Peter Bird Vídeos
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2024-06-01
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William Heddle Nash Verdi Steane Enrico Caruso Giuseppe Borgatti Carcano Rossini Ferrando Joan Hammond Sir Edward Elgar Scala Covent Garden Three Choirs Festival British National Opera Company Carl Rosa Opera Company 1894 1923 1924 1925 1926 1929 1930 1931 1932 1934 1937 1938 1948 1950 1958 1961 1994
Heddle Nash sings 'Questa o quella' (in English as 'In my heart, all are equally cherished,') with orchestra conducted by Clarence Raybould, recorded on 4 April 1932. I hear a little 'bird' intrude in the introduction! From Wikipedia: William Heddle Nash (14 June 1894 – 14 August 1961) was an English lyric tenor who appeared in opera and oratorio. He made numerous recordings that are still available on CD reissues. Nash's voice was of the light tenor class known as 'tenore di grazia.' The critic J. B. Steane referred to him as 'the English lyric tenor par excellence, without equal then or now...' Nash was born in the South London district of Deptford on 14 June 1894... The family was musical, and listening at home to a gramophone record by Enrico Caruso prompted Nash to apply for a scholarship at the Blackheath Conservatoire of Music. He was accepted, but a week later World War I broke out. Nash joined the army, serving in France, Salonika, Egypt and Palestine. The Blackheath scholarship was held open until after the war; Nash took it up on his return. He had some experience of concert and oratorio work, and then he accepted an offer to sing with Podrecca and Feodora's Italian Marionettes. Unseen, standing in the orchestra pit of the Scala and Coliseum theatres, he sang the tenor roles in many Italian operas while on the stages the puppets mimed the action. After the London season, the marionette company secured a contract to appear in New York; Nash went with them. On his return to London a friend advanced the money for him to study in Milan with Giuseppe Borgatti. On 7 April 1923 Nash married Florence Emily Violet Pearce, daughter of a sign manufacturer. They had two sons, John Dennis Heddle Nash +••.••(...)), who became an operatic baritone, and David L Heddle Nash (b. 1930). While studying with Borgatti, Nash made his operatic debut in 1924 at the Teatro Carcano in Milan, when he replaced an indisposed tenor in the role of Almaviva in Rossini's Il Barbiere di Siviglia. It was a notable success. After singing at Turin, Bologna and Genoa, Nash returned to England with his wife in 1925. He had developed an Italianate style of singing that remained with him: it was said of him that he sang everything as though it were by Verdi. On his return to London Nash was engaged by the Old Vic Company under Lilian Baylis to sing tenor roles in English. Success was instantaneous. The Musical Times said that it was a pleasure to welcome a very beautiful tenor voice, praised his clarity of diction, and predicted that Nash would be one of the eminent lyric tenors of the future... At the end of the Old Vic season he joined the British National Opera Company, going on tour with the company after a short London season... In 1929, Nash made his debut at the Royal Opera House, Covent Garden... He sang leading tenor roles in Italian and French operas at Covent Garden until World War II... The critic Alan Blyth called Nash the leading British lyric tenor of the 20th century, and considered him 'ideal casting for the heroes of French 19th-century Romantic opera.' Nash had a repertoire of twenty-four operas, and sang fluently in English, French, German and Italian. He was proud of being the first Englishman to sing David in Die Meistersinger in the International Season at Covent Garden. In the first Glyndebourne season, in 1934, Nash played Basilio in Le Nozze di Figaro at the inaugural performance, Pedrillo, and Ferrando in Così fan Tutte. He sang these three roles every year until 1938, adding Ottavio in Don Giovanni in 1937. The critic Richard Capell wrote, 'Hardly another tenor of his time has sung Mozart with such elegance and at the same time such a minstrel-like effect of spontaneity.' Nash also sang in lighter musical stage works... During the war Nash toured with the Carl Rosa Opera Company, often singing opposite the Australian soprano Joan Hammond... His last appearance at Covent Garden was in Die Meistersinger in April 1948. He continued to appear on stage until July 1958... Nash's career was not restricted to opera; he gave many song recitals, made radio broadcasts and performed in concerts and oratorio productions all over Britain. In 1931, he was chosen by Sir Edward Elgar to sing the title role in The Dream of Gerontius, in a performance conducted by Elgar himself. Henceforth, Nash was closely associated with the part, singing it at every Three Choirs Festival from 1934 to 1950... Nash sang regularly in Messiah, and other oratorios... In his later years, Nash was appointed professor of singing at the Royal College of Music. He sang in his last Messiah a few months before his death from lung cancer on 14 August 1961. On his tombstone in Chislehurst Cemetery are carved the opening words of part two of The Dream of Gerontius: 'I went to sleep and now I am refreshed...'' I transferred this side from Australian Columbia DO 863.
Ofra Harnoy Rigby Dawes Jude Perkins Flint 1652
00:00 Free as a Bird (Lennon; arr: J. Wall) with Jeremy Wall, piano / Doug Riley, synth 03:53 Eleanor Rigby (Lennon-McCartney)* 06:06 Here, There and Everywhere (Lennon-McCartney)* 08:47 In My Life (Lennon-McCartney)* 11:46 And I Love Her (Lennon-McCartney)* 13:57 When I´m Sixty-Four (Lennon-McCartney)* 16:52 Michelle (Lennon-McCartney) with Andrew Dawes, violin 20:25 Nowhere Man (Lennon-McCartney)* 23:21 Yesterday (Lennon-McCartney)* 25:50 Girl (Lennon-McCartney)* 28:59 Across the Universe (Lennon-McCartney)+ 32:48 Here Comes the Sun (Harrison)+ 35:56 Norwegian Wood / For No One (Lennon-McCartney)+ 40:26 She´s Leaving Home (Lennon-McCartney)+ 43:57 Lucy in the Sky with Diamonds (Lennon-McCartney)+ 48:02 Octopus´s Garden (Starkey)+ 50:55 Imagine (Lennon)+ 54:21 Hey Jude (Lennon-McCartney) with Adele Armin, violin 58:46 Golden Slumbers / Carry That Weight / The End+ All arrangements, except Free as a Bird, by Doug Riley Ofra Harnoy, solo cello *Orford String Quartet: Andrew Dawes & Kenneth Perkins, violins Terence Helmer, viola / Denis Brott, cello +Armin String Quartet: Adele Armin & Anthony Flint, violins Paul Armin, viola / Richard Armin, cello
John Dowland Antipov 1563 1626
Magdalina Gluschenko — alto / Vasiliy Antipov — lute Flow, my tears, fall from your springs! Exiled for ever, let me mourn; Where night's black bird her sad infamy sings, There let me live forlorn. Down vain lights, shine you no more! No nights are dark enough for those That in despair their last fortunes deplore. Light doth but shame disclose. Never may my woes be relieved, Since pity is fled; And tears and sighs and groans my weary days, my weary days Of all joys have deprived. From the highest spire of contentment My fortune is thrown; And fear and grief and pain for my deserts, for my deserts Are my hopes, since hope is gone. Hark! you shadows that in darkness dwell, Learn to contemn light Happy, happy they that in hell Feel not the world's despite. Теките, мои слезы, проливайтесь из своих источников! Изгнан я навек, так дайте ж мне предаться скорби; Там, откуда слышится печальное пение ночной черной птицы, Там позвольте мне жить в забвении. Угасните, напрасные огни, не светите больше Никакая ночь не может быть достаточно темной для тех, Кто в отчаянии оплакивает свою последнюю судьбу — Свет лишь их позор раскрывает. Никогда не облегчится горе мое, Даже когда сожаление рассеется; И слезы, и вздохи, и стоны опустошат мои дни, Лишив всех радостей. С высочайшего шпиля счастливой судьбы Сврей фортуной сброшен я; И страх, и горе, и боль — вот все надежды в моей пустыне, С тех пор, как надежда ушла. Слушайте, тени, что во тьме обитают, Учитесь презирать свет. Счастливы, счастливы те, кто в аду, Ибо не чувствуют, что мир им вопреки.
Niza Castro Tank Massé Sayao 1853 1931 1957 1980 2012
THE SONGBIRD: Niza de Castro Tank is a hidden gem, something of a minor legend among the inner circle of coloratura soprano aficionados. Born in Brazil in 1931, she became the pre-eminent high soprano in her native country and though she did some international tours and engagements, her career just never took off for a wider public that way Bidu Sayao’s did a generation earlier. Castro Tank’s operatic debut came in 1957 and she continued to sing and record until at least 2012 (in quite good vocal shape at the age of 80!). Her upper tones could be especially astonishing, as in this birdsong ditty from a TV special in 1980. THE MUSIC: This work was one of the most popular light operas in France with over 5,000 performances since its premiere in 1853. The title character warbles through "Au bord du chemin" / one of the great coloratura operatic "bird songs" where she echos a nightingale in elaborate interchanges with the flute. It's a long, charming piece of coloratura decadence — sung here in what sounds like Italian.
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- cronología: Compositores (Norteamérica).
- Índices (por orden alfabético): B...