Samuel Barber Knoxville: Summer of 1915, Op. 24 Video
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2024-05-03
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Renée Fleming Gustave Charpentier Charpentier Jeffrey Tate Elisabeth Schwarzkopf Augér Richard Tucker George London Felicity Lott Alice Tully Barber James Levine Cecilia Bartoli Bryn Terfel Christoph Eschenbach Carlisle Floyd James Conlon William Christie English Chamber Orchestra Metropolitan Opera Houston Grand Opera Alice Tully Hall Scala Opéra Bastille Carnegie Hall Covent Garden 1915 1959 1983 1984 1985 1987 1988 1991 1992 1993 1994 1995 1997 1998 1999 2000 2003
THIS IS THE SUCCESSOR CHANNEL TO "liederoperagreats" WHICH WAS RECENTLY TERMINATED. Renée Fleming--soprano Jeffrey Tate--conductor English Chamber Orchestra 1998 / "Born: February 14, 1959 - Indiana, Pennsylvania, USA The American soprano, Renée Fleming, grew up in Rochester, New York. nstead she went on to graduate studies at Rochester's Eastman School of Music. Afterwards she attended the Juilliard School's American Opera Center from 1983 to 1987 under the tutelage of Beverly Johnson. In 1984, she traveled to Frankfurt, Germany, where she studied voice with two lengendary sopranos, Dame Elisabeth Schwarzkopf and the late Arleen Augér, on a Fulbright Scholarship. She returned to New York in 1985 and completed her studies at the Juilliard School. Her early awards included winning the 1988 Metropolitan Opera National Auditions, the Richard Tucker Award, the George London Prize, the Grand Prix at the International Singing Competition in Belgium and a Fulbright Scholarship to Germany. She was scheduled to make her Metropolitan Opera debut in 1992, but it came unexpectedly early in March 1991 when she replaced an ill Felicity Lott as the Countess in Le nozze di Figaro. As the Countess, Fleming also made her debuts at the Tetro Colón in Buenos Aires, in San Francisco (1991), Vienna (1993), Geneva (1993), and Glyndebourne (May 1994). She made her New York recital debut at Alice Tully Hall in March 1993. In August 1993 she was the soloist in Barber's Knoxville: Summer of 1915 at the opening of the concert hall in Aspen, Colorado. She made her La Scala debut in Milan in 1993 as Donna Elvira in W.A. Mozart's Don Giovanni. With the Houston Grand Opera in 1995, she sang her first Marschallin in Der Rosenkavalier, a role which has also brought her great acclaim. She has had success in roles across the operatic spectrum, always relishing a new challenge. In 1997 she sang her first Manon in Paris at the Opéra de la Bastille (and again at the Metropolitan Opera later that year). Singing this French work in Paris was a brave step which won her glowing reviews. The Times wrote "Challenges do not come much larger than Manon, especially when sung in Paris. But Fleming took the risk...and the result was a personal triumph." In November 1998, she starred in The Marriage of Figaro at the Metropolitan Opera, conducted by James Levine and co-starring Cecilia Bartoli and Bryn Terfel. The New York Times said of her performance on the first night: "'Porgi amor' was a flood of beautiful sound; the climactic tones of 'Dove sono' made the body tingle." 1999 began with an international recital tour; in the USA the schedule included dates at Carnegie Hall and Chicago's Symphony Hall. She managed to leave audiences everywhere wanting still more, even though she regularly returned to sing half an hour of encores. The Toronto Globe and Mail described her remarkable performance there: "Fleming's lyric soprano has the one thing that every great singer needs, an unmistakable, distinctive, individual timbre. Commanding intelligence and musicianship take the gift even further, allowing her to interpret ad communicate on the highest level." In Europe she collaborated with pianist Christoph Eschenbach in a Paris recital and went on to perform in Milan, Vienna and Copenhagen. In April 1999, she returned to the Met for a production of Carlisle Floyd's Susannah, conducted by James Conlon, before returning to Paris for the remainder of the spring for a production of Alcina at the Bastille, conducted by William Christie. Following the summer's stage and concert performances in Paris, Germany and the Czech Republic, she returned to the USA to concentrate on operatic roles: in September 1999 she sang Louise in San Francisco; in November, Alcina in Chicago and in December she appeared at the Met to prepare for one of her signature roles, the Marschallin in Der Rosenkavalier. She also sung the Marschallin in London's Covent Garden in March 2000. In 2003 she made a triumphant appearance as Violetta in La traviata at the Metropolitan Opera. Renée Fleming is one the most sought after sopranos of today. Her combination of vocal beauty, stylistic versatility, and uncommon commitment to dramatic portrayal has worked to make her an instant draw anywhere she appears. Alongside her operatic and recital recording schedule, Renée Fleming has reserved some time to catch up with her other musical love and plans to record a jazz album. Away from the stage she has recorded two arias for the soundtrack to the Fox Searchlight film of "A Midsummer Night's Dream". " .
Eleanor Steber Verdi Nolte Richard Strauss Mozart Bruno Walter Wagner Alban Berg Giacomo Puccini Samuel Barber Bayreuth Arturo Toscanini Beethoven Dimitri Mitropoulos Serge Koussevitzky Primrose Soar Metropolitan Opera Boston Symphony Orchestra 1885 1888 1914 1915 1917 1918 1940 1944 1948 1953 1954 1961 1966 1985 1990 1999 2002
Eleanor Steber (July 17, 1914 – October 3, 1990) was an American operatic soprano. Steber is noted as one of the first major opera stars to have achieved the highest success with training and a career based in the United States. Eleanor Steber was born in Wheeling, West Virginia on July 17, 1914. She was the daughter of William Charles Steber, Sr. (1888–1966) and Ida Amelia (née Nolte) Steber (1885–1985). She had two younger siblings – William Charles Steber, Jr. (1917–2002) and Lucile Steber Leslie (1918–1999). She made her debut at the Metropolitan Opera in 1940 and was one of its leading artists through 1961. She was known for her large, flexible silvery voice, particularly in the high-lying soprano roles of Richard Strauss. She was equally well known for her lyrical portrayals of Mozart's heroines, many in collaboration with conductor Bruno Walter. Beyond Mozart and Strauss her repertoire was quite varied. She was noted for success in the music of Wagner, Alban Berg, Giacomo Puccini and also in French opera. Steber sang the lead in the world premiere of the American opera Vanessa by Samuel Barber. She was also featured in a number of Metropolitan Opera premieres, including Strauss's Arabella, Mozart's Die Entführung aus dem Serail, and Berg's Wozzeck. . Outside the Metropolitan her career included a 1953 engagement at the Bayreuth Wagner Festival, where her performance as Elsa in Lohengrin was highly acclaimed and recorded by Decca Records. She sang with Arturo Toscanini in his 1944 NBC Symphony broadcast of Beethoven's Fidelio. In 1954 at the Florence May Festival she sang a celebrated performance of Minnie in Puccini's La fanciulla del West with conductor Dimitri Mitropoulos. With Serge Koussevitzky and the Boston Symphony Orchestra she sang the world premiere in 1948 of Samuel Barber's Knoxville, Summer of 1915, a work which she commissioned... (http•••) Lyrics & English Translation VIOLETTA How strange it is ... how strange! Those words are carved upon my heart! Would a true love bring me misfortune? What do you think, o my troubled spirit? No man before kindled a flame like this. Oh, joy ... I never knew ... To love and to be loved! Can I disdain this For a life of sterile pleasure? Was this the man my heart, Alone in the crowd, Delighted many times to paint In vague, mysterious colours? This man, so watchful yet retiring, Who haunted my sickbed And turned my fever Into the burning flame of love! That love, The pulse of the whole world, Mysterious, unattainable, The torment and delight of my heart. It's madness! It's empty delirium! A poor, lonely woman Abandoned in this teeming desert They call Paris! What can I hope? What should I do? Enjoy myself! Plunge into the vortex Of pleasure and drown there! Enjoy myself! Free and aimless I must flutter From pleasure to pleasure, Skimming the surface Of life's primrose path. As each day dawns, As each day dies, Gaily I turn to the new delights That make my spirit soar. ALFREDO (outside the window) Love is the pulse VIOLETTA Oh! ALFREDO ... of the whole world ... VIOLETTA Yes! Love! ALFREDO Mysterious, unattainable, The torment and delight of my heart. VIOLETTA It's madness! Pleasure! Free and aimless, I must flutter ... etc. A link to this wonderful artist's personal website: (http•••) Please Enjoy! I send my kind and warm regards,
Samuel Osborne Barber II Osborne Broadbent Saunders 1910 1981
Samuel Osborne Barber II (March 9, 1910 – January 23, 1981) was an American composer of orchestral, opera, choral, and piano music. He is one of the most celebrated composers of the 20th century: music critic Donal Henahan stated that "Probably no other American composer has ever enjoyed such early, such persistent and such long-lasting acclaim." Please support my channel: (http•••) Sure on this Shining Night arr. for chorus, Op. 33, No. 3 (1940) Librettist: James Agee The Joyful Company of Singers conducted by Peter Broadbent Anthony Saunders, piano Description in Library of Congress "Sure on this Shining Night" is the third song in the collection entitled Four Songs which was published by G. Schirmer in 1940. Unlike his earlier collection of Three Songs, op. 10, in which all three songs are set to poetry by James Joyce, Barber's Four Songs, op. 13 features the texts of four different poets. The text for "Sure on this Shining Night" was based on an untitled lyric from James Agee's first published collection of poems, Permit Me Voyage (1934). Barber eventually met and formed a lasting friendship with the Pulitzer Prize-winning writer, but it was not until after he set Agee's Knoxville: Summer of 1915 in 1948. The brilliance of "Sure on this Shining Night" lies in its long, seamlessly lyrical canonical lines, initiated by the voice and followed immediately by the piano. The song's structure resembles that of songs crafted by 19th-century masters such as Johannes Brahms and Robert Schumann, especially in the dexterous use of canonic principals (in which Brahms excelled) and in the use of the pulsating chordal-style accompaniment, as found in Schmann's "Ich grolle nicht" (from Dichterliebe, 1840). "Sure on this Shining Night" has also been used by voice teachers, including Marinka Gurewich, to instruct singers in the art of producing a pianissimo cantilena vocal line. No doubt the popularity of "Sure on the Shining Night" was amplified by Barber's frequent retelling of an anecdote that directly involved the song. In 1979, Barber had just moved into a new apartment in New York City and needed to call home. He was trying to reach Gian Carlo Menotti, whom he knew was visiting the apartment. However, upon trying to dial the number from the telephone booth, Barber realized that he could not recall the newly established phone number. The composer contacted the operator for assistance who initially refused to provide Barber with the number, but confessed that she possessed a "weakness" for "Sure on this Shining Night" and requested that Barber sing the song's opening phrase to confirm his identity. Barber complied and was rewarded with his telephone number! Anecdotes aside, Barber must have appreciated the song's warm reception for nearly thirty years later he arranged "Sure on this Shining Night" (along with "A Nun Takes the Veil," also from Four Songs, op. 13) for chorus. The arrangements were extremely popular and sold over a hundred thousand copies. To date, "Sure on this Shining Night" remains a favorite among solo singers and choral ensembles alike.
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