Podcasts about Nicolai Gedda

Tutto nel Mondo è Burla stasera all'Opera - Gli anniversari Nicolai Gedda quarta puntata

durée : 01:29:10 - Nicolai Gedda, perfection vocale et sensibilité - par : Aurélie Moreau - Nicolai Gedda, très célèbre ténor du XXe siècle, impressionnait par sa musicalité, son incarnation sentie des rôles et l'intelligence de son chant, comme l'a écrit le New York Times. Aujourd'hui pour nous, il est Chapelou, Faust, Roméo, Tamino…

Tutto nel Mondo è Burla stasera all'Opera - Gli anniversari Nicolai Gedda terza puntata

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Tutto nel Mondo è Burla stasera all'Opera - Gli anniversari Nicolai Gedda seconda puntata

This past March 7 would have been the 94th birthday of the great French coloratura soprano Mady Mesplé. This episode begins a new series of episodes devoted to “Queens of the Night,” the surprisingly wide variety of sopranos who at one time or another sang this role. After a sampling of Mesplé singing this role (in French), we also hear back to back comparisons with Janine Micheau (Mesplé's teacher) and Mado Robin (one of Mesplé's most famous predecessors); a Gounod duet with Nicolai Gedda; a stunning avant garde showpiece composed expressly for Mesplé; a series of mélodies by Debussy, Roussel and Ravel; a live late-career performance of Poulenc's final composition, the dramatic monologue La Dame de Monte-Carlo; an effervescent live 1969 performance of Zerbinetta's aria; and a deeply moving recording of La Mort de Socrate by Erik Satie. Further proof, if such were needed, of Mesplé's versatility, virtuosity, and profound musicianship and humanity. 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 - Gli anniversari Nicolai Gedda prima puntata

A final offering of Christmas music on Countermelody this year, but far be it from me to rehash the usual Christmas carols! Absolutely not! In this episode I offer a follow-up to an episode posted years ago featuring Christmas-themed art song. Expect the unexpected (including a big helping of 20th Century selections by Britten, Hindemith, Martinů, Rorem, and Corigliano), alongside selections from our favorite Romantic and post-Romantic composers (Brahms, Schumann, Reger, Grieg, and Strauss). Singers include Gundula Janowitz, Hermann Prey, Maureen Forrester, Edith Mathis, Karl Erb, Janet Baker, Peter Schreier, Tom Krause, and Nicolai Gedda, among many, many others. Happy Holidays to all my fans and supporters! 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.

Betty Allen has been featured on countless omnibus Countermelody episodes, but it's time for her to get her own episode! Born in Ohio on 17 March, 1927, she died at the age of 82 on 22 June 2009. Not only did Betty Allen possess a voice of significant power and amplitude, she was a superb musician who channeled her soul into her singing, using her superb technique to convey depth of meaning in all the music she sang. She also had a wide repertoire, excelling in opera, concert, and recital. Though her recorded legacy is relatively small, it is superb and significant. Today's episode samples a cross-section of her recordings, both live and studio, and includes collaborations with Leonard Bernstein, Nicolai Gedda, Eugene Ormandy, Carmen Balthrop, Horst Stein, Leontyne Price, Virgil Thomson, John DeMain, Hildegard Hillebrecht, Richard Bonynge, and Adele Addison. She was a powerful force for good in the musical world, as an educator and advocate as well, succeeding Dorothy Maynor in leading the Harlem School of the Arts, where she served as both executive director and president. Many currently active singers have been touched by the stringent generosity of this fine artist, and it is my honor to pay tribute to her today. 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.

It's been a whirlwind of a week chez Gundlach and I find myself at the end of it without a new episode ready to post. In addition to that, we are already halfway through Pride Month and I realized this morning that I had no new queer material up my sleeve. So I'll tell you what I'm gonna do: I am going to get to work on a brand new episode which will post sometime early next week. But in the meantime, I'm going to do my own Listener's Favorite episode, one which I posted during the very first season of Countermelody, a wondrous compilation entitled “Sisters in Sappho.” It features not only two of my favorite mezzos of all time (Tatiana Troyanos and Brigitte Fassbaender – both of whom happen to have been lesbians); but also a sampling of the key figures in the Women's Music Movement of the 1970s, including Meg Christian, Cris Williamson, Margie Adam, Holly Near, and Deidre McCalla. In celebrating these pop icons, I also pay tribute to those who, in turn, paved the way for them, including icons Janis Ian, Dusty Springfield, and Ronnie Gilbert, as well as tipping my hat to two of the queer Black singers (Toshi Reagon, Meshell Ndegeocello), that followed in the wake of these women. We all owe an enormous debt of gratitude to these extraordinary artists, who paved the way for us, their musical and artistic descendants, at the same time setting standards that will stand the test of time. Vocal guest stars include Janet Baker, Ileana Cotrubas, Cecilia Gasdia, Nicolai Gedda, Margaret Price, Gundula Janowitz, Arleen Augér, and Reri Grist. 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.

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.

Hosted by Eric Garcia:Music in Shostakovich and Stalin:Shostakovich: Symphony No. 4Royal Liverpool Philharmonic OrchestraVasily Petrenko, conductor℗ 2013 NaxosShostakovich:Lady Macbeth of MtsenskGalina Vishnevskaya, Dimiter Petkov, & Nicolai GeddaLondon Philharmonic OrchestraMstislav Rostropovich, conductor℗ 2002 by EMI Records ltdShostakovich : Concerto for Piano, Trumpet, Strings/Piano Concerto No.2/Symphony No.1Berliner PhilharmonikerMariss Jansons, conductor℗ The copyright in these sound recordings is owned by EMI Records Ltd. This compilation (P) 2003 by EMI Records Ltd.Shostakovich: Piano Concerto No. 1, Piano Quintet & ConcertinoMartha ArgerichOrchestra della Svizzera ItalianaAlexander Verdernikov, conductor℗ 2007 Parlophone Records Limited, a Warner Music Group CompanyTea for TwoBenny Goodman Greatest Hits (Remastered)Benny Goodman Quartet℗ 1996 BMG MusicShostakovich: The Jazz AlbumConcertgebouworkest Riccardo Chailly, conductor℗ 1992 Decca Music Group LimitedProkofiev: Alexander Nevsky; Scythian Suite; Lieutenant KijéChicago Symphony Orchestra, Elena Obraztsova & London Symphony OrchestraClaudio Abbado, conductorThis Compilation ℗ 1995 Deutsche Grammophon GmbH, Berlin50 of the Best: J.S. BachBournemouth Symphony OrchestraJosé Serebrier, conductor℗ 2011 Naxos Digital CompilationsStravinsky: Oedipus RexAnne Sofie von Otter, Vinson Cole, Nicolai Gedda, Hans Sotin, Simon Estes, Swedish Radio Choir, Swedish Radio Symphony Orchestra & The Eric Ericson Chamber ChoirEsa-Pekka Salonen, conductor℗ 1992 SONY BMG MUSIC ENTERTAINMENT

Hosted by Eric Garcia:Music in Shostakovich and Stalin:Shostakovich: Symphony No. 4Royal Liverpool Philharmonic OrchestraVasily Petrenko, conductor℗ 2013 NaxosShostakovich:Lady Macbeth of MtsenskGalina Vishnevskaya, Dimiter Petkov, & Nicolai GeddaLondon Philharmonic OrchestraMstislav Rostropovich, conductor℗ 2002 by EMI Records ltdShostakovich : Concerto for Piano, Trumpet, Strings/Piano Concerto No.2/Symphony No.1Berliner PhilharmonikerMariss Jansons, conductor℗ The copyright in these sound recordings is owned by EMI Records Ltd. This compilation (P) 2003 by EMI Records Ltd.Shostakovich: Piano Concerto No. 1, Piano Quintet & ConcertinoMartha ArgerichOrchestra della Svizzera ItalianaAlexander Verdernikov, conductor℗ 2007 Parlophone Records Limited, a Warner Music Group CompanyTea for TwoBenny Goodman Greatest Hits (Remastered)Benny Goodman Quartet℗ 1996 BMG MusicShostakovich: The Jazz AlbumConcertgebouworkest Riccardo Chailly, conductor℗ 1992 Decca Music Group LimitedProkofiev: Alexander Nevsky; Scythian Suite; Lieutenant KijéChicago Symphony Orchestra, Elena Obraztsova & London Symphony OrchestraClaudio Abbado, conductorThis Compilation ℗ 1995 Deutsche Grammophon GmbH, Berlin50 of the Best: J.S. BachBournemouth Symphony OrchestraJosé Serebrier, conductor℗ 2011 Naxos Digital CompilationsStravinsky: Oedipus RexAnne Sofie von Otter, Vinson Cole, Nicolai Gedda, Hans Sotin, Simon Estes, Swedish Radio Choir, Swedish Radio Symphony Orchestra & The Eric Ericson Chamber ChoirEsa-Pekka Salonen, conductor℗ 1992 SONY BMG MUSIC ENTERTAINMENT

Paloma de Boismorel "La fin du sommeil" (Editions de l'Olivier)« Dormir, c'est ce que j'avais fait depuis le début. »Devenu malgré lui un architecte à la mode, Pierre-Antoine est le père de trois enfants indifférents et l'époux d'une galeriste surmenée. Au milieu d'une insomnie, ses yeux s'ouvrent sur une étrange révélation. La réalité lui apparaît désormais sous un jour nouveau. Le visage de sa fille, l'éclairage de sa cuisine, les mails de ses clients, le sourire de sa femme, les œuvres qu'il regarde… tout a changé. Alors qu'une simple allergie lui est diagnostiquée, le narrateur annonce à son entourage souffrir d'un cancer de la gorge.Cette ruse devrait lui laisser le temps d'écrire un roman, de retrouver l'amour de sa femme, la considération de ses enfants ainsi que le sens de cette existence burlesque.Comédie absurde et pleine d'esprit, le premier roman de Paloma de Boismorel se joue avec vivacité de la tyrannie du bien-être, des vanités et des faux-semblants.Musique:   "Dans le noir" de Juniore « Pêcheur de perle » de Georges Bizet. « Je crois entendre encore » interprété par Nicolai Gedda

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.

Bajo este epígrafe traemos aquí arias de esas que llamamos "de bigote". Páginas de gran dificultad por su configuración, su escritura interválica, sus exigencias de enorme agilidad o su reclamo para elevarse a zonas extremas de la tesitura. En esta entrega analizamos y escuchamos Fuor del mar y D’Oreste d’Ajace de Idomeneo, la extensa aria de concierto, tan comprometida, Popolo di Tesaglia, todas ellas de Mozart. También seguimos interpretaciones de fragmentos de La dame blanche de Boieldeau y Le postillón de Longjumeau. Convocamos para ello las voces de Anthony Rolfe-Johnson, Julia Varady, Edda Moser, Nicolai Gedda y Helge Roswaenge. Intervienen directores como Eliot Gardiner, Böhm Fournet o HagerEscuchar audio

Today's is a mammoth episode, one of my longest ever, so I suggest you listen to it in easily digestible segments. It's mammoth because it's a gigantic subject: great Mozart tenors of the 20th century, covering more than 100 years of recorded documents of the finest examples of tenorial interpretations of the big Mozart operas as well as some of his lesser-known works, including his concert arias. You will be dazzled (and that is a promise and a guarantee) by performances by Fritz Wunderlich (for many of us, the ne plus ultra of lyric tenors), George Shirley, Richard Tauber, Anton Dermota, Léopold Simoneau, Nicolai Gedda, Gösta Winbergh, John McCormack, David Rendall, Peter Schreier, and countless others, including lesser-known figures such as John van Kesteren, Kálmán Pataky, and Wiesław Ochman, and duets featuring Pilar Lorengar, Leontyne Price, Roberta Alexander, and Margaret Price. I also feature a peek into the future with a special salute to the young tenor Alex Banfield, whose work has impressed me enormously. The entire episode is dedicated to the memory of my friend Jerry Hadley, one of the supreme Mozart tenors of all time. 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.

Synopsis Happy Saint Valentine's Day! On today's date in 1953, a new choral work by the German composer Carl Orff received its premiere performance at the La Scala opera house in Milan, Germany. Trionfo di Afrodite was the title of the new work, intended to be the final panel in a triptych of choral works celebrating life and love. This triptych included Orff's famous Carmina Burana, based on medieval texts, and Catulli Carmina, based on love lyrics by the Roman poet Catullus. All three pieces were given lavish, semi-staged performances at La Scala, led by the Austrian maestro Herbert von Karajan, and with German soprano Elisabeth Schwarzkopf and Swedish tenor Nicolai Gedda as the star soloists. For the world premiere performance of Trionfo di Afrodite, Schwarzkopf and Gedda portrayed a bride and groom on their wedding night: the texts they sang were pretty hot stuff—if you understand Latin, that is! Triofi di Afrodite shows Orff's indebtedness to Stravinsky, and his repetitive rhythmic patterns seem to anticipate the "minimalist" movement by several decades. At the 1953 premiere, Schwarzkopf's husband, record producer Walter Legge, gently suggested to Orff that he might consider a few cuts to the new work. Orff's response? "Oh, I know very well the effect of my rubber-stamp music!" In any case, Legge decided not to make a recording of the new work—which seems a shame, considering the all-star cast assembled at La Scala for its premiere! Music Played in Today's Program Carl Orff (1985 - 1982) Trionfo di Aphrodite

Today's episode is a special request from one of my most dedicated listeners, and one with which I am happy to comply. It is already seven years this month since the death of the great Swedish tenor Nicolai Gedda (11 July 1925 – 8 January 2017). One of the most cultivated singers of the twentieth century, Gedda not only had a rock-solid technique and an instantly recognizable timbre, but he was a brilliant musician and a polyglot of the first order, singing a wide range of repertoire and styles in a host of languages. He was also a prolific recording artist. Though he sang an enormous range of operatic roles, in this episode, I have decided to focus entirely on a slightly lesser-known aspect of his career: his work in art song. Gedda was a master of French style, but also celebrated for his performances of Russian music. And one of the three languages he spoke while he was growing up was German, which lends his work in that language a real authenticity as well. In listening to recordings of song repertoire, I was struck by the frequent added spontaneity and commitment of his live versus his studio performances, so the episode features a large number of selections culled from Gedda's live recitals. Gedda is accompanied by some of the most exceptional pianists of his time: Alexis Weissenberg, Wolfgang Sawallisch, Gerald Moore, Geoffrey Parsons, Dalton Baldwin, Erik Werba, Hermann Reutter, and his compatriot and most frequent collaborator Jan Eyron. Another extraordinary aspect of Gedda's singing was his longevity. We hear him in songs by Strauss, Berlioz, Schubert, Janáček, Duparc, Grieg, Schumann, Fauré, Respighi, and Gounod, recorded over a period of nearly 40 years. Here is another singer who was active into the twilight of his life and sang into his seventies with both the intimacy and clarion power that were his musical trademarks. 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.

Segunda parte de nuestro viaje musical por esta gozosa ópera de Richard Strauss. Abrimos con le entrega de la rosa de plata y el maravilloso dúo subsiguiente. Octavian actúa como emisario y portador en representación del Barón Ochs. Sophie recibe el presente. Los dos jóvenes se quedan prendados el uno del otro. Escuchamos la versión dirigida por Carlos Kleiber en la Staatsoper de Baviera a Lucia Popp y Brigitte Fassbaender. Seguimos con la escena de conjunto del primer acto con el ápice del aria del tenor italiano. En el foso, Karajan. El tenor es Nicolai Gedda. Crhistian Thielemann al frente de La Filarmónica de Munich nos ofrece a continuación los Preludios del tercer y del primer acto, por ese orden. Enlazamos con una nueva versión del famoso Trío Mariscala, Octavian y Sophie, en este caso la gobernada, en la Ópera de Viena, por Hans Knappertsbusch, con las voces de Maria Reining, Sena Jurinac y Hilde Gueden. Por último, el final de la ópera con Popp y Fasabaender. Escuchar audio

Dans cet écrit, le philosophe allemand propose une critique élogieuse de l'Opéra Carmen de Bizet et marque ainsi sa rupture avec Wagner.     Bizet : Carmen : Duo Final (« C'est toi? C'est moi ! ») – Nicolai Gedda, ténor – Orch.National de la Radiodiffusion Française – Thomas Beecham, dir. – Warner   Wagner : Parsifal, Prélude – Orch. Philharmonique de Vienne – Georg Solti, dir. - Decca Réalisation : Laetitia Montanari / Radio Classique Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.

Un recorrido biográfico por la trayectoria y la voz del tenor más grabado de todos los tiempos. --- Send in a voice message: https://podcasters.spotify.com/pod/show/arturo-magaa-duplancher/message

This week I celebrated my birthday, so today is the second of this month's birthday celebrations. A number of my listeners have been asking me for a while to post an episode featuring my favorite singers and recordings. So here it is! We lead off with a brief memorial tribute to Angela Lansbury, who died in the early California morning of my birthday. The rest of the episode features many recordings that I first got to know as I began exploring the world of great singing on records. Leontyne Price, Maria Callas, Alexander Kipnis, Elisabeth Söderström, Richard Lewis, Renata Scotto, Adele Addison, Gundula Janowitz, Margaret Price, Teresa Stratas, Gérard Souzay: all of these artists were formative figures in my early listening experience. My appreciation of some others came later: Hina Spani, Brigitte Fassbaender, Georges Thill, Sylvia Sass, Nicolai Gedda, Kirsten Flagstad. By this late date, all of them have been favorite artists of mine for decades and are represented on the episode by some of their greatest recordings. The episode concludes with a brief tribute to the English composer Ralph Vaughan Williams on the occasion of his 150th birthday, also celebrated this week. P.S. Two years ago I did another Happy Birthday To Me episode, which featured performances by some of my favorite pop divas. The episode can be found for a limited time at the top of my LinkTree chain. 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.

Today Countermelody is in limbo: balanced between Seasons Three and Four. Over the past few months I've been planning the course of the upcoming season and this episode consists of musical tidbits (bocconcini, if you will) of some of the singers and themed series that I am planning for Season Four. Included are retrospectives of singers Judith Raskin, Roberta Alexander, Sammy Davis, Jr., Helen Donath, Hugues Cuénod, Anna Moffo, Denise Duval, and Nicolai Gedda, all of whom are “sampled” today. I'm also planning programs on; “Great Singers We've Never Heard Of;” the music of Alec Wilder; the Black male singer as European émigré; “Behind the Iron Curtain;” explorations of both Orchestral Songs and Rare Twentieth-Century Operas; and “Great Singers in Old Age;” as well as, naturally, a closer examination of many of those New York City Opera divas to whom I provided an introduction last week. The new season will also be more interactive, with livestream interviews planned with various fascinating (and legendary!) figures in the world of opera and classical music. Thanks to all for your continued support, friendship, and listenership; see you next week for the debut of Season Four of Countermelody! 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 : 00:21:21 - Disques de légende du mardi 03 mai 2022 - Aujourd'hui dans Disques de légende, nous écoutons Capriccio de Richard Strauss par l'Orchestre Philharmonia dirigé par Wolfgang Sawallisch, avec les chanteurs Elisabeth Schwarzkopf, Christa Ludwig, Nicolai Gedda, Dietrich Fischer-Dieskau, Eberhard Waechter ou Hans Hotter.

The great African American coloratura Reri Grist was born on leap year 1932. We celebrate her upcoming 90th birthday with a tribute featuring many of her greatest roles and recordings. After appearing as Consuelo in the 1957 Broadway premiere of West Side Story, and encouraged by Leonard Bernstein, Grist began a career in opera that took her around the world to all of the greatest opera houses. Reri Grist was the perfect exemplar of the so-called “-ina” roles: soubrette parts in Mozart and Strauss operas (Blondchen, Susanna, Despina, Zerlina, Zerbinetta, and Sophie), as well as the comic operas of Donizetti and Rossini (including Adina, Norina, and Rosina). This episode features her in most of these roles and concludes with the glorious finale of the second act of Richard Strauss's 1935 comedy Die schweigsame Frau, one of her most notable successes. Vocal guest stars today include Christa Ludwig, Luciano Pavarotti, Sena Jurinac, Nicolai Gedda, Gwyneth Jones, Luigi Alva, Judith Raskin, Donald Grobe, and Richard Lewis. Whether you are celebrating 90 years or 22-and-a-half leap years, we celebrate you, Frau Grist, and offer heartfelt thanks for the joys that you have offered us. 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.

W historii dzisiejszej rozmówczyni spotykają się dwa światy - świat sportu i muzyki. Jako absolwentka szkoły muzycznej pierwszego i drugiego stopnia, chciała połączyć marzenie o byciu fizjoterapeutką (aby dbać o dobrostan muzyków) ze studiami na Uniwersytecie Muzycznym im. Fryderyka Chopina w Warszawie. Jednak kiedy przyszedł czas ostatecznej decyzji, musiała skupić swoją uwagę na jednej dziedzinie. Wybrała dyrygenturę. Dziś, choć początki po studiach nie były łatwe (jak dla wielu absolwentów i absolwentek dyrygentury), jest dyrygentką i dyrektorką muzyczną Opéra national de Lorraine w Nancy.  Marta Gardolińska to miłośniczka kawy, kobieta o niezwykłym intelekcie, elokwencji i sposobie bycia. Poliglotka. Tim Ashley, krytyk opery i muzyki klasycznej dla Guardiana nazywa ją "artystką, z którą należy się liczyć". Pierwsza w historii kobieta kierująca Operą Narodową Lotaryngii. Dzisiaj w Pracowni Marta opowiada o dzieciństwie pełnym sportu i muzyki, podstawach dyrygentury, a także dlaczego dyrygentura odpowiadała jej o wiele bardziej niż gra na instrumencie. Rozmawiamy edukacji muzycznej w Polsce, o misji i ideałach Marty, sukcesach i porażkach, czy kiedykolwiek batuta wypadła jej z ręki a także o reakcjach muzyków na film "Whiplash". Rozmawiamy otwarcie i szczerze, miejscami filozoficznie.  Polecenia Marty do Kanonu Lektur Pracowni Dziewczyn: "Dare to Lead: Brave Work, Tough Conversations, Whole Hearts" - Brené Brown Opera "Carmen" Georges'a Bizeta w nagraniu z Nicolai Gedda w roli Don José i Marią Callas jako Carmen.  * Strona Marty: https://martagardolinska.com/ Profil Marty na stronie agencji Askonas Holt: https://www.askonasholt.com/artists/marta-gardolinska/  Opéra national de Lorraine w Nancy: https://www.opera-national-lorraine.fr/en/  Marta na IG: @martagardolinska Marta na Facebooku: @gardolinskaconductor  Instagram Pracowni Dziewczyn @pracowniadziewczynpod  Facebook Pracownia Dziewczyn @pracowniadziewczyn Kontakt: pracowniadziewczynpodcast@gmail.com

Sin tids vänsterproggare som skrev musik med budskap för folket. En genial men alkoholiserad överklasskille som lämnade det mesta halvfärdigt. Låtlista Night at the disco mountain, ur Saturday Night Fever Skyltbararpolka Nina Kavtaradze, piano Islamei Boris Berezovsky, piano Alexander Borodin: Symfoni nr 2 Slovakiska symfoniorkestern Alexander Borodin: Polovtsiska danser Londons festivalorkester och kör, Stanley Black, dirigent Nikolai Rimsky-Korsakov: Hymn to the sun Aida Garifullina, sopran , , ! Galina Kuznetsova With Nanny Nina Dorliac Boris Godunov, fjärde akten, Ah! Ah! They've offended God's Fool! Mstislav Rostropovich, cello, Nicolai Gedda, tenor ur Tavlor på en utställning Janos Solyom, piano

Sin tids vänsterproggare som skrev musik med budskap för folket. En genial men alkoholiserad överklasskille som lämnade det mesta halvfärdigt. Lyssna på alla avsnitt i Sveriges Radio Play. Låtlista Night at the disco mountain, ur Saturday Night Fever Skyltbärarpolka – Nina Kavtaradze, piano Islamei – Boris Berezovsky, piano Alexander Borodin: Symfoni nr 2 – Slovakiska symfoniorkestern Alexander Borodin: Polovtsiska danser – Londons festivalorkester och kör, Stanley Black, dirigent Nikolai Rimsky-Korsakov: Hymn to the sun – Aida Garifullina, sopran Ах, ты, пьяная тетеря! – Galina Kuznetsova With Nanny – Nina Dorliac Boris Godunov, fjärde akten, ”Ah! Ah! They've offended God's Fool!” – Mstislav Rostropovich, cello, Nicolai Gedda, tenor ur Tavlor på en utställning – Janos Solyom, piano

En radikal reformator 1700-tals-operans motsvarighet till Richard Wagner. Pionjär också för Sturm & Drang och förebild för gustavianen Joseph Martin Kraus. Låtlista Ur Åsa-Nisse på hal is Gluck/Wagner, Ouverture ur Ifigenia & Aulis  Christoph Spering, Das Neue Orchester  Gluck/Scambati, ur Orfeus och Euridike för piano Yuja Wang  Orfeo e Euridike, Che puro ciel!   Renee Jacobs, Freiburger Barockorchester Alceste Ombres larves Ann-Sofie von Otter, John Eliot Gardiner  Joseph Martin Kraus: Symfoni i C, sats 3 Kammerorchester Basel, Giovanni Antonini  Joseph Martin Kraus: Funeral (Gustav III) Ragnar Ulfung  Ifigenia på Tauris Kör, Nicolai Gedda, Jessye Norman 

En radikal reformator 1700-tals-operans motsvarighet till Richard Wagner. Pionjär också för Sturm & Drang och förebild för gustavianen Joseph Martin Kraus. Lyssna på alla avsnitt i Sveriges Radio Play. Låtlista Ur Åsa-Nisse på hal is Gluck/Wagner, Ouverture ur Ifigenia & Aulis – Christoph Spering, Das Neue Orchester Gluck/Scambati, ur Orfeus och Euridike för piano – Yuja Wang Orfeo e Euridike, Che puro ciel! – Renee Jacobs, Freiburger Barockorchester Alceste ”Ombres larves” – Ann-Sofie von Otter, John Eliot Gardiner Joseph Martin Kraus: Symfoni i C, sats 3 – Kammerorchester Basel, Giovanni Antonini Joseph Martin Kraus: Funeral (Gustav III) – Ragnar Ulfung Ifigenia på Tauris – Kör, Nicolai Gedda, Jessye Norman

I have dreamed of doing an episode on the great Irish soprano Heather Harper (1930 – 2019) since before I began the podcast. As we we find ourselves in close proximity to both the anniversary of her birth on 8 May 1930 and her death on 22 April 2019, I feel compelled to bring that dream to life. A peerless artist, probably most renowned today for her close collaboration with Benjamin Britten, whose War Requiem she learned ten days before the premiere when the scheduled artist, Galina Vishnevskaya, was refused by the Soviet government to participate in the performance. Her crackerjack musicianship is heard to full advantage in 20th century works by Michael Tippett, Leif Segerstam, Anton Webern, Luigi Dallapiccola, Francis Poulenc, William Walton, and Alban Berg. But her focused, flexible instrument also made her an ideal performer of the Baroque repertoire (we hear her in Purcell, Monteverdi, Cavalli, Bach and Handel). And the surprising stores of power she could summon made her a vital and sympathetic heroine in the operas of Wagner, Mozart, Strauss, and Gounod, as well Britten’s Ellen Orford, of which she was the definitive interpreter. She also excelled in the intimate medium of the Lieder recital. Vocal guest stars include Jessye Norman, Helen Donath, Nicolai Gedda, John Shirley-Quirk, Norman Mittelmann, Nicolai Ghiaurov, and others. Conductors heard include Pierre Boulez, Rudolf Kempe, Colin Davis, Raymond Leppard, Gary Bertini, Meredith Davies, Horst Stein, Anthony Lewis, Carlos Païta, Bernard Haitink, Steuart Bedford, Hans Swarowsky, David Atherton, and Gianandrea Gavazzeni. Fasten your seat belts and settle for an overdue tribute to the dazzling versatility and artistry of the great Heather Harper. 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.” Occasional guests from the “business” (singers, conductors, composers, coaches, and teachers) lend their distinctive insights. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. 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 visit the Countermelody website (www.countermelodypodcast.com) for additional content including artist photos and episode setlists. And please head to my Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford. Bonus episodes available only to Patreon supporters are currently available.

durée : 00:12:49 - Disques de légende du mercredi 05 mai 2021 - En 1972, le chef d'orchestre britannique Colin Davis enregistre l'opéra Benvenuto Cellini d'Hector Berlioz pour le label Philips, avec l'Orchestre symphonique de la BBC et une belle distribution vocale : le ténor Nicolai Gedda, la soprano Christiane Eda-Pierre ou encore le baryton Robert Massard.

durée : 00:12:29 - Disques de légende du lundi 26 avril 2021 - Entre septembre 1963 et avril 1964, le chef d'orchestre italien Carlo Maria Giulini enregistre pour EMI le célèbre Requiem de Gisueppe Verdi, avec l'Orchestre et le Chœur Philharmonia, et en solistes un quatuor légendaire : Elisabeth Schwarzkopf, Christa Ludwig, Nicolai Gedda et Nicolai Ghiaurov.

I serien med 10 svenske og 10 danske operasangere med international karriere møder vi et lille udsnit af de store sangere og denne gang gælder det tenoren Nicolai Gedda og sopranen Henriette Bonde-Hansen.

Hosted by Eric Garcia:Music in Shostakovich and Stalin:Shostakovich: Symphony No. 4Royal Liverpool Philharmonic OrchestraVasily Petrenko, conductor℗ 2013 NaxosShostakovich:Lady Macbeth of MtsenskGalina Vishnevskaya, Dimiter Petkov, & Nicolai GeddaLondon Philharmonic OrchestraMstislav Rostropovich, conductor℗ 2002 by EMI Records ltdShostakovich : Concerto for Piano, Trumpet, Strings/Piano Concerto No.2/Symphony No.1Berliner PhilharmonikerMariss Jansons, conductor℗ The copyright in these sound recordings is owned by EMI Records Ltd. This compilation (P) 2003 by EMI Records Ltd.Shostakovich: Piano Concerto No. 1, Piano Quintet & ConcertinoMartha ArgerichOrchestra della Svizzera ItalianaAlexander Verdernikov, conductor℗ 2007 Parlophone Records Limited, a Warner Music Group CompanyTea for TwoBenny Goodman Greatest Hits (Remastered)Benny Goodman Quartet℗ 1996 BMG MusicShostakovich: The Jazz AlbumConcertgebouworkest Riccardo Chailly, conductor℗ 1992 Decca Music Group LimitedProkofiev: Alexander Nevsky; Scythian Suite; Lieutenant KijéChicago Symphony Orchestra, Elena Obraztsova & London Symphony OrchestraClaudio Abbado, conductorThis Compilation ℗ 1995 Deutsche Grammophon GmbH, Berlin50 of the Best: J.S. BachBournemouth Symphony OrchestraJosé Serebrier, conductor℗ 2011 Naxos Digital CompilationsStravinsky: Oedipus RexAnne Sofie von Otter, Vinson Cole, Nicolai Gedda, Hans Sotin, Simon Estes, Swedish Radio Choir, Swedish Radio Symphony Orchestra & The Eric Ericson Chamber ChoirEsa-Pekka Salonen, conductor℗ 1992 SONY BMG MUSIC ENTERTAINMENT

Hosted by Eric Garcia:Music in Shostakovich and Stalin:Shostakovich: Symphony No. 4Royal Liverpool Philharmonic OrchestraVasily Petrenko, conductor℗ 2013 NaxosShostakovich:Lady Macbeth of MtsenskGalina Vishnevskaya, Dimiter Petkov, & Nicolai GeddaLondon Philharmonic OrchestraMstislav Rostropovich, conductor℗ 2002 by EMI Records ltdShostakovich : Concerto for Piano, Trumpet, Strings/Piano Concerto No.2/Symphony No.1Berliner PhilharmonikerMariss Jansons, conductor℗ The copyright in these sound recordings is owned by EMI Records Ltd. This compilation (P) 2003 by EMI Records Ltd.Shostakovich: Piano Concerto No. 1, Piano Quintet & ConcertinoMartha ArgerichOrchestra della Svizzera ItalianaAlexander Verdernikov, conductor℗ 2007 Parlophone Records Limited, a Warner Music Group CompanyTea for TwoBenny Goodman Greatest Hits (Remastered)Benny Goodman Quartet℗ 1996 BMG MusicShostakovich: The Jazz AlbumConcertgebouworkest Riccardo Chailly, conductor℗ 1992 Decca Music Group LimitedProkofiev: Alexander Nevsky; Scythian Suite; Lieutenant KijéChicago Symphony Orchestra, Elena Obraztsova & London Symphony OrchestraClaudio Abbado, conductorThis Compilation ℗ 1995 Deutsche Grammophon GmbH, Berlin50 of the Best: J.S. BachBournemouth Symphony OrchestraJosé Serebrier, conductor℗ 2011 Naxos Digital CompilationsStravinsky: Oedipus RexAnne Sofie von Otter, Vinson Cole, Nicolai Gedda, Hans Sotin, Simon Estes, Swedish Radio Choir, Swedish Radio Symphony Orchestra & The Eric Ericson Chamber ChoirEsa-Pekka Salonen, conductor℗ 1992 SONY BMG MUSIC ENTERTAINMENT

Centramos el programa en la ópera Vanessa de Samuel Barber, estrenada en enero de 1958 bajo el mandato de Sir Rudolf. Escuchamos fragmentos de una grabación en vivo del Festival de Salzbugo de agosto del mismo año en la que, menos uno, participaban todos los cantantes que habían intervenido en el Met: Eleanor Steber, Rosalind Elias, Nicolai Gedda y Giorgio Tozzi. Ira Malaniuk sustituía a Regina Resnik. Los compases tan straussianos a veces, de la música de Barber, elegantes y de excelente factura, se dejarán oír a través de varios estratégicos fragmentos dirigidos, con la Filarmónica de Viena en el foso, por Dimitri Mitropoulos, presente asimismo en Nueva York. Suenan también momentos provenientes de La violación de Lucrecia de Britten, y The Rake’s Progress de Stravinski, grandes novedades igualmente de la programación del coliseo neoyorkino. A ellas se unió por entonces Wozzeck de Berg que cantara el gran y malogrado barítono alemán Hermann Uhde. Cerramos con su interpretación de la sección final del Monólogo de El Holandés errante de Wagner. Escuchar audio

I had been planning a 90th birthday tribute to this extraordinary artist in December, but alas, the great Rosanna Carteri departed this earth a week ago today, just a few weeks short of that landmark celebration. But let us celebrate today nonetheless, that 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.” Occasional guests from the “business” (singers, conductors, composers, coaches, and teachers) lend their distinctive insights. 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 visit the Countermelody website (www.countermelodypodcast.com) for additional content. And please head to our Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford. Bonus episodes available only to Patreon supporters are currently available, including a new extra episode further exploring today’s topic.

Ponemos hoy sobre la mesa de operaciones la hermosa cavatina de Fausto: Salut, demeure chaste et pure. El rejuvenecido personaje canta las excelencias de la bella Marguerite. Una de las más seductoras páginas de Gounod. Ofrecemos, a efectos comparativos, seis destacadas interpretaciones. Las de Georges Thill, Hipólito Lázaro, Antonio Cortis, Jussi Bjoerling, Nicolai Gedda y Alfredo Kraus. Escuchar audio

Beethoven 250Ludvig van Beethoveni laule esitavad Nicolai Gedda ja Jan Eiron, salvestatud 1969.

Beethoven 250Ludvig van Beethoveni laule esitavad Nicolai Gedda ja Jan Eiron, salvestatud 1969.

The first of my two Queer Pride episodes is devoted to a group of pioneering lesbians in the 1970s and beyond, in both classical and pop music. Two iconic mezzo-sopranos whose careers began in the 1960s and extended through the 1990s are the Greek-American Tatiana Troyanos and Brigitte Fassbaender, daughter of the German baritone Willi Domgraf-Fassbaender. I explore the similarities and differences in the repertoire and career paths of these two unique artists, and share examples of them singing repertoire from Handel to Weill, Scarlatti to Penderecki, with particular focus on Fassbaender’s Lieder performances and Troyanos’s work in bel canto. Then I turn to key figures in the Women’s Music Movement of the 1970s, including Meg Christian, Cris Williamson, Margie Adam, Holly Near, and Deidre McCalla, while also paying tribute to those who, in turn, paved the way for them, including Janis Ian, Dusty Springfield, and Ronnie Gilbert. We also acknowledge the work of queer African American singers, including Deidre McCalla, Meshell Ndegeocello, and Toshi Reagon. We all owe an enormous debt of gratitude to these extraordinary artists, who created a world of possibility for their musical and artistic descendants, at the same time setting standards that will stand the test of time. Vocal guest stars include Janet Baker, Ileana Cotrubas, Margaret Price, Nicolai Gedda, Gundula Janowitz, Arleen Augér, Cecilia Gasdia, and Reri Grist. 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 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 visit the Countermelody website (www.countermelodypodcast.com) for additional content. And please head to our Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford.

Here is a program filled with sunshine for a March day. Franco Corelli sings O sole mio plus arias from Rigoletto, Romeo and Juliet and May Night. Also spreading sunshine are Karita Mattila, Piotr Beczala, Renata Scotto, Carlo Bergonzi and Nicolai Gedda. The post Here Comes the Sun appeared first on WFMT.

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

Abordamos los tipos vocales berliozianos. Empezamos por el tenor y describimos algunos de los personajes masculinos más importantes: Benvenuto Cellini, Fausto, Eneas..., al tiempo que tratamos las peculiaridades de la escritura de las partes sacras: Requiem, Te Deum. Escuchamos voces como las de Nicolai Gedda, Georges Thill, Keith Lewis,José Carreras, Ronald Dowd o Jonas Kaufmann. Escuchar audio

durée : 00:22:49 - Disques de légende du mercredi 15 janvier 2020 - Créé le 15 janvier 1958 à New-York, l'opéra 'Vanessa' de Samuel Barber est enregistré dans la foulée par les mêmes interprètes : Eleanor Steber, Nicolai Gedda, Rosalind Elias notamment ; l'Orchestre du Metropolitan Opera est placé sous la direction de son chef principal, Dimitri Mitropoulos.

A 1959 broadcast featuring Regine Crespin, Nicolai Gedda and Ernest Blanc under the fine Berlioz conductor Igor Markevitch.

Joan Sutherland, Nicolai Gedda and Spiro Malas.

Nicolai Gedda, Renata Scotto, Christian Gerhaher, Susan Graham, Anne-Sofie von Otter and Karen Cargill.