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Seymour Shifrin: Satires of Circumstance [1/3]

1st movement: "Waiting Booth". Performed by the Contemporary Chamber Ensemble under the direction of Arthur Weisberg. Jan DeGaetani, mezzo-soprano.

: seymour shifrin donald erb charles wuorinen elliott carter milton babbitt

Added: September 1, 2010, 1:15 pm
Time: 01:00 | Views: 5 | Comments: 0 | Rating: Not yet rated

Franz Joseph Haydn ~ [2] The Seven Last Words of Christ.Excellent Sound Quality.[Stereo]

Juliard String Quartet ~ Violin ~ Robert Mann/Violin ~ Joel Smirnoff/Viola ~ Samuel Rhodes/Cello ~ Joel Krosnick/Soprano ~ Benita Valente/Mezzo-Soprano ~ Jan DeGaetani/Tenor ~ Jon Humphrey/Bass ~ Thomas Paul.

: franz joseph haydn classical the seven last words of christ

Added: September 1, 2010, 1:15 pm
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Franz Joseph Haydn ~ [1] The Seven Last Words of Christ.Excellent Sound Quality[Stereo]

Juliard String Quartet ~ Violin ~ Robert Mann/Violin ~ Joel Smirnoff/Viola ~ Samuel Rhodes/Cello ~ Joel Krosnick/Soprano ~ Benita Valente/Mezzo-Soprano ~ Jan DeGaetani/Tenor ~ Jon Humphrey/Bass ~ Thomas Paul.

: franz joseph haydn classical the seven last words of christ

Added: September 1, 2010, 1:15 pm
Time: 01:00 | Views: 9 | Comments: 0 | Rating: Not yet rated

Robert White - I Hear You Calling Me

Composed in 1908, this poignant melody was the theme song of the celebrated Irish tenor, John McCormack, sung here in a 1988 performance with the Monte Carlo Philharmonic Orchestra.

: Classical tenor Robert White Irish Ballad

Added: September 1, 2010, 1:12 pm
Time: 04:00 | Views: 6 | Comments: 0 | Rating: Not yet rated

Jennifer Wilson sings

The young and talented American soprano, Jennifer Wilson sings "In Questa Reggia" from Turandot. Lyrics: In questa reggia, or son mill'anni e mille, un grido disperato risonò. E quel grido, traverso stirpe e stirpe qui nell'anima mia si rifugiò! Principessa Lou-Ling, ava dolce e serena che regnavi nel tuo cupo silenzio in gioia pura, e sfidasti inflessibile e sicura l'aspro dominio, oggi rivivi in me! La Folla: Fu quando il Re dei Tartari le sette sue bandiere dispiegò. Turandot: Pure nel tempo che ciascun ricorda, fu sgomento e terrore e rombo d'armi. Il regno vinto! Il regno vinto! E Lou-Ling, la mia ava, trascinata da un uomo come te, come te straniero, là nella notte atroce dove si spense la sua fresca voce! La Folla: Da secoli ella dorme nella sua tomba enorme. Turandot: O Principi, che a lunghe carovane d'ogni parte del mondo qui venite a gettar la vostra sorte, io vendico su voi, su voi quella purezza, quel grido e quella morte! Quel grido e quella morte! Mai nessun m'avrà! Mai nessun, nessun m'avrà! L'orror di chi l'uccise vivo nel cuor mi sta. No, no! Mai nessun m'avrà! Ah, rinasce in me l'orgoglio di tanta purità! Straniero! Non tentar la fortuna! Gli enigmi sono tre, la morte una! Calaf: No, no! Gli enigmi sono tre, una è la vita! Turandot: No, no! . . . . . . Gli enigmi sono tre, la morte è una! Calaf: Gli enigmi sono tre, una è la vita! La Folla: Al Principe straniero offri la prova ardita, o Turandot! Turandot!

: Jennifer Wilson In Questa Reggia from Turandot Puccini

Added: September 1, 2010, 1:05 pm
Time: 06:12 | Views: 5 | Comments: 0 | Rating: Not yet rated

British Contralto Clara Butt ~ Ombra mai fu (1917)

British contralto Clara Butt (1872-1936) / Ombra mai fu / Serse (Handel) / Recorded: 1917 -- CLARA BUTT (via wikipedia) Clara Butt was born in Southwick, Sussex. Her father was Henry Albert Butt who was a sea captain and who was born in 1848 in Saint Martin, Jersey, Channel Islands. He married Clara Hook in 1869, who was born in Shoreham, the daughter of Joseph Hook, mariner (1861 and 1871 census, in 1881 in New Shoreham workhouse). In 1880 the family moved to Bristol and Clara was educated at South Bristol High School, where her singing talent was recognised and encouraged. At the request of her headmistress, she was trained by the bass Daniel Rootham and joined the Bristol Festival Chorus, of which he was musical director. In January 1890 she won a scholarship to the Royal College of Music. In her fourth year she spent three months studying in Paris at the expense of Queen Victoria. She also studied in Berlin and Italy. She made her professional début at the Royal Albert Hall in London in Sir Arthur Sullivans The Golden Legend on December 7, 1892. Three days later she appeared as Orfeo in Glucks Orfeo ed Euridice at the Lyceum Theatre. Bernard Shaw wrote in The World that she far surpassed the utmost expectations that could reasonably be entertained (December 14, 1892). She returned to Paris and made further studies with Jacques Bouhy (the teacher of Louise Homer and Louise Kirkby Lunn) and later with the soprano Etelka Gerster in Berlin. Camille Saint-Saëns wanted her to study Dalila, but due to laws then extant forbidding the representation of biblical subjects on the British stage, nothing came of it. Soon she had acquired an excellent reputation, aided by her physical presence - she was 6 feet 2 inches tall. She made many gramophone recordings, often accompanied by the (uncredited) pianist Miss Lillian Bryant. She was primarily a concert singer and only ever appeared in two opera productions, both of Gluck's Orfeo ed Euridice, in 1892 and 1920. Edward Elgar composed his Sea Pictures for contralto and orchestra with Clara Butt in mind as the soloist, and she sang at the first performance at the Norwich Festival on October 5, 1899, with the composer conducting. In 1900 she married the baritone Kennerley Rumford, and thenceforth often appeared with him in concerts. The couple eventually had three children, two sons and a daughter. Besides singing in many important festivals and concerts, she was honoured with royal commands from Queen Victoria, King Edward VII, and King George V. She made tours to Australia, Japan, Canada, the United States and to many European cities. During the First World War she organised and sang in many concerts for service charities, and for this she was appointed Dame Commander of the Order of the British Empire (DBE) in the 1920 civilian war honours. That year she sang four performances of Gluck's Orphee at Covent Garden under the baton of Sir Thomas Beecham. According to The Times she 'played fast and loose with the time and spoilt the phrasing' and it appears not to have been a success. Butt's three sisters were also singers. One of them, Ethel Hook, became a famous artist in her own right and made some superb solo recordings. In later life Clara Butt was dogged by tragedies. Her elder son died of meningitis while still at school, and the younger committed suicide. During the 1920s she became seriously ill of cancer of the spine, but her faith gave her the strength to continue working. She made many of her later records seated in a wheelchair. She died in 1936 at the age of 63 at her home in North Stoke, Oxfordshire, as a result of an accident she suffered in 1931. Sir Thomas Beecham once said, jokingly, that "on a clear day, you could have heard her across the English Channel". Not all serious musicians admired her booming contralto, which can be mistaken for a man's voice on some recordings, or her rather 'populist' approach to her art. In his autobiography Sir Adrian Boult recounts an anecdote about two young music students going for a bicycle ride one afternoon. After a while they stopped and sat making idle conversation on a piece of grass. One looked at his bicycle and mused 'I am going to call it Santley because it is a Singer'. Charles Santley, a veteran baritone, was the most noted British singer of the day, and Singer was the maker of the bicycle. The other responded 'I am going to call mine Clara Butt because it is not.' He then noticed as they rode home that a rather frosty atmosphere had developed. He realised why, when a short time afterwards he read that his companion, Kennerly Rumford, was engaged to Clara Butt. ******************************

: British contralto Clara Butt Handel Acoustic 78 rpm CurzonRoad

Added: August 31, 2010, 5:23 pm
Time: 01:00 | Views: 4 | Comments: 0 | Rating: Not yet rated

British Contralto Clara Butt ~ Land of Hope and Glory (1930)

British contralto Clara Butt (1872-1936) / Land of Hope and Glory (Benson/Elgar) / Recorded: June 25, 1930 -- ITEM: (BLASTING) There are moments when the 1930 technology is clearly on overload. I've yet to hear a copy of this recording that isn't marred by both near and out-and-out blasting. CLARA BUTT (via wikipedia) Clara Butt was born in Southwick, Sussex. Her father was Henry Albert Butt who was a sea captain and who was born in 1848 in Saint Martin, Jersey, Channel Islands. He married Clara Hook in 1869, who was born in Shoreham, the daughter of Joseph Hook, mariner (1861 and 1871 census, in 1881 in New Shoreham workhouse). In 1880 the family moved to Bristol and Clara was educated at South Bristol High School, where her singing talent was recognised and encouraged. At the request of her headmistress, she was trained by the bass Daniel Rootham and joined the Bristol Festival Chorus, of which he was musical director. In January 1890 she won a scholarship to the Royal College of Music. In her fourth year she spent three months studying in Paris at the expense of Queen Victoria. She also studied in Berlin and Italy. She made her professional début at the Royal Albert Hall in London in Sir Arthur Sullivans The Golden Legend on December 7, 1892. Three days later she appeared as Orfeo in Glucks Orfeo ed Euridice at the Lyceum Theatre. Bernard Shaw wrote in The World that she far surpassed the utmost expectations that could reasonably be entertained (December 14, 1892). She returned to Paris and made further studies with Jacques Bouhy (the teacher of Louise Homer and Louise Kirkby Lunn) and later with the soprano Etelka Gerster in Berlin. Camille Saint-Saëns wanted her to study Dalila, but due to laws then extant forbidding the representation of biblical subjects on the British stage, nothing came of it. Soon she had acquired an excellent reputation, aided by her physical presence - she was 6 feet 2 inches tall. She made many gramophone recordings, often accompanied by the (uncredited) pianist Miss Lillian Bryant. She was primarily a concert singer and only ever appeared in two opera productions, both of Gluck's Orfeo ed Euridice, in 1892 and 1920. Edward Elgar composed his Sea Pictures for contralto and orchestra with Clara Butt in mind as the soloist, and she sang at the first performance at the Norwich Festival on October 5, 1899, with the composer conducting. In 1900 she married the baritone Kennerley Rumford, and thenceforth often appeared with him in concerts. The couple eventually had three children, two sons and a daughter. Besides singing in many important festivals and concerts, she was honoured with royal commands from Queen Victoria, King Edward VII, and King George V. She made tours to Australia, Japan, Canada, the United States and to many European cities. During the First World War she organised and sang in many concerts for service charities, and for this she was appointed Dame Commander of the Order of the British Empire (DBE) in the 1920 civilian war honours. That year she sang four performances of Gluck's Orphee at Covent Garden under the baton of Sir Thomas Beecham. According to The Times she 'played fast and loose with the time and spoilt the phrasing' and it appears not to have been a success. Butt's three sisters were also singers. One of them, Ethel Hook, became a famous artist in her own right and made some superb solo recordings. In later life Clara Butt was dogged by tragedies. Her elder son died of meningitis while still at school, and the younger committed suicide. During the 1920s she became seriously ill of cancer of the spine, but her faith gave her the strength to continue working. She made many of her later records seated in a wheelchair. She died in 1936 at the age of 63 at her home in North Stoke, Oxfordshire, as a result of an accident she suffered in 1931. Sir Thomas Beecham once said, jokingly, that "on a clear day, you could have heard her across the English Channel". Not all serious musicians admired her booming contralto, which can be mistaken for a man's voice on some recordings, or her rather 'populist' approach to her art. In his autobiography Sir Adrian Boult recounts an anecdote about two young music students going for a bicycle ride one afternoon. After a while they stopped and sat making idle conversation on a piece of grass. One looked at his bicycle and mused 'I am going to call it Santley because it is a Singer'. Charles Santley, a veteran baritone, was the most noted British singer of the day, and Singer was the maker of the bicycle. The other responded 'I am going to call mine Clara Butt because it is not.' He then noticed as they rode home that a rather frosty atmosphere had developed. He realised why, when a short time afterwards he read that his companion, Kennerly Rumford, was engaged to Clara Butt. ******************************

: British Contralto Clara Butt 78 rpm CurzonRoad

Added: August 31, 2010, 5:23 pm
Time: 01:00 | Views: 5 | Comments: 0 | Rating: Not yet rated

Clara Butt sings from Donizetti's Lucrezia Borgia

"Il segreto per esser felici" from Lucrezia Borgia Thanks to Arsace88 for this translation: I know from experience the secret to be happy and I can teach it to my friends: with the sky clear or cloudy, with hot or cold weather, I joke, I drink and mock the stupid who are afraid of the future! Do not worry about the uncertain future, while you can take delight today! Let's take advantage of the flourishing years, which are slowed by pleasure; even though old age with gray face follows me and and threat my life, I joke, I drink and mock ecc. :)

: Clara Butt Donizetti Il Segreto Lucrezia Borgia Glenmed

Added: August 31, 2010, 5:23 pm
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Montserrat Caballe and Monsita

Documentary on Montserrat Caballe. The clip includes and excerpt of mother and daughter singing together. Will Monsita ever reach stardom or fame her mother achieved?

: Caballe montserrrt Documentary Opera

Added: August 31, 2010, 5:20 pm
Time: 01:00 | Views: 4 | Comments: 0 | Rating: Not yet rated

Montserrat Caballe and Bruce Dickinson -Bohemian Rhapsody

Although this is one of the best songs ever written - by Queen or anyone, once I heard Bruce Dickinson singing this as a tribute to Freddy Mercury (Bruce is better known as singer from "Iron Maiden") I was spellbound. It is a more operatic version of it, with a soprana singing some of Freddie's lines, but some of the notes that Bruce hits, are amazing lol.

: Montserrat Caballe Bruce Dickinson Iron Maiden Bohemian Rhapsody Queen 1997

Added: August 31, 2010, 5:20 pm
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Montserrat Caballe - March with me 2008

Montserrat Caballe - March with me 2008 (composed, produced and performed by Vangelis with lyrics of Montserrat Caballé) Come sing with me for peace and love my only dream and wish for the world Join with me now and march with me Love is the word let's try once again stop all fights now and march ... Let's try once again to help all mankind to win those lost hearts and start this new life No evil, no guns, just freedom and peace No evil, just freedom, no guns, no evil, just freedom and march

: Classic 00s ES Montserrat Caballe March with me 2008 Vangelis

Added: August 31, 2010, 5:20 pm
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Caballé, Horne - Barcarolle

Montserrat Caballé and Marilyn Horne in concert singing the duet "Belle Nuit", also known as Barcarolle from Les Contes d'Hoffmann by Offenbach. Munich, 1990

: montserrat caballe marilyn horne music concert opera classical offenbach munich

Added: August 31, 2010, 5:20 pm
Time: 01:00 | Views: 2 | Comments: 0 | Rating: Not yet rated

Freddie Mercury/Montserrat Caballé - Barcelona - La Nit Live

Mercury and Caballé singing "Barcelona" on October 8th 1988 at huge open air La Nit festival staged in Barcelona, which was held to celebrate the arrival of the Olympic Flag from Seoul.

: Barcelona La Nit Freddie Mercury Montserrat Caballe Caballé

Added: August 31, 2010, 5:20 pm
Time: 01:00 | Views: 3 | Comments: 0 | Rating: Not yet rated

Teresa BERGANZA & Placido DOMINGO *Carmen*- finale

Great spanish singers TERESA BERGANZA and PLACIDO DOMINGO sing final scene from Carmen "C´est toi, c´est moi" by georges Bizet. Conductor: Pierre Dervaux Theatre National L´opera de Paris May 14, 1980

: teresa berganza placido domingo georges bizet carmen paris 1980 berbie perriers philippe senechal dervaux classical

Added: August 31, 2010, 5:07 pm
Time: 01:00 | Views: 2 | Comments: 0 | Rating: Not yet rated

Teresa Berganza Master Class

Teresa Berganza Master class about "La Boheme". She is teaching about phrasing

: Teresa Berganza Master class masterclass Boheme phrasing

Added: August 31, 2010, 5:07 pm
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Teresa BERGANZA sings Habanera from Carmen

THE BEST MEZZOSOPRANO EVER(in my opinion) *TERESA BERGANZA* sings "L´amour est un oiseau rebelle"(Habanera) from Bizet´s Carmen. Theatre nationale L´opera de Paris - May 14, 1980 Director: Pierre Dervaux

: teresa berganza carmen georges bizet spanish mezzo habanera paris piere dervaux placido domingo

Added: August 31, 2010, 5:07 pm
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Beverly Sills & Ann Margret!!!

Beverly Sills & Ann Margret perform a pastiche of operatic and comedic arias.

: beverly sills ann margret

Added: August 31, 2010, 4:59 pm
Time: 10:00 | Views: 2 | Comments: 0 | Rating: Not yet rated

Beverly Sills on The Muppet Show Part 2

Miss Sills and Gonzo engage in some "high Art" (Spoon Hanging) in this clip from season 4.

: Beverly Sills Muppet Show comedy

Added: August 31, 2010, 4:59 pm
Time: 04:00 | Views: 4 | Comments: 0 | Rating: Not yet rated

Beverly Sills as Queen Cleopatra

Beverly Sills in Handel's Guilio Cesare, singing the dazzling aria of "Da tempeste il legno infranto" http://www.beverlysillsonline.com

: Beverly Sills cleopatra handel guilio cesare opera

Added: August 31, 2010, 4:59 pm
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Beverly Sills on The Muppet Show Part 1

Delightful season 4 Muppet Show segment, with the incomparable Beverly Sills. Introduced as "The Queen of Nashville" and given a cowboy song to sing ("When the Bloom is on the Sage"), Miss Sills rises to the occasion, and even tap dances!

: Beverly Sills Muppet Show Tap Dance

Added: August 31, 2010, 4:59 pm
Time: 04:00 | Views: 3 | Comments: 0 | Rating: Not yet rated

Beverly Sills and Danny Kaye opera parody!

Beverly Sills and Danny Kaye sings together in a memorable and hilarious opera parody.

: beverly sills danny kaye coloratura

Added: August 31, 2010, 4:59 pm
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Beverly Sills Farewell - Her Final Performance!

Beverly Sills Farewell Performance. Sills highlights her career and sings a tearful final encore of the Portuguese Folk Song: "Tell Me Why" that Estelle Liebling, her only voice teacher, gave her when she was ten. As a tribute to Liebling, Sills ended every recital with this song. Her long-time accompanist, Charles Wadsworth, plays for this final, moving performance. http://www.beverlysillsonline.com

: Beverly Sills opera

Added: August 31, 2010, 4:59 pm
Time: 01:00 | Views: 3 | Comments: 0 | Rating: Not yet rated

Maria Cebotari - So elend und so treu by Johann Strauss

Maria Cebotari sings aria So elend und so treu from Der Zigeunerbaron by Johann Strauss "Der Zigeunerbaron was the first Viennese operetta set in Hungary and whose main characters were Hungarians and Gypsies. Although this may seem like a bold political gesture at a time when many Viennese felt the influx of Hungarians into Vienna threatened the city's political and financial stability, the context in which Strauss and Schnitzer frame their Hungarian characters preserves the Austrian sense of superiority. Der Zigeunerbaron is based on Saffi, a novella by the Hungarian Mór Jókai. Ignaz Schnitzer, in Vienna, developed a libretto from Jókai's scenario, while Franz Jauner, director of the Theater-an-der-Wien, secured the rights to the work and planned its production" : http://www.answers.com/topic/der-zigeunerbaron-the-gypsy-baron-operetta-rv-511 Maria Cebotari (Cebotaru) (10 February 1910, Chişinău - 9 June 1949, Vienna) was a Bessarabian born - Austrian soprano and actress of Romanian origin: http://en.wikipedia.org/wiki/Maria_Cebotari http://en.wikipedia.org/wiki/Moldavia Maria Cebotari se vit conférer le plus important titre honorifique existant à l'époque en Allemagne et en Autriche - Kammersängerin. A part cela, ses mérites exceptionnels furent appréciés par la haute distinction "Coroana României" (« La couronne de la Roumanie »): http://www.moldavie.fr/article.php3?id_article=605 She sang at many opera houses including Berlin State Opera, Vienna State Opera, La Scala Opera House of Milan, Covent Garden, Dresden Semper Opera House. Most of her survived recordings are live and they show her extremely versatile voice. Austrian record label Preiser has issued the recordings "The Art of Maria Cebotari".

: Maria Cebotari Romanian Austrian soprano Johann Strauss So elend und treu Bessarabia Moldavia classical

Added: August 31, 2010, 4:57 pm
Time: 01:00 | Views: 2 | Comments: 0 | Rating: Not yet rated

Maria Cebotari - Mozart, Concert Aria KV 416

Maria Cebotari sings Mozart's Concert Aria KV 416 (The high soprano aria "Mia speranza adorata" without the recitative, starting at the aria proper "Ah non sai, qual pena sia") in german "Entflohen ist die letzte Hoffnung" Maria Cebotari (Cebotaru) (10 February 1910, Chişinău - 9 June 1949, Vienna) was a Bessarabian born - Austrian soprano and actress of Romanian origin: http://en.wikipedia.org/wiki/Maria_Cebotari http://en.wikipedia.org/wiki/Moldavia Frankfurter Funkorchester Conductor: Hans Rosbaud 2 February 1936 Maria Cebotari se vit conférer le plus important titre honorifique existant à l'époque en Allemagne et en Autriche - Kammersängerin. A part cela, ses mérites exceptionnels furent appréciés par la haute distinction "Coroana României" (« La couronne de la Roumanie »): http://www.moldavie.fr/article.php3?id_article=605 She sang at many opera houses including Berlin State Opera, Vienna State Opera, La Scala Opera House of Milan, Covent Garden, Dresden Semper Opera House. Most of her survived recordings are live and they show her extremely versatile voice. Austrian record label Preiser has issued the recordings "The Art of Maria Cebotari".

: Maria Cebotari Cebotaru Romanian Austrian soprano Mozart Entflohen ist die letzte Hoffnung Kammersängerin Frankfurter Funkorchester Hans Rosbaud Bessarabia Moldavia

Added: August 31, 2010, 4:57 pm
Time: 01:00 | Views: 2 | Comments: 0 | Rating: Not yet rated

Sesame Street - C is for cookie (Marilyn Horne)

The opera great performs Cookie Monster's favorite song, with the set of Verdi's Aida as a backdrop.

: sesame street marilyn horne cookie

Added: August 31, 2010, 4:51 pm
Time: 00:01 | Views: 2 | Comments: 0 | Rating: Not yet rated

Portrait Of Marilyn Horne (1)

Ritratto Di Marilyn Horne (Portrait Of Marilyn Horne), a 1994 documentary produced and directed by Nigel Watts for Italian Classica TV. While the host speaks in Italian, most of the video is in English with Italian subtitles and includes interviews with the diva herself, conductor Henry Lewis (her ex-husband), author Jane Scovell (co-writer of her autobiography), colegues soprano Dame Joan Sutherland and bass-baritone Samuel Ramey. The program features the music of Rossini, Bellini, Vivaldi, Bizet, Copland and many others (both classical and showtunes) in excerpts from Horne's many recitals, operatic performances, TV appearances and masterclasses. A wonderful document about a truely great artist. The most celebrated mezzo of the 20th century, she almost single-handedly revived the forgotten masterpieces of Rossini and brought Handel's operas to American audiences. She was also (and continues to be) a tremendous influence on American mezzos and countertenors alike. Subscribe! Subscribe! Subscribe! :)

: marilyn horne documentary lyric dramataic operatic coloratura mezzo soprano alto contralto bel canto baroque musical

Added: August 31, 2010, 4:51 pm
Time: 01:00 | Views: 2 | Comments: 0 | Rating: Not yet rated

Marilyn Horne - Non Temer D'un Basso Affetto

The legendary American mezzo-soprano Marilyn Horne singing Calbo's recitative and aria Non Temer D'un Basso Affetto from Gioachino Rossini's 1820 opera Maometto II. The composer later revised this work in French as Le Siège De Corinthe (L'Assedio Di Corinto, 1826) with this particular aria being sung by the character of Ismène. It was in this role that, during a 1969 performance at La Scala, Horne received a remarkable mid-act seven minute ovation. I guess it must have been for Non Temer. :) In 1982, the Rossini Foundation awarded her its first Golden Plaque, acclaiming her as "the greatest Rossini singer in the world". She also had a crucial role in bringing baroque opera to the modern American audience and influenced the crème de la crème of US countertenors from Jeffrey Gall and Derek Lee Rading to David Daniels and Bejun Mehta. This video is from a RAI broadcast of Horne's Rossini Opera Festival performance that took place on 30.07.1986. in Pesaro with the Nuova Orchestra Italiana conduced by Charles Mackerras. Subscribe! Subscribe! Subscribe! :)

: marilyn horne jackie coloratura mezzo soprano mezzosoprano contralto alto trouser role castrato gioacchino rossini maometto secondo italian tv

Added: August 31, 2010, 4:51 pm
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The "Nacqui all'affanno" Contest - Marilyn Horne

"How to end an opera?" That was surely one of the quetions composers asked themselves in the good old days (circa 1800s). The possibilities were endless, but the most "popular" opera ending certainly was an aria for the heroine: Anna Bolena, Amina, Elvira, Zoraide, Elena... This is only a short list of opera heroines, who get the final word in their respective operas. Rossini's La Cenerentola also ends with a final aria for the title heroine. Angelina's "Nacqui all'affanno" is a wonderful example of the rondo aria form: it starts with a gentle cantible, where there is much room for expression, and ends with a brilliant cabaletta, that was used by Rossini two times before "La Cenerentola". I do hope that you enjoy this new voting (the system is the same: the marks range from 1 to 5; there are two categories: singing/characterization; so your mark (+ comment :-) ) should look like this: (*/*)). Next is the powerful Marilyn Horne.

: Rossini Marilyn Marylin Horne Contest Coloratura Nacqui Allaffanno

Added: August 31, 2010, 4:51 pm
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Luciano Pavarotti and Marilyn Horne as guests of Joan Sutherland in the operetta: The Bat/ Part 1

Joan Sutherland says goodbye with a guest appearance in the operetta, the bat from her English audience. She has also invited 2 guests, Marilyn Horne and Luciano Pavarotti. Both prove Joan Sutherland with beautiful arias, their toll.

: Luciano Pavarotti

Added: August 31, 2010, 4:51 pm
Time: 01:00 | Views: 2 | Comments: 0 | Rating: Not yet rated

Marilyn Horne sings Carmen (vaimusic.com)

http://vaimusic.com/VIDEO/DVD_4401_Horne.htm Marilyn Horne sings Carmen "Habanera" (Bizet) From: VAI DVD 4401 Marilyn Horne in Concert The legendary mezzo-soprano Marilyn Horne is at her spectacular best in this 1986 live concert from the Lugano Festival, Switzerland. With the Orchestra della Svizzera Italiana conducted by Hornes long-time collaborator, Martin Katz. Opional English, French, German, Italian, and Spanish subtitles Color, stereo, 120 minutes. Bonus: Audio interview with Ms. Horne. TO PURCHASE THE COMPLETE DVD, PLEASE VISIT www.vaimusic.com OR CALL TOLL-FREE IN THE US 1(800)477-7146 (OUTSIDE OF THE US, CALL 914-769-3691).

: Marilyn Horne Opera Vocal Carmen Habanera Bizet mezzo soprano Orchestra della Svizzera Italiana Lugano Festival Martin Katz Video Artists International vai vaimusic

Added: August 31, 2010, 4:51 pm
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Great Moments from the Old Met (1): Frida Leider in Tristan und Isolde (11 March 1933)

This is the inaugural installment of a projected series in celebration of the 130th anniversary of the founding of the Metropolitan Opera in New York. The series will present great moments from live performances featuring the most stellar artists from the final years of the administration under Giulio Gatti-Cassaza in the early 1930s to the end of the Edward Johnson regime in the late 1940s. For the first installment, here's Frida Leider in the Liebestod from Wagner's Tristan und Isolde, coming from a live performance at the Old Met on 11 March 1933, conducted by Artur Bodanzky.

: Frida Leider Wagner Tristan und Isolde Liebestod Metropolitan Opera 1933

Added: August 31, 2010, 4:49 pm
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Frida Leider, "Dich, teure Halle", Wagner: Tannhäuser (recorded in 1921)

Frida Leider in one of her early recordings, Elisabeth's greeting to the Hall of Song, "Dich, teure Halle", from Act 2 of Wagner's Tannhäuser. This accoustic recording was made in Berlin for Deutsche Grammophon in 1921. Around that time, she had established herself in Hamburg and her career was just taking off.

: Frida Leider Dich teure Halle Wagner Tannhäuser 1921

Added: August 31, 2010, 4:49 pm
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American Contralto Janet Spencer ~ O don fatale (1911)

American contralto Janet Spencer / O don fatale / Don Carlos (Verdi) / Recorded: March 8, 1911 -- ITEM: (PHOTOGRAPH) The first, second, and final images of Spencer are from the Sunday, March 25, 1906 edition of The New York Times, prominently sharing pride of place at the top of a page headlined 'Music and Music Makers', with the portraits of noted tenor Alessandro Bonci and violinist Franz Kneisel. The portrait used in the third and fourth sequence are surely from the same studio session as image featured in the NYT. Janet Spencer had a successful career in concert and oratorio. Born in Boston, Massachusetts, she made her debut at the age of 16, appearing with the Boston Festival Orchestra. She later toured throughout the United States and Europe. She was an intimate friend of Geraldine Farrar, encouraging the younger star in her Met career. In Spencer's later years she gave voice lessons in Hollywood, California, where she died in 1948 at the age of 74. She made nine recordings on Victor's prestigious Red Seal label. ****************************

: American Contralto Janet Spencer Opera Verdi Acoustic 78RPM CurzonRoad

Added: August 31, 2010, 4:47 pm
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Alessandro Bonci & A.Rettore/S.Baccaloni Verdi Un Ballo in Maschera "È scherzo od è follia" 1928

vinyl, from original source Alessandro Bonci & A.Rettore/S.Baccaloni/E.Rubadi Verdi Un Ballo in Maschera "È scherzo od è follia" 1928 Alessandro Bonci (1870-1940) Aurore Rettore (Soprano) Salvatore Baccaloni (19001969)Italian bass Erminia Rubadi (Mezzo Soprano) Verdi Un Ballo in Maschera "È scherzo od è follia" 1928 an operbathosa video GUSTAVO: (guardandosi intorno) È scherzo od è follia Siffatta profezia: Ma come fa da ridere La lor credulità! ULRICA: (passando innanzi a Horn e Ribbing) Ah voi, signori, a queste Parole mie funeste Voi non osate ridere; Che dunque in cor vi sta? HORN E RIBBING: La sua parola è dardo, È fulmine lo sguardo, Dal confidente dèmone Tutto coestei risà. OSCAR, CORO: Ah! Tal fia dunque il fato? Ch'ei cada assassinato? Al sol pensarci l'anima Abbrividendo va. GUSTAVO: Finisici il vaticnio. Di', chi fia dunque l'uccisor? ULRICA: Chi primo Tua man quest'oggi stringerà. GUSTAVO: (con vivacità) Bennissimo. (offrendo la destra ai circostanti che non osano toccare) Qual è di voi, che provi L'oracolo bugiardo? Nessuno! (Anckarström appare all'entrata) GUSTAVO: (accorrendo a lui e stringendogli la mano) Eccolo. HORN, RIBBING, CORO:: È desso! HORN E RIBBING: (ai loro aderenti) Respiro; il caso ne salvò. CORO: (contro Ulrica) L'oracolo mentiva. GUSTAVO: Sì; perchè la man che stringo È del più fido amico mio! ANCKARSTRöM: Gustavo! ULRICA: (riconoscendo il re) Il re! . . . GUSTAVO: (a lei) Nè chi fossi il genio tuo Ti rivelò, nè che voleano al bando Oggi dannarti. ULRICA: Me? GUSTAVO: (gettandole una borsa) T'acqueta e prendi. ULRICA: Magnanimo tu sei, ma v'ha fra loro Il traditor; più d'uno Forse . . . HORN E RIBBING: (Gran Dio!) GUSTAVO: Non più.

: operbathosa

Added: August 31, 2010, 4:47 pm
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Alessandro BONCI "Cielo e mar" - Victor talking machine

Bel canto tenor Alessandro Bonci (1870-1940) sings "Cielo e mar" ("Heaven and Ocean) from Ponchielli's opera LA GIOCONDA on 12-inch tri-color-label Columbia # A6479. Bonci was born and died near Rimini. After study in Pesaro, he made his debut in Parma in 1896. The following year he was engaged to sing at La Scala, where he made his debut in Bellini's I PURITANI. In the early years of the twentieth century he was regarded as CARUSO'S ONLY SERIOUS RIVAL, excelling in roles demanding lightness, agility, and ELEGANCE, rather than the heavier and more dramatic parts. After some appearances at Covent Garden, he scored a great success in New York in 1906, singing in I Puritani at the opening of Oscar Hammerstein's Manhattan Opera House on 34th Street. For the next three seasons he transferred his activities to the Metropolitan where he sang 14 different roles in 65 performances. He served in the Italian Air Force in World War I. Immediately thereafter, he returned to the Met in 1918-1920--and then appeared at the Chicago Opera for the 1920-1921 season. From then on, he performed only occasionally. After 1925, Bonci entered partial retirement, devoting himself primarily to teaching in Milan; he died in Viterbo in 1940. In the older repertory, he excelled by virtue of the sweetness of his tone and the finish of his phrasing. THE TALKING MACHINE seen in the video is a Victor 2, purchased around 1906.

: gmmix Bonci Columbia Ponchielli Gioconda Victor talking machine bel canto opera

Added: August 31, 2010, 4:47 pm
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Soprano Elisabeth Rethberg: L'enfant prodigue ~ Air de Lia (1930s-1940s)

Soprano Elisabeth Rethberg (1894-1976) / Air de Lia / L'enfant prodigue (Debussy) / Recorded: Late 1930s - early 1940s) -- The German soprano Elisabeth Rethberg (September 22, 1894 - June 6, 1976) was an opera singer of international repute active from the period of the First World War through to the early 1940s. Some hailed her as the greatest soprano of her day. (Her chief contemporary rival at the New York Metropolitan Opera was the Italian-American soprano Rosa Ponselle, who possessed a bigger and darker-hued voice.) While she did not break any new ground dramatically or vocally, Rethberg was just as much at home singing in Italian or German. She employed her pure, stunningly beautiful and good-sized lyric voice with such focus that she never seems obscured in old recordings by either loud orchestras or larger-voiced partners. She slotted ideally into delicate Mozartian roles yet was perhaps the greatest Amelia in Verdi's Un Ballo in Maschera that the Metropolitan Opera has ever known. Her singing of the more lyrical Wagnerian soprano parts such as Sieglinde, Eva, Elsa and Elisabeth was unsurpassed in its day and probably since. Rethberg was born Elisabeth Sättler in Schwarzenberg. She studied at Dresden's conservatory with Otto Watrin and made her operatic debut in that German city in the operetta Zigeunerbaron by Johann Strauss in 1915. Rethberg sang with the Dresden Opera until 1922. In that year, she made her Metropolitan Opera debut as Aida in Giuseppe Verdi's opera of that name. She moved to the USA and remained with the Metropolitan for 20 seasons, singing some 30 roles on stage and in the recording studio opposite such famous tenor colleagues as Beniamino Gigli, Giovanni Martinelli and Giacomo Lauri-Volpi. She also was engaged by London's Royal Opera House, Covent Garden, where she sang in 1925 and in 1934-1939. The Salzburg Festival in Austria heard her too, as did audiences in Milan and elsewhere in Europe. Rethberg returned often to Dresden where, in 1928, she created the title role in Strauss's Die ägyptische Helena. The brilliantly dynamic if dictatorial Italian conductor Arturo Toscanini was a particular admirer of Rethberg's vocal talent. During the latter-half of the 1930s Rethberg's voice lost its bloom due to the repeated singing of Aida and other heavy roles. She retired from the stage in 1942. Yet even at her least impressive (for example, in a 1942 recording of Verdi's Otello), she remained a well-schooled singer and a classy reminder of the Metropolitan Opera's great period during the 1920s and early '30s, when her powers were at their peak. In her magnificent prime, Rethberg was remarkable for the combination of a seemingly delicate, feminine sound with a capacity for great vocal intensity, to which she added impressive breath control and dynamic light and shade (from piano to forte notes). She made many splendid recordings of arias and ensemble pieces in Germany and the United States between 1921 and the outbreak of the Second World War. Many of these are available on modern CD transfers. The most fascinating records of her art, however, may be the live Met recordings that capture her (admittedly, past her zenith) in complete operas by Mozart, Verdi and Wagner. These recordings are somewhat difficult to obtain in America because the Met forbids their sale in the United States owing to royalty concerns. They include Mozart's Marriage of Figaro and Verdi's Il Trovatore, Un Ballo in Maschera, Simon Boccanegra and Otello. Rethberg was married to the Russian-born Met comprimario singer George Cehanovsky (1892-1986). She died in Yorktown Heights, New York in 1976 at the age of 81. (wikipedia) ****************************** ******************************

: Soprano Elisabeth Rethberg Opera Debussy Lenfant prodigue 78 rpm Curzonroad

Added: August 31, 2010, 4:45 pm
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German Soprano Elisabeth Rethberg ~ Ave Maria (1924)

German soprano Elisabeth Rethberg (1894-1976) / Ave Maria (Schubert) / Max Rosen - violinist Recorded: 1924 -- The German soprano Elisabeth Rethberg (September 22, 1894 - June 6, 1976) was an opera singer of international repute active from the period of the First World War through to the early 1940s. Some hailed her as the greatest soprano of her day. (Her chief contemporary rival at the New York Metropolitan Opera was the Italian-American soprano Rosa Ponselle, who possessed a bigger and darker-hued voice.) While she did not break any new ground dramatically or vocally, Rethberg was just as much at home singing in Italian or German. She employed her pure, stunningly beautiful and good-sized lyric voice with such focus that she never seems obscured in old recordings by either loud orchestras or larger-voiced partners. She slotted ideally into delicate Mozartian roles yet was perhaps the greatest Amelia in Verdi's Un Ballo in Maschera that the Metropolitan Opera has ever known. Her singing of the more lyrical Wagnerian soprano parts such as Sieglinde, Eva, Elsa and Elisabeth was unsurpassed in its day and probably since. Rethberg was born Elisabeth Sättler in Schwarzenberg. She studied at Dresden's conservatory with Otto Watrin and made her operatic debut in that German city in the operetta Zigeunerbaron by Johann Strauss in 1915. Rethberg sang with the Dresden Opera until 1922. In that year, she made her Metropolitan Opera debut as Aida in Giuseppe Verdi's opera of that name. She moved to the USA and remained with the Metropolitan for 20 seasons, singing some 30 roles on stage and in the recording studio opposite such famous tenor colleagues as Beniamino Gigli, Giovanni Martinelli and Giacomo Lauri-Volpi. She also was engaged by London's Royal Opera House, Covent Garden, where she sang in 1925 and in 1934-1939. The Salzburg Festival in Austria heard her too, as did audiences in Milan and elsewhere in Europe. Rethberg returned often to Dresden where, in 1928, she created the title role in Strauss's Die ägyptische Helena. The brilliantly dynamic if dictatorial Italian conductor Arturo Toscanini was a particular admirer of Rethberg's vocal talent. During the latter-half of the 1930s Rethberg's voice lost its bloom due to the repeated singing of Aida and other heavy roles. She retired from the stage in 1942. Yet even at her least impressive (for example, in a 1942 recording of Verdi's Otello), she remained a well-schooled singer and a classy reminder of the Metropolitan Opera's great period during the 1920s and early '30s, when her powers were at their peak. In her magnificent prime, Rethberg was remarkable for the combination of a seemingly delicate, feminine sound with a capacity for great vocal intensity, to which she added impressive breath control and dynamic light and shade (from piano to forte notes). She made many splendid recordings of arias and ensemble pieces in Germany and the United States between 1921 and the outbreak of the Second World War. Many of these are available on modern CD transfers. The most fascinating records of her art, however, may be the live Met recordings that capture her (admittedly, past her zenith) in complete operas by Mozart, Verdi and Wagner. These recordings are somewhat difficult to obtain in America because the Met forbids their sale in the United States owing to royalty concerns. They include Mozart's Marriage of Figaro and Verdi's Il Trovatore, Un Ballo in Maschera, Simon Boccanegra and Otello. Rethberg was married to the Russian-born Met comprimario singer George Cehanovsky (1892-1986). She died in Yorktown Heights, New York in 1976 at the age of 81. (wikipedia) ******************************

: German Soprano Elisabeth Rethberg Schubert Ave Maria Acoustic 78 rpm CurzonRoad

Added: August 31, 2010, 4:45 pm
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Marc Blitzstein "Reuben Reuben" Patrice Munsel Evelyn Lear "Song of the Arrow" Rare Acetate

This is the acetate demo recorded by Patrice Munsel with composer Marc Blitzstein on the piano of the remarkable coloratura aria "Song of the Arrow" from his lost-in-Boston Broadway-intended musical "Reuben Reuben". Cast included Eddie Albert, Kaye Ballard, George Gaines, and Evelyn Lear who was completely unknown just out of Juilliard when Blitzstein cast her, much as he cast Carol Channing, Vivian Vance, Shirley Booth, and discovered Leonard Bernstein as a junior at Harvard before her. Lear sang this in the show. This recording is cleaned of very heavy noise, and is part of my collection of recordings comprising a demo of the full score, which is extraordinary and which should be completely and newly recorded (see Dawn Upshaw's "I Wish It So" CD for another song from it). Besides "Blitzstein Strikes Back" (a biographical musical drama) I also wrote a scenario for "Reuben", as MB never revised the book he also wrote; the problems with it considered the reason Cheryl Crawford closed it in Boston. As is, an amazing mix of opera, comedy vaudeville, bar ditties and ballads. A great lost score, and almost unknown in part because so much of it only exists in nearly unlistenable sound (until now). As is typical of MB's work, this beautiful aria is about Nina standing on the Manhattan Bridge and spitting loogies ('arrows') at passers-by. As Anna Russell used to say, "I'm not making this up you know." Each character sings in his or her own genre, including a passing street quartet.

: Mark Blitzstein Reuben Eddie Albert Patrice Munsel Leonard Bernstein Flops Broadway Lost Cheryl Crawford Kaye Ballard Musical Comedy American Opera

Added: August 31, 2010, 4:14 pm
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Evelyn Lear sings Donde lieta uscì (in German)

Evelyn Lear sings Donde lieta uscì (in German) from La boheme

: Evelyn Lear

Added: August 31, 2010, 4:14 pm
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Marta Eggerth sings "The Maiden's Wish" by Chopin in Concert at Age 80

Marta Eggerth in concert. Her son Marjan Kiepura is the pianist. "The Maiden's Wish" by Chopin. www.patriamusic.com

: Frederic Chopin operetta Marta Eggerth Eggert Marjan Kiepura opera The Maidens Wish chopin marjan kiepura marta eggerth eggert classical pianist singer piano

Added: August 31, 2010, 4:00 pm
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coloratura Marta Eggerth at age 90 - Kalman

Hungarian-born American singer-actress Marta Eggerth has maintained her performing career for over 70 years. Here we hear her sing "Que J'aime Paris." It almost defies belief, hearing her at 90, that she is, indeed, 90 years of age. Unlike most sopranos advanced in years, her upper register remains intact. Obviously, she's not afraid of the "high notes." She starred in over 40 films and recently performed a New York concert in 2007, aged 95. Born as Márta Eggerth on April 17, 1912 in Budapest, she began singing at age 11. Very popular in Europe, she and her husband (who both had Jewish mothers) were forced to flee Europe and settled in the United States. She appeared in MGM films but never achieved the fame she enjoyed in Europe. After her contract was not renewed, she and her husband, Polish actor-singer Jan Kiepura, moved to New York, where they reared two sons. She enjoyed a lengthy run opposite her now-deceased husband in The Merry Widow on Broadway. Eggerth is a whirlwind advocate for operetta, a lighter and more playful form of opera. "In opera, everybody dies. In operetta, everybody is flirtatious", says Eggerth of the art form that peaked in the 1940s but which has always been her signature calling card. A marvelous 2-CD set of Marta Eggerth's recordings, covering the period from 1932 to 2002, can be obtained from Patria Productions, Inc., P.O. Box 344, Littleton, NH 03561 This set was compiled by MARjan Kiepura, an impressivly talented pianist, who sometimes accompanies his mother.

: gmmix Marta Eggerth operetta opera Jan Kiepura Kalman

Added: August 31, 2010, 4:00 pm
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Marcella Sembrich sings Strauss "Voices of Spring" (1903 recording)

Johann Strauss II (1825-1899): Frühlingsstimmen opus 410 Marcella Sembrich, Polish-American soprano, 1858 - 1935 Charles Adam Prince, piano Recorded in 1903 Sembrich, real name Prakseda Marcelina Kochańska, learned to play the violin and piano from her father and performed on both instruments in recital when she was 12 years old. She also studied piano and voice with Wilhelm Stengel, whom she later married, and studied voice with Victor Rokitansky in Vienna. Franz Liszt, for whom she played and sang in 1874, is said to have encouraged her to develop her voice. She made her operatic debut in 1877 in Athens as Elvira in Vincenzo Bellinis I puritani. Her next performance, in Dresden, Germany, as Gaetano Donizettis Lucia di Lammermoor, was so successful that she remained in Dresden for two years. At that time she adopted her mothers maiden name, Sembrich, as her professional name. In 1880 Sembrich signed a five-year contract with the Royal Italian Opera company in London and made her debut at Covent Garden in Lucia di Lammermoor. She also performed in Austria, Russia, Scandinavia, France, and Spain and made her American debut singing Lucia di Lammermoor at the Metropolitan Opera in New York City during its premiere season in October 1883. On the last night of the season, in April 1884, she amazed the audience at a benefit concert by singing a selection from Giovanni Paisiellos Il barbiere di Siviglia, playing a movement from a concerto by Charles-Auguste de Bériot on the violin, and, as an encore, playing a mazurka by Frédéric Chopin on the piano. She returned to the Metropolitan in 1898 and remained a member of that company until her farewell opera performance in 1909. During that period several highly publicized incidents earned her a reputation as a tempestuous prima donna. At the height of her career, the 190506 season, she was paid $1,000 for each of 45 performances. Her voice, a brilliant and flutelike soprano of marked sweetness and remarkable range, was accounted one of the greatest of the time. Sembrich continued to give concerts until 1917, the year of her husbands death. Thereafter she devoted herself to teaching, both privately and from 1924 at the Juilliard School in New York City and the Curtis Institute in Philadelphia. Among her pupils was Alma Gluck. Source: Brittanica

: Marcella Sembrich Prince voce di primavera spring voices fruhlingsstimmen historic recording Columbia

Added: August 31, 2010, 3:58 pm
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Marcella Sembrich sings Chopin - Maiden's Wish, ca 1900

Today, is the 200th ANNIVERSARY OF THE BIRTH OF FRYDERYK CHOPIN (born in Zelazowa Wola, Poland on 1st of March, 1810 - died on 17th Oct 1849 in Paris). As my tribute to one of greatest composers in the history of mankind, let me quote words of Denis Dutton, a philosophy professor at the University of Canterbury in New Zealand: The myriad worlds of Chopin's music are like nothing else in art. Using 10 fingers on a keyboard, he could create imaginative and emotional works that were utterly distinct--from each other and from all other music. He proves that human passion can be at its most intense in the most economical and limited art forms. Even the tiniest of Chopin's works resonates across the universe. ------------------------------------------------------------ Marcella Sembrich (Marcelina Sembrich-Kochańska), soprano - Maiden's Wish (Życzenie) (Frederic Chopin), Sung in Polish with Piano, Acc. played by herself, Recorded by Victor, ca 1900 NOTE: MARCELLA SEMBRICH a great Polish soprano, born in 1858 as Marcelina Prakseda Kochańska at Wiśniewczyk, in then Podolia (Poland), now part of the Ukraine. She first studied violin and piano with her father, who was a strolling music teacher. Later, she entered the Lwów Conservatory and studied piano with her future husband, Wilhelm Stengel. She entered the Vienna Conservatory in Autumn 1875. It was only then that her remarkable voice was discovered. She studied piano with Julius Epstein, and voice with Viktor Rokitansky. After a year it was decided to give up study of the piano and fully devote the young student to voice lessons. She arrived in Milan in September 1876 to study with one of the best vocal teachers on the continent, Giovanni Battista Lamperti. She made her debut in opera at Athens as Elvira in Bellini's "I Puritani" on June 3, 1877. She not only sang "Puritani", but also "Lucia di Lammermoor", "Robert le Diable" and "La Sonnambula". It is a testament to her proper early training and intelligence that a 19-year-old soprano could learn so many roles in a foreign language so quickly! After her grand success in Athens she was to appear with the Vienna Opera, but due to pregnancy she broke the contract. During her pregnancy and after the birth of her first son, she had a long and frustrating search for an opera engagement, until she was hired as a guest at the Dresden Royal Opera House in September 1878, debuting as Lucia. Her success was immediate and she was dubbed the "Polish Patti." At that time she adopted her mothers maiden name, Sembrich, as her professional name. In June 1880 she created a sensation at Covent Garden as Lucia in Donizetti's "Lucia di Lammermoor". She became a great favorite in the characters of Zerlina, "Don Giovanni"; Susanna, "The Marriage of Figaro"; Konstanze, "The Abduction from the Seraglio"; Lady Harriet/Martha, "Martha"; and, of course, Lucia. In 1883, Marcella Sembrich went to the United States to sing in the newly founded Metropolitan Opera company. She made her Met debut as Lucia in the company premiere of "Lucia di Lammermoor" on October 24, 1883, she was also the Met's first Elvira in "I Puritani", Violetta in "La Traviata", Amina in "La Sonnambula", Gilda in "Rigoletto", Marguerite in "Les Huguenots" and Rosina in "Il Barbiere di Siviglia". Yet, due to the terrific financial loss of the company that year, Italian opera was abandoned and German opera reigned supreme at the Met for the next dozen years. Marcella returned to Europe and she was a tremendous favorite at the Italian Opera in St. Petersburg, Russia, from 1890 to 1897. Sembrich returned to the Met in 1898 and she sang more than 450 Met performances in her 11 seasons there. At the height of her career, the 1905-06 season, she was paid $1,000 for each of 45 performances. Her voice, a brilliant and flutelike soprano of marked sweetness and remarkable range, was accounted one of the greatest of the time. Sembrich remained associated with the company until 1909, when the silver jubilee of her Met debut was celebrated with a farewell gala. She gave recitals until 1917, the year of her beloved husbands death. After this date, she taught students from the Curtis Institute in Philadelphia and at the Juilliard School of Music. Her students included Alma Gluck, Hulda Lashanska, Dusolina Giannini, Maria Jeritza. She died on Jan, 11 in New York. . She was a great Polish patriot throughout her life. During World War One she was President of the "American-Polish Relief Committee" of New York. She was wholly devoted to raising money, food stuffs and clothes for her suffering homeland. The Kosciuszko Foundation, Inc., an American Center for Polish Culture in New York City, annually holds the "Marcella Sembrich Voice Competition".

: Frederic Fryderyk Chopin 200 birth anniversary rocznica urodzin Marcella Marcelina Sembrich Kochańska Polish opera singer soprano colorature 1900 diva history recording Maidens Wish Życzenie nagranie archiwalne akustyczne Victor accoustic 78rpm

Added: August 31, 2010, 3:58 pm
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Innovations in Phonosurgery (Voice Surgery): Treating Vocal Cord Paralysis

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Added: June 2, 2010, 8:30 pm
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Hip Hop Tutorial Day 1 Pt 2: EQing a Hip Hop Beat [7 Day Song]

http://www.boyinaband.com - head over to my website to see the text version of the tutorial, grab some samples and check out my other blogs and tutorials! And http://www.boyinaband.com/forum for the forum (Shocking, right?) In Day 1 I'll be teaching you how to make a phat Hip Hop beat with techniques like using ReGroove to add swing, layering, EQing and compression to build a bouncy, driving basis to your track.

: reason tutorial hip hop rap dirty south crunk sample old school dre producer production competition regroove swing mpc gold eq compression mix

Added: April 15, 2010, 8:57 pm
Time: 07:10 | Views: 128 | Comments: 0 | Rating: Not yet rated

Hip Hop Tutorial Day 1 Pt 1: Making a Hip Hop Beat [7 Day Song]

http://www.boyinaband.com - head over to my website to see the text version of the tutorial, grab some samples and check out my other blogs and tutorials! And http://www.boyinaband.com/forum for the forum (Shocking, right?) In Day 1 I'll be teaching you how to make a phat Hip Hop beat with techniques like using ReGroove to add swing, layering, EQing and compression to build a bouncy, driving basis to your track.

: reason tutorial hip hop rap dirty south crunk sample old school dre producer production competition regroove swing mpc gold eq compression mix

Added: April 15, 2010, 8:57 pm
Time: 08:00 | Views: 119 | Comments: 0 | Rating: Not yet rated

How to create a trance production!!! (for beginners)Tutorial - CMG

Ive been asked by alot of people to do a tutorial on how to create a basic trance track so here it is... and alot of people have critisized me because it takes a little more than what i said in the video to make a trance song......hence why ive changed the title to 'For Beginners'

: cmg angel trance dance touch tutorial me piano roland keyboard

Added: April 15, 2010, 8:57 pm
Time: 08:00 | Views: 175 | Comments: 0 | Rating: Not yet rated

Song Production (1) with Brady Barnett

Learn professional song production techniques from a real industry veteran! Are you an artist or producer that wants to record full, gorgeous arrangements, but doesn't have the budget, band, or space to record? Then follow along with multi-platinium engineer Brady Barnett as he shows you the process he uses to fully produce a song with limited resources and budget. Brady takes you through the process of song production starting from a rough guitar/vocal and finishing with a fully produced & polished final mix. Work through percussion, guitar, and keyboard overdubs--as well as experiment with various plugins and soft-synths. Use software like BFD, PurePitch, Stylus RMX, and more. Even learn how to "create" background vocals and arrangements. It's never been easier to make your songs sound like commercially-released productions, so check out Multi-Platinum Song Production and dramatically improve your own tracks today! Engineer and Producer Brady Barnett is one of the leading Pro Tools editors in the industry whose accomplishments include work on the Grammy-Award winning "Cold Hard Truth" (George Jones), 11-times platinum "No Strings Attached" ('N Sync) and numerous other multi-platinum selling records. He has worked with many of the top industry producers: Tony Brown, Dann Huff, Keith Stegall, Buddy Cannon, Norro Wilson, Frank Rogers, and Brown Bannister. His impressive client list includes such artists as 'N Sync, Faith Hill, Alan Jackson, George Strait, Brad Paisley, LeAnn Rimes, George Jones, Trace Adkins, Reba, Lonestar, Keith Urban, SHeDAISY, and Steven Curtis Chapman. This sample video is highly compressed for YouTube. Check out http://www.multiplatinumprotools.com for longer and higher-resolution samples, as well as additional information and tutorials.

: Pro Tools ProTools Digidesign Mixing Home Studio Project Multi-Platinium MultiPlatinum commercial mix loud tracks full balance recording engineering producing production Brady Barnett Nathan Adam Grammy producer mastering compression plugin plug in ITB EQ reverb beat detective ozone ready to pitch. stylus rmx overdub BFD

Added: April 15, 2010, 8:55 pm
Time: 08:16 | Views: 71 | Comments: 0 | Rating: Not yet rated

J.Troup - Writing and Recording

Producer/Songwriter (not SINGER!) J.Troup gives exclusive insight into his writing and recording process, as he writes lyrics and lays reference vocals for the song "Enough Of You".

: J.Troup Producing Producer Song Lyrics Beats Studio Music Cubase Songwriter Troup Troop J.Troop

Added: April 15, 2010, 8:53 pm
Time: 10:00 | Views: 56 | Comments: 0 | Rating: Not yet rated

Melodic Rhythm and Lyric Rhythm: Preserving the Natural Shape of the Language

Berkleemusic instructor Pat Pattison talks about the benefits of preserving the natural shape of the language for the performer's emotional connection to the song.

: lyric writing songwriting pattison lyrics songwriter berklee tips

Added: April 15, 2010, 8:53 pm
Time: 04:40 | Views: 249 | Comments: 0 | Rating: Not yet rated