Ruth Welting Vidéos
artiste lyrique
- soprano
- États-Unis
Dernière mise à jour
2024-05-08
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Opéra Comique Henry Edward Krehbiel Drury Christina Nilsson Nilsson Zelia Trebelli Bettini Bettini Ruth Welting Marilyn Horne 1866 1870 1894 1919 1978
My personal opinion is that this recording is one of the finer Edison opera selections for orchestra. It has good variations in sound and volume and takes the best advantage of the acoustic (Horn) recording methods. Not a favorite on my earlier video of it, but given a chance I think some will find it quite good. The first performance was at the Opéra-Comique in Paris on 17 November 1866. The piece proved popular: more than 100 performances took place by the following July, the 1,000th was given there on 13 May 1894, and the 1,500th on 25 May 1919. The opera was also adapted and translated into German for performance in Berlin with Madame Lucca as Mignon. Lucca was well received, but the German critics were unhappy with the opera's alterations to the Goethe original, so Thomas composed a shorter finale with a tragic ending, in which Mignon falls dead in the arms of Wilhelm. This ending was an attempt to make the story of the opera somewhat more similar in tone to the tragic outcome of Goethe's. (The original version of Mignon for the Opéra-Comique had to have a happy ending, since at that time in Paris tragic operas in French were exclusively reserved for the Opéra.) Unsurprisingly, this "Version allemande" still failed to satisfy the German critics and proved to be a futile endeavor. As Henry Edward Krehbiel describes it, the "Mignon of Carré and Barbier bears little more than an external resemblance to the Mignon of Goethe, and to kill her is wanton cruelty." Despite his success in Paris with the French version, Thomas was asked to revise the work for the first performance at the Drury Lane Theatre in London on 5 July 1870. This version was given in Italian with recitatives (instead of spoken dialogue) and the role of Mignon, originally a mezzo-soprano role, was sung by a soprano (Christina Nilsson), and the role of Frédéric, originally a tenor, was sung by a contralto (Zelia Trebelli-Bettini). A second verse was added to Lothario's aria in the first act ("Fugitif et tremblant" in the French version), and in the second act, a rondo-gavotte for Frédéric ("Me voici dans son boudoir") was devised using the music of the entr'acte preceding that act, to satisfy Mme Trebelli-Bettini, who was discomfited by having to take on a role originally written for buffo tenor. Apparently the coloratura soprano Elisa Volpini, who was to sing Philine, felt that her aria at the end of the second act ("Je suis Titania") was insufficient, and another florid aria ("Alerte, alerte, Philine!") was inserted after the second act entr'acte and before Laerte's 6/8 Allegretto ("Rien ne vaut"). The finale was also much shortened. Philine's extra aria appears to have either never been orchestrated, or the orchestration was lost or destroyed. (Most sources say that the aria was performed and not cut from the Drury Lane production, implying that Thomas must have orchestrated it.) The aria is known from several piano-vocal scores and is included as an appendix, sung by Ruth Welting with flute and harpsichord accompaniment, as part of the 1978 recording with Marilyn Horne as Mignon. The recording also includes a second appendix with the original, longer version of the finale.
Ruth Welting Daniel Barenboim Joseph Anton Bruckner Cota Richard Heuberger Maio Wilhelm Gericke Schubert Franz Liszt Richard Strauss Félix Mendelssohn Ritter Oberleithner Pelo Sob Filarmónica Viena Musikverein 1892 1980
DISCO REGULARMENTE TRANSMITIDO NA ANTENA 2 DA RDP! Esta gravação data de 1980 e pertence à Banda 1 da Face B do disco LP de 33 R.P.M. Nº 2 editado pela “Deutsche Grammophon” com a matriz “2707 116” e o nome “Anton Bruckner – Symphonie No. 7”, disco onde a soprano Ruth Welting, o Coro Sinfónico e a Orquestra Sinfónica de Chicago, sob a regência de Daniel Barenboim, interpretam a “Sinfonia Nº 7 em Mi Maior”, o “Helgoland para Coro Masculino e Orquestra Sinfónica” e este “Salmo Nº 150 para Soprano, Coro Misto e Orquestra Sinfónica”, ambos de Joseph Anton Bruckner. Catalogado com a cota “WAB 38”, este “Salmo Nº 150” foi o resultado da encomenda de Richard Heuberger a Bruckner, para a composição dum hino festivo para a abertura da Exposição Internacional de Música e Teatro, em 7 de Maio de 1892, mas infelizmente, Bruckner não conseguiu entregar a peça a tempo, para o propósito de Heuberger. No entanto, o trabalho estreou no Musikverein de Viena, em 13 de Novembro de 1892, com o Clube dos Cantores de Viena, a Orquestra Filarmónica de Viena, e a solista soprano Henriette Standthartner, sob o comando de Wilhelm Gericke, onde se apresentou também uma abertura de Schubert e o “Concerto para Piano e Orquestra Nº 1 em Mi Bemol Maior” de Franz Liszt, seguido pela “Canção da Tempestade dos Andarilhos” de Richard Strauss, e “Loreley” de Félix Mendelssohn. O manuscrito foi dedicado a Wilhelm Ritter von Härtel, está armazenado no arquivo da Biblioteca Nacional de Áustria, e foi lançado pela primeira vez em novembro de 1892, com outra dedicação a Max von Oberleithner, de Doblinger, além de uma pontuação de redução de vocais e piano de Cyrill Hynais. Trata-se da obra-prima de Bruckner na matéria da Música Sacra e da Música Vocal Sinfónica, aqui muito bem interpretada pela soprano Ruth Welting, pelo Coro e pela Orquestra Sinfónica de Chicago, dirigidos pelo mestre Daniel Barenboim. Espero que gostem.
Douglas Moore Moore Ruth Welting Fredericks 1976
Douglas Moore's American opera The Ballad of Baby Doe (NYCO 21 April 1976) Act II finale Judith Somogi/ Ruth Welting (Baby Doe) Richard Fredericks (Tabor)
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