Sona Ghazarian Vidéos
artiste lyrique
Anniversaires
- soprano
- Liban, Autriche
Dernière mise à jour
2024-05-10
Actualiser
Gran Teatre Liceu Siegfried Jerusalem Edith Mathis Peter Weber Weber Sona Ghazarian Baillie Kurt Rydl Gandolfi Peter Schneider 1988
Schau der Herr mich an als König! - O diese Sonne (Terzett mit Chor) Max: Siegfried Jerusalem Agathe: Edith Mathis Ottokar: Peter Weber Ännchen: Sona Ghazarian Killian: Peter Baillie Ein Eremit: Kurt Rydl Kaspar: Ekkehard Wlaschina Samiel, Kuno: Jaroslav Stajnc ORQUESTA Y CORO DEL GRAN TEATRO DEL LICEO DIR. CORO: Romano Gandolfi DIR. ORQU: Peter Schneider Representación del dia 16 de febrero de 1988
Felix Mendelssohn Bartholdy Sona Ghazarian Edita Gruberová Werner Krenn Dohnányi Lobe Völker Beethoven Wiener Staatsoper Wiener Philharmoniker 1723 1840 1841
Felix Mendelssohn Bartholdy: Symphony No. 2 in B-flat major, Op. 52 "Lobgesang (Hymn of Praise)" (with Score) Composed: 1840 Soprano: Sona Ghazarian, Edita Gruberová Tenor: Werner Krenn Conductor: Christoph von Dohnányi Chorus: Chor der Wiener Staatsoper Orchestra: Wiener Philharmoniker 1. Sinfonia: - 00:00 Maestoso con moto - Allegro (B-flat major) - 12:15 Allegretto un poco agitato (G minor) - 17:23 Adagio religioso (D major) 24:55 2. Soprano, Chorus: "Alles was Odem hat lobe den Herrn" Allegro moderato maestoso (B-flat major) 32:09 3. Tenor: "Saget es, die ihr erlöst seid durch den Herrn" Recitativ – Allegro moderato. (G minor) 34:56 4. Chorus: "Sagt es, die ihr erlöst seid vor dem Herrn" A tempo moderato. (G minor) 37:01 5. 2 Sopranos, Chorus: "Ich harrete des Herrn." Andante (E-flat major) 42:42 6. Soprano, Tenor: "Strick des Todes hatten uns umfangen." Allegro un poco agitato – Allegro assai agitato (C minor) 46:27 7. Chorus: "Die Nacht ist vergangen" Allegro maestoso e molto vivace. (D major) 51:17 8. Chorus: "Nun danket alle Gott." Andante con moto (G major) 56:41 9. Soprano, Tenor: "Drum sing’ ich mit meinem Liede" Andante sostenuto assai. (B-flat major) 1:01:15 10. Chorus: "Ihr Völker! bringet her dem Herrn Ehre und Macht" Allegro non troppo (B-flat major) After the "Italian" symphony, Mendelssohn waited seven years before returning to the genre, composing the Symphony No. 2 in B flat major, Op. 52, for the celebrations in Leipzig of the 400th anniversary of the invention of the printing press. For this event Mendelssohn also composed his Festgesang. Mendelssohn entitled his second symphony "Lobegesang" (Song of Praise) and described it as a "symphony-cantata." After its first performance, on June 25, 1840, in Leipzig, the "Lobegesang" became very popular; today it is rarely performed. Mendelssohn completed revisions of the work in November 1840 for publication in 1841. The "Lobgesang" symphony bears a superficial similarity to Beethoven's Ninth Symphony in that it begins with three instrumental movements and closes with a cantata-like structure featuring solo voices and chorus. Also, the slow movement is a set of variations. Mendelssohn's instrumental movements, however, are on a much smaller scale than Beethoven's. Four of the symphony's five movements share material. The main theme of the first movement appears in the trio of the ensuing scherzo, and is present in the first and last sections of the choral Finale. A ceremonial air pervades the first movement, marked Maestoso con moto. The leaping and falling first theme receives developmental treatment during the transition to the second theme, which is very similar to a theme in the first movement of Beethoven's Sonata in B flat major, Op. 22. The dotted-rhythm theme of the introduction appears in the development section, its character completely changed. Although deftly composed and orchestrated, the movement seems uninspired. Mendelssohn's Allegretto second movement has a theme evocative of folk song. In 6/8, it resembles one of Mendelssohn's "Gondolier Songs" from his Lieder ohne Worte in its rocking motion. A refreshing section in the major features a conversation between the strings and winds. Marked Adagio religioso, the third movement is a set of variations on a song-like melody. It seems Mendelssohn tries to emulate Beethoven's occasional use of simple, block chords to produce a majestic effect. However, Mendelssohn's conception of the technique makes the main theme stagnate. Its similarity to the Adagio of the "Scottish" Symphony lies in Mendelssohn's treatment of the orchestra. The first section of the cantata is based on the first theme of the opening movement. Highlights from the movement include the invigorating chorus "Let all men praise the Lord." Quite touching is the tenor solo, "The sorrows of death," with its chromatic inflections, followed by "Watchman, will the night soon pass?" Throughout these two numbers Mendelssohn creates strong dramatic tension. Much of what follows, however, is anti-climactic. The close of the cantata begins with a choral fugue and moves to "All that has life and breath, sing to the Lord," a choral development of the first-movement theme. ((http•••)
Sona Ghazarian Johann Strauss II Josef Strauss Marie Geistinger Vienna State Opera 1870 1874 1945 1972 1974 2021
For the 2021 holiday season, I'm posting a series of festive concert waltzes for coloratura soprano through New Year's Eve. THE SONGBIRD: Sona Ghazarian was an operatic star in Europe in the 1970s and 1980s. Born in Beirut in 1945, she studied in Rome and then joined the Vienna State Opera in 1972, becoming a regular there in leading lyric-coloratura roles for 25 years. Roles included everything from Adina to Zdenka. She can be heard in a few studio recordings and a couple solo recital discs (on the regional Austrian label Amadeo). THE MUSIC: Johann Strauss II was the son of Johann Strauss, and brother to Josef Strauss and Eduard Strauss. All were Viennese composers in the 19th century who specialized in sophisticated waltzes and light music, but Johann II's music was (and remains) the most popular. He was known as "The Waltz King" in his time and most of the Viennese waltzes we hum now were composed by him / not to mention the enormously successful and genre-defining operettas such as "Die Fledermaus," "Der Zigeunerbaron," and "Wiener Blut." One of his lesser known operettas, "Indigo und die 40 Raüber" (Indigo and the 40 Thieves), premiered in Vienna in 1870. Based on the tale of "Ali Baba and the 40 Thieves," it had only moderate success. The character of Fantasca sings this drinking song waltz in the "Bacchanale" in Act Two. At the premiere, the role was sung by Marie Geistinger, who later sang Rosalinde in the 1874 premiere of "Die Fledermaus."
Chávez Dimitris Mitropoulos Theodore Antoniou Arda Mandikian Schultz Evangelatos Sona Ghazarian Athens Concert Hall
Dimitris Mitropoulos International Competition Prize Winner's Concert Megaro the Athens Concert Hall Mónica Chávez - Tacea la notte... Il Trovatore (G.Verdi) The Jury: Cesare Mazzonis, Yannis Kokkos, Theodore Antoniou, Christos Lambrakis, Bin Ebisawa, Arda Mandikian, Spiros Sakkas, Alpaslan Ertnüngealp, Kalus Schultz, Hiroko Shiraishi, Daphe Evangelatos, Vasil Tole, Sona Ghazarian. Prize- Giving Ceremony The Orchestra of Colours Conducted by Miltos Logiadis Musical Preparation: Dimitris Yakas
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