Emma Albani Vidéos
artiste lyrique canadienne
- piano, harpe, voix
- soprano
- musique classique
- Canada, France, Royaume-Uni, royaume d'Italie
- chanteur ou chanteuse, artiste lyrique, compositeur ou compositrice
Dernière mise à jour
2024-05-09
Actualiser
Heinrich Schütz Weidinger Nielsen Brandl Johann Erasmus Kindermann Fried Bernd Redmann Wünsch Vogl Rösel Stein Orlando Lasso Joseph Haydn Yoon Martinu Albani Harper Schmidt Shen Kono Thomas Fats Waller Reiss Heckmann Pichl Sampson Hummel 1532 1576 1585 1594 1616 1650 1655 1672 1732 1797 1809 1825 1874 1890 1899 1904 1907 1928 1929 1933 1943 1959 1973 2019
Unter dem Titel „Aufbruch“ präsentieren die drei bayerischen Musikhochschulen in Nürnberg, Würzburg und München ihr viertes Gemeinschaftskonzert. Programm: Heinrich Schütz (1585—1672): „Nun danket alle Gott“ SWV 418, doppelchörige Motette 350es Todesjahr (1672) Chor I aus München und Würzburg Chor II aus Nürnberg Complementum: Mitglieder des Madrigalchores der HfM Nürnberg Robin Weidinger, Jonathan Knoch, Jonathan Walkow, Frederic Cawte; Barockposaune Julia Unterhofer, Veronika Schnatterer; Barockvioline Salome Ryser, Viola da gamba Giovanni Michelini, Orgel Dominik Heidl, Cembalo Sarah Nielsen, Violone Benno Elender, Theorbe Leitung: Prof. Alfons Brandl …………………………………………………………………………………………………………………………………………. Begrüßung: Prof. Rainer Kotzian, Präsident der HfM Nürnberg ……………………………………………………………………………………………………………………………………………. Johann Erasmus Kindermann (1616—1655): „Gott sei gedankt, der Fried steht noch“ aus „Musikalische Friedensfreud“ (1650) für Tenor, 2 Violinen und Basso continuo HMTM München Eric Price, Tenor Julia Unterhofer, Barockvioline Veronika Schnatterer, Barockvioline Salome Ryser, Viola da gamba Giovanni Michelini, Orgel ……………………………………………………………………………………………………………………………………………. Begrüßung: Prof. Dr. Bernd Redmann, Präsident der HMTM München und Prof. Dr. Christoph Wünsch, Präsident der HfM Würzburg ……………………………………………………………………………………………………………………………………………. Dominik Vogl: Corona-Reflexion I (Uraufführung), "Atmen." für drei Atmende HfM Nürnberg Anna-Christine Brand, Jakob Rösel, Junhao Tong ……………………………………………………………………………………………………………………………………………. Moderation: Kilian Stein, HfM Nürnberg ………………………………………………………………………………………………………………………………………….. Orlando di Lasso (1532—1594): La nuit froide et sombre, Chanson für 4 Stimmen a capella (1576) HfM Würzburg Rebecca Suta, Sopran Kea Niedoba, Alt Marcel Hubner, Tenor Lorenz Schober , Bass ……………………………………………………………………………………………………………………………………………. Joseph Haydn (1732—1809): Quartett B-Dur Hob. III: 78, „Der Sonnenaufgang" +••.••(...). Satz (Allegro con spirito) HMTM München Nebel-Quartett Gyehee Kim, Violine Sojeong Kim, Violine Yuri Yoon, Viola Yumin Lee, Violoncello ……………………………………………………………………………………………………………………………………………. Johannes Obermeier: Corona-Reflexion II (Uraufführung), „CapriCCio“ für Klavier HMTM München ……………………………………………………………………………………………………………………………………………. Moderation: Kea Niedoba, HfM Würzburg ……………………………………………………………………………………………………………………………………………. Bohuslav Martinu (1890—1959): Suite „La revue de cuisine“, Prolog und Charleston (1928) für Tanz, Vl., Vc., Klar., Fg., Trompete und Pf Sojeong Kim, Violine Yumin Lee, Violoncello Albani Cordova, Klarinette David Liebster, Trompete Johannes Obermeier, Klavier Francois Rodewald ,Fagott Rachel Pimentel Quintao & Sebastian Harper, Tanz Anastasia Lyubinski: Choreographie Leitung: Prof. Bernhard Schmidt ……………………………………………………………………………………………………………………………………………. Romeo Wecks: Corona-Reflexion III (Uraufführung), „Kein Licht“ für Sopran und Bassflöte HfM Würzburg Yutong Shen, Sopran Hazuki Kono, Bassflöte ……………………………………………………………………………………………………………………………………………. Moderation: Johannes Obermeier, HMTM München ……………………………………………………………………………………………………………………………………………. Thomas Fats Waller (1904—1943): Ain´t Misbehavin (1929) HfM Nürnberg und HfM Würzburg Paul Scheugenpflug (as) Michael Reiss (ts) Jona Heckmann (tb) Anastasija Sanina (p) Sebastian Claas (b) Leon Graf (dr) Leitung: Prof. Bernhard Pichl ……………………………………………………………………………………………………………………………………………. Moderation: Eric Price, HMTM München ……………………………………………………………………………………………………………………………………………. Johann Strauß (1825—1899): Trinke, Liebchen, trinke schnell — Glücklich ist, wer vergisst“, Duett aus: Die Fledermaus (1874) HfM Nürnberg und HfM Würzburg Yutong Shen, Sopran Sergei Nikolaev, Tenor Parvin Nazirli, Klavier ……………………………………………………………………………………………………………………………………………. Edgar Sampson (1907—1973): Blue Lou (1933) Leitung: Prof. Bernhard Pichl HfM Nürnberg und HfM Würzburg ………………………………………………………………………………………………………………………………………….. Konzeption und Programmgestaltung: Prof. Martin Hummel (HfM Würzburg) Prof. Susanne Kelling (HfM Nürnberg) Prof. Christine Schornsheim (HMTM München) Die Gemeinschaftskonzerte wurden 2019 ins Leben gerufen, um das musikalische Miteinander der der Hochschule für Musik Nürnberg (HfM Nürnberg), der Hochschule für Musik Würzburg (HfM Würzburg) und der Hochschule für Musik und Theater München (HMTM) zu fördern. Sie dienen in besonderem Maße dem musikalischen Austausch zwischen den Studierenden und machen die enge Freundschaft zwischen den drei Hochschulen auch nach außen sichtbar.
Georges Bizet Morales Paredes Royer Dmitry Korchak Albani Gran Teatro Nacional
La ópera vuelve al Perú, tras dos años de pandemia, con esta nueva producción de Carmen, de Georges Bizet, presentada por el Festival Granda en su decimotercera edición. 20, 22 y 24 de mayo · Gran Teatro Nacional Entradas en Teleticket (http•••) Carmen: Irina Shishkova Don José: Florian Laconi Escamillo: Dionysios Sourbis Micaëla: Giuliana Gianfaldoni Zúñiga: Paolo Campos Moralés: Manuel Aldana Frasquita: Caroline Morales Mercédès: Edda Paredes Le Dancaïre: Royer Durand Le Remendado: Dángelo Díaz Lillas Pastia: Jorge Villón Director de orquesta: Dmitry Korchak Dirección de escena: Jean Pierre Gamarra Escenografía y vestuario: Lorenzo Albani Orquesta Juvenil Sinfonía por el Perú #CarmenFG #Opera
Albani Sedie Oscar Hammerstein Hammerstein Maschera Meyerbeer Teatro Municipal Santiago Odeon Opera Boston 1872 1901 1907 1908 1910 1912 1924
Carlo Albani +••.••(...)) was born in Trieste to an Italian mother and a French father (the family name was actually Berquier). Following studies with Enrico Delle Sedie in Paris, Albani accepted a contract with the Teatro Municipal in Santiago, where he made his debut as Radames in 1901. He is probably best remembered for a bizarre occurrence which took place toward the end of 1907. After receiving a scathing review for his performance as Manrico in Il Trovatore at Oscar Hammerstein’s Manhattan Opera House, Albani skipped town and was charged in absentia with breach of contract. By the time deputies were able to track the tenor down, he was in the midst of another performance of Il Trovatore, this time with the San Carlo Opera in Boston. Following the first act, a constable arrested Albani and intended to haul him to the local lockup. After much arguing, a compromise was reached and the tenor was allowed to finish the performance with the policeman at his side on stage! Needless to, the performance was turned into a travesty…but San Carlo’s general manager DID post the tenor’s bail. Although this unfortunate debacle brought an end to Albani’s U. S. career (with the exception of an already contracted performance in Philadelphia in 1908), the tenor was quite busy elsewhere, appearing in the provincial houses of Paris, London, Lisbon, Madrid, St. Petersburg, Rome, Milan, Verona, Bologna, Turin, Venice, Naples, Bari, Santiago, Caracas and San Jose (Costa Rica). In a career that stretched over two decades, Albani amassed a repertoire of more than forty roles including Radames in Aïda, Don Alvaro in La Forza del Destino, Riccardo in Un Ballo in Maschera, Canio in Pagliacci, Cavaradossi in Tosca, Rodolfo in La Bohème, Arnoldo in Guglielmo Tell, Pollione in Norma, Don José in Carmen and the title roles in Ernani, Otello, Poliuto, Roméo et Juliette and Samson et Dalila. The tenor performed regularly into the 1920s, nearly until the time of his death, which occurred Rome in 1924 when he was only 52. Carlo Albani left a legacy of nearly 100 phonograph recordings made for Pathé, Victor, Edison, Fonotipia, Odeon and others between 1907 and 1912. These discs and cylinders showcase a sturdy lirico-spinto instrument with good legato and a very strong top. These records also reveal some very imaginative and thoughtful phrasing and wonderfully nuanced interpretations. Although some modern listeners may object to the tenor’s rapid vibrato, his performances on disc make for some very pleasurable listening. Here, Albani sings "O Paradiso" from Meyerbeer's L'Africana. This recording was made for the Odeon Fonotipia label in Milan around 1910.
Albani Sedie Oscar Hammerstein Hammerstein Maschera Puccini Teatro Municipal Santiago Odeon Opera Boston 1872 1901 1907 1908 1912 1924
Carlo Albani +••.••(...)) was born in Trieste to an Italian mother and a French father (the family name was actually Berquier). Following studies with Enrico Delle Sedie in Paris, Albani accepted a contract with the Teatro Municipal in Santiago, where he made his debut as Radames in 1901. He is probably best remembered for a bizarre occurrence which took place toward the end of 1907. After receiving a scathing review for his performance as Manrico in Il Trovatore at Oscar Hammerstein’s Manhattan Opera House, Albani skipped town and was charged in absentia with breach of contract. By the time deputies were able to track the tenor down, he was in the midst of another performance of Il Trovatore, this time with the San Carlo Opera in Boston. Following the first act, a constable arrested Albani and intended to haul him to the local lockup. After much arguing, a compromise was reached and the tenor was allowed to finish the performance with the policeman at his side on stage! Needless to, the performance was turned into a travesty…but San Carlo’s general manager DID post the tenor’s bail. Although this unfortunate debacle brought an end to Albani’s U. S. career (with the exception of an already contracted performance in Philadelphia in 1908), the tenor was quite busy elsewhere, appearing in the provincial houses of Paris, London, Lisbon, Madrid, St. Petersburg, Rome, Milan, Verona, Bologna, Turin, Venice, Naples, Bari, Santiago, Caracas and San Jose (Costa Rica). In a career that stretched over two decades, Albani sang over forty roles in Aïda, La Forza del Destino, Ernani, Un Ballo in Maschera, Pagliacci, Tosca, La Bohème, Guglielmo Tell, Norma, Poliuto, Carmen, Roméo et Juliette, Samson et Dalila and others. He made nearly 100 phonograph recordings for Pathé, Victor, Edison, Fonotipia, Odeon and other labels. Carlo Albani passed away in Rome in 1924 at the early age of 52. This recording of "Che gelida manina" from Puccini's La Bohème was made (on two separate discs) for Odeon in Paris in 1912.
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