Evelyn Mandac Video
cantante lirico
Anniversari
- soprano
- Stati Uniti d'America
Ultimo aggiornamento
2024-05-09
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Tchaikovsky Jennie Tourel Evelyn Mandac John Reardon Falcone Robert Jones Adler Gamble 1971
Rare video footage of a trimmed down version of the opera (sung in English) with Vahan Khanzadian (Gherman); Jennie Tourel (Countess); Evelyn Mandac (Lisa); John Reardon (Tomsky); Mary Lou Falcone (Masha); Jack Trussel (Naroumov); James Fleetwood (Sourin); and Robert Jones (Tchekalinsky). Peter Herman Adler produced and conducted this performance by the National Education Television's Opera Theater. Following the abridged performance of the opera are scenes from rehearsals beginning at 1:26:32 Link to my Jennie Tourel playlist: (http•••) And a link to my John Reardon playlist: (http•••) Donal Henahan of the New York Times wrote: "If you must risk shrinking an opera down to the size of a television screen, what better gamble than Tchaikovsky's “Queen of Spades?” National Educational Television's Opera Theater last night presented the melodrama known to operagoers as “Pique Dame” on Channel 13, in a tightly edited English language version produced and conducted by Peter Herman Adler, an experienced hand at opera telescoping. All things considered, Mr. Adler and his director, Kirk Browning, walked away from the table winners. In planning his 90‐minute version, Mr. Adler went back to letters Tchaikovsky wrote his brother and librettist, Modeste, and to the Pushkin story that the opera uses in modified form. He eliminated arias and characters such as Prince Yeletzky and Pauline, shrank a few scenes including the pastoral Interlude, and otherwise shifted emphasis. Thus, the young officer, Gherman (well sung but flatly por trayed by the tenor Vahan Kahnzadian) appears from first to last as an insensitive, stupid man, a greed‐driven automaton. In the Tchaikovsky opera, as contrasted with N.E.T. Opera Theater's remodeling of it, Gherman is genuinely if fleetingly attracted to Lisa, the granddaughter of the ancient Countess whom he literally frightens to death while trying to force her to disclose a secret formula for winning at cards. For television, Gherman is simplified; he never sees Lisa as other than a tool he can use cynically to gain the presence of the Countess. Fortunately, the shift in emphasis throws the role of the Countess into sharp relief, and in Jennie Tourel the television, opera has an actress capable of sustaining any weight. Her death, a searing scene, takes on both a human horror and a symbolism that only a great actress could hold in balance. In fact, as should be demonstrated more often, putting opera on the intimate screen gives it certain great theatrical advantages: the close shots of Miss Tourel's fear‐contorted face in her confrontation with Gherman give a dimension to the opera that one could not experience in the opera house without military binoculars. And scenes such as Gherman's nightmare, though, indifferently done this time, do suggest what might be achieved at such moments (conventional opera is full of them, of course). “Queen of Spades” works especially well on television in the quasi‐choreographed scenes around the gaming table, when John Reardon and other adept actors are moving naturally and singing with conviction. Can even see into their card hands in the climactic game. A few scenes teeter toward grand‐opera laughability when Gherman's moment to sing his stormy aria of greed arrives, he steps out on a balcony while a thunderstorm is raging. Musically, comment on televised opera is difficult, but Evelyn Mandac, the Lisa, sang with an apt innocence, and the others seemed equally capable. Orchestral parts were safely in the hands of members of the Boston Symphony. Easily the musical highpoint, however, was the Countess's singing, in French, of her nostalgic little air from a Gretry opera, a touching moment to which Miss Tourel gave a special radiance. Over the years, televised opera has raised as many questions as it has answered. Is this really opera? If so, whose? How seriously should one, for instance, take a production that bends the original as far as N.E.T. Opera Theater's “Queen of Spades”? In the light of Mr. Adler's production, the answer would have to be that intelligent deviation is more acceptable than mindless adherence to score and libretto, if the qualification is added that televised opera must be granted a special license by the nature of its theatrical and musical limitations. In its way, “Queen of Spades” is a model of how to break the rules and win."
Evelyn Mandac Seiji Ozawa Carl Orff Boston Symphony Orchestra 1969 1987
Provided to YouTube by RCA Gold Seal Carmina Burana: Amor volat undique · Evelyn Mandac · Seiji Ozawa · Carl Orff Orff - Carmina Burana ℗ Originally Recorded 1969. All rights reserved by BMG Music Released on: 1987-10-08 Associated Performer: Boston Symphony Orchestra Associated Performer: Children's Chorus of the New England Conservatory Auto-generated by YouTube.
Franz Schubert Ventris Cox Evelyn Mandac 1825
Ave Maria by Franz Schubert Although Franz Schubert originally wrote this in 1825 as "Ellens dritter Gesang" for his "Das Fräulein vom See," a work inspired by Sir Walter Scott’s famous poem "The Lady of the Lake," it is now widely sang for liturgical purposes in Latin. Latin Lyrics Ave Maria Gratia plena Maria, gratia plena Maria, gratia plena Ave, ave dominus Dominus tecum Benedicta tu in mulieribus Et benedictus Et benedictus fructus ventris Ventris tuae, Jesus. Ave Maria Ave Maria Mater Dei Ora pro nobis peccatoribus Ora pro nobis Ora, ora pro nobis peccatoribus Nunc et in hora mortis Et in hora mortis nostrae Et in hora mortis nostrae Et in hora mortis nostrae Ave Maria English Translation Hail Mary, full of grace, Mary, full of grace, Mary, full of grace, Hail, Hail, the Lord. The Lord is with thee. Blessed art thou among women, and blessed, Blessed is the fruit of thy womb, Thy womb, Jesus. Hail Mary! Hail Mary, Mother of God, Pray for us sinners, Pray, pray for us; Pray, pray for us sinners, Now and at the hour of our death, The hour of our death The hour of our death, The hour of our death Hail Mary. Soprano and Video Producer: Chiara Cox Accompaniment: Industria dell'Opera Italiana (P) G7Music Kind permission of G7Music Background Photo: Gdefreitas and Jeremy Seto With deepest gratitude to my dearest mentors, Evelyn Mandac and Michael Dadap, for teaching me to be a better musician, performer, and human being. For more information: www.chiaracox.com (http•••) (http•••) #soprano #lyric #filipinoamerican #chiaracox #filipino #american #classicalmusic #music #sacredmusic #franzschubert #avemaria #notredame #church #newyorkcity #morningside #greenscreen #latin #virginmary #prayer #churchmusic
César Franck Cox Mendoza Ramon Rivera Evelyn Mandac 2022
Panis Angelicus by César Franck The words of this sacred song are from the hymn "Sacris solemniis" written by St. Thomas Aquinas (1225–1274) to describe the belief that the bread and wine being consumed during mass by parishioners have been converted to the real Body and Blood of Christ. Subtitles are included in the video but here are the Latin lyrics and the English translations as well. Latin Lyrics Panis angelicus Fit panis hominum Dat panis coelicus Figuris terminum O res mirabilis Manducat dominum Pauper, pauper Servus et humilis English Translations May the Bread of Angels Become bread for mankind; The Bread of Heaven puts All foreshadowings to an end; Oh, thing miraculous! The body of the Lord will nourish the poor, the poor, the servile, and the humble. Soprano, Choir Vocals, and Video Producer: Chiara Cox Accompaniment: Industria dell'Opera Italiana (P) G7Music Kind permission of G7Music Background Photo: Jona Mendoza, Ramon F Velasquez, Wayne S. Grazio, Froi Rivera With deepest gratitude to my dearest mentors, Evelyn Mandac and Michael Dadap, for teaching me to be a better musician, performer, and human being. For more information: www.chiaracox.com (http•••) (http•••) Copyright 2022 Chiara Cox #soprano #lyric #filipinoamerican #chiaracox #filipino #american #classicalmusic #music #sacredmusic #cesarfranck #panisangelicus #sanagustin #church #Philippines #stthomasaquinas #greenscreen #latin #sacrissolemniis #transubstantiation
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- cronologia: Cantanti lirici (Nord America).
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