Edward Pique Vídeos
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2024-05-23
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Monk Samara Meyerbeer Moreschi Marconi Caruso Gounod Mariinsky Theatre Bolshoi Theatre Zimin Opera 1863 1881 1892 1901 1902 1908 1912 1916 1920 1923 1937
David Kristoforovitch Yuzhin +••.••(...)) was a Russian tenor of Greek heritage. Born David Pindekost (some sources give his real name as Pistiko) in Ekaterinoslav, he sang in his hometown church choir and aspired to become a monk in his youth. Brutal criticism from a conservatory professor in St. Petersburg drove Yuzhin to the verge of suicide, causing him to abandon the idea of ever singing again. However, a much needed second opinion convinced the young tenor that there was a future for him on the opera stage. After a period of further study, he auditioned for the Mariinsky Theatre and was accepted into the chorus in 1892. After two years as a chorister, Yuzhin made his debut as a principal artist at the Kazansk-Saratovsk Opera. The young tenor spent the rest of the 1890s appearing throughout Russia, singing in the theaters of Samara, Kharkov, Odessa, Perm, Tiflis, Kazan, Saratov, Odessa, Yalta, Baku and Kiev. In 1901, Yuzhin made his debut at Moscow's Bolshoi Theatre as Raoul in Meyerbeer's Les Huguenots. He remained with the company for the next seven seasons, singing a variety of roles. During his tenure at the Bolshoi, Yuzhin met the woman who was to become his wife, soprano Natalya Ermolenko +••.••(...)). The two went on to become frequent singing partners and remained married until the tenor’s death. Yuzhin was a member of Sergei Zimin’s Opera in Moscow from 1908 to 1912 and also appeared in Italy, Belgium and South America during the first decade of the 20th Century. The busy tenor also organized his own touring company (something that seems to have been popular with Russian tenors of that period) to bring operatic productions to the Russian provinces. Yuzhin’s repertoire of some thirty roles included the tenor leads in such operas as Boris Godunov, The Snow Maiden, Pique Dame, Fra Diavolo, La Traviata, Aïda, Il Trovatore, Don Carlo, Rigoletto, La Gioconda, Pagliacci, Mefistofele, Faust, La Juive and Roméo et Juliette. At the age of only 50, Yuzhin began to curtail his stage performances and began concentrating on concerts and recitals. His final performance seems to have been a gala concert in Tsaritsyn (now Volgograd) in 1916. The reasons for his relatively early retirement are not known. Perhaps it was the wear and tear on his voice after two decades of singing some very strenuous repertoire. It might have been to leave more time to dedicate to his touring company. Others have pointed to the possibility that the tenor’s health was failing and that he no longer possessed the physical stamina to perform complete operatic roles. Regardless of the reason, by 1916, Yuzhin’s performing career was over and he concentrated on producing operas on tour to showcase the talents of his wife. By 1920, however, the grueling schedule proved too much for the aging artist. Yuzhin retired to Moscow, where, following a lengthy illness, he died on December 28, 1923 at the age of 60. David Yuzhin left a fairly impressive legacy of about 60 discs, made for G&T, Pathé and the Gramophone Company between 1901 and 1908. One hears a well produced lirico-spinto voice of decent size and range. One also hears unbelievably shoddy musicianship, particularly in his early piano accompanied discs for G&T. Singer and pianist are rarely in synch. Yuzhin blows through rests, constantly forcing his accompanist to jump ahead or quickly change tempo to accommodate the tenor’s rhythmic eccentricities. These blunders may have been the result of nerves due to uncertainty in his first recording sessions (Moreschi, Marconi and even Caruso made similar gaffs in their early recordings), for one notices these types of errors far less in the tenor’s later recordings. Mistakes or not, Yuzhin’s discs give us a priceless glimpse into the art of a lesser known working tenor from Imperialist Russia. In this recording, Yuzhin sings a Russian translation of "Salut, demeure chaste et pure" (complete with a ringing top C) from Gounod's Faust. This was recorded in Moscow for G&T in January of 1902.
Bizet Gabriella Besanzoni Chest 1888 1931 1962
The great Italian mezzo-soprano and contralto Gabriella Besanzoni +••.••(...)) in her best role. 1931 year, sung in Italian. Carmen foresees her destiny in cards. Wonderful, maybe the best rendition of this scene, lost art of belcanto... Metallic-like middle and ringing high notes, and abyss at the bottom... Listen to how she unleashes her powerful low register of a real contralto at 3:06! It's like THE DEATH IS GROWING BEHIND HER! So scary. And these tenore-like chest tones at 3:52 ... could you believe that it's not a man? Aha! Listen to the full version here: (http•••)
author Franz von Suppe , arr: Theodore Moses Tobani Link to video score: (http•••) Link to sheet music for concert band on the Internet: (http•••) In the animation I used the content on the links: (http•••) (http•••) If you are interested in notes from my collection (score and parts for all instruments of the concert band are in PDF), you can contact me by e-mail: •••@•••
Dubois 1794 1839 1840 1852 1866 2015
10-12-2015 Institute of Historical Research Paris-Sorbonne University (http•••) (http•••) Institute: (http•••) “Such cheerful scenes”: loisirs et festivités à l’Asile de Hanwell, ou le divertissement au cœur du dispositif de soins +••.••(...)) Laurence Dubois (Nanterre) Le docteur John Conolly +••.••(...)) est l’une des figures emblématiques de la psychiatrie victorienne, et son nom reste à jamais associé au non restraint, cette innovation thérapeutique qui va progressivement devenir la norme dans les asiles anglais à partir des années 1840. Conolly met en place une politique d’abandon total des moyens de contention mécanique dans le traitement des aliénés dès sa nomination à la tête de l’Asile de Hanwell en juin 1839, un asile public pour aliénés indigents, situé dans la banlieue ouest de Londres. Si elle s’inspire d’expériences similaires menées à l’asile Quaker d’York ( The Retreat ) ou bien encore à l’asile de Lincoln, il s’agit cependant d’une expérience inédite par son ampleur car plus de 1000 patients en bénéficient. Le non restraint ne se limite pas à rendre les patients libres de leurs mouvements, mais implique également une toute nouvelle approche dans la politique de soins. La particularité de cette prise en charge thérapeutique est de faire porter tous les efforts sur la qualité de l’environnement et du mode de vie des patients, dans une logique de soins innovante que l’on nommerait aujourd’hui « thérapie d’occupation ». Parmi les activités pratiquées et valorisées, si le travail et l’éducation occupent une place de choix, l’accent est mis plus fortement encore sur les divertissements, qui peuvent notamment prendre des formes aussi variées que des fêtes de Noël, des pique-niques sur l’herbe, des jeux d’intérieur et d’extérieur ou des kermesses. Le lien entre le non-restraint et l’importance que l’on accorde aux distractions de toutes sortes est explicitement établi par John Conolly, qui estime qu’« un spectacle aussi réjouissant » (“ such cheerful scenes ”), ne peut se rencontrer que dans les asiles qui ont entièrement renoncé à toute contention mécanique. Tout ce qui contribue au confort, à la santé, au bien-être et au divertissement des patients ne se conçoit que comme faisant partie d’un tout, un système uniformisé dont le principe est de soigner ou de soulager les patients avec humanité. Le divertissement, envisagé au sens pascalien du terme, comme pratique d’esquive, où il s’agit de ne plus penser à quelque chose qui nous afflige, est l’une des composantes essentielles du moral management , inspiré du traitement moral pinélien, et se place en toute logique au cœur du dispositif de soins. Franco-British History seminar series
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- cronología: Compositores (Europa).
- Índices (por orden alfabético): P...