Agní Báltsa Vídeos
mezzosoprano griega
Aniversarios 1944 Aniversarios (Nacimiento: Agní Báltsa)
- mezzosoprano
- ópera
- Grecia
- cantante de ópera, actor
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2024-05-07
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Giuseppe Sinopoli Matti Salminen Plácido Domingo Andreas Schmidt Schmidt William Pell Kurt Rydl Clemens Bieber Reinmar Cheryl Studer Agnes Baltsa Barbara Bonney Philharmonia Orchestra Covent Garden 1988
April - June, 1988 Conductor: Giuseppe Sinopoli Landgraf Hermann Matti Salminen Tannhäuser Plácido Domingo Wolfram Andreas Schmidt Walther William Pell Biterolf Kurt Rydl Heinrich Clemens Bieber Reinmar Oskar Hillebrant Elisabeth Cheryl Studer Venus Agnes Baltsa Ein junger Hirt Barbara Bonney Philharmonia Orchestra Chorus of the Royal Operahouse, Covent Garden
Giuseppe Verdi Herbert Karajan Mirella Freni José Carreras Agnes Baltsa Piero Cappuccilli Ruggero Raimondi Wiener Philharmoniker Konzertvereinigung Wiener Staatsopernchor Musikverein 1979 1980 2012
Giuseppe Verdi Aida Cast: Mirella Freni as Aida José Carreras as Radames Agnes Baltsa as Amneris Piero Cappuccilli as Amonasro Ruggero Raimondi as Ramphis Konzertvereinigung Wiener Staatsopernchor Wiener Philharmoniker Herbert von Karajan, conductor Recorded at the Großesaal, Musikverein, Vienna in May 1979 Originally released in 1980 Re-issued and remastered to SACD in 2012 Tracklist: 00:00:00 Act I Scene I 00:30:58 Act I Scene II 00:42:00 Act II Scene I 00:58:56 Act II Scene II (Triumphal March scene) 01:24:57 Act III 01:59:34 Act IV Scene I 02:22:26 Act IV Scene II
Frank Lopardo Gioachino Rossini Agnes Baltsa Enzo Dara Ruggero Raimondi Claudio Abbado 1987
"Oh come il cor di giubilo...." Opera: L'Italiana in Algeri Composer: Gioachino Rossini; Isabella: Agnes Baltsa; Taddeo: Enzo Dara; Lindoro: Frank Lopardo; Mustafa: Ruggero Raimondi; Elvira: Patricia Pace; Conductor: Claudio Abbado; Vienna, 1987.
Gustav Mahler Leonard Bernstein Edda Moser Judith Blegen Mayr Agnes Baltsa Kenneth Riegel Hermann Prey Dam Adorno Robert Simpson Carr Deryck Cooke Beethoven Vienna Philharmonic Orchestra Vienna State Opera Vienna Boys Choir Munich Philharmonic 1901 1906 1910
Gustav Mahler - Symphony No. 8, 'Symphony of a Thousand', for very large orchestra, 3 soprano solos, 2 alto solos, tenor solo, baritone solo, bass solo, 2 SATB choirs and children's choir (1906) Conductor - Leonard Bernstein Vienna Philharmonic Orchestra Vienna State Opera Chrous Vienna Boys Choir Soprano Soli - Edda Moser, Judith Blegen, Gerti Zeumer Alto Soli- Ingrid Mayr, Agnes Baltsa Tenor Solo - Kenneth Riegel Baritone Solo - Hermann Prey Bass Solo - Jose Van Dam Part I: Veni creator spiritus - 0:00 Part II: Closing scene from Goethe's Faust - 24:00 The Symphony No. 8 in E-flat major by Gustav Mahler is one of the largest-scale choral works in the classical concert repertoire. Because it requires huge instrumental and vocal forces it is frequently called the "Symphony of a Thousand", although the work is normally presented with far fewer than a thousand performers and the composer did not sanction that name. The work was composed in a single inspired burst at his Maiernigg villa in southern Austria in the summer of 1906. The last of Mahler's works that was premiered in his lifetime, the symphony was a critical and popular success when he conducted the Munich Philharmonic in its first performance, in Munich, on 12 September 1910. The fusion of song and symphony had been a characteristic of Mahler's early works. In his "middle" compositional period after 1901, a change of style led him to produce three purely instrumental symphonies. The Eighth, marking the end of the middle period, returns to a combination of orchestra and voice in a symphonic context. The structure of the work is unconventional; instead of the normal framework of several movements, the piece is in two parts. Part I is based on the Latin text of Veni creator spiritus ("Come, Creator Spirit"), a ninth-century Christian hymn for Pentecost, and Part II is a setting of the words from the closing scene of Goethe's Faust. The two parts are unified by a common idea, that of redemption through the power of love, a unity conveyed through shared musical themes. Mahler had been convinced from the start of the work's significance; in renouncing the pessimism that had marked much of his music, he offered the Eighth as an expression of confidence in the eternal human spirit. In the period following the composer's death, performances were comparatively rare. However, from the mid-20th century onwards the symphony has been heard regularly in concert halls all over the world, and has been recorded many times. While recognising its wide popularity, modern critics have divided opinions on the work; Theodor W. Adorno, Robert Simpson, and Jonathan Carr found its optimism unconvincing, and considered it artistically and musically inferior to Mahler's other symphonies. Conversely, it has been compared by Deryck Cooke to Ludwig van Beethoven's Symphony No. 9 as a defining human statement for its century. (http•••) Join the Score Video Creator Discord Server: (http•••) Support me on Patreon: (http•••)
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- cronología: Compositores (Europa). Cantantes líricos (Europa).
- Índices (por orden alfabético): B...