Mauricy Auber Vídeos
compositor
- Polonia
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2024-05-07
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Daniel Auber Franz Lehár Bizet Jacques Offenbach Johann Strauss II Étienne Méhul 2000
Provided to YouTube by IIP-DDS Overture "La Vie Parisienne" · Vilem Tausky Sparkling Overtures ℗ Maestoso Released on: 2000-01-01 Composer: Charles Adam Composer: Daniel Auber Composer: Franz Lehár Composer: George Bizet Composer: Jacques Offenbach Composer: Johann Strauss II Artist: Vilem Tausky Composer: Étienne Méhul Auto-generated by YouTube.
Vidal Bizet Aloysia Weber Weber Elisabeth Grümmer Opera Comique Paris 1960 1985 1990 1994 2000 2006
~The "Glass Shatterers!" series focuses on sopranos who sustain High F, or sing higher. Elizabeth Vidal certainly qualifies for my "glass shatterer" series with a stratospheric range that she weaves into many of her operatic and recital programs. She appeared in several of my previous Aloysia Weber concert aria comparisons, but it is surely time for her to have a solo video, apropos as I shift my focus to French music for the soprano lèger colorature. THE SONGBIRD: I discovered Vidal in 1994 when I purchased her first CD recital "Romances et Chants D'oiseaux" when it was released (it is exquisite and HIGHLY RECOMMENDED!). Ms. Vidal was born in Nice in 1960. She entered École de Chant at the Paris Grand Opera and studied with Elisabeth Grümmer. In 1985, Vidal made her debut at the Opera Lyon and appeared at the Aix-en-Provence. She created a sensation in 1990 singing the demanding lead role in Auber's "Manon Lescaut" at the Opera-Comique in Paris and has since appeared in leading light and dramatic coloratura roles in many European opera houses and concert halls / with a specialty for unearthing long-forgotten works from French composers (especially if they wrote something for a high soprano, of course, which they often did). Here she sings Catherine's haunting ballade "Echo viens" from the end of Bizet's opera (she's gone bonkers / is this the shortest "mad scene" ever written?), easily suspending two pianissimo High Fs. This is from a concert in Paris in 2000. She also included this in a studio recording of French opera arias on the Talent label, released in 2006.
Till Fechner Claudio Abbado Campanella Carlo Rizzi Seiji Ozawa Daniel Harding Michel Plasson Hervé Niquet Spontini Jean Claude Malgoire Bach Handel Haydn Mendelssohn Schubert Schumann Rossini Gounod Meyerbeer Péter Eötvös Weise Viktor Ullmann Offenbach Cité Musique Opéra Lille Opéra Nancy Salle Gaveau
#johannsebastianbach, #tillfechner, #grosserherr French/German Bassbaritone, Till Fechner is a gifted vocalist, with an agile voice and great musicianship. Under the baton of prestigious chefs such as Claudio Abbado, Bruno Campanella, Vladimir Jurovsky, Carlo Rizzi, Seiji Ozawa, Daniel Harding, Michel Plasson, Hervé Niquet, Till Fechner interprets, among others, Masetto (Don Giovanni) and Alidoro (La Cenerentola) at the Opéra de Bordeaux and at the Festival d'Aix-en-Provence, conducted by Claudio Abbado and Peter Brook, Der Freischütz (Ottokar) in Rennes, Milton by Spontini and Lalla Rukh at the Festival Spontini in Jesi, Le Haut Parleur / La Mort (Der Kaiser von Atlantis) in Nancy, and at the Cité de la Musique in Paris, Caen and Luxembourg, La Pietra del Paragone in Fribourg, L'Elisir d'Amore (Dulcamara) in Nancy, Bordeaux, Caen, Reims and Rennes, Polyeucte (Albin) as well as La Vida Breve in Saint-Etienne, Wozzeck at the Opéra de Lille and in Caen, Mahagonny in Nancy and Luxembourg, Wiener Blut in Nancy, Ciro In Babilonia with Atelier Lyrique de Jean-Claude Malgoire in Tourcoing and Paris (Cité de la Musique), La Belle Hélène (Ajax II) at the Capitole de Toulouse then La Périchole still at the Capitol and in Bordeaux. In concert he sings the great sacred works of Bach, Handel, Mozart, Haydn, Mendelssohn, Dvorak, as well as the chamber music of Schubert, Schumann, Rossini, Adam, Auber, Thomas, Gounod, Meyerbeer. Lately, Till Fechner has participated in Le Balcon de Péter Eötvös in Bordeaux, Fidelio (Don Fernando) in Limoges as well as, as Narrator, in Die Weise von Liebe und Tod des Cornets Christoph Rilke by Viktor Ullmann at the Opéra de Nancy . He returns this season and the following ones to Marseille for La Belle Hélène, Wozzeck and Don Giovanni (Masetto), then sings an Offenbach Program with the Padeloup Orchestra at the Salle Gaveau in Paris and Schubert's Le Voyage d'Hiver in concert in France.
Victor Capoul Alphonse Révial Gounod Drury Charles Lecocq Angot Pierre Gailhard Hammerstein Meyerbeer Méhul Offenbach Godard Camondo Opéra Comique Covent Garden Metropolitan Opera Manhattan Opera Company 1810 1839 1861 1871 1877 1879 1883 1891 1892 1896 1900 1905 1906 1924
Victor Capoul +••.••(...)) was a French lyric tenor whose thirty-five-year career spanned the latter part of the 19th century. Born Joseph Victor Amédée Capoul in Toulouse, he received his musical education at the Paris Conservatory, where he studied with renowned French tenor Alphonse Révial +••.••(...)). Following his graduation, Capoul made his debut at the Opéra-Comique as Daniel in Adam’s Le Châlet in 1861. The young tenor became a popular artist with the theater and remained a regular member of the company for the next nine seasons. In 1871 he made his first appearance in London as Gounod’s Faust at Drury Lane and made his American debut later that year at the New York Academy of Music as Wilhelm Meister in Mignon. In 1877, Capoul made his Covent Garden debut as Auber’s Fra Diavolo, also singing Almaviva in Barbiere di Siviglia, Ernesto in Don Pasquale and Elvino in La Sonnambula that same season. Capoul returned to New York in 1879 to sing the role of the poet Ange-Pitou in Charles Lecocq’s La Fille de Madame Angot at Grau’s French Opera Company. The tenor’s Metropolitan Opera debut occurred during the company’s inaugural season, on October 27, 1883 as Faust. Capoul sang 25 performances of six roles during his first season with the Met…the aforementioned Faust, Wilhelm Meister, Almaviva, Alfredo in La Traviata, Edgardo in Lucia di Lammermoor and (although one wonders how he negotiated the demands of the role) Enzo in La Gioconda. Although his acting and stage deportment were praised, critics complained of the tenor’s “almost inaudible half voice” and remarked that “ his singing was often short of the enjoyable.” It is not surprising that when Capoul returned to the Met for the 1891/92 season, he was relegated to the secondary roles of Tybalt in Roméo et Juliette and Cassio in Otello. His final appearance with the company was a concert on April 24, 1896. During a Testimonial Performance to Henry E. Abbey and Maurice Grau, Capoul sang as part of the Soldiers’ Chorus from Gounod’s Faust. Considering that he had made his debut with the company in the title role of this same opera some thirteen years previously, this seems something of a sad comedown. Capoul remained in New York for several years, having been appointed opera coach and professor of voice at The National Conservatory of Music of America in 1892. His singing days now behind him, Capoul returned to Paris in January of 1900, making a bid for the position of General Director of the Opéra-Comique. When he was declined, his old friend and colleague Pierre Gailhard appointed him Director of Theatrical Studies at the Opéra de Paris. Now regarded as one of the leading stage directors for French and Italian opera, Capoul returned to New York in 1906 to direct productions for Hammerstein’s Manhattan Opera Company. Sadly, he was plagued by increasing deafness that greatly hampered his artistic activities. He retired to the south of France and lived quite comfortably until wartime investments stripped him of his fortune. To raise a bit of capital, the tenor tried to auction off some of the mementos from his career. When there were no takers, he angrily burned all of his costumes, scores and photographs. Capoul lived out his final years on his little farm near the village of Pujaudran-du-Gers, subsisting on a small pension. Penniless, bitter and forgotten, he passed away on February 18, 1924, just a week shy of his 85th birthday, a tragic end for such a great artist. Victor Capoul boasted a diverse repertoire of nearly 40 roles in opera and operetta, including Tonio in La Fille du Régiment, Georges in La Dame Blanche, The Duke in Rigoletto, des Grieux in Manon, Lionel in Martha and the title roles in Meyerbeer’s Robert le Diable and Méhul’s Joseph. He created the tenor leads in a number of works such as Gounod’s La Colombe and Offenbach’s Vert-Vert. In addition to Paris, London and New York (the cities where he spent most of his career), Capoul travelled to Monte Carlo, Brussels, Moscow, St. Petersburg, Vienna and Quebec. He also co-authored the librettos for Godard’s opera Jocelyn and Camondo’s operetta Le Clown. Although the tenor never possessed an extraordinary voice, he did cultivate a remarkable technique and built his reputation on artistry, musicality and magnetism. His recorded legacy consists of a single aria, “Oh! Ne t'éveille pas encore” from Godard’s Jocelyn. Four takes were recorded for Fonotipia in Paris in 1905, two of which are known to survive. Although Capoul’s vocal resources are greatly diminished…not to mention the fact that he was nearly stone deaf…he manages to give a fascinating performance, leaving us something of a time capsule from the world of 19th century French opera. This recording is the 4th and final take that has been in circulation for many years. It differs from take 2 in that it contains the preceding recitative.
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- cronología: Compositores (Europa).
- Índices (por orden alfabético): A...