light designer); with dancers, mimes, video mapping and slow motion shootings, all at once for a monumental show. Available also on Bluray (57683) and CD (CDS 7683). Porrino’s drama mirrors a period in archeology when Nuragic Sardinia was discussed even in non-specialist circles, with the island’s bronze statuettes and megaliths recalling a primeval society at the origins of European civilization. Hutalabì, indeed, is the ancient war cry of Sardinian horsemen, and the opera speaks of times when – as Porrino specifies in the score – shepherds were warriors and judges, “when man did not believe in one God but in the power of the stars, and worshipped the dead and the waters”. I Shardana, therefore, is set in a free Sardinia, an island where rigorous rules are in force and its people do not tolerate invasions or spiritual contamination. Cast: Special guest Elena Ledda Gonnario Manrico Signorini Torbeno Angelo Villari Orzocco Gianpiero Ruggeri Norace Domenico Balzani Bèrbera Jonia Paoletta Marrocu Nibatta Alessandra Palomba Recorded at Teatro Lirico di Cagliari on Sept. 24-27th - 2013 Sovrintendente Marcella Crivellenti
Ennio Porrino Marini Caffarelli Alessandro Scarlatti Scarlatti 1936
Ennio Porrino: Concertino for Bb trumpet and orchestra (1936). Dedicated to Reginaldo Caffarelli. Renato Marini, trumpet. Orchestra "Alessandro Scarlatti" della RAI di Napoli. Nino Bonavolontà, conductor.
Ennio Porrino Mazzoli Dominguez Gastone Limarilli Guelfi Antonio Galiè Parodi Glück Sarda Puccini Falla Bartók Teatro San Carlo Teatro Massimo 1910 1940 1959 1960 1962
COMPACT DISC DOPPIO (DOPPEL-CD): CD 1 (atto I: 48 minuti); CD 2 (atto II + III: 62 minuti) + booklet di 90 pagine (in cofanetto) con una biografia del compositore, un articolo di F. Karlinger sui SHARDANA e il libretto d'opera (anche in lingua tedesca). www.sardinnia.it CD 1 (Akt I: 48 min); CD 2 (Akt II + III: 62 min) + booklet aus 90 Seiten (Kartonschuber) mit einer Biographie des Komponisten, einem Artikel von F. Karlinger über I SHARDANA und dem Libretto (auch in deutscher Sprache). www.sardinnia.de Ennio Porrino (Cagliari, 20 gennaio 1910 - Roma, 25 settembre 1959) I Shardana (1940/1959) Gli uomini dei nuraghi: dramma musicale in 3 atti Das Volk aus dem Land der Nuraghen: Oper in 3 Akten Libretto e musica: Ennio Porrino GONNARIO, Ferruccio Mazzoli NIBATTA, Oralia Dominguez TORBENO, Gastone Limarilli BÈRBERA JONIA, Marta Pender NORACE, Piero Guelfi PERDU, Antonio Galiè ORZOCCO, Vinicio Cocchieri Roma, Auditorium Foro Italico, 24 settembre 1960 Orchestra Sinfonica e Coro di Roma della RAI Sinfonieorchester und Chor des italienischen Rundfunk- und Fernsehsenders (RAI) Direttore / Dirigent, Armando La Rosa Parodi Maestro del Coro / Chorleiter, Nino Antonellini Dal COMPACT DISC 1: 1: Preludio / Ouvertüre 5: Aria di Nibatta: È sempre guerra e sangue sulle arene 8: Aria di Norace: Pastori del piano e del monte 9: Inno dell'Isola: Dal picco Bruncuspina Dal COMPACT DISC 2: 3: Aria di Bèrbera: Canto damor che nella notte placida (e duetto damore) 9: Ninna-nanna della Madre: La ninna-nanna, figlio mio adorato... 11: Le voci dell'universo: Piangano i fiumi... IL LIBRO: Volume contenente il testo in tre atti a firma dellautore, nonché le critiche all'indomani della rappresentazione al Teatro San Carlo di Napoli (1959) e al Teatro Massimo di Cagliari (1960). Fotografie inedite di scena della «prima», i bozzetti di Màlgari Onnis Porrino, una prefazione di G. Masala, un articolo di F. Karlinger sulla sardità dellarte porriniana, un'intervista al compositore, la lettera-testamento di Porrino, l'elenco completo delle sue composizioni e altri materiali inediti rievocano una delle giornate più memorabili della storia dellopera lirica contemporanea. Bozzetti e figurini / Skizzen und Figurinen: Màlgari Onnis Porrino Foto di scena / Bühnenfotos: Napoli, Teatro San Carlo, 21 marzo 1959 Se Monaco avesse la fortuna di venir cantata da opere come queste, sono certo che nei festival operistici della mia città sarebbe loro riservato ogni anno il posto d'onore (Felix Karlinger, Monaco di Baviera 1960). Hätte München das Glück, von einer Oper wie dieser besungen zu werden, gäbe es bei den Opernfestivals meiner Stadt in jedem Jahr einen Ehrenplatz für sie (Felix Karlinger, München 1960). I Shardana pare aver imboccato la strada giusta per diventare l'opera nazionale sarda per eccellenza (Felix Karlinger, Kassel 1960). I Shardana scheint den richtigen Weg eingeschlagen zu haben, um zur sardischer Nationaloper par excellence zu werden (Felix Karlinger, Kassel 1960). La grande opera I Shardana fu accolta dalla critica come la più importante opera lirica composta in Italia in questo dopoguerra» (F. Karlinger, Die Musik in Geschichte und Gegenwart, Stoccarda 1962) Die große Oper I Shardana wurde von der Kritik als «bedeutendste in Italien komponierte Oper der Nachkriegszeit» gefeiert (F. Karlinger, Die Musik in Geschichte und Gegenwart, Stuttgart 1962) E anche se primo comandamento di un musicologo è quello di evitare i superlativi, è ben vero che dopo Puccini nessun musicista ha dato alla musica italiana tanto quanto Porrino (F. Karlinger, Cagliari 1960). Non saprei dire se, o fino a che punto, Porrino abbia guardato a De Falla e a Bartók come a suoi maestri, oppure se il rapporto tra codesti musicisti sia solo indiretto e lanalogia dipenda piuttosto dalla loro affinità, o congenialità artistica. Certo è che Porrino è per la Sardegna quello che gli altri due compositori sono per la Spagna e per lUngheria (F. Karlinger, Cagliari 1960).
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