Nikolaï Rimski-Korsakov Mozart et Saliéri Vidéos
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2024-04-13
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Salieri Rimsky Korsakov Pierre Bleuse Opéra Lyon 2017
MOZART ET SALIERI Opéra de Rimsky-Korsakov Direction musicale : Pierre Bleuse Mise en espace : Jean Lacornerie Orchestre, Chœur et et Studio de l'Opéra de Lyon Une production Opéra de Lyon 2017 (http•••)
Alexander Dargomyzhsky Mark Ermler Bolshoy Vladimir Atlantov Aleksandr Vedernikov Vedernikov Tamara Sinyavskaya Vlasov Tamara Milashkina Monk Vladimir Filippov Filippov Tchaikovsky César Cui Alexander Serov Modest Mussorgsky Salieri Rimsky Korsakov Sergei Rachmaninov Borodin 1898 1901 1904 1977
1977, Mark Ermler (conductor), Bolshoy Theatre Orchestra and Chorus, Vladimir Atlantov (Don Juan), Aleksandr Vedernikov (Leporello), Tamara Sinyavskaya (Laura), Vladimir Valaitis (Don Carlos), Vitaliy Vlasov, Vitaliy Nartov (Guests), Tamara Milashkina (Doña Anna), Lev Vernigora (Monk), Vladimir Filippov (Commander) Style As an opera, The Stone Guest is notable for having its text taken almost word-for-word from the literary stage work which inspired it, rather than being set to a libretto adapted from the source in order to accommodate opera audiences which would have expected to hear arias, duets, and choruses. Consequently, the resulting musical drama consists almost entirely of solos given in turn by each character, as in a spoken play. This procedure amounted to a radical statement about the demands of spoken and musical drama and was seen by some as a devaluation of the musical genre of opera, and distinct from the literary genre of spoken drama. Tchaikovsky in particular was critical of the idea; in response to Dargomyzhky's statement that "I want sound directly to express the word. I want truth",[4] he wrote in his private correspondence that nothing could be so "hateful and false" as the attempt to present as musical drama something that was not.[citation needed] The value of the opera The opera was written at the time of the formation of realism in art, and The Stone Guest corresponded to this genre. Dargomyzhsky used the ideas of the society of The Five (composers). The great innovations of this opera are seen in its style. It was written without arias and ensembles (not counting two small romances sung by Laura[5]) and it is entirely built on the "melodic recitative" of the human voice put to music. This was immediately noted by Russian musical specialists César Cui[6] and Alexander Serov.[7] Opera has been greatly important in the formation of Russian musical culture which, built entirely on European music, found its place in the world's musical culture. The innovations begun by Dargomyzhsky were continued by other composers. Firstly, they were taken up and developed by Modest Mussorgsky who called Dargomyzhsky "the teacher of musical truth".[8] Later the principles of Dargomyzhsky’s art were embodied by Mussorgsky in his operas Boris Godunov and Khovanshchina; Mussorgsky continued and strengthened this new musical tradition. Other Russians operas have also incorporated the same stylistic elements. These include Mozart and Salieri by Rimsky-Korsakov in 1898; Feast in Time of Plague by Cesar Cui in 1901; and The Miserly Knight by Sergei Rachmaninov in 1904. The modern Russian music critic Viktor Korshikov thus summed up: There is not the development of Russian musical culture without the The Stone Guest. It is three operas - Ivan Soussanine, Ruslan and Ludmila and The Stone Guest have created Mussorgsky, Rimsky-Korsakov, and Borodin. Soussanine is an opera, where the main character is the people, Ruslan is the mythical, deeply Russian intrigue, and The Guest, in which the drama dominates over the softness of the beauty of sound.[9] Music Consequently, certain musical novelties of The Stone Guest stem from the above basic premise of composition. For instance, there is little recurrence of whole sections of music in the course of the work; like the verse itself, the resulting music is primarily through-composed. (Rimsky-Korsakov's orchestral introduction to the opera, however, draws on themes from the music that Dargomyzhsky composed.) As if to emphasize this feature, the composer wrote the entire opera without key signatures, even though it would be possible (and practical) to re-notate the work with key signatures to reflect the various tonalities through which it passes. In addition, the opera was novel for its time in its use of dissonance and whole-tone scales. Dargomyzhky's attempts at realism and faithfulness to the text resulted in what has been referred to as a "studied ugliness"[citation needed] in the music, apparently intended to reflect the actual ugliness in the story. Cui termed the stylistic practice of the work as "melodic recitative" for its balance between the lyric and the naturalistic.
Salieri Joseph Shore Shore Motyka Curry Zakariasen Bruce Yarnell Nicolai Rimsky Korsakov Schulman Leighton Chamber Opera Theater New York 1981 1982
Joseph Shore is Salieri, Ron Gentry is Mozart; Tad Motyka was the stage director and Henry Molicone conducted for THE CHAMBER OPERA THEATRE OF NEW YORK. "Chamber Opera Theatre's performance and production were thoroughly admirable, including the staging by Thaddeus Motyka. Both operas (sung clearly in good English translations) were cast with splendid singing actors, including Ron Gentry as a Mozart not far removed from Tim Curry and Joseph Shore as a Salieri on an Ian McKellen level. Indeed when Shore broke down while reading the opening of Mozart's Requiem after giving his rival poison, it was a moving moment of truth comparable to anything in AMADEUS." Bill Zakariasen, NEW YORK DAILY NEWS “Baritone Joseph Shore was superb as Salieri, his voice full and flexible, his acting on a level rarely seen on the operatic stage." Peter Goodman, NEWSDAY “MOZART AMD SALIERI is almost a monologue for Salieri and it was handled beautifully here, both musically and dramatically, by Joseph Shore, the 1981 winner of the Bruce Yarnell Memorial Award for Baritones." Glenne Currie,UNITED PRESS INTERNATIONAL "Joseph Shore...gave a fully engrossing, richly characterful portrayal, breaking into very convincing desolation at the climactic moment when Mozart's Requiem wells up from the orchestra." Jack Heimenz, MUSICAL AMERICA "The one-act, two role opera is Rimsky-Korsakov's setting of Pushkin's dramatic poem in which Salieri, not Mozart, is the leading figure, a role both commandingly and sensitively dominated at the opening performance last night by baritone Joseph Shore." Dave Spangler, THE BERGEN RECORD "The dominant role is that of Salieri, with Joseph Shore giving a really awesome portrayal of the court musician who can never fathom or hope to gain one spark of Mozart's genius. Jennie Schulman, BACKSTAGE "Joseph Shore excels in his role of Salieri. He is as fine an actor as he is a singer, and both talents combine in an altogether convincing and moving performance...one would want to attend the production as much for the theatrical value of their performance as for any other reason." Louis Morra, WKCR RADIO “Joseph Shore's Salieri provided the evening’s finest singing and one hopes to hear much more of him in the future." Byron Belt, NEWHOUSE NEWSPAPERS “The only voice I can single out for distinction is the sonorous baritone of Joseph Shore." Noah Tree, AFTER DARK "...an uncluttered, serious and moving account of Rimsky-Korsakov's one act MOZART AND SALIERI... Baritone Joseph Shore sang and acted a powerfully tragic Salieri." Leighton Kerner, THE VILLAGE VOICE "The singers in Mozart and Salieri were Ron Gentry, as the young genius, and Joseph Shore, as his jealous rival. They fulfilled their assignments so expertly that one flinched inwardly at the implication that Salieri murdered Mozart....." Allen Hughes, THE NEW YORK TIMES "Mozart and Salieri was so highly acclaimed when Chamber Opera performed it last season, that they decided to bring it back with the original principals, Joseph Shore as Salieri and Ron Gentry as Mozart. Both were perfectly cast to the extent where you feel no one will ever be equal to their flawless characterizations. Shore, in particular, possesses a dramatic baritone voice of limitless range. In contrast, Gentry displays a clear, crisp tenor which suits ideally. Both gentlemen conveyed convincing historical portraits of the rival Maestri/Composers." Jennie Schulman, BACKSTAGE ".... a very satisfying work .... Good acting blended well with good singing; the characters came alive. It was a wonderful production." FESTA, The First Guide to the Performing Arts in the U.S.A. ".... Chamber Opera Theater of New York ... focuses on rarely done works. All of its productions are meticulously rehearsed and minutely detailed. They have to be: in this intimate setting, everything appears close up ... the strong baritone voice of Joseph Shore (Salieri) and the silvery tenor of Ron Gentry (Mozart) complemented each other nicely ,.. The success of such groups is heartening...." Annalyn Swan, NEWSWEEK "Chamber Opera Theater of New York revived its hit production of Nicolai Rimsky-Korsakov's Mozart and Salieri at the Marymount Manhattan Theater Wednesday night ... Mozart and Salieri’s expert production and performance (once again starring Ron Gentry and Joseph Shore in the leads) were fully up to last season's high musical and dramatic standards." Bill Zakariasen, NEW YORK DAILY NEWS Joseph Shore presents Salieri as a sort of Everyman turned bad, capable of arousing sympathy and self-recognition from the audience. He also sings the part beautifully, which doesn't hurt. THE FORT WORTH STAR TELEGRAM
Nikolai Rimsky Korsakov Salieri Samuil Samosud Lemeshev Alexander Pirogov 1830 1897 1948
"Mozart and Salieri" is a one-act opera in two scenes by Nikolai Rimsky-Korsakov, written in 1897 to a Russian libretto taken almost verbatim from Alexander Pushkin's 1830 verse drama of same name. 1948, Samuil Samosud (conductor), Stanislavsky and Nemirov-Danchenko Music Theatre, Sergey Lemeshev (Mozart), Alexander Pirogov (Salieri).
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