grupo musical estadounidense
- Compañía de ópera
- Estados Unidos
Última actualización
2024-04-27
Actualizar
Sir Eugene Aynsley Goossens Bizet Eugène Goossens Fils Eugène Goossens Père Charles Villiers Stanford Villiers Thomas Beecham Igor Stravinsky Vladimir Rosing Fritz Reiner Ernest Bloch Aaron Copland Roy Harris Walter Piston Bernard Rogers Roger Sessions Deems Taylor Carl Rosa Opera Company Rochester Philharmonic Orchestra American Opera Company Cincinnati Symphony Orchestra Sydney Symphony Orchestra 1845 1867 1893 1906 1907 1912 1915 1916 1921 1923 1926 1931 1946 1947 1956 1958 1962
Eugene Goossens conducts the Royal Opera Orchestra in Bizet's 'L'Arlesienne Suite' - in fact, excerpts from the two suites from 'L'Arlesienne' - recorded in Kingsway Hall on 15 July 1926. The movements are: 00:00 Prelude 08:39 Adagietto 11:43 Farandole For those interested, I have posted some photos of Kingsway Hall in the Community section. I made the transfers from solid stock Australian pressings (C 1319/20), but they are fortunately less gritty than many specimens. From Wikipedia: Sir Eugene Aynsley Goossens (26 May 1893 – 13 June 1962) was an English conductor and composer. He was born in Camden Town, London, the son of the Belgian conductor and violinist Eugène Goossens (fils, 1867–1958) and Annie Cook, a Carl Rosa Opera Company singer. He was the grandson of the conductor Eugène Goossens (père, 1845–1906; his father and grandfather spelled Eugène with a grave accent; he himself did not). He studied music at the age of ten in Bruges, three years later in Liverpool, and in 1907 in London on a scholarship at the Royal College of Music under composer Charles Villiers Stanford and the violinist Achille Rivarde among others. He won the silver medal of the Worshipful Company of Musicians and was made associate of the Royal College of Music. He was a violinist in Thomas Beecham's Queen's Hall Orchestra from 1912 to 1915 and performed in the Philharmonic Quartet before coming to attention as Beecham's assistant conductor with a performance of Stanford's opera The Critic (1916). In 1921 he decided to make conducting his career and founded his own orchestra; with this ensemble he made a number of gramophone records for Edison-Bell's Velvet Face label. He gave the British concert premiere of Igor Stravinsky's The Rite of Spring on 7 June 1921 at the Queen's Hall with the composer present. For nearly a quarter of a century, he accepted positions at U.S. orchestras. At the invitation of George Eastman he was conductor of the Rochester Philharmonic Orchestra from 1923 to 1931. This post also involved teaching at the Eastman School of Music. During the late 1920s he often conducted for Vladimir Rosing's American Opera Company, an organization which grew out of the Eastman School. From 1931 to 1946 he succeeded Fritz Reiner as the conductor of the Cincinnati Symphony Orchestra. In a tribute to Goossens on his departure for Australia, nine American composers collaborated on Variations on a Theme by Eugene Goossens, for orchestra. The composers were Ernest Bloch, Aaron Copland, Paul Creston, Anis Fuleihan, Roy Harris, Walter Piston, Bernard Rogers, Roger Sessions and Deems Taylor, with Goossens himself writing the finale. Goossens spent nine years in Australia, from 1947 to 1956. He conducted the Sydney Symphony Orchestra and other groups, and was the director of the NSW State Conservatorium of Music. He held these positions concurrently until March 1956, when he was forced to resign after a major public scandal, only a year after being knighted... He died of rheumatic fever and a haemorrhaging gastric ulcer on 13 June 1962 at Hillingdon Hospital in Middlesex. He was buried in St Pancras and Islington Cemetery. He left his estate including copyrights and royalties 'to my faithful companion and assistant Miss Pamela Main.'
Handel Emma Juch Isidore Luckstone Fagan Moran Mapleson American Opera Company Metropolitan Opera 1863 1881 1888 1894 1904 1905 1911 1939 1969
Soprano Emma Juch +••.••(...)) / He Shall Feed His Flock (Part II, Come Unto Him) / Messiah (Handel) / Isidore Luckstone - piano / Recorded: May 7, 1904 in New York / See Discography of American Historical Recordings: (http•••) As noted by Fagan and Moran in EDVR vol. 2, this recording session was significant historically because of Emma Juch's appearance in the recording studio, ten years after her retirement, with piano accompanist Isidore Luckstone. Source(s): Victor ledgers. EMMA JUCH, soprano, b. July 4, 1863, Vienna; d. March 6, 1939, New York. Her father was an Austrian who became an American citizen. She studied with Mme. Murio-Celli in Detroit and made her debut (1881) with Mapleson's company at Her Majesty's Theater, London, as Philine in Mignon. In the same year she sang at the Academy of Music in New York. She was engaged +••.••(...)) by the American Opera Company, led by Mapleson. Her attempt to sign a contract with the Metropolitan Opera miscarried on account of the terms of her agreement with the American Opera Company. She traveled throughout the United States and Mexico with her own company +••.••(...)). Later she was active as a concert singer, making her final appearance in the New York Festival of 1894. In 1905 she married the lawyer Francis A. Wellman, but was separated from him in 1911. In 1904, after she had given up her singing career for a decade, she allowed Victor to publish three interesting records of her voice; all of these are among the great recorded rarities. (Concise Biographical Dictionary of Singers / Kutsch & Riemens / Chilton Press / 1969)/
Wagner Emma Juch Isidore Luckstone Mapleson American Opera Company Metropolitan Opera 1863 1881 1888 1894 1904 1905 1911 1939 1969
Soprano Emma Juch +••.••(...)) / Einsam in trüben Tagen (Elsa's Traum) / Lohengrin (Wagner) / Isidore Luckstone - piano / Recorded May 7, 1904 EMMA JUCH, soprano, b. July 4, 1863, Vienna; d. March 6, 1939, New York. Her father was an Austrian who became an American citizen. She studied with Mme. Murio-Celli in Detroit and made her debut (1881) with Mapleson's company at Her Majesty's Theater, London, as Philine in Mignon. In the same year she sang at the Academy of Music in New York. She was engaged +••.••(...)) by the American Opera Company, led by Mapleson. Her attempt to sign a contract with the Metropolitan Opera miscarried on account of the terms of her agreement with the American Opera Company. She traveled throughout the United States and Mexico with her own company +••.••(...)). Later she was active as a concert singer, making her final appearance in the New York Festival of 1894. In 1905 she married the lawyer Francis A. Wellman, but was separated from him in 1911. In 1904, after she had given up her singing career for a decade, she allowed Victor to publish three interesting records of her voice; all of these are among the great recorded rarities. (Concise Biographical Dictionary of Singers / Kutsch & Riemens / Chilton Press / 1969)/
Camilla Ella Williams Verdi Marian Anderson Carey Freschl Puccini Leoncavallo Gershwin Lehman Leopold Stokowski Mahler Jacobs Vienna State Opera Royal Philharmonic Berlin Philharmonic Vienna Symphony Philadelphia Orchestra 1919 1943 1944 1946 1950 1951 1954 1963 1977 1984 1997 2012
Camilla Ella Williams (October 18, 1919 – January 29, 2012) was an American operatic soprano who performed nationally and internationally. After studying with renowned teachers in New York City, she was the first African American to receive a regular contract with a major American opera company, the New York City Opera. She had earlier won honors in vocal competitions and the Marian Anderson Fellowship in 1943-44. In 1954 she became the first African American to sing a major role with the Vienna State Opera. She later also performed as a soloist with numerous European orchestras. As a concert artist, she toured throughout the United States as well as Asia, Australia and New Zealand. In 1977, she was the first African American appointed as Professor of Voice at Indiana University, where she taught until 1997. "My grandparents and parents were self-taught musicians; all of them sang, and there was always music in our home." Camilla's grandfather, Alexander Carey, was a choir leader and singer. "All my people sing. We were poor, but God blessed us with music." By the age of eight, Camilla was dancing, playing the piano, and singing at school and Danville's Calvary Baptist Church. Williams trained at Virginia State College (now Virginia State University). After earning a B.S. there, she studied privately in New York, eventually with the great teacher Marion Szekely Freschl (who taught at Juilliard). She earned a Marian Anderson Fellowship in 1943 and again in 1944. She continued to receive honors in vocal competitions. Career Beginning in 1944, Williams performed on the coast-to-coast RCA radio network. In 1946 she was the first African American to receive a regular contract with a major American opera company, making her debut with the New York City Opera in the title role in Puccini's Madama Butterfly. Her performance was hailed by the New York Times critic as "an instant and pronounced success." During the next six years, she performed Nedda in Leoncavallo's Pagliacci, Mimi in Puccini's La bohème, and the title role in Verdi's Aida. Williams sang throughout the United States and Europe with various other opera companies. In 1951 she sang Bess in the landmark, first complete recording of Gershwin's Porgy and Bess. Under the baton of Lehman Engel, this recording is considered by some to be the most authentic recorded performance of the opera and brought Williams international recognition. In 1954 she became the first African American to sing a major role with the Vienna State Opera, and performed her signature role in Madama Butterfly. In 1963, as part of the civil rights March on Washington, she sang "The Star-Spangled Banner" at the White House and before 250,000 people at the Lincoln Memorial, preceding Martin Luther King, Jr.'s "I Have a Dream" speech. A noted concert artist, Williams toured throughout the United States, in fourteen African countries, as well as numerous countries in Asia: Formosa, South Korea, China, Japan, Laos, South Vietnam, the Philippines, New Zealand and Australia. In addition, she was a soloist with the Royal Philharmonic, BBC Symphony, Berlin Philharmonic, Vienna Symphony, Chicago Symphony, Philadelphia Orchestra and the New York Philharmonic under the direction of Leopold Stokowski. In 1950 she recorded Mahler's Symphony No. 8 with Stokowski and the New York Philharmonic. Williams was the first African-American Professor of Voice appointed to the voice faculty of what is now known as the Indiana University Jacobs School of Music in 1977. In 1984 she became the first African-American instructor at the Central Conservatory of Music in Beijing, China. In 1997 Camilla Williams became a Professor Emerita of Voice at Indiana University Jacobs School of Music, but continued to teach privately. Wikipedia
o
- Compañías de ópera (Norteamérica).
- Índices (por orden alfabético): A...