Washington National Opera Vidéos
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2024-04-10
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Leoncavallo Emiliya Pavlovskaya Alexander Dodonov Esposito Enrico Caruso John McCormack Drury Tchaikovsky Bolshoi Mariinsky Theatre Washington National Opera Metropolitan Opera 1882 1903 1904 1907 1910 1911 1912 1914 1917 1926 1929 1932 1944
'Mattinata' was recorded in Paris on 28 May 1912. From Wikipedia: Dimitri Alexeyevich Smirnoff November 19 [O.S. November 7] 1882 – April 27, 1944) was a leading Russian operatic tenor with a lyric voice and a bravura singing technique. A Muscovite, Smirnoff was a student of Emiliya Pavlovskaya and Alexander Dodonov. He made his début in St Petersburg in 1903 as Gigi in Eugenio Domenico Esposito's La Camorra. The venue was the Hermitage Theatre. In 1904, Smirnoff became a member of the Bolshoi company in Moscow, singing there until 1910. He then sang at the Mariinsky Theatre, St Petersburg, from 1911 to 1917. (He had first appeared at the Mariinsky in 1907.) Smirnoff made his French début at the Paris Opéra in 1907. His successful Parisian performances led to an invitation for him to appear at the Metropolitan Opera, where he sang in 1911–12. Competition from the celebrated international tenors Enrico Caruso and John McCormack, who were also singing at the Met at that time, resulted in Smirnoff's achieving limited success with New York audiences. In 1914, he performed in the 'Russian Seasons' at London's Theatre Royal, Drury Lane. He would not sing in the United States again except for two performances of Tchaikovsky's The Queen of Spades with the Washington National Opera—a semi-professional company not related to its present namesake—in 1926. The tenor left his native land after the Russian Revolution of 1917, preferring to continue his career in the West. Among the cities which he visited were Berlin, Monte Carlo, Milan, Rome, Madrid and Buenos Aires. In 1929, he returned to the Soviet Union for a concert tour. Smirnoff became a citizen of the Estonian Republic on 4 February 1932, and took an active part as a soloist in the opera theatre, 'Estonia.' He taught singing in London and Athens and later retired to Riga (then USSR, now Latvia), where he died in 1944, aged 61. Smirnoff was equally comfortable performing lyric roles in Russian, French or Italian opera. His voice was plaintive in tone with easy high notes, great breath control, and a distinctive vibrato...
Alexandria Shiner Alexander McKissick Hewitt Ainsley Washington National Opera 2017 2018
Join us for the second Millennium Stage concert of the Cafritz Young Artist Program 2017–2018 recital series! Soprano Alexandria Shiner, mezzo-soprano Eliza Bonet, tenor Alexander McKissick, and baritone Michael Hewitt from Washington National Opera’s Cafritz Young Artist Program present a recital of art song and concert works, exploring the relationship between text and music, poet and composer, pianist and voice. This recital is an intimate window into the many facets of an opera singer’s artistry, showcasing the talents of some of the finest young singers in the country, with piano accompaniment by pianist Christopher Koelzer and introductions by Program Director Robert Ainsley. Subscribe to The Kennedy Center! (http•••)
Franz Liszt Molli Ozi Rebel Washington National Opera 1852
It is exceptionally rare that we have the opportunity to hear a previously unknown work by a major composer, but that is precisely what the Library of Congress offered in its presentation of the piano/vocal version of Franz Liszt’s Sardanapalo. Scholar and pianist David Trippett has reconstructed one act of an opera composed by Franz Liszt that the composer abandoned in 1852. This video features excerpts of this beautiful and exciting work from Trippett’s piano/vocal performance version of the piece presented at the Library. Trippett as pianist and director is joined by singers from the Domingo-Cafritz Young Artists Program of the Washington National Opera and the Washington Master Chorale. LISZT/TRIPPETT - Selections from Sardanapalo [0:28] 1) Act 1, scene i: “Al core affranto della schiava infelice” Mirra, broken-hearted, laments the loss of her homeland, and begins to weep. [1:36] 2) Act 1, scene i: “Di rose e pampini ghirlanda il crine” The chorus of concubines worships Mirra, as the king’s favorite, wishing for her a life of boundless ecstasy and angelic kisses. [4:35] 3) Act 1, scene ii: “Giù pel piano, sull’erto sentiero” In a melancholic cavatina, Mirra wanders by a peaceful brook and recalls a dream of home, evoking her mother’s smile. But this vanishes, as she protests at being riven between her former home and present involvement with the Assyrian king, calling herself a “slave, alone, plaything of fate.” [8:07] 4) Act 1, scene ii: “Ahi! nell’ ansio rapimento il suo sguardo m’affisò” Mirra’s cabaletta recalls joyfully how she fell in love with the king; his gaze, her “indescribable contentment” at being chosen, and the blissful happiness they found. She weeps tears of happiness. [11:41] 5) Act 1, scene iii: “Parla! Parla! Ah, tua voce è un incanto” King Sardanapalo walks in on Mirra looking distressed, and implores her to share her troubles. Trembling, she doesn’t dare, confessing “I forget myself in you.” He seeks to console her. Blushing, she confesses she cannot but love him, saying “this ill-fated flame brings me nothing but shame.” Undeterred, the King blesses their love, and seeks a long happiness together, but Mirra worries about his wife’s wrath. [20:43] 6) Act 1, scene iv: “e in molli ozi travolgi? La voce del dovere in te non scende?” Beleso, a priest and elder statesman, enters warning of war, and mocks the king for his indulgences and for ignoring the inner voice of duty. An ancient line of kings (“the eternal elect”) will end, Beleso warns, unless the King heeds his words. The King, in turn, advises him to watch his tongue. [22:55] 7) Act 1, scene iv: “Oh perchè, perchè quell core” After the King laments that every glory is a lie if it is bought by human suffering, Mirra wonders aloud why he is not driven to defeat the rebel satraps plotting to overthrow him. Beleso urges action, and Mirra believes her love will awaken him to noble valor. [26:17] 8) Act 1, scene iv: “Non è vasta assai la terra” The King, finally, accepts peace is impossible, and agrees to go to war. Immediately, Beleso summons the parliament and calls for rapid action, predicting dark revenge on the rebels. A closing trio sees the King growing more contented as military ruler, Mirra praising his new noble demeanor, and Beleso beating the drums of war as the army mobilizes and begins to march into battle. For more information, visit (http•••)
Johanna Gadski Gioachino Rossini Bayreuth Walter Damrosch Mabel Riegelman Engelbert Humperdinck Bayreuth Festival Covent Garden Washington National Opera Damrosch Opera Company Metropolitan Opera 1870 1872 1889 1895 1896 1898 1899 1900 1901 1902 1903 1904 1905 1906 1907 1910 1911 1917 1921 1922 1925 1928 1929 1931 1932
Johanna Gadski - Stabat Mater - Inflammatus - Gioachino Rossini - G.&.T.03093 enregistré le 30 septembre 1910 Johanna Gadski (15 June 1872 – 22 February 1932) was a German soprano. She was blessed with a secure, powerful, ringing voice, fine musicianship and an excellent technique. These attributes enabled her to enjoy a top-flight career in New York City and London, performing heavy dramatic roles in the German and Italian repertoires. She was born in Anklam, Prussia on 15 June 1872, according to most references, but birth records still extant at the Evangelical Church of Saint Mary, Anklam, Germany, state that Johanna Wilhelmine Agnes Emilie Gadski was born on June 15, in 1870. After receiving a musical education in Stettin, she made her operatic debut in Berlin in 1889 in the role of Undine. Highlights of her subsequent career in Germany included appearances in Wagner's works at the 1899 Bayreuth Festival and at the 1905/06 Munich Festival. However, it was in English-speaking countries that Gadski built her international reputation as a diva. She made her successful American debut in New York in 1895 with the Damrosch Opera Company and became popular, too, in England. In 1896 she created the role of Hester Prynne in the fully staged premiere of Walter Damrosch's opera The Scarlet Letter in Boston. She sang in London at the Royal Opera House, Covent Garden, in 1899, 1900, 1901 and 1906. Some sources credit her with appearing at England's Worcester Festival but this is an error. Actually, she sang at America's Worcester festivals, held in the American state of Massachusetts during the late 1890s. Gadski was an extremely popular recitalist and, in 1899 to 1900, she capitalised on this business opportunity by embarking on a concert tour of the United States. She had also joined the star-studded roster of singers at the New York Metropolitan Opera, singing there from 1898 to 1904 and again from 1907 to 1917. Around 1902 she met Mabel Riegelman, a young soprano in San Francisco, and brought Mabel and her sister Ruby Riegelman (who was also her chaperone and accompanist) to Berlin in 1903 as her guest, then settling the two sisters in Stettin to continue their musical studies. In 1911 Gadski and Mabel Riegelman took the SS Kaiser Wilhelm II to New York City, where Gadski arranged for her star pupil Mabel Riegelman to debut as Gretel in Engelbert Humperdinck's Hansel and Gretel. At the height of World War I, however, she was obliged to resign from the Metropolitan Opera because of her German links. Legend has it that she was deported from the United States as an alien enemy but this is not true. She spent the duration of the war living quietly in New York and Lake Spofford, New Hampshire, and did not revisit Germany until 1922. Gadski resumed her professional concert career in the United States in 1921. She did not return to the operatic stage, however, until the late 1920s; her first such appearance being in a 1928 production of Die Walküre mounted by the Washington National Opera, a semi-professional company not related to its present namesake.[1] Thereafter, in the years 1929 to 1931, she toured as the star of the German Grand Opera Company. By this late date, however, her voice had been eroded by advancing age and strenuous use in her early years. A United States citizen since 1925, she was visiting Germany when she died in a car accident in Berlin on 22 February 1932 Source:Wikipedia
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