Ferenc Vizi News
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Royal Opera House
2016-09-16 18:55:14
Norma musical highlight: ‘Casta diva’
Sonya Yoncheva as Norma in Norma, The Royal Opera © 2016 ROH. Photograph by Bill Cooper ‘Casta diva’ is an aria from Vincenzo Bellini ’s 1831 opera Norma . It takes place in Act I, shortly after the title character’s first entrance. Bellini originally wrote the role for his friend Giuditta Pasta and the part is considered one of the most challenging roles in the repertory – for a variety of reasons, although particularly the music. It requires a flexible voice that also has tremendous power over a wide range. ‘Casta diva’ is a prime example not only of bel canto (the generic term for a style of music popular in early 19th-century Italy, where high importance is placed on vocal beauty), but also of Bellini’s own distinctive style. Where does it take place in the opera? ‘Casta diva’ takes place in Act I scene 3. […]
2014-08-03 00:39:59
[…] when his compositions had made him wealthy, he gave generously to allow aspiring musicians the opportunity to pursue their passion. Here are some more of Brahms’ beautiful compositions: Hungarian Dance No. 1, played by the Gothenburg Symphony Orchestra, conducted by Gustavo Dudamel Hungarian Dance No. 5, played by the Berlin Philharmonic, conducted by Claudio Abbado Sonata for Cello and Piano No. 1 in E Minor, Op. 38, played by Ophélie Gaillard and Ferenc Vizi Piano Quartet in C Minor, Op. 60, 3rd Movement, played by the Colburn Piano Quartet Intermezzo No. 1 in E♭ Major, Op. 117, No. 1, played by Vassily Primakov P.S. Apologies to anyone that received an email with an incomplete post on Prokofiev – it was a draft for a later post that was published accidentally.
2014-04-07 02:29:48
‘Mefistofele’ – ‘Ecco il Mondo’: The Devil’s in the Details of Boito’s Opera (Part Two)
The Pros and the Cons San Francisco Opera Chorus in the Prologue to Mefistofele (stageandcinema.com) And what an opera Mefistofele is! Bold, bombastic, episodic, quirky, lyrically stimulating, melodious and tearful, frustrating, visionary, intellectually and academically cold, musically satisfying — these are but a few of the adjectives used to describe what some critics have termed a tedious and perfunctory affair on the stage when improperly done. In the same breath, in a version that does justice to the work’s expressive power and epically inspired proportions, Mefistofele can raise the rafters as few operas can. What’s more, with a dynamic and dedicated cast of singing-actors it can surpass audience’s expectations to become one of the most thrilling and uplifting experiences the theater has to offer. When talk eventually turns to Boito’s lone operatic masterwork, most fans wax nostalgic over Tito Capobianco’s sumptuous 1969 conception at New York City Opera, […]
2013-09-02 02:00:00
Mendelssohn from Laura Buruiana and Ferenc Vizi impresses Andrew Schartmann. 'Their playing is musical to the very core and their technique flawless.'
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