Émile Bourdon Video
Ultimo aggiornamento
2024-04-26
Aggiorna
Feodor Ivanovich Chaliapin Clarke Bourdon Dmitri Usatov Gounod Sergei Rachmaninoff Mussorgsky Boito Arturo Toscanini Sir Thomas Beecham Pabst Private Opera Bolshoi Theatre Scala Metropolitan Opera 1847 1872 1873 1894 1896 1899 1901 1907 1913 1914 1918 1921 1926 1927 1929 1931 1932 1933 1937 1938 1943 1984
Feodor Chaliapin sings - in English - 'The Blind Ploughman,' with orchestra conducted by Rosario Bourdon, recorded by Victor in the Church Building at Camden, New Jersey, on 18 March 1927. From Wikipedia: Feodor Ivanovich Chaliapin... February 13 [O.S. February 1] 1873 – April 12, 1938) was a Russian opera singer. Possessing a deep and expressive bass voice, he enjoyed an important international career at major opera houses and is often credited with establishing the tradition of naturalistic acting in his chosen art form... Feodor Chaliapin was born into a peasant family...His vocal teacher was Dmitri Usatov +••.••(...)). Chaliapin began his career at Tbilisi and at the Imperial Opera in Saint Petersburg in 1894. He was then invited to sing at the Mamontov Private Opera (1896–1899); he first appeared there as Mephistopheles in Gounod's Faust, in which role he achieved considerable success. At Mamontov Chaliapin met Sergei Rachmaninoff +••.••(...)), who was serving as an assistant conductor there and with whom he remained friends for life. Rachmaninoff taught him much about musicianship, including how to analyze a music score, and insisted that Chaliapin learn not only his own roles but also all the other roles in the operas in which he was scheduled to appear. With Rachmaninoff he learned the title role of Mussorgsky's Boris Godunov, which became his signature character. Chaliapin returned the favour by showing Rachmaninoff how he built each of his interpretations around a culminating moment or 'point.' Regardless of where that point was or at which dynamic within that piece, the performer had to know how to approach it with absolute calculation and precision; otherwise, the whole construction of the piece could crumble and the piece could become disjointed. Rachmaninoff put this approach to considerable use when he became a full-time concert-pianist after World War I. On the strength of his Mamontov appearances, the Bolshoi Theatre in Moscow engaged Chaliapin, and he appeared there regularly from 1899 until 1914. During the First World War of 1914-1918 Chaliapin also appeared regularly at the Zimin Private Opera in Moscow. In addition, from 1901, Chaliapin began touring in the West, making a sensational debut at La Scala that year as the devil in a production of Boito's Mefistofele, under the baton of one of the 20th century's most dynamic opera conductors, Arturo Toscanini. At the end of his career, Toscanini observed that the Russian bass was the greatest operatic talent with whom he had ever worked. The singer's Metropolitan Opera debut in the 1907 season was disappointing due to the unprecedented frankness of his stage acting; but he returned to the Met in 1921 and sang there with immense success for eight seasons, New York's audiences having grown more broad-minded since 1907. In 1913 Chaliapin was introduced to London and Paris by the brilliant entrepreneur Sergei Diaghilev +••.••(...)), at which point he began giving well-received solo recitals in which he sang traditional Russian folk-songs as well as more serious fare... Chaliapin toured Australia in 1926, giving a series of recitals which were highly acclaimed...[He remained] perpetually outside Russia after 1921. He still maintained, however, that he was not anti-Soviet. Chaliapin initially moved to Finland and later lived in France. Cosmopolitan Paris, with its significant Russian émigré population, became his base, and ultimately, the city of his death. He was renowned for his larger-than-life carousing during this period, but he never sacrificed his dedication to his art. Chaliapin's attachment to Paris did not prevent him from pursuing an international operatic and concert career in England, the United States, and further afield. In May 1931 he appeared in the Russian Season directed by Sir Thomas Beecham at London's Lyceum Theatre. His most famous part was the title role of Boris Godunov (excerpts of which he recorded 1929–31 and earlier)... Largely owing to his advocacy, Russian operas...became well known in the West. Chaliapin made one sound film for the director G. W. Pabst, the 1933 Don Quixote. The film was made in three different versions – French, English, and German, as was sometimes the prevailing custom. Chaliapin starred in all three versions, each of which used the same script, sets, and costumes, but different supporting casts... In 1932, Chaliapin published a memoir, Man and Mask: Forty Years in the Life of a Singer... Chaliapin's last stage performance took place at the Monte Carlo Opera in 1937, as Boris. He died the following year of leukaemia, aged 65, in Paris, where he was interred. In 1984, his remains were transferred from Paris to Moscow in an elaborate ceremony. They were re-buried in the Novodevichy Cemetery... I transferred this side from an Australian laminated pressing of HMV DA 993.
Paul Hindemith Yves Castagnet Colzani Bourdon Notre Dame Paris 2019
March 31, 2019 - Brione s. Minusio (Switzerland) / AOL - Amici dell'organo di Locarno ...in concerto! (http•••) (http•••) / YVES CASTEGNET - ORGAN Notre-Dame de Paris / Paul HINDEMITH Organ Sonata no. 2 / Pipe Organ built by COLZANI (http•••) / ORGAN SPECS/ I - Great/ Principale 16' Principale 8' Salicionale 8' Flauto 8' Flauto 4' Ottava 4' Duodecima 2.2/3' Decimaquinta 2' Ripieno grave II Ripieno acuto II Cornetto 2' - 1.3/5' Tromba 8'/ II - Récit/ Bourdon 8' Flûte harmon. 8' Gambe 8' Voix céleste 8' Flûte traversière 4' Octavin 2' Bombarde 16' Hautbois 8' Trompette harm. 8' Clairon harm. 4'/ Pedale/ Contrabbasso 16' Soubasse 16' Basso 8' Bombarde 16'/ Couplers/ II/I (16'/8'/4') II/II (16'/4') I/P II/P (16'/8'/4')
Anton Heiller Heiden Bourdon 1923 1972 1979 1995 2019
Darko Pleli spielt Variationen über Nun komm, der Heiden Heiland (1972) von Anton Heiller +••.••(...)http•••) / an der Großen Mathis-Orgel in der Basilika "Unserer Lieben Frau zu den Schotten" in Wien I am 23. Dezember 2019. Darko Pleli performs Anton Heiller´s Variations on Nun komm, der Heiden Heiland +••.••(...)http•••) / . Recorded on the Great Mathis Organ (1995, III - P, 49) at the Benedictine Abbey of Our Beloved Lady of the Scots in Vienna on Dezember 23rd, 2019. Panasonic Lumix GH5 + Panasonic DMW-XLR1E XLR-Mikrofonadapter + Sontronics STC-1S Stereopaar Kleinmembran Niere BL + Windows Movie Maker Darko Pleli www.youtube.com/c/DarkoPleli www.facebook.com/plelidarko www.darkopleli.at www.gegenklang.at Mathis 1995, III-P/49 I. Hauptwerk / C - g''' Praestant 16’ Octave 8’ Flûte harmonique 8’ Viola di Gamba 8’ Octave 4’ Spitzflöte 4’ Quinte 2 2/3’ Doublette 2’ Mixtur 4fach 2’ Scharff 4fach 1’ Cornet 5fach 8’ Bombarde 16’ Trompette 8’ II. Rückpositiv / C - g ''' Gedackt 8’ Quintade 8’ Praestant 8’ Rohrflöte 4’ Sesquialtera 2fach 2 2/3’ Octave 2’ Waldflöte 2’ Larigot 1 1/3’ Cymbel 4fach 1’ Cromorne 8’ Tremulant III. Schwellwerk / C - g ''' Bourdon 16’ Portunalflöte 8’ Salicional 8’ Voix celeste 8’ Principal 4’ Flûte octaviante 4’ Salicet 4’ Nasat 2 2/3’ Octavin 2’ Terz 1 3/5’ Plein-jeu 5fach 2 2/3’ Trompette harmonique 8’ Basson-Hautbois 8’ Voix humaine 8’ Clairon harmonique 4’ Tremulant Pedal / C - f ' Untersatz 32’ Principal 16’ Subbass 16’ Octavbass 8’ Bourdon 8’ Choralbass 4’ Hintersatz 5fach 4’ Posaune 16’ Zinke 8’ Clairon 4’ SPIELHILFEN (v.l.n.r.): El. Koppelhife, externer Sequenzer, Einzelzungen ab, SW - HW, RP - HW, SW - RP, RP - PED, SW - PED, HW -PED, Crescendo an, Sequenzer - Schwelltritt - Crescendo - Anches SW, Anches HW, Anches PED, Anches RP, externer Sequenzer, mechanische Spiel- und Registertraktur mit elektronischer Setzeranlage (Doppeltraktur)
Anton Heiller Schuen Bourdon 1923 1967 1979 1995 2020
Manuel Schuen spielt "Ecce lignum crucis - eine Meditation für Orgel" (1967) von Anton Heiller +••.••(...)http•••) / beim Eröffnungskonzert der Herbstsaison 2020 der Konzertreihe GEGENKLANG an der Großen Mathis-Orgel in der Basilika "Unserer Lieben Frau zu den Schotten" in Wien I am 14. September 2020. Manuel Schuen performs Anton Heiller´s "Ecce lignum crusis" +••.••(...)http•••) / . Recorded on the Great Mathis Organ (1995, III - P, 49) at the Benedictine Abbey of Our Beloved Lady of the Scots in Vienna on September 14th 2020. Panasonic Lumix GH5 + Panasonic DMW-XLR1E XLR-Mikrofonadapter + Sontronics STC-1S Stereopaar Kleinmembran Niere BL + Windows Movie Maker Darko Pleli www.youtube.com/c/DarkoPleli www.manuelschuen.at www.darkopleli.at www.gegenklang.at Mathis 1995, III-P/49 I. Hauptwerk / C - g''' Praestant 16’ Octave 8’ Flûte harmonique 8’ Viola di Gamba 8’ Octave 4’ Spitzflöte 4’ Quinte 2 2/3’ Doublette 2’ Mixtur 4fach 2’ Scharff 4fach 1’ Cornet 5fach 8’ Bombarde 16’ Trompette 8’ II. Rückpositiv / C - g ''' Gedackt 8’ Quintade 8’ Praestant 8’ Rohrflöte 4’ Sesquialtera 2fach 2 2/3’ Octave 2’ Waldflöte 2’ Larigot 1 1/3’ Cymbel 4fach 1’ Cromorne 8’ Tremulant III. Schwellwerk / C - g ''' Bourdon 16’ Portunalflöte 8’ Salicional 8’ Voix celeste 8’ Principal 4’ Flûte octaviante 4’ Salicet 4’ Nasat 2 2/3’ Octavin 2’ Terz 1 3/5’ Plein-jeu 5fach 2 2/3’ Trompette harmonique 8’ Basson-Hautbois 8’ Voix humaine 8’ Clairon harmonique 4’ Tremulant Pedal / C - f ' Untersatz 32’ Principal 16’ Subbass 16’ Octavbass 8’ Bourdon 8’ Choralbass 4’ Hintersatz 5fach 4’ Posaune 16’ Zinke 8’ Clairon 4’ SPIELHILFEN (v.l.n.r.): El. Koppelhife, externer Sequenzer, Einzelzungen ab, SW - HW, RP - HW, SW - RP, RP - PED, SW - PED, HW -PED, Crescendo an, Sequenzer - Schwelltritt - Crescendo - Anches SW, Anches HW, Anches PED, Anches RP, externer Sequenzer mechanische Spiel- und Registertraktur mit elektronischer Setzeranlage (Doppeltraktur)
o
- cronologia: Compositori (Europa). Interpreti (Europa).
- Indici (per ordine alfabetico): B...