John Reardon Video
cantante lirico, attore, attore televisivo, attore teatrale, musicista
- baritono
- Stati Uniti d'America
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2024-05-10
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Tchaikovsky Jennie Tourel Evelyn Mandac John Reardon Falcone Robert Jones Adler Gamble 1971
Rare video footage of a trimmed down version of the opera (sung in English) with Vahan Khanzadian (Gherman); Jennie Tourel (Countess); Evelyn Mandac (Lisa); John Reardon (Tomsky); Mary Lou Falcone (Masha); Jack Trussel (Naroumov); James Fleetwood (Sourin); and Robert Jones (Tchekalinsky). Peter Herman Adler produced and conducted this performance by the National Education Television's Opera Theater. Following the abridged performance of the opera are scenes from rehearsals beginning at 1:26:32 Link to my Jennie Tourel playlist: (http•••) And a link to my John Reardon playlist: (http•••) Donal Henahan of the New York Times wrote: "If you must risk shrinking an opera down to the size of a television screen, what better gamble than Tchaikovsky's “Queen of Spades?” National Educational Television's Opera Theater last night presented the melodrama known to operagoers as “Pique Dame” on Channel 13, in a tightly edited English language version produced and conducted by Peter Herman Adler, an experienced hand at opera telescoping. All things considered, Mr. Adler and his director, Kirk Browning, walked away from the table winners. In planning his 90‐minute version, Mr. Adler went back to letters Tchaikovsky wrote his brother and librettist, Modeste, and to the Pushkin story that the opera uses in modified form. He eliminated arias and characters such as Prince Yeletzky and Pauline, shrank a few scenes including the pastoral Interlude, and otherwise shifted emphasis. Thus, the young officer, Gherman (well sung but flatly por trayed by the tenor Vahan Kahnzadian) appears from first to last as an insensitive, stupid man, a greed‐driven automaton. In the Tchaikovsky opera, as contrasted with N.E.T. Opera Theater's remodeling of it, Gherman is genuinely if fleetingly attracted to Lisa, the granddaughter of the ancient Countess whom he literally frightens to death while trying to force her to disclose a secret formula for winning at cards. For television, Gherman is simplified; he never sees Lisa as other than a tool he can use cynically to gain the presence of the Countess. Fortunately, the shift in emphasis throws the role of the Countess into sharp relief, and in Jennie Tourel the television, opera has an actress capable of sustaining any weight. Her death, a searing scene, takes on both a human horror and a symbolism that only a great actress could hold in balance. In fact, as should be demonstrated more often, putting opera on the intimate screen gives it certain great theatrical advantages: the close shots of Miss Tourel's fear‐contorted face in her confrontation with Gherman give a dimension to the opera that one could not experience in the opera house without military binoculars. And scenes such as Gherman's nightmare, though, indifferently done this time, do suggest what might be achieved at such moments (conventional opera is full of them, of course). “Queen of Spades” works especially well on television in the quasi‐choreographed scenes around the gaming table, when John Reardon and other adept actors are moving naturally and singing with conviction. Can even see into their card hands in the climactic game. A few scenes teeter toward grand‐opera laughability when Gherman's moment to sing his stormy aria of greed arrives, he steps out on a balcony while a thunderstorm is raging. Musically, comment on televised opera is difficult, but Evelyn Mandac, the Lisa, sang with an apt innocence, and the others seemed equally capable. Orchestral parts were safely in the hands of members of the Boston Symphony. Easily the musical highpoint, however, was the Countess's singing, in French, of her nostalgic little air from a Gretry opera, a touching moment to which Miss Tourel gave a special radiance. Over the years, televised opera has raised as many questions as it has answered. Is this really opera? If so, whose? How seriously should one, for instance, take a production that bends the original as far as N.E.T. Opera Theater's “Queen of Spades”? In the light of Mr. Adler's production, the answer would have to be that intelligent deviation is more acceptable than mindless adherence to score and libretto, if the qualification is added that televised opera must be granted a special license by the nature of its theatrical and musical limitations. In its way, “Queen of Spades” is a model of how to break the rules and win."
Martial Singher Ravel Charles Munch Berlioz Suzanne Danco James King Donald Gramm Jeannine Altmeyer Benita Valente Valente John Reardon Louis Quilico Quilico Jean François Lapointe Judith Blegen Thomas Moser Moser Thomas Hampson Rodney Gilfry New York City Opera Metropolitan Opera Boston Symphony Orchestra 1904 1934 1954 1990
Martial Singher - Don Quichotte à Dulcinée - Chanson Romanesque - Ravel - Gramophone DA 4865 enregistré en 1934 Martial Singher (August 14, 1904 - March 9, 1990) was a French baritone opera singer born in Oloron-Sainte-Marie, Pyrénées-Atlantiques. Initially singing only as a hobby, he was encouraged by then French education minister Édouard Herriot to pursue singing professionally. He would go on to perform in the Opéra National de Paris, New York City Opera and Metropolitan Opera. He recorded an acclaimed Méphistophelès under Charles Munch in the RCA recording of Berlioz's La Damnation de Faust (February 1954) with the Boston Symphony Orchestra and celebrated lyric soprano Suzanne Danco as Marguerite. Later in his life, he became an accomplished music teacher at Curtis Institute in Philadelphia and at the Conservatoire de musique du Québec à Montréal, influencing the careers of such artists as James King, Donald Gramm, Jeannine Altmeyer, Benita Valente, John Reardon, Louis Quilico, Jean-François Lapointe, Judith Blegen and Thomas Moser. Martial Singher has also been the teacher of world-famous baritones such as Thomas Hampson and Rodney Gilfry. He would go on to perform in the Opéra National de Paris, New York City Opera and Metropolitan Opera. His son, Michel Singher, is an accomplished conductor. Source: Wikipedia
Gian Carlo Menotti Grossman John Reardon Judith Raskin Elaine Bonazzi Robert White Beverly Wolff Frank Porretta Leon Lishner Nbc Opera Theatre 1963
Opera commissioned by NBC Opera Theatre for television in 1963 Directed by Gian Carlo Menotti Television Director - Kirk Browning Conductor - Herbert Grossman Cast: John Reardon - Bridegroom Judith Raskin - The Bride Elaine Bonazzi - The Spy Robert White - The Old Chess Player Beverly Wolff - The Executive Director Bob Rickner - The Executive Director's Secretary Frank Porretta - The Astronaut Leon Lishner - Death John West - Death's Assistant Nikiforos Naneris - The Bellboy Eugene Green - The Italian Opera Singer
Hannaford Reardon Portland Chamber Music Festival 2016 2021
Reena Esmail - Nadiya for Flute and Viola (2016) Recorded live in Hannaford Hall (Portland, ME) on August 19 during the 2021 Portland Chamber Music Festival. Alex Sopp, flute Melissa Reardon, viola Video/audio produced by PARMA Recordings.
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- cronologia: Cantanti lirici (Nord America). Interpreti (Nord America).
- Indici (per ordine alfabetico): R...