Salvatore Marchesi Vidéos
Baryton et professeur de chant
- baryton
- royaume d'Italie, royaume d'Italie
- traducteur ou traductrice, artiste lyrique, compositeur ou compositrice
Dernière mise à jour
2024-03-29
Actualiser
Andrée Esposito Esposito Donizetti Rossini Bellini Verdi Fanny Tacchinardi Persiani Persiani Mathilde Marchesi Nellie Melba Amaro Olympia 1835 1837 1889 1934 1952 1956 1959 1973
THE SONGBIRD: Andrée Esposito is a French lyric-coloratura soprano, born in Algiers in 1934. She studied music there and made her concert debut in 1952. She continued her studies at the Paris Conservatoire, with an operatic debut in 1956 in Nancy. She sang in opera houses across France and debuted at the Paris Opera as Violetta in 1959. Naturally, she specialized in the core French lyric-coloraturas roles (Manon, Marguerite, Mireille, Thaïs, Philine, Leila, Olympia, and so on), but also took lead roles in some Italian works and in the premieres of many contemporary works. This is a live recording from Toulon, with two High E-flats (rare notes for her). THE MUSIC: Donizetti's "Lucia di Lammermoor" has become one of the quintessential operas for a coloratura soprano / it's one of the most widely produced bel canto operas in the world and the title character is a benchmark role for this voice type. Donizetti composed it in 1835, which was a peak of his artistic and popular success / Rossini had recently retired, Bellini had just died, and Verdi had not yet had his first premiere ("Oberto" in 1837). Based on Walter Scott's novel, the opera premiered in Naples. The plot in a nutshell: after being tricked into marrying a man she doesn't love, and lied to that her true love has betrayed her, Lucia loses her mind and murders the groom on her wedding night. The mentally unstable young woman appears in a bloodied gown and sings a long, complex, and haunting "mad scene" mixing delusion and grief that is a tour-de-force of bel canto vocalism and gripping tragedy. The primary section of the mad scene culminates in a long cadenza with a flute (and occasionally the glass harmonica). Donizetti allowed the original Lucia, Fanny Tacchinardi Persiani, to improvise her own cadenza (she apparently had a talent for this). The most commonly performed cadenzas for the past 100+ years are based closely on three that were written and published by Mathilde Marchesi, including one for her famous student Nellie Melba when she sang the role in Paris in 1889. The cabaletta "Spargi d'amaro pianto" is included in this recording.
Cécile Louise Stéphanie Chaminade Félix Couppey Augustin Savard Martin Pierre Marsick Benjamin Godard Georges Bizet Isidor Philipp Blanche Marchesi Marchesi Pol Plançon Ambroise Thomas Moritz Moszkowski 1857 1892 1899 1901 1902 1903 1907 1908 1913 1944
Composer: Cécile Louise Stéphanie Chaminade (8 August 1857 – 13 April 1944) Work Title: Piano Sonata in C minor, Op.21 Performer: Joanne Polk (piano) 0:00 - I. Allegro appassionato 6:46 - II. Andante 13:49 - III. Allegro Chaminade was a French composer and pianist. Born in Paris, she studied at first with her mother, then with Félix Le Couppey on piano, Marie Gabriel Augustin Savard, Martin Pierre Marsick on violin, and Benjamin Godard in music composition, but not officially, since her father disapproved of her musical education. Her first experiments in composition took place in very early days, and in her eighth year she played some of her music to Georges Bizet, who was much impressed with her talents. She gave her first concert when she was eighteen, and from that time on her work as a composer gained steadily in favor. She wrote mostly character pieces for piano, and salon songs, almost all of which were published. She toured France several times in those earlier days, and in 1892 made her debut in England, where her work was extremely popular.[2]Isidor Philipp, head of the piano department of the Paris Conservatory championed her works. She repeatedly returned to England during the 1890s and made premieres there with singers such as Blanche Marchesi and Pol Plançon, though this activity decreased after 1899 due to bad critical reviews. Chaminade married a music publisher from Marseilles, Louis-Mathieu Carbonel, in 1901, and on account of his advanced age, the marriage was rumored to be one of convenience. He died in 1907, and Chaminade did not remarry. In 1908 she visited the United States, where she was accorded a hearty welcome. Her compositions were tremendous favorites with the American public, and such pieces as the Scarf Dance or the Ballet No.1 were to be found in the music libraries of many lovers of piano music of the time. She composed a Konzertstück for piano and orchestra, the ballet music to Callirhoé and other orchestral works. Her songs, such as The Silver Ring and Ritournelle, were also great favorites. Ambroise Thomas once said of Chaminade: "This is not a woman who composes, but a composer who is a woman." In 1913, she was awarded the Légion d'Honneur, a first for a female composer. In London in 1903, she made gramophone recordings of seven of her compositions for the Gramophone and Typewriter Company; these are among the most sought-after piano recordings by collectors, though they have been reissued on compact disk. Before and after World War I, Chaminade recorded many piano rolls, but as she grew older, she composed less and less, dying in Monte Carlo on 13 April 1944. Chaminade was relegated to obscurity for the second half of the 20th century, her piano pieces and songs mostly forgotten, with the Flute Concertino in D major, Op. 107, composed for the 1902 Paris Conservatoire Concours, her most popular piece today. Chaminade's sister married Moritz Moszkowski, also a well-known composer and pianist like Cécile. Many of Chaminade's piano compositions received good reviews from critics, but some of her other endeavors and more serious works were less favourably evaluated, perhaps on account of gender prejudices. Most of her compositions were published during her lifetime and were financially successful. Her music has been described as tuneful, highly accessible and mildly chromatic, and it may be regarded as bearing the typical characteristics of late-Romantic French music. Source: (http•••) Source videos: 1st movement: (http•••) 2nd movement: (http•••) 3rd movement: (http•••)
Giorgio Federico Ghedini Marchesi 1892 1965
Lentamente; Tranquillo e misurato RUGGERO MARCHESI, violino; FABIO MENCHETTI, pianoforte
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