John Tomlinson Vidéos
chanteur lyrique britannique
- voix, instrument à clavier
- baryton-basse
- Royaume-Uni
- artiste lyrique, artiste interprète, personnalité politique
Dernière mise à jour
2024-04-30
Actualiser
Richard Wagner Daniel Barenboim Cary Janes Gallardo Bayreuth Kupfer Hohlfeld John Tomlinson Kannen Graham Clark Linda Finnie Eva Johansson Brinkmann Kurt Schreibmayer Birgitta Svendén Matthias Hölle Kang Helmut Pampuch Turner Bayreuth Festspielhaus 1992 2001
Part 1 of "Das Rheingold", from "The Ring Of The Nibelung" series of graphic novels by P. Craig Russell. These graphic novels are an adaptation of the tetralogy of operas "Der Ring des Nibelungen" by Richard Wagner. These videos present a whole new way to experience and enjoy both P. Craig Russell's beautiful work and Richard Wagner's precious music: now you can read the graphic novels while listening to the operas they are based on! An extremely careful process was done while making these videos: the timing, illumination and presentation of the images was adjusted to the dialogues, music and arrangements on the operas. An intensive investigation about leitmotives, their significance and their many variants was done to better understand the moments and subtle overtones the images from the graphic novels are invoking from the operas. Lastly, it was meant that these videos had the recordings of the Ring production with the best cast of all time, and so the 1992 Barenboim production was chosen. All in all, in this way, by treating both P. Craig Russell's graphic novels and Richard Wagner's operas with the utmost respect and fidelity, one can enjoy their exquisite works at the same time and with the highest quality! Credits: Graphic novel: Author: P. Craig Russell Publisher: Dark Horse Comics Year: 2001 Translation & Text: Patrick Mason Colors: Lovern Kindzierski Letters: Galen Showman Design: Cary Grazzini Edited by: Peet Janes & Scott Allie Assistant Editors: Adam Gallardo & Mike Carriglitto Published by: Mike Richardson Opera: Author: Richard Wagner Orchestra: Orchester der Bayreuth Festspiele Recorded in: Bayreuth Festspielhaus Conductor: Daniel Barenboim Stage director: Harry Kupfer Producer: Horant H. Hohlfeld Year: 1992 Cast: Wotan: John Tomlinson Alberich: Günter von Kannen Loge: Graham Clark Fricka: Linda Finnie Freia: Eva Johansson Donner: Bodo Brinkmann Froh: Kurt Schreibmayer Erda: Birgitta Svendén Fasolt: Matthias Hölle Fafner: Philip Kang Mime: Helmut Pampuch Woglinde: Hilde Leidland Wellgunde: Annette Küttenbaum Flosshilde: Jane Turner
Bernard Haitink Gösta Winbergh Nancy Gustafson Catherine Wyn Rogers Herbert Lippert Gwynne Howell Thomas Allen John Tomlinson Sachs Alasdair Elliott Anthony Michaels Moore Moore Dickson Dobson Crook Simon Wilding Geoffrey Moses Covent Garden 1997
Gösta Winbergh (tenor), Walther Nancy Gustafson (soprano),. Eva Catherine Wyn-Rogers (contralto). Magdalene Herbert Lippert (tenor),. David Gwynne Howell (bass),. Pogner Thomas Allen (baritone). Beckmesser , John Tomlinson (bass), Sachs Alasdair Elliott (tenor), Richard Lloyd Morgan (bass), Anthony Michaels-Moore (baritone). Kothner , Grant Dickson (tenor), Robin Leggate (tenor), John Dobson (tenor), Paul Crook (tenor), Simon Wilding (baritone), Geoffrey Moses (bass) Michael Druiett (bass) Royal Opera House Covent Garden, Royal Opera Chorus Bernard Haitink, conductor Recorded: 12 July 1997 Live recording, Royal Opera House, Covent Garden, London, England, United Kingdom.
Charles Draper Spencer Dyke Tomlinson Patterson Brahms Yvonne Printemps Eulenburg Padding Schubert Kreisler 1401 1754 1926
MOZART: Clarinet Quintet in A major - (K. 581) Charles Draper (clarinet) Spencer Dyke Quartet: Spencer Dyke and Edwin Quaife (violins), Ernest Tomlinson (viola), B. Patterson Parker (‘cello) Released on National Gramophonic Society Records XX, YY, ZZ, AAA. Size: 12” Sides: 7; Speed: 80 rpm Manufactured by: Vocalion Matrices: NGS. 20, 21X / 22X, 23 / 24X, 25X / 26X, 28 Recording date: c. May to August 1926 Issue date: September 1926 Time Side - Title Record 0.05 No. 1 - Allegro XX 2:51 No. 2 - Allegro (concluded) XX 6:50 No. 3 - Larghetto YY 10:09 No. 4 - Larghetto (concluded) and Menuetto YY 14:01 No. 5 - Menuetto (concluded) ZZ 17:54 No. 6 - Allegretto con Variazioni ZZ 21:58 No. 7 - Allegretto con Variazioni (concluded) AAA The Gramophone, September 1926. National Gramophonic Society Notes Mozart. Clarinet Quintet in A major (K-V. No. 581) IT is difficult to imagine a more complete contrast than that afforded by a comparison of Mozart's A major with Brahms' B minor clarinet quintets. The happy, irresponsible feeling of the former is the very antithesis of the deeply thoughtful and profound tone of the latter work. As well compare Yvonne Printemps and Eleonora Duse! Such comparisons, however interesting, are not my present purpose; so, to Mozart's work without further ado. First Movement.-Allegro. Score (Eulenburg, 3s.): first side, page 3 to bottom of page 8. Second side, page 9 to page 18, end. The first subject of the quintet is pleasure to eye and ear in its lay-out, and its gradual descent through the scale. The clarinet entering, as it did in the Brahms, with an arpeggio, gives a little flourish of happy sound before the repetition of the first subject. The second subject is a most graceful tune for the first violin, chromatically treated immediately afterwards by the clarinet which imparts to it a tinge melancholy, soon, however, dispersed. Just before the double bar a reminiscence of the first subject appears in a coda-like manner. This section is now repeated. It must be confessed that the working out, which begins on side 2, is rather mechanical. After the semi-fugal passages near the start, the up-and-down arpeggi on clarinet and strings sound flat and barely escape the suspicion of padding. But interest returns with the recapitulation, in the course of which may be heard a delightful variant, for the clarinet, of the second subject. Notice also the beautiful rhythmic variety in the parts at the bottom of page 17. Second Movement.-Larghetto. Score: third side, page 19 to page 23, line 3, bar 1; fourth side, page 23, line 3, bar 2, to page 26, end. Third Movement.-Menuetto. Fourth side, page 27 to page 28,line 2. Fifth side, page 28, line 3 to end. Against a background of muted strings, as in Brahms again, the clarinet sings such tranquil phrases as Mozart, and Schubert, alone hold the secret of. A long duologue between clarinet and first violin, based on the second subject, forms the section of contrast. Jets of notes are tossed from one instrument to another, until the clarinet leads us back into the elysian fields of the first tune. This proceeds on its way just as before with the exception of some triplet passages near the close and a coda. There are two trios to the minuet, the first of which fulfils the true function of the trio-one of contrast-by giving us a rest from the voice of the clarinet. The latter takes his revenge by predominating in the second trio. The minuet is heard three times, an ordeal which its charm easily survives. Fourth Movement.-Allegretto con Variazioni. Sixth side. Score: page 34 to page 42, line 1, end. Seventh side, page 42, line 2, to end. The last movement, as in the case of the Brahms' work, is cast in the form of an air with variations. The perky little air is first elaborated by the clarinet (Variation 1), and then by the first violin with a triplet accompaniment (Variation 2). The third variation, in the minor key, is ingeniously contrived. After the sad wail of the violins the viola has a persistent sobbing figure to play, which is again heard at the end of the variation. This is not the grief of an adult, but of a child, whose toy has been broken! In case we have gone astray a bit, Mozart takes us by the hand again in the fourth variation; a clear reference to the theme with much chattering from the clarinet. An adagio and allegro (side 7) really forming variations 6 and 7 (but not so marked in the score) conclude the movement. (The following repeats are not observed: second half of air; second half of variations 1, 2, and 4.) The fine art of Charles Draper, Kreisler of clarinettists, together with the splendid support of the Spencer Dyke Quartet, make this recording a veritable treasure. The adagio from the DUET IN G FOR VIOLIN AND VIOLA by Mozart occupies the last (eighth) side. The tonal contrasts of the instruments are well exploited. The music is too clear to call for any analytical comment. N. P.
John Casken Sir John Tomlinson Fenella Humphreys Humphreys Shakespeare Buxton International Festival
A short video containing extracts from The Shackled King performed by bass-baritone Sir John Tomlinson (Lear), mezzo-soprano Rozannna Madylus (Cordelia, Goneril, Regan, Fool) and the Counterpoise ensemble, with commentary from composer John Casken, Sir John Tomlinson and Rozanna Madylus. Counterpoise: Fenella Humphreys - violin Kyle Horch - saxophones Deborah Calland - trumpet Yshani Perinpanayagam - piano A drama based upon Shakespeare's King Lear. The Shackled King will be performed at Buxton International Festival Fri 23 July, 7.15pm - 9.15pm (with interval). Tickets on sale now. (http•••)
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