Benjamin Britten Noye's Fludde, Op. 59 Vídeos
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2024-03-29
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Verdi Buff Charpentier Truelove Britten Beethoven Brahms John Field Rossini Brady Sima Olympia Olympia Theatre Dublin Wexford Festival Opera Bolshoi Rossini Opera Festival Pesaro 2015 2017
WEXFORD FACTORY: Introducing Limerick bass-baritone David Howes, the sixth participant of the Wexford Factory, a professional development academy for young Irish or Irish-based singers. David initially studied with Olive Cowpar in Limerick before moving onto the DIT Conservatory of Music and Drama, where he completed the Bachelor of Music degree with 1st class honours. David now studies with Robert Dean and is a graduate of the distinguished Young Artist Programme with Northern Ireland Opera. Highlights of his career to date include performing the bass solo in Verdi’s Requiem at the Olympia Theatre, Dublin with Co-orch Dublin, Dun Laoghaire Choral Society and Cantairí Avondale, the roles of Jack and Flynn in the world premiere of Andrew Synnott’s opera, 'Dubliners', a co-production between Opera Theatre Company & Wexford Festival Opera, 2017. Other roles include the title role in Hans Krasa’s 'Brundibar' (Killaloe Chamber Music Festival), Count Ceprano in 'Rigoletto' (OTC), Buff in 'Der Schauspieldirektor' (Irish National Opera), Marchese d'Obigny in 'La traviata', Prince Yamadori in 'Madame Butterfly' (Lyric Opera, Dublin), Figaro in 'le nozze di Figaro' (Zerere Arts Festival), Peintre and 2nd Philosophe in Charpentier’s 'Louise' (Buxton Opera Festival), Sciarrone in 'Tosca' (WFO ShortWork 2015), Father Truelove in 'The Rake’s Progress', Noye in Britten’s 'Noye’s Fludde', and Quince in 'A Midsummer Night’s Dream'. In recital, David has performed at the Kilkenny Arts Festival in a new edition of Beethoven’s Irish Airs, and also, Brahms’ Liebeslieder Waltzer in the John Field Room at the National Concert Hall. Read more about this exciting new professional development initiative which is in association with @Royal Irish Academy of Music, TU Dublin, CIT Cork School of Music, Bolshoi Academy, Moscow and the @Rossini Opera Festival, Pesaro and Opera for Peace (http•••) The twelve Irish or Irish-based singers have been announced as: Anna Brady, Ava Dodd, Rory Dunne, Andrew Gavin, Francesca Federico, David Howes, Kathleen Norchi, Conall William O’Neill, Jade Phoenix, Sarah Richmond, Sarah Shine, Vladimir-Mihai Sima. #WFO2020 #WFOFactory #IrelandsAncientEast #opera
Veneziano Poli Galuppi Salieri Barbiere Rossini Britten Puccini Donizetti Lehár Gershwin Fink Torelli Scala Teatro Fenice 1979 1984
Bepi Morassi @ Settimane Musicali al Teatro Olimpico per la regia de «Il Signor Bruschino» Regista. Veneziano, allievo di Giovanni Poli, dopo gli studi di teatro e musica ed il perfezionamento con importanti esponenti della ricerca teatrale, debutta nel 1979 come regista di prosa e nel 1984 di lirica. Particolarmente interessato al teatro, musicale e non, del Sei-Settecento, debutta come regista d’opera con Il caffè di campagna di Galuppi, Prima la musica, poi le parole di Salieri e Der Schauspieldirektor mozartiano, cui fanno seguito fortunate edizioni del Barbiere di Siviglia di Rossini, Noye’s Fludde di Britten, La bohème, Tosca e Manon Lescaut di Puccini, Il campanello e L’elisir d’amore di Donizetti, nonché gli allestimenti della prima assoluta di Lego di Nicola Campogrande, Die lustige Witwe di Lehár e, al São Carlos di Lisbona, Lady, Be Good! di Gershwin. Come regista di prosa, ha firmato Uno di quelli che fanno i re di Welles-Fink con Giancarlo e Mattia Sbragia, Svevo a Venezia di Puppa con Alberto Lionello, La finta ammalata e Le morbinose di Goldoni, Turandot e Il corvo di Gozzi, I mariti di Torelli. Ha inoltre allestito alcuni inediti assoluti del Seicento e, al Teatro Olimpico di Vicenza, L’alfabeto dei villani da Ruzante. Impegnato in molti teatri italiani, lavora frequentemente all’estero partecipando a prestigiosi festival internazionali. Tra gli ultimi impegni la regia dell’inedito donizettiano Pietro il Grande al Festival della Valle d’Itria e quelle dell’Elisir d’amore, del Barbiere di Siviglia, dell’Inganno felice, della Sonnambula e della Scala di seta alla Fenice di Venezia. Di grande risalto l’ultima edizione de Il signor Bruschino sempre al Teatro la Fenice.
Peter Pears Benjamin Britten Elgar Somervell Finzi Shelley Wordsworth Shakespeare Gustav Mahler London Symphony Orchestra Bbc Symphony Orchestra 1853 1913 1943 1945 1953 1958
Nocturne (Op. 60): I. On a poet's lips I slept 00:00 II. The Kraken 03:22 III. Encintures with a twine of leaves 06:39 IV. Midnight's bell 08:51 V. But that night when on my bed I lay 11:21 VI. The kind ghosts 14:24 VII. Sleep and poetry 1853 VIII. Sonnet XLII 22:21 Britten, Benjamin +••.••(...)) -composer Peter Pears -tenor Benjamin Britten -Conductor London Symphony Orchestra Playlist: "The art of British song: Elgar, Somervell, Williams, Finzi..": (http•••) The 1950s came as a time of mixed press and reexamination for Benjamin Britten. Following the unreserved success of his Serenade for Tenor, Horn and Strings (1943) and several operas, beginning with the rapturously received Peter Grimes (1945), the ensuing decade brought some muted reactions (Billy Budd) and questioning, if not entirely negative, reviews for Gloriana, presented during the Coronation Year of 1953. With Turn of the Screw, however, Britten was considered to have gotten himself back on track. Later consideration brought revised opinions on both Billy Budd and Gloriana, especially the former. After traveling to Bali, then composing the gamelan music influenced The Prince of the Pagodas and Noye's Fludde, Britten turned to a work not dissimilar to his Serenade, but fixed upon that imaginative realm partway between waking and dreaming. Some writers have sought to describe this work as a study for the opera, A Midsummer Night's Dream, which was introduced to the public two years later. Surely there is more cause to describe it thus than there is to suggest that the Serenade was a precursor to Peter Grimes. Both the Nocturne and Midsummer Night's Dream impart a dream-like, phantasmagoric aura. As always, Britten was knowing in his choice of texts. Beginning with Shelley's Prometheus Unbound, and including Tennyson's The Kraken, lines were drawn from Coleridge's The Wanderings of Cain; Thomas Middleton's Blurt, Master Constable; lines from Wordsworth's Prelude; The Kind Ghosts by Wilfred Owen (the great war poet to whom Britten returned for his moving War Requiem); Sleep and Poetry by Keats; and, finally, Sonnet 43 by Shakespeare. Throughout the work, there is a defining tension between D flat and C major which conjures in tonality the floating reverie that parallels the poetry and keeps the music above mundane sensibilities. Both in the presence of seven various obbligato instruments and in the tonal language, Nocturne, despite certain surface similarities with Serenade, occupies rather different territory. The scoring, too, is more diaphanous, calling to mind Gustav Mahler to whose widow, Alma, the work is dedicated. The premiere took place in Leeds, England, on October 16, 1958, with the BBC Symphony Orchestra and featuring Britten's tenor of choice, Peter Pears. Although not as widely performed as Britten's Serenade, the Nocturne represents the composer at his sensitive best, unerringly supporting beautifully wrought words with music at one and the same time firmly rooted and elevated beyond earthly things. Source: (http•••) Buy the CD here: (http•••)
Edward Benjamin Britten Owen Brannigan Trevor Anthony English Chamber Orchestra 1913 1976
Il Barone Edward Benjamin Britten (Lowestoft, 22 novembre 1913 / Aldeburgh, 4 dicembre 1976) è stato un compositore, direttore d'orchestra e pianista britannico. Con Owen Brannigan, Emanuel Hurwitz, Sheila Rex, Trevor Anthony & English Chamber Orchestra; la storia di quest' opera é la storia dell' Arca di Noè; in inglese Noye(=Noè)'s fludde(=diluvio) (il diluvio di Noè); che deve portare la sua famiglia (moglie e 3 figli, i quali al tempo di Britten erano interpretati da maschi ma ormai da femmine perché non si impara più a cantare in tenera età) e un coppia di ogni specie animale perché tutti gli esseri viventi sulla Terra non vivono secondo le indicazioni di Dio (la voce che recita) ovvero l'umiltà, la generosità, l'altruismo... Ricerca immagini, montaggio e regia: Niccolò Gossi Mi scuse se la qualità delle immagini non é delle migliori ma ricordo di andare a vedere il punto (23:50), la tempesta. ———————————————————————————————————————————— Baron Edward Benjamin Britten (Lowestoft, November 22, 1913 - Aldeburgh, December 4, 1976) was a composer, conductor and pianist British. With Owen Brannigan, Emanuel Hurwitz, Sheila Rex, Trevor Anthony Inglese & Chamber Orchestra; the story of this ‘work is the story of' Noah's Ark; who must take his family (wife and three children, who at the time of Britten were played by males but now females because you do not learn more singing at an early age) and a pair of each animal species because all living beings on earth does not live according to the signs of God (the voice that reads) or humility, generosity, altruism ... Search images, editing and direction: Niccolò Gossi I apologize if the image quality is not the best but I remember going to see the point (23:50), the storm.
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