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Elizabeth Harwood Kathleen Ferrier Lina Pagliughi Rossini Joan Sutherland Richard Strauss Scottish Opera Covent Garden Scala 1912 1916 1918 1933 1935 1938 1960 1961 1967 1969 1970 1971 1972 1975 1982 1990
~The "Glass Shatterers!" series focuses on sopranos who sustain High F, or sing higher. THE SONGBIRD: Elizabeth Harwood +••.••(...)) was raised in Yorkshire by musical parents / her mother was a professional soprano, Constance Read, and gave Harwood voice lessons. Harwood studied at the Royal Manchester College of Music and at the age of 21, she won the Kathleen Ferrier Memorial Scholarship and spent a year in Milan studying with Lina Pagliughi. Her professional debut came as Second Boy in "The Magic Flute" at Glyndebourne in 1960. She became a member of the Sadler's Wells company in 1961 where she sang Manon, Gilda, Rossini's Adele, Konstanze, Countess Rosina, Fiakermilli, and Zerbinetta. After a tour of Australia with Joan Sutherland's company in 1967, Harwood's regular appearances at the Scottish Opera began with Fiordiligi and continued with Sophie, Lucia, Rosalinde, and Eva (her only Wagner role). At Covent Garden in the 1960s and 1970s she sang Fiakermilli, Gilda, Oscar, Donna Elvira, Norina, Arabella, and Manon. For Glyndebourne, she was Fiordiligi, Countess Rosina, and, in 1982, the Marschallin. Appearances abroad included Aix-en-Provence (Donna Elvira in 1967, Galatea in 1969); Salzburg (Konstanze and Fiordiligi in 1970, Countess Rosina in 1972); The Met (Fiordiligi in 1975); and La Scala (Konstanze in 1971). Harwood died of cancer at age 52. This recording of the original 1912 version of Zerbinetta's aria from the BBC, with Norman Del Mar conducting, only exists in poor audio. I have long searched for a better quality file, and even had a contact who works in the audio archives of the BBC search for it there, but to no avail / so for now, this is the best we have. THE MUSIC: Richard Strauss's opera "Ariadne auf Naxos" premiered twice. The first was in 1912 in Stuttgart where it was conceived as a short opera to accompany a new adaption of Moliere's play, "Le Bourgeois gentilhomme." This version was performed in other cities over the next year (Zurich, Munich, Prague, and London), but the play/opera hybrid concept proved ineffective (and way too long at over six hours). Working with his librettist/partner Hugo von Hofmannsthal, Strauss refashioned the opera as a stand-alone work with a newly added prologue, which premiered in this new form to success in Vienna in 1916. This version of the opera was quickly embraced by critics, artists, and the public / it has since been recorded commercially many times and is performed regularly around the world. Only rarely have there been staged or even concert productions of the earlier 1912 version of the opera and there is only one commercial recording. One of the changes Strauss made for the 1916 score was to lower the key and cut or alter about four minutes of music from Zerbinetta's grand aria "Grossmächtige Prinzessin." (In this video, I have roughly marked the three sections of deleted or altered music). Both versions are insane, but this original version is incomprehensibly difficult at nearly 15 minutes in length and with a gruelingly high tessitura, including two High F-sharps. In either version, the scene demands a level of virtuosic musicianship and theatrical flair that is simply unmatched. Zerbinetta is a coloratura soubrette on steroids! In this scene and role, Strauss invented an entirely new musical language to exploit the unique glories of the coloratura soprano voice. He revisited this proprietary mode of highly gymnastic vocalism a few other times afterwards: in the art song "Amor" (1918), with Fiakermilli in "Arabella" (1933), and for Aminta in "Die schweigsame Frau" (1935).
Chopin Grinberg Arthur Meyer 1791 1845 1863 1882 1900 1974 1987 1996 2015
Hotel Chopin as seen in the Film "Mon Homme" My Man (French: Mon Homme) is a 1996 French drama film written and directed by Bertrand Blier. It was entered into the 46th Berlin International Film Festival where Anouk Grinberg won the Silver Bear for Best Actress. The Passage Jouffroy is a covered walkway in the south of the 9th arrondissement of Paris, on the border with the 2nd arrondissement. It begins in the south between 10 and 12 boulevard Montmartre, and ends in the north at 9 rue de la Grange-Batelière.[1] Each passage is about 140 metres (460 ft) long and 4 metres (13 ft) wide. About 80 metres (260 ft) from its entrance on the Boulevard Montmartre, the passage makes a right angle turn and runs west for a few metres before descending some stairs. It then continues in a northerly direction to its outlet on the rue Grange-Batelière. This was imposed by the irregular pattern of the three plots on which the passage was built. This last part of the passage is particularly narrow, leaving room only for the corridor and a shop. The Passage des Panoramas opens as a continuation of the passage Jouffroy on the other side of the Boulevard Montmartre. The Passage Verdeau does the same on the other side, after crossing the street from the Grange Batelière. The passage is covered by a canopy of metal and glass. An ornate clock stucco overlooks the alley. The floor is paved with a geometric pattern composed of white, gray and black squares. The exit from the musée Grévin is located inside the Passage Jouffroy. History[edit] The Passage Jouffroy was built in 1845 along the line of the Passage des Panoramas in order to capitalize on the popularity of the latter. A private company was formed to manage it, headed by Count Felix de Jouffroy-Gonsans +••.••(...)), who gave his name to the passage, and M. Verdeau, who gave his name to the passage that was built as a further extension, the passage Verdeau. The passage was built by architects François Destailleur and Romain de Bourges. The Passage Jouffroy represents an important stage in the technological evolution of the 19th century and the mastery of iron structures. It is the first Parisian passage built entirely of metal and glass. Only the decorative elements are wooden. It is also the first passage heated by the ground. In the early 1880s Arthur Meyer, founder of the newspaper Le Gaulois, joined the cartoonist Alfred Grévin to create a gallery of wax figures on a property adjacent to the passage. It was inaugurated on 10 January 1882 and has since taken the name of the musée Grévin. The exit of the museum, decorated with a montage of various characters, is in the passage and contributes in large part to its success.[citation needed] The museum includes a hall of mirrors that was originally housed in the Palais des mirages designed by Eugène Hénard for the Exposition Universelle (1900).[3] In 1974 the passage was registered as a French historical monument. The passage was completely renovated in 1987 and regained its original paving. Camera: Canon 100d Lense: Canon EF 24-105mm f/4.0 L IS USM Lens Paris - June 2015
Irina Zhurina Moritz Moszkowski Liszt Chopin Bolshoi Scala 1854 1921 1925 1946 1971 1975 1993
~The "Glass Shatterers!" series focuses on sopranos who sustain High F, or sing higher. [I have another dozen Rosinas in the queue, but first a short musical palate cleanser for our ears.] THE SONGBIRD: Irina Zhurina (Ирина Журина) is a Ukranian-born coloratura who was the leading high soprano at the Bolshoi in Moscow primarily during the 1980s. Zhurina was born in 1946 and made her debut in her hometown at the Kharkiv Opera in 1971. In 1975, she upgraded to the Bolshoi and toured with the company to La Scala, as well as Germany, Great Britain, France, Finland, United States, and Japan. She was made a People's Artist of Russia in 1993, and teaches singing at the Moscow Conservatory. Her repertoire encompassed standard Italian roles such as Violetta, Rosina, and Lucia, and the high soprano leads in Russian operas: Antonida, Marfa, The Snow Maiden, The Swan Princess, and the Queen of Shemakha. THE MUSIC: Moritz Moszkowski (1854 – 1925) was German, a respected virtuoso keyboard composer/performer in the model of Liszt and Chopin. He began to suffer from a neurological disorder in his arm, which curtailed his recital career, forcing him to focus on composition and teaching. He was very influential with many now famous composers and performers as students. Eventually Moszkowski fell into poor health and poverty, only to be rescued by former students who staged a benefit concert in 1921 (with 15 grand pianos on stage) that raised the equivalent of $200,000, but tragically he died too soon after for the funds to reach him. Of his hundreds of compositions, a few of his popular waltz tunes have had on a life beyond his original piano arrangements.
Deborah Cook Henze David Atherton Hammond Richard Strauss Philadelphia Lyric Opera Company Covent Garden 1912 1916 1918 1933 1935 1938 1965 1976 1985 2019
~The "Glass Shatterers!" series focuses on sopranos who sustain High F, or sing higher. THE SONGBIRD: Although born in Philadelphia, coloratura soprano Deborah Cook +••.••(...)) primarily based her singing career out of Germany. She studied at Temple University and made her professional debut with the Philadelphia Lyric Opera Company in 1965. In the 1970s and 1980s, Cook sang coloratura and soubrette roles in opera houses and concert halls across Europe and the UK, including Zerbinetta at Glyndebourne and Fiakermilli at Covent Garden. She was featured in the world premiere of Henze's opera "We Come to the River" at Covent Garden in 1976. After returning to the U.S. in 1985, Cook became the executive secretary for the head of oncology at Children’s Hospital in Philadelphia, while teaching voice at Haverford College and Bryn Mawr College. She was the Cantor of several synagogues in Pennsylvania and later in Maine where she moved in the late 1990s. This recording of the original 1912 version of Zerbinetta's aria is from a BBC Studio broadcast performance with David Atherton conducting, sung in an English translation by Tom Hammond. THE MUSIC: Richard Strauss's opera "Ariadne auf Naxos" premiered twice. The first was in 1912 in Stuttgart where it was conceived as a short opera to accompany a new adaption of Moliere's play, "Le Bourgeois gentilhomme." This version was performed in other cities over the next year (Zurich, Munich, Prague, and London), but the play/opera hybrid concept proved ineffective (and way too long at over six hours). Working with his librettist/partner Hugo von Hofmannsthal, Strauss refashioned the opera as a stand-alone work with a newly added prologue, which premiered in this new form to success in Vienna in 1916. This version of the opera was quickly embraced by critics, artists, and the public / it has since been recorded commercially many times and is performed regularly around the world. Only rarely have there been staged or even concert productions of the earlier 1912 version of the opera and there is only one commercial recording. One of the changes Strauss made for the 1916 score was to lower the key and cut or alter about four minutes of music from Zerbinetta's grand aria "Grossmächtige Prinzessin." (In this video, I have roughly marked the three sections of deleted or altered music). Both versions are insane, but this original version is incomprehensibly difficult at nearly 15 minutes in length and with a gruelingly high tessitura, including two High F-sharps. In either version, the scene demands a level of virtuosic musicianship and theatrical flair that is simply unmatched. Zerbinetta is a coloratura soubrette on steroids! In this scene and role, Strauss invented an entirely new musical language to exploit the unique glories of the coloratura soprano voice. He revisited this proprietary mode of highly gymnastic vocalism a few other times afterwards: in the art song "Amor" (1918), with Fiakermilli in "Arabella" (1933), and for Aminta in "Die schweigsame Frau" (1935).
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