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Donizetti. Anna Bolena. 2011. Met.Anna Netrebko (soprano) : Anna Bolena.
Ildar Abdrazakov (bass) : Enrico VIII.
Ekaterina Gubanova (mezzo) : Giovanna di Seymour.
Keith Miller (bass) : Lord Rochefort
Stephen Costello (tenor) : Lord Riccardo Percy.
Tamara Mumford (contralto) : Smeton.
Eduardo Valdes (tenor) : Sir Hervey.Dir.: Marco Armiliato
Lully. Atys. 2011. Paris. Video. Bernard Richter (Atys). Stephanie D´Oustrac. Emmanuelle de Negri (Sangaride). Nicolas Rivenq (Celenus). El resto del elenco puede verse en los títulos. Les Arts Florissants.Dir. William Christie.
The opera was composed in 1676, and it's in a genre that Lully largely invented, called tragédie en musique — tragedy in music. The style dominated opera in France for much of the century. Yet ironically, Lully himself wasn't French.He was born in Italy in 1632 as Giovanni Battista Lulli. He moved to France at age 13 to teach Italian to a teenaged cousin of the French king, Louis XIV, whose patronage was also a driving force in the development of early French opera. The composer eventually became a French citizen, changing his name in the process.
In Atys, the title character is a young man in Phrygia who seems to be living a charmed life. He's best friends with the king, he's in love with a beautiful woman and he's about to be given a powerful new job. Then he catches the eye of Cybèle, a romantically inclined goddess who won't take "no" for an answer.
Like many French operas of the time, Atys is an extravagant drama, and was intended both to entertain the king and to flatter him. It begins with a Prologue, in which a great hero — likely representing Louis XIV himself — is honored by the gods, and then presented with the story of Atys. That story begins in acto one as Atys, a Phrygian leader, urges his fellow citizens to prepare a welcome for Cybèle, a goddess who will soon be visiting. His friend Idas wonders whether Atys's high spirits are actually related to his love life, and not the impending arrival of their illustrious guest.We also meet the beautiful nymph Sangaride. She's about to marry Célénus, the king of Phrygia. Sangaride pretends to be happy about that, but she's actually down in the dumps. She's in love with Atys, and thinks he's not interested. She finds out otherwise when the two finally get together and Atys tenderly confesses his passion for her. But the first act ends with a spectacular sequence celebrating the arrival of Cybèle, which doesn't bode well for the new lovers.
As act two begins, both Atys and Célénus are eager to be named Cybèle's high priest. But as we soon find out, the goddess has a romantic eye on Atys, so he gets the job and everyone celebrates his new appointment.
In act three, Cybèle puts Atys into a deep sleep, and the action depicts his dreams. Some of them are happy; he hears songs of love. But he also hears warnings about what might happen if he angers the gods. When Atys wakes up, he's disturbed by those warnings, and finds Cybèle at his bedside, more than eager to comfort him.Later, Sangaride goes to Cybèle, hoping the goddess can prevent her marriage to Célénus. Atys joins in, also urging Cybèle to intervene — but discouraging Sangaride from revealing their relationship. The act ends with Cybèle's unhappy realization that Atys and Sangaride are in love.
As act four begins, Sangaride has misinterpreted Atys's reluctance to admit their love in front of Cybèle, and assumes he's now in love with the goddess. He manages to reassure her, but then gets himself in even deeper trouble. Using his authority as high priest, he goes to Sangaride's father and orders him to put a stop to his daughter's marriage — a step that seals his fate.
At the start of act five, Célénus has discovered Atys' meddling and complains to Cybèle. The goddess has finally had enough of all these human foibles, and decides to punish Atys. She puts a spell on him, causing him to go insane. In his madness, he mistakes Sangaride for a monster, and kills her. Cybèle then cures the insanity, and when Atys realizes what he's done, he tries to commit suicide. Cybèle puts a stop to that, but she's not letting Atys off the hook. She turns him into a tree, sadly saying that she'll keep this tree with her and love it forever.The o pera ends with a scene of grief that may also serve as a warning to mere mortals who get mixed up with the gods, with the chorus singing, "Let everyone on earth feel the horror of such a cruel death."
Donizetti. Lucrezia Borgia. 1966. Lucrezia Borgia - Montserrat Caballé . Gennaro - Alfredo Kraus . Maffio Orsini - Shirley Verrett .Don Alfonso - Ezio Flagello . Jacopo Liveretto - Franco Ricciardi . Don Apostolo Gazella - Franco Romano .Ascanio Petrucci - Ferruccio Mazzoli . Oloferno Vitellozzo - Fernando Iacopucci . Gubetta - Vito Maria Brunetti .Rustighello - Giuseppe Baratti .Astolfo - Robert Amis El Hage Dir.: Ionel Perlea
Cavalli. Il Giasone. 2010.Drama musical en 1 prólogo y 3 actos. Libreto de Hiacinto Andrea Ciognini.Christophe Dumaux (Giasone) Andrew Ashwin (Ercole). Josef Wagner (Besso/Giove). Robin Johannsen (Isifile). Andrew Ashwin (Oreste). Angelique Noldus (Alinda/Amore). Katarina Bradiae (Medea). Yaniv D´Or (Delfa). Emilio Pons (Egeo/Sole). Filippo Admi (Demo). Dir.: Francesco Maria Sardelli
Giasone (Jason) is an opera in three acts and a prologue with music by Francesco Cavalli and a libretto by Giacinto Andrea Cicognini. It was premiered at the Teatro San Cassiano, Venice on 5 January 1649, during carnival. Giasone was "the single most popular opera of the 17th century".The plot is loosely based on the story of Jason and the golden fleece, but the opera contains many comic elements too.
Donizetti. Poliuto. 1977. Napoles.Poliuto - Giorgio Lamberti (Casellato-Lamberti) . Paolina - Adriana Maliponte . Severo - Renato Bruson .Callistene - Silvano Pagliuca . Nearco - Pier Francesco Poli . Felice - Luigi Paolillo . A Christian - Angelo Casertano .Another Christian - Raffaele Passaro Dir.: Francesco Molinari-Pradelli
Tomás Luis de Victoria.Officium defunctorum.. Missa pro defunctis. Gabrieli Consort. Dir. Paul McCreesh
Tomás Luis de Victoria, sometimes Italianised as da Vittoria (1548 – 20 August 1611), was the most famous composer of the 16th century in Spain, and one of the most important composers of the Counter-Reformation, along with Giovanni da Palestrina and Orlando di Lasso. Victoria was not only a composer, but also an accomplished organist and singer. However, he preferred the life of a composer to that of a performer.
Victoria was a master at overlapping and dividing choirs with multiple parts with a gradual decreasing of rhythmic distance throughout. Not only does Victoria incorporate intricate parts for the voices, but the organ is treated almost like a soloist in many of his choral pieces.Victoria did not begin the development of psalm settings or antiphons for two choirs, but he continued and increased the popularity of such repertoire.Victoria would reissue works that had been published previously, and would include new revisions in each new issue. The year 1572 is known as the most momentous year of Victoria’s life because he published his first book of motets. In 1585 we wrote his Officium Hebdomadae Sanctae . This collection included 37 pieces that are part of the Holy Week celebrations in the Catholic religion.
Two influences in Victoria’s life were Giovanni Maria Nanino and Luca Marenzio. Victoria admired them for their work in madrigals rather than church music.
Victoria claimed that he composed his most creative works under his patron, His Eminence Otto Cardinal von Truchsess. However, it seem he didn´t learned everything about music under Cardinal Truchsess’s patronage; Victoria would like people to believe such a fact.During the years that Victoria was devoted to Philip II, he expressed exhaustion from his compositional work. Most of the compositions that Victoria wrote that were dedicated to Cardinal Bonelli, Philip II, or Pope Gregory XIII were not compensated properly.
Stylistically his music shuns the elaborate counterpoint of many of his contemporaries, preferring simple line and homophonic textures, yet seeking rhythmic variety and sometimes including intense and surprising contrasts. His melodic writing and use of dissonance is more free than that of Palestrina; occasionally he uses intervals which are prohibited in the strict application of 16th century counterpoint, such as ascending major sixths, or even occasional diminished fourths (for example, a melodic diminished fourth occurs in a passage representing grief in his motet Sancta Maria, succurre). Victoria sometimes uses dramatic word-painting, of a kind usually found only in madrigals. Some of his sacred music uses instruments (a practice which is not uncommon in Spanish sacred music of the 16th century), and he also wrote polychoral works for more than one spatially separated group of singers, in the style of the composers of the Venetian school who were working at St. Mark's in Venice.
Bellini. Norma. 2010. Varsovia.Katia Pellegrino - Norma.Lucia Cirillo - Adalgisa .Gregory Kunde - Pollione .Nikolay Didenko - Oroveso .Gemma Bertagnolli - Clotilde .Emanuele d'Aguanno - Flavio. Europa Galante. Dir. : Fabio Biondi
Wagner. Die Meistersinger von Nürnberg. 1998. Bayreuth. Robert Holl (Sachs). Matthias Hölle (Pogner). Bernhard Schneider (Kunz). Roman Trekel (Nachtigal). Andreas Shcmidt (Beckmesser). Hans JOachim Ketelsen (Fritz Kothner). Torsten Kerl (Zorn). Peter Maus (Ulrich). Helmut Pampuch (Moser). Peter Seiffert (Stolzing). Endrk Wottrich. Emily Magee (Eva). Birgitta Svenden (Magdalene).Dir.: Daniel Barenboim
Antonio Maria Abbatini: La comica del cielo . Drama musica en 3 actos. Libreto de Giulio Rospigliosi sobre la obras de L. Velez de Guevara, A. Coelho y F. de Roxas (La Baltasara). McKenna Ensemble. Louis Playford (clave). Laurence MaCauley (narrador).Dir.: Edward McKenna. Solistas: Carol LoVerde, Donna Sadlicka, Christine Schultze, Christopher Chroniak, Henry Hunt, Wayne Parham, Matthew Dean, Andrew Schultze.
Antonio Maria Abbatini (26 January 1595 – 15 March 1679) was an Italian composer, active mainly in Rome. He was born in Città di Castello, and served as maestro di cappella at the Basilica of St. John Lateran from 1626 to 1628; at the cathedral in Orvieto in 1633; and at Santa Maria Maggiore in Rome between 1640 to 1646, 1649 to 1657, and 1672 to 1677. He composed a good deal of church music, and published three books of Masses, four of Psalms, various 24-part Antiphons (1630, 1638, 1677), five books of Motets (1635), and a dramatic cantata, Il Pianto di Rodomonte (1633). He also worked with Athanasius Kircher on the Musurgia Universalis.
In addition, he produced three operas: Dal male il bene (Rome, 1654; in collaboration with Marco Marazzoli), which was one of the earliest comic operas, and historically important as it introduced the final ensemble; Ione (Vienna, 1666); and La comica del cielo, also called La Baltasara (Rome, 1668). This opera was first performed in Rome at the Palazzo Rospigliosi during Carnival 1668
Act One: The Theatre.Alone in her dressing room, the actress Baltasara is tormented by anxieties. She tries to shrug them off - "Am I not Baltasara?" - but cannot. Her colleague Beatrice arrives, dressed to go onstage: "Not ready yet, Baltasara?". Rodrico and Alvero, two cavaliers who have come to see the play, compare notes on it and the objects of their love, Beatrice and Baltasara.
The play begins. It is the story of the Saracen Clorinda and the crusade led by Godfrey of Boulogne to liberate Jerusalem from the infidels. Beatrice sings Vittoria in its Prologue, after which enters Aladino, Saracen King of Jerusalem, with Ismeno his counsellor and wizard. Ismeno promises enchantments to fend off the crusaders, Aladino simply promises a good fight.
Next Biscotto plays a none-too-competent Christian soldier accompanied by his truculent subordinate (Lisa in drag): "Jerusalem can sleep safely with you to attack it", as she says.
Baltasara launches prematurely into her big scene, to consternation backstage. An actor pulls her off, she apologises, and the play continues with Hircano, a Saracen captain, exhorting his soldiers to fight. Baltasara as Clorinda now enters correctly: she challenges Godfrey and his champions. She hears a sentry singing on the walls of the city: "Life is short, use it well", and starts to think: This is God speaking to me, Baltasara. He sings again, she takes it as a call to repent, and abruptly leaves the stage.
Alvero and Rodrico call after her from the audience. Her fellow-actors have their say: Lisa wants her back, Biscotto thinks she's stubborn, Beatrice always thought she was daft. Lisa and other members of the troupe explain what's happened to the audience by singing a five-part madrigal on which sundry specatators comment. Aladino, unmasked, has the last word.
Act Two: The Desert.Baltasara has found repose in the desert close by the sea. Lisa and Biscotto arrive looking for her. Lisa: "this is a landscape for repentance - I'm starving!". Biscotto: "But you've always got your Biscuit...". He sees writing on a tree. It says that Baltasara is dead. Lisa reads it properly: No, only dead to the world. Baltasara reveals herself, and Lisa and Biscotto beg her to come back for the sake of her public. As well as losing her they have also lost Beatrice who has gone off to sea with an infidel, pursued by Rodrico. Failing to persuade her, Lisa and Biscotto leave wearily to look for lodgings.
The Devil appears, prowling. He spots Alvero looking for his lover and sees his chance. "What will you give me if I show you Baltasara?", "Everything I possess!". The Devil is satisfied and leads him to Baltasara.Alvero proclaims his love for Baltasara. She resists, then starts to follow him. A vision of the cross miraculously blocks her way. She thanks God for her narrow escape. Alvero, bitter, ignores the Devil's scorn and decides to go to sea with Rodrico.Biscotto returns, dressed up as a hermit. Lisa arrives, calling for horses to take her back to civilisation. She asks the hermit if he's seen Biscotto and he reveals himself. But he's decided to stay, as Baltsara might need him, so Lisa decides to stay too. Baltasara, fasting, falls asleep exhausted. The Devil and his cohorts prepare temptations for her - visions of fame, celebrity, adulation: she wakes up, sees them, resists the Devil's lure back to the city, then falters and accepts a refreshing drink. She blesses it first, however: the cup falls and the enchantments disappear.
The Devil is reduced to offering sweets to Lisa, who refuses them, and to Biscotto who takes them and then wishes he hadn't, they are so bitter. Lisa sings that all is not gold that glisters, and the act ends with menacing figures seen dancing across the waves as the Corsairs land.
Act Three: The Coast.Biscotto and Lisa are fishing. They watch an infidel ship pursued and sunk by a Christian one. A Turkish survivor comes ashore. She turns out to be Beatrice, distraught at the loss of her corsair lover. Biscotto and Lisa follow her. Rodrico , having dispatched his rival suitor on his ship, is also after Beatrice. He is angry, though he can't rid his heart of remnants of love.Baltasara and Beatrice each talk to themselves as darkness falls. Baltasara perceives the night as full of eternal harmony, Beatrice as abhorrent. Baltasara hears the other voice, and too weak from continual fasting to move, calls Biscotto for help. They discover Beatrice whose deep despair turns to tranquillity as she listens to Baltasara and joins her in a song of praise.Rodrico catches up with Beatrice and attempts to murder her. Baltasara intervenes and sends Beatrice with Biscotto to find a priest to bear witness to the coming events, while a dazzled Rodrico goes off to find Alvero.Left alone, Baltasara cries out to go to Heaven, and is echoed. The echoes turn out to be Beatrice transformed into Penitenza who crowns Baltasara with roses. Together they sing: "Death on earth is no death at all but unlocks the gates of Heaven."
Penitenza triumphantly orders a disconsolate Devil back to Hell - at last Beatrice may play the warrior's part she always coveted.Lisa arrives with Alvero and Rodrico. They find Baltasara dead. Lisa and Alvero are inconsolable, while Rodrico, ever practical, proposes they build her a tomb. The witnesses arrive and angels sing: "Welcome to the theatres of Paradise".
Donizetti. Pia de Tolomei. 2005. Venecia.Pia - Patrizia Ciofi. Ghino degli Armieri - Dario Schmunck . Nello della Pietra - Andrew Schroeder .Rodrigo - Laura Polverelli .Piero - Daniel Borowski . Ubaldo - Francesco Meli . Bice - Clara Polito . Lamberto - Carlo Cigni Dir.: Paolo Arrivabene.
Full Opera on youtube: http://www.youtube.com/watch?v=-Kt4AgNbO3c
Cilea. Adriana Lecouvreur. 1976. Tokyo.Montserrat Caballe (Adriana). Fiorenza Cossotto (Principessa). Jose Carreras (Maurizio). Attilio D´Orazi (Michonet). Ivo Vinco. Piero de Palma Scilly Fortunato. Nella Verri.
Andreas Scholl. Recital. 2011. Auckland. Haendel:Coronation Anthem - Let thy hand be strengthened.Ombra mai fù (Xerxes).
Vivi, tiranno (Rodelinda).Dove sei (Rodelinda). Bach JS:Cantata 170 - Vergnügte Ruh. Haendel: fragmentos de Solomon. Traditional:I am a poor wayfaring stranger. Purcell:Fairest isle (King Arthur). Pepe Becker (sopr). Iain Tetley (ten). Dir.: Indra Hughes.
Weber. Der Freischütz (en frances). 2002. Paris Clifton Forbis (Max). Michaela Kaune (Agathe). Annick Massis (Annette). Jose van Dam ( Gaspard). JeanPhilippe Courtis (Kouno). Marc Barrard (Ottokar). Dir.: Christoph Eschenbach
Aporte de Wolf:
Karneval der Operette.Video.Ferenc Beganyj.Marlene Charell.Balini Farkas.Anikö Felfödi.Günther Frank.Waltraud Haas.Dagmar Koller.Joe Ludwig.Jozsef Kovacs.Peter Minich.Maria Tiboldi. Orch. WDR/ Heinz Gese, Radio Hungria/ Vilmos Körendi
Joan Sutherland en Recital.1959. Donizetti - L. di Lammermoor-01 Act I Ancor non giunse!...Regnava nel silenzio.
Verdi - Ernani 02 Part I Surta è la notte ... Ernani! Ernani involami. - I vespri siciliani 03 Act V Mercè, dilette amiche. Donizetti - L. di Chamounix 04 Act I Ah! tardai troppo... O luce di quest'anima. L. di Lammermoor 05 Act III O giusto cielo...Il dolce suono...Ardon gl'incensi. Dir.N Santi
Marcel Landowski. Le Fou.2004. Paris. Nora Gubisch (Isadora). Francois Le Roux (Peter Bel). Jean Luc Chaignaud (Principe). Jean Pierre Furlan (Artus). Salome Allere (Le Feu). Dir. Pascal Rophe
Marcel Landowski (1915-1999) is a somewhat forgotten but brilliant French composer. Landowski was influenced heavily by the well known Arthur Honegger and thus stayed away from the French avant-garde music scene. He rejected the "idea of a musical language derived from a doctrine associated with scientific positivism." Instead he advocated and open approach, using "modern" instruments (the Ondes Martenot features heavily in this opera) but stayed entirely within the realm of tonality - following the same lines as Shostakovich and Gorecki. 'Le Fou'(the Fool) is a must find for those interested in opera from the more traditional 20th century French music scene.
Le Fou was first performed at the Grand Théatre de Nancy in February 1956. The Opera follows the character of Peter, a scientist, who lives in a city under siege. His only hope to save his fellow citizens is to built a gigantic war machine. However, Peter ends up a traitor to his own country because he refuses to be the executioner of humanity. This is an opera of four acts: 'La vision of Peter Bel', 'Le Cabinet du Prince', 'La Ville', 'Le Laboratoire de Peter Bel', and 'La Prison'. This is an absolutely fascinating work - Marcel Landowski's response to the fear of a nuclear war. The Ondes Martenots are haunting and beautiful.
Puccini. Boheme.1975 Katia Ricciarelli. Franco Corelli. Rita Shane. William Walker. Giorgio Tozzi.Dir.: Leifer Segerstam
https://rapidshare. com/files/ 1388985307/ Boheme75- 1.zip
https://rapidshare. com/files/ 710942135/ Boheme75- 2.zip
https://rapidshare. com/files/ 2776228335/ Boheme-cast. zip
Aporte de Joao (S. Pablo)
Carlo Evasio Soliva. Elena e Malvina.2003. Elisabetta Scano (Elena). Denia Gavazzeni (Malvina). Luigi de Donati (Donaldo). Giorgio Trucco (Eduino). Carlo Allemano (Enrico). Davide Rocca. Vincenzo di Donato. Orch. Svizzera Ital. Dir.: Diego Fasolis
- Carlo Soliva was born into a family of Swiss immigrants. He studied composition at the Milan Conservatory, and in 1815 he was engaged as a conductor by the Teatro alla Scala. There he also began a career as an opera composer. In 1821 he moved to Warsaw to direct the singing classes at the conservatory. He conducted when Chopin first performed his concerto in E minor. After the crushing of the Polish revolution (1830), the Warsaw conservatory was forced to close, so he moved to St. Petersburg, becoming conductor of the Royal Chapel and director of the Imperial Singing School. He retired in 1841 and returned to his family's home village, Semione, in the Swiss Val di Blenio. He then settled in Paris, becoming part of the "salon" cultural life.
- Aporte de Wolf:
Alexia Cousin. 2009. Recital.
Aporte de Santiago (Caracas):
Luciano Pavarotti. Su vida. Audio documentary.
Bruneau. L'attaque du Moulin. 2001.Antje Herzog. Henrietta Hugenholtz. Rachel Duncan. Gary Bennett. Lionel Lhote. C. Tschelebiew. David R. Fankhauser. S. Lenkl. Dir.J. Pillement.
https://www. rapidshare. com/files/ 1675511919/ Attaque_Giessen. rar
Louis-Charles-Bonaventure-Alfred Bruneau (1857-1934) was a French composer who played a key role in the introduction of realism in French opera.
As a youth, Bruneau studied the cello at the Paris Conservatory, and played in the Pasdeloup orchestra. He soon began to compose, writing a cantata, Genevieve de Paris while still a young man. In 1884 his Ouverture heroique was performed, followed by the choral symphonies, Lida (1884), La belle au bois dormant (1886). In 1887, he produced his first opera, Kérim.
The following year, Bruneau met Émile Zola, launching a collaboration between the two men that would last for two decades. Bruneau's 1891 opera Le rêve was based on the Zola story of the same name, and in the coming years Zola would provide the subject matter for many of Bruneau's works, including L'attaque du moulin (1893). Zola himself wrote the libretti for the operas Messidor (1897) and L'Ouragan (1901). Other works influenced by Zola include L'enfant roi (1905), Naïs Micoulin (1907), Les quatres journées (1916), and Lazare (produced posthumously in 1954).
Other operatic works by Bruneau contained themes by Hans Christian Andersen (Le jardin du Paris in 1923) and Victor Hugo (Angelo, tyran de Padoue in 1928). Bruneau's orchestral works show the influence of Wagner. His other works include his Requiem (1896) and two collections of songs, Lieds de France and Chansons à danser.
Aporte de Julian.
Hasse. Romolo ed Ersilia . 2011.Marina de Liso (Romolo). Eleonora Buratto (Ersilia). Robin Johannsen (Valeria). Netta Or (Ostilio) . Johannes Chum (Curzio) . Paola Gardina (Acronte) . Orch. Café Zimmermann. Dir.: A. Cremonesi.
http://www.mediafir e.com/?c9jfp4260 djsgdc
Meyerbeer. Le Prophete. 1998. Viena.Video. Placido Domingo (Jean). Agens Baltsa (Fides). Viktoria Loukianetz (Berthe). El resto del elenco puede verse en los títulos. Dir.: Marcello Viotti
https://rapidshare. com/files/ 595424223/ Prophete. zip.001
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Aporte de Chrystal (Paris):
Sylvia Sass (sopr) y Karoly Fekete (bar). Recital. 2000. Paris.
Chris Merrit. 1987. Recital.
https://rapidshare. com/files/ 3484659952/ Merritt_Modena_ 1987.rar
Gounod. Mireille. 1971. Paris. Andree Esposito (Mireille). Charles Burles (Vincent). Michele Vilma (Taven). Julien Haas (Ourrias). Odile Pietti (Vincenette). Monique Delassus (Clemence). Gerard Serkoyan (Ramon). Stanislaus Staskiewciz (Ambroise). Roger Verdel (Andreloun). Dir.: Jean Perisson
https://rapidshare. com/files/ 3868462738/ Gounod-Mireille- Paris-01- July-1971. mp3.001
https://rapidshare. com/files/ 3556525011/ Gounod-Mireille- Paris-01- July-1971. mp3.002
Aporte Sam (Chicago):
Bellini. I Capuleti e I Montecchi. 1993. Torino. Martine Dupuy (Romeo). Mariella Devia (Giulietta). Jeffrey Francis (Tebaldo). Piertro Spagnoli (Capellio). Michele Pertusi (Lorenzo) Dir: Bruno Campanella
Alfano: Cyrano de Bergerac. 2010. S. Francisco.Placido Domingo.Ainhoa Arteta. Maya Lahyani. Leah Crocetto. Stephen Powell. Lester Lynch. Thiago Arancam. Brian Mulligan. Timothy Mix. Austin Kness.Dir.: Patrick Fournillier
https://www. rapidshare. com/files/ 831748682/ Cyrano_SF10_ A1.mp3
https://www. rapidshare. com/files/ 381712011/ Cyrano_SF10_ A2.mp3
https://www. rapidshare. com/files/ 1007699611/ Cyrano_SF10_ A3.mp3
https://www. rapidshare. com/files/ 1090482957/ Cyrano_SF10_ A4.mp3
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