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Kipras Petrauskas Herzog Shaliapin Rimsky Korsakov Gounod Mariinsky Theatre Scala Odeon 1885 1905 1911 1920 1928 1933 1936 1948 1949 1958 1968 2008
The great Lithuanian tenor Kipras Petrauskas +••.••(...)) received his musical education from his father (who was a woodworker by trade and also worked as organist for various churches) and his elder brother Mikas (who was a well-known music teacher and composer). His artistic career began in 1905 (and after many striking twists, ended!) in Vilnius where he began to sing in his brother‘s musical productions. Realizing that he needed further training, Petrauskas subsequently moved to St. Petersburg where he continued his vocal studies at the conservatory. During his four years there, he sang the leading tenor roles in many student productions, including Yevgeny Onegin, Faust and others. Upon leaving the Conservatory, then already a popular tenor Кипрiанъ Пiатровскiй was bombarded by contracts. He chose the Mariinsky theatre in St. Petergsburg where he debuted in the Herzog‘s role in Rigoletto in 1911. Petrauskas remained there for the next decade and developed more than 50 memorable roles, including those in La Traviata, Tosca, La Bohème, Manon, Faust and others. As Petrauskas matured, he began to take on more dramatic roles such as Don José in Carmen, Radames in Aida, Canio in Pagliacci, the title roles in Andrea Chénier, Lohengrin and even Otello. The handsome tenor swept along many beauties of St. Petersburg (the M. and K. Petrauskas‘ museum in Kaunas keeps some 400 their billets-doux). After returning to his native Lithuania in the early 1920s, the singer was instrumental in establishing the Lithuanian Opera Theatre in the town of Kaunas (the Opera was opened on December 31, 1920; after the WWII, it moved to Vilnius). In 1928 Petrauskas accompanied Fedor Shaliapin, his close friend since St. Peterburg days, on the Berlin stage. The next year and with the same company he took a long tour through Europe to the South America (a similar trip took place also in 1936). In 1933, the singer made his impressive La Scala debut as Grishka Kuterma in Rimsky-Korsakov’s opera The Legend of the Invisible City of Kitezh. Kipras Petrauskas is remembered for his charming lyricism, natural artistic restraint, good taste and his considerable musicianship which permeated every phrase he sang. He enjoyed an unusually long career (more than fifty years) and developed an impressive repertoire of over eighty roles. His final stage appearance was as Don José in Carmen in 1958 in Vilnius, at the age of 73. By that time, the elderly tenor was a Professor of Voice at the Vilnius Conservatory, a post he assumed in 1949. Most of his his ‘golden’ records were produced between 1920 and 1948 on the shellac disks. ‘The great Lithuanian tenor’ is a splendid set of two CDs (Lithuania, Prior Musica, 2008) containing Petrauskas’ remastered records from Algirdas Motieka collection and a 32-page booklet. The first CD is devoted to the operatic repertoire, the second one covers song repertoire. In this recording, Petrauskas offers a Russian language version of Faust‘s cavatine ‘Salut, demeure chaste et pure’ from the famous Gounod’s opera. The shellac record was published by Odeon.
Maria Ivogün Meyerbeer Verdi Brunswick Massenet Lark Shakespeare Schubert Kreisler Eckert Arditi Chopin Tosti Odeon 1891 1917 1919 1923
Maria Ivogün II * 18. November 1891 Budapest Ihr edlen Herrn allhier Arie des Pagen Urban aus "Die Hugenotten" (Meyerbeer) Aufgenommen 1919 Odeon LXX 76997 (Matr. Nr. XXB 6384) 2. Version Teurer Name dessen Klang (ital. ges.) Arie der Gilda aus "Rigoletto" (Verdi) Aufgenommen 1923 Brunswick 50081 B Je marche sur tons les chemins Szene der Manon manon" (Massenet) Aufgenommen 1923 Brunswick 50081 A Charmant Oiseau Arie aus "Perle du Bresil" (David) Aufgenommen 1923 Brunswick 30101 A Lo, here the gentle lark (Bishop-Shakespeare) Aufgenommen 1923 Brunswick 10174 B Horch! Horch! die Lerch (Schubert-Shakespeare) Aufgenommen 1923 Brunswick 10119 A Die Post (Schubert-Müller) Aufgenommen 1923 Brunswick 10119 B G’schichten aus dem Wiener Wald, Walzer (Strauß) Aufgenommen 1923 Brunswick 30107 A An der schönen blauen Donau, Walzer (Strauß) Aufgenommen 1923, Brunswick 10174 A O schöner Mai, Walzer (strauß) Aufgenommen 1923 Brunswick 50050 B : (30105 B) Liebesfreud (Kreisler) Aufgenommen 1923 Brunswick 50050 A : (30105 A) Schweizer Echolied (Eckert) Aufgenommen 1923 Brunswick 30107 B II Bacio (Arditi) ital ges. Aufgenommen 1923 Brunswick 30101 B Vilanelle (del Acqua) franz. ges. Aufgenommen 1917 Odeon XX 76981 (Matr. Nr. XXB 6331) Nocturne (Chopin-Tosti) . Aufgenommen 1917 Odeon LXX 76975 (Matr, Nr. XXB 6332)
Conchita Supervía Joaquín Gaztambide Mora Marqués Francisco Calvet Francisco Salas Peralta Vicente Caltañazor Arroyo Vela Emilio Sagi Barba Elisabete Matos Alvarez Poblador Sánchez Lanza Pons Teatro Zarzuela Orquesta Comunidad Madrid 1840 1858 1895 1907 1932 1936 1994 2000
Con texto de Luis Olona Gaeta y música de Joaquín Gaztambide, la zarzuela en tres actos “El juramento” se estrenó el 20 de diciembre de 1858 en el Teatro de la Zarzuela de Madrid. El elenco de su presentación estuvo encabezado por Josefa Mora como María, Tirso de Obregón como el Marqués de San Esteban, Luisa Santamaría como la Baronesa, Ramón Cubero como Don Carlos, Francisco Calvet como el Conde, Francisco Salas como el Cabo Peralta y Vicente Caltañazor en el papel de Sebastián. El poeta y dramaturgo Olona Gaeta se inspiró para el texto en el libreto de la ópera cómica francesa de Leuven y d’Ennery “La Rose de Peronne” (1840). Pese a que la obra constituyó uno de los grandes éxitos de la zarzuela grande del siglo XIX, siendo representada regularmente hasta los años veinte, desapareció de los escenarios a partir de entonces. Destacaron entre sus mejores números la cavatina de la Baronesa “¡Torpe! Señora, sosegaos... El arroyo, la enramada” (http•••) la romanza de María “Yo me vi en el mundo desamparada”, la romanza del Marqués “Cuál brilla el sol en la verde pradera” (http•••) la romanza de Carlos “Gracias fortuna mía” (http•••) y el dúo de María y el Marqués “Guarde Dios al gentil marido” (http•••) En el ámbito discográfico, Pascual Marquina dirigió en 1907 para el sello Disco Gramófono una selección de la obra con Luisa Vela y Emilio Sagi-Barba. El 5 de noviembre de 1994 se celebró en el Ateneo de Madrid una versión como concierto de la zarzuela que fue emitida por Radio Clásica y que contó con la participación de Montserrat Obeso, José Julián Frontal, Elisabete Matos, Luis Alvarez, Gregorio Poblador, Francisco Matilla y Emilio Sánchez. En 2000 regresó al Teatro de la Zarzuela con José Fabra dirigiendo a la Orquesta de la Comunidad de Madrid y Antonio Fauro a los Coros de la sala y con un reparto formado por Beatriz Lanza como María, Ismael Pons como el Marqués, Teresa Verdera como la Baronesa, David Menéndez como Don Carlos, Francisco Santiago como el Conde, Marcos Moncloa como Peralta y Manuel de Diego en el rol de Sebastián. El 31 de octubre de 1932 la gran mezzo-soprano española Conchita Supervía (Barcelona, 1895 - Londres, 1936) registró para Odeón la mencionada romanza de María «¡Ah! Yo me vi en el mundo desamparada, y en el amor abrigo buscó mi alma. ¡Pobre alma mía! ¡Olvida tu esperanza! ¡Tu amor olvida! Huérfana y esclava, sin poder amar, ¡vivir es mi martirio! ¡morir mi libertad!»
Frieda Hempel Hermann Jadlowker Cara Odeon 1911
(Don't mind the noise at the beginning; it goes away!) Sung in German as "O, laß und flieh'n aus diesen Mauern." Like in their recording of "Un dì felice" ((http•••) you'll hear lots of additional little mordents from Jadlowker. Odeon-Werke 99902 ..................................... This channel is primarily about vocal emission—aural examples of basically correct singing, correct impostazione—chiaroscuro, vowel clarity, firm and centered pitch, correct vibrato action, absence of throatiness or thickness, sounds free from constriction and from the acoustic noise that accompanies it—with occasional video examples that demonstrate what the body, face, mouth, jaw, and tongue look like when used with correct impostazione—the vocal emission of the one and only Italian school. Caveat: I'm biased in favor of baritones and baritone literature, but if you want to learn about and listen to all the greatest singers in the old-school tradition, explore this spreadsheet (voice parts are separated by tabs): (http•••) #Sopranos #Tenors #Duets
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