Carl Sattler Vídeos
compositor
- Alemania
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2024-05-15
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Bayreuth Karl Elmendorff Gunnar Graarud Hofmann Nanny Rudolf Bockelmann Joachim Sattler Anny Helm Steuermann Seemann Siegfried Wagner Bayreuther Festspiele 1928
Gotthelff Pistor (Tristan) Gunnar Graarud (Tristan) Ludwig Hofmann (König Marke) Ivar Andresen (König Marke) Nanny Larsen-Todsen (Isolde) Rudolf Bockelmann (Kurwenal) Joachim Sattler (Melot) Anny Helm (Brangäne) Franz Meyer (Ein Steuermann) Hanns Beer (Ein Hirt) Gustav Rödin (Junger Seemann) Karl Elmendorff (Dirigent) Siegfried Wagner (Inszenierung) Hugo Rüdel (Choreinstudierung) Chör und Orchester der Bayreuther Festspiele Karl Elmendorff, conductor DIGITALIZACION LP (EMI DACAPO 3Lps 1C 181-03 031/33M) Primer y tercer acto incompletos, de las cintas originales.
Ziehn Alois Pernerstorfer Joachim Sattler Ferdinand Frantz Richard Wagner Wilhelm Furtwängler Teatro Scala 2014
Provided to YouTube by The Orchard Enterprises Das Rheingold. Vierte Szene: Gezahlt hab‘ ich nun lasst mich ziehn! · Alois Pernerstorfer · Joachim Sattler · Ferdinand Frantz · Richard Wagner · Orchestra del Teatro alla Scala di Milano · Wilhelm Furtwängler Furtwängler - Opera Live, Vol.2 ℗ 2014 Membran Rights Management Ltd. Released on: 2014-12-13 Music Publisher: Public Domain Auto-generated by YouTube.
Elisabeth Rethberg Heil Mozart Rosa Ponselle Giuseppe Verdi Richard Tauber Johann Strauss II Beniamino Gigli Giovanni Martinelli Giacomo Lauri Volpi Volpi Richard Strauss Arturo Toscanini Wagner George Cehanovsky Steane Metropolitan Opera Covent Garden Salzburg Festival 1892 1894 1915 1921 1922 1925 1928 1930 1934 1939 1942 1976 1986 1992
German Soprano Elisabeth Rethberg +••.••(...)) / Heil'ge Quelle / Le Nozze di Figaro (Mozart) / Recorded: 1930 / The German soprano Elisabeth Rethberg (22 September 1894 / 6 June 1976) was an opera singer of international repute active from the period of the First World War through to the early 1940s. Some hailed her as the greatest soprano of her day. (Her chief contemporary rival at the New York Metropolitan Opera was the Italian-American soprano Rosa Ponselle, who possessed a bigger and darker-hued voice.) While she did not break any new ground dramatically or vocally, Rethberg was just as much at home singing in Italian or German. She employed her pure, stunningly beautiful and good-sized lyric voice with such focus that she never seems obscured in old recordings by either loud orchestras or larger-voiced partners. She slotted ideally into delicate Mozartian roles yet was one of the greatest Verdi sopranos that the Metropolitan Opera has ever known. Her singing of the more lyrical Wagnerian soprano parts such as Sieglinde, Eva, Elsa and Elisabeth was unsurpassed in its day and probably since. Rethberg was born Elisabeth Sättler in Schwarzenberg. She studied at the conservatory in Dresden with Otto Watrin, and she made her operatic debut in that German city opposite Richard Tauber in 1915 in the operetta Der Zigeunerbaron by Johann Strauss II. Rethberg sang with the Dresden Opera until 1922. In that year, she made her Metropolitan Opera debut as Aida in Giuseppe Verdi's opera of that name. She moved to the USA and remained with the Metropolitan for 20 seasons, singing some 30 roles on stage and in the recording studio, opposite such famous tenor colleagues as Beniamino Gigli, Giovanni Martinelli and Giacomo Lauri-Volpi. She also was engaged by London's Royal Opera House, Covent Garden, where she sang in 1925 and in 1934-1939. The Salzburg Festival in Austria heard her too, as did audiences in Milan and elsewhere in Europe. Rethberg returned often to Dresden where, in 1928, she created the title role in Richard Strauss's Die ägyptische Helena. The brilliantly dynamic if dictatorial Italian conductor Arturo Toscanini was a particular admirer of Rethberg's vocal talent. During the latter half of the 1930s, Rethberg's voice lost some of its bloom, owing perhaps to the repeated singing of Aida and other heavy roles.[1] She retired from the stage in 1942. Yet even at her least impressive (for example, in a 1942 recording of Verdi's Otello), she remained a well-schooled singer and an elegant reminder of the Metropolitan Opera's great period during the 1920s and early 1930s, when her powers were at their peak. In her magnificent prime, Rethberg was remarkable for the combination of a seemingly delicate, feminine sound with a capacity for great vocal intensity, to which she added impressive breath control and dynamic light and shade (from piano to forte notes). She made many splendid recordings of arias and ensemble pieces in Germany and the United States between 1921 and the outbreak of the Second World War. Many of these are available on modern CD transfers. The most fascinating records of her art, however, may be the live Metropolitan recordings that capture her (admittedly, past her zenith) in complete operas by Mozart, Verdi and Wagner. These recordings are somewhat difficult to obtain in America because the Met forbids their sale in the United States, owing to royalty concerns. They include Mozart's Marriage of Figaro and Verdi's Il Trovatore, Simon Boccanegra and Otello. Rethberg was married to the Russian-born Met comprimario singer George Cehanovsky +••.••(...)). She died in Yorktown Heights, New York in 1976 at the age of 81. References ^ JB Steane. Voices: singers and critics. London: Duckworth; 1992: pp.125--135. External links Biograph and discography from Cantabile-Subito.de (wikipedia)/ /
Elisabeth Rethberg Giuseppe Verdi Schubert Pfitzner Kaun Richard Strauss Respighi Campana Mascagni Toscanini George Cehanovsky Dresden Conservatory Gewandhaus Scala Salzburg Festival Metropolitan Opera San Francisco Opera 1912 1915 1917 1919 1920 1921 1922 1923 1925 1928 1929 1930 1931 1933 1934 1936 1937 1939 1940 1942 1944 1956
THIS IS THE SUCCESSOR CHANNEL TO "liederoperagreats" WHICH WAS RECENTLY TERMINATED. Elisabeth Rethberg--soprano 1930 / "Elisabeth Rethberg (original name Lisbeth Sättler) showed considerable musical talent from an early age; her parents were both amateur musicians and she is reputed to have been singing songs by Schubert when only seven years old. She entered the Dresden Conservatory in 1912, initially to study piano with the intention of becoming a concert pianist; but her voice teacher, Otto Watrin, persuaded her to concentrate on singing instead. She made her operatic stage debut in 1915 at the Dresden Court Opera as Arsena / Der Zigeunerbaron and remained with the Dresden company for seven years until 1922. During this time Rethberg undertook a very wide range of roles, indicating not only her extraordinary musicality and ability to learn parts quickly, but also uncertainty on the part of the company management as to which vocal category (fach) she really belonged: by the time she left Dresden her repertoire extended to more than one hundred parts. Her first great success was as Agathe / Der Freischütz, while other notable repertory roles included Susanna / Le nozze di Figaro and the title role in Tosca, indicating her unusually wide range. In Dresden Rethberg participated in several significant premieres, including the first performances of Pfitzner’s two-act revision of Christelflein (1917) and Kaun’s Der Fremde (1920); and sang the Empress in the first Dresden performance of Richard Strauss’s Die Frau ohne Schatten in 1919. She also appeared as a guest with the opera companies of Berlin and Vienna and at the nearby Leipzig Gewandhaus concert hall. During 1922 Rethberg travelled to New York with Watrin and immediately auditioned at the Metropolitan Opera, singing ‘Ritorna vincitor’ from Aida while still in her travelling clothes. She made her Met debut in November 1922 as Aida, winning excellent reviews, the New York Times noting: ‘…her high, clear, liquid tones of a singular brightness floating above Verdi’s orchestration with unforced ease’ in the first act. Rethberg went on to become a key member of the Met’s soprano roster for the next twenty years, where her versatility and the exceptional quality of her voice proved to be very valuable. Notable parts included, in addition to Aida and Agathe, Leonora / Il trovatore, Maddalena / Andrea Chénier, Santuzza / Cavalleria rusticana, Donna Elvira / Don Giovanni, Sieglinde / Die Walküre, Elisabeth / Tannhäuser, Eva / Die Meistersinger von Nürnberg, Pamina / Die Zauberflöte, Elsa / Lohengrin, Rachel / La Juive and the title part in Madama Butterfly. In 1928 she took the leading role of Rautendelein in the American premiere of Respighi’s La campana sommersa and sang the title role in a new 1931 production of Mascagni’s Iris. Later roles at the Met included Mimì / La Bohème, Amelia / Simon Boccanegra, Desdemona / Otello, Leonora / La forza del destino, Mařenka / The Bartered Bride, Donna Anna / Don Giovanni and the Countess / Le nozze di Figaro. Toscanini was an especial admirer of Rethberg’s singing, comparing her voice to a finely played Stradivarius, and in 1928 the Guild of Singing Teachers of America voted her voice the most perfect in the world. However as the 1930s wore on, so did her voice, and an ill-advised attempt at the Siegfried Brünnhilde in 1942 was swiftly followed by her final performance at the Met (as Aida). Rethberg was very active outside New York: between 1928 and 1940 she appeared frequently at the San Francisco Opera, and between 1934 and 1940 in Chicago. At the Royal Opera House, London Rethberg first appeared in 1925, returning between 1934 and 1939 with her Marschallin / Der Rosenkavalier being especially admired in 1936. Her debut at La Scala, Milan came in 1929 as Aida with Toscanini conducting and she sang at the Rome Opera in 1934. She returned regularly to Dresden, where special ‘Rethberg weeks’ were organized, and where in 1928 she sang the title part in the first performance of Richard Strauss’s Die aegyptische Helena. Her debut at the Salzburg Festival was in 1922 as Konstanze / Die Entführung aus dem Serail; she returned to sing Leonore / Fidelio (1933), Donna Anna (1937) and the Marschallin (1939). Rethberg’s final appearance was in 1944, in concert at New York Town Hall, after which she retired, in 1956 marrying the Met comprimario baritone George Cehanovsky (her first marriage having been in 1923, to Ernst Albert Dormann). The possessor of a most beautiful lirico spinto soprano voice, evenly produced across all the registers and with an exemplary command of legato, Rethberg perfectly combined beauty of tone with purity of style. She regularly made commercial recordings between 1921 and 1934, and several of her live Metropolitan Opera performances have been preserved, bearing witness to her great art."; naxos
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