Philip Glass The Light Video
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2024-03-29
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Vidal Bizet Aloysia Weber Weber Elisabeth Grümmer Opera Comique Paris 1960 1985 1990 1994 2000 2006
~The "Glass Shatterers!" series focuses on sopranos who sustain High F, or sing higher. Elizabeth Vidal certainly qualifies for my "glass shatterer" series with a stratospheric range that she weaves into many of her operatic and recital programs. She appeared in several of my previous Aloysia Weber concert aria comparisons, but it is surely time for her to have a solo video, apropos as I shift my focus to French music for the soprano lèger colorature. THE SONGBIRD: I discovered Vidal in 1994 when I purchased her first CD recital "Romances et Chants D'oiseaux" when it was released (it is exquisite and HIGHLY RECOMMENDED!). Ms. Vidal was born in Nice in 1960. She entered École de Chant at the Paris Grand Opera and studied with Elisabeth Grümmer. In 1985, Vidal made her debut at the Opera Lyon and appeared at the Aix-en-Provence. She created a sensation in 1990 singing the demanding lead role in Auber's "Manon Lescaut" at the Opera-Comique in Paris and has since appeared in leading light and dramatic coloratura roles in many European opera houses and concert halls / with a specialty for unearthing long-forgotten works from French composers (especially if they wrote something for a high soprano, of course, which they often did). Here she sings Catherine's haunting ballade "Echo viens" from the end of Bizet's opera (she's gone bonkers / is this the shortest "mad scene" ever written?), easily suspending two pianissimo High Fs. This is from a concert in Paris in 2000. She also included this in a studio recording of French opera arias on the Talent label, released in 2006.
Cello Octet Amsterdam Bartók Ligeti
What does courage sound like? Have you heard of the 8 Cello Warriors? They are strong, nimble, and light-fingered. Armed with their cellos and bows they are going into battle, accepting every challenge they encounter: great danger, the unknown, and bumps in the road ahead. The Cello Warriors are making their bows clash like swords. They create a maze of unfamiliar string sounds to make sure their opponent gets lost. Using both laughter and thrilling music the Cello Warriors move gracefully in battle. What power would you need to become a warrior? Cello Warriors is a three-part dance concert by 3 choreographers about acting tough, winning and losing, being vulnerable and the power of music, featuring 3 music pieces by Bartók, Glass and Ligeti. Cello Warriors is a coproduction of Oorkaan and Cello Octet Amsterdam. More information: www.oorkaan.nl
Franz Adolf Berwald Kertész Thegerström Antoine François Marmontel Franz Liszt Robert Schumann Edvard Grieg 1847 1855 1904
00:00 I. Allegro 08:55 II. Adagio 12:41 III. Finale: Quasi presto Violin - Jozsef Modrian Cello - György Kertész Piano - Kálmán Dráfi Franz Adolf Berwald was a Swedish Romantic composer. He made his living as an orthopedist and later as the manager of a saw mill and glass factory, and became more appreciated as a composer after his death than he had been in his lifetime. His Piano Concerto, finished in 1855, intended for his piano pupil Hilda Aurora Thegerström, who continued her studies with Antoine François Marmontel and Franz Liszt, did not see the light of day until 1904, when Berwald's granddaughter Astrid performed it at a Stockholm student concert. Particularly in its brilliant last movement it may be compared favourably to Robert Schumann or Edvard Grieg. Its three movements are played without a break. Berwald's music was not recognised favourably in Sweden during his lifetime, even drawing hostile newspaper reviews, but fared a little better in Germany and Austria. The Mozarteum Salzburg made him an honorary member in 1847.
Franz Adolf Berwald Bernhard Crusell Hirschfeld Liszt 1440 1796 1819 1821 1850 1868
Franz Adolf Berwald (23 July 1796 – 3 April 1868) was a Swedish Romantic composer. He made his living as an orthopedist and later as the manager of a saw mill and glass factory, and became more appreciated as a composer after his death than he had been in his lifetime. Please support my channel: (http•••) Quartet for Piano, clarinet, horn and bassoon in E-flat major, Op. 1 (1819) 1. Adagio: Allegro ma non troppo - Allegro assai - Tempo I (0:00) 2. Adagio (11:28) 3. Allegro - Più Allegro (14:40) Joakim Kallhed, piano and the Arion Wind Quintet Details by Edition Silvertrust: Berwald's three movement Quartet for Piano, Clarinet, horn and Bassoon dates from 1819. It was premiered in Stockholm in 1821 with three virtuoso wind players--Bernhard Crusell on clarinet, Johann Hirschfeld on Horn and Franz Preumayer on Bassoon. It was not well received and in fact was attacked by the Swedish critics who could not understand what they considered an unnecessarily original style. Though fairly typical of the emerging German Romantic style, it was considered avant garde cacophony in conservative Sweden which was far behind musical tastes in Germany and Austria. The Quartet is one of the few works for this combination from the early 19th century. It opens with a short Adagio introduction which leads to an upbeat and bustling Allegro ma non troppo. The middle movement, an Adagio is rather sedate. The finale, Allegro, begins attacca begins as a light hearted rondo but is interspersed with march–like episodes. Sometime during the 1850’s, a German music critic is reputed to have asked Franz Berwald +••.••(...)) if he was still a composer. Berwald stared at him coldly and replied, “No, I am a glass blower.” This was neither a joke nor a sarcastic put-down of the critic by a bitter man whose music had been spurned in his own country and whose career in music had met with failure after failure. Berwald had in fact, at that time, actually been a glass blower! He had become involved with this successful business, and not his first, in order to make a living, something he could not do as a musician. Liszt, whom Berwald befriended in the 1850’s, told him, “You have true originality, but you will not be a success in your own lifetime.” Sadly, this prediction proved true. Berwald’s music remained unplayed and for the most part—especially in his native Sweden—unappreciated. Now, nearly a century and half after his death, he has been hailed by critics all over the world as a great Swedish composer. Born in Stockholm in 1796, Berwald was taught the violin by his father, a German who had settled in Sweden and was a member of the court orchestra. Berwald followed in his footsteps.
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