Grahame Clifford Vídeos
cantante de ópera
Conmemoraciones 2024 (Muerte: Grahame Clifford) 2025 (Nacimiento: Grahame Clifford)
- Reino Unido, Reino Unido de Gran Bretaña e Irlanda
Última actualización
2024-05-07
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Licia Albanese Giacomo Puccini Laurel Hurley Carlo Bergonzi Mario Sereni Norman Scott Robert Nagy Ezio Flagello Lorenzo Alvary Alvary Marsh Thomas Schippers Metropolitan Opera 1958 2015
Provided to YouTube by NAXOS of America La bohème: Act I: Che gelida manina! (Rodolfo) · Licia Albanese Puccini: La Bohème (1958) ℗ 2015 MYTO Historical Released on: 2015-01-01 Artist: Licia Albanese Artist: Laurel Hurley Artist: Carlo Bergonzi Artist: Mario Sereni Artist: Clifford Harvuot Artist: Norman Scott Artist: Robert Nagy Artist: Ezio Flagello Artist: Lorenzo Alvary Artist: Calvin Marsh Choir: New York Metropolitan Opera Chorus Conductor: Thomas Schippers Orchestra: New York Metropolitan Opera Orchestra Composer: Giacomo Puccini Auto-generated by YouTube.
English National Opera Clifford Grant Norman Bailey Robert Lloyd Lois McDonall Richard Wagner 2001
Provided to YouTube by PIAS The Rhinegold, WWV 86A, Scene 2: Hear, Wotan, I'll speak my last word! (Fafner, Wotan, Fasolt, Freia, Froh, Donner) · Reginald Goodall · English National Opera Orchestra · Clifford Grant · Norman Bailey · Robert Lloyd · Lois McDonall · Robert Ferguson · Norman Welsby Wagner: The Rhinegold ℗ Chandos Records Released on: 2001-04-01 Bass Vocals: Clifford Grant Bass Vocals: Robert Lloyd Conductor: Reginald Goodall Orchestra: English National Opera Orchestra Baritone Vocals: Norman Welsby Soprano Solo: Lois McDonall Tenor Solo: Robert Ferguson Vocal Solo: Norman Bailey Composer: Richard Wagner Auto-generated by YouTube.
Tylman Susato Thomas Morley David Munrow Bergeret Roch William Byrd John Dowland Galliard Chamberlain Richard Nicholson Nicholson Oxenford James Bowman Oliver Brookes Christopher Hogwood Early Music Consort 1510 1513 1525 1551 1557 1566 1569 1570 1599 1602 1636 1738 1967 1969 1971 1976 2017
Tylman Susato (arround 1510-1570): Twelve Dances from the ‘Danserye’ (1551) Click to activate the English subtitles for the presentation (00:00-01:22) 00:00 La Mourisque (full bande) 01:13 Branle quatre Branles (recorders & strings) 02:54 Ronde & Salterelle (recorders & strings) 04:28 Ronde mon amy (cornett, crumhorn, dulcian, sackbut & tabor) 06:59 Allemaigne & Recoupe (strings & harpsichord) 09:39 Pavane Mille regretz (recorders & lute) 12:38 Basse danse Bergeret sans roch & reprise (full band) 15:13 Danse du roy (crumhorns & rackett) 16:36 Ronde (crumborns & rackett) 17:38 Passe et medio & Reprise Le Pingue (recorders, viol, lute, strings & harpsichord) 20:17 Ronde (crumhorns, regal & sackbuts) 22:16 Pavane La Bataille (full band) Thomas Morley +••.••(...)) Dances for Broken Consort from ‘The First Booke of Consort Lessons’ (1599) * Click to activate the English subtitles for the presentation (25:13-26:47) 25:13 Mounsier’s Almaine (William Byrd) 27:46 Lachrimae Pavan (John Dowland) 32:22 Michill’s Galliard (Anon) 34:39 Lute Duet: My Lord Chamberlain’s Galliard (John Dowland) 37:12 The Jew’s Dance (Richard Nicholson) 38:59 Captaine Piper’s Pavan & Galliard (John Dowland) 46:18 My Lord of Oxenford’s Maske (William Byrd) 47:25 Lavolto (Thomas Morley) 49:11 La Coranta (Thomas Morley) The Early Consort of London The Morley Consort * Conductor: David Munrow Recorded in 1971, at London Painting: Pieter Brueghel l'Ancien (around 1525-1569) La danse de la mariée en plein air (v. 1566) Find CMRR's recordings on Spotify : (http•••) Download CMRR's recordings in High fidelity audio : (http•••) David Munrow studied English literature at Cambridge and spent a while in South America, where he became fascinated by native wind instruments. Even as a student he was a brilliant reéorder player, and during the 1960s he extended his expertise to a wide range of early wihd instruments. He established his Early Music Consort in 1967 and much of his later work was based round this ensemble, with James Bowman (countertenor), Oliver Brookes (viol), Christopher Hogwood (keyboard and percussion) and James Tyler (lute). His infectious enthusiasm and skilful programming brought him an immense following. He recorded a rather wider repertoire than he could take on tour with the consort (it ranged from the 12th to the 1 8th century, as well as contemporary music written for him). Everything Munow did was meticulously planned and researched. His own knowledge and experience was vast, extending far beyond the sort of music the public associated with him. This became apparent in his radio programme Pied Piper, broadcast four times a week, ostensibly intended for younger listeners but fascinating to all ages for its range of topics and engaging presentation. Perhaps the following reminiscences will give some idea of his character. I first met David in the mid-1960s, before he began his career. We were both enjoying a holiday at the Dartington Summer School of Music and our common interest in early music led to a week of intensive talking, arguing, drinking and listening to music. Although subsequently we did not see a lot of each other, when we did meet we immediately dropped back into the same easy relationship. Later, when he ran ensemble classes at the summer school, I was continually amazed at his remarkable memory. When auditioning prospective participants, he could remember the abilities of those he had heard for only a minute or so the previous year. He wasn't just being polite if he complimented them on their improvement: his private comments to me implied that he really had remembered. In 1969 he was appointed Professor of Recorder at the Royal Academy of Music. In practice, this meant that he turned up once a week and organised some sort of musicmaking with the tiny group of students who were interested in early music. I used to creep out from my job in the library, and we were also joined by a promising student from the Guildhall School of Music and Drama, Philip Pickett. On his first day, David expected me to join him for lunch. When I told him that I was not entitled to use the professors' dining room, he insisted on using the students' canteen and subsequently always ate there. One Wednesday in May 1976, he phoned me in my office (l was now at the BBC) and asked if I would compile a list of editions to include in the notes for his next record set. I agreed, but was puzzled: why wasn't he doing it himself? I was working at it on the following Saturday when it was announced on the radio that he had died. The fact that he committed suicide was only divulged later; but it was obvious that he had known that he would not have time to finish the work necessary for the recording and did not want to leave anything incomplete. Everything he did he did with a thorough professionalism: the panache of his performance was underlaid by an infinite capacity for attending to detail. Clifford Barlett
Royal Swedish Opera Larsson Hanna Husáhr Auer Karl Magnus Fredriksson Niklas Björling Rygert Björling Végh Jesper Taube Alan Gilbert Sandström 1900 2022
The Promise (Löftet in Swedish) is the story of Ava who becomes separated from her husband, Teo, in a concentration camp. Determined to be reunited with her husband after the war, she travels through the ruins of a traumatised Europe in search of him. We accompany her on a journey that sways between dream and reality, hope and despair. 27th January is International Holocaust Remembrance Day and Royal Swedish Opera pays tribute to the victims in a new comission from composer Mats Larsson Gothe. The world premiere happens on this day and live on OperaVision. It is a story about the invincible power of love seventy-six years after the liberation of Auschwitz. ‘We find ourselves in a time outside time, as the victims of war take their first uncertain steps towards reclaiming their humanity’, says librettist Susanne Marko, who was inspired by her own family history. World premiere streamed LIVE on OperaVision on 27 January 2022 at 19:00 CET and available until 27 July 2022: (http•••) @Kungliga Operan CAST Ava: Hanna Husáhr Rosa: Agnes Auer Teo: Karl-Magnus Fredriksson Gustav: Niklas Björling Rygert Maria: Susann Végh Fritz: Kristian Flor Josef: Clifford Lewis David: Jesper Taube Elisabeth: Karolina Blixt Chorus: Royal Swedish Opera Chorus Orchestra: Royal Swedish Orchestra Music: Mats Larsson Gothe Text: Susanne Marko Conductor: Alan Gilbert Director: Stefan Larsson Set Designer: Sven Haraldsson Costume Designer: Nina Sandström Lighting Designer: Torben Lendorph Dramaturg: Katarina Aronsson Video Director: Andrea Grettve SUBSCRIBE FOR MORE WEBSITE (http•••) FACEBOOK (http•••) TWITTER (http•••) INSTAGRAM (http•••) TIKTOK (http•••)
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- cronología: Cantantes líricos (Europa).
- Índices (por orden alfabético): C...