Claire Croiza Videos
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Richard Strauss Gérard Marcel Tisserand Pierre Bernac Claire Croiza Vanni Marcoux Lotte Lehmann Cimarosa Purcell Leopold Stokowski Monteverdi Ernest Ansermet Debussy Blangini Dalton Baldwin Elly Ameling Opéra Comique Metropolitan Opera Vienna State Opera 1864 1894 1897 1918 1931 1940 1944 1945 1949 1950 1958 1960 1962 1963 1965 2004
RICHARD STRAUSS +••.••(...)) Morgen! Op. 27 No. 4. The German love poem "Morgen!" was written by Strauss's contemporary, John Henry Mackay. Strauss had met Mackay in Berlin, and set his poem to music on 21 May 1894. It was one of his four Lieder Opus 27, a wedding present to his wife Pauline. Initially, he set the accompaniment for piano alone, and for piano with violin. It was not until three years later, in 1897, that he arranged the accompaniment for orchestra, still with the violin solo, which is its feature. It remains one of Strauss's best-known and most widely recorded works. The French bass-baritone, Gérard Souzay (real name, Gérard Marcel Tisserand), was born to a musical family. In college, he concentrated on Philosophy, which he continued to read widely after making his career as a singer. After graduating, he went to Paris to pursue philosophy, and to study voice with Pierre Bernac, Claire Croiza, Vanni Marcoux and Lotte Lehmann. Later, he entered the Paris Conservatoire +••.••(...)), where he was a prize-winning student. Gérard Souzay +••.••(...)) made his professional debut in 1944, his New York debut in 1950, and his opera stage debut at the Festival of Aix-en-Provence in 1958, where he sang roles in Cimarosa's Il Matrimonio Segreto and Purcell's Dido and Aeneas. Since then, his operatic career developed parallel to his career as a recitalist and concert singer and specialist in little-known repertoire. In 1960, Leopold Stokowski invited Souzay to interpret the role of Orfeo in Monteverdi's Favola d'Orfeo at the New York City Center Opera. In 1962, Ernest Ansermet invited him to play Golaud in Debussy's Pellèas et Mèlisande at the Rome Opera. Souzay also sang Golaud at the Paris Opéra Comique in the same year, in a performance celebrating the centenary of Debussy's birth. In 1963, at the Paris Opéra, he sang Don Giovanni for the first time. In 1965, he made his Metropolitan Opera debut as Count Almaviva in Le Nozze di Figaro; he also made his debuts that year at the Vienna State Opera and the Munich Opera. Known for his phenomenal gift for languages and dialects, Souzay was also greatly respected for his master classes. In a distinguished 43-year recording career that began with the recording of two duets by Blangini and Leguerney in 1944, Gérard Souzay, a remarkably versatile artist, recorded more than 750 titles in at least 15 languages. These recordings, appearing on nearly 50 labels (more than 535 different catalog numbers) on 78s, 45s, LP's, prerecorded open reel tapes, 8-track cartridges, cassettes, and CD's, earned Souzay numerous awards. Dalton Baldwin is a famous and well-known American collaborative pianist. He has made over 100 recordings and has won numerous prizes working with Elly Ameling and Gérard Souzay. He was born on December 19, 1931 in Summit, NJ.
Oscar Arthur Honegger Charles Marie Widor Vincent Indy Indy Claire Croiza Jacques Ibert Semana Musical Llao Llao 1892 1911 1916 1918 1920 1921 1926 1927 1932 1935 1936 1937 1955 2003 2006
Arthur Honegger +••.••(...)) Danza de la Cabra, para Flauta sola Interpretada por Claudio Barile (Flauta) en el marco de la Semana Musical Llao Llao realizada en Bariloche en el año 2006. Nacido como Oscar-Arthur Honegger (nunca usó su primer nombre), de padres suizos en Le Havre, Francia estudió en principio armonía y violín en su ciudad natal. Tras una formación durante dos años en Zúrich, ingresó en el Conservatorio de París, donde estuvo de 1911 a 1918 y estudió con Charles-Marie Widor y Vincent d'Indy. Su presentación como compositor en París data de 1916 y en 1918 escribió el ballet Le dit des jeux du monde, considerada como su primera obra característica. En 1926 se casó con Andrée Vaurabourg, pianista y condiscípula en el Conservatorio de París, con la condición de que viviesen en apartamentos diferentes. Vivieron separados durante todo su matrimonio, con la excepción de los años de 1935 a 1936, tras sufrir Varaubourg un accidente de tráfico, y en el último año de vida de Honegger, cuando no pudo valerse. Tuvieron una hija, Pascale, nacida en 1932. Honegger también tuvo un hijo, Jean-Claude +••.••(...)), con la cantante Claire Croiza. A comienzos de la década de 1920, Honegger saltó a la fama con su "salmo dramático" Le Roi David, que aún está en el repertorio coral. Entre las dos guerras mundiales Honegger fue muy prolífico. Compuso la música para la película épica de 1927 Napoleon, de Abel Gance. Escribió nueve ballets y tres obras escénicas vocales, entre otras obras. Una de esas obras escénicas, Jeanne d'Arc au bûcher (1935), un "oratorio dramático" (con texto de Paul Claudel), se contempla como una de sus mejores obras. Además de su trabajo en solitario, colaboró con Jacques Ibert tanto en una ópera (L'Aiglon, 1937) como en la opereta Les petites cardinal. En esta época también escribió la Danse de la chèvre (1921), una pieza esencial en el repertorio de flauta. Dedicada a René le Roy, esta obra es viva y encantadora, pero con la misma sinceridad de toda la producción de Honegger.
Oscar Arthur Honegger Christian Ferras Charles Marie Widor Vincent Indy Indy Claire Croiza David King Claudel Jacques Ibert Bach Benjamin Britten Darius Milhaud Francis Poulenc Britten Sinfonia 1892 1911 1916 1918 1921 1923 1926 1927 1932 1935 1936 1937 1940 1946 1955 2003
Arthur Honegger - Sonata for Solo Violin Violin - Christian Ferras ————————————————————————— Arthur Honegger (French: [aʁtyʁ ɔnɛɡɛːʁ]; 10 March 1892 – 27 November 1955) was a Swiss composer, who was born in France and lived a large part of his life in Paris. He was a member of Les Six. His most frequently performed work is probably the orchestral work Pacific 231, which was inspired by the sound of a steam locomotive. Born Oscar-Arthur Honegger (the first name was never used) to Swiss parents in Le Havre, France, he initially studied harmony and violin in Le Havre. After studying for two years at the Zurich Conservatory he enrolled in the Paris Conservatoire from 1911 to 1918, studying with both Charles-Marie Widor and Vincent d'Indy. He made his Paris compositional debut in 1916 and in 1918 wrote the ballet Le dit des jeux du monde, generally considered to be his first characteristic work. In 1926 he married Andrée Vaurabourg, a pianist and fellow student at the Paris Conservatoire, on the condition that they live in separate apartments because he required solitude for composing. Andrée lived with her mother, and Honegger visited them for lunch every day. They lived apart for the duration of their marriage, with the exceptions of one year from 1935 to 1936 following Vaurabourg's injury in a car accident, and the last year of Honegger's life, when he was not well enough to live alone. They had one daughter, Pascale, born in 1932. Honegger also had a son, Jean-Claude (1926–2003), with the singer Claire Croiza. In the early 1920s, Honegger shot to fame with his "dramatic psalm" Le Roi David (King David), which is still in the choral repertoire. Between World War I and World War II, Honegger was very prolific. He composed the music for Abel Gance's epic 1927 film, Napoléon. He composed nine ballets and three vocal stage works, amongst other works. One of those stage works, Jeanne d'Arc au bûcher (1935), a "dramatic oratorio" (to words by Paul Claudel), is thought of[by whom?] as one of his finest works. In addition to his pieces written alone, he collaborated with Jacques Ibert on both an opera, L'Aiglon (1937), and an operetta. During this time period he also wrote Danse de la chèvre (1921), an essential piece of flute repertoire. Dedicated to René Le Roy and written for solo flute, this piece is lively and charming, but with the same directness of all Honegger's work. Honegger always remained in touch with Switzerland, his parents' country of origin, until the outbreak of the war and the invasion of the Nazis made it impossible for him to leave Paris. He joined the French Resistance and was generally unaffected by the Nazis themselves, who allowed him to continue his work without too much interference. He also taught composition at the École Normale de Musique de Paris, where his students included Yves Ramette. However, he was greatly depressed by the war. Between its outbreak and his death, he wrote his last four symphonies (numbers two to five) which are among the most powerful symphonic works of the 20th century. Of these, the second, for strings, featuring a solo trumpet which plays a chorale tune in the style of Bach in the final movement, and the third, subtitled Symphonie Liturgique with three movements that evoke the Requiem Mass (Dies irae, De profundis clamavi and Dona nobis pacem), are probably the best known. Written in 1946 just after the end of the war, it has parallels with Benjamin Britten's Sinfonia da Requiem of 1940. In contrast with this work is the lyrical, nostalgic Symphony No. 4, subtitled "Deliciae Basilienses" ("The Delights of Basel"), written as a tribute to days of relaxation spent in that Swiss city during the war. Honegger was widely known as a train enthusiast, and once notably said: "I have always loved locomotives passionately. For me they are living creatures and I love them as others love women or horses." His "mouvement symphonique" Pacific 231 (a depiction of a steam locomotive) gained him early notoriety in 1923. The principal elements of Honegger's style are: Bachian counterpoint, driving rhythms, melodic amplitude, highly coloristic harmonies, an impressionistic use of orchestral sonorities, and a concern for formal architecture. His style is weightier and more solemn than that of his colleagues in Les Six. Far from reacting against German romanticism as the other members of Les Six did, Honegger's mature works show evidence of a distinct influence by it. Despite the differences in their styles, he and fellow Les Six member Darius Milhaud were close friends, having studied together at the Paris Conservatoire. Milhaud dedicated his fourth string quintet to Honegger's memory, while Francis Poulenc similarly dedicated his Clarinet Sonata. ————————————————————————— I, in no way, mean to make any money via my videos. I make them to allow others to discover classical music, and help them by (sometimes) providing sheet music.
Claire Croiza Francis Poulenc Connolly Townsend Cornaglia Jean Reszke Isidore Lara Camille Saint Saëns Berlioz Wagner Bizet Donizetti Massenet Fauré Debussy Ravel Roussel Honegger Claudel André Caplet Janine Micheau Suzanne Juyol Camille Maurane Jacques Jansen Jansen Gérard Souzay Théâtre Monnaie 1882 1905 1906 1908 1910 1915 1922 1924 1926 1934 1946
Claire Croiza - Le Bestiaire - Francis Poulenc - Piano Francis Poulenc - Columbia D 15041 CLAIRE CROIZA Claire Croiza, née le 14 septembre 1882 à Paris où elle est morte le 26 mai 1946, est une cantatrice mezzo-soprano française. Elle fut également un professeur de chant influent. Née Claire O'Connolly, elle est la fille d'un colonel américain, John Townsend O'Connolly, expatrié d'origine irlandaise, et d'Annette Cornaglia. Enfant, elle excelle au piano et au chant. Elle reçoit d'abord un enseignement privé, puis suit des cours plus approfondis auprès du ténor polonais Jean de Reszke. Elle tient son premier rôle à Nancy, en 1905, dans Messaline d'Isidore de Lara. En 1906, elle fait sa première apparition au Théâtre de la Monnaie à Bruxelles, le 7 mars 1910, comme Dalila dans Samson et Dalila de Camille Saint-Saëns. Commence une longue association avec l'opéra dans les rôles de Dido (Les Troyens de Berlioz), Clytemnestre (Elektra de Strauss), Erda (Erda de Wagner), Carmen (Carmen de Bizet), Léonor (La Favorite de Donizetti), Charlotte (Werther de Massenet) et Pénélope (Pénélope de Fauré). C'est encore comme Dalila qu'elle fait ses débuts en 1908 à l'Opéra national de Paris. Quoique bien établie professionnellement comme chanteuse d'opéra, elle poursuit sa carrière comme chanteuse de récitals et tout particulièrement de mélodies françaises, dont elle devient l'une des grandes interprètes. Elle possède une très grande maîtrise de la langue française ; sa prononciation, claire et naturelle, ne sacrifie en rien la beauté et le flux de ses prestations. Aussi plusieurs de ses contemporains la choisissent pour l'interprétation de leurs œuvres vocales, par exemple Debussy, Ravel (dans Shéhérazade), Poulenc, Roussel et Honegger, ainsi que des poètes comme Paul Valéry et Paul Claudel. Â partir de 1922, elle est professeur d'interprétation à l'École normale de musique de Paris. Elle fait aussi de nombreuses tournées à l'étranger, avec de fréquents passages à Londres où elle est très bien reçue. Elle crée en 1915 Le Jardin clos de Fauré, puis en 1924 Le Miroir de Jésus d'André Caplet. À New York, interprète de Pâques de Honegger et de La Chanson de Ronsard en 1924, elle tisse des relations privilégiées avec Honnegger, qui lui dédie Judith. Le 26 avril 1926, elle donne naissance à un fils, Jean-Claude, fruit de sa liaison avec Honnegger. Le compositeur et la cantatrice ne se marient cependant pas. Après 1934, elle enseigne au Conservatoire de Paris. Excellente pédagogue, elle a notamment comme élèves Janine Micheau, Suzanne Juyol, Yoshiko Furusawa, Betty Bannermanet et les barytons Camille Maurane, Jacques Jansen et Gérard Souzay. Source :Wikipedia
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