-
Puccini: Turandot / Act 3: Nessun dorma! (Live at Central Park, New York / 10th Anniversary)
Nessun Dorma - Turandot (“Concerto: One Night in Central Park” 10th Anniversary)
Celebrating the 10th Anniversary Edition of Concerto: One Night in Central Park
“I dedicate that extraordinary evening to the memory of my father, it was his dream.” – Andrea Bocelli
Order here: https://andreabocelli.lnk.to/CentralParkID
Follow Andrea Bocelli on:
Facebook - https://www.facebook.com/AndreaBocelli
Instagram - https://www.instagram.com/AndreaBocelli Twitter - https://twitter.com/AndreaBocelli/ YouTube - https://www.youtube.com/AndreaBocelli
Production Credits
RECORDED LIVE AT THE GREAT LAWN IN CENTRAL PARK, NEW YORK - SEPTEMBER 15TH , 2011
A Production of SUGAR S.r.l. and THIRTEEN for WNET
© 2011 Sugar S.r.l.
AUDIO PRODUCTION
Produced by David Frost
Recorded and Mixed by Frank Filipett...
published: 01 Sep 2021
-
Most Beautiful Arias - Part 2 (English lyrics and art)
Discover the stories behind the music – click to download the guide: https://payhip.com/b/A2Ocn
Thank you for listening. You can support our work by buying us a coffee using the link: https://ko-fi.com/lyricsbroughttolife
Don't forget to subscribe for more content :)
Artwork generated using Dall-E
TIMESTAMPS:
00:00- Cristina Gallardo-Domâs - Gianni Schicchi, Act 1: "O mio babbino caro" (Lauretta) - Composed by Giacomo Puccini.
02:28- Kiri Te Kanawa - Turandot, Act 1: "Signore ascolta!" (Liù) - Composed by Giacomo Puccini - Composed by Giacomo Puccini.
05:09- Jennifer Larmore & Hei-Kyung Hong - Lakmé, Act 1: Flower Duet - "Dôme épais le jasmin" (Lakmé, Mallika) - Composed by Léo Delibes.
09:44- José Carreras - La bohème, Act 1: "Che gelida manina" (Rodolfo) - Composed by Giacomo Puccin...
published: 25 Jan 2024
-
Musetta's Waltz (Don't You Know)
Provided to YouTube by The Orchard Enterprises
Musetta's Waltz (Don't You Know) · 101 Strings
World Greatest Melodies
℗ 2012 Copyright Group
Released on: 2012-12-01
Composer: Giacomo Puccini
Auto-generated by YouTube.
published: 08 Nov 2014
-
Puccini - Turandot from Bregenz Festival
Mention Giacomo Puccini’s name and opera-lovers all over the world will think of grand opera and passionate love stories. One of the world’s most famous arias comes from the composer’s final opera, Turandot: “Nessun dorma” – none shall sleep because by morning the Chinese princess is determined to have discovered the name of the unknown prince. The work is remarkable for its Chinese local colour, its opulent crowd scenes, its powerful choruses and its characters overwhelmed by their emotions. Enthusiastically acclaimed by its audiences, the present production combines spectacular and touching scenes on the Bregenz Festival’s vast lakeside stage.
“Melodies for the millions, impressively staged grand opera.” (ZDF)
“Marelli’s Bregenz production of Turandot allows us to appreciate much of the ...
published: 27 Nov 2015
-
Daniele Barioni; "Donna non vidi mai"; MANON LESCAUT; Giacomo Puccini
This channel is the re-establishment of previous channels that have been sadly terminated.
================
Daniele Barioni--tenor
no recording information
====================
"Daniele Barioni (born September 6, 1930) is an Italian opera singer who had a prolific career during the 1950s through the 1970s. Early on in his career he rose to fame as a leading tenor at the Metropolitan Opera between 1956 and 1962. Afterwards he worked primarily in opera houses and concerts throughout the United States, although he did make numerous appearances in both Europe and South America as well. Barioni was particularly associated with the operas of Giacomo Puccini and the roles of Turiddu in Pietro Mascagni's Cavalleria rusticana and Alfredo in Giuseppe Verdi's La traviata.
Barioni was born in Coppar...
published: 20 Oct 2022
-
Cesare Formichi; "Già! mi dicon venal"; TOSCA; Giacomo Puccini
This channel is the re-establishment of previous channels that have been sadly terminated.
===============
Cesare Formichi--baritone
1917-27
================
"Cesare Formichi was born of aristocratic parents in Rome and studied law at the local university where he eventually obtained his Ph. D in Jurisprudence. During his study time his exceptionally beautiful voice was much commented upon and he underwent vocal tuition with Vincenzo Lombardi, Di Pietro and Luigi Rasi. His debut at the Teatro Lirico in Milan in 1911 was so auspicious that he decided to give up his legal career and concentrate on singing. Eventually he became one of the most important baritones in ltaly and Spain. In 1912 he toured Russia and in summer 1914 he made his debut at the Teatro Colon, Buenos Aires where he sang K...
published: 06 Oct 2023
-
Tosca, Giacomo Puccini , Zagreb, HNK 1999,
Tosca, Giacomo Puccini;
Zagreb 1999 godina.
Tosca: Veneta Janjeva, soprano;
Mario: Ivica Gržanić, tenore;
Sotir Spasevski,
published: 06 Dec 2022
-
Alessandro Valente; "Nessun dorma"; TURANDOT; Giacomo Puccini
This channel is the re-establishment of previous channels that have been sadly terminated.
================
Alessandro Valente--tenor
no recording information
=================
"Born: Born 9 Jan 1890 Turin
Died: Died 7 Oct 1958
Italian tenor.
The career of Alessandro Valente is one of the strangest in recording history. For years he was the “mysterious stranger”, of whom it was only known that in the late 1920s and early 1930s he had made some outstanding records.His name became internationally known when HMV issued the first tenor arias from Puccini’s last opera “Turandot”, which had its world premiere at La Scala in 1926.
Not until 1927 did HMV issue the first recordings of “Non piangere Liu” and “Nessun dorma”. Against all expectations they were not sung by Miguel Fleta, the first Cal...
published: 13 Nov 2022
-
Lotte Lehmann; "Vissi d'arte"; (Sung in German); TOSCA; Giacomo Puccini
This channel is the re-establishment of previous channels that have been sadly terminated.
==============
Lotte Lehmann--soprano
1924
==================
"Charlotte "Lotte" Lehmann (February 27, 1888 – August 26, 1976) was a German soprano who was especially associated with German repertory. She gave memorable performances in the operas of Richard Strauss, Richard Wagner, Ludwig van Beethoven, Puccini, Mozart, and Massenet. The Marschallin in Der Rosenkavalier, Sieglinde in Die Walküre and the title-role in Fidelio are considered her greatest roles. During her long career, Lehmann also made more than five hundred recordings.[1]
After studying in Berlin with Mathilde Mallinger, she made her debut at the Hamburg Opera in 1910 as a page in Wagner's Lohengrin. In 1914, she gave her debut as E...
published: 02 Oct 2023
-
Top 25 Most Famous Classical Music of All Time
► Learn piano songs quick and easy: http://tinyurl.com/flowkey-marioverehrer1 *
► Sheet Music: https://www.musicnotes.com/sheet-music/artist/piano-music-bros
► Contact Us: https://pianomusicbros.aidaform.com/contact
► Spotify: https://spoti.fi/2JqvMVq
► iTunes: https://apple.co/2HdMswA
► Facebook: https://www.facebook.com/PianoMusicBros/
► Twitter: https://twitter.com/PianoMusicBros
* Affiliate Link
Enjoy this video showing the 25 most famous classical music pieces ranked by views on a single YouTube video!
0:00 25th Place: George Frideric Handel - Hallelujah, 1741
0:32 24th Place: Johann Sebastian Bach - Cello Suite No. 1, I. Prélude, 1717-1723
1:05 23th Place: Franz Liszt - Hungarian Rhapsody No. 2, 1847
1:42 22th Place: Pyotr Ilyich Tchaikovsky - Waltz of the Flowers, 1892
2:37 21th P...
published: 08 Oct 2023
4:14
Puccini: Turandot / Act 3: Nessun dorma! (Live at Central Park, New York / 10th Anniversary)
Nessun Dorma - Turandot (“Concerto: One Night in Central Park” 10th Anniversary)
Celebrating the 10th Anniversary Edition of Concerto: One Night in Central Pa...
Nessun Dorma - Turandot (“Concerto: One Night in Central Park” 10th Anniversary)
Celebrating the 10th Anniversary Edition of Concerto: One Night in Central Park
“I dedicate that extraordinary evening to the memory of my father, it was his dream.” – Andrea Bocelli
Order here: https://andreabocelli.lnk.to/CentralParkID
Follow Andrea Bocelli on:
Facebook - https://www.facebook.com/AndreaBocelli
Instagram - https://www.instagram.com/AndreaBocelli Twitter - https://twitter.com/AndreaBocelli/ YouTube - https://www.youtube.com/AndreaBocelli
Production Credits
RECORDED LIVE AT THE GREAT LAWN IN CENTRAL PARK, NEW YORK - SEPTEMBER 15TH , 2011
A Production of SUGAR S.r.l. and THIRTEEN for WNET
© 2011 Sugar S.r.l.
AUDIO PRODUCTION
Produced by David Frost
Recorded and Mixed by Frank Filipetti
Live Sound Design: Andrea Taglia
FOH Mix : Andrea Taglia, Francesco La Camera, Davide Lombardi
Monitor mix: Paul Acosta, Chris Prinzivalli
Andrea Bocelli’s Vocal Engineer: Pierpaolo Guerrini
Assistant: Giorgio Malpeli
Andrea Bocelli Production Coodinator: Mark Friend
Additional Edit for 10th Anniversary by Tom Mackay at Monument
https://wn.com/Puccini_Turandot_Act_3_Nessun_Dorma_(Live_At_Central_Park,_New_York_10Th_Anniversary)
Nessun Dorma - Turandot (“Concerto: One Night in Central Park” 10th Anniversary)
Celebrating the 10th Anniversary Edition of Concerto: One Night in Central Park
“I dedicate that extraordinary evening to the memory of my father, it was his dream.” – Andrea Bocelli
Order here: https://andreabocelli.lnk.to/CentralParkID
Follow Andrea Bocelli on:
Facebook - https://www.facebook.com/AndreaBocelli
Instagram - https://www.instagram.com/AndreaBocelli Twitter - https://twitter.com/AndreaBocelli/ YouTube - https://www.youtube.com/AndreaBocelli
Production Credits
RECORDED LIVE AT THE GREAT LAWN IN CENTRAL PARK, NEW YORK - SEPTEMBER 15TH , 2011
A Production of SUGAR S.r.l. and THIRTEEN for WNET
© 2011 Sugar S.r.l.
AUDIO PRODUCTION
Produced by David Frost
Recorded and Mixed by Frank Filipetti
Live Sound Design: Andrea Taglia
FOH Mix : Andrea Taglia, Francesco La Camera, Davide Lombardi
Monitor mix: Paul Acosta, Chris Prinzivalli
Andrea Bocelli’s Vocal Engineer: Pierpaolo Guerrini
Assistant: Giorgio Malpeli
Andrea Bocelli Production Coodinator: Mark Friend
Additional Edit for 10th Anniversary by Tom Mackay at Monument
- published: 01 Sep 2021
- views: 2363617
1:00:42
Most Beautiful Arias - Part 2 (English lyrics and art)
Discover the stories behind the music – click to download the guide: https://payhip.com/b/A2Ocn
Thank you for listening. You can support our work by buying us ...
Discover the stories behind the music – click to download the guide: https://payhip.com/b/A2Ocn
Thank you for listening. You can support our work by buying us a coffee using the link: https://ko-fi.com/lyricsbroughttolife
Don't forget to subscribe for more content :)
Artwork generated using Dall-E
TIMESTAMPS:
00:00- Cristina Gallardo-Domâs - Gianni Schicchi, Act 1: "O mio babbino caro" (Lauretta) - Composed by Giacomo Puccini.
02:28- Kiri Te Kanawa - Turandot, Act 1: "Signore ascolta!" (Liù) - Composed by Giacomo Puccini - Composed by Giacomo Puccini.
05:09- Jennifer Larmore & Hei-Kyung Hong - Lakmé, Act 1: Flower Duet - "Dôme épais le jasmin" (Lakmé, Mallika) - Composed by Léo Delibes.
09:44- José Carreras - La bohème, Act 1: "Che gelida manina" (Rodolfo) - Composed by Giacomo Puccini.
14:06- Barbara Hendricks, José Carreras, Richard Cowan, Gino Quilico & Francesco Ellero d'Artegna - La bohème, Act 1: "Sì. Mi chiamano Mimì" (Mimì, Rodolfo, Schaunard, Colline, Marcello) - Composed by Giacomo Puccini.
19:01- Susan Graham - Orphée et Eurydice, Act 3: "J'ai perdu mon Eurydice" (Orphée) - Composed by Christoph Willibald Gluck.
23:21- Plácido Domingo - Carmen, WD 31, Act 2: "La fleur que tu m'avais jetée" (Don José) - Composed by Georges Bizet.
27:21- Jennifer Larmore & Hei-Kyung Hong - Les contes d'Hoffman, Act 4: Barcarolle - "Belle nuit, ô nuit d'amour" (Giulietta, Niklausse) - Composed by Jacques Offenbach.
29:49- Maria Callas - Norma : Act 1 "Casta diva" [Norma] - Composed by Vincenzo Bellini.
36:37- Edita Gruberová & Neil Shicoff - La traviata, Act 1: "Un dì felice" (Alfredo, Violetta, Gastone) - Composed by Giuseppe Verdi.
39:45- Barbara Hendricks & José Carreras - La bohème, Act 1: "O soave fanciulla" (Rodolfo, Mimì) - Composed by Giacomo Puccini.
43:47- Marilyn Horne - Rinaldo, HWV 7b, Act 2: "Lascia ch'io pianga" (Almirena) - Composed by George Frideric Handel.
48:21- Lella Cuberli - Le nozze di Figaro, Act 2: "Porgi amor qualche ristoro" (La Contessa) - Composed by Pierre-Augustin Caron de Beaumarchais & Wolfgang Amadeus Mozart.
52:26- Hans-Peter Blochwitz - Don Giovanni, Act 1: "Dalla sua pace" (Don Ottavio) - Composed by Wolfgang Amadeus Mozart.
57:01- Cristina Gallardo-Domâs - La Wally, Act 1: "Ebben, ne andrò lontana" (Wally) - Composed by Alfredo Catalani & Spencer Tobie.
#opera #classicalmusic #operaarias #operamusic #arias #concentrationmusic
https://wn.com/Most_Beautiful_Arias_Part_2_(English_Lyrics_And_Art)
Discover the stories behind the music – click to download the guide: https://payhip.com/b/A2Ocn
Thank you for listening. You can support our work by buying us a coffee using the link: https://ko-fi.com/lyricsbroughttolife
Don't forget to subscribe for more content :)
Artwork generated using Dall-E
TIMESTAMPS:
00:00- Cristina Gallardo-Domâs - Gianni Schicchi, Act 1: "O mio babbino caro" (Lauretta) - Composed by Giacomo Puccini.
02:28- Kiri Te Kanawa - Turandot, Act 1: "Signore ascolta!" (Liù) - Composed by Giacomo Puccini - Composed by Giacomo Puccini.
05:09- Jennifer Larmore & Hei-Kyung Hong - Lakmé, Act 1: Flower Duet - "Dôme épais le jasmin" (Lakmé, Mallika) - Composed by Léo Delibes.
09:44- José Carreras - La bohème, Act 1: "Che gelida manina" (Rodolfo) - Composed by Giacomo Puccini.
14:06- Barbara Hendricks, José Carreras, Richard Cowan, Gino Quilico & Francesco Ellero d'Artegna - La bohème, Act 1: "Sì. Mi chiamano Mimì" (Mimì, Rodolfo, Schaunard, Colline, Marcello) - Composed by Giacomo Puccini.
19:01- Susan Graham - Orphée et Eurydice, Act 3: "J'ai perdu mon Eurydice" (Orphée) - Composed by Christoph Willibald Gluck.
23:21- Plácido Domingo - Carmen, WD 31, Act 2: "La fleur que tu m'avais jetée" (Don José) - Composed by Georges Bizet.
27:21- Jennifer Larmore & Hei-Kyung Hong - Les contes d'Hoffman, Act 4: Barcarolle - "Belle nuit, ô nuit d'amour" (Giulietta, Niklausse) - Composed by Jacques Offenbach.
29:49- Maria Callas - Norma : Act 1 "Casta diva" [Norma] - Composed by Vincenzo Bellini.
36:37- Edita Gruberová & Neil Shicoff - La traviata, Act 1: "Un dì felice" (Alfredo, Violetta, Gastone) - Composed by Giuseppe Verdi.
39:45- Barbara Hendricks & José Carreras - La bohème, Act 1: "O soave fanciulla" (Rodolfo, Mimì) - Composed by Giacomo Puccini.
43:47- Marilyn Horne - Rinaldo, HWV 7b, Act 2: "Lascia ch'io pianga" (Almirena) - Composed by George Frideric Handel.
48:21- Lella Cuberli - Le nozze di Figaro, Act 2: "Porgi amor qualche ristoro" (La Contessa) - Composed by Pierre-Augustin Caron de Beaumarchais & Wolfgang Amadeus Mozart.
52:26- Hans-Peter Blochwitz - Don Giovanni, Act 1: "Dalla sua pace" (Don Ottavio) - Composed by Wolfgang Amadeus Mozart.
57:01- Cristina Gallardo-Domâs - La Wally, Act 1: "Ebben, ne andrò lontana" (Wally) - Composed by Alfredo Catalani & Spencer Tobie.
#opera #classicalmusic #operaarias #operamusic #arias #concentrationmusic
- published: 25 Jan 2024
- views: 286527
2:43
Musetta's Waltz (Don't You Know)
Provided to YouTube by The Orchard Enterprises
Musetta's Waltz (Don't You Know) · 101 Strings
World Greatest Melodies
℗ 2012 Copyright Group
Released on: 20...
Provided to YouTube by The Orchard Enterprises
Musetta's Waltz (Don't You Know) · 101 Strings
World Greatest Melodies
℗ 2012 Copyright Group
Released on: 2012-12-01
Composer: Giacomo Puccini
Auto-generated by YouTube.
https://wn.com/Musetta's_Waltz_(Don't_You_Know)
Provided to YouTube by The Orchard Enterprises
Musetta's Waltz (Don't You Know) · 101 Strings
World Greatest Melodies
℗ 2012 Copyright Group
Released on: 2012-12-01
Composer: Giacomo Puccini
Auto-generated by YouTube.
- published: 08 Nov 2014
- views: 842
1:19
Puccini - Turandot from Bregenz Festival
Mention Giacomo Puccini’s name and opera-lovers all over the world will think of grand opera and passionate love stories. One of the world’s most famous arias c...
Mention Giacomo Puccini’s name and opera-lovers all over the world will think of grand opera and passionate love stories. One of the world’s most famous arias comes from the composer’s final opera, Turandot: “Nessun dorma” – none shall sleep because by morning the Chinese princess is determined to have discovered the name of the unknown prince. The work is remarkable for its Chinese local colour, its opulent crowd scenes, its powerful choruses and its characters overwhelmed by their emotions. Enthusiastically acclaimed by its audiences, the present production combines spectacular and touching scenes on the Bregenz Festival’s vast lakeside stage.
“Melodies for the millions, impressively staged grand opera.” (ZDF)
“Marelli’s Bregenz production of Turandot allows us to appreciate much of the background and many of the ambivalences of Puccini’s opera in an unobtrusive but highly detailed and timely way.” (taz)
Facebook: facebook.com/CmajorEntertainment
Twitter: twitter.com/CmajorEnt1
Cmajor Shop: www.shop.cmajor-entertainment.com/
https://wn.com/Puccini_Turandot_From_Bregenz_Festival
Mention Giacomo Puccini’s name and opera-lovers all over the world will think of grand opera and passionate love stories. One of the world’s most famous arias comes from the composer’s final opera, Turandot: “Nessun dorma” – none shall sleep because by morning the Chinese princess is determined to have discovered the name of the unknown prince. The work is remarkable for its Chinese local colour, its opulent crowd scenes, its powerful choruses and its characters overwhelmed by their emotions. Enthusiastically acclaimed by its audiences, the present production combines spectacular and touching scenes on the Bregenz Festival’s vast lakeside stage.
“Melodies for the millions, impressively staged grand opera.” (ZDF)
“Marelli’s Bregenz production of Turandot allows us to appreciate much of the background and many of the ambivalences of Puccini’s opera in an unobtrusive but highly detailed and timely way.” (taz)
Facebook: facebook.com/CmajorEntertainment
Twitter: twitter.com/CmajorEnt1
Cmajor Shop: www.shop.cmajor-entertainment.com/
- published: 27 Nov 2015
- views: 11928
2:43
Daniele Barioni; "Donna non vidi mai"; MANON LESCAUT; Giacomo Puccini
This channel is the re-establishment of previous channels that have been sadly terminated.
================
Daniele Barioni--tenor
no recording information
===...
This channel is the re-establishment of previous channels that have been sadly terminated.
================
Daniele Barioni--tenor
no recording information
====================
"Daniele Barioni (born September 6, 1930) is an Italian opera singer who had a prolific career during the 1950s through the 1970s. Early on in his career he rose to fame as a leading tenor at the Metropolitan Opera between 1956 and 1962. Afterwards he worked primarily in opera houses and concerts throughout the United States, although he did make numerous appearances in both Europe and South America as well. Barioni was particularly associated with the operas of Giacomo Puccini and the roles of Turiddu in Pietro Mascagni's Cavalleria rusticana and Alfredo in Giuseppe Verdi's La traviata.
Barioni was born in Copparo, Ferrara. He began his singing studies in 1949 in Milan with Attilio Bordonali, initially studying the baritone repertoire. He made his professional singing debut that same year at the Circolo Italia, in Milan, in a concert with the Chilean soprano Claudia Parada. Not too long after, his teacher became convinced he was actually a tenor and began training Barioni in the tenor repertoire for the next five years. His operatic debut was in 1954 as Turiddu in Cavalleria rusticana at the Teatro Nuovo, in Milan. During the first year of his career he also sang Mario Cavaradossi in Tosca and Pinkerton in Madame Butterfly. In 1955 he sang on tour throughout Egypt and South Africa.
Career at the Metropolitan Opera
In 1956 Barioni came to the United States to join the roster at the Metropolitan Opera in New York City where he sang for seven seasons for a total of 54 performances. During his tenure at the Met, Barioni sang opposite some of the world's finest sopranos including Lucine Amara, Maria Callas, Mary Curtis Verna, Victoria de los Ángeles, Dorothy Kirsten, Zinka Milanov, Leonie Rysanek, Giulietta Simionato, Antonietta Stella, Anna Moffo and Renata Tebaldi among others. He made his debut with the company on 20 February 1956 as Mario Cavaradossi in Tosca with Delia Rigal in the title role and George London as Scarpia. Just two days later he sang his first Rodolfo in Puccini's La bohème opposite Licia Albanese, his most frequent leading lady at the Met, as Mimì.
During his second Met season, Barioni portrayed Pinkerton in Madame Butterfly and Alfredo in Verdi's La traviata in addition to singing Rodolfo and Cavaradossi, and Turridu. His portrayal of Turridu was so popular that the company decided to take the production on tour throughout different cities in the United States and Canada during the 1958-1959 season. Barioni's other roles at the Met included Macduff in Verdi's Macbeth, Dick Johnson in Puccini's La fanciulla del West, and the title role in Umberto Giordano's Andrea Chénier. His last performance at the Met was on November 27, 1962 as the Italian Singer in Richard Strauss's Der Rosenkavalier.
Further career
After 1962 Barioni did not return to the Met but sang continuously in other American cities until 1975. He began appearing with other American opera companies during his time with the Met. He was a frequent performer in the city of Philadelphia with both the Philadelphia Grand Opera Company (PGOC) and the Philadelphia Lyric Opera Company (PLOC) during the 1960s. He made his debut with the PGOC on January 18, 1959 as Rodolfo at the Academy of Music. He went on to portray several more roles with the PGOC, including: Ruggero Lastouc in La rondine (1960, 1961), Pinkerton (1965, 1967), and Alfredo (1966, 1967). He made his debut with the PLOC on December 28, 1962 as Turiddu. His other roles with the PLOC include Edgardo in Lucia di Lammermoor (1963), Pinkerton (1964), and Rodolfo (1965).
Daniele Barioni & Vera Franceschi circa 1962
Barioni married in 1957 the Italian-American pianist Vera Franceschi. In 1958 their son Giulio Barioni was born. She died prematurely of leukemia in 1966. Her death also meant the decline of Barioni's career as a singer. From 1975 to 1980 he appeared in opera and concerts, but not so often as in previous years. His last appearance was in a concert with Renata Tebaldi at the Teatro Comunale, in Ferrara, in 1981, to receive the Premio Frescobaldi 1980."; Wikipedia (edited)
https://wn.com/Daniele_Barioni_Donna_Non_Vidi_Mai_Manon_Lescaut_Giacomo_Puccini
This channel is the re-establishment of previous channels that have been sadly terminated.
================
Daniele Barioni--tenor
no recording information
====================
"Daniele Barioni (born September 6, 1930) is an Italian opera singer who had a prolific career during the 1950s through the 1970s. Early on in his career he rose to fame as a leading tenor at the Metropolitan Opera between 1956 and 1962. Afterwards he worked primarily in opera houses and concerts throughout the United States, although he did make numerous appearances in both Europe and South America as well. Barioni was particularly associated with the operas of Giacomo Puccini and the roles of Turiddu in Pietro Mascagni's Cavalleria rusticana and Alfredo in Giuseppe Verdi's La traviata.
Barioni was born in Copparo, Ferrara. He began his singing studies in 1949 in Milan with Attilio Bordonali, initially studying the baritone repertoire. He made his professional singing debut that same year at the Circolo Italia, in Milan, in a concert with the Chilean soprano Claudia Parada. Not too long after, his teacher became convinced he was actually a tenor and began training Barioni in the tenor repertoire for the next five years. His operatic debut was in 1954 as Turiddu in Cavalleria rusticana at the Teatro Nuovo, in Milan. During the first year of his career he also sang Mario Cavaradossi in Tosca and Pinkerton in Madame Butterfly. In 1955 he sang on tour throughout Egypt and South Africa.
Career at the Metropolitan Opera
In 1956 Barioni came to the United States to join the roster at the Metropolitan Opera in New York City where he sang for seven seasons for a total of 54 performances. During his tenure at the Met, Barioni sang opposite some of the world's finest sopranos including Lucine Amara, Maria Callas, Mary Curtis Verna, Victoria de los Ángeles, Dorothy Kirsten, Zinka Milanov, Leonie Rysanek, Giulietta Simionato, Antonietta Stella, Anna Moffo and Renata Tebaldi among others. He made his debut with the company on 20 February 1956 as Mario Cavaradossi in Tosca with Delia Rigal in the title role and George London as Scarpia. Just two days later he sang his first Rodolfo in Puccini's La bohème opposite Licia Albanese, his most frequent leading lady at the Met, as Mimì.
During his second Met season, Barioni portrayed Pinkerton in Madame Butterfly and Alfredo in Verdi's La traviata in addition to singing Rodolfo and Cavaradossi, and Turridu. His portrayal of Turridu was so popular that the company decided to take the production on tour throughout different cities in the United States and Canada during the 1958-1959 season. Barioni's other roles at the Met included Macduff in Verdi's Macbeth, Dick Johnson in Puccini's La fanciulla del West, and the title role in Umberto Giordano's Andrea Chénier. His last performance at the Met was on November 27, 1962 as the Italian Singer in Richard Strauss's Der Rosenkavalier.
Further career
After 1962 Barioni did not return to the Met but sang continuously in other American cities until 1975. He began appearing with other American opera companies during his time with the Met. He was a frequent performer in the city of Philadelphia with both the Philadelphia Grand Opera Company (PGOC) and the Philadelphia Lyric Opera Company (PLOC) during the 1960s. He made his debut with the PGOC on January 18, 1959 as Rodolfo at the Academy of Music. He went on to portray several more roles with the PGOC, including: Ruggero Lastouc in La rondine (1960, 1961), Pinkerton (1965, 1967), and Alfredo (1966, 1967). He made his debut with the PLOC on December 28, 1962 as Turiddu. His other roles with the PLOC include Edgardo in Lucia di Lammermoor (1963), Pinkerton (1964), and Rodolfo (1965).
Daniele Barioni & Vera Franceschi circa 1962
Barioni married in 1957 the Italian-American pianist Vera Franceschi. In 1958 their son Giulio Barioni was born. She died prematurely of leukemia in 1966. Her death also meant the decline of Barioni's career as a singer. From 1975 to 1980 he appeared in opera and concerts, but not so often as in previous years. His last appearance was in a concert with Renata Tebaldi at the Teatro Comunale, in Ferrara, in 1981, to receive the Premio Frescobaldi 1980."; Wikipedia (edited)
- published: 20 Oct 2022
- views: 244
3:04
Cesare Formichi; "Già! mi dicon venal"; TOSCA; Giacomo Puccini
This channel is the re-establishment of previous channels that have been sadly terminated.
===============
Cesare Formichi--baritone
1917-27
================
"C...
This channel is the re-establishment of previous channels that have been sadly terminated.
===============
Cesare Formichi--baritone
1917-27
================
"Cesare Formichi was born of aristocratic parents in Rome and studied law at the local university where he eventually obtained his Ph. D in Jurisprudence. During his study time his exceptionally beautiful voice was much commented upon and he underwent vocal tuition with Vincenzo Lombardi, Di Pietro and Luigi Rasi. His debut at the Teatro Lirico in Milan in 1911 was so auspicious that he decided to give up his legal career and concentrate on singing. Eventually he became one of the most important baritones in ltaly and Spain. In 1912 he toured Russia and in summer 1914 he made his debut at the Teatro Colon, Buenos Aires where he sang Klingsor in the first local performance of "Parsifal". His partners were Elena Rakowska, the wife of the conductor Tullio Serafin, Charles Rousseliere, Carlo Galeffi and Nazzareno De Angelis. That summer season he also sang the Wanderer in "Siegfried" and the High Priest in "Samson et Dalila", partnering Nini Frascani and Rousseliere. Between 1918 and 1921 he appeared primarily in Spain, where he enjoyed enormous acclaim. In Valencia he appeared as Scarpia (with Genevieve Vix and Giacomo Lauri Volpi ), in Madrid as Rigoletto, Amonasro, Scarpia and Kurwenal. In 1922 he sang at the Paris Opera at a gala performance of "Aida" with Claudia Muzio, Helene Sadoven and Luigi Canalda. In 1924 he appeared at Covent Garden, London, as Rigoletto (with Hislop and Piccaver alternating as Duca, as well as Maria Ivogün and Eide Norena ), then Scarpia opposite Edvina's Tosca and Tonio in "Pagliacci". In 1922 he started a long association with the Chicago Opera, which continued until the bankruptcy of the house in 1932. ln Chicago he sang a vast number of roles of the French and ltalian repertoire. Among his standard roles were Scarpia (his favourite role), Amonasro, Rtgoletto, Tonio, Luna, Carlo Gerard, the High Priest in "Samson et Dalila", Capulet, Barnaba,lago; Escamillo, Athanael opposite Mary Garden's Thais, with whom he also appeared in lfano's "Resurrezione" Bonifacius in Massenet's "Jongleur de Notre Dame", Manfredo in Montemezzi' s "L' amore dei tre Re" (with Garden, Maison, and Lazzari), Don Carlos in "Forza" opposite Rosa Raisa etc. On 13. November 1922 he had made his debut as Amonasro there and on 4. November 1929 he was accorded the honor of inaugurating the new Chicago Civic Opera House. 1925 saw him back in Buenos Aires, this time as Falstaff (with Muzio, Bertana, Perini, Hislop, Laura Pasini, Bada, Nessi and Didur) and as Scarpia, Carlo Gerard as well as his role debut in the local premiere of Giordano's "La Cena delle Beffe" (with Muzio, Frances Alda and Gigli). He returned in 1926, this time in the South American premiere of Boito's "Nerone" conducted by Gino Marinuzzi (with Muzio, Bertana, Pertile, Franci and Pinza). He also sang his first Alfio. In 1931 he returned to Covent Garden, where he sang in the world premiere of Romano Romani's "Fedra" opposite Rosa Ponselle and Antonio Cortis. In 1933 he sang Mefistopheles in "Damnation de Faust" conducted by Sir Thomas Beecham, was well as Scarpia (with Raisa and Minghetti). He also appeared as a guest artist in Prague, Monte Carlo and other important cities. His final appearances were made in 1934, when he sang Scarpia in Copenhagen and Iago (with Merli as Otello) at the Teatro San Carlo in Naples. Subsequently he retired from the stage and became impresario. He died in Rome on 21. July 1949. In a generation amply blessed with splendid Italian baritones, Cesare Formichi was one of the most outstanding - and his name is quite unjustly virtually forgotten. His voice was of a rare, dark-hued quality which, despite its volume, never seemed massive. His characterization of Scarpia was probably the most vital in the interim period between Antonio Scotti and Mariano Stabile. His repertoire was vast, his French diction was superb and he was, moreover, the Wagner specialist in Italy and Spain for quite some time. As an especially intelligent and educated man his histrionic ability was exceptional. He recorded exclusively for Columbia - most of the recordings being acoustic. He made only a very few electric recordings, the last in 1932 in Italy."; preiser records
https://wn.com/Cesare_Formichi_Già_Mi_Dicon_Venal_Tosca_Giacomo_Puccini
This channel is the re-establishment of previous channels that have been sadly terminated.
===============
Cesare Formichi--baritone
1917-27
================
"Cesare Formichi was born of aristocratic parents in Rome and studied law at the local university where he eventually obtained his Ph. D in Jurisprudence. During his study time his exceptionally beautiful voice was much commented upon and he underwent vocal tuition with Vincenzo Lombardi, Di Pietro and Luigi Rasi. His debut at the Teatro Lirico in Milan in 1911 was so auspicious that he decided to give up his legal career and concentrate on singing. Eventually he became one of the most important baritones in ltaly and Spain. In 1912 he toured Russia and in summer 1914 he made his debut at the Teatro Colon, Buenos Aires where he sang Klingsor in the first local performance of "Parsifal". His partners were Elena Rakowska, the wife of the conductor Tullio Serafin, Charles Rousseliere, Carlo Galeffi and Nazzareno De Angelis. That summer season he also sang the Wanderer in "Siegfried" and the High Priest in "Samson et Dalila", partnering Nini Frascani and Rousseliere. Between 1918 and 1921 he appeared primarily in Spain, where he enjoyed enormous acclaim. In Valencia he appeared as Scarpia (with Genevieve Vix and Giacomo Lauri Volpi ), in Madrid as Rigoletto, Amonasro, Scarpia and Kurwenal. In 1922 he sang at the Paris Opera at a gala performance of "Aida" with Claudia Muzio, Helene Sadoven and Luigi Canalda. In 1924 he appeared at Covent Garden, London, as Rigoletto (with Hislop and Piccaver alternating as Duca, as well as Maria Ivogün and Eide Norena ), then Scarpia opposite Edvina's Tosca and Tonio in "Pagliacci". In 1922 he started a long association with the Chicago Opera, which continued until the bankruptcy of the house in 1932. ln Chicago he sang a vast number of roles of the French and ltalian repertoire. Among his standard roles were Scarpia (his favourite role), Amonasro, Rtgoletto, Tonio, Luna, Carlo Gerard, the High Priest in "Samson et Dalila", Capulet, Barnaba,lago; Escamillo, Athanael opposite Mary Garden's Thais, with whom he also appeared in lfano's "Resurrezione" Bonifacius in Massenet's "Jongleur de Notre Dame", Manfredo in Montemezzi' s "L' amore dei tre Re" (with Garden, Maison, and Lazzari), Don Carlos in "Forza" opposite Rosa Raisa etc. On 13. November 1922 he had made his debut as Amonasro there and on 4. November 1929 he was accorded the honor of inaugurating the new Chicago Civic Opera House. 1925 saw him back in Buenos Aires, this time as Falstaff (with Muzio, Bertana, Perini, Hislop, Laura Pasini, Bada, Nessi and Didur) and as Scarpia, Carlo Gerard as well as his role debut in the local premiere of Giordano's "La Cena delle Beffe" (with Muzio, Frances Alda and Gigli). He returned in 1926, this time in the South American premiere of Boito's "Nerone" conducted by Gino Marinuzzi (with Muzio, Bertana, Pertile, Franci and Pinza). He also sang his first Alfio. In 1931 he returned to Covent Garden, where he sang in the world premiere of Romano Romani's "Fedra" opposite Rosa Ponselle and Antonio Cortis. In 1933 he sang Mefistopheles in "Damnation de Faust" conducted by Sir Thomas Beecham, was well as Scarpia (with Raisa and Minghetti). He also appeared as a guest artist in Prague, Monte Carlo and other important cities. His final appearances were made in 1934, when he sang Scarpia in Copenhagen and Iago (with Merli as Otello) at the Teatro San Carlo in Naples. Subsequently he retired from the stage and became impresario. He died in Rome on 21. July 1949. In a generation amply blessed with splendid Italian baritones, Cesare Formichi was one of the most outstanding - and his name is quite unjustly virtually forgotten. His voice was of a rare, dark-hued quality which, despite its volume, never seemed massive. His characterization of Scarpia was probably the most vital in the interim period between Antonio Scotti and Mariano Stabile. His repertoire was vast, his French diction was superb and he was, moreover, the Wagner specialist in Italy and Spain for quite some time. As an especially intelligent and educated man his histrionic ability was exceptional. He recorded exclusively for Columbia - most of the recordings being acoustic. He made only a very few electric recordings, the last in 1932 in Italy."; preiser records
- published: 06 Oct 2023
- views: 17
1:52:34
Tosca, Giacomo Puccini , Zagreb, HNK 1999,
Tosca, Giacomo Puccini;
Zagreb 1999 godina.
Tosca: Veneta Janjeva, soprano;
Mario: Ivica Gržanić, tenore;
Sotir Spasevski,
Tosca, Giacomo Puccini;
Zagreb 1999 godina.
Tosca: Veneta Janjeva, soprano;
Mario: Ivica Gržanić, tenore;
Sotir Spasevski,
https://wn.com/Tosca,_Giacomo_Puccini_,_Zagreb,_Hnk_1999,
Tosca, Giacomo Puccini;
Zagreb 1999 godina.
Tosca: Veneta Janjeva, soprano;
Mario: Ivica Gržanić, tenore;
Sotir Spasevski,
- published: 06 Dec 2022
- views: 209
3:34
Alessandro Valente; "Nessun dorma"; TURANDOT; Giacomo Puccini
This channel is the re-establishment of previous channels that have been sadly terminated.
================
Alessandro Valente--tenor
no recording information
=...
This channel is the re-establishment of previous channels that have been sadly terminated.
================
Alessandro Valente--tenor
no recording information
=================
"Born: Born 9 Jan 1890 Turin
Died: Died 7 Oct 1958
Italian tenor.
The career of Alessandro Valente is one of the strangest in recording history. For years he was the “mysterious stranger”, of whom it was only known that in the late 1920s and early 1930s he had made some outstanding records.His name became internationally known when HMV issued the first tenor arias from Puccini’s last opera “Turandot”, which had its world premiere at La Scala in 1926.
Not until 1927 did HMV issue the first recordings of “Non piangere Liu” and “Nessun dorma”. Against all expectations they were not sung by Miguel Fleta, the first Calaf, who was, moreover an HMV celebrity artist. The recordings were instead released on the humble “plum” label, sung by the totally unknown Alessandro Valente. As everyone wanted to own the two new Puccini arias, Valente became internationally famous overnight and proved a really worthwhile find. Innumerable versions of these two arias have since been made (unfortunately none by Fleta) but no-one has equalled the magic of these initial recordings.
They were recorded in England, the conductor being Manlio Di Veroli. Valente was immediately acclaimed as a “promising young tenor” and “new Caruso”. In·view of his popularity HMV immediately released two further arias, one of which – “Recondita armonia” is truly superb. Then came the duet from “Manofr Lescaut” opposite Emma Lattuada, the sister of the conductor Carlo Sabajno. Eventually Valente was contracted to sing Canio in the first electric complete recording of “I Pagliacci”, again under Sabajno, opposite Adelaide Saraceni, Apollo Granforte, Leonildo Basi and Nello Palai. Strangely enough this recording was again released on the “plum” label, although Granforte – a “celebrity artist” – normally recorded for the “red” label. That already marked the end of Valente’s international recordings. However, he went on to record some 25 cm records in Italy of arias from “Aida”, “Andrea Chenier” and “La Fanciulla del West”. For inexplicably reasons these records were not distributed outside Italy. Eventually he returned to England and recorded some popular songs for Decca.
Meanwhile the wildest conjectures were being made about the reason why this new tenor did not appear on the international opera stages – until such a time when someone actually took the trouble to find out the facts and solve the enigma. At the time of the “Turandot” recordings Valente was by no means a “young tenor”. He was born around 1890 in Turin, began as a boy soprano and appeared in Verona as a choir boy in “Tosca” and a street urchin in “Carmeri”.
He studied with one Louis Schweiwein and came to London in 1912 where he appeared at the Hippodrome as Turiddu in “Cavalleria rusticana” – the conductor being Mascagni himself. At the time Valente’s age was stated as being 17, which was undoubtedly a promotional ploy as, if he was indeed born in 1890, he must have been twenty-two. As it happened he was not successful but he remained in England and appeared in vaudeville shows – using the pseudonym “Alex Vallo” – during which he sang an opera aria. From 1915 to 1918 he served in the Italian army and subsequently continued his modest career, touring music halls and vaudeville theatres. It is quite possible that apart from “Valo” and “Valente” he also used other pseudonyms. In 1924 Luisa Tetrazzini engaged him as “supporting artist” for her farewell tour and he therefore returned to England. Perhaps Fred Gaisberg came encountered him at this time. Anyhow, none of the star tenors were available at the time when HMV wanted to record the Turandot arias and Gaisberg remembered Valente, who was again on one of his vaudeville tours: Valente thus made his first recording at the age of thirty-seven and became famous overnight. Other re cords followed, made in England as well as Italy, but he did not really manage to achieve an opera career.
All the speculations about the reason for this strange fact are totally untenable. One rumor would have it that he had a wooden leg and could not move easily on stage. This was obviously nonsense for in 1932, when he made the Decca recordings, he was appearing in vaudeville shows – ergo on stage. It seems that he was quite versatile for he also worked as an inventor. One of the most popular curtain racks on the market was invented by him.
lt should also not be forgotten that in the early 1930s he was over forty and had spent an exhausting number of years in vaudeville, often with four or more appearances a day. His subsequent HMV records and those for Decca prove an audible decline in his vocal powers. In fact he never again reached the surprising level of his first recordings, with the possible exception of the “Manon Lescaut” duet."; historypofthetenor
https://wn.com/Alessandro_Valente_Nessun_Dorma_Turandot_Giacomo_Puccini
This channel is the re-establishment of previous channels that have been sadly terminated.
================
Alessandro Valente--tenor
no recording information
=================
"Born: Born 9 Jan 1890 Turin
Died: Died 7 Oct 1958
Italian tenor.
The career of Alessandro Valente is one of the strangest in recording history. For years he was the “mysterious stranger”, of whom it was only known that in the late 1920s and early 1930s he had made some outstanding records.His name became internationally known when HMV issued the first tenor arias from Puccini’s last opera “Turandot”, which had its world premiere at La Scala in 1926.
Not until 1927 did HMV issue the first recordings of “Non piangere Liu” and “Nessun dorma”. Against all expectations they were not sung by Miguel Fleta, the first Calaf, who was, moreover an HMV celebrity artist. The recordings were instead released on the humble “plum” label, sung by the totally unknown Alessandro Valente. As everyone wanted to own the two new Puccini arias, Valente became internationally famous overnight and proved a really worthwhile find. Innumerable versions of these two arias have since been made (unfortunately none by Fleta) but no-one has equalled the magic of these initial recordings.
They were recorded in England, the conductor being Manlio Di Veroli. Valente was immediately acclaimed as a “promising young tenor” and “new Caruso”. In·view of his popularity HMV immediately released two further arias, one of which – “Recondita armonia” is truly superb. Then came the duet from “Manofr Lescaut” opposite Emma Lattuada, the sister of the conductor Carlo Sabajno. Eventually Valente was contracted to sing Canio in the first electric complete recording of “I Pagliacci”, again under Sabajno, opposite Adelaide Saraceni, Apollo Granforte, Leonildo Basi and Nello Palai. Strangely enough this recording was again released on the “plum” label, although Granforte – a “celebrity artist” – normally recorded for the “red” label. That already marked the end of Valente’s international recordings. However, he went on to record some 25 cm records in Italy of arias from “Aida”, “Andrea Chenier” and “La Fanciulla del West”. For inexplicably reasons these records were not distributed outside Italy. Eventually he returned to England and recorded some popular songs for Decca.
Meanwhile the wildest conjectures were being made about the reason why this new tenor did not appear on the international opera stages – until such a time when someone actually took the trouble to find out the facts and solve the enigma. At the time of the “Turandot” recordings Valente was by no means a “young tenor”. He was born around 1890 in Turin, began as a boy soprano and appeared in Verona as a choir boy in “Tosca” and a street urchin in “Carmeri”.
He studied with one Louis Schweiwein and came to London in 1912 where he appeared at the Hippodrome as Turiddu in “Cavalleria rusticana” – the conductor being Mascagni himself. At the time Valente’s age was stated as being 17, which was undoubtedly a promotional ploy as, if he was indeed born in 1890, he must have been twenty-two. As it happened he was not successful but he remained in England and appeared in vaudeville shows – using the pseudonym “Alex Vallo” – during which he sang an opera aria. From 1915 to 1918 he served in the Italian army and subsequently continued his modest career, touring music halls and vaudeville theatres. It is quite possible that apart from “Valo” and “Valente” he also used other pseudonyms. In 1924 Luisa Tetrazzini engaged him as “supporting artist” for her farewell tour and he therefore returned to England. Perhaps Fred Gaisberg came encountered him at this time. Anyhow, none of the star tenors were available at the time when HMV wanted to record the Turandot arias and Gaisberg remembered Valente, who was again on one of his vaudeville tours: Valente thus made his first recording at the age of thirty-seven and became famous overnight. Other re cords followed, made in England as well as Italy, but he did not really manage to achieve an opera career.
All the speculations about the reason for this strange fact are totally untenable. One rumor would have it that he had a wooden leg and could not move easily on stage. This was obviously nonsense for in 1932, when he made the Decca recordings, he was appearing in vaudeville shows – ergo on stage. It seems that he was quite versatile for he also worked as an inventor. One of the most popular curtain racks on the market was invented by him.
lt should also not be forgotten that in the early 1930s he was over forty and had spent an exhausting number of years in vaudeville, often with four or more appearances a day. His subsequent HMV records and those for Decca prove an audible decline in his vocal powers. In fact he never again reached the surprising level of his first recordings, with the possible exception of the “Manon Lescaut” duet."; historypofthetenor
- published: 13 Nov 2022
- views: 194
3:04
Lotte Lehmann; "Vissi d'arte"; (Sung in German); TOSCA; Giacomo Puccini
This channel is the re-establishment of previous channels that have been sadly terminated.
==============
Lotte Lehmann--soprano
1924
==================
"Charl...
This channel is the re-establishment of previous channels that have been sadly terminated.
==============
Lotte Lehmann--soprano
1924
==================
"Charlotte "Lotte" Lehmann (February 27, 1888 – August 26, 1976) was a German soprano who was especially associated with German repertory. She gave memorable performances in the operas of Richard Strauss, Richard Wagner, Ludwig van Beethoven, Puccini, Mozart, and Massenet. The Marschallin in Der Rosenkavalier, Sieglinde in Die Walküre and the title-role in Fidelio are considered her greatest roles. During her long career, Lehmann also made more than five hundred recordings.[1]
After studying in Berlin with Mathilde Mallinger, she made her debut at the Hamburg Opera in 1910 as a page in Wagner's Lohengrin. In 1914, she gave her debut as Eva in Die Meistersinger von Nürnberg at the Vienna Court Opera – the later Vienna State Opera – which she joined in 1916. She quickly established herself as one of the company's brightest stars in roles such as Elisabeth in Tannhäuser and Elsa in Lohengrin.
She created roles in the world premieres of a number of operas by Richard Strauss, including the Composer in Ariadne auf Naxos in 1916 (later she sang the title-role in this opera), the Dyer's Wife in Die Frau ohne Schatten in 1919 and Christine in Intermezzo in 1924. Her other Strauss roles were the title-roles in Arabella (she sang in the Viennese premiere on 21 October 1933, even though her mother had died earlier that day)[2] and in Der Rosenkavalier (earlier in her career, she had also sung the role of Sophie and Octavian; when she finally added the Marschallin to her repertoire, she became the first soprano in history to have sung all three female lead roles in Der Rosenkavalier).
In the meantime she had made her debut in London in 1914, and from 1924 to 1935 she performed regularly at the Royal Opera House, Covent Garden where aside from her famous Wagner roles and the Marschallin she also sang Desdemona in Otello and Donna Elvira in Don Giovanni. She appeared regularly at the Salzburg Festival from 1926 to 1937, performing with Arturo Toscanini, among other conductors. She also gave recitals there accompanied at the piano by the conductor Bruno Walter.[citation needed]
In August 1936, while in Salzburg, she discovered the Trapp Family Singers, later made more famous in the musical The Sound of Music. Lehmann had heard of a villa available for let and as she approached the villa she overheard the family singing in their garden. Insisting the children had a precious gift, she exclaimed that the family had "gold in their throats" and that they should enter the Salzburg Festival contest for group singing the following night. Having regard to the family's aristocratic background the Baron insisted performing in public was out of the question; however Lehmann's fame and genuine enthusiasm persuaded the Baron to relent, leading to their first public performance.[3]
In addition to her operatic work, Lehmann was a renowned singer of lieder, giving frequent recitals throughout her career. She recorded and toured with pianist Ernő Balogh in the 1930s. Beginning with her first recital tour to Australia in 1937, she worked closely with the accompanist Paul Ulanowsky. He remained her primary accompanist for concerts and master classes until her retirement fourteen years later.[5]
She was a prolific author, publishing a book of poems Verse in Prosa in the early 1920s, a novel, Orplid, mein Land in 1937, which appeared in English as Eternal Flight in 1937, and a book of memoirs, Anfang und Aufstieg (1937), which later appeared as On Wings of Song in the U.K. in 1938 and as Midway in My Song in the U.S. in 1938. She also published volumes on the interpretation of song and the interpretation of opera roles. Later books included Five Operas and Richard Strauss, known as Singing with Richard Strauss in the U.K., a second book of poems in 1969, and Eighteen Song Cycles in 1971, consisting of material drawn largely from earlier works.
Lehmann died in 1976 at the age of 88 in Santa Barbara, California. She is interred in the Zentralfriedhof in Vienna.[8] Her headstone is inscribed with a quote from Richard Strauss: "Sie hat gesungen, daß es Sterne rührte." ("She sang such that it moved the stars.")
In 1926 Lehmann married Otto Krause, a former officer in the Austrian army and later an insurance executive. They had no children. Krause, who died of tuberculosis in 1939, had four children from a previous marriage. Lehmann never remarried.[9][10]
After Krause's death until her own death in 1976 Lehmann shared a home with Frances Holden (1899–1996), a psychologist who specialised in the study of genius, particularly that of classical musicians. The two women named their Santa Barbara house "Orplid" after the dream island described in Hugo Wolf's art song "Gesang Weylas".[11]"; Wikipedia (edited)
https://wn.com/Lotte_Lehmann_Vissi_D'Arte_(Sung_In_German)_Tosca_Giacomo_Puccini
This channel is the re-establishment of previous channels that have been sadly terminated.
==============
Lotte Lehmann--soprano
1924
==================
"Charlotte "Lotte" Lehmann (February 27, 1888 – August 26, 1976) was a German soprano who was especially associated with German repertory. She gave memorable performances in the operas of Richard Strauss, Richard Wagner, Ludwig van Beethoven, Puccini, Mozart, and Massenet. The Marschallin in Der Rosenkavalier, Sieglinde in Die Walküre and the title-role in Fidelio are considered her greatest roles. During her long career, Lehmann also made more than five hundred recordings.[1]
After studying in Berlin with Mathilde Mallinger, she made her debut at the Hamburg Opera in 1910 as a page in Wagner's Lohengrin. In 1914, she gave her debut as Eva in Die Meistersinger von Nürnberg at the Vienna Court Opera – the later Vienna State Opera – which she joined in 1916. She quickly established herself as one of the company's brightest stars in roles such as Elisabeth in Tannhäuser and Elsa in Lohengrin.
She created roles in the world premieres of a number of operas by Richard Strauss, including the Composer in Ariadne auf Naxos in 1916 (later she sang the title-role in this opera), the Dyer's Wife in Die Frau ohne Schatten in 1919 and Christine in Intermezzo in 1924. Her other Strauss roles were the title-roles in Arabella (she sang in the Viennese premiere on 21 October 1933, even though her mother had died earlier that day)[2] and in Der Rosenkavalier (earlier in her career, she had also sung the role of Sophie and Octavian; when she finally added the Marschallin to her repertoire, she became the first soprano in history to have sung all three female lead roles in Der Rosenkavalier).
In the meantime she had made her debut in London in 1914, and from 1924 to 1935 she performed regularly at the Royal Opera House, Covent Garden where aside from her famous Wagner roles and the Marschallin she also sang Desdemona in Otello and Donna Elvira in Don Giovanni. She appeared regularly at the Salzburg Festival from 1926 to 1937, performing with Arturo Toscanini, among other conductors. She also gave recitals there accompanied at the piano by the conductor Bruno Walter.[citation needed]
In August 1936, while in Salzburg, she discovered the Trapp Family Singers, later made more famous in the musical The Sound of Music. Lehmann had heard of a villa available for let and as she approached the villa she overheard the family singing in their garden. Insisting the children had a precious gift, she exclaimed that the family had "gold in their throats" and that they should enter the Salzburg Festival contest for group singing the following night. Having regard to the family's aristocratic background the Baron insisted performing in public was out of the question; however Lehmann's fame and genuine enthusiasm persuaded the Baron to relent, leading to their first public performance.[3]
In addition to her operatic work, Lehmann was a renowned singer of lieder, giving frequent recitals throughout her career. She recorded and toured with pianist Ernő Balogh in the 1930s. Beginning with her first recital tour to Australia in 1937, she worked closely with the accompanist Paul Ulanowsky. He remained her primary accompanist for concerts and master classes until her retirement fourteen years later.[5]
She was a prolific author, publishing a book of poems Verse in Prosa in the early 1920s, a novel, Orplid, mein Land in 1937, which appeared in English as Eternal Flight in 1937, and a book of memoirs, Anfang und Aufstieg (1937), which later appeared as On Wings of Song in the U.K. in 1938 and as Midway in My Song in the U.S. in 1938. She also published volumes on the interpretation of song and the interpretation of opera roles. Later books included Five Operas and Richard Strauss, known as Singing with Richard Strauss in the U.K., a second book of poems in 1969, and Eighteen Song Cycles in 1971, consisting of material drawn largely from earlier works.
Lehmann died in 1976 at the age of 88 in Santa Barbara, California. She is interred in the Zentralfriedhof in Vienna.[8] Her headstone is inscribed with a quote from Richard Strauss: "Sie hat gesungen, daß es Sterne rührte." ("She sang such that it moved the stars.")
In 1926 Lehmann married Otto Krause, a former officer in the Austrian army and later an insurance executive. They had no children. Krause, who died of tuberculosis in 1939, had four children from a previous marriage. Lehmann never remarried.[9][10]
After Krause's death until her own death in 1976 Lehmann shared a home with Frances Holden (1899–1996), a psychologist who specialised in the study of genius, particularly that of classical musicians. The two women named their Santa Barbara house "Orplid" after the dream island described in Hugo Wolf's art song "Gesang Weylas".[11]"; Wikipedia (edited)
- published: 02 Oct 2023
- views: 18
18:30
Top 25 Most Famous Classical Music of All Time
► Learn piano songs quick and easy: http://tinyurl.com/flowkey-marioverehrer1 *
► Sheet Music: https://www.musicnotes.com/sheet-music/artist/piano-music-bros
► ...
► Learn piano songs quick and easy: http://tinyurl.com/flowkey-marioverehrer1 *
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► Contact Us: https://pianomusicbros.aidaform.com/contact
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Enjoy this video showing the 25 most famous classical music pieces ranked by views on a single YouTube video!
0:00 25th Place: George Frideric Handel - Hallelujah, 1741
0:32 24th Place: Johann Sebastian Bach - Cello Suite No. 1, I. Prélude, 1717-1723
1:05 23th Place: Franz Liszt - Hungarian Rhapsody No. 2, 1847
1:42 22th Place: Pyotr Ilyich Tchaikovsky - Waltz of the Flowers, 1892
2:37 21th Place: Ludwig van Beethoven - Moonlight Sonata, III. Presto agitato, 1801
2:59 20th Place: Wolfgang Amadeus Mozart - Piano Concerto No. 21, II. Andante, 1785
3:47 19th Place: Antonio Vivaldi - The Four Seasons, IV. Winter, 1716-1725
4:38 18th Place: Franz Schubert - Schwanengesang, IV. Ständchen, 1828
5:41 17th Place: Camille Saint-Saëns - Danse macabre, 1874
6:19 16th Place: Maurice Ravel - Boléro, 1928
7:12 15th Place: Franz Schubert - Ave Maria, 1825
7:49 14th Place: Johann Sebastian Bach - Air, 1731
8:45 13th Place: Johannes Brahms - Lullaby, 1867-1868
9:40 12th Place: Ludwig van Beethoven - Für Elise, 1810
10:25 11th Place: Wolfgang Amadeus Mozart - Rondo Alla Turca, 1783
10:58 10th Place: Giacomo Puccini - O Mio Babbino Caro, 1918
12:06 9th Place: Johann Strauss II - The Blue Danube, 1866
12:55 8th Place: Wolfgang Amadeus Mozart - Lacrimosa, 1791
13:51 7th Place: Claude Debussy - Clair de lune, 1890-1905
14:26 6th Place: Ludwig van Beethoven - Ode to Joy, 1822-1824
15:02 5th Place: Ludwig van Beethoven - Moonlight Sonata, I. Adagio sostenuto, 1801
15:46 4th Place: Johann Pachelbel - Canon in D, 1680
16:38 3rd Place: Ludwig van Beethoven - Symphony No.5, I. Allegro con brio, 1804-1808
17:04 2nd Place: Giacomo Puccini - Nessun Dorma, 1924
17:55 1st Place: Frédéric Chopin - Nocturne, Op.9, No.2, 1830-1831
Attribution
Title: Hungarian Rhapsody no. 2, S. 244-2
Author: Martha Goldstein
Source: https://musopen.org/music/44101-hungarian-rhapsody-no-2-s-2442/
License: https://creativecommons.org/licenses/by-sa/3.0/
Changed: Yes
Title: Piano Concerto no. 21 in C major, K. 467 - II. Andante
Author: Markus Staab
Source: https://musopen.org/music/2635-piano-concerto-no-21-in-c-major-k-467/
License: https://creativecommons.org/licenses/by/3.0/
Changed: Yes
Title: Vivaldi - Violin Concerto in F minor, Op. 8, No. 4, RV. 297 "Winter" for Solo Piano
Author: cozilax
Source: https://musescore.com/user/38606/scores/3476921
License: https://creativecommons.org/licenses/by/4.0/
Changed: Yes
Title: F.Schubert/F.Liszt Ständchen (serenade) from 'Schwanengesan', S.560 No.7 / Garam Cho (Live)
Author: Pianist Garam Cho, 조가람
Source: https://www.youtube.com/watch?v=bGrm8PHYspk
License: https://creativecommons.org/licenses/by/3.0/
Changed: Yes
Title: Fur Elise.ogg
Author: Sebion7125
Source: https://commons.wikimedia.org/wiki/File:Fur_Elise.ogg
License: https://creativecommons.org/licenses/by-sa/3.0/
Changed: Yes
Title: Requiem in D minor, K. 626 - III. Sequence - Lacrymosa (For Piano - Liszt)
Author: Markus Staab
Source: https://musopen.org/de/music/43683-requiem-in-d-minor-k-626/
License: https://creativecommons.org/licenses/by/3.0/
Changed: Yes
Title: Pachelbel's Canon.ogg
Author: Lee Galloway
Source: https://commons.wikimedia.org/wiki/File:Pachelbel%27s_Canon.ogg
License: https://creativecommons.org/licenses/by-sa/3.0/
Changed: Yes
This video is distributed under the following license: https://creativecommons.org/licenses/by-sa/3.0/
Composer(s): Various
Original Music © Various (1680-1928)
https://wn.com/Top_25_Most_Famous_Classical_Music_Of_All_Time
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* Affiliate Link
Enjoy this video showing the 25 most famous classical music pieces ranked by views on a single YouTube video!
0:00 25th Place: George Frideric Handel - Hallelujah, 1741
0:32 24th Place: Johann Sebastian Bach - Cello Suite No. 1, I. Prélude, 1717-1723
1:05 23th Place: Franz Liszt - Hungarian Rhapsody No. 2, 1847
1:42 22th Place: Pyotr Ilyich Tchaikovsky - Waltz of the Flowers, 1892
2:37 21th Place: Ludwig van Beethoven - Moonlight Sonata, III. Presto agitato, 1801
2:59 20th Place: Wolfgang Amadeus Mozart - Piano Concerto No. 21, II. Andante, 1785
3:47 19th Place: Antonio Vivaldi - The Four Seasons, IV. Winter, 1716-1725
4:38 18th Place: Franz Schubert - Schwanengesang, IV. Ständchen, 1828
5:41 17th Place: Camille Saint-Saëns - Danse macabre, 1874
6:19 16th Place: Maurice Ravel - Boléro, 1928
7:12 15th Place: Franz Schubert - Ave Maria, 1825
7:49 14th Place: Johann Sebastian Bach - Air, 1731
8:45 13th Place: Johannes Brahms - Lullaby, 1867-1868
9:40 12th Place: Ludwig van Beethoven - Für Elise, 1810
10:25 11th Place: Wolfgang Amadeus Mozart - Rondo Alla Turca, 1783
10:58 10th Place: Giacomo Puccini - O Mio Babbino Caro, 1918
12:06 9th Place: Johann Strauss II - The Blue Danube, 1866
12:55 8th Place: Wolfgang Amadeus Mozart - Lacrimosa, 1791
13:51 7th Place: Claude Debussy - Clair de lune, 1890-1905
14:26 6th Place: Ludwig van Beethoven - Ode to Joy, 1822-1824
15:02 5th Place: Ludwig van Beethoven - Moonlight Sonata, I. Adagio sostenuto, 1801
15:46 4th Place: Johann Pachelbel - Canon in D, 1680
16:38 3rd Place: Ludwig van Beethoven - Symphony No.5, I. Allegro con brio, 1804-1808
17:04 2nd Place: Giacomo Puccini - Nessun Dorma, 1924
17:55 1st Place: Frédéric Chopin - Nocturne, Op.9, No.2, 1830-1831
Attribution
Title: Hungarian Rhapsody no. 2, S. 244-2
Author: Martha Goldstein
Source: https://musopen.org/music/44101-hungarian-rhapsody-no-2-s-2442/
License: https://creativecommons.org/licenses/by-sa/3.0/
Changed: Yes
Title: Piano Concerto no. 21 in C major, K. 467 - II. Andante
Author: Markus Staab
Source: https://musopen.org/music/2635-piano-concerto-no-21-in-c-major-k-467/
License: https://creativecommons.org/licenses/by/3.0/
Changed: Yes
Title: Vivaldi - Violin Concerto in F minor, Op. 8, No. 4, RV. 297 "Winter" for Solo Piano
Author: cozilax
Source: https://musescore.com/user/38606/scores/3476921
License: https://creativecommons.org/licenses/by/4.0/
Changed: Yes
Title: F.Schubert/F.Liszt Ständchen (serenade) from 'Schwanengesan', S.560 No.7 / Garam Cho (Live)
Author: Pianist Garam Cho, 조가람
Source: https://www.youtube.com/watch?v=bGrm8PHYspk
License: https://creativecommons.org/licenses/by/3.0/
Changed: Yes
Title: Fur Elise.ogg
Author: Sebion7125
Source: https://commons.wikimedia.org/wiki/File:Fur_Elise.ogg
License: https://creativecommons.org/licenses/by-sa/3.0/
Changed: Yes
Title: Requiem in D minor, K. 626 - III. Sequence - Lacrymosa (For Piano - Liszt)
Author: Markus Staab
Source: https://musopen.org/de/music/43683-requiem-in-d-minor-k-626/
License: https://creativecommons.org/licenses/by/3.0/
Changed: Yes
Title: Pachelbel's Canon.ogg
Author: Lee Galloway
Source: https://commons.wikimedia.org/wiki/File:Pachelbel%27s_Canon.ogg
License: https://creativecommons.org/licenses/by-sa/3.0/
Changed: Yes
This video is distributed under the following license: https://creativecommons.org/licenses/by-sa/3.0/
Composer(s): Various
Original Music © Various (1680-1928)
- published: 08 Oct 2023
- views: 1928742