Eugène Lacroix Vídeos
compositor, organista
- órgano
- Francia
Última actualización
2024-04-24
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José Cura Shakespeare Dorothea Röschmann Alvarez Benjamin Bernheim Christa Mayer Mayer Georg Zeppenfeld Bror Magnus Tødenes Csaba Szegedi Gordon Bintner Christian Thielemann Lacroix Lemaire Moor Salzburg Easter Festival Sächsische Staatskapelle Dresden 2016
JOSÉ CURA, "OTELLO" / Atto 2 (Scena 3 ~ 5), from "Ciò m'accora.(Jago)" to "Sì, pel ciel marmoreo giuro!". in Salzburg Easter Festival in 2016 For the 400th anniversary year of Shakespeare's death. / JOSÉ CURA, "OTELLO" / 2016 Salzburg Easter Festival / March 19 and 27 at Grosses Festspielhaus in Salzburg JOSÉ CURA SHONE IN THE TITLE ROLE Here the Otello is tenor José Cura. He looks magnificent, this victorious Venetian general, his costumed appearance inspired by the splendor of the Serenissima. And he splendidly blares “Esultate"! / NZZ Otello: JOSÉ CURA Desdemona: Dorothea Röschmann Iago: Carlos Alvarez Cassio: Benjamin Bernheim Emilia: Christa Mayer Lodovico: Georg Zeppenfeld Rodrigo: Bror Magnus Tødenes Montano: Csaba Szegedi Araldo: Gordon Bintner Conductor: Christian Thielemann Director: Vincent Boussard Costumes designer: Christian Lacroix Stage designer: Vincent Lemaire Choir: Sächsischer Staatsopernchor, Dresden und Salzburger, Orchestra: Sächsische Staatskapelle, Dresden JOSÉ CURA AS OTELLO LEFT LITTLE TO BE WISHED FOR. / DNN, March 2016 Argentinian JOSÉ CURA is a reputable tenor and Otello has been one of his major roles throughout his career. His experience, together with a well elaborated technique and strong stage presence, help him to present a homogenous and convincing interpretation. The Salzburg Easter festival convinces again with its high quality. / Opera Online JOSÉ CURA—as a singer, conductor and director who is intimately familiar with Otello— stepped into the title role and presented his short-tempered commander with solid vocal line. Applause at the end of the evening. / Salzburg24 JOSÉ CURA is still a singer who goes to the limit, he has an Italian flair in his voice, and he sings some beautiful melodic lines. As a performer, he is intense; his Otello is a brooder, an intellectual, almost a sage. One is happy watching him—but any opera with Cura would be just as good. / Kurier A superb new Otello from the Salzburg Easter Festival: Cura is a commanding Otello with his richly coloured tenor and both fragile delicacy and fiery ardour. / Südwestpresse JOSÉ CURA sings as an aging Otello, broken from the start, the radiant, heroic youthfulness far in the past; he is withdrawn from the beginning. JOSÉ CURA's tenor still has plenty of brilliance… / Wiener Zeitun JOSÉ CURA convinces as Otello with his colorful tenor, fragile delicacy and fiery glow. At the end much applause, not necessarily fiery but persistent. / SWP The Festival called on JOSÉ CURA for their Otello. His is a strong voice, used with a certain intelligence and defends himself and the role well: JOSÉ CURA saved the performance. There is shrewd understanding in his singing; there is emotion; he is truly formidable. In the end, Cura did well despite the problems with the production and an orchestra that was not always helpful. / The Wanderer What I really liked about the singing and acting of the Otello of JOSÉ CURA was the range, subtlety and depth. Cura presented a fully human, attractive but deeply flawed Moor. He was endlessly fascinating. An earlier Salzburg recording was the BBC’s top pick for an Otello video (before this one came out of course). I think this one beats it on every count. / OperaRamblings (DVD)
Oper Graz Richard Wagner Ritter Sieg Bricht Einfalt Kaftan Lacroix Vogler Ballard Johannes Chum Herbert Lippert Gal James Michaela Martens Martens Andrè Schuen Scherler Suk Kirova 1841 1850 1899 2013
In Wolfram von Eschenbachs „Parzival" fand Richard Wagner Inspiration für seine 1850 in Weimar uraufgeführte romantische Oper: Ein Gralsritter kommt Elsa von Brabant zu Hilfe, die beschuldigt wird, ihren Bruder ermordet zu haben. Doch bevor der Ritter ihr beisteht, verbietet er, je nach seinem Namen zu fragen. Durch seinen Sieg im Zweikampf mit Elsas Ankläger gilt ihre Unschuld als bewiesen, und der Ritter führt sie zum Altar. Als Elsa in der Hochzeitsnacht das Frageverbot bricht, muss er seine Identität preisgeben. Den Konflikt zwischen blindem Vertrauen und Wissen-Wollen begreift die Neuinszenierung von Johannes Erath als Konstante menschlicher Existenz. Blinde Hingabe wird zur Metapher für einen naiv seligen, letztlich aber unerträglichen Zustand. Auch die Religionskritik Ludwig Feuerbachs von 1841 scheint manche Figuren zu beseelen. Das Gebet König Heinrichs / „So hilf uns, Gott, zu dieser Frist, weil unsere Weisheit Einfalt ist"- steht so der Frage Elsas ebenso entgegen wie dem ätzenden Spott Ortruds. In der Konfrontation von harter geschichtlicher Realität und Märchenwelt erträumte Wagner sich aber auch ein Drama um die menschliche Einsamkeit des gefeierten Künstlers. Mit der „Lohengrin" Musik, die Friedrich Nietzsche als "blau, von opiatischer, narkotischer Wirkung" bezeichnete, erklang 1899 die erste Oper im neuen Grazer Opernhaus. Mit ihr im Wagner-Jahr 2013 die Saison zu eröffnen, schließt an diese Tradition an. Musikalische Leitung: Julien Salemkour • Marius Burkert • Dirk Kaftan Inszenierung: Johannes Erath Bühnenbild: Kaspar Glarner Kostüme: Christian Lacroix Licht: Bernd Purkrabek Dramaturgie: Francis Hüsers • Bernd Krispin Heinrich der Vogler, deutscher König: Derrick Ballard Lohengrin: Johannes Chum • Herbert Lippert Elsa von Brabant: Sara Jakubiak • Gal James Friedrich von Telramund: Anton Keremidtchiev Ortrud: Michaela Martens Die Heerrufer des Königs: Andrè Schuen • Byeong in Park • David McShane 4 Brabantische Edle: Christian Scherler • Falk Witzurke • Sanggyoul Lee • Adrian-Daniel Roska • Zoltan Galamb • István Szecsi • Heribert Pudik • Mihai Zene 4 Edelknaben: Doris Valeskini • Keiko Kazumori • Ju Suk • Sujin KO • Kathryn Birds • Rada Kirova • Ingrid Niedermair • Julia Csomor
Jean Pierre Rampal Sergei Prokofiev Robert Veyron Lacroix Lacroix 1968
Provided to YouTube by Warner Classics International Flute Sonata in D Major, Op. 94: I. Moderato · Jean-Pierre Rampal Prokofiev : Instrumental & Chamber Music (Prokofiev Edition Vol.4) ℗ A Warner Classics/Erato Disques release, ℗ 1968 Warner Music UK Limited Flute: Jean-Pierre Rampal Piano: Robert Veyron-Lacroix Composer: Sergei Prokofiev Auto-generated by YouTube.
José Cura Shakespeare Dorothea Röschmann Alvarez Benjamin Bernheim Christa Mayer Mayer Georg Zeppenfeld Bror Magnus Tødenes Csaba Szegedi Gordon Bintner Christian Thielemann Lacroix Lemaire Moor Salzburg Easter Festival Sächsische Staatskapelle Dresden 2016
JOSÉ CURA, "OTELLO" / Atto 3 (Scena 1 ~ 4), from ARALDO to "Dio! mi potevi scagliar". in Salzburg Easter Festival in 2016 For the 400th anniversary year of Shakespeare's death. / JOSÉ CURA, "OTELLO" / 2016 Salzburg Easter Festival / March 19 and 27 at Grosses Festspielhaus in Salzburg JOSÉ CURA SHONE IN THE TITLE ROLE Here the Otello is tenor José Cura. He looks magnificent, this victorious Venetian general, his costumed appearance inspired by the splendor of the Serenissima. And he splendidly blares “Esultate"! / NZZ Otello: JOSÉ CURA Desdemona: Dorothea Röschmann Iago: Carlos Alvarez Cassio: Benjamin Bernheim Emilia: Christa Mayer Lodovico: Georg Zeppenfeld Rodrigo: Bror Magnus Tødenes Montano: Csaba Szegedi Araldo: Gordon Bintner Conductor: Christian Thielemann Director: Vincent Boussard Costumes designer: Christian Lacroix Stage designer: Vincent Lemaire Choir: Sächsischer Staatsopernchor, Dresden und Salzburger, Orchestra: Sächsische Staatskapelle, Dresden JOSÉ CURA AS OTELLO LEFT LITTLE TO BE WISHED FOR. / DNN, March 2016 Argentinian JOSÉ CURA is a reputable tenor and Otello has been one of his major roles throughout his career. His experience, together with a well elaborated technique and strong stage presence, help him to present a homogenous and convincing interpretation. The Salzburg Easter festival convinces again with its high quality. / Opera Online JOSÉ CURA—as a singer, conductor and director who is intimately familiar with Otello— stepped into the title role and presented his short-tempered commander with solid vocal line. Applause at the end of the evening. / Salzburg24 JOSÉ CURA is still a singer who goes to the limit, he has an Italian flair in his voice, and he sings some beautiful melodic lines. As a performer, he is intense; his Otello is a brooder, an intellectual, almost a sage. One is happy watching him—but any opera with Cura would be just as good. / Kurier A superb new Otello from the Salzburg Easter Festival: Cura is a commanding Otello with his richly coloured tenor and both fragile delicacy and fiery ardour. / Südwestpresse JOSÉ CURA sings as an aging Otello, broken from the start, the radiant, heroic youthfulness far in the past; he is withdrawn from the beginning. JOSÉ CURA's tenor still has plenty of brilliance… / Wiener Zeitun JOSÉ CURA convinces as Otello with his colorful tenor, fragile delicacy and fiery glow. At the end much applause, not necessarily fiery but persistent. / SWP The Festival called on JOSÉ CURA for their Otello. His is a strong voice, used with a certain intelligence and defends himself and the role well: JOSÉ CURA saved the performance. There is shrewd understanding in his singing; there is emotion; he is truly formidable. In the end, Cura did well despite the problems with the production and an orchestra that was not always helpful. / The Wanderer What I really liked about the singing and acting of the Otello of JOSÉ CURA was the range, subtlety and depth. Cura presented a fully human, attractive but deeply flawed Moor. He was endlessly fascinating. An earlier Salzburg recording was the BBC’s top pick for an Otello video (before this one came out of course). I think this one beats it on every count. / OperaRamblings (DVD)
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- cronología: Compositores (Europa). Intérpretes (Europa).
- Índices (por orden alfabético): L...