Antonín Dvorák Stabat Mater, Op. 58 Vidéos
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2024-03-26
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Václav Talich Beno Blachut Czech Philharmonic Orchestra 2011
Provided to YouTube by The Orchard Enterprises Stabat Mater, Op. 58: Inflammatus et Accensus · Chzech Singers Choir · Antonín Dvorák · Václav Talich · Czech Philharmonic Orchestra · Marta Krasova · Drahomira Tikalova · Beno Blachut Dvorák: Stabat Mater, Op. 58 ℗ 2011 Past Classics Released on: 2011-08-01 Music Publisher: Saland Publishing Auto-generated by YouTube.
Pavlo Balakin Christoph Eschenbach Dvořák Carl Nielsen Odense Symphony Orchestra 2018
A.Dvořák ''Stabat Mater'' Aria - "Fac Ut Ardeat Cor Meum" Bass Pavlo Balakin Conductor Christoph Eschenbach Odense Symphony Orchestra Odense Philharmonic Chorus Concert in Carl Nielsen Hall in Odense ,Denmark November 2018
Verbruggen Verdi Peter Benoit Martinu Honegger Bucher Royal Flemish Opera 1925 1957 1963 1980 2014
MARIA VERHAERT IN MEMORIAM 1. Stridi la vampa from Verdi's Il Trovatore (early sixties, live) FLEMISH SONGS recorded at the end of her career 2. Moederken alleen (Emiel Hullebroeck) 3. Vlaanderen (with Herman Bekaert, baritone, composer Renaat Veremans) 4. Mijn moederspraak (Peter Benoit) The Lady in black. That's how we knew her as indeed every time mezzo soprano Maria Verhaert appeared in public she was stylishly dressed in an impeccable black dress. She was a stalwart of the Royal Flemish Opera in Antwerp -the city she was born in - where I heard her a couple of times. She got her vocal tuition in the music academy in Etterbeek from two legendary Munt/Monnaie singers : Dora Claeysens-Nordier (a mezzo as well) and Lucien van Obbergh a singer who needs no introduction to the 78 rpm collectors. In 1957 Verhaert was a laureate of the International singing competition in s'Hertogenbosch (IVC) and she made her debut at the Antwerp opera in 1963 appearing there until the 1980-ies. After her career she had a vocal studio in Antwerp. She passed away in a rest home in Zoersel on March 16, 2014. Maria Verhaert was married twice. Her first husband was called Verburggen hence the use of the name Verbruggen at the start of her career. Her second husband was called Ibens but she preferred to continue her career using her maiden name. She had three children. Her recordings include Flemish songs and Dvorak's Stabat Mater. Her roles included : Azucena, Brangane, Bersi, Erda, Fricka, Ortrud, Mary (Flying Dutchman), Marta (Mefistofele), The rape of Lucretia (title role), she also appeared in Martinu's Greek Passion and Honegger's Jeanne d'Arc au Bucher. Maria Verhaert also Golde (Anatevka) amongst others. (thanks go to Daniel Verbruggen for corrections and additions)
Tchaikovsky Nadezhda Krasnaya Gounod Rachmaninov Beethoven Mahler Bach Verdi Brahms Shaporin Rossini Bolshoi Theatre 1970 1972 1974 1976 1977 1983 2002
P.Tchaikovsky Don´t Ask Op. 57 No. 3 Words by J.W. Goethe, translated by A. Strugovshchikov People’s artist of Russia - Nadezhda Krasnaya ( soprano ) Vadim Fedorovtsev ( piano ) Nadezhda Krasnaya is laureate of Moscow prize 2002 year for rendition of 106 romances by P. Tchaikovsky Listen and buy albums by Nadezhda Krasnaya : (http•••) (http•••) (http•••) Nadezhda Krasnaya, People’s artist of Russia, first appeared in 1970, when being a student of Izmailova at the Moscow Conservatoire, she became a winner of the IV International Tchaikovsky Competition. In 1972 N. Krasnaya won Grand Prix at the International Vocalists Competition in Toulouse. In 1972 — 1976 she was a probationer at the Bolshoi Theatre where she performed such parts as of Tatiana in P. Tchaikovsky’s «Eugene Onegin», Marguerite in Gounod’s «Faust», Francesca in Rachmaninov’s «Francesca da Rimini». N. Krasnaya won recognition both from the public and critics in Bratislava in 1974. when she performed Tatiana in «Eugene Onegin». Since 1977 the singer has been concertizing. She performs solo parts in many symphonies and oratorios, such as L. van Beethoven’s 9th Symphony, G. Mahler’s 2nd and 4th Symphonies, J.S. Bach’s Mass in В minor, Requiems by Mozart, Verdi, Brahms; Shaporin’s «On the Kulikovo Field», Boiko’s «Vasili Terkin», Rachmaninov’s «Bells», «Stabat Mater» by Dvorak and Rossini. The singer’s chamber repertoire is extremely rich (25 concert programmes) including music of various styles and ages. In 1983 N. Krasnaya’s performing art was continued and developed by creative cooperation with the pianist V. Fedorovtsev, enlightened musician and excellent ensemble player. The singer’s possibilities are boundless. Pier singular soprano is equally warm and beautiful in all registers. She possesses both wonderful cantilena and coloratura. Her performing art is distinguished by clear mudulating, versatile tone-colours and dynamic variety. In particular, she is a master of marvelous pianissimo and at the same time her sound though tender is always supported; her fortissimo is never forced or shrilled. N. Krasnaya’s mastership is impressive and vivid. Her instrumental manner is typical of the 17th — 18th centuries’ music and she has rare for opera singer gift of performing chamber music. N. Krasnaya and V. Fedorovtsev were the first interpreters who realized and restored the entity of romances opuses by P. TChaikovsky. It has turned out that mary romances were more impressive when performed not as a separate piece but as cycle parts. N. Krasnaya and V. Fedorovtsev’s deep understanding of Tchaikovsky’s work includes researches as well. It’s concerned textology: studying manuscripts kept in Tchaikovsky’s House-Museum in Klin, which helped the musicians to avoid mistakes in music which are found in all publications. N. Krasnaya and V. Fedorovtsev’s performance of all Tchaikovsky’s romances in succession gives to the listeners the better idea of the great composer’s heritage.
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