Frank Mullings Vídeos
cantante de ópera británico
- tenor
- Reino Unido, Reino Unido de Gran Bretaña e Irlanda
- cantante de ópera
Última actualización
2024-06-05
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Miriam Licette Mascagni Ruggero Leoncavallo Mullings Harold Williams Heddle Nash Dennis Noble Goossens British National Opera Company 2013
Provided to YouTube by NAXOS of America Pagliacci* (Sung in English) : Act I Scene 1: This evening at seven of the clock (Canio, Chorus, Tonio, Peppe) · Miriam Licette Mascagni: Cavalleria rusticana / Leoncavallo: Pagliacci ℗ 2013 Divine Art Released on: 2013-04-01 Artist: Miriam Licette Artist: Franks Mullings Artist: Harold Williams Artist: Heddle Nash Artist: Dennis Noble Choir: British National Opera Company Chorus Conductor: Eugene Goossens Orchestra: British National Opera Company Orchestra Composer: Ruggero Leoncavallo Auto-generated by YouTube.
Miriam Licette Mascagni Ruggero Leoncavallo Mullings Harold Williams Heddle Nash Dennis Noble Goossens British National Opera Company 2013
Provided to YouTube by NAXOS of America Pagliacci* (Sung in English) : Act I Scene 1: They come, they come (Chorus) · Miriam Licette Mascagni: Cavalleria rusticana / Leoncavallo: Pagliacci ℗ 2013 Divine Art Released on: 2013-04-01 Artist: Miriam Licette Artist: Franks Mullings Artist: Harold Williams Artist: Heddle Nash Artist: Dennis Noble Choir: British National Opera Company Chorus Conductor: Eugene Goossens Orchestra: British National Opera Company Orchestra Composer: Ruggero Leoncavallo Auto-generated by YouTube.
Miriam Licette Mascagni Ruggero Leoncavallo Mullings Harold Williams Heddle Nash Dennis Noble Goossens British National Opera Company 2013
Provided to YouTube by NAXOS of America Pagliacci* (Sung in English) : Act I Scene 3: On with the motley (Canio) · Miriam Licette Mascagni: Cavalleria rusticana / Leoncavallo: Pagliacci ℗ 2013 Divine Art Released on: 2013-04-01 Artist: Miriam Licette Artist: Franks Mullings Artist: Harold Williams Artist: Heddle Nash Artist: Dennis Noble Choir: British National Opera Company Chorus Conductor: Eugene Goossens Orchestra: British National Opera Company Orchestra Composer: Ruggero Leoncavallo Auto-generated by YouTube.
Frank Mullings Leoncavallo Sir Thomas Beecham Gounod Verdi Isidore Lara Rutland Boughton Berlioz Steane Elsa Stralia Beecham Opera Company British National Opera Company Covent Garden 1881 1907 1913 1916 1919 1921 1922 1925 1927 1929 1944 1946 1949 1953 1971 1979 2006
English Tenor Frank Mullings +••.••(...)) On With The Motley / Pagliacci (Leoncavallo) Prize Song / Meistersinger (Wagner) Recorded: 1925 (?) / Frank Mullings (born in Walsall on 10 March 1881 / died in Manchester on 19 May 1953) was a leading English tenor with Sir Thomas Beecham's Beecham Opera Company and its successor, the British National Opera Company, during the 1910s and 1920s. Blessed with a strong stage presence but possessing a far from bel canto technique, and despite a placing of the voice which was generally unbearably excrutiating to the ear, his repertoire included such taxing dramatic parts as Tristan in Tristan und Isolde, Radames in Aida, the title role in Otello, and Canio in Pagliacci. The young Mullings studied singing in Birmingham and made his operatic début in Coventry in 1907—in Faust by Gounod. He joined the Denhof Opera Company in 1913, was engaged by the Beecham Opera Company from 1916 to 1921, and was with the British National Opera Company from 1922 until its closure in 1929. He was the first to sing the part of Wagner's Parsifal in English, which he did at the Royal Opera House, Covent Garden, in 1919. Mullings was a noted interpreter, in England at least, of Verdi's Otello, as well as Tristan by Wagner. He created the role of Hadyar in Nail by Isidore de Lara, and the role of Apollo in Alkestis by Rutland Boughton. The English music critic Neville Cardus, who came to know Mullings well, wrote in one of his press reviews that: "Mr. Mullings acted Canio in Pagliacci far beyond the plane of conventional Italian opera of the blood and sand order. His singing is not exactly all honey, but how intensely he lived in the part! He almost persuades us that there is real tragedy about / that if the puppet Canio were pricked, blood and not sawdust would come forth." On the other hand, the historian John Cawte Beaglehole, who as a young man in London saw Mullings perform in The Damnation of Faust by Berlioz, found him disappointing: "... supposed to be a great tenor; [he was] a red-faced cove who sang in a strangled ineffective stupid fashion; still, you never know, he may have been drunk." At the height of his fame, Mullings joined the staff of the Birmingham School of Music, teaching (rather perplexingly, given his odd technique) voice, and working from 1927 through to 1946. He also taught at the Royal Manchester College of Music from 1944 to 1949. Mullings died at the age of 72. His voice is preserved in a number of 78-rpm gramophone records which testify to the sincerity of his interpretations but highlight the limitations of his peculiar vocal technique, as hinted at politely by Cardus in the quotation cited above. Michael Scott (author of The Record of Singing, Volume 2, published by Duckworth in 1979), J.B. Steane (The Grand Tradition, Duckworth, 1971) and many other commentators have been less guarded than Cardus, noting the constricted production and distorted vowels of his recorded performances, though even Steane's 2006 Gramophone review of the reissued British National Opera Company's 1927 Columbia recording of Pagliacci noted that "the throatiness and discomfort [of Mullings's Canio] in the upper range are to some extent offset by a warmly personal timbre and intense dramatic commitment." Perhaps the strangest aspect of Mullings' approach was that it appears it was quite deliberate; and not due to some vocal frailty. In his acoustic recording of Verdi's Aida duet (Columbia 7248/9 - 1921) with Elsa Stralia, Mullings forgets himself at times, and delivers notes with a genuine abandon, freedom and musicality; only to revert to his bizarre vocal production, out of tune and all. It is a performance which provokes at once hilarity, respect and hope of what might have been, if Mullings had any continent technique. That he was accepted as a teacher at revered institutions, perhaps says a great deal regarding English vocal teaching. (wikipedia)/
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- cronología: Cantantes líricos (Europa).
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