Emil Violet Vidéos
Dernière mise à jour
2024-05-10
Actualiser
William Heddle Nash Verdi Steane Enrico Caruso Giuseppe Borgatti Carcano Rossini Ferrando Joan Hammond Sir Edward Elgar Scala Covent Garden Three Choirs Festival British National Opera Company Carl Rosa Opera Company 1894 1923 1924 1925 1926 1929 1930 1931 1932 1934 1937 1938 1948 1950 1958 1961 1994
Heddle Nash sings 'Questa o quella' (in English as 'In my heart, all are equally cherished,') with orchestra conducted by Clarence Raybould, recorded on 4 April 1932. I hear a little 'bird' intrude in the introduction! From Wikipedia: William Heddle Nash (14 June 1894 – 14 August 1961) was an English lyric tenor who appeared in opera and oratorio. He made numerous recordings that are still available on CD reissues. Nash's voice was of the light tenor class known as 'tenore di grazia.' The critic J. B. Steane referred to him as 'the English lyric tenor par excellence, without equal then or now...' Nash was born in the South London district of Deptford on 14 June 1894... The family was musical, and listening at home to a gramophone record by Enrico Caruso prompted Nash to apply for a scholarship at the Blackheath Conservatoire of Music. He was accepted, but a week later World War I broke out. Nash joined the army, serving in France, Salonika, Egypt and Palestine. The Blackheath scholarship was held open until after the war; Nash took it up on his return. He had some experience of concert and oratorio work, and then he accepted an offer to sing with Podrecca and Feodora's Italian Marionettes. Unseen, standing in the orchestra pit of the Scala and Coliseum theatres, he sang the tenor roles in many Italian operas while on the stages the puppets mimed the action. After the London season, the marionette company secured a contract to appear in New York; Nash went with them. On his return to London a friend advanced the money for him to study in Milan with Giuseppe Borgatti. On 7 April 1923 Nash married Florence Emily Violet Pearce, daughter of a sign manufacturer. They had two sons, John Dennis Heddle Nash +••.••(...)), who became an operatic baritone, and David L Heddle Nash (b. 1930). While studying with Borgatti, Nash made his operatic debut in 1924 at the Teatro Carcano in Milan, when he replaced an indisposed tenor in the role of Almaviva in Rossini's Il Barbiere di Siviglia. It was a notable success. After singing at Turin, Bologna and Genoa, Nash returned to England with his wife in 1925. He had developed an Italianate style of singing that remained with him: it was said of him that he sang everything as though it were by Verdi. On his return to London Nash was engaged by the Old Vic Company under Lilian Baylis to sing tenor roles in English. Success was instantaneous. The Musical Times said that it was a pleasure to welcome a very beautiful tenor voice, praised his clarity of diction, and predicted that Nash would be one of the eminent lyric tenors of the future... At the end of the Old Vic season he joined the British National Opera Company, going on tour with the company after a short London season... In 1929, Nash made his debut at the Royal Opera House, Covent Garden... He sang leading tenor roles in Italian and French operas at Covent Garden until World War II... The critic Alan Blyth called Nash the leading British lyric tenor of the 20th century, and considered him 'ideal casting for the heroes of French 19th-century Romantic opera.' Nash had a repertoire of twenty-four operas, and sang fluently in English, French, German and Italian. He was proud of being the first Englishman to sing David in Die Meistersinger in the International Season at Covent Garden. In the first Glyndebourne season, in 1934, Nash played Basilio in Le Nozze di Figaro at the inaugural performance, Pedrillo, and Ferrando in Così fan Tutte. He sang these three roles every year until 1938, adding Ottavio in Don Giovanni in 1937. The critic Richard Capell wrote, 'Hardly another tenor of his time has sung Mozart with such elegance and at the same time such a minstrel-like effect of spontaneity.' Nash also sang in lighter musical stage works... During the war Nash toured with the Carl Rosa Opera Company, often singing opposite the Australian soprano Joan Hammond... His last appearance at Covent Garden was in Die Meistersinger in April 1948. He continued to appear on stage until July 1958... Nash's career was not restricted to opera; he gave many song recitals, made radio broadcasts and performed in concerts and oratorio productions all over Britain. In 1931, he was chosen by Sir Edward Elgar to sing the title role in The Dream of Gerontius, in a performance conducted by Elgar himself. Henceforth, Nash was closely associated with the part, singing it at every Three Choirs Festival from 1934 to 1950... Nash sang regularly in Messiah, and other oratorios... In his later years, Nash was appointed professor of singing at the Royal College of Music. He sang in his last Messiah a few months before his death from lung cancer on 14 August 1961. On his tombstone in Chislehurst Cemetery are carved the opening words of part two of The Dream of Gerontius: 'I went to sleep and now I am refreshed...'' I transferred this side from Australian Columbia DO 863.
Watkins Billings Bree Burns Fowler Gibbons Ginsburg Mobley Schmitz Schreiner Sullivan Snyder
SEE ME (with many of these folks) ON TOUR: (http•••) DOWNLOAD AND STREAM THE TRACK: (http•••) SUBSCRIBE and hit that bell: (http•••) SUPPORT my videos on Patreon: (http•••) FOLLOW ME ON SPOTIFY: (http•••) MERCH: (http•••) Follow me on: Twitter @missmalindakat (http•••) Facebook (http•••) Instagram @missmalindakat (http•••) TikTok @malindamusic (http•••) Follow all of the musicians! Bobby Waters: (http•••) Mia Asano: (http•••) Piper.Ally: (http•••) Cullen Vance: (http•••) Seth Watkins: (http•••) For fan mail: 3430 Connecticut Ave NW PO Box 11855 Washington DC 20008/ EQUIPMENT** (all links are affiliate links, so if you buy from here you support me too!) AUDIO For singing: (http•••) For vlogging: (http•••) A great start mic: (http•••) Interface: (http•••) VIDEO Camera: (http•••) Lens: (http•••) Vlog camera: (http•••) I use Logic and Final Cut Pro to edit audio and video respectively :) THANK YOU PATRONS!! Christian Ashby Ed Banas Russ Billings Caleb Bukowsky Heather BookCat Bree Campbell Douglas Charles Will & Sheila Cole James Copple Stephanie Burns Mariah Dierking Samuel Duckworth Adrian Durand Fr. Joe Fessenden The Fishers Andy Fowler Mariah Fyock-Williams Robert Gibbons Jr Mimi Ginsburg Marlo Delfin Gonzales Pippa Hillebrand Brian Hughes Jonathan Isip Joseph K. Dave Jones Rita K Balazs Kis Raphael Lauterbach Mathieu Landru Kiara Maken Alex Molloy Ben Mobley Geoffrey Morgan Eystein Nicolaysen Jonathan Neese Noble Monster Comics TK Ostinato Rachel-Maya RC Christine Violet Rose P.S. Norbert Schmitz Martin Schorel Christoph Schreiner Jeff Schwarz Alexis Sullivan Steven Snyder Mary Hall Surface Theodore Ts'o Danny Underwood Hank van Deventer Reinier van Grieken Yum Van Vechten David Vollbracht Andrew Walliker
Benjamin Britten Saporiti Gustav Holst Vaughn Wilbye Peter Pears Bour Herbert Howells Friede Alberto Ginastera Arnold Bax Francis Poulenc Brahms Dallapiccola Elgar Finzi Gesualdo Guastavino Guerrero Ligeti Marenzio Milhaud Monteverdi Pizzetti Reger Runestad Schmidt Tavener Tormis Kodály 1975 1977 2012 2017 2018 2019
GICBA, Dirección: Juan Martín Picarel. Ingeniero de Audio: Claudio Saporiti ( AATIA ) Presentamos esta obra en Junio de 2017, en el marco de nuestro concierto "Semblanza de la música coral británica del siglo XX" que incluyó obras de Benjamin Britten, Gustav Holst y Ralph Vaughn Williams. "Carol" es el número 6 de "Sacro y Profano, ocho textos medievales" Op. 91, publicados en 1977 y estrenados por "The Wilbye Consort of Voices", bajo la dirección de Peter Pears, en septiembre de 1975. Texto: Maiden in the mor lay, in the mor lay. Seuenyst fulle, seuenist fulle. Maiden in the mor lay, in the mor lay, Seuenistes fulle ant a day. Welle was hire mete. Wat was hire mete? The primerole ant the... Welle was hire mete. Wat was hire mete? The primerole ant the violet. Welle was hire dring. wat was hire dring? the chelde water of the... Welle was hire dring. Wat was hire dring? The chelde water of the welle-spring. Welle as hire bour. wat was hire bour? The rede rose an the... Welle was hire bour. wat was hire bour? The rede rose an the lilie flour. Traducción: La doncella yació en el páramo Siete noches plenas, siete noches plenas La doncella yació en el páramo Siete noches plenas y un día. Bueno fue su alimento ¿Cuál fue su alimento? La prímula y la … Bueno fue su alimento ¿Cuál fue su alimento? La prímula y la violeta Buena fue su bebida ¿Cuál fue su bebida? El agua fría de la … Buena fue su bebida ¿Cuál fue su bebida? El agua fría de la fuente Bella fue su morada. ¿Cuál fue su morada? La rosa roja y la … Bella fue su morada ¿Cuál fue su morada? La rosa roja y la flor del lirio. GICBA, Grupo de Interpretación Coral de Buenos Aires. Comenzamos nuestra su actividad en 2012 con el objetivo de abordar las principales y más bellas obras compuestas para coro a cappella, elegidas con la finalidad de establecer una relación de afinidad u oposición manifiesta entre ellas y conformando así un concierto conceptual o temático, con un sentido propio. Asimismo, en GICBA nos orientamos también hacia la interpretación de composiciones inéditas o de realización poco frecuente. Nuestra búsqueda musical se desarrolla hacia una interpretación camarística fundada en el texto de las obras y en la producción musical completa de cada uno de los autores. Nos hemos presentado en conciertos en la Ciudad de Buenos Aires, en el Gran Buenos Aires y en localidades de la provincia de Entre Ríos. En 2018 participamos del concurso “San Juan Canta”, en donde resultamos seleccionados, por nuestra actuación en la categoría de repertorio universal, para competir entre los cuatro coros finalistas del Grand Prix. En 2018 recibimos un subsidio del Instituto Nacional de la Música (INAMU) en su línea de fomento a la actividad coral. Con los fondos del subsidio encomendamos a Juan Stafforini una composición y filmamos nuestro espectáculo del mes de julio de 2019 “Leonardo e Michelangelo”, compuesto por obras sobre textos en lengua italiana de distintas épocas y autores . En julio de 2019 realizamos una gira por ciudades de la Provincia de Entre Ríos, con auspicio de los municipios que nos recibieron, en Gualeguay, Urdinarrain y Aldea San Antonio. En noviembre de 2019 recibimos de parte del Consejo Argentino de la Música una mención especial en interpretación en música coral por nuestro estreno de “La Macchina e la Morte”, de Juan Stafforini. Destacamos como obras centrales en los repertorios que hemos abordado especialmente a las siguientes obras: “Réquiem”, de Herbert Howells, “Friede auf Erden” de Arnold Shoemberg, “Himno a Santa Cecilia” de Benjamin Britten, “Lamentaciones del Profeta Jeremías” de Alberto Ginastera, “Missa Brevis” de Zóltan Kodály, “Mater ora Filium” de Arnold Bax, (estreno en Argentina), “Un Soir de Neige” y “Sept Chansons” de Francis Poulenc, “Alleluia”, “Sleep” y “Leonardo dreams on his flying Machine” de Eric Whitacre, y “Maria Quya Mama” y “La Machina e la Morte”, de Juan Camilo Stafforini, obras compuestas para Gicba. También hemos interpretado obras de Brahms, Buchenberg, Dallapiccola, Elgar, Finzi, Gesualdo Gianneo, Guastavino, Guerrero, Ligeti, Holst, Marenzio, Milhaud, Monteverdi, Milhaud, Pärt, Pizzetti Reger, Runestad, Schmidt, Stanford, Stucky, Tavener, Tormis, Vaughn Williams, Whitacre y Wolf. Desde que empezamos nuestra actividad, nuestro director es Juan Martín Picarel. Para comunicarse con GICBA:•••@••• Facebook: (http•••) Instagram: @gicbamusicacoral
ou
- chronologie: Compositeurs (Europe).
- Index (par ordre alphabétique): V...