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italienische Sopranistin (Koloratursopran)
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2024-05-15
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Max Bruch Abbadia Guida Hatto Giuranna Vladimir Mendelssohn Mendelssohn Wolfram Christ Donatoni Brizzi Scelsi Berio Salvatore Sciarrino Helmut Lachenmann Fontanelli Kurtag Terry Riley Steve Reich Giya Kancheli Vecchi Fredi Quartetto Italiano Quatuor Bordeaux 1931 1940 1942 1993 2000 2010 2013 2017 2019
Max Bruch "Romance" Op 85 in fa maggiore per viola e orchestra. Viola: Carmelo Giallombardo. " Orchestra Sinfonica della Miniera " di Abbadia San Salvatore ( Si ) CARMELO GIALLOMBARDO si diploma sotto la guida del M° Piero Farulli ( violista del leggendario Quartetto Italiano ) e successivamente viene eseguito al corso di triennale di alto perfezionamento di viola del M° Hatto Beyerle presso la Scuola di Musica di Fiesole. Nell'ambito del corso di quartetto d'archi tenuto dal M° Piero Farulli presso “L'Accademia Chigiana” (Si) gli viene assegnato il prestigioso “Diploma d'Onore”. Il suo percorso musicale lo porta a seguire anche i maestri: Bruno Giuranna, Vladimir Mendelssohn e Wolfram Christ. Il suo interesse per la musica contemporanea, lo porta ad esibirsi in Lussemburgo (musica di F. Donatoni), Berlino (Die Lange Nacht der Elektronischen Klange 2000 musiche di A. Brizzi), Monaco ( Schloss Elmau musiche di G. Scelsi ), Accademia Musicale Chigiana ( Sequenza VI e Naturale di L. Berio ), GOG di Genova (" Del che non suono fa rumore " di Fanticini ), ed a insieme con compositori di fama internazionale tra cui Salvatore Sciarrino, Stefano Scodanibbio, Fabrizio Fanticini, Helmut Lachenmann, Simone Fontanelli, Gyorgy Kurtag, Marco Uvietta, Terry Riley, , Gianluca Ulivelli, Steve Reich, Xuyi, Giya Kancheli, Luis De Pablo. Con il Quartetto Prometeo, del quale è stato il violista dalla fondazione (1993) sino al 2010, ha vinto premi in concorsi nazionali ed internazionali ("Praga di Praga International Competition" ; "Concours International de Quatuor di Bordeaux", concorso Internazionale di Quartetto "ARD" di Monaco). Ha effettuato concerti e tourneès in Europa, Giappone, Stati Uniti, Sud America e collaboratore con solisti e cameristi di fama internazionale. Nel gennaio 2017 ha pubblicato, per la casa editrice “ Edizioni Momenti “, la trascrizione per quattro viole della Sonata BWV 1001 per violino solo di JSBach. Ha tenuto masterclass presso La Washington University ( Seattle ), la Pacific University ( Forest Grove - Oregon), al conservatorio Superior de musica “ Victoria Eugenia “ di Granada. Effettuato registrazione radiofoniche per la BBC Radio 3 , RAI Radio 3, per la ORF Radio Nazionale Austriaca ,ARD di Monaco. Inciso per la BMG Ricordi spa , Real Sound, Zig Zag, Limen music, Bottega discantica, Kairos, Brilliant, Naxos. Dal 2013 al 2017 ha collaborato come violista con il “Quartetto di Roma”. E' stato docente di quartetto d' archi presso l'Istituto Pareggiato "O. Vecchi" ( Mo ), di viola presso la Scuola di Musica di Fiesole (FI ) ed è titolare della cattedra di viola presso il Conservatorio "Rinaldo Franci" (SI). Suona una viola “Rodolfo Fredi” (1940). L’Orchestra Sinfonica della Miniera di Abbadia San Salvatore è una storica formazione orchestrale, l’esordio è avvenuto nel 1931. L’Associazione Arcadia in collaborazione con il Parco Museo Minerario di Abbadia San Salvatore nel 2019 ha condotto delle ricerche presso gli Archivi Minerari Amiatini Riuniti con l’obiettivo di ricostruire storia e composizione dell’Orchestra Sinfonica. Questa si costituì nel 1931 per volere della Società Monte Amiata che fin dall’inizio della propria attività industriale promosse e sostenne lo sviluppo culturale e sociale delle comunità nelle quali era insediata l’attività estrattiva. L’Orchestra Sinfonica della Miniera fu la prima formazione orchestrale popolare europea. Fu attiva fino al 1942, quando le ostilità belliche imposero la cessazione delle sue attività.
Feodor Ivanovich Chaliapin Clarke Bourdon Dmitri Usatov Gounod Sergei Rachmaninoff Mussorgsky Boito Arturo Toscanini Sir Thomas Beecham Pabst Private Opera Bolshoi Theatre Scala Metropolitan Opera 1847 1872 1873 1894 1896 1899 1901 1907 1913 1914 1918 1921 1926 1927 1929 1931 1932 1933 1937 1938 1943 1984
Feodor Chaliapin sings - in English - 'The Blind Ploughman,' with orchestra conducted by Rosario Bourdon, recorded by Victor in the Church Building at Camden, New Jersey, on 18 March 1927. From Wikipedia: Feodor Ivanovich Chaliapin... February 13 [O.S. February 1] 1873 – April 12, 1938) was a Russian opera singer. Possessing a deep and expressive bass voice, he enjoyed an important international career at major opera houses and is often credited with establishing the tradition of naturalistic acting in his chosen art form... Feodor Chaliapin was born into a peasant family...His vocal teacher was Dmitri Usatov +••.••(...)). Chaliapin began his career at Tbilisi and at the Imperial Opera in Saint Petersburg in 1894. He was then invited to sing at the Mamontov Private Opera (1896–1899); he first appeared there as Mephistopheles in Gounod's Faust, in which role he achieved considerable success. At Mamontov Chaliapin met Sergei Rachmaninoff +••.••(...)), who was serving as an assistant conductor there and with whom he remained friends for life. Rachmaninoff taught him much about musicianship, including how to analyze a music score, and insisted that Chaliapin learn not only his own roles but also all the other roles in the operas in which he was scheduled to appear. With Rachmaninoff he learned the title role of Mussorgsky's Boris Godunov, which became his signature character. Chaliapin returned the favour by showing Rachmaninoff how he built each of his interpretations around a culminating moment or 'point.' Regardless of where that point was or at which dynamic within that piece, the performer had to know how to approach it with absolute calculation and precision; otherwise, the whole construction of the piece could crumble and the piece could become disjointed. Rachmaninoff put this approach to considerable use when he became a full-time concert-pianist after World War I. On the strength of his Mamontov appearances, the Bolshoi Theatre in Moscow engaged Chaliapin, and he appeared there regularly from 1899 until 1914. During the First World War of 1914-1918 Chaliapin also appeared regularly at the Zimin Private Opera in Moscow. In addition, from 1901, Chaliapin began touring in the West, making a sensational debut at La Scala that year as the devil in a production of Boito's Mefistofele, under the baton of one of the 20th century's most dynamic opera conductors, Arturo Toscanini. At the end of his career, Toscanini observed that the Russian bass was the greatest operatic talent with whom he had ever worked. The singer's Metropolitan Opera debut in the 1907 season was disappointing due to the unprecedented frankness of his stage acting; but he returned to the Met in 1921 and sang there with immense success for eight seasons, New York's audiences having grown more broad-minded since 1907. In 1913 Chaliapin was introduced to London and Paris by the brilliant entrepreneur Sergei Diaghilev +••.••(...)), at which point he began giving well-received solo recitals in which he sang traditional Russian folk-songs as well as more serious fare... Chaliapin toured Australia in 1926, giving a series of recitals which were highly acclaimed...[He remained] perpetually outside Russia after 1921. He still maintained, however, that he was not anti-Soviet. Chaliapin initially moved to Finland and later lived in France. Cosmopolitan Paris, with its significant Russian émigré population, became his base, and ultimately, the city of his death. He was renowned for his larger-than-life carousing during this period, but he never sacrificed his dedication to his art. Chaliapin's attachment to Paris did not prevent him from pursuing an international operatic and concert career in England, the United States, and further afield. In May 1931 he appeared in the Russian Season directed by Sir Thomas Beecham at London's Lyceum Theatre. His most famous part was the title role of Boris Godunov (excerpts of which he recorded 1929–31 and earlier)... Largely owing to his advocacy, Russian operas...became well known in the West. Chaliapin made one sound film for the director G. W. Pabst, the 1933 Don Quixote. The film was made in three different versions – French, English, and German, as was sometimes the prevailing custom. Chaliapin starred in all three versions, each of which used the same script, sets, and costumes, but different supporting casts... In 1932, Chaliapin published a memoir, Man and Mask: Forty Years in the Life of a Singer... Chaliapin's last stage performance took place at the Monte Carlo Opera in 1937, as Boris. He died the following year of leukaemia, aged 65, in Paris, where he was interred. In 1984, his remains were transferred from Paris to Moscow in an elaborate ceremony. They were re-buried in the Novodevichy Cemetery... I transferred this side from an Australian laminated pressing of HMV DA 993.
Jean Luc Chaignaud Régine Crespin Gabriel Bacquier Christa Ludwig Hans Hotter Herbert Karajan Maschera Verdi Plácido Domingo Josephine Barstow Sumi Jo Schlesinger Sir Georg Solti Eberhard Wächter Donizetti Luciano Pavarotti Puccini Mirella Freni Massenet Renée Fleming Roberto Alagna Bizet Zeffirelli Mahler Arditti Michel Béroff Cilea Rolando Villazón Riccardo Muti Giuseppe Sinopoli Richard Bonynge Seiji Osawa Pierre Boulez Valeri Guerguiev Jeffrey Tate Christian Thielemann Charles Dutoit Christoph Eschenbach Festival Salzbourg Scala Théâtre Liceu Barcelone Carnegie Hall Royal Albert Hall Opéra Monte Carlo Opéra Vienne Metropolitan Opera Quatuor Arditti Opmc 1988 1989 1990 1991 1992 1993 1994 2009 2010 2014
Kassis - Concerts à la maison : Jean-Luc Chaignaud -Leçon de chant Jean-Luc Chaignaud : un baryton soliste français, chanteur d'opéras, de lieders et d'oratorios. Étudie le chant avec Régine Crespin et Gabriel Bacquier au Conservatoire de Paris, puis entre à l’École d’Art Lyrique de l’Opéra de Paris où il participe aux master class de Christa Ludwig et Hans Hotter. Après avoir fait ses débuts en 1988 au mai musical de Bordeaux et au Festival Ossiachersee en Autriche, il est engagé par Herbert von Karajan pour le rôle de Silvano dans Un ballo in maschera de Verdi, aux côtés de Plácido Domingo, Josephine Barstow et Sumi Jo, enregistré pour la Deutsche Grammophon (1989). Une mise en scène par John Schlesinger de cette production, cette fois-ci sous la baguette de Sir Georg Solti, est réalisée pour le Festival de Salzbourg en 1989 et 1990 et également filmée (Arthaus/TDK, 1990). Sa formation avec la mezzo-soprano allemande Christa Ludwig est déterminante pour sa carrière, comme elle le relate dans ses mémoires Ma voix et moi au cours d’un passage dithyrambique sur le talent de ce baryton d’une « très belle voix » et qui « chante bien avec musicalité ». Au cours d’une première et seule audition pour le rôle de Figaro à l'Opéra de Vienne, le directeur Eberhard Wächter donne immédiatement à Jean-Luc Chaignaud un contrat de plusieurs années, le propulsant ainsi dans une carrière sur les grandes scènes intérnationales1. Durant la saison 1991-1992 à l'Opéra de Vienne, il incarne le personnage de Belcore dans L'elisir d'amore de Donizetti aux côtés du ténor italien Luciano Pavarotti et de Marcello dans La Bohème de Puccini avec la soprano italienne Mirella Freni. Son travail avec ces deux grands interprètes, « couple mythique de l’opéra », avec lesquels il partagera la scène plusieurs fois à Vienne et à Paris, a une grande influence sur son approche du chant ainsi que sur l’évolution de sa carrière. En 1993, la critique française chante ses louanges2. Le premier quotidien national français Le Figaro qualifie Jean-Luc Chaignaud de « prodige de scène » « éblouissant d’humanité et de tendresse » et fait l’éloge de sa voix « admirablement conduite, irisée de très belles couleurs. »3. Les grandes qualités d’interprétation et de musicalité de Jean-Luc Chaignaud vont de pair avec sa voix puissante et « son solide métier »4. Connu principalement pour les rôles de Lescaut dans l’opéra Manon de Massenet aux côtés de Renée Fleming, de Marcello dans l’opéra La Bohème de Puccini aux côtés de Roberto Alagna, et d’Escamillo dans l’opéra Carmen de Bizet mis en scène par Franco Zeffirelli, il chante dans un répertoire qui comprend notamment des opéras de Mozart, Verdi, Donizetti, Puccini et Bizet, dans des grandes salles comme le Metropolitan Opera de New York, l'Opéra de Paris, l'Opéra de Vienne, La Scala de Milan, le Grand théâtre du Liceu de Barcelone, Carnegie Hall de New York, Royal Albert Hall London, l’Opéra de Munich ou l’Opéra de Pékin. Au cours de plus de trente années de carrière internationale, Jean-Luc Chaignaud interprète à travers le monde entier un grand nombre de répertoires et styles variés : le répertoire italien du Bel canto mais aussi le Baroque, les lieder, les oratorio et les musiques contemporaines comme Ça Ira de Roger Waters. Parmi ses enregistrements figurent un récital exceptionnel au Musée du Louvre des Lieder eines fahrenden Gesellen de Mahler avec le Quatuor Arditti sous la direction de Michel Béroff à l’occasion de la réouverture du musée en 1989, l’opéra Adriana Lecouvreur de Cilea avec Mirella Freni (La sept Arte/Opéra national de Paris, France musique, 1994), Manon de Massenet avec Renée Fleming (Arthaus, 2009), L'elisir d'amore de Donizetti avec Rolando Villazón (Virgin Classics, 2010) et un hommage au poète-compositeur-interprète franco-monégasque Léo Ferré à l'Opéra de Monte-Carlo (OPMC Classics, 2014).Il a collaboré avec des chefs d’orchestre comme Herbert von Karajan, Sir Georg Solti, Riccardo Muti, Giuseppe Sinopoli, Richard Bonynge, Seiji Osawa, Pierre Boulez, Valeri Guerguiev, Jeffrey Tate, Christian Thielemann, Daniel Oren, Charles Dutoit ou Christoph Eschenbach.
Gianna Galli Galli Bellini Anna Moffo Kurt Weill Puccini Maria Callas Joan Sutherland Beverly Sills Gruberova New York City Opera Scala 1835 1935 1952 1956 1958 1960 1962 2010
THE SONGBIRD: Gianna Galli +••.••(...)) was lyric soprano, but sang a few florid roles early in her career. She was born in Modena where she made her stage debut in 1952, the same year she won the Spoleto voice competition at age 17. She appeared as Lisa in a 1956 television production of "La sonnambula" starring Anna Moffo (available elsewhere on YouTube). Galli's career grew rapidly with appearances in Italy and a debut in the U.S. in 1958 at the New York City Opera as Mimi, a role she performed frequently. Her La scala debut was in 1962 in Kurt Weill's one-act farce "Der Zar lässt sich photographieren." She sang Oscar in Venice, Violetta in Rome, Puccini's Manon in Monte Carlo, Minnie in Florence, Tosca in Parma, and Sonia in Torino. She also sang several world premieres of contemporary Italian operas. When she retired from singing, she became an artist's manager. THE MUSIC: "I puritani" was Bellini's last opera. It premiered in Paris in January 1835, and Bellini died in September 1835 at the age of 33. It was tremendously successful and the opera was performed regularly throughout Europe and in New York until the early 1900s. It went mostly dormant until it caught the public's attention during the bel canto revival ignited by Maria Callas and carried forward by Joan Sutherland, Beverly Sills, Edita Gruberova, and others. Elvira is one of Bellini's most mentally delicate creatures and her mad scene is an elegant depiction of her fragile emotional state. The entire mad scene is very long (almost 20 minutes with no cuts); it has several sections and interludes and frequent interjections by other characters, so it is always abridged when performed by a solo soprano in concert or recital.
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