Ernest Guiraud Vídeos
compositor y profesor de música francés de origen estadounidense
1
- piano
- ópera, música clásica
- Francia
- compositor, coreógrafo, pedagogo, profesor universitario, pianista, profesor de música
Última actualización
2024-04-27
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Vilém Tauský Verdi Edvard Grieg Hans Sitt Ronald Binge Felix Mendelssohn Jules Massenet Emil Waldteufel Pietro Mascagni Hummel Maurice Murphy Murphy Delibes Claude Debussy Tchaikovsky Edward Elgar Charles Gounod Johann Strauss II Johann Strauss I Gordon Jacob Bach William Walton Enrique Granados Jean Sibelius Percy Grainger Handel Ermanno Wolf Ferrari Ernest Guiraud Josef Strauss Arthur Benjamin Ambroise Thomas Emil Reznicek London Symphony Orchestra 1425 1977
1. Verdi : 'La Traviata' - Prelude to Act I 00:00-03:50 2. Edvard Grieg orch. Hans Sitt : Norwegian Dance No. 2 Op. 35 03:50-06:25 3. Ronald Binge : Elizabethan Serenade 06:25-09:30 4. Felix Mendelssohn : 'A Midsummer Nights Dream' Op. 61 - Wedding March 09:30-14:25 5. Jules Massenet : 'Thaïs' - Meditation (John Georgiadis, violin) 14:25-20:25 6. Emil Waldteufel : The Skaters' Waltz Op. 183 20:25-26:40 7. Pietro Mascagni : 'Cavalleria Rusticana' - Intermezzo 26:40-30:25 8. Hummel : Trumpet Concerto - Finale (Maurice Murphy, trumpet) 30:25-34:00 9. Leo Delibes : 'Sylvia' - Pizzicato 34:00-35:45 10. Claude Debussy orch. ? : Clair de lune L. 75 35:45-39:55 11. Tchaikovsky orch. A. Winter : Chant sans paroles Op. 2 No. 3 39:55- 43:15 12. Edward Elgar : Salut d'amour Op. 12 43:15-47:20 13. Charles Gounod : 'Faust' - Valse 47:20-52:50 14. Johann Strauss I orch. Gordon Jacob : Radetzky March Op. 228 52:50-55:50 15. J.S. Bach orch. William Walton : 'The Wise Virgins' - Sheep May Safely Graze 55:50-1:01:45 16. William Walton : 'Facade' - Popular Song 1:01:45-1:04:15 17. Enrique Granados : 'Goyescas' - Intermezzo 1:04:15-1:07:30 18. Jean Sibelius : 'Kuolema' - Valse Triste Op. 44 No. 1 1:07:30-1:12:40 19. Percy Grainger : Handel in the Strand 1:12:40-1:17:45 20. Ermanno Wolf-Ferrari : 'Quattro Rusteghi' - Intermezzo 1:17:45-1:21:15 21. Handel orch. Ernest Guiraud : 'Xerxes' - Largo 1:21:15-:1:27:00 22. Johann Strauss II & Josef Strauss : Pizzicato Polka 1:27:00-1:29:45 23. Arthur Benjamin : Jamaican Rumba 1:29:45-1:32:00 24: Mozart : Horn Concerto No. 4 K. 495 - Finale (David Cripps, horn) 1:32:00-1:35:35 25. Ambroise Thomas : 'Mignon' - Entr'acte 1:35:35-1:37:50 26. Emil von Reznicek : 'Donna Diana' - Overture 1:37:50-1:42:20 Performed by the London Symphony Orchestra conducted by Vilém Tauský. Recorded in September 1977.
Niedermeyer Clement Loret Gigout Ernest Guiraud 1866 1879 1885 1887 1900 1920 1933 1945
Adantino composed by Henry (Henri) Létocart +••.••(...)) Paris. He began his musical studies in 1879 at the Ecole Niedermeyer , with Clement Loret and Gigout for the organ, before entering the Conservatoire in 1885 in the classes of organ Cesar Franck and composition of Ernest Guiraud . Après le Conservatoire, où il obtint un second accessit en orgue en 1887, il est appelé d'abord au poste d'organiste de l'église Saint-Vincent de Paul. After the Conservatory, where he obtained a second accessit in organ in 1887, he was first called to the post of organist at the Church of St. Vincent de Paul. En 1900, il fut nommé organiste du nouvel instrument de Charles Mutin à St-Pierre de Neuilly, jusqu'en 1920, et maître de chapelle, poste qu'il occupa jusqu'en 1933. In 1900 he was appointed organist of the new instrument of Charles Mutin in St. Pierre de Neuilly, until 1920, and choirmaster, a post he held until 1933.
Opéra Comique Teatro Lirico Teatro Vittorio Emanuele Teatro San Carlo Covent Garden Massenet Deslandres Guiraud Pfeiffer Bruneau Charles Silver Albert Saléza Rossini Caruso Metropolitan Opera 1863 1887 1889 1894 1899 1902 1904 1905 1916 1917 1922
Pierre Cornubert +••.••(...)) was born in Paris and received his musical education at the Conservatory there. His academic record was solid, but not extraordinary. He only placed second in each of his vocal juries and a critic who witnessed one of the tenor’s student recitals, remarked upon his “extremely disagreeable voice”. Before his graduation, however, Cornubert was offered a contract with the Opéra-Comique. He made his debut there as Daniel in Adam’s immensely popular comic opera Le Chalet in 1887. Cornubert must have made quite an impression on the management of the Opéra-Comique, for he sang regularly there for the next seven seasons. In spite of the leading role he sang at his debut, the tenor was given a great number of comprimario roles in lesser known operas during his first few seasons with the company. He sang the tiny role of the Byzantine Herald in the world premiere of Massenet’s L’Esclarmonde in 1889 and sang in other forgotten works such as Deslandres’ Dimanche et Lundi, Guiraud’s Madame Turlupin and Pfeiffer’s L’Enclume during this period of his career. Cornubert spent much of the 1890s bouncing around the French Provinces, with appearances in Dijon, Lille, Rouen and Montpellier. He also spent several seasons in Marseille, singing the title role in the local premiere of Massenet’s Werther in 1894. Cornubert also created the role of Dominique in the Marseille premiere of Bruneau’s L’Attaque du Moulin and eventually sang the tenor lead in the world premiere of Charles Silver’s now forgotten La Belle au Bois Dormant in 1902. 1899 found the tenor singing his first performances abroad. He travelled to Mexico City for a series of appearances at the Opera Nacional and then to Havana for a few performances at the Teatro Tacón. Toward the end of the season, Cornubert received an urgent telegram from New York’s Metropolitan Opera. A desperate Maurice Grau, the Met’s general manager, requested that the tenor come to New York as a last-minute substitute for the ailing Albert Saléza. Cornubert quickly agreed and made his Met debut shortly thereafter. During his brief stay with the company, the tenor sang five performances of four operas…L’Africaine, Roméo et Juliette, Les Huguenots and Pagliacci…plus one performance of Rossini’s Stabat Mater, but made little impression. Of his Raoul in Les Huguenots, one critic remarked, “It cannot be said that he is a graceful singer to listen to…there is a certain strident quality and roughness of tone in his singing that more than neutralizes his other good qualities.” Cornubert failed to win over the New York public as well. After less than three weeks with the company, he left the Met and never sang in North America again. After returning to Europe, Cornubert continued to appear throughout the France but also traveled to Warsaw, Antwerp and Cairo. As early as 1899 he was appearing in Italy (Teatro Lirico, Milan and Teatro Vittorio Emanuele, Turin) and returned to that country for a series of performances at Naples’ Teatro San Carlo in 1904. When the San Carlo took the company to London’s Covent Garden later than same year, Cornubert was among the principals. He alternated with Caruso in performances of Carmen and Pagliacci. Needless to say, it was his younger Neapolitan colleague who garnered the lion’s share of the praise. Of Cornubert’s Don José in Covent Garden’s November 21, 1904 Carmen, a critic for the London Standard remarked that. “M. Cornubert is a tenor with a fair voice, not very artistically produced nor invariably quite correct in intonation.” As he approached the age of fifty, Cornubert began to curtail his stage career. In early 1917, the tenor was offered a professorship in the voice department of the Paris Conservatory. Interestingly, Cornubert once again found himself taking over a position left vacant by his colleague Albert Saléza, who had passed away late in 1916. The now retired Cornubert was to become a popular member of the faculty and remained at the Conservatory until his own death in 1922 at the age of 59. Pierre Cornubert enjoyed a mostly minor league career that encompassed a variety of roles from such operas as Manon, Mignon, Carmen, Andrea Chénier, Guglielmo Ratcliff and Tosca. He also excelled as a recitalist and was active as an oratorio soloist, singing such works as Rossini’s Stabat Mater and Franck’s Les Béatitudes. His recorded legacy is scanty, unfortunately, with only 15 extant titles recorded for Fonotipia, Edison and Disque Ultima. These discs and cylinders reveal a full lyric tenor with tasteful artistry. Here, Cornubert sings Alphonse Cathérine's "Ton sourire". This rare recording was made in Paris for Disque Ultima in 1905.
Opéra Comique Teatro Lirico Teatro Vittorio Emanuele Teatro San Carlo Covent Garden Massenet Deslandres Guiraud Pfeiffer Bruneau Charles Silver Albert Saléza Rossini Caruso Metropolitan Opera 1863 1887 1889 1894 1899 1902 1904 1905 1916 1917 1922
Pierre Cornubert +••.••(...)) was born in Paris and received his musical education at the Conservatory there. His academic record was solid, but not extraordinary. He only placed second in each of his vocal juries and a critic who witnessed one of the tenor’s student recitals, remarked upon his “extremely disagreeable voice”. Before his graduation, however, Cornubert was offered a contract with the Opéra-Comique. He made his debut there as Daniel in Adam’s immensely popular comic opera Le Chalet in 1887. Cornubert must have made quite an impression on the management of the Opéra-Comique, for he sang regularly there for the next seven seasons. In spite of the leading role he sang at his debut, the tenor was given a great number of comprimario roles in lesser known operas during his first few seasons with the company. He sang the tiny role of the Byzantine Herald in the world premiere of Massenet’s L’Esclarmonde in 1889 and sang in other forgotten works such as Deslandres’ Dimanche et Lundi, Guiraud’s Madame Turlupin and Pfeiffer’s L’Enclume during this period of his career. Cornubert spent much of the 1890s bouncing around the French Provinces, with appearances in Dijon, Lille, Rouen and Montpellier. He also spent several seasons in Marseille, singing the title role in the local premiere of Massenet’s Werther in 1894. Cornubert also created the role of Dominique in the Marseille premiere of Bruneau’s L’Attaque du Moulin and eventually sang the tenor lead in the world premiere of Charles Silver’s now forgotten La Belle au Bois Dormant in 1902. 1899 found the tenor singing his first performances abroad. He travelled to Mexico City for a series of appearances at the Opera Nacional and then to Havana for a few performances at the Teatro Tacón. Toward the end of the season, Cornubert received an urgent telegram from New York’s Metropolitan Opera. A desperate Maurice Grau, the Met’s general manager, requested that the tenor come to New York as a last-minute substitute for the ailing Albert Saléza. Cornubert quickly agreed and made his Met debut shortly thereafter. During his brief stay with the company, the tenor sang five performances of four operas…L’Africaine, Roméo et Juliette, Les Huguenots and Pagliacci…plus one performance of Rossini’s Stabat Mater, but made little impression. Of his Raoul in Les Huguenots, one critic remarked, “It cannot be said that he is a graceful singer to listen to…there is a certain strident quality and roughness of tone in his singing that more than neutralizes his other good qualities.” Cornubert failed to win over the New York public as well. After less than three weeks with the company, he left the Met and never sang in North America again. After returning to Europe, Cornubert continued to appear throughout the France but also traveled to Warsaw, Antwerp and Cairo. As early as 1899 he was appearing in Italy (Teatro Lirico, Milan and Teatro Vittorio Emanuele, Turin) and returned to that country for a series of performances at Naples’ Teatro San Carlo in 1904. When the San Carlo took the company to London’s Covent Garden later than same year, Cornubert was among the principals. He alternated with Caruso in performances of Carmen and Pagliacci. Needless to say, it was his younger Neapolitan colleague who garnered the lion’s share of the praise. Of Cornubert’s Don José in Covent Garden’s November 21, 1904 Carmen, a critic for the London Standard remarked that. “M. Cornubert is a tenor with a fair voice, not very artistically produced nor invariably quite correct in intonation.” As he approached the age of fifty, Cornubert began to curtail his stage career. In early 1917, the tenor was offered a professorship in the voice department of the Paris Conservatory. Interestingly, Cornubert once again found himself taking over a position left vacant by his colleague Albert Saléza, who had passed away late in 1916. The now retired Cornubert was to become a popular member of the faculty and remained at the Conservatory until his own death in 1922 at the age of 59. Pierre Cornubert enjoyed a mostly minor league career that encompassed a variety of roles from such operas as Manon, Mignon, Carmen, Andrea Chénier, Guglielmo Ratcliff and Tosca. He also excelled as a recitalist and was active as an oratorio soloist, singing such works as Rossini’s Stabat Mater and Franck’s Les Béatitudes. His recorded legacy is scanty, unfortunately, with only 15 extant titles recorded for Fonotipia, Edison and Disque Ultima. These discs and cylinders reveal a full lyric tenor with tasteful artistry. Here, Cornubert sings de Lara's "Chanson du baiser" This rare recording was made in Paris for Disque Ultima in 1905.
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- cronología: Compositores (Europa). Intérpretes (Europa).
- Índices (por orden alfabético): G...