Joseph Haydn L'anima del filosofo Vidéos
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2024-04-14
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Helen Donath Franz Joseph Haydn Swensen Sylvia Greenberg Greenberg Thomas Quasthoff Paul Hansen Hansen Suzuki Weiss Leopold Hager Chor Bayerischen Rundfunks Münchner Rundfunkorchester 2016
Provided to YouTube by NAXOS of America L'anima del filosofo, Hob. XXVIII:13: Overture · Helen Donath Haydn: L'anima del filosofo, Hob. XXVIII:13 ℗ 2016 Orfeo Released on: 2016-01-01 Artist: Helen Donath Artist: Robert Swensen Artist: Sylvia Greenberg Artist: Thomas Quasthoff Artist: Paul Hansen Artist: Atzuko Suzuki Artist: Meng-Chia Eng Artist: Dankwart Siegele Artist: Wilfried Vorwold Artist: Jurgen Weiss Artist: Roland Kandlbinder Choir: Chor des Bayerischen Rundfunks Conductor: Leopold Hager Orchestra: Münchner Rundfunkorchester Composer: Franz Joseph Haydn Auto-generated by YouTube.
Joseph Haydn Christopher Hogwood Badini Academy Ancient Music 1997
Provided to YouTube by Universal Music Group Haydn: L'Anima del Filosofo (Orfeo ed Euridice) , Hob: XXVIII:13 - Overture · Academy of Ancient Music · Christopher Hogwood Haydn: Orfeo ed Euridice ℗ 1997 Decca Music Group Limited Released on: 1997-01-01 Producer: Christopher Raeburn Studio Personnel, Balance Engineer: James Lock Studio Personnel, Editor: Timothy Bull Composer: Joseph Haydn Author: Carlo Francesco Badini Auto-generated by YouTube.
Pinchgut Opera Vivaldi Andrew Johnston McDonald Nielsen Antony Walker Handel Purcell Monteverdi Rameau Mozart Charpentier Cavalli Haydn 1750 2000 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011
Pinchgut Opera was set up by accident. One day in early 2000, Alison Johnston, Anna Cerneaz, Erin Helyard, Anna McDonald and Liz and Ken Nielsen were talking, over coffee, about music. This was not unusual. We often did that. Someone wondered if there was a different way of doing opera. A way of putting the music first and having the other elements / sets, costumes, production / support the music but not get in its way. By the second cup of coffee we had agreed to set up an opera company. City Recital Hall Angel Place had recently opened and we thought it would be perfect / a fairly small space, where the audience would feel close to the musicians, and with a lovely acoustic for voice. Antony Walker, the already very well-known conductor, came on board, so we reckoned we had all of the artistic and business skills needed to produce and sell an opera. We had no strategic plan, just a rough budget for the first production. No government grants, just confidence that we would find enough people who wanted to help us. It was not intended that we would concentrate on Baroque opera. We wanted to give audiences the chance to hear Australia's young singers and musicians, many of whom live overseas but are happy to return here to perform. We started with Handel's Semele in 2002 / because we had some musicians who were very experienced in playing on period instruments in Baroque style. That was followed by Purcell's The Fairy Queen (2003), Monteverdi's L'Orfeo (2004), Rameau's Dardanus (2005), Mozart's Idomeneo (2006), Vivaldi's Juditha Triumphans (2007), Charpentier's David et Jonathas (2008), Cavalli's L'Ormindo (2009), Haydn's L'anima del filosofo (2010) and Vivaldi's Griselda (2011). All our productions have been broadcast by ABC Classic FM and all but one recorded for CD / originally by ABC Classics but recently by our own label Pinchgut LIVE. More operas were composed before 1750 than after. Except perhaps for a few from Handel, very few are performed these days. We think there is a huge treasure trove of marvellous works that Australian audiences have not seen. Cavalli, Vivaldi, Monteverdi, Rameau and Charpentier are almost unheard of, as opera composers, in this country. Other companies do the more familiar operas excellently; we want to help audiences discover something new. Perhaps in the future we will take the Pinchgut approach to works from the 20th or 21st century. Our aims have not changed much since the beginning. We've been joined along the way by Andrew Johnston, John Pitman and Genevieve Lang. We know that artistically we are working in a very fertile area and achieving very worthwhile things. We continue to be extremely grateful to our audience who buy tickets, to all those who very generously donate both time and money, and to our sponsors who have helped us out enormously. If you believe in what we are doing and are able to help, please get in touch. We call our supporters 'Heroes of Pinchgut' because without them we could not have got this far.
Lili Kraus Kraus Haydn Bach Beethoven 1732 1793 1809 1903 1938 1986
Part II Josef Haydn +••.••(...)): Andante and Variations in F minor, Hob.17/6 Recorded in 1938 Lili Kraus +••.••(...)), piano Franz Josef Haydn composed his Andante con variazioni for piano in F minor in 1793. Although he composed the works with pianist Barbara von Ployer in mind, there is reason to believe that the work was secretly dedicated to another woman altogether, Marianne von Genzinger, the woman thought to be Haydn's last great love. Genzinger was a fine pianist for whom he had already written the sublime Piano Sonata in E flat major, and his Andante con variazioni was composed shortly after Genzinger's death at 42 early in 1793. In his last letter to her, Haydn had asked her to send "the final big Aria in F minor" from his tragic opera L'anima del filosofo (The Spirit of the Philosopher), his setting of the Orpheus myth. In the Andante con variazioni, Haydn takes as one of his themes a modified version of a phrase from the final Aria "Perduto un' altra volta," the aria in which the inconsolable Orpheus, having lost his Eurydice, yearns for death. A set of double variations on a pair of themes alternating between Orpheus' theme in F minor and a consoling theme in F major, the Andante allows only two variations for each theme before the enormous and heartrending coda, a rhapsodic outpouring of grief and rage that ultimately collapses into a quiet, final leave-taking at the end. Not only is the Andante con variazioni the deepest and most profound set of variations for piano composed between Bach and Beethoven, it is Haydn's greatest work for piano and one of the high points of his entire oeuvre. ~ All Music Guide
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