[var.fbMeta;htmlconv=no]

[var.lang_video_categories]

    [var.popular_categories;htmlconv=no]
[var.message;htmlconv=no]
Gioachino Rossini - The Italian Woman in Algiers - Overture
Gioachino Rossini - The Italian Woman in Algiers - Overture Title : Gioachino Rossini - The Italian Woman in Algiers (L'italiana in Algeri) - Overture
Chloe Agnew sings Vivaldi's ''Rain''
Chloe Agnew sings Vivaldi's ''Rain'' www.judgmentofparis.com The ravishing Chloe Agnew, of Celtic Woman, performs ''Vivaldi's 'Rain','' from her solo DVD entitled ''Walking in the Air.'' This DVD is available in North America and in Europe. Fans should be sure to obtain a copy, as the the disc contains many other similarly beautiful classical-music videos featuring Chloe, filmed in gorgeous locations throughout Ireland. Ifirst discovered Chloe on the plus-size modelling fashion site, www.judgmentofparis.com Chloe is not only a brilliant singer and incredibly talented performer, but also a positive role model for young women today - showing them that they don't need to be anorexic to be beautiful and successful, but can be even more gorgeous at a naturally curvy size.
[Arthaus 100713] TCHAIKOVSKY: Swan Lake (Bolshoi Ballet, 1989)
[Arthaus 100713] TCHAIKOVSKY: Swan Lake (Bolshoi Ballet, 1989) From the Bolshoi Theatre 1989. Swan Lake is the very essence of classical ballet and has a rather venerable history of its own. First choreographed in 1877 by the great Marius Petipa for the Bolshoi, this original choreography has since been tweaked by almost every choreographer to get hold of it down through the years. Yuri Grigorovich keeps the general outline of the story of a prince who falls in love with the mythic half-woman, half-swan Odette (only to betray her when she appears to him in disguise as Odile). Grigorovich however added a controversial twist with his inclusion of a psychological dimension to the proceedings: the evil sorcerer cast as the dark twin of the hero-prince. The pearl of this production is undoubtedly Alla Mikhalchenko as Odette-Odile. Her impressive technique and brilliant acting gives the character a new expressive dimension. (Arthaus 100713) More Info.: www.naxos.com
Mozart Piano Concerto No 9 First Mvt Mitsuko Uchida
Mozart Piano Concerto No 9 First Mvt Mitsuko Uchida Mitsuko Uchida plays piano and Jeffrey Tate conducts the Mozarteum Orchestra in Mozart's Piano Concerto No. 9 "Jeunehomme", in E flat major, K. 271. A Saltzburg Festival performance, recorded in the Mozarteum, Saltzburg, 1989 Wolfgang Amadeus Mozart composed this concerto in Salzburg, 1777. Though only 21 years old, he displayed great maturity and originality in what is regarded by many as his first great masterpiece. It was composed for a Mlle. Jeunehomme, of whom very little is known (such as--her first name!). But she must have been a very fine pianist to be able to perform this! The mix of dramatic and intense emotions, some seemingly mad and anguished with parts of joy and happiness suggest (one romantically feels) that Mlle. Jeunehomme must have been quite a handful for the young Mozart. 1. Allegro, in E flat major and common (C) time 2. Andantino, in C minor and 3/4 time 3. Rondo (Presto), in E flat major and 2/2 time Dawn Chan notes: Renowned pianist Alfred Brendel has referred to Mozart's Piano Concerto No. 9, known as the Jeunehomme, as a "wonder of the world," going so far as to assert that Mozart "did not surpass this piece in the later piano concertos." update-- thanks to Laemmerhirt, I moved past my old sources and got some new info! Christopher H. Gibbs wrote in 2005: WHAT'S IN A NAME? Countless beloved pieces of so-called classical music have a nickname, often one not given by the composer. Mozart would have no idea what the "Jupiter" Symphony is, Beethoven the "Emperor" Concerto or "Moonlight" Sonata, or Schubert the "Unfinished" Symphony. The names sometimes come from savvy publishers who know they can improve sales, or from impresarios, critics, or performers. The case of the Concerto we hear today is particularly interesting, and only recently explained. Little is known of the genesis or first performance of the E-flat Concerto. Twentieth-century accounts usually stated that Mozart composed it for a French keyboard virtuoso named Mademoiselle Jeunehomme, who visited Salzburg in the winter of 1777. Nothing else was known, not even the woman's first name. Last year, the Viennese musicologist Michael Lorenz, a specialist in the music of Mozart's and Schubert's time and a brilliant archival detective, figured out the mystery. The nickname was coined by the French scholars Théodore de Wyzewa and Georges de Saint-Foix in their classic early-20th-century study of the composer. As Lorenz explains, "Since one of their favorite names for Mozart was 'jeune homme' (young man), they presented this person as 'Mademoiselle Jeunehomme.'" In a September 1778 letter Mozart wrote to his father, he referred to three recent concertos, "one for the jenomy [K. 271], litzau [K. 246], and one in B-flat [K. 238]" that he was selling to a publisher. Leopold later called the first pianist "Madame genomai." (Spellings were often variable and phonetic at the time.) Lorenz has identified her as Victoire Jenamy, born in Strasbourg in 1749 and married to a rich merchant, Joseph Jenamy, in 1768. Victoire was the daughter of the celebrated dancer and choreographer Jean Georges Noverre (1727-1810), who was a good friend of Mozart's. He had choreographed a 1772 Milan production of Mozart's opera Lucio Silla and later commissioned the ballet Les Petits Riens for Paris. Although we still know little about Victoire Jenamy—she does not appear to have been a professional musician, though clearly Mozart admired her playing—Mozart's first great piano concerto can now rightly be called by its proper name: "Jenamy."
Gioachino Rossini - Otello - "Assisa a pie d'un salice" (Frederic
Gioachino Rossini - Otello - "Assisa a pie d'un salice" (Frederic Finally, the most important woman in Rossini's life - mezzo-soprano Isabella Colbran - has an opportunity to enchant us. If we were to choose "a crown jewel" of Barbaja's and Rossini's cast, the choice would be all to obvious: Isabella Colbran. She was one of the first in a line of brilliant dramatic singers that would bless belcanto operas for decades: Pasta, Grisi, de Bengis, Malibran... She appeared in ten Rossini operas, and the love that formed between the primadonna and the maestro is evident in every page of the scores. Except for the rather bland character of Zoraide in "Ricciardo" and, possibly, Zelmira, all roles are incredibly dramatic: Armida and Ermione are anti-heroines, in spite of their tragic situations; Fiorilla is a comic role of unusual proportions; Elcia, Anna, Elena and Desdemona, in spite of being ingenue-like characters, are faced with staggeringly complex situations (indeed, only Elena gets a happy ending, while Anna commits suicide, Elcia's lover is killed before her eyes and Desdemona is killed by Otello); even the less interesting characters of Elisabetta and Semiramide require an unlimited amount of charisma. Although the label "soprano" is often used when describing Colbran's voice, Rossini's music speaks otherwise: she is regularly asked to go down to A flat and even G, while high notes rarely go beyond B; though additions aren't really prohibited, so Colbran roles are essayed by both sopranos and mezzos without any real threat to the music ...
Chopin: La Dame aux camélias (Paris Opera Ballet)
Chopin: La Dame aux camélias (Paris Opera Ballet) Based on the Alexandre Dumas novel that also inspired the stories of Verdis La Traviata and Hollywoods Moulin Rouge, John Neumeier creates a riveting dance drama around the famous woman of lore, La Dame aux camélias. The passionate tale of Marguerite Gautier and Armand Duval unfolds ingeniously through a drama-within-a-drama as they meet at the theatre during a performance of Manon Lescaut. So begin their romantic adventures in Paris, brought to life by Neumeiers intense and refined choreographic language. Chopins ravishing music highlights this exceptional neo-classical ballet, featuring the star dancers of the Paris Opéra Ballet. This lavish production, filmed live at the Palais Garnier in High Definition and full surround sound, is all about love, passion, danger and glorious dancing from one of the best ballet companies in the world. Available from Opus Arte on DVD & Blu-ray www.opusarte.com Please 'Like' us at www.facebook.com
Leoš Janáček - String Quartet No. 2, 'Intimate Letters' (1 of 4
Leoš Janáček - String Quartet No. 2, 'Intimate Letters' (1 of 4 Unusually for a classical work, the nickname "Intimate Letters" was given by the composer, as it was inspired by his long and spiritual friendship with Kamila Stösslová, a married woman 38 years his junior. The composition was intended to reflect the character of their relationship as revealed in more than 700 letters they exchanged with each other. The viola assumes a prominent role throughout the composition, as this instrument is intended to personify Kamila. The viola part was originally written for a viola d'amore, however the conventional viola was substituted when Janáček found the viola d'amore did not match the texture. Milan Škampa of the Smetana Quartet has interpreted the third "letter", or movement, as a lullaby for the son that Janáček and Kamila Stösslová never had together. The work is essentially tonal albeit not in the traditional sense. For example, the work closes with six D-flat major chords (Janáček's favourite chord), but with the added dissonance of an E-flat.
Meditation from "Thaïs" - Randy George, theremin
Meditation from "Thaïs" - Randy George, theremin For more video of this concert please visit: randygeorgemusic.com Live performance of Meditation from "Thaïs" by Jules Massenet. This was part of a concert at the Casino De Salamanca in Salamanca, Spain on December 8, 2008. Randy George, theremin Jose Enrique Serrano Comes, piano A very special thanks goes to Carmen Bachiller Martin and Jorge Sastre Martínez from Universidad Politécnica de Valencia AND Alejandro Martinez Estrada from Conservatorio Superior de Música de Salamanca for making this performance possible. Classical Theremin. Two words that should have always gone together. This is truly how the instrument was originally intended to be played. This kind of performance was made possible because of a fire that burned in a young woman named Clara Rockmore. She was the first person to prove that beautiful melodies could be extracted directly from the air. She continues to be a tremendous inspiration. By posting these videos, it is my wish to inspire others also, to open people's minds to possibilities that are completely out of sight, and to the help the theremin to a place where it can be truly respected again as it had been during the time of Ms. Rockmore. If this is your first time seeing and hearing a theremin, I congratulate you. You have just discovered the most fascinating musical instrument in the world. I've compiled some useful resources for learning more about it. Please visit the links section of my website. Please visit my home on the web ...
"La donna è mobile" - Giuseppe Verdi, from Rigoletto: Transcripti
"La donna è mobile" - Giuseppe Verdi, from Rigoletto: Transcripti www.onlineguitaracademy.net - A Romantic Period composer, Verdi (1813-1901) had his greatest success with opera and other vocal works. Rigoletto is one of his best-known. A tangled drama portraying affairs, betrayal, and revenge, Rigoletto is as relevant today as it was when it was written. "La donna è mobile," a canzone sung by a playboy, the Duke of Mantua, about the fickleness of women, gives the audience a moment of comic relief in the midst of a dark tale. The moment of irony, of which the character is blissfully unaware, reveals itself as the womanizer boasts about his superiority to women in the area of stability, even as he plots his next conquest. A surprisingly feminist element in an opera from the mid-nineteenth century, the commentary on gender issues still speaks to audiences today. Ifyou would like to learn to play this piece and add it to your repertoire, take advantage of the free mini-lesson on this piece, available on Los Angeles Guitar Academy's website, http To access sheet music, close-up, slow walk-through clips for this piece and LAGA's complete online classical guitar lesson program to bring your playing up to this level and beyond, enroll in a full subscription to LAGA's online classical guitar lessons, LAGA Classical. You can get started today by signing up for a free, no-obligation, three-day trial on the website listed above. For updates on our latest music postings, please subscribe to our YouTube channel on the button above. Thanks!
Madame Butterfly - Maria Callas
Madame Butterfly - Maria Callas Puccini's Opera ''madame butterfly'' by Maria Callas Maria Callas (Greek: Μαρία Κάλλας) (December 2, 1923 September 16, 1977) was an American-born Greek soprano and one of the most renowned opera singers of the twentieth century. She combined an impressive bel canto technique with great dramatic gifts. An extremely versatile singer, her repertoire ranged from classical opera seria to the bel canto operas of Donizetti, Bellini, and Rossini; further, to the works of Verdi and Puccini; and, in her early career, the music dramas of Wagner. Her remarkable musical and dramatic talents led to her being hailed as La Divina. Born in New York City and raised by an overbearing mother, she received her musical education in Greece and established her career in Italy. Forced to deal with the exigencies of wartime poverty and with myopia that left her nearly blind on stage, she endured struggles and scandal over the course of her career. She turned herself from a heavy woman into a svelte and glamorous one after a mid-career weight loss, which might have contributed to her vocal decline and the premature end of her career. The press exulted in publicizing Callas's allegedly temperamental behavior, her supposed rivalry with Renata Tebaldi, and her love affair with Aristotle Onassis. Her dramatic life and personal tragedy have often overshadowed Callas the artist in the popular press. Her artistic achievements, however, were such that Leonard Bernstein called her "The Bible of opera", and ...
YesNo