- published: 14 Nov 2010
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Lucia Popp (born Lucia Poppová; 12 November 1939 – 16 November 1993) was a Slovak operatic soprano. She began her career as a soubrette soprano, and later moved into the light-lyric and lyric coloratura soprano repertoire and then the lighter Richard Strauss and Wagner operas. Her career included performances at Vienna State Opera, the Metropolitan Opera, Covent Garden, and La Scala. Popp was also a highly regarded recitalist and lieder singer.
Lucia Popp was born Lucia Poppová, in Záhorská Ves in the Slovak State (later Czechoslovakia and today Slovakia).
Popp initially entered the Bratislava Academy to study drama. While she began her vocal lessons during this period as a mezzo-soprano, her voice developed a high upper register to the degree that her professional debut was as the Queen of the Night in Mozart's The Magic Flute in Bratislava, a role she revived in a 1963 recording conducted by Otto Klemperer. In 1963, Herbert von Karajan invited her to join the Vienna State Opera, where she debuted as Barbarina in Mozart's The Marriage of Figaro. Popp had strong ties to the Vienna State Opera throughout her career, and in 1979 was named an Austrian "Kammersängerin". She made her Covent Garden debut in 1966 as Oscar in Verdi's Un ballo in maschera, and her Metropolitan Opera debut in 1967 as the Queen of the Night (production designed by Marc Chagall).
Maria Callas, Commendatore OMRI (Greek: Μαρία Κάλλας; December 2, 1923 – September 16, 1977), was a Greek-American soprano, and one of the most renowned and influential opera singers of the 20th century. Some critics praised her bel canto technique, wide-ranging voice and dramatic interpretations, while others found her voice displeasing and considered that a defective technique was responsible for her premature decline. Her repertoire ranged from classical opera seria to the bel canto operas of Donizetti, Bellini and Rossini and further, to the works of Verdi and Puccini; and, in her early career, to the music dramas of Wagner. The press dubbed her La Divina.
Born in New York City and raised by an overbearing mother, she received her musical education in Greece and established her career in Italy. Forced to deal with the exigencies of wartime poverty and with myopia that left her nearly blind onstage, she endured struggles and scandal over the course of her career. She turned herself from a heavy woman into a svelte and glamorous one after a mid-career weight loss, which might have contributed to her vocal decline and the premature end of her career. The press exulted in publicizing Callas's temperamental behavior, her supposed rivalry with Renata Tebaldi and her love affair with Greek shipping tycoon Aristotle Onassis. Although her dramatic life and personal tragedy have often overshadowed Callas the artist in the popular press, her artistic achievements were such that Leonard Bernstein called her "the Bible of opera" and her influence so enduring that, in 2006, Opera News wrote of her: "Nearly thirty years after her death, she's still the definition of the diva as artist—and still one of classical music's best-selling vocalists."
Des Knaben Wunderhorn: Alte deutsche Lieder (German; "The boy's magic horn: old German songs") is a collection of German folk poems and songs edited by Achim von Arnim and Clemens Brentano, and published in Heidelberg, Baden. The book was published in three editions: the first in 1805 followed by two more volumes in 1808.
The collection of love, soldier's, wandering and children's songs was an important source of idealized folklore in the Romantic nationalism of the 19th century. Des Knaben Wunderhorn became widely popular across the German-speaking world; Goethe, one of the most influential writers of the time, declared that Des Knaben Wunderhorn "has its place in every household".
Arnim and Brentano, like other early 19th-century song collectors, such as the Englishman Thomas Percy, freely modified the poems in their collection. The editors, both poets themselves, invented some of their own poems. Some poems were modified to fit poetic meter, to conform to then-modern German spelling, or otherwise to conform more closely to an idealized, Romantic "folk style" (Naturpoesie). A 20th-century critical edition by Heinz Rölleke describes the origin of each poem in the collection. Brentano was motivated more by writing his own material than by a strict preservation of the original folk songs.
The settings of Des Knaben Wunderhorn by Gustav Mahler are orchestral songs and voice and piano settings of poems from Des Knaben Wunderhorn ('The Youth's Magic Horn') a collection of anonymous German folk poems assembled by Achim von Arnim and Clemens Brentano and published by them, in heavily redacted form, between 1805 and 1808. 10 songs set for soprano or baritone and orchestra were first published by Mahler as a cycle in 1905. but in total 12 orchestral songs exist, and a similar number of songs for voice and piano.
Mahler's self-composed text for the first of his Lieder eines fahrenden Gesellen ('Songs of a Travelling Journeyman', regularly translated as 'Songs of a Wayfarer'; 1884–1885) is clearly based on the Wunderhorn poem 'Wann mein Schatz'; his first genuine settings of Wunderhorn texts, however, are found in the Lieder und Gesänge ('Songs and Airs'), published in 1892 and later renamed by the publisher as Lieder und Gesänge aus der Jugendzeit ('Songs and Airs from Days of Youth'). The nine Wunderhorn settings therein were composed between 1887 and 1890, and occupied the second and third volumes of this three-volume collection of songs for voice and piano. The titles of these nine songs (different in many cases from the titles of the original poems) are as follows:
Knaben is a former mining community in the northern part of Kvinesdal municipality, Norway, and currently a popular ski resort. The settlement lies about 630 metres above sea level. The molybdenum mines were operated from 1885 to 1973. Buildings and constructions are still partly intact. The workers' living houses are now used as tourist lodgings.
The Knaben uplands (Knabeheiene) are mainly between 750 and 850 metres. The area has a rich bird-life and animal life, with elk, reindeer, black grouse, lagopus, falcon and eagle.
Occurrence of molybdenite was the basis for the mining activities at Knaben. In 1897 it was determined that tempering of steel with molybdenum resulted in an alloy (SOURCE?) with qualities favourable for weapon production. In 1902, the mining rights of the area were bought for 6,000 kroner, and subsequently sold to an English company in 1904 for 250,000 kroner. Due to low molybdenum prices the mining operations ceased in 1909. World War I led to an uprise at Knaben. At its height ten different mining companies had operations in the area, but all operations ceased when the war was over. The Swedish company Avesta Järnverks AB took over from A/S Knaben Molybdængruber, and the production increased through the 1930s, with about 400 mine workers and a total population at Knaben of about 700.
Lucia Popp performing Der Holle Rache from Mozart's "Die Zauberflöte" (The Magic Flute), 1964.
Re-opening of Zurich Opera House 1980 This is an adaptation of LaViolettaValery's original upload. She was kind enough to allow this.
Lucia Popp - Frühlingsstimmenwalzer (Voices of Spring), op 410. Composer: Johann Strauss II. Filmed in 1965
Heinrich Hollreiser conducts in Vienna in 1984 at the concert in aid of basso George London, whose career was tragically cut short. This will account for Lucia's sombre attire as she sings Susanna's memorable aria.
Description
La radieuse Lucia Popp dans cet air toujours magnifique de Haendel. Une merveille de pureté et de sensibilité.
Lucia Popp singing "O mio babbino caro" from Gianni Schicchi by Puccini. I am a little obsessed with Popp's rendition of this aria. I think is wonderful, maybe the best i've ever heard.
My ideal Susanna, my lovely Lucia Popp sings the marvelous "Deh vieni non tardar", from a wonderful Mozart's "Le Nozze di Figaro" conducted by Georg Solti at Paris Opera Garnier in 1980. The very famous stage production by Giorgio Strelher. Fabulous cast : Jose Van Dam (Figaro), Lucia Popp (Susanna), Gundula Janowitz (Contessa Almaviva), Gabriel Bacquier (Almaviva), Federica Von Stade (Cherubino), Jane Berbié (Marcellina).
Lucia Popp and Placido Domingo singing for Queen Elizabeth LONDON 1986
Wolfgang Amadeus Mozart (1756-1791) Zaide, Act 1 : Zaide' aria "Ruhe Sanft, Mein Holdes Leben" Lucia Popp, soprano Istvan Kertesz/conductor Vienna Haydn Orchestra
The great Maria Callas performs an aria from her signature role, Bellini's druid priestess Norma, with the Orchestre de l'Opera National de Paris and Georges Sebastian. Recorded live at the Palais Garnier on the 19th of December 1958, this concert marked the soprano's debut at the Paris Opera, a major social event for Parisians and for which Callas donned her most elegant couture and a million dollars' worth of jewelry. The official Maria Callas website: http://www.maria-callas.com/ This recording is featured on La Callas Toujours, available on DVD and Bluray: https://w.lnk.to/lacallasLY __________ Warner Classics ► Website: http://www.warnerclassics.com Subscribe to our: ► YT- Channel: https://wnrcl.me/subscribeYT ► Newsletter https://wnrcl.me/subscribeNL Follow us on: ► ...
http://www.maria-callas.com Callas’s only operatic appearances in Germany were Lucia di Lammermoor, with Karajan conducting, in Berlin in 1955, and La sonnambula in Cologne in 1957, but in both 1959 and 1962 she made concert tours of the country, visiting Hamburg twice. The video recordings of her concerts in the city showcase her in a dazzling variety of Italian and French repertoire for both soprano and mezzo-soprano: three contrasting Verdi roles (Lady Macbeth, Elvira from Ernani and Elisabetta from Don Carlo); Imogene from Bellini’s Il pirata; Giulia from La vestale; Chimène from Massenet’s Le Cid; Verdi’s most explosively dramatic aria for mezzo-soprano – Eboli’s ‘On don fatale’ from Don Carlo; Carmen’s seductive Habanera and Seguédille and, from Rossini’s La Cenerentola, Angelina’s f...
Maria Callas, O mio babbino caro, full programme available here https://bit.ly/MariaCallasInParis O mio babbino caro Gianni Schicchi, Puccini Maria Callas soprano Georges Prêtre conductor Recorded at Théâtre des Champs-Elysées, Paris, in the 60's © Idéale Audience / img Artists Available on www.medici.tv, #1 in classical music | Like us on Facebook : https://www.facebook.com/medicitv | Follow us on Twitter : https://twitter.com/medicitv | Follow us on Instagram https://www.instagram.com/medici.tv/ Dive into the heart of classical music with medici.tv! Get closer than ever to the artists you love and have an unforgettable experience with 100+ live webcasts each year and 1,800+ videos. A rare and exclusive selection of concerts, ballets, operas, documentaries, master classes, beh...
Discover, stream and download the Vivaldi Edition everywhere: https://lnk.to/VivaldiEdition 1 - 00:00 - Norma, Act I, Scene 4: "Casta diva... Fine al rito" (Norma, Coro) 2 - 10:50 - Carmen, Act I, Scene 5: "L'amour est un oiseau rebelle" (Carmen) 3 - 14:50 - La traviata, Act I, Scene 2: "Libiam ne' lieti calici" (Alfredo, Violetta, Coro) 4 - 18:02 - La Wally, Act I: "Ebben? Ne andrò lontana" (Wally) 5 - 22:51 - Gianni Schicchi, Act I: "O mio babbino caro" (Lauretta) 6 - 25:23 - Madama Butterfly, Act II: "Un bel dì, vedremo" (Madama Butterfly) 7 - 30:04 - Andrea Chénier, Act III: "La mamma morta" (Maddalena) 8 - 34:54 - La forza del destino, Act IV: "Pace, pace, mio Dio" (Leonora) 9 - 41:17 - Orfeo ed Euridice, Act III, Scene 1: "J'ai perdu mon Eurydice" (Orfeo) 10 - 45:37 - Alceste, Act I,...
Maria Callas Live: http://www.maria-callas.com Maria Callas' final appearance on the operatic stage was in Tosca at Covent Garden's 1965 Royal Gala. For many opera lovers, Maria Callas and Tosca's Vissi d'Arte are inseparable. "I lived for art; I lived for love" became La Divina's cri de coeur, her swansong, the perfect expression of her own triumphs and tragedies. This unrivaled recording is from that legendary Zeffirelli production in 1964 and is one of just many jewels in the Maria Callas Live edition. __________ Warner Classics ► Website: http://www.warnerclassics.com Subscribe to our: ► YT- Channel: https://wnrcl.me/subscribeYT ► Newsletter https://wnrcl.me/subscribeNL Follow us on: ► Facebook: http://www.fb.com/WarnerClassicsErato ► Instagram: http://www.instagram.com/...
Album available // Maria Callas: 90 Opera Arias 🎧 Qobuz https://bit.ly/3RSzTfJ Tidal https://bit.ly/3FgBOUx 🎧 Deezer https://bit.ly/3ZX4QAx Amazon Music https://amzn.to/3SrKf6L 🎧 Youtube Music https://bit.ly/3MUTpp5 Napster https://bit.ly/481oJu2 🎧 Pandora, Anghami, Soundcloud, QQ音乐, LineMusic 日本… ❤️ Join us on our WhatsApps fanpage (our preview releases): https://bit.ly/3Mraw1r *Click to activate the English subtitles for the presentation* (00:00-09:32) Georges Bizet (1838-1875) / Carmen 1.L’amour est un oiseau rebelle / Habanera, Act l (00:00) 2.Près des remparts de Seville / Séguedille, Act l (04:17) Tenor : Nicolai Gedda 3.Les tringles des sistres tintaient / Chanson bohème, Act Il (08:47) Mezzo Soprano : Jane Berbié, Soprano : Nadine Sauterau Chœurs René Duclos / Chorus Master : Jean...
Tom Volf’s MARIA BY CALLAS is the first film to tell the life story of the legendary Greek/American opera singer completely in her own words. Told through performances, TV interviews, home movies, family photographs, private letters and unpublished memoirs—nearly all of which have never been shown to the public—the film reveals the essence of an extraordinary woman who rose from humble beginnings in New York City to become a glamorous international superstar and one of the greatest artists of all time. Assembling the material for the film took director Volf four years of painstaking research, which included personal outreach to dozens of Callas’s closest friends and associates, who allowed him to share their personal memorabilia in the film. When recordings of Callas’s voice aren’t ava...
By Giulia Zarantonello
Also on Arizona Spotlight: The International Uranium Film Festival returns to Tucson; the comedy of Elliot Glicksman; and "Stories That Soar!" looks at how children cope with depression.
Lucia Popp (born Lucia Poppová; 12 November 1939 – 16 November 1993) was a Slovak operatic soprano. She began her career as a soubrette soprano, and later moved into the light-lyric and lyric coloratura soprano repertoire and then the lighter Richard Strauss and Wagner operas. Her career included performances at Vienna State Opera, the Metropolitan Opera, Covent Garden, and La Scala. Popp was also a highly regarded recitalist and lieder singer.
Lucia Popp was born Lucia Poppová, in Záhorská Ves in the Slovak State (later Czechoslovakia and today Slovakia).
Popp initially entered the Bratislava Academy to study drama. While she began her vocal lessons during this period as a mezzo-soprano, her voice developed a high upper register to the degree that her professional debut was as the Queen of the Night in Mozart's The Magic Flute in Bratislava, a role she revived in a 1963 recording conducted by Otto Klemperer. In 1963, Herbert von Karajan invited her to join the Vienna State Opera, where she debuted as Barbarina in Mozart's The Marriage of Figaro. Popp had strong ties to the Vienna State Opera throughout her career, and in 1979 was named an Austrian "Kammersängerin". She made her Covent Garden debut in 1966 as Oscar in Verdi's Un ballo in maschera, and her Metropolitan Opera debut in 1967 as the Queen of the Night (production designed by Marc Chagall).