Erna Sack Vidéos
artiste lyrique
- soprano léger
- Allemagne
Dernière mise à jour
2024-05-06
Actualiser
Jutta Vulpius Vulpius Josef Strauss Bayreuth Handel Linden Bach Offenbach Weber Johann Strauss II Frühling Erna Sack Komische Oper Handel Festival Staatsoper 1927 1930 1954 1956 1959 1964 2016 2021
For the 2021 holiday season, I'm posting a series through New Year's Eve of festive concert waltzes for coloratura soprano (a few of which, like this one, cross over into the "bird song" category as well). THE SONGBIRD: The soprano featured here is Jutta Vulpius +••.••(...)), a German dramatic coloratura soprano who became a star in Berlin in the 1950s. She was born in Erfurt and studied piano and voice in Weimar. After her debut in 1954 as Queen of the Night at the Komische Oper in East Berlin, she was booked regularly across Germany. In 1954 she sang in Bayreuth (Flower Maiden and Woglinde) and she performed at the Handel Festival in Halle until the 1960s. In 1956, she became a member of the Staatsoper Unter den Linden, where she sang for 35 years. Vulpius appeared outside Germany in Barcelona, Rome, Lisbon, Cairo, London, Paris, Rome, Prague, and Moscow. She was made Kammersängerin in 1959 and is featured is several German-based studio recordings of works by Mozart, Bach, Handel, Lehar, Offenbach, and Weber. This recording from 1964 is conducted by Otto Dobrindt. THE MUSIC: Josef Strauss was the son of Johann Strauss, and brother to Johann Strauss II and Eduard Strauss. All were Viennese composers in the 19th century who specialized in sophisticated waltzes and light music. Josef wrote nearly 300 works, the most long-lasting being the Pizzicato Polka and his waltzes Sphären-Klänge, Delirien, and Dorfschwalben aus Österreich / which translates as the "Village Swallows of Austria." I believe it was strictly an orchestral work until 1930 when Paul Knepler added lyrics for it to become a vocal showpiece: "Frühling, Frühling, schöne Zeit!" and may have been introduced by Erna Sack.
Lyric: Zu viele Triebe - Lucky Punch - Mit Leib und Kehle Ich war noch viel zu Jung – man könnt fast sagen unschuldig Doch ich wusste was ich wollte, das ein Mädchen nur für mich Es war mir sehr früh klar, ich musst sie nur einmal erblicken Dieses Gesicht und die Figur, ich wollte nur eins – sie ficken RWenig Gefühl, zu viel Triebe Das ist die Geschichte meiner ersten Liebe Wenig Gefühl, zu viel Triebe Das ist die Geschichte meiner ersten Liebe Der erste Kuss am Tresen, dann waren wir schnell bei ihr Ich zog ihr die Klamotten aus, mein Eifer, eine Gier Ich leckte ihre Nippel ab, sie stöhnte mir in's Ohr Ihre Hand umfasste meinen Sack – ich stand vor'm Himmelstor Wenig Gefühl, zu viel Triebe Das ist die Geschichte meiner ersten Liebe Wenig Gefühl, zu viel Triebe Das ist die Geschichte meiner ersten Liebe Den letzten Schritt, ich wollt ihn gehn, trotz meinen jungen Jahren Ich riss ihr Kleid und Höschen weg, ich hatte freie Bahn Ich machte ihre Beine breit, sie weinte fast und sah mich an „Ich liebe Dich, doch will noch nicht!“ „Bin ich denn nicht der Richtige für Dich?“ Zu viel Gefühl, zu wenig Triebe So ne scheiße, die Alte war nur prüde Zu viel Gefühl, zu wenig Triebe So ne scheiße, die Alte war nur prüde Zu viel Gefühl, zu wenig Triebe So ne scheiße, die Alte war nur prüde Zu viel Gefühl, zu wenig Triebe So ne scheiße, die Alte war nur prüde
Sack Chest Gould Reynolds 2004 2005 2019
The official video for Salem - DRACULADS. Pre-order Salem II here: (http•••) Subscribe to our YouTube Channel here: (http•••) Follow us on socials here: (http•••) (http•••) (http•••) Lyrics: Baby, the blood of Jesus Christ is laced upon your lips I get a step closer to God, and too drunk, each time we kiss And every night I carve your name into my bloody hand I take a one night 'fall' in place of 'one night stand' Anton LaVey on our wedding day, I’ll be Crowley in the sack Get an all-pink room for our honeymoon and then we'll paint the whole thing black “And I always wanted to make out with a boy who's in a band" I take a one night 'fall' in place of 'one night stand' She is the sweetest pain; sugar poured out on a blood stain I bleed out and out again Because I just want to make it worse You know I love it when it hurts Cut me down and down again I crumble like a headstone right down to your feet You are danger and I am chained to a beauty Unexplainable, like sunglasses in the rain She clawed my chest and bit my neck Smoked a roll up cigarette Then laughed as hard as you'd expect As we cheated death CREEPER frontman Will Gould has joined forces with Matt Reynolds (Howard’s Alias, Skylar, Drawings) to create new project SALEM. Gould and Reynolds’ roots are both in Southampton’s underground punk scene. Gould has been a fan of Reynolds’ work since his time with Howard’s Alias, who were signed to the renowned Household Name Records in 2004-2005. They’ve remained good friends ever since, with Reynolds working as CREEPER’s guitar tech and even co-writing three songs from their Top 5 album ‘Sex, Death & The Infinite Void’ alongside Gould and the band’s guitarist Ian Miles. When Gould was plotting the Creeper album – a labyrinthian Rubik’s Cube in which music, narrative and visuals were all indelibly interlinked – he wanted to blow off some steam. So, he called upon his old friend Reynolds to spend a day making music in the way he had done growing up: by rattling through some new songs just for the sheer fun of it, with no pressure and no greater goal in sight. There was something special about the songs they wrote that day. As the summer of 2019 drew to a close, they decided to capture them at The Ranch with the help of another old friend, producer Neil Kennedy (Creeper, Boston Manor), with Gould contributing vocals, Reynolds on guitar, bass and backing vocals, and Aaron Graham (Drawings) on drums. #Salem #DRACULADS #SalemII
Verdi Erkel Ádám Boldizsár László László Erika Miklósa Viktória Viktória Mester Mester Molnár Eszter Zavaros Németh Mercy Sack Erkel Theatre 2017
Opera in three acts, in Italian, with Hungarian surtitle Act 1 0:00 Act 2 56:58 Act 3 1:28:50 Conductor - Ádám Medveczky Duke of Mantua - Boldizsár László Rigoletto - Anatoly Fokanov Gilda - Erika Miklósa Sparafucile - Géza Gábor Maddalena - Viktória Mester Count Monterone - András Kőrösi Marullo - András Káldi Kiss Borsa - Péter Kiss Count Ceprano - Tamás Szüle Countess Ceprano - Ágnes Molnár Giovanna - Veronika Dobi-Kiss Page - Eszter Zavaros Court usher - Gábor Németh Directors - Miklós Szinetár/Mária Harangi The lecherous noblemen of the Mantuan court must be entertained, and a deformed jester spares no one his jeers to ensure that they are. And yet he prays that the scathing mockery he heaps on the suffering of others will not return to haunt him. All he must do is seal his work off from his family life. But when his daughter, following her own heart, leaves the safety of those walls, Rigoletto's secret double life leads her to her doom.The popularity of Verdi's work is no accident: with Shakespearean profundity and thrilling music, it depicts a tragedy of acceptance and schadenfreude, love and self-sacrifice. Synopsis Act 1 First scene A hall in the ducal palace The Duke of Mantua is boasting about his most recent adventure to the assembled nobles: he has made the acquaintance of a young well-to-do maiden of the city, whom he has approached dressed in the simple clothes of a student with the intention of seducing her. In the meantime, he is also not giving up his courtship of the wife of the Count of Ceprano: in spite of her husband's presence, he makes advances at her. Rigoletto, the court fool, arrives and mocks the married couple, who are at the mercy of the duke's whims. Nearly all of the courtiers have fallen victim to the jester's sharp tongue at one time or another, and when Marullo arrives with the news that Rigoletto is keeping a lover, they all resolve to repay him for his many humiliations by abducting the girl. The Count of Monterone storms into the ball to call the duke to account for seducing his daughter, only to be caricatured by Rigoletto. Monterone curses the jester. Second scene Rigoletto's house and garden and the adjacent street Rigoletto is terrified by Monterone's curse. On his way home, he is stopped by the assassin Sparafucile, who offers the jester his services. Rigoletto dismisses him and hurries home to his daughter, Gilda, whom he has raised sequestered away from the world in complete ignorance of her father’s name and profession. The girl, however, is concealing from him the fact that for months now she has been meeting with an unknown student, with whom she has fallen in love. The student is none other than the duke in disguise. After Rigoletto departs, the courtiers arrive with the aim of abducting the woman whom they believe to be the jester's lover. Rigoletto suddenly returns, and they convince him that they are trying to kidnap Countess Ceprano. Rigoletto takes part in the game, and only when it is too late does he realise that he has assisted in the abduction of his own daughter. Act 2 A hall in the ducal palace The courtiers offer up the kidnapped girl to the duke. Also arriving, overcome with despair, is Rigoletto: this time, however, he is the one who is mocked by the courtiers. The jester informs his daughter of her mysterious suitor's identity and true nature nature, but Gilda remains unmoved: she loves the duke. Rigoletto swears deadly revenge. Act 3 By the River Mincio and Sparafucile's house During the night, Rigoletto finds Sparafucile and hires him to murder the duke, but first he wants to disillusion Gilda with him. He forces her to watch as the duke courts Sparafucile's lovely younger sister, Maddalena. The confused and distraught Gilda is ordered by her father to put on men's clothing and head for Verona right away. The girl, nevertheless, returns to Sparafucile's house, where she finds out about her father's murderous plan. Fancying the prince, Maddalena asks her brother to spare his life and instead kill the first stranger who enters the inn. Gilda decides to sacrifice herself. Wearing men's clothes, she knocks on the gate and, upon entering, is mortally wounded. Sparafucile hands over a sack to Rigoletto, claiming that it contains the duke's dead body. Upon hearing the duke's voice in the distance, however, Rigoletto opens the sack and discovers his dying daughter inside it. Monterone's curse has thus been fulfilled.
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