William Pearson Vídeos
cantante de ópera estadounidense
Conmemoraciones 2024 (Nacimiento: William Pearson) 2025 (Muerte: William Pearson)
- barítono
- Estados Unidos
- cantante de ópera
Última actualización
2024-05-13
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Louise Kirkby Lunn Kirkby Lunn Saint Saens Percy Pitt Henry Wood I Sang Herman Klein Greenwood Jacques Bouhy All Saints Church Covent Garden Carl Rosa Opera Company Metropolitan Opera 1890 1895 1896 1899 1900 1901 1902 1906 1909 1912 1914 1930
This is a further title recorded by Kirkby Lunn on 29 June 1909 with orchestra conducted by Percy Pitt. Kirkby Lunn is all but forgotten nowadays, yet no less an authority than Sir Henry Wood praised her as 'a singer with a glorious voice and an even tone throughout a compass of well over two octaves, a singer with whom I never found fault in so much as a quaver in all the years I worked with her, and who never sang out of tune.' Herman Klein referred to her 'warm rich notes of true contralto quality.' Kirkby Lunn was a stage name, adopted quite early in her career. She was born Louisa Baker, the daughter of Manchester confectioner W. H. Baker and his wife Mary Elizabeth Kirkby. Her cousin was James Baker, who sang professionally and made many popular recordings under the name Stanley Kirkby. From Wikipedia: Kirkby Lunn (pronounced Kirby Lunn) had her early vocal training in her native city of Manchester, at All Saints Church. She sang there in the choir under Dr J. H. Greenwood, the church's organist, and later appeared at concerts in the city. In 1890, she obtained a place at the Royal College of Music in London and studied for three years with Albert Visetti, also training for opera... She also studied for some time with Jacques Bouhy in Paris. In 1895, she appeared in the first season of Promenade concerts for Henry J. Wood. Augustus Harris gave her a five-year contract almost upon first hearing... [In 1896] she joined the Carl Rosa Opera Company, performing as principal mezzo-soprano in London and on tour in the provinces in Carmen, Mignon, Lohengrin, Rigoletto and other works... She remained with the Carl Rosa until 1899, the year in which she married W. J. Pearson. She was particularly active in the 1900–1901 Queen's Hall season with Wood... From 1901 to 1914, Louise Kirkby Lunn appeared regularly at the Covent Garden, and for several of those years also in the United States, especially at the Metropolitan Opera in the seasons of 1902–03, 1906–08 and 1912–14. She was particularly successful in Wagnerian opera parts... Before the outbreak of the Great War in 1914, Kirkby Lunn had been in great demand for oratorio appearances on the European Continent, and she sang frequently as far afield as Budapest. New York also heard her during this period. In 1912, she had made a tour of Australia with William Murdoch, the celebrated pianist who had made his London debut two years earlier.... She died in London on 17 February 1930.
Louise Kirkby Lunn Kirkby Lunn Trevalsa Henry Wood I Sang Herman Klein Greenwood Jacques Bouhy All Saints Church Covent Garden Carl Rosa Opera Company Metropolitan Opera 1890 1895 1896 1899 1900 1901 1902 1906 1912 1913 1914 1930
Louise Kirkby Lunn sings 'My Treasure,' recorded on 16 October 1913. Kirkby Lunn is all but forgotten nowadays, yet no less an authority than Sir Henry Wood praised her as 'a singer with a glorious voice and an even tone throughout a compass of well over two octaves, a singer with whom I never found fault in so much as a quaver in all the years I worked with her, and who never sang out of tune.' Herman Klein referred to her 'warm rich notes of true contralto quality.' Kirkby Lunn was a stage name, adopted quite early in her career. She was born Louisa Baker, the daughter of Manchester confectioner W. H. Baker and his wife Mary Elizabeth Kirkby. Her cousin was James Baker, who sang professionally and made many popular recordings under the name Stanley Kirkby. From Wikipedia: Kirkby Lunn (pronounced Kirby Lunn) had her early vocal training in her native city of Manchester, at All Saints Church. She sang there in the choir under Dr J. H. Greenwood, the church's organist, and later appeared at concerts in the city. In 1890, she obtained a place at the Royal College of Music in London and studied for three years with Albert Visetti, also training for opera... She also studied for some time with Jacques Bouhy in Paris. In 1895, she appeared in the first season of Promenade concerts for Henry J. Wood. Augustus Harris gave her a five-year contract almost upon first hearing... [In 1896] she joined the Carl Rosa Opera Company, performing as principal mezzo-soprano in London and on tour in the provinces in Carmen, Mignon, Lohengrin, Rigoletto and other works... She remained with the Carl Rosa until 1899, the year in which she married W. J. Pearson. She was particularly active in the 1900–1901 Queen's Hall season with Wood... From 1901 to 1914, Louise Kirkby Lunn appeared regularly at the Covent Garden, and for several of those years also in the United States, especially at the Metropolitan Opera in the seasons of 1902–03, 1906–08 and 1912–14. She was particularly successful in Wagnerian opera parts... Before the outbreak of the Great War in 1914, Kirkby Lunn had been in great demand for oratorio appearances on the European Continent, and she sang frequently as far afield as Budapest. New York also heard her during this period. In 1912, she had made a tour of Australia with William Murdoch, the celebrated pianist who had made his London debut two years earlier.... She died in London on 17 February 1930.
Arthur Berger Berger Gil Rose Boston Modern Orchestra Project 2003
Provided to YouTube by The Orchard Enterprises Serenade Concertante · Arthur Berger · Gil Rose · Boston Modern Orchestra Project · Joanna Kurkowicz · Ian Greitzer · Ann Bobo · Peggy Pearson · Ronald Haroutunian Arthur Berger: The Complete Orchestral Music ℗ 2003 Anthology of Recorded Music, Inc. Released on: 2003-01-01 Auto-generated by YouTube.
Percy Whitlock Briggs Vaughan Williams Charles Hylton Stewart Stiff Barber Brahms Elgar Parry Delius Rachmaninoff Quilter Warlock Bedford Coventry Cathedral 1903 1936 1979 1993
Percy Whitlock +••.••(...)): Organ Sonata in C minor (1936) - David Briggs at the Cathedral of St John the Divine, NYC In the immediate aftermath of the passing of HRH The Duke of Edinburgh, it seems appropriate to present an organ piece which really couldn’t be more English! I have always loved the music of Percy Whitlock +••.••(...)) and am more than delighted to act as his musical ambassador today. Next Saturday is the 75th anniversary of PW's premature passing: Whitlock was evidently a sensitive character, quite fragile in health, leading to his early death from complications of hereditary hypertension at the age of only 42. But, in my experience, sensitive people often make the best musicians. Percy Whitlock studied at the RCM under Stanford and Vaughan Williams, and was for some years Assistant Organist at Rochester Cathedral, under Charles Hylton-Stewart. Later he took positions at St Stephen’s, Bournemouth (a wondrous John Loughborough Pearson anglo catholic church, where sadly he fell out with the plainsong choir director and resigned after only 3 years) and at the Bournemouth Pavilion, where he presided over (and largely maintained) the great Compton Organ. When he married his wife, Edna, rather amusingly he planned their three-day honeymoon centered on the Compton organ works, in London. She said in a 1979 interview that she was ‘bored stiff’! Whitlock was very mechanically-minded and made clocks out of Meccano. During their courtship, much of their time was spent train spotting, perched high up on a railway bridge near Rochester. Percy would assiduously write down the numbers of the steam locomotives. They were clearly very happily married, though. Edna lived on until 1993 and never remarried. Like many teenage organists of my generation, I grew up listening to the iconic LP of the Whitlock Sonata (1936) played by Graham Barber at Coventry Cathedral (which sadly never quite made it to CD format). I’ve played the first three movements quite frequently, since then. Several years ago, a close musical confidante said to me that they thought the last movement was far too long, and lets the Sonata down. One of several silver linings of the Covid-19 pandemic, however, has been to have the time to learn new repertoire - and the last movement of the Whitlock was a very welcome addition to the list. I have actually come to the conclusion that it makes a gloriously uplifting, varied and kaleidoscopic culmination to the Sonata - and isn't too long at all! You can certainly hear the influences of Brahms, Elgar, Parry, Delius - but one of the endearing facets of Whitlock’s music is his generously ripe harmonic language, somehow all his own. The sweeping Rachmaninoff-inspired tune in the last five minutes is so moving, with its inevitable and driving crescendo upwards, and the wonderful distillation of energy and complete calmness of the final bars certainly pulls at the heart strings. Technically it’s really quite demanding at times - PW must certainly have been a very good pianist! Sadly no Whitlock manuscripts are thought to exist, as he destroyed them all directly after OUP had received the final copy. This Sonata is such a passionate, dramatic and emotional piece - it feels like looking right into his eyes, sometimes. After the bold, rhapsodic introduction, the first movement oscillates between an enticingly stormy, almost Brahmsian first subject group and a second subject of ravishing lushness and warmth. The Canzona follows, with an apparent simplicity perhaps rather reminiscent of the English song composers Quilter and Warlock, but developed in a way to further showcase Whitlock's voluptuous harmonies. The Scherzo, with its irregular metre, is very joyful and reminds me of the lightweight, enthusiastic jingle of a vintage Bedford Ice Cream van, parading merrily along the crowded Bournemouth seafront, with the jovial, childlike innocence you associate with a large dollop of vanilla ice cream, dangerously careering down the poor unsuspecting cone underneath, all mysteriously held together by a delicious and inevitable Cadbury's Flake . The last movement, named 'Chorale' is a real musical smorgasbord. It boasts everything from a traditional hymn tune through to an Allegro of truly Elgarian military bombast and swagger, a Bachian fugato (in 2 parts!), a high-voltage, extremely virtuosic Scherzo (again with Brahmsian cross rhythms), and a big tune which almost beats Rachmaninoff at his own game. I’m very happy to share my love for this music with you, and I hope you will be moved and nourished by its colossally wide-ranging multitude of emotions.
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- cronología: Cantantes líricos (Norteamérica).
- Índices (por orden alfabético): P...