Podcasts about I puritani

Because there is no such thing as too much Eleanor Steber, today's episode once again features the prodigiously gifted singer, in my opinion the greatest soprano the United States has ever produced, singing a dizzying range of material, most of it recorded live between the years 1958 and 1979. These recordings were nearly all private releases on Steber's own record labels.. First, ST/AND Records, which she formed with her second husband Gordon Andrews, and which between 1960 and 1962 produced approximately fifteen LPs, all but one of them featuring Steber. Second, recordings released under the aegis of the Eleanor Steber Music Foundation, which she formed in 1973 and which released a few choice live recordings of Steber's late career recitals. The material ranges from selections from the Christian Science Hymnal, piously presented; sentimental ballads, tackily arranged; Bach and Mozart arias; art songs by Rorem, Barber, Britten, Debussy, Berg, and Beethoven; and opera arias from I Puritani, Der Freischütz, Giulio Cesare, and Tosca, the last performed at her campy Live at the Continental Baths concert in October 1973. Though as Steber grew older, her voice occasionally sounded blowsy, on the vast majority of these recordings she sounds stunningly good. And no matter what repertoire she was singing, her impeccable technique and pristine musicianship remained intact throughout. Much of source material from which these performances stem is exceedingly rare, and for the most part difficult and costly to obtain. So in my role as supreme Steber groupie, I am honored and thrilled to share these recordings, all of them from my own personal collection. 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.

Im Dezember 2023 ist im Dresdner Kulturpalast eine Oper des sizilianischen Belcantokomponist Vincenzo Bellini auf CD produziert worden. Für seinen Schwanengesang "I Puritani" aus dem Jahr 1835 hat das Label EuroArts Stars wie Lisette Oropesa nach Elbflorenz engagiert. Riccardo Frizza leitet die Dresdner Philharmonie.

A year and a half ago, I posted an episode on Robert Massard, the finest French baritone of his era, and one of the finest French baritones of all time. Today, in honor of his upcoming hundredth birthday later this year, I present him in a different repertoire (and therefore a different light). As was very much the custom of the day in French opera houses, Massard sang many of his non-French roles in translation. This was also very much the standard in German-language opera houses in the 50s and 60s. Massard's recorded legacy includes Italian operas sung in the original language as well as in French translation. No matter what language he was singing in, Massard was a master of bel canto as well as buffo patter. This episode includes arias and duets from Il barbiere di Siviglia, I Puritani, Lucie de Lammermoor, Le Comte Ory, La Traviata, Don Carlos, Un bal masque, La bohème, Cavalleria rusticana, and Andrea Chénier, as well as extended scenes from both Rigoletto (in and out of French!) and Falstaff. I also include a clip of Massard's contemporary and compatriot Gabriel Bacquier singing an excerpt of one of his greatest Verdi parts, Iago in Otello. Massard's vocal colleagues in these excerpts include Alain Vanzo, Peter Glossop, and Renée Doria. 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.

Amado y los recuerdos de la lavadora.A Tres Bandas con Txani Rodríguez y Eduardo Halfon.Neomak.Desde la II Bilbao Bizkaia Beer.El Profesor Angulo nos presenta La Prehistoria de la Creatividad.Iñigo Alberdi y el estreno de la ABAO con I Puritani de Bellini.Oscar Lage trae el cargador universal, Elon Musk y las trampas al ajedrez. Xabier Gutiérrez prepara Cremita de Potimarrón....

Please note that this episode contains mature language (en français). Nemo comes to some conclusions about who made the cylinders and why. Shattered is produced by Lesser of 2 Weevils with theme music by Katharine Seaton. Additional music by Robert Sholl.  Music also performed by Robert Sholl and Matt Pouchin. I Puritani by Vincenzo Bellini with libretto by Count Carlo Pepoli.  Additional sound effects by Katharine Seaton and Fesliyan Studios. https://www.fesliyanstudios.com/royalty-free-sound-effects-download/light-buzzing-180 Transcripts can be found at https://theshatteredpodcast.com/bonus/

Please note that this episode contains mature language (en français). Phil suggests that the investigators pause their enquiries, but Nemo insists on getting to the bottom of the mysterious cylinder recordings. What did Laila uncover from her stint as a broadcast assistant?  What “bother” did Hakim from Nemo's office get into?  And what made Dustin and Dani storm off the podcast?  Shattered is produced by Lesser of 2 Weevils with theme music by Katharine Seaton. Additional music by Robert Sholl.  Music also performed by Robert Sholl and Matt Pouchin. I Puritani by Vincenzo Bellini with libretto by Count Carlo Pepoli.  Transcripts can be found at https://theshatteredpodcast.com/bonus/

Dustin thinks he knows who the interviewer is on the graphophone. Phil doesn't believe in curses. Shattered is produced by Lesser of 2 Weevils with theme music by Katharine Seaton. https://katharineseaton.com/  Additional music by Robert Sholl.  Music also performed by Robert Sholl and Matt Pouchin. I Puritani by Vincenzo Bellini with libretto by Count Carlo Pepoli.  Transcripts can be found at https://theshatteredpodcast.com/bonus/

Please note that this episode contains mature language. Nemo and Phil are joined by guests Dustin and Dani, and Laila Lim, a languages student.  Tensions and technical difficulties mar the investigation.   Dustin's graphophone delivers major revelations. But will the investigators still be around for another episode?  Shattered is produced by Lesser of 2 Weevils with theme music by Katharine Seaton. https://katharineseaton.com/  Additional music by Robert Sholl.  Music also performed by Robert Sholl and Matt Pouchin. I Puritani by Vincenzo Bellini with libretto by Count Carlo Pepoli.  Transcripts can be found at https://theshatteredpodcast.com/bonus/

Nemo and Phil track down a parléophon recording and speak to a generous collector about his obscure 1905 Gramophone recording on church organ.  What does this have to do with the Volta Lab-esque cylinders and who is the mysterious and otherworldly voice they hear singing on the digitized parléphon?  Shattered is produced by Lesser of 2 Weevils with theme music by Katharine Seaton. https://katharineseaton.com/    Additional music by Robert Sholl.  Music also performed by Robert Sholl and Matt Pouchin. I Puritani by Vincenzo Bellini with libretto by Count Carlo Pepoli.  With thanks to Peter Adamson. -- Transcripts can be found at https://theshatteredpodcast.com/bonus/

Vincenzo Bellini—the composer of Norma, La Sonnambula, and I Puritani, to name a few of his best-known operas—is famous for the beauty of his melodies, but also for his ability to use melody to define character, express passion, and advance dramatic action.

Los puritanos de Escocia (título original en italiano, I Puritani di Scozia), más conocida solo como Los puritanos, es una ópera en tres actos con música de Vincenzo Bellini y libreto en italiano de Carlo Pepoli, basado en el drama Têtes rondes et cavaliers, de Jacques-François Ancelot y X. Boniface Saintine. Algunos indican que el libreto también está basado en la novela Old Mortality de Walter Scott, pero otros solo encuentran relación con el lugar y los hechos políticos que son narrados. Se estrenó el 24 de enero de 1835 en el Théâtre Italien de París. Fue la última obra del compositor, que murió poco después de su estreno.

Synopsis “We are NOT amused,” is the dour statement attributed to the matronly Queen Victoria in her later years, although some historians dispute she ever really said it. But as a young woman, in her diary Queen Victoria did write, “I was VERY MUCH amused indeed!” after seeing the Italian opera singer Giulia Grisi on stage. The young Queen was a fan, and made a drawing of the singer in a role she created: that of Elvira in Vincenzo Bellini's opera “I Puritani,” or “The Puritans,” which debuted in Paris on today's date in 1835. When Bellini's brand-new opera came to London later that same year, with Grisi in the cast, the young Queen attended several performances, and the opera she called “Dear Puritani” became a life-long favorite, perhaps because it was the first she attended with her husband-to-be, the young Prince Albert. The opera is set in 17th century England during the Civil War between Royalist supporters of the deposed King Charles I and Puritan rebels led by Oliver Cromwell. Its plot involves a Romeo and Juliet-like love story between a delicate Puritan soprano and a dashing Royalist tenor. Unlike Shakespeare's tragedy, however, Bellini's opera provides a happy ending for its politics-crossed lovers. Music Played in Today's Program Vincenzo Bellini (1801 – 1835) — Sinfonia (Overture), fr I Puritani (Philharmonia Orchestra; Riccardo Muti, cond.) EMI 09149

Synopsis It was on today's date in 1835, that the Romantic opera composer Vincenzo Bellini died at a country home near Paris. He was only 34 years old but had achieved great fame in his brief lifetime.  The long, elegant melodic lines Bellini spun out in his operas were much admired and proved to be a major influence on the solo piano works of his contemporary, Frederic Chopin. Bellini's first success was “Il Pirata” or “The Pirate” from 1827, and just three years later, he could truthfully report:  ‘My style is now heard in the most important theatres in the world…and with the greatest enthusiasm'. He settled in Paris, where his final opera, “I Puritani di Scozia” or “The Puritans of Scotland” premiered early in 1835. If Bellini's life had followed the Romantic story-lines of his operas, he would have been a dispossessed outcast who dies for love. In fact, Bellini was financially successful, moved in the highest social circles, and – rather than dying for love – was planning to marry for money at the time he succumbed to chronic gastroenteritis.  At his requiem mass, four leading composers of his day, Paer, Cherubini, Carafa and Rossini, each held a corner of the coffin shroud.  Music Played in Today's Program Vincenzo Bellini (1801 – 1835) — Sinfonia, fr Il Pirata (German Opera Orchestra, Berlin; Marcello Viotti, cond.) Berlin Classics 11152

Hailed by the New York Times as a soprano of “gleaming sound, free and easy high notes, agile coloratura runs and lyrical grace,” Jessica Pratt is considered one of today's foremost interpreters of some of bel canto's most challenging repertoire.Since her European debut in 2007 as Lucia di Lammermoor, Ms Pratt's schedule has included performances at opera theatres and festivals such as the Teatro alla Scala of Milan, Zurich Opera, Deutsche Oper Berlin, the Vienna State Opera and the Royal Opera House Covent Garden, working with conductors such as Daniel Oren, Nello Santi, Kent Nagano, Sir Colin Davis, Christian Thielemann, Donato Renzetti, Pier Giorgio Morandi, Carlo Rizzi, Antonino Fogliani, Wayne Marshall and David Parry.The 2012/13 season brought several acclaimed debuts at Festival Verdi in Parma, including Gilda to Leo Nucci's Rigoletto, at Deutsche Oper Berlin as Lucia, at Vlaamse Opera in New Year's Eve Concert, at Teatro de la Maestranza in Sevilla (Gilda, once more next to Leo Nucci), in the role of Matilde in Guillaume Tell next to Juan Diego Florez interpreting Arnold in Lima, Giulietta in I Capuleti e i Montecchi in Reims, in the role of Lisinga in Demetrio e Polibio of Rossini in Neaples, and in the role of the protagonist in Giovanna d'Arco at Festival della Valle d'Itria in Martina Franca.In the 2013/14 season Ms Pratt could be heard in new productions of Lucia di Lammermoor at La Scala and in Amsterdam, as Amina in La sonnambula in Bari, Gilda in Padova, in the season opening of La Fenice as Inès in Meyerbeer's L'Africaine, as Musetta in La Bohème in Salerno, in her role debut as Violetta in La Traviata in Melbourne, as Zenobia in Aureliano in Palmira at the Pesaro Rossini Opera Festival as well as in recitals in Tokyo and Florence with Vincenzo Scalera.In 2014/15 the soprano made her role debuts as Cleopatra in Handel's Giulio Cesare at the Teatro Regio in Turin and as Amenaide in Rossini's Tancredi at the Opéra de Lausanne. Other performances included Donna Anna in Don Giovanni and Giulietta in I Capuleti e i Montecchi at the Teatro La Fenice in Venice; Elvira in I Puritani in Florence and in Melbourne; Lucia di Lammermoor at the Rome Opera House and at the Festival Granda in Lima; her role and festival debut as Rosina in Il barbiere di Siviglia at the Arena di Verona, where she could also be heard as soprano soloist in Carmina Burana; the soprano solo in Rossini's Messa di Gloria alongside Juan Diego Florez and La morte di Didone at the Rossini Opera Festival; as well asconcerts in Milan, Bonn, and London.Performances of the 2015/16 season included Jessica Pratt's returns to Florence, Turin and Melbourne as Lucia di Lammermoor, her debuts at the Gran Teatre del Liceu Barcelona as Desdemona in Rossini's Otello, at the Palau de les Arts Reina Sofia Valencia in Mozart's Davidde penitente and at the ABAO Bilbao as Amina in La sonnambula, her role debuts as Semiramide at the Opéra de Marseille and later at the Washington Concert Opera and as Linda di Chamounix at the Rome Opera House; and concerts in Oviedo and Moscow.More recently, Semiramide and Rosmonda d'Inghilterra at the Florence Opera House, a concert with the Queensland Symphony Orchestra, Rosmonda d'Inghilterra at the Donizetti Festival Bergamo, her debut at the Metropolitan Opera House New York as Queen of the Night in The Magic Flute, and Rigoletto in Oviedo.The STAGES podcast is available from Apple podcasts, Spotify and Whooshkaa. Also where you find your favourite podcasts. www.stagespodcast.com.au

LISZT/THALBERG/PIXIS/HERZ/CZERNY/CHOPIN: Hexameron S392 R131 (Grandes variaciones de Bravura sobre la marcha de “I Puritani” de Bellini) (18.12). L. Howard (p.). Gran Fantasía y Variaciones sobre motivos de “I Capuleti” Op. 10 (17.01). F. Nicolosi (p.). BELLINI: Aria “Son vergin vezzosa” (Acto I, “I Puritani”) (3.03). J. Sutherland (sop.), Orq. de la Royal Opera House Covent Garden. Dir.: F. Molinari-Pradelli. Escuchar audio

BOTTESINI: Dúo concertante para violoncello, contrabajo y piano sobre temas de "I Puritani" de Bellini (12.54). M. Polidori (vc.), E. Bosso (con.), L. Brancaleon (p.). Fantasía sobre "Norma" de Bellini (10.07). A. Lo Gatto (con.), L. Antoniotti (fortep.). Fantasía sobre "La Straniera" de Bellini (11.46). S. Sciascia (con.), D.-G. Leonardi (p.). Allegretto Capriccio para contrabajo y cuerda (3.37). M. Giorgi (con.), I Solisti Aquilani. Dir.: V. Antonellini. Escuchar audio

Un recorrido original e insólito por la historia del género lírico. «Una obra fascinante que reta al lector con una visión divulgativa de la ópera hasta ahora desconocida por los aficionados». Esta obra nos ofrece un recorrido singular del espectáculo operístico desde un punto de vista inédito: el trágico final de muchos personajes al que se ven abocados tras el desarrollo de una trama en la que suelen primar temas como la locura, la enfermedad, la pena, la angustia o el amor. A través de estas cuestiones y muchas otras, la ópera responde a momentos trascendentales de la vida en boca de sus protagonistas. El autor de este libro utiliza sus amplios conocimientos y su capacidad divulgativa para presentarnos de manera amena y atractiva historias y anécdotas sobre compositores, libretistas, personajes y argumentos de numerosas óperas. Y de paso explicar los mecanismos que conducen al fatal desenlace de los muchos personajes operísticos que viven en el escenario sus dramas particulares, atrapados entre los dos grandes polos de la existencia humana: Eros y Tánatos, el amor y la muerte. Las colaboraciones más fructíferas entre compositor y libretista. La Muerte burlada: de La clemencia de Tito a Fidelio. La locura en la ópera: Lucia de Lammermoor, Anna Bolena, I Puritani… La ópera actual como fuente de identificación de emociones y experiencias en nuestra propia vida. Incluye un apéndice con una selección de escenas operísticas de primer nivel a las que acceder a través de un código QR y una lista de spotify con algunos de los fragmentos más hermosos para escuchar mientras se lee el libro.

Today, in the first of two consecutive episodes. I pay tribute to the great Mirella Freni, who died on February 7 and who would have celebrated her 85th birthday on February 27th. Celebrated for the freshness of her timbre, her musical integrity and commitment, her vocal prowess and longevity, and her expressivity, Freni sang a repertoire which covered a wide range of styles and languages. Today’s selections, from over the course of her entire career, feature her exclusively in duet, and include selections from Gianni Schicchi, I Puritani, L’Elisir d’amore, Le nozze di Figaro, La Bohème, Otello, Manon Lescaut, Don Carlo, Le due illustri rivali, Don Giovanni, and La Traviata with Alfredo Kraus, Nicolai Gedda, Gundula Janowitz, Franco Corelli, Luciano Pavarotti, Peter Dvorsky, Luis Lima, Renata Scotto, and her husband Nicolai Ghiaurov. Three selections from a rare 1977 LP of Puccini and Verdi duets with the superlative (and notorious!) Italian tenor Franco form the centerpiece of this loving tribute. Countermelody is a new podcast devoted to the glories of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great classical and opera singers of the past and present with the help of guests from the classical music field: singers, conductors, composers, coaches, agents, and voice teachers. 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 interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please also visit the Countermelody website for updates, additional content, and to pledge your support. www.countermelodypodcast.com

This podcast was presented and edited by Dr Catherine Charlwood for the Diseases of Modern Life project. Book for the 8th February Ruskin conference and public lecture at the Oxford University Museum of Natural History here. The guests were Professor John Holmes (University of Birmingham) Dr Fraser Riddell (Trinity College, University of Oxford) Professor Fiona Stafford (Somerville College, University of Oxford) The quotation from Ruskin’s letter to his father was written on 31st January 1849 and can be found on page 93 of Volume 36 of The Complete Works of John Ruskin. I am indebted to William J Gatens’s 1986 article ‘John Ruskin and Music’ for highlighting this letter. Music for this episode was extracts from ‘Qui la voce sua soave’ from Bellini’s opera I Puritani (1835). It was performed by Maria Callas at the Teatro alla Scala and directed by Tullio Serafin. This recording can be found at Liber Liber and is licensed under the Creative Commons Attribution - Noncommercial - Share Alike 4.0 International Licence.

Ágil y etérea es una tradicional "Elvira" de 'I Puritani'.   Escuchar audio

Tonight, Oliver and Tobias go ‘Inside the Huddle’ with baritone Anthony Clark Evans.  The 2017 BBC Cardiff Singer of the World main prize finalist is currently singing the role of Riccardo in Bellini’s “I Puritani” at Lyric Opera of Chicago... And then, the Metropolitan Opera just announced its 2018-2019 season.  We crunch the numbers of those titles on the Dodson Scale™ in 'Chalk Talk'.  Also, James Levine has finally stepped aside as the Met's Music Director and, in an appointment that surprised precisely no one, the forty-one-year-old Québécois conductor Yannick Nézet-Séguin has been named as Levine’s successor.  We’ll tell you how that affects the Met’s season... Plus, it’s the ‘Two Minute Drill’: everything you need to know from the past week in Operaland, and our hot takes on those stories... Double plus, we’ll squeeze in Oliver playing ‘Monday Evening Quarterback’ on Chicago Opera Theater’s production of Puts and Campbell’s opera “Elizabeth Cree”... www.facebook.com/OBSCHI1/

Weston, Tobias and Matt react to Sunday’s Super Bowl (where a backup quarterback stepped in for an injured QB to win the game) by talking about singers who have stepped in last minute and won over audiences and critics alike -- as well as their colleagues -- to become stars themselves... Plus, Oliver plays ‘Monday Evening Quarterback’ via phone and reviews Bellini’s “I Puritani” at Lyric Opera of Chicago... And then, it’s the ‘Two Minute Drill’: everything you need to know from the past week in Operland, and our hot takes on those stories... www.facebook.com/OBSCHI1/

Ep. 16 I Puritani by Bellini broadcast 11.19.17 by Opera for Everyone

On this week's episode of He Sang/She Sang, Merrin Lazyan and Jeff Spurgeon speak with director Sarah Meyers about why, despite its utterly implausible plot, some consider Bellini's I Puritani to be among the greatest operatic masterpieces ever written. We also hear from bass-baritone Luca Pisaroni about his role debut as Giorgio, the best singing advice he's ever received, and the joys of traveling with his two dogs, Lenny and Tristan.  Sarah's YouTube pick (Anna Netrebko, Eric Cutler, Franco Vassallo, John Reylea): Jeff's YouTube pick (Alexey Markov and Luca Pisaroni): Merrin's YouTube pick (Diana Damrau and Javier Camarena):  This episode features excerpts from the following album: Bellini: I Puritani (Decca, 1987)— Joan Sutherland, soprano; Luciano Pavarotti, tenor; Nicolai Ghiaurov, bass; Piero Cappuccilli. baritone; the London Symphony Orchestra conducted by Richard Bonynge 

An der Stuttgarter Staatsoper haben Jossi Wieler und Sergio Morabito zum dritten Mal eine Bellini-Oper in Szene gesetzt: nach "Norma" und "La Sonnambula" jetzt "I Puritani". Die Erwartungen bei Publikum und Kritik waren hoch.

"El Estudio Verde y Oro" a través de @XEQradio presenta a Xavier Cortes, bajo la conducción de Rodrigo de la Cadena y Eugenio López. Tenor mexicano, que ha participado en algunos de los los teatros más prestigiosos de los Estados Unidos, incluyendo la Ópera Nacional de Washington (Edgardo en Lucia di Lammermoor), New York City Opera (Duque de Mantua en Rigoletto), Ópera de Los Angeles (Lucia di Lammermoor, Nicholas y Alexandra con Plácido Domingo) y Palm Beach Opera (Arturo en I Puritani). Recientemente en Europa, ha protagonizado en una nueva producción de Lucrezia Borgia (Gennaro) en Alemania y La Traviata en Belgica. Xavier Cortes, intrepre de títulos como L'elisir d'amore, Lucrezia Borgia, La fille du Regiment, La Favorita, I Puritani, también en su repertorio operístico incluye La Bohème y Rosenkavalier de Strauss. Es ganador del concurso internacional de la Fundación Puccini de Licia Albanese en Nueva York y también le fue otorgada la beca SIVAM (Sociedad Internacional de Valores Artisticos Mexicanos) además de una beca asignada personalmente por el maestro Plácido Domingo. Actualmente alterna entre los teatros de Alemania, Belgica, y Mexico. En Febrero, 2014, Xavier Cortes hace su debut en el Konzerthaus de Berlin con el papel de Carlo de la opera I Masnadieri. Página web oficial: www.xcortes.com

   Opera lovers are looking forward to the Met debut of lovely soprano Olga Peretyatko in "I Puritani' next season. Here are two arias from her new album entitled, "La Bellezza del Canto." They are from Les Contes D'Hoffman and La Rondine. I am sure you will enjoy this fine young artist.  (10 min.)

Angela Gheorghiu chooses a diva from a previous generation, Virginia Zeani (pictured below), and in particular her recording of Qui la Voce from Bellini's opera I Puritani. Presented by John Wilson. Archive clips include Alice Coote on the sacrifices needed to maintain an operatic career, Angela Gheorghiu on emotional turmoil; Cecilia Bartoli and the legendary diva Maria Callas. For full archive information, visit the Front Row website

 Highlights from a fine performance of Bellini's "I Puritani" from Phil.1972 under Anton Guadagno. It features Luciano Pavarotti, Beverly Sills,  Paul Plishka, and Louis Quilico. (70 min.)

As a special birthday tribute to the great Nicolai Gedda, who turned 84 on July 11, 2009, we present him and Joan Sutherland in highlights from 1963 live performances of La Sonnambula and I Puritani. The singing is truly amazing, and I know you will be thrilled!  (65 min.)                                              

   I have come to the conclusion that Roumanian-born Virginia Zeani has emerged, in my opinion, as one of the greatest divas in opera history. I hope you enjoy the selections on this podcast. The works represented are: Forza del Destino,Maria di Rohan, I Puritani, Tosca,La Boheme, Turandot, La Traviata, La Rondine,The Consul, Elisir D'Amore, Vespri Siciliani,Mefistofele,and The Merry Widow.                   I sincerely hope you will enjoy listening to one of thegreat artists in opera history, and a very dear friend as well.                             (72 minutes)    

Excerpts from the great career of tenor Nicolai Gedda. Theseare all live and the operas represented are: Boheme,Tosca,Tales of Hoffmann,Vespri Siciliani,I Puritani,The Pearl Fishers, Faust, La SonnambulaDon Giovanni, Le Roi d'ys,La Traviata,Mignon,Yolanta.                     (72 minutes)

   Some of the most amazing singing in this pot-pourri of scenes   from Bellini's "I Puritani." Artists include:    Leyla Gencer, Joan Sutherland, Mariella Devia, Beverly Sills,   Edita Gruberova, Maria Callas, Mirella Freni, Anna Moffo,   Gianna D'Angelo, Virginia Zeani, Nicolai Gedda, Paul Plishka,   Louis Quilico, Dmitri Hvorostovsky, Luciano Pavarotti,   Alfredo Kraus, and William Matteuzzi (and his high "F.") (83 minutes)