Thomas Beecham Video
direttore d'orchestra e compositore britannico
- musica classica
- Regno Unito
- direttore d'orchestra
Ultimo aggiornamento
2024-05-21
Aggiorna
Feodor Ivanovich Chaliapin Clarke Bourdon Dmitri Usatov Gounod Sergei Rachmaninoff Mussorgsky Boito Arturo Toscanini Sir Thomas Beecham Pabst Private Opera Bolshoi Theatre Scala Metropolitan Opera 1847 1872 1873 1894 1896 1899 1901 1907 1913 1914 1918 1921 1926 1927 1929 1931 1932 1933 1937 1938 1943 1984
Feodor Chaliapin sings - in English - 'The Blind Ploughman,' with orchestra conducted by Rosario Bourdon, recorded by Victor in the Church Building at Camden, New Jersey, on 18 March 1927. From Wikipedia: Feodor Ivanovich Chaliapin... February 13 [O.S. February 1] 1873 – April 12, 1938) was a Russian opera singer. Possessing a deep and expressive bass voice, he enjoyed an important international career at major opera houses and is often credited with establishing the tradition of naturalistic acting in his chosen art form... Feodor Chaliapin was born into a peasant family...His vocal teacher was Dmitri Usatov +••.••(...)). Chaliapin began his career at Tbilisi and at the Imperial Opera in Saint Petersburg in 1894. He was then invited to sing at the Mamontov Private Opera (1896–1899); he first appeared there as Mephistopheles in Gounod's Faust, in which role he achieved considerable success. At Mamontov Chaliapin met Sergei Rachmaninoff +••.••(...)), who was serving as an assistant conductor there and with whom he remained friends for life. Rachmaninoff taught him much about musicianship, including how to analyze a music score, and insisted that Chaliapin learn not only his own roles but also all the other roles in the operas in which he was scheduled to appear. With Rachmaninoff he learned the title role of Mussorgsky's Boris Godunov, which became his signature character. Chaliapin returned the favour by showing Rachmaninoff how he built each of his interpretations around a culminating moment or 'point.' Regardless of where that point was or at which dynamic within that piece, the performer had to know how to approach it with absolute calculation and precision; otherwise, the whole construction of the piece could crumble and the piece could become disjointed. Rachmaninoff put this approach to considerable use when he became a full-time concert-pianist after World War I. On the strength of his Mamontov appearances, the Bolshoi Theatre in Moscow engaged Chaliapin, and he appeared there regularly from 1899 until 1914. During the First World War of 1914-1918 Chaliapin also appeared regularly at the Zimin Private Opera in Moscow. In addition, from 1901, Chaliapin began touring in the West, making a sensational debut at La Scala that year as the devil in a production of Boito's Mefistofele, under the baton of one of the 20th century's most dynamic opera conductors, Arturo Toscanini. At the end of his career, Toscanini observed that the Russian bass was the greatest operatic talent with whom he had ever worked. The singer's Metropolitan Opera debut in the 1907 season was disappointing due to the unprecedented frankness of his stage acting; but he returned to the Met in 1921 and sang there with immense success for eight seasons, New York's audiences having grown more broad-minded since 1907. In 1913 Chaliapin was introduced to London and Paris by the brilliant entrepreneur Sergei Diaghilev +••.••(...)), at which point he began giving well-received solo recitals in which he sang traditional Russian folk-songs as well as more serious fare... Chaliapin toured Australia in 1926, giving a series of recitals which were highly acclaimed...[He remained] perpetually outside Russia after 1921. He still maintained, however, that he was not anti-Soviet. Chaliapin initially moved to Finland and later lived in France. Cosmopolitan Paris, with its significant Russian émigré population, became his base, and ultimately, the city of his death. He was renowned for his larger-than-life carousing during this period, but he never sacrificed his dedication to his art. Chaliapin's attachment to Paris did not prevent him from pursuing an international operatic and concert career in England, the United States, and further afield. In May 1931 he appeared in the Russian Season directed by Sir Thomas Beecham at London's Lyceum Theatre. His most famous part was the title role of Boris Godunov (excerpts of which he recorded 1929–31 and earlier)... Largely owing to his advocacy, Russian operas...became well known in the West. Chaliapin made one sound film for the director G. W. Pabst, the 1933 Don Quixote. The film was made in three different versions – French, English, and German, as was sometimes the prevailing custom. Chaliapin starred in all three versions, each of which used the same script, sets, and costumes, but different supporting casts... In 1932, Chaliapin published a memoir, Man and Mask: Forty Years in the Life of a Singer... Chaliapin's last stage performance took place at the Monte Carlo Opera in 1937, as Boris. He died the following year of leukaemia, aged 65, in Paris, where he was interred. In 1984, his remains were transferred from Paris to Moscow in an elaborate ceremony. They were re-buried in the Novodevichy Cemetery... I transferred this side from an Australian laminated pressing of HMV DA 993.
Vladimir Samoylovich Horowitz Chopin Bach Debussy Schumann Alexander Scriabin Sergei Rachmaninoff Tchaikovsky Thomas Beecham Liszt Toscanini Brahms Scarlatti Haydn Clementi Beethoven Samuel Barber Prokofiev Kabalevsky Schonberg Carnegie Hall 1757 1903 1915 1925 1928 1932 1933 1936 1940 1950 1953 1965 1985 1987 1989
LIKE and SUBSCRIBE for more videos ! (http•••) SUBSCRIBE to my PATREON ! → (http•••) Vladimir Horowiz : Carnegie Hall Rehearsal, 7 January 1965 (Bach, Chopin, Debussy, Schumann, Conversations etc...) Performer : Vladimir Horowitz, piano Date : 7 January 1965 Place : Carnegie Hall Program : Rehearsal 00:00 Horowitz improvising 03:24 Conversation and Horowitz testing the piano 05:24 Horowitz improvising II 10:31 Conversation I 11:28 Bach : Toccata Adagio and Fugue in C Major, BWV 564, I Preludio 17:57 II Intermezzo Adagio 22:15 III Fuga Moderamente scherzando un poco umoristico 27:19 Conversation II 28:15 Chopin - Polonaise Fantaisie in A Flat Major Op. 61 41:19 Conversation III 41:42 Debussy : Etudes Livre II No. 11 Pour les arpeges composés 45:45 Conversation IV 47:12 Schumann : Fantasie in C Major Op. 17 I Durchaus phantastisch und leidenschaftlich vorzutragen fragment 58:08 Conversation V 58:24 Chopin : Nocturne No. 15 in F Minor Op. 55 No. 1 BIOGRAPHY The most famous pianist of the twentieth century, his name known to the proverbial man on the street the world over, Vladimir Samoylovich Horowitz (1903–1989) was born in 1903 in Kiev. Horowitz showed enough prodigious talent to play for Alexander Scriabin in 1915, just before the Russian composer-pianist’s early death. Horowitz would become a superlative interpreter of Scriabin’s music, which the pianist described as “mystical… expressionistic.” Horowitz also became friends with another great Russian composer-pianist (and Scriabin’s former schoolmate), Sergei Rachmaninoff – who was the acme of Romanticism. He also made a benchmark recording of Rachmaninoff’s Piano Sonata No. 2. Emigrating from Russia in 1925 and eventually settling in New York City, Horowitz made his American debut with Tchaikovsky’s Piano Concerto No. 1 in 1928 at Carnegie Hall, which would become his home venue, the site of many recordings. Impressed by the pianist’s tonal dynamism, conductor Thomas Beecham, who led that concert, reportedly said: “Really, Mr. Horowitz, you can’t play like that – it shows the orchestra up.” Horowitz made a series of solo recordings for HMV at London’s Abbey Road Studios in 1932, including several Chopin pieces and an electrifying take on Liszt’s B Minor Sonata, helping to establish the piece in the standard repertoire. A review of a 1933 London concert declared Horowitz “the greatest pianist dead or alive.” Horowitz would make hit recordings with Toscanini of the Tchaikovsky concerto and the Brahms Piano Concerto No. 2 in 1940–41. Over the course of his career, Horowitz’s recorded repertoire stretched far beyond those early specialties of Chopin, Brahms, Liszt, Tchaikovsky, Scriabin and Rachmaninoff; in long associations for RCA, then Columbia and, finally, Deutsche Grammophon, Horowitz also ranged from Scarlatti, Haydn and Clementi to Beethoven, Schumann and miniatures across the ages with artistic and commercial success; in a period of applying himself to modern music, he premiered Samuel Barber’s Sonata in 1950, along with recording sonatas by Prokofiev and Kabalevsky. Driven to “grow until I die,” he said, the pianist reapplied himself to select Beethoven sonatas in his middle period and then several Mozart works as he grew older. Horowitz also crafted his own transcriptions and arrangements, including such showstoppers as his variations on Carmen and Stars and Stripes Forever. In his book The Great Pianists, critic Harold Schonberg wrote: “As a technician, Horowitz was one of the most honest in the history of modern pianism. Famously high-strung, his art always a mental-physical high-wire act, Horowitz took four sabbaticals from public performance to deal with various issues, his returns much-ballyhooed events. The first layoff was for two years in 1936; the longest was 1953 to 1965, followed by a tremendous homecoming to Carnegie Hall. But even over his later breaks, he recorded regularly at home in his Manhattan townhouse, documenting his art as it subtly evolved even beyond great venues and the recording studio. A 1985 film, The Last Romantic, captured the pianist in his last years, performing at home as well as reminiscing about Scriabin and Rachmaninoff. The next year, Horowitz returned to Russia, 61 years after leaving — a hugely emotional event for both artist and audience, documented in the concert album and film Horowitz in Moscow. In 1987, he played his final recital, in Hamburg; he died two years later. “Piano playing consists of intellect, heart and technique,” Horowitz said. “All should be equally developed. Without intellect, you will be a fiasco; without technique, an amateur; without heart, a machine. The profession has its perils.”
Richard Strauss Georg Solti Wilde Krause Stratas Malfitano Mattila Ewing Marie Wittich Aino Ackté Gustav Mahler Arnold Schoenberg Giacomo Puccini Alban Berg Chamberlain Thomas Beecham Königliches Opernhaus Graz Opera Covent Garden Vienna State Opera 1891 1893 1905 1906 1907 1910 1918 1961
The Dance of the Seven Veils is Salome's dance performed before Herod II. It is an elaboration on the biblical story of the execution of John the Baptist, which refers to Salome dancing before the king, but does not give the dance a name. -Introduction: 00:00 -Danse: 00:23 - 01:39 1er Veil 02:07 - 02:18 2e Veil 02:56 - 03:14 3e Veil 04:09 -Moderato: 4e Veil 04:44 - 05:18 -Piu mosso: 05:46 - 06:42 - 07:05 -Primo Tempo: 07:18 5e Veil 07:47 -Molto Presto: 08:15 6e Veil 08:29 -Coda: 7e Veil 08:45 Wiener Philharmonic Orchestra Conductor: Georg Solti Decca 1961 The name "Dance of the Seven Veils" originates with the 1893 English translation of Oscar Wilde's 1891 French play Salome in the stage direction "Salome dances the dance of the seven veils". The dance was also incorporated into Richard Strauss's 1905 opera Salome. Richard Strauss: Strauss's operatic adaptation of the play also features the Dance of the Seven Veils. The dance remains unnamed except in the acting notes, but Salome's sexual fascination with John seems to motivate the request—though Herod is portrayed as pleased. The music for the dance comes from near the climax of the opera. The visual content of that scene (about seven minutes long with standard tempi) has varied greatly depending on the aesthetic notions of the stage director, choreographer, and soprano, and on the choreographic skills and body shape of that singer. Strauss himself stipulated that the dance should be "thoroughly decent, as if it were being done on a prayer mat." Nevertheless, many productions made the dance explicitly erotic. In a 1907 production in New York the dancer "spared the audience nothing in active and suggestive detail", to such an extent that some ladies in the audience "covered their eyes with their programs." Ernst Krause argues that Strauss's version of the dance "established the modern musical formula for the portrayal of ecstatic sensual desire and brought it to perfection." In Derek B Scott's view, "The eroticism of the 'Dance of the Seven Veils' is encoded in the sensual richness (timbral and textual) of a huge orchestra, the quasi-Oriental embellishment of melody (intimations of 'exotic' sensuality), and the devices of crescendo and quickening pace (suggestive of growing excitement)." In addition to the vocal and physical demands, the role also calls for the agility and gracefulness of a prima ballerina when performing the opera's famous "Dance of the Seven Veils". Finding one individual with all of these qualities is extremely daunting. Due to the complexity of the role's demands, some of its performers have had a purely vocal focus by opting to leave the dancing to stand-ins who are professional dancers. Others have opted to combine the two and perform the dance themselves, which is closer to Strauss's intentions. In either case, at the end of the "Dance of the Seven Veils", some sopranos (or their stand-ins) wear a body stocking under the veils, while others (notably Stratas, Malfitano, Mattila and Ewing) have appeared nude at the conclusion of the dance. Performance history: The combination of the Christian biblical theme, the erotic and the murderous, which so attracted Wilde to the tale, shocked opera audiences from its first appearance. Some of the original performers were very reluctant to handle the material as written and the Salome, Marie Wittich, "refused to perform the 'Dance of the Seven Veils'", thus creating a situation where a dancer stood in for her. This precedent has been largely followed, one early notable exception being that of Aino Ackté, whom Strauss himself dubbed "the one and only Salome". Salome was first performed at the Königliches Opernhaus in Dresden on 9 December 1905, and within two years, it had been given in 50 other opera houses. Gustav Mahler could not gain the consent of the Vienna censor to have it performed; therefore it was not given at the Vienna State Opera until 1918. The Austrian premiere was given at the Graz Opera in 1906 under the composer, with Arnold Schoenberg, Giacomo Puccini, Alban Berg, and Gustav Mahler in the audience. Salome was banned in London by the Lord Chamberlain's office until 1907. When it was given its premiere performance at Covent Garden in London under Thomas Beecham on 8 December 1910, it was modified, much to Beecham's annoyance and later amusement.
Chabrier Sir Thomas Beecham Royal Philharmonic Orchestra 2009
Provided to YouTube by The Orchard Enterprises Overture from "Gwendoline" · Emanuel Chabrier · The Royal Philharmonic Orchestra Sir Thomas Beecham ℗ 2009 Saland Publishing Released on: 2009-04-28 Music Publisher: Saland Publishing Auto-generated by YouTube.
o
- cronologia: Direttori d'orchestra (Europa).
- Indici (per ordine alfabetico): B...