TodOpera : Música y Mas Música! – Página 1148

Beethoven. Leonora..1976. Schwetzingen. Clarice Carson. Maurizio Frusoni (Florestan). Maria Casula (Marcellina). Cornel Stavru (Pizarro). Giancarlo Luccardi (Gioachino). Giorgio Taddeo (Rocco).-Dir. Peter Maag.

Clarice Carson


It’s widely known that


wrote only one opera. But some experts would beg to differ.


Beethoven’s Fidelio premiered with great success in Vienna, on May 23, 1814. But Beethoven had been fine-tuning Fidelio for nearly 10 years. At its debut in 1805, Beethoven’s opera was called Leonore, and it flopped. There was a slightly different take on the basic plot, fueled by quite a bit more music than the Fidelio that came later.

For ages, Leonore was viewed as little more than a flawed first draft of Fidelio. But over the last decade or two, interest in Beethoven’s earlier version has increased, even resulting in several recordings. Some conductors who have taken interest in Leonore, like Nicholas McGegan , feel that the emotional content of Beethoven’s earlier version is more pure, intense and immediate.

The opera is imbued with Beethoven’s vision of freedom from political oppression, sparked by the ideals of the French Revolution. One writer described it as the story of “a woman, disguised as a prison worker, who liberates her husband, and strikes a blow for freedom, feminism, and prison reform.” .For a brief period, Beethoven saw Napoleon as a champion for human rights, fighting against the old aristocratic order. But by 1805, Napoleon had invaded Austria and Beethoven had reversed his opinion. Some of that white-hot emotion, scholars say, found its way into Leonore, but was toned down later in Fidelio, as Beethoven’s hopes had become diluted.

With all the agonizing Beethoven went through over his opera, one would hope that he would have come to a final acceptance. But he was never really happy. Just before the debut of Fidelio in 1814, he admitted to a colleague that he was “dissatisfied with most of it.” .Fortunately for us, Beethoven was fussy. As a result of 10 years of re-tooling, he composed four separate overtures for his opera, known as Leonore No. 1, Leonore No. 2, Leonore No. 3, and Fidelio.

Donizetti. Lucia di Lammermoor. 1949. Met. Pons. Tagliavini. Valentino. Hines. Dir.: Cimara

Gounod. Fausto. 1972. MetDomingo. Zylis Gara. Tozzi. Sereni. Von Stade. Dir.: Rich.

Donizetti. Il furioso all’isola di San Domingo – 1987. Piacenza.Cardenio – Stefano Antonucci.Eleonora – Luciana Serra. Fernando – Luca Canonici.Bartolomeo – Maurizio Picconi .Marcella – Elisabetta Tandura .Kaidama – Roberto Coviello. Dir.:- Carlo Rizzi

Il furioso all’isola di San Domingo is a melodramma, or opera, in three acts by composer Gaetano DonizettiJacopo Ferretti wrote the libretto after Miguel de Cervantes‘s novel Don Quixote. The opera premiered at the Teatro Valle in Rome,on 2 January 1833.

Furioso is a very fine work by Donizetti, written soon after L’Elisir d’Amore. It contains much music worth Donizetti’s best operas. There are two beautiful tenor arias, well sung by L. Canonici, two wonderfull duets for two baritones, a good love duet. The performance is excellent, though Serra is a bit too shrill, at least in the first act (she sings the final aria much better).. I strongly recommend it to all bell canto adepts.

There are 3 recordings:

1 1958(LI) – Capuana Franco – Accademia Musicale Chigiana

2 1967(LI) – Campanella Bruno – Teatro Verdi di Trieste

3 1987(LI) – Rizzi Carlo – Orchestra Sinfonica di Piacenza


Alban Berg. Lulu. 2009. Londres. Opera en 3 actos con libreto del compositor. Agneta Eichenholz (Lulu). Michael Volle (Dr. Schön/Jack el Destripador). Jennifer Larmore (Condesa Geschwitz). Klaus Florian Vogt (Alwa). Gwynne Howell (Schigolch). Peter Rose. Will Hartmann. Jeremy White. Philip Langridge. Hether Shipp. KOstas Smoriginas. Dir.: a. Pappano.

Agneta Eichenholz

When the Royal Opera’s favourite young soprano Aleksandra Kurzak decided at a late stage in planning last year that she didn’t want to take the title role in its new production of Berg‘s Lulu, the management was left in a hole. Nobody could blame Kurzak for fighting shy, Lulu is notoriously one hell of a challenge, and you can count the sopranos who have decisively scaled it, on the fingers of one hand.
The opera is very long (at least in the form completed after Berg’s death by Friedrich Cerha) and composed in an atonal and serial style which is both sumptuous and austere. Lulu herself needs to sing both very high and very low over a large orchestra. Her character is unsympathetic: drawn from two cynical plays by Franz Wedekind, Lulu is a horribly male construct of a woman, sexually alluring yet totally without moral values or rational intellect.
Instinctive to the point of bestiality, she destroys all the men who fall under her spell: the animal tamer who appears in a symbolic prologue to the opera, casts her as the snake in the cruel dog-eats-dog menagerie of life.  The singer who plays this irresistible monster also has to be young, slender, lithe and beautiful which is where Kurzak’s surprise replacement, Agneta Eichenholz, has a terrific head start. This strikingly dark and instantly attractive Swedish soprano is a virtual unknown outside her own country: she has only very recently started performing on the international circuit, and making her Covent Garden debut as Lulu is, as she puts it, “not one step up, but three”.
She won the part through her association with the production’s director Christof Loy, with whom she’d worked on highly successful stagings of Mozart‘s Lucio Silla and Così fan tutte. Loy encouraged her to learn enough of Lulu’s music to audition for Antonio Pappano, the Royal Opera’s Music Director, who was sufficiently impressed to take the gamble on her.
So far, Eichenholz’s been enjoying the rehearsals enormously, “though Lulu is a character I try not to take home with me. “She’s the sort of woman that other women really hate. But, that’s not to say I don’t understand her, she seems to have been abused by her father as a child, and it’s the way men keep treating her that makes her the way she is. I think we all have a little bit of Lulu inside us, and that’s not a comfortable thing,” Eichenholz says.


Astonishingly, Eichenholz is 38, you’d think she was a decade younger, an illusion she ascribes to “good Swedish genes”. Born in Malmo, she took to music “mainly to compete with my elder brother”. “He was very good at school and good at sports, and playing the piano seemed the only thing I could do better than he did,” she says. Singing began for her with imitations of Whitney Houston and Mariah Carey, “but that style wasn’t really for me: I was a bit too shy”. After training in Stockholm, she began her professional career with a stint in the chorus of Kristina från Duvemåla, an epic musical, ”so dramatic and romantic it’s almost an opera” by Abba’s Benny Andersson and Bjorn Ulvaeus.

Premièred in Malmo in 1995 and based on Vilhelm Moberg’s novels about the 19th century migrations from Scandinavia to Minnesota, it was an enormous hit in Sweden, though Eichenholz thinks that its four-hour duration and the limited interest of its subject matter will probably prevent it ever making the passage to Broadway or the West End.

After two years in the show, Eichenholz was offered the lead role. “Then I realised that just wasn’t the way I wanted to go. I didn’t like the dancing, and my voice lay too high. So at the age of 29, I decided to try opera.” Five years of building a solid base of repertory and a considerable reputation in Stockholm’s Folkopera, the Swedish equivalent of ENO, followed.”I had a wonderful time there and sang 45 performances of La traviata in a year. Violetta is still my dream role. But I wasn’t earning any money, so although I wouldn’t say I was crazily ambitious, I felt I had to move on.”

Successful debuts in Copenhagen and Berlin followed, and her diary is now packed. “This year I’ve already done five opera productions… Now I’m just focused on Lulu, which I will also sing in Madrid when the Covent Garden production moves there in September,” she says. “The real joy for me in this business is working with people as good and supportive as Loy and Pappano. Lulu may be frightening and difficult, but with them to support me, it’s also fun – and if singing isn’t going to be fun, I don’t want to do it.”

Beethoven. Fidelio. 1971. Met. Leonie Rysanek. Jon Vickers. Walter Berry. Giorgio Tozzi. Judith Blegen. Murray Dickie. John Macurdy. Dir.: Karl Böhm

Wagner. Lohengrin. 2009. Londres. Johan Botha. Edith Haller (Elsa). Petra Lang (Ortrund). Falk Truckmann (Telramund). Kwangchul Youn (Heinrich) Boaz Daniel . Dir.: Semyon Bychkov

Verdi. La Forza del Destino- 1972. MetPrice. Bergonzi. Paskalis. Siepi. Casei. Corena. Dir. Veltri.

Shostakovich. Lieder. Sergei Leiferkus.
Parte 1: 2:


Brahms. 21 lieder. Mitsuko Shirai. Hartmut Hoell. 1987


Aporte de Lele El Veneciano:
Clara Jaione. Antologia. Volume 3. Incisioni 1948-1956. 01 Maria de Bahia (Misraki -Deani) con Nilla Pizzi e Alfredo Clerici –  1948.02 Neh Don Nico’ – 1948 circa03 Sul mare luccica (Nisa – Calzia) 1948 .04 Aguana guana – 1949 circa .05 Bolognesina mia (Raimondi – Frati) con Antonio Basurto – 1949 .06 I cadetti di Guascogna (Fragna . Larici – Rastelli) – 1949 .07 La guapa (McGillar – Danpa) orch. A. Fragna – 1949 .08 Arrivano i nostri (Fragna – Rastelli)  12.6.1950 .09 Baciamoci – 1950 circa .10 Giuseppe cosa fai – 1950 circa .11 Domenica di sole – con Luciano Benevene – 1951 circa .12 I due pagliacci e l’ asino (Fragna – Rastelli) 1951 circa .13 La fedora (Panzuti – Dampa) 1951 .14 Totò Tarzan (Fragna – Marchesi)  1951 .15 Conosco un’isoletta (Fragna – Morbelli) 1952 .16 Il valzer del ciripiripin (Fragna) 1952 .17 La ronda dei sogni – 1952 .18 Totoamore (Raimondo – Filibello) 1952 .19 Un’americana a Roma – 1952 circa .20 La mogliera (Da Vinci – Di Lazzaro) (live) 1953 .21 Zum-zum che mambo (Del Carco – Stilos)  1953 circa .22 Il fazzoletto di papà – con il Duo Blengio – 1954 .23 Il trenino per Albarotonda – con il Duo Blengio – 1954 .24 La mamma va al mercato (Poletto – Nisa) 1954 .25 Zucchero e pepe (Mascheroni – Biri – Capece) con il Quintetto Nord – – 1955 .26 La leggenda del cavallino (Testoni – Abbate – Giambuzzi) 1956

Aportes de Ricardo Roman (incluye las 2 versiones de Lohengrin y Tannhauser)
Humperdinck.Hansel and Gretel.1982.Met. ( En ingles). Video. Hansel – Frederica von Stade. Gretel – Judith Blegen .Gertrude – Jean Kraft .Peter – Michael Devlin .The Sandman – Diana Kesling (Debut) .The Dewfairy – Betsy Norden .The Witch – Rosalind Elias Dir.: Thomas Fulton

Wagner. Die Meistersinger von Nürnberg. 1951. Bayreuth Hans Sachs – Otto Edelmann. Veit Pogner – Friedrich Dahlberg .Kunz Vogelgesang – Erich Malkut.Konrad Nachtigall – Hans Berg .Sixtus Beckmesser – Erich Kunz .Fritz Kothner – Heinrich Pflanzl .Balthasar Zorn – Josef Janko .Ulrich Eisslinger – Karl Mikorey .Agustin Moser – Gerhard Stolze .Hermann Ortel – Heinz Tandler .Hans Schwarz – Heinz Borst .Hans Foltz – Arnold van Mill.Walther von Stolzing – Hans Hopf .David – Gerhard Unger .Eva – Elisabeth Schwarzkopf .Magdalene – Ira Malaniuk .Nachtwächter – Werner Faulhaber .Dir. H. von Karajan

Wagner. Lohengrin. 1962.Viena. Lohengrin – Jess Thomas. Elsa von Brabant – Elisabeth Grümmer..Friedrich von Telramund – Dietrich Fischer-Dieskau .Ortrud – Christa Ludwig.König Heinrich – Gottlob Frick .Heerrufer – Otto Wiener .Dir.: Rudolf Kempe

Wagner. Lohengrin. 1998. Berlin.Lohengrin – Peter Seifert .Elsa von Brabant – Emily Magee .Friedrich von Telramund – Falk Struckmann. Ortrud – Deborah Polaski .König Heinrich – René Pape .Heerrufer – Roman Trekel. Staatskapelle. Dir.: Daniel Barenboim

Wagner. Tannhauser.(Dresdner Fassung).1960. Berlin.Landgraf Hermann – Gottlob Frick .Tannhäuser – Hans Hopf .Wolfram – Dietrich Fischer-Dieskau.Walter – Fritz Wunderlich .Biterolf – Rudolf Gonszar .Heinrich – Gerhard Unger .Reinmar – Reiner Süss .Elisabeth – Elisabeth Grümmer. Venus – Marianne Schech .Hirt – Lisa Otto. Dir.: Franz Konwitschny

Mozart. Las Bodas de Fígaro (Le nozze di Figaro).1963. Londres. Geraint Evans (Figaro). Mirella Freni (susanna). Tito Gobbi (Almaviva). Ilva Ligabue (Condesa). Teresa Berganza (Cherubino). Monica Sinclair (Marcellina). Michaelo Langdon (Bartolo). Kenneth Macdonald (Basilio). Dir.: Georg Solti.

Aporte de Leonidas (Bogota):
Olivier Messiaen: Saint Francois d´assise. 2004. Paris. Jose Van Dam. Christina Schäffer. Chris Merritt. Brett Polegato. Charles Workman. C. Homberg. Dir.: Sylvain Cambreling

Saint François d’Assise is an opera in three acts and eight scenes by French composer and librettist Olivier Messiaen, written from 1975 to 1983. It concerns Saint Francis of Assisi, the title character, and displays the composer’s devout Catholicism. The world première took place in Paris on November 28, 1983.

Despite his studies of Mozart and Wagner operas, Messiaen thought he would never compose an opera. When Rolf Liebermann, general manager of the Paris Opera, commissioned an opera from Messiaen in 1971 the composer refused. Messiaen changed his mind when Liebermann arranged that he be a guest at a dinner at the Elysée Palace, hosted by then French President Georges Pompidou; at the end of the dinner Pompidou said: “Messiaen, you will write an opera for the Opéra de Paris!”.In searching for subject matter, Messiaen pondered dramatizing either Christ’s Passion or his Resurrection. Feeling unworthy of either subject, he eventually chose to dramatize the life of Saint Francis of Assisi, which paralleled Christ’s chastity, humility, poverty, and suffering.

The process of writing the opera took its toll on the composer. Initially, Messiaen set to work and he made rapid progress as it became the sole object of his musical attention. By 1977 he contacted the general manager of the Paris National Opera to say he was ready to play through an unorchestrated version of the opera. Messiaen could not envisage orchestrating the opera by 1980, and adding to the pressure on Messiaen, there was a leak on the radio that he was writing an opera about Saint Francis. This revelation transgressed Messiaen’s normal practice of secrecy when composing.

Messiaen appealed for a deadline extension in 1979. 1983 was agreed as the new date; however, Messiaen’s health was now beginning to deteriorate. In 1981 he had several periods of ill-health, and Messiaen once again doubted that he would finish according to plan. Messiaen began to suffer from depressions, and by December 1981 he felt unable to go on. However, his doctor advised him to take daily walks to increase his wellbeing and he began to attend evening mass at the Sacre Coeur. This encouraged Messiaen to go on and complete the work, though by completion it had left its mark and he was still convinced it would be his last. For maximum artistic freedom, Messiaen penned both libretto and score.For nearly eight years, the composer consulted Franciscan sources, reading biographies by Thomas of Celano and St. Bonaventure, as well as Francis’ own prayers (including Canticle of the Sun). He also cited passages from the FiorettiConsiderations on the Stigmata and the Bible.

Critics later chastised Messiaen for beginning the action after Francis’s conversion. The composer defended his choice in an interview with Claude Samuel: “Some people have told me, ‘There’s no sin in your work.’ But I myself feel sin isn’t interesting, dirt isn’t interesting. I prefer flowers. I left out sin.”

The opera’s eight scenes, divided into three acts, delineate Francis’s spiritual development. Act One contains scenes in which he realizes his goals: “La Croix” (The Cross), “Les Laudes” (Lauds) and “Le Baiser au Lépreux” (The Kissing of the Leper). Act Two shows Francis’s journey towards enlightenment, ministry and divinity: “L’Ange voyageur” (The Journeying Angel), “L’Ange musicien” (The Angel Musician) and “Le Prêche aux oiseaux” (The Sermon to the Birds). The scenes of Act Three explore the saint’s approach to divinity and his entrance into eternity: “Les Stigmates” (The Stigmata) and “La Mort et la Nouvelle Vie” (Death and the New Life).

Puccini. Manon Lescaut. 1996. Paris.Miriam Gauci (Manon). Fabio Armiliato (Des Grieux). Jean Luc Chaignaud (Lescaut). Enrico Fissore (Geronte) Dir.: Sebastien Lang Lessing
https://rapidshare. com/files/ 42889707/ Manon_Lescaut_ Bastille_ 25.V.1996_ A1.mp3
https://rapidshare. com/files/ 2132682185/ Manon_Lescaut_ Bastille_ 25.V.1996_ A2.mp3
https://rapidshare. com/files/ 2594781427/ Manon_Lescaut_ Bastille_ 25.V.1996_ A3e4.mp3

Puccini. La Rondine. 2006. Sidney. Alexia Voulgaridou. Massimo Giordano. Laura Cherici. Danilo formaggia. Jose Carbelo. Jessica Pratt. Penelop Milles.Dir.:Gianluigi Gelmetti

Aporte de Wolf:
Lotti: Crucifixus. Tallis: Spem in alium, para 40 voces.Mahler: sinfonia nr 8. Erika Sunnegardh (sopr). Susan Bullock (sopr).Anna Prohaska (sopr).Lilli Paasikivi(mezzo).Nathalie Stutzmann(contralto).Johan Botha (ten).David Wilson-Johnson (bar).John Relyea (bajo). Coros Berlin, MDR, de niños de Berlin. Fil. Berlin. Dir. Simon Rattel
Mendelssohn:octeto para cuerdas op 20.  Festival de Salzburgo. 2011

Antonio Lotti (1667 –1740) was born in Venice, although his father Matteo was Kapellmeister at Hanover at the time.In 1682, Lotti began studying with Lodovico Fuga and Giovanni Legrenzi, both of whom were employed at St Mark’s Basilica.

He also wrote music for, and taught at, the Ospedale degli Incurabili. In 1717 he was given leave to go to Dresden, where a number of his operas were produced, including Giove in ArgoTeofane and Li quattro elementi (all with librettos by Antonio Maria Luchini).He returned to Venice in 1719 and remained there until his death in 1740.

Lotti wrote in a variety of forms, producing masses, cantatas, madrigals, around thirty operas, and instrumental music. His sacred choral works are often unaccompanied (a cappella). His work is considered a bridge between the established Baroque and emerging Classical styles. Lotti is thought to have influenced Johann Sebastian Bach, George Frideric Handel, and Johann Dismas Zelenka, all of whom had copies of Lotti’s mass, Missa Sapientiae.

Lotti was a notable teacher, with Domenico Alberti, Benedetto Marcello, Baldassare Galuppi, Giuseppe Saratelli and Johann Dismas Zelenka among his pupils. He was married to the noted soprano Santa Stella.