Catherine Malfitano Vidéos
artiste lyrique
- soprano
- États-Unis
- musicien ou musicienne, artiste lyrique, professeur ou professeure de musique, artiste interprète, créateur ou créatrice
Dernière mise à jour
2024-04-26
Actualiser
Richard Strauss Georg Solti Wilde Krause Stratas Malfitano Mattila Ewing Marie Wittich Aino Ackté Gustav Mahler Arnold Schoenberg Giacomo Puccini Alban Berg Chamberlain Thomas Beecham Königliches Opernhaus Graz Opera Covent Garden Vienna State Opera 1891 1893 1905 1906 1907 1910 1918 1961
The Dance of the Seven Veils is Salome's dance performed before Herod II. It is an elaboration on the biblical story of the execution of John the Baptist, which refers to Salome dancing before the king, but does not give the dance a name. -Introduction: 00:00 -Danse: 00:23 - 01:39 1er Veil 02:07 - 02:18 2e Veil 02:56 - 03:14 3e Veil 04:09 -Moderato: 4e Veil 04:44 - 05:18 -Piu mosso: 05:46 - 06:42 - 07:05 -Primo Tempo: 07:18 5e Veil 07:47 -Molto Presto: 08:15 6e Veil 08:29 -Coda: 7e Veil 08:45 Wiener Philharmonic Orchestra Conductor: Georg Solti Decca 1961 The name "Dance of the Seven Veils" originates with the 1893 English translation of Oscar Wilde's 1891 French play Salome in the stage direction "Salome dances the dance of the seven veils". The dance was also incorporated into Richard Strauss's 1905 opera Salome. Richard Strauss: Strauss's operatic adaptation of the play also features the Dance of the Seven Veils. The dance remains unnamed except in the acting notes, but Salome's sexual fascination with John seems to motivate the request—though Herod is portrayed as pleased. The music for the dance comes from near the climax of the opera. The visual content of that scene (about seven minutes long with standard tempi) has varied greatly depending on the aesthetic notions of the stage director, choreographer, and soprano, and on the choreographic skills and body shape of that singer. Strauss himself stipulated that the dance should be "thoroughly decent, as if it were being done on a prayer mat." Nevertheless, many productions made the dance explicitly erotic. In a 1907 production in New York the dancer "spared the audience nothing in active and suggestive detail", to such an extent that some ladies in the audience "covered their eyes with their programs." Ernst Krause argues that Strauss's version of the dance "established the modern musical formula for the portrayal of ecstatic sensual desire and brought it to perfection." In Derek B Scott's view, "The eroticism of the 'Dance of the Seven Veils' is encoded in the sensual richness (timbral and textual) of a huge orchestra, the quasi-Oriental embellishment of melody (intimations of 'exotic' sensuality), and the devices of crescendo and quickening pace (suggestive of growing excitement)." In addition to the vocal and physical demands, the role also calls for the agility and gracefulness of a prima ballerina when performing the opera's famous "Dance of the Seven Veils". Finding one individual with all of these qualities is extremely daunting. Due to the complexity of the role's demands, some of its performers have had a purely vocal focus by opting to leave the dancing to stand-ins who are professional dancers. Others have opted to combine the two and perform the dance themselves, which is closer to Strauss's intentions. In either case, at the end of the "Dance of the Seven Veils", some sopranos (or their stand-ins) wear a body stocking under the veils, while others (notably Stratas, Malfitano, Mattila and Ewing) have appeared nude at the conclusion of the dance. Performance history: The combination of the Christian biblical theme, the erotic and the murderous, which so attracted Wilde to the tale, shocked opera audiences from its first appearance. Some of the original performers were very reluctant to handle the material as written and the Salome, Marie Wittich, "refused to perform the 'Dance of the Seven Veils'", thus creating a situation where a dancer stood in for her. This precedent has been largely followed, one early notable exception being that of Aino Ackté, whom Strauss himself dubbed "the one and only Salome". Salome was first performed at the Königliches Opernhaus in Dresden on 9 December 1905, and within two years, it had been given in 50 other opera houses. Gustav Mahler could not gain the consent of the Vienna censor to have it performed; therefore it was not given at the Vienna State Opera until 1918. The Austrian premiere was given at the Graz Opera in 1906 under the composer, with Arnold Schoenberg, Giacomo Puccini, Alban Berg, and Gustav Mahler in the audience. Salome was banned in London by the Lord Chamberlain's office until 1907. When it was given its premiere performance at Covent Garden in London under Thomas Beecham on 8 December 1910, it was modified, much to Beecham's annoyance and later amusement.
James Levine Roberto Alagna June Anderson Charles Anthony Gabriela Beňačková Carlo Bergonzi Grace Bumbry Cotrubas Dwayne Croft Croft Ghena Dimitrova Plácido Domingo Jane Eaglen Rosalind Elias Farina Renée Fleming Ferruccio Furlanetto Angela Gheorghiu Christine Goerke Jerry Hadley Hadley Håkan Hagegård Thomas Hampson Hei Kyung Hong Kiri Te Kanawa Alfredo Kraus Catherine Malfitano Karita Mattila Waltraud Meier Susanne Mentzer Aprile Millo Sherrill Milnes James Morris Murphy Otter Paul Plishka Juan Pons Pons Florence Quivar Roberto Scandiuzzi Ruth Ann Swenson Bryn Terfel Dawn Upshaw Carol Vaness Deborah Voigt Wendy White Dolora Zajick Metropolitan Opera House 1996
JAMES LEVINE 25TH ANNIVERSARY GALA METROPOLITAN OPERA HOUSE 1996 Roberto Alagna June Anderson Charles Anthony Gabriela Beňačková Carlo Bergonzi Grace Bumbry Ileana Cotrubas James Courtney Dwayne Croft Ghena Dimitrova Plácido Domingo Jane Eaglen Rosalind Elias Franco Farina Renée Fleming Ferruccio Furlanetto Angela Gheorghiu Christine Goerke Jerry Hadley Håkan Hagegård Thomas Hampson Hei-Kyung Hong Kiri Te Kanawa Alfredo Kraus Catherine Malfitano Karita Mattila Waltraud Meier Susanne Mentzer Aprile Millo Sherrill Milnes James Morris Heidi Grant Murphy Anne Sofie von Otter Mark Oswald Paul Plishka Juan Pons Florence Quivar Julien Robbins Roberto Scandiuzzi Frederica von Stade Ruth Ann Swenson Bryn Terfel Dawn Upshaw Carol Vaness Deborah Voigt Wendy White Dolora Zajick James Levine
Lella Cuberli Daniel Barenboim Ferruccio Furlanetto Matti Salminen Peter Seiffert Seiffert Catherine Malfitano Bryn Terfel Andreas Kohn Kohn Cecilia Bartoli 1994
Wolfgang A. Mozart DON GIOVANNI Grosses Festspielhaus Daniel Barenboim, Conductor Patrice Chéreau, Stage director CAST Ferruccio Furlanetto, Don Giovanni Matti Salminen, Il Commendatore Lella Cuberli, Donna Anna Peter Seiffert, Don Ottavio Catherine Malfitano, Donna Elvira Bryn Terfel, Leporello Andreas Kohn, Masetto Cecilia Bartoli, Zerlina Salzburg, 1994
Bryn Terfel Catherine Malfitano Braga Frode Olsen Olsen Dohnányi Stokes Hutchinson Richard Strauss Lachmann Wiener Philharmoniker 1995 2015
Provided to YouTube by Universal Music Group R. Strauss: Salome, Op. 54 - original version - Scene 2 - "Siehe, der Herr ist gekommen" · Bryn Terfel · Catherine Malfitano · Georg Paucker · Kim Begley · Rannveig Braga · Frode Olsen · Wiener Philharmoniker · Christoph von Dohnányi Strauss, R.: Salome ℗ 1995 Decca Music Group Limited Released on: 2015-01-05 Producer: Michael Woolcock Producer: Christopher Pope Studio Personnel, Balance Engineer: James Lock Studio Personnel, Balance Engineer: Jonathan Stokes Studio Personnel, Editor: Matthew Hutchinson Composer: Richard Strauss Author: Hedwig Lachmann Auto-generated by YouTube.
ou
- chronologie: Compositeurs (Amérique du Nord). Artistes lyriques (Amérique du Nord). Interprètes (Amérique du Nord).
- Index (par ordre alphabétique): M...