Davide Banderali Video
tenore italiano
- tenore
- cantante lirico, insegnante di canto
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2024-05-01
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Giuditta Angiola Maria Costanza Pasta Donizetti Bellini Anna Bolena Castel Montserrat Caballé Carlo Felice Cillario Sills Julius Rudel Mariella Devia Rota Cecilia Bartoli Fischer Joan Sutherland Richard Bonynge Fedeli June Anderson Maria Callas Davide Banderali Girolamo Crescentini Ferdinando Paer Niccolò Antonio Zingarelli Carcano Rutherford London Symphony Orchestra National Philharmonic Orchestra Monte Carlo Philharmonic Orchestra Théâtre Italien Lyric Theatre 1797 1801 1816 1817 1819 1821 1824 1829 1830 1831 1837 1841 1848 1865
I. Anna Bolena: Act II: Piangete voi...Al dolce guidami castel natio 00:00 Donizetti, Gaetano +••.••(...)) -composer Montserrat Caballé -soprano Carlo Felice Cillario -conductor Barcelona Symphony Orchestra II. Anna Bolena: Act II: Cielo, a'miei lunghi spasimi...Coppia iniqua, l'estrema vendetta 10:02 Donizetti, Gaetano +••.••(...)) -composer Beverlsy Sills -soprano Julius Rudel -conductor London Symphony Orchestra III. La sonnambula: Act I: Care compagne, e voi...Sovra il sen la ma mi posa 17:40 Bellini, Vincenzo +••.••(...)) -composer Mariella Devia -soprano Marcello Rota -Conductor Orchestra della Svizzera Italiana IV. La sonnambula: Act II: Ah! non credea mirarti 27:14 Bellini, Vincenzo +••.••(...)) -composer Cecilia Bartoli -mezzosoprano Adam Fischer -conductor Orchestra La Scintilla V. La sonnambula: Act II: Ah! non giunge uman pensiero 31:33 Bellini, Vincenzo +••.••(...)) -composer Joan Sutherland -soprano Richard Bonynge -conductor The National Philharmonic Orchestra VI. Norma: Act I: Casta diva...Ah! bello a me ritorna 34:48 Bellini, Vincenzo +••.••(...)) -composer Montserrat Caballé -soprano Carlo Felice Cillario -conductor VII. Beatrice di Tenda: Act I: Oh! mie fedeli!...Ah! la pena in lor piombo 45:08 Bellini, Vincenzo +••.••(...)) -composer June Anderson -soprano Nicola Rescigno -conductor Monte Carlo Philharmonic Orchestra VIII. Beatrice di Tenda: Act II: Eccomi pronta...Deh! se un'urna e a me concessa...Ah! la morte a cui m'appresso 55:26 Bellini, Vincenzo +••.••(...)) -composer Joan Sutherland -soprano Richard Bonynge -conductor The National Philharmonic Orchestra Giuditta Angiola Maria Costanza Pasta +••.••(...)) was an Italian soprano considered among the greatest of opera singers, to whom the 20th-century soprano Maria Callas was compared. Pasta studied in Milan with Giuseppe Scappa and Davide Banderali and later with Girolamo Crescentini and Ferdinando Paer among others. In 1816 she made her professional opera début in the world première of Scappa's Le tre Eleonore at the Teatro degli Accademici Filodrammatici in Milan. Later that year she performed at the Théâtre Italien in Paris as Donna Elvira in Don Giovanni, Giulietta in Niccolò Antonio Zingarelli’s Giulietta e Romeo, and in two operas by Paer. Pasta's first appearance in London in 1817 was a failure. Further studies with Scappa were followed by a successful debut in Venice in 1819. She caused a sensation in Paris in 1821–22, where the immense range of her voice and her dramatic gifts were matched by poignancy of expression. he sang regularly in London, Paris, Milan and Naples between 1824 and 1837. In Milan she created three roles which were written for her voice. They were Donizetti's Anna Bolena given at the Teatro Carcano in 1830 (and which was that composer's greatest success to date) and both Amina in Bellini's La sonnambula and Norma in 1831, which became three of her major successes. "Stendhal had argued persuasively in 1824 for the necessity of a score composed expressly for Pasta" writes Rutherford who states that "only in such a work could the singer achieve the fullest articulation of her talents and become, as it were, music itself." In 1829 named cantante delle passioni by Carlo Ritorni, one of the most erudite critics of the period, he described her as such because her voice was directed "towards expressing the most intense passions, accompanying it with expressions of physical action, unknown before her in the lyric theatre" After 1841 Pasta lived in retirement at her Lake Como villa and in Milan, devoting herself to advanced vocal instruction, which she was eminently qualified to impart. Pasta died in Blevio, a town in the province of Como on 1 April 1865, at the age of 67. Source: (http•••)
Félia Litvinne Barthe Banderali Pauline Viardot Victor Maurel Verdi Devriès Mapleson Meyerbeer Mozart Massenet Wagner Camille Saint Saëns Camille Erlanger Gluck Enrico Caruso Nina Koshetz Germaine Lubin Théâtre Italien Scala Fenice Covent Garden Théâtre Monnaie Metropolitan Opera 1860 1883 1885 1886 1896 1903 1915 1919 1924 1933 1936
Felia Litvinne - Le Cid - Pleurez mes yeux - G&T. 33158 enregistré en 1903 Félia Litvinne (October 11, 1860, Saint Petersburg – October 12, 1936, Paris) was a Russian-born, French-based dramatic soprano. She was particularly associated with Wagnerian roles, although she also sang a wide range of parts by other opera composers. Born in Russia as Françoise Jeanne Schutz into a family of German and French Canadian origin (her mother was born in the Province of Quebec), she came to Paris to study with Barthe-Banderali, Pauline Viardot and Victor Maurel. She made her stage debut at the Théâtre-Italien in 1883, as Amelia in Verdi's Simon Boccanegra, as a last-minute replacement for Fidès Devriès. Shortly afterwards, she made her official debut as Elvira in Ernani (also by Verdi). Litvinne's career rapidly became international in scope. During the course of the next three decades she appeared at the Academy of Music in New York, at the Paris Opera, at La Scala in Milan, at the Rome Opera, at La Fenice in Venice, at the Royal Opera House, Covent Garden, in London and at the Théâtre de la Monnaie in Brussels. Tsarist Russia's two main cities, Moscow and Saint Petersburg, experienced her vocal artistry as well. Livinne first sang in New York in 1885-1886 with the Mapleson Company. She made her Metropolitan Opera debut in that city on November 25, 1896, as Valentine in Meyerbeer's grandest work, Les Huguenots. She sang at the Met for only one season, however. Her other roles there included Verdi's Aida, Mozart's Donna Anna, Massenet's Chimène, Meyerbeer's Sélika, and Wagner's Brünnhilde and Isolde. Paris became Litvinne's base. She took part in the premieres of three works by Camille Saint-Saëns, Hélène, L'ancêtre and Déjanire, as well as of Camille Erlanger's Bacchus triomphant. Livinne also won acclaim for her splendid singing in revivals of two 18th-century operas by Gluck, namely Alceste and Armide. In 1915, she sang Aida at Monte Carlo opposite Enrico Caruso. Her last operatic appearances were at Vichy in 1919 but she continued giving recitals until 1924. In retirement, she taught at the American Conservatory in Fontainebleau. Among her pupils were the sopranos Nina Koshetz and Germaine Lubin. She published a book of Conseils et exercices in 1924 while her autobiography, Ma vie et mon art, was released in 1933. She died in Paris three years later, just after her 76th birthday. Litvinne was regarded widely as being one of the greatest dramatic sopranos of the late 19th century and the early 20th century. She possessed an excellent technique and a strong, flexible and resonant voice. Her low and middle registers had a mezzo-soprano like coloration and were particularly impressive but her top notes did not always ring out with total freedom, if her records are any guide. Litvinne was not famous in her lifetime as a singing-actress but she commanded a stately stage presence. Source : Wikipedia
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- cronologia: Cantanti lirici.
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