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Callas Colored Tosca BACR film. Maria Callas, Tosca. | Callas - Tribute to her admirers Maria Callas Tosca entrance at the Metropolitan Opera Hause, 1965. Image from Osaka. |
Caballé sings Rossini Montserrat Caballé sings "Sombre fôret" from Rossini's opera Guglielmo Tell. | Caballé on Callas BACR film. Montserrat Caballé on Maria Callas. |
Montserrat Caballé & Concha Velasco - Duetto di due gatti Montserrat Caballé y Concha Velasco interpretan el 'Duetto buffo di due gatti' de Rossini en el programa 'Viva el espectáculo' (TVE, 1990) | O Mio Babbino Caro - Montserrat Caballe - Puccini Solo di Lauretta from Opera "Gianni Schicchi" (part of "Trittico") by Maestro Giacomo Puccini. Performed by Montserrat Caballe in 2004. |
Maria Callas, O Mio Babbino Caro Please just listen Maria Callas, La Divine - A Protrait Part 01 | Maria Callas - Madame Butterfly - Bizet Bizet |
Maria Callas Signore ascolta Turandot 1954 1954 | Marias Callas as Madama Butterfly Chicago 1955 With Giuseppe di Stefano |
Callas Madama Butterfly Maria Callas singing Che tua madre. | Maria Callas Madame Butterfly Tu, Tu, Piccolo Iddio! Maria Callas sings an aria from Giacomo Puccini's Madame Butterfly. End of the final Act. It is recorded version. |
Verdi - Rigoletto: La Donna e Mobile by Andrea Bocelli No Description | LA TRAVIATA - Drinking Song Placido Domingo and Teresa Stratas sing the Brindisi from Act I of La Traviata |
Luciano Pavarotti - La Donna È Mobile The "king" Luciano Pavarotti as Il Duca di Mantova in the screen movie Rigoletto (1983) based on Giuseppe Verdi's opera with the same name (1851). La Donna È Mobile - Giuseppe Verdi La donna è mobile Qual piuma al vento Muta d'accento E di pensiero Sempre un'amabile Leggiadro viso In pianto o in riso È menzognero La donna è mobil Qual piuma al vento Muta d'accento E di pensier E di pensier E di pensier È sempre misero Chi a lei s'affida Chi le confida Mal cauto il core Pur mai non sentesi Felice appieno Chi su quel seno Non liba amore La donna è mobil Qual piuma al vento Muta d'accento E di pensier E di pensier E di pensier... | RIGOLETTO - VERDI - Donna E Mobile RIGOLETTO - VERDI - Donna E Mobile - OPERA IMAGINAIRE - Nicolai GEDDA |
Verdi. Nabucco. Va pensiero Interpretación del famoso coro de la ópera Nabucco de Verdi por la Orquesta y Coro del Teatro Nacional de la Ópera de París, bajo la dirección de Nello Santi, en 1979 | Nelly Miricioiu - Nabucco - cabaletta of Abigail Nelly Miricioiu sings the cabaletta of Abigail from Verdi's Nabucco. This was her role debut in Rennes on Feb 7, 2007. |
The Most Beautiful Opera Overtures I've chosen some of the most beautiful opera overtures. 1) Mozart: The Marriage of Figaro. 2) Mozart: The Abduction from the Seraglio. 3) Mozart: The Magic Flute. 4) Mozart: Don Giovanni. 5) Beethoven: Fidelio. 6) Rossini: William Tell. 7) Rossini: La Gazza Ladra. 8) Rossini: The Barber of Seville. 9) Rossini: Semiramide. 10) Rossini: L'italiana in Algeri. 11) Wagner: The Mastersingers of Nuremberg. 12) Wagner: Tannhäuser. 13) Wagner: Lohengrin. 14) Offenbach: Orpheus in the Underworld. 15) Bizet: Carmen. 16) Verdi: Nabucco. 17) Verdi: La Traviata. | Coro UL - Coro de los esclavos hebreos - Verdi (Nabucco) Primer encuentro de coral, esta es la canción con la que se inicio. |
NABUCCO OVERTURE, FROM VERDI JAMES LEVINE CONDUCTS THE FAMOUS OVERTURE FROM VERDI´S "NABUCCO". METROPOLITAN OPERA HOUSE, 2001. | Nabucco Overture Conductor - Riccardo Muti |
Nabucco Verdi Nabucco Verdi | Verdi: Requiem UC Davis Symphony Orchestra and University Chorus Jeffrey Thomas, conducting, with Arianna Zukerman, soprano; Judith Malafronte, mezzo-soprano; Steven Tharp, tenor; David Arnold, baritone, and alumni chorus. Verdi: Requiem. Series: "Mondavi Center Presents" [6/2004] [Arts and Music] [Show ID: 8630] |
Juan Diego Florez - La Sonnambula Juan Diego Florez - La Sonnambula - 2004 | Ah! non giunge - La Sonnambula Contest - Valeria Esposito Alright here it is as promised, the La Sonnambula contest. I have picked the final cabaletta Ah non giunge, simply because it is one of my all time favorites. I like this contest so much because we have a true variety of performances. Some sopranos go for the infamous high F, others wisely forego it! Who is your favorite? We will continue with the 1-5 marks for singing/characterization. Here is a list of the performers and the dates of the performances: Joan Sutherland - 1963 Lucia Aliberti - 2005 Edita Gruberova - 1985 Eva Mei - 1998 Valeria Esposito - 1992 Maria Dragoni - 1994 Giusy Devinu - 1996 Mariella Devia - 1993 Enedina Lloris - 1989 Sumi Jo - 1994 Natalie Dessay - 1999 June Anderson - 1989 |
Ah! non giunge - La Sonnambula Contest - June Anderson Alright here it is as promised, the La Sonnambula contest. I have picked the final cabaletta Ah non giunge, simply because it is one of my all time favorites. I like this contest so much because we have a true variety of performances. Some sopranos go for the infamous high F, others wisely forego it! Who is your favorite? We will continue with the 1-5 marks for singing/characterization. Here is a list of the performers and the dates of the performances: Joan Sutherland - 1963 Lucia Aliberti - 2005 Edita Gruberova - 1985 Eva Mei - 1998 Valeria Esposito - 1992 Maria Dragoni - 1994 Giusy Devinu - 1996 Mariella Devia - 1993 Enedina Lloris - 1989 Sumi Jo - 1994 Natalie Dessay - 1999 June Anderson - 1989 | Ah! non giunge - La Sonnambula Contest - Joan Sutherland Alright here it is as promised, the La Sonnambula contest. I have picked the final cabaletta Ah non giunge, simply because it is one of my all time favorites. I like this contest so much because we have a true variety of performances. Some sopranos go for the infamous high F, others wisely forego it! Who is your favorite? We will continue with the 1-5 marks for singing/characterization. Here is a list of the performers and the dates of the performances: Joan Sutherland - 1963 Lucia Aliberti - 2005 Edita Gruberova - 1985 Eva Mei - 1998 Valeria Esposito - 1992 Maria Dragoni - 1994 Giusy Devinu - 1996 Mariella Devia - 1993 Enedina Lloris - 1989 Sumi Jo - 1994 Natalie Dessay - 1999 June Anderson - 1989 |
Donde Lieta Usci by Joan Sutherland I know this video was uploaded some time ago, but I loved Joan´s version... Let´s watch it again! | Renata Tebaldi as Mimi Donde lieta usci La boheme Live telecast, 1957 |
Jussi Bjorling-Renata Tebaldi-La Boheme from Puccini-Part2 Jussi Bjorling and Renata Tebaldi sing "Osoave fanciulla" from Puccini´s "la Boheme". | Jussi Bjorling-Renata Tebaldi-La Boheme from Puccini-Part1 Jussi Bjorling and Renata Tebaldi sing "Che gelida manina" and "Sí, mi chiamano Mimí" from Puccini´s "La Boheme" . |
Jussi Bjorling La fleur que tu m'avais jetee Carmen 50' From PBS | Jussi Bjorling E lucevan le stelle Tosca Live 1959 Met, 1959 |
Video of Jussi Björling singing acapella Björling singing from the movie Fram för framgång, 1938 | Jussi Bjoerling sings Till Havs by Nordquist 1958 |
Jussi Bjoerling sings Silvia by Schubert 1950 | Elisabeth Schwarzkopf.. 'Who is Sylvia ?'. FILM. 1958. We sang this at school music lessons in Scotland. Music teacher played the piano accompaniment ff. Methinks she was trying to drown our heroic efforts! |
Elisabeth Schwarzkopf singt Ich hab' in Penna Elisabeth Schwarzkopf singt Ich hab' in Penna von Wolf.Geoffrey Parsons am Klavier.Amsterdam 1976 | Elisabeth Schwarzkopf. Song by Hugo Wolf. 1958.FILM. From Hugo Wolf's Spanish Songbook. |
Elisabeth Schwarzkopf singt Seligkeit von Schubert Elisabeth Schwarzkopf singt seligkeit von schubert.Geoffrey Parsons am Klavier.Amsterdam 1976 | Lucia Popp - Strauss' Vier Letzte Lieder - Im abendrot Lucia Popp sings the last of Strauss' Four Last Songs. 1977. Conductor: Georg Solti. |
O Sole Mio Domingo, Carreras And Pavarotti in the Three Tenors concert 1990 | Luciano Pavarotti - 'O sole mio Luciano Pavarotti - 'O sole mio O sole mio Che bella cosa na jurnata 'e sole n'aria serena doppo na tempesta pe ll'aria fresca pare già na festa che bella cosa na jurnata 'e sole. Ma n'atu sole cchiu' bello, oi ne' 'o sole mio sta nfronte a te 'o sole, o sole mio sta nfronte a te sta nfronte a te. Quanno fa notte e'sole se ne scenne me vene quase 'na malincunia sotto a fenesta toia restarria quanno fa notte e 'o sole se ne scenne. Ma n'atu sole cchiu' bello, oi ne' 'o sole mio sta nfronte a te 'o sole, o sole mio sta nfronte a te sta nfronte a te. |
Pavarotti Last Performance Nessun Dorma @ Torino 2006 l'ultima esibizione del grande Luciano Pavarotti allo stadio olimpico di Torino è lui a chiudere la cerimonia di apertura dei giochi invernali con il "nessun dorma". The last exhibition of Luciano Pavarotti in the Torino 2006 Winter Olympic Games Opening Ceremony | Mahler - Lieder of a Wayfarer no.1 (Wenn mein Schatz ...) Gustav Mahler (1860-1911) Lieder eins fahrenden Gesellen 1st lied : Wenn mein Schatz Hochzeit macht Wiener Philarmoniker Pierre Boulez Baritone : Thomas Quasthoff 2003 Lyrics : Wenn mein Schatz Hochzeit macht, Fröhliche Hochzeit macht, Hab ich meinen traurigen Tag ! Geh ich in mein Kämmerlein, Dunkles Kämmerlein ! Weine, wein ! Um meinen Schatz, Um meinen lieben Schatz ! Blümlein blau ! Blümlein blau ! Verdorre nicht ! Verdorre nicht ! Vöglein suß ! Vöglein suß ! Du singst auf grüner Heide ! Ach ! Wie ist die Welt so schön ! Ziküth ! Ziküth ! Singet nicht ! Blühet nicht ! Lenz ist ja vorbei ! Alles Singen ist nun aus ! Des Abens, wenn ich schlafen geh, Denk ich an mein Leide ! An mein Leide ! Lyrics : Gustav Mahler |
Wenn mein Schatz Hochzeit macht The first song, Wenn mein Schatz Hochzeit macht (When my darling has her wedding Day) from Mahler's Leider eines fahrenden Gesellen (Songs of a Wayfarer), sung by Julie Simson, accompanied by Chris Zemliauskas, and performed in chamber concert at MahlerFest XXI, January, 2008, in Boulder, Colorado. For more information, see http://mahlerfest.org/ | Sir Thomas Allen - Mahler's Songs of a Wayfarer (part 4) The fourth and final movement of Mahler's Lieder eines fahrenden Gesellen. Sir Thomas Allen here sings, "Die zwei blauen Augen" 1991. Conductor: Vaclav Neumann. |
Sir Thomas Allen - Mahler's Songs of a Wayfarer (Part 3) Sir Thomas Allen sings the third movement of Mahler's Lieder eines fahrenden Gesellen. This movement begins, "Ich hab' ein glühend Messer". 1991, Conductor: Vaclav Neumann. | Sir Thomas Allen - Mahler's Songs of a Wayfarer (Part 2) Sir Thomas Allen seconds the second movement ("Ging heut' Morgen übers Feld") of Mahler's Lieder eines fahrenden Gesellen. 1991, Conductor: Vaclav Neumann |
Sir Thomas Allen - Mahler's Songs of a Wayfarer (Part 1) Sir Thomas Allen sings Mahler's Lieder eines fahrenden Gesellen. This is the first movement beginning, 'Wenn mein Schatz Hochzeit macht'. 1991, Conductor: Vlacav Neumann. | Fischer-Dieskau Sings Mahler Ging heut Morgen übers Feld from "Lieder eines fahrenden Gesellen" Dietrich Fischer-Dieskau, baritone NHK Symphony, Paul Kletzki, conductor Filmed at Salle Pleyel, Paris, 24 October 1960 Fischer-Dieskau has always had an encyclopaedic knowledge of other singers. "It is remarkable when people say how different I am from earlier singers," he says, "because I overlapped with singers like Heinrich Schlusnus and Erna Berger and I was not conscious of being different in approach. On the contrary, I tried to be like them, to be as perfect as I thought they were." --from an interview with Martin Kettle on his 80th birthday, at Guardian Unlimited Arts Folks have told me that they have taken down DFD clips in the past, and this one may be removed as well. If you want to have it available to you always , save it to your computer via Video Downloader: http://javimoya.com/blog/youtube_en.php Dietrich Fischer-Dieskau sings Mahler Lieder eines fahrenden Gesellen, song 2 of the cycle, "Ging heut Morgen übers Feld" ("I Went This Morning over the Field") Wiki reports: The second movement, "Ging heut Morgen übers Feld" ("I Went This Morning over the Field"), is the happiest movement of the work. Indeed, it is a song of joy and wonder at the beauty of nature in simple actions like birdsong and dew on the grass. "Is it not a lovely world?" is a refrain. However, the Wayfarer is reminded at the end that despite this beauty, his happiness will not blossom anymore now that his love is gone. This movement is orchestrated delicately, making use of high strings and flutes, as well as a fair amount of triangle. The melody of this movement, as well as much of the orchestration, is developed into the 'A' theme of the first movement of the First Symphony. Ging heut morgen übers Feld, Tau noch auf den Gräsern hing; Sprach zu mir der lust'ge Fink: "Ei du! Gelt? Guten Morgen! Ei gelt? Du! Wird's nicht eine schöne Welt? Zink! Zink! Schön und flink! Wie mir doch die Welt gefällt!" Auch die Glockenblum' am Feld Had mir lustig, guter Ding', Mit den Glöckchen, klinge, kling, Ihren Morgengruß geschellt: "Wird's nicht eine schöne Welt? Kling, kling! Schönes Ding! Wie mir doch die Welt gefällt! Heia!" Und da fing im Sonnenschein Gleich die Welt zu funkeln an; Alles Ton und Farbe gewann Im Schonnenschein! Blum' und Vogel, groß und Klein! "Guten Tag, ist's nicht eine schöne Welt? Ei du, gelt? Schöne Welt!" Nun fängt auch mein Glück wohl an? Nein, nein, das ich mein', Mir nimmer blühen kann! I walked across the fields this morning; dew still hung on every blade of grass. The merry finch spoke to me: "Hey! Isn't it? Good morning! Isn't it? You! Isn't it becoming a fine world? Chirp! Chirp! Fair and sharp! How the world delights me!" Also, the bluebells in the field merrily with good spirits tolled out to me with bells(ding, ding) their morning greeting: "Isn't it becoming a fine world? Ding, ding! Fair thing! How the world delights me!" And then, in the sunshine, the world suddenly began to glitter; everything gained sound and color in the sunshine! Flower and bird, great and small! "Good day, Is it not a fine world? Hey, isn't it? A fair world?" Now will my happiness also begin? No, no - the happiness I mean can never bloom! |
Fischer-Dieskau sings Schubert -- der Lindenbaum Dietrich Fischer-Dieskau, baritone Gerald Moore, piano Filmed in London, May 14, 1959 "I am hard to please," Fischer-Dieskau admits. He thinks "much is being lost about the good ways of making music", and regrets the decline of "true legato singing" - a charge that critics occasionally made against his own performances. "When you have something to say in music the phrases must be clear - the beginning, the climax, and the ending." --from an interview with Martin Kettle on his 80th birthday, at Guardian Unlimited Arts Der Lindenbaum (The Linden Tree) from the song cycle Winterreise (Winter Journey) by Franz Schubert, on poems by Wilhelm Müller. The cycle was written in 1827. Der Lindenbaum Am Brunnen vor dem Tore Da steht ein Lindenbaum; Ich träumt' in seinem Schatten So manchen süßen Traum. Ich schnitt in seine Rinde So manches liebe Wort; Es zog in Freud' und Leide Zu ihm mich immer fort. Ich mußt' auch heute wandern Vorbei in tiefer Nacht, Da hab' ich noch im Dunkeln Die Augen zugemacht. Und seine Zweige rauschten, Als riefen sie mir zu: Komm her zu mir, Geselle, Hier find'st du deine Ruh' ! Die kalten Winde bliesen Mir grad' ins Angesicht; Der Hut flog mir vom Kopfe, Ich wendete mich nicht. Nun bin ich manche Stunde Entfernt von jenem Ort, Und immer hör' ich's rauschen: Du fändest Ruhe dort ! The Linden Tree At wellside, past the ramparts, there stands a linden tree. When sleeping in its shadow; sweet dreams it sent to me. And in its bark I chiseled my messages of love: My pleasures and my sorrows were welcomed from above. Today I had to pass it, well in the depth of night - and still, in all the darkness, my eyes closed to its sight. Its branches bent and rustled, like calling out to me: Come here, come here, companion, your haven I shall be! The icy winds were blowing, straight in my face they ground. The hat tore off my forehead. I did not turn around. Away I walked for hours whence stands the linden tree, and still I hear it whisp'ring: You'd find your peace with me! translated by Walter A. Aue, who writes: The Linden Tree, with Franz Schubert's melody from Die Winterreise (Winter Journey), is one of the few examples where a great classical composer - two other ones that come to mind are Mozart and Brahms - wrote a song that, perhaps in slightly simplified form, becomes a folk song (Volkslied). There is no greater honor in the German tradition. | Fischer-Dieskau sings Schubert -- Der Erlkönig Dietrich Fischer-Dieskau, baritone Gerald Moore, piano Filmed in London, May 14, 1959 link below to hear bass Alexander Kipnis sings this famous Schubert song: http://www.youtube.com/watch?v=0u__MAvYrfg He talks easily and frankly of the great musicians he has known, of Brendel and Beecham, Karajan, Kleiber and Klemperer. His own favourite singer, he says without a moment's hesitation, was "the young Hans Hotter". His best partnership was with Gerald Moore, "the perfect accompanist, with such a rhythmic character to his playing of Schubert." But his greatest influence, Fischer-Dieskau makes clear, was the conductor Wilhelm Furtwängler. "He once said to me that the most important thing for a performing artist was to build up a community of love for the music with the audience, to create one fellow feeling among so many people who have come from so many different places and feelings. I have lived with that ideal all my life as a performer." --from an interview with Martin Kettle on his 80th birthday, at Guardian Unlimited Arts. the marvelous pianist Hugh Sung posted here an interesting article on the "cheating" Gerald Moore does in playing this piece to reduce some of his suffering: http://hughsung.com/blog/index.php?itemid=771?a=b text by by Johann Wolfgang von Goethe. Wiki article on it here http://en.wikipedia.org/wiki/Erlkonig Wer reitet so spät durch Nacht und Wind? Es ist der Vater mit seinem Kind; Er hat den Knaben wohl in dem Arm, Er faßt ihn sicher, er hält ihn warm. "Mein Sohn, was birgst du so bang dein Gesicht?" "Siehst, Vater, du den Erlkönig nicht? Den Erlenkönig mit Kron und Schweif?" "Mein Sohn, es ist ein Nebelstreif." "Du liebes Kind, komm, geh mit mir! Gar schöne Spiele spiel' ich mit dir; Manch' bunte Blumen sind an dem Strand, Meine Mutter hat manch gülden Gewand." "Mein Vater, mein Vater, und hörest du nicht, Was Erlenkönig mir leise verspricht?" "Sei ruhig, bleibe ruhig, mein Kind; In dürren Blättern säuselt der Wind." "Willst, feiner Knabe, du mit mir gehn? Meine Töchter sollen dich warten schön; Meine Töchter führen den nächtlichen Reihn, Und wiegen und tanzen und singen dich ein." "Mein Vater, mein Vater, und siehst du nicht dort Erlkönigs Töchter am düstern Ort?" "Mein Sohn, mein Sohn, ich seh es genau: Es scheinen die alten Weiden so grau." "Ich liebe dich, mich reizt deine schöne Gestalt; Und bist du nicht willig, so brauch ich Gewalt." "Mein Vater, mein Vater, jetzt faßt er mich an! Erlkönig hat mir ein Leids getan!" Dem Vater grauset's, er reitet geschwind, Er hält in Armen das ächzende Kind, Erreicht den Hof mit Müh' und Not; In seinen Armen das Kind war tot. Who rides so late through night and wind? It is the father with his child. He holds the boy safe in his arm He holds him safe, he keeps him warm. "My son, why do you hide your face so fearfully?" "Father, do you not see the Elf king? The Elf king with crown and robe?" "My son, it's a wisp of fog." "You lovely child, come, go with me! Nothing but beautiful games I'll play with you; Many colourful flowers are on the shore, My mother has many golden robes." "My father, my father, can't you hear, What the Elf king quietly promises me?" "Be calm, stay calm, my child; It is the wind rustling in the dry leaves." "Do you want to come with me, fine lad? My daughters should already be waiting for you; My daughters lead the nightly folkdance And rock you and dance and sing." "My father, my father, and can't you see there, The Elf king daughters in the gloomy place?" "My son, my son, I see it well: It is the old grey willows gleaming." "I love you, your beautiful form entices me; And if you're not willing, I shall use force." "My father, my father, now he takes hold of me! The Elf king has wounded me!" It horrifies the father; he rides swiftly, Holding in his arms the moaning child. He reaches the yard with great difficulty; In his arms, the child was dead. louvepyramides provided this illuminating comment by Charles Rosen, from his "Piano Notes": "It is intersting to note that the most painful of all octave passages to execute are not to be found in Tchaikovsky or Rachmaninov or even in Listz , not even in the notorius Sixth Hungarian Rhapsody , but in the accompaniment to Schubert's Erlkonig.Those octaves obviously gave trouble even during the compser's lifetime when the piano had a much lighter action , since he wrote out a simplified version of this song - simplified for the pianist , that is . " |
Schubert - Death and the Maiden (part 6) 4th movement. The Alban Berg Quartet. Once again, please forgive me for the way I've had to split this. This is one of my favourite works! | Schubert - Death and the Maiden (part 5) 3rd movement. The Alban Berg Quartet. Once again, please forgive me for the way I've had to split this. This is one of my favourite works! |
Schubert - Death and the Maiden (part 4) Second part of 2nd movement. The Alban Berg Quartet. Once again, please forgive me for the way I've had to split this. This is one of my favourite works! | Schubert - Death and the Maiden (part 3) First part of 2nd movement. The Alban Berg Quartet. Once again, please forgive me for the way I've had to split this. This is one of my favourite works! |
Schubert - Death and the Maiden (part 2) Second part of 1st movement. The Alban Berg Quartet. Once again, please forgive me for the way I've had to split this. This is one of my favourite works! | Schubert - Death and the Maiden (part 1) First part of 1st movement. The Alban Berg Quartet. Once again, please forgive me for the way I've had to split this. This is one of my favourite works! |
Pavarotti - Ave Maria - Schubert P A V A R O T T I! 12 de outubro de 1935 O6 de setembro de 2007 |
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