Georg Friedrich Händel Daphne Vídeos
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Erin Wall Britten Mahler Anna Mozart Andrew Davis Elgar Gounod Handel Massenet Lyric Opera Chicago Santa Fe Opera 1975 2001 2003 2004 2007 2014
Erin Wall, 44, Dies; Acclaimed Soprano in Mozart and Strauss Erin Wall, whose silvery yet warm soprano voice infused works by Mozart, Strauss, Britten and Mahler with luminous elegance, died on Oct. 8 at a hospital in Mississauga, Ontario. She was 44. The cause was metastatic breast cancer, Lyric Opera of Chicago said. Lyric Opera was an artistic home base for Ms. Wall, who received her professional start as a member of the company’s prestigious young artist program, now known as the Patrick G. and Shirley W. Ryan Opera Center. Chicago was the site of the dramatic season-opening performance that jolted her nascent career in 2004, when she jumped in with just a few hours’ notice to replace an ill colleague as Donna Anna in Mozart’s “Don Giovanni.” John von Rhein of The Chicago Tribune wrote in his review that “in classic showbiz style, she came, she sang and she conquered.” He praised her voice’s “wide compass, gleaming high extension and ability to float a ravishing, seamless line.” Lyric Opera’s music director, Andrew Davis, a frequent collaborator with Ms. Wall, recalled their performance of Elgar’s oratorio “The Kingdom” in London in 2014. “There’s a marvelous soprano aria in that, ‘The sun goeth down,’” Mr. Davis said in an interview. “And I’ve never heard anyone sing it more beautifully, with such ease and such poignancy. I think of her singing and I get goose bumps.” Erin Marie Wall was born on Nov. 4, 1975, in Calgary, Alberta, to two American musicians, Michael Wall and Suzanne (Hill) Wall, and grew up in Vancouver. She started in music as a pianist, but she was concentrating on singing by the time she attended Western Washington University in Bellingham. She later transferred to Rice University in Houston. From Rice, she entered Lyric Opera’s young artist program in 2001. She swiftly established herself as a rising talent: a lyric soprano with a full-bodied yet agile voice and dazzling facility in her top register. It was an instrument ideal for youthful roles like Marguerite in Gounod’s “Faust,” which she sang in Chicago in 2003, as well as Mozart’s Donna Anna, Pamina (in “The Magic Flute”) and Konstanze (in “The Abduction From the Seraglio”). “The voice definitely evolved,” Michael Benchetrit, Ms. Wall’s manager, said in an interview. “The middle and lower parts became richer with time.” This evolution came as she increasingly took on Strauss roles that benefited from more tonal opulence, like Arabella, Chrysothemis (in “Elektra”) and Daphne. When she starred in “Daphne” at the Santa Fe Opera in 2007, Mr. Benchetrit said, the effect was overwhelming. Tags: erin wall,soprano erin wall,erin nichole wall,erin,wall,erin wall handel: messiah,ballet,erin wall massenet: thaïs thaïs,erin wall britten: peter grimes,erin wood,mccaw hall,va pure ad altri in braccio,great britain,international,1st prize winner,christine goerke,aria,war memorial opera house,lyric,italy,a cappella (musical genre),ellie caulkins opera house,violin,singer,cinema,winner,primer,human rights concert in geneva,violine,musical,singing,arizona,alfredo,italian
John Dowland Nigel Rogers Paul O Dette Wilt Monteverdi Handel Baroque Orchestra Schola Cantorum 1550 1563 1626 1851 1987
Today’s talents will be tomorrow’s legends. Please Subscribe to our New channel @PAINTED. Discover and Empower classical music Artists all around the World ! (http•••) ——— John Dowland +••.••(...)) - Flow my Tears Album : Songs for Tenor and Lute. *Clique pour activer les sous-titre en français (00:00-02:22)* Book 2 Flow my tears (00:00) Book 1 Come heavy sleep (04:21) Wilt thou unkind thus reave me? (08:43) If my complaints could passions move (12:29) My thoughts are winged with hopes (15:50) Awake sweet love (18:51) Come away, come sweet love (21:35) Book 2 Sorrow, stay (23:41) Fine knacks for ladies (27:06) Shall I sue (29:44) I saw my lady weep (32:23) Book 3 When Phoebus first did Daphne love (36:25) Say, love, if ever thou didst find (38:16) Fie on this feigning (40:07) Weep you no more sad fountains (42:03) Book 4 (A Pilgrimes Solace) Love those beams (46:44) Sweet stay awhile (49:32) To ask for all thy love (52:41) Were every thought an eye (56:11) Shall I strive with words to move? (57:49) Tenor : Nigel Rogers Lute : Paul O’Dette Recorded in 1987, at London Find CMRR's recordings on Spotify: (http•••) Nigel Rogers began singing at an early age as a boy treble and later became a Choral Scholar at King's College, Cambridge. After graduating he went first to Italy and then to Germany, where he studied at the Hochschulefür Musik. During the early 1960s he toured all over the world before returning to England, where he began to take a greater interest in Baroque music. The special technique he uses in Italian Baroque vocal music draws on performances by the singers of Classical Indian and Arabian music that he heard in India and the Middle East. He has given solo recitals throughout the world and has performed with many distinguished groups of musicians. He has also taken part in productions of Baroque opera from Monteverdi to Handel. In recent years he has directed his own Chiaroscuro vocal ensemble and Baroque orchestra in many concerts and recordings. He is also an experienced teacher and has taught in Switzerland, Holland, Australia, the USA and at the Royal College of Music in London. Paul O'Dette was born in Pittsburgh and began playing the guitar at the age of eleven. After several years of performing rock music, he took up the classical guitar, and within six months had won first prize in the Columbus (Ohio) Symphony Orchestra's young Musicians Competition. Using the treatises and method books of the sixteenth century, he taught himself the lute and developed an interest in, and a preference for, early music. He subsequently enrolled at the Schola Cantorum Basiliensis, where he studied medieval and Renaissance performance practice with Thomas Binkley and the lute with Eugen Dombois. He has travelled widely throughout Europe, North America and the Middle East, both as a soloist and with early music ensembles. He is currently Director of Early Music at the Eastman School ofMusic in Rochester, New York. Dowland - Complete Lute Galliards Works/Lachrimae + Presentation (Century's record. : Paul O'Dette) : (http•••)
George Frideric Handel Anja Harteros Johann Sebastian Bach Domenico Scarlatti 1685 1697 1703 1705 1707 1708 1709 1710 1711 1712 1727 1739 1742 1750 1751 1759 2011
Full Title: Alcina: Act II, Scene 1 - Ah, mio cor! by George Frideric Handel Vocals: Anja Harteros George Frideric Handel (born Georg Friedrich Händel on 23 February 1685 - died on 14 April 1759) was a German, later British, Baroque composer who spent the bulk of his career in London, becoming well-known for his operas, oratorios, anthems, and organ concertos. Born the same year as Johann Sebastian Bach and Domenico Scarlatti, Handel is regarded as one of the greatest composers of the Baroque era, with works such as Messiah, Water Music, and Music for the Royal Fireworks remaining steadfastly popular. One of his four coronation anthems, Zadok the Priest (1727), composed for the coronation of George II, has been performed at every subsequent British coronation, traditionally during the sovereign's anointing. Handel’s father did not want him to study music; he wanted him to be a lawyer. Although Handel's father died in 1697, Handel enrolled at the University of Halle in 1703. He studied law for a year because his father wanted him to do so. After that year, Handel was unhappy studying law. He decided to stop studying law and become a musician. He became organist at the Protestant Cathedral in Halle. The next year he moved to Hamburg where he got a job as violinist and harpsichordist in the orchestra of the opera-house. Here his first two operas, Almira and Nero, were produced early in 1705. Two other early operas, Daphne and Florindo, were produced at Hamburg in 1708. Handel was becoming a good opera composer, but he wanted to learn more, so he went to Italy in 1707. He spent four years there. His opera Rodrigo was produced in Florence in 1707, and his Agrippina at Venice in 1709. Agrippina was very popular and had 26 performances. It made Handel famous. He also had three oratorios produced in Rome. He wrote sacred music (church music) and other pieces in an operatic style, e.g. Dixit Dominus (1707). In 1710 Handel became Kapellmeister (music director) to George, Elector of Hanover, who would soon be King George I of Great Britain. The Elector agreed that Handel could have an immediate leave of 12 months so that he could go to London. He visited London for eight months. His opera Rinaldo was performed in 1711. It was the first time an Italian opera had been performed in England. It was an immediate success. Handel returned to Hanover in the summer of 1711 and spent a year writing chamber and orchestral music because there was no opera in Hanover. He was also trying to learn English. In 1712 the Elector allowed him to make another visit to England. In England he had patrons (rich people who gave him money). He had a yearly income of £200 from Queen Anne (while Bach earned as little as eighty pounds in a year). He was having a lot of success, and so stayed in England instead of returning to his job in the Hanover Court. In April 1739, age 54, he had a stroke. It was probably this which left his right arm paralysed for a while so that he could not perform, but he made an excellent recovery after six weeks at a health spa in Aix-la-Chapelle. At this time he started to write oratorios instead of operas. In 1742 his oratorio Messiah was first performed in Dublin. Surprisingly, it was not successful in London until 1750 when it was performed in aid of the Foundling Hospital Chapel. Handel performed it every year there, which brought the hospital about £600 for each performance. Handel spent most of his time in these later years composing and producing oratorios. Judas Maccabaeus was particularly popular. The singers for these oratorios were English and Italian. They were not world-famous virtuosos but singers whom Handel had trained himself. In August, 1750, on a journey back from Germany to London, Handel was seriously injured when his carriage overturned. In 1751 he started to lose his eyesight. He died, in 1759, in London. The last concert he went to was his own Messiah. More than 3,000 mourners went to his funeral. He was buried with full state honours in Westminster Abbey. Handel never married, and kept his personal life very private. He left £20,000 which was a lot of money for those days (Approximately 2800000 pounds today) His niece inherited most of his money. He also left some of it to friends, servants, relations and charities. His autographs (the original copies of the music that he wrote) are now mostly in the British Museum. 2011 ARTHAUS MUSIK
European Union Baroque Orchestra Choir Clare College Cambridge Alex Potter Haigh Horrocks Ward Betts William Cole Graham Ross Roldán Dahl Houben Santi Roth Heller Turina Serrano Paoli Kossenko Knoll Henriksson Festival Oude Muziek Utrecht 1685 1713 1759 2013
Meer op: (http•••) Bekijk ook het eerste deel van dit concert: (http•••) European Union Baroque Orchestra & Choir of Clare College o.l.v. Lars Ulrik Mortensen Alex Potter, contratenor Georg Frideric Händel +••.••(...)) Concerto Grosso Op. 3 nr. 2 HWV 313 Ode for the Birthday of Queen Anne HWV 74 (1713) Opgenomen tijdens het Festival Oude Muziek Utrecht in de Domkerk op 31 augustus 2013 Choir of Clare College, Cambridge: Janneke Dupre, Gabrielle Haigh, Alice Halstead, Sophie Horrocks, Helen Lilley, Caroline Meinhardt, Madeleine Seale, Rachael Ward, sopraan Clara Betts-Dean, Abigail Gostick, Emma Simmons, Eva Smith-Leggatt, Eleanor Warner, alt Laurence Booth-Clibborn, Nils Greenhow, Peter Harrison, Christopher Loyn, Alexander Peter, tenor Adam Cigman-Mark, William Cole, Elliot Fitzgerald, Matthew Jorysz, Charles Littlewood, Magnus Maharg, Alexander McBride, Hugo Popplewell, James Proctor, bas Graham Ross, koorleider European Union Baroque Orchestra: Zefira Valova, Roldán Bernabé-Carrión, Christiane Eidsten Dahl, Antonio De Sarlo, Yotam Gaton, Saron Houben, Sarina Matt, Daphne Oltheten, Jamiang Santi, viool Rafael Roth, Hilla Heller, Andrea Angela Ravandoni, altviool Guillermo Turina Serrano, Nicola Paoli, cello Lisa De Boos, contrabas Alexis Kossenko, traverso Clara Geuchen, Johannes Knoll, hobo Andrew Burn, fagot Sebastian Philpott, Gerard Serrano Garcia, trompet Marianna Henriksson, klavecimbel
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