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Jihyun Cecilia Lee Donizetti Mage 2019
L'elisir d'amore 사랑의 묘약 - G.Donizetti Caro elisir....Tran tran tran 신비로운 이 묘약 Ten. Konu KIM 테너 김건우 Sop. Jihyun Cecilia LEE 소프라노 이지현 Bar. Jiwon SONG 바리톤 송지원 Pf. Yedam KIM 피아노 김예담 2019 Winners Opera Gala Concert ㅣ위너스 오페라 갈라 콘서트 롯데콘서트홀 2019년 8월 18일 일요일 공연 실황 [주최 / 주관] MAGE production 메이지 프로덕션 E-mail : •••@••• Tel. : 070-8621-8925 l 010-7313-8925 (KOREA) +••.••(...) (FRANCE) #위너스 #오페라 #갈라 #콘서트 #opera #gala #concert #operasinger #메이지프로덕션 #mageproduction #롯데콘서트홀 #lotteconcerthall #공연 #성악 #성악과 #음대생 #예고 #예중 #음악 #music #classic #클래식 #문화 #예술
Augustarello Affre Tamagno Edmond Duvernoy Duvernoy Pierre Gailhard Gaetano Donizetti Nellie Melba Gluck Jules Massenet Mage Gounod Georges Bizet Opéra Marseille French Opera House Opéra National Lyon 1858 1890 1891 1900 1909 1910 1911 1912 1913 1915 1931
Augustarello Affre - Mefistofele - Romance acte 1 - Pathé saphir N°8 enregistré en 1910-1911 Agustarello Affre (21 October 1858 - 27 December 1931) was a French operatic tenor. He possessed a powerful, firm and exceptionally beautiful voice which garnered him the nickname the "French Tamagno" in comparison to the great Italian tenor. He was one of the leading operatic tenors in Paris from 1890-1911. He spent the last years of his career singing and directing operas in the United States. After World War I, he lived in retirement in France. Born Auguste Affre in Saint-Chinian, Affre was trained at the Conservatoire de Toulouse and the Conservatoire de Paris. He studied singing with Edmond Duvernoy and Pierre Gailhard. After singing in theatres in the French provinces, he made his debut in Paris at the Opéra in 1890 as Edgardo in Gaetano Donizetti's Lucia di Lammermoor opposite Nellie Melba in the title role, who also made her debut. He remained a leading tenor at that opera house for the next 20 years, portraying such roles as Arnold Melchtal in William Tell, Belmonte in Die Entführung aus dem Serail, the Duke of Mantua in Rigoletto, Eléazar in La Juive, Fernand in La favorite, Jean de Leyde in Le prophète, Radames in Aida, Raoul de Nangis in Les Huguenots, Renaud in Gluck's Armide, Vasco da Gama in L'Africaine, and the title roles in Lohengrin and Sigurd.[1] He created the role of the Touranien prisoner in the world premiere of Jules Massenet's Le mage in 1891. Outside of Paris, Affre appeared as a guest artist at the Opéra de Marseille, Opéra National de Lyon, and the Théâtre du Grand Cercle in Aix-les-Bains. In 1900 he performed at La Monnaie in Brussels. In 1909 he appeared at the Royal Opera House in London as Samson in Samson et Dalila and in the title role of Gounod's Faust. He recorded extensively for Pathé, including the roles of Don José in Georges Bizet's Carmen (1911) and Roméo in Gounod's Roméo et Juliette (1912) in the company's "Le Théâtre chez soi" ("Your Theater at Home") full-length opera and drama series. In 1911 he moved to the United States where he was heard in operas in New Orleans, San Francisco, and in Havana. He became director of the French Opera House in New Orleans in 1913 when it came under the ownership of Tulane University, remaining there until 1915. He died in Cagnes-sur-Mer in 1931 at the age of 73. He is buried at the Père Lachaise Cemetery in Paris. In contemporary sources, including those written by the tenor himself, his stage name is spelled "Gustarello". The spelling "Agustarello" appears only posthumously, and is presumably an error. In contemporary reviews, on record labels and in the tenor's own spoken introductions to many of his sound recordings, he is simply "Monsieur Affre » Source : Wikipedia
Augustarello Affre Nellie Melba Tamagno Jules Massenet Edmond Duvernoy Duvernoy Pierre Gailhard Gaetano Donizetti Gluck Mage Gounod Georges Bizet Opéra Marseille French Opera House Opéra National Lyon 1858 1889 1890 1891 1900 1907 1909 1911 1912 1913 1915 1931
Augustarello Affre - Rigoletto - La donna e mobile en français - Association Phonique de Grands Artistes APGA 10012 enregistrée en 1912 « Né le 21 octobre 1858 à Saint-Chinian, il travailla le chant au conservatoire de Toulouse, puis à celui de Paris dont il sortit avec un premier prix en 1889. Engagé à l’Opéra de Paris, il débuta dans le rôle d’Edgar de Lucie de Lammermoor aux cotés de Nellie Melba le 21 janvier 1890. Il y resta jusqu’en 1907 et l’éventail de ses emplois s’étala de la tessiture du demi-caractère léger jusqu’à celle du fort-ténor. Il quitta l’Opéra de Paris en 1911 et se produisit à San Francisco, à la Nouvelle-Orléans et à la Havane « Nouveau dictionnaire des chanteurs de l’Opéra de Paris du 17ème siècle à nos jours » Jean Gourret Surnommé le « Tamagno français », il était admiré par Massenet « La voix d’Affre est aussi pure et transparente qu’une goutte d’eau après un orage et vibrant comme un pur cristal » Agustarello Affre (21 October 1858 - 27 December 1931) was a French operatic tenor. He possessed a powerful, firm and exceptionally beautiful voice which garnered him the nickname the "French Tamagno" in comparison to the great Italian tenor. He was one of the leading operatic tenors in Paris from 1890-1911. He spent the last years of his career singing and directing operas in the United States. After World War I, he lived in retirement in France. Born Auguste Affre in Saint-Chinian, Affre was trained at the Conservatoire de Toulouse and the Conservatoire de Paris. He studied singing with Edmond Duvernoy and Pierre Gailhard. After singing in theatres in the French provinces, he made his debut in Paris at the Opéra in 1890 as Edgardo in Gaetano Donizetti's Lucia di Lammermoor opposite Nellie Melba in the title role, who also made her debut. He remained a leading tenor at that opera house for the next 20 years, portraying such roles as Arnold Melchtal in William Tell, Belmonte in Die Entführung aus dem Serail, the Duke of Mantua in Rigoletto, Eléazar in La Juive, Fernand in La favorite, Jean de Leyde in Le prophète, Radames in Aida, Raoul de Nangis in Les Huguenots, Renaud in Gluck's Armide, Vasco da Gama in L'Africaine, and the title roles in Lohengrin and Sigurd.[1] He created the role of the Touranien prisoner in the world premiere of Jules Massenet's Le mage in 1891. Outside of Paris, Affre appeared as a guest artist at the Opéra de Marseille, Opéra National de Lyon, and the Théâtre du Grand Cercle in Aix-les-Bains. In 1900 he performed at La Monnaie in Brussels. In 1909 he appeared at the Royal Opera House in London as Samson in Samson et Dalila and in the title role of Gounod's Faust. He recorded extensively for Pathé, including the roles of Don José in Georges Bizet's Carmen (1911) and Roméo in Gounod's Roméo et Juliette (1912) in the company's "Le Théâtre chez soi" ("Your Theater at Home") full-length opera and drama series. In 1911 he moved to the United States where he was heard in operas in New Orleans, San Francisco, and in Havana. He became director of the French Opera House in New Orleans in 1913 when it came under the ownership of Tulane University, remaining there until 1915. He died in Cagnes-sur-Mer in 1931 at the age of 73. He is buried at the Père Lachaise Cemetery in Paris. In contemporary sources, including those written by the tenor himself, his stage name is spelled "Gustarello". The spelling "Agustarello" appears only posthumously, and is presumably an error. In contemporary reviews, on record labels and in the tenor's own spoken introductions to many of his sound recordings, he is simply "Monsieur Affre » Source : Wikipedia
Gloriæ Dei Cantores Pierre Dumage Sumsion Anton Bruckner Maurice Duruflé 1618 2000 2002 2007 2008 2010 2011 2019 2021
Service Music Titles: Prelude—‘Tierce en Taille’, Pierre DuMage Preces— Nixon 5:44 Psalm—120, 121 6:55 Magnificat 16:18 & Nunc Dimittis— Herbert Sumsion 23:39 Responses— Nixon 27:15 Anthem—‘Christus Factus Est’, Anton Bruckner 33:00 Postlude—’Fugue on a Theme from the Bells of Soisson Cathedral’, Maurice Duruflé 42:05 Scripture Readings: Old Testament— Exodus 5: 1–6:1 10:13 New Testament— 1 Corinthians 14: 20–33a, 39–40 20:40 Gloriæ Dei Cantores (Singers to the Glory of God) holds a passionate dedication to illuminate truth and beauty through choral artistry, celebrating a rich tradition of Sacred choral music from Gregorian chant through the twenty-first century. Learn More: gdcchoir.org Official website: gdcchoir.org About Recordings: gdcrecordings.com Facebook: facebook.com/GloriaeDeiCantores About the Church: churchofthetransfiguration.org About the organ in Anglican Psalmody: The centuries-old tradition of Anglican Psalmody—the harmonized choral chanting of psalms in English—is one of the most recognizable elements of the service of Evensong. Central to that tradition is the voice of the pipe organ accompanying these beloved scriptures. Over the centuries, various traditions have developed in how the organ is used in Anglican psalmody. There are two traditions which are quite are similar—one in which the organ plays the choral part exactly and the second which closely follows the harmonic structure without being exact—both using colors appropriate to the text. A third tradition arose from these, particularly with choirs which have chanted psalms for many years, in which the organ became an improvisatory voice of its own, underscoring and or highlighting certain texts or ideas while the choir chants, helping to better illuminate the verbal text. It is that particular tradition which we now carry on within our services of worship. All artwork in The Church of the Transfiguration The Community of Jesus, Inc. 2021 Processional Cross 2000 Transfiguration Window 2000 Bronze Sculpture 2000 Atrium and Church Interior Stone Sculpture 2000-2010 Floor and Apse Mosaics created 2000-2007 Frescoes 2002-2010 Glass Wall sculpture 2008 Angel of the Church of the Transfiguration 2010 Emmanuel Chapel Glass Doors 2019 Photos: Robert Benson, 2011 Robert Benson Photography The Community of Jesus Archives The Community of Jesus, Inc. 2021 Arts Empowering Life, Inc. All rights reserved.
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- cronología: Compositores (Europa). Directores de orquesta (Europa). Intérpretes (Europa).
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