Lily Pons News
American opera singer and actress (1898-1976)
- coloratura soprano
- opera
- France, United States of America
- actor, opera singer, film actor
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Last update
2024-03-12
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2024-01-03 11:00:00
On this day in 1956 the Metropolitan Opera celebrated the 25th anniversary of soprano Lily Pons with a special Gala performance (Act 2 Rigoletto, Lucia Mad Scene and a concert).
2023-08-07 07:01:00
Museum Mondays
2022-12-21 20:19:00
[…] Design and the Metropolitan Opera Archives. Costumes worn by operatic superstars who have graced San Francisco Opera’s stage during the past century are the focus of the presentation. Highlights include: The cape and hat worn by famed Italian tenor Beniamino Gigli in Gounod’s Roméo et Juliette during San Francisco Opera’s inaugural 1923 season.Legendary Norwegian soprano Kirsten Flagstad’s Brünnhilde costume from Richard Wagner’s Die Walküre in the 1935 Company premiere of the composer’s four-opera cycle, The Ring of the Nibelung.The military outfit worn by French soprano Lily Pons in Donizetti’s La Fille du Régiment during the 1940s.A dress from Massenet’s Manon worn by soprano and inaugural recipient of the Company’s Opera Medal, Dorothy Kirsten.American soprano Leontyne Price’s costume from the 1981 production of Verdi’s Aida. An iconic interpreter of the title role, Price sang her first Aida with San Francisco Opera in 1957.
2022-05-24 20:38:28
Anglais - Wozzeck at the Liceu: The Dark Beauty of Horror
[…] end up murdering his wife is himself a compassion evoking victim. The captain and the doctor, the incarnation of the power that exploits and abuses, are grotesque and caricature-like characters who live detached from the suffering they inflict on the world. The greatest gem in Kentridge’s proposal lies in representing Wozzeck and Marie’s son, victim amongst victims, as a puppet with a gas mask. The musical outcome of this Wozzeck was hugely satisfactory. Josep Pons navigates well the 20th century repertoire, which he began working in before the century had finished. Wozzeck, is musically placed in an almost impossible point of balance between a lingering late romantic expressivity, expressionism, and an atonality where occasionally appear veiled small tonal episodes. The orchestral demands of the score are extremely high, both rhythmically and harmonically. Pons managed to bring the orchestra to achieve a great sound, with a chamber sonority appropriate to […]
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