Podcasts about pollione

An der Wiener Staatsoper feierte die Neuinszenierung von Vincenzo Bellinis "Norma" Premiere. Sopranistin Federica Lombardi blieb in der Titelpartie blass, Tenor Juan Diego Flórez als Pollione ebenfalls. Die Inszenierung von Cyril Teste enttäuschte. Eine Kritik von Walter Weidringer.

A cura di Paolo PellegriniCommento musicale Valerio LopanePresentazione Mascia DionisiVincenzo Bellini NormaNorma, Maria Callas,Pollione, Franco Corelli,Adalgisa, Christa Ludwig,Oroveso, Nicola ZaccariaCoro e Orchestra del Teatro alla Scala di MilanoTullio Serafin, direttore

Completamos nuestro estudio de la voz y la personalidad del tenor cordobés escuchando, en primer lugar, el bis que hubo de conceder en el San Carlo de Nápoles en 1972 de Nessun dorma de Turandot de Puccini. Luego asistimos a dos interpretaciones de sendas páginas de Otelllo de Verdi: Dio mi potevi scagliar y la muerte del Moro, recogidas en el Liceo en 1979. Seguimos con la salida de Pollione en Norma de Bellini (Londres, 1978) y la correspondiente cabaletta de cierre de escena, la salida de Canio en Pagliacci de Leoncavallo (Ópera de Viena, 1966), el aria de Riccardo de Un ballo in maschera (Gante, 1978), Ah si, ben mio y La Pira de Il trovatore de Verdi (Liceo, 1973) y Fra poco me ricovero de Lucia di Lammermoor de Donizetti (Pittsburgh, 1967). Escuchar audio

Gli alunni delle classi quinte raccontano i 5 anni vissuti a scuola

Favola ideata dagli alunni della terza A

Gli alunni della terza B raccontano la fiaba: pizzeria Torre di Mola

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Quando le parole non possono essere leggere e colorate come farfalle

Gli alunni della classe IV A Scuola Primaria "G. Bosco" di Penitro, hanno raccontato le civiltà Mesopotamiche.

Tenor, Ferdinand von Bothmer, discusses training the breath via coloratura, the tenor high notes, registration, and his transition into singing heavier repertoire. Ferdinand has performed in countless theatres, such as La Scala, Wiener Staatsoper, Bayerische Staatsoper, Zurich Opera, and Washington National Opera, in roles such as Lohengrin, Parsifal, Alfredo, and Pollione. Ferdinand is also known for his publication of a new complete edition of Liszt lieder. WATCH Ferdinand in action: https://youtu.be/-RkLeMM37c4 Voice with Julia's #techniquetalks is where we demystify conversations surrounding vocal technique with behind-the-scenes access to great singers of today. Forget what you thought you knew about singing from your pedagogy textbook. In this series, singers get real about what works, and what doesn't. Get inspired. Try these tips. Use your judgement. Show Notes: 10:38 Ferdinand discusses his transition into singing heavier repertoire 15:40 Ferdinand discusses about bringing in the first formant when singing heavier repertoire 19:01 Ferdinand discusses how he developed his instrument as a young tenor, and how he overcame his struggles 20:55 Ferdinand discusses his vocal training before he started singing on stage 25:30 Ferdinand discusses the importance of breathing (how he breathes and teaches breathing) 30:35 Ferdinand discusses training the breath via coloratura 32:56 Ferdinand discusses relaxing and lowering the larynx 34:26 Ferdinand discusses tongue position in singing 38:25 Ferdinand discusses registration 42:20 Ferdinand discusses modification of vowels depending on your native language and the differences between vowels in different languages 45:11 Ferdinand discusses tenor high notes 50:00 Ferdinand discusses how he prepares his voice for singing 51:05 Ferdinand discusses challenges for the tenor voice 54:50 Ferdinand discusses body consciousness 57:35 Ferdinand discusses the technical principals that he still consciously focuses on today 1:01:03 Ferdinand discusses his desert island vocalise ❤️  JOIN my FB Group: https://www.facebook.com/groups/techniquetalksforsingers/ ❤️  Subscribe to never miss a video: https://www.youtube.com/channel/UCGibxkvaN8KVff0ztzYznMg ❤️  More at https://www.voicewithjulia.com ❤️  To stay in the know, and gain behind-the-scenes access to upcoming guests: https://www.voicewithjulia.com/techniquetalks/ ❤️  More at https://www.voicewithjulia.com  ❤️  Instagram: @voicewithjulia  ❤️  Facebook: Voice With Julia

Conferenza di presentazione del progetto del nuovo istituto "Vitruvio Pollione" di Formia e della palestra "De Amicis". Interviste a cura di Letizia Lagni:- Paola Villa,- Alfonso Priori- Annunziata Marciano- Carmela Paone- Orlando Giovannone- Pasquale Forte- Barbara Coppola

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[@ 5 min] Oliver goes ‘Inside the Huddle’ with Russell Thomas, one of the most sought-after tenors of his generation who specializes in the hardest-to-cast roles like Pollione in Bellini’s ‘Norma’, Florestan in Beethoven’s ‘Fidelio’ and the title role of Verdi's ‘Otello'… [@ 45 min] In ‘Chalk Talk’, the OBS gang wrap up the Opera Bracket Final Four from Michigan Opera Theater. Only a single team can have its one shining moment. Find out who… [@ 1h30min] And in the Two Minute Drill… Bad news from more of America’s summer opera festivals and worse news from the National Association of Teachers of Singing... www.facebook.com/obschi1 www.operaboxscore.com @operaboxscore

Pasqua 2020, Gli auguri di Annunziata Marciano, dirigente scolastico dell'istituto comprensivo "Annunziata Marciano" di Formia. Data: 08/04/2020.

Gli alunni delle classi quarte AB hanno raccontato il giorno delle foibe.

Gli alunni delle classi quarte AB hanno raccontato il giorno delle foibe.

scuola primaria giovanni bosco penitro formia

scuola primaria giovanni bosco penitro formia

Davide

Davide

Episode 6. Shirley Verrett II: La Regina del Bel Canto. In this episode in my Shirley Verrett miniseries, I explore a wide range of the artist’s bel canto roles, including the roles of Neocle in Rossini’s L’assedio di Corinto, Elisabetta in Donizetti’s Maria Stuarda, Leonora in La Favorita, Sinaïde in Rossini’s Mosè in Egitto and the French version Moïse et Pharaon, and finally, the roles of Adalgisa and, finally, the title role in Bellini’s Norma, surely one of her greatest creations. Musical examples abound, with other featured artists including Leyla Gencer as Maria Stuarda, and John Alexander, who played Pollione to both Verrett’s Adalgisa and her Norma. 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

Aired: 8/20/19, 1640AM, ktalkmedia, Salt Lake CityFormer Weber State standout Ta'u Pupu'a joined me from NYC to discuss his amazing life, including his days in Utah as an outstanding football player, a stint in the NFL and his most recent performance at the Apollo Theater in Greece. Ta'u talks about the history of opera as I repeatedly offer insights about heavy metal. He also explains why he had to decline an offer to perform for the King of Tonga's birthday party. Maybe next year.Thanks for a great show Ta'u. See you at the Metropolitan Opera House for something great, not just good.

Am 12. Januar 2019 singt der maltesische Tenor Joseph Calleja letztmalig den Pollione in Bellinis "Norma" am Münchner Nationaltheater. Mit Michael Atzinger sprach er über die Spezifika einer mediterranen Stimme wie der seinen - und über den bayerischen Winter.

En este tercer episodio de 'Abrimos la Ópera' hablamos de 'Norma' Vincenzo Bellini. Nos encontramos en las Galias recién invadidas por los romanos en el 50 a.C. Los galos están planeando una rebelión contra sus invasores pero deben consultar primero con sus dioses en la Ceremonia de la Luna antes de iniciar la guerra. La sacerdotisa Norma es la encargada de transmitir el mensaje de los dioses al resto del pueblo, al parecer ellos piden la paz.Y Norma, también busca esa paz, porque mantiene una relación con el precónsul romano Pollione con el que, además, tiene dos hijos. Mientras oficia la ceremonia para sellar ese pacto de paz, Norma canta uno de los arias más conocidos en el mundo de la ópera: el 'Casta diva'.¿Qué se siente al interpretar a estos personajes tan impresionantes? Mariela Rubio y Rafa Bernardo charlan con la soprano Mariana Ortiz y con Plácido Domingo el cual, además de interpretar a Pollione, también ha dirigió esta ópera. El crítico musical de La Vanguardia, Roger Alier, nos cuenta cómo Bellini cambió la forma de entender las voces femeninas en la ópera.

In this episode of Opera for Everyone we listen to Norma, an opera in two acts by Vincenzo Bellini with libretto by Felice Romani after 'Norma, ou L'infanticide' by Alexandre Soumet. It was first produced at La Scala in Milan on 26 December 1831. The action takes place in ancient Gaul, under Roman occupation, where the Druid priestess Norma has fallen in love with a Roman official named Pollione and has secretly borne him two children. Norma is also the daughter of the Druids' leader, Oroveso. Norma's young acolyte Adalgisa asks to be released from her vows as - unbeknownst to anyone - she's fallen in love with Pollione. Norma agrees to release Adalgisa from her vows, but when Pollione arrives, the truth comes out. Norma realizes that he has betrayed her with Adalgisa, and Adalgisa learns that Pollione had pledged himself to Norma. Norma tells Adalgisa to take the children and go live with Pollione in Rome, but Adalgisa refuses vowing to convince Pollione to return to Norma. Adalgisa is unsuccessful, and as the Druids are assembled in the temple, an intruder is captured and is revealed to be Pollione. The punishment for any outsider entering the temple is instant death, and Norma is prepared to kill him with the sacred dagger. Suddenly, Norma calls for her people, announcing that Pollione won't be killed after all. Instead, there's a new victim, one who has betrayed her country. "I am the guilty one," she says and then calls for the sacrificial pyre to be prepared. In her final words to her father, Norma admits that she is the mother of Pollione's children and asks the shocked Oroveso to protect them. Meanwhile, Norma's bravery revives Pollione's love for her. He steps to her side, and the opera closes as the two walk into the flames together.

 Dutch soprano Cristina Deutekom in a superb performance of Norma from San Francisco, 1975, conducted by Carlo Felice Cillario.    Tatiana Troyanos    Adalgisa   Robleto Merolla       Pollione   Clifford Grant          Oroveso                                   (69 min.)

Highlights from one of the greatest performances of opera. This is the Maria Callas debut at Covent Garden as Norma in 1952. The great Ebe Stignani is the Adalgisa, Mirto Picchi is Pollione, Giacomo Vaghi is Oroveso, and a newcomer by the name of Joan Sutherland is the Clotilde.   Vittorio Gui is the conductor.  (70 min.)             

La Cieca presents the second act of Bellini's Norma, recorded live at the Bolshoi Theater in Moscow on June 19, 1974. Montserrat Caballe sings the title role. She is joined by mezzo-soprano Fiorenza Cossotto as Adalgisa, and, as I'm sure any number of sopranos will tell you, working with Flo always puts a girl on her mettle. Gianni Raimondi sings the role of Pollione, and Ivo Vinco is Oroveso. The production is from La Scala, conducted by Franceso Mollinari-Pradelli.

Our opera this time is both live and demented, with even a soupcon of backstage drama to add an extra frisson. La Cieca presents the first act of Bellini's Norma, recorded live at the Bolshoi Theater in Moscow on June 19, 1974. Montserrat Caballe sings the title role. She is joined by mezzo-soprano Fiorenza Cossotto as Adalgisa. Gianni Raimondi sings the role of Pollione, and Ivo Vinco is Oroveso. The production is from La Scala, conducted by Franceso Mollinari-Pradelli.