Francesco Lamperti Video
musicista, insegnante e scrittore italiano
- Regno d'Italia
- musicista, scrittore, insegnante di musica, maestro
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2024-04-28
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Ignacy Dygas Puccini Witold Aleksandrowicz Stanisław Moniuszko Richard Wagner Giovanni Battista Lamperti Siegfried Wagner Salomea Kruszelnicka Tschaikowsky Stanisław Gruszczyński Lublin Fryderyk Chopin Teatro San Carlo Teatro Colón Marinsky Theater 1881 1905 1907 1911 1912 1915 1917 1918 1924 1937 1944 1945 1947
Replayed with the speed as high as 83 rpm ! Recorded acoustically ca 1912 by the great Polish tenor - Ignacy Dygas for the Polish Syrena Grand Record label. The record is in a very good state but the type of shellac and/or pressing method were of rather poor quality what can be observed in the excess of hiss. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ignacy Dygas, Polish singer (tenor). Born 1881 in Warsaw, died 1947 Warsaw. Initially, he was educated as a baritone at the Warsaw Conservatory. In 1905, he made his debut at the Warsaw Opera in the baritone party. He continued his vocal education under the direction of Witold Aleksandrowicz, who re-trained him as a tenor. As a tenor, he performed on May 10, 1905 in the role of Jontek in Halka by Stanisław Moniuszko at the Warsaw Opera (already under his own name). In 1907 he left for Italy. In Parma, after the creation of the title role in Lohengrin, Richard Wagner, he was so successful that he was engaged to 14 subsequent performances there. In Milan, he was still exercising his voice with Giovanni Battista Lamperti. He performed in many Italian cities - Genoa, Milan, Naples (Teatro San Carlo), Rome, Bologna and Palermo, as well as in Spain and Argentina (he triumphed in Teatro Colón in Buenos Aires, including Siegfried in the Wagner's Twilight of Gods to have been a partner of Salomea Kruszelnicka-Biccioni in the role of Brunhilda). He also guested in Warsaw, and in the years 1911-14 he constantly cooperated with the Warsaw Opera. During the First World War, Ignacy Dygas was in Russia. He was first a soloist of the private Zimin’s Theater, later the Sołodownikow’s Theater. In the years 1915-16 he was engaged by the Marinsky Theater in St. Petersburg, where he became famous as a performer of Herman's role in Piotr Tschaikowsky's The Queen of Spades. In 1917 he sang at the Grand Theater in Moscow. In 1918 he returned to Warsaw and became a member of the Warsaw Opera ensamble, sharing together with Stanisław Gruszczyński the position of the first heroic tenor. In 1924 he toured the United States (New York, Chicago, Detroit) and Europe (Czechoslovakia, Yugoslavia, Austria, Scandinavian countries). In 1937 he retired from the scene due to his illness. During World War II, the artist stayed in Warsaw. In 1944 he worked as a teacher in Lublin. In 1945 he took the singing class at the Fryderyk Chopin School of Music in Warsaw. Soon after the war he appeared for the last time in public during the celebrations of the 40th anniversary of his artistic activity. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Schubert David Scull Bispham Francesco Lamperti Lamperti Bayreuth Longueville André Messager Jean Reszke Emma Albani Jean Lassalle Gustav Mahler Ignace Paderewski Ethel Smyth Lillian Nordica Olive Fremstad Ernestine Schumann Heink Schumann Clara Butt Hans Richter Arthur Nikisch Felix Mottl Anton Seidl Walter Damrosch Macmillan Metropolitan Opera Covent Garden 1891 1892 1896 1903 1912 1920
Schubert: “Der Wanderer” by David Bispham 1912 This record is proof that older Columbia 78 rpm records sound really great when they are in near mint condition. For a 1912 acoustic recording the voice sounds very realistic and clear on this record. And, Bispham signed the wax master of the 12 inch record which shows clearly on the runout area of the pressed record. This was a somewhat common thing for classical artists on the Columbia label. David Bisphan was an American operatic baritone born in the mid-19th century. He studied in Italy and then sang extensively in England and the USA as well as across Europe. An incredible voice not all that well known these days. He sang at the Metropolitan opera, mostly in Wagner roles, from 1896 to 1903. After 1903 he sang few opera roles. Instead he performed in recitals and sang and recorded art song and lieder. “David Scull Bispham studied singing in Florence with Luigi Vannuccini and in Milan with Francesco Lamperti. He also studied in Bayreuth. In 1891 he was selected from among fifty applicants to perform the rôle of the Duc de Longueville in a London performance of André Messager's LA BASOCHE, marking his first professional appearance on any stage. He was engaged by the Royal Opera at Covent Garden to sing the part of Beckmesser in DIE MEISTERSINGER VON NÜRNBERG in June 1892. This production was also to feature Jean de Reszke, Emma Albani, and Jean Lassalle in the other leading rôles. De Reszke fell ill during rehearsals, and the production had to be cancelled. On the day of the cancellation, however, Bispham was asked to substitute on the following day as Kurwenal in TRISTAN UND ISOLDE, under Gustav Mahler. This was Bispham's first Wagnerian rôle. His success there brought him a contract for Covent Garden, where he appeared, primarily in Wagnerian rôles, for all but two of the next ten seasons. Bispham made his American début, once again in Wagner, at the Metropolitan Opera on18 November, 1896, as Beckmesser. He remained with the company until 1903, singing mainly Wagnerian rôles; he also appeared in the American premières of Ignace Paderewski's MANRU and Ethel Smyth's DER WALD. He was a close personal friend of American soprano Lillian Nordica, with whom he travelled to Australia on her last tour before her death. He was also a frequent professional colleague of both De Reszke brothers (Jean and Edouard), Olive Fremstad, Ernestine Schumann-Heink and Dame Clara Butt, among singers, and Hans Richter, Arthur Nikisch, Felix Mottl, Anton Seidl and Walter Damrosch, among conductors. Bispham wrote a memoir of his professional career called A QUAKER SINGER'S RECOLLECTIONS, published by Macmillan in January 1920.” - Zillah Dorset Akron DAHR Link: (http•••) Wikipedia Link: (http•••)
Everyone knows that the breath is a very important piece of the vocal puzzle. But what many don't recognize is the breath is only productive if it is feeding the vibration of the vocal cords. The breath is not helpful, in fact it is harmful, if it is just going out without being connected to the voice. The historical pedagogue Lamperti talked about this principle and described it with the statement "the breath is the bow". This statement relates the voice to a violin, where the breath is the bow, the diaphragm the fingers, the abdomen the hand and the vocal cords the string. (I think that is how it was, I'm going from memory) In this video I describe and demonstrate how the voice and breath relate to each other and interact in a balanced way that gives us the impression that the breath acts like the bow. If you have questions or comments about this or other material of mine write that in the comments below. If this makes sense and is the kind of thing you want to learn more about consider joining the VocalWisdom.com Private Community. There are many video lessons like this on various topics helping you to understand your voice. It is only $5/month and you can quit at any time. Go to (http•••) for more info. Thanks!
Pinto Rovere Egger Brambilla Luca Conforti Lamperti Lupo Poli Sartori Peretti Steiner
Vengo dal basso è disponibile in download e streaming qui: (http•••) Scopri le hit del momento su (http•••) Prodotto da Laioung Scritto e diretto da Angelo Guarracino Una produzione video Evimedia Studio Regia: Angelo Guarracino Ass.te alla Regia: Ivan Sapone Tecnico luci, ass.te RED e aiuto Regia: Roberto Pinto Direzione della Fotografia: Angelo Guarracino Scenografie, costruzioni, arredi e light design: Ivan Sapone Ass.te sul set: Cristian Sapone / Giovanni Cazzaniga / Alessandro Dalla Rovere Montaggio e post produzione: Angelo Guarracino Ass.te al montaggio: Ivan Sapone Fotografie di scena e backstage video: Giovanni Cazzaniga e Alessandro Dalla Rovere Sceneggiatura: Angelo Guarracino, Agostino "Chief" Migliore e Alessandro Egger Ispettore e responsabile di produzione: Simone Mariani Direttore di produzione: Alessandro Egger e Madalina Doroftei Produttore esecutivo: Alessandro Egger / Angelo Guarracino / Simone Mariani / Ivan Sapone / Madalina Doroftei Riprese aeree: Aviodron Starring: Laioung e Guè Pequeno Cast: Alessandro Egger / Francesca Brambilla / Francesca Pepe / Ines Trocchia Comparse: Franco Luini / Giovanni Banfi / Lorenzo Banfi / Gianluca Selvini / Pablo Bottai / James William Bizzotto / Luigi Ballo / Donato Antenucci / Adolphe Sarr / Khadim Gaye HMUA: Mirela Rusu MUA: Anna Filippini Hair Stylist: Luca Conforti Tattoos designed and painted by Alfredo Guarracino "Al Boy Tattoo" Costumi: Lobosco / Parah / JF London / Lamperti / Eyepetizer / As U'r / Furs forever Abiti d'epoca: Associazione 10° Luisiana - Reenactment Group Arredi e oggetti di scena: Marzio Garino, Carlo Vinzio, Franco Luini, Roberta Riva, 10° Luisiana Logistica, ricerca location e spostamenti: Andrea Lupo de Poli / Cesare Maspes ("Ultimaora Srl") Casting Manager: Alessandro Egger / Madalina Doroftei Catering Studio: Erik Avolio / Carlotta Cafe Catering Esterni: "Il Fornaio" Bevera di Sartori (LC) di Giovanni Cazzaniga Location: Alpe Paglio (LC) / Pian delle Betulle (LC) Si ringrazia l'associazione "Ultimaora Srl" (Margno - LC), il presidente Francesco Peretti Colò e gli impianti di seggiovia di Pian delle Betulle (LC). Un ringraziamento speciale a Monica Fazzini ed il grande "Jumper" / Trattoria Belvedere Narro (LC) La produzione ringrazia inoltre: l'Associazione di Rievocazione Storica "10°Luisiana", l'istituto ITSOS Albe Steiner e il Rifugio Disolin - Paglio (LC)
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