Fiodor Fiodorovitch Keneman Vidéos
musicien russe
- piano
- musique classique
- Union soviétique, Empire russe
- chef ou cheffe d'orchestre, compositeur ou compositrice, professeur ou professeure de musique, pianiste
Dernière mise à jour
2024-05-01
Actualiser
Burton Erikson Harker John Williams Kramer Sedgwick Clay McLeod Chapman Shields Ming Woolf Garth Dacre Stoker Tales
My 6+ stacks of books i haven't read yet are out of control, so I am organizing them to feel a little better about how out of control they are. Books mentioned: SHELVE: The Anatomy Of Melancholy by Robert Burton The Echo Maker by Richard Powers The Pink Line by Mark Gevisser Happy Stories Mostly by Norman Erikson Pasaribu Love In The Big City by Sang Young Park Middlebrow Queer by Jaime Harker The Velvet Rage by Alan Downs Light Perpetual by Francis Spufford Brief Notes On The Art And Manner Of Arranging Ones Books by Georges Perec Where The Deer & The Antelope Play by Nick Offerman HOPEFULLY GET TO THIS YEAR: Midnight’s Children by Salman Rushdie Nothing But The Night by John Williams Master Of Reality by John Darnielle Liarmouth by John Waters Unreal Sex by various Limbic by Peter Scalpello Faggots by Larry Kramer Between Men by Eve Kosofsky Sedgwick My 1980s & Other Essays by Wayne Koestenbaum The Arena Of The Unwell by Liam Konemann The Lords Of Salem by Rob Zombie Diego Garcia by Natasha Soobramanien & Luke Williams Whisper Down The Lane by Clay McLeod Chapman Paradais by Fernanda Melchor The Book Of Disquiet by Fernando Pessoa All Of The Marvels by Douglas Wolk ASAP: A New Name by Jon Fosse The Morning Star by Karl Knausgaard Trust by Hernan Diaz Dear Queer Self by Jonathan Alexander The Ardent Swarm by Yamen Manai OTHER: Cain’s Jawbone by Edward Powys Mathers The Overstory by Richard Powers Hurricane Season by Fernanda Melchor My Love Is A Beast by Alexander Cheves [currently reading] The Very Last Interview by David Shields Monsieur Pain by Roberto Bolaño Bestiary by K-Ming Chang Notes From Underground by Fyodor Dostoevsky Me by Elton John Mrs. Dalloway by Virginia Woolf The Boatbuilder by Daniel Gumbiner What Belongs To You by Garth Greenwell Beast by Paul Kingsnorth Dracul by Dacre Stoker & JD Barker Power Of Darkness by Bram Stoker & Valdimar Asmundsson Irish Folk Tales Dracula The Un-Dead by Dacre Stoker & Ian Holt Something In The Blood by David J Skal 5 Novels by Bram Stoker
Liadov Koenemann Liapunov Liszt 1884 2012
Anatoli Konstantin Liadov was in my opinion one of the finest Russian piano composers of the 19th and early 20th century. Indolence and procrastination prevented him from becoming a truly great composer, but he had a fertile melodic gift and (like so many Russian composers) a natural flair for the piano. His many miniatures for piano are, almost without exception, exquisite and elegant. The complete set of piano works I have (from the now defunct publisher Koenemann) is a source of pleasure over the years. I recorded these two pieces, composed in 1884, on december 23, 2012. Even after much strenuous practicing, the last bit of perfection still eluded me in the last bars of the Mazurka, a virtuoso flourish worthy of Liapunov or Liszt. 00:19 Valse 02:09 Mazurka
Montserrat Caballé Fiorenza Cossotto Bellini Rossini Donizetti Verdi Marilyn Horne Mercedes Llopart Poulenc Anna Bolena Cherubini Maria Callas Mozart Meyerbeer Koenemann Giulietta Simionato Shirley Verrett Grace Bumbry Rita Gorr Christa Ludwig Viorica Cortez Tatiana Troyanos Joan Sutherland Leyla Gencer Elena Souliotis Giuseppe Taddei Carnegie Hall Scala Covent Garden Théâtre Royal Liège Lyric Opera Chicago Metropolitan Opera 1933 1935 1936 1957 1958 1959 1962 1964 1965 1967 1968 1985 1988 2005
Dame Montserrat Caballé (Catalan: [munsəˈrat kəβəˈʎe], Spanish: [monseˈrat kaβaˈʎe]) (born 12 April 1933) is a Spanish operatic soprano. She has sung a wide variety of roles, but is best known as an exponent of the bel canto repertoire, notably the works of Rossini, Bellini, Donizetti and Verdi. Caballé's international breakthrough came in 1965 when she substituted for an indisposed Marilyn Horne in a semi-staged performance of Donizetti's Lucrezia Borgia at New York's Carnegie Hall, which earned her a 25-minute standing ovation... (http•••) & Fiorenza Cossotto (born on April 22, 1935) is an Italian mezzo soprano. She is considered by many to be one of the great mezzo-sopranos of the 20th century. Born on April 22, 1936 in Crescentino,[1] Province of Vercelli, Italy, Cossotto attended the Turin Academy of Music and graduated top of her class. After her studies with Mercedes Llopart, she made her operatic debut as Sister Matilde in the world premiere of Poulenc's Dialogues of the Carmelites in 1957 at La Scala in Milan. Her international debut was at the 1958 Wexford Festival as Giovanna Seymour in Donizetti's Anna Bolena. Her Covent Garden debut was in 1959 as Neris in Cherubini's Médée, with Maria Callas in the title role. A 1962 performance of the lead in La favorita at La Scala led to wider fame and she made her American debut in the same role in 1964 at the Lyric Opera of Chicago and as Amneris at the Metropolitan Opera in 1968. Altogether between the seasons of 1967--68 and 1988--89 she gave 148 performances at the Met (exclusively leading roles). She was considered an expert in portrayals of major mezzo/contralto roles in mid-19th century Italian opera; e.g. Favorita, Amneris, Azucena, Eboli, Preziosilla, Maddalena, Ulrica and Laura. She also essayed Carmen, Mozart's Cherubino, Urbain in Meyerbeer's Les Huguenots, Bellini's Romeo and Marfa in Khovantschina. She kept on singing, and in 2005 she celebrated her 70th birthday with a performance of Suor Angelica at the Théâtre Royal in Liège, Belgium. According to the book "Opera" published by Koenemann, "She [Cossotto] and Giulietta Simionato were the leading Italian mezzo-sopranos of the 1960s and 1970s. She [Cossotto] won plaudits in the annals of operatic history for her wonderful vocal timbre, her perfect singing technique, and the ease with which she could master different registers. Besides singing the great mezzo roles, she also took the outstanding alto parts of the Italian operatic repertoire." Among her competitors were Shirley Verrett, Grace Bumbry, Rita Gorr, Christa Ludwig, Marilyn Horne, Viorica Cortez and Tatiana Troyanos. Apart from mezzo and alto roles, she also sang soprano roles traditionally sung by mezzos such as Santuzza (Cavalleria Rusticana) and Adalgisa (Norma). She sang Adalgisa next to the Normas of Callas, Joan Sutherland, Montserrat Caballé, Leyla Gencer and Elena Souliotis. Full live documents (except only partially for Callas) of these performances have been commercially released in audio and/or video. She also tried her luck in soprano roles (alas in studio only) of Lady Macbeth and Marchesa del Poggio (Un giorno di regno), and made a commercial recording of soprano arias by Verdi. Her repertory at the Met included Amneris, Eboli, Adalgisa, Santuzza, Azucena, Dalila, Carmen (only on tour and in outdoor park concerts), Principessa (Adriana Lecouvreur) and Mistress Quickly (which she added in 1985, singing with Giuseppe Taddei as Falstaff)... (http•••) Lyrics & English Translation NORMA (Oh what memories! I too Felt that when I first saw his face.) ADALGISA But you are not listening to me? NORMA Yes, go on. ADALGISA Secretly, alone at the temple I often waited for him. Every day the fire of love Burned with a greater flame. NORMA (I too, Felt that: her enchantment is like mine.) ADALGISA "Come," he would say, "let me Throw myself at your feet. Let me breathe the breath Of your sweet sighs, Give me the curls Of your hair to kiss." NORMA (Oh dear words! So my lover spoke to me / Opening the way to my heart.) ADALGISA His words were sweet to me As the music of a harp; In his eyes I thought to find A new, a lovelier sun. Please Enjoy! I send my kind and warm regards,
Fiorenza Cossotto Verdi Liber Mercedes Llopart Poulenc Donizetti Anna Bolena Cherubini Maria Callas Mozart Meyerbeer Bellini Koenemann Giulietta Simionato Shirley Verrett Grace Bumbry Rita Gorr Christa Ludwig Marilyn Horne Viorica Cortez Tatiana Troyanos Joan Sutherland Montserrat Caballé Leyla Gencer Elena Souliotis Giuseppe Taddei Scala Covent Garden Théâtre Royal Liège Lyric Opera Chicago Metropolitan Opera 1935 1936 1957 1958 1959 1962 1964 1967 1968 1985 1988 2005
Fiorenza Cossotto (born on April 22, 1935) is an Italian mezzo soprano. She is considered by many to be one of the great mezzo-sopranos of the 20th century. Born on April 22, 1936 in Crescentino,[1] Province of Vercelli, Italy, Cossotto attended the Turin Academy of Music and graduated top of her class. After her studies with Mercedes Llopart, she made her operatic debut as Sister Matilde in the world premiere of Poulenc's Dialogues of the Carmelites in 1957 at La Scala in Milan. Her international debut was at the 1958 Wexford Festival as Giovanna Seymour in Donizetti's Anna Bolena. Her Covent Garden debut was in 1959 as Neris in Cherubini's Médée, with Maria Callas in the title role. A 1962 performance of the lead in La favorita at La Scala led to wider fame and she made her American debut in the same role in 1964 at the Lyric Opera of Chicago and as Amneris at the Metropolitan Opera in 1968. Altogether between the seasons of 1967--68 and 1988--89 she gave 148 performances at the Met (exclusively leading roles). She was considered an expert in portrayals of major mezzo/contralto roles in mid-19th century Italian opera; e.g. Favorita, Amneris, Azucena, Eboli, Preziosilla, Maddalena, Ulrica and Laura. She also essayed Carmen, Mozart's Cherubino, Urbain in Meyerbeer's Les Huguenots, Bellini's Romeo and Marfa in Khovantschina. She kept on singing, and in 2005 she celebrated her 70th birthday with a performance of Suor Angelica at the Théâtre Royal in Liège, Belgium. According to the book "Opera" published by Koenemann, "She [Cossotto] and Giulietta Simionato were the leading Italian mezzo-sopranos of the 1960s and 1970s. She [Cossotto] won plaudits in the annals of operatic history for her wonderful vocal timbre, her perfect singing technique, and the ease with which she could master different registers. Besides singing the great mezzo roles, she also took the outstanding alto parts of the Italian operatic repertoire." Among her competitors were Shirley Verrett, Grace Bumbry, Rita Gorr, Christa Ludwig, Marilyn Horne, Viorica Cortez and Tatiana Troyanos. Apart from mezzo and alto roles, she also sang soprano roles traditionally sung by mezzos such as Santuzza (Cavalleria Rusticana) and Adalgisa (Norma). She sang Adalgisa next to the Normas of Callas, Joan Sutherland, Montserrat Caballé, Leyla Gencer and Elena Souliotis. Full live documents (except only partially for Callas) of these performances have been commercially released in audio and/or video. She also tried her luck in soprano roles (alas in studio only) of Lady Macbeth and Marchesa del Poggio (Un giorno di regno), and made a commercial recording of soprano arias by Verdi. Her repertory at the Met included Amneris, Eboli, Adalgisa, Santuzza, Azucena, Dalila, Carmen (only on tour and in outdoor park concerts), Principessa (Adriana Lecouvreur) and Mistress Quickly (which she added in 1985, singing with Giuseppe Taddei as Falstaff)... (http•••) A link to this wonderful artists personal web site: (http•••) Please Enjoy! I send my kind and warm regards,
ou
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