Urszula Koszut Vídeos
cantante de ópera polaca
- soprano
- Polonia
- cantante de ópera, músico, cantante, actor
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2024-06-01
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Heinrich Sutermeister Sutermeister Urszula Koszut Heinz Wallberg Shakespeare Karl Böhm Maria Cebotari Wilde Stevenson Arthur Honegger Carl Orff Verdi Boito Debussy Walter Courvoisier Hans Pfitzner Issay Dobrowen Hauff Hertz Nestroy Weibel Anneliese Rothenberger Tölzer Knabenchor Chor Bayerischen Rundfunks Münchner Rundfunkorchester Royal Swedish Opera Scala Cuvillies Theatre 1910 1931 1932 1934 1936 1939 1940 1942 1948 1950 1951 1954 1958 1959 1960 1963 1964 1967 1971 1975 1982 1985 1995
Heinrich Sutermeister +••.••(...)): ROMEO UND JULIA (1939). Excerpts from the opera with Adolf Dellapozza, Tenor (Romeo); Urszula Koszut, Soprano (Julia); Tölzer Knabenchor; Chor des Bayerischen Rundfunks; Münchner Rundfunkorchester; Heinz Wallberg, conductor. Romeo and Juliet, for which Sutermeister made his own adaptation of Shakespeare's tragedy, was commissioned by Karl Böhm, who conducted the premiere at the Dresden State Opera on April 13, 1940. Maria Cebotari, the soprano for whom the part of Juliet was specially written, scored a great personal triumph. The opera, too, was very successful and for the next 20 years continued to appear frequently in German-speaking theatres. Die Zauberinsel, adapted from The Tempest, was also given its first performance at Dresden, in 1942, conducted by Karl Böhm. Usually providing his own texts, Sutermeister adapted works by Shakespeare, Dostojevsky, Flaubert, Wilde and Stevenson during the 50 years that he was actively engaged in writing operas. His first major success, Romeo and Juliet, was, according to the 1954 edition of Grove's Dictionary of Music and Musicians, ``after Rosenkavalier . . . the most frequently performed modern opera''. A later opera, Raskolnikoff, reached La Scala, Milan, while others were staged in Munich and Berlin. From 1963 to 1975 Sutermeister taught composition at the Hochschule für Musik und Theater in Hannover. The chief influences in forming Sutermeister's style were Arthur Honegger, who first inspired him to write music, and Carl Orff, with whom he studied for a time. He particularly admired the Verdi/Boito Otello and Falstaff, and also Debussy's Pellas et Melisande, striving in his own operas to combine musical and dramatic expression in the manner of those masterpieces. When, in the Fifties and Sixties, he was considered old-fashioned, he found his own audience with hugely successful television operas. Sutermeister was born in Feuerthalen, in the canton of Schaffhausen. After studying philology in Basel and Paris, in 1931 he turned to musicology at the Basel University. From 1932 to 1934 he attended the Akademie der Tonkunst in Munich, where his teachers included Walter Courvoisier, Hans Pfitzner and Carl Orff. Returning to Switzerland, he worked for a year as a repetiteur at the Municipal Theatre in Berne, before becoming a full-time composer. Sutermeister's first opera, Die schwarze Spinne, with text by A. Rosler, was written for radio and broadcasted in 1936. Sutermeister's opera after Dostojewski "Raskolnikoff" was premiered at The Royal Swedish Opera on 14 October 1948. Though the musical idiom of Raskolnikoff remains as easy to assimilate, the dramatic structure has become more complicated than in Sutermeister's earlier operas: two separate orchestras illustrate the outer and inner life of the protagonist, who is represented by two different singers, a tenor and a bass. Though less generally popular than Romeo and Juliet, it was staged in a number of other theatres, including La Scala, where it received four performances in 1950, conducted by Issay Dobrowen, who had conducted the premiere. A variety of works followed: Der Rote Steifel, the adaptation of a fairy tale by Wilhelm Hauff, Das Kalte Herz, was performed at Stockholm in 1951. Titus Feuerfuchs, a burlesque opera based on Nestroy's Der Talismann, scored some success in Basel in 1958. However, two television operas were extremely popular: Seraphine (1959), a comic opera after Rabelais, was staged at the Cuvilliés Theatre, Munich, in 1960; while Das Gespenst von Canterville (1964), based on Oscar Wilde's story "The Canterville Ghost", was even more successful. Der Flaschenteufel ("The Bottle Imp"), adapted by R.K. Weibel from a story by Robert Louis Stevenson, was screened on German television in 1971. Sutermeister's penultimate stage work, Madame Bovary, first given in Zurich in 1967, is loosely based on Flaubert's novel. With many characters cut, it consists largely of monologues for Emma Bovary, who was superbly sung by Anneliese Rothenberger. For his final opera Le Roi Bérenger, he adapted Eugene Ionesco's play Le Roi se meurt. Premiered at the 1985 Munich Opera Festival, with six characters, a small chorus and a chamber orchestra, this work, in its modest way, is as effective as anything Sutermeister wrote. (Elizabeth Forbes). The video is dedicated in memoriam to my daughter Amrei Leinert (1982 Wolfenbüttel, Germany - 1995 Verona, Italy).
Luigi Nono Urszula Koszut Wolfgang Probst Bernhard Kontarsky Staatsoper Staatsoper Stuttgart Staatsorchester Stuttgart 1924 1960 1990
Luigi Nono +••.••(...)) Intolleranza 1960, Scenic action in two parts, based on an idea by Angelo Maria Ripellino German version by Alfred Andersch An emigrant: David Rampy His woman companion: Urszula Koszut A woman: Kathryn Harries An Algerian: Jerrold van der Schaaf A tortured prisoner: Wolfgang Probst Four Policemen: Joseph Dieken, Christian Hoening, Carsten Otto, Hermann Wenning Voice of Sartre: Ulrich Mühe Voice of Alleg: Michael Kind Speaker: Wolfgang Höper Chor der Staatsoper Stuttgart (Chorus master: Ulrich Eistert) Staatsorchester Stuttgart Bernhard Kontarsky Cover image: "Resistenza oggi", by Emilio Vedova
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- cronología: Cantantes líricos (Europa). Intérpretes (Europa).
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