Virginia MacWatters Vidéos
artiste lyrique, professeur ou professeure d'université
Commémorations 2025 (Décès: Virginia MacWatters)
- soprano
- États-Unis
Dernière mise à jour
2024-06-01
Actualiser
Luigi Infantino Ragazzo Spezia Italo Brancucci Giuseppe Valdengo Barbiere Maria Callas Mario Zafred Franco Mannino Enzo Mascherini Virginia Macwatters Julius Rudel Baptista Giuseppe Taddei Giulietta Simionato Teatro Regio Teatro San Carlo Teatro Scala Arena Verona Teatro Fenice Teatro Opera Roma Teatro Regio Parma 1921 1937 1943 1945 1946 1947 1948 1949 1950 1953 1954 1961 1962 1964 1973 1991
Tu Che M'hai Preso Il Cuor Tu che m'hai preso il cor sarai per me il solo amor no, non ti scorderò vivrò per te ti sognerò Te o nessuno o mai più ormai per me come il sole sei tu lontan da te è morir d'amor perché sei tu che mi hai rubato il cuor Ti vedo tra le rose ti dico tante cose se il vento lieve t'accarezza un profumar di giovinezza mi fai tremar La notte sogno tremando di te quale incantesimo il mio cuor sul tuo cuor mentre si schiudono le pupille tue d'or Tu che mi hai preso il cuor sarai per me il solo amor no, non ti scorderò vivrò per te ti sognerò Te o nessuna o mai più ormai per me come il sole sei tu lontan da te è morir d'amor perché sei tu che mi hai rubato il cuor/ Luigi Infantino (Racalmuto, 24 aprile 1921 – Roma, 22 giugno 1991) è stato un tenore italiano. Da ragazzo venne avviato allo studio della musica ed imparò a suonare il flauto, entrando a far parte della banda del paese. Nel 1937 iniziò a studiare canto, ma presto interruppe avendo vinto un concorso di flautista nella banda della Regia Marina a La Spezia. Durante la seconda guerra mondiale riprese lo studio del canto al conservatorio di Parma con Italo Brancucci e nel 1943 debuttò al Teatro Regio nella Bohème pucciniana. Con lo stesso ruolo esordì nel 1945 al Teatro San Carlo di Napoli e in tournée con il teatro napoletano debuttò l'anno dopo alla Royal Opera House di Londra come Duca di Mantova, apparendovi anche come Rodolfo. Dopo regolari esibizioni a Napoli e Bologna, nel 1947 venne scritturato come artista ospite alla New York City Opera, interpretando La traviata, Rigoletto (con Giuseppe Valdengo), Madama Butterfly, La bohème, Il barbiere di Siviglia, Don Giovanni. Nel 1948, nella stagione della riapertura dopo i danni subiti durante la guerra, vi fu l'importante debutto al Teatro alla Scala di Milano nel ruolo di Nadir de Les pêcheurs de perles, seguito da Ramiro ne La Cenerentola, interpretato nello stesso anno anche all'Arena di Verona. Nel 1949 tenne una serie di concerti in Inghilterra e in Australia. Nel 1953 apparve al Teatro dell'Opera di Helsinki e nel 1954 alla Fenice di Venezia in Lucia di Lammermoor, accanto a Maria Callas. Nel 1961 e 1962, al Teatro dell'Opera di Roma, "creò" i ruoli di Amleto nell'omonima opera di Mario Zafred e del protagonista in La stirpe di Davide di Franco Mannino. Nel 1964 riprese il ruolo di Edgardo all'Opera di Bombay. Cantò di frequente anche in produzioni radiofoniche della RAI, dove fece la sua ultima esibizione ne Il diavolo in giardino di Mannino nel 1973. Sposò l'attrice Sarah Ferrati, dalla quale ebbe la figlia Monica./ Luigi Infantino (April 24, 1921, Racalmuto – June 22, 1991, Rome) was an Italian operatic tenor, particularly associated with the lyric Italian and French repertories. Luigi Infantino studied at the Parma Conservatory with Italo Brancucci. He made his debut in 1943, at the Teatro Regio in Parma, as Rodolfo in La bohème, which was also his debut role at the Teatro San Carlo in Naples, in 1945. With that company, he appeared in London as the Duke in Rigoletto, and Rodolfo. In 1948, he made his debut at the Teatro alla Scala in Milan, as Nadir in Les pêcheurs de perles, later singing Ramiro in La cenerentola, which he also sang that same year at the Verona Arena. The tenor sang regularly in Naples and Bologna, and made guest appearances at the New York City Opera in 1947: La traviata (with Enzo Mascherini as Giorgio), Rigoletto (opposite Giuseppe Valdengo and Virginia MacWatters), Madama Butterfly, La bohème, Il barbiere di Siviglia (conducted by Julius Rudel) and Don Giovanni. In 1949, the tenor went on a concert-tour of England and Australia. In 1954, at the Teatro Fenice in Venice, Infantino sang Edgardo to the Lucia of Maria Callas, in Lucia di Lammermoor. At the Teatro dell'Opera di Roma, he created Amleto, by Mario Zefred, in 1961, and La stirpe di Davide by Franco Mannino, in 1962. In 1964 Infantino reprised his role of Edgardo at the Bombay Opera in India, with soprano Celia Baptista as his Lucia. He was also active throughout his career singing on Italian Radio (RAI), where he gave his last performance in 1973, in Mannino's Il diavolo in giardino. A stylish lyric tenor with an attractive voice, Infantino can be heard in complete recordings of La traviata (EMI, 1946) and Il barbiere di Siviglia (Cetra, 1950, opposite Giuseppe Taddei and Giulietta Simionato). There is also a live recording of Die Meistersinger von Nürnberg, sung in Italian (Melodram, 1962). .
Virginia Macwatters Menotti Richard Strauss New York City Opera Olympia Covent Garden 1912 1916 1918 1933 1935 1941 1942 1944 1946 1951 1957 1979 2005
~The "Glass Shatterers!" series focuses on sopranos who sustain High F, or sing higher. THE SONGBIRD: Virginia MacWatters (1912 – 2005) was born in Philadelphia. She began her musical studies on the piano at the age of eight, then began voice lessons at age 12. She received a scholarship to the Curtis Institute of Music and took second prize in the Met's Auditions of the Air in 1941. From 1942 to 1944, MacWatters did over 600 performances on Broadway in the role of Adele in "Rosalinda,” an adaptation of "Die Fledermaus.” She made her formal operatic debut in San Francisco as Musetta in 1944 and her debut at the fledgling New York City Opera in 1946. She was a leading coloratura soprano there until 1951 (Mabel, Gilda, Rosina, Susanna, Olympia, Zerbinetta, and the role of Laetitia in Menotti's "The Old Maid and the Thief"). MacWatters sang Manon and Sophie in the first season at Covent Garden following World War II, and then sang Adele, Fiakermilli, and Musetta at The Met +••.••(...)). She began teaching voice at Indiana University in the late 1950s, and in 1979 was awarded the Frederic Bachman Lieber Memorial Award for excellence in teaching. This rare recording was made privately in the 1950s with only piano accompaniment / I vaguely recall it might be a special-issue disc from the Vocal Record Collector's Society, but I can't find any definitive source information. THE MUSIC: Richard Strauss's opera "Ariadne auf Naxos" premiered twice. The first was in 1912 in Stuttgart where it was conceived as a short opera to accompany a new adaption of Moliere's play, "Le Bourgeois gentilhomme." This version was performed in other cities over the next year (Zurich, Munich, Prague, and London), but the play/opera hybrid concept proved ineffective (and way too long at over six hours). Working with his librettist/partner Hugo von Hofmannsthal, Strauss refashioned the opera as a stand-alone work with a newly added prologue, which premiered in this new form to success in Vienna in 1916. This version of the opera was embraced by critics, artists, and the public / it has since been recorded commercially many times and is performed regularly around the world. Only rarely have there been staged or even concert productions of the earlier 1912 version of the opera and there is only one commercial recording. One of the changes Strauss made for the 1916 score was to lower the key and cut or alter about four minutes of music from Zerbinetta's grand aria "Grossmächtige Prinzessin." (In this video, I have roughly marked the three sections of deleted or altered music). Both versions are insane, but the original version is incomprehensibly difficult at over 14 minutes in length and with a gruelingly high tessitura, including two High F-sharps. In either version, the scene demands a level of virtuosic musicianship and theatrical flair that is simply unmatched. Zerbinetta is a coloratura soubrette on steroids! In this scene and role, Strauss invented an entirely new musical language to exploit the unique glories of the coloratura soprano voice. He revisited this proprietary mode of highly gymnastic vocalism a few other times afterwards: in the art song "Amor" (1918), with Fiakermilli in "Arabella" (1933), and for Aminta in "Die schweigsame Frau" (1935).
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