Benjamin Britten Albert Herring, Op. 39 Vidéos
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2024-03-28
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Mati Kõrts Maschera Hoffmann Massenet Britten Estonian National Opera Olympia Vanemuine Theatre 1958 1962 1980 1983 1991 1999 2003
EVE RANDKIVI (born in 1958; also Eve Tasa or Eve Vahter) is one of the most outstanding sopranos of her generation in Estonia. She started her career at the Estonian National Opera in 1983 by singing the title role in the operetta by Kalman "The Violet of Montmartre". Thereafter followed Oscar in "Un ballo in maschera", Olympia in "Les contes d'Hoffmann", Adina in "L'elisir d'amore", Violetta in "La traviata", Gilda in "Rigoletto", The Queen of the Night in "Die Zauberflöte", the title role in "Manon" by Massenet, Hanna Glawari in "Die lustige Witwe" and many other roles. From 1991-1999 Eve Randkivi was the prima donna of the Vanemuine theatre in Southern Estonia. From 2003 she acts as a free-lance singer and teacher in Glasgow, Scotland. MATI KÕRTS (born in 1962) has been one of the leading tenors at Estonian opera stages since mid-1980's. His most remarkable roles include Alfredo in "La traviata", title roles in Xerxes by Händel and Albert Herring by Britten, don Ottavio in "Don Giovanni", Lenski in "Eugen Onegin", Eisenstein in "Die Fledermaus" and many others. This video is an excerpt from a production of "L'elisir d'amore" that was recorded at the Estonian National Opera in 1991. The stage director was Neeme Kuningas and the orcestra is conducted by Vello Pähn.
Raichev Christo Brambarov Malatesta Richard Strauss Benjamin Britten Rossini 1926 1944 1946 1950 1951 1955 1959 1982
Bulgarian baritone Michail Zidarov was born on 12 January 1926 in Burgas. As a youngster he worked back stage at the opera house and hung posters announcing the various opera productions. His first musical studies were in the music school in Varna. Later his teachers included Petar Raichev, Sabcho Sabev and Christo Brambarov. His debut was as Silvio in Pagliacci followed by performances as Figaro, Valentin, Galetsky, etc. He became one of the most important Bulgarian singers after 1944. Additional roles of his was Marcello, Malatesta, Almaviva, Rigoletto, Onegin, Renato and Papageno. The diversity of his repertoire is revealed by his performances in Ariadne Auf Naxos by Richard Strauss and Albert Herring by Benjamin Britten. In his 40-years career Zidarov sung Rossini's Figaro 117 times. Михаил Зидаров е роден на 12 януари 1926 г. в Бургас. Неговата трудова биография започва като сценичен уредник в Бургаския драматичен театър. Там е ангажиран и в миманса, както и в малки роли от спектаклите за деца. През 1946 г. любовта към сцената го отвежда в Силистра, където е стажант-артист в Общинския театър. Михаил Зидаров активно се включва и в дейността на самодейната оперета, където за първи път изпълнява главни роли. Година по-късно е вече артист в току-що създадената Варненска опера. Тогава учи и в Музикалното училище «Добри Христов». През 1950/1951 г. специализира в студия за млади оперни артисти в гр. София. През 1955 г. получава бронзов медал от Световния младежки фестивал във Варшава. През 1959 г. специализира в Школата за млади оперни певци на проф. Христо Бръмбаров Удостоен е с орден "Кирил и Методий" / ІІ и І ст., а през 1982 г. получава званието "заслужил артист". Михаил Зидаров в продължение на повече от 40 години е сред водещите солисти на Варненска опера. Репертоарът му включва над 60 баритонови партии. И днес се помнят неговите Жорж Жермон (от Травиата на Дж. Верди), Евгений Онегин (от едноименната опера на П.И. Чайковски), Шарплес (от Мадам Бътерфлай на Дж. Пучини), Валентин (от Фауст на Гуно), Ренато (от Бал с маски на Верди), Фигаро (от Севилският бръснар на Росини) и много други.
Joseph Ward Ward Preston Benjamin Britten Michael Tippett Jane Eaglen Joan Rodgers Rodgers Arthur Davies Joan Sutherland Barry Banks Jon Villars Andrew Collis Moore Jeffrey Black Williamson Bernard Herrmann Vaughan Williams Sir Adrian Boult Covent Garden 1932 1960 1962 1965 1966 1972 1986
Be My Love sung by Joseph Ward. Joseph Ward (born Preston, 1932) is an English tenor, formerly a baritone, who created roles in operas by Benjamin Britten and Michael Tippett. He has also made a career as a singing teacher / his pupils include Jane Eaglen, Joan Rodgers, Arthur Davies, Ian Caley, Rosalind Sutherland, Barry Banks, Jon Villars, Maria Pollicina, Andrew Collis the West-End star, Claire Moore and the distinguished Australian baritone Jeffrey Black. He started touring as a singer at the age of eight, entertaining the American troops during World War Two in England. He then spent time working in various professions, before he was asked to attend the Royal Manchester College of Music at the age of 17. As a baritone he created the role of Starveling in A Midsummer Night's Dream by Britten (1960), and in the same year sang the same composer's eponymous hero Billy Budd in the radio-broadcast premiere of the revised two-act version. He became principal baritone at The Royal Opera House, Covent Garden, making his debut there in 1962. He also created the role of Patroclus in Tippett's opera King Priam. He recorded as a baritone the role of Sid in Britten's Albert Herring, conducted by the composer. He subsequently transferred to the tenor repertoire and became Covent Garden's resident principal tenor. A friend of Joan Sutherland's, he was a principal tenor with the Sutherland-Williamson Grand Opera Company in a 1965 tour of Australia. In 1966 he appeared in the sole recording of Bernard Herrmann's only opera, Wuthering Heights, conducted by the composer. In 1972 he founded the Opera School at the Royal Northern College of Music in Manchester UK and subsequently became Head of Vocal Studies there in 1986. In Australia he has directed productions of Billy Budd and Vaughan Williams's The Pilgrim's Progress. He sang as a tenor in the first recording of the latter opera, conducted by Sir Adrian Boult.
Jennifer Vyvyan Handel Sir Adrian Boult Mozart Haydn Gerald Moore Moore Benjamin Britten Quint Kerr Lemon Steane Purcell Kathleen Ferrier Janet Baker Peter Pears Ian Partridge Philip Langridge Anthony Rolfe Johnson Rolfe Couperin Rita Streich Roy Henderson Henderson Pepusch Clayton Gluck Wigmore Hall 1925 1940 1947 1950 1953 1974
Jennifer Vyvyan, Soprano +••.••(...)) Georg Frideric Handel MESSIAH "There were shepherds... Rejoice greatly, O daughter of Zion" Conducted by Sir Adrian Boult My personal opinion: Many years ago I discovered at a flea market an old Jennifer Vyvyan record with Mozart and Haydn arias (now reissued on CD). I knew her name from the charming memoires of Gerald Moore ("Am I too loud?") and some other reviews in relation to classic English music. My next Vyvyan record was Britten's THE TURN OF THE SCREW - the original version with the priceless Pears as Quint. Vyvyan sang the role of the governess (played by Deborah Kerr in the eerie movie adaption of Henry James' novella). The literary model, as well as movie and opera, is the stroke of a genius: We never know, is the story (and the evil ghost of the child molester) real or only the figment of the governess' mind? Kerr in the movie is brilliant in her mixture of madness, anxiety and tender responsibility for the children. In the opera, Jennifer Vyvyan is even more oppressive. Actors use their gestures and facial expressions to bring a character to life, a singer in the studio has only his voice to give a stage figure vividness. And yet, by hearing Vyvyan, we believe we see the governess before our mind's eye. Her fragile voice, in combination with a "slide edge, a squeeze of lemon" (a wonderful definition I found in an article of 'The Gramophone'), displays the perfect assimilation of a role in such a way, that it is hard to imagine some phrases sung by another singer: "Miles, please speak to me, why don't you answer, Miles?" English music critic J. B. Steane obviously felt the same, writing: "The sound of Jennifer Vyvyan as the governess is virtually inseparable from the score. A certain bite, even an acidity, in the tone made Vyvyan a bracing singer, and her technique and general musicianship made her a reliable soloist in many recordings of Handel and Purcell". And again in view to Britten: "The writing and the voice are a perfect match". Jennifer Vyvyan stood in close connection to English music just as Kathleen Ferrier and Janet Baker, Peter Pears, Ian Partridge, Philip Langridge and Anthony Rolfe Johnson. Although expressive and eloquent, her voice possessed the typical English oratorio sound, surrounded by a touch of incense. The virtuosity of her Mozart concert arias is surprising. It is a singing of undistilled beauty, a bit austere and flute-like with little vibrato; audible, for instance, in the intonation of 'O toglietemi la vita, o lasciatemi il mio ben' in "Ah se in ciel, benigne stelle" or in the beginning of Francois Couperin's "Motet De L'Année Derniere". However, the fluency of her superb coloratura technique does not need to hide behind a Rita Streich, and gives us an impression of her significance as a Mozart singer in the 1950's (Konstanze and Donna Anna at the 'Sadlers Wells Opera', Electra in IDOMENEO at the Edinburgh Festival in a Glyndbourne production - unfortunately no Vyvyan-recording of "D'Oreste, d'Ajace" is available). Jennifer Vyvyan first played the piano, trained by Vivian Langrish and then switched to sing Mezzo. Roy Henderson, the teacher of Kathleen Ferrier, encouraged Vyvyan to take up her voice to the soprano key. After several student performances she joined the Glyndebourne Chorus in 1947. Soon later she had an audition at Wigmore Hall in front of Benjamin Britten - the beginning of a fruitful cooperation. Later that year she sang Jenny Diver in Britten's edition of THE BEGGAR'S OPERA by Pepusch and Gay, and Nancy in ALBERT HERRING - Vyvyan's first teamwork with Peter Pears. Vyvyan became what Pears already was: Britten's muse... The soprano found furthermore an important conductor in Ivan Clayton, who "helped me to form my musical taste", Vyvyan later said. In the late 1940's, the soprano's broadcast career began with a series of BBC appearances (including Handel's JEPTHA and Gluck's IPHIGÉNIE EN AULIDE). The first great success came 1953 with the role of Lady Rich in Britten's GLORIANA, written for the coronation of Queen Elizabeth II (who, how remarkable, is still on the throne). After that, Vyvyan earned the central role in TURN OF THE SCREW, with which she toured the next few years through Europe and North America. She also took part in the first staged RADAMISTO since Handel's own time. After her untimely death in 1974, the 'Daily Telegraph' described Jennifer Vyvyan as "one of the most distinguished British sopranos... impeccably stylish with a highly refined and sensitive musicianship". It may be, the legend of Ferrier and the media presence of Janet Baker outshined the fame of Vyvyan for posterity, but perhaps this tribute here is a little helpful to rediscover the soprano anew. Jennifer Vyvyan deserves it.
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