Mariette Mazarin Vídeos
Última actualización
2024-05-09
Actualizar
Nicola Zerola Verdi Rossetti Ruggero Leoncavallo Oscar Hammerstein I Hammerstein Mariette Mazarin Marguerite Alvarez Emma Trentini Giacomo Meyerbeer Maschera Henry Février Teatro Comunale Florence Teatro Comunale Bologna Philadelphia Opera House Scala Manhattan Opera Company Philadelphia Opera Philadelphia Opera Company Chicago Grand Opera Company Baltimore Opera Company Metropolitan Opera Philadelphia Grand Opera Company 1876 1898 1903 1907 1908 1909 1910 1911 1912 1920 1921 1928 1936
Nicola Zerola - Pagliaccio - Non Pagliaccio non son - Victor 74247 eenregistré le 10 mars 1911 Nicola Zerola (1876 – 21 July 1936) was an Italian operatic tenor who had an active international career from 1898-1928. He began his career in his native country, but was soon heard in concerts and operas internationally during the first years of the 20th century. In 1908 he relocated to the United States where he was active with important opera companies in New York, Chicago, and Philadelphia up into the late 1920s. In 1910 he recorded several selections from Verdi's Otello for the Victor Talking Machine Company. He also made 11 solo recordings and one duet for the Gramophone and Typewriter Company in 1910-1911 Born in Naples, Zerola began his career as a baritone and made his professional opera debut in 1898 at the Teatro Rossetti in Trieste as Tonio in Ruggero Leoncavallo's Pagliacci. This was soon followed by performances at the Teatro Comunale Florence and at other opera houses in the Italian provinces. He made his debut as a tenor in 1903 in the role of Canio in Pagliacci.[2] He soon after undertook performances in Belgium, Egypt, France, Spain, Holland, and South America.[2] In November 1908 he had a great success at the Teatro Comunale di Bologna as Radamès to the Aida of Lucia Crestani In 1907 Zerola traveled with a small touring company to the United States where he was lauded by critics and audiences. This led to his appointment to New York City's Manhattan Opera Company by Oscar Hammerstein I in 1908. He made his debut with the company in January 1909 at the Manhattan Opera House under conductor Giuseppe Sturani as Radames to the Aida of Mariette Mazarin and Amneris of Marguerite d'Alvarez. He remained there until the company went bankrupt in 1910; singing such roles as Manrico in Verdi's Il trovatore and the title role in Verdi's Otello. He also sang with Hammerstein's Philadelphia Opera Company in 1909-1910. He made his debut with that company as Canio in Pagliacci with Emma Trentini as Nedda at the Philadelphia Opera House on November 25, 1909. On 21 November 1910 Zerola sang Radames again for his debut with the Chicago Grand Opera Company with Jeanne Korolowicz as Aida. He actively performed with the company through May 1911 in performances in both Chicago and Philadelphia. His other roles with that company included Raoul de Nangis in Giacomo Meyerbeer's Les Huguenots, Manrico, and Otello. In January 1911 he opened the Baltimore Opera Company's new season as Radames. In 1911-1912 he was committed to the Royal Opera House in London where he performed the roles of Riccardo in Verdi's Un ballo in maschera, Canio, Manrico, Otello, Radames, and Raoul de Nangis. In 1920-1921 Zerola was heard at the Metropolitan Opera in New York City as Canio. and at the Philadelphia Grand Opera Company as Otello. He was also active with the Philadelphia La Scala Opera Company in the 1920s. In 1928 he sang the role of Prinzivalle in the New York premiere of Henry Février's Monna Vanna.[9] He died in New York City in 1936. Source: Wikipedia
Girolamo Frescobaldi Giovanni Antonio Leoni Leoni Michelangelo Rossi Rosse Virgilio Mazzocchi Marco Marazzoli Marenzio Merulo Dowland Lasso Bardi Caccini Monteverdi Lelio Mazarin 1583 1597 1601 1602 1607 1614 1625 1626 1629 1630 1634 1636 1639 1643 1646 1651 1652 1654 1656 1662
Palazzo Barberini: The Musical Soundscape of Barberini Patronage Holly Roberts, baroque violin Ednaldo Borba, harpsichord Emma Lynn, soprano Alison Kaufman, soprano Canzona Quarta by Girolamo Frescobaldi +••.••(...)) Sonata Primo by Giovanni Antonio Leoni (d. circa 1651) Settima Toccata by Michelangelo Rossi +••.••(...)) Excerpts from Erminia sul Giordano by Michelangelo Rossi +••.••(...)) “Ecco cinta di rosse” Aria, Erminia “Se la magica” Aria, Armida Chi soffre speri by Virgilio Mazzocchi +••.••(...)) & Marco Marazzoli +••.••(...)) Act I Scene IV, Eurilla Act I Scene V, Eurillia e Silvia Act I Scene VII, Lucinda Girolamo Frescobaldi +••.••(...)) was born in Ferrara at the court of Duke Alfonso II d’Este where he was immediately submerged in a vibrant and flourishing musical culture. Little is known about Frescobaldi’s musical training, except that he was widely renowned as an exceptional organist, and that he worked with and around other well-known musicians such as Marenzio, Merulo, Dowland, Wert, Lasso, Bardi, Corsi, Caccini, and Monteverdi. Documentation of Frescobaldi in Rome appears for the first time in 1607. In 1634, Frescobaldi found himself under the patronage of the Barberini and even journeyed to Rome with Francesco Barberini and his family. During his time with the Barberini family, Frescobaldi gave lessons, published music at their request, and performed at the many academy meetings that took place at the Palazzo Barberini. Giovanni Antonio Leoni (d. circa 1651) was a Roman composer about whom little is known. What we do know about Leoni is that, in his own time, he was regarded as one of the finest violinists and teachers in Italy. Manuscripts of Leoni’s sonatas and sinfonias were circulated widely, often with unauthentic ornamentations and arrangements, which prompted Leoni to publish his Sonate di violino a voce sol libro 1 op.3, 1652. Leoni’s publication was not the first to include works specifically designated for solo violin. It is, however, the first to be entirely dedicated to that instrumentation. Michelangelo Rossi +••.••(...)), also known as Michel Angelo del Violino, was most likely born in Genoa and where he held a position as assistant organist and received his musical education from his uncle Lelio. Rossi’s life in Rome is divided into three periods, the second of which +••.••(...)) was spent under the patronage of Taddeo Barberini, Cardinal Francesco Barberini’s brother. It was during this time that Rossi composed the opera Erminia sul Giordano. In 1634, Rossi left Rome for Paris with the household of the soon to be Cardinal Mazarin, but stopped along the way at the court of Francesco I d’Este, where he remained. Virgilio Mazzocchi +••.••(...)) was born in Civita Castellana where he eventually took lower orders. In 1614, he moved to Rome where he studied music with his brother Domenico. Around the year 1625, Mazzocchi entered the service of Cardinal Francesco Barberini, and it was thanks to him that Mazzocchi’s career as a church musician flourished. From about 1626 until 1629 he was maestro di cappella at the Gesù and taught at the Jesuit Collegio Romano. From 1636, Mazzocchi served as Maestro di Capella to Francesco Barberini and the papal court, which required him to regularly compose operas, including Chi soffre speri. Also beginning in 1636, Mazzocchi directed the musical academies at the Palazzo Barberini, where he most likely performed (or oversaw performances of) his own madrigals and cantatas. Marco Marazzoli +••.••(...)) was born in Parma and moved to Rome in 1626 where he served multiple members of the Barberini family. He was originally employed under the patronage of Cardinal Antonio Barberini the younger, and there gained the title of “musico” in 1639. Although he was most often associated with his work for Antonio Barberini, Marazzoli also received commissions from Taddeo Barberini and had many of his operas performed in the Palazzo Barberini. In fact, in 1654, Marazzoli became the principal composer for Barberini operas. His involvement in Chi soffre speri includes the creation of new intermedi which were added to the performances in 1639.
Angelo Michele Bartolotti Mazarin Lully 1668 2015
Angelo Michele Bartolotti (Italie-Bologne, début XVII siècle-c.1668) : pièces pour théorbe solo (extrait) : sarabande -théorbe: Pascal Ormancey (http•••) (Vielsalm, église Saint-Gengoux, le 19 avril 2015) Une pratique courante était d’adapter des pièces d’un instrument à l’autre. Angelo Michele Bartolotti est originaire de Bologne. Il publia des livres de guitare en Italie, et une méthode de théorbe en France. L' extrait que vous entendez a été à l’origine écrit pour la guitare puis retranscrit pour le théorbe. Bartolotti fit partie des musiciens italiens de Mazarin, qui furent renvoyés par Lully au profit des Français.
Mazarin Philippe Jaroussky Fenice 2010
Extrait du concert "Musique Italienne pour le Roi Soleil, Un concert pour Mazarin" donné en novembre 2010 à la Chapelle de la Trinité à Lyon, dans le cadre du Festival de Musique Baroque, dir° Eric Desnoues Contre-ténor : Philippe Jaroussky Ensemble La Fenice, Direction : Jean Tubéry Réalisation : Benjamin Bleton alias Karl More Karl More Productions - Festival de Musique Baroque de Lyon 2010 (http•••)
o
- cronología: Cantantes líricos.
- Índices (por orden alfabético): M...