terça-feira, julho 31, 2007
Cet opéra de marbre et d'or fut construit par Charles Garnier à la fin du XIXème siècle. Avec son grand escalier et ses foyers ornés de peintures et de sculptures, sa salle de spectacle rouge et or et son plafond peint par Chagall (1964), ce théâtre est aussi un chef-d'œuvre architectural connu dans le monde entier. Située dans le Pavillon de l'Empereur, la Bibliothèque-Musée conserve dans ses collections des témoignages de l'Histoire depuis la création de l'Académie Royale de Musique par Louis XIV en 1669. Elle abrite aussi diverses expositions, dont une consacrée actuellement à Jacques Rouché qui fut directeur de l'Opéra de Paris (1914-1945).
Visita Virtual - http://visites.opera-de-paris.com/?theatre=garnier&page=virtuelle
segunda-feira, julho 30, 2007
Stich-Randall as Countess
Almaviva in Aix-en-Provence's
Le Nozze di Figaro
West Hartford, CT, December 24, 1927 — Vienna, July 17, 2007
Educated at the Hartt School of Music in her native Connecticut, the handsome blonde soprano made her professional debut (as Teresa Stich) in 1947, when she created the role of Henrietta M. in the world premiere of Virgil Thomson's The Mother of Us All at Columbia University's Brander Matthews Hall. The following year, Stich-Randall returned to Brander Matthews to sing Evangeline Bellefontaine in the first complete performances of Evangeline, a 1931 opera written by Otto Luening, who had conducted The Mother of Us All's premiere.
quarta-feira, julho 25, 2007
(Verdi – MET) 1993. This is a wonderfully strong performance of Verdi’s opera, unequalled on either CD of DVD. Plácido Domingo’s performance of the title character is truly magnificent, and he uses his burnished sound and powerful delivery to convey the many aspects of this hero. James Levine is the other hero of this performance with his regal pacing and dramatic sense of timing he elicits remarkable portrayals from the entire cast. Vladimir Chernov and Paul Plishka give wonderful performances, while Sharon Sweet, lovely of voice, is the opera’s only dramatically unconvincing performance.
With Sharon Sweet, Plácido Domingo, Peter Riberti, Vladimir Chernov, Paul Plishka; James Levine conducts. Subtitled. Region Code: 0.
The tenor presents a recital of English and Italian-language arias from Handel’s operas and oratorios. Many are famous selections for tenor, but Bostridge has also included some arias originally intended for castrati. The recital includes selections from Semele, Jephtha, Messiah, Serse, Acis & Galatea, Samson, Ariodante and L’Allegro. Ian Bostridge is joined by soprano Kate Royal on two selections, and throughout by conductor Harry Bicket and the Orchestra of the Age of Enlightenment.
É o melhor site do ano!
Ganhou inúmeros prêmios e promete ganhar muitos mais.
Faça uma visita e divirta-se com o jogo.
Ajude a família que não tem cálcio no organismo
a consegui-lo :)
terça-feira, julho 24, 2007
|Robert Schumann: Kerner-Lieder, Liederkreis, Dietrich Fischer-Dieskau (1954, 1955)|
|par Anthony Goret|
Audite nous ofre une excellente occasion d'écouter Dietrich Fischer-Dieskau dans un enregistrement des Kerner-Lieder et Liederkreis (Eichendorff) de Robert Schumann. Fraîcheur vocale et spontanéité juvénile imposent l'interprète qui est au début de sa carrière. Un témoignage incontournable.
Dietrich Fischer-Dieskau a enregistré ces monuments du répertoire du lied à de nombreuses reprises tout au long de sa carrière. On redécouvre un chanteur au faîte de la maîtrise de son art, et la fraîcheur vocale et la spontanéité dont il fait preuve, contrastent avec les versions futures. Son enthousiasme juvénile et les nombreuses couleurs vocales présagent déjà de l’évolution de son chant vers une intellectualisation et une colorisation du mot. Sa voix chaude, soyeuse et caressante, évoluera vers un timbre plus granuleux mais offrant les possibilités infinies d’expression vocale qu’il saura exploiter même lorsque sa voix sera quelque peu fatiguée dans les dernières années de sa carrière.
Lors de l’enregistrement des Kerner-Lieder avec Sawallisch en 1975 et Eschenbach en 1977, Dietrich Fischer-Dieskau adopte des tempos plus rapides et se montre déjà beaucoup plus extraverti que dans la version actuelle. Le timbre déjà un peu plus fin et moins doux sculpte chaque phrase et attribue à chaque mot, une couleur particulière. Les tempos subiront de subtiles variations dans le prolongement de son expression musicale.
Même si la version Eschenbach nous paraît plus captivante, cet enregistrement plus spontané, révèle le chanteur dans un timbre que l’on n’a pas coutume de lui connaître.
1954 : Gerald Moore
1955 : Günther Weissenborn
1959 : Live à Salzburg avec Gerald Moore
1975 : Extraits d’un Live à Salzburg avec Sawallisch
1977 : Christoph Eschenbach
1986 : Alfred Brendel
1954 : Hertha Klust
1957 : Günther Weissenborn
1959 : Gerald Moore : Live à Salzburg avec Gerald Moore
1975 : Wolfgang Sawallisch
1977 : Christoph Eschenbach
Robert Schumann (1810-1856) : Kerner-Lieder Op. 35 (*), Liederkreis Op. 39. Dietrich Fischer-Dieskau, baryton. Günther Weissenborn, Hertha Klust (*), piano
sábado, julho 21, 2007
Mainstay Soprano Feels Snub bed by the Met
- Ruth Ann Swenson, a mainstay soprano at the Metropolitan Opera, will take the stage tomorrow to begin a run of Handel’s “Giulio Cesare” just six weeks after finishing chemotherapy for breast cancer.
But her performances as a regal yet coquettish Cleopatra will be bittersweet, because the Met, for reasons unrelated to her illness, appears no longer to want her services after nearly two decades of regular performances.
Ms. Swenson, known for her creamy sound and superb technique, has no more engagements there beyond a string of “Traviata” performances next season. Further, the Met has given one of the “Giulio Cesare” performances to her understudy, Danielle de Niese, described on the Met Web site as “the young star of the recent celebrated Glyndebourne production.” The site makes no reference to Ms. Swenson’s merits. And next year four of her nine “Traviata” dates have been handed to another star, Renée Fleming.
“It’s hurtful,” Ms. Swenson said. “I’m a New Yorker. I’ve sung here for many, many years. I’ve had great success. I’ve never let them down.” She added: “It’s so stressful to get up onstage and realize that the top guy doesn’t like you, and there’s nothing I can do about it. Nothing.”More about this go to NY Times page
quinta-feira, julho 19, 2007
Siegfried - R. Wagner
Friday, July 20, 2007, 6:00 pm
Conductor: Valery Gergiev Brünnhilde: Olga Sergeeva Forest Bird: Anastasia Kalagina Erda: Zlata Bulycheva Siegfried: Leonid Zakhozhaev Mime: Vasily Gorshkov Wanderer: Alexei Tanovitsky Alberich: Edem Umerov Fafner: Mikhail Petrenko
In this drama, the human element takes center stage as a young man struggles to find his identity and destiny in a world of deceitful gods, dragons, dwarves, and the scariest monster of all – love. Filled with fantastic yet thoroughly recognizable characters, Siegfried is a towering challenge for the performers, orchestra, and production team.
Kirov Ring Cycle 2007
Lincoln Center Festival and the Metropolitan Opera co-present Richard Wagner's Der Ring des Nibelungen, performed by the Kirov Opera under the baton of Valery Gergiev, acclaimed artistic director of the Mariinsky Theatre in St. Petersburg.
quarta-feira, julho 18, 2007
Imaginem que moramos aproximadamente 7 a 8 km do Aeroporto de Congonhas e
podiamos ver toda fumaça e ainda dava até para sentir cheiro de queimado !!!
Que Deus console as famílias enlutadas e que tenha piedade do nosso pais, tão maltratado por autoridades irresponsáveis e ganasiosas que só pensam nos seus bolsos !
Jerry Hadley, Operatic Tenor, Is Dead at 55
The American operatic tenor Jerry Hadley, noted for his bright lyric voice, lively acting and adventurous choice of repertory, died today in Poughkeepsie, N.Y. He was 55.
Video Clips of Jerry Hadley in Performance
His death was announced by Celia P. Novo, a longtime family friend. He had been on life support at a Poughkeepsie hospital since July 10, when he shot himself in the head with an air rifle, causing severe brain damage, at a house in Clinton Corners, N.Y., near Poughkeepsie, where he lived with a female companion, the New York state police said.
Friends and colleagues said Mr. Hadley had suffered from severe depression and had had financial difficulties, troubled personal relationships and professional setbacks.
His death ends a career that in the 1980s seemed one of the most promising in American opera. Mr. Hadley made his professional debut in 1976 in a Lake George Opera production of Mozart’s “Così Fan Tutte.” Two years later he was heard by Beverly Sills, who was in line to take charge of the New York City Opera. She immediately offered him a contract, and he made his City Opera debut the next year.
domingo, julho 15, 2007
Nossa igreja completou hoje 45 anos de existência !
Tivemos um culto muito abençoado com a presença do Pr. Marcelo Jorge e o conjunto de sua igreja - Congregação da Igreja Batista do Morumbi.
Que Deus continue usando nossa igreja e que possamos como tal ser usados intensamente na evangelização, não somente do nosso bairro, mas de nossa cidade, de nosso estado , de nosso país, apressando assim a volta gloriosa de Nosso Senhor e Salvador Jesus Cristo !! Maranatha !
sexta-feira, julho 13, 2007
Festa inesquecível de luzes, sons e cores no Maracanã abre oficialmente os XV Jogos Pan-americanos RIO 2007 RIO DE JANEIRO, 13 de julho - Toda a energia do templo do futebol irradiou para as Américas nesta sexta-feira, dia 13, quando foram abertos oficialmente os XV Jogos Pan-Americanos RIO 2007. O Estádio do Maracanã foi palco de uma festa inesquecível, que encantou 75 mil pessoas.
A festa foi aberta com a música tema do RIO 2007, "Viva essa energia", interpretada pela cantora Ana Costa, dando início ao espetáculo de cores, luzes e sons, que encheu de emoção todos os que estavam no Maracanã.
Leia mais Pan 2007
quinta-feira, julho 12, 2007
The classic film by George Méliès, the famed French pioneer of film. If you haven't seen this one, see it - and if you have, see it again! A group of French scientists "travel" to the Moon and find a race of crazed savages...and it becomes a race back to Earth!
BALLET DE L‘OPÉRA
La Fille mal gardée - Frederick Ashton
Ballet en deux actes - D'après Jean Dauberval
ENTRÉE AU RÉPERTOIRE
Musique Louis Joseph Ferdinand Hérold
Arrangements de John Lanchbery
Chorégraphie Frederick Ashton (1960)
Décors et costumes Osbert Lancaster
Lumières George Thomson
Direction musicale Barry Wordsworth
Giuseppe Verdi (1813-1901)
Un bal masqué
Melodramma en trois actes (1859)
Livret d’Antonio Somma inspiré de Gustave III ou Le bal masqué d’Eugène Scribe
En langue italienne
Direction musicale Semyon Bychkov / Paul Weigold (13, 16 juin ; 4, 7, 10 et 13 juillet)
Mise en scène Gilbert Deflo
Décors et costumes William Orlandi
Lumières Joël Hourbeigt
Chef des Choeurs Peter Burian
Riccardo Giuseppe Gipali (7 juin) / Marcelo Alvarez (19, 22, 25 et 28 juin ; 1er et 10 juillet) /
Evan Bowers (4, 10, 13 et 16 juin ; 4, 7 et 13 juillet)
Renato Ludovic Tézier
Amelia Angela Brown / Aprile Millo (7 juillet)
Ulrica Elena Manistina
Oscar Camilla Tilling
Silvano Jean-Luc Ballestra
Sam Michail Schelomianski
Tom Scott Wilde
Orchestre et Choeurs de l’Opéra national de Paris
When Gian Carlo Menotti first surfaced, in 1937, as a twenty-five-year-old Italian-born prodigy from the shores of Lake Lugano in Lombardy, by way of the Curtis Institute in Philadelphia, the world of American opera was waiting for him — or for someone, anyone like him. The Depression had taken down a number of America's major companies, including the Chicago Opera, and had pummeled the Metropolitan Opera to the brink of bankruptcy. Accessibility was suddenly a paramount concern within these infamously elitist institutions — accessibility in the populist sense of new social equality for potential ticket-buyers, but also in the hardcore marketing sense. American opera companies needed new operas they could sell
To read more Opera News
Merola artists in performance at the 2006 Yerba Buena Gardens Festival
To know more Opera News
Star tenor Jerry Hadley on life support after suicide attempt
Hadley created the title role in composer John Harbison's "Great Gatsby" at the Metropolitan Opera, as well as the lead in Paul McCartney's "Liverpool Oratorio." And Leonard Bernstein had chosen Hadley to sing the main part in Bernstein's musical "Candide."
The 55-year-old singer, who has been struggling recently with his career and finances, was arrested last year in Manhattan on a charge of driving while intoxicated — at the wheel of his parked car. Prosecutors later dropped the case.
On Tuesday morning, he shot himself with an air rifle at his home near Poughkeepsie, said Robert Rochler, a senior investigator with the New York State Police.
State troopers found Hadley on the floor of his bedroom, unconscious from a self-inflicted head wound, Rochler said in a statement.
An ambulance took Hadley to St. Francis Hospital in Poughkeepsie, where doctors determined that he had a severe brain injury and put him on life support.
Medical staff will evaluate his condition Thursday to determine if he is to remain on life support, according to the statement.
Hadley has been tackling "financial problems and was in the process of filing for bankruptcy. He has been very depressed and was under a doctor's care for the depression and being treated with several medications," the statement said.
A native of Manlius, Illinois, Hadley started his career in regional companies around the country, singing everything from Mozart to Broadway. His agile romantic tenor was noticed in the late 1970s by the late Beverly Sills, then general director of the New York City Opera, which hired him.
Hadley made his European debut at the Vienna State Opera in 1982 in Gaetano Donizetti's "L'elisir d'amore," famed for its tenor aria with nine high C's.
He then performed at Milan's La Scala, the Royal Opera House at Covent Garden, the Deutsche Oper in Berlin, the Lyric Opera of Chicago, the San Francisco Opera, the San Diego Opera and the festivals in Glyndebourne, England, Aix-en-Provence, France and Salzburg, Austria.
In 1996, Hadley commissioned composer Daniel Steven Crafts to write music for poems by Carl Sandburg. The work, "The Song and The Slogan," was made into a PBS video that won an Emmy.
Hadley was featured in the 2004 Grammy-winning recording of Leos Janacek's opera "Jenufa."
He also excelled in more popular music, including a best-selling recording of "Show Boat.