Arrigo Boito Vidéos
compositeur italien
1
- opéra, musique classique
- royaume d'Italie
- librettiste, compositeur ou compositrice, poète ou poétesse, journaliste, scénariste, personnalité politique, écrivain ou écrivaine
Dernière mise à jour
2024-04-29
Actualiser
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.
Giuseppe Verdi Ernesto Gavazzi Gavazzi Paata Burchuladze Paolo Coni Sir Georg Solti Francesco Maria Piave Arrigo Boito Teatro Scala 1989 2012
Provided to YouTube by Universal Music Group Verdi: Simon Boccanegra / Act 3 - Evviva Il Doge! · Ernesto Gavazzi · Paata Burchuladze · Paolo Coni · Coro del Teatro alla Scala di Milano · Orchestra del Teatro alla Scala di Milano · Sir Georg Solti Solti - Verdi - The Operas ℗ 1989 Decca Music Group Limited Released on: 2012-01-01 Producer, Recording Producer: Ray Minshull Studio Personnel, Recording Engineer: James Lock Studio Personnel, Recording Engineer: John Dunkerley Composer: Giuseppe Verdi Author: Francesco Maria Piave Author: Arrigo Boito Auto-generated by YouTube.
Oper Graz Giuseppe Verdi Arrigo Boito Bürger Matheson Shakespeare Reich James Rutherford Stolz Johannes Fritzsch Janson Andrè Schuen Fenton Fournier Margareta Klobučar Klobučar Dshamilja Kaiser 1893
Giuseppe Verdi Commedia lirica in drei Akten Libretto von Arrigo Boito Um seine finanziell prekäre Lage zu entspannen, macht Sir John Falstaff zwei wohlsituierten, lustigen Weibern von Windsor Avancen. Da er auf den bürgerlichen Ehrbegriff pfeift, kümmert es ihn nicht, dass Alice Ford und Meg Page verheiratet sind. Nicht so sehr der Annäherungsversuch des dicken und trinkfesten Ritters stört die beiden Freundinnen, sondern vielmehr die Tatsache, dass er ihnen gleichlautende Briefe geschickt hat. So beschließen sie, Sir John nach Kräften zu foppen. Mrs Quickly überbringt die Einladung zum Stelldichein im Hause Ford, doch Sir John landet nicht in den Armen der Angebeteten, sondern erst im Wäschekorb, um dann in die Themse gekippt zu werden. Da wird Sir John abermals zu einem Treffen mit Alice geladen / dieses Mal um Mitternacht im Schlosspark von Windsor. Die Bürger von Windsor drangsalieren und piesacken Sir John, bis er den grausamen Schabernack mit der verblüffenden Erkenntnis beendet: „Alles auf Erden ist Spaß." Sowohl als Schauspieler wie auch als Regisseur hat der junge Australier Tama Matheson vielfältige Erfahrung mit dem Werk William Shakespeares. Den künstlerischen Leiter des Brisbane Shakespeare Festivals fasziniert an Giuseppe Verdis letzter, 1893 in Mailand uraufgeführter Oper, wie sich dem Mikrokosmos der Bürger von Windsor durch Falstaffs Zutun das Reich der Phantasie eröffnet. Für die Titelrolle sowohl physisch als auch stimmlich perfekt disponiert ist der englische Bariton James Rutherford, der hier sein Rollendebut als Falstaff gibt. Und einen weiteren Rollendebutanten darf die Oper Graz stolz verkünden: Ensemblemitglied David McShane wird erstmals in seiner beeindruckenden Karriere die Titelpartie verkörpern. BESETZUNG: Musikalische Leitung: Johannes Fritzsch • Florian Erdl Inszenierung: Tama Matheson Ausstattung: Peter Corrigan Licht: Rainer Janson Dramaturgie: Bernd Krispin Sir John Falstaff: David McShane • James Rutherford Ford: Andrè Schuen Fenton: Abdellah Lasri Dr. Cajus: Manuel von Senden • Taylan Reinhard Bardolfo: Martin Fournier Pistola: Wilfried Zelinka Mrs Alice Ford: Margareta Klobučar Nannetta: Nazanin Ezazi • Tatjana Miyus Mrs Meg Page: Xiaoyi Xu • Dshamilja Kaiser Mrs Quickly: Silvia Beltrami
Luigi Marini Marini Boito 1884 1942
Tenor Luigi Marini +••.••(...)) sings the epilogue from Boito's opera Mefistofele, "Giunto sul passo estremo". This recording was made for Columbia in the late 1920s.
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