TodOpera : Música y Mas Música! – Página 770

Aporta Lele El Veneciano:

Alfredo Kraus (1927-1999). Grabaciones de la radio italiana (1960-1970)

2.5.1967 Rai di Milano . Direttore Arturo Basile.Una vergin (Favorita) .Lamento di Federico (Arlesiana) . Ah, non mi ridestar (Werther) .A te o cara (Puritani)

Rai Milano, 12.10.1960 – dir. Antonio La Rosa ParodiDel tempio al limitar (Pescatori) con Giuseppe Taddei, bar.  Mi par d´udire ancora (Pescatori)

Rai Roma 7.4.1970– Dir. Carlo Maria Giulini.Dalla sua pace (Don Giovanni)   .Il Mio tesoro intanto (Don Giovanni)

Wagner. Los Maestros Cantores de Nurnberg. 2000.Bayreuth.Robert Holl . Robert Dean Smith. Emily Magee. Matthias Holle. A. Schmidt. E. Wottrich. B. Svenden Dir. : C. Thielemann

Robert Holl


Spontini. La Vestale. 1974. Roma.Gundula Janowitz . Ruza Baldani. Gilbert Py. G. Corradi. A. Ferrin. Dir.: Jesus Lopez Cobos


Niccollo Jommelli (1714-1774). Fetonte. Libreto de Mattia Verazi sobre la obra  Phaéton de  Philippe Quinault (escrita en colaboración de Lully) y Metamorfosis de Ovidio. Estreno: 11 de febrero de 1768 , Schlosstheater, Ludwigsburg.Lluciana D’intino.Mariana Nicolesco.Bernadette Manca di Nissa. Sumi Jo. Denia Mazzola. Giuseppe Morino. Alessandra Rossi. Amelia Felle. James Bowman. Dir.: Hans Vonk

Synopsis (editada de Opera Today):

Act I: Climene and the priests of Teti invoke the sea nymph from her sacred cave. Climene confides her fears regarding the wedding planned by her now deceased husband between his daughter, Libia, and Climene’s son, Fetonte. King Epafo, however, has designs upon Libia. Proteo foretells that Fetonte will threaten humanity.

Libia and Fetonte later learn that Climene has been imprisoned by Epafo, who will not free her unless Libia agrees to marry him. King Orcane, wishing to marry Climene, plots with Epafo to arouse the Queen’s jealousy.

Act II:Having discovered their plans, Climene and Libia confuse Orcane about their real feelings. Fetonte, on the other hand, becomes disturbed. Climene announces that she will abdicate the throne in favor of Libia when the girl marries a child of a god in accordance with the oracle’s prophecy. Climene chooses Fetonte and reveals his divine origin. The rivals, however, challenge Fetonte to prove his divine nature.

Climene guides Fetonte to Il Sole. To show his true origins, Fetonte will ask permission to appear in the sky in Il Sole’s chariot and to bring daylight upon the Earth. Libia vainly implores Fetonte to desist.

Act III:Il Sole welcomes Fetonte into his palace. Fetonte is instructed of the danger if he proceeds. Fetonte refuses the protection of La Fortuna.Meanwhile, Climene is seized by Epafo. Libia is taken under the protection of Orcane. The two kings prepare for battle. Epafo flees, taking Climene with him. Fetonte appears in the sky; but, losing control of the chariot, it appears that he will destroy the Earth. Zeus’ intervention is invoked, who directs lightning at Fetonte. He falls into the sea. Climene, who learns that Libia is dead, throws herself into the sea to join her son’s fate.

Prokofiev. Ivan El Terrible. Oratorio). 2010. Salzburgo. Narradores: Gerard Depardieu y Jan Josef Liefers. Olga Borodina (mezzo). ILdar Abdrazakov (bajo) Dir.: Riccardo Muti.

Ivan the Terrible by Sergei Prokofiev is music he originally composed for the film directed by Eisenstein about the sixteenth-century ruler. Prokofiev composed music to Part 1 in 1942-44, and to Part 2 in 1945; the score is cataloged as Op. 116. After the composer’s death, music for the film was arranged first into an oratorio (with speaker, soloists, chorus, and orchestra) by Alexander Stasevich (1961), who was the conductor of the film score, and later into a concert scenario by Christopher Palmer (1990). Yet in 1973 the composer Mikhail Chulaki and the choreographer Yuri Grigorovich drew on Prokofiev’s film score to create his ballet entitled Ivan the Terrible, which was given its premiere in 1975.

This is one of the two works born from Prokofiev’s collaboration with Eisenstein, the other being Alexander Nevsky.

Festival de Verbier. 2010. Video. Gluck: suite de Orfeo y Euridice. Berlioz. Les Nuits d´Ete ( Sophie Koch). Dir. Paul McCreesh.
Beethoven: sinfonia nr 7

Herold. Le Pre aux clercs. 1959.Berthe Monsart.Denise Boursin.Claudine Collart.Gaston Rey.Lucien Lovano.Pierre Germain. Dir. Robert Benedetti

L.J.F. Hérold was born in Paris, the only child of François-Joseph Hérold, a pianist and composer, and Jeanne-Gabrielle Pascal. He was the grandson of Nicolas Hérold, an organist. At the age of six, he attended the Hix Institute and excelled in his studies. While there, he also took musical theory with François-Joseph Fétis (who later edited the periodical La Revue Musicale). At the age of seven, he played piano and composed some piano pieces.

Hérold’s father did not intend for him to follow a musical career, but after his father’s death in 1802, he could finally pursue this avenue. He enrolled in the Conservatoire in 1806 and was schooled in piano by Louis Adam (father of the composer Adolphe Adam). He also was instructed by Charles Simon Catel (in harmony), Rodolphe Kreutzer (in violin), and Étienne Méhul (in composition). Hérold during these times at the Conservatoire became a virtuoso on piano and violin.

In 1810 he won first prize in a piano competition with one of his own compositions, which had never been done before. One of the judges remarked: “This piece is full of flaws, but I see great things ahead for him.” He progressed so far in his studies that in 1812 he won the Prix de Rome. In Rome, during the spring of 1813 he composed his first symphony, which all Prix de Rome winners were required to do in order to show their progression in studies.

In 1815 he moved from Rome to Naples for health reasons. While there he composed several pieces including his second symphony and three string quartets. His first opera, La gioventù di Enrico Quinto, was presented at San Carlo (under the pseudonym Landriani), and it was received favorably by the public (who did not favour French composers), but not by the composers of the area. He was also paid 5,000 lira to teach Joachim Murat’s daughters. After the king was executed, Hérold was forced to leave Italy and went to Austria, where he stayed in Vienna for two months under the employ of Prince Metternich. He returned to Paris via Munich and Switzerland.

In 1816, Hérold collaborated with François Adrien Boieldieu in the opera Charles de France; this work put his name before the public. In the same year he composed the successful opera Les Rosières which he dedicated to his friend and former teacher Méhul. In 1817 his opera La clochette premiered and was a vast improvement over Les rosières. After struggling to find a libretto, he composed music for Premier Venu. However, this did not have the qualities to be an opera and it met with little success. Les troqueurs (1819) also failed.

Hérold’s desire to compose forced him to choose any libretto that came his way since many librettists did not trust him with their works. Therefore, his next few operas (L’amour platonique and L’auteur mort et vivant) were failures. This discouraged Hérold, so he did not produce any operas for three years.

In 1821 he became an assistant at the Théâtre-Italien and traveled to Italy to recruit singers. This renewed his inspiration and his health. In 1823 he returned to the stage with the success Le muletier. His next opera, Lasthénie, was a moderate success. Hérold collaborated with Daniel Auber on Vendôme en Espagne (1823) which capitalized on the fad for Spanish atmosphere, following the French victory at Trocadero in Spain.

In 1824 the Opéra Comique commissioned him to write Le roi René. In the same year he became accompanist at the Théâtre Italien, and two years later became chorus-master. In 1825 he wrote Le lapin blanc which failed; Hérold himself was not inspired by its libretto to compose good music.

His next opera Marie (1826) was a great success, but his duties at Théâtre Italien hindered his freedom to exploit this and further his talent, and for the next three years was reduced to writing ballet music. In 1827, he became the chief replacement at the Paris Opera. On November 3rd, 1828 he was awarded the Legion of Honor. His next opera L’illusion (1829) was successful while Emmeline (1830) was not.

On May 3, 1831, one of his most famous operas, Zampa, premiered. This opera enjoyed much success in France and Germany where it is still occasionally staged today. He followed up his success with Zampa with contributions to La marquise de Brinvilliers, a collaborative effort of many composers including François-Adrien Boïeldieu and Daniel Auber.

He wrote La médecine sans médecin in 1832 and Le Pré aux Clercs later in the same year. Le Pré aux Clercs is another of Hérold’s most famous works. Le Pré aux Clercs enjoyed its thousandth performance in Paris in 1871. A month after its premier, Hérold died at Thernes, of tuberculosis from which he had long suffered. Hérold’s opera Ludovic which had not been completed was finished by Fromental Halévy.