Max Maretzek Vídeos
compositor, director de orquesta, violinista, escritor, líder de banda, editor
- ópera, opereta
- Austria
Última actualización
2024-05-13
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Giorgio Stigelli Max Maretzek Max Maretzek Italian Opera Company 1819 1861
"The Brightest Eyes Galop" is a spirited country dance in 2/4 time. It was a forerunner of the Waltz, and combined the glissade with chassé on alternate feet. This one piece in particular, was a St. Louis favorite. It was composed by Giorgio Stigelli. Born as Georg Stiegele in Shelklingen, Germany, in 1819. He studied as an operatic tenor, and soon took the stage name, Giorgio Stigelli. Stigelli sang throughout Germany, Austria, Czechoslovakia and Switzerland, eventually sailing to the United States. Once there, he took roles in several operas produced by the Max Maretzek Italian Opera Company, which toured America. But apart from Giorgio Stigelli’s many operatic achievements, was his fine talents as a lyricist and composer. This particular piece was one of those extraordinary compositions. The composition was published in 1861 by Blackmar & Brother in Augusta, Georgia.
Giorgio Stigelli Max Maretzek Max Maretzek Italian Opera Company 1819 1861
"The Brightest Eyes Galop" is a spirited country dance in 2/4 time. It was a forerunner of the Polka, and combined the glissade with chassé on alternate feet. This one piece in particular, was a St. Louis favorite. It was composed by Giorgio Stigelli. Born as Georg Stiegele in Shelklingen, Germany, in 1819. He studied as an operatic tenor, and soon took the stage name of Giorgio Stigelli. Stigelli sang throughout Germany, Austria, Czechoslovakia and Switzerland, eventually sailing to the United States. Once there, he took roles in several operas produced by the Max Maretzek Italian Opera Company, which toured America. But apart from Giorgio Stigelli’s many operatic achievements, was his fine talents as a lyricist and composer. This particular piece was one of those extraordinary compositions. The composition was published in 1861 by Blackmar & Brother in Augusta, Georgia.
Lillian Nordica Tietjens Euphrosyne Parepa Rosa 1867 1906
The first opera Lillian Nordica was taken to see was Trovatore, performed in Boston in 1867 by the prima donna Euphrosyne Parepa-Rosa and the celebrated Italian-American tenor Pasquale Brignoli. Some years later, when Nordica was studying at the New England Conservatory, the school was paid a visit by one of the great sopranos of the day, Thérèse Tietjens, who after hearing her sing the Lucia mad scene, gave her verdict: "Work ahead and you will be great." Also at that performance was Madame Bertucca Maretzek, widow of the impresario and herself a former prima donna during the Patti era. Nordica traveled to New York to study with Maretzek, who coached her in 12 Italian roles, the first being Leonora in Il Trovatore. Maretzek taught her, for instance, how "Tacea la notte" had been phrased and embellished by Tietjens and by the very singer who played Leonora at Nodica's first opera—Parepa-Rosa. The English critic Herman Klein wrote that Nordica considered this the best of her records, all of which were rather badly engineered and so not of high audio quality. ..................................... This channel is primarily about vocal emission—aural examples of basically correct singing, correct impostazione—chiaroscuro, vowel clarity, firm and centered pitch, correct vibrato action, absence of throatiness or thickness, sounds free from constriction and from the acoustic noise that accompanies it—with occasional video examples that demonstrate what the body, face, mouth, jaw, and tongue look like when used with correct impostazione—the vocal emission of the one and only Italian school. Caveat: I'm biased in favor of baritones and baritone literature, but if you want to learn about and listen to all the greatest singers in the old-school tradition, explore this spreadsheet (voice parts are separated by tabs): (http•••)
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