Ketty Lapeyrette Vídeos
cantante de ópera francesa
Conmemoraciones 2024 (Nacimiento: Ketty Lapeyrette)
- contralto
- Francia
- cantante de ópera
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2024-05-19
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Ketty Lapeyrette Jean Noté Giuseppe Verdi 1912 2010
Provided to YouTube by Believe SAS Le trouvère : Acte IV - ''Oui, la fatigue à la fin m'excède" · Ketty Lapeyrette, Charles Fontaine, Jean Noté, Jane Morlet Verdi : Le trouvère (1912) ℗ Disques Dom Released on: 2010-11-27 Music Publisher: D.R Author: Giuseppe Verdi Composer: Giuseppe Verdi Auto-generated by YouTube.
Gaetano Donizetti Ketty Lapeyrette Lassalle Henri Albers Guzman Opéra Comique 1912
Gaetano Donizetti: La Favorite (Selections) Léonor de Guzman: Ketty Lapeyrette Fernand: Robert Lassalle Alphonse XI: Henri Albers Balthazar: Robert Marvini Don Gaspard: Georges de Poumayrac Inès: Marie Gantéri Conductor: François Ruhlmann Chœur et Orchestre de l'Opéra-Comique Studio Recording, 1912
Ketty Lapeyrette Masson Bouvet Gabriel Dupont Albert Roussel Bruneau André Bloch Bloch Gian Francesco Malipiero Francesco Malipiero Albéric Magnard Dukas Covent Garden Opera 1884 1908 1909 1912 1913 1914 1921 1923 1924 1925 1927 1928 1931 1933 1960
Kitty Lapeyrette - Sapho - O ma lyre immotelle - Pathé Saphir SP129 enregistré en 1912-1913 KETTY LAPEYRETTE, Mezzo-soprano * 23 July 1884, Oloron-Sainte-Marie, France + 02 October 1960, Paris, France; She studied at the Conservatoire National de Paris with Masson, Hettich and Bouvet. She made her debut 1908 at the Grand Opéra Paris as Dalila For thirty years she worked at the Paris Opéra, but rarely appeared outside of France. She participated in many premieres at the Grand Opéra . 1908 “Götterdämmerung”, 1909 “Rheingold”, 1914 “Parsifal” In 1927 she was the Annina in the French premiere of “Der Rosenkavalier”. In 1921, in the premiere of the opera “Antar” by Gabriel Dupont, 1923, Roussel’s “Padmâvati” by Albert Roussel, and Bruneau’s “Le Jardin de Paris”..1924 in “L’Arlequin” by Max d’Olonne, 1925 in “Brocéliande” by André Bloch, 1928 in “Sept Chansons” by Gian Francesco Malipiero (the second part of his “Orfeide”). 1931 in “Guercoeur” by Albéric Magnard and in 1933, “Vercingétorix” by J.Canteloube. At Covent Garden Opera, she was a nurse in Dukas’ “Ariane et Barbe-Bleue”. Source : (http•••)
Dukas Fontenay Philippe Gaubert Honegger Milhaud Jane Bathori Gustave Samazeuilh Florent Schmitt Hugues Cuénod Journet Lapeyrette Bayreuth Toscanini Elisabeth Ohms Henny Trundt Richard Strauss Concerts Conservatoire Opera Comique 1900 1926 1927 1928 1929 1931 1932 1933 1991
MARCELLE BUNLET, Soprano, * 09 October 1900 Fontenay-le-Comte (Vendée), † 13 December 1991 Paris; (by Christophe Delhoume): Born in Fontenay-Le-Comte on October 10, 1900, Marcelle Bunlet made her debut first on the concert stage at the age of 26. Philippe Gaubert immediately contract her for his series of Concerts at the Conservatoire, where she appeared for the very first time on November 28, 1926, singing the Leonore aria from Fidelio as well as a excerpt from REDEMPTION by Cesar Franck. Gaubert took Bunlet as his protégée, introducing her later to Jacques Rouché at the Paris Opera. In the meantime, he gave her in concert, such big assignments as Ariane in ARIANE ET BARBE-BLEUE, or Brünhilde's immolation scene, which she sang under his baton in November 1927. The voice was already huge and powerful, which always made an amusing contrast with Bunlet's figure, being a rather small and discreet person. In the meantime, she was introduced in the most important musical circles in Paris , where she met Honegger, Milhaud, Jane Bathori, Gustave Samazeuilh... During the 1927/1928 season, she performed Milhaud's AGAMEMNON, as well as vocal music by Florent Schmitt with Lina Falk and Hugues Cuénod. By then, she was already known, and with Gaubert's recommendation, ready to make her debut on the Opéra stage. Her debut at the Opera-Comique took place on January 5, 1928 as Ariane in Dukas' ARIANE ET BARBE-BLEUE, an opera she had already performed with Gaubert in concert, and which will remain very much associated with her. Bunlet will even record later the two Ariane arias "Voici la clef" and "l'air des Diamants", a really risky choice at that time for a commercial recording. If the performance went well, Bunlet has not been a frequent visitor of the Opéra-Comique during the rest of her career, the voice being rather too big for the place and for the kind of repertoire presented usually at the Comique. Six weeks later, she did a most spectacular debut at the Grand Opera, singing nothing else that Brünnhilde GÖTTERDÄMMERUNG. Gaubert was at the pit, and she sang with Franz, Journet, Kettie Lapeyrette and Jeanne Campredon She gave five more GÖTTERDÄMMERUNG performances until April 14, 1928, singing in the meantime with Gaubert at the Concerts du Conservatoire on March 25 an exhausting programme including ARIANE ET BARBE-BLEUE's act 2 and TRISTAN act 1 with Franz and Madeleine Vitha, two fellow partners with whom she sang regularly during the next decade. Immediately after Paris , she made a sensational debut at La Monnaie in Brussels , where she performed Isolde for the very first time. She is, until then, a frequent guest of La Monnaie. Her friend, the French composer Gustave Samazeuil recommended her to the Wagners in Bayreuth , and she got contracted there for the 1931 Festival, as a Flower Maid in PARSIFAL under Toscanini. One night, Elisabeth Ohms being ill, and her cover Henny Trundt in the incapacity to sing, Marcelle Bunlet got the job and sang one single performance of Kundry. It went so well, that she was re-engaged not only for the revival of PARSIFAL in 1933, but also for the RING where she appeared as Woglinde and Helmwige, and once as Sieglinde. This single performance being the acknowledgement of the Festival for the last minute replacement of 1931. The Parsifal performance of 1933 where conducted by Richard Strauss. He and Bunlet met one year before in Strasbourg , this meeting had been made possible by Samazeuilh again, and by Raoul Gunsburg, who was at that time trying to get the rights of ARABELLA for Monte-Carlo. ELEKTRA was created in Strasburg on November 29, 1932 with Dietez-Monin as Chrysothémis and Madeleine Vitha as Klytämnestra. Strauss was present in Strasburg for the last rehearsals, and conducted one performance. Later, Strauss himself recommended Marcelle Bunlet, for the creation of SALOME in Bordeaux . The season in Strasburg was particularly rich for Bunlet and Vhita, who also created after ELEKTRA, Dukas's ARIANE ET BARBE-BLEUE under the baton of Paul Bastide.
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