Cameron Carpenter Video
organista e compositore statunitense
- organo
- Stati Uniti d'America
- musicista, compositore
reti sociali
Ultimo aggiornamento
2024-05-09
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Cameron Carpenter Carpenter Greene Johann Sebastian Bach McKnight Charles Ives Percy Grainger George Gershwin 2012
Cameron Carpenter performs J. S. Bach's "The Great Fugue in G Minor" live on Q2 Music in The Greene Space. 4/20/2012 / The virtuosic composer-organist Cameron Carpenter joins host Terrance McKnight for a kaleidoscopic tour through the beautiful and diverse repertoire for organ, from legendary works by Johann Sebastian Bach to adaptations of Charles Ives and Percy Grainger to Carpenter's original compositions and arrangements of songs by George Gershwin and Leonard Cohen. In his exclusive New York recital this season, Carpenter provides a high-octane embarrassment of riches, all performed on a new cutting-edge digital organ by a commanding musician dubbed a "force of nature" by Alex Ross of The New Yorker and an "ambitious radical who plays with unrelenting scope, vigor and imagination" by The Advocate. To watch video form the full show visit: (http•••) www.TheGreeneSpace.org www.WQXR.org
Pierwszy singiel z płyty, która nie wiadomo jak się będzie nazywać i nie wiadomo kiedy się ukaże. Jedziemy z nim w trasę koncertową z zaprzyjaźnionymi kapelami: 16.02 Warszawa, Chmury + KOLUMBIA (http•••) 19.02 Szczecin, Zoo (http•••) 03.03 Gdańsk, Wydział Remontowy + GRA SÓW (http•••) 04.03 Olsztyn, Carpenter Inn + GRA SÓW (http•••) "Love Song" nagraliśmy W Dobrym Tonie Studio w dniach 20-21 listopada 2020. Realizacja nagrań, miks & master: Marcin Buźniak, Piotr Siwicki. Muzyka: WHOISWHO Tekst: Kuba Staniak Grafiki i wizualizacje: Łukasz Waberski i Joanna Chojnowska ((http•••) WHOISWHO to: Aleksander Pelc - bas/wokal Bartosz Rogaliński - gitara Filip Skaziński - perkusja Kuba Staniak - klawisze/wokal (http•••) (http•••) Tekst utworu dedykuję mojej Żonie, Agatce.
Harvard Pops Orchestra Guo Feinstein John Williams Carpenter Nichols Ernst Toch Aram Kachaturian Leroy Anderson Sánchez Maes Peters Brooke Pak 2021
PLEASE NOTE: Turning on subtitles is recommended A violin prodigy and her trumpet playing roommate must find her missing breakfast cereal before her debut performance with The Harvard Pops Orchestra. Tune in live to follow our protagonists on their adventure in this live adaptation of Popscast: CEREAL. Episode 1: The Missing Cereal (2:36) Popscast Theme - Rachel Guo; Allen Feinstein Inspector Gadget Theme - Shuki Levy and Haim Saban; Arranged by Georgiy Kent Imperial March - John Williams; Arranged by Maya Bharara Episode 2: The Adams House Kitchen (13:41) Popscast Theme - Rachel Guo; Allen Feinstein Addams Family - Vic Mizzy; Arranged by Georgiy Kent X-Files Theme - Mark Snow; Arranged by Sebastian Garcia Episode 3: The Cemetery (23:17) Popscast Theme - Rachel Guo; Allen Feinstein Thriller - Rod Temperton; Arranged by Rachel Guo Halloween Theme - John Carpenter; Arranged by Sebastian Garcia Gregorian Chant - Arranged by Georgiy Kent; Lyrics by Harry Sage Episode 4: The Depths of Lamont (30:37) Popscast Theme - Rachel Guo; Allen Feinstein Gregorian Chant - Arranged by Georgiy Kent; Lyrics by Harry Sage Scooby Doo - Ted Nichols; Arranged by Elida Kocharian Anatomical Fugue - Inspired by Ernst Toch; Arranged by Sam Cohen Spooky Scary Skeletons - Andrew Gold; Arranged by Elida Kocharian Episode 5: The Concert (38:07) Popscast Theme - Rachel Guo; Allen Feinstein Sabre Dance - Aram Kachaturian; Arranged by Georgiy Kent Concerto - Rachel Guo; Allen Feinstein Sleigh Ride - Leroy Anderson Actors Thea: Mireya Sánchez-Maes Seth: David Peters Ashley: Brooke Newbury Professor Treble: Harry Sage Dean Rakesh Khurana: himself Remy the Cat: Georgiy Kent Professor Spookyooky: Maya Bharara Pledges: Harry Sage, Georgiy Kent Bones Kid: Michael Pak HRO Conductor: Maya Bharara Pops Conductor: Allen Feinstein Narrator: Georgiy Kent The voice of Thea’s violin: Skye Park The voice of Seth’s trumpet: Forrest Flesher The voice of Ashley’s violin: Michael Pak
Francesco Marconi Carpenter Bartolini Boito Gounod Julián Gayarre Italo Campanini Verdi Moor Maschera Donizetti Teatro Real Madrid 1821 1853 1878 1888 1894 1903 1908 1916
Francesco Marconi +••.••(...)) was born in Rome to an ironmonger and his wife. Raised in humble circumstances, Marconi (“Checco” to all those who knew him) began his working life as a carpenter, building coffins, among other things. In his later years, Marconi was quite proud of his working class beginnings and enjoyed showing off the handiwork of his youth to visiting friends. As he toiled away at the carpentry shop, Marconi could often be found singing to himself. The teen also enjoyed sharing his voice with the local girls. One of his favorite pastimes was sauntering down to the banks of the Tiber, where he would serenade young ladies, hoping to catch their attention. Eventually, Marconi caught the attention not of a young lady but of the esteemed baritone, Ottavio Bartolini +••.••(...)). At the time of his first meeting with Bartolini, the 22-year-old Marconi was a largely uneducated and unsophisticated young man who sang on instinct rather than technique. Bartolini took the young singer under his wing and agreed to instruct him, free of charge, and help him to build the foundations of a solid technique. After about a year of study, Marconi made his debut as Faust in Boito’s Mefistofele at Florence’s Teatro Pagliano. Appearances in other small, provincial houses followed until Marconi’s “official” debut as Gounod’s Faust at the Teatro Real in Madrid in 1878. He was hailed as the successor to the beloved Julián Gayarre and was soon on his way to a major international career. Marconi was quite popular on the stages of major houses in Milan, Naples, Rome, Barcelona, Lisbon, Paris, London, St. Petersburg, Moscow, Warsaw, Buenos Aires, Montevideo and other world opera centers. His one appearance in New York seems to have been a failure, however. In 1888, famed tenor and impresario Italo Campanini contracted Marconi to sing the title role in Verdi’s Otello at the New York Academy of Music. Marconi’s voice was completely unsuited to the demands of the Moor and the production was an unmitigated disaster. After only two performances, Marconi bowed out and Campanini stepped into the role. Marconi excelled in the lyric tenor realm and built a repertoire that included such roles as Fernando in La Favorita, Carlo in Linda di Chamounix, Edgardo in Lucia di Lammermoor, Nemorino in Elisir d’Amore, Gennaro in Lucrezia Borgia, Don Ottavio in Don Giovanni, Arturo in I Puritani, Elvino in La Sonnambula, Riccardo in Ballo in Maschera, the Duke in Rigoletto, Alfredo in La Traviata, Romeo in Romeo e Giulietta and Lionel in Martha. Marconi’s was essentially a lyric tenor voice that took on spinto characteristics as he matured. However, the tenor did not carefully guard his vocal resources and took on such roles as Radames in Aïda, Don José in Carmen, Raoul in Gli Ugonotti and the title role in Tannhäuser, which were simply beyond the scope of his instrument. By the early 1890s, Marconi was beginning to show signs of vocal deterioration and by the time he reached his early fifties, his stage career was essentially over. Luckily, the phenomenal wealth of his lucrative career enabled the tenor to retire at a relatively early age. Marconi enjoyed a decade of leisure, occasionally lending his voice to a benefit concert or charity event, and died at his palatial Roman estate in 1916 at the age of 63. Francesco Marconi made just over two dozen recordings for the Gramophone & Typewriter Company. Sadly, the 50-year-old tenor’s voice was already in decline, sounding dry and somewhat unsteady when he first stepped before the horn at G&T’s Milan studios in 1903. By the time of his final sessions in May of 1908, Marconi’s voice was often throaty and even hoarse and the top notes are quite effortful. That being said, there are flashes of brilliance that give the listener an understanding of why this tenor was one of the most important operatic artists of the 19th century. In this recording, Marconi sings Fernando's cavatina, "Una vergine, un angel di Dio" from Donizetti's La Favorita. The tenor seems to have a bit of a frog in the throat and runs into vocal trouble. While ascending to the high B natural (the piece is transposed a full tone downward) in the cadenza, Marconi's voice fails him and he quickly substitutes an alternate phrase. This was recorded for G&T in Milan in May of 1908.
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- cronologia: Compositori (Nord America). Interpreti (Nord America).
- Indici (per ordine alfabetico): C...