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Elizabeth Caballero Zeffirelli Metropolitan Opera 2018
On March 2, 2018 Elizabeth Caballero stepped in for an ailing colleague on The Metropolitan Opera stage as Mimi in La boheme in Franco Zeffirelli's iconic production. Here is her bow in front of the ever beautiful "golden curtain" as she calls it.
Monk Samara Meyerbeer Moreschi Marconi Caruso Gounod Mariinsky Theatre Bolshoi Theatre Zimin Opera 1863 1881 1892 1901 1902 1908 1912 1916 1920 1923 1937
David Kristoforovitch Yuzhin +••.••(...)) was a Russian tenor of Greek heritage. Born David Pindekost (some sources give his real name as Pistiko) in Ekaterinoslav, he sang in his hometown church choir and aspired to become a monk in his youth. Brutal criticism from a conservatory professor in St. Petersburg drove Yuzhin to the verge of suicide, causing him to abandon the idea of ever singing again. However, a much needed second opinion convinced the young tenor that there was a future for him on the opera stage. After a period of further study, he auditioned for the Mariinsky Theatre and was accepted into the chorus in 1892. After two years as a chorister, Yuzhin made his debut as a principal artist at the Kazansk-Saratovsk Opera. The young tenor spent the rest of the 1890s appearing throughout Russia, singing in the theaters of Samara, Kharkov, Odessa, Perm, Tiflis, Kazan, Saratov, Odessa, Yalta, Baku and Kiev. In 1901, Yuzhin made his debut at Moscow's Bolshoi Theatre as Raoul in Meyerbeer's Les Huguenots. He remained with the company for the next seven seasons, singing a variety of roles. During his tenure at the Bolshoi, Yuzhin met the woman who was to become his wife, soprano Natalya Ermolenko +••.••(...)). The two went on to become frequent singing partners and remained married until the tenor’s death. Yuzhin was a member of Sergei Zimin’s Opera in Moscow from 1908 to 1912 and also appeared in Italy, Belgium and South America during the first decade of the 20th Century. The busy tenor also organized his own touring company (something that seems to have been popular with Russian tenors of that period) to bring operatic productions to the Russian provinces. Yuzhin’s repertoire of some thirty roles included the tenor leads in such operas as Boris Godunov, The Snow Maiden, Pique Dame, Fra Diavolo, La Traviata, Aïda, Il Trovatore, Don Carlo, Rigoletto, La Gioconda, Pagliacci, Mefistofele, Faust, La Juive and Roméo et Juliette. At the age of only 50, Yuzhin began to curtail his stage performances and began concentrating on concerts and recitals. His final performance seems to have been a gala concert in Tsaritsyn (now Volgograd) in 1916. The reasons for his relatively early retirement are not known. Perhaps it was the wear and tear on his voice after two decades of singing some very strenuous repertoire. It might have been to leave more time to dedicate to his touring company. Others have pointed to the possibility that the tenor’s health was failing and that he no longer possessed the physical stamina to perform complete operatic roles. Regardless of the reason, by 1916, Yuzhin’s performing career was over and he concentrated on producing operas on tour to showcase the talents of his wife. By 1920, however, the grueling schedule proved too much for the aging artist. Yuzhin retired to Moscow, where, following a lengthy illness, he died on December 28, 1923 at the age of 60. David Yuzhin left a fairly impressive legacy of about 60 discs, made for G&T, Pathé and the Gramophone Company between 1901 and 1908. One hears a well produced lirico-spinto voice of decent size and range. One also hears unbelievably shoddy musicianship, particularly in his early piano accompanied discs for G&T. Singer and pianist are rarely in synch. Yuzhin blows through rests, constantly forcing his accompanist to jump ahead or quickly change tempo to accommodate the tenor’s rhythmic eccentricities. These blunders may have been the result of nerves due to uncertainty in his first recording sessions (Moreschi, Marconi and even Caruso made similar gaffs in their early recordings), for one notices these types of errors far less in the tenor’s later recordings. Mistakes or not, Yuzhin’s discs give us a priceless glimpse into the art of a lesser known working tenor from Imperialist Russia. In this recording, Yuzhin sings a Russian translation of "Salut, demeure chaste et pure" (complete with a ringing top C) from Gounod's Faust. This was recorded in Moscow for G&T in January of 1902.
Gianluca Buratto Buratto James Baillieu Giuseppe Verdi Krystian Adam Francesca Aspromonte Caron Wigmore Hall 2009 2016
MOZART Madamina, il catalogo e questo (Don Giovanni) Gianluca Buratto - Bass James Baillieu - Pianist Rosenblatt Recital, Wigmore Hall, London 12.01.2016: A former winner of the International Ferruccio Tagliavani Singing Competition, Buratto made his opera stage debut in 2009 at the Giuseppe Verdi Theatre in Italy. “ The powerful bass of Gianluca Buratto as Caronte, or Charon, reluctant to take a living man across the river into the realm of the dead." Washington Post “The singers were terrific, especially the dapper Krystian Adam (Orfeo), the multifaceted Francesca Aspromonte (Music, Hope and Eurydice) and the booming Gianluca Buratto (Caron and Pluto).” LA Times Rosenblatt Recitals are London's only world-class concert season of opera and song. Want to know more? Find us on Facebook and Twitter: www.www.facebook.com/rosenblatt.recitals/ www.twitter.com/RosenblattOpera www,rosenblattrecitalseries.co.uk
Tichina Vaughn Verdi Angel Blue Eric Owens Woodcock Metropolitan Opera Seattle Opera Greek National Opera Staatstheater Stuttgart Opera Budapest Opera Graz Arena Verona Semperoper Theater Wien 1989 1990 1992 1996 1998 2003 2006 2010 2018 2019 2020 2021
Tichina Vaughn Interview on The Jim Masters Show LIVE as host Jim Masters welcomes the renowned mezzo-soprano to the show as his special guest. Tichina Vaughn has built a standout international reputation. Her formal vocal study began shortly after high school at Georgia State University, but her early years were steeped in musical activity: studying clarinet, playing in marching and concert bands, and singing as a choir member and soloist. Tichina received her Bachelor’s degree in Vocal Performance from the University of North Carolina School of the Arts in 1989. Even before her graduation, Tichina’s unmistakable voice drew attention from some of the world’s foremost opera houses – and after winning the 1989 Metropolitan Opera National Council Auditions, she joined the Met’s Young Artist Development program and made her stage debut there as Lily in the Gershwins’ Porgy and Bess in 1990. Tichina’s first leading role on a major opera stage, Amneris in a Seattle Opera production of Verdi’s Aida, arrived just two years later in 1992. Her interpretation sparked immediate attention from the opera community, and invitations to reprise the role began to pour in from companies around the globe. Soon, Tichina was recognized as an emerging Verdian mezzo-soprano, regularly taking on leading roles such as Princess Eboli in Don Carlos and the mezzo-soprano soloist in Verdi’s Requiem throughout the early 1990s. In 1996, Tichina made her European debut as Mistress Quickly in Staatstheater Stuttgart’s production of Falstaff, which marked the beginning of both her long relationship with the company and her robust European career. From 1998 to 2006, she continued to perform with the Staatstheater Stuttgart as a principal artist, eventually earning the distinction of Kammersängerin, the German honorific title for opera singers of the highest merit. Throughout her years in Stuttgart, Tichina’s list of signature roles blossomed as her aptitude for the works of Wagner became evident, culminating with her appearances as Fricka (Die Walküre) and Waltraute (Götterdämmerung) in the Staatstheater Stuttgart’s full recording of Wagner’s Ring cycle via Naxos in 2006. Now one of opera’s most sought-after mezzo-sopranos, Tichina has quite literally performed around the globe, with previous engagements on international stages including the National Opera Hong Kong, Greek National Opera, Budapest National Opera, Hamburg Opera, Opera Graz, and countless others. She made numerous appearances with the Arena di Verona summer festival in Italy starting in 2003, and from 2010 to 2018, she was engaged as a principal artist at Semperoper Dresden. In addition to her 1989 Metropolitan Opera National Council Auditions award, Tichina is the recipient of the Opera Index Vocal Award, Living Heritage Foundation Award, the Consul General’s Award for Cultural Diplomacy from the Consulate General Milan, and many other prestigious accolades.. Tichina returned to the Metropolitan Opera to reprise the role of Lily for the first time at the Met since her 1990 debut. She can be heard on the 2020 recording of the same production with Angel Blue and Eric Owens, which won Best Opera Recording at the 2021 GRAMMY Awards. An active voice teacher and mentor, Tichina returned to North Carolina in October 2019 and February 2020 as an artist-in-residence at her alma mater, the University of North Carolina School of the Arts. At UNCSA, Tichina led a series of master classes and mentored fellows of the A.J. Fletcher Opera Institute one on one, offering private vocal coaching and individualized career counseling. UNCSA School of Music interim dean Tony Woodcock described the residency as “a real plus for our graduate students as they transition to roles as entrepreneurial professional artists… and all of our voice students (are) inspired by her wisdom and her artistry.” Tichina has continued to perform,including an October 2020 production of Porgy and Bess with Austria’s Theater an der Wien. The current season includes role debuts at the Metropolitan Opera as the Innkeeper in Boris Gudonov and Maria in Porgy and Bess as well as house debuts in Boston (Champion), Cincinnati (Aida), and Utah (The Flying Dutchman). Subscribe to our YouTube channel and click the notification bell so you never miss any of our series episodes. If you enjoyed this video episode, please give it a thumbs up like and leave a comment for us! Thank you! Like! Follow! Subscribe! Facebook: www.facebook.com/jimmasterstv Instagram: www.instagram.com/jimmasterstv Twitter: www.twitter.com/jimmasterstv #TichinaVaughn #TichinaVaughInterview #TichinaVaughnsoprano #thejimmastersshow #thejimmastersshowlive #jimmasterstv
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