Charles Bâton Vídeos
compositor
- Francia
Última actualización
2024-05-13
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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.
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,
Bach Ewa Pobłocka Fryderyk Chopin Hansen Martha Argerich Viotti Glenn Gould Kazimierz Kord Antoni Wit Rappe Olga Pasichnyk Ewa Podleś Andrzej Panufnik Witold Lutosławski Szymański Paweł Mykietyn Grieg Brahms Schumann Pleyel Rameau Couperin Scarlatti Soler Castaldi Liszt Auditorio Nacional Madrid Barbican Centre Wigmore Hall Musikverein Lincoln Center Maggio Musicale Fiorentino London Symphony Orchestra English Chamber Orchestra Orchestra Maggio Musicale Fiorentino Sinfonia Varsovia Polish National Radio Symphony Orchestra 1848 1977 1979 1980 1981 1982 2004 2007 2009 2010
Ewa Pobłocka - piano, rec. 08.12.1981 A prize-winner of the Tenth International Fryderyk Chopin Piano Competition in Warsaw, Ewa Pobłocka also received the prize for the best performance of Chopin mazurkas (1980). She began taking piano lessons when she was five. She pursued her studies at Gdańsk Music Academy under Zbigniew Śliwiński and Jerzy Sulikowski, and received her diploma with distinction in 1981. She completed post-graduate studies in Hamburg under Conrad Hansen (1982) and has benefitted from artistic consultation with Jadwiga Sukiennicka, Rudolf Kerer, Tatiana Nikolaieva and Martha Argerich. In 1977, she won First Prize in the International Viotti Music Competition in Vercelli, and in 1979 the gold medal at the International Festival of Young Laureates in Bordeaux. She has performed throughout Europe and the Americas, as well as in the Far East and Australia, in such venues as the Herkules-Saal in Munich, Musikhalle in Hamburg, Auditorio Nacional in Madrid, Barbican Centre and Wigmore Hall in London, Musikverein in Vienna, Lincoln Center in New York and Glenn Gould Studio in Toronto. She has played as a soloist with the London Symphony Orchestra, English Chamber Orchestra, Orchestra del Maggio Musicale Fiorentino, Bayerischers Rundfunkorchester, Sinfonia Varsovia and Polish National Radio Symphony Orchestra and has repeatedly toured as a Warsaw Philharmonic Orchestra soloist under the baton of Kazimierz Kord and Antoni Wit. Ewa Pobłocka is a passionate chamber musician and has regularly performed with the Silesian Quartet, as well as singers like Jadwiga Rappe, Olga Pasichnyk and Ewa Podleś. She has given numerous premieres and made world premiere recordings of works by Polish contemporary composers, including piano concertos by Andrzej Panufnik, Witold Lutosławski, Paweł Szymański and Paweł Mykietyn. She has performed for many European radio stations and recorded for such labels as Polskie Nagrania ‘Muza’, Deutsche Grammophon, Pony Canyon, Victor JVC, CD Accord and BeArTon. Many of her recordings have won prizes and critical acclaim. Her most recent CDs have featured Grieg’s complete piano works, solo works by Brahms and Schumann and the complete songs of Chopin. In 2010, the Fryderyk Chopin Institute released her CD with Chopin’s Mazurkas and Sonata in C minor on period piano (Pleyel, 1848). Pobłocka is also a distinguished teacher. As well as teaching piano at Bydgoszcz Music Academy and the Fryderyk Chopin University of Music in Warsaw, she is also a guest professor at the National University of Fine Arts and Music in Tokyo and Nagoya. She has sat on the jury of many international piano competitions and received the annual Ministry of Culture and National Heritage Award and the Cavalier’s Cross of the Polonia Restituta Order from the Polish President (2004). Ewa Pobłocka performed in the ‘Chopin and his Europe’ festival in 2007, 2009, 2010. (chopin.nifc.pl) NA MOIM KANALE (ON MY CHANNEL): (playlisty z przesłanych filmów, sent films in playlists) Polska muzyka ludowa (Polish Folk Traditional Music) (http•••) Tradycyjna muzyka góralska (Polish Gorals’ Music) (http•••) Polska muzyka renesansowa i barokowa (Polish Renaissance and Baroque Music) (http•••) Polska muzyka XVIII i XIX wieku (Polish Music of 18 and 19 century) (http•••) Pan Wołodyjowski Potop muzyka (http•••) Polskie pieśni patriotyczne (Polish Patriotic Songs) (http•••) Polska muzyka symfoniczna okresu klasycyzmu (Polish Symphony Music of Classical Period) (http•••) Rameau Couperin Scarlatti Soler Castaldi (http•••) Polska muzyka średniowieczna (Polish Medieval Music) (http•••) Chopin (http•••) Liszt (http•••) Polska muzyka XX wieku (Polish Music of 20 c.) (http•••) Polski folk (http•••) Góry polskie zdjęcia (http•••) Polska muzyka filmowa (Polish Film Music) (http•••) Polskie organy Leżajsk Oliwa Kamień Pomorski (Polish Organs) (http•••)
Choreography: Let’s dance Choreographer: Zuzka Dušková Dancers: Terka Kubínová,Káťa Dostálová,Káťa Truxová,Káťa Kubrtová,Niky Černá,Niky Valentová, Kája Dianová, Róza Uhrinová, Viky Bernardová, Péťa Nováková, Anička Blímová, Terka Turková, Terka Nováková, Sofi Koubíková,Kiki Trávníčková, Ája Mílová, Anet Vondráčková, Lída Urbanová,Kája Bartůňková
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- cronología: Compositores (Europa).
- Índices (por orden alfabético): B...