Jennie Tourel Video
cantante lirico, insegnante di musica
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2024-05-11
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Igor Stravinsky Jennie Tourel New York Philharmonic Orchestra 1954 2016
Provided to YouTube by Sony Classical Cantata for Soprano, Tenor, Female Chorus and a Small Instrumental Ensemble: Ricercar II (Sacred History) : "Tomorrow Shall Be" · Igor Stravinsky · Hugues Cuenod · New York Philharmonic Chamber Ensemble · Jennie Tourel · New York Concert Chorale · New York Philharmonic Orchestra Stravinsky: Symphony in C & Cantata ℗ 1954 Sony Music Entertainment Released on: 2016-04-01 Lyricist: Anonymous Auto-generated by YouTube.
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."
Igor Stravinsky Jennie Tourel 1956 2015
Cantata: Ricercar I. "The Maidens Came" · Igor Stravinsky Orchestra, Igor Stravinsky, Jennie Tourel Stravinsky: Symphonie & Cantate sur des textes médiévaux anglais (Mono Version) ℗ 1956 - BNF Collection 2015 Released on: 1956-01-01 Music Publisher: D.R Composer: Igor Stravinsky Auto-generated by YouTube.
Igor Stravinsky Jennie Tourel New York Philharmonic 1954 2016
Provided to YouTube by Sony Classical Cantata for Soprano, Tenor, Female Chorus and a Small Instrumental Ensemble: Ricercar I: "The Maidens Came" · Igor Stravinsky · Jennie Tourel · New York Philharmonic Chamber Ensemble · New York Concert Chorale · Hugues Cuenod Stravinsky: Symphony in C & Cantata ℗ 1954 Sony Music Entertainment Released on: 2016-04-01 Lyricist: Anonymous Auto-generated by YouTube.
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