Wagner Concert in Leipzig 1988 DDR 3 – Die Meistersinger von Nürnberg (‘Wach Auf’ and Finale)

Wagnerian1979

Uploaded on Jun 9, 2011

Leipzig Gewandhaus Orchestra.
Conducted by Kurt Masur
1988 Fernsehen der DDR

Final part of the Leipzig Wagner concert features the greatest ‘Wach auf!’ I have ever heard, the Rundfunkchor are simply magnificent here and provide a thrilling conclusion to what was a supremely satisfying concert in the GDR.

The writer and composer Richard Wagner (1813 – 1883) was born in the city of Leipzig in Saxony. The city of his birth paid tribute to one of its most famous sons in 1988, then part of the German Democratic Republic, with an all Wagner concert from the New Gewandhaus concert hall, rebuilt by the GDR government and opened in in 1981. Kurt Masur conducts, with soprano Karan Armstrong and bass-baritone Theo Adam singing excerpts from Tristan und Isolde and Meistersinger, with equally stunning contributions from the Leipzig Radio Choir.

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JULES MASSENET.- EL CID – Ballet

Carlos Garcia

JULES MASSENET.-

EL CID – Ballet

Castillane
Andalouse
Aragonaise
Aubade
Catalane
Madrilene
Navarraise

Radio Sinfonía Orquesta Czecho-Slovak

Director: Keith Clark

Le Cid, suite para orquesta.

Descripción de Robert Barefield

The ballet suite second act of Massenet‘s opera Le Cid is one of his best known and most respected orchestral works. The opera, set in Spain in the twelfth century, is a sweeping saga centers on the exploits of Don Rodrigue (Le Cid) in the battle against the Moors and fight for the woman he loves. In the same way that suggested Bizet sounds of Spain in his opera Carmen, Massenet uses colorful orchestration and dance rhythms on strike to evoke the unique flavor of the region. Composer inventive use of percussion instruments is particularly striking, and certainly reflects the fact that early in his career, Massenet was a percussionist himself. The seven picturesque movements are: Castilane, Andalouse, Aragonaise, Aubade, Catalan, Madrilène and Navarraise.

 

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Saturday Matinee Teatro alla Scala: Il Barbieri Di Sivilia, Rosini (1999): Make music part of your life series

Il Barbiere Di Siviglia – G.Rossini – Scala – 1999

   escamillo75

 

Uploaded on Dec 18, 2011/ 603,533 views

Il Barbiere di Siviglia – Teatro alla Scala 1999.

Almaviva : Juan Diego Florez
Rosina : Sonia Ganassi
Bartolo : Alfonso Antoniozzi
Figaro : Roberto Frontali
Basilio : Giorgio Surjan
Berta : Tiziana Tramonti

Dir. : Riccardo Chailly

**************************************************************************
From Wikipedia, the free encyclopedia: 

Gioachino Rossini

The Barber of Seville, or The Futile Precaution (Italian: Il barbiere di Siviglia, ossia L’inutile precauzione) is an opera buffa in two acts by Gioachino Rossini with an Italian libretto by Cesare Sterbini. The libretto was based on Pierre Beaumarchais‘s French comedy Le Barbier de Séville (1775). The première of Rossini’s opera (under the title Almaviva, o sia L’inutile precauzione) took place on 20 February 1816 at the Teatro Argentina, Rome.^[1]

Rossini’s Barber has proven to be one of the greatest masterpieces of comedy within music, and has been described as the opera buffa of all “opere buffe“. Even after two hundred years, its popularity on the modern opera stage attests to that greatness.^[2]

Composition history

Figaro

Rossini’s opera recounts the first of the plays from the Figaro trilogy, by French playwright Pierre Beaumarchais, while Mozart‘s opera Le nozze di Figaro, composed 30 years earlier in 1786, is based on the second part of the Beaumarchais trilogy. The first Beaumarchais play was originally conceived as an opéra comique, but was rejected as such by the Comédie-Italienne.^[3] The play as it is now known was premiered in 1775 by the Comédie-Française at the Théâtre des Tuileries in Paris.^[4]

Other operas based on the first play were composed by Giovanni Paisiello (Il barbiere di Siviglia (1782), by Nicolas Isouard (1796), and by Francesco Morlacchi (1816). Though the work of Paisiello triumphed for a time, only Rossini’s version has stood the test of time and continues to be a mainstay of operatic repertoire. On 11 November 1868, two days before Rossini’s death, the composer Costantino Dall’Argine (1842–1877) premiered an opera based on the same libretto as Rossini’s work,^[5] bearing a dedication to Rossini.^[6] The premiere was not a failure, but critics condemned the “audacity” of the young composer and the work is now forgotten.^[6][7]

Rossini was well known for being remarkably productive, completing an average of two operas per year for 19 years, and in some years writing as many as four. Musicologists believe that, true to form, the music for Il Barbiere di Siviglia was composed in just under three weeks,^[8] although the famous overture was actually recycled from two earlier Rossini operas, Aureliano in Palmira and Elisabetta, regina d’Inghilterra and thus contains none of the thematic material in Il Barbiere di Siviglia itself.

Performance history

The premiere of Rossini’s opera was a disastrous failure: the audience hissed and jeered throughout, and several on-stage accidents occurred.^[8] However, many of the audience were supporters of one of Rossini’s rivals, Giovanni Paisiello, who played on mob mentality to provoke the rest of the audience to dislike the opera.^[8] Paisiello had already composed The Barber of Seville and took Rossini’s new version to be an affront to his version. In particular, Paisiello and his followers were opposed to the use of basso buffo, which is common in comic opera.^[9] The second performance met with quite a different fate, becoming a roaring success.^[8] The original French play, Le Barbier de Séville, endured a similar story: poorly received at first, only to become a favorite within a week.

The opera was first performed in England on 10 March 1818 at the King’s Theatre in London in Italian, soon followed on 13 October at the Covent Garden Theatre by an English version translated by John Fawcett and Daniel Terry. It was first performed in America on 3 May 1819 in English (probably the Covent Garden version) at the Park Theatre in New York.^[10] It was given in French at the Théâtre d’Orléans in New Orleans on 4 March 1823,^[11] and became the first opera ever to be performed in Italian in New York, when Manuel Garcia (who played Almaviva) and his Italian troupe opened their first season there with Il barbiere on 29 November 1825 at the Park Theatre. The cast of eight had three other members of his family, including the 17-year-old Maria-Felicia, later known as Maria Malibran.^[12]

The role of Rosina was originally written for a contralto. According to Richard Osborne, because of its popularity, singers have sometimes distorted Rossini’s intentions. The most serious distortion has been transposition of the role to a higher pitch, “turning her from a lustrous alto into a pert soprano.”^[13] In addition, the singing lesson in act 2 has often been turned into “a show-stopping cabaret.”^[13] Adelina Patti was known to include Luigi Arditi‘s “Il bacio”, the Bolero from Verdi’s I vespri siciliani, the Shadow Song from Meyerbeer’s Dinorah, and Henry Bishop‘s “Home! Sweet Home!“. Nellie Melba followed suit, accompanying herself on the piano in the final song.^[13] Pauline Viardot began the practice of inserting Alabiev‘s “Nightingale”. Maria Callas sang a cut-down version of Rossini’s own “Contro un cor.”

Once after Patti had sung a particularly florid rendition of the opera’s legitimate aria, ‘Una voce poco fa’, Rossini is reported to have asked her: “Very nice, my dear, and who wrote the piece you have just performed?”^[14]

As a staple of the operatic repertoire, Barber appears as number nine on the Operabase list of the most-performed operas worldwide.^[15] Because of the increasing scarcity of good contraltos,^[16] the role of Rosina has most frequently been sung by a coloratura mezzo-soprano (with or without pitch alterations, depending on the singer), and has in the past, and occasionally in more recent times, been sung by coloratura sopranos such as Marcella Sembrich, Maria Callas, Roberta Peters, Gianna D’Angelo, Victoria de los Ángeles, Beverly Sills, Lily Pons, Diana Damrau, Kathleen Battle and Luciana Serra. Famous recent mezzo-soprano Rosinas include Marilyn Horne, Teresa Berganza, Lucia Valentini Terrani, Susanne Marsee, Cecilia Bartoli, Joyce DiDonato, Jennifer Larmore, Elīna Garanča, and Vesselina Kasarova. Famous contralto Rosinas include Ewa Podleś.

Roles

Role[17]	Voice type[18]	Premiere cast, 20 February 1816 (Conductor: Gioachino Rossini)
Count Almaviva	tenor	Manuel Garcia
Bartolo, doctor of medicine, Rosina’s guardian	bass	Bartolomeo Botticelli
Rosina, rich pupil in Bartolo’s house	contralto[19]	Geltrude Righetti-Giorgio
Figaro, barber	baritone[20]	Luigi Zamboni
Basilio, Rosina’s music teacher, hypocrite	bass	Zenobio Vitarelli
Berta, old governess in Bartolo’s house	soprano[21]	Elisabetta Loyselet
Fiorello, Almaviva’s servant	bass[22]	Paolo Biagelli
Ambrogio, Bartolo’s servant	bass[23]
Officers, soldiers, policeman, a notary

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Great Compositions/Performances: Wagner Die Meistersinger von Nürnberg; Prelude to Act I; Solti

[youtube.com/watch?v=3nhcTllJgIY]

Wagner Die Meistersinger von Nürnberg; Prelude to Act I; Solti

Wilhelm Richard Wagner
Sir Georg Solti
Vienna Philharmonic

This piece introduces the first act of the composer’s music drama called The Mastersingers of Nuremberg. Similar to his other operas, he wrote the scenario and libretto in addition to the musical score.

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Wagner Die Meistersinger von Nürnberg; Prelude to Act I; Solti

Wilhelm Richard Wagner
Sir Georg Solti 
Vienna Philharmonic

This piece introduces the first act of the composer’s music drama called The Mastersingers of Nuremberg. Similar to his other operas, he wrote the scenario and libretto in addition to the musical score.