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2024-05-23
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Dmytro Hnatyuk Tchaikovsky Shevchenko 1991 2004 2016
Ukrainian performer Dmytro Hnatyuk Song title "Two colors" (original "Dva kolory") DMYTRO HNATYUK IS THE GOLDEN VOICE OF UKRAINE The singer declared a clear Ukrainian identity in all the years of the Soviet regime. He made many efforts to popularize Ukrainian song classics, some of which were banned. In the 1960s and 1970s, his presentable, tall figure and unusual, noble artistry supported the spirit and self-awareness of the Ukrainian nation, humiliated by Russification and deliberate provincialism. The anthem of the generation of the 1960s was the song "Two Colors", first performed by Dmitro Hnatiuk. In 1991, the singer enthusiastically welcomed the restoration of state independence of Ukraine. In 2004 he took part in the Orange Revolution, in particular he performed folk songs in front of participants of round-the-clock rallies on the stage of Independence Square. As a director he staged more than 20 plays. He worked as the main director of the National Opera, taught at the Petro Tchaikovsky National Academy of Music of Ukraine (Kyiv Conservatory). He was a deputy of the Supreme Soviet of the USSR and the Verkhovna Rada of Ukraine. Hero of Ukraine, People's Artist of Ukraine, winner of the Taras Shevchenko National Prize. For outstanding personal merits before the Ukrainian state in the development of Ukrainian musical culture, enrichment of the national treasury of opera and folk art, significant creative achievements, high professionalism, many years of fruitful creative and socio-political activity, significant contribution to consolidating Ukrainian society, building democratic, social and the rule of law was awarded the Order of Prince Yaroslav the Wise V, IV, III degrees. Dmytro Hnatyuk died on April 29, 2016. He was buried with honors at the Baykovo Cemetery in Kyiv on May 4. Dmytro Mykhailovych's creative biography is a golden page in the history of Ukrainian vocal art of the second half of the 20th century. Read more on our website: (http•••)
Vilém Tauský Verdi Edvard Grieg Hans Sitt Ronald Binge Felix Mendelssohn Jules Massenet Emil Waldteufel Pietro Mascagni Hummel Maurice Murphy Murphy Delibes Claude Debussy Tchaikovsky Edward Elgar Charles Gounod Johann Strauss II Johann Strauss I Gordon Jacob Bach William Walton Enrique Granados Jean Sibelius Percy Grainger Handel Ermanno Wolf Ferrari Ernest Guiraud Josef Strauss Arthur Benjamin Ambroise Thomas Emil Reznicek London Symphony Orchestra 1425 1977
1. Verdi : 'La Traviata' - Prelude to Act I 00:00-03:50 2. Edvard Grieg orch. Hans Sitt : Norwegian Dance No. 2 Op. 35 03:50-06:25 3. Ronald Binge : Elizabethan Serenade 06:25-09:30 4. Felix Mendelssohn : 'A Midsummer Nights Dream' Op. 61 - Wedding March 09:30-14:25 5. Jules Massenet : 'Thaïs' - Meditation (John Georgiadis, violin) 14:25-20:25 6. Emil Waldteufel : The Skaters' Waltz Op. 183 20:25-26:40 7. Pietro Mascagni : 'Cavalleria Rusticana' - Intermezzo 26:40-30:25 8. Hummel : Trumpet Concerto - Finale (Maurice Murphy, trumpet) 30:25-34:00 9. Leo Delibes : 'Sylvia' - Pizzicato 34:00-35:45 10. Claude Debussy orch. ? : Clair de lune L. 75 35:45-39:55 11. Tchaikovsky orch. A. Winter : Chant sans paroles Op. 2 No. 3 39:55- 43:15 12. Edward Elgar : Salut d'amour Op. 12 43:15-47:20 13. Charles Gounod : 'Faust' - Valse 47:20-52:50 14. Johann Strauss I orch. Gordon Jacob : Radetzky March Op. 228 52:50-55:50 15. J.S. Bach orch. William Walton : 'The Wise Virgins' - Sheep May Safely Graze 55:50-1:01:45 16. William Walton : 'Facade' - Popular Song 1:01:45-1:04:15 17. Enrique Granados : 'Goyescas' - Intermezzo 1:04:15-1:07:30 18. Jean Sibelius : 'Kuolema' - Valse Triste Op. 44 No. 1 1:07:30-1:12:40 19. Percy Grainger : Handel in the Strand 1:12:40-1:17:45 20. Ermanno Wolf-Ferrari : 'Quattro Rusteghi' - Intermezzo 1:17:45-1:21:15 21. Handel orch. Ernest Guiraud : 'Xerxes' - Largo 1:21:15-:1:27:00 22. Johann Strauss II & Josef Strauss : Pizzicato Polka 1:27:00-1:29:45 23. Arthur Benjamin : Jamaican Rumba 1:29:45-1:32:00 24: Mozart : Horn Concerto No. 4 K. 495 - Finale (David Cripps, horn) 1:32:00-1:35:35 25. Ambroise Thomas : 'Mignon' - Entr'acte 1:35:35-1:37:50 26. Emil von Reznicek : 'Donna Diana' - Overture 1:37:50-1:42:20 Performed by the London Symphony Orchestra conducted by Vilém Tauský. Recorded in September 1977.
Aagaard Oestvig Zemlinsky Hoffmann Maria Rajdl Berg Richard Strauss Schein Staatsoper Bayerische Staatsoper Deutsche Oper Berlin Staatsoper Stuttgart Theater Basel Carltheater 1889 1914 1919 1922 1926 1927 1930 1933 1942 1944 1946 1968
Karl Aagaard Oestvig +••.••(...)) was a Norwegian tenor whose brief career took him to many of the major operatic stages of Central Europe. Born Carl August Engelhard Aagaard-Østvig in Oslo, he received his musical and vocal training in Germany, primarily at Cologne’s Hochschule für Musik. After completing his studies, Oestvig received a contract from Staatsoper Stuttgart, where he made his debut in 1914. The following year, he created the roles of the Lay Brother and Giovanni de Salviati in the world premiere of Max von Schilling’s Mona Lisa. During his five years with the Staatsoper, Oestvig (he had abandoned Østvig in favor of a more Germanic stage name) sang a variety of roles and made guest appearances at the Theater Basel and the Bayerische Staatsoper. In 1919, the tenor accepted a contract with the Vienna Staatsoper. In October of that same year, Oestvig created the role of the Emperor in the world premiere of Strauss’ Die Frau Ohne Schatten. Three years later, he sang the title role in Zemlinsky’s Der Zwerg at its Vienna premiere. The tenor became a favorite of Viennese audiences, singing such roles as Manrico in Il Trovatore, Pinkerton in Madama Butterfly, Cavaradossi in Tosca and the title role in Les Contes d’Hoffmann. In 1926, Oestvig was invited to appear in an operetta at Vienna’s Carltheater. The Staatsoper refused to let the tenor accept the contract, which led to tremendous tension with the management. Oestvig, who had previously been allowed to accept concert engagements throughout Europe and North America, considered the management’s reaction unreasonable and resigned from the Staatsoper. He appeared in Budapest and Hamburg before accepting a contract with Deutsche Oper Berlin in 1927. Oestvig spent three years with the company but by this point, his voice was noticeably deteriorating. His contract was allowed to quietly expire in 1930, after which he relocated to Dresden. In the fall of 1930, Oestvig sailed to North America for a series of performances in Chicago. In October of the following year, he crossed the Atlantic for the last time for appearances in Buenos Aires and New York. Oestvig returned to the Deutsche Oper Berlin for one final performance in 1933 and retired from the stage at the early age of 44. Following his departure from the opera world, Oestvig spent the rest of the 1930s working as a voice teacher and opera coach along with his second wife, soprano Maria Rajdl. The war years were particularly troubling for Oestvig. Although he accepted a position as stage director with The National Theatre of Oslo in 1942, this was during the German occupation, a particularly turbulent time in the theater’s history. Audiences often boycotted the company’s performances and rumors circulated that Oestvig was a Nazi sympathizer. The ex-tenor’s 19 year old son, up and coming film actor Karl Aagaard Østvig, Jr., was killed on the Eastern front on Christmas Day, 1944. After the war, Oestvig was labeled a Nazi collaborator and stripped of his post with the theater. That same year (1946), the National Theatre’s director, Gustav Berg-Jæger, was arrested and imprisoned as a Nazi collaborator. Despite his protestations, the tenor was also imprisoned, albeit briefly. Following his release (and, it would seem, exoneration), returned to his home in Oslo. Embittered by his experiences, the aging singer withdrew from public life and concentrated on teaching and coaching for the final two decades of his life. Oestvig passed away in Oslo on July 21, 1968 at the age of 79. Karl Aagaard Oestvig is still considered one of the greatest tenors that Norway ever produced. He began his career in lyric roles but was quickly lured into the Wagnerian repertoire, taking on such roles as Parsifal, Siegmund and Tannhäuser. Although he possessed a baritonal timbre from the beginning, the assumption of such dramatic roles at so early an age may not have been a wise choice. By the time he reached his early 30s, Oestvig’s voice had begun to thicken and a noticeable wobble crept into his tone. At 44, his singing days were over, perhaps providing a lesson illustrating the perils of succumbing to the temptation of too heavy a repertoire. In spite of his later vocal issues, Oestvig was greatly admired by Richard Strauss for his portrayals of Bacchus in Ariadne auf Naxos and the Emperor in Die Frau Ohne Schatten. The tenor also excelled in such roles as Canio in Pagliacci, Max in Jonny Spielt Auf, Don José in Carmen, Pedro in Tiefland, Walther in Die Meistersinger and the title role in Lohengrin. His catalogue of recordings is small, consisting of all too few titles made during the early 1920s for The Gramophone Company in Berlin. These discs showcase a dark, robust instrument, probably a full spinto by nature, with an impressive lower and middle range. Here, Oestvig sings the Preislied, “Morgenlich leuchtend im rosigen Schein” from Wagner’s Die Meistersinger. This recording was made in Berlin in 1922.
Aagaard Oestvig Zemlinsky Hoffmann Maria Rajdl Berg Richard Strauss Staatsoper Bayerische Staatsoper Deutsche Oper Berlin Staatsoper Stuttgart Theater Basel Carltheater 1889 1914 1919 1922 1926 1927 1930 1933 1942 1944 1946 1968
Karl Aagaard Oestvig +••.••(...)) was a Norwegian tenor whose brief career took him to many of the major operatic stages of Central Europe. Born Carl August Engelhard Aagaard-Østvig in Oslo, he received his musical and vocal training in Germany, primarily at Cologne’s Hochschule für Musik. After completing his studies, Oestvig received a contract from Staatsoper Stuttgart, where he made his debut in 1914. The following year, he created the roles of the Lay Brother and Giovanni de Salviati in the world premiere of Max von Schilling’s Mona Lisa. During his five years with the Staatsoper, Oestvig (he had abandoned Østvig in favor of a more Germanic stage name) sang a variety of roles and made guest appearances at the Theater Basel and the Bayerische Staatsoper. In 1919, the tenor accepted a contract with the Vienna Staatsoper. In October of that same year, Oestvig created the role of the Emperor in the world premiere of Strauss’ Die Frau Ohne Schatten. Three years later, he sang the title role in Zemlinsky’s Der Zwerg at its Vienna premiere. The tenor became a favorite of Viennese audiences, singing such roles as Manrico in Il Trovatore, Pinkerton in Madama Butterfly, Cavaradossi in Tosca and the title role in Les Contes d’Hoffmann. In 1926, Oestvig was invited to appear in an operetta at Vienna’s Carltheater. The Staatsoper refused to let the tenor accept the contract, which led to tremendous tension with the management. Oestvig, who had previously been allowed to accept concert engagements throughout Europe and North America, considered the management’s reaction unreasonable and resigned from the Staatsoper. He appeared in Budapest and Hamburg before accepting a contract with Deutsche Oper Berlin in 1927. Oestvig spent three years with the company but by this point, his voice was noticeably deteriorating. His contract was allowed to quietly expire in 1930, after which he relocated to Dresden. In the fall of 1930, Oestvig sailed to North America for a series of performances in Chicago. In October of the following year, he crossed the Atlantic for the last time for appearances in Buenos Aires and New York. Oestvig returned to the Deutsche Oper Berlin for one final performance in 1933 and retired from the stage at the early age of 44. Following his departure from the opera world, Oestvig spent the rest of the 1930s working as a voice teacher and opera coach along with his second wife, soprano Maria Rajdl. The war years were particularly troubling for Oestvig. Although he accepted a position as stage director with The National Theatre of Oslo in 1942, this was during the German occupation, a particularly turbulent time in the theater’s history. Audiences often boycotted the company’s performances and rumors circulated that Oestvig was a Nazi sympathizer. The ex-tenor’s 19 year old son, up and coming film actor Karl Aagaard Østvig, Jr., was killed on the Eastern front on Christmas Day, 1944. After the war, Oestvig was labeled a Nazi collaborator and stripped of his post with the theater. That same year (1946), the National Theatre’s director, Gustav Berg-Jæger, was arrested and imprisoned as a Nazi collaborator. Despite his protestations, the tenor was also imprisoned, albeit briefly. Following his release (and, it would seem, exoneration), returned to his home in Oslo. Embittered by his experiences, the aging singer withdrew from public life and concentrated on teaching and coaching for the final two decades of his life. Oestvig passed away in Oslo on July 21, 1968 at the age of 79. Karl Aagaard Oestvig is still considered one of the greatest tenors that Norway ever produced. He began his career in lyric roles but was quickly lured into the Wagnerian repertoire, taking on such roles as Parsifal, Siegmund and Tannhäuser. Although he possessed a baritonal timbre from the beginning, the assumption of such dramatic roles at so early an age may not have been a wise choice. By the time he reached his early 30s, Oestvig’s voice had begun to thicken and a noticeable wobble crept into his tone. At 44, his singing days were over, perhaps providing a lesson illustrating the perils of succumbing to the temptation of too heavy a repertoire. In spite of his later vocal issues, Oestvig was greatly admired by Richard Strauss for his portrayals of Bacchus in Ariadne auf Naxos and the Emperor in Die Frau Ohne Schatten. The tenor also excelled in such roles as Canio in Pagliacci, Max in Jonny Spielt Auf, Don José in Carmen, Pedro in Tiefland, Walther in Die Meistersinger and the title role in Lohengrin. His catalogue of recordings is small, consisting of all too few titles made during the early 1920s for The Gramophone Company in Berlin. These discs showcase a dark, robust instrument, probably a full spinto by nature, with an impressive lower and middle range. Here, Oestvig sings “Am stillen Herd” from Wagner’s Die Meistersinger. This recording was made in Berlin for The Gramophone Company in 1922.
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- Zeitleiste: Komponisten (Europa).
- Indizes (in alphabetischer Reihenfolge): W...