Christine Abraham Vidéos
artiste lyrique américaine
- soprano
- États-Unis
- artiste lyrique
Dernière mise à jour
2024-05-21
Actualiser
María Teresa Carreño García Sena Chopin Émile Sauret Giovanni Tagliapietra Tagliapietra Teresita Tagliapietra Carreño Eugen Albert 1853 1862 1863 1866 1873 1875 1876 1882 1885 1889 1891 1892 1895 1902 1905 1917
Welte Mignon piano roll, 1905 María Teresa Carreño García de Sena (December 22, 1853 / June 12, 1917) was a Venezuelan pianist, singer, composer, and conductor. Born into a musical family, she was at first taught by her father and her talent was recognized at an early age. In 1862 her family emigrated to New York City, and at the age of 8 she made her debut at Irving Hall that same year. In 1863 she performed for Abraham Lincoln at the White House. In 1866 she moved to Europe, and began touring, making her debut as an opera-singer in 1876. It wasn't until 1885 that she returned to Venezuela, and then only for a short period. In 1889 she returned to Europe for more touring, settling in Berlin as her home base. She mounted two world tours in the early years of the twentieth century, but her health deteriorated and she died in 1917, in her apartment in the Della Robbia at 740 West End Avenue on the north east corner at 96th Street in New York City. Teresa Carreño married four times: 1873-1875 to violinist Émile Sauret by whom she had a daughter, Emilita 1876-1891 in a common-law union with Italian opera-singer Giovanni Tagliapietra, by whom she had two surviving children, Giovanni and Teresita (born 24 December 1882); the latter also became a famous pianist, under the name of Teresita Tagliapietra-Carreño 1892-1895 to pianist Eugen d'Albert, himself oft-married, and together they produced two more daughters, Eugenia and Hertha 1902-1917 to Arturo Tagliapietra, the brother of her former common-law husband Giovanni Tagliapietra. Plaque commemorating Teresa Carreño at the place of her deathTeresa Carreño was also a composer; she composed at least 40 works for piano, 2 for voice and piano, 2 for choir and orchestra, and 2 as chamber music. She also left many incomplete works. On April 2, 1905, she recorded 18 pieces for the reproducing piano Welte-Mignon. (Wikipedia)
Louis Joseph Andriessen Reinbert Leeuw Susan Narucki Susan Bickley Vries Barbara Hannigan Sweelinck Witt Asko Ensemble Dutch National Opera 1003 1603 1939 1940 1998 2021
Composer: Louis Joseph Andriessen (June 6, 1939 – July 1, 2021) Electronic inserts by: Michel van der Aa Libretto: Peter Greenaway Orchestra: Schönberg Ensemble and Asko Ensemble conducted by Reinbert de Leeuw Catharina Bolnes, Vermeer's Wife: Susan Narucki Maria Thins, Vermeer's Mother-in-Law: Susan Bickley Saskia de Vries, Vermeer's Model: Barbara Hannigan Chorus: Dutch National Opera 00:00 Scene 1: Vermeer is away in The Hague. 03:09 Catharina's first letter to Vermeer: Saskia is returning to her home in Dordrecht. 06:12 Maria's first letter to Vermeer: She asks him to return soon. (7:53) Insert: "Violence" 08:17 She describes how the family misses Saskia (8:45) 10:03 And when Johannes met Catharina. 11:15 Catharina gave Saskia a shawl, once a gift from Johannes. 13:16 End of the letter: Catharina will write tomorrow about Cornelia's birthday. (14:19) Signatures 16:03 Scene 2: Cornelia's Birthday 19:40 Catharina's and Maria's second letters: Cornelia has turned 9. Maria is trying to have Saskia come back. (22:01) Insert: "explosion" 22:33 Catharina talks about the children: Gertruyd cut her hair to send to Saskia to get her to come back. 24:10 Maria describes her plan to get Saskia back. 25:50 Saskia's first letter to Johannes: she has arrived safely in Dordrecht. 29:36 Catharina and the family are excited for Johannes's return (30:27) Signatures 31:28 Scene 3 - 1 33:51 2 36:15 3 - Cornelia has swallowed varnish. (37:24) Chorus: Maria has bought ultramarine for Johannes. 38:37 4 - Duet of Maria and Saskia: Catharina is displaying symptoms of pregnancy. 41:03 5 - Catharina: Cornelia is sick from the varnish. 43:19 6 - Saskia: the baby will be a boy because of the blue Catharina is wearing. 45:46 7 - Maria: Catharina seems sicker this time. 48:04 8 - Saskia's signature (49:51) Catharina's signature 50:42 Scene 4 - 1 - Saskia's second letter: she asks how the children are doing 52:57 2 - Catharina worries about the family's finances. (54:23) Insert. Maria comments on the women in Johannes' paintings. 55:34 3 - Maria: "It's all women that you paint." (57:04) (57:35) Insert 58:24 4 - Catharina writes about how much they miss Johannes, and about their future. 1:00:49 5 - French invasion (1:02:13) Insert: "interruption streetfights" 1:03:16 6 - Saskia sings Sweelinck's "Mein junges Leben" 1:04:43 7 - "My mother bought me some music sheets..." (1:06:14) Maria sees Catharina writing 1:07:02 8 - Maria: "You paint us all writing so often." (1:07:47) Saskia tried to convince her father to visit cousins who live near Johannes. 1:08:58 Scene 5 - A little dance with the children 1:12:05 Catharina's fifth letter: a family outing at the fortifications (1:14:30) Insert: "halberds savagery" 1:15:14 Saskia: Her father introduces her to a potential suitor. (1:16:15) Joachim and Abraham show up to meet Saskia as part of Maria's plan. 1:17:34 Saskia's outing with Abraham. Maria hopes her plan is working. (1:19:24) Insert: "riots in snow" 1:20:08 (1:21:03) Maria: Saskia is coming back. (1:22:23) "Come back, Saskia." 1:23:35 Scene 6 1:26:21 Catharina and Maria's final letters: Johannes is coming home soon 1:28:31 Catharina worries what would happen if Johannes never came back (1:29:20) Insert: "The murder of Johan de Witt" 1:31:08 Catharina: "I would buy myself a mirror." Maria tells him about the gifts the children have made for his return. 1:33:24 They ask Johannes to come back quickly. (1:35:14) Maria's signature 1:35:40 A knock at the door 1:37:06 Saskia's final letter: she is coming back. (1:38:31) Saskia and Catharina are excited to see Johannes again. 1:39:14 Catharina's and Saskia's signatures. A flood envelops the city. Score available here: (http•••)
Henry Purcell David Thomas Simon Preston Trevor Pinnock John Gostling 1685
They that go down to the sea in ships, anthem for alto, bass, chorus, 2 violins & organ, Z. 57 (1685) Matthew Bright, solo alto David Thomas, solo bass Choir of Christ Church Cathedral, Oxford Simon Preston The English Concert Trevor Pinnock There is a story to go along with this anthem. John Gostling was a famous bass singer in the employ of the Chapel Royal. It happened that King Charles II got himself a new ship, which he nicknamed after his mistress, the Duchess of Portsmouth, the Fubbs. He asked John Gostling to go with him on its first voyage to supply the entertainment. It so happened that a terrible storm blew up and they all were almost killed, or so thought John Gostling. For when he returned, he looked some verses from Psalm 107 which has a lot of storm and ship references, and asked Purcell to set them. This anthem features a prominent bass solo, as well as a countertenor solo voice. And much of the text is about the terrors of the sea. The instrumental introduction has two sections, a slow beginning and a faster triple time second half. The bass opens the vocal music. He begins at the top of the musical line and descends as he sings, "They that go down to the sea in ships." A triple time arioso section begins on "At His words, and the winds ariseth" on upwardly spiralling lines, and the "storm" on stormy melismas. The waves are "lifteth up" to a motive that skips upwards in leaps, and that repeats higher and higher as the waves rise. The music "staggers" and "reels" as the ships are tossed at sea. There is a dramatic mood change for "So When they Cry to Thee, Lord". Rich, chromatic harmonies and angular lines as the bass sings close to the countertenor at the top of his range. The mood is strained, minor, and mournful. The storm ceases as dramatically as it began. The bass and countertenor in imitative entrances sing "So he maketh". They sing in close duet; the storm winds down in a long melisma and the word "still" is treated pictorially. First it is uttered quietly with two rests following, and finally the upper voice sings a long still note as the bass voice continues the single utterances with two rests. All the while Purcell writes a dramatic decrescendo and finally the word "still" is sung on the last bass note and held alone, in piannissimo. After an instrumental ritornello the song continues with "Then they are glad" sung in rich florid polyphony that features a violin solo above the two male voices. The sailors find a "safe haven" and settle gracefully and gently on a dramatic cadence. "O that men" continues polyphonicaly. "That they would exalt" closes the text in rhythmic diminution with a quick syllabic setting as the singers "praise Him" in lively imitation. A final chorus featuring the full choir closes the anthem. Full, sumptuous, and rich, it is a dramatic ending to this wonderful work. [allmusic.com] Art by Abraham Storck
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