Miliza Korjus Video
soprano e attrice estone
- soprano
- Impero russo, Stati Uniti d'America, Estonia
- musicista, cantante lirico, attore teatrale, attore cinematografico
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2024-05-11
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Miliza Korjus Toscha Seidel Nat 1909 1938 1980
Miliza Korjus (Soprano) ‘There’ll Come A Time’ Featured in the film ‘The Great Waltz’ (Violin solo by Toscha Seidel)/ MGM Orchestra conducted by Nat W Finston 78 RPM 10” Shellac single HMV record label (1938)/ Miliza Korjus (Coloratura Soprano) 1909-1980/
Miliza Elizabeth Korjus Brahms 1909 1938 1939 1980
Miliza Elizabeth Korjus [militsa] (August 18, 1909 – August 26, 1980) was a Polish and Estonian coloratura soprano opera singer, who later appeared in Hollywood films. She was nominated for the Academy Award for Best Supporting Actress in 1938 for her performance in The Great Waltz.
Heinrich Proch Miliza Korjus Erna Sack Mado Robin Elgar Dessay
While I'm on the subject of interesting singers from the first half of the twentieth century, I decided to post a couple of excepts of Miliza Korjus' wonderfully agile voice. "The Berlin Nightingale", unlike, for example, Erna Sack or, to be honest, Mado Robin, certainly was a most proficient singer of great technical abilities (perhaps, almost too technical, as some may put it :)), not limited to a couple of extreme high notes. In this respect, she is comparable with the Cuban soprano Maria Remola, though the latter is, arguably, bigger-voiced than the light German song-bird. The first except is the famous set of Proch's variations for soprano. Personally, I can't say that I'm especially fond of the piece which is, in essence, a showpiece, not a real emotional aria, bringing the limited emotional depth that can be generated in the theme to a rather slim figure. Considering the jolly coloratura escapade that follows it, the theme, beautifully played by woodwinds, is actually very melodiously rich. The simple line reminds one of a baroque aria, rather than a folk tune (which it is generally considered to be), but the exact source of the melody is unknown (just like in Elgar's variations). The words speak of a languishing woman, desperate for her lover to return. The sudden shift to a major tone comes as something unexpected, as the lament turns into an ever difficult coloratura aria. What's even more shocking is the fact that the words remain completely unchanged, turning the piece almost into a parody of the theme. Most versions of the piece only present two complete variations (as is the case here), but there is actually another variation, coming as number two in the structure, I have only heard it sung in the versions of Hoch and Dessay. It's a very (very) difficult trill-section, almost impossible in its' demands, considering the fact that it is only the second variation, hence the frequent cut (though it is possible that in many cases, this was done to simply save time). A cadenza brings the piece to a brilliant (if the singer is able) close. It seems that there is a standard cadenza, but most singers sing (and should sing) one of their own creation. Though the piece, in general, isn't luminous, Miliza Korjus does wonders with it. Enjoy :)!
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- cronologia: Cantanti lirici (Europa). Interpreti (Europa).
- Indici (per ordine alfabetico): K...