Richard Strauss Die Ägyptische Helena, Op. 75 Vidéos
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2024-03-25
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Britten Richard Strauss Thomas Hampson Ricarda Merbeth Andreas Schager Eva Mei Franz Welser Möst Lajovic Ferruccio Tagliavini Robavs Castellani Lena Lootens Teatro Scala Moscow City Symphony Orchestra 2016 2019
Slovenian soprano Tajda Jovanovič belongs to a young and exciting generation of European musicians, impressing the audience with her voice, stage presence and wide repertoire, ranging from opera, songs, operettas, contemporary music to Slovene folk songs and musicals. Tajda Jovanovic was born in Kranj, Slovenia, and started her music education at the Ljubljana Academy of Music. She completed her masters’ degree with Distinction in June 2016 and was honoured with the Preseren Award by the University of Ljubljana for her outstanding achievements in the concert and opera field. She continued her training at the Zagreb Academy of Music. During her academic years she was also accepted as a member of the Slovenian Chamber Music Theater and performed at Slovenian National Opera House.Tajda made her operatic debut at Teatro alla Scala Milano in Richard Strauss’ Egyptian Helen in November 2019 where she shared the stage with Thomas Hampson, Ricarda Merbeth, Andreas Schager and Eva Mei. Throughout her career, Tajda has sung under the baton of renowned conductors, such as Franz Welser-Möst, Sergey Tararin, Uros Lajovic, Paolo Spadaro, Simon Dvorsak. She has so far performed as Natasha in War and Peace, Petra in The Unfortunate Lover, Pamina in The Magic Flute, Governess in The Turn of the Screw, Marta in Ada, Susanna and Marcelina in Marriage of Figaro and Dienerin der Aithra in Die ägyptische Helena. She is an award winner of various competitions such as “Ferruccio Tagliavini”, “Giovani Musicisti”, “Bruna Spiler” and the Manhattan International Music Competition. The soprano is a popular soloist in Europe, the Middle East, and Far East, and has so far performed with Teatro alla Scala Orchestra, Russian Philharmonic - Moscow City Symphony Orchestra, Orchestra of Slovene National Theatre Opera and Ballet Ljubljana, Israelian Ashdod Symphony Orchestra, Slovenian Army Orchestra, Slovenian Philharmonic choir and others.Tajda has participated in masterclasses with vocal pedagogues and coaches, such as James Vaughan, Ellen Rissinger, Scott McCoy, Helena Lazarska, Matjaz Robavs, Sonia Mazar, Marina Levite, Muriel Corradini, Alfredo Castellani, Snezana Nena Brzakovic, Mabel N. Kikat and Lena Lootens.
Richard Georg Strauss Richard Wagner Franz Liszt Gustav Mahler Lachmann Wilde Bülow Bayreuth Pauline Ahna Arturo Toscanini Felix Mendelssohn Zweig Meiningen Court Orchestra Bavarian State Opera Vienna State Opera Deutsches Nationaltheater Staatskapelle Weimar Bayreuth Festival Berlin State Opera Salzburg Festival 1864 1870 1883 1885 1886 1889 1894 1898 1913 1919 1920 1924 1933 1948 1949
Strauss Blue Danube Richard Georg Strauss 11 June 1864 – 8 September 1949) was a German composer, conductor, pianist, and violinist. Considered a leading composer of the late Romantic and early modern eras, he has been described as a successor of Richard Wagner and Franz Liszt. Along with Gustav Mahler, he represents the late flowering of German Romanticism, in which pioneering subtleties of orchestration are combined with an advanced harmonic style. Strauss's compositional output began in 1870 when he was just six years old and lasted until his death nearly eighty years later. While his output of works encompasses nearly every type of classical compositional form, Strauss achieved his greatest success with tone poems and operas. His first tone poem to achieve wide acclaim was Don Juan, and this was followed by other lauded works of this kind, including Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, Don Quixote, Ein Heldenleben, Symphonia Domestica, and An Alpine Symphony. His first opera to achieve international fame was Salome which used a libretto by Hedwig Lachmann that was a German translation of the French play Salomé by Oscar Wilde. This was followed by several critically acclaimed operas with librettist Hugo von Hofmannsthal: Elektra, Der Rosenkavalier, Ariadne auf Naxos, Die Frau ohne Schatten, Die ägyptische Helena, and Arabella. His last operas, Daphne, Friedenstag, Die Liebe der Danae and Capriccio used libretti written by Joseph Gregor, the Viennese theatre historian. Other well-known works by Strauss include two symphonies, lieder (especially the Four Last Songs), the Violin Concerto in D minor, the Horn Concerto No. 1, Horn Concerto No. 2, his Oboe Concerto and other instrumental works such as Metamorphosen. A prominent conductor in Western Europe and the Americas, Strauss enjoying quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire. He was chiefly admired for his interpretations of the works of Liszt, Mozart, and Wagner in addition to his own works. A conducting disciple of Hans von Bülow, Strauss began his conducting career as Bülow's assistant with the Meiningen Court Orchestra in 1883. After Bülow resigned in 1885, Strauss served as that orchestra's primary conductor for five months before being appointed to the conducting staff of the Bavarian State Opera where he worked as third conductor from 1886–1889. He then served as principal conductor of the Deutsches Nationaltheater and Staatskapelle Weimar from 1889–1894. In 1894 he made his conducting debut at the Bayreuth Festival, conducting Wagner's Tannhäuser with his wife, soprano Pauline de Ahna, singing Elisabeth. He then returned to the Bavarian State Opera, this time as principal conductor, from 1894–1898, after which he was principal conductor of the Berlin State Opera from 1898–1913. From 1919–1924 he was principal conductor of the Vienna State Opera, and in 1920 he co-founded the Salzburg Festival. In addition to these posts, Strauss was a frequent guest conductor in opera houses and with orchestras internationally. In 1933 Strauss was appointed to two important positions in the musical life of Nazi Germany: head of the Reichsmusikkammer and principal conductor of the Bayreuth Festival. The latter role he accepted after conductor Arturo Toscanini had resigned from the position in protest of the Nazi Party. These positions have led some to criticize Strauss for his seeming collaboration with the Nazis. However, Strauss's daughter-in-law, Alice Grab Strauss [née von Hermannswörth], was Jewish and much of his apparent acquiescence to the Nazi Party was done in order to save her life and the lives of her children (his Jewish grandchildren). He was also apolitical, and took the Reichsmusikkammer post in order to advance copyright protections for composers, attempting as well to preserve performances of works by banned composers such as Mahler, and Felix Mendelssohn. Further, Strauss insisted on using a Jewish librettist, Stefan Zweig, for his opera Die schweigsame Frau which ultimately led to his firing from the Reichsmusikkammer and Bayreuth. His opera Friedenstag, which premiered just before the outbreak of World War II, was a thinly veiled criticism of the Nazi Party that attempted to persuade Germans to abandon violence for peace. Thanks to his influence, his daughter-in-law was placed under protected house arrest during the war, but despite extensive efforts he was unable to save dozens of his in-laws from being killed in Nazi concentration camps. In 1948, a year before his death, he was cleared of any wrongdoing by a denazification tribunal in Munich. Johann Strauss,Johann,Strauss,II,Sul,bel,Danubio,blu,valzer,On,the,Beautiful,blue,Danube,Blue Danube,Waltz,An,der,schönen,schonen,blauen,Donau,Walzer,El,Azul,Vals,Le,Beau,Bleu,Valse,Vienna,Wien,classical music,Classical,Music,Neujahrskonzert,New,Year's,Concert,Concerto,di,Capodanno,
Friedrich Plaschke Holder Richard Wagner Bayreuth Richard Strauss Hofoper Bayreuth Festival 1875 1900 1911 1937 1952
THIS IS THE SUCCESSOR CHANNEL TO "liederoperagreats" WHICH WAS RECENTLY TERMINATED. Friedrich Plaschke--bass-baritone No recording information / "Friedrich Plaschke (7 January 1875 – 4 February 1952) was a Czech operatic bass-baritone. From 1900 to 1937 he was a member of the Dresden Hofoper. He also appeared as a guest artist with companies in the United States, the Bayreuth Festival, and at the Royal Opera House in London. At the Dresden Opera, he appeared in five Richard Strauss premieres: Feuersnot, Salome, Die ägyptische Helena, Die schweigsame Frau, and Arabella. He was married from 1911 to the soprano, Eva von der Osten, who in that year created the role of Octavian in Strauss's Der Rosenkavalier. [Details from Kutsch and Riemens Großes Sängerlexikon.]"; wikipedia
Elisabeth Rethberg Heil Mozart Rosa Ponselle Giuseppe Verdi Richard Tauber Johann Strauss II Beniamino Gigli Giovanni Martinelli Giacomo Lauri Volpi Volpi Richard Strauss Arturo Toscanini Wagner George Cehanovsky Steane Metropolitan Opera Covent Garden Salzburg Festival 1892 1894 1915 1921 1922 1925 1928 1930 1934 1939 1942 1976 1986 1992
German Soprano Elisabeth Rethberg +••.••(...)) / Heil'ge Quelle / Le Nozze di Figaro (Mozart) / Recorded: 1930 / The German soprano Elisabeth Rethberg (22 September 1894 / 6 June 1976) was an opera singer of international repute active from the period of the First World War through to the early 1940s. Some hailed her as the greatest soprano of her day. (Her chief contemporary rival at the New York Metropolitan Opera was the Italian-American soprano Rosa Ponselle, who possessed a bigger and darker-hued voice.) While she did not break any new ground dramatically or vocally, Rethberg was just as much at home singing in Italian or German. She employed her pure, stunningly beautiful and good-sized lyric voice with such focus that she never seems obscured in old recordings by either loud orchestras or larger-voiced partners. She slotted ideally into delicate Mozartian roles yet was one of the greatest Verdi sopranos that the Metropolitan Opera has ever known. Her singing of the more lyrical Wagnerian soprano parts such as Sieglinde, Eva, Elsa and Elisabeth was unsurpassed in its day and probably since. Rethberg was born Elisabeth Sättler in Schwarzenberg. She studied at the conservatory in Dresden with Otto Watrin, and she made her operatic debut in that German city opposite Richard Tauber in 1915 in the operetta Der Zigeunerbaron by Johann Strauss II. Rethberg sang with the Dresden Opera until 1922. In that year, she made her Metropolitan Opera debut as Aida in Giuseppe Verdi's opera of that name. She moved to the USA and remained with the Metropolitan for 20 seasons, singing some 30 roles on stage and in the recording studio, opposite such famous tenor colleagues as Beniamino Gigli, Giovanni Martinelli and Giacomo Lauri-Volpi. She also was engaged by London's Royal Opera House, Covent Garden, where she sang in 1925 and in 1934-1939. The Salzburg Festival in Austria heard her too, as did audiences in Milan and elsewhere in Europe. Rethberg returned often to Dresden where, in 1928, she created the title role in Richard Strauss's Die ägyptische Helena. The brilliantly dynamic if dictatorial Italian conductor Arturo Toscanini was a particular admirer of Rethberg's vocal talent. During the latter half of the 1930s, Rethberg's voice lost some of its bloom, owing perhaps to the repeated singing of Aida and other heavy roles.[1] She retired from the stage in 1942. Yet even at her least impressive (for example, in a 1942 recording of Verdi's Otello), she remained a well-schooled singer and an elegant reminder of the Metropolitan Opera's great period during the 1920s and early 1930s, when her powers were at their peak. In her magnificent prime, Rethberg was remarkable for the combination of a seemingly delicate, feminine sound with a capacity for great vocal intensity, to which she added impressive breath control and dynamic light and shade (from piano to forte notes). She made many splendid recordings of arias and ensemble pieces in Germany and the United States between 1921 and the outbreak of the Second World War. Many of these are available on modern CD transfers. The most fascinating records of her art, however, may be the live Metropolitan recordings that capture her (admittedly, past her zenith) in complete operas by Mozart, Verdi and Wagner. These recordings are somewhat difficult to obtain in America because the Met forbids their sale in the United States, owing to royalty concerns. They include Mozart's Marriage of Figaro and Verdi's Il Trovatore, Simon Boccanegra and Otello. Rethberg was married to the Russian-born Met comprimario singer George Cehanovsky +••.••(...)). She died in Yorktown Heights, New York in 1976 at the age of 81. References ^ JB Steane. Voices: singers and critics. London: Duckworth; 1992: pp.125--135. External links Biograph and discography from Cantabile-Subito.de (wikipedia)/ /
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