Julius Sachs Video
compositore
- Germania
Ultimo aggiornamento
2024-05-13
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Bernard Haitink Gösta Winbergh Nancy Gustafson Catherine Wyn Rogers Herbert Lippert Gwynne Howell Thomas Allen John Tomlinson Sachs Alasdair Elliott Anthony Michaels Moore Moore Dickson Dobson Crook Simon Wilding Geoffrey Moses Covent Garden 1997
Gösta Winbergh (tenor), Walther Nancy Gustafson (soprano),. Eva Catherine Wyn-Rogers (contralto). Magdalene Herbert Lippert (tenor),. David Gwynne Howell (bass),. Pogner Thomas Allen (baritone). Beckmesser , John Tomlinson (bass), Sachs Alasdair Elliott (tenor), Richard Lloyd Morgan (bass), Anthony Michaels-Moore (baritone). Kothner , Grant Dickson (tenor), Robin Leggate (tenor), John Dobson (tenor), Paul Crook (tenor), Simon Wilding (baritone), Geoffrey Moses (bass) Michael Druiett (bass) Royal Opera House Covent Garden, Royal Opera Chorus Bernard Haitink, conductor Recorded: 12 July 1997 Live recording, Royal Opera House, Covent Garden, London, England, United Kingdom.
Georges Bizet Nada Puttar Gold Glinka Verdi Sachs Ebert Berlin State Opera Opera Frankfurt 1948 1949 1956 1961 1964 1969 1979 2005
Composer: Georges Bizet Opera: Carmen Aria: Seguidilla Performer(s): Nada Puttar-Gold Album: Nada-Puttar Gold - mezzosporan / mezzo-soprano (2005) There are careers which begin and end with a quick flash; there are those that develop gradually and reach their peak, but last for a very short period of time; and then there are those careers - so extremely rare in today's world - which instantly draw attention, develop rapidly and last a long time, while consistently bringing a high level of quality and virtuosity. Nada Puttar-Gold's career definitely belongs to the last category. From her debut in 1949 as Nada Putar in the small, but very demanding role of Vanya in Glinka's "Ivan Susanin" (A Life for the Tsar), to her final stage appearance in 1979 as Azucena in Verdi's "Il Trovatore", the crowning role in her repertoire, Nada Puttar-Gold's voice possessed a sumptuous timbre and sound, perfect intonation, an overall wide vocal range and finely balanced registers. After completing the Secondary School of Music in Varaždin, where she studied the piano, she devoted herself to her singing career. She was so gifted that Milan Sachs, head of the Opera of the Croatian National Theater, invited her to join the ensemble in October 1948 and not long after, she became a permanent employee on January 1st 1949 while still a student. Nada Puttar-Gold was permanently engaged by the Zagreb Opera until August 1956. That year, one of the greatest directors of this time, Karl Ebert, manager of the City Opera in Berlin (subsequently the German Opera house) offered her the status of permanent member, which she held until 1961. From Berlin she went on to the State Opera in Frankfurt, where she stayed until 1964. During the years she spent in these prestigious musical centers she worked with the finest conductors, directors and partners, toured some 60 large European cities and expanded her standard Zagreb mezzo-soprano repertoire. She returned to the Zagreb Opera in April 1969, where she remained until her retirement in December 1979, after which she worked as a professor of opera singing at the Academy of Music in Zagreb.
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Curt Sachs Sachs Cristofori Stein
Metodo Di Lettura Pianistica (http•••) Le fonti bibliografiche del video sono riportate nell'articolo del nostro blog, che trovi al link di seguito: Storia Del Pianoforte - Il Fortepiano (http•••) Le Origini Della Organologia - Curt Sachs (http•••) Timestamps: 00:00 Introduzione 00:54 Fortepiano O Pianoforte? 03:44 L'Italia Di Cristofori 05:16 La Germania Di Stein 06:38 La Francia Di Sébastien Érard 08:09 Conclusioni
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