Philip Glass The Hours Vidéos
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2024-04-26
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Elizabeth Harwood Kathleen Ferrier Lina Pagliughi Rossini Joan Sutherland Richard Strauss Scottish Opera Covent Garden Scala 1912 1916 1918 1933 1935 1938 1960 1961 1967 1969 1970 1971 1972 1975 1982 1990
~The "Glass Shatterers!" series focuses on sopranos who sustain High F, or sing higher. THE SONGBIRD: Elizabeth Harwood +••.••(...)) was raised in Yorkshire by musical parents / her mother was a professional soprano, Constance Read, and gave Harwood voice lessons. Harwood studied at the Royal Manchester College of Music and at the age of 21, she won the Kathleen Ferrier Memorial Scholarship and spent a year in Milan studying with Lina Pagliughi. Her professional debut came as Second Boy in "The Magic Flute" at Glyndebourne in 1960. She became a member of the Sadler's Wells company in 1961 where she sang Manon, Gilda, Rossini's Adele, Konstanze, Countess Rosina, Fiakermilli, and Zerbinetta. After a tour of Australia with Joan Sutherland's company in 1967, Harwood's regular appearances at the Scottish Opera began with Fiordiligi and continued with Sophie, Lucia, Rosalinde, and Eva (her only Wagner role). At Covent Garden in the 1960s and 1970s she sang Fiakermilli, Gilda, Oscar, Donna Elvira, Norina, Arabella, and Manon. For Glyndebourne, she was Fiordiligi, Countess Rosina, and, in 1982, the Marschallin. Appearances abroad included Aix-en-Provence (Donna Elvira in 1967, Galatea in 1969); Salzburg (Konstanze and Fiordiligi in 1970, Countess Rosina in 1972); The Met (Fiordiligi in 1975); and La Scala (Konstanze in 1971). Harwood died of cancer at age 52. This recording of the original 1912 version of Zerbinetta's aria from the BBC, with Norman Del Mar conducting, only exists in poor audio. I have long searched for a better quality file, and even had a contact who works in the audio archives of the BBC search for it there, but to no avail / so for now, this is the best we have. 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 quickly 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 this original version is incomprehensibly difficult at nearly 15 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).
Chopin Ji Ji Liu Lorin Maazel Holstein Henley Vasily Petrenko Petrenko Liszt Bach Bergmann Philip Glass Ludovico Einaudi Damian Iorio Gershwin National Centre Performing Arts Schleswig Holstein Musik Festival Seoul Arts Center Royal Albert Hall Royal Festival Hall Queen Elizabeth Hall Barbican Centre Wigmore Hall Colston Hall Sage Gateshead Liverpool Philharmonic Hall Carnegie Hall City Auditorium Royal Concertgebouw Amsterdam Opéra Monte Carlo Proms Verbier Festival Concert National Philharmonia Orchestra Royal Liverpool Philharmonic Orchestra 2010 2014 2015 2018 2019 2020 2021 2022
Chopin Piano Concerto in E Minor No.1, Op.11 00:25 Allegro maestoso 21:24 Romanze – Larghetto (E major) 31:25 Rondo – Vivace in E major 2020 Mercedes Benz New Year's Concert National Centre for the Performing Arts, Beijing NCPA Orchestra Chief Conductor - Lü Jia Piano - Ji Liu / China NCPA Orchestra is the resident orchestra of National Centre for the Performing Arts (NCPA), Beijing. Established in March 2010, the orchestra performs in more than a dozen opera productions presented by its home venue every year as well as in regular orchestral concerts in its own season. The orchestra has gained critical acclaim for its performances in the NCPA’s opera productions of not only classical repertoire, but works such as Tosca, Die Fledermaus, Lohengrin, Aida, Nabucco, but also newly commissioned works like The Chinese Orphan and The Rickshaw Boy. Their performance of the mammoth Ring Without Words with its creator, Lorin Maazel, was released on SONY Classics worldwide, the only recording the great maestro ever made with a Chinese orchestra. The NCPA Orchestra has flexed its wings on the international stage, receiving widespread international praise for its performances at the Kissingen Summer Music Festival and the Schleswig-Holstein Musik Festival and concerts in many cities throughout Germany as well as in Sydney, Singapore, Seoul, Daegu, Taipei and Macau. During the 2014/2015 season, the orchestra undertook its first North American tour, where it performed in seven major cities in the US and Canada, under their Chief Conductor Lü Jia. Most recently, in April 2019 the orchestra travelled to Seoul to perform the closing concert of Seoul Arts Center’s annual Orchestra Festival, celebrating its 30th anniversary. / A China-born UK-based pianist, composer and researcher, Ji Liu has performed at major UK venues and festivals, including Royal Albert Hall, Royal Festival Hall, Queen Elizabeth Hall, Barbican Centre and Wigmore Hall, Birmingham's Symphony Hall, Bristol's Colston Hall, Newcastle's Sage Gateshead, Liverpool Philharmonic Hall, etc. International venues and festivals such as Carnegie Hall and 92nd Street Y in New York City, Auditorium du Louvre in Paris, Royal Concertgebouw in Amsterdam, Salle Garnier Opéra de Monte-Carlo; Henley Festival, Leeds International Music Festival, Bath International Music Festival, Brighton Music Festival, Petworth Festival and Bristol Proms in the UK, Verbier Festival and Gstaad Festival in Switzerland and the Stavanger Chamber Music Festival in Norway. He has performed regularly with the Philharmonia Orchestra and has worked closely with the Royal Liverpool Philharmonic Orchestra, on its China tour under Vasily Petrenko and at the Royal Albert Hall and its opening season concerts at the Liverpool Philharmonic Hall. He also performs frequently with orchestras across Europe and China. In 2021, Ji Liu played at major concert venues throughout China performing Liszt's 12 Transcendental Etudes and Bach's keyboard works as well as his own compositions. He also performed the Chinese premiere of Boris Bergmann's The Richter Scale (dedicated to Ji Liu) and the Chinese premiere of Philip Glass's Complete Piano Etudes Books I and II. Ji Liu was the soloist giving the world premiere of Ludovico Einaudi's Piano Concerto with the Royal Liverpool Philharmonic Orchestra under Damian Iorio. He performed for His Royal Highness the Prince of Wales, the Royal Family, and other distinguished guests at Dumfries House as part of Classic FM's 25th birthday celebrations. As a prolific recording artist, Ji Liu's highlighted albums include Gershwin's Rhapsody in Blue with Royal Academy of Music Symphonic Brass and James Watson and the solo recording Piano Reflections released by Classic FM, which reached number one on the UK charts, Piano Encores, Pure Chopin and Fire and Water. Ji Liu has composed works for orchestra, choir, chamber ensemble and solo instruments. His compositions draw on diversified genres of improvisation, avant-garde techniques, classical Western forms and minimalism. His Fantasia: Frozen Starry (2021) was co-commissioned by Johnson & Johnson and WABC Foundation to support children with Autism. In 2022 Heresy Records released his composition Sonata Fantasy, The Book of Moments, a work in 21 chapters that is eighteen hours in length, the longest instrumental piece ever recorded. Ji Liu studied Piano Performance with Professor Christopher Elton and Composition with Professor Ruth Byrchmore at the Royal Academy of Music. He holds a PhD in Music from King’s College London and is a Guest Professor at Shenzhen University. Since 2018 Ji Liu has served as Head of Performance at the Kent International Piano Course.
Footage from February 2021 recording my vocals for Synergy's track "Satellites", with vocal engineering by Tyr Kohout at his studio in Toronto, Canada. In this video, you'll see us recording the lead vocals, working out harmonies, editing the best takes, and creating vocal FX. Our full studio session was almost 5 hours, so this is a condensed version for everyone's sake Synergy - "Satellites ft. flowanastasia" is OUT NOW on Pilot Records! You can listen to the finished track on UKF Drum & Bass → (http•••) Stream or download the track on all platforms → (http•••) Follow me online: Instagram → (http•••) Facebook → (http•••) Spotify → (http•••) Website (merch, lyrics & more) → (http•••) Follow Tyr Kohout: YouTube → (http•••) Instagram → (http•••) Facebook → (http•••) Spotify → (http•••) Follow Synergy: Facebook → (http•••) Instagram → (http•••) SoundCloud → (http•••) Patreon → (http•••) Follow Pilot Records: Facebook → (http•••) Instagram → (http•••) SoundCloud → (http•••) Twitter → (http•••)
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