Podcasts about scarpia

[@3 min] Alright, this week…New Year, New OBS! There's a lot to look forward to in the coming months and we have all your 2025 recommendations, resolutions, and redshirts. [@36 min] And then…legendary French conductor Marc Minkowski takes a free throw on the career of one of his longtime collaborators and favorite singers. You'll have to stay tuned to find out who, but we can give you a hint: it rhymes with Schmagdalena Kožená. [@46 min] Plus, in the ‘Two Minute Drill'…say it isn't so! Sir Bryn Terfel is retiring his Scarpia, and conductor Daniel Harding loves taking risks in the pit, but hopefully not the cockpit. GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

Andreas Landin, Swedish baritone has worked, since his graduation from the Opera Academy at the Royal Opera in Copenhagen, as an opera singer in Scandinavia and in other theaters in Europe.  He has specialized in contemporary opera repertoire and has had more than 20 contemporary opera roles written for him, mostly by scandinavian composers and performed in the opera houses in Copenhagen, Malmö Opera and Gothenburg Opera among others. He has also appeared in modern classic parts such as the count in Luce mie Traditrici by Sciarrino, The Emperor in Der Kaiser von Atlantis and the baritone in The four note opera. Within the classic opera repertoire Andreas has sung parts as varied as Don Giovanni, Papageno, Marcello, and Silvio. He has also had great success within the oratory repertoire and regularly perform the bass parts in most of the classic oratories by Bach, Handel, Brahms and Mozart. In recent years Landin has partly moved into a heavier fach and sung parts like Scarpia in Tosca and the title role in Macbeth.

News about accessible opera and ballet with a first for opera audio description at the Royal Opera House in London as there will be recorded audio description available at all of the performances of Tosca in July along with touch tours prior to the performances on Tuesday 16 and Friday 19 July at 6.30pm. RNIB Connect Radio's Toby Davey was joined by Audio Describer Alice Gilmour who worked on the recorded description for Tosca and Paul Adams, Access Project Manager at the Royal Opera House to find out more about Tosca with recorded description. About Tosca:  From Sardou's play to Puccini's opera From the early 1890s Giacomo Puccini had toyed with adapting French playwright Victorien Sardou's gripping melodrama La Tosca into an opera, but only began serious work following the premiere of the critically acclaimed La bohème in 1896. Employing La bohème's gifted librettists Giuseppe Giacosa and Luigi Illica to streamline Sardou's complicated plot, Puccini's Tosca premiered in 1900.    With the city gripped by political unrest, fears of violence plagued the premiere at Rome's Teatro Costanzi. However, Tosca opened without incident, and although unpopular with critics who disliked its violence, it became an immediate success with the public and has remained a favourite ever since.  Puccini portrays the idealism of Tosca and her lover Cavaradossi through radiant, expansive music, including Act I's duet 'Qual occhio al mondo' (What eyes of this world), Cavaradossi's ardent aria 'Recondita armonia' (Hidden harmony) and Tosca's despairing Act II prayer 'Vissi d'arte' (I lived for my art). Scarpia's music, by contrast, is dark and terrifying – from the demonic chords that open the opera to the violence of his Act II exchanges with Tosca. Booking details: To book your tickets and a place on the pre-performance Touch Tours on Tuesday 16 or Friday 19 July at 6.30pm do contact the Royal Opera House box office either by emailing boxoffice@roh.org.uk or calling 020 7304 4000 and don't forget to mention that you would like a headset and device to listen to the recorded audio description for Tosca. Touch tours are only available to ticket holders using the Audio Description service and if applicable, their companion. More about Tosca can be found on the following pages of the Royal Opera House website - https://www.roh.org.uk/tickets-and-events/tosca-by-jonathan-kent-2024-details#accessibility (Image shows RNIB logo. 'RNIB' written in black capital letters over a white background and underlined with a bold pink line, with the words 'See differently' underneath)

Warwick Fyfe is an Australian opera singer, considered to be one of Australia's leading exponents of the Wagnerian repertoire and is the recipient of Helpmann and Green Room awards.Warwick has performed throughout Australasia and internationally. Most recently, he has sung the rôles of Wotan / Wanderer (MO, OMM and Alberich, OA). Other Wagner rôles include Heerrufer (OA); Beckmesser (OA); Klingsor (OA); Hunding (WASO); Dutchman (OA), Daland (VO); Wolfram (OA); Fasolt (SOSA).Other major work encompasses Amonasro (Aida-FNO, OA); Pizarro (Fidelio-MO, OA,WASO); Athanaël (Thaïs-FNO); Peter (Hansel and Gretel- OA),OMM); Four Villains (Tales of Hoffmann-ETO); Falstaff (OA); Rigoletto (OA, NZO); Sancho Panza (Don Quichotte- OA); Paolo (Simon Boccanegra- OA); Leporello (NZO) (OA); Fra Melitone (Forza del Destino- OA); Scarpia (WAO, OA); Tonio (I Pagliacci- NZO); Faninal (Der Rosenkavalier- OA); Schaunard (La Boheme- OA); Dr Schon /Jack the Ripper (Lulu- OA); Germont (La Traviata- OA); Mandryka (Arabella-OA). Warwick has delighted audiences in comedic rôles, such as Bottom (Midsummer Night's Dream, Adelaide Festival); Barone di Trombonok (Viaggio a Rheims - OA); Geronio (Il Turco in Italia- OA); Dr Bartolo (Barber of Seville- WAO) (VOC); Pooh Bah (OA); Taddeo (Italian Girl in Algiers- NZO); Papageno (OA).Concert work includes: Gurrelieder, (SSO); Carmina Burana (MSO, QSO, Adelaide Philharmonia Chorus); Beethoven 9 (MSO), (Orchestra Wellington); The Bells, WASO; Stabat Mater (Rossini, SSO); Viva Verdi (TYO); St Matthew Passion, St John Passion (Melbourne Bach Choir); Bluebeard's Castle (Monash Academy Orchestra); Mahler 8 (OMM); Stabat Mater (Szymanowski), (Melbourne Bach Choir); Ein Deutsches Requiem (OA), (Melbourne Bach Choir); Messiah (State Symphony Orchestras).Warwick performs the role of Scarpia in Puccini's TOSCA from July 31st to August 16th, for Opera Australia at the Sydney Opera House.The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Interview with baritone Gevorg Hakobyan. He will perform in Sydney Opera House in Puccini's Tosca in the role of Scarpia. - Հարցազրոյց Օփերայի երգիչ, ՀՀ վաստակաւոր արուեստագէտ Գեւորգ Յակոբեանի հետ, որ ներկայիս կը գտնուի Սիտնիի մէջ ելոյթներ ունենալու համար Sydney Opera House-ի մէջ Ճիաքոմո Փուչչինիի, Թոսքա օփերային մէջ:

A much loved baritone from New Zealand, Teddy Tahu Rhodes has captured the hearts of audiences here in Australia and in many parts of the world. An ARIA, Helpmann, and Limelight award-winner, he has given renowned performances in classics such as Don Giovanni and Carmen, and premiere performances in new works including The End of the Affair and Dead Man Walking. He's performed for Opera Australia, the Metropolitan Opera, the Welsh National Opera and the Bavarian State Opera to name just a few, and regularly sings in concert. Limelight magazine said of his voice “there is a velvet richness, a great resonance, and a touching sense of fragility." Teddy takes us through his evolution as a singer, from boy soprano to opera star, and getting through his uncertainty and unwillingness in grasping his first big break. Teddy Tahu Rhodes performs Mendelssohn's Elijah with the Sydney Philharmonia Choirs under the artistic direction of Brett Weymark at the Concert Hall of the Sydney Opera House on 18 May. He then performs in La Rondine for the Victorian Opera from 8-10 August, and then returns to the role of Scarpia for performances of Tosca with the Wellington Opera, from the 11-15 September.

Vittorio Matteucci: attore, cantante, musicista. Uno dei grandi interpreti del Musical italiano. Frollo in Notre Dame De Paris, Scarpia nella Tosca di Lucio Dalla, l'Innominato nei Promessi Sposi. In questo primo episodio Vittorio ci racconta le scelte che gli hhanno cambiato la vita.

Con Teresa Cantalejo | ¿Qué sería de las buenas historias sin un villano? Perderían bastante, ¿verdad? Por eso el episodio de hoy se lo dedico a ellos, a los malos de la historia en las óperas más conocidas. Porque sin ellos, sería todo aburridísimo. Así que os vais a encontrar con la zía Principessa, con Scarpia, con el mismísimo Mefistófeles e incluso con Salomé, que hay quien puede pensar que qué hace aquí, pero lo que le pide a su tío Herodes y lo que sucede en el aria que vais a escuchar... no le deja otro puesto que el de villana. Poneos cómodos y no seáis duros con ellos... ¿qué haríais vosotros en su situación?

In the thirty-fifth year of his career, Daniel Sumegi has sung over one hundred operatic roles on many of the world's major stages – including the Metropolitan Opera, San Francisco Opera, Los Angeles Opera, Washington National Opera, Seattle Opera, as well as at Opera Australia.  He has also appeared in the opera houses of Bonn, Cologne, Frankfurt and Hamburg, as well as Paris, Barcelona, Tokyo, Hong Kong, Los Angeles and Houston among many others. Regarded also for his dynamic acting, his broad repertoire encompasses all periods of music – from Monteverdi and Mozart to Britten, Tippett and Puts.  Equally comfortable as Strauss' Baron Ochs, Mozart's Sarastro and Commendatore, Verdi's Grand Inquisitor and Sparafucile, Offenbach's Four Villains or Puccini's Scarpia, he has participated in Ring Cycles in New York, Los Angeles, San Francisco, Strasbourg, Cologne, Tokyo, Buenos Aires, Seattle, Melbourne and Adelaide, most notably as Hagen.  He has additionally performed Hunding in concert for the Hong Kong, Atlanta, Stuttgart and Melbourne Symphony Orchestras. Daniel's 2021/2022 engagements included Die Walküre (Singapore), Salome (Victorian Opera), Fidelio (Dublin) and Bluebeard's Castle, Aida and Lohengrin (Opera Australia). Among other roles, he has sung Die Meistersinger von Nürnberg (Pogner) for Opera Australia, Salome (Jochanaan) for New Israeli Opera, Der fliegende Holländer (title role) for Malmö Opera in Sweden and Carmen (Zuniga) for Seattle Opera.  He also undertook his music theatre debut, as Judge Turpin in Sondheim's Sweeney Todd, seen in Sydney and Melbourne.   Past highlights include Don Carlo and Madama Butterfly (Metropolitan Opera), Der Rosenkavalier (Scottish and Welsh National Opera), Luisa Miller (San Francisco), Billy Budd and Rigoletto (Los Angeles), Parsifal (Hamburg, Barcelona, Adelaide), Salome (Washington, Hamburg, Leeds, Hong Kong), Der fliegende Holländer, Aida, Beatrice and Benedict and Barbiere (Seattle), Manchurian Candidate (Minnesota, Austin), and more than 25 principal roles for Opera Australia. He has collaborated with noted conductors such as James Conlon, Sir Andrew Davis, Charles Dutoit, Dan Ettinger, Asher Fisch, Valery Gergiev, Nicola Luisotti, Sir Charles Mackerras, Yannick Nézet-Séguin, Renato Palumbo, Sir Simon Rattle, Carlo Rizzi, Donald Runnicles, Nello Santi, Sir Jeffrey Tate, Edo de Waart, Sebastian Weigle, and Simone Young. Daniel Sumegi appears on CD in Beatrice di Tenda and Seattle Opera's acclaimed Ring Cycle, and on DVD in the San Francisco Opera Production of Capriccio, Opera Australia's Don Giovanni, and the historic condensed Ring Cycle from Teatro Colón, Buenos Aires. In December, he makes his role début as Wotan/The Wanderer in OA's new production of Der Ring des Nibelungen. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

The Two Gay Geeks

Dear ones, I present to you today the extraordinarily versatile bass-baritone and my fellow native Milwaukeean Donald Gramm (1927-1983), one of the central house singers at both the Metropolitan Opera and New York City Opera from the 1960s through his premature death at the age of 56. Gifted with an intrinsically beautiful voice, an impeccable technique and an expansive range, he also was a crackerjack musician whose repertoire easily encompassed musical styles from florid Baroque music through the thorniest contemporary idioms. He is probably best celebrated these days for his commitment to American art, and this episode features him singing songs by Ned Rorem, John Duke, Richard Cummings, Douglas Moore, and Paul Bowles, with a particular emphasis on texts by Walt Whitman. What is perhaps less well-remembered today is how versatile an opera singer he was, singing roles from Osmin to Scarpia, with a strong emphasis on both bel canto and buffo roles by Rossini and Donizetti. The episode also explores his collaborations with Igor Stravinsky, Glenn Gould, and, perhaps most significantly, Sarah Caldwell, another important musical figure from that era who is strongly deserving of reappraisal. 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 : 01:59:02 - Musique matin du lundi 29 août 2022 - par : Jean-Baptiste Urbain - Réputé pour ses interprétations légendaires des grands méchants à l'opéra, le baryton-basse gallois Bryn Terfel revient à l'un de ses rôles fétiches : celui de Scarpia dans Tosca de Puccini, dans la production de Pierre Audi qui ouvre la nouvelle saison 2022-2023 de l'Opéra de Paris. - réalisé par : Yassine Bouzar

Cass loves singing and connecting with people, and she believes that experiencing the power of the human voice can initiate emotional catharsis, joy, transformation, inspiration, and even healing. she was fortunate to grow up in a small community where the traditions of storytelling and music-making run deep. As a child, Cass would go to ceilidhs – parties – and the live music would prompt everyone in the room to jump up and step dance or square dance, joining in the fun. Cass has kept this love of music with her as she studied classical singing and embarked on her own professional performing career. She considers herself lucky to have been influenced by this kind of musical spontaneity and interactive enjoyment from a young age. Her performing philosophy is based on these early life experiences, emphasizing personal interaction and connection, joy, and healing through sharing beautiful vocal music. Torlef Borsting's powerful baritone fuses with sensitivity, compassion, and lyricism to lend a musical and dramatic depth to characters such as Scarpia in Tosca, Germont in La Traviata, Sharpless in Madama Butterfly, and Jack Rance in La Fanciulla del West. His is a voice ideal for the commanding presence of Verdi, the emotional swell of Puccini, the flexibility and movement of Donizetti, and the nuance of Mozart. Other leading roles in his repertoire include Count Almaviva in Le nozze di Figaro, Prince Yeletsky in Tchaikovsky's The Queen of Spades, Dr. Bartolo in Rossini's Il Barbiere di Siviglia, Leporello in Don Giovanni and Horace Tabor in The Ballad of Baby Doe, where his vocal prowess was lauded by East Bay Times as having “appropriate gusto…[moving] convincingly from rowdy full-voice banter at the saloon with his pals to sotto voce crooning to Baby Doe.” A native of Hawaii, Torlef has spent most of his time on the West Coast, performing leading and supporting roles with companies including San Francisco Opera, Opera Parallèlle, West Bay Opera, Sacramento Opera, Opera San Jose, Livermore Valley Opera, Opera San Luis Obispo, Berkeley Opera,and others. In concert, he has performed as a soloist with Pacific Chamber Symphony, Mendocino Music Festival, Oakland Symphony Chorus, Symphony Parnassus, Cantare con Vivo, and Oakland Civic Orchestra. In 2018, Torlef made a move across the country with his family to Florida, where he now resides. He has since made company debuts with Opera Orlando, Indianapolis Opera, New York City Opera, and looks forward to his first dive into Wagner's Ring Cycle in the summer of 2022 with Tundi Productions in Brattleboro, VT. Torlef's foray into classical singing happened almost by chance; a series of events and an assignment to watch Le nozze di Figaro saw him shift from being a low brass performer at the end of his undergraduate degree studies to being fully-committed toward becoming an opera singer.

Tom Service talks to Sir Bryn Terfel about an extraordinary life performing at opera houses and concert halls all over the world. He talks about how his career took flight after winning the Lieder Prize at Cardiff Singer of the World in 1989, as well as his partnerships with conductors like Georg Solti and Claudio Abbado and the composer Stephen Sondheim. Bryn Terfel brings drama to the stage through great characters such as Wotan, Scarpia, Sir John Falstaff and Leporello, with music by Wagner, Puccini, Verdi and Mozart. He tells Tom about the importance of being a great storyteller and gives advice on how to deal with the emotional intensity of the drama. Sir Bryn Terfel talks about how it all began, singing folksongs in Wales, and about how we can look forward to hearing him perform in the future as he prepares for The Flying Dutchman by Wagner at Grange Park Opera this summer and a UK tour in the autumn.

Two years ago last month, the great French (bass-)baritone Gabriel Bacquier died just four days short of his 96th birthday. At that time I offered a brief memorial tribute which opened my eyes to aspects of his artistry and voice with which I had been previously unfamiliar. Like his near-contemporary, the Italian baritone Tito Gobbi, Bacquier was one of the supreme actors of the operatic stage, whose voice coarsened somewhat over the course of his long career, even as his mastery as an actor and interpreter increased. By the time he retired, his repertoire consisted almost entirely of buffo parts. But in the earliest years of his career (and also like Gobbi), he possessed a baritone of velvety beauty that might surprise those who know only his later comic roles. This episode, which commemorates the second anniversary of Bacquier's death as well as his (posthumous) 98th birthday, focuses on the three different musical genres in which, in those early years, from 1953 through 1968, he excelled in equal measure: opera, of course, but also mélodie and operetta. The operatic portrayals represented include the title roles in Don Giovanni and Orphée et Eurydice; Zurga in Les Pêcheurs de perles; the Count in Le nozze di Figaro; Iago in Otello; Golaud; and his incomparable Scarpia, which he sang opposite every great Tosca of the 1960s with the exception of Callas. Complementing these live and studio recordings are recordings of melodies by Duparc, Fauré, Debussy, Ravel, and Poulenc; and operetta arias by Sigmund Romberg, Franz Lehár, Johann Strauss II, and Reynaldo Hahn, all deliciously sung in French. Vocal guest stars include Mirella Freni; Alain Vanzo; Bernard Demigny; Janine Ervil; Yvonne Gall, with whom Bacquier studied at the Conservatoire de Paris; and the late Renate Holm, the renowned German soubrette who died in April at the age of 90. In all this repertoire, Bacquier, who insisted on the appellation “acting singer” rather than “singing actor,” displays his commitment to clear yet full projection of text, which serves as a mirror into the music and not the other way around. 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.

di Stefano Valanzuolo - Nel nostro ultimo podcast il Prof. Claudio Strinati ci ha condotto nella magnificenza di Palazzo Farnese, l'imponente edificio rinascimentale in cui si svolge il secondo atto di Tosca. Sentiamo oggi pensieri e considerazioni sulla splendida dimora romana da due dei suoi inquilini più illustri… ecco a voi una nuova intervista impossibile tra Charles de Gaulle ed il barone Vitellio Scarpia. Progetto promosso da Voxfarm e finanziato da LazioInnova. ©️ illustrazione Gianluigi Toccafondo

Co-hosts Carol Anderson and Jeff Counts sit down after the first rehearsal of Utah Opera's production of Puccini's “Tosca” with two of the principal artists. Soprano Katie Van Kooten, who is performing the role of Floria Tosca for the first time, and Stephen Powell who has played Scarpia on a number of occasions. Hear these artists discuss what goes into the preparation involved with learning a new role or keeping a familiar role fresh. The two artists also have ideas for what story they'd like to see set as an opera. Find out what they are in the newest episode of Utah Symphony | Utah Opera's Ghost Light Podcast.

2008 inszenierte Martin Kušej, nun mehr Burgtheaterdirektor, Igor Strawinskys The Rake's Progress im Theater an der Wien. Am Ende der Direktion von Roland Geyer stand gestern Giacomo Puccinis Allzeit-Hit Tosca in Kušejs Lesart zur Premiere bereit. Das Publikum war gespannt. Musikchefin Ursula Magnes ebenso. Tosca. Dazu haben viele Opernfreundinnen und -freunde ähnlich wie bei Carmen oder Aida eine gewisse Vorstellung oder zumindest lieb gewonnene Erinnerungen an vergangene Opernaufführungen, fein sortiert im Karteikästchen des Erlebten. Tja, diese Tosca von Puccini nach dem Drama von Victorien Sardou – was bleibt, wenn der Regisseur die Kirche als Ort, den Palazzo Farnese und die Engelsburg in Rom mit Dauerschnee, einem zentralen Kreuzes- und Schmerzensbaum mit zerstückeltem Opfer samt Marterl, und einen Wohnwagen bespielt? Was bleibt im Stück? Kälte, Gewalt, Eifersucht, Macht, sexuelle Bedrängnis, Religion und das heutige Leben mit Kapitolstürmern, Querdenkern, Polizeigewalt und dazwischen eingequetscht zwei Künstler: der Maler Mario Cavaradossi und die Sängerin Floria Tosca. Damit ist das Publikum zwei intensive Stunden ohne Pause konfrontiert. Mit der punktgenauen, nie zögerlichen Musik Puccinis ergibt das eine Hochschaubahn der Gefühle und innerer Gedankenwelt. Keiner der drei Protagonisten entkommt seinem Schicksal: Der Maler ermalt keine Freiheit, die Sängerin ersingt keine Liebe und der Polizeichef verfehlt trotz sadistischer Machtausübung sein Ziel. Ein brutales Kammerspiel, in dem Martin Kušej diese Gewalt mit Versatzstücken wie fliegenden Körperteilen und sehr zupackendem Schauspiel vor Augen führt. Dazu braucht es ein Ensemble, das das auch kann! Kristine Opolais ist eine erfahrene Tosca. Sie genießt es sichtlich an ihre Grenzen zu gehen; stimmlich wie darstellerisch. Im Gegensatz zum Original, wird sie am Ende durch die Gräfin Attavanti, dargestellt durch die Schauspielerin Sophie Aujesky, erschossen. Wohl auch mangels Engelsburg, um in den Tiber zu springen… Getötet vom Gift der Eifersucht, das Polizeichef Scarpia geschickt verstreut. Ihr „Vissi d'arte, vissi d'amore“ wird zur verzweifelten Anklage zwischen Scarpia und Gott. Der junge chilenische Tenor Jonathan Tetelman lockte wohl einige prominente Operndirektoren ins Theater an der Wien. So kraftvoll, geradezu strotzend hat man „Recondita armonia“ schon lange nicht mehr gehört. Und im Wechselspiel mit dem Soloklarinettisten des RSO Wien gelang auch „E lucevan le stelle“ ausgesungen und stark. Kein Hauch der Erinnerung – vielmehr Höhe und Kraft in der Tenorstimme wie es die Rolle verlangt. Gábor Bretz unschuldig schick elegant in weiß gekleidet sang einen zutiefst unsympathischen, heimtückischen Polizeichef Scarpia. Eine tolle Leistung. Marc Albrecht hat das Dirigat in der Probenarbeit relativ spät vom erkrankten Ingo Metzmacher übernommen. Da ist in den fünf Folgevorstellungen sicher noch einiges an musikalischen Feinheiten drin. Die Schnellkraft der Partitur Puccinis ist gegeben. Sie schrammt an genialer Filmmusik und weist damit anno 1900 weit in die Zukunft. Das Publikum beklatschte die Sänger und Musiker. Gestärktes Buh für Martin Kušej. Fazit: unbedingt anschauen.

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[@ 4 min] Verdi baritone and gentle giant Quinn Kelsey goes ‘Inside the Huddle’ with Ashlee and Oliver to talk about singing traditional Hawai’ian music for an operatic kanikapila and preparing for Scarpia at Opera Philadelphia... [@ 30 min] In ‘Chalk Talk’…. One year into the pandemic, the OBS team look at some of the most striking innovations in opera, including new media, do-it-yourself music-making, alternative, pandemic-resistant venues, and… trucks…? [@ 37 min] Plus, in the ‘Two Minute Drill’… The Dude goes to conduct in Paris, and the city of Madrid awards its Medal of Gold to an opera administrator... operaboxscore.com dallasopera.org/tdo_network_show/opera-box-score facebook.com/obschi1 @operaboxscore IG operaboxscore

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Animateur: Audrey Marchal Chers auditeurs,  voici les références des sources utilisées dans l'émission KEZAKOPERA sur Tosca de Puccini: Livret Tosca Opéra National de Paris saison 2007-2008 Livret Tosca Théâtre du Capitole de Toulouse saison 2011-2012 Générique début émission: Offenbach. Les Contes d'Hoffmann. Acte 1. Prélude. Orchestre National de France. Seiji Ozawa + accord orchestre Extrait n°1: ouverture accords « Tosca / Act 1: « Ah! Finalmente! » Giuseppe Sinopoli / Philharmonia Orchestra / Freni - Domingo - Ramey Extrait n°2: air complet: « Vissi d'arte » - Montserrat Caballé - Orchestra of the Royal Opera House, Covent Garden and Sir Colin Davis) Extrait n°3 : arrivée de Scarpia dans l'église « Un tal baccano in chiesa! » Acte I - Riccardo Muti / Vaness - Giacomini - Zancanaro / Philaderlphia Orchestra Extrait n°4: la mort de Scarpia. N°14 « Tosca finalmente » - Riccardo Muti / Vaness - Giacomini - Zancanaro / Philaderlphia Orchestra Extrait n°5: thème Tosca « Acte 1: « Mario! Mario! » - Sir Colin Davis / Royal Opera House / Caballé - Carreras - Wixell Extrait 6: thème Tosca : Acte 1. « Ah, quegli occhi! » - Zubin Mehta / New Philharmonica Orchestra / Price - Domingo - Milnes Extrait n°7: Acte 3 « Franchigia a Floria Tosca » - Riccardo Muti / Vaness - Giacomini - Zancanaro / Philaderlphia Orchestra Extrait n°8: air complet « E lucevan le stelle » - Acte 3 - Pavarotti - Rescigno / National Philharmonic / Freni - Pavarotti - Milnes Générique fin émission: « Bacchanale » - Camille Saint-Saens. Barenboim. Samson et Dalila. Acte 3        Je tiens également à remercier Jacques Lavergne pour sa confiance et Pierre-Emmanuel Triffault pour son aide sur le générique.        Audrey Marchal

Pamela Lloyd has performed on major stages throughout the United States and in Europe, initially as a musical theater singer/actress. She has performed at the historical Theatre an der Wien as part of Vienna's resident company of Cats, in the role of Jenny-any-Dots/Griddlebone; in Amsterdam's production of Cats at the illustrious Carré Theatre; and, in Zürich's resident production. She has sung this musical in German, Dutch and on occasion, English. Pamela has performed in Vienna's Schöne Neue Musik Festival with the Czech State Orchestra as Chemöse in the world-premiere of the opera Simä, which was broadcast on Radio Vienna. Other appearances include Jenny Diver in Three Penny Opera under the baton of Anton Coppola, Santuzza in Cavalleria Rusticana for Richmond County Orchestra, Senta in Der Fliegende Holländer, Fiordiligi in Così fan tutti and Mother in Amahl and The Night Visitors. Pamela has concertized as a soloist for, among others, Trinity Church at Wall Street and with the Ensamble America Chamber Orchestra for The New Jersey Music Society. She sang the National Anthem at a recent televised World Trade Center Memorial ceremony.Andrew Costello brings with him a wealth of performance experience, having sung more than twenty-five leading operatic roles in the United States and Europe. His accomplishments range from the baroque music of Monteverdi to the advanced tonalities of contemporary opera. Mr. Costello's career began with Glimmerglass Opera in L'Incoronazione di Poppea, directed by Jonathan Miller and conducted by Jane Glover. He has since appeared with, among others, the Atlanta Opera and Des Moines Metro Opera, where he made his debut as Jokanaan in Salomé. As a concert soloist, Mr. Costello made his debut at Carnegie Hall in the Mozart Requiem and was invited back to sing in Handel's Messiah. Mr. Costello returned to Des Moines Metro Opera as Scarpia in Tosca. Mr. Costello has sung with many important conductors such as Frédéric Chaslin, Ralf Weikert, Anton Coppola, Jérome Pillement, Jane Glover, and Dr. Robert Larsen. LEARN MOREOpera Dolce: http://www.operadolce.org/ Andrew Costello:  www.andrewcostello.info

Il baritono Marco Vratogna, impegnato in questi giorni nel ruolo di Scarpia nella Tosca di Puccini all'Opera House di Sydney, ha bissato il grande successo ottenuto nello stesso ruolo a Melbourne nel 2018.

chiacchierata sull'opera - stasera si parla di Scarpia in varie interpretazioni

Version med korte musik-eksempler. Opera er fuld af skurke, og de er sandelig ikke rare. Jago ødelægger sin vens ægteskab, Nattens dronning kræver at datteren slår sin far ihjel, Scarpia afpresser Tosca til sex. Mathias Hammer og Frederik Cilius gyser over hvor onde mennesker kan være - mens de synger de flotteste arier. Redigeret fra 20. januar 2020. Vælg den lange version, hvis du vil høre al musikken.

Tosca, featured on "Seattle Opera Mornings on KING FM" on May 30,  is both a great opera for newbies to the art form and a rewarding piece to hear multiple times; it’s accessible—a ‘thriller’ as cinematic as any Hollywood classic—and also stacked with layers of sumptuous artistry to savor. Seattle Opera Dramaturg Jonathan Dean introduces Tosca, with musical examples from Seattle Opera archival recordings of Tosca made in 2001, 2007, and 2015 and featuring Stefano Secco and Frank Porretta, Jr. as Cavaradossi, Greer Grimsley as Scarpia, and Marcy Stonikas, Ausrine Stundyte, Lisa Daltirus, and Carol Vaness as Tosca. The chorus and orchestra of Seattle Opera were conducted by Antonello Allemandi in 2001, Vjekoslav Sutej in 2007, and Julian Kovatchev in 2015.

Opera er fuld af skurke, og de er sandelig ikke rare. Lago ødelægger sin vens ægteskab, Nattens dronning kræver at hendes datter slår sin far ihjel, Scarpia afpresser Tosca til sex. I dag gyser Mathias Hammer og Frederik Cilius over, hvor onde mennesker kan være - samtidig med, at de synger de flotteste arier. www.dr.dk/p2

Tosca is both a great opera for newbies to the art form and a rewarding piece to hear multiple times; it’s accessible—a ‘thriller’ as cinematic as any Hollywood classic—and also stacked with layers of sumptuous artistry to savor. Seattle Opera Dramaturg Jonathan Dean introduces Tosca, with musical examples from Seattle Opera archival recordings of Tosca made in 2001, 2007, and 2015 and featuring Stefano Secco and Frank Porretta, Jr. as Cavaradossi, Greer Grimsley as Scarpia, and Marcy Stonikas, Ausrine Stundyte, Lisa Daltirus, and Carol Vaness as Tosca. The chorus and orchestra of Seattle Opera were conducted by Antonello Allemandi in 2001, Vjekoslav Sutej in 2007, and Julian Kovatchev in 2015.

Terzo e ultimo appuntamento con 'Cantarono alla Scala' con il personaggio di Scarpia.

This week Tim talks to Waterperry Festival director Guy Withers, Sam rediscovers Eric Whitacre and we hit the big smoke in search of Street Orchestra Live. Music Credits: Steve Reich, ‘Clapping Music' performed by Timmy Fisher & Sam Poppleton Spice Girls, ‘Goodbye' performed by Timmy Fisher Richard Wagner, ‘Tristan Theme' performed by Timmy Fisher Eric Whitacre, ‘Lux Arumque' performed by The Concordia Choir Alexander Moyzes, Symphony No. 11 performed by the Slovak Radio Symphony Orchestra under Ladislav Slovák Jean Sibelius, Symphony No. 5, Mov. 1, arranged by Timmy Fisher Eric Coates, ‘By the Sleepy Lagoon' performed by the Royal Liverpool Philharmonic Orchestra, under Charles Groves Follow us here: instagram.com/classicalpod/ twitter.com/ClassicalPod facebook.com/ClassicalPod/ Paul Rimmer's letter to Stephen Cherry: https://www.facebook.com/photo.php?fbid=10113922705553385&set=a.10101053354286485&type=3&theater The Statutory Instruments perform Debussy's String Quartet in G minor: https://www.belfasttelegraph.co.uk/news/uk/chamber-music-parliamentary-string-quartet-brings-harmony-to-the-commons-38233792.html Bryn Terfel as a deliciously evil Scarpia: https://www.youtube.com/watch?v=0euYKIMfV4IFind out more about Waterperry Opera: http://www.waterperryoperafestival.co.uk/

durée : 00:27:09 - José van Dam, baryton-basse (4/5) - par : Judith Chaine - Dans cet épisode, José van Dam revient sur les grands rôles de sa carrière de chanteur lyrique : Golaud dans "Pelléas et Mélisande" de Debussy, Figaro dans "Les Noces" de Mozart, "Simon Boccanegra" et "Falstaff" de Verdi, Scarpia dans "Tosca "de Puccini, "Saint François d'Assise" d'Olivier Messiaen. - réalisé par : Marie Grout

Melbourne born soprano Maureen Howard was beloved by audiences and critics alike. At twelve years of age, she was a regular voice on the weekly 3DB Radio programme Swallows Juniorsand she later won the Vocal Section of television’s Swallow’s Parade. Though she studied singing from an early age, she wanted to be a hairdresser and, it was serendipitous that one of her ‘clients’ was associated with the two major theatre entrepreneurs J.C. Williamson and Garnet H. Carroll Management. A simple conversation during a hairdressing appointment gained Maureen a stage audition for J.C.Williamson at Her Majesty’s Theatre in Melbourne . They had just opened their production of My Fair Lady. The following week, the same ‘client’ arranged an audition for Garnet H. Carroll at the Princess Theatre in Melbourne and she was immediately offered a contract for Chorus - and later ‘stand-by’ for Marian the Librarian - in The Music Man. As would occur many times during her early career, Maureen went on in the star’s role. In April of 1961, she was cast in Lock Up Your Daughters with an additional song especially written for her character by the conductor Dobbs Franks. In August that year, she performed in Loesser’s Most Happy Fella with Inia Te Wiata and Ronal Jackson. Later that year, Garnett H. Carroll Management cast her as June Bronhill’s ‘stand-by’ in The Sound of Music and, again, Maureen was frequently seen in the role of Maria. In 1962, Maureen Howard won First Prize in the celebrated Sun Aria and left her contract for The Sound of Music. She was a frequent face and voice on television especially on the popular Sunny Side Up in 1963.After study, a year in Italy and then London – with the noted teacher Vera Rózsa - her operatic career started with Puccini’s Tosca in 1967 – starting her career at the top – with the Elizabethan Trust Opera. The production opened at the Perth Festival on February 11th and featured Reginald Byers and the Hungarian baritone Alexander Major as Cavaradossi and Scarpia along with the twenty-seven years old Maureen Howard. Her operatic debut was a success, with one critic writing “She may not be as imperious as some Toscas, but she certainly is more vocally secure than many … A powerful voice which is always beautifully controlled, and dominated the stage.”The same year, she performed Zerlina in Don Giovanni with a stellar cast featuring Neil Warren-Smith, Marcella Reale, Rosemary Gordon, Robert Gard, Ronald Maconaghie and John Germain. It was a controversial production directed by the young Jim Sharman. A production of Die Fledermaus as Rosalinda (and June Bronhill as the maid, Adele) was a hit with audiences. Next came performances of Venus in Tannhäuser, Tebaldo in Don Carlo, Liù in Turandot, Micaela in Carmen and the cover of Minnie in the Australian premiere of Puccini’s La fanciulla del West. Her career reached a new high with her assumption of Cio Cio San in Madama Butterfly in 1969 with a new production mounted especially for her talents. As a company member, she was also cast as Felice in Wolf-Ferrari’s School for Fathers, Josephine in HMS Pinafore, Elsie Maynard in Yeoman of the Guard along with Giulietta in a concert version of The Tales of Hoffmann.Along with Cio Cio San in Madama Butterfly, the roles of Nedda in Pagliacci and Musetta in La bohème fitted Maureen Howard to a tee. To many audiences, her performances in all three roles have never been surpassed by an Australian born performer. She created Musetta in the famous La bohème production by Tom Lingwood in 1971. “Maureen Howard’s Musetta stole the show … she has the wonderful ability for stance, stage presence and poise of hand which just fix one’s eyes upon her.” During the following season, she performed her first Mimi in the same production. Her debut as Nedda came in 1972 and she was usually cast alongside the Canio of Donald Smith – who also seemed ‘born for the role’. Sparks flew on stage when they ignited each other’s performances. “Maureen Howard was attractively wayward, singing powerfully in the final scene, yet making something tender of the ballatella.”From 1976, Maureen Howard appeared in various operatic and music theatre productions. Man of La Mancha and La belle Hélène were prominent during this time. Other operetta roles ensued – Kathy in The Student Prince, Eurydice in Orpheus in the Underworld, Violet Gray in The Belle of New York, Angèle in The Count of Luxembourg (with Robert Gard as her René), Ottilie Giesecke in White Horse Inn, Marianne in New Moon (with John Larsen as her leading man), Yum Yum in The Mikado and Phyllis in Iolanthe. She returned to Opera Australia for the role of the Foreign Woman in Menotti’s The Consul in 1986 after a decade hiatus from that company.A decade later, she appeared as a guest at the Robert Allman Farewell Gala at the Sydney Opera House singing the Pagliacci duet with her long-time colleague. This led to her being contracted Lady Macbeth in Verdi’s opera and the Witch in Hansel and Gretel. Her stage farewell came in 1998 in Sondheim’s Follies when she performed Heidi Schiller – singing “One More Kiss” to perfection. The career of Maureen Howard was as varied as the roles and styles she played. She was a Star of each medium (radio, television and stage) and was adored by a myriad of fans.

Som baryton imponerar Fredrik Zetterström med sitt stora vokala omfång. Men han är även sångaren med en oerhört mäktig skivsamling. Vi skådar några av de inspelade rariteter han själv knockats av. Fredrik Zetterströms stämma ljuder i operahus och konsertlokaler över hela landet, såväl som utomlands. Han har sjungit en mängd bärande roller, bland annat titelrollerna i Eugen Onegin och Rigoletto, Wotan i Nibelungens ring, Jago i Otello och Scarpia i Tosca. Dessutom är han en inbiten skivsamlare, som gärna slår ett slag för detta ljudformat, inte minst för skivkonvolutens skull. I veckans avsnitt lyfter vi fram en några av de skivskatter som ingår i Fredriks samling och Rickard har grävt fram exempel på cabalettor, som sällan hörts tidigare.

Tosca Act 2 - the rapist sings • Things start getting worse for lovers - Tosca & Cavaradossi - Torture of Tosca's lover by Scarpia's men • Betrayal - and sexual predator • He's ready to rape Tosca • Her finest area - opera - the monster prowls • Climax: She tabs him to death • After killing the monster She tidies up - End of Act 2 • Maria Callas as Tosca & Harvey Weinstein - Opera by Puccini • Act 2 starts with Scarpia sung by Tito Gobbi

Repeats of some old stuff for new people and oldies who forgot!!!!!!   Tebaldi,Tucker..(Scarpia is dead)   Placido21@aol.com    Can I do this?   She would not DARE scream at me!!!!!!!!!!!!!!!! She was my second mommy!!!!

Medverkar gör fagottisten Monica Ellis i ensemblen Imani Winds, tonsättaren Nkeiru Okoye och countertenoren Darryl Taylor. Monica Ellis bor i Harlem och spelar fagott i blåskvintetten Imani Winds, vilket betyder tillit och förtroende på swahili. Gruppen, tre kvinnor och två män, firar 2017 tjugoårsjubileum! - Klangen och färgerna i instrumenten är unika, annorlunda än stråkkvartetter eller pianotrios. Våra gemensamma musikaliska rötter är mångfaldiga: klassisk musik, jazz, rythmnblues och negro spirituals säger Monica Ellis. Vi är stolta över att representera våra rötter på det här sättet. Nkeiru Okoye komponerade operan Harriet Tubman, When I Crossed that Line. Harriet Tubman var en f d slav som blev frihetskämpe och var en av dem som räddade 300 slavar från den amerikanska södern genom de underjordiska järnvägarna. Harriet Tubman sjunger i operan: Solen lyser som guld genom träden. Det känns som om jag är i himlen. Jag gick över gränsen och jag är fri! Countertenoren Darryl Taylor grundade 1997 The African American Art Songs Alliance. Ett arkiv och en samlingsplats på nätet för konstfulla sånger i den afroamerikanska traditionen. Han har spelat in en CD med Negro Spirituals arrangerade av konstmusiktonsättare. - Bland operastjärnor av idag kan jag bara komma på en enda svart tenor i hela världen! Svarta barytoner får ofta jobb som operans skurkar, Scarpia i Tosca eller Jago i Othello, berättar Darryl Taylor. Musiklista:SYMFONI NR 1William Grant Still,John Jeter/ Fort Smith SymphonyNAXOS 14590, 8.5591743 Visions - No. 2. SummerlandWilliam Grant Still,Althea Waites PianoCambria Cd 1097, CAMBRIA CD-1097 AMAZING GRACETrad, Hale SmithJohn NewtonDarryl Taylor / Brent McmunnALBANY 14638, TROY 1244Homage To DukeJeff Scott,Imani WindsKOCH INTERNATIONAL, CLASSIC SKIC-CD-7599 Homage To DukeJeff Scott,Imani WindsKOCH INTERNATIONAL, CLASSICS KIC-CD-7599Rite Of SpringStravinskij,Imani WindsGo Tell It On The MountainValerie Coleman,Imani WindsKOCH INTERNATIONAL, KIC-CD-7748 DE GOSPEL TRAINTrad Från Usa,Trad Från UsaMarian Anderson / Franz RuppURANIA 22858, URN 22.328DE GOSPEL TRAINTrad, Kurt Kaiser / Don Marsh / Patrick RussTradKathleen Battle / Jessye Norman / James LevineDGG 00174, 429 790-2Songs Of Harriet Tubman - 1. My Name Is AaramintaNkeiru Okoye,Louise ToppinJulius P Williams, dirigent Dvoand 345 K Symphony OrchestraAlbany Troy 1314, TROY1314Songs Of Harriet Tubman - 3. I Am Harriet TubmanNkeiru Okoye,Louise Toppin Julius P Williams, dirigentDvoand 345 K Symphony OrchestraAlbany Troy 1314, TROY1314 GUIDE MY FEETTrad Från USA, Jacqueline HairstonTrad Från USA Darryl Taylor / Brent McmunnALBANY 14638, TROY 1244OH PETER GO RING DEM BELLSTrad Från USA, Margaret BondsTrad Från USADarryl Taylor/ Brent McmunnALBANY 14638, TROY 1244SISTER MARY WORE THREE LENGTHS OF CHAINTrad, George WalkerDarryl Taylor / BrentMcmunnALBANY 14638, TROY 1244AIN'T GOT TIMET O DIETrad Från USA,Trad Från USARobert Mcferrin / Norman JohnsonRIVERSIDE 00325, RLP 12-812

We took Independence Day off, so we’ve got a loaded show for you this week. Oliver Camacho goes ‘Inside the Huddle’ with baritone David John Pike, who talks about coaching the role of Scarpia from Puccini’s “Tosca” with Sherill Milnes, and also reflects on singing George Butterworth’s song cycle "A Shropshire Lad" on the hundredth anniversary of the Battle of the Somme... But first, it’s our ‘Chalk Talk’ segment. Ticket sales are up at Los Angeles Opera and the Wiener Staatsoper, but down at the Metropolitan Opera in New York City. What factors are pushing these numbers up (or down) and who’s responsible? Tobias Wright has some theories to share... Plus, Giovanna Jacques checks in from the Bellini Museum in Sicily, we’ve got all your opera headlines in ‘The Two Minute Drill’, and Oliver plays ‘Monday Evening Quarterback’ after seeing Renée Fleming in concert...

Bass-baritone Greer Grimsley is back in one of his favorite roles: Scarpia in Puccini's Tosca. In this interview he talks about the character and reflects a bit on what it is that makes this role so fulfilling and downright fun for him to sing!

Our favorite bass-baritone returns for one of his favorite roles: Greer Grimsley sings Baron Scarpia in Puccini's Tosca. Greer has some definite ideas about who this character is, what motivates him and how to sing him. Tune in to our first podcast of the 2016 season!

The Oldie Lunch Recordings presents Piers Paul Read's latest novel reimagines the life of Vitellio Scarpia, the villain of Puccini's Tosca. With a backdrop of 18th Century Rome, we follow him from disgrace and penury to his fatal clinch with Tosca who he ruined. Sponsored by Doro, number one in the senior mobile market

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Det tredje programmet av tio i Birgitta Tollans serie How sweet the sound. Medverkar gör fagottisten Monica Ellis, tonsättaren Nkeiru Okoye och countertenoren Darryl Taylor. Monica Ellis bor i Harlem och spelar fagott i blåskvintetten Imani Winds, vilket betyder tillit och förtroende på swahili. Gruppen, fyra kvinnor och en man, har existerat i 16 år. - Klangen och färgerna i instrumenten är unika, annorlunda än stråkkvartetter eller pianotrios. Våra gemensamma musikaliska rötter är mångfaldiga: klassisk musik, jazz, rythm’nblues och negro spirituals säger Monica Ellis. Vi är stolta äver att representera våra rötter på det här sättet. Nkeiru Okoye komponerade operan ”Harriet Tubman, When I Crossed that Line”. Harriet Tubman var en f d slav som blev frihetskämpe och var en av dem som räddade 300 slavar från den amerikanska södern genom de”underjordiska järnvägarna”. Harriet Tubman sjunger i operan: ”Solen lyser som guld genom träden. Det känns som om jag är i himlen. Jag gick över gränsen och jag är fri!” Countertenoren Darryl Taylor grundade 1997 The African American Art Songs Alliance. Ett arkiv och en samlingsplats på nätet för konstfulla sånger i den afroamerikanska traditionen. Han har spelat in en CD med Negro Spirituals arrangerade av konstmusiktonsättare. - Bland operastjärnor av idag kan jag bara komma på en enda svart tenor – i hela världen! Svarta barytoner får ofta jobb som operans skurkar, Scarpia i Tosca eller Jago i Othello, berättar Darryl Taylor. För manus, regi och produktion står Birgitta Tollan.

One of the legendary Maria Callas performances. This Tosca from Mexico 1952 is conducted by Guido Picco. Giuseppe Di Stefano is the Cavaradossi and Piero Campolonghi is the Scarpia   (72 min.)

  A rare appearance by the great Gedda in Tosca.This is from Nice,France in 1987 under Tchakarov. The Tosca is Olivia Stapp and the Scarpia is Theo Adam. The performance is recorded live so there is some distance, but to hear Gedda in a rare role for him is worth it. (72 min.)

Bass-baritone Greer Grimsley usually comes to town toting the role of a villain: Pizarro in Fidelio, Telramund in Lohengrin, Scarpia in Tosca, and last season, Mephistopheles in Faust. He returns this season as the one 'good guy', the shining light in Salome, Jochanaan (John the Baptist). In this interview with Nicolas Reveles, our Director of Education and Outreach, he talks about the role, the opera and his career. Enjoy!

    Highlights from a glorious 1955 Covent Garden Tosca with Renata Tebaldi in fabulous voice (I saw about 5 of them at the Met in that period and I never recuperated). I forgot how gorgeous Ferruccio Tagliavini's voice was and of course the great Scarpia of Tito Gobbi is legendary. The conductor is Francesco Molinari-Pradelli.  This is followed by some act two scenes from Brussels, 1958 w.Ettore Bastianini and Giuseppe Di Stefano.(HEY! The "Vittoria is GREAT!!")                             (73 minutes of joy!)   P.S. Why do those Englishmen/ladies not applaud the tenor arias?   Corelli would have screamed at them!

    Those of you who have tuned in to my podcasts already know what love and admiration I have for Diana Soviero, whom I consider one of the greatest exponents of the "Verismo" style of singing, a style that reminds us of the era of Claudia Muzio, Mafalda Favero, Virginia Zeani.      I am presenting highlights from the very first Tosca of Mme.Soviero, Montreal 1991, featuring Tony De Paolo as Cavaradossi and Harry Dworchak as Scarpia, conducted by Joseph Rescigno.       I  believe you will concur that Mme.Soviero has been one of our greatest artists, and presently is hailed as one of our finest teachers and coaches. I consider myself most fortunate to have followed Mme.Soviero's career for the past 30 years, and hope you enjoy this superb performance.  ( 70 min.)  

The first of three exciting podcasts that feature the dramatic scene between Tosca and Scarpia in Act two, followed by the "Vittoria."             The order is as follows:Pilar Lorengar,Ingvar Wixell, Franco TagliaviniJohanna Meier, Richard Fredricks, Herman MalamoodEleanor Steber, George London, Carlo BergonziRaina Kabaiwanska (in photo), Mario Zanasi, Placido DomingoLeontyne Price, Josh Wheeler, David Poleri (In English)Leonie Rysanek, Cornell MacNeil, Richard TuckerGallina Vishnevskaya,Vladimir Valaitis, Virgilius Noreika (In Russian)                              (74 min.)