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Victor de Sabata conducts Mozart: Requiem in D Minor, K. 626
02.08.2014, 01:30


О Викторе де Сабата см. например

http://raritetclassic.com/load/4-1-0-431

На фотографии Виктор де Сабата вместе с австрийской певицей Гертрудой Гроб-Прандль.

 


Pia Tassinari (September 15, 1903, Modigliana - May 15, 1995, Faenza) was an Italian soprano and later mezzo-soprano, particularly associated with the Italian and French repertories.

Born Domenica Tassinari, she studied with Vezzani and Marcantoni, and made her debut in 1929, as Mimi, in Casale Monferrato.

She sang widely in Italy and South America, making her debut at La Scala in Milan, in 1932, and at the Metropolitan Opera in 1947. In 1955, she sang in Naples, in a famous revival of Mercadante 's Il giuramento.


She sang a wide range of roles, including: Marguerite, Manon, Elisabeth, Elsa, Fedora, Tosca, etc. She was also much admired in contemporary works by Zandonai, Wolf-Ferrari, and Respighi.

In the 1950s, as her voice darkened, she tackled successfully mezzo-soprano roles, notably Carmen and Charlotte, but also Amneris and Ulrica.

 

She was married to tenor Ferruccio Tagliavini with whom she often appeared on stage and on disc. They can be heard together in a number of complete opera recordings: Un ballo in maschera, Martha, Werther, L'Arlesiana, and most notably L'amico Fritz, conducted by Pietro Mascagni himself.

Tassinari had a beautiful voice of great range, and she brought considerable warmth, sensitivity, and refinement to whatever she was singing.

На фотографии – Пиа Тассинари вместе со своим мужем, тенором Ферруччо Тальявини.


Ebe Stignani (July 10, 1903 [or 1904] - October 5, 1974) was an Italian opera singer, who was pre-eminent in the dramatic mezzo-soprano roles of the Italian repertoire during a stage career of more than thirty years.

 

Born in Naples in 1903 (some sources cite her year of birth as 1904), Ebe Stignani studied music for five years at the San Pietro di Maiella Conservatory in Naples, including piano and composition as well as singing. The date of her singing début is usually said to have been in 1925 at the San Carlo opera house in Naples, in the role of Amneris in Verdi's Aida, but there is evidence that she may have sung a number of roles in the previous year. In 1926, she was invited to La Scala Milan by Arturo Toscanini to sing the part of Princess Eboli in Verdi's Don Carlo, and Milan continued to be a principal stage for her during the rest of her career. She sang all of the major Italian mezzo-soprano roles, but also tackled Wagner's Ortrud (Lohengrin) and Brangäne (Tristan und Isolde), and Saint-Saëns's Dalila (Samson et Dalila) conducted by Victor de Sabata.

 

She appeared with the San Francisco Opera in 1938 and again in 1948 but never at the Metropolitan Opera in New York. She toured extensively in North America in the years after World War II. Her first appearance at Covent Garden was in 1937, as Amneris, and she returned to London a number of times, notably in the role of Adalgisa in partnership with Maria Callas's Norma in 1952 and 1957. In the second of the two 1957 performances the thunderous and sustained applause after the duet Mira O Norma led conductor John Pritchard to encore that last part, apparently the only time she ever sang an encore in opera in her career. She also appeared frequently in South America, including the Teatro Colón in Buenos Aires, and in many other European cities outside Italy including Paris, Madrid, and Berlin (where she sang in 1933, 1937 and 1941). Among the new roles which she created during her career were Cathos in Felice Lattuada's Le preziose ridicole (1929), and La Voce in Respighi's Lucrezia (1937).

She retired from the stage in 1958 after appearances in London (as Azucena) and in Dublin (as Amneris). Thereafter, she lived quietly in retirement at her home in Imola. She had married in 1941 and given birth to a son in 1944.

 

Stignani's voice was large and rich in tone, if sometimes hard-edged, and evenly balanced throughout its considerable range (extending from a low F to a high C). It had sufficient flexibility for her to undertake such roles as Rossini's L'italiana in Algeri, but it was in noble, dramatic parts that she was heard to greatest effect. Critics often referred to the grandeur of her performances. By her own account, she was short and plump, and she admitted her shortcomings as an actress, but she achieved dramatic power and characterization through the quality of her voice and technique. She knew her priorities: speaking to Lanfranco Rasponi, she said, "I was given a magnificent gift, and in a way I am like a priestess, for I feel that it is my responsibility to keep the flame lit in the best possible manner... I am Stignani because of my voice". She was highly disciplined in her choice of roles and in the number of appearances she made, refusing to take assignments which she felt were not right for her voice, and this no doubt contributed to the longevity of her career at the highest level.

По материалам «Википедии».

 


Ферруччо Тальявини (Ferruccio Tagliavini, 14 VIII 1913, Реджо-нель-Эмилия - 29 I 1995) - итал. певец (лирич. тенор). Учился в Пармской консерватории, затем брал уроки у А. Басси во Флоренции, где дебютировал в 1938 в партии Рудольфа ("Богема"). В 1940 выступил в "Ла Скала". Расцвет артистич. деятельности Т. приходится на сер. 40-х - нач. 50-х гг. Выступал в т-рах Европы, Лат. Америки, США. В 1947-54 и 1961-62 солист "Метрополитен-опера". Часто пел в ансамбле с женой - певицей Пиа Тассинари. В 1970 оставил оперную сцену. Выдающийся мастер бельканто, Т. продолжил исполнит. традиции Б. Джильи. Отдавал предпочтение операм Дж. Россини, В. Беллини, Г. Доницетти. Среди лучших партий - Альмавива ("Севильский цирюльник"), Эльвино ("Сомнамбула"), Эдгар, Неморино ("Лючия ди Ламмермур", "Любовный напиток"), а также Герцог; Лионель ("Марта" Флотова), Вертер.

Источник:

http://dic.academic.ru/dic.nsf/enc_music/7392/%D0%A2%D0%B0%D0%BB%D1%8C%D1%8F%D0%B2%D0%B8%D0%BD%D0%B8

На фотографии – Ферруччо Тальявини вместе со своей женой, сопрано Пиа Тассинари.

 


Italo Tajo (April 25, 1915 – March 28, 1993) was an Italian operatic bass, particularly associated with Mozart and Rossini roles.

Tajo was born in Pinerolo, Piedmont, and studied violin and voice at the Music Conservatory of Turin with Nilde Stichi-Bertozzi. He made his stage debut in 1935, as Fafner (Das Rheingold), under Fritz Busch. At Busch's invitation, he followed him to Glyndebourne, where he became a member of the chorus, also appearing in comprimario roles.

 

In 1939, he was back in Italy, where he became a member of the Rome Opera, in 1942 taking part in the Italian premiere of Berg's Wozzeck. In 1940, he joined the Teatro alla Scala in Milan, where he sang regularly until 1956. He appeared with the Maggio Musicale Fiorentino in 1942, as Leporello in Don Giovanni, a role he would sing numerous times during his career.

 

The war over, his career quickly took an international turn, with debuts in Paris, London, Edinburgh and Buenos Aires. In 1946, he made his debut at the Lyric Opera of Chicago, and 1948 saw his debut at both the San Francisco Opera and Metropolitan Opera in New York (Don Basilio in The Barber of Seville, with Giuseppe Valdengo); his roles there included Figaro, Leporello, Don Basilio, Dulcamara, Don Pasquale, Gianni Schicchi, etc.

 

Although he made a specialty of comic roles, he sang a fair number of serious roles, notably Verdi's Attila and Banco, and Mussorgsky's Boris Godunov. He also created Samuel in Darius Milhaud's David, as well as roles in operas by Berio, Lualdi, Malipiero and Nono. In 1953 he appeared at the Teatro Comunale Florence as Count Rostov and Field-Marshal Kutuzov in the near-complete Italian-language première of Prokofiev's War and Peace.

In 1957, he took over from Ezio Pinza the role of Emile de Becque in the musical South Pacific on Broadway, later also appearing in Kiss Me, Kate.

 

In 1966, he began teaching at the University of Cincinnati, where he was largely responsible for the establishment of an opera workshop. He continued singing until well into his seventies, mostly in character roles such as Geronte, Benoit, Alcindoro, and the Sacristan. His last stage appearance was in 1991.

Tajo made relatively few recordings, the most famous being the 1950 RCA Rigoletto, with Leonard Warren, Erna Berger and Jan Peerce, conducted by Renato Cellini. He also recorded The Marriage of Figaro and Don Giovanni for Cetra. He can also be heard in live broadcasts of Macbeth, opposite Maria Callas, conducted by Victor de Sabata; and the Florence War and Peace.

 

He appears as Don Pasquale in Donizetti's opera of the same name, in a film (May 21, 1955) with the orchestra and choir of the RAI (Radiotelevisione Italiana), released as a Hardy Classic Video (DVD).

In the late 1940s, he appeared in film versions of The Barber of Seville, L'Elisir d'amore, and Lucia di Lammermoor.

He died in Cincinnati, Ohio, at the age of 78.

 

W.-A. Mozart.

 

Requiem in D Minor, K. 626:

 

1. INTROITUS

2. KYRIE

3. DIES IRAE

4. TUBA MIRUM

5. REX TREMENDAE

6. RECORDARE

7. CONFUTATIS.

8. LACRIMOSA

9. DOMINE JESU CHRISTE

10. HOSTIAS

11. SANCTUS

12. BENEDICTUS

13. AGNUS DEI

14. LUX AETERNA


Pia Tassinari, soprano

Ebe Stignani, mezzo-soprano

Ferruccio Tagliavini, tenor

Italo Tajo, bass

 

Rome and Turin Orchestras and Choirs

of the Italian Broadcasting Authority

Conductor: Victor de Sabata

 

Recorded in the Basilica di Santa Maria degli Angeli alle Terme (Rome)

on the 4th & 5th December 1941

 

(Партитура и латинский текст с русским переводом прилагаются к материалу)

Категория: Аудио | Добавил: skass2007 | Теги: Stignani, Tajo, Tagliavini, Mozart, Tassinari, De Sabata
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