Bojan Šober Vídeos
cantante de ópera croata
- barítono
- Croacia
- cantante de ópera
Última actualización
2024-05-06
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Yevgeny Aleksandrovich Mravinsky Shostakovich Yevgeniya Mravina Tchaikovsky Schubert Brahms Lugansky Mariinsky Theatre Bolshoi Royal Festival Hall 1903 1918 1923 1929 1931 1938 1946 1956 1960 1973 1984 1987 1988
Yevgeny Aleksandrovich Mravinsky (Russian: Евге́ний Алекса́ндрович Мрави́нский) (4 June [O.S. 22 May] 1903 / 19 January 1988) was a Soviet-Russian conductor. Mravinsky was born in Saint Petersburg. The soprano Yevgeniya Mravina was his aunt. His father died in 1918, and in that same year, he began to work backstage at the Mariinsky Theatre. He first studied biology at the university in Leningrad, before going to the Leningrad Conservatory to study music. He served as a ballet repetiteur from 1923 to 1931. His first public conducting appearance was in 1929. Through the 1930s he conducted at the Kirov Ballet and Bolshoi Opera. In September 1938, he won the All-Union Conductors Competition in Moscow. In October 1938, Mravinsky took up the post that he was to hold until 1988: principal conductor of the Leningrad Philharmonic Orchestra, with whom he had made his debut as a conductor in 1931. Under Mravinsky, the Leningrad Philharmonic gained a legendary reputation, particularly in Russian music such as Tchaikovsky and Shostakovich. During World War II, Mravinsky and the orchestra were evacuated to Siberia. But members of the Leningrad Philharmonic's reserve orchestra and the Leningrad Radio Orchestra were left behind in the siege of Leningrad, so it fell to Karl Eliasberg to conduct the surviving musicians in the Leningrad premiere of the Symphony No.7 "Leningrad" by Shostakovich. Mravinsky first went on tour abroad in 1946, including performances in Finland and in Czechoslovakia (at the Prague Spring Festival). Later tours with orchestra included a June 1956 itinerary to West Germany, East Germany, Austria and Switzerland. Their only tour to Great Britain was in September 1960 to the Edinburgh Festival and the Royal Festival Hall, London. Their first tour to Japan was in May 1973. Their last foreign tour was in 1984, to West Germany. His last concert was on 6 March 1987 (Schubert, Symphony No. 8, and Brahms, Symphony No. 4). Mravinsky died in Leningrad in 1988, aged 84. Recordings reveal Mravinsky to have an extraordinary technical control over the orchestra, especially over dynamics. He was also a very exciting conductor, frequently changing tempo in order to heighten the musical effect for which he was striving, often making prominent use of brass instrumentation. Surviving videos show that Mravinsky had a sober appearance at the podium, making simple but very clear gestures, often without a baton. The critic David Fanning has memorably described some of Mravinsky's Tchaikovsky performances: 'The Leningrad Philharmonic play like a wild stallion, only just held in check by the willpower of its master. Every smallest movement is placed with fierce pride; at any moment it may break into such a frenzied gallop that you hardly know whether to feel exhilarated or terrified'.... (http•••) A link to this wonderful artists personal Website: (http•••) Please Enjoy! I send my kind and warm regards,
Giacomo Puccini Mirjana Bohanec Zlatko Foglar Bojan Šober Sancin Benoit 1858 1896 1924 1981
Giacomo Puccini +••.••(...).) La Bohème, a tragic opera in four acts (1896) (recording incomplete) ACT I - 00:00 ACT II - 31:38 ACT III - 52:37 ACT IV - 57:06 Rodolfo - Peter Dvorsky Schaunard - Zlatko Foglar Marcello - Bojan Šober Colline - Gianni Sancin Mimi - Radmila Smiljan Musetta - Mirjana Bohanec Benoit - Tugomir Alaupović Alcindor - Filip Vrcan Parpignol - Damir Žarko A customs Sergeants - Filip Vrcan & Zoran Ostojčić Soloists, Choir and Orchestra of Croatian National Theatre in Zagreb Conductor: Nikola Debelić Chorus Master: Zoran Juranić Staging: Peter Busse Scene: Aleksandar Augustinčić Costumes: Ika Škomrlj Live performance; HNK Zagreb, April 6th, 1981 Zagreb, Croatia
Alfred Schnittke Alexander Raskatov Irina Schnittke Gennady Rozhdestvensky Nikolai Korndorf Monk Brodsky Cape Philharmonic Orchestra Dresden Philharmonic 1808 1958 1994 1996 1998 2001 2007
Cape Philharmonic Orchestra conducted by Owain Arwel Hughes I - [Andante]: 0:00 II - Moderato: 18:08 III - Presto: 26:10 Schnittke's final ninth symphony was composed between 1996-7, finishing it before his death in Hamburg on 3rd August 1998. In July 1994, Schnittke had suffered a stroke, which left him unable to speak and move the right side of his body. However, he could still write music using his left hand, but the original score was very difficult to read. After the composer’s death, his wife Irina Schnittke decided to find a composer who would be able to decipher Schnittke’s score. The first one was Gennady Rozhdestvensky, who colaborated extensively with the composer before. He completed a version in a few months, and it was premiered in the Great Hall of the Moscow Conservatory on 19th June 1998. Rozhdestvensky’s version of the Ninth Symphony, however, had very little in common with the original score. As he later explained in an interview in the Russian magazine Ogonyok, his work on the original score was "an attempt (within one’s powers) to decipher a musical abracadabra". Schnittke himself heard the performance's recording and was not happy with the result, rejecting Rozhdestvensky’s version and banning it to prevent more performances. Irina then decided to find a composer who would remain faithful to the original score. The Russian-Canadian composer Nikolai Korndorf began a second version with great energy and determination, trying to be as close as possible to the late style of the composer. Unfortunately, Korndorf was unable to finish the work, as he died in 2001. Alexander Raskatov then agreed to continue the deciphering process, taking several years to complete ir. Finally, Schnittke’s Symphony No.9 in Raskatov’s version was premiered in Dresden on 16th June 2007, with the Dresden Philharmonic Orchestra conducted by Dennis Russell Davis. The first movement originally had no tempo marking. Raskatov added Andante following Irina Schnittke's suggestion that the composer's idea was to escalate from a slow movement at the beginning to a faster one in the middle and a very fast movement at the end. The movement constitutes a kind of testament from the composer. His style is ascetic, reflecting a deep spirituality. A slow theme, full of pain and melancholy, is presented by the strings and followed by the clarinet and trombone, constituting the basis of the movement. Raskatov called that section: "voice from beyond". In the central part the drama increases and the music takes on a harsher character. Brass fanfares shows a feeling of protest. It ends with the slow theme that constitutes a sober coda. The second movement begins with the strings followed by the wind instruments and harpsichord. The horn plays a delusive solo and the drum beats out a rhythm announcing a fast finale. Brass interventions become more aggressive, using a harsh atonal language. That movement is a transformation from the first movement's lamentation into the third movement's impetus. Schnittke's style is taken to its last consequences, seeking a new form of expression. The third movement begins with the strings presenting a vigorous atonal theme, later in dialogues between brass and woods. The strings and the piccolo carry on the dialogue, presenting a chromatic lyrical contrasting theme. The harpsichord comes back for a while. A short wind chorale increases and collapses, dissonant pianissimo chords close the work. Raskatov, who not only provided a thorough score but, convinced that Schnittke had intended to write a fourth movement, also developed the idea to add an independent epilogue, the “Nunc Dimitis” (“Lord, let thy servant now depart into thy promised rest”) for mezzo soprano, vocal quartett and orchestra. It is based on the famous text by orthodox monk Starets Siluan and on verses by Joseph Brodsky, Schnittke’s favourite poet. Picture: "The Banquet" (1958) by the Belgian painter Rene Magritte. Sources: (http•••) (http•••) and (http•••)
Johann Sebastian Bach Aafje Heynis Klerk Netherlands Chamber Orchestra 1685 1725 1726 1750 1958 2022
Johann Sebastian Bach +••.••(...)) Bach: Cantatas BWV 170 & 169, Sacred Arias, Sacred Lieder. Qobuz (http•••) Deezer (http•••) Amazon Music (http•••) Amazon Store (http•••) Apple Music — Spotify — Tidal (http•••) Youtube Music (http•••) LineMusic日本 (http•••) Awa日本 (http•••) Napster, Pandora, SoundCloud, Anghami, QQ音乐 … Cantata BWV 169 "Gott Soll Allein Mein Herze Haben" 00:00 I. Sinfonia 08:40 II. Arioso en Recitatief: Gott soll allein 12:18 III. Aria: Gott soll allein 20:40 IV. Recitatief: Was ist die Liebe Gottes? 21:40 V. Aria: stirb in mir 27:07 VI. Recitatief: Doch meint es auch dabei 27:53 VII. Koor: Du süsse Liebe Complete Remastered Edition Available on all the main streaming platforms (Qobuz in 24/96 His-Res, Amazon Music, Deezer, Tidal, Spotify (soon), Apple Music (soon)..) Contralto: Aafje Heynis Organ: Albert de Klerk Netherlands Chamber Orchestra & Chorus Conductor: Anton Van Der Horst Recorded in 1958 New mastering in 2022 by AB for CMRR FOLLOW US on SPOTIFY (Profil: CMRR) : (http•••) Download CMRR's recordings in High fidelity audio (QOBUZ) : (http•••) ️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) (http•••) Cantata BWV 169 dates from the third year of production in Leipzig +••.••(...)). The unknown author of the libretto of this cantata develops the affirmation of Christ reported in the Gospel of Matthew: "Love Yahweh your God with all your heart, with all your soul and with all your mind: this is the greatest and first commandment." That is why the soloist sings "God alone must possess my heart." And this in spite of the seductions of the earthly world, which are nothing compared to the eternal bliss to which the faithful are promised. This love of God is the supreme good that must lead him to paradise. As the cantata "Herr Christ, der einge Gottessohn" BWV 96 for the same Sunday says, the Christian must die to the world by renouncing all its temptations. This is precisely the teaching repeated by the apostle John: Do not love either the world or the things in the world. If anyone loves the world, the love of the Father is not in him; because everything in the world the desire of the flesh and the desire of the eyes and the showy display of one's means of life does not originate with the Father, but originates with the world. Furthermore, the world is passing away and so is its desire, but the one who does the will of God remains forever (1 John 2: 15-16). But the faithful must also observe the second commandment, that of love of neighbor, which is only the corollary of the first. Love of God, love of neighbor, this is what the concluding chorale stanza implores for grace. Like the other cantatas for solo voice from Bach's creative period, this one is very sober, but it is remarkable to observe the subtle differentiation in the composition of each piece, in terms of style and instrumental color, creating contrasts and renewing the expressive registers, and thus the interest and above all the attention of the listeners. A brilliant introduction is followed by three pieces, in turn arioso, aria and recitative, where the voice is supported only minimally, by the basso continuo or the organ. The chorus of three oboes falls silent after the initial sinfonia (except to support the singing of the final chorale), and it is not until the second aria (no. 5) that the strings intervene. The final chorale requires only four polyphonic voices for one minute./ COMPLETE PRESENTATION: LOOK THE FIRST PINNED COMMENT*** Johann Sebastian Bach +••.••(...)) - Brandenburg Concertos BWV 1046-1051 Qobuz (http•••) Tidal (http•••) Spotify (http•••) Youtube Music (http•••) Apple Music (http•••) Amazon Music (http•••) Deezer (http•••) Soundcloud (http•••) Napster (http•••) Awa日本 (http•••) LineMusic日本 (http•••) QQ音乐 (http•••) Johann Sebastian Bach PLAYLIST (reference recordings): (http•••)
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- cronología: Cantantes líricos (Europa).
- Índices (por orden alfabético): �...