Benjamin Britten The Rape of Lucretia, Op. 37 Vidéos
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2024-03-19
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Melisa Bonetti Bonetti Britten
Melisa Bonetti - Mezzo-soprano Jeremy Chan - pianist “Give Him This Orchid” from The Rape of Lucretia by Britten
Ruggero Leoncavallo Colin Davis Pierre Boulez Bernard Haitink Pereira Richard Rodney Bennett Jaroslav Kyzlink Smetana Montgomery Philip Glass Biel Schoenberg Britten Gluck Tchaikovsky Opernhaus Zürich Theater Wien Zürcher Kammerorchester
BVOF Conductor Darren Hargan explains the Ruggero Leoncavallo masterpiece Pagliacci. Darren was born in Ireland, Darren Hargan trained with a full scholarship at the Royal Academy of Music in London. He subsequently received a Master’s degree in conducting from the Conservatorio della Svizzera Italiana where he studied with renowned contemporary music specialist Arturo Tamayo, and Professor of conducting at the Zürcher Hochschule der Künste Marc Kissoczy. He has also participated in masterclasses with Colin Davis, Colin Metters, Pierre Boulez and Bernard Haitink. After conducting the world premiere of Gerard McBurney’s opera The Airman’s Tale in London, he was appointed to the position of assistant musical director at the Internationales Opernstudio, Zurich, and was engaged as pianist and vocal coach at the Opernhaus Zürich under Alexander Pereira. As assistant conductor he worked at the Wexford Opera Festival with Stewart Robinson for Richard Rodney Bennett’s The Mines of Sulphur, and with Jaroslav Kyzlink for Smetana’s Hubička. Later he assisted Kenneth Montgomery for Don Giovanni at Le Grand Théâtre de Genève, and Philip Glass for his opera In the Penal Colony with the Zürcher Kammerorchester. As a guest he has worked at the Theater Luzern and Theater Biel-Solothurn. His operatic repertoire includes Hansel and Gretel, La Bohème, Lucia di Lamermoor, L’Elisir d’amore, La Cenerentola, Le nozze di Figaro and La finta giardiniera, With his own ensemble he has conducted Schoenberg’s Pierrot Lunaire and Verklärte Nacht as well as Britten’s The Rape of Lucretia, The Turn of the Screw and a new production of A Midsummer Night’s Dream in Switzerland and England for the Britten Centenary. He has also conducted many projects with period instruments including a new production of Gluck’s Armide with French classical instruments. He has conducted the Karlsbader Sinfonieorchester in music by Tchaikovsky and stepped in at short notice to conduct Il barbiere di Siviglia in Lugano with an all-star cast. Darren was the assistant conductor for the production of Der fliegende Holländer at the Summer Opera Festival in Selzach. He has most recently worked as guest pianist and assistant conductor at Theater an der Wien.
Benjamin Britten Ryszard Minkiewicz Wiard Witholt Katarzyna Otczyk 2008
Bartlomiej Misiuda sings Tarquinius (Benjamin Britten "The rape of Lucretia"); Broadcasted by TV Mezzo on November 12, 2008 // Male Chorus- Ryszard Minkiewicz // Female Chorus- Yang Lee // Collatinus-Adam Palka // Junius-Wiard Witholt // Lucretia-Janja Vuletic // Bianca-Katarzyna Otczyk // Lucia-Julia Iwaszkiewicz // Conductor-Jose Maria Florencio // Stage director- Peter Telihay // Set designer- Robert Mencel // Costiumes designer - Edit Zeke //
Aksel Schiøtz Bach John Forsell Jussi Björling Ferrando Handel Haydn Beethoven Britten Peter Pears Schumann Mogens Wöldike Bentzon 1906 1930 1933 1939 1940 1946 1968 1975
Aksel Schiøtz +••.••(...)) was a remarkable Danish tenor, and later, baritone. Born in Roskilde, he spent most of his formative years in the town of Hellerup, just north of Copenhagen. The young man had always had an interest in music and began singing Danish songs and German lieder while still in high school. His architect father, however, felt that the boy should concentrate on something more practical. With that in mind, Schiøtz earned his Master of Arts in languages and literature (with a Minor in singing and pedagogy) from the University of Copenhagen in 1930 and set about earning a living as a schoolteacher. When he wasn’t in the classroom, however, the young teacher continued singing, albeit as an amateur. Schiøtz was cantor at Copenhagen’s Helligåndskirken and the Christiansborg Slotskirke and soloed with the Copenhagen University Choir. He also studied with baritone John Forsell, the teacher of fellow Scandinavian tenor Jussi Björling. Schiøtz’s professional operatic debut didn’t come about until 1939…when he was nearly 33 years of age. The role was Ferrando in Mozart’s Così fan Tutte at Copenhagen’s Royal Danish Theater. Schiøtz was never offered a long term contract with the company and he only made a few infrequent guest appearances. The tenor travelled to the U.S. later that year for appearances at the World’s Fair in New York and San Francisco. By the time he returned to Europe, war had broken out, restricting travel. As a consequence, Schiøtz remained in Scandinavia for the duration of the war. He made his mark as an oratorio specialist, with appearances in Handel’s Messiah and Samson, Haydn’s The Seasons and The Creation, Mozart’s Requiem, Bach’s St. Matthew Passion, Beethoven’s Missa Solemnis and others. During the German occupation of Denmark, he also became popular with radio audiences for his broadcasts as “The Masked Tenor”. Following the war, Schiøtz was ready to resume his international career. In July of 1946, he accepted an invitation to Glyndebourne to sing in the world premiere of Britten’s The Rape of Lucretia, alternating the role of Male Chorus with Peter Pears. Shortly after the production, Schiøtz began to suffer from hearing loss and complained of dizziness. Doctors diagnosed a tumor on the acoustic nerve. Surgery, albeit risky, was necessary to save the tenor’s life. Schiøtz underwent the operation in September of 1946 and although he survived, he was left with permanent paralysis of the right side of the face. Resumption of his singing career seemed out of the question…but Aksel Schiøtz refused to give up easily. After a two-year recovery period, the courageous tenor made a comeback of sorts, with a solo recital at Copenhagen’s Oddfellows Hall, the site of his very first solo recital a dozen years earlier. The concert, consisting of Schumann’s Dichterliebe and several sets of Danish art songs, was a tremendous success and an encore performance had to be quickly scheduled. Concert appearances in New York, Montreal and Edinburgh followed, with a curious public flocking to see and hear the Danish tenor. Schiøtz was able to extend his career for a few years by switching his vocal range to baritone. The paralysis, however, left Schiøtz in a slightly impaired state and he never completely recovered his voice. By the mid-1950s, he had returned to his original profession, teaching, and held several collegiate positions including Professor of Voice at the University of Minnesota, Royal Conservatory of Music in Toronto and University of Colorado in Boulder. In 1968 he was appointed Professor at the Royal Danish School of Educational Studies in Copenhagen but continued to give masterclasses in the U.S. During the final years of his life, Schiøtz battled cancer, a souvenir of the radioactive contrasting dye used in the treatment of his brain tumor some three decades earlier. He succumbed to the disease on April 19, 1975 at the age of 68. In spite of the cruel tricks that fate had played on him, Aksel Schiøtz was a remarkable artist who refused to let adversity stand in his way. Even after the effects of his illness had stripped the voice of much of its luster, the artistry and musicality remained intact. Schiøtz made hundreds of recordings, mostly between 1933 and 1946, consisting of arias from opera and oratorio, lieder, Danish art songs and even American standards. Here, Schiøtz gives a masterful reading of “Frohe Hirten, eilt, ach eilet” from J.S. Bach’s Weihnachtsoratorium. The tenor is accompanied by Mogens Wöldike, harpsichord, Johan Bentzon, flute, and Alberto Medici, cello in this recording, made for HMV in Copenhagen on March 20, 1940.
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