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I have been reminded over and over again in recent weeks of the preciousness of life as numerous dear friends and family members face loss of loved ones and their own life-altering health crises. This got me to thinking about how much my mentors have shaped my life. So with this latest episode I inaugurate a new Countermelody series entitled “Honor Your Mentors.” I have already posted numerous times on the podcast about my beloved teacher John Wustman. This coming July my friend and colleague Chanda VanderHart's monumental book Accompaniment in America: Contextualizing Collaborative Piano, co-authored with Kathleen Kelly and Elvia Puccinelli, will be published by Routledge. Chanda has put together an astonishing digital archive featuring a wealth of material related to the book: https://accompanimentinamerica.website/index.html Included in this material is an interview I did with Chanda about Mr. Wustman. Chanda has given me permission to include that interview on my podcast. This is supplemented by a sampling of (mostly) studio recordings of John featuring, among others, Régine Crespin, Carlo Bergonzi, Brigitte Fassbaender, Luciano Pavarotti, and Irina Arkhipova: truly an astonishing feast for the ears! Additionally, I was enormously saddened last week to read of the death of Joan Caplan, my first serious voice teacher in New York, and a phenomenal singer in her own right. Joan also remained a close friend through the years. In recent years she had been living at the Actors Fund Home in Englewood, New Jersey. I was able to visit her there last summer and had intended to go see her again later this month. Alas, that can no longer happen, but I will also be featuring Joan in an upcoming episode in the “Honor Your Mentors” series. In her memory today, I present her in a scintillating recording of Orsini's Brindisi from Donizetti's Lucrezia Borgia. Finally, though I'm sure no one needs to be reminded of this, please, my dears, tell all those you love how much they mean to you; don't wait until their funerals to give them their flowers! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.
What better way to start off this Black History Month 2025 celebration than with a birthday tribute to beloved African American diva Martina Arroyo, who turned 88 yesterday, February 2?! Though she is universally regarded as one of the premier Verdi spinto sopranos of the second half of the Twentieth Century, Arroyo was equally adept at a wide range of other composers as well. In this episode, which focuses on Martina in duet, many of those composers are represented as well, from Handel to Meyerbeer to Mascagni, with a little Wagner thrown in for good measure. And what an amazing line-up of duet partners, including two of our most beloved African American mezzos/sopranos, Shirley Verrett, and Grace Bumbry. Also heard are Franco Corelli, Carlo Bergonzi, Anna Moffo, Franco Bonisolli, Bernd Weikl, Gianfranco Cecchele, Sherrill Milnes, Ludmila Dvořáková, and Giorgio Lamberti. Raise a glass to this supreme soprano, and prepare your ears for a deeply satisfying experience! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.
durée : 00:23:02 - Disques de légende du mardi 31 décembre 2024 - Erich Leinsdorf, avec un mélange de précision et d'emportement, dirige en 1966 ce " Ballo in maschra", de Verdi, avec le ténor Carlo Bergonzi au sommet de son art, ainsi que les vedettes Leontyne Price et Shirley Verrett.
durée : 00:23:02 - Disques de légende du mardi 31 décembre 2024 - Erich Leinsdorf, avec un mélange de précision et d'emportement, dirige en 1966 ce " Ballo in maschra", de Verdi, avec le ténor Carlo Bergonzi au sommet de son art, ainsi que les vedettes Leontyne Price et Shirley Verrett.
While I was growing up, Gilda Cruz-Romo was a fixture on the stage of the Metropolitan Opera. At the time, I did not fully appreciate her, as I thought of her as a second-string singer on the roster. I saw her once on the Met tour as Desdemona opposite Jon Vickers, but for reasons none too flattering to me, I undervalued her. In recent years, however, I have completely revised my opinion, and now think that Gilda Cruz-Romo was both the most significant Mexican soprano ever to appear on the world's stages, but also simply one of the finest lirico-spinto sopranos of the twentieth centuries. Fortunately there are many people that agree with me, including some devoted fans who have posted an extraordinary number of live recordings of the artist on YouTube and elsewhere. And this is especially helpful because, incredibly, Cruz-Romo never made any commercial recordings. This episode fully explores the career and repertoire of our subject for today, and includes performances of the soprano in her core Verdi and Puccini repertoire (including such surprises as Odabella, Lady Macbeth, and Turandot!), as well as less expected forays into Mozart and bel canto. Throughout her virtues shine forth: a plangently beautiful voice with a particularly radiant top wedded to an incredibly secure technique, which afforded her enormous flexibility and coloratura facility. Added to this, and paramount to her artistry, is a dedication to her craft and to music which sweeps all before it and raises her work into the realm of the sublime. I think of this episode (the last completely new episode I'll be putting out this season) as a pre-birthday tribute, as the diva turns 85 years old on February 12, 2025. Other singers heard on the episode are tenors Carlo Bergonzi, Colenton Freeman, and John Alexander, and baritone Matteo Manuguerra; among the conductors are Zubin Mehta, Nicola Rescigno, Riccardo Muti, Peter Maag, and Julius Rudel. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.
Tutto nel Mondo è Burla Stasera all'Opera - 100 anni Carlo Bergonzi 13° puntata
Tutto nel Mondo è Burla Stasera all'Opera - 100 anni Carlo Bergonzi 12° puntata
Tutto nel Mondo è Burla Stasera all'Opera - 100 anni Carlo Bergonzi 11° puntata
Tutto nel Mondo è Burla Stasera all'Opera - 100 anni Carlo Bergonzi 10° puntata
Tutto nel Mondo è Burla Stasera all'Opera - 100 anni Carlo Bergonzi 9° puntata
Tutto nel Mondo è Burla Stasera all'Opera - 100 anni Carlo Bergonzi 8° puntata
Tutto nel Mondo è Burla Stasera all'Opera - 100 anni Carlo Bergonzi 7° puntata
Wer an Tenöre des italienischen Fachs denkt, dem fallen sofort Luciano Pavarotti, Plácido Domingo oder José Carreras ein. Dann vielleicht noch Franco Corelli, Mario de Monaco oder Giuseppe di Stefano. Aber Carlo Bergonzi? Gerade ihn schätzen Kenner als den vielleicht größten italienischen Tenor in der zweiten Hälfte des 20. Jahrhunderts. Vor 100 Jahren, am 13. Juli 1924, ist Bergonzi auf die Welt gekommen. SWR-Opernredakteur Bernd Künzig erinnert an einen Jahrhundertsänger.
[@ 4 min] Alright, this week we go Inside the Huddle with Greer Grimsley. The American bass-baritone returns to Santa Fe Opera for Gregory Spears and Tracy K. Smith's "The Righteous," which receives its world premiere on July 13! [@ 33 min] Then…speaking of July 13, this Saturday is the 100th birthday anniversary of Carlo Bergonzi. Musicologist Brad Sisk, a former student of Bergonzi, takes a Free Throw on what made the great Italian tenor a quintessential Verdian. [@ 46 min] There's a Lot going on in France (and not all of it's good), but something good is happening in England. GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore
Tutto nel Mondo è Burla Stasera all'Opera - 100 anni Carlo Bergonzi 6° puntata
Tutto nel Mondo è Burla Stasera all'Opera - 100 anni Carlo Bergonzi 5° puntata
Today's episode is one of my Listeners' Favorites episodes, this one introduced by my wonderful friend Thom Baker. He had just written me about his enthusiasm for the Rosanna Carteri episode I posted in the fall of 2020 on the occasion of her death, just a few short weeks before her 90th birthday. Thom and I were both equally taken with this long-lived artist, who abandoned her performing career in 1966 when she was only 35 years old, brought her full-throated voice and impeccable artistry to operatic stages around the world for fifteen exceptional years. Carteri's was a lyric yet full-bodied voice with facility that allowed her to undertake soubrette parts as well as some spinto roles. I feature extended examples of her versatility over the course of that entire career, including excerpts from La traviata, La bohème, La rondine, Guglielmo Tell, Falstaff, L'elisir d'amore, Madama Butterfly, Roméo et Juliette, Otello, Pietro Mascagni's L'amico Fritz and Iris, Prokofiev's War and Peace (the final version of which she created in Florence in 1954), the premiere recording of Poulenc's Gloria and Gilbert Bécaud's Opéra d'Aran (which she premiered in Paris in 1962). These operas represent just a fraction of her repertoire, in which are featured, among others, Giuseppe di Stefano, Nicolai Gedda, Leonard Warren, Carlo Bergonzi, Ettore Bastianini, Ferruccio Tagliavini, Giuseppe Taddei, Cesare Valletti, and Giuseppe Gismondo and conductors Tullio Serafin, Pierre Monteux, Vittorio Gui, Georges Prêtre, Gabriele Santini, and Artur Rodzinski. In other words, the crème de la crème of the operatic firmament in the 1950s and 1960s, in which company Carteri most emphatically belonged. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.
Tutto nel Mondo è Burla Stasera all'Opera - 100 anni Carlo Bergonzi 4° puntata
Tutto nel Mondo è Burla stasera all'Opera - 100 Bergonzi Recital di Carlo Bergonzi
A cura di Paolo PellegriniVincenzo Bellini "Norma"Norma, Joan SutherlandAdalgisa, Marilyn Home Pollione, Carlo Bergonzi Orovesco, Cesare SiepiClotilda, Carlotta OrdassyFlavio, Rod MacWherterOrchestra Metropolitan OperaRichard Bonynge, direttore
Tutto nel Mondo è Burla Stasera all'Opera - 100 anni Carlo Bergonzi 3° puntata
Tutto nel Mondo è Burla Stasera all'Opera - 100 anni Carlo Bergonzi 2° puntata
This week's “Forgotten Diva” is the mezzo-soprano / contralto Gwendolyn Killebrew (26 August 1941 – 24 December 2021), who made an indelible contribution to opera in particular during the active years of her career (1965 – 2009). Though the majority of her career was centered at the Deutsche Oper am Rhein in Düsseldorf, she sang the world over with some of the most important opera companies (including the Metropolitan Opera, San Francisco Opera, the Salzburg Festival, Bayreuth, Washington Opera, Santa Fe Opera, La Monnaie, and the Bayerische Staatsoper), conductors (Pierre Boulez, Gary Bertini, Michael Gielen, Herbert von Karajan, Zubin Mehta, Georg Solti), and stage directors (Patrice Chéreau, Jean-Pierre Ponnelle, August Everding, Giancarlo del Monaco, Christof Loy, and John Dew). She had an enormous repertoire from Monteverdi and Handel to Henze and Fortner, excelling in particular in various Wagner roles. She was also a superb actor, who, through the use minimal gestures and stage business, made an enormous impact. This episode presents her in a wide range of material, including both live and commercial recordings ranging from Cavalieri to Zimmermann, alongside such fellow singers as Teresa Stratas, Carlo Bergonzi, Hermann Prey, Stuart Burrows, Sherrill Milnes, and Gail Gilmore led by conductors Leonard Bernstein, Gary Bertini, Bohumil Gregor, Berislav Klobučar, James Levine, Heinz Wallberg, and Eve Queler. Of special interest is a rare live recording of her prize-winning performance of “Asie” from Ravel's Shéhérazade at the 1967 International Voice Competition in Montréal. The episode opens with brief memorial tributes to soprano Wilhelmenia Fernandez and pianist Thomas Muraco. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.
Tutto nel Mondo è Burla Stasera all'Opera - 100 anni Carlo Bergonzi 1° puntata
Today, Christmas Day 2023, is also the 93rd birthday of my teacher, the great John Wustman. I can think of no better way to conclude Season Four of Countermelody than with a tribute to the man who had the greatest influence on my development as a musician. He's probably best-known for his work with Luciano Pavarotti and as the accompanist in more than thirty Music Minus One LPs from the early 1960s, as well as for his pioneering teaching of scores of accompanists. He has been called “the dean of American accompanists” and many other things, but to me he is and remains primarily my dear friend and mentor. From the late 1950s through the 1980s and beyond, he appeared with nearly all of the greatest singers on the planet, from Richard Tucker, William Warfield, Eleanor Steber, and Jennie Tourel; to Birgit Nilsson, Carlo Bergonzi, Régine Crespin, Nicolai Gedda, and Renata Scotto. He and Russian mezzo-soprano Irina Arkhipova won the 1973 Gran Prix du Disque for their legendary (and matchless) recording of Mussorgsky's Songs and Dances of Death, only one of his many commercial recordings. I have been searching the internet for sound documents of his many live recordings and I'm pleased to say that I have found some rare ones to complement my reminiscences of studying with him in the late 1980s. He wrote to me just this past week that he is currently preparing another live performance of Schubert's Winterreise in early 2024. I am so thrilled to pay tribute to the man who, through his powerful example and influence, forever changed the way I play, sing, talk about, think about, and hear music. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.
Un Día Como Hoy 13 de Julio: Nace: 1607: Václav Hollar, grabador y dibujante checo (f. 1677). 1866: La Goulue (La Glotona, Louise Weber), bailarina francesa (f. 1929). 1891: Fréhel, cantante y actriz francesa (f. 1951). 1924: Carlo Bergonzi, cantante italiano de ópera (f. 2014). Fallece: 1951: Arnold Schönberg, compositor austríaco. Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023
Concluimos nuestro exhaustivo examen de la obra con el Sanctus por el Orfeón Donostiarra y Plasson, el Ofertorio en la versión de Barenboim con Anja Harteros, Elina Garança y los conjuntos de La Scala; Lux eterna en la antigua versión de Bruno Walter (1959) y las voces de Rosalind Elias, Giorgio Tozzi y Carlo Bergonzi, y Libera me, cuyo comienzo canta Elisabeth Schwarzkopf junto al Coro y la Orquesta de La Scala dirigidos por Victor de Sabata. Luego intervienen Giulini con Ilba Ligabue y el Coro y a Filarmónica de Londres, Karajan con Antonietta Stella y los conjuntos vieneses y por último Pappano con Santa Cecilia y Harteros. Escuchar audio
Greatness expresses itself in different ways. Sometimes in indisputable artistic talents, and other times in profound displays of humanity. And sometimes, as in the case of today's subject, Sarah Reese, it's both. The soprano, who just this week celebrated a landmark birthday, is a singer of rare gifts whose career encompassed some of the world's greatest stages and concert halls who later in life returned to the region where she grew up (in Sarah's case, South Carolina), to give back to the community as a music teacher and choir director, in which capacity she has positively impacted the lives of countless students who came into contact with her warmth, skill, and generosity of spirit. Earlier on in her personal saga, Sarah made history when in the late 1960s she was the first female Black student at Furman University in Greenville. Through her persistence, courage, and determination, she rose above the ostracism and abuse she experienced there to become enshrined as a legend, with the school's theater recently permanently renamed in her honor. Though her voice and artistry were acknowledged worldwide, her recorded legacy is small, with only one commercial recording (Samuel Barber's Prayers of Kierkegaard) which nevertheless won a Grammy award in 1993. It is our great good fortune that in recent years a number of precious live recordings have emerged that show quite clearly the range and extent of her gifts. I present all of them here on this episode: from a concert recording of Verdi's rare 1848 opera Il corsaro co-starring legendary Italian tenor Carlo Bergonzi, to a broadcast concert with the Detroit Symphony led by Isaiah Jackson in which she sings Mozart and Verdi arias, as well as Barber's Knoxville: Summer of 1915. The episode concludes with a recently resurfaced 1988 performance of Brahms's Ein deutsches Requiem led by Herbert von Karajan the year before his death, one in which Sarah Reese's heavenly soprano bestows a comforting benediction upon us all. Blessings upon this living legend, and gratitude galore! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.
Revisamos hoy estos conceptos técnicos, base primordial del arte del canto y escuchamos una serie de muy breves fragmentos operísticos a cargo de una serie de voces históricas: Cesare Valletti, Alfredo Kraus, Miguel Fleta, Ettore Bastianini, Matteo Manuguerra, Mattia Battistini, Giacomo Lauri-Volpi, Carlo Bergonzi, Hipólito Lázaro, Elisabeth Schwarzkopf, Montserrat Caballé, Leyla Gencer, Eleonor Steber, Hans Hotter, Victoria de los Ángeles, Enrico Caruso, Gina Cigna, Antonella Banaudi y Maria Callas. Añadamos una breve intervención del pianista Wilhelm Kempff (spianato). Como pórtico, Parmi veder le lagrime por Kraus y como epílogo el Cuarteto Bella figlia dell’amore con Caruso a la cabeza. Dos números de Rigoletto.Escuchar audio
The Italian-American lyric coloratura soprano Anna Moffo (1932-2006) is, for many, one of the great singers of the past century. My first exposure to this artist was one of two, frankly, disastrous recordings released in the mid-1970s, in which the voice was a mere shadow of its former self, and in which her vocal defects and mannerisms had overtaken the intrinsic beauty of her voice. But there are so many exceptional qualities to Moffo as an artist, musician, and media star, that I felt compelled to do a frank reappraisal of her contribution to the lyric art. And am I glad that I did! I discovered an artist of great integrity who, in her best work, attained a similar level to any of the other great singers performing during that period. Unlike any other opera singer that I can think of, she conquered three distinct markets with equal success: first in Italy (where she rose to overnight stardom in the late 1950s and went on in the 1960s to become the star of her own eponymous television series); then in the United States throughout the 1960s; and finally, in the late 1960s and 70s, in Germany. But hers is also a cautionary tale of “too much, too soon” and the potentially destructive power of the media which has significance also in today's opera world. Throughout the episode, live and studio examples of Moffo's work, both bad and (mostly) good over the course of more than twenty years, are offered to support my discussion of her importance and influence as an artist, one that continues to this day. Vocal guest stars include tenors Carlo Bergonzi, Rudolf Schock, Giuseppe di Stefano, and Sergio Franchi, and musical collaborators include Tullio Serafin, Gerald Moore, Lorin Maazel, Hans Rosbaud, Fernando Previtali, Lehman Engel, Oliviero de Fabritiis, René Leibowitz, Kurt Eichhorn, Berislav Klobučar, and Franco Ferrara. For those who love Moffo, for those who hate her, and for those who find themselves somewhere in between, this episode is (dare I say it?) required listening. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.
durée : 00:23:20 - Disques de légende du mercredi 15 juin 2022 - Aujourd'hui dans Disques de légende, nous écoutons les opéras Cavalleria rusticana de Pietro Mascagni et Paillasse de Ruggero Leoncavallo par l'Orchestre du Théâtre de la Scala de Milan dirigé par Herbert von Karajan, avec le ténor Carlo Bergonzi.
For Video Edition, Please Click and Subscribe Here: https://youtu.be/PTW2Pvj_8lM Maureen Taylor loves to inspire and uplift others through musical storytelling and Cabaret is the perfect vehicle for that! Taylor is known for her critically acclaimed Taylor Made Bob Merrill show which was part of New York's Cabaret's Greatest Hits at the Metropolitan Room. In addition to regional musical theatre, Taylor has performed with the Chicago Lyric, Philadelphia and West Palm Beach Opera companies. She studied with Opera stars Renata Tebaldi and Carlo Bergonzi in Italy as a result of being a Bel Canto Winner. In Switzerland Taylor got to perform as Madame Giry in Phantom Of The Opera (both German and English). * She also lived on a purple bike and got her Reiki certification. In the UK, she performed at Hever Castle, Brighton Pavilion Dome, Theatre Royal, and the London Palladium (where she was a stand-in for Helen Mirren). She was also in a comic book musical entitled The Ultimate Man in the Bridewell. Taylor is a soprano soloist on Tim Wheater's Platinum Award Winning CD: "Incantation" recorded in Bath, England. Fun fact: She taught musical theater in London: 3-16 year olds. *.Ask me about the 3-5 year olds! https://www.facebook.com/maureen.taylor.5895https://www.linkedin.com/in/maureentaylorinspires #RichardSkipper #cabaret #music #NYC https://open.spotify.com/album/17X74rMDTvTfcIDT507hH6
It's The Three Tenors! No not those other guys. Dan and Joe are joined by brother-in-law, Matt to discuss why operatic tenors are so awesome. Specifically, we talk about five singers we admire, and one song that showcases each of their vocal abilities. The list and the links to the performance can be found below. Don't forget to give us a review on your favorite podcast app. It really helps the show. Thanks for listening, friends! Carlo Bergonzi https://youtu.be/Xbo53CBxIgU Luciano Pavarotti https://youtu.be/yMnanOxVJlg Nicolai Gedda https://youtu.be/tdbwg5c1mDs Franco Corelli https://youtu.be/J9sROVwk3LI Jonas Kaufman https://youtu.be/7JRDSm0SbWE
Comenzamos temporada y lo hacemos con un tema importante. En este primer capítulo hablamos de algunas de las principales óperas y obras sinfónicas que utilizaron textos del poeta suabo y escuchamos la Oda a la alegría de la Novena de Beethoven por Toscanini y sus huestes de la NBC con cuatro muy buenos solistas (Farrell, Merriman, Perce y Scott); un aria de Giovanna d’Arco y otra de I Masnadieri de Verdi en la voz de Carlo Bergonzi; el final de Luisa Miller, con la dirección de Mario Rossi (RAI de Roma) y el dúo de bajos de Don Carlo del mismo compositor, con las voces de Ghiaurov y Talvela y la batuta de Horst Stein (Ópera de Viena); la segunda parte del poema sinfónico El campo de Wallenstein de Smetana dirigido por Kubelik y el final de Guillaume Tell de Rossini proveniente también de una representación de la Ópera de Viena dirigida por Fabio Luisi. Escuchar audio
A cura di Paolo PellegriniTutto nel Mondo è Burla - stasera all'opera - ESTATE - Carlo Bergonzi recital
Un Día Como Hoy 13 de Julio: Nace: 1607: Václav Hollar, grabador y dibujante checo (f. 1677). 1866: La Goulue (La Glotona, Louise Weber), bailarina francesa (f. 1929). 1891: Fréhel, cantante y actriz francesa (f. 1951). 1924: Carlo Bergonzi, cantante italiano de ópera (f. 2014). Fallece: 1951: Arnold Schönberg, compositor austríaco. Una producción de Sala Prisma Podcast. 2021
This summer on the Mind Over Finger Podcast, I promise you a fantastic time with wonderful guests! Every month I'm having a live Q&A with amazing musicians in my Facebook group, the Mind Over Finger Tribe and, as to be expected, much wisdom is being shared! We start with pianist Konstantin Soukhovetski, we continue in May with violinist Callum Smart, in June you'll hear from trumpet player Christopher Still from Honesty Pill, July will bring violinist Esther Abrami, and we'll spend time with guitarist Brandon Jack Acker in August. I hope you can join us live for the upcoming sessions. All of the details are in the Mind Over Finger Tribe at facebook.com/groups/mindoverfingertribe. If you're enjoying today's content, take a screenshot as you're listening, share on social and tag me and my guest so we can thank you for tuning in! Frustrated with your playing? Unsatisfied with you career? Ready for a change? Whatever your challenge, you don't have to go at it alone, and I can help. Visit www. https://www.mindoverfinger.com/workwithme to learn more and book your call and let's discuss how to get you from where you are to where you want to be. THE MUSIC MASTERY EXPERIENCE will be back in June 2021. This is my LIFE CHANGING, highly personalized group coaching program where I show you how to implement mindful & effective practice techniques, how to make them habits, and how to get RESULTS. Save your spot at http://www.mindoverfinger.com/mme and get access to some really cool bonuses. MORE ABOUT CALLUM SMART: Website: https://www.callumsmart.com/ YouTube channel: https://www.youtube.com/channel/UC_ecn1-p8BqHqeliOh-_weg Facebook: https://www.facebook.com/callumsmartviolin/ Instagram: https://www.instagram.com/callumsmartviolin/ Twitter: https://twitter.com/CallumLSmart Patreon: https://www.patreon.com/user?u=32598434&fan_landing=true “…the sincerity of Smart's singing line is cause for celebration, and the recital is quite outstanding in its unique sequence and profile of a superb young player.” Andrew Parker, International Record Review Callum Smart is quickly developing an international reputation as one of Britain's finest young violinists. Playing with ‘an inherent nobility that speaks to the heart' (International Record Review), he is celebrated for combining ‘brilliant technique with the confidence to take risks' (Bachtrack) and his ‘utterly convincing' interpretations (BBC Music Magazine). Recognised as a rising star since winning the BBC Young Musician strings category and being the top European prize-winner at the Menuhin Competition in 2010, Smart now enjoys concert appearances with the UK's leading orchestras, including re-invitations to the Royal Philharmonic Orchestra, Royal Liverpool Philharmonic and the Philharmonia Orchestra. In 2020-21, Callum makes his debut with the Hallé Orchestra performing Korngold's Violin Concerto, and also a Boston debut with the Lexington Symphony Orchestra performing Elgar's Violin Concerto. Last season, he made his debut with the BBC Philharmonic performing Berg's Violin Concerto, and this season sees his return to the Royal Philharmonic Orchestra and debut with the Manchester Camerata. Previous season highlights include his North American debut with the Calgary Philharmonic Orchestra, as well as performances with the Fort Wayne Philharmonic, European Union Chamber Orchestra, Orpheus Sinfonia and Polish Chamber Philharmonic Orchestra, covering a range of concerto repertoire from Mozart and Beethoven to Glazunov, Britten, Prokofiev, Elgar, Weill, and Korngold. As a recitalist, Smart performs at some of the world's most prestigious venues including London's Wigmore Hall, the Konzerthaus Berlin and the Auditorium du Louvre in Paris, and at a number of European festivals including the Cheltenham Festival, Dvorak Festival in Prague, Menuhin Festival, Mecklenburg-Vorpommern and the Malmo International String Festival. Smart's partnership with Richard Uttley continues this season with recitals across the UK; they are also joined by horn player Ben Goldscheider for a series of concerts as The Ashwell Trio. Continuing his advocacy for new music, Smart worked with composer George Benjamin to perform his Three Pieces for solo violin at both the Wigmore Hall and the Royal Northern College of Music. He also performed Kaija Saariaho's Nocturne for solo violin at the Bridgewater Hall in Manchester. Now with two recital discs to his name, 2016 saw the release of Smart's second disc on the Orchid Classics Label with pianist Richard Uttley. ‘La Voix' – including works by Fauré, Poulenc and Ravel – featured as one of the Strad Magazine's recommended recordings of the month, and was accorded 4 star reviews both in the BBC Music Magazine and the Observer. Having returned to the UK following his Premier Young Artist scholarship at the Jacobs School of Music in the United States studying with Mauricio Fuks, Smart took up a place on the International Artist Diploma postgraduate course at the Royal Northern College of Music (RNCM) studying with Ana Chumachenco and Noah Bendix-Bagley. Having made an immediate impact on his return, he was subsequently appointed as a violin tutor at the RNCM. Smart plays on a c.1730-35 violin by Carlo Bergonzi and is a Hattori Foundation Award Winner 2019. Join the Mind Over Finger Tribe for access to my weekly live videos and to exchange with a community of like-minded musicians Visit www.mindoverfinger.com and sign up for my newsletter to get your free guide to an exceptionally productive practice using the metronome. This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights. THANK YOU: A HUGE thank you to my fantastic producer, Bella Kelly, who works really hard to make this podcast as pleasant to listen to as possible for you. Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme. Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Thank you to Susan Blackwell for the introduction. You can find out more about Susan, her fantastic podcast The Spark File, and her work helping creatives of all backgrounds expand their impact by visiting https://www.susanblackwell.com/home. MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/
Liya Petrova est née en 1990 en Bulgarie, dans une famille de musiciens. Au violon dès l'âge de 4 ans, la petite Liya aurait aussi pu être pianiste, c'est en effet l'instrument dont sa maman rêvait pour elle. Mais la petite fille qu'elle était, savait déjà parfaitement qu'elle voulait être violoniste et non pianiste. La suite de son parcours est à l'avenant de ses débuts précoces : 1ers concerts avec orchestre dès l'âge de 5 ans. Ses études se poursuivent à Rostock en Allemagne, dès 11 ans, en tant que "Junge Studentin" auprès de Petru Munteanu. Suivront la Chapelle Musicale Reine Elisabeth, avec Augustin Dumay; la Haute école de Musique de Lausanne avec Renaud Capuçon, et enfin la Hochschule für Musik ¿Hans Eisler¿ de Berlin, où elle travaillera avec Antje Weithaas. " J'ai eu beaucoup de chance ", nous confiera Liya Petrova, " parce que toutes ces personnalités musicales très différentes m'ont toujours encouragée à trouver ma voie, sans imposer leur vision. C'est avec un grand nombre d'informations musicales, et ces différents points de vue, issus de traditions multiples, que je me suis construite ma propre identité musicale ". Travailleuse acharnée et opiniâtre, et forte de ce parcours de haut vol, Liya Petrova a déjà remporté plusieurs prix à de prestigieux concours internationaux. En 2016, elle gagnait le 1er Prix au Concours Carl Nielsen, mais elle s'est aussi illustrée aux concours Concours International Tibor Varga, et Louis Spohr. En février 2021, son 3e disque paraissait chez MIRARE. Il sera au coeur de notre émission aujourd'hui. Elle consacre cette nouvelle production au Concerto pour violon de Beethoven, et au 7e Concerto pour violon de Mozart. Une oeuvre magnifique, et qui titille la curiosité des mélomanes, puisque Mozart n'a composé, -a priori- que 5 Concertos pour violon. Ses 6e et 7e Concertos, auraient quant à eux été retouchés par des tiers. Depuis une vingtaine d'années maintenant, il est avéré que ce 7e Concerto pour violon n'a pas été exclusivement composé par Mozart. Une découverte qui a, -semble-t-il-, éloigné bon nombre de violonistes de la partition, qu'on ne joue presque plus, alors que David Oistrakh, par exemple jouait volontiers ce Concerto au 20e siècle. Liya Petrova, elle, ne s'est pas laissée influencée par ces débats musicologiques, et s'est laissée guider par la musique, qui est d'une élégance et d'une grâce toute mozartiennes. Accompagnée par le Sinfonia Varsovia, qu'elle connaît bien, sous la baguette de Jean-Jacques Kantorow, lui-même violoniste, Liya Petrova signe un disque excessivement sensible, inspiré et maîtrisé. Mozart et Beethoven se développent dans toute leurs richesses, et leurs finesses : deux oeuvres lumineuses, servies par une sonorité au timbre particulièrement velouté et chatoyant. Un optimisme musical qu'elle a ardemment souhaité, puisque ce disque a été enregistré entre la 1ère et la 2e vague de la pandémie que nous vivons. Liya Petrova varie les vibratos, et les couleurs, et elle a acquis ce qui fait l'étoffe des grands : déployer une sonorité riche et dense, même dans les nuances les plus délicates. La jeune violoniste joue un violon Carlo Bergonzi de 1737, généreusement prêté par Xavier et Joséphine Moreno. Sa sonorité, et son intelligence musicale sont un régal, de même que la direction et le jeu du "Sinfonia Varsovia", qui ne font que décupler les intentions de la jeune artiste bulgare. Nous écouterons également des extraits de son disque précédent, publié en janvier 2020, avec le pianiste russe Boris Kusnezow. Les 7e et 8e Sonates pour piano et violon de Beethoven y sont au programme, de même que la Suite pour violon de Britten, ainsi qu'une pièce de Samuel Barber. Enfin, nous entendrons aussi notre invitée dans un extrait du Concerto pour violon de Carl Nielsen (1911). Une oeuvre qu'elle a enregistré en même temps que le 1er Concerto pour violon de Prokofiev, en compagnie de l'Orchestre symphonique d'Odense, dirigée par...
A rare NYC concert performance with Margaret Price, Carlo Bergonzi and Sherrill Milnes.
Broadcast from the Teatro Colon with Leontyne Price, Fiorenza Cossotto, Carlo Bergonzi, Piero Cappuccilli and, of course, Ivo Vinco.
作为一个「不胜酒力的酗酒者」，几杯酒下肚，我的世界就会整个翻转，展现出我灵魂的B-side：把烦恼变为快乐，把沉默变为话痨，把理性变为迷幻——尽管这种感觉会在四个小时之内慢慢消失，控制不好则会带来头痛、呕吐以及过敏。酒的味道对我来说没那么重要——当然我承认，有一些酒是比另外一些酒更好喝的——重要的是喝完酒的感觉。所以我爱喝中国白酒，因为它见效快，而且确实比别的酒更对我的胃口。 我想知道你的B-side story。如果有机会，一起喝点酒吧。 本期歌单 Joan Sutherland, Carlo Bergonzi, John Pritchard & Orchestra del Maggio Musicale Fiorentino - Giuseppe Verdi: La traviata, Act 1 - "Libiamo ne'lieti calici" (Brindisi) 琼·萨瑟兰女高音，卡尔洛·贝尔贡济男高音，约翰·派里特德指挥佛罗伦斯五月音乐节管弦乐团演奏 - 朱塞佩·威尔第作曲，范彻斯科·皮亚危作词，三幕歌剧“茶花女”，第一幕，“让我们从这欢乐的酒杯中畅饮”（祝酒歌） Trey Songz Feat. Nicki Minaj - Bottoms Up @ Passion, Pain & Pleasure (2010) Toby Keith - Red Solo Cup @ Clancy's Tavern (2011) The Cataracs Feat. SkyBlu - Alcohol (Remix) (2012) Nas Feat. Amy Winehouse - Cherry Wine @ Life Is Good (2012) 布衣乐队 - 啤酒怪兽 @ 小怪兽 (2018) 成公亮 - 酒狂 @ 广陵琴韵（二）成公亮 (1987) Daniel Barenboim & Orchestre de Paris - Camille Saint‐Saëns: Samson et Dalila, op. 47, Act 3 - Bacchanale 丹尼尔·巴伦博伊姆指挥巴黎管弦乐团 - 卡米尔·圣-桑作曲，三幕大歌剧“参孙与大利拉”，作品 47，第 3 幕，“酒神舞” (1978年7月录制)
Italian Songs Acc.John Wustman. Bellini,Verdi,Denza,Donizetti,Donaudy, Tirindelli, Rossini, Mascagni, Tosti,Buzzi-Peccia, De Curtis. Plus aria from Edgar....and DI QUELLA PIRA....Your flame will never die!!!!
The remarkable Carlo Bergonzi, whose performances have proven to be "singing lessons," appears in this Liceo,Barcelona Forza from 1971 under Ugo Savini. Raina Kabaiwanska, Nicolai Herlea, Gwynne Howell,and the young Juan Pons as the Alcalde, complete the cast. (73 min.) Note: I skipped the narration this week,because you wouldn't want to hear what my voice sounds like.
I know you just ADORE my compilations, so I present no.9,with a few choice comments. If you played any at parties, did anyone ever guess ALL of them? 1. Gigli, Rethberg, Pinza Attila trio (Need we say more?) 2. Carlo Bergonzi E lucevan le stelle (a veritable vocal lesson) 3. Jussi Bjoerling Romeo 1947 ensemble. (Did the C sound like that live?) 4. Alessandro Bonci Puritani aria 5. Clara Butt Lucrezia Borgia Brindisi (they would laugh today.I adore this!) 6. Karen Branzell Erda Warning (Das Rheingold) 7. Olga Borodina La Favorite aria 8. Montserrat Caballe Adriana Phedre Monologue (Totally wild!) 9. Piero Cappuccilli Luisa Miller aria ( A very great man) 10. Irene Minghini-Cattaneo Azucena aria (sadly killed when Allied bomb destroyed her villa in WW II) 11. Julia Varady Mme.Butterfly "Che tua madre." 12. Charles Dalmores Carmen Flower Song 13. Zinka Milanov (who?) "D'amor sull'ali rosee" (Trovatore) 14. Mario Del Monaco "No,pazzo son"(Manon Lescaut) (Example of subtlety) 15. Merrill/Bjoerling Don Carlo duet (pure gold) 16. Birgitte Fassbaender "Suicidio" ( even though she is a mezzo.) 17. Kathleen Ferrier "An die Musik" (Schubert) 18. Lauren Flanigan Lady Macbeth aria (One of the singers who "takes chances" with repertory. One of my favorite ladies.) 19. Beniamino Gigli "Vedi,io piango' (Fedora) 20. Apollo Granforte Credo from Otello (His name fits his voice.)
Scenes from two brilliant Andrea Chenier performances. The first is from La Scala 1949,under Victor de Sabata, and features Renata Tebaldi,Mario del Monaco,Paolo Silveri, and Fedora Barbieri. This is followed by a Venice 1972 performance under Paolo Peloso, and features Carlo Bergonzi,Raina Kabaiwanska, and Aldo Protti. (The final duet, by the way, is in the high key.) (74 min.) Please note: My computer expert has advised me that it is much easier for you to read text if I do not use colors, since many individuals listen to the podcasts on various media other than on the internet.
A performance of I Lombardi from 1980's at Carnegie Hall under Eve Queler. The three stars are Aprile Millo, Carlo Bergonzi, and Paul Plishka. (74 min.)
From various commercial recordings, we present scenes (announced) from Puccini operas, featuring many of the great stars of the recent past. They include: Carlo Bergonzi, Roberto Alagna,Luciano Pavarotti, Jose Carreras, Jussi Bjoerling, Mirella Freni, Renata Tebaldi, Kiri Te Kanawa, Montserrat Caballe, Sherril Milnes, Joan Sutherland,Rolando Panerai,Leo Nucci and Franco Corelli. (68 min.)
The 100 year old plus Licia Albanese and Carlo Bergonzi head the cast of this 1958 Boheme under Thomas Schippers. Laurel Hurley, Mario Sereni, Norman Scott, and Clifford Harvuot complete the cast of this truly beautiful performance. (73 min.)
An all-star cast in Boito's Mefistofele under Lamberto Gardelli. Renata Tebaldi, Carlo Bergonzi, and Nicolai Ghiaurov make this a marvelous performance. (73 min.)
A veritable LESSON in singing by the legendary Carlo Bergonzi, the Nemorino on this 1967 Elisir under Gianandrea Gavazzeni. In addition, Renata Scotto, Giuseppe Taddei, and Ivo Vinco perform magnificently and show what proper Italianate style is all about . (73 min.)
A compilation of some of the most important Italian artists from around the 1950-1960 period. Included are Tito Gobbi, Magda Olivero, Anita Cerquetti, Cesare Valletti, Paolo Silveri, Renata Scotto, Carlo Bergonzi, Rosanna Carteri, Mario Filippeschi, Renata Tebaldi, Ebe Stignani, and Giuseppe Di Stefano. (70 min.)
A 1978 Toronto,Canada recital by Renata Scotto and Carlo Bergonzi,two of the most famous artists of the past generation. (Contents announced.) (60 min.)
The great tenor,who "teaches a vocal lesson" when he sings. This is a 68 year old man who is a legend. I heard him at 78, and he was just as wonderful. He is not in the best of health these days at 88, and I hope he feels better soon. We love him so much.
In honor of the 88th birthday (July 13, 2012) of the great Carlo Bergonzi, one of the greatest singers of all-time, I present a 1962 Ernani with Leontyne Price, Cornell MacNeil, and Giorgio Tozzi, under Thomas Schippers. I could entitle Bergonzi's long career as "How to sing!! 68 min.
A stellar cast in this 1960 Simone Boccanegra under Dimitri Mitropolous, featuring Frank Guarrera,Zinka Milanov, Carlo Bergonzi, Giorgio Tozzi, and Ezio Flagello. (73 min.). Yes, I was there and the show was unforgettable!!!!
Scenes from a most exciting 1964 Scala performance of Boito's "Mefistofele," featuring Nicolai Ghiaurov, Carlo Bergonzi, and Raina Kabaiwanska, under Gianandrea Gavazzeni. (70 min.)
A Tosca from 1959 under Kurt Adler, here is a most exciting Tosca with Eleanor Steber, Carlo Bergonzi, George London, and Allessio de Paolis. You will LOVE it!!! (71 min.)
You want excitement? Here is a blazing hot Cavalleria from 1970(?) with a cast that includes Fiorenza Cossotto,Carlo Bergonzi,Anselmo Colzani,Jean Kraft (Lucia), and Nedda Casei. Christopher Keene conducts. (52 min.)
The 75 year old Carlo Bergonzi returns to New York in 1999. This recital is one that exemplifies his incredible artistry, his joy in the phrasing of songs and arias,and in total, he has remained one of the icons in opera history. (68 min.)
20 tenors sing the beautiful Tosca aria, "Recondita Armonia." In order,they are: Giacomo Aragall, Carlo Bergonzi, Jose Carreras, Renato Cioni, Franco Corelli, Jose Cura, Giuseppe Di Stefano, Placido Domingo, Giuseppe Gismondo, Hans Hopf, Luciano Pavarotti, Neil Shicoff, Richard Tucker, Eugenio Fernandi, Ferruccio Tagliavini, Mario Filippeschi, Franco Tagliavini, Giuseppe Giacomini, Helge Roswaenge, and David Poleri. (60 min.) Almost all are from live performances. PLEASE NOTE: Those of you who have "Apple TV" can hear all these podcasts in excellent sound, and of course Apple TV allows you to watch Youtube on your TV as well. If you are not acquainted with it, you might investigate.
Guest: World Famous Opera Star Fernando Del Valle and Rapper/Writer Arell. Born in New Orleans of Hungarian-Spanish origin, tenor Fernando del Valle has sung extensively in the United States, Europe, South America and Canada. He went on to win the ‘Bel Canto Competition of Chicago' which enabled him to move to Europe and study with legendary Tenor, Carlo Bergonzi. In 1997 his performances included Don José at the Gran Teatro La Fenice in Venice and Teatro Carlo Felice di Genoa, Pinkerton in MADAMA BUTTERFLY for Palm Beach Opera and FAUST in Colmar near Strasbourg. Arell (pronounced RL) is a producer/songwriter/singer and Rapper who has been writing and producing R&B and hip hop tracks since the mid 90's. Vocal arrangement is a strong suit for the producer, but he knows how to make tracks and write songs that are relevant to everyday life. Currently, the Cincinnati born and raised producer is working on his second solo project that displays not only his music production and engineering skills, but songwriting skills as well. His production company, Lion King Productions is about making music that is innovative. Although Arell can sing and rap he is always looking for anyone who has talent to help create product that is new, exciting, relevant and profitable in today's industry.
A fine Tosca from Vienna ,1976 under Horst Stein, Featured are Montserrat Caballe, Carlo Bergonzi, and Gianpiero Mastromei (71 min.)
Rosanna Carteri, one of the most emotional divas in my experience, is heard in material from Adriana, Lodoletta,Turandot, Mme.Butterfly (w.Carlo Bergonzi), Suor Angelica, La Traviata, La Boheme (w.Giuseppe Taddei). Bio to follow (69 min.) Rosanna Carteri (born December 14, 1930) was an Italian soprano primarily active in the 1950s through the mid-1960s. Rosanna Carteri was born in Verona and studied with Cusinati and started singing in concert at the age of twelve. She won a RAI singing contest in 1948 which led to her operatic debut at the Baths of Caracalla in Rome as Elsa in Lohengrin in 1949, aged only 19. She made her La Scala debut in 1951. Other debuts were at the Salzburg Festival as Desdemona in Otello in 1952 under the direction of Wilhelm Furtwängler, San Francisco as Mimi in La Bohème in 1954, the Lyric Opera of Chicago as Marguerite in Faust in 1955, the Arena di Verona as Mimi in 1958, Covent Garden as Tosca in 1960, Opéra de Paris in 1961 as Violetta in La Traviata. Carteri made a few recordings for Cetra early in her career, such as Matilde in Guglielmo Tell, opposite Giuseppe Taddei, La Bohème with Ferruccio Tagliavini and Suor Angelica. She also recorded La Traviata for RCA Victor with Cesare Valletti and Leonard Warren under the direction of Pierre Monteux. She participated in several television productions for RAI such as Le nozze di Figaro, La Traviata, Otello and Falstaff. Carteri also participated in the creation of some contemporary works such as Ifegenia by Ildebrando Pizzetti in 1950, Proserpine e le straniero by Juan Jose Castro in 1952, Calzare d'argento again by Pizzetti in 1961 and Il mercante di Venizia by Mario Castelnuovo-Tedesco also in 1961. Rosanna Carteri decided to retire from singing in the mid-1960s while still only in her thirties to devote herself to her family.
I take great pleasure in presenting a podcast, the first of several, in which I specifically choose material to assist the young students in Dolora Zajick's program with their repertory, allowing them to sample some of the great artists of the past and present, and offering examples chosen from their requests. At the same time, all of you have the opportunity to continue to enjoy the artistry of many of our superb singers, in various vocal categories. We start with the tenors: Mario del Monaco, Franco Corelli, Carlo Bergonzi, Jon Vickers, James King, Rene Kollo, Jonas Kaufmann, Wolfgang Windgassen, Peter Schreier, Lauritz Melchior, Set Svanholm, Stephen Gould, and Jose Carreras. (66 min.) Let us wish these young artists our best, and let us praise Mme.Zajick, one of opera's greatest treasures, for her efforts.
On July 13, 2009, we celebrate the 85th birthday of Carlo Bergonzi, one of the greatest singers in opera history. His singing serves as a true "vocal lesson" for singers, and we have been blessed by his presence on opera and concert stages for over 50 years. This podcast, the second in his honor, features songs by Verdi, Caccini, De Curtis, Schubert, and Donizetti plus arias from Martha, La Boheme, Il Trovatore, Tosca, La Forza del Destino, L'Arlesiana, Mefistofele, and I Lombardi. Bergonzi always ended his recitals with "Non ti scordar di me," and we will surely never forget him! (71 min.)
An exciting compilation of various interpretations of the finale of the Traviata Gambling Scene (Act 3 or Act 2 scene 2 in various productions.) The casts are as follows: Renata Scotto, Carlo Bergonzi,Mario Zanasi (1970)Renata Tebaldi, Giacinto Prandelli, Gino Orlandini (1952)Maria Callas, Alfredo Kraus, Mario Sereni (1958)Licia Albanese, Richard Tucker, Leonard Warren (1954) Joan Sutherland, Giacomo Aragall, Sherill Milnes (1970)Diana Soviero, Carlo Bergonzi, Garbis Boyagian (1983)Virginia Zeani, Aldo Bottion, Franco Bordini (1967) (75 min.)
16 tenors sing the great "Una furtiva lagrima" from Donizetti's "L'Elisir D'Amore." They are as follows (in exact order on podcast) Giuseppe Anselmi, Enrico Caruso, John McCormack, Hipolito Lazaro,Alessandro Bonci, Beniamino Gigli, Tito Schipa, Aureliano Pertile,Andre D'Arkor, Dino Borgioli, Ferruccio Tagliavini, Josef Schmidt,Giuseppe Di Stefano, Jussi Bjoerling, Carlo Bergonzi, Piotr Beczala. (71 min.)
A comparison of 21 tenors singing the great Werther aria. The order is as follows:Emile Marcellin, Giuseppe Lugo, Andre D'Arkor, Gaston Micheletti, Jose Luccioni, Fernand Ansseau, Alfred Piccaver, Ferruccio Tagliavini, Carlo Bergonzi, Alain Vanzo, Fernando de la Mora, Alfredo Kraus, Nicolai Gedda, Tito Schipa, Franco Corelli, Giuseppe Di Stefano, Joseph Calleja, Ramon Vargas, Roberto Alagna, Rolando Villazon, Piotr Beczala. (57 min.)
I have waited far too long to present a podcast that features one of the great artists of all time, Carlo Bergonzi. There is so much material, but at least this is a good start. Included are arias and songs from his earlier days, up to his singing at age 67, and when I saw a New York recital at around age 77, there was still plenty of voice! The selections are from: Werther, Luisa Miller, Le Roi D'Ys, Forza Del Destino (original version), Elisir D'amore, L'Arlesiana, Martha, Mefistofele, the Verdi Requiem, and several songs. Bergonzi always ended his recitals with "Non ti scordar di me," and that is appropriate because he will NEVER be forgotten! (73 min.)
Highlights from various performances of Verdi's "I Due Foscari"(1844).Featured are some of the fine singers who appeared in this work: Renato Bruson, Gian-Giacomo Guelfi, Carlo Bergonzi, Mirto Picchi, Leyla Gencer, Margarita Castro-Alberty, and Linda Vajna. (71 min.) )
An exciting compilation of scenes from Leoncavallo's "I Pagliacci," featuring: Richard Tucker, Mario del Monaco, Franco Corelli, Helge Roswaenge, Jussi Bjoerling, Carlo Bergonzi, Licia Albanese, Diana Soviero, Marilyn Horne, Hilde Scheppan, Victoria de los Angeles, Robert Merrill, Leonard Warren, Ettore Bastianini, Frank Guarrera,Giovanni Martinelli(in photo) Manuel Lanza, andTeresa Stratas (66 min.)
A Compilation of interpreters of the role of Azucena in Verdi's "Il Trovatore." The podcast features: Bruna Castagna, Ebe Stignani, Irene Minghini-Cattaneo,Elena Nikolaidi, Regina Resnik, Cloe Elmo, Grace Bumbry,Irene Kramarich, Dolora Zajick, Elena Obratsova,Fiorenza Cossotto, Fedora Barbieri, (pictured) Shirley Verrett,Giulietta Simionato, and finally, the great Sylvia Sawyer. Assisting artists include Leonard Warren, Franco Corelli, Carlo Bergonzi, Luigi Ottolini, Roberto Alagna,Gino Sarri, and Matteo Manuguerra. (88 minutes)
Truly wonderful singing by La Scala artists who visited Russia in 1964. Included are: Mirella Freni, Bruno Prevedi, Renata Scotto,Birgit Nilsson, Carlo Bergonzi, Fiorenza Cossotto, and Gianni Raimondi
A compilation of exciting cabalettas from various operas as sung by some of the great artists of the past: Shirley Verrett, Montserrat Caballe, Virginia Zeani, Virginia Zeani, Elena Suliotis, Beverly Sills,Mado RobinGiulietta Simionato, Marilyn Horne, Christa Ludwig,Antonietta Stella, Joan Sutherland, Nicolai Gedda,Luciano Pavarotti, Alfredo Kraus, Franco Corelli,Piero Cappuccilli, Nicolai Ghiaurov,Sherrill Milnes,Carlo Bergonzi, and Richard Tucker
Many scenes and arias from Verdi's sometimes neglected masterpiece featuring the following artists: Zinka Milanov, Antonietta Stella, Leyla Gencer, Josela Ligi,Christina Gallardo-Domas, Elizabeth Rethberg, Carlo Bergonzi,Richard Tucker, Giovanni Martinelli, Lawrence Tibbett,Leonard Warren, Giuseppe Valdengo, Jose Van Dam,Cesare Siepi, Leo Nucci, Frank Guarrera, Tito Gobbi,Nicolai Ghiaurov, Sesto Bruscantini, Franz Grundheber,Giuseppe Taddei,Andre Turp, and Gwynne Howell
Carlo Bergonzi and Piero Cappuccilli in a recital of arias and duets.
Carlo Bergonzi and Renata Scotto star in this 1967 performance of Donizetti's romantic comedy.
Carlo Bergonzi and Renata Scotto star in this 1967 performance of Donizetti's romantic comedy.
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