Friedrich Schorr Video
musicista, cantante lirico
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- Austria, Stati Uniti d'America, Austria-Ungheria, Germania
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2024-05-13
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Margaret Balfour Albert Coates Walter Widdop Friedrich Schorr Elisabeth Schumann Schumann Johann Sebastian Bach London Symphony Orchestra London Philharmonic London Philharmonic Choir 1994
Provided to YouTube by NAXOS of America Mass in B Minor, BWV 232: Osanna, Benedictus, Agnus Dei et Dona nobis pacem. Osanna I · Margaret Balfour · Margaret Balfour · Albert Coates · Albert Coates · London Symphony Orchestra · London Symphony Orchestra · Walter Widdop · Walter Widdop · Friedrich Schorr · Friedrich Schorr · Elisabeth Schumann · Elisabeth Schumann · London Philharmonic Choir · London Philharmonic Choir Bach: Mass in B Minor, BWV 232 ℗ 1994 Stradivarius Released on: 1994-06-22 Artist: Margaret Balfour Conductor: Albert Coates Orchestra: London Symphony Orchestra Artist: Walter Widdop Artist: Friedrich Schorr Artist: Elisabeth Schumann Choir: London Philharmonic Choir Composer: Johann Sebastian Bach Auto-generated by YouTube.
Walter Widdop Gounod Malcolm Sargent Steane Verdi Leoncavallo Handel Bach Friedrich Schorr Albert Coates Florence Austral Frida Leider Ljungberg Gluck Stravinsky Sir Thomas Beecham Elisabeth Schumann Schumann Margaret Balfour Elgar Sir Adrian Boult Ralph Vaughan Williams Henry Wood Heddle Nash Frank Titterton Parry Parry Jones British National Opera Company Royal Philharmonic Covent Garden Three Choirs Festival Royal Albert Hall Proms 1892 1917 1923 1928 1929 1930 1932 1933 1935 1936 1937 1938 1949
The fine British tenor, Walter Widdop, sings 'Lend Me Your Aid,' recorded on 27 September 1929 with orchestra conducted by Malcolm Sargent. John Steane described Widdop as having a 'sturdy, virile voice,' and noted that he was capable of singing 'with marvellous resonance and definition.' From Wikipedia: Walter Widdop (19 April 1892 – 6 September 1949) was a British operatic tenor who is best remembered for his Wagnerian performances. His repertoire also encompassed works by Verdi, Leoncavallo, Handel and Bach. Widdop was born at Norland, near Halifax, Yorkshire, England. As a teenager, he worked in a woollen mill and sang in a church choir. He also won a number of singing prizes in his native county, earning praise for his 'God-given' voice, which was honed by a local teacher, Arthur Hinchcliffe. He served with the British Army during World War One and married in 1917. In 1923, Widdop made the first of many broadcasts for the BBC. In the same year, he made his professional operatic debut as Radames in Verdi's Aida with the British National Opera Company, in Leeds. He made his London debut the following year, in the title role in Wagner's Siegfried at the Royal Opera House, Covent Garden. His identification with the Wagnerian repertoire was strengthened by his recordings, notably his Siegmund in the first HMV 78-rpm album of highlights from Die Walküre, with the bass-baritone Friedrich Schorr also in the cast, under the baton of Albert Coates. His Covent Garden Siegmund was heard in 1932, and his Tristan in 1933, 1937, and 1938. His stage and studio partners included the dramatic soprani Florence Austral, Frida Leider and Gota Ljungberg. Most of his recordings are available on CD reissues. Widdop remained in demand at Covent Garden and elsewhere for his performances of taxing Heldentenor roles and the heavier Italian operatic parts. His operatic roles were not confined to the heavyweight parts. In 1928 he sang with Frida Leider in Gluck's Armide and with Stiles Allen in Handel's Rodelinda. He toured Australia and in 1936 he sang the title role in the British premiere of Stravinsky's Oedipus Rex. Widdop also appeared in oratorio and other choral music. In 1928 he sang in Handel's Solomon at a Royal Philharmonic Society performance conducted by Sir Thomas Beecham. In the same year he sang in the Verdi Requiem at the Three Choirs Festival. In 1929, with Friedrich Schorr, Elisabeth Schumann and Margaret Balfour, he took part in the first full recording of the Bach Mass in B Minor conducted by Albert Coates. In 1932 he sang in Elgar's The Kingdom, under Adrian Boult. Among his recordings of extracts from oratorio are examples of the declamatory 'set-pieces' such as 'Sound an Alarm' (from Judas Maccabaeus) and 'Love sounds the alarm' and 'Love in her eyes sits playing' (Acis and Galatea). He also recorded gentler numbers such as 'Waft her, angels' (Jephtha). Many of his recordings have been transferred to compact disc. John Steane in Grove writes, 'He brought an able technique as well as an ample voice to such music as 'Sound an alarm.' ... Records made around 1930 show a firm resonant voice and a virile style, confirming his place among the best heroic tenors of the century.' In 1938, Widdop was one of the four tenor soloists chosen to perform Ralph Vaughan Williams's Serenade to Music, which had been written to celebrate Sir Henry Wood's silver jubilee as a conductor. In the solo lines written for them, Heddle Nash and Frank Titterton, with their lighter tenor voices, preceded Widdop (his solo line was 'Still quiring to the young-eyed cherubins'), with the plaintive tones of Parry Jones concluding the section. Widdop sang in Spain, the Netherlands and Germany. He toured Australia in 1935, but never appeared in the United States. During World War Two, he toured South Africa, Canada and the Middle East for ENSA. He resumed his stage and concert career after the war and in 1949 performed the title role in Wagner's Parsifal, conducted by Sir Adrian Boult, at the Royal Albert Hall in London. He sang less in his later years, but he appeared at The Proms at the Albert Hall on 5 September 1949, performing 'Lohengrin's Farewell.' The next day, he died suddenly in Hampstead. I have transferred this disc from a late HMV 78 rpm English pressing. The original has high surface noise, which I have attempted to tame as much as is reasonably possible.
Friedrich Schorr Hans Sachs Leo Blech Lobe Gunst Speer Glück Dran Streich Reich Fürst Heil Staatsoper Staatsoper Berlin 1868 1888 1927 1953
I view Friedrich Schorr as the greatest Wagnerian bass-baritone to make records. The singer lived from September 2, 1888, to August 14, 1953. This Austrian-Hungarian bass-baritone singer was of Jewish origin, which is ironic since he excelled at roles created by a composer who was notoriously anti-Semitic. I especially admire Schorr's Hans Sachs, such as here in the closing moments of Die Meistersinger von Nürnberg when Sachs urges Walther to join the mastersingers, then warning of threats to German culture. This closing number, "Verachtet mir die Meister nicht," is from Act III's Scene 2 (at the opera's end). Here is the background: Hans Sachs, a cobbler, is in a meadow outside of Nuremburg, Germany, during the mid-sixteenth century. It is the feast of St. John. Guilds hold processions that are followed by the mastersingers' arrival. A prize contest begins with Beckmesser, who failed. Walther sings, and the mastersingers want to reward him with this offer: "Join us!". At first Walther rejects the offer to join the mastersingers, but Sachs explains that art, including innovative art as delivered by Walther, exists within an artistic tradition, so the innovative Walther belongs with the mastersingers. Sachs says, Verachtet mir die Meister nicht, und ehrt mir ihre Kunst! It means this: "Do not disdain our Masters thus, but honor well their art." Mastersingers help preserve German art, which Sachs believes should be kept pure, no foreign influence. There is no shame in being a mastersinger! Walther agrees to join. Pogner places the symbolic Master-hood Medal around his neck, and the people sing once more praise for Hans Sachs. The first performance of Die Meistersinger von Nürnberg was in Munich on June 21, 1868. Schorr is accompanied by the Orchester der Staatsoper Berlin conducted by Leo Blech, 1927. ENGLISH TRANSLATION (German text is below): Do not disdain our Masters thus, but honor well their art. That which they love and prize the most has made them take your part. It was not your father's name and worth, not yet your title, wealth, or birth. It was your poet's art that won a master's heart. Him must you thank for all your bliss... Beware! Evil tricks threaten us; if the German people and kingdom should one day decay, under a false, foreign rule, soon no prince would understand his people; and foreign mists with foreign vanities they would plant in our German land; what is German and true none would know, if it did not live in the honor of German Masters. Therefore I say to you: honor your German Masters, then you will conjure up good spirits! And if you favor their endeavors, even if the Holy Roman Empire should dissolve in mist, for us there would yet remain holy German Art! Verachtet mir die Meister nicht, und ehrt mir ihre Kunst! Was ihnen hoch zum Lobe spricht, fiel reichlich Euch zur Gunst. Nicht Euren Ahnen, noch so wert, nicht Eurem Wappen, Speer noch Schwert, dass Ihr ein Dichter seid, ein Meister Euch gefreit, dem dankt Ihr heut Eu'r höchstes Glück. Drum, denkt mit Dank Ihr dran zurück, wie kann die Kunst wohl unwert sein, die solche Preise schliessest ein? Das unsre Meister sie gepflegt grad recht nach ihrer Art, nach ihrem Sinne treu gehegt, das hat sie echt bewahrt: blieb sie nicht adlig, wie zur Zeit, da Höf und Fürsten sie geweiht, im Drang der schlimmen Jahr blieb sie doch deutsch und wahr; und wär sie anders nicht geglückt, als wie, wo Alles drängt und drückt, Ihr seht, wie hoch sie blieb im Ehr: was wollt Ihr von den Meistern mehr? Habt Acht! Uns dräuen üble Streich: - zerfällt erst deutsches Volk und Reich, in falscher wälscher Majestät kein Fürst bald mehr sein Volk versteht, und wälschen Dunst mit wälschem Tand sie pflanzen uns in deutsches Land; was deutsch und echt, wüsst keiner mehr, lebt's nicht in deutscher Meister Ehr. Drum sag ich Euch: ehrt Eure deutschen Meister! Dann bannt Ihr gute Geister; und gebt Ihr ihrem Wirken Gunst, zerging in Dunst das heil'ge röm'sche Reich, uns bliebe gleich die heil'ge deutsche Kunst! Friedrich Schorr as Hans Sachs in Wagner's Die Meistersinger "Verachtet mir die Meister nicht"
Friedrich Schorr Hans Sachs Pizarro Beethoven 1888 1929 1953
Friedrich Schorr -Tannhauser - Als du in kühnensang - Electrola EW 87 enregistré en 1929 Friedrich Schorr (September 2, 1888 – August 14, 1953), was a renowned Austrian-Hungarian bass-baritone opera singer of Jewish origin. He later became a naturalized American. Schorr is recognized as the greatest Wagnerian bass-baritone of his generation, arguably of the entire 20th century, and was particularly famous for his profound portrayals of Wotan in Der Ring des Nibelungen and Hans Sachs in Die Meistersinger von Nürnberg. He was celebrated, too, for his appearances as Don Pizarro in Beethoven's Fidelio. His voice was powerful, steady, and rich-toned, with a beautiful mezza voce. He placed a special emphasis on maintaining a smooth, legato line in his singing, with no trace of Sprechgesang. Towards the end of Schorr's career, his extreme top notes became somewhat 'wooden', however, as the result of many years of strenuous usage. Source: Wikipedia
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