Nina Koshetz Vidéos
artiste lyrique, professeur ou professeure de musique, acteur ou actrice de cinéma, acteur ou actrice
Commémorations 2025 (Décès: Nina Koshetz)
- soprano
- Empire russe, États-Unis
Dernière mise à jour
2024-05-09
Actualiser
Abbie Mitchell Murphy Picard George Gershwin Stephen Sondheim Kochan Koshetz Janis Joplin Ukrainian National Chorus 1929 1933 1934 1935 1936 1957 1958 1961 1966 1967 1968 1982 1988 1996 1998
From '' No Waltz In The Meadow '' Label: Top Records – TR-007 Format: Vinyl, LP Country: US Released: 1988 Tracklist A1 Don`t Walk Away A2 One More Season A3 The One That Got Away A4 We`re So Cool B1 Whirlybird B2 Summertime B3 Madeline B4 Call Vocals – Michael Kelley Guitar, Vocals – Tim Kelley Drums, Vocals – Robert Kelley Bass Guitar, Vocals – Kevin Kelley Engineer – Charley Hardman (tracks: B3), Steve Murphy (tracks: Except B3) Producer – Steve Murphy Co-producer – Gregg Picard, Robert Kelley Recorded at Takoma Recording. Mastered at Europadisk, Ltd,. New York. All Songs written and arranged by Frontier Theory except B2 by Gershwin/Heyward. / "Summertime" is an aria composed by George Gershwin for the 1935 opera Porgy and Bess. The lyrics are by DuBose Heyward, the author of the novel Porgy on which the opera was based, although the song is also co-credited to Ira Gershwin by ASCAP. The song soon became a popular and much recorded jazz standard, described as "without doubt... one of the finest songs the composer ever wrote....Gershwin's highly evocative writing brilliantly mixes elements of jazz and the song styles of African-Americans in the southeast United States from the early twentieth century." Composer and lyricist Stephen Sondheim has characterised Heyward's lyrics for "Summertime" and "My Man's Gone Now" as "the best lyrics in the musical theater". Porgy and Bess Gershwin began composing the song in December 1933, attempting to create his own spiritual in the style of the African American folk music of the period. The Ukrainian-Canadian composer and singer Alexis Kochan has suggested that he based the tune on a Ukrainian lullaby, Oi Khodyt Son Kolo Vikon (A Dream Passes By The Windows), which he heard in a New York City performance by Oleksander Koshetz's Ukrainian National Chorus in 1929. Gershwin had completed setting DuBose Heyward's poem to music by February 1934, and spent the next 20 months completing and orchestrating the score of the opera. The song is sung multiple times throughout Porgy and Bess, first by Clara in Act I as a lullaby and soon after as counterpoint to the craps game scene, in Act II in a reprise by Clara, and in Act III by Bess, singing to Clara's baby. It was recorded for the first time by Abbie Mitchell on 19 July 1935, with George Gershwin playing the piano and conducting the orchestra (on: George Gershwin Conducts Excerpts form Porgy & Bess, Mark 56 667). Musical analysis Musicologist K. J. McElrath wrote of the song: "Gershwin was remarkably successful in his intent to have this sound like a folk song. This is reinforced by his extensive use of the pentatonic scale (C-D-E-G-A) in the context of the A minor tonality and a slow-moving harmonic progression that suggests a "blues." Because of these factors, this tune has been a favorite of jazz performers for decades and can be done in a variety of tempos and styles." Recorded versions There are some 2600 different recorded versions of "Summertime". In September 1936, a recording by Billie Holiday was the first to hit the US pop charts, reaching # 12. Other notable recordings include those by Louis Armstrong and Ella Fitzgerald in 1957, Gene Vincent and Miles Davis in 1958, Sam Cooke and The Marcels in 1961, Janis Joplin with Big Brother and the Holding Company on the 1968 album Cheap Thrills as well as The Zombies or Jill Scott & George Benson. The most commercially successful version was by Billy Stewart, who reached # 10 on the Billboard Hot 100 in 1966. The Doors recorded the song live on such albums as Live at the Matrix 1967, and Live in Boston. The Fun Boy Three released their fifth single, "Summertime" in July of 1982. The band Sublime based their 1996 song Doin' Time on Gershwin's song. In 1998, Morcheeba and Hubert Laws recorded the song for the Red Hot Organization's compilation album Red Hot + Rhapsody, a tribute to George Gershwin, which raised money for various charities devoted to increasing AIDS awareness and fighting the disease.
Abbie Mitchell Mitchell Chapman George Gershwin Stephen Sondheim Kochan Koshetz Janis Joplin Ukrainian National Chorus 1929 1933 1934 1935 1936 1957 1958 1961 1966 1967 1968 1973 1982 1996 1998
From '' Ms. Bu '' Label: Muse / MR 5033 Format: Vinyl, LP Country: US Released: 1973 Tracklist A1 Opus For O.P. A2 Everything's Different A3 Bells For Bu B1 Summertime B2 Melody For Bu B3 Sho Nuff Da Blues Recorded: May 14, 1973 Organ, Vocals: Bu Pleasant Tenor Sax: Harold Vick Trombone: Atlee Chapman Guitar: Ted Dunbar Bass: Mickey Bass Drums: Freddie Waits / "Summertime" is an aria composed by George Gershwin for the 1935 opera Porgy and Bess. The lyrics are by DuBose Heyward, the author of the novel Porgy on which the opera was based, although the song is also co-credited to Ira Gershwin by ASCAP. The song soon became a popular and much recorded jazz standard, described as "without doubt... one of the finest songs the composer ever wrote....Gershwin's highly evocative writing brilliantly mixes elements of jazz and the song styles of African-Americans in the southeast United States from the early twentieth century." Composer and lyricist Stephen Sondheim has characterised Heyward's lyrics for "Summertime" and "My Man's Gone Now" as "the best lyrics in the musical theater". Porgy and Bess Gershwin began composing the song in December 1933, attempting to create his own spiritual in the style of the African American folk music of the period. The Ukrainian-Canadian composer and singer Alexis Kochan has suggested that he based the tune on a Ukrainian lullaby, Oi Khodyt Son Kolo Vikon (A Dream Passes By The Windows), which he heard in a New York City performance by Oleksander Koshetz's Ukrainian National Chorus in 1929. Gershwin had completed setting DuBose Heyward's poem to music by February 1934, and spent the next 20 months completing and orchestrating the score of the opera. The song is sung multiple times throughout Porgy and Bess, first by Clara in Act I as a lullaby and soon after as counterpoint to the craps game scene, in Act II in a reprise by Clara, and in Act III by Bess, singing to Clara's baby. It was recorded for the first time by Abbie Mitchell on 19 July 1935, with George Gershwin playing the piano and conducting the orchestra (on: George Gershwin Conducts Excerpts form Porgy & Bess, Mark 56 667). Musical analysis Musicologist K. J. McElrath wrote of the song: "Gershwin was remarkably successful in his intent to have this sound like a folk song. This is reinforced by his extensive use of the pentatonic scale (C-D-E-G-A) in the context of the A minor tonality and a slow-moving harmonic progression that suggests a "blues." Because of these factors, this tune has been a favorite of jazz performers for decades and can be done in a variety of tempos and styles." Recorded versions There are some 2600 different recorded versions of "Summertime". In September 1936, a recording by Billie Holiday was the first to hit the US pop charts, reaching # 12. Other notable recordings include those by Louis Armstrong and Ella Fitzgerald in 1957, Gene Vincent and Miles Davis in 1958, Sam Cooke and The Marcels in 1961, Janis Joplin with Big Brother and the Holding Company on the 1968 album Cheap Thrills as well as The Zombies or Jill Scott & George Benson. The most commercially successful version was by Billy Stewart, who reached # 10 on the Billboard Hot 100 in 1966. The Doors recorded the song live on such albums as Live at the Matrix 1967, and Live in Boston. The Fun Boy Three released their fifth single, "Summertime" in July of 1982. The band Sublime based their 1996 song Doin' Time on Gershwin's song. In 1998, Morcheeba and Hubert Laws recorded the song for the Red Hot Organization's compilation album Red Hot + Rhapsody, a tribute to George Gershwin, which raised money for various charities devoted to increasing AIDS awareness and fighting the disease.
Ramon Vinay Georges Bizet Koshetz James Pease Pease Leopold Stokowski Hollywood Bowl 1946
Aria of Don Jose ( ENGLISH VERSION ) Carmen - Winifred Heidt Micaëla - Marina Koshetz Escamillo - James Pease Conductor - Leopold Stokowski Orchestra - Hollywood Bowl Chorus - Hollywood Bowl 1946
Nina Koshetz Pyotr Ilyich Tchaikovsky Brunswick Konstantin Igumnov Vasily Safonov Sergei Taneiev Sergei Rachmaninoff Félia Litvinne Tcherepnin Medtner Gretchaninov Prokofiev Serge Koussevitzki Mary Garden Morgana Stokowski Klemperer Walter Damrosch Zimin Opera Detroit Symphony Orchestra Bolshoi Theatre 1840 1891 1893 1914 1915 1917 1920 1922 1924 1927 1934 1942 1949 1965
Nina Koshetz +••.••(...)) sings Pyotr Ilyich TCHAIKOVSKY +••.••(...), sorry for misspelling it in the video!) Liza in The Queen of Spades/Pique Dame opus 68 Act 3: Arioso: "I am worn out by grief" «Ax! истoмилacь я гopeм» (Akh! istomilas ya goryem) (Brunswick, rec. 1922/23) She was born in Kiev and hailed from a musical family. Both of her parents had been stars of the Imperial Opera in Moscow. Her father was the first Siegfried to be heard in Russia. Nina was a very musical child starting playing the piano with four. She gave her first piano recital at the age of nine! After her father's suicide she enrolled at the Moscow Conservatory. She studied piano with Konstantin Igumnov and Vasily Safonov and composition with Sergei Taneiev. Graduating at 16, she had performed a Rachmaninoff concerto for her final recital. She subsequently became interested in singing and she was eventually instructed by Enzo Masetti and Félia Litvinne. Konstantin Stanislavsky was her coach in dramatic arts. It is not sure when she made her debut. It seems her real career began with a performance as Tatyana in Eugene Onegin with Zimin's Opera Company. Until 1917 she appeared there in operas such as The Queen of Spades, The Tsar's Bride, The Demon, The Enchanteress, Tosca, Nedda, Marguerite, Nedda and Aida. Like all Russian singers she made lengthy tours to the provinces. She was never invited to the Bolshoi Theatre! She not only sang opera but gave song recitals. Her fame soon spread and the composers Tcherepnin, Medtner, Gretchaninov and Prokofiev wanted to co-operate with the young singer! Serge Koussevitzki and Nina Koshetz brought music to the outlying regions, she was his soloist for many years. In 1914 she made her first recordings (only two are known). In 1915 she met Sergei Rachmaninoff and they appeared together in successful recitals, culminating in a romance (the composer was 20 years older than Nina and a married man). He dedicated to her a cycle of six love songs (op. 38). To avoid a scandal, Rachmaninoff retreated and amazingly, they rarely saw each other again. After the Revolution she remained at Zimin's Opera which had reopened now under another name. After a stop-over in the Caucasus she eventually arrived in the United States (with husband and child). She made her official American debut as a soloist with the Detroit Symphony Orchestra under Ossip Gabrilowitch in 1920 and was warmly received. Mary Garden invited her to sing the role of Fata Morgana in Prokofiev's The Love for Three Oranges. She was now in demand for concerts and recitals by Stokowski, Koussevitzky, Rodzinski and Klemperer. Considered as one of her greatest achievements in the 1920s was the series of four Town Hall recitals celebrating for the most part Russian's greatest song writers in which Pierre Luboshutz, Walter Damrosch and Samuel Chotzinov all accompanied her. She became the authoritative voice for the Russian emigré composers. In 1924 she returned to Félia Litvinne, now living in Paris and Koshetz received further vocal tuition by the famous soprano. In 1927, commemorating her 15 years in music, she gave a recital devoted entirely to songs dedicated to her. The composer Gretchaninov renewed the collaboration with her and both were enthusiastically admired. Around 1934, she moved to California with her second husband and her daughter (who was becoming a singer too). She opened a Russian restaurant but this venture ended in bankruptcy two years later. By 1942 she opened an elegant music salon in Laguna Beach and taught singing to Marlene Dietrich, Ann Blyth and Claudette Colbert. Her daughter Marina made her successful debut at Town Hall in 1949. Nina Koshetz played some minor roles in films. Her unorthodox lifestyle caused a vocal decline in the late 1930s and ruined slowly but steadily her health. Nina Koshetz died in 1965. (From: (http•••)
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