Videos with tag maria
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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".

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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".

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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) ******************************

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Cecilia Bartoli - Yodelling song - Johann Nepomuk Hummel

Johann Nepomuk Hummel - Air à la tirolienne avec variations, Op. 118. Yodelling song, by Cecilia Bartoli. From her famous album Maria.

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Oum Koulthoum - Inta omri remix (ام كلثوم - إنت عمري)

Various spellings include Om Kalthoum, Oum Kalsoum,Umm Kolthoum. In Turkish, she is named Ümmü Gülsüm. She was an Egyptian singer, songwriter, and actress. Born in El Senbellawein,(kawkab el-sharq).singer of the 20th century and even the Egyptian Ministry of Information seems to have given either December 31, 1898 At a young age, Her father, an Imam, taught her to recite the Qur'an.she was noticed by Abol Ela Mohamed, and by the famous oudist Zakariyya Ahmad, who invited her to Cairo. She waited until 1923 before acceping the invitation. She was invited on several occasions to the house of Amin Beh Al Mahdy, who taught her how to play the Oud". Rawyeha Al Mahdi, daughter of Amin At this point in her career, she was introduced to the famous poet Ahmad Rami, French literature, which he greatly admired from his studies at the Sorbonne, Paris, and eventually became her head mentor in Arabic literature and literary analysis.she was introduced to the renowned lute virtuoso and composer Mohamed El Qasabgi. El Qasabgi introduced Umm Kulthum to the Arabic Theatre Palace, where she would experience her first real public success. she embarked upon a large tour of the Middle East, touring such cities as Damascus, Baghdad, Beirut, and Tripoli. Gamal Abdel Nasser, who would later become the president of Egypt.In addition, Umm Kulthum was a dedicated Egyptian patriot since the time of King Farouk. These performances are structure of Western opera, consisting of long vocal passages linked by shorter orchestral interludes. Enta Omri (You Are My Life) Umm Kulthum was rumored to have had a romantic affair with Sharif Sabri Pasha Umm Kulthum was diagnosed with a severe case of nephritis. She gave her last concert at the Palace of the Nile .She moved to the United States, where she benefited for some time from the advanced medical technology,upon re-entering her home country, she required hospitalization due to declining health. Umm Kulthum died in a Cairo hospital both in the Arab World and beyond. Among others, Jah Wobble has claimed her as a significant influence on his work. Bob Dylan has been quoted as saying "She's great. She really is. Really great" [3][4], Maria Callas, Jean-Paul Sartre, Marie Laforêt, Salvador Dalí, Nico, Bono and Led Zeppelin are also known to be admirers of Kulthum's music. One of her best known songs, Enta Omri, has been the basis of many reinterpretations, including one 2005 collaborative project involving Israeli and Egyptian artists. She had been referred to as "The Lady" by Charles de Gaulle Even today, she has retained a near mythical status amongst young Egyptians. She is also notably popular in Israel among Jews and Arabs alike her songs: Amal Hayati -- Sono ("Hope of My Life") Enta Omri -- Sono ("You Are My Life")........ maqam kurd Fat el Mead -- ("It Is Too Late") Sono Cairo Hagartek -- ("I Abandoned You") EMI Retrospective -- Artists Arabes Associes Alif Leila wa Leila ("One Thousand and One Nights") Sirat el Houb ("Tale of Love") Arouh li Meen ("Whom Should I Go To").......maqam rast Raq il Habeeb ("My Beloved Tendered Back") Lessa Faker ("You Still Remember").......maqam ajam Hathehe Laylati ("This is My Night")......maqam bayyati Al Atlal ("The Ruins")......maqam huzam Betfaker fi Meen ("Who Are You Thinking Of?") Hayarti Qalbi Ma'ak ("You Confused My Heart")......maqam nahwand El Hobb Kolloh ("All The Love").......maqam rast Ental Hobb ("You Are The Love").......maqam nahwand Leilet Hobb ("Night of Love") Othkorene ("Remember Me") Yali Kan Yashqiq Anini Es'al Rouhak ("Ask yourself", or "Ask Your Soul") Enta Fein Well Hobbi Fein ("Where are You and Where Is Love?")......maqam bayyati Dhikrayatun (Qessat Hobbi) Lel Sabr Hedod ("Patience Has Limits")......maqam sikah Baeed Anak ("Away From You").......maqam bayyati Hadeeth el Rouh ("The Talk of The Soul") Gharibun Ala Bab el Raga Fakarouni ("They Reminded Me").......maqam rast Zalamna El Hob ("We Have Sinned Against Love") Ya Zalemny We Maret El-Ayam ("And The Days Passed By").......maqam nahwand Hobb Eih ("Which Love").....maqam bayyati Rubaiyat Al-Khayyam ("Quatrains of Omar Khayyám").......maqam rast

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Callas at Juilliard 84 -- Addio, del passato

Maria Callas, master class at Juilliard Giuseppe Verdi: La traviata "Addio, del passato" - Violetta (soprano) Student: María Elena Guiñez

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Callas at Juilliard 25 -- O zittre nicht; part 2

Maria Callas, master class at Juilliard Wolfgang Amadeus Mozart: Die Zauberflöte "O zittre nicht" - Die Nachtkönigin (soprano); part 2 Student: Syble Young

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Callas at Juilliard 30 -- Recondita armonia

Maria Callas, master class at Juilliard Giacomo Puccini: Tosca "Recondita armonia" - Mario Cavaradossi (tenor) Student: Mario Fusco

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Callas at Juilliard 51 -- Il dolce suono mi colpì

Maria Callas, master class at Juilliard Gaetano Donizetti: Lucia di Lammermoor "Il dolce suono mi colpì" - Lucia (soprano) Student: Lynne Silverman

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Callas at Juilliard 26 -- Der Hölle Rache; part 3

Maria Callas, master class at Juilliard Wolfgang Amadeus Mozart: Die Zauberflöte "Der Hölle Rache" - Die Nachtkönigin (soprano); part 3 Student: Syble Young

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Callas at Juilliard 28 -- Je dis, que rien; part 1

Maria Callas, master class at Juilliard Georges Bizet: Carmen "Je dis, que rien ne m'épouvante" - Micaëla (soprano); part 1 Student: Barbara Shuttleworth

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Callas at Juilliard 10 -- Casta diva; part 2

Maria Callas, master class at Juilliard Vincenzo Bellini: Norma "Casta diva" - Norma (soprano); part 2 Student: Cynthia Clarey

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Callas at Juilliard 105 -- Stride la vampa!; part 1

Maria Callas, master class at Juilliard Giuseppe Verdi: Il trovatore "Stride la vampa!" - Azucena (mezzo-soprano); part 1 Student: Sheila Nadler

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Callas at Juilliard 26 -- Der Hölle Rache; part 1

Maria Callas, master class at Juilliard Wolfgang Amadeus Mozart: Die Zauberflöte "Der Hölle Rache" - Die Nachtkönigin (soprano); part 1 Student: Syble Young

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Callas at Juilliard 15 -- Quando m'en vo'; part 1

Maria Callas, master class at Juilliard Giacomo Puccini: La bohème "Quando m'en vo'" - Musetta (soprano); part 1 Student: Pamela Hebert

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Renata Tebaldi gives some advice...

another great diva......another horrifying pupil....

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Birgit Nilsson gives some advice...

Splendid Birgit Nilsson lovingly teaches a pupil during a masterclass, back in the 80's.

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10:54
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Maria Callas: Good Italian Opera (A Masterclass)

Maria Callas teaches Sung Kil Kim how to sing the gorgeous baritone aria (Nemico della Patira) from Giordano's Andrea Chenier with greater emotion and Italian style.

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Amneris- A Callas masterclass

The very talented mezzo Sheila Nadler was given a masterclass at Juillard by Maria Callas in the role of Amneris in Aida. One Callas remark might be astonishing about staying beautiful in any occasion, even in tragedy, at the end. Because Callas would not care, during her career about just sounding or looking beautiful if the dramatic necessity needed more roughness. But one must remember that Amneris is a royal princess, not Santuzza, not Medea.

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Maria Callas Masterclass 3

In this video Maria Callas provides a masterclass to mezzo soprano Sheila Nadler performing Amneris from Aida. (From her famous masterclasses at Julliard from 1971 to 1972)

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Maria Callas Masterclass 2

In this video Maria Callas provides a masterclass on singing the baritone part Cortiggianni, vil razza from Rigoletto by Verdi. (From her famous masterclasses at Julliard from 1971 to 1972)

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Maria Callas Masterclass 1

In this video masterclass Maria Callas talks about singing Trills

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