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Louis Joseph Andriessen Reinbert Leeuw Susan Narucki Susan Bickley Vries Barbara Hannigan Sweelinck Witt Asko Ensemble Dutch National Opera 1003 1603 1939 1940 1998 2021
Composer: Louis Joseph Andriessen (June 6, 1939 – July 1, 2021) Electronic inserts by: Michel van der Aa Libretto: Peter Greenaway Orchestra: Schönberg Ensemble and Asko Ensemble conducted by Reinbert de Leeuw Catharina Bolnes, Vermeer's Wife: Susan Narucki Maria Thins, Vermeer's Mother-in-Law: Susan Bickley Saskia de Vries, Vermeer's Model: Barbara Hannigan Chorus: Dutch National Opera 00:00 Scene 1: Vermeer is away in The Hague. 03:09 Catharina's first letter to Vermeer: Saskia is returning to her home in Dordrecht. 06:12 Maria's first letter to Vermeer: She asks him to return soon. (7:53) Insert: "Violence" 08:17 She describes how the family misses Saskia (8:45) 10:03 And when Johannes met Catharina. 11:15 Catharina gave Saskia a shawl, once a gift from Johannes. 13:16 End of the letter: Catharina will write tomorrow about Cornelia's birthday. (14:19) Signatures 16:03 Scene 2: Cornelia's Birthday 19:40 Catharina's and Maria's second letters: Cornelia has turned 9. Maria is trying to have Saskia come back. (22:01) Insert: "explosion" 22:33 Catharina talks about the children: Gertruyd cut her hair to send to Saskia to get her to come back. 24:10 Maria describes her plan to get Saskia back. 25:50 Saskia's first letter to Johannes: she has arrived safely in Dordrecht. 29:36 Catharina and the family are excited for Johannes's return (30:27) Signatures 31:28 Scene 3 - 1 33:51 2 36:15 3 - Cornelia has swallowed varnish. (37:24) Chorus: Maria has bought ultramarine for Johannes. 38:37 4 - Duet of Maria and Saskia: Catharina is displaying symptoms of pregnancy. 41:03 5 - Catharina: Cornelia is sick from the varnish. 43:19 6 - Saskia: the baby will be a boy because of the blue Catharina is wearing. 45:46 7 - Maria: Catharina seems sicker this time. 48:04 8 - Saskia's signature (49:51) Catharina's signature 50:42 Scene 4 - 1 - Saskia's second letter: she asks how the children are doing 52:57 2 - Catharina worries about the family's finances. (54:23) Insert. Maria comments on the women in Johannes' paintings. 55:34 3 - Maria: "It's all women that you paint." (57:04) (57:35) Insert 58:24 4 - Catharina writes about how much they miss Johannes, and about their future. 1:00:49 5 - French invasion (1:02:13) Insert: "interruption streetfights" 1:03:16 6 - Saskia sings Sweelinck's "Mein junges Leben" 1:04:43 7 - "My mother bought me some music sheets..." (1:06:14) Maria sees Catharina writing 1:07:02 8 - Maria: "You paint us all writing so often." (1:07:47) Saskia tried to convince her father to visit cousins who live near Johannes. 1:08:58 Scene 5 - A little dance with the children 1:12:05 Catharina's fifth letter: a family outing at the fortifications (1:14:30) Insert: "halberds savagery" 1:15:14 Saskia: Her father introduces her to a potential suitor. (1:16:15) Joachim and Abraham show up to meet Saskia as part of Maria's plan. 1:17:34 Saskia's outing with Abraham. Maria hopes her plan is working. (1:19:24) Insert: "riots in snow" 1:20:08 (1:21:03) Maria: Saskia is coming back. (1:22:23) "Come back, Saskia." 1:23:35 Scene 6 1:26:21 Catharina and Maria's final letters: Johannes is coming home soon 1:28:31 Catharina worries what would happen if Johannes never came back (1:29:20) Insert: "The murder of Johan de Witt" 1:31:08 Catharina: "I would buy myself a mirror." Maria tells him about the gifts the children have made for his return. 1:33:24 They ask Johannes to come back quickly. (1:35:14) Maria's signature 1:35:40 A knock at the door 1:37:06 Saskia's final letter: she is coming back. (1:38:31) Saskia and Catharina are excited to see Johannes again. 1:39:14 Catharina's and Saskia's signatures. A flood envelops the city. Score available here: (http•••)
Mahler Mark Wigglesworth Ilse Eerens Susan Bickley Vermeulen Nationaal Jeugdorkest Concertgebouw Amsterdam 2007
Nationaal Jeugdorkest en Nederlands Concertkoor o.l.v. Mark Wigglesworth. Ilse Eerens, sopraan; Susan Bickley, mezzosopraan. Tournee 4, 6, 7, 8, 10, 12 januari 2007 door Nederland en België. TV-Opname NPS: ZaterdagMatinee Concertgebouw Amsterdam. Concertkoor ingestudeerd door Rob Vermeulen. www.nederlandsconcertkoor.nl - www.njo.nl
Igor Stravinsky Susan Bickley Oliver Knussen Wuorinen Eberhardt London Sinfonietta 1965 1995
Provided to YouTube by Universal Music Group Stravinsky: Requiem Canticles +••.••(...)) - Lacrimosa · Susan Bickley · London Sinfonietta · Oliver Knussen · New London Chamber Choir Stravinsky: The Flood; Abraham and Isaac; Variations; Requiem Canticles / Wuorinen: A Reliquary for Igor Stravinsky ℗ 1995 Deutsche Grammophon GmbH, Berlin Released on: 1995-01-01 Producer: Oliver Knussen Producer, Studio Personnel, Balance Engineer: Tryggvi Tryggvason Studio Personnel, Balance Engineer: Gregor Zielinsky Producer: Jobst Eberhardt Producer: Hans-Rudolf Müller Composer: Igor Stravinsky Auto-generated by YouTube.
Hector Berlioz Bickley Lelio William Shakespeare Savage Kaufmann Sharpe Maw 1623 1735 1780 1782 1797 1850 1875 1916 2000
This composition of Berlioz is rarely performed despite being what contemporary composer Diana Bickley calls "one of the most lively and evocative Shakespearean works" in the repertory. Why is such an important work so woefully underperformed? According to musicologist Peter Bloom, Berlioz's decision to incorporate the Tempest Overture into his unsuccessful opera "Lelio" has effectively removed the overture from the standard concert repertory, despite the overture's own merits. The story told in the stand-alone overture is familiar enough to fans of Shakespeare's "The Tempest." The airy spirits predict the coming of Miranda's future lover. Then, her father Prospero conjures a storm, shipwrecking the King of Naples and his son onto the enchanted island. Miranda and the king's son Ferdinand fall in love upon the island, and we hear the sound of battle between the savage Caliban and Prospero. Finally, Miranda, Ferdinand, and Prospero depart from the island to joyous fanfare. But what makes the overture worth listening to? There are two primary reasons. First, the Tempest Overture is remarkable in that it is the first overture to make use of the piano. Second, and more importantly, it is the first to employ voices. The blending of these unusual and "unheard of" sonorities makes for what one early reviewer of the overture called a "truly remarkable" musical experience. The vocal passages in the overture (Part 1 - 0:10; 4:40; Part 2 - 3:33) constitute some of the most heart-breaking music for voice I have ever heard. The closing galloping fanfare is also notably stirring. Citation: The Cambridge Companion to Berlioz (2000) ed. Peter Bloom. pg 70; 75-76 - The Concert Overtures Full Text below: THE INTRODUCTION Miranda, here comes your destined husband. You will know love. A new life the dawn is breaking for you. Goodbye. THE TEMPEST Miranda, he is the one. It's your husband. Be happy! THE ACTION Miranda! Caliban! Horrible monster! Fear the contempt of Ariel! Oh Caliban! Oh Miranda, oh Miranda. He leads you, you depart. We'll see you no more. From the shores of our lofty office, we approach in vain the splendid and sweet flower that on the earth we watched. We'll see you no more. Goodbye, Miranda. Images used, in order of appearance: William Shakespeare - Title Page of The Tempest, 1623 John William Waterhouse - "Miranda," 1916, oil on canvas George Romney - "Act 1, Scene 1 of The Tempest," 1797, engraving George Romney - "Emma Hamilton as Miranda," c. 1780, oil sketch William Hogarth - "The Tempest," c. 1735, oil on canvas Angelica Kaufmann - "Scene with Miranda and Ferdinand, Oval," 1782, oil on canvas C.W. Sharpe - "Caliban. Miranda. Prospero. The Tempest," 1875, engraving on heavy paper William Hamilton - "Prospero and Ariel (from Shakespeare's 'The Tempest'," 1797 John William Waterhouse - "Miranda," 1875, oil on canvas William Maw Egley - "Prospero and Miranda," c. 1850 Roger Budney - "The Tempest," contemporary, oil on canvas
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