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compositore
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- musica classica
- Regno d'Inghilterra
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2024-04-29
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Vladimir Kastorsky Tchaikovsky Melnikov Gabel Glinka Mussorgsky Dargomyzhsky Delibes Rimsky Korsakov Schubert Borodin Beethoven Schumann Mariinsky Theatre Bolshoi Theatre Scala Private Opera 1870 1892 1893 1894 1898 1907 1908 1909 1918 1923 1930 1948
Владимир Касторский. Aриозо Кочубея "Мазепа" ,П.И. Чайковский. Vladimir Kastorsky. Kotchubey's Ariozo from the opers "Mazepa" by P.I.Tchaikovsky. Vladimir Kastorsky (1870, Yaroslavl region -1948, Leningrad)- the Russian operatic and chamber singer (bass). As a child he sang in a church choir. Then he studied with his cousin A. Kastorsky and took some lessons from an Italian singer A. Cotonou. In 1892 he moved to St. Petersburg where he learned his vocal art at the "Free choir class," the charity project of Melnikov. In 1893 he entered the St. Petersburg Conservatory, the course of C. Gabel, who a year later expelled the student for "voiceless and incompetence". Later C. Gabel admitted his error. In 1894 he made his debut in opera in Pskov. Vladimir surved for the operatic stage about 45 years, his repertoire included 35 roles. In 1898—1918 and 1923—1930 he was a soloist of Mariinsky Theatre, and in 1918—1923 of Bolshoi Theatre, performing Ruslan and Susanin ("Ruslan and Ludmila" and " Life for the Tsar" by M.Glinka), Pimen ("Boris Godunov" by Mussorgsky), Gremin and Kotchubey ("Eugene Onegin" and "Mazepa" by Tchaikovsky),Miller ("Rusalka" by Dargomyzhsky), Count Almaviva and Leporello ("The Marriage of Figaro" and "Don Giovanni" by Mozart), Vladimir Galitsky ("Prince Igor" by Borodin),Nilakanta ("Lakme" by Delibes). Vladimir Kastorsky was extremely successful in R.Wagner's operas: Wotan ("The Ring of the Nibelung") and Wolfram ("Tannhauser"), among others. In 1907 he organized a vocal quartet to promote Russian folk songs and toured with it in Russia and Europe. In 1907-1908 he participated in Sergei Diaghilev's Russian Seasons. The singer was the first performer of parties in Paris: Ruslan ("Ruslan and Ludmila" by Glinka, 1907), Pimen ("Boris Godunov" by Mussorgsky, 1908), Prince Yuri Tokmakov ("The Maid of Pskov" and Rimsky-Korsakov, 1909). He also was heard at La Scala (1908), as well as in in Prague, Berlin, Rome, Munich, London, Harbin, Japan, Moscow (Theater Aquarium, Zimin's private Opera), Kiev, Odessa,Tiflis, and many other cities. He taught at Mariinsky Theatre, Leningrad's Art Studio and at the Saint Petersburg Conservatory. Until the end of life he performed as a chamber singer, performing Glinka, Dargomyzhsky, Mozart, Schubert, Borodin, Mussorgsky, Rimsky-Korsakov, Tchaikovsky, Beethoven and Schumann.
Performed by Bonnie and Michael Jorgensen from Bonnie and Michael's farewell recital. On May 1, 2003, just three weeks after he shipped out, 34-year-old U. S. Army Pfc. Jesse Givens died in Iraq. Givens was parked in a battle tank by the bank of the Euphrates River in Al Habbaniyah. The riverbank gave way, the tank fell into the river, and he drowned. Two weeks before his death, Givens wrote a final letter and mailed it to his wife Melissa, his five-year-old son Dakota (nicknamed ‘Toad’) and his unborn child Carson (nicknamed ‘Bean’). “He called me a week before [his death] and told me he had written the letter, but not to open it unless he died,” Melissa Givens said. Since 2003, the letter has been published in the New York Times and featured in the HBO Documentary Film “The Last Letters Home.” In 2006 the men’s ensemble Cantus commissioned composer Lee Hoiby to write a piece for them. Hoiby received permission from Melissa Givens to set the words of the letter to music. The work was subsequently arranged by the composer for baritone and piano.
Leopold von Sacher, the son of the Commissioner of the Imperial Police Forces in Lemberg (Lviv), had every chance of not becoming Masoch. From birth, he was so weak that no one was confident that the baby would survive. He was predicted the fate of two of his mother’s brothers who died at an early age. Little Leopold was saved only by the milk of the nurse Handzia from the village of Vynnyky near Lviv, who not only put the child on his feet, but also instilled love for Ukrainians and everything Ukrainian in the future writer. “With her milk, I absorbed love for Ukrainians, absorbed the Ukrainian language and love for the land of my birth, for my fatherland. Thanks to my wet nurse, the Ukrainian language became the first one that I spoke,” later recalled Sacher, who received the addition to the surname Masoch only when he was two years old. Permission to change the surname was issued personally by Emperor Franz Joseph at the request of his grandfather Franz von Masoch, the rector of Lviv University, who, after the death of his two sons, did not want his family to end. The definition known today in psychiatry stuck to Leopold von Sacher-Masoch only at the end of his life as a result of the ill turn of the psychologist Richard von Krafft-Ebing, who used the name of Sacher-Masoch in his book Psychopathia Sexualis as a common definition of behavior described in a number of the writer's short stories. This definition not only changed the last years of the author, but also significantly distorted the subsequent understanding of his works. The patriotic pro-Ukrainian theme, which permeated a significant part of his works, was in many ways inconvenient both in the West and later in the Soviet Union. The definition of Richard von Krafft-Ebing came in handy for its suppressing, wrote Boris Lozhkin on Facebook. (http•••) (http•••) (http•••) (http•••) (http•••)
1890 1919 1920 1924 1925 1935 1937 1939 1942 1955
Rudolf Schlichter +••.••(...)) was one of the most important representatives of the Neue Sachlichkeit (New Objectivity) movement. Schlichter was born in Calw, Württemberg, Germany. After an apprenticeship as an enamel painter at a Pforzheim factory he attended the School of Arts and Crafts in Stuttgart. He subsequently studied under Hans Thoma and Wilhelm Trübner at the Academy in Karlsruhe. Called for military service in World War I, he carried out a hunger strike to secure early release, and in 1919 he moved to Berlin where he joined the Communist Party of Germany and the “November” group. He took part in a Dada fair in 1920 and also worked as an illustrator for several periodicals. A major work from this period is his Dada Roof Studio, a watercolour showing an assortment of figures on an urban rooftop. Around a table sit a woman and two men in top hats. One of the men has a prosthetic hand and the other, also missing a hand, appears on closer scrutiny to be mannequin. Two other figures in gas masks may also be mannequins. A child holds a pail and a woman wearing high button shoes (for which Schlichter displayed a marked fetish) stands on a pedestal, gesturing inexplicably. In 1925 Schlichter participated in the “Neue Sachlichkeit” exhibit at the Mannheim Kunsthalle. His work from this period is realistic, a good example being the Portrait of Margot (1924) now in the Berlin Märkisches Museum. It depicts a prostitute who often modelled for Schlichter, standing on a deserted street and holding a cigarette. When Adolf Hitler took power, bringing to an end the Weimar period, his activities were greatly curtailed. In 1935 he returned to Stuttgart, and four years later to Munich. In 1937 his works were seized as degenerate art, and in 1939 the Nazi authorities banned him from exhibiting. His studio was destroyed by Allied bombs in 1942. At the war’s end, Schlichter resumed exhibiting works. His works from this period were surrealistic in character. He died in Munich in 1955.
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- cronologia: Compositori (Europa).
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