Leonardo Ferrando Vidéos
Dernière mise à jour
2024-05-13
Actualiser
William Heddle Nash Verdi Steane Enrico Caruso Giuseppe Borgatti Carcano Rossini Ferrando Joan Hammond Sir Edward Elgar Scala Covent Garden Three Choirs Festival British National Opera Company Carl Rosa Opera Company 1894 1923 1924 1925 1926 1929 1930 1931 1932 1934 1937 1938 1948 1950 1958 1961 1994
Heddle Nash sings 'Questa o quella' (in English as 'In my heart, all are equally cherished,') with orchestra conducted by Clarence Raybould, recorded on 4 April 1932. I hear a little 'bird' intrude in the introduction! From Wikipedia: William Heddle Nash (14 June 1894 – 14 August 1961) was an English lyric tenor who appeared in opera and oratorio. He made numerous recordings that are still available on CD reissues. Nash's voice was of the light tenor class known as 'tenore di grazia.' The critic J. B. Steane referred to him as 'the English lyric tenor par excellence, without equal then or now...' Nash was born in the South London district of Deptford on 14 June 1894... The family was musical, and listening at home to a gramophone record by Enrico Caruso prompted Nash to apply for a scholarship at the Blackheath Conservatoire of Music. He was accepted, but a week later World War I broke out. Nash joined the army, serving in France, Salonika, Egypt and Palestine. The Blackheath scholarship was held open until after the war; Nash took it up on his return. He had some experience of concert and oratorio work, and then he accepted an offer to sing with Podrecca and Feodora's Italian Marionettes. Unseen, standing in the orchestra pit of the Scala and Coliseum theatres, he sang the tenor roles in many Italian operas while on the stages the puppets mimed the action. After the London season, the marionette company secured a contract to appear in New York; Nash went with them. On his return to London a friend advanced the money for him to study in Milan with Giuseppe Borgatti. On 7 April 1923 Nash married Florence Emily Violet Pearce, daughter of a sign manufacturer. They had two sons, John Dennis Heddle Nash +••.••(...)), who became an operatic baritone, and David L Heddle Nash (b. 1930). While studying with Borgatti, Nash made his operatic debut in 1924 at the Teatro Carcano in Milan, when he replaced an indisposed tenor in the role of Almaviva in Rossini's Il Barbiere di Siviglia. It was a notable success. After singing at Turin, Bologna and Genoa, Nash returned to England with his wife in 1925. He had developed an Italianate style of singing that remained with him: it was said of him that he sang everything as though it were by Verdi. On his return to London Nash was engaged by the Old Vic Company under Lilian Baylis to sing tenor roles in English. Success was instantaneous. The Musical Times said that it was a pleasure to welcome a very beautiful tenor voice, praised his clarity of diction, and predicted that Nash would be one of the eminent lyric tenors of the future... At the end of the Old Vic season he joined the British National Opera Company, going on tour with the company after a short London season... In 1929, Nash made his debut at the Royal Opera House, Covent Garden... He sang leading tenor roles in Italian and French operas at Covent Garden until World War II... The critic Alan Blyth called Nash the leading British lyric tenor of the 20th century, and considered him 'ideal casting for the heroes of French 19th-century Romantic opera.' Nash had a repertoire of twenty-four operas, and sang fluently in English, French, German and Italian. He was proud of being the first Englishman to sing David in Die Meistersinger in the International Season at Covent Garden. In the first Glyndebourne season, in 1934, Nash played Basilio in Le Nozze di Figaro at the inaugural performance, Pedrillo, and Ferrando in Così fan Tutte. He sang these three roles every year until 1938, adding Ottavio in Don Giovanni in 1937. The critic Richard Capell wrote, 'Hardly another tenor of his time has sung Mozart with such elegance and at the same time such a minstrel-like effect of spontaneity.' Nash also sang in lighter musical stage works... During the war Nash toured with the Carl Rosa Opera Company, often singing opposite the Australian soprano Joan Hammond... His last appearance at Covent Garden was in Die Meistersinger in April 1948. He continued to appear on stage until July 1958... Nash's career was not restricted to opera; he gave many song recitals, made radio broadcasts and performed in concerts and oratorio productions all over Britain. In 1931, he was chosen by Sir Edward Elgar to sing the title role in The Dream of Gerontius, in a performance conducted by Elgar himself. Henceforth, Nash was closely associated with the part, singing it at every Three Choirs Festival from 1934 to 1950... Nash sang regularly in Messiah, and other oratorios... In his later years, Nash was appointed professor of singing at the Royal College of Music. He sang in his last Messiah a few months before his death from lung cancer on 14 August 1961. On his tombstone in Chislehurst Cemetery are carved the opening words of part two of The Dream of Gerontius: 'I went to sleep and now I am refreshed...'' I transferred this side from Australian Columbia DO 863.
Tchaikovsky Ferrando Casa Música 2016 2019
Juan Amadeo Composición poético-musical "El Minnesang de Viena" (2016) Partes 5 y 6 (after Mozart's Piano Fantasia and Tchaikovsky's Quartet 'Night') Maria Diana Molchanova, soprano Miroslava Gúseva, mezzo-soprano Christian Lindsey, tenor Radomir Zavalin, tenor Miguel Ferrando, bajo Grupo CANTORES DE MINNÉ Clarinete - Maria Diaz Director - Teo Leónov. Auditorio Casa de la música Las Cigarreras, Alicante, 20-04-2019
Norman Reinhardt Reinhardt Ferrando Mark Stone Santa Fe Opera
This week on Instagram I started a new series called "Lessons on stage" where I break down things I learned during my career. This week I talked about singing the role of Ferrando from Mozart's Cosi fan tutte. In today's videos I talk about how to maneuver the first aria. I think these principles can actually be applied to any Mozart aria! If you would like to work one on one with me, you can book a lesson with me here: (http•••) Living Opera has expanded and we now offer an online course for singers that shows you how to create a sustainable career through good information, practical solutions, and hopeful tips. Get more information about our course here: (http•••) Thanks so much for watching and we'll see you very soon! Best wishes, Norman (P.S. the cover pic is me and Mark Stone in a production of Cosi fan tutte in Santa Fe opera.)
Giuseppe Verdi Cammarano Gutiérrez Mutter Gunst Köster Zeller Reibel Izabela Matuła Lerner Sung Kyu Park Ferrando Hauptmann Heer Gotho Griesmeier Ruiz Raab Bruckner Salgado Romero Bruckner Orchester Linz
GIUSEPPE VERDI Oper in vier Teilen von Giuseppe Verdi Text von Salvadore Cammarano und Leone Emmanuele Bardare nach dem gleichnamigen Drama von Antonio García Gutiérrez In italienischer Sprache mit deutschen Übertiteln Manch einer bezeichnet den Inhalt von Verdis populärer Oper Il trovatore als den Gipfel der Absurdität: eine Mutter, die ihr eigenes Kind in die Flammen wirft, im Glauben, es sei ein anderes; zwei Brüder, die seit frühester Kindheit getrennt sind, und sich nicht nur unerkannt in einem Bürgerkrieg feindlich gegenüberstehen, sondern auch Rivalen um die Gunst derselben Frau sind; einer der beiden Brüder, der just in dem Moment, in dem er den anderen töten lässt, erfährt, dass selbiger sein lang vermisster Bruder ist, etc. etc. Natürlich ist all dies monströs und absurd. Aber vielleicht ist die Oper nie näher bei sich als Gattung, als bei solch einer Geschichte. Denn: Je größer die Gefühle, je mehr die Handlung von der Sphäre des Gewöhnlichen und Alltäglichen geschieden ist, umso stärker kann sich die Musik entfalten und die emotionale Wahrheit hinter den geschilderten Vorgängen zum Glühen bringen. Tickets & info: (http•••) Musikalische Leitung Enrico Calesso Inszenierung Gregor Horres Bühne und Kostüme Jan Bammes Video Volker Köster Dramaturgie Christoph Blitt Chorleitung Elena Pierini Leitung Extrachor Martin Zeller Nachdirigat Marc Reibel Graf Luna, ein junger Adliger Federico Longhi Adam Kim Leonora, Hofdame der Fürstin von Aragonien Izabela Matuła Sonja Šarić Azucena, eine alte Zigeunerin Katherine Lerner Julia Faylenbogen Manrico, Offizier, vermeintlicher Sohn Azucenas Sung-Kyu Park James Lee Ferrando, Hauptmann im Heer des Grafen Luna Dominik Nekel Ines, Leonoras Gesellschafterin und Vertraute Gotho Griesmeier Ruiz, Gefolgsmann Manricos Csaba Grünfelder Ein alter Zigeuner Markus Raab Ein Bote Domen Fajfar Chor des Landestheaters Linz Herren des Extrachores des Landestheaters Linz Statisterie des Landestheaters Linz Bruckner Orchester Linz Filmed and edit by Jonatan Salgado Romero
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