Friedrich Dettmer Vidéos
acteur de théâtre et chanteur d'opéra allemand (baryton)
Commémorations 2025 (Naissance: Friedrich Dettmer)
- baryton
- Allemagne
- artiste lyrique, acteur ou actrice de théâtre
Dernière mise à jour
2024-05-04
Actualiser
Edward Alexander Macdowell Woodland Dettmer Theodore Thomas Virgil Thomson Charles Ives Staples Gershwin Aaron Copland Samuel Barber Debussy Raff Carl Heymann Liszt Breitkopf Grieg National Symphony Orchestra National Symphony Orchestra Ireland 1860 1881 1882 1884 1885 1889 1904 1908 1910 1926
Edward Alexander MacDowell (December 18, 1860 – January 23, 1908) was an American composer and pianist of the Romantic period. He was best known for his second piano concerto and his piano suites Woodland Sketches, Sea Pieces and New England Idylls. Woodland Sketches includes his most popular short piece, "To a Wild Rose". In 1904 he was one of the first seven Americans honored by membership in the American Academy of Arts and Letters. Please support my channel: (http•••) Piano Concerto No. 2 in D minor, Op. 23 (1885) Dedication: Teresa Carreño +••.••(...)) 1. Larghetto calmato (0:00) 2. Presto giocoso (13:36) 3. Largo - Molto allegro (18:19) Naxos recording Stephen Prutsman, piano and the National Symphony Orchestra of Ireland conducted by Arthur Fagen Description by Roger Dettmer [-] MacDowell composed this work in 1884 and 1885, and played the first performance with Theodore Thomas and his eponymous orchestra in Chickering Hall, New York City, on March 5, 1889. The accompaniment is scored for two each of winds and trumpets, four horns, three trombones, timpani, and strings. In American Music since 1910, Virgil Thomson cited MacDowell as "our nearest to a great composer before [Charles] Ives. His short works for piano still speak to us." Let us add that the Second Piano Concerto remains among the most popular of way too few staples in the concerto genre by American composers. Only Gershwin's Concerto in F, composed 40 years after, enjoys a comparable status in the repertory, followed distantly by Aaron Copland's single endeavor (1926), and Samuel Barber's lone essay. MacDowell was 15 when his mother took him abroad to study / at the Paris Conservatoire for three years (where Debussy was a fellow student), then in Stuttgart and Frankfurt for three years (where Joseph Raff was his composition professor and Carl Heymann his piano pedagogue). In 1881 the Darmstadt Conservatory made MacDowell its chief piano instructor. In 1882 he took his First Piano Concerto to Liszt, who advised him to concentrate on composition, and persuaded the Leipzig firm of Breitkopf & Härtel to publish Modern Suites Nos. 1 and 2, thereby establishing MacDowell here and abroad as the first notable "American" composer. He returned briefly to the U.S. in 1884, to marry, then returned to Germany. On his honeymoon he sketched what became the scherzo in this concerto, which was completed at Frankfurt and Wiesbaden. Grieg (to whom MacDowell dedicated one of his four piano sonatas) is reflexively cited along with Liszt as a major influence on MacDowell's music. But the Second Piano Concerto, not to deny its own voice or expertise, is plainly in the tradition of Saint-Saëns' Second, especially the scherzo movement. MacDowell absorbed more during his unhappy years at Paris than he may consciously have realized.
René Kollo Richard Wagner Dettmer Walter Kollo Brunswick Stravinsky Bayreuth Richard Strauss Pierre Boulez Ponnelle Korngold Bernstein Solti Böhm Tchaikovsky Pfitzner Palestrina Britten Mahler Beethoven Karajan Giuseppe Stefano Scala Staatsoper Deutsche Oper Berlin Metropol Theater 1878 1937 1940 1961 1965 1969 1970 1971 1973 1974 1975 1976 1978 1981 1986 1991 1996 1997 2000
vinyl René Kollo Richard Wagner Lohengrin "In Fernem Land" René Kollo German tenor (b.1937) Richard Wagner Lohengrin "In Fernem Land" an operbathosa video (http•••) (http•••) (http•••) (http•••) Biography by Roger Dettmer As the grandson of operetta composer Walter Kollo +••.••(...)) and the son of Willi Kollo, likewise a composer of light music, René Kollo began his career as a pop singer and operetta tenor. He made the transition to concert and opera in 1965, at Brunswick, singing the title role in Stravinsky's Oedipus rex. In 1969, he attracted international attention at Bayreuth as the Steersman in Wagner's Der fliegende Holländer, and in 1970 debuted at La Scala as Matteo in Richard Strauss' Arabella. Although not yet a "dramatic tenor" (and never a true Heldentenor despite his repertoire later on), the die had been cast. Kollo sang Lohengrin in 1971 — also his American debut role at the Met in 1976 — then Walther in Die Meistersinger in 1973, Parsifal in Wolfgang Wagner's new Bayreuth production in 1975, and a year later Siegfried in Patrice Chéreau's centennial staging of Der Ring at Bayreuth, conducted by Pierre Boulez. For his London debut, he switched from Siegfried to Siegmund in Die Walküre, later adding Tristan to his Wagner repertoire in Jean-Pierre Ponnelle's scandalous Bayreuth production of 1981. At Geneva he performed Tannhäuser for the first time in 1986, and even sang in a complete production of Wagner's Rienzi, a five-act marathon that daunted bigger voices than Kollo's. By no means, however, was Wagner his only operatic specialty: He sang Paul in Korngold's Die tote Stadt for the Munich Radio in 1974, then Florestan in Bernstein's 1978 Fidelio at the Vienna Staatsoper for Unitel, which also preserved his Matteo in Arabella under Solti, and Bacchus in Strauss' Ariadne auf Naxos under Böhm. Kollo's repertory embraced Gherman in Tchaikovsky's Pique Dame, Canio in Pagliacci, Dmitri in Boris Godunov, the title role in Pfitzner's Palestrina, and at age 51 Otello in Frankfurt for the first time. At Munich in 1991 he scored a personal triumph in Britten's Peter Grimes. As a concert singer, Kollo recorded Mahler's Eighth Symphony in Vienna with Solti and the Chicago Symphony (on tour); also Das Lied von der Erde with Bernstein in Israel. He was the tenor soloist in Bernstein's Vienna recordings of the Beethoven Ninth and Missa solemnis as well as the Ninth in Berlin for Unitel with Karajan conducting. He became a regular in Karajan's "repertory company" of the 1970s and early '80s. Contributing to Kollo's success were his physical trimness and good looks, even in middle age, and his uncommon gifts as an actor, even after the voice had developed a widening vibrato and tonal rawness in the upper register. Though it was already evident before age 35, Kollo could minimize Wagnerian wear-and-tear by lightening his voice in frequent operetta appearances (as the Chinese prince in Das Land des Lächelns, Wiener Blut, Gräfin Mariza, Csárdásfürstin, La belle Hélène, and of course Die Fledermaus); several of these are preserved on video. In the final period, before retiring from the stage in June 2000, he was a member of the Deutsche Oper in Berlin, although he began staging operas at Darmstadt in 1986 (Parsifal), and Ulm in 1991 (d'Albert's Tiefland). For one unsuccessful season +••.••(...)) he was director of Berlin's Metropol Theater, which specialized in operettas but had deteriorated between 1961 and the reunification of East and West. Today he calls the island of Majorca home, but claims it bores him except for the sun. Like Giuseppe di Stefano earlier on, he continues to sing light music within the current restrictions of a voice put to hard use for 30 years in the Heldentenor wars. (http•••)
Weber Lili Kraus Kraus Victor Desarzens Julius Benedict Beethoven Hummel Czerny Liszt Dettmer Wiener Staatsoper 1821 1906
Carl Maria von Weber Konzertstück for piano and orchestra in F minor, J. 282 (Op. 79) Lili Kraus, piano Orchester der Wiener Staatsoper Victor Desarzens, conductor Painting: Edward Robert Hughes, The Valkyrie's Vigil, 1906 Weber composed this Concert Piece in 1821 and played the first performance at Berlin on June 28 of that year. The Konzertstück, third and last of Weber's works for piano and orchestra, was created while he rehearsed the first performance of Der Freischütz in Berlin, and was premiered by him just ten days after a triumphant first performance of his best opera. The Concert Piece is unlike the two piano concertos that preceded it, for Weber wrote all four sections of this volatile work (complete with "plot") in a single movement. As he played it through for his wife and his young English pupil, Julius Benedict, the composer told them the following scenario: "A châtelaine sits alone on her balcony, gazing off in the distance. Her knight has gone on a Crusade to the Holy Land. Years have passed, battles have been fought; is he still alive? Will she ever see him again?" The music, in F minor, is marked Larghetto affetuoso and colored plaintively by clarinets and bassoons, very much in the spirit of Weber's new Romanticism. Then, Allegro passionato but still in F minor, "her excited imagination summons a vision of her noble husband lying wounded and forsaken on the battlefield. Could she not fly to his side and die with him? She falls back, unconscious. Then from the distance comes the sound of a trumpet. There in the forest something flashes in the sunlight as it comes nearer and nearer." First from the clarinet, then in the full orchestra a Tempo di marcia bursts forth in C major, with echoes of Beethoven and, as it quickens, Fidelio especially. "Knights and squires, with the Crusaders' cross and banners waving, are acclaimed by the crowd. And there her husband is among them!" An octave glissando signals the lady's joyful recognition before "she sinks into his arms." An impassioned bridge passage for solo piano brings on a Presto giocoso in F major, depicting "happiness without end! The woods and waves sing a song of love, while a thousand voices proclaim its victory" as Weber emerges from the keyboard era of Hummel and Czerny to light the way for Liszt. Roger Dettmer (http•••)
Toru Takemitsu Yuji Takahashi Seiji Ozawa Dettmer Orozco Toronto Symphony Orchestra 1968 1969
Asterism, for piano and orchestra (1969) Yuji Takahashi, piano Toronto Symphony Orchestra Seiji Ozawa "Asterism: 1. (Astronomy) a. a group of stars, b. a constellation. 2. (Crystallography) a property of some crystallized minerals showing a starlike luminous figure in transmitted light or, in a cabochon-cut stone, by reflected light. 3. three asterisks placed before a passage to direct attention to it. (from Greek 'asterismos' derived from 'asterizein' = mark with stars.)" Commissioned in 1968 by RCA Records and "respectfully dedicated to Yuji Takahashi and Seiji Ozawa," Asterism is scored for conventional forces, with an explicit number of strings plus a much expanded percussion section instructed, among other departures, to rub the spine of a hard-rubber comb across a suspended cymbal, to draw a double-bass bow across one of three pitched Chinese gongs and to use two beaters against a tam-tam during the crescendo that is the anguishing, ultimately ecstatic climax of this music. Asterism was given its world premiere by Seiji Ozawa, Yuji Takahashi and the Toronto Symphony on January 14,1969. / Roger Dettmer Art by Gabriel Orozco
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