Margaret Sutherland Vidéos
compositrice australienne
Commémorations 2024 (Décès: Margaret Sutherland)
- piano
- opéra
- Australie
- compositeur ou compositrice, musicien ou musicienne, professeur ou professeure de piano
Dernière mise à jour
2024-05-10
Actualiser
Jean Hubeau Burnett Sutherland 1917 1991 1992 1997
First Movement of Hubeau's Sonata for Trumpet & Piano "Sarabande" Backing Track from (http•••) Instrument: "Southern Cross model: King" Bb Cornet. Hand built Cornet made as a set of 12 in 1991, this one given to Cobber Burnett as number 7 and then acquired through Sutherland Shire Brass in 1997.
Elizabeth Harwood Luciano Pavarotti Donizetti Sutherland Williamson Weibel 1965
From the historic Sutherland Williamson Grand Opera tour of 1965, the English soprano, Elizabeth Harwood, and Italian tenor, Luciano Pavarotti, sing the Act I duet between Adina and Nemorino. The orchestra at this performance from September 1st, 1965, is conducted by William Weibel.
Elizabeth Harwood Kathleen Ferrier Lina Pagliughi Rossini Joan Sutherland Richard Strauss Scottish Opera Covent Garden Scala 1912 1916 1918 1933 1935 1938 1960 1961 1967 1969 1970 1971 1972 1975 1982 1990
~The "Glass Shatterers!" series focuses on sopranos who sustain High F, or sing higher. THE SONGBIRD: Elizabeth Harwood +••.••(...)) was raised in Yorkshire by musical parents / her mother was a professional soprano, Constance Read, and gave Harwood voice lessons. Harwood studied at the Royal Manchester College of Music and at the age of 21, she won the Kathleen Ferrier Memorial Scholarship and spent a year in Milan studying with Lina Pagliughi. Her professional debut came as Second Boy in "The Magic Flute" at Glyndebourne in 1960. She became a member of the Sadler's Wells company in 1961 where she sang Manon, Gilda, Rossini's Adele, Konstanze, Countess Rosina, Fiakermilli, and Zerbinetta. After a tour of Australia with Joan Sutherland's company in 1967, Harwood's regular appearances at the Scottish Opera began with Fiordiligi and continued with Sophie, Lucia, Rosalinde, and Eva (her only Wagner role). At Covent Garden in the 1960s and 1970s she sang Fiakermilli, Gilda, Oscar, Donna Elvira, Norina, Arabella, and Manon. For Glyndebourne, she was Fiordiligi, Countess Rosina, and, in 1982, the Marschallin. Appearances abroad included Aix-en-Provence (Donna Elvira in 1967, Galatea in 1969); Salzburg (Konstanze and Fiordiligi in 1970, Countess Rosina in 1972); The Met (Fiordiligi in 1975); and La Scala (Konstanze in 1971). Harwood died of cancer at age 52. This recording of the original 1912 version of Zerbinetta's aria from the BBC, with Norman Del Mar conducting, only exists in poor audio. I have long searched for a better quality file, and even had a contact who works in the audio archives of the BBC search for it there, but to no avail / so for now, this is the best we have. THE MUSIC: Richard Strauss's opera "Ariadne auf Naxos" premiered twice. The first was in 1912 in Stuttgart where it was conceived as a short opera to accompany a new adaption of Moliere's play, "Le Bourgeois gentilhomme." This version was performed in other cities over the next year (Zurich, Munich, Prague, and London), but the play/opera hybrid concept proved ineffective (and way too long at over six hours). Working with his librettist/partner Hugo von Hofmannsthal, Strauss refashioned the opera as a stand-alone work with a newly added prologue, which premiered in this new form to success in Vienna in 1916. This version of the opera was quickly embraced by critics, artists, and the public / it has since been recorded commercially many times and is performed regularly around the world. Only rarely have there been staged or even concert productions of the earlier 1912 version of the opera and there is only one commercial recording. One of the changes Strauss made for the 1916 score was to lower the key and cut or alter about four minutes of music from Zerbinetta's grand aria "Grossmächtige Prinzessin." (In this video, I have roughly marked the three sections of deleted or altered music). Both versions are insane, but this original version is incomprehensibly difficult at nearly 15 minutes in length and with a gruelingly high tessitura, including two High F-sharps. In either version, the scene demands a level of virtuosic musicianship and theatrical flair that is simply unmatched. Zerbinetta is a coloratura soubrette on steroids! In this scene and role, Strauss invented an entirely new musical language to exploit the unique glories of the coloratura soprano voice. He revisited this proprietary mode of highly gymnastic vocalism a few other times afterwards: in the art song "Amor" (1918), with Fiakermilli in "Arabella" (1933), and for Aminta in "Die schweigsame Frau" (1935).
Gianna Galli Galli Bellini Anna Moffo Kurt Weill Puccini Maria Callas Joan Sutherland Beverly Sills Gruberova New York City Opera Scala 1835 1935 1952 1956 1958 1960 1962 2010
THE SONGBIRD: Gianna Galli +••.••(...)) was lyric soprano, but sang a few florid roles early in her career. She was born in Modena where she made her stage debut in 1952, the same year she won the Spoleto voice competition at age 17. She appeared as Lisa in a 1956 television production of "La sonnambula" starring Anna Moffo (available elsewhere on YouTube). Galli's career grew rapidly with appearances in Italy and a debut in the U.S. in 1958 at the New York City Opera as Mimi, a role she performed frequently. Her La scala debut was in 1962 in Kurt Weill's one-act farce "Der Zar lässt sich photographieren." She sang Oscar in Venice, Violetta in Rome, Puccini's Manon in Monte Carlo, Minnie in Florence, Tosca in Parma, and Sonia in Torino. She also sang several world premieres of contemporary Italian operas. When she retired from singing, she became an artist's manager. THE MUSIC: "I puritani" was Bellini's last opera. It premiered in Paris in January 1835, and Bellini died in September 1835 at the age of 33. It was tremendously successful and the opera was performed regularly throughout Europe and in New York until the early 1900s. It went mostly dormant until it caught the public's attention during the bel canto revival ignited by Maria Callas and carried forward by Joan Sutherland, Beverly Sills, Edita Gruberova, and others. Elvira is one of Bellini's most mentally delicate creatures and her mad scene is an elegant depiction of her fragile emotional state. The entire mad scene is very long (almost 20 minutes with no cuts); it has several sections and interludes and frequent interjections by other characters, so it is always abridged when performed by a solo soprano in concert or recital.
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