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2024-05-21
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Marcelina Beucher Beucher Carl Orff Montgomery Dame Kiri Te Kanawa Anne Gjevang Siegfried Jerusalem Ioan Holender George Enescu Concertgebouw Orchestra Osterfestspiele Salzburg Teatro Opera Roma George Enescu Festival Royal Concertgebouw Orchestra Dutch National Opera Lyric Opera Chicago Vienna State Opera Metropolitan Opera 1895 1982 1986 2014
50th International Vocal Competition 's-Hertogenbosch (IVC) Category Opera | Oratorio Finals 14 September 2014 Theater aan de Parade 's-Hertogenbosch, Netherlands Marcelina Beucher (1986), soprano - Poland - "In Trutina" - Carmina Burana - Carl Orff, 1895-1982 South Netherlands Philharmonic, conductor Kenneth Montgomery Jury Opera | Oratorio Dame Kiri Te Kanawa - soprano Anne Gjevang - mezzo-soprano Siegfried Jerusalem - tenor Kenneth Montgomery - conductor Dominic Seldis - 1st solo double bass Royal Concertgebouw Orchestra Pieter Alferink - impresario Jesús Iglesias Noriega - head artistic affairs Dutch National Opera Evamaria Wieser - artistic consultant Osterfestspiele Salzburg, casting Lyric Opera Chicago, Teatro dell'Opera di Roma Ioan Holender - former intendant Vienna State Opera, adviser The Metropolitan Opera, Spring Festival Tokyo, artistic director George Enescu Festival Bucharest (president of the jury)
Laurel Hurley Oskar Czerwenka Charles Anthony Birgit Nilsson Hermann Uhde Beethoven Karl Böhm Sonnleithner Metropolitan Opera 1960 2011
Provided to YouTube by Sony Classical Fidelio: Ach, Vater, Vater, eilt! · Laurel Hurley · Oskar Czerwenka · Charles Anthony · Birgit Nilsson · Hermann Uhde · Ludwig van Beethoven Beethoven: Fidelio (Metropolitan Opera) ℗ Live Performance Recorded February 13, 1960 The Metropolitan Opera / All Rights Reserved Released on: 2011-04-29 Conductor: Karl Böhm Librettist: Joseph Sonnleithner Associated Performer: Metropolitan Opera Orchestra Auto-generated by YouTube.
Licia Albanese Giacomo Puccini Laurel Hurley Carlo Bergonzi Mario Sereni Norman Scott Robert Nagy Ezio Flagello Lorenzo Alvary Alvary Marsh Thomas Schippers Metropolitan Opera 1958 2015
Provided to YouTube by NAXOS of America La bohème: Act I: Che gelida manina! (Rodolfo) · Licia Albanese Puccini: La Bohème (1958) ℗ 2015 MYTO Historical Released on: 2015-01-01 Artist: Licia Albanese Artist: Laurel Hurley Artist: Carlo Bergonzi Artist: Mario Sereni Artist: Clifford Harvuot Artist: Norman Scott Artist: Robert Nagy Artist: Ezio Flagello Artist: Lorenzo Alvary Artist: Calvin Marsh Choir: New York Metropolitan Opera Chorus Conductor: Thomas Schippers Orchestra: New York Metropolitan Opera Orchestra Composer: Giacomo Puccini Auto-generated by YouTube.
Feodor Ivanovich Chaliapin Clarke Bourdon Dmitri Usatov Gounod Sergei Rachmaninoff Mussorgsky Boito Arturo Toscanini Sir Thomas Beecham Pabst Private Opera Bolshoi Theatre Scala Metropolitan Opera 1847 1872 1873 1894 1896 1899 1901 1907 1913 1914 1918 1921 1926 1927 1929 1931 1932 1933 1937 1938 1943 1984
Feodor Chaliapin sings - in English - 'The Blind Ploughman,' with orchestra conducted by Rosario Bourdon, recorded by Victor in the Church Building at Camden, New Jersey, on 18 March 1927. From Wikipedia: Feodor Ivanovich Chaliapin... February 13 [O.S. February 1] 1873 – April 12, 1938) was a Russian opera singer. Possessing a deep and expressive bass voice, he enjoyed an important international career at major opera houses and is often credited with establishing the tradition of naturalistic acting in his chosen art form... Feodor Chaliapin was born into a peasant family...His vocal teacher was Dmitri Usatov +••.••(...)). Chaliapin began his career at Tbilisi and at the Imperial Opera in Saint Petersburg in 1894. He was then invited to sing at the Mamontov Private Opera (1896–1899); he first appeared there as Mephistopheles in Gounod's Faust, in which role he achieved considerable success. At Mamontov Chaliapin met Sergei Rachmaninoff +••.••(...)), who was serving as an assistant conductor there and with whom he remained friends for life. Rachmaninoff taught him much about musicianship, including how to analyze a music score, and insisted that Chaliapin learn not only his own roles but also all the other roles in the operas in which he was scheduled to appear. With Rachmaninoff he learned the title role of Mussorgsky's Boris Godunov, which became his signature character. Chaliapin returned the favour by showing Rachmaninoff how he built each of his interpretations around a culminating moment or 'point.' Regardless of where that point was or at which dynamic within that piece, the performer had to know how to approach it with absolute calculation and precision; otherwise, the whole construction of the piece could crumble and the piece could become disjointed. Rachmaninoff put this approach to considerable use when he became a full-time concert-pianist after World War I. On the strength of his Mamontov appearances, the Bolshoi Theatre in Moscow engaged Chaliapin, and he appeared there regularly from 1899 until 1914. During the First World War of 1914-1918 Chaliapin also appeared regularly at the Zimin Private Opera in Moscow. In addition, from 1901, Chaliapin began touring in the West, making a sensational debut at La Scala that year as the devil in a production of Boito's Mefistofele, under the baton of one of the 20th century's most dynamic opera conductors, Arturo Toscanini. At the end of his career, Toscanini observed that the Russian bass was the greatest operatic talent with whom he had ever worked. The singer's Metropolitan Opera debut in the 1907 season was disappointing due to the unprecedented frankness of his stage acting; but he returned to the Met in 1921 and sang there with immense success for eight seasons, New York's audiences having grown more broad-minded since 1907. In 1913 Chaliapin was introduced to London and Paris by the brilliant entrepreneur Sergei Diaghilev +••.••(...)), at which point he began giving well-received solo recitals in which he sang traditional Russian folk-songs as well as more serious fare... Chaliapin toured Australia in 1926, giving a series of recitals which were highly acclaimed...[He remained] perpetually outside Russia after 1921. He still maintained, however, that he was not anti-Soviet. Chaliapin initially moved to Finland and later lived in France. Cosmopolitan Paris, with its significant Russian émigré population, became his base, and ultimately, the city of his death. He was renowned for his larger-than-life carousing during this period, but he never sacrificed his dedication to his art. Chaliapin's attachment to Paris did not prevent him from pursuing an international operatic and concert career in England, the United States, and further afield. In May 1931 he appeared in the Russian Season directed by Sir Thomas Beecham at London's Lyceum Theatre. His most famous part was the title role of Boris Godunov (excerpts of which he recorded 1929–31 and earlier)... Largely owing to his advocacy, Russian operas...became well known in the West. Chaliapin made one sound film for the director G. W. Pabst, the 1933 Don Quixote. The film was made in three different versions – French, English, and German, as was sometimes the prevailing custom. Chaliapin starred in all three versions, each of which used the same script, sets, and costumes, but different supporting casts... In 1932, Chaliapin published a memoir, Man and Mask: Forty Years in the Life of a Singer... Chaliapin's last stage performance took place at the Monte Carlo Opera in 1937, as Boris. He died the following year of leukaemia, aged 65, in Paris, where he was interred. In 1984, his remains were transferred from Paris to Moscow in an elaborate ceremony. They were re-buried in the Novodevichy Cemetery... I transferred this side from an Australian laminated pressing of HMV DA 993.
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