Thomas Meglioranza Vidéos
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2024-05-02
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Biel Makris Jorma Panula Anikhanov Montenegro Evelyn Tubb Baird Vivica Genaux Holloway Matthews Verbruggen Steven Devine Bland Glinka Purcell Thomas Meglioranza Andreas Makris Mussorgsky Rachmaninov New Trinity Baroque Trinity Baroque London Symphony Orchestra Russian National Orchestra Sofia Philharmonic Early Music Network Early Music Festival Boston Early Music Festival 2018 2019
An excerpt from the dress rehearsal of W.A. Mozart's opera "Mitridate, re di Ponto", at the Baroque Theater in Solothurn, Switzerland. The Overture is being performed by the TOBS Orchestra (Theater Orchester Biel Solothurn), conducted by Predrag Gosta, in the Spring of 2018. Thank you for visiting this channel. If you like this video, please give it a "thumbs up", and consider subscribing. BIOGRAPHY: Predrag Gosta has been recognized as one of the most interesting and multi-faceted conductors and harpsichordists of his generation. He is the artistic director of New Trinity Baroque, a widely-acclaimed and recorded period instrument orchestra; the general manager, artistic director and chief conductor of the New Belgrade Opera, the Belgrade Baroque Academy, the Belgrade Early Music Festival and the Makris Symphony Orchestra in Serbia; and the music director and chief conductor of the Gwinnett Ballet Theatre in Atlanta, USA. He also served as the assistant conductor of the National Philharmonic in Washington DC, and was a faculty member at Oxford College of Emory University in Atlanta. Born in Belgrade, Serbia, he was originally trained as a violinist, having started at the age of six. After starting his studies at Belgrade Music Academy, he was awarded a full scholarship from the Trinity College of Music in London and the Leverhulme Trust to continue his studies at Trinity, where he received an undergraduate and a postgraduate degree. He also received three Master of Music degrees from Georgia State University in Atlanta, where he was studying under a graduate assistantship and several scholarships, including the Regents Opportunity Scholarship. His further studies in conducting were with Gustav Meier (USA), Jorma Panula (Finland), Colin Metters (UK), Ennio Nicotra (Italy), Alexander Polyanichko, Vladimir Ponkin and Andrei Anikhanov (Russia), Jonathan Brett (England), Dejan Savic (Serbia) and Emmanuel Siffert (Switzerland). From 2019, Gosta is DPhil Reader and Junior Member of the Christ Church, University of Oxford, where his research focuses on the late 18th century English opera. Equally at home with concert, opera or ballet performances, Predrag Gosta appeared at concerts and festivals in USA, United Kingdom, Russia, Sweden, Finland, Sweden, Germany, Poland, Switzerland, Mexico, Bulgaria, Serbia, Croatia and Montenegro. He collaborated with artists and conductors such as sopranos Evelyn Tubb and Juilliane Baird; mezzo-soprano Vivica Genaux; contralto Marijana Mijanovic; baroque violinists Florian Deuter, Ilia Korol, John Holloway, Antoinette Lohmann and Ingrid Matthews; recorder virtuoso Marion Verbruggen; harpsichordists Ottaviano Tenerani and Steven Devine; lutenists Anthony Rooley and Michael Fields; trumpet players Justin Bland and Friedemann Immer; and many others. He performed at the Piccolo Spoleto, Boston Early Music Festival and Amherst Early Music Festival in the USA; Sastamala Gregoriana Festival in Finland; Belgrade Early Music Festival in Serbia; Korkyra Baroque and Varazdin Baroque Evenings in Croatia; Dartington International Summer School and Festival in the UK - just to mention a few. He conducted internationally renowned ensembles such as the London Symphony Orchestra, the National Philharmonic in Washington DC, the Russian National Orchestra in Moscow, the St. Petersburg State Capella "Glinka", the Sofia Philharmonic, the Belgrade Philharmonic, and more. He appeared in opera houses in Biel and Solothurn (Switzerland), Ruse and in Burgas (Bulgaria), Lexington (KY), Lüneburg (Germany), and his native Belgrade (Serbia). Gosta is an active recording artist, and has over a dozen recordings to his credit, including a critically acclaimed CD of Purcell's opera "Dido & Aeneas" with New Trinity Baroque, and Evelyn Tubb and Thomas Meglioranza in the titles roles. He also recorded a premiere album of orchestral works by Greek-American composer Andreas Makris with the London Symphony Orchestra, and music by Mussorgsky and Rachmaninov with the same orchestra. He also has several albums with the Makris Symphony Orchestra. As a regular presenter of master classes, he teaches at the Belgrade Baroque Academy. He is a honored member of the Phi Beta Delta Honor Society for International Scholars, Golden Key Honour Society, Mu Phi Epsilon International Music Fraternity, as well as member of MENSA and the International High IQ Society. Finally, Gosta is the President of the international early music society Early Music Network and the Makris Music Society in Washington DC (promoting the music and legacy of Greek-American composer Andreas Makris, and nurturing young talented musicians); the principal editor of the online music publishing house UrtextEditions.com and the Mediterranean Press; and the executive producer of Edition Lilac. #Mozart #overture #Mitridate #opera
Milton Babbitt Thomas Meglioranza Fred Sherry Hopkins Peel Burns Stark 1955 2005
Two Sonnets (1955) / composer, Milton Babbitt ; baritone, Thomas Meglioranza ; clarinet, Alan Blustine ; viola, Lois Martin ; cello, Fred Sherry Recorded as part of the Works & process performance series at the Solomon R. Guggenheim Museum, New York, on May 23, 2005 1. Spelt from Sibyl’s Leaves BY GERARD MANLEY HOPKINS Earnest, earthless, equal, attuneable, ' vaulty, voluminous, . . . stupendous Evening strains to be time’s vást, ' womb-of-all, home-of-all, hearse-of-all night. Her fond yellow hornlight wound to the west, ' her wild hollow hoarlight hung to the height Waste; her earliest stars, earl-stars, ' stárs principal, overbend us, Fíre-féaturing heaven. For earth ' her being as unbound, her dapple is at an end, as- tray or aswarm, all throughther, in throngs; ' self ín self steepèd and páshed – quite Disremembering, dísmémbering, ' áll now. Heart, you round me right With: Óur évening is over us; óur night ' whélms, whélms, ánd will end us. Only the beak-leaved boughs dragonish ' damask the tool-smooth bleak light; black, Ever so black on it. Óur tale, O óur oracle! ' Lét life, wáned, ah lét life wind Off hér once skéined stained véined varíety ' upon áll on twó spools; párt, pen, páck Now her áll in twó flocks, twó folds – black, white; ' right, wrong; reckon but, reck but, mind But thése two; wáre of a wórld where bút these ' twó tell, each off the óther; of a rack Where, selfwrung, selfstrung, sheathe- and shelterless, ' thóughts agaínst thoughts ín groans grínd. 2. That Nature is a Heraclitean Fire and of the comfort of the Resurrection BY GERARD MANLEY HOPKINS Cloud-puffball, torn tufts, tossed pillows | flaunt forth, then chevy on an air- Built thoroughfare: heaven-roysterers, in gay-gangs | they throng; they glitter in marches. Down roughcast, down dazzling whitewash, | wherever an elm arches, Shivelights and shadowtackle ín long | lashes lace, lance, and pair. Delightfully the bright wind boisterous | ropes, wrestles, beats earth bare Of yestertempest's creases; | in pool and rut peel parches Squandering ooze to squeezed | dough, crust, dust; stanches, starches Squadroned masks and manmarks | treadmire toil there Footfretted in it. Million-fuelèd, | nature's bonfire burns on. But quench her bonniest, dearest | to her, her clearest-selvèd spark Man, how fast his firedint, | his mark on mind, is gone! Both are in an unfathomable, all is in an enormous dark Drowned. O pity and indig | nation! Manshape, that shone Sheer off, disseveral, a star, | death blots black out; nor mark Is any of him at all so stark But vastness blurs and time | beats level. Enough! the Resurrection, A heart's-clarion! Away grief's gasping, | joyless days, dejection. Across my foundering deck shone A beacon, an eternal beam. | Flesh fade, and mortal trash Fall to the residuary worm; | world's wildfire, leave but ash: In a flash, at a trumpet crash, I am all at once what Christ is, | since he was what I am, and This Jack, joke, poor potsherd, | patch, matchwood, immortal diamond, Is immortal diamond.
Robert Schumann Claude Debussy Barrett Thomas Meglioranza 1810 1845 1856 1891 1971 2004 2016
Luis Batlle, a Slideshow created for his memorial at the Marlboro Music Festival 2016, by Pete Checchia. The music is Six Etudes en forme de Canon Opus 56 (1845) by Robert Schumann, arranged for two pianos by Claude Debussy (1891), played by Luis Batlle and Nerine Barrett, recorded 31 July 1971; And the last two movements of Robert Schumann's Spanish Love Songs Performance: Saturday, July 17th, 2004 - 8:30 PM Spanische Liebeslieder, Op. 138 Robert Schumann +••.••(...)) 9. Duett: Ojos garzos ha la ninna 10. Quartett: Vista ciega, luz oscura Arisa Kusumi, Soprano Katja Nicolai, Mezzo-Soprano Chad Freeburg, Tenor Thomas Meglioranza, Baritone Ieva Jokubaviciute, Piano Luis Batlle, Piano Recorded by the Marlboro Music Festival in Persons Auditorium.
Johann Christoph Friedrich Bach Bach Seele Thomas Meglioranza 1732 1795
Pygmalion - Johann Christoph Friedrich Bach +••.••(...)) Recitative: "Abgottin meiner Seele!" Aria: "Ihr Gotter, welche Phantasein" Accompagnato/Rcitative: "Ach dass mein irdisch Ohr" Aria: "bald sollen diese Lippen" Recitative: "ja, diese leichte Muhe" Aria: "Allgutige! wofern dich hier" Thomas Meglioranza, baritone Matthew Dirst, pianoforte
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