Richard Strauss Arianna a Nasso, Op. 60 Video
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2024-04-17
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Elizabeth Harwood Kathleen Ferrier Lina Pagliughi Rossini Joan Sutherland Richard Strauss Scottish Opera Covent Garden Scala 1912 1916 1918 1933 1935 1938 1960 1961 1967 1969 1970 1971 1972 1975 1982 1990
~The "Glass Shatterers!" series focuses on sopranos who sustain High F, or sing higher. THE SONGBIRD: Elizabeth Harwood +••.••(...)) was raised in Yorkshire by musical parents / her mother was a professional soprano, Constance Read, and gave Harwood voice lessons. Harwood studied at the Royal Manchester College of Music and at the age of 21, she won the Kathleen Ferrier Memorial Scholarship and spent a year in Milan studying with Lina Pagliughi. Her professional debut came as Second Boy in "The Magic Flute" at Glyndebourne in 1960. She became a member of the Sadler's Wells company in 1961 where she sang Manon, Gilda, Rossini's Adele, Konstanze, Countess Rosina, Fiakermilli, and Zerbinetta. After a tour of Australia with Joan Sutherland's company in 1967, Harwood's regular appearances at the Scottish Opera began with Fiordiligi and continued with Sophie, Lucia, Rosalinde, and Eva (her only Wagner role). At Covent Garden in the 1960s and 1970s she sang Fiakermilli, Gilda, Oscar, Donna Elvira, Norina, Arabella, and Manon. For Glyndebourne, she was Fiordiligi, Countess Rosina, and, in 1982, the Marschallin. Appearances abroad included Aix-en-Provence (Donna Elvira in 1967, Galatea in 1969); Salzburg (Konstanze and Fiordiligi in 1970, Countess Rosina in 1972); The Met (Fiordiligi in 1975); and La Scala (Konstanze in 1971). Harwood died of cancer at age 52. This recording of the original 1912 version of Zerbinetta's aria from the BBC, with Norman Del Mar conducting, only exists in poor audio. I have long searched for a better quality file, and even had a contact who works in the audio archives of the BBC search for it there, but to no avail / so for now, this is the best we have. THE MUSIC: Richard Strauss's opera "Ariadne auf Naxos" premiered twice. The first was in 1912 in Stuttgart where it was conceived as a short opera to accompany a new adaption of Moliere's play, "Le Bourgeois gentilhomme." This version was performed in other cities over the next year (Zurich, Munich, Prague, and London), but the play/opera hybrid concept proved ineffective (and way too long at over six hours). Working with his librettist/partner Hugo von Hofmannsthal, Strauss refashioned the opera as a stand-alone work with a newly added prologue, which premiered in this new form to success in Vienna in 1916. This version of the opera was quickly embraced by critics, artists, and the public / it has since been recorded commercially many times and is performed regularly around the world. Only rarely have there been staged or even concert productions of the earlier 1912 version of the opera and there is only one commercial recording. One of the changes Strauss made for the 1916 score was to lower the key and cut or alter about four minutes of music from Zerbinetta's grand aria "Grossmächtige Prinzessin." (In this video, I have roughly marked the three sections of deleted or altered music). Both versions are insane, but this original version is incomprehensibly difficult at nearly 15 minutes in length and with a gruelingly high tessitura, including two High F-sharps. In either version, the scene demands a level of virtuosic musicianship and theatrical flair that is simply unmatched. Zerbinetta is a coloratura soubrette on steroids! In this scene and role, Strauss invented an entirely new musical language to exploit the unique glories of the coloratura soprano voice. He revisited this proprietary mode of highly gymnastic vocalism a few other times afterwards: in the art song "Amor" (1918), with Fiakermilli in "Arabella" (1933), and for Aminta in "Die schweigsame Frau" (1935).
Emmy Loose Alfred Muzzarelli Muzzarelli Paul Schöffler Irmgard Seefried Baier Max Lorenz Josef Witt Witt Alda Noni Maria Reining Richard Sallaba Erich Kunz Marjan Rus Peter Klein Richard Strauss Orchester Wiener Staatsoper Wiener Staatsoper 2006
Provided to YouTube by Rebeat Digital GmbH Ouvertüre (Ariadne auf Naxos) · Emmy Loose · Alfred Muzzarelli · Paul Schöffler · Irmgard Seefried · Hermann Baier · Max Lorenz · Josef Witt · Friedrich Jelinek · Alda Noni · Melanie Frutschnigg · Hans Schweiger · Maria Reining · Richard Sallaba · Erich Kunz · Elisabeth Rutgers · Marjan Rus · Orchester der Wiener Staatsoper · Peter Klein Ariadne auf Naxos ℗ Preiser Records Released on: 2006-10-06 Composer: Richard Strauss Lyricist: Emmy Loose Lyricist: Alfred Muzzarelli Lyricist: Paul Schöffler Lyricist: Irmgard Seefried Lyricist: Hermann Baier Lyricist: Max Lorenz Lyricist: Josef Witt Lyricist: Friedrich Jelinek Lyricist: Alda Noni Lyricist: Melanie Frutschnigg Lyricist: Hans Schweiger Lyricist: Maria Reining Lyricist: Richard Sallaba Lyricist: Erich Kunz Lyricist: Elisabeth Rutgers Lyricist: Marjan Rus Lyricist: Orchester der Wiener Staatsoper Lyricist: Peter Klein Auto-generated by YouTube.
Maria Reining Max Lorenz Alfred Muzzarelli Muzzarelli Baier Richard Sallaba Paul Schöffler Irmgard Seefried Josef Witt Witt Alda Noni Emmy Loose Peter Klein Erich Kunz Marjan Rus Richard Strauss Orchester Wiener Staatsoper Wiener Staatsoper 2006
Provided to YouTube by Rebeat Digital GmbH O ich möcht vieles ändern noch in zwölfter Stund (Ariadne auf Naxos) · Maria Reining · Max Lorenz · Alfred Muzzarelli · Hermann Baier · Richard Sallaba · Paul Schöffler · Irmgard Seefried · Hans Schweiger · Josef Witt · Friedrich Jelinek · Alda Noni · Melanie Frutschnigg · Emmy Loose · Peter Klein · Erich Kunz · Elisabeth Rutgers · Marjan Rus · Orchester der Wiener Staatsoper Ariadne auf Naxos ℗ Preiser Records Released on: 2006-10-06 Composer: Richard Strauss Lyricist: Maria Reining Lyricist: Max Lorenz Lyricist: Alfred Muzzarelli Lyricist: Hermann Baier Lyricist: Richard Sallaba Lyricist: Paul Schöffler Lyricist: Irmgard Seefried Lyricist: Hans Schweiger Lyricist: Josef Witt Lyricist: Friedrich Jelinek Lyricist: Alda Noni Lyricist: Melanie Frutschnigg Lyricist: Emmy Loose Lyricist: Peter Klein Lyricist: Erich Kunz Lyricist: Elisabeth Rutgers Lyricist: Marjan Rus Lyricist: Orchester der Wiener Staatsoper Auto-generated by YouTube.
Aagaard Oestvig Zemlinsky Hoffmann Maria Rajdl Berg Richard Strauss Schein Staatsoper Bayerische Staatsoper Deutsche Oper Berlin Staatsoper Stuttgart Theater Basel Carltheater 1889 1914 1919 1922 1926 1927 1930 1933 1942 1944 1946 1968
Karl Aagaard Oestvig +••.••(...)) was a Norwegian tenor whose brief career took him to many of the major operatic stages of Central Europe. Born Carl August Engelhard Aagaard-Østvig in Oslo, he received his musical and vocal training in Germany, primarily at Cologne’s Hochschule für Musik. After completing his studies, Oestvig received a contract from Staatsoper Stuttgart, where he made his debut in 1914. The following year, he created the roles of the Lay Brother and Giovanni de Salviati in the world premiere of Max von Schilling’s Mona Lisa. During his five years with the Staatsoper, Oestvig (he had abandoned Østvig in favor of a more Germanic stage name) sang a variety of roles and made guest appearances at the Theater Basel and the Bayerische Staatsoper. In 1919, the tenor accepted a contract with the Vienna Staatsoper. In October of that same year, Oestvig created the role of the Emperor in the world premiere of Strauss’ Die Frau Ohne Schatten. Three years later, he sang the title role in Zemlinsky’s Der Zwerg at its Vienna premiere. The tenor became a favorite of Viennese audiences, singing such roles as Manrico in Il Trovatore, Pinkerton in Madama Butterfly, Cavaradossi in Tosca and the title role in Les Contes d’Hoffmann. In 1926, Oestvig was invited to appear in an operetta at Vienna’s Carltheater. The Staatsoper refused to let the tenor accept the contract, which led to tremendous tension with the management. Oestvig, who had previously been allowed to accept concert engagements throughout Europe and North America, considered the management’s reaction unreasonable and resigned from the Staatsoper. He appeared in Budapest and Hamburg before accepting a contract with Deutsche Oper Berlin in 1927. Oestvig spent three years with the company but by this point, his voice was noticeably deteriorating. His contract was allowed to quietly expire in 1930, after which he relocated to Dresden. In the fall of 1930, Oestvig sailed to North America for a series of performances in Chicago. In October of the following year, he crossed the Atlantic for the last time for appearances in Buenos Aires and New York. Oestvig returned to the Deutsche Oper Berlin for one final performance in 1933 and retired from the stage at the early age of 44. Following his departure from the opera world, Oestvig spent the rest of the 1930s working as a voice teacher and opera coach along with his second wife, soprano Maria Rajdl. The war years were particularly troubling for Oestvig. Although he accepted a position as stage director with The National Theatre of Oslo in 1942, this was during the German occupation, a particularly turbulent time in the theater’s history. Audiences often boycotted the company’s performances and rumors circulated that Oestvig was a Nazi sympathizer. The ex-tenor’s 19 year old son, up and coming film actor Karl Aagaard Østvig, Jr., was killed on the Eastern front on Christmas Day, 1944. After the war, Oestvig was labeled a Nazi collaborator and stripped of his post with the theater. That same year (1946), the National Theatre’s director, Gustav Berg-Jæger, was arrested and imprisoned as a Nazi collaborator. Despite his protestations, the tenor was also imprisoned, albeit briefly. Following his release (and, it would seem, exoneration), returned to his home in Oslo. Embittered by his experiences, the aging singer withdrew from public life and concentrated on teaching and coaching for the final two decades of his life. Oestvig passed away in Oslo on July 21, 1968 at the age of 79. Karl Aagaard Oestvig is still considered one of the greatest tenors that Norway ever produced. He began his career in lyric roles but was quickly lured into the Wagnerian repertoire, taking on such roles as Parsifal, Siegmund and Tannhäuser. Although he possessed a baritonal timbre from the beginning, the assumption of such dramatic roles at so early an age may not have been a wise choice. By the time he reached his early 30s, Oestvig’s voice had begun to thicken and a noticeable wobble crept into his tone. At 44, his singing days were over, perhaps providing a lesson illustrating the perils of succumbing to the temptation of too heavy a repertoire. In spite of his later vocal issues, Oestvig was greatly admired by Richard Strauss for his portrayals of Bacchus in Ariadne auf Naxos and the Emperor in Die Frau Ohne Schatten. The tenor also excelled in such roles as Canio in Pagliacci, Max in Jonny Spielt Auf, Don José in Carmen, Pedro in Tiefland, Walther in Die Meistersinger and the title role in Lohengrin. His catalogue of recordings is small, consisting of all too few titles made during the early 1920s for The Gramophone Company in Berlin. These discs showcase a dark, robust instrument, probably a full spinto by nature, with an impressive lower and middle range. Here, Oestvig sings the Preislied, “Morgenlich leuchtend im rosigen Schein” from Wagner’s Die Meistersinger. This recording was made in Berlin in 1922.
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