Louis Glass Videos
dänischer Komponist
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Gedenken 2024 (Geburt: Louis Glass)
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2024-05-21
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Rossini Barber Petya Ivanova Sofia National Opera 1816 1955 1965 1974 1999
~The "Glass Shatterers!" series focuses on sopranos who sustain High F, or sing higher. THE SONGBIRD: Petia Ivanova [Петя Иванова] is a Bulgarian soprano who began singing in high school, where she was nicknamed the "nightingale." She entered the Sofia Academy of Music when she was 16, and studied with Ludmila Prokopova. At the Sofia National Opera she did minor roles such as the Page in "Rigoletto" until being cast as Rosina in 1955, which launched her as a leading coloratura soprano in Bulgaria for over two decades. Ivanova also toured in operas and concerts to Denmark, Norway, Finland, Greece, Russia, Hungary, Romania, Germany, and Cuba. [NOTE: Ivanova should not be confused with another Bulgarian coloratura soprano named Petya Ivanova who was born in 1974, graduated from the Sofia Academy in 1999, and currently sings primarily with the Slovene Opera in Maribor. And she happens to have a rendition of "Una voca poco fa" on YouTube with a sustained High F.] THE MUSIC: Rossini's "The Barber of Seville" is one of the most popular operas in the world and has been since soon after its premiere in Rome in 1816. It is based on the first of three plays by Pierre Beaumarchais about Figaro, the sly barber in the title. The music of the opera is believed to have been composed in about three weeks. This showy aria "Una voce poco fa" introduces the clever character of Rosina in Act One and has become a touchstone for florid sopranos and mezzos.
Bertold Hummel Hummel Berger Hesse Schott Streicher Weise Klage 1925 1984 1985 2002
Bertold Hummel +••.••(...)) POEM for Violoncello and Strings Op. 80 (1984) I. II. 11:26 Julius Berger, Violoncello Chamber Orchestra University of Music Würzburg Conductor: Günther Wich Recording: 1985 Content and form are taken in a subjective way from the Steps poem by Hermann Hesse. The brief motifs that appear everywhere reflect in "magical formula script" the parable of the Glass Bead Game, which cyclically moves from a game with coloured beads to a game with symbols. Magic and dreams, starting out and feelings of regret, parting and transfiguration, these are the moods, often following one another in rapid succession - at the root of all this lies the thirst for life and the longing for suffering and wholeness. Bertold Hummel Publisher: Schott Music (http•••) / Bertold Hummel +••.••(...)) POEM für Violoncello und Streicher op. 80 (1984) I. II. 11:26 Julius Berger, Violoncello Kammerorchester der Hochschule für Musik Würzburg Dirigent: Günther Wich Aufnahme: 1985 Inhalt und formale Gestaltung sind in subjektiver Weise dem Stufengedicht abgewonnen. Die vielfach aufscheinende Kurzmotivik der beiden Teile lehnt sich in "magischer Formelschrift" dem Gleichnis des Glasperlenspiels an, das im Ring zum Spiel mit bunten Perlen, zum Spiel mit Symbolen wird. Zauber und Traum, Aufbruch und Klage, Abschied und Verklärung sind die Stimmungen, die oft in raschem Wechsel aufeinander folgen - untergründig der Durst nach Leben und die Sehnsucht nach Leid und Vollendung. Bertold Hummel Verlag: Schott Music (http•••)
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).
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