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Jean Françaix Morrison 1236 1441 1948 1956 1976
00:00 - I. Andante tranquillo (to Allegro assai) 04:19 - II. Presto 08:17 - IIIa. Thema: Andante 09:19 - IIIb. Variation 1: L'istesso Tempo 10:06 - IIIc. Variation 2: Andantino con moto 11:29 - IIId. Variation 3: Lento 12:36 - IIIe. Variation 4: Vivo 13:08 - IIIf. Variation 5: Andante 14:41 - IV. Tempo di marcia francese / Ensemble: ORTF Wind Quintet (dedicatees) Bassoon: Renè Plessier Clarinet: Maurice Cliquenois Flute: Bernard Dufresne Horn: Louis Courtinet Oboe: Jules Goetgheluck Year of Recording: ~1956 / "Nearly 40 years separate Jean Françaix's two Quintets for wind instruments. The earlier of the two dates from 1948, when Louis Courtinat, French horn player with the Orchestre National de la Radiodiffusion Française, asked Françaix for a quintet for his colleagues. As the composer later related, the work was to be "very demanding, permitting the five players to display their virtuosity to the fullest!" Françaix continued, "Even though I am, by nature, a peaceable sort of person, I did my best to be nasty. And I seem to have succeeded, for these gentlemen had to closet themselves for six months in order to get through it." The Quintet proved to be a hit, "achieving a success beyond my wildest dreams." The first movement opens with a laid-back, not-quite-serious slow introduction. When the music speeds to Allegro assai, it is with a light-hearted tune suggestive of the music hall, surrounded by decorative arpeggios. The genial Presto second movement acts as a scherzo, and the slow third movement is a set of variations on a lyrical melody. The final movement is marked Tempo di Marcia Francese; the jolly march melody leads into a contrapuntal central section. Françaix concludes the work with a quiet and humorous coda." (Chris Morrison) / Note: There are significant differences between the score and recording in the Allegro of the first movement; perhaps revisions later made by the composer. / COPYRIGHT Disclaimer, Under Section 107 of the Copyright Act 1976. Allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
Edoardo Garbin Antonio Selva Selva Orefice Aureliano Pertile Guevara Franchetti Fenton Verdi Angelo Masini Adelina Stehle Leoncavallo Spiro Samara Rhea Italo Montemezzi Giocondo Fino Cilea Teatro San Carlo Teatro Carlo Felice Scala Teatro Pergola 1860 1865 1889 1891 1892 1893 1900 1902 1904 1908 1909 1910 1912 1913 1918 1943 1945
Edoardo Garbin +••.••(...)) was an Italian lirico-spinto tenor who made a specialty of verismo roles during the late 19th and early 20th centuries. Born to a farming family in Padua, the young Garbin showed musical promise from an early age. He began working with celebrated bass Antonio Selva (creator of Silva in Ernani and Count Walter in Luisa Miller) in the mid-1880s. Following Selva’s death in 1889, Garbin continued his vocal studies with Vittorio Orefice (teacher of Aureliano Pertile), who continued to build the young tenor’s technique. Garbin’s debut occurred on September 6, 1891 at the Teatro Comunale in Vicenza as Don Alvaro in La Forza del Destino. Within four months, Garbin was singing the Duke in Rigoletto at the Teatro San Carlo in Naples and in October of 1892, he was entrusted with the role of Don Fernando Guevara in the world premiere of Franchetti’s much heralded Cristoforo Colombo at Genoa’s Teatro Carlo Felice. Garbin continued his meteoric rise. Less than a year and a half after his debut, he created the role of Fenton in the world premiere of Verdi’s final opera, Falstaff. Was the young tenor really ready to take on such an assignment, though? Verdi, it seems, had his doubts. The great composer had originally tried to secure Angelo Masini for the role of Fenton but had to settle on Garbin when the legendary tenor proved to be unavailable. Verdi coached the role with Garbin for a solid month, during which time the composer fired off a letter to publisher Ricordi, expressing his dissatisfaction. Verdi complained that the tenor was simply not picking up the part quickly enough. The composer stated that Garbin needed, “…a pedant who would teach him notes, tempo and clear words well.” Verdi also complained to Ricordi of Garbin’s habit of spreading his final vowels. “For example,” he wrote, “when he pronounces ‘che gli risponde alla sua parolaaa’, the ‘a’ is so open that his voice changes and seems to be somebody else’s.” Somehow, composer and tenor managed to find the right mutual wavelength and Garbin sang in the opera’s premiere at La Scala on February 9, 1893. Incidentally, the Nanetta to Garbin’s Fenton, Austrian born soprano Adelina Stehle +••.••(...)), was to become the tenor’s frequent singing partner, as well as his wife. Garbin built a major career in Italy, but was never invited to sing in North America. In fact, the English-speaking world seemed to have little use for Edoardo Garbin. His one season in London (1908) was a total disaster, with one critic describing his Cavaradossi as “miserable”. Luckily, much of Europe, including Germany, Austria, Russia, Poland, Spain and Portugal (not to mention South America) had a much greater appreciation for the tenor’s talents. His repertoire included leading roles in such works as La Bohème, Tosca, Madama Butterfly, Manon Lescaut, Fedora, Adriana Lecouvreur, Andrea Chénier, Cavalleria Rusticana, Iris, Loreley, Mefistofele, La Gioconda, La Traviata, Rigoletto, Carmen, Manon and Lohengrin. Garbin created the role of Milio Dufresne in the world premiere of Leoncavallo’s Zazà in Milan in November of 1900. He also had the honor of creating four roles in operas which never entered the standard repertoire, Spiro Samara’s Rhea (Florence, 1908), Héllera by Italo Montemezzi (Turin, 1909), Giocondo Fino’s La Festa del Grano (Turin, 1910) and La Dubarry by Ezio Camussi (Milan, 1912). After passing the age of 50, Garbin began to curtail his operatic performances. After a final La Bohème at Florence’s Teatro Pergola in 1918, Garbin left the stage for good. He retired to Brescia, where he passed away in 1943 at the age of 78. Edoardo Garbin’s death marked the end of an era. The tenor was the last surviving male singer to have premiered a Verdi opera. Edoardo Garbin made dozens of recordings between 1902 and 1913 for The Gramophone and Typewriter Company, Fonotipia and Columbia. The tenor runs the gamut from truly stellar to almost hopelessly inept in these discs. Some of Garbin’s recordings reveal careless musicianship (late entrances abound), a dull and colorless timbre (bringing to mind Verdi’s complaint about overly spread vowels) and painfully flat notes. During introductions or between phrases he can frequently be heard coughing or clearing his throat. When he is at his best, however (which is much of the time, to be fair), the tenor offers phrases of vocal and artistic eloquence that are truly breathtaking. In this recording, Garbin offers a stunning rendition of "No, più nobile" from Cilea's Adriana Lecouvreur. This was recorded in Milan for Fonotipia in the Fall of 1904.
Orchestre National Pays Loire Bizet 2022
Dans le cadre de la tournée Loire Océan portée par la Région Pays de La Loire, le Théâtre Quartier Libre accueille l’Orchestre National des Pays de la Loire. Au programme : concerto pour violoncelle de LALO (26’) et Symphonie en Ut de BIZET (34’). Direction : Chloé Dufresne Soliste : Paul BEN SOUSSAN, violoncelle. #onpl #chloedufresne #paulbensoussan #orchestre #theatrequartierlibre #symphonie #concerto #ancenisstgéréon #ancenis #loireocean #regionpaysdelaloire #paysdelaloire
Orchestre National Pays Loire Bizet 2022
Dans le cadre de la tournée Loire Océan portée par la Région Pays de La Loire, le Théâtre Quartier Libre accueille l’Orchestre National des Pays de la Loire. Au programme : concerto pour violoncelle de LALO (26’) et Symphonie en Ut de BIZET (34’). Direction : Chloé Dufresne Soliste : Paul BEN SOUSSAN, violoncelle. #onpl #chloedufresne #paulbensoussan #orchestre #theatrequartierlibre #symphonie #concerto #ancenisstgéréon #ancenis #loireocean #regionpaysdelaloire #paysdelaloire
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- Zeitleiste: Lyrische Sänger.
- Indizes (in alphabetischer Reihenfolge): D...