Louise Talma Video
compositrice statunitense
- pianoforte
- opera
- Stati Uniti d'America
- compositore
Ultimo aggiornamento
2024-05-06
Aggiorna
Seven Episodes for flute, viola & piano Louise Talma Rod Garnett, flute James Przygocki, viola Theresa Bogard, piano The Seven Episodes were published by Henmar Press (distributed by C.F. Peters) in 1988 as part of the Inter-American Music Awards Series by the fraternity Sigma Alpha Iota, and are dedicated to Frank Anabel Brieff. A late work, the Episodes do not appear on most lists of Talma's works, and have never been recorded. These short contrasting pieces look back to the harmonic palette of the second piano sonata, and alternate between Talma's two typical textures, tocata-like and flowing lyrical passages. They lead smoothly from one episode to the next without pause: I Andante - II Giocoso - II Poco meno mosso - IV Doppio meno mosso - V Poco piu mosso - VI Piu mosso - VII (quarter = 144). The fourth episode, Doppio meno mosso is the most reflexive, and the fifth and sixth become more and more energetic, leading to the climatic seventh episode. Helen Walker-Hill Recorded in 1999 Composers Recordings. Inc.
Louise Talma Şahan Arzruni Lazarus 1906 1974 1996
Louise Talma +••.••(...)), a neo-classicist, calls her work “Alleluia in Form of Toccata.” Following a brief introduction, the main subject states the theme “al-le-lu-ia.” The second subject is more melodic. The combination of the two develops the work into a scintillating virtuoso vehicle. Underlying its irregular rhythmic patterns, the uncompromising and driving pulse gives the composition its unique character. — Şahan Arzruni Recorded in 1974 at Columbia 30th Street Studio, New York City Steinway piano Stan Tonkel, recording engineer Milt Cherin, tape editor True Rosaschi, transfer to digital format Tom Lazarus, remastering
Inge Borkh Pietro Mascagni Reinhardt Richard Strauss Menotti Bayreuth Giulini Werner Egk Mitropoulos Gluck Respighi Shostakovich Dyer Solti Britten Böhm Louise Talma Josef Tal Orff Puccini Ernest Bloch Verdi London Symphony Orchestra Deutsche Oper Berlin Metropolitan Opera Bayreuth Festival Salzburg Festival Scala Covent Garden 1937 1938 1940 1943 1950 1952 1953 1954 1955 1957 1958 1959 1961 1962 1963 1964 1967 1971 1973
THIS IS THE SUCCESSOR CHANNEL TO "liederoperagreats" WHICH WAS RECENTLY TERMINATED. Inge Borkh--soprano Anatole Fistoulari--conductor London Symphony Orchestra 1957 / "The daughter of a diplomat father, Inge Borkh initially trained as an actress and participated in the Reinhardt seminars at the Burgtheater in Vienna, before becoming professionally active on the stage in Linz, Austria, during 1937 and in Basle, Switzerland, from 1938. She then studied singing with Muratti in Milan and later at the Salzburg Mozarteum, and made her operatic debut in 1940 at Lucerne as Czipra / Der Zigeunerbaron, followed by Agathe / Der Freischütz. During World War II she sang at Basle, Lucerne and Zürich, and made her debut in the title role of Richard Strauss’s Salome as early as 1943, at Berne. This, together with the title role in the same composer’s Elektra, was to become a signature part for her, displaying to the full her considerable skills as an actress as well as a singer. During 1950 Borkh appeared as a guest in Berlin and Munich, but her big breakthrough came in the following year, when she sang Magda Sorel in the first German-language production of Menotti’s The Consul at Basle to great critical acclaim. In 1952 Borkh became a member of the Deutsche Oper, Berlin and of the Munich State Opera, in the same year also making her Bayreuth Festival debut as Freia / Das Rheingold and Sieglinde / Die Walküre. She appeared as a guest throughout Europe in Barcelona, Hamburg, Lisbon, Naples, Stuttgart and Vienna, as well as in South America at Rio de Janeiro in 1954. Many important festival appearances also occurred during the mid-1950s, including the Florence Maggio Musicale in 1954 as Eglantine / Euryanthe, with Giulini conducting, and the Salzburg Festival in 1955 as Cathleen in the world premiere of Werner Egk’s Irische Legende. She returned to Salzburg as Elektra in 1957, with Mitropoulos conducting, and in 1962 and 1963 as Klyaemnestra in Gluck’s Iphigenie in Aulis. Borkh’s debut at La Scala, Milan, was as Silvana in Respighi’s La fiamma in 1955. She returned there in 1964 to take the role of Katerina Ismailova in Shostakovich’s Lady Macbeth of Mtsensk. At Covent Garden she sang Salome in 1959 and the Dyer’s Wife in Strauss’s Die Frau ohne Schatten, with Solti conducting, in 1967. Her American debut occurred at San Francisco in 1953 and three years later Borkh took part in the American premiere of Britten’s Gloriana, at Cincinnati. She made her Metropolitan Opera debut as Salome in 1958, returning there to sing Elektra in 1961, the Dyer’s Wife (this time with Böhm conducting), and Leonore / Fidelio, both during 1971. Among the first performances in which Borkh took part were Louise Talma’s The Alcestiad at Frankfurt in 1962 and Josef Tal’s Ashmedai at Hamburg in 1971. After a run of performances of Elektra in Italy in 1973 she announced her retirement from opera, but continued to be active as an actress and as a chanteuse in cabaret. In addition to the roles already mentioned she was a notable exponent of the title roles in Orff’s Antigone and Puccini’s Turandot, and as Lady Macbeth in the versions by Ernest Bloch and Verdi. Borkh possessed a large, warm voice, notably free in the upper register, which when allied to her great ability as an actress and striking stage presence often resulted in performances of complete conviction. While her commercial discography was not large, recordings of live performances effectively supplement it, providing vivid evidence of her strengths as an opera singer of note."; naxos
o
- cronologia: Compositori (Nord America).
- Indici (per ordine alfabetico): T...