Derek Bourgeois Vídeos
director de orquesta, compositor, musicólogo, profesor de música
- ópera, sinfonía
- Inglaterra
Última actualización
2024-05-10
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Elizabeth Harwood Kathleen Ferrier Lina Pagliughi Rossini Joan Sutherland Richard Strauss Scottish Opera Covent Garden Scala 1912 1916 1918 1933 1935 1938 1960 1961 1967 1969 1970 1971 1972 1975 1982 1990
~The "Glass Shatterers!" series focuses on sopranos who sustain High F, or sing higher. THE SONGBIRD: Elizabeth Harwood +••.••(...)) was raised in Yorkshire by musical parents / her mother was a professional soprano, Constance Read, and gave Harwood voice lessons. Harwood studied at the Royal Manchester College of Music and at the age of 21, she won the Kathleen Ferrier Memorial Scholarship and spent a year in Milan studying with Lina Pagliughi. Her professional debut came as Second Boy in "The Magic Flute" at Glyndebourne in 1960. She became a member of the Sadler's Wells company in 1961 where she sang Manon, Gilda, Rossini's Adele, Konstanze, Countess Rosina, Fiakermilli, and Zerbinetta. After a tour of Australia with Joan Sutherland's company in 1967, Harwood's regular appearances at the Scottish Opera began with Fiordiligi and continued with Sophie, Lucia, Rosalinde, and Eva (her only Wagner role). At Covent Garden in the 1960s and 1970s she sang Fiakermilli, Gilda, Oscar, Donna Elvira, Norina, Arabella, and Manon. For Glyndebourne, she was Fiordiligi, Countess Rosina, and, in 1982, the Marschallin. Appearances abroad included Aix-en-Provence (Donna Elvira in 1967, Galatea in 1969); Salzburg (Konstanze and Fiordiligi in 1970, Countess Rosina in 1972); The Met (Fiordiligi in 1975); and La Scala (Konstanze in 1971). Harwood died of cancer at age 52. This recording of the original 1912 version of Zerbinetta's aria from the BBC, with Norman Del Mar conducting, only exists in poor audio. I have long searched for a better quality file, and even had a contact who works in the audio archives of the BBC search for it there, but to no avail / so for now, this is the best we have. THE MUSIC: Richard Strauss's opera "Ariadne auf Naxos" premiered twice. The first was in 1912 in Stuttgart where it was conceived as a short opera to accompany a new adaption of Moliere's play, "Le Bourgeois gentilhomme." This version was performed in other cities over the next year (Zurich, Munich, Prague, and London), but the play/opera hybrid concept proved ineffective (and way too long at over six hours). Working with his librettist/partner Hugo von Hofmannsthal, Strauss refashioned the opera as a stand-alone work with a newly added prologue, which premiered in this new form to success in Vienna in 1916. This version of the opera was quickly embraced by critics, artists, and the public / it has since been recorded commercially many times and is performed regularly around the world. Only rarely have there been staged or even concert productions of the earlier 1912 version of the opera and there is only one commercial recording. One of the changes Strauss made for the 1916 score was to lower the key and cut or alter about four minutes of music from Zerbinetta's grand aria "Grossmächtige Prinzessin." (In this video, I have roughly marked the three sections of deleted or altered music). Both versions are insane, but this original version is incomprehensibly difficult at nearly 15 minutes in length and with a gruelingly high tessitura, including two High F-sharps. In either version, the scene demands a level of virtuosic musicianship and theatrical flair that is simply unmatched. Zerbinetta is a coloratura soubrette on steroids! In this scene and role, Strauss invented an entirely new musical language to exploit the unique glories of the coloratura soprano voice. He revisited this proprietary mode of highly gymnastic vocalism a few other times afterwards: in the art song "Amor" (1918), with Fiakermilli in "Arabella" (1933), and for Aminta in "Die schweigsame Frau" (1935).
Bach Louis Bourgeois 1995 1998 2019
If you're new to my channel welcome, if not welcome back. This is part of my Bach series. My goal is to put all of Bach's over 200 cantatas in the air. A flight over the Maple Syrup Festival and the Industrial part of Elmira, Ontario on April 6, 2019. Music used is Bach's cantata BWV 130. Herr Gott, dich loben alle wir (Lord God, we all praise Thee) St. Michael Epistle: Revelations xii. 7-12 (War in heaven) Gospel: Matthew xviii 1-11 (Whoever humbles himself is greatest in Heaven) Rating: 1+ Well, if there's a better way to grab the attention of an anglican than to put the Old Hundredth into a cantata, then I'd like to hear about it! This chorale cantata is framed by two verses of Paul Eber's hymn Herr Gott, dich Loben alle wir set to Louis Bourgeois's Or sus, serviteurs du Seigneur as it is more properly called. If the first movement is supercharged, then the third turns on the afterburners. A bass aria with trumpets and drums, with the trumpets soaring towards heaven. And what words! In Hell the serpent, hot with hate, forever plots our evil fate. Phew! One of the earliest memories I recall is of being taken, as a very small child, to a concert of Bach's music in our local church. Even though I don't remember what was played, I'll never forget the impression that the trumpets made on me. Perhaps this cantata movement is that piece that first brought Bach into my life. Maybe. Following a second recitative, the tenor aria turns down the temperature with a beautiful flute accompaniment and the cantata closes with a straightforward setting of the chorale melody. Copyright 1995 & 1998, Simon Crouch. (http•••) More on Bach's Cantata BWV 130: (http•••) (http•••) (http•••) Thanks for watching and feel free to add your comments below. Cheers, Larry
Adam Hunchback Coussemaker Shepherd Fétis Julien Tiersot Hale Rondeau Opéra Comique 1240 1896
Adam de la Halle, (1240–1287), also known as Adam le Bossu (Adam the Hunchback), was a French trouvère, poet and musician. Adam's literary and musical works include chansons and jeux-partis (poetic debates) in the style of the trouvères; polyphonic rondel and motets in the style of early liturgical polyphony; and a musical play, Jeu de Robin et Marion (c. 1282–83), which is considered the earliest surviving secular French play with music. He was a member of the Confrérie des jongleurs et bourgeois d'Arras. A, "le Bossu d'Arras" and "Adam d'Arras", suggest that he came from Arras, France. The sobriquet "the Hunchback" was probably a family name; Adam himself points out that he was not one. His father, Henri de la Halle, was a well-known Citizen of Arras, and Adam studied grammar, theology, and music at the Cistercian abbey of Vaucelles, near Cambrai. Father and son had their share in the civil discords in Arras, and for a short time had been destined for the church, but renounced this intention, and married a certain Marie, who features in many of his songs, rondeaux, motets and jeux-partis. Afterwards he joined the household of Robert II, Count of Artois; and then was attached to Charles of Anjou, brother of Louis IX, whose fortunes he followed in Egypt, Syria, Palestine, and Italy. At the court of Charles, after Charles became king of Naples,Adam wrote his Jeu de Robin et Marion, the most famous of his works. Adam's shorter pieces are accompanied by music, of which a transcript in modern notation, with the original score, is given in Coussemaker's edition. His Jeu de Robin et Marion is cited as the earliest French play with music on a secular subject. The pastoral, which tells how Marion resisted the knight, and remained faithful to Robert the shepherd, is based on an old chanson, Robin m'aime, Robin m'a. It consists of dialogue varied by refrains already current in popular song. The melodies to which these are set have the character of folk music, and are more spontaneous and melodious than the more elaborate music of his songs and motets. Fétis considered Le Jeu de Robin et Marion and Le Jeu de la feuillée forerunners of the comic opera. An adaptation of Le Jeu Robin et Marion, by Julien Tiersot, was played at Arras by a company from the Paris Opéra-Comique on the occasion of a festival in 1896 in honour of Adam de le Hale. His other play, Le jeu Adan or Le jeu de la Feuillee (ca. 1262), is a satirical drama in which he introduces himself, his father and the citizens of Arras with their peculiarities. His works include a congé, or satirical farewell to the city of Arras, and an unfinished chanson de geste in honour of Charles of Anjou, Le roi de Secile, begun in 1282; another short piece, Le jeu du pelerin, is sometimes attributed to him. His known works include thirty-six chansons (literally, "songs"), forty-six rondets de carole, eighteen jeux-partis, fourteen rondeaux, five motets, one rondeau-virelai, one ballette, one dit d'amour, and one congé. Please subscribe: Por favor, subscreva: (http•••)
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- cronología: Compositores (Europa). Directores de orquesta (Europa). Intérpretes (Europa).
- Índices (por orden alfabético): B...