Tchaikovsky. La Dama de Pique. Torino. 2009 Maxim Akyonov. Svetla Vassileva. Anja Silja. Dalibor Jenis. Vladimir Vaneev. Julia Gertseva. Luca Casalin. Vladimir Baykov. Dir.: Gianandrea Noseda.
Mozart. Don Giovanni. Rudolf Moralt. Viena. 1955. Hilde Zadek. Sena Jurinac. Graziella Sciutti. Leopold Simoneau. George London. Walter Berry. Ludwig Weber. Eberhard Wächter.
Bellini. La sonámbula. Ginebra. 1982. Peter Jeffes. Roger Soyer. Adelina Scarabelli. Nicole Buloze. Dir. Gianandrea Gavazzeni.
Renate Holm. Recital. LINK.
Haendel. Il Complesso Barocco. Alan Curtis. Seis óperas. Rodrigo, Radamisto, Admeto, Fernando, Arminio, Deidamina. (Un aporte de nuestra amiga Adriana Mooney) .PASSWORD: h@endel
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Poul Ruders. The Handmaid´s Tale. Fischer. Rorholm, Dahl, Resmark, Elming, Haugland, Jensen, Mai, Nielsen. PARTE 1, PARTE 2
Faure. Penelope. Norman. Vanzo. Montercalo. Dutoit. Password AQUI . PARTE 1, PARTE 2
Pénélope is an opera in three acts by the French composer Gabriel Fauré. The libretto, by René Fauchois, is based on Homer‘s Odyssey. It was first performed at the Salle Garnier, Monte Carlo on 4 March 1913.
Fauré was inspired to write the opera after a meeting with the soprano Lucienne Bréval in 1907. She also recommended Fauchois as a librettist. Work on the score was slow due to Fauré’s teaching commitments at the Paris Conservatoire. For this reason, composer asked Fauchois to reduce the libretto from five to three acts and to cut the character of Ulysses’s son Telemachus. Fauré completed the opera at Lugano on August 31, 1912.
The premiere at Monte Carlo was not a great success, partly because the director of the theatre, Raoul Gunsbourg, was more concerned with promoting his own opera, Vénise, which made its debut four days later. But Pénélope was rapturously received when it appeared at the Théâtre des Champs-Elysées in Paris on May 10, 1913. Unfortunately for Fauré, the theatre soon went bankrupt. Despite critics holding the music in high esteem, revivals of the opera have been rare.
The Opéra-Comique took Pénélope into its repertoire on 20 January 1919, with a cast including Germaine Lubin in the title role and Charles Rousselière as Ulysse and Félix Vieuille as Eumée, conducted by François Ruhlmann. Later revivals were conducted by Albert Wolff (1922), Inghelbrecht (1924, with Claire Croiza in the title role), and Wolff again in 1927 and 1931, totalling 63 performances.On 14 March 1943 the Paris Opera staged Pénélope, conducted by Ruhlmann, with Lubin in the title role.
Verdi. Aida. Avenches. Julio 2007. Adriana Marfisi. Alberto Cupido. Sarah M´Punga, Alberto Mastromarino. Francesco Ellero d´Artegna.Dir: Carlo Palleschi.
Schubert. Lieder. Bernarda Fink. Parte 1 – Parte 2 – Parte 3 – Parte 4. Password Sankerib
Gounod. Sapho .Michèle Command. Sharon Coste. Christian Papis. Lionel Sarazin . Eric Faury. 1992 Patrick Fournillier Transmisión en vivo.PARTE 1, PARTE 2 . Password AQUI
Sapho is a 3-act opera by Charles Gounod to a libretto by Émile Augier which was premiered by the Paris Opéra at the Salle Le Peletier on 16 April 1851. It was presented only 9 times in its initial production,but was a succès d’estime for the young composer, with the critics praising Act 3 in particular.It was later revived in 2-act (1858)and 4-act (1884) versions, achieving a total of 48 performances.
The impetus for the composition of Gounod’s first opera, and its acceptance for performance at France’s premiere opera house, was primarily due to the influence of Pauline Viardot, who met the young composer in January or February 1850, shortly after her triumph there in Meyerbeer‘s Le prophète.In his memoirs Gounod relates that the violinist François Seghers, who at that time was the leader of the Concerts de la Société Sainte-Cécile on the Rue Chaussée-d’Antin, had presented some pieces by Gounod which had made a favorable impression. The Viardot family knew Seghers and through him Gounod received an invitation to play several of his compositions on the piano so they could hear them. After several hours Pauline Viardot asked Gounod why he had not yet written an opera. He responded that he did not have a libretto. When she asked with whom he might like to work, he mentioned that although he had known Augier in childhood, the latter had now become far more famous than he and would hardly care to risk working with someone with whom he had only played hoops. Viardot immediately told Gounod to seek out Augier and tell him that she would take the responsibility to sing the principal role in Gounod’s opera, if Augier would write the poem. Gounod also says that Viardot recommended his opera to the director of the company, who at that time was Nestor Roqueplan.According to her daughter, Viardot made renewal of her contract for the 1850–1851 season at the Opéra conditional on a commission for Augier and Gounod. In any case, the contract between Augier, Gounod, and Roqueplan, which was dated 1 April 1850, specified a 2-act opera to be provided by 30 September 1850 and performed no later than 1 April 1851.
Heinrich Marschner. Hans Heiling. Magdaléna Hajóssyová. Thomas Mohr .E. Seniglova.Marianne Eklöf. K. Markus. Ladislav Neshyba. Orquesta Filarmónica Checa . Ewald Körner – 1991.. Para leer algo mas sobre Marschnder y su obra ir AQUI
Pizetti. L´Assassino della Cattedrale. Virginia Zeani. Nicola Rossi-Lemeni . Mario Ortica . Mario Borriello .RAI.Dir.: Ildebrando Pizzetti. Torino. 1958.. Sabia usted que esta obra fue elegida por la Deutsche Grammophon en una reciente edición de varias grabaciones (algunas inéditas) para recordar al maestro Karajan?. Lea AQUI
Pasquale Anfossi . La maga Circe. Margaret Baker Genovesi. Anna Maria Ferrante. Giorgio Gatti. Il Gruppo di Roma Dir: Flavio Colusso.. LINK
Bonifacio Domenico Pasquale Anfossi (5 April 1727 – February 1797) was an Italian opera composer. Born in Taggia, Liguria, he studied with Niccolò Piccinni and Antonio Sacchini, and worked mainly in London, Venice and Rome.
He wrote more than 80 operas, both opera seria and opera buffa, although he concentrated on church music, especially oratorios, during his last years. Anfossi died in Rome in 1797.
The sum of Anfossi’s work is not completely known, but he composed at least 60, possibly 70 or more, operas, and at least 20 oratorios in Latin and Italian. His early work is, understandably, closely related in style to that of his teachers, Piccinni and Sacchini, with diatonic harmony and intermittently inspired melody. His orchestration style changed significantly during the course of his career; he realised more colourful effects through the use of wind instruments. Until the middle of the 1770s his opera buffa showed him to prefer the old-fashioned, pure da capo type of aria, in order to, as in his comic works, proceed to more freely shaped passages. He appeared to prefer longer passages such as finali, and he clearly had a preference for sentimental moments and phrases.
Anfossi’s music was fundamentally criticised as inadequately dramatic, and weak in characterisation. His buffo characters are generally not as original as those of some of his contemporaries, such as Cimarosa and Paisiello, while his seria music has a certain stereotypical nature.
As an operatic composer, Anfossi remained forgotten for a long time, despite his great popularity with his contemporaries, because his works were overshadowed by those of Salieri, Rossini and Mozart. Nevertheless, Johann Wolfgang von Goethe staged Anfossi’s farsetta La maga Circe (Circe, the Sorceress) in his role as the theatre director of Weimar. He adapted the libretto with Christian August Vulpius and also made plans for a continuation, which never came to bear.
Verdi. Misa de Requiem. Harnoncourt. Viena.2004.Eva Mei . Bernarda Fink . Michael Schade . Ildebrando D’Arcangelo
Boismortier. Daphnis et Chlóe. Gaëlle Méchaly . Gaëlle Méchaly . Marie Louise Duthoit . Marie Louise Duthoit . François Nicolas Geslot . François Nicolas Geslot . Till Fechner . Alain Buet . Renaud Delaigue Le Concert Spirituel . Hervé Niquet – 2002.