Georg Tales Vidéos
artiste lyrique estonien
- baryton
- Estonie
- artiste lyrique
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2024-05-01
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Única forma de trabajo 'a la cuerda'. (http•••) Muy claramente se puede ver los efectos del sol excepcional de la Magical-Lungeing, que Klaus fundó en esta forma y se convirtió en un verdadero arte y una manera única. Aquí una de las bases más importantes en el trabajo de Klaus. Un caballo necesita una preparación muy buena para llevar a un jinete. Klaus ha elevado el arte de Lungeing - aprender mas sobre esto aquí y lo que esto significa. Este clip es también una entrada por primera vez en forma única de Klaus de estar con los caballos en el sentido más elevado de su cultura que ha dado a conocer en todo el mundo. El terapeuta de caballos Klaus Ferdinand Hempfling, con su experiencia profesional en las comunicaciones, agitado el mundo internacional de caballos. Él trabaja este seres místicos y elegantes en armonía con la naturaleza. El desarrollo de la "presencia" equestre y una orientación a los principios holísticos es parte integral de este trabajo. Klaus tiene la capacidad de "reconocer" un caballo en unos pocos segundos y después de unos minutos del primer encuentro, hace un lazo tan fuerte que todo después de que se basa en la confianza completa - la base de una amistad eterna con caballos. Klaus Ferdinand Hempfling (último libro 'The Horse Seeks Me') inspira a los jinetes de todo el mundo y de muchos ámbitos, tales como: Horse whisperer (Susurrar con caballos/en voz baja a los caballos), doma clásica, equitación, monta western, resistencia, versatilidad y montar a caballo en general. Él está a la vanguardia en el trabajo y la interacción con caballos y es conocido por su trabajo de tierra auténtica y efectiva en el sentido de la naturaleza de caballos, muchas veces ha demostrado y documentado lo con sementales (caballos de cría). Tiene en cuenta la psicología del caballo (psicología equina) y se comunica a través del lenguaje del cuerpo con estas hermosas criaturas. Su primer libro 'Tratar con caballos', tuvo un éxito inmensa en el mundo. El enfoque / La esencia de su enseñanza es el desarrollo personal de personas. Él es el fundador de la formación de gerentes y directivos con el apoyo de los caballos, de haber formado a muchos managers y ejecutivos de empresas de todo el mundo. Klaus vivía con los caballos salvajes en el desierto para observar su lengua y su comportamiento natural. En la belleza de la naturaleza, desarrolló sus principios del 'primer encuentro' entre el hombre y el caballo. Una de sus especialidades es el trabajo con caballos difíciles y agresivos. Klaus convierte caballos peligrosos, nerviosos, traumatizados en compañeros cooperativos. Se lo reconoce Klaus como su líder, y son socios/partners dispuestos en la base y por debajo la silla de montar. El KFH sistema "equilibrio de la señal de peso montar a caballo comienza con un trabajo de campo profundo y el trabajo 'a la cuerda' en la libertad para explorar el potencial de los ejercicios de la doma de Alta Escuela (Haute Ecole), tales como la espalda adentro, paso español, y pasaje. Se puede decir que ahora es un nombre principal en cuestiones de bienestar animal y sobre todo el bienestar del caballo, la pasión y el amor del caballo tanto los caballos en el salvaje, en la comunicación y en la naturaleza de los animales. El primero canal de televisión alemana lo llamó uno de los susurrador de caballos más importantes del mundo.El fondo profesional de Hempfling esta en las comunicaciones, las artes, el teatro, la música, estudió antropología y las culturas. Vive en una pequeña isla en el danés "Mar del Sur", donde también ofrece cursos exclusivos para gente de todo el mundo.
Mabel Garrison Siemonn Clement George Siemonn McDaniel Herbert Witherspoon Aborn Verdi Bizet Tales Hoffman Maschera Metropolitan Opera Aborn Opera Company Chicago Civic Opera Olympia Berlin State Opera Cologne Opera 1886 1903 1908 1912 1914 1917 1921 1925 1933 1963
Mabel Garrison sings 'Charmant oiseau,' with orchestra conducted by Josef Pasternack and flute obbligato by Clement Barone, recorded at Camden on 13 June 1917. Garrison is almost forgotten nowadays, but her records are well worth seeking out. Michael Scott referred to her as 'the admirable Mabel Garrison,' and it's a good description of this well-schooled singer with a pleasant soprano voice which she used well. From Wikipedia: Mabel Garrison Siemonn (April 24, 1886 – August 20, 1963), was an American coloratura soprano who sang at the Metropolitan Opera from 1914 to 1921. Garrison was born in Baltimore, Maryland on April 24, 1886. She graduated from Western Maryland College (now McDaniel College) in 1903. She went on to study singing at the Peabody Conservatory. In 1908 she married the professor of harmony, George Siemonn and then studied further with Oscar Saenger and Herbert Witherspoon in New York. She made her debut in 1912 with the Aborn Opera Company as Philine in Mignon. She made her Metropolitan Opera debut on February 15, 1914 in a Sunday afternoon concert singing arias from operas by Verdi and Mozart. Her first role at the Met was Frasquita in Bizet's Carmen. Other roles included Adina in L'Elisir d'Amore, Bertha in Euryanthe, Biancofiore in Francesca da Rimini, Crobyle in Thaïs, the Dew Fairy in Hansel and Gretel, Gilda in Rigoletto, Olympia in The Tales of Hoffman, Lady Harriet in Martha, Oscar in Un Ballo in Maschera, the Queen of the Night in The Magic Flute, the Queen of Shemakha in The Golden Cockerel, Rosina in Il Barbiere di Siviglia, and Urbain in Les Huguenots among others. Her last performance at the Met was as the title role in Lucia di Lammermoor on January 22, 1921. In 1921, Garrison made guest appearances at the Berlin State Opera in Hamburg and at the Cologne Opera. Later that year, she made a world concert tour. She was a member of the Chicago Civic Opera during the 1925-26 season. She was a teacher at Smith College after 1933. Garrison had an admirably trained coloratura soprano voice, as she demonstrated in both opera and concert and in several fine recordings she made for the Victor Talking Machine Company. She died in New York City on August 20, 1963.
Mabel Garrison Siemonn George Siemonn McDaniel Herbert Witherspoon Aborn Verdi Bizet Tales Hoffman Maschera Metropolitan Opera Aborn Opera Company Chicago Civic Opera Olympia Berlin State Opera Cologne Opera 1886 1903 1908 1912 1914 1916 1921 1925 1933 1963
Mabel Garrison sings the Polonaise from 'Mignon,' recorded at Camden on 15 June 1916 with orchestra conducted by her husband George Siemonn. Garrison is almost forgotten nowadays, but her records are well worth seeking out. Michael Scott referred to her as 'the admirable Mabel Garrison,' and it's a good description of this well-schooled singer with a pleasant soprano voice which she used with considerable artistry. From Wikipedia: Mabel Garrison Siemonn (April 24, 1886 – August 20, 1963), was an American coloratura soprano who sang at the Metropolitan Opera from 1914 to 1921. Garrison was born in Baltimore, Maryland on April 24, 1886. She graduated from Western Maryland College (now McDaniel College) in 1903. She went on to study singing at the Peabody Conservatory. In 1908 she married the professor of harmony, George Siemonn and then studied further with Oscar Saenger and Herbert Witherspoon in New York. She made her debut in 1912 with the Aborn Opera Company as Philine in Mignon. She made her Metropolitan Opera debut on February 15, 1914 in a Sunday afternoon concert singing arias from operas by Verdi and Mozart. Her first role at the Met was Frasquita in Bizet's Carmen. Other roles included Adina in L'Elisir d'Amore, Bertha in Euryanthe, Biancofiore in Francesca da Rimini, Crobyle in Thaïs, the Dew Fairy in Hansel and Gretel, Gilda in Rigoletto, Olympia in The Tales of Hoffman, Lady Harriet in Martha, Oscar in Un Ballo in Maschera, the Queen of the Night in The Magic Flute, the Queen of Shemakha in The Golden Cockerel, Rosina in Il Barbiere di Siviglia, and Urbain in Les Huguenots among others. Her last performance at the Met was as the title role in Lucia di Lammermoor on January 22, 1921. In 1921, Garrison made guest appearances at the Berlin State Opera in Hamburg and at the Cologne Opera. Later that year, she made a world concert tour. She was a member of the Chicago Civic Opera during the 1925-26 season. She was a teacher at Smith College after 1933. Garrison had an admirably trained coloratura soprano voice, as she demonstrated in both opera and concert and in several fine recordings she made for the Victor Talking Machine Company. She died in New York City on August 20, 1963.
Elizabeth Fretwell Beethoven Gertrude Johnson Colin Davis Tales Hoffmann Joseph Hislop Elizabethan Trust Opera Company Bbc Symphony Orchestra Covent Garden 1920 1944 1947 1948 1954 1955 1960 1963 1965 1969 1971 1977 2006
The great, and irreplaceable, Australian soprano, Elizabeth Fretwell, enjoyed a thirty year career on the operatic stage. Commencing as a protégée of Gertrude Johnson at the National Opera in Melbourne, through her incredible list of roles with the Sadler's Wells Opera in London to her return to Australia in 1971, Fretwell left an indelible mark in the history of opera in Australia. Her international career, especially in the UK, was profound and saw her singing some of the most important roles in the repertoire. From a radio broadcast on May 11th 1960 of Beethoven's opera FIDELIO, she sings the central role of Leonora. Here is her performance of the aria "Abscheulicher! wo eilst du hin?" sung in an English translation as "O, monstrous fiend. What brought you here?". The BBC Symphony Orchestra is conducted by Colin Davis. Elizabeth (Betty) Fretwell 13.8.1920—5.6.2006 Born Elizabeth Drina in the Melbourne suburb of Glen Huntly, Fretwell studied ballet for nine years before switching to voice. She joined the National Theatre Opera School and appeared in many wartime productions at the National’s home base in Eastern Hill, starting with her portrayal of Mrs Slammerkin in The Beggar’s Opera in 1944. She was a finalist in the 1947 Sun Aria. From 1948 until 1954 she was entrusted with soprano leads in all the National’s Opera Festivals at the Princess. She was in the Royal Performance of The Tales of Hoffmann in 1954. She also broadcast frequently for the ABC. Inevitably, Fretwell joined the exodus of Australian singers to Europe. In 1954 she sang leads for the Dublin Grand Opera Company. She undertook further studies under Joseph Hislop and in 1955 joined Sadler’s Wells. There she excelled in a wide repertoire including La Traviata, Ariadne auf Naxos, Fidelio, The Girl of the Golden West, The Land of Smiles and Peter Grimes. She returned home in 1963 as a guest artist with the Elizabethan Trust Opera Company, singing in Fidelio and The Marriage of Figaro. She made her Covent Garden début in 1965 in the title role in Aïda and in Il Tabarro. Fretwell was back for A Masked Ball, Falstaff and Boris Godounov in the Trust Opera’s 1969 season. The following year she returned to Australia permanently and joined Opera Australia where her major triumphs included Aïda, Macbeth and Jenufa. She was awarded the OBE in 1977. Fretwell’s second husband was the Australian baritone Robert Simmons.
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