Renée Gilly Vídeos
cantante de ópera francesa
- mezzosoprano
- Francia
- cantante de ópera
Última actualización
2024-05-16
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Walter Widdop Percy Pitt Norman Allin Dinh Gilly Florence Austral Berg Stravinsky Vaughan Williams Handel Haydn Bach Verdi Elgar Mahler Sir John Barbirolli British National Opera Company Covent Garden Royal Albert Hall Proms 1892 1916 1922 1923 1925 1929 1930 1933 1934 1936 1938 1949
Walter Widdop +••.••(...)) was an English tenor who made his mark on the opera, oratorio and concerts worlds during his quarter century career. Born in Yorkshire, the future tenor began working in the local wool mill (and later the dye works) at the age of 12. When Widdop’s voice started to develop, a coworker advised the 18 year old (who enjoyed singing on the job) to pursue singing. After a few years with a local chorus, Widdop began working with esteemed pedagogue Arthur Hinchcliffe, developing his raw talent into an accomplished technique. Although Widdop found himself in uniform at the outbreak of the war, he served his hitch in the familiar surroundings of Yorkshire. This allowed him to continue not only his studies, but to seek singing engagements. One of these, a Christmas Eve 1916 Messiah with the Huddersfield Permanent Orchestra, brought the tenor his first review. A local critic wrote, “Mr. Walter Widdop had the full programme of tenor recits. and airs, and he sang admirably.” Widdop also won many singing competitions during this period, earning a respectable amount of cash for his efforts. After the war, Widdop continued his singing engagements, all the while toiling away at the dye works. In 1922 he auditioned for the British National Opera Company. Music director Percy Pitt didn’t care much for Widdop, but bass Norman Allin encouraged the tenor to study in London. With not much more than a dream and a prayer, Widdop and his wife sold everything they owned to raise funds and set out for the English capitol. The tenor spent a year of study that included working with baritone Dinh Gilly, as well as diction lessons to rid himself of his Yorkshire accent. Although helpful, the period of study had left the Widdops practically penniless. With Norman Allin’s assistance, Widdop arranged a second audition before Percy Pitt. The 31 year old tenor’s year of study must have paid off, for he was contracted by the BNOC. His operatic debut occurred on October 5, 1923 as Radames in Aïda during a company tour in Leeds. Widdop spent the rest of the tour alternating between Radames and Samson, receiving glowing reviews in the process. Just three months after his debut, Widdop made his first appearance on a major international stage, London’s Covent Garden, under the auspices of BNOC. The role was Siegfried and, although the opera had to be cut short (soprano Florence Austral was not able to appear for the final act), the audience response to the tenor was rapturous. Widdop’s career would take off quickly after his London debut, with appearances throughout Britain, as well as Spain, Portugal, Holland, Germany, the U.S. and Australia. The tenor also took advantage of the new medium of radio and was contracted by HMV for a series of successful recordings. With the exception of the aforementioned appearances abroad, Widdop’s career was largely confined to the British Isles. That being said, his work in his homeland was impressive and historic. Widdop sang the British premieres of Berg’s Wozzeck in 1934 and Stravinsky’s Oedipus Rex in 1936. He was also one of four tenors to sing Vaughan Williams’ Serenade to Music at its premiere in 1938, and even played himself in the 1933 film “The Song You Gave Me”. Always a favorite of audiences and critics, Widdop continued his career throughout the 1940s. He toured with the Entertainments National Service Association during WWII, which included appearances in the U.S. and Canada. In the years after the war, Widdop’s health began to fail. Despite his robust appearance, the tenor was often in poor condition, causing him to curtail his appearances. One of his final operatic performances was Parsifal at Royal Albert Hall in July of 1949. He returned to the Albert Hall on September 5 of that year to participate in a Proms concert. After singing Lohengrin’s farewell, the tenor returned to his dressing room, where he collapsed with a heart attack. He was taken to his home in Hampstead where he passed away the following day at the age of 57. Although Walter Widdop was known primarily for singing Wagner and Handel (about as vocally far apart as one could get!), he had a rather diverse repertoire which included not only Siegfried, Tristan, Lohengrin, Tannhäuser, Siegmund in Die Walküre and Erik in Der Fliegende Holländer, but also Max in Der Freischütz, Don José in Carmen, and Canio in Pagliacci. His resume of oratorio, cantata and orchestral works was equally impressive, with appearances in Handel’s Messiah, Judas Maccabaeus, and Solomon, Haydn’s The Creation, Bach’s Mass in B minor, Verdi’s Requiem, Elgar’s The Kingdom, and Mahler’s Symphony no. 8. His recordings, made for HMV between 1925 and 1930, reveal a voice both powerful and lyrical, with impressive flexibility. In this recording, Widdop gives a powerful performance of “Sound an Alarm” from Handel’s Judas Maccabaeus. This was recorded for HMV in London on September 9, 1929, under the baton of Sir John Barbirolli.
Giacomo Puccini Dinh Gilly 1858 1923 1924
Giacomo Puccini +••.••(...)) Il Tabarro Scorri fiume Dinh Gilly, baritono 1923
Dinh Gilly Ema Destinnová Leoncavallo Dennis Noble Loewe Richard Strauss Bayreuth Caruso Puccini Arturo Toscanini Wagner Calvé Metropolitan Opera Covent Garden Bayreuth Festspielhaus 1877 1878 1897 1898 1901 1902 1904 1906 1908 1909 1914 1919 1920 1923 1926 1930 1940 1996
Baritone Dinh Gilly +••.••(...)) / Soprano Emmy Destinn +••.••(...)) / Dounrou noc (Goodnight) / Czech folk song / Recorded: April 23, 1914 / Dinh Gilly (July 19, 1877 / May 19, 1940) was a French-Algerian operatic baritone and teacher. He studied in Toulouse, Rome and at the Paris Conservatoire, where he won a premier prix in 1902. That same year he made his debut at the Paris Opera as Silvio in Leoncavallo's Pagliacci. In 1908 he left the Paris Opera and from 1909 to 1914 he performed at the Metropolitan Opera in New York City. He also sang at The Royal Opera House, Covent Garden, and later taught in London. His students there included Dennis Noble. Gilly, a stylish and intelligent singer, made about 40 recordings. Emmy Destinn (Ema Destinnová) February 26, 1878 / January 28, 1930) Czech operatic soprano with a strong and soaring lyric-dramatic voice. She had a career both in Europe and at the New York Metropolitan Opera. Destinn was born Emílie Pavlína Věnceslava Kittlová in Prague, in what was then the Austro-Hungarian Empire. At first Destinn devoted herself to studying the violin, and intended to shine as a virtuoso on that instrument. When she was well on in her teens, however, her voice was so rich and full that she changed her mind and determined upon an operatic career. Her voice teacher since age 13 had been Marie Maria von Dreger Loewe-Destinn, and the young singer began using her teacher's surname as a tribute. She was let go after the short engagement at the Dresden Opera and declined by Prague National Theatre in 1897. Destinn debuted on July 19, 1898 at the Berlin Court Opera as Santuzza in Cavalleria rusticana. She made such progress that the intendant of the Berlin Court Opera engaged her at once when she was brought to her notice. She was merely nineteen at the time, but her voice and her genius for acting soon won the Berlin public. Her engagement in Berlin lasted till October 27, 1909. She sang in 54 operas, including 12 premieres, the most famous of which was Salome by Richard Strauss (December 5, 1906). Her fame became international in 1901 when she was invited to sing the part of Senta in Der Fliegende Holländer at Germany's Bayreuth Festspielhaus. She returned to sing the same role the next year. Destinn made her London debut at Covent Garden's Royal Opera House on 2 May 1904, as Donna Anna in Don Giovanni. She appeared there in several operas for the next two seasons, including the London premiere of Madama Butterfly with Caruso. Her Metropolitan Opera debut came in 1908 with an acclaimed performance of Aida, after she was released from her contract with the Berlin Court Opera. Two years later at the Met, she created the role of Minnie in the premiere of Puccini's La fanciulla del West, again opposite Caruso, and under the direction of Arturo Toscanini. While she was highly successful in the lighter roles of Wagner's operas, her spinto voice—although large in size, with a ringing top register—was better suited to German music of a less declamatory type. She also excelled in the French part of Carmen, in which she was said to rival Calvé, and in the Italian roles of Aida, Madama Butterfly and Leonora (in Il trovatore). Destin's career suffered a fatal blow in World War I. She returned to her homeland after the start of the war in 1914, but her links with the patriotic Czech resistance caused her passport to be revoked. She was interned at her chateau for the remainder of the conflict. By the time that she returned to the Met in 1919, her voice had become rusty and she had been replaced in the hearts of New York audiences by a new generation of singers, though she did still continue to sing with the company until 1920. Destinn returned to Czechoslovakia, where she married Joseph Halsbach, a Czech air-force officer, in 1923. She retired from the stage in 1926 and died from a stroke in České Budějovice, Czechoslovakia. She is interred in the Vyšehrad cemetery in Prague. Destinn was a versatile artist and besides being a singer was a poet, novelist and playwright—though nothing she achieved in other professions has rivalled her reputation as a singer. Her voice can still be heard on CD reissues of the many 78-rpm gramophone records which she made during her prime, most famously in America for the Victor label. Destinn's likeness appeared in 1996 on the 2,000 Czech koruna banknote. The main-belt asteroid 6583 Destinn is named after her. This article is based on a text from the Etude magazine, prior to 1923, that is in the public domain. (wikipedia)/
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- cronología: Cantantes líricos (Europa).
- Índices (por orden alfabético): G...