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Geraldine Farrar 3: 25 cm HMV en Victor (1909-1920)

September 17, 2017, 3:33 pm
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In deze post enkele 25 cm 78t.platen van Geraldine Farrar.

Geraldine Farrar (Melrose, Mass., 28.02.1882 - Ridgefield, Connecticut, 11.03.1967): Amerikaanse sopraan en film-actrice. Studeerde in Boston, trad al op op haar 14e. Studeerde bij Emma Thursby in New York en Parijs, en bij Francesco Graziani in Berlijn. 
1901-1903: zong aan de Hofoper Berlin, had les van Lilli Lehmann en waarschijnlijk een relatie met Kroonprins Wilhelm van Duitsland. 
1903-1906: Opera Monte-Carlo


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Geraldine Farrar als "Carmen" (film, 1915)

1906-1922: Metropolitan Opera New York, zong 29 rollen in bijna 500 voorstellingen. Ze was erg populair bij veel jonge vrouwen, die "Gerry-flappers" werden genoemd.
In de periode 1915-1920 acteerde ze in 15 zwijgende films, w.o. Carmen (Cecil B. DeMille, 1915), Joan the Woman (Jeanne d'Arc, Cecil B. DeMille, 1916), Flame of the desert (Reginald Barker, 1919)


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Geraldine Farrar "Thais" 1917

In 1922 trok ze zich terug uit de operawereld, gaf nog wel recitals tot 1931. 
Kijk op IMDB voor Geraldine Farrar's filmografie. 
Lees hier een e-book "Geraldine Farrar, the story of an American singer, by herself" (1916).

Van 1908-1915 had ze een affaire met dirigent Arturo Toscanini, die in 1915 naar Italië terugging omdat ze hem een ultimatum had gesteld om zijn vrouw te verlaten en met haar te trouwen. Van 1916-1923 was ze met de filmacteur Lou Tellegen gehuwd, die veel buitenechtelijke relaties had en in 1934 zelfmoord pleegde. 

Geraldine Farrar maakte veel plaatopnamen, voor G&T (1904-1906) en Victor (1907-1927).


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    Puccini - "Madame Butterfly": 
1  Ancora un passo    2:16
    Opname 25.05.1916
2  Ieri son salita    2:51
    Opname 02.10.1909
    78t 25 cm: Victrola 616-A/B


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3  Bizet - "Carmen": Habanera    3:11
    Opname 09-12-1914
4  Gounod: Au printemps    1:53
    Opname 20.01.1920
    78t 25 cm: Victrola 621-A/B   


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5  John Stafford Smith: Star-spangled banner    3:20
    78t 25 cm: HMV 2-3282
    Opname 25.05.1916


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6  Offenbach - "Contes d'Hoffmann": Barcarolle    2:35
    + Antonio Scotti, bariton
    Opname 06.10.1909
7  Lully: Au clair de la lune    2:40
    + Edmond Clément, tenor
    Opname 17.03.1913
    78t 25 cm: HMV DJ 102

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Chopin: "De la infancia a la plenitud", por Anne Queffélec

September 17, 2017, 4:28 pm
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-Chopin: 4 Polonesas - 3 Mazurkas - Sostenuto - Cantabile - Nocturno - Fantasia-Impromptu - 2 Valses - Berceuse, Op.57 - Barcarola, Op.60 - Scherzo Nº4, Op.54 - Balada Nº4, Op.52
Anne Queffélec, piano
Grabación: 2009
Formato: FLAC + tapas y libro
Peso: 175MB


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The Lighter Mozart (Erich Keller)

September 17, 2017, 4:31 pm
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Wolfgang Amadeus Mozart (1756-1791)
Dirty Canons, Songs and other Musical Jokes
(Too many to list here, see back cover for details)
Erich Keller, Convivium Musicum München
("Old School" Period Instruments)
Warner Music 825646289202 (1988/2014)





[Flac & Scans, No Log]

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Chopin: los Estudios Op.10 y Op.25, las Baladas y los Valses, por Agustín Anievas

September 17, 2017, 5:09 pm
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Пфицнер - Die Rose vom Liebesgarten (опера)

September 17, 2017, 5:41 pm
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Maria João Pires – Mozart: Les Sonates Pour Piano – Volume 5 (Japanese pressing)

September 17, 2017, 6:03 pm
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Гордон Чин - Симфония № 3, Концерт № 1 для виолончели

September 17, 2017, 6:42 pm
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VIENA 2017/2018: LE NOZZE DI FIGARO (Plachetka-Carroll-Álvarez-Röschmann-Gritskova;Martinoty-Fischer)

September 17, 2017, 7:28 pm
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Tornem a la Staatsoper de Viena que una vegada superat l’ensurt de la inauguració amb el canvis a Il Trovatore: María José Siri substituint a Anna Netrebko (en va cantar dues de les quatre previstes) i Yusif Eyvazov (les va cantar totes) substituint a Marcelo Álvarez, ja ha programat la Khovànxtxina que ha tingut el seu espai corresponent a IFL, Il Barbiere di Siviglia, Salome i Le nozze di Figaro que avui protagonitza l’apunt, i tot això en 14 dies efectius de […]
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Strauss Ariadne auf Naxos Böhm 1954

September 17, 2017, 8:21 pm
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Чайковский - Пиковой даме (Чакаров)

September 17, 2017, 8:42 pm
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Гордон Чин - Двойной концерт, Formosa Seasons

September 17, 2017, 10:41 pm
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Aleksandra Staskeviciute - Opera Arias

September 17, 2017, 11:15 pm
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https://www.4shared.com/rar/784wC_0Gei/StasArias.html?

Sigan apoyando al blog con sus visitas y comentarios.
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Johann Sebastian Bach - Well-Tempered Clavier I (Evgeni Koroliov)

September 17, 2017, 11:48 pm
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Information

Composer: Johann Sebastian Bach

CD1:
  • (01-24) The Well-Tempered Clavier I, BWV 846-857
CD2:
  • (01-24) The Well-Tempered Clavier I, BWV 858-869

Evgeni Koroliov, piano
Date: 2000
Label: Tacet

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Review

ARTISTIC QUALITY: 10 / SOUND QUALITY: 10

Evgeni Koroliov’s recordings of The Art of Fugue (for Tacet) and the Goldberg Variations (for Hänssler) have placed him in the forefront of today’s Bach pianists. This new recording of Book One of the Well-Tempered Clavier confirms his stature in this repertoire beyond a shadow of a doubt. Koroliov plays this music with such poetry, finesse, and real joy that questions of “authenticity” or instrument selection fade into insignificance.

In his title for the work, Bach deliberately avoided naming a specific keyboard instrument, and it’s known that this music could and would certainly have been played on everything from a harpsichord to clavichord, organ, or even early piano. In fact, Bach’s music is a celebration of keyboard virtuosity, and Koroliov’s performance offers a genuine display of the pianist’s art. His playing of the G major fugue, for example, has the brittle clarity of the harpsichord but a witty brilliance that is all his own. On the other hand, the mesmerizing, gradual crescendo and diminuendo he makes of the long C-sharp major fugue offers a textbook lesson in how to use the piano’s dynamic shadings to enhance the clarity and harmonic tension of Bach’s contrapuntal lines. Even the more familiar fugues–the two openers, for example, in C major and minor–sound refreshingly vital and interesting, owing to a combination of irresistible forward momentum and a really intelligent, ear-catching approach to voice leading.

Koroliov’s view of the preludes is no less impressive: he perfectly catches the subdued, elegiac quality of the pieces in G minor and G-sharp minor. His playing has all the gentle intimacy of the clavichord. On the other hand, he’s not afraid to attack the F-sharp minor prelude with real anger and an almost Lisztian bravura, and he can stroke the simple, arpeggio preludes (such as the very first, in C major) with a dreamy sensuality that has us confused as to whether we are listening to Chopin or Bach, and frankly not caring which. In sum, this is a performance worthy to stand beside Gould, Tureck, Schiff, Fischer, or any other competing version that you can name. And it’s better recorded than any of them. The only drawback: really pretentious booklet notes that, as so often with German productions, say nothing intelligent about the music at all, and exist solely to prove that the note writer thinks he’s smarter than the composer. Who is he kidding? Never mind. Bring on Book Two!

-- David Hurwitz, ClassicsToday

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Johann_Sebastian_Bach.jpg
Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the Baroque period. Bach enriched established German styles through his mastery of counterpoint, harmonic and motivic organisation, and his adaptation of rhythms, forms, and textures from Italy and France. He is known for instrumental compositions such as the Brandenburg Concertos and the Goldberg Variations, and vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival he has been generally regarded as one of the greatest composers of all time.
https://en.wikipedia.org/wiki/Johann_Sebastian_Bach

***

koroliov.jpg
Evgeni Koroliov (born 1 October 1949, in Moscow) is a Russian classical pianist. He was a pupil of Anna Artobolesvkaya, got lessons from Heinrich Neuhaus and Maria Yudina, and studied with Lev Oborin and Lev Naumov. Besides classical, romantic and contemporary repertoire Evgeni Koroliov has always been particularly interested in the work of J.S. Bach. Many critics attest Koroliov's J.S. Bach records not only having an absolutely outstanding position among all new releases of the J.S. Bach-Year but belonging to the most important J.S. Bach-recordings of record- and CD-history ever.

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FLAC, tracks
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Johann Sebastian Bach - Well-Tempered Clavier II (Evgeni Koroliov)

September 17, 2017, 11:48 pm
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cover.jpg

Information

Composer: Johann Sebastian Bach

CD1:
  • (01-24) The Well-Tempered Clavier II, BWV 870-881
CD2:
  • (01-24) The Well-Tempered Clavier II, BWV 882-893

Evgeni Koroliov, piano
Date: 2002
Label: Tacet

back.jpg

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Review

ARTISTIC QUALITY: 10 / SOUND QUALITY: 10

As with his magnificent recording of Bach’s Well-Tempered Clavier Book 1, Evgeni Koroliov interprets Book 2 from a pianistic angle, taking advantage of the instrument’s potential for varied colors, articulations, and dynamics, while at the same time avoiding stylistic anachronisms. There are so many details to savor, you hardly know where to begin. His unconventionally slow pace for the C minor fugue allows the contrapuntal lines to take on a more vocal quality than usual. Note how gorgeously he shapes the left hand’s often-ignored top line in the D-flat prelude and the subtle rubato with which he inflects the C-sharp minor fugue. In contrast to the D major prelude’s militant pomp, Koroliov takes an unusually brisk, nimble, and witty approach to its corresponding fugue (the A-flat fugue is similarly dispatched).

By contrast, Koroliov’s spacious, reverential way with the E major fugue recalls Glenn Gould’s similarly drawn-out mono recording. He resists Angela Hewitt’s dynamic contrivances in the difficult-to-clarify G minor fugue, achieving textural variety by means of his marvelously controlled staccato articulation. Koroliov keeps the G-sharp minor fugue’s lines afloat so that their accents fall over rather than on the barlines. The pianist’s gentle and introspective A minor prelude markedly contrasts to his bleak and hard-nosed way with its corresponding fugue. What a joy it is to experience Koroliov’s authoritative and individual Bach pianism at its best. Don’t miss this release!

-- Jed Distler, ClassicsToday

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Johann_Sebastian_Bach.jpg
Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the Baroque period. Bach enriched established German styles through his mastery of counterpoint, harmonic and motivic organisation, and his adaptation of rhythms, forms, and textures from Italy and France. He is known for instrumental compositions such as the Brandenburg Concertos and the Goldberg Variations, and vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival he has been generally regarded as one of the greatest composers of all time.
https://en.wikipedia.org/wiki/Johann_Sebastian_Bach

***

koroliov.jpg
Evgeni Koroliov (born 1 October 1949, in Moscow) is a Russian classical pianist. He was a pupil of Anna Artobolesvkaya, got lessons from Heinrich Neuhaus and Maria Yudina, and studied with Lev Oborin and Lev Naumov. Besides classical, romantic and contemporary repertoire Evgeni Koroliov has always been particularly interested in the work of J.S. Bach. Many critics attest Koroliov's J.S. Bach records not only having an absolutely outstanding position among all new releases of the J.S. Bach-Year but belonging to the most important J.S. Bach-recordings of record- and CD-history ever.

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SCHWENCKE, Christian Friedrich Gottlieb (1767-1822) - Oboe Concerto

September 18, 2017, 12:00 am
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Friedrich Wilhelm Schadow - Porträt Felix Schadow (1829)
Obra de Friedrich Wilhelm von Schadow (1789-1862), pintor alemany (1)


- Recordatori de Christian Friedrich Gottlieb Schwencke -
En el marc de la celebració del seu 250è aniversari de naixement


Parlem de Pintura...

Friedrich Wilhelm von Schadow (Berlin, 6 de setembre de 1789 - Düsseldorf, 19 de març de 1862) va ser un pintor alemany. Fill de l'escultor Johann Gottfried Schadow, es va formar amb el seu pare i poc després amb Friedrich Georg Weitsch. El 1810, i després d'uns anys de servei militar, va viatjar en companyia del seu germà Rudolph, a Roma, ciutat on va entrar en contacte amb els pintors del natzarenisme. A Roma, va es va convertir al catolicisme i va començar a treballar com a professor i pintor rebent, per exemple, un encàrrec del general Jakob Salomon Bartholdy. El 1819 va tornar a Berlin on va ser nomenat professor a l'Acadèmia de les Arts de la ciutat. També en aquest període va realitzar nombroses pintures per a esglésies. El 1826 va ser nomenat director de l'Acadèmia de les Arts de Düsseldorf en un càrrec que va mantenir fins el 1832. Al llarg del temps, Von Schadow va assolir un gran èxit com a teòric i docent i potser no tant des d'una perspectiva artística. Finalment, va morir a Düsseldorf el març de 1862.


Parlem de Música...

Christian Friedrich Gottlieb Schwencke (Wachenhausen, 30 d'agost de 1767 - Hamburg, 27 d'octubre de 1822) va ser un pianista, editor i compositor alemany. Fill del fagotista Johann Gottlieb Schwencke (1744-1823), es va formar en piano i composició amb el seu pare. Precisament en companyia del seu progenitor, va realitzar el seu primer recital públic el 1779. El 1782 va viatjar a Berlin on va rebre formació de Marpurg i Kirnberger. Entre els anys 1787 i 1788 va estudiar a les universitats de Leipzig i l'Halle. Ràpidament, i després de la mort de C.P.E. Bach, va assolir el càrrec de Stadtkantor d'Hamburg en un càrrec que va preservar la resta de la seva vida. A partir del 1799 va participar regularment en la publicació Allgemeine musikalische Zeitung. Com a compositor, va ser autor d'obra diversa, tant vocal com instrumental. D'aquesta, va destacar dos concerts de piano, un concert per a oboè i diverses sonates. En vida va mostrar un gran interès per l'obra de Bach sent el primer editor, entre altres obres, del famós Das wohltemperirte Clavier (Bonn, 1801). Els seus fills Johann Friedrich Fritz Schwencke (1792-1852) i Karl Schwencke van ser també instrumentistes i compositors. Christian Friedrich va morir a Hamburg l'octubre de 1822.


Informació addicional... 

INTERPRETS: Lajos Lencses (oboè); Rundfunk Sinfonieorchester Berlin
AMAZON: Oboe Concertos
SPOTIFY: Oboe Concertos

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Tant si us ha agradat, com si no, opineu, és lliure i fàcil!
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Жак ОФФЕНБАХ – Ненависть / Jacques OFFENBACH – La Haine

September 18, 2017, 2:43 am
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OFFENBACH Jacques / ОФФЕНБАХ Жак


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"The Caution" by Nicholas Joseph Crowley (1819-1857)


La Haine (musique de scène pour la pièce de Victorien Sardou)

Ненависть (муз. сопровождение к пьесе Викторьена Сарду)

 

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 Victorien Sardou


Премьера: 3.12.1874, т-р "Гёте", Париж

 

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Действующие лица и исполнители вокальных партий:

Cordelia / Корделия – Fanny Ardant

Orso / Орсо – Gerard Depardieu

Uberta / Уберта – Dorte Lyssewski

Choeur de La Radio Lettone

Orchestre National de Montpellier Languedoc-Roussillon

 

Формат: МР3 141,9 МВ  256 кбит/с

Ссылка: https://cloud.mail.ru/public/Jka1/QdidsFUiR

 

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Tardes melancólicas

September 18, 2017, 2:48 am
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Tras la presentación al alumnado el pasado viernes, comienzan hoy las clases de enseñanza secundaria del curso 2017/18. Al igual que el anterior, voy a trabajar exclusivamente en la educación de adultos, lo que significa hacerlo en horario vespertino. Son muchas las ventajas, y no pocos los inconvenientes. Nada de levantarse temprano, pero a cambio se llega a casa bien entrada la noche. Conviene cenar durante el recreo. El tiempo de descanso es el de la mañana, lo que significa no relajarse del todo: el número de horas libres es el mismo, pero antes de acudir al trabajo uno permanece "en tensión" y no desconecta del todo. Sí, las clases habrá que preparárselas en una hora del día o en otra, pero no da igual hacerlo tomando el café y las galletas sabiendo que no se acudirá a clase hasta el día siguiente, que siendo consciente de que hay que ir allá en tan solo unas horas. El ambiente en el aula es mucho menos tenso con adultos. Bueno, siempre hay quien no para de charlar, o reivindica que le aprueben sin alcanzar unos mínimos, pero lo cierto es que no se masca ese ambiente de enfrentamiento total en el que en todas partes se está convirtiendo la enseñanza secundaria debido a unos menores cada día más hiperprotegidos y más subidos a la parra.

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Ya les digo que hay aspectos positivos y negativos en esta decisión. Sea para bien o para mal, comienzan esas tardes largas y melancólicas impartiendo clases en el mismo centro educativo donde yo mismo fui alumno no hace tanto.

¿Y por qué les cuento esto? Primero, para que sepan que de lunes a viernes no podré atender el blog por la tarde, solo por las mañanas. Las entradas programadas –tengo muchas en la nevera escritas en agosto, con la intención de disponer de más tiempo ahora para mi trabajo en el instituto– saldrán a las tres de la tarde. Segundo, para deja constancia de que este curso también me toca prescindir de mucha música en directo. Y de teatro, y de cine. También de ópera en cine, aunque el ciclo del Metropolitan en los Yelmo es los sábados y sí que podré acudir con regularidad.

¿Viajes musicales? A Sevilla sábados y domingo, cuando haya algo. Lo de Madrid y Valencia se ha acabado casi por completo: en mi exilio en la Sierra de Segura no era complicado, pero desde Jerez resulta demasiado lejos y demasiado caro. No obstante, me gustaría ver Die Soldaten en el Real y Peter Grimes en Les Arts. Estoy a la expectativa de una posible visita de Barenboim y la WEDO a Andalucía, pero no he logrado averiguar nada al respecto. Tengo claro que el de Buenos Aires es en la actualidad el músico que me puede proporcionar más gratas experiencias musicales, así que tengo que hacer todo lo posible para escucharle. Su recital pianístico en Madrid cae en muy mala fecha: tendría que pedirme un día de asuntos propios, lo que duplicaría el ya muy considerable precio de la entrada de Ibermúsica. Veremos.
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Rostropovich & Tachezi: Cello and Organ

September 18, 2017, 3:12 am
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Ricci: A Six Decade Retrospective

September 18, 2017, 3:12 am
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Nigel Kennedy: My World

September 18, 2017, 3:12 am
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The post Nigel Kennedy: My World appeared first on Only Classical.

Digital download with 44.1kHz/24bit Nigel Kennedy: My World 1. Dedications: Dla Jarka (for Jarek Smietana) 2. Dedications: Melody in theWind (for Stephane Grappelli) 3. Dedications: Fallen Forest (for Isaac Stern) 4. Dedications: Gibb it (for Mark O’Connor) 5. Three Sisters: Intro – Tuzenbach – Solyony’s Prophecy – Masha’s Memory – Andrei Practising 6. Three Sisters: […]

The post Nigel Kennedy: My World appeared first on Only Classical.

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