Giuseppe Verdi Luisa Miller Vídeos
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Verdi Neeme Järvi Ivo Kuusk Väino Puura Estonian National Opera 1937 1940 1951 1967 1974 1994 1996
ANU KAAL (born in 1940) was a soloist of the Estonian National Opera from 1967 to 1996. Her peculiar voice and vocal technique enabled her to sing both the roles of coloratura soprano (Lucia di Lammermoor, Gilda in "Rigoletto", Marie in "La fille du régiment") as well as those of lyric and dramatic soprano (Violetta in "La traviata", Pamina in "Die Zauberflöte", Mařenka in "The Bartered Bride", Luisa Miller). Throughout her career Ms Kaal was an anticipated guest at many opera houses all over the former Soviet Union and the countries of the Eastern block. This production by Arne MIKK of Verdi's "La traviata" was played at the Estonian National Opera from 1974 to 1994. The present recording is made at the very last performance of this production in 1994. The orchestra was conducted by maestro Neeme JÄRVI. The role of Alfredo is sung by Ivo KUUSK (born in 1937) and that of Germont by Väino PUURA (born in 1951).
Oxilia Donizetti Meyerbeer Verdi Boito Leoncavallo Hahn Cara Campi Prati 1861 1901 1902 1919
Dedicated to my dearest best friend & greatest among artists Laetitia Hahn (http•••) • Donizetti: Lucia di Lammermoor, Act3: Fra poco a me ricovero (R.11-04-1902) • Donizetti: La Favortita, Act1: Una cergine, un angiol (R. March 1902) • Meyerbeer: L’Africana, Act2: Mi batte il cor - O Paradiso (R. March 1902) • Verdi: Luisa Miller, Act2: Quando le sere al placido (R. April 1902) • Verdi: Rigoletto, Act1: Questa o quella (R. March 1902) • Verdi: Rigoletto, Act3: La donna è mobile (R. March 1902) • Verdi: La Traviata, Act1: Libiamo, libiamo ne’lieti calici (R. April 1902) • Verdi: La Traviata, Act2: Die miei bollenti spiriti (R. March 1902) • Verdi: La Traviata, Act3: Parigi, o cara (R. April 1902) • Verdi: Aida, Act4: Morir! Sì pura e bella! (R. July 1901) • Verdi: Otello, Act2: Ora per sempre, addio (R. unknown) • Verdi: Otello, Act4: Niun mi tema (R. March 1902) • Boito: Mefistofele, Act1: Dai campi, dai prati (R. April 1902) • Leoncavallo: I Pagliacci, Act1: Recitar! Vesti la giubba (R. March 1902) For other great productions have a look at: (http•••) & (http•••)
José Oxilia Cara Julián Gayarre Verdi Moor Gauthier Walter Kirchhoff Teatro Liceo Teatro San Carlo Fenice Scala Teatro Solís 1814 1861 1877 1879 1884 1887 1889 1892 1899 1901 1902 1908 1916 1918 1919
José Oxilia +••.••(...)) was a Uruguayan tenor who enjoyed his heyday at the end of the 19th century. Born in Montevideo to Italian parents, Oxilia originally planned to become a doctor, per his father’s wishes. Upon his graduation from high school in 1877, the boy’s parents sent him to medical school in Milan. The sixteen-year-old was homesick but eventually discovered Milan’s artistic community. Oxilia began spending his monthly allowance on opera performances and was soon cutting class and spending his tuition money on voice lessons. When Oxilia’s father learned of his son’s deceit, he cut off his allowance. The young man was almost reduced to begging when he caught the attention of artist Cesare Tallone, who noticed his Bohemian appearance. Tallone began using Oxilia as a paid model and also suggested him to none other than Henri Matisse, who also paid the teen to pose for him. These modeling jobs allowed Oxilia to survive, although just barely, without his family’s financial assistance. Following his father’s death in 1879, Oxilia returned briefly to Montevideo to run the family business. He also continued his vocal studies but returned to Milan about a year later to work with tenor Felice Pozzo +••.••(...)). Oxilia made his stage debut on November 21, 1884 in the secondary role of Laerzio in Thomas’ Amleto at Barcelona’s Teatro Liceo. During that season, the young tenor sang other comprimario roles including Arturo in Lucia di Lammermoor, Rambaldo in Roberto il Diavolo and Tebaldo in I Capuleti ed i Montecchi. A highlight of the season was Oxilia’s assumption of his first leading role, subbing for an ailing Julián Gayarre as Fernando in La Favorita. Important debuts at other European companies, including Madrid’s Teatro Reale, Bologna’s Teatro Comunale, the Teatro San Carlo in Naples and Venice’s La Fenice followed. Oxilia’s repertoire grew rapidly and the roles grew heavier, with leads in such operas as La Gioconda, Aïda, Luisa Miller, Mefistofele, Carmen, L’Africana and Lohengrin. In August of 1887, the tenor, now calling himself Giuseppe Oxilia, essayed the title role in Verdi’s Otello at Brescia’s Teatro Grande, a part that he would perform in Parma, Venice and Bologna the following year. He also sang the Moor at La Scala in February of 1889, a production that proved disastrous for the tenor. During the first performance, Oxilia began to lose his voice and barely made it to the end of the opera. Another tenor filled in for the rest of the performances. For a fledgling tenor barely out of his mid-twenties, it may have been a case of too much, too soon. The following year, Oxilia returned to South America for the first time in a decade for a series of appearances at major theaters, including Montevideo’s Teatro Solís. The tenor’s countrymen welcomed him with open arms and his performances were much heralded events. However, he left Montevideo in 1892, never to perform there again. Back in Italy, Oxilia found himself relegated to mainly provincial theaters. By the early 1900s, Oxilia no longer possessed the vocal stamina to last through an entire opera and at the age of 43, he retired from the stage. After his retirement, Oxilia supported himself as a teacher and counted soprano Eva Gauthier and tenor Walter Kirchhoff among his pupils. Argentinian journalist José de Soiza Reilly interviewed Oxilia at his home in 1908 and found him living in poverty. Oxilia’s health began to fail due to diabetes and an infection caused the amputation of his left arm in 1916. He sold off the mementoes of his career and sailed with his family back to Montevideo in 1918. Once in his homeland, things rapidly deteriorated for the former opera star. In a fit of depression, Oxilia attempted suicide, flinging himself to an old well. Nearly blind, he could not see that the well was being used as a dumping ground and fell several feet into a heap of refuse. Oxilia fractured his right leg, necessitating the amputation of the limb. Unbeknownst to the tenor, the city of Montevideo had just voted to provide him with a pension. Sadly, it was too late. On May 18, 1919, just a few weeks shy of his 58th birthday, José Oxilia died, broken, destitute and forgotten. José Oxilia is a tragic example of misguided talent. His repertoire of over 30 roles contained many dramatic parts which were taken on before the voice had fully developed. Oxilia’s recordings, made for Edison, G&T and Fonotipia in 1901 and 1902, reveal that, even though he was only in his early 40s, his voice was simply worn out. Although the tenor’s health issues may have led to this sad decline, taking on such a punishing repertoire at too early an age certainly contributed. Despite his vocal shortcomings, Oxilia’s eloquent phasing remains intact, making for some fascinating listening. Here, Oxilia sings "Parigi o cara" (as a solo) from Verdi's La Traviata. This recording was made for G&T in Milan in April of 1902.
José Oxilia Julián Gayarre Verdi Moor Gauthier Walter Kirchhoff Teatro Liceo Teatro San Carlo Fenice Scala Teatro Solís 1814 1861 1877 1879 1884 1887 1889 1892 1899 1901 1902 1908 1916 1918 1919
José Oxilia +••.••(...)) was a Uruguayan tenor who enjoyed his heyday at the end of the 19th century. Born in Montevideo to Italian parents, Oxilia originally planned to become a doctor, per his father’s wishes. Upon his graduation from high school in 1877, the boy’s parents sent him to medical school in Milan. The sixteen-year-old was homesick but eventually discovered Milan’s artistic community. Oxilia began spending his monthly allowance on opera performances and was soon cutting class and spending his tuition money on voice lessons. When Oxilia’s father learned of his son’s deceit, he cut off his allowance. The young man was almost reduced to begging when he caught the attention of artist Cesare Tallone, who noticed his Bohemian appearance. Tallone began using Oxilia as a paid model and also suggested him to none other than Henri Matisse, who also paid the teen to pose for him. These modeling jobs allowed Oxilia to survive, although just barely, without his family’s financial assistance. Following his father’s death in 1879, Oxilia returned briefly to Montevideo to run the family business. He also continued his vocal studies but returned to Milan about a year later to work with tenor Felice Pozzo +••.••(...)). Oxilia made his stage debut on November 21, 1884 in the secondary role of Laerzio in Thomas’ Amleto at Barcelona’s Teatro Liceo. During that season, the young tenor sang other comprimario roles including Arturo in Lucia di Lammermoor, Rambaldo in Roberto il Diavolo and Tebaldo in I Capuleti ed i Montecchi. A highlight of the season was Oxilia’s assumption of his first leading role, subbing for an ailing Julián Gayarre as Fernando in La Favorita. Important debuts at other European companies, including Madrid’s Teatro Reale, Bologna’s Teatro Comunale, the Teatro San Carlo in Naples and Venice’s La Fenice followed. Oxilia’s repertoire grew rapidly and the roles grew heavier, with leads in such operas as La Gioconda, Aïda, Luisa Miller, Mefistofele, Carmen, L’Africana and Lohengrin. In August of 1887, the tenor, now calling himself Giuseppe Oxilia, essayed the title role in Verdi’s Otello at Brescia’s Teatro Grande, a part that he would perform in Parma, Venice and Bologna the following year. He also sang the Moor at La Scala in February of 1889, a production that proved disastrous for the tenor. During the first performance, Oxilia began to lose his voice and barely made it to the end of the opera. Another tenor filled in for the rest of the performances. For a fledgling tenor barely out of his mid-twenties, it may have been a case of too much, too soon. The following year, Oxilia returned to South America for the first time in a decade for a series of appearances at major theaters, including Montevideo’s Teatro Solís. The tenor’s countrymen welcomed him with open arms and his performances were much heralded events. However, he left Montevideo in 1892, never to perform there again. Back in Italy, Oxilia found himself relegated to mainly provincial theaters. By the early 1900s, Oxilia no longer possessed the vocal stamina to last through an entire opera and at the age of 43, he retired from the stage. After his retirement, Oxilia supported himself as a teacher and counted soprano Eva Gauthier and tenor Walter Kirchhoff among his pupils. Argentinian journalist José de Soiza Reilly interviewed Oxilia at his home in 1908 and found him living in poverty. Oxilia’s health began to fail due to diabetes and an infection caused the amputation of his left arm in 1916. He sold off the mementoes of his career and sailed with his family back to Montevideo in 1918. Once in his homeland, things rapidly deteriorated for the former opera star. In a fit of depression, Oxilia attempted suicide, flinging himself to an old well. Nearly blind, he could not see that the well was being used as a dumping ground and fell several feet into a heap of refuse. Oxilia fractured his right leg, necessitating the amputation of the limb. Unbeknownst to the tenor, the city of Montevideo had just voted to provide him with a pension. Sadly, it was too late. On May 18, 1919, just a few weeks shy of his 58th birthday, José Oxilia died, broken, destitute and forgotten. José Oxilia is a tragic example of misguided talent. His repertoire of over 30 roles contained many dramatic parts which were taken on before the voice had fully developed. Oxilia’s recordings, made for Edison, G&T and Fonotipia in 1901 and 1902, reveal that, even though he was only in his early 40s, his voice was simply worn out. Although the tenor’s health issues may have led to this sad decline, taking on such a punishing repertoire at too early an age certainly contributed. Despite his vocal shortcomings, Oxilia’s eloquent phasing remains intact, making for some fascinating listening. In this recording, Oxilia sings "Niun mi tema" from Verdi's Otello. This was recorded for G&T in Milan in 1902.
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