Niza de Castro Tank Video
artista lirica brasiliana
- soprano
- opera
- Brasile
- cantante lirico
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2024-05-06
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Niza Castro Tank Carlos Gomes Carreira Peri 1931 1950 1957 2022
NIZA TANK A SOPRANO Morre aos 91 ANOS Aos 91 anos, a cantora lírica Niza de Castro Tank, Morreu na manhã deste domingo (24), considerada uma das principais intérpretes do maestro e compositor Carlos Gomes. Em nota de pesar, a Unicamp definiu Niza como referência mundial em canto lírico. De acordo com pessoas próximas à Niza, a soprano morreu em casa, no bairro Vila Marieta, em Campinas (SP), de causas naturais. O velório está marcado para esta segunda-feira (25), das 8h às 11h, no Cemitério da Saudade, em Campinas. Depois, o corpo deve ser levado a Limeira (SP), cidade natal da cantora, onde também ocorre um velório e em seguida o sepultamento, previsto para as 17h de segunda. Carreira: Niza de Castro Tank nasceu no dia primeiro março de 1931 e foi a primeira soprano a interpretar "Ceci", namorada do índio "Peri" na ópera de Carlos Gomes. O sucesso da cantora na década de 1950 a levou à sua primeira apresentação no Teatro Municipal de São Paulo, em 1957. Revisão Notícias se solidariza a amigos, e familiares de Niza de Castro. Compartilhe este vídeo: (http•••) Créditos: (http•••) Fotos: Divulgação #NIZATANK #ASOPRANO #MORREAOS91ANOS #revisãonotícias
Niza Castro Tank Massé Sayao 1853 1931 1957 1980 2012
THE SONGBIRD: Niza de Castro Tank is a hidden gem, something of a minor legend among the inner circle of coloratura soprano aficionados. Born in Brazil in 1931, she became the pre-eminent high soprano in her native country and though she did some international tours and engagements, her career just never took off for a wider public that way Bidu Sayao’s did a generation earlier. Castro Tank’s operatic debut came in 1957 and she continued to sing and record until at least 2012 (in quite good vocal shape at the age of 80!). Her upper tones could be especially astonishing, as in this birdsong ditty from a TV special in 1980. THE MUSIC: This work was one of the most popular light operas in France with over 5,000 performances since its premiere in 1853. The title character warbles through "Au bord du chemin" / one of the great coloratura operatic "bird songs" where she echos a nightingale in elaborate interchanges with the flute. It's a long, charming piece of coloratura decadence — sung here in what sounds like Italian.
Antônio Carlos Gomes Salinas Teruel 1836 1861 1896 1912 1928
Autor: Antônio Carlos Gomes +••.••(...)) Obra: Missa de Sao Sebastiao Intèrprets: Niza de Castro Tank (soprano); Luciana Bueno (contralto); Rubens Medina (tenor); Manuel Alvarez (baixo); CorаI dа Unicаmp; Orquestrа Sinfônicа de Cаmpinаs; Henrique Lian (regente) Pintura: Augustin Salinas y Teruel +••.••(...)) - School Festival at Ipiranga (1912) / (Antônio) Carlos Gomes (Campinas, 11 July 1836 - Belém, 16 September 1896) Brazilian composer. He was the son of a provincial bandmaster, from whom he learnt the rudiments of music and to play several instruments. He began composing at an early age and at 18 wrote a mass that was performed in a local church by the Gomes family ensemble. In 1859 he went on a concert tour with his brother Sant’Ana Gomes and had considerable success with his Hino acadêmico in São Paulo. He then left for Rio de Janeiro against his father’s will and entered the Imperial Conservatory of Music, where he studied composition under Joaquim Giannini. The conservatory experience reinforced his predilection for opera, and he soon became acquainted with the works of Rossini, Bellini, Donizetti and Verdi, whose music exerted a profound influence on him throughout his career. In 1860 two of his cantatas attracted great attention. The Spaniard José Amat, then the musical director of the Ópera Lírica Nacional, gave him a copy of the libretto of A noite do castelo by Antônio José Fernandes dos Reis, which Gomes set to music and produced on 4 September 1861 at the Teatro Lírico Fluminense of Rio de Janeiro. The success of this and of his next opera Joana de Flandres (1863) prompted his nomination for a government scholarship to study in Italy, and in 1864 he began his studies with Lauro Rossi, director of the Milan Conservatory. Most of the rest of his life was spent in Italy and his compositional ideals became thoroughly italianized. Gomes’s fame in Italy began with two musical comedies, Se sa minga (1867) and Nella luna (1868), which give clear evidence of his ability to write in a popular bel canto style. But it was the triumphal success of Il Guarany at La Scala on 19 March 1870 that brought him international fame. The opera was produced at Rio de Janeiro on the emperor’s birthday (2 December 1870) as well as in almost all European capitals in the next few years. Verdi heard it in Ferrara in 1872 and referred to it in a letter as the work of a ‘truly musical genius’. But Gomes’s next opera Fosca, on a good libretto by Ghislanzoni, produced on 16 February 1873 at La Scala, was a failure, because the composer had become involved in a quarrel between the defenders of Italian bel canto and the Wagnerian reformers with whom he was included as a foreigner. A new version of Fosca, however, had considerable success in 1878 when it was again staged at La Scala. There followed Salvator Rosa (Genoa, 1874), on a libretto by Ghislanzoni, written according to the prevailing taste of Italian opera-goers, and Maria Tudor (Milan, 1879). Gomes accepted an invitation to visit Recife and Bahia in 1880, and during this sojourn his friend the Viscount of Taunay suggested the subject for his next opera, Lo schiavo. He was indeed looking for another Brazilian subject, having treated the Guarany Indians. At that time the abolition of slavery was well under way in Brazil, and Taunay himself wrote the drama whose main characters were to be black slaves. In spite of the librettist Paravicini’s alterations (in order to satisfy the conventions of Italian opera, Indians were substituted for the slaves, and the action was transposed from the 18th to the 16th century), the première (Rio de Janeiro, 27 September 1889) was a success. His last opera, Condor (Milan, 1891), revealed Gomes’s orientation towards verismo. In 1892, on Columbus Day (12 October), his last major work, the oratorio Colombo, was presented in Rio. By then the new republican government had been established and Gomes lost his previous official support. He accepted an appointment to direct the local conservatory at Belém in 1896, but died a few months later.
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- cronologia: Cantanti lirici (Sud America).
- Indici (per ordine alfabetico): C...