Deutsche Oper Berlin Vidéos
bâtiment de l'arrondissement de Charlottenburg-Wilmersdorf, Berlin, Allemagne
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2024-06-05
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Pilar Lorengar Giuseppe Giacomini Sherrill Milnes Giacomo Puccini Ivan Sardi Loren Driscoll Nikolic Klaus Lang Deutsche Oper Berlin 1984
TOSCA Dramma per musica in tre atti di Giacomo Puccini. Libretto di Luigi Illica e Giuseppe Giacosa, dal dramma di Victorien Sardou. Mario Cavaradossi: Giuseppe Giacomini Cesare Angelotti: Ivan Sardi Baron Scarpia: Sherrill Milnes Floria Tosca: Pilar Lorengar Spoletta: Loren Driscoll Sciarrone: Miomir Nikolic Il sagrestano: Klaus Lang Un carceriere: Leopold Calm Un pastore: not recorded Chor und Orchester der Deutschen Oper Berlin Johan M. Arnell Berlin, Deutsche Oper Berlin, 15. Oktober 1984 First minutes of acts 1 and 3 missing Analogue in-house recording, pitch corrected to a=447 Hz 3 FLAC files: (http•••)
Aagaard Oestvig Zemlinsky Hoffmann Maria Rajdl Berg Richard Strauss Schein Staatsoper Bayerische Staatsoper Deutsche Oper Berlin Staatsoper Stuttgart Theater Basel Carltheater 1889 1914 1919 1922 1926 1927 1930 1933 1942 1944 1946 1968
Karl Aagaard Oestvig +••.••(...)) was a Norwegian tenor whose brief career took him to many of the major operatic stages of Central Europe. Born Carl August Engelhard Aagaard-Østvig in Oslo, he received his musical and vocal training in Germany, primarily at Cologne’s Hochschule für Musik. After completing his studies, Oestvig received a contract from Staatsoper Stuttgart, where he made his debut in 1914. The following year, he created the roles of the Lay Brother and Giovanni de Salviati in the world premiere of Max von Schilling’s Mona Lisa. During his five years with the Staatsoper, Oestvig (he had abandoned Østvig in favor of a more Germanic stage name) sang a variety of roles and made guest appearances at the Theater Basel and the Bayerische Staatsoper. In 1919, the tenor accepted a contract with the Vienna Staatsoper. In October of that same year, Oestvig created the role of the Emperor in the world premiere of Strauss’ Die Frau Ohne Schatten. Three years later, he sang the title role in Zemlinsky’s Der Zwerg at its Vienna premiere. The tenor became a favorite of Viennese audiences, singing such roles as Manrico in Il Trovatore, Pinkerton in Madama Butterfly, Cavaradossi in Tosca and the title role in Les Contes d’Hoffmann. In 1926, Oestvig was invited to appear in an operetta at Vienna’s Carltheater. The Staatsoper refused to let the tenor accept the contract, which led to tremendous tension with the management. Oestvig, who had previously been allowed to accept concert engagements throughout Europe and North America, considered the management’s reaction unreasonable and resigned from the Staatsoper. He appeared in Budapest and Hamburg before accepting a contract with Deutsche Oper Berlin in 1927. Oestvig spent three years with the company but by this point, his voice was noticeably deteriorating. His contract was allowed to quietly expire in 1930, after which he relocated to Dresden. In the fall of 1930, Oestvig sailed to North America for a series of performances in Chicago. In October of the following year, he crossed the Atlantic for the last time for appearances in Buenos Aires and New York. Oestvig returned to the Deutsche Oper Berlin for one final performance in 1933 and retired from the stage at the early age of 44. Following his departure from the opera world, Oestvig spent the rest of the 1930s working as a voice teacher and opera coach along with his second wife, soprano Maria Rajdl. The war years were particularly troubling for Oestvig. Although he accepted a position as stage director with The National Theatre of Oslo in 1942, this was during the German occupation, a particularly turbulent time in the theater’s history. Audiences often boycotted the company’s performances and rumors circulated that Oestvig was a Nazi sympathizer. The ex-tenor’s 19 year old son, up and coming film actor Karl Aagaard Østvig, Jr., was killed on the Eastern front on Christmas Day, 1944. After the war, Oestvig was labeled a Nazi collaborator and stripped of his post with the theater. That same year (1946), the National Theatre’s director, Gustav Berg-Jæger, was arrested and imprisoned as a Nazi collaborator. Despite his protestations, the tenor was also imprisoned, albeit briefly. Following his release (and, it would seem, exoneration), returned to his home in Oslo. Embittered by his experiences, the aging singer withdrew from public life and concentrated on teaching and coaching for the final two decades of his life. Oestvig passed away in Oslo on July 21, 1968 at the age of 79. Karl Aagaard Oestvig is still considered one of the greatest tenors that Norway ever produced. He began his career in lyric roles but was quickly lured into the Wagnerian repertoire, taking on such roles as Parsifal, Siegmund and Tannhäuser. Although he possessed a baritonal timbre from the beginning, the assumption of such dramatic roles at so early an age may not have been a wise choice. By the time he reached his early 30s, Oestvig’s voice had begun to thicken and a noticeable wobble crept into his tone. At 44, his singing days were over, perhaps providing a lesson illustrating the perils of succumbing to the temptation of too heavy a repertoire. In spite of his later vocal issues, Oestvig was greatly admired by Richard Strauss for his portrayals of Bacchus in Ariadne auf Naxos and the Emperor in Die Frau Ohne Schatten. The tenor also excelled in such roles as Canio in Pagliacci, Max in Jonny Spielt Auf, Don José in Carmen, Pedro in Tiefland, Walther in Die Meistersinger and the title role in Lohengrin. His catalogue of recordings is small, consisting of all too few titles made during the early 1920s for The Gramophone Company in Berlin. These discs showcase a dark, robust instrument, probably a full spinto by nature, with an impressive lower and middle range. Here, Oestvig sings the Preislied, “Morgenlich leuchtend im rosigen Schein” from Wagner’s Die Meistersinger. This recording was made in Berlin in 1922.
Aagaard Oestvig Zemlinsky Hoffmann Maria Rajdl Berg Richard Strauss Staatsoper Bayerische Staatsoper Deutsche Oper Berlin Staatsoper Stuttgart Theater Basel Carltheater 1889 1914 1919 1922 1926 1927 1930 1933 1942 1944 1946 1968
Karl Aagaard Oestvig +••.••(...)) was a Norwegian tenor whose brief career took him to many of the major operatic stages of Central Europe. Born Carl August Engelhard Aagaard-Østvig in Oslo, he received his musical and vocal training in Germany, primarily at Cologne’s Hochschule für Musik. After completing his studies, Oestvig received a contract from Staatsoper Stuttgart, where he made his debut in 1914. The following year, he created the roles of the Lay Brother and Giovanni de Salviati in the world premiere of Max von Schilling’s Mona Lisa. During his five years with the Staatsoper, Oestvig (he had abandoned Østvig in favor of a more Germanic stage name) sang a variety of roles and made guest appearances at the Theater Basel and the Bayerische Staatsoper. In 1919, the tenor accepted a contract with the Vienna Staatsoper. In October of that same year, Oestvig created the role of the Emperor in the world premiere of Strauss’ Die Frau Ohne Schatten. Three years later, he sang the title role in Zemlinsky’s Der Zwerg at its Vienna premiere. The tenor became a favorite of Viennese audiences, singing such roles as Manrico in Il Trovatore, Pinkerton in Madama Butterfly, Cavaradossi in Tosca and the title role in Les Contes d’Hoffmann. In 1926, Oestvig was invited to appear in an operetta at Vienna’s Carltheater. The Staatsoper refused to let the tenor accept the contract, which led to tremendous tension with the management. Oestvig, who had previously been allowed to accept concert engagements throughout Europe and North America, considered the management’s reaction unreasonable and resigned from the Staatsoper. He appeared in Budapest and Hamburg before accepting a contract with Deutsche Oper Berlin in 1927. Oestvig spent three years with the company but by this point, his voice was noticeably deteriorating. His contract was allowed to quietly expire in 1930, after which he relocated to Dresden. In the fall of 1930, Oestvig sailed to North America for a series of performances in Chicago. In October of the following year, he crossed the Atlantic for the last time for appearances in Buenos Aires and New York. Oestvig returned to the Deutsche Oper Berlin for one final performance in 1933 and retired from the stage at the early age of 44. Following his departure from the opera world, Oestvig spent the rest of the 1930s working as a voice teacher and opera coach along with his second wife, soprano Maria Rajdl. The war years were particularly troubling for Oestvig. Although he accepted a position as stage director with The National Theatre of Oslo in 1942, this was during the German occupation, a particularly turbulent time in the theater’s history. Audiences often boycotted the company’s performances and rumors circulated that Oestvig was a Nazi sympathizer. The ex-tenor’s 19 year old son, up and coming film actor Karl Aagaard Østvig, Jr., was killed on the Eastern front on Christmas Day, 1944. After the war, Oestvig was labeled a Nazi collaborator and stripped of his post with the theater. That same year (1946), the National Theatre’s director, Gustav Berg-Jæger, was arrested and imprisoned as a Nazi collaborator. Despite his protestations, the tenor was also imprisoned, albeit briefly. Following his release (and, it would seem, exoneration), returned to his home in Oslo. Embittered by his experiences, the aging singer withdrew from public life and concentrated on teaching and coaching for the final two decades of his life. Oestvig passed away in Oslo on July 21, 1968 at the age of 79. Karl Aagaard Oestvig is still considered one of the greatest tenors that Norway ever produced. He began his career in lyric roles but was quickly lured into the Wagnerian repertoire, taking on such roles as Parsifal, Siegmund and Tannhäuser. Although he possessed a baritonal timbre from the beginning, the assumption of such dramatic roles at so early an age may not have been a wise choice. By the time he reached his early 30s, Oestvig’s voice had begun to thicken and a noticeable wobble crept into his tone. At 44, his singing days were over, perhaps providing a lesson illustrating the perils of succumbing to the temptation of too heavy a repertoire. In spite of his later vocal issues, Oestvig was greatly admired by Richard Strauss for his portrayals of Bacchus in Ariadne auf Naxos and the Emperor in Die Frau Ohne Schatten. The tenor also excelled in such roles as Canio in Pagliacci, Max in Jonny Spielt Auf, Don José in Carmen, Pedro in Tiefland, Walther in Die Meistersinger and the title role in Lohengrin. His catalogue of recordings is small, consisting of all too few titles made during the early 1920s for The Gramophone Company in Berlin. These discs showcase a dark, robust instrument, probably a full spinto by nature, with an impressive lower and middle range. Here, Oestvig sings “Am stillen Herd” from Wagner’s Die Meistersinger. This recording was made in Berlin for The Gramophone Company in 1922.
Aagaard Oestvig Zemlinsky Hoffmann Maria Rajdl Berg Richard Strauss Staatsoper Bayerische Staatsoper Deutsche Oper Berlin Staatsoper Stuttgart Theater Basel Carltheater 1889 1914 1919 1922 1926 1927 1930 1933 1942 1944 1946 1968
Karl Aagaard Oestvig +••.••(...)) was a Norwegian tenor whose brief career took him to many of the major operatic stages of Central Europe. Born Carl August Engelhard Aagaard-Østvig in Oslo, he received his musical and vocal training in Germany, primarily at Cologne’s Hochschule für Musik. After completing his studies, Oestvig received a contract from Staatsoper Stuttgart, where he made his debut in 1914. The following year, he created the roles of the Lay Brother and Giovanni de Salviati in the world premiere of Max von Schilling’s Mona Lisa. During his five years with the Staatsoper, Oestvig (he had abandoned Østvig in favor of a more Germanic stage name) sang a variety of roles and made guest appearances at the Theater Basel and the Bayerische Staatsoper. In 1919, the tenor accepted a contract with the Vienna Staatsoper. In October of that same year, Oestvig created the role of the Emperor in the world premiere of Strauss’ Die Frau Ohne Schatten. Three years later, he sang the title role in Zemlinsky’s Der Zwerg at its Vienna premiere. The tenor became a favorite of Viennese audiences, singing such roles as Manrico in Il Trovatore, Pinkerton in Madama Butterfly, Cavaradossi in Tosca and the title role in Les Contes d’Hoffmann. In 1926, Oestvig was invited to appear in an operetta at Vienna’s Carltheater. The Staatsoper refused to let the tenor accept the contract, which led to tremendous tension with the management. Oestvig, who had previously been allowed to accept concert engagements throughout Europe and North America, considered the management’s reaction unreasonable and resigned from the Staatsoper. He appeared in Budapest and Hamburg before accepting a contract with Deutsche Oper Berlin in 1927. Oestvig spent three years with the company but by this point, his voice was noticeably deteriorating. His contract was allowed to quietly expire in 1930, after which he relocated to Dresden. In the fall of 1930, Oestvig sailed to North America for a series of performances in Chicago. In October of the following year, he crossed the Atlantic for the last time for appearances in Buenos Aires and New York. Oestvig returned to the Deutsche Oper Berlin for one final performance in 1933 and retired from the stage at the early age of 44. Following his departure from the opera world, Oestvig spent the rest of the 1930s working as a voice teacher and opera coach along with his second wife, soprano Maria Rajdl. The war years were particularly troubling for Oestvig. Although he accepted a position as stage director with The National Theatre of Oslo in 1942, this was during the German occupation, a particularly turbulent time in the theater’s history. Audiences often boycotted the company’s performances and rumors circulated that Oestvig was a Nazi sympathizer. The ex-tenor’s 19 year old son, up and coming film actor Karl Aagaard Østvig, Jr., was killed on the Eastern front on Christmas Day, 1944. After the war, Oestvig was labeled a Nazi collaborator and stripped of his post with the theater. That same year (1946), the National Theatre’s director, Gustav Berg-Jæger, was arrested and imprisoned as a Nazi collaborator. Despite his protestations, the tenor was also imprisoned, albeit briefly. Following his release (and, it would seem, exoneration), returned to his home in Oslo. Embittered by his experiences, the aging singer withdrew from public life and concentrated on teaching and coaching for the final two decades of his life. Oestvig passed away in Oslo on July 21, 1968 at the age of 79. Karl Aagaard Oestvig is still considered one of the greatest tenors that Norway ever produced. He began his career in lyric roles but was quickly lured into the Wagnerian repertoire, taking on such roles as Parsifal, Siegmund and Tannhäuser. Although he possessed a baritonal timbre from the beginning, the assumption of such dramatic roles at so early an age may not have been a wise choice. By the time he reached his early 30s, Oestvig’s voice had begun to thicken and a noticeable wobble crept into his tone. At 44, his singing days were over, perhaps providing a lesson illustrating the perils of succumbing to the temptation of too heavy a repertoire. In spite of his later vocal issues, Oestvig was greatly admired by Richard Strauss for his portrayals of Bacchus in Ariadne auf Naxos and the Emperor in Die Frau Ohne Schatten. The tenor also excelled in such roles as Canio in Pagliacci, Max in Jonny Spielt Auf, Don José in Carmen, Pedro in Tiefland, Walther in Die Meistersinger and the title role in Lohengrin. His catalogue of recordings is small, consisting of all too few titles made during the early 1920s for The Gramophone Company in Berlin. These discs showcase a dark, robust instrument, probably a full spinto by nature, with an impressive lower and middle range. In this recording, Oestvig sings “Fanget an!” from Wagner’s Die Meistersinger. This was recorded in Berlin for The Gramophone Company in 1922.