Percy Fletcher Vidéos
compositeur, chef d'orchestre et orchestrateur
- Royaume-Uni, Royaume-Uni de Grande-Bretagne et d'Irlande
- compositeur ou compositrice
Dernière mise à jour
2024-04-28
Actualiser
Tichina Vaughn Verdi Angel Blue Eric Owens Woodcock Metropolitan Opera Seattle Opera Greek National Opera Staatstheater Stuttgart Opera Budapest Opera Graz Arena Verona Semperoper Theater Wien 1989 1990 1992 1996 1998 2003 2006 2010 2018 2019 2020 2021
Tichina Vaughn Interview on The Jim Masters Show LIVE as host Jim Masters welcomes the renowned mezzo-soprano to the show as his special guest. Tichina Vaughn has built a standout international reputation. Her formal vocal study began shortly after high school at Georgia State University, but her early years were steeped in musical activity: studying clarinet, playing in marching and concert bands, and singing as a choir member and soloist. Tichina received her Bachelor’s degree in Vocal Performance from the University of North Carolina School of the Arts in 1989. Even before her graduation, Tichina’s unmistakable voice drew attention from some of the world’s foremost opera houses – and after winning the 1989 Metropolitan Opera National Council Auditions, she joined the Met’s Young Artist Development program and made her stage debut there as Lily in the Gershwins’ Porgy and Bess in 1990. Tichina’s first leading role on a major opera stage, Amneris in a Seattle Opera production of Verdi’s Aida, arrived just two years later in 1992. Her interpretation sparked immediate attention from the opera community, and invitations to reprise the role began to pour in from companies around the globe. Soon, Tichina was recognized as an emerging Verdian mezzo-soprano, regularly taking on leading roles such as Princess Eboli in Don Carlos and the mezzo-soprano soloist in Verdi’s Requiem throughout the early 1990s. In 1996, Tichina made her European debut as Mistress Quickly in Staatstheater Stuttgart’s production of Falstaff, which marked the beginning of both her long relationship with the company and her robust European career. From 1998 to 2006, she continued to perform with the Staatstheater Stuttgart as a principal artist, eventually earning the distinction of Kammersängerin, the German honorific title for opera singers of the highest merit. Throughout her years in Stuttgart, Tichina’s list of signature roles blossomed as her aptitude for the works of Wagner became evident, culminating with her appearances as Fricka (Die Walküre) and Waltraute (Götterdämmerung) in the Staatstheater Stuttgart’s full recording of Wagner’s Ring cycle via Naxos in 2006. Now one of opera’s most sought-after mezzo-sopranos, Tichina has quite literally performed around the globe, with previous engagements on international stages including the National Opera Hong Kong, Greek National Opera, Budapest National Opera, Hamburg Opera, Opera Graz, and countless others. She made numerous appearances with the Arena di Verona summer festival in Italy starting in 2003, and from 2010 to 2018, she was engaged as a principal artist at Semperoper Dresden. In addition to her 1989 Metropolitan Opera National Council Auditions award, Tichina is the recipient of the Opera Index Vocal Award, Living Heritage Foundation Award, the Consul General’s Award for Cultural Diplomacy from the Consulate General Milan, and many other prestigious accolades.. Tichina returned to the Metropolitan Opera to reprise the role of Lily for the first time at the Met since her 1990 debut. She can be heard on the 2020 recording of the same production with Angel Blue and Eric Owens, which won Best Opera Recording at the 2021 GRAMMY Awards. An active voice teacher and mentor, Tichina returned to North Carolina in October 2019 and February 2020 as an artist-in-residence at her alma mater, the University of North Carolina School of the Arts. At UNCSA, Tichina led a series of master classes and mentored fellows of the A.J. Fletcher Opera Institute one on one, offering private vocal coaching and individualized career counseling. UNCSA School of Music interim dean Tony Woodcock described the residency as “a real plus for our graduate students as they transition to roles as entrepreneurial professional artists… and all of our voice students (are) inspired by her wisdom and her artistry.” Tichina has continued to perform,including an October 2020 production of Porgy and Bess with Austria’s Theater an der Wien. The current season includes role debuts at the Metropolitan Opera as the Innkeeper in Boris Gudonov and Maria in Porgy and Bess as well as house debuts in Boston (Champion), Cincinnati (Aida), and Utah (The Flying Dutchman). Subscribe to our YouTube channel and click the notification bell so you never miss any of our series episodes. If you enjoyed this video episode, please give it a thumbs up like and leave a comment for us! Thank you! Like! Follow! Subscribe! Facebook: www.facebook.com/jimmasterstv Instagram: www.instagram.com/jimmasterstv Twitter: www.twitter.com/jimmasterstv #TichinaVaughn #TichinaVaughInterview #TichinaVaughnsoprano #thejimmastersshow #thejimmastersshowlive #jimmasterstv
Reginald Goss Custard Goss Percy Fletcher 2016
Provided to YouTube by NAXOS of America Festival Toccata · Reginald Goss-Custard The Britannic Organ, Vol. 12 ℗ 2016 Oehms Classics Released on: 2016-07-01 Artist: Reginald Goss-Custard Composer: Percy Fletcher Auto-generated by YouTube.
Shakespeare Anna Dennis John Wilson Ravenscroft John Dowland 1595 1614 1640 1674 2015
John Wilson's setting of the song, "Take, O take those lips away," from Shakespeare's play "Measure for Measure." The second verse, which is not in Shakespeare's play, is possibly by John Fletcher, although both authors may have used a popular song from the time. John Wilson +••.••(...)) composed hundreds of songs as well solo music for lute; many of his songs were for the theatre, from 1614 onwards. 4K Ultra high definition video from the Voices of Music Great Poets concert, January, 2015. Anna Dennis, soprano; Hanneke van Proosdij, harpsichord; Elisabeth Reed, viola da gamba, and David Tayler, archlute. The meter of the first verse of this beautiful song appears at first glance to be six rhyming lines with seven syllables in each line, in trochaic meter, with the last syllable dropped to end the line with an accent; however, in the play, Shakespeare repeats the last three syllables of the last two lines: But my kisses bring again, bring again; Seals of love, but sealed in vain, sealed in vain. The repetition could indicate an echo effect, or even a refrain where everyone joins in, similar to the the songs in Ravenscroft's songbooks: both of these effects were quite popular in Shakespeare's time. Alternatively, the text could reflect a different, earlier version of the song. The repetition of the text highlights a subtle change of meter, so that the last lines could be read as two trochees followed by two cretics (a cretic is two accented syllables with a syllable in the middle, like "Peter Pan"). Elizabethan songs frequently make use of trisyllabic exclamations, for example, John Dowland's "Shall I sue? Shall I Praise, Shall I prove?" The second verse is not fashioned in the same style as the first, but it fits the music very well--despite claims to the contrary, for an interesting discussion of these issues see "The Oxford Handbook of Shakespeare's Poetry," by Jonathan Post. The song appears (along with many others) in the Drexel manuscript, circa 1640 (Drexel 4041), with a few minor changes to the text. Take, O take those lips away, That so sweetly were forsworn; And those eyes, the break of day, Lights that do mislead the morn: But my kisses bring again Seals of love, though seal'd in vain. Hide, O hide those hills of snow That thy frozen bosom bears, On whose tops the pinks that grow Are yet of those that April wears, But first set my poor heart free, Bound in those icy chains by thee. Visit us on the web at www.voicesofmusic.org
Jean Luc Viala Martine Dupuy Gioachino Rossini Simon Estes Cecilia Gasdia Schwartz Concert Spirituel Orchestre National France 1991
GIOACHINO ROSSINI, Moise et Pharaon. ou Le passage de la mer rouge, Moise, Simon Estes, Pharaon, Boris Martinovic, Amènophis, Jean-Luc Viala, Sinaide, Martine Dupuy, Anaï, Cecilia Gasdia, Marie, Sylvie Sulle, Eliezer, Guy Fletcher, Osiride, Fernand Dumont, Ophide, Franck Thezan, La voix mystèrieuse, Jacques Schwartz, Choeur du concert Spirituel, Orchestre national de France, Conductor, Alberto Zedda, 1991.
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